Adobe Illustrator CC - Essentials

1. Introduction to the course: Hi there, welcome to Adobe Illustrator - from zero to beyond. Before we start this course, please allow me to introduce myself. My name is the Davi Salgueiro and I will be your instructor for this course. I live in Brazil. I have a lovely wife and we both enjoy to travel whenever we have some spare time. I have lived and worked in many places and for the last ten years I have been working for the government in Brazil and sharing my knowledge as a teacher. And teaching is who I really am and where I'm at my best. And as a teacher, my goal is to deliver practical courses. When I build a new course, I know it's not perfect, there's always something that can be done better. If you have any suggestions or doubts, please let me know. I will be glad to answer your questions and also to make any necessary changes to this course. To follow along you will have to download all the resource available. These files are separated by section. In the first class of each section. There will be a zip file that you have to download. Now let's begin the course and start learning. 2. Workspace: Hi there, welcome back. Today, we're going to talk about the Workspace, so let's go. In Adobe Illustrator, you can manipulate documents, files and you can use several elements such as Panels, Bars, Windows, and you can arrange these elements in what we call Workspace. So basically, there are several presets of workspace where you can choose to use it or not, or you can even build your own Workspace. We're going to build one for you to use during this course. So this means that you can adapt Illustrator the way you want to work. Let's see some of the presets available in your Workspace. If you go to window. can choose the option workspace. Here, you can see automation, workspace, essential workspace, essential classic's, layout, painting, printing and proofing, tracing typography, web, and you've got the preseted workspace that you can create. I created this one for me. If you choose another workspace, it's going to change the layout. For example, painting. It will choose specific Panels that is used during a painting if you go to window again and choose another workspace, for example, Typography. This means that using this Workspace Illustrator will separate for you some specific functions related to Typography that you can use. On the left side of the Workspace, you have the Toolbar, which is this one here, it can be changed as well. The toolbar contains tools for creating and editing images, artworks, page elements and so on. They are all related tools and they are grouped. If you see a triangle below what tool It means that they have different types of tools in this space. If you click and hold, it will appear other tools that you can use. There is also a Control Panel display if you choose Windows. You can activate or deactivate the Control Panel. If you are on essentials workspace, you won't see the Control Panel, but you can choose to see it even in essential by activating it. The Control Panel is related to the object that is selected, for example, I have a file here, which is a ferris wheel If I click in one of the objects, one of the shapes in the ferris wheel, the control bar will change. Why? Because it adapts to the object selected. It will help you produce faster. On the right side of your screen, you can see some panels, the Property panel, Layers panel and the Library panel. The Property panel also changes according to the object that you have selected below the Property panel you have quick actions. The Quick Actions options is a way Adobe Illustrator tries to help you, by giving a set of options to make your work faster On the Layer panel, we're not going to talk about it now because they're going to have a specific class about it. Library's also. Going back to properties, The Property is available by the using the Essential Workspace. Where you can see on the top: Window, Workspace and essentials. You can also hide and show panels in the workspace that you have selected. When you click on window. There are several other Panels available. For example, the Pathfinder, if you click on it, it will show you on your screen. You can move the Pathfinder, to attach it, to your workspace. If I want, I can even put it here with Libraries. When you moving panels around, that doesn't mean that you're changing your object. So if you use CTRL+Z to undo, it will not work. You will have to put it back manually. Or you could reset your workspace, by going to window, Workspace, reset the one selected, I'm going to reset Essentials now. On the Workspace, you can also change your screen modes. If you click here, on the toolbar. You have Change Screem Mode, it's the letter F. It will start changing your spring mold and you can use Illustrator on another way, you can also use Tab with the tab key, you can hide the toolbar and the properties bar. Below, in the Workspace, there's the Status Bar, you can zoom in and zoom out using the Status Bar or you can choose fit on screen. There are other ways that we're going to see how to zoom in and out during the course. But for now, remember that you can do that using the Status Bar. The Status Bar also contains all of the artwork that you have. So all of the Artboards can be changed by selecting this option, because I only have one Artboard, I can only select one, but I'm going to create an Artboard really quickly for you. The worry we're going to have a specific class about Artboards. I'm just going to create one more so that you can see the difference. When I click here, and click ArtBoard. To create a second Artboard and click on the Selection Tool, and then I can choose the different Artboards available: 1 or 2. Really easy I'm going to zoom out now. On the top right of the screen there's the search Adobe stock. So here you can search for information related to Adobe stocks. For example, you can search for the help topics and you can also search for assets from the Adobe Stocks directly. If you want to search for the help option in your Workspace you have to click here and select Adobe Help. But if you want to search for the stocks, for the assets in Adobe stocks, you have to click again and choose. Adobe Stocks. Really easy! 3. Configuring the Workspace for the course: How there! We're back! Today we're going to create your own Workspace for this course. It's really important that you create the same Workspace that I'm going to create so that during the course you will know where I'm clicking. You will know how to access the Workspace that I'm using. Also, if you accidentally change the Workspace, you will be able to go back the same workspace that I'm going to use in this course. In the last class we talked about workspace and I showed you the Toolbar, the Property Bar, other panels, the Satus Bar, the Control Bar. And now I'm going to create our own Workspace. You know that if you want to access different types of workspace, you have to go to Window Workspace and choose one of the preset established in Adobe Illustrator, or you can create your own. So I want you to click in Essentials. If it's not selected Essentials, you have to select it. And then, go to Window Workspace and click in Reset Essentials. If you click on reset, it will go back to normal and you will see exactly what I'm seeing right now. Now what I want you to do is to include the Control Bar in this workspace. So you have to go to window. And select the option Control. There's one more thing I want you to do, I want you to change the Toolbar. Because I want you to have all the options available in Adobe Illustrator. Don't worry. Don't be scared. We're going to see each one of them very slowly and I'll teach you the advantages and disadvantages of each one. So for now, I want you to click in window. Choose Toolbars and choose Advanced. It changed, maybe you're seeing the Advance Toolbar like this, with all the options here. I can't see all the options because of the size of my screen. Depending on your screen, you can see all the options available. I want you to click on top and make sure you have two tools. Selected exactly like I do, because this is the screen that I'm going to use. On the Properties here, you should have Properties, Layers on Libraries, these panels. During the course, we're going to see other panels as well and we'll activate them when we need it. So now that we have defined the Workspace that we want, I want to save it. So I'm going to go to window. Workspace and New Workspace, you can put whatever you want, I already created one. Put, for example, your name on the name of the course. For example. If you didn't like the name that you have selected, you can also go to Window Workspace and go to Manage Workspace and you can change the name of the one you created or you can even delete it. This one is the same. I'm going to click OK, and I'm going to leave it my workspace here that we're going to use during the course. And click OK. And I'm going to go to Window, Workspace and choose my workspace. Why is this so important? Because if by any chance you change the Workspace, for example, you move the Toolbar or you remove the Control bar or you change the Layer panel or if you get lost during the course. If that happens, you have to go to Window, Workspace, choose your workspace and then click the option, reset the workspace. It will go back exactly to the way I taught you, this is the same workspace that we have created. That's cool, right? There's one more thing I'm going to do the screen, I'm going to enlarge all the options. I'm going to change the user interface of Adobe Illustrator. I'm going to do that so that you can see the tools better, so that you can see the options that I'm going to select during the course. To change the user interface, you have to go to Edit and Preference. If you are on the Windows, if you are on the Mac you have to go to Adobe Illustrator is a different option in the menu. We don't have it on the Windows operating system. And then you're going to choose Preference, in the Preference option. You have to search for User Interface. Click on it. I'm going to change the user interface from Small to Large, check the preview, the icons are larger, the Toolbar is larger. I'm going to change it again. It's a small. And now it's large, depending on your screen, you're able to have multiple options for user interface scaling. In my case, I only have two Small and Large. I would like you to pay attention for a text below. It says "changes will take effect the next time you start illustrator." This means that I have to close Illustrator and open it again. So I'm going to click OK. The same message appears for me. You have modified user interface settings. Changes will take effect if you restart illustrator. Do you want to restart the application now? So I'm going to click OK and wait just a second and will come back to Illustrator with a user interface with larger settings. So I'm going to like, OK, OK, we're back. So can you see the difference? The Toolbar is larger, the text in the menu are larger, the Control bar is larger, the text in the Property panel is larger as well. So, during the rest of the course we're going to use this Workspace with a larger user interface. You don't have to change the user interface. I did, because I want you to read it better the information. When I'm not teaching, I'd rather go with a smaller interface. 4. Draw a dog. Rectangle - Elipse - Polygon: Hi there, welcome to getting started on Adobe Illustrator. Today, we're going to learn how to do rectangles, ellipse and polygons by drawing this dog. So let's pretend that you drew something on the paper and you took a picture and you brought here to Adobe Illustrator. Don't worry, I'm going to in the future, teach you how to do that. For now, I want you to just watch this class and watch how I draw the dog and then try to do it yourself. We're using a file called Draw Dog, Rectangle, Ellipse and Polygons. So let's do it. On the left side of your screen, you can see the toolbar, this is the initial tool that you can see on the toolbar, but if you choose another tool, like an Ellipse tool, it will change the symbol. So the rectangle tool has also rounded rectangle tool, ellipse tool polygon tool start tool and flare tool in the advanced toolbar. If you have a basic toolbar, it will be a little bit different. Let's choose the rectangle tool. And we are going to draw the rectangle related to the body of the dog. To draw the rectangle you have to click in one point of the rectangle hold and then find the other corner of the rectangle. It will draw a rectangle for you. When you release the left mouse bottom, you will create a rectangle using the fill on the stroke that you last used in Adobe Illustrator. We're going to learn how to use the eyedropper as well. It's a tool that is used to catch other colors. In this file I already left for you 4 colors to use in the dog. So the body will have this color here. The only thing you have to do is click on the Eyedropper tool, with the rectangle selected, and then click on the color. If it didn't work for you, click on the selection tool, which is this black arrow here. Click on the rectangle, make sure it's selected. And then, click on the Eydropper tool and choose the color you want. If you want the green one, just click on the green one. If you want the black one, click on the black one. We want this one. That has a fill color, which is a gradient, and has also a stroke. Isn't that that cool? Now let's make the legs of the dog. We're going to make rectangles as well. So you click on the rectangle, choose a point, click and hold. And then you mark the end point, it's easy. It will choose the last caller that you've selected. Let's make this one, click and hold. Let's make this one as well. Click on Hold. And the last one, click and hold. Look what we have here, it's a polygon. I can make this polygon by using another tool in Adobe Illustrator. It's really easy, really cool. All you have to do is go to the rectangle tool and choose the polygon tool. The polygon tool has 6 corners and this doesn't have 6 corners. How can you do this? You click on the polygon tool and you click just once on the screen in the Artboard. Look what's going to happened. It says Radius and it says Sides. You can reduce or increase the number of sides that the polygon has. Let's put 5 and click OK. Look, it's easy. I want you to use the selection tool, you can go to the toolbar and choose the Black Arrow. If you click on the Black Arrow, it means you have selected the selection tool. With the selection tool you can move the object around the screen, really easy. Also, with the object you can increase the size and decrease the size. You can also do some things on the shapes, on a specific shape, for example, this one, you can make it rounded as well. Isn't that cool? I'm going to press CTRL+Z a few times to go back and return to the shape I wanted initially. You can also go to edit and do undo, move or redo scale. OK, it's here. CTRL+Z and SHIFT+CTRL+Z, undo and redo. Now let's move the polygon to the right place. I'm going to click on the selection tool, click on the polygon, click and hold, and I'm going to put the polygon exactly what I wanted. Now, what I'm going to do is I'm going to copy the polygon and put it here. I could, of course, click on the tool and click anywhere on the screen and I will build one for me. But I want to teach you something else. You can use the selection tool, click on the object, and then you're going to press CTRL + C to copy. Usually, on the applications we use CTRL + C and CTRL + V In this case, you can use CTRL+V, but I want you to do a CTRL+F or a CMD+F, because if you use the letter F, it means you're going to copy exactly above the initial object, CTRL+F now. This means we have two objects here, they are the same, if you move the top one, it means you have another one, the original one and the new one. I'm going to press CTRL+Z to return the ear to the same exact place, CTRL+Z. Now, I'm going to teach you something else. It's really cool. You can move this object in the same line. Very easily, if you hold SHIFT, so first, you have to click on the object. And try to put it here. If you hold shift, It will place exactly in this spot you wanted. By default configuration can help you move the object in 45 degrees. Look. It's very easy using this. Davi, the ears supposed to be on the back! Don't worry, there's an easy command to put them back. You can click on the ear. With the right bottom of the mouse, you can go to "Arrange" and "Send to back". Let's do with the other one, click on it. Right bottom and arrange send to back. Now, guys, pay attention, I'm going to talk about Layers, but only briefly. So if you go to layer's, that's this Panel here. We have 3 layers. We have the collar layers, the template, which is the image that I brought, and the dog itself. We can have more layers if we want don't worry. And we can rearrange the objects here by clicking on the object and put it on the front. I'm going to do CTRL+Z now. I want to draw the eye, but the eye is going to be here above the rectangle, above the body, which means I can accidentally move the object, which I don't want to. So what I'm going to do is I'm going to create a layer just for the face, just for the eyes, the nose and the mouth. So let's go. How do you create a layer? Just click here on create new Layer. And I'm going to double click on it and write face, because this is selected, all of the new objects that are going to put on the art board is going to go to this Layer. So let's now draw an eye here. But before we start drawing, I want you to lock the dog. So I'm going to click here, unlock the dog, what does it mean? It means that you can't move the dog, the legs, the body or the year. You have to click on the face, which is the new layer, so that you can draw on the new layer, if you try to draw on a layer that is locked, you will not be able to. Illustrator doesn't allow you to do that. It's a functionality that will help you not to destroy something that you already created, which is our goal right now. I want to draw the face and not make a mess with my dog. So let's go and draw the eye. I want to draw an eye, but before drawing the eye, I want to know the exact place where I want to draw the eye. So I'm going to unlock the template. Draw a dog. And I'm going to put it in front of the dog. In this way, I can draw the eyes, the nose and the mouth without making any flaws, and I'm going to look it again, the template of the dog. Now let's draw the eyes, the ears and the mouth. So for the mouth, it's just a slash. It's a line. So I'm going to click on the line here and draw a mouth. But look at the mouse. I can't draw it like this because I have to select the layer which is not locked. So I'm clicking on face again, and now I'm going to be able to draw the line of the dog. Let's draw a rectangle here for the nose. I going to click and hold here, choose the rectangle tool and draw a rectangle. And I'm going to click on the eyedropper tool and choose this color, that's cool, very easy. I'm going to click on the selection tool and I'm going to draw the eyes. Now guys, pay attention. I want to zoom in and zoom out one way to zoom in using CTRL+ and you will zooming the screen another way to zoom in as well, using ALT and the scroll of your mouse. You can either zoom in or zoom out holding ALT and using the scroll of your mouse. I'm going to use a circle to draw the eyes. You click on Hold on the Rectangle Tool and choose the elipse tool. The letter is L. I don't have to hold here if I remember this shortcut. Click on the Ellipse Tool, and let's draw an eye. You can either draw from one point of the eye, click and hold or Another way to do it is to put in the center of the eye, click, hold and then click on the ALT key. The center of the eye will be the place where it's going to start creating the circle, I usually like to build only one eye and then making a copy and put it on the other side. So I'm going to click on ... with the selection tool and delete this one. And the other one, I'm going to zoom out and click on the eyedropper tool and click on the Black color. And now I'm going to zoom in again. You can also click on the selection tool to make the eye bigger. Look. I'm going to make a little bit bigger ... here and here as well. And then you can make another circle as well for the inside of the eye. I'm going to click on the elipse tool. More or less here. Like this! And click on the selection tool to position it on a better place. Davi, both of the circles are black. OK, don't worry, zoom out. And you can use the eyedropper tool on the white color, and when you click on the selection tool, you can now see the eye. Remember, the inside of the I had to be selected. Let's make a copy of this eye. I am going to zoom in again and I'm going to use the selection tool to select both eyes and make a copy. CTRL+C, I'm going to CTRL+V now, just to show you. Look, it position here, if I used CTRL+F it would be exactly above it. This time I copied two objects, the larger circle and the internal circle. I'm going to click hold both for them and leave it here. More or less. Yeah, I like it. Ah, let's make the eyebrow ... with a dash. And the other one. Look what happened to the eyebrow. Well, I didn't select any strokes, so let's go to properties. And with the stroke, let's increase the stroke. to 6. And select the selection tool, click on the other one, it's here, it's invisible, but you can use to increase the stroke to make it larger. That's nice. Now, let's zoom out. Another cool thing, if using the spacebar, if you press the space bar, the mouth changes to a hand and you can move the Artboard easily. Now, let's go to Layer's I'm going to put this layer in the bottom, but before, I'm going to unlock it it and put it down and unlock also the dog. 5. Layers and Groups: Hi there, welcome back. Today, we're going to talk about layers and groups, first of all, I'd like you to please open the file ferris wheel - layers When we create a complex artwork, it's usually a challenge to try to keep track of all the objects that we're using. In this case, the ferris wheel. We have the wheel. We have the cabins around the wheel and we have the base of the Ferris wheel. There are several other objects related to the construction of this artwork. Small items tend to get hidden behind larger items, and it's really hard to find them and work with them if we're not organized. The best way to organize yourself is using the layers and the groups. Think of layers as clear folders that contains the artwork the same way you can move items between folders and some folders. You can also move items between layers and groups. Remember, we're using the workspace that we created in the beginning of the course and in this workspace I made available for you the layers panel in front, it's here. You can also access the panel by going to window and choosing the option layers or you can choose also the shortcut F7. I'm going to show you how you can create new layers and how you can move items and hide items in the layers. Our goal in this class is to create one layer for each of these cabins. I also want you to create one layer for the base and one layer for the wheel. Now, let's go. Inside the layer, you have all these objects, you can expand the layer by clicking on this option here and you'll see that you have group of objects in this layer. If you click on this bottom here. It will toggle visibility, so if you click on it, it will stop seeing all the information in this layer, if you click again, you'll be able to see all the information in this layer. From the right side of the eye, you can see another option. It toggles the lock option in the layer. If you click on it, you won't be able to do anything in the layer You won't be able to move the objects inside layer and you will not be able to create anything new in the layer. You can only create something in a layer if it this option is unlocked. Like this ... Davi. All right, but how can I create a new layer? It's a very simple. Below the layer panel on the right, you have an option saying - create a new layer. All you have to do is click in this option. And it will create a new layer. I told you that I would like you to create one layer for each of these cabins. How many cabins do we have? One, two, three, four, five, six, seven, eight. I also want you to create one layer for the wheel and one layer for the base, that makes 10. So I need 10 layers for this project, right now. I have 2. Let's create more just by clicking in this option here. Now, I have 10 layers. Let's say I created one more layer that I didn't need, I can create. I can just click on the layer and click on the option, delete selection, it will delete this layer. Also, I can create sublayers. It's here, create a new sublayer, if you click on it, it will create a sublayer, I don't want it, I'll just delete it. You can also delete multiple layers at the same time, just by selecting one layer, holding down the shift key and then clicking in other layers. Just for you to learn, I'm going to delete all of these layers. Again, by clicking in the delete selection. It's gone. I'm going to create again by clicking on create new layer. I want 10. And I also want to name the layers, you can change the names. If you click on the layer, double click on the name of the layer and you can change. Let's create all of the names of the other layers, double click on the name. Change the name for wheel, for example. Now let's write the name of the cabins. So I have 2 red cabins, 2 blue, 2 pink and 2 orange. So let's go. Double click on the name. All right, we created the layers and we changed the name of the layers. Beside the lock option you have a color. Illustrated chooses the color of the layer for you, but if you want, you can change it. All you have to do is click on the layer, not on the name and double click on it. It will give you the layer options, you can change the name as well here, and you can change the color. You can also transform this layer into a template or make it lock or make it shown printable preview. And you can also dim the image to a percentage. So we're not going to change the checkboxes and we're just going to change the color of the layer. Let's go. Click on the option, you can choose a color. For the structure, for example, and click, OK. And click, OK. It changes the color of the layer. Now, what I want you to do is choose the option you structure. And move these objects to each one of the layers. You can click and hold and move, the cabin, the Red Cabin to The Red Cabin layer. Here. I'm going to click on this one and move it to the Red Cabin and this one and move to the Orange Cabin. Now the wheel can hold and release in the correct layer. On the top right corner of the layer panel. There is no options here, which you can create also new layer, created sublayer, You can duplicate the cabin, you can delete the cabin, you can go for the options. And there are other advanced options as well, like making a clip mast enter isolation mode. I won't show just right now. We'll see it later on the course. So, for example, did I have to create two cabins? No, I didn't. I just had to duplicate them when they created this artwork. So just by clicking on the orange cabin, clicking here and duplicate Orange Cabin, now I have another layer right here that can be selected. On the right side of the layer panel you can select all the artwork in a specific layer by just clicking here. Can you see in the artwork that it's selected, if you use the selection tool, you can move And see a different object, because I duplicated this cabin. I'm going to increase the size of the panel so that you can see that this is a copy, I can create multiple copies just by clicking again here and duplicate the copy. Now, I'm going to select both of these layers it selected with shift key and then I'm going to delete it because it's not part of my artwork. Inside these layers, we moved one group. A group can have multiple shapes, multiple form, multiple lines, and you can open the group by just clicking here. In each group, it has one elipse, one rectangle, one path and another ellipse again in the Lopinto. If you click here. You can select the specific item inside this layer when the item is selected. This box here is bigger, this rectangle is bigger. When the layer has part of the object selected, the rectangle is small. The same goes for the group. Look! This means that it has part of the objects selected. So these ones are not selected. If I select all of them by holding shift. And thinking here, it changes the rectangle on top, so it means that it has every single object inside this layer selected. In the same way that you can move objects inside a group, you can also move objects to outside the group. So if I click one in only one object, I can move to a different place, because this object is in front. It means that you can't see the objects below. I'm going to move inside the group now. I click, hold and move inside the group and you'll be able to see the object. If you click on the object. You can also ungrouped all of the object by right clicking on the object and choosing the option ungroup. When it's ungroup, the group doesn't exist anymore. Some people choose to write names on groups. I don't like to, I'd rather write names for layers, because it's very common to group and then ungroup while you're creating your artwork. So, for example, if I . right click on it, and group this object, it's back to group. I can change the name of the group, like I change the name of the layers. I don't like to do that and I'm going to show you why. So I'm just going to click here double click and write Orange. And now if I ungroup it. Right click on it, ungroup, I lose the name. That doesn't happen with Layers. So why do I need so many layers for an object? There's several reasons. One of them is to organize your artwork, the deppending when it's complex. Another reason is when you want to use your object in other applications. Inside Creative Clouds, for example, let's say I want to make a motion graphics with this ferris wheel I would use after effects. I can move a illustrator file to after effects and then make the motions. Because the objects are separated after effects will understand that each one is individual object and it has to move. Let's see an example of this. And there you go, there is a farris wheel of after effects animated. 6. Layers - Common Mistakes: Hi there on the last class, talked about layers, and I ask you to create layers for this file Ferris wheel dash layers, if you didn't solve the exercise, you can still check the file solved. Ferris Wheel. Today, we're going to talk about common mistakes using layers, so let's go to the file triangle squares and circles. This file here. Usually, on layers When you start working with them, you tend to forget which layers you have hidden, which layers is locked. Sometimes you open the file, you know that you drew something. You know that you made an artwork. But on the next day where the artwork I can find it, what can I do? Did I lost it? Deleted? Well, most of the time is our own fault, especially when we're starting to learn how to use Adobe Illustrator. If you know for sure that you drew something, that you made an artwork and it's not there. The first thing you have to do is check if the images are hidden. So you go to the layer panel and check if there's any layers that is hidden. If there is, mark them, to see all the artwork that you've lost, and that's a common mistake. So check the hidden layers. Another common mistake is trying to draw on a layer that it's locked, so let's say I get the curvature tool, which is this one. And I try to draw something with it, and I just can't it's not working. Don't worry, we're going to have a class to talk about the curvature tool. . Right now, focus on the image that you see there, there's a pencil forbidding me to draw. When you see this pencil. Just remember the layer is locked. You can't draw anything. You can't create art on a locked layer. So if you want to draw something, make sure you have a selected layer that is not locked. Now, look at the image I can draw with the curvature tool. Don't worry, we're going to learn how to do this. OK, I'll delete this. I'm going to unlock the triangle layer, the elipse layer and the square layer. Another important thing is to move the objects to front and to behind. It's a common mistake as well when you're starting to learn. Let's say I want to put this triangle behind these squares. I taught you that you could Right click on the object. Choose, arrange and send to back. Is it going to work? No, well, it does go to the back, but it goes to the back of the line, inside the layer, inside the same layer, this triangle, the big triangle is inside this layer. The squares are inside another layer. So if you center back. Arrange, sent to back. It actually goes to the back of the same layer. So if I check here. This object is here, is the last. If I sent the front right click, arrange, bring to front, it goes to the top. If you want to move an object behind another with this function, you have to remember that the object must be in the same layer as the others. So if I want to put this triangle behind the squares, I have to first move the triangle to the square layer. I click, select, hold, And drag to the square layer. And there! Now the triangle is behind the circles and in front of the squares, if it's in front of the squares, it means it's on the top of the layer. Why are the circles now in front of it, because the circles are here, the Ellipse layer is in front of the squares, therefore it's in front of this triangle, not the others. If you want the Ellipse circles to go to the back behind the squares, you have to drag the layer behind the squares. Davi, the triangle is still in front of the squares. Because when I dragged it, it went to the top of the layer. Now, if I use that function, which is right, click arrange and center back, it will go to the end in the square layers. What I needed you to do is to open the triangle squares and circles file and try moving them around, send to back, send to front! Remember to mark the visibility and remember to lock and unlock when necessary. Also, remember that if you select several objects with the shift key, you can group the objects right now. I selected four of the rectangles, right click. Group, now it's group. 7. Curvature Tool: Today we are going to see the curvature tool. It's right here on the toolbar, curvature tool. Davi why is this tool the easiest tool to draw? Because it help us making curves inside Illustrator. Another option is a Pen Tool. But the Pen Tool has a learning curve, which is much harder than the curvature tool. You can just open the file. Crown and Ghost Curvature Tool, I already made it for you. It's here. We have a layer, which is the template crown and a space for you to draw The crown and the ghost, each one in a separate layer. The curvature tool can make straight lines, corners and curves. If you want to make straight lines and corners, all you have to do is always click twice when you using this tool. Click twice for the corner, click twice for a corner, twice for a corner. Can you see this? It's filling in with the last color that I used. I'm going to turn this off. I'm going to go to properties. Click and fill and just choose none. Just for now, click outside. And now I'm going to continue drawing the crown twice for corner, once for curve, twice for corner, once for curve, twice for corner, once for curve, twice for corner, once for curve, twice for corner. And we're going to finish. When do you want to finish using the curvature tool, you only click once. If you click twice, it will change the last option. So I'm going to click just wants to close this shape and click once and it's closed. If you want, you can also use the curvature tool to start drawing and not finish the shape. For example, if I want a line, click once and then click once. If I click again. It's going to be a curve because I only clicked once, but let's say I just want a line, all you have to do is press the ESC key. On your keyboard and stops drawing, another way to do it is click once, click once we have a line instead of pressing the ESC key, you can click here on the selection tool to change to the selection tool and it won't continue to draw. Now, let's say I want to draw curves. If you want to draw curves instead of pressing twice, you're going to press once. So I'm going to click on the curvature to again and I'm going to start drawing this ghost. Click once, click once and you start clicking. For Curves and illustrator will help you draw the curves he will try to guess how you're going to make the curves. Try to find the different place where it changes, so it's going to change from one way to another. So I'm going to click here and click here. Click here. Here again. And now I´m going show you how to change and make some corrections. When you finish, you only click once. If you click twice somewhere, for example, it will change one space, which was a curve to a corner. So here I just changed for a corner. For example, I'm going to change it here, click twice somewhere and it will change for a corner. I'm going to click on the selection tool, I'm going to zoom in and make these corrections here so that you can see. So right here on my ghost, I made a corner instead of a curve. How can I change this? Select the curvature tool and double click on the place that you want to change. Doble click. It will help me. Let's say you didn't put the curve in the correct place. You can use the curvature tool to select one of the anchors like this one click hold and replace the position that you want here as well. Click hold and replace. Here as well. I'm going to put it down a little and I can add as well another anchor inside the ghost. How? Just click in the line, click in the path. It will add another one and I'm going to put it here. And make it like this. And here I'm going to add as well, more anchors so that the curve looks better so I'm going to add one here. And move it to displace, and move it here. And then again, click here. To adjust the ghost. Click and hold, you can make the corrections you want using this tool, you can also make the eyes here. One click is a curve, two click is a corner. So one click is a curve, one click is a curve. And illustrator will help me create the eyes without making an ellipse. If you want a circle, you will need at least 4 anchors. And again. And now we have the ghost nice, huh? Let's zoom out and paint the ghost with the eyedropper tool. Remember, on your artboard, if you want, you can press the space, it will change the way you move the artboard. So I'm holding down space and then I'm clicking with my mouse and rearranging the position of the artboard. . Now I can see the palettes that I want and I'm going to change the color of my ghost. How? I click with the selection tool, click in one option. I'm selecting the ghost itself. I'm going to use the eyedropper tool to choose this color here. Then I'm going to select the eyes with the selection tool. Click on the eyedropper tool and choose the black color again with the selection tool, click on the other eye, eyedropper tool and black, again... I can do it all of them at once. I just want to show you how you do it so that you can see what I'm doing exactly. Now I'm going to paint the crown. Again, selection tool, choose the crown, eyedropper tool and this color here. Now let's see the layers, in the layer panel. I did all of my painting in only one layer, we were supposed to use both, so let's open here and rearrange the ghost to be in the correct layer. I can use the selection tool. Group, The Ghost, I selected all of the options, all of the path. How? press once, hold and select all of the objects. Are all selected here, as you can see in the crown layer, right button of the mouse and group. Click on it. Click and hold and move it to the layer. And that's it. 8. Selection Tool and Direct Selection Tool: Hi There! Today we're going to talk about the selection tool and the direct selection tool. It's the Black Arrow on the toolbar right here. The selection tool. When I see Black Arrow, remember, I'm using the selection tool. And when I see White Arrow, remember, I'm using the direct selection tool. I usually use those words. They are not established by Adobe. Before we start working with the selection tool, let's open the file drawer dog selection tool. It's basically the same file that we've worked on the beginning of the course. I want you to delete one of the layers, before we start working because the original layers we don't need it anymore. The template layer. So it's here template. You already know how to do that. You have to unlock it, click on the layer and then menu and delete the template layer. So let's delete the layer and it's gone. It's not here anymore. We don't need that drawing. We don't have the face, the dog and the colors. Every time we draw something it's really nice, to have a background. So let's build a background for the dog as well. Let's add a layer for that and double click on the name and write background. There you go. Let's draw a rectangle and choose a color for it. Because the background is below the dog, the image that we're going to create is going to be behind the dog. So let's click on the rectangle and click here on the top left corner of the artboard. Click on hold and then create the rectangle at the same size of the art world. Really easy. Like I said before, Adobe Illustrator will create a color for you. It will be the same color that you used last time. So let's choose the eyedropper tool and choose a different color. There you go. Much better, huh? Cool, let's lock the background because we don't need it anymore and let's start talking about the selection tool, the layer face and the layer dog, both of them are unlocked so we can change them any time we want. Let's choose the selection tool. And let's choose one of the objects, all you have to do if you want to move one of the objects with the selection tool, it's click on the object and move it around really easy, huh? All of the objects when you click have rectangles to establish the position of the object. It can be one or multiple object, for example. I'm going to press the CTR+Z Let's say I want to increase both of the ears. I can click on the object, with the selection tool, click on the other ear and increase them. Here. If I hold shift, both of them will increase in the same size. Isn't that cool? I'm going to click outside, clicking one of the objects aside from increasing, decreasing. You can also change other things. I'm going to zoom in here for some of the objects. Some of forms are shapes and with shapes, you have different ways of changing them. You can change them here. And the cardinals will be rounded up a little press controversy, you can change it here, increasing the numbers of angles of sites. Cool, huh? You can also change it by rotating them if you position your mouth above one of the rectangles, the image changes and you can press on hold and rotated. I'm going to press controls in now. This election to selects the object as a whole, that means it's selecting all of the anchors in the object, which is totally different from the White Arrow, which is the direct selection tool. So let's press on the direct selection tool now at Selected and it changes. It's not selecting the whole object. It's selecting only the anchors. All of them are selected because it was already selected. But if I click outside and click in one place, pay attention to the color of the rectangles of the anchors. It's white when it's white, that means that some of them are selected. If I click in one of them, it's selecting only one anchor of the object. If I press and hold the shift key while one is selected, I can click again. Oops, there you go. And two of them are selected. Now, what will happen when we change only one anchor, one click outside, click on it, and then click just in one of them? If I click on hold and change the position. Look how cool I can change partially the position of one of the anchors controversy, if I choose to anchor holding shift, two of them will be selected. And now I can change totally the object, I can make a totally different ear from the one we just had. I'm going to click here. Hold on, hold shift. To put this more or less in a straight line, now, let's say I use the selection tool and move it here. Now, let's zoom out. Which of these is would you rather have this one or this one, I can do it here with this one as well, just by clicking with the direct selections or clicking in one of the anchors holding shift, clicking on another and repositioning it. I chose the wrong one. Sorry, controversy. It was this one and this one. So if I move it here now. More or less like this, and then selection tool and repositioning. Now, it didn't really look so good because they moved the position, but I can delete this one and copy this one the better one, right. Click transform and reflect. At the moment of reflecting it, I can just press the button, copy, I will have two copies of it and I can position the same year on the other side, just like we did with I. I copy the eye and place it here. Let's just see the reflect option again. I'm going to click on it right. Click and then transform and then reflect. Right, click, transform, reflect. Look at the options, I can make a reflection on the horizontal line, on the vertical line, and I can reflect as well with a specific angle. Cool, huh? If I press, OK, it will just rotate this object, but if I press copy, it will make two objects. That's how I made the other ear. So I'm just going to select this object with a selection tool. Basically, this is it, this is a difference between the election tool and direct election tool, one of it can move increase the size of the object as a whole, and the other one can just change each one of the anchors or multiple anchors by clicking one of them and clicking with the shift key. Now, if I move it, look what will happen. So cool. Click on the link, for example, with the selection tool, and you can see all the rectangles here. There is an option here on view. I want you to pay attention to the hind bounding box shift control beat. If you click here with the selection tool, you won't be able to increase the object anymore because the hiding box are hidden. David, why would they hide the box, for example, if you have a small object and you want to move them around inside your art board, I'll show you when the press controls and culture shift be to go back to the hiding box. It's the thing thing that's going up here and think shift control be OK. So I activate it again. Let's say the leg was really small like this. And I want to move it around. Sometimes it's hard with your mouth to move the object around because the biting box is on the way so we can just press control, shift B to deactivate it, to hide the binding box and then move the object. It will be much easier. So if you have the binding box hidden, remember, you won't be able to make it bigger or smaller. You have to activate it by pressing control shift B and then you can increase or decrease the size of your object. 9. Eyedropper Tool: Hi there. Welcome back. Today, we're going to talk about the eyedropper tool, so let's go eyedropper tool. To use the eyedropper tool, you need to select an object and you can click on the eyedropper tool and then select another caller or another object to catch. What I need you to understand that objects in Adobe Illustrator have Fill and have Stroke. So, for example, this color here only has a fill, fill color. This one too. This stroke is null. As you can see. On the top objects, top three, they have fill and they have strokes. So you can see they have fill and they have strokes. Below, we have these six options here which they only have fill, but they have special fills. This one has fill with an opacity of 50%. That means there is 50% transparency. And these ones, they have fills, but they are gradient fills. There are a little bit different. What this has to do with the eyedropper tool? When you're catching a color inside illustrator with another illustrator object, it will catch the fill and the stroke. This is really important because it can change the object that you're catching. So let's go and see how it works. So let's select this triangle, for example. And as I told you before, if you want to catch a color, just use the eyedropper tool and select a color. For example, the pink one. The triangle earlier was yellow with a stroke of black, just like this one here, so I'm going to select and check it out. It has a fill and it had a stroke. Now, this triangle has a fill, but it doesn't have a stroke. When using the eyedropper tool, it catches the fill and it catches also the stroke, for example, if I use the eyedropper tool on the top. It's different, although I'm selecting this color and not actually only selecting the color, I'm selecting the object, the information with the object, so it will catch the stroke, it will catch the fill, it will catch the opacity. And if the color is gradient, it will catch it, too. So check it out, if I click here. I chose a gradient color. It used the gradient color in the triangle. Don't worry, we're going to detail later on gradient colors. And here is the same color, but with an opacity of 50 percent. If you use eyedropper to 50 percent of it will go transparent. Look at it. As you can see here. We reduce the opacity of this color. We haven't seen brushes yet, but I just want you to understand that these are brushes. And these are variable strokes. Let me show. If I select this, it says here it has a brush. In the property panel, that means it's not only a line, it's a different type of line. And here we have also an object, which is a little bit different, the stroke is larger in one side and thinner in the other. Davi, what does this has to do with the eyedropper tool? Well, I want you to understand that in this version of Illustrator, the eyedropper tool doesn't catch the brushes and doesn't catch the variable width. That means that if I select the triangle. And use the eyedropper tool with an object that has a brush. My object won't catch the brush, so the triangle won't have the same brush as in this object here. The same goes with variable width. So if I click here with the eyedropper tool. My triangle won't catch this line, it's a different line, I'm going to select the selection tool now. Can you see the difference in this object? The line here is thinner and here is longer. I'm going to enlarge it just for you to see. SHIFT. So this part here is thinner and this part here is longer. The eyedropper tool didn't catch this. If I want to change it, I have to click on the object and select a different type of weight. Don't worry, we're going to see this later, OK? But just understand that today the eyedropper tool doesn't catch brushes and doesn't catch variable width before I start playing around with this file, eyedropper tool. I want you to understand one more thing. Some of the tools here, they have advanced options. So does the eyedropper tool. If you double click on the eyedropper tool, you will see the eyedroppper tool options. Maybe in the future the eyedropper tool will have capability to catch a brush, for example. And if that day comes, there will be an option here for a brush pattern. So pay attention, maybe in the future it will be able to catch brushes, but not today. Let's just click, OK? One more thing, I taught you how to catch colors, but if the object has a no fill, so this one doesn't have a fill, if you want to catch the object, you have to put the eyedropper tool on the top of the line. To catch the stroke or in the center of the object, this is the only way you can catch it. So I'll click on this election to click on an object, click on the eye, drop a tool, and then try to click here. You have to either click in the middle, in the center or on the line. I'm going to click here again and I'm going to choose a line, if by any chance it doesn't go red like this, it means it's not selected. Davi, you taught us that eyedropper tool doesn't catch variable width. How come it have a variable with now? Because I change it before. Remember just a little bit earlier, I change it to show you. I'm going to put it back on. 10. Rounded Rectangle Tool and Star Tool: Hi there. Today, we're going to learn the rounded rectangle tool and the star tool, so let's go. The first thing I do when I open the file that I have not created, I try and look at the layers to see how they are organized. So I'll just select the selection tool, go to layers. This file has the example which is locked. It also has a layer for background. We also have a palette layer. So I'm not going to change this, so I'll lock it, so I won't make a mess of it and put it in the back. I'll show you the rectangle first and click in the layer background and build a background in the same size of the artboard, then I'll use the eyedropper tool and I will select the blue color. Now let's go to the rounded rectangle. Selection to Toolbar, click and hold and rounded rectangle tool. Also, let me lock at the background and use this layer here so I won't make a mess, the rounded rectangle, it has rounded corners. Let's choose a different color for this rectangle. I'll choose this one here, just for now. Selection Tool, another way to make the same rectangle is using the rectangle tool. And then using this selection tool to change the corners. It's just the same thing. All right, so it's up to you how you're going to change it. Also, I can use the direct selection election tool and change just a specific side of the rounded rectangle. Look how cool. I can have one side, which is just a precise corner and others rounded. Direct selection tool click in one of them, you can hold shift to click in more than one and then change just a little bit. Look how cool. Now, let's go to the star. Press on hold and find the star. With the star, it's kind of like the polygon, you remember the polygon. I'm going to put it again. Click and hold Polygon. If you click once on the artboard, you'll be able to choose the size of the polygon and the sides. If you want a polygon with just 5 corners, press 5 here, click, OK, and you've got a polygon with 5 Corners. The stars are the same click on hold, find the star tool and just click once on the artboard and you will be able to create the number of points, the number of the internal radius and the number of the outside radius. I'll just create one for you and you'll see. By creating the star, the inside circle of the star is 25 pixels, the outside is 50 pixels. So if you want to create a star with longer points, just click the star, click once and change the radius. Number two, for example. One hundred and click, OK. Isn't that cool! The same as with the rounded rectangle, you can use the direct selection tool to change. The corner of the stars and also here as well, the inside as well. Isn't that cool? You can also change, individually, one of the points. By clicking once and changing just one point. So what kind of object is this? Is it really a star? Let's go and check it out. In the Layer Panel. If you got the ayer Panel, and open the layer, you will see that Illustrator creates it as a path. But the polygon and the rectangles and the circles, they create a specific shape for it, it's just a small difference. That's good to be aware of. So with the star, you can use the direct section tool to change one point of the star, for example, just click in one point of it and move the position. Or you can clicking more than one, holding shift, both of these are selected. And you can move both of these points as well. And this one, hold shift. . Now, what I want you to do is. Let's delete these first. Try to build this logo just using the start tool the rounded rectangle and the ellipse tool I'll make the easy one first, we have the rounded rectangle here. How do you know Davi that this is a rounded rectangle? Well, I could build it in another way, but I want to exercise with you with the rounded rectangle. These two sides are larger corners and these ones are smaller corners. So I'll just choose the rectangle tool or the round the rectangle and build a shape for you. I can hold shift if you want to make it perfect. It's not a rectangle. It's a square. And just like the direct election tool and increase. The bottom corners, hold shift, make sure you have both of them selected, the top ones are whiter so they're not selected. Davi, can I just make one corner and then make the other? Well you could, but there's a big chance you won't make them perfect. I advise you to make them both at the same time. So they are selected, keep on holding shift and reduce both of them at the same time. Cool, huh? Press the direct selection tool. Eyedropper tool and choose the color, which is this one, and there you go, easy with just build the first one. If you want You could lock this object like this so that you won't make a mess with this object. So let's select the second object, which is the circle. The circle You already know. Click on Hold, Ellipse tool, again. It's a perfect circle. Therefore I'll use the SHIFT key, SHIFT and if you want, you can press ALT as well. There you go, more or less this size and I'll choose the eyedropper tool, and selected this color here selection tool and reposition it what I want. There you go. Is it good? No, it's not good. If you want, you can select both of these objects. All right. I will unlock the rounded rectangle to select both of them and choose Align and just put it in the center. You can use the Horizontal Align Center and then, Vertical Align Center, it will be perfect. Because I have increased the size of my user interface. You might be seeing this option here all in the control panel. In my case, I have to click to open it and see it. You can also align the objects by using properties and align, here. Now, let's make the harder one. I'll try and lock this two first and select the start all. And then just click once. And choose 5 points. And I'll choose the radius 50 and put it back in the same size. And click, OK, there you go. We have a star. I'll select the eyedropper tool to get the correct color. Remember, I taught you how to turn around an object by positioning your mouse on the top of one of the corners. So I can reposition this object the way I want, you could have also repositioned the object by choosing properties. And changing the angle here, as you can see. So, for example, 30 or 33, anyway. It's there. Now, what I want you to do is try to make this symbol here, so I'll just increase the star first. If we increase like this It will change the size. If you press SHIFT, it will have a precise star. All of the corners will have the same size. Release it and then reposition in the center. You could also use the Align and Horizontal Align Center and then Vertical Align Center. No, not really good, huh? So, you can just press and hold the mouse button And hold SHIFT so it will go in a straight line. More or less like this. All right, that looks good to me. This star doesn't look like this star. Yeah, I know. I could use the direct selection tool to click on the object and just repositioning the points of the star and just press in one corner first. And then move this one, the top, holdings shift to going the straight line, and then this one. Like this, or this one. Hold SHIFT. Oh, there you go, I didn't click on it. And then this one, click on the anchor point. Like this, and the other one, click and hold. It's almost like this object. Another way you could do it, it's like this, CTRL+Z, it's back. So another way you could do it is just clicking on the points of this star with the direct selection tool and holding SHIFT. This way, one, two, three. Four and five anchor points are selected. If you click on hold now. Check it out. More or less like this. Looks better and then I can change the top ones if you want. Click and hold. Hold SHIFT. And then move it higher. A little bit more. All right, I'm satisfied. Well, it's kind of outside the artboard, isn't it? So I'll just select the selection tool, layers, unlock the circles on the rounded rectangle, select all the objects and put a little bit down, more or less like this. 11. Pathfinder Panel: Hi there, welcome back. In this class, you will learn to work with the Pathfinder Panel. The Pathfinder panel is located in the menu Window and Pathfinder. Although you can access the Pathfinder panel through the Pathfinder, I'm not going to use this panel here, I'm going to use another way to access the Pathfinder panel, which is in Properties. If you select more than one object, or if you select a layer, or if you select a group of objects, it will give the same options as the Pathfinder panel. I'll show you. If you click, Selecting two objects. It will show the Pathfinder Panel here. For me to access the Pathfinder Panel all of the options, I have to click here on the three points here, more options. Is just the same thing. So let's just close the Pathfinder Panel. And let's go and use this Pathfinder Panel here. Remember, if you have nothing selected, it won't show the Pathfinder Panel, if you have only one object selected, Let me get just one object, I'm going to ungroup this, right click ungroup. If you have just one object selected, you won't see the Pathfinder Panel. Some people get confused because there's an option for Pathfinder as well in the effect menu, but this is a little bit different, not the result, but how you work with it. And we're going to see this later on the course when we talk about the effect menu. So for now, we're just using the Pathfinder Panel, which is in Window, Pathfinder. So what's the Pathfinder for? The Pathfinder is a way that you can change your object by creating new objects, by applying several different effects to them. We have the original objects that you see on the Pathfinder, two squares. The front square is below here and the top square, it's on the back. On the top here, you can see the result that happens when you apply the effect. I always got confused when I was learning Pathfinder, when I started working with Illustrator, and I thought it would be better for you to see it this way, anyway. The first effect is unite. Basically, what it does is it merge all of the objects and create just one object. If I select these objects here, they are in the group, and I apply the Unite effect, it will become just one. As you can see, below here, we have two squares and it became just one. It's just one object. If I click on the object and go to layer and go to the layer. And check it out, it's a path, but here, it's two objects, as you can see, there are ungrouped because I ungrouped them earlier on. The same goes for this, for this object. It was a group of three objects. Now it's just a path, as you can see, when you apply, unite the color on the top it's going to be the same color for all of the other objects when they unite themselves If I do a CTRL+Z, to go back, you can see that was a group before I united them. It's a group. But if I apply again, the unite, it will become, if I go in layers, a path. The next effect is Minus Front. As I told you before, Minus Front is just the opposite of Minus back, so I'm going to teach you Minus Front in the end when we see Minus Back. All right. And let's go to the Intersect. The Intersect selects the only region that belongs to all of the objects selected. So if I select the shield, the circle and the old star, it's not a star anymore. What it's going to do is, it's going to ignore all of the parts that don't belong to all of the 3 objects. Let's apply it and see what happens. I'll click here, on Intersect and there you go. I only have this part of the star, which is no longer a star, it's no longer a shield. The shield is gone and the circle also. If I press CTRL+Z, and ungroup the object. You will see that if I delete the circle, It won't make much of a difference. if I apply the effect. Why? Because the circle was just inside of the shield and it didn't make much of a difference having it or not. The next one is Exclude. Now, exclude is a little bit complicated when we have more than two objects. All right. So let's learn how it works. The Exclude makes overlapping objects transparent. As you can see, here, I had two objects, only two is easy. And the part of the objects that belong to both of them became transparent. So I can see the background here. The background is blue and I can see it through here. If I apply again, to this two, the Exclude. It's here, properties, Exclude, click it, and I'll see the transparency after these objects. Now, what gets complicated with Exclude it when we have more than two objects, so in this case here we have three objects the circle, the shield and the start. And to apply exclude, it's good to know the rules of how it works. And for more than two objects, this exclude rule is the following rule. When there is an even number of objects overlap, the overlap becomes transparence. But when there's an odd number of objects, the overlap becomes filled. So basically when there's an odd number, it becomes filled and when there is an even number, it becomes transparent. So the circle and the shield, this part here of the circle, of the shield, it's going to be transparent. But this part here of the star, the circle and the shield will be filled. Why? Because it has 3 objects. Let's just selected it and see what happens. Excluded. And there you go, if, for example, I press CTRL+Z and I delete the star, I'll just ungroup it, right click, ungroup, and I'll delete the star. Now, if I apply the excluded, it's much easier to understand. Like I said, I'll keep the shield. And the center will be deleted. Davi ... Why did it change color because the same rule of applies, it gets the color which is on top and the circle was on top. Therefore, the new object, the shield, became that color. All right. I'm going to press CTRL+Z, and let's say the circle was a little bit up like this. I'm going to select both and press exclude look what happens, part of the circle is existing now and the other part, it isn't. As you can see, I also have the stroke, the stroke still exists, so if I press CTRL+Z and once again and apply again, the shield with the circle, with exclude, the stroke of the circle is here. Not the circle, not the filled circle, because whats filled would be transparent, because there is only two objects, which is easier to understand. All right, so the next effect is Divide. This is a good one. I use it a lot. The divide effect separates all of the objects in pieces, and you can then move them along and work them individually. I'll show you how it works. I'm going to select all of the three objects and apply the Divide. The Divide you have to click it here on the 3 dots and find the Divide. So I have all of the 3 objects separated. You can right Click on it and go to ungroup if you want, and move them individually. Look, the star is no longer star. It's just pieces of objects everywhere that the stroke's cuts another object, it will become an individual object. Cool, huh? The next ones are Trim and Merge. I'm going to do them together because they are very similar, but to explain them better, I'm going to change the initial logo that we've created and I'm going to add colors. There are the same. So I'm going to ungroup this one. Right. Click ungroup and the next one as well. Right. Click and ungroup and then select the circle and eyedropper tool and select the same color as the star. And I'm going to select the other circle as well, and same color, and the start, I'm going to do this to explain to you the difference between Trim and Merge, because if you don't see it like this, you won't be able to realize what is the difference. Selection tool letter V. And let's go. So let's see the Trim first. The dream removes the parts of a field object that is hidden. It also removes any strokes, but it doesn't merge objects of the same color. So there's a part of the shield that is hidden, that I can see, and there's lots of parts of the circle that it's also hidden. Those parts are going to be removed. So let's select the objects. And select the option Trim. There you go. It's Trim. And now I'm going to click on it and ungroup, right click, ungroup, I can click in one of the objects and move them individually and you will see that what was behind the object. It was removed. This is the Trim effect. Now, the Merge is a little bit different, why? Because the Merge will merge the colors that are the same. So I'm going to select this object here and I'm going to select The Merge is almost the same, but I'm going to click ungroup, as you can see, if the colors had the same color, it just merge them both. Therefore, this is the only difference between trim and merge. If I didn't change the color, the result would be the same. So it would be impossible for you to know what is the difference between trim and merge. You want to check it out? Let's go! I'm going to press CTRL+Z. There you go. So if I do the same thing, Merge here, with the colors, The 3 colors, and if I do the Trim here, with the 3 colors, and then ungroup them . Right click ungroup, right click ungroup. I can just move them, and it would be just the same. So the different between Trim and Merge depends if you have colors that are the same. Next one is Crop. So the Crop divides the artwork into components and then deletes all of the parts of the artwork that fall outside of the boundary of the topmost object. And it also removes any strokes. And lets see how it works. I'm going to select it. Click here. And crop, there you go. So in this case here, for the star for example, the star had a circle behind. The top of the star was removed comparing to the circle, and the color of the circle preserved in the star, in this part here of the Star. In this part here, which is part of the star and part of the shield, the star was removed and the shield kept this part here of the object. All of the rest was removed. Because the star, this part of the star, doesn't have anything behind it Kept the object, here, this triangle here, but didn't put any color in it, because behind this part of the object is transparent. Therefore, the star, which was the top object, was kept but with different colors. The colors that were behind it, if I right click on it and then ungroup, I can move them individually. There you go. Anyway, I don't use a lot, but maybe you will. So there you go. The next one is Outline our plan is going to transform your object into lines. It's not going to be a path, it's not going to be a shape. It's going to be just a line. So if you select the object and you go to the effect outline, apply it. You'll have several outlines. If you ... I'm going to put a color on it, just to make it easier. OK, and now you can move ... ungroup it first, of course, ungroup, right click ungroup and you can move the object and the objects are only lines. They are not shape's, they are not path. All right. Anyway, this is what it does. The outline and you can play around with it later on. Now, the last two is Minus Back and Minus Front. So Minus back, it's just the opposite of the Minus Front and let's see how it works, the Minus Back subtracts the objects in the back from the front most object, it's good to use this effect to delete areas in a illustration by adjusting the stacking order. So let's see how it works. If you select an object, go to minus back it's right here, minus back. It will remove everything that is in the back from the front most object and minus front is exactly the opposite. If I go here and select minus front ... oops. This one. And there you go. So ... from these 3 objects which one was in the back? This shield. And everything in the front removes the parts of the shield and the same goes for here, for minus back. 12. Shape Builder Tool: . The Shape builder tool is located in the toolbar right here, Shape Builder Tool. First, I'm going to show you how to use the Shape Builder tool instead of the Pathfinder, and then we'll go for some practical uses of the Shape Builder Tool. So let's go. If you want to unite objects with the Shape builder, to create a new object, you can just select the object and go to the ship at all while the objects are all selected. Then click and hold, and you will will need every single object that is selected. I'm going to press CTRL+Z. Now, let's say I just wanted to unite the inner part of the circle with this part of the old star, so, I'll just press hold. And there you go, as you can see, I'm going to select the selection tool and zoom in right now. I've only united this part with the story. How would I be able to do this with the Pathfinder? It would be much more complicated. One way to do it would be to select all the objects, go to the Pathfinder and maybe you could divide it, divide everything. And then you could, for example. Right click on it, and ungroup, and then you could select only the objects you want to unite, which would be this one on this one pressing SHIFT And then you could unite them, and then you could unite the EU and the EU and the EU. And you have the same object that you created with the Pathfinder. It would be much more complicated. I'm going to zoom out now. So I've shown you how to use the Shape Builder Tool to unite some of the objects that were selected, but you could also exclude them, just like we did in this option here of the Pathfinder. And how can you do that? You have to press the ALT key using the Pathfinder. If you're on the mac, it would be the option key. So let's just go and check it out. Now, for example, if I wanted to exclude this rectangle here in the center, how could I do it? You could select the objects. Both of them, select the Pathfinder. I'm going to zoom in now, zoom in here and press out. If you check the mouse, it has a minus right now. The symbol is changed. So if I just click here while pressing it ALT, I will exclude this option here. Cool, huh? Now let's go for a more complex example here on top. Now, the exclude option in the Pathfinder has complex rules. When you have more than two options like we have learned in the last class, you could apply the same rules with the Shape Builder tool, but you have to do it manually. First, select the black arrow, select the objects, go to the shape builder tool and choose the part which you want to exclude. If you do that with multiple objects, you will exclude everything by pressing ALT. It will exclude everything, as you can see. I'm going to exclude this part of the circle and this part as well. This means that this space here in blue is transparent. Now that we have seen the exclusive version and we've seen the Unite, basically you can do that with all of the other options. I'm going to zoom in here. Let's say you want to select this object and do the same thing that we did with the Pathfinder. But with this built, you just have to click in one part of the object. And this part here will be changed with the divide in the Pathfinder, every single part of the object will be divided. If you want to do that with the sheep bottle, you do have to go one by one. So to click here and then click here and click here and I guess this is it. This one, and we click here if you want, and it would be one object. For everything, so if I go to the selection tool and start moving the objects around, isn't that cool? Let me zoom out now when I zoom out. When you select an object. That's like this one, and you use the shape, your tool when you pass your mouth through the object, the parts that you're going to merge or the parts that you are going to exclude, there will be gray. This is the default configuration of your shape at all. So if I want to unite this part of the star with this part of the circle, let me zooming. So if I'm going to unite these two parts, they are both a little bit gray and I'll click hold and drag the mouse and it will be united. But you can also change these configurations. Let me zoom out here. Fit on screen, they should be able to have advanced configuration, just like some other tools, if you double click on the ship a little, you will see the advanced options for the shape bill at all. If you haven't changed anything, which I don't want you to change it for now, you should have by the default, the few highlighted and the stroke when editable highlighted as well. These options indicates the great parts of the objects that is going to be merged or excluded. There are other options as well, like gap detections that can be used also with the Shibulal, too. But for now, just know that this is the advanced options and you can access it by double clicking on the ship builder to. Let me just press, OK? Also, there's something really cool about the shape build a tool, advanced options, as you have seen, some of the callers have changed. If you double click on the shape to again, you can do a course of watch preview if you marked this press, OK? You'll be able to see options for colors when you merge the objects. In this case, the orange is selected. If I use my keyboard arrow left or right, I can change the color. Before merging it, so let's say I want to change it for Reg, I can just click and hold. It will be read. If I click and hold for Gray for these three, it will change it as well. Now you have to pay attention because I activated the previews of the colors. When you use the arrows left and right, it will work even though you're not seeing the preview. So let me deactivate the preview. I'm going to double click on it and deactivate again. Click OK, I'm not looking at the colors, so if I click on hold, it will be one caller. I'm going to press the right course. Now click and hold another color. Although I'm not seeing the preview, they are there and you can change the colors with the shape a little by using your arrow keys. I'm using my arrow keys and changing them one by one. All right. Cool, huh? This is basically the main functions with the shape, a tool to exclude. Remember, you have to press out and will excluded. So let's zoom out. And do some practical things with the ship a little, let's go to the next art board, the Ferris wheel. Let's say you build the Faryal, someone said, oh, it's called I liked it, but I want these parts of the federal to be transparent because when I use it on an animation, I want to see everything that is behind it. What could you do? Well, one way you could do it is to just select an object here. It's like the object and you could, for example, Ungrouped, right, click on group, select these two objects. And you could go to the Pathfinder. And do an exclusive and now I could click on the Schola click on the eyedropper to select the same color again. Now, this part is transparent. I used it to exclude option in the Pathfinder. How can you be so sure it is transparent? You just go to view and choose the option. Show transparency grid. As you can see, this part here of the image is transparent. Pay attention, because if you use the transparency mode in Illustrator and if you want to put it back, you have to go to view and. High transparency, greed, shift control. You will not be able to come back just by resetting your workspace, these new modes here have to be manually activated or deactivated. Let's go to the way we could do it by using the shipbuilder tool. And let's select all the objects and let's go to the shape of a tool and just exclude all of these parts because you don't want anymore. The boss didn't want it. So let's just do it like this. Um, it's done. I could also delete this part because I don't want it. OK, so everything with the got on this part until it is part of what? If I select all of the very real and used Shibulal to to exclude this part without key, it will also exclude the base. All the free will, and we don't want that, so I'm going to price controls the. And select the selection tool and they will select only this object. OK, so Shibulal tool and then exclude this object the inside of the Firewheel if you want, you could have this part of the icon here. So I'm going to zoom in. But to exclude this part of the item of the will select the wheel. This part, you and the car. I'm selecting this car here on this line, so I'll use the Shibulal to. And then press out to exclude this part as well. I'm going to use the selection tool and zoom out. And let's go for the last artwork, the fish, if you select these objects and use the shape a little, you can remove the parts that you don't want and create a unique object using the golden ratio. So I'm going to press out and exclude everything that I don't want. And I'm going to unite everything by just clicking on holding with the Shibulal, too. And there you go. 13. Practice - Fox: Hi there, welcome back. Today, it's time to practice, so open the file "Practice - Fox.ai". With the file, I've already placed for you a template of the face of a fox and several colors in a palette. If you check the layers, you'll have one, the fox layer, one, the palette and one, the template. I'm going to lock the palette for you so you won't make a mess of it. The idea is for you to use all of the tools that you already learned and to draw the fox. Then you can use the eyedropper tool to choose the colors for the fox. We're pretending here that you have drawn this fox on a piece of paper and now you're going to try and draw it with vectors inside. Adobe Illustrator. All right. 14. Practice Solved - Fox: All right, welcome back. So I said you could use any type of the tools that you already learned and one way to do it is to use the Curvature Tool. One click for a curve, two clicks for a corner, you'll have to select the correct layer. I can't draw on all of that It's locked. I'll select the fox and I can start drawing. So I'll choose properties. And I'm going to check if the Curvature Tool has a fill. I don't want any fill on it. I'm just leave it none. Click in here, and choose none. And you can choose a stroke black. 1 is enough for you. Now, all I have to do is one click and two clicks. Really easy! So I'll start here, one click. Is this a corner or is this a curve? It's a corner, right. So it's two clicks, two clicks for a corner, one click for a curve. I'm going to click once here. It's kind of curvy, right? So I put one here in the middle and one here at the head. It doesn't have to be perfect. OK, we can make other corrections later. So more or less in the same position as this one around here. One click for a curve. And here it's a corner. Therefore it's two clicks and to finish just one click. So on my first click, when I start building the fox, I was supposed to have two clicks because this is a corner. Since I did a mistake in the beginning, I can double click on it. Some other things here, I can fix this because it's a little bit far, I can click and hold with the Curvature Tool and reposition. And I can also build other things as well. With the Curvature Tool, I could practically build all of these, but let's build the other things on the other way. So I'm going to use the circle. To build this part of the nose , how can I do it? Press and hold building a circle. There you go. Now, what do I have here? 2 shapes. Do I want this part of the shape? No, I just want this part, this line and here. I'm going just to fix a little bit. More or less like this. And if I just want to have this part of the shape, all I have to do is select both shapes. They are selected, Shape Builder Tool, SHIFT+M, and then press the ALT key. The mouth has a minus symbol and click and hold and delete it. Selection Tool I have now 2 shapes, so I have the shape of the head and I have the shape of the nose. I'm going to move it just for you to see. So this is what's left from the circle. The original circle I going to press CTRL+Z to go back. So let's build this part here as well. Ellipse Tool, and press and hold. And I can increase it with the SelectionTool If you can't see the boxes to increase and decrease the circle, the rectangle, it means that the box are hidden. I think I mentioned this before in class, that you have to go to View and Show Bounding Box, SHIFT+CTRL+B. . Now I can increase and decrease the circle and make a little bit more similar to this line. Cool, huh? You can select everything, or you can just select a part of it and use the Pathfinder. But I already told you that the Shape Builder Tool is was much easier, So there you go. Hold ALT key and there you go. It's done easy. Right. And I could build the other one as well, just like that. Or another way to do it is I could click here. I'm going to press CTRL+Z first, instead of cutting this, I'm going to click on the Circle. OK, when it's selected and I'm going to copy it, CTRL+C, CTRL+F, I have a copy over it and I'm going to move it holding SHIFT so it goes in a straight line and there you go. More or less like this, so now I'm going to select both of them and the Shape Builder Tool and delete this part here, so hold the ALT key and there you go. Bye bye. Bye bye. It's done. If you go to Layer, you can hide the template so that you can see how it is. So this is a vector form of the original fox that I drew on paper. I'm going to put it back on the template. Just press here and toggle visibility and that's it. Let's build the eyes. Let's go back to the CurvatureTool. I enjoyed so much. I'm going to zoom in. There you go, and the only thing you have to do is one click for a curve, two clicks for a corner. Since this is a circle, it will need at least four clicks, four anchor points to build the circle an Ellipse. So I'm just gonna click once, click once, click once, click ones for a curve and close it. There you go. And here again, we have a circle. So again, one click for a curve. two clicks for a corner. There's only curves. So one click, one click, one click, one click and finish there you go. I could build again or I could just copy holding SHIFT selecting the Selection Tool. I have both of them selected. You have to see the lines of the layer. This is the red layer. So we have red lines and when there are selected CTRL+C, CTRL+F to copy above it and then click with the mouse and hold SHIFT to go in a line. So it's in a straight line and it will be positioned in the correct place. Sometimes when we draw on a paper, it's not precise. So if you want both of the eyes to be perfect, this is the way to do it. Or you could just draw it again with a Curvature Tool and make it a little bit different. So let's zoom out, fit on the screen and let's go, we have the ears here. OK. There are several ways to build that ears, let's say you want to build it with a different layer so it won't get confused here. So I'm just going to add a new Layer. You don't have to do it like this, OK? I'm just trying to practice and to show you the things we learned during class. So I'm going to lock the fox so I won't make a mess of it. And let's just draw the ears. So the ears are behind Fox. So I'm going to draw them on front and then I'm going to reposition the layers so that the ears are on front. Let's use the Curvature Tool again. I'm going to click outside here. So that I can have an initial for this ear here and then I'm going to start drawing and having fun. And there you go. This is a corner. So it's two clicks. All right, and another one here. And one here, let's close it, since the ears are going to be behind the fox, it doesn't really matter how it looks, this part, it's going to be hidden anyway. So don't worry. And again, the same thing. On one click, one click, and this is a corner now it's two clicks and one click, one click, one click here and then close it. Cool. So I said that I wanted the ears to go behind, when they have fills, you will see them behind. But since they don't have a fill yet, they looking to be on a front. For example, let's say it put delayer. I'm going to unlock the fox and put the fox in front. . It's in front of the layer which is the ears. I´m going to double click it ears. There you go, if I paint this with a color, with an eyedropper color, for example, or this one better or this one. This one's better. OK, the ears are going to be behind and you won't realize any difference between them. All right. So don't worry. Let's undo this CTRL+Z. Go back to back again. And there you go. All right. So one way to do it is just to copy the years and put it here. Or you can just build a youth in another way. Let me see. I could use to circle. The circle Davi? Yeah. Yeah, I could do that. I could use a circle. Let's go. Let's go for it and build a circle like a ear. And make a rotation here. And then reposition it to be more or less like I want it, it's just another way to do it. Davi It looks crazy cause you don't have a corner here for the circle! Yeah, but I can change the circle. It's easy. I'm going to rotate a little bit more. How are you going to change circle? Well. The Curvature Tool can be used to do that, I can just select the Curvature Tool and double click on the anchor of the Circle. And there you go, easy, I could also build more anchor points to fix this circle here. . And that would be another way that you could build the ear on the fox. But to me, I think it's always better to build the same way. So I'm going to delete this one and copy to put it here. . So I'm just going to select this ear. Deleted, select the ear And then right click on it, and transform and reflect When you reflect on vertical, all you have to do is just press copy to make a copy of it and move it here, but as you can see, this new ear doesn't really look. The same like the other one. Maybe because of this angle here, it didn't really will look so good, I can just click it and reposition if you want. You know, it's really up to you. You can select the Curvature Tool and move it a little bit as well to change it. It's really up to you how you're going to do it, how you're going to build your fox. All right. Sometimes when you use the Curvature Tool, you create a little point in the middle. You can just select the Selection Tool, select the point and then delete. OK, it's natural. Don't worry. So we made the fox. Congratulations. It's done. Now, let's paint the fox, right, so it's just a question of choosing the colors to fill the fox, you already know how to use the eyedropper tool. You can just select the objects because the objects have no fill. So if I click on the objects, they have no fill. You have to click on the line or in the center of the object. It's easier to click on the line. So I've selected one of the object. Eyedrooper Tool and select a color, really easy again. Next one, select an object. Eyedrooper Tool, select a color, really easy! and the top one, Eyedrooper Tool select a color really easy. If you have drawn the circles first, then it means the circles are on the back. So it's just a question of reordering. So let's say I've drawn the circle first before drawing the face. It means that here, in the Layer, the path of what's left from the circle, which where this ones. They are behind the path of the face, the face is this one here, not this one. This one. So as you can see, if what's left of the circle, which is this part is behind the face, then you wouldn't be able to see it. Let me put back, let's press CTRL+Z to go back. So the way I have drawn the fox made it easy for me to call it. What's left now? The nose. I can click on the nose and Eyedropper Tool and color black. OK, there you go. So let's choose the colors for the ears. Now let's go! the inside is going to be darker because of the light and top part, I'm going to choose the same color here and there you go. And the inside is going to be darker. All I'm doing is clicking on the eyedropper and choosing the color, you know, you can test it. You can play around, have fun, eyedropper, choose a color. Don't worry we are going to have a specific section on Colors of Adobe Illustrator. . For now, just use the colors that I'm giving you. So now the eyes. Let's choose the eyes here. And first one. Eyedropper Tool and I'm going to choose black and the inside, it's here to circle inside and click on it with the Selection Tool, Eyedropper Tool and it's white. Again on the other side, the larger circle eyedropper tool Black, Selection Tool, select the eye and then select the Eyedropper Tool. And I want the white color. All right, that's it. We're done. Let's, uh. Lock the visibility of the template, to see how it looks. Cool! We can do other things here, you know, but what I have asked you to do is this part of the exercise. Let's go a little bit beyond. You could build like a circle. For example, I can create background for the Fox, I've built a new layer, put it in the back here and let's build like a circle for the background of the fox. I'm going to choose the center it's more or less like here. Click and hold, ALT and SHIFT. And there you go. Cool, huh? Easy. Eyedropper Tool and choose a color. That's it! Piece of cake. Let me do it again, CTRL+Z, I have selected the circle, the Elipse Tool, and then I look more or less for the center of the object, which is here. It's helping me with the name center. And press and hold, and press the ALT key on the SHIFT key. It's going to make a perfect circle from the center of the object. Cool, huh? There you go. And then you can choose the Eyedropper Tool and choose a color. There are other things that you can do as well, like make a shade and make a brightness and part of the fox, don't worry we are going to see all that later on the course. OK. 15. Practice - Bunny: Hi there. Welcome back. We have one more exercise for you, and this time we're going to practice drawing the body. I want you to pay attention for the layers. We have three layers, the bony layer, the palette layer, which are the colors on the template layer, which is just the image that I want you to draw. 16. Practice Solved - Bunny: I have the file practice dash Bunny and I'll start making circles, remember, I want a fill none. So fill a none and stroke of one. So let's go. Center, build a circle an Elipse, more or less this size and let's position the Elipse with the Selection Tool. There you go. Doesn't have to be perfect. I can reach the size with the selection tool and there it is. So, Curvature Tool. How do you use it? one click for a curve and two clicks for a corner, two clicks and tried to follow the curve by adding anchors with one click to make a curve and this is a corner, can you see the angle? And two clicks for a corner and one click for a curve, one click for a curve, one click for a curve and close it here. I could add another anchor point here to reduce this curvature and just bring a little bit more and this one as well. I'm going to select Elipse tool and build the eye. ALT and SHIFT, from the center more or less like this. Oh, there you go. And I will use the selection tool, V to reposition the eye. I could build another circle or I could just CTRL+C, CTRL+F to build a circle over it and just reduce this one with ALT and SHIFT. There you go. And then just reposition the eye. When you have a very small shape. Sometimes it's hard to move it along. You could zoom in to find a place and reposition the eye or another way to do it, if you can't move the object CTRL+SHIFT+B, when you do that, you hide the Binding Box. You can't see the boxes to increase or decrease the shape. This way, it's easier to move the shape, even if this shape is really small. So, for example, if I press a CTRL+C, CTRL+F over this circle and then I want to reduce it, I can't because I have have hidden the Binding Box. If I want to reappear the buying box, I have to press CTRL+SHIFT+B, so I have two circles because I've copied the other one as well. Check in the layers panel, If I go to the layers panel I have several ellipses. If I click on the boxes here, I can select the ones. And from this part of the eye I have two, this one and this one. So I'm going to reduce this one with SHIFT and ALT. And now let's say I want to move this eye to this position here, I can either zoom in a lot and then reposition this eye. Now I'm going to zoom out, I can zoom out using the FIT ON SCREEN and there you go. Is this eye good enough? if it is, all you have to do is duplicated. So I'm going to select the eye, the way I did it I also selected the face and I don't want that. I can hold SHIFT and just click on the box face to deselected. Or I could also have come here, in the layer panel, and click on the square, because this is the circle of the face holding SHIFT. So that all the others are selected and I deselected the face. There you go. Before you duplicate the eye you could Right click on it and group. Now, that is grouped, I can just, right click and transform and reflect. Remember, it has to be on vertical and you have to copy. There you go. I have copied so I have two groups of the eye and then I'm going to move this group to the other side. I'm going to zoom in, select this group and position in a better place. . Let's make the ears, I'll use the Curvature Tool, and I'm going to zoom in a little to make the ear. Click here. There you go, one click for curve two clicks for corners. Double click and then double click here again to change it for a corner, because I don't want this angle to change. And there you go. I'll make another one, from this side or I can use the Selection Tool, copy, CTRL+C, CTRL+F, I have two ears, the larger part and I can reduce this one with SHIFT and ALT. I'm more or less like this and I can just move the position now a little bit. There you go. Is it too big? Yep. Let's reduce a little bit more , holding SHIFT and ALT. I enjoy it like this, so I'm going to select both of them and then right click, transform, reflect really easy. And press copy, it has to be on vertical and then press copy. There you go. And then move it along. Put more or less where you want it. And that's it for the ears. Let's go back, Fit on Screen. Now, all we have to do is create the nose, the mouth and the teeth, let's zoom in. Use the Curvature Tool To build the mouth. One click for a curve, one click for a curve. There you go. If you want, you can do a double click here to make an angle and then make this one an angle as well. Double click. So you go straight and then one here. And select a Selection Tool or press ESC if you want, and let's build the those Double-Click for a corner one click for a curve and there you go. And here it's a corner double click and then close it with one click. There you go. Cool, huh? And now let's build the rectangles for the teeth. You can come here and select the Rectangle Tool, or you can just press M for the Rectangle Tool and you can build the rectangle automatically. So I'm going to place it here, and then I'm going to press CTRL+, CTRL+F To copy this rectangle, select the Selection Tool, move the rectangle to the other side. I'm going to select these and remove this part of the rectangle, I don't want it, so Shape Builder Tool. ALTkey remove. I don't want it. Bye. Let's zoom out, Fit on Screen, and we have the face of the bunny. Cool, huh? Now it's painted with the Eyedropper Tool. Select the face, press the SHIFT key, and then select the ears, just the top ones, they are all selected, as you can see on the Layers Panel, they're all selected. Use the eyedropper and select the color that you want. Cool, huh? Again, selection tool. I'm going to like the inner part of the ears. Both of them, holding SHIFT and use the Eyedropper Tool to choose the darker color. There you go. Selection Tool. I'm going to paint now this part of the eyes, select both of them, holding SHIFT. Eyedropper tool and choose this color here. Now I'm going to choose the inner part of the eye, as you can see, they are all grouped, so I have to ungrouped them. I can ungrouped both of them holding SHIFT and . Right. Click and group. There you go. On the right side, I have ungrouped them. So I'm going to choose the inner part of the eye, holding SHIFT. This one as well, and this one as well. So I'm going to zoom in, holding SHIFT and then click on it to select all of them. I'm going to zoom out and choose the Eyedropper Tool. Eyedropper Tool to select the white color. There you go. Selection Tool again and then choose this part of the eye with this part of the eye. And Eyedropper Tool And Black. Easy, huh? And now for the nose, we're almost finishing, I drop a tool and black easy. Now the teeth. I'm going to like both of them. Oops. Select one, because they don't have a filter. It means you have to select them by clicking on the stroke. That's it. Click on the eyedropper tool, color white. If I click outside. It don't really look so good. So I'm going to like both of the teeth. Holding shift, and then I'm going to choose properties, and I'm going to add a stroke of black and they just look much better! And the mouth, I'm going to select, both of them. Why are they divided Davi, in your case? Because when I removed part of the rectangle, the Shape Builder Tool automatically divided them out in two. It's just the way it works. Depending on the shape, it will transform your strokes. For the mouth. I'm going to increase the stroke because I just think it's better like this. How does it look? More or less, OK, not too much, so I'm going to select again and I'm going to reduce the two. There you go, much better. And I'm also going to select it and I'm going to go to the top here on Stroke and choose this option here Round Cap. Now that we have finished painting the bunny, let's make the background, I want to make a background in another layer, so I'm going to add a layer, double click on it. Background. All right. And put it behind the bunny. I'm going to be a circle. So select the Elipse Tool and choose a place, hold SHIFT and ALT to build it from the center, more or less like this. And I'm going to use the Eyedropper Tool to select a color. There you go. Looks good, huh? So I'm going to zoom out a little. To make some brightness, I usually do this, I'll click on the bunny. OK, so the bunny is selected. You can select all of the objects in this layer by clicking here and you can see them. If one of the object is Locked or Hidden, then it won't be selected. So I'm going to right click on it, on the Bunny, and group and I'm going to make a copy of it. So CTRL+C, CTRL+F. I have two bunnies here. I'm going to move one of the bunnies holding SHIFT. I'm going to select the Pathfinder. To United it. when I united it, I have a fill of white and a stroke of black, I'm going to choose a stroke of none. So I won't have a stroke around and you have to choose the white color, so I'm going to just fill white. If you don't have white, please do so choose white, and then I'm going to reduce the opacity to 20% . And now, here's the trick. When you position the white color over an object with reduced opacity. It becomes another color, so it's changing the color. Can you see it now? This part is darker and this part is whiter. So I'm going to move back, here, to cut this image. So that part of the face will have some light and the other part will maintain the original color. I'm going to choose the Rectangle Tool and select half of the face and make a cut. So if I have two objects, I can just click in here in the Intersect to cut it. There you go, remember to have the white color as the object and remember to reduce it to 20 percent. So now, I'm going to move this object and place above the face. There you go. Can you see the difference? If I select this object and increase the opacity to say 30%, it's going to be more white and you can see more of a difference? Well, it's really up to you on what the opacity you're going to use. Now, let's make some shadows. And the brightness has to be above the face, but the shadow has to be beneath it. So let's make some shades. Again, I'm going to select the bunny, it's grouped. I'm going to make a copy. But I don't want just a bunny. I want the bunny in the background. So I'm going to like the bunny and the background. I am not selecting the path. OK, control C, control F, I've copied both of them and they have here the bunny in the background. I'm going to move it and now I'm going to select the bunny. There you go, Pathfinder and Unite. There you go. I'm going to remove the Stroke just to make it easy. There you go. And one way to do it is to use a rectangle and build a rectangle and then you can rotate the rectangle. Holding SHIFT. There you go. I'm going to change the color so you can see the difference. I'm going to change the color. And I'm going to reduce the opacity as well, just for you to see the difference. . I'm selecting the Selection Tool. And I want to position this rectangle here and here, I can reposition the angle. Or I can just change the angle as well here in Properties, it's really up to you. I'm going to place 60% here. There you go. And then, with the Selection Tool, I can move And choose the place where I'm going to use to cut this image and then put it back to make a shadow. So I want the top of the ear. There you go. I think it's good for me and now I'm going to select everything in this case, I'm going to use the Shape Builder Tool and start removing everything that I don't need. So I'll press ALT, and remove, and remove, and remove. And this one, I don't want it as well. So, bye bye. There you go. Now I have the rectangle and the background. Well, what's left of them. So, if I just click outside, I can click on one of them, click on SHIFT, and you'll see that I have both of them, what's left of the rectangle and what's left of the background. So I'm going to select this one. Choose a fill. Of black. There you go. And make sure you have an opacity as well. Let's say 30% It's really up to you. And now, position this over here, holding SHIFT. To make it easy, so it can place in the exact place. If it's not fitting in the exact place, maybe you have the Snap to Grid, or Snap to Pixel, or Snap to Point selected, one way to do as well, you can zoom in and choose to position it, holding SHIFT, in the exact place. You can also press CTRL+Y to see the line of this shape is exactly above the line of the background. So, to me it is. So I'm going to press CTRL+Y again, to go back, and Fit The Screen, and there you go. Selection Tool. We have finish the bunny. 17. Practice - Cat: Hi there, welcome back. Open the file "Practice - Cat.ai", and you already have a template of the cat that you have to draw. Basically, we are presuming that you took a picture and you're going to transform wherever you have drawn on a piece of paper to a vector form using Illustrator. 18. Practice Solved - Cat: Hi there, welcome. So let's solve the practice of the cat, so let's just go, select the Cat Layer and start drawing I'm choosing to circle, the Ellipse Tool, and I'm going to make sure that it has none fill. Click here, none fill, and a stroke of black and From the center of the cat, I'm going to draw a circle. More or less like this, and then Selection Tool, and I'm going to move it, to place more or less in the correct position. It doesn't have to be perfect. I can increase maybe a little bit, holding SHIFT. There you go. I'm happy now and I'm going to make another one from here, from the center ALT and SHIFT. There you go. And I'm going to enlarge just a little bit. There you go. I can make the eyes as well. The larger one first and there you go. That looks good to me. I can zoom in, if I want, to adjust with the Selection tool And increase a little bit. the eye, and again, the inside holding ALT. There you go. Cool, huh? So I'm going to make the eyebrow so I can then copy everything to the other side. By using the Curvature Tool, one click for a curve, one click for a curve, curve and curve. There you go. And you can press the ESC key or just select the Selection Tool. That's it. Select everything, right click . Transform, Reflect. And press the copy, but make sure it's on vertical, the options in the reflect menu will appear with the same options that you have selected in the last time. So if you use the horizontal, next time you use reflect will come in the horizontal. So pay attention. You have to select the vertical and pressed copy. There you go. I've copied and I'm going to move it, everything, to the other side. And there you go. Now let's zoom out. Fit on screen and it's getting better, right? Let's make the ears, with the Selection Tool. And here I have a corner or almost a corner, so outside and there you go, I'm going to make a corner here, double click. And. And a corner here as well, if I want to change from curve to a corner, all I have to do is double click on the anchor again. And here I'm going to make a corner, so I'm going to double click to change, because right now it's a curve. If I just want to finish, it's just one click. But if I want to change, it's double click. And there you go. And one way to do it as well, I could copy this. I'm making in different ways. so you can see, copying above So I'll have two ears on the larger part. It's this one. And this one. And one of them, I can just decrease. Like this, and of course, I'd have to just maybe. And there you go. I didn't have to make another ear. So I'm going to copy the ear and put it on the other side, select everything and right click, Transform, Reflect, make a copy, and make sure it's vertical, make a copy and put it on the other side. And there you go. Maybe an important thing is to make sure that this part of the line is inside of the circle, the larger circle, OK. So I'm going to zoom in more. And I going to put it a little bit down. And maybe I'll make it a little bit larger as well, holding SHIFT. There you go. I'm happy now. I'm going to zoom out, fit on the screen. And let's finish the cat, I´m going to zoom in here, so let's make this part of the mouth with the Curvature Tool. There you go. One click, one click, one click press as key. And now for the triangle, click and hold here, and choose the polygon Tool, one click on the screen, choose the number of sides, it's three four triangle click OK. Now I'm going to rotate it You can rotate using one of the corners like this and holding SHIFT. That's one way to do it. I'm going to press CTRL+Z,or you can just right click on the object go to transform and rotate. In this case, I want to rotate 180, and instead of pressing copy I'm going to press, OK, because I don't want to copy. I just want to rotate. OK, and there you go. I'm going to reduce the size holding SHIFT, because I want a perfect triangle. And a nice thing to do is select this strokes, all of them, if you want. Holding SHIFT, and you can come to the Strokes and choose this option here Round Cap. The cap of the stroke's will be rounded looks better, right! for the mouth as well, click on it, Strokes and Round Cap. There you go. It looks better. For the eyebrows as well, select them, holding SHIFT, Strokes and Round Cap. There you go. Cool, huh? Let's zoom out now. Zoom out, fit on screen. Well, that's it. All we have to do now is use the Eyedropper Tool to choose the colors. There you go. I'm going to zoom in, just to fix the part of the nose, so let's zoom in, and select the triangle adjusted. To the correct place, maybe a little bit here, that looks much better, huh? Let's zoom out. Click here, fit the screen, and we have painted the cat. Check the layers, the template layers, and unview it cool, huh? That looks great. Now let's make the brightness for the cat. So I'm going select everything. Right click. And group it. I'm just going to make a copy of it, so. CTRL+C, CTRL+F, I have two cats. Now let's check it. There you go. And the top cat, I'm going to move it to the side here just for you to see I have two cats and I'm going to make a rectangle. To make the brightness show from this side of the face. You go. If I select everything, I'll have the cat and the hat rectangle. Now what do I want? I want to intersect, so it's really easy. Properties intersect. I want to show you this because sometimes when you try to intersect overlapping, you won't be able to, Illustrator dosn't allow. So one way to do it is just select the object, a large object, the group. Then you merge everything. You unite. And then you can select the objects and intersect. I'm going to CTRL+Z, to go back and show you, so if you have a really big object with lots of items, if you try to intersect them with something else, maybe you won't be able to. Why? Because the group objects of the cat have the eyes outside of the rectangle. So it's impossible to to intersect them because they're not an option to intersect this part of the eye, this part of the ear with the rectangle. So one way to do it is to select the cat and then you're going to united. There you go, and then so like everything, the rectangle and the cat, and then you're going to intersect and you will have this part of the cat, which can be used to make some brightness in the image by choosing the Eyedropper Tool and the white color and then reducing the opacity to 30%. And when you move it holding SHIFT, you can place it in the exact place, as the cat was before. Sometimes when you have the view mode on for Snap To grid, Snap to Pixel, Snap to Point, maybe it won't fit in the exact place, so you can unmark it and then place it by using the Smart Guides. OK. There you go. We made some brightness, now let's make the background and make the shadows for the background, so choose Layers and I'm going to choose another layer, add a layer. Call it "Background" and put it behind the cat. There you go. And I'm going to use a circle. With the background selected. And more or less in the middle of the cat. SHIFT and ALT, there you go, cool, huh? And I'm going to use the Eyedropper tool, select a color. Adjust the circle holding SHIFT, more or less like this, that looks good, huh? Let me zoom out. I want to make the shadows for the cat, so I'm going to make a copy CTRL+C, CTRL+F Copy of everything and move it to the side. So I'm moving the copy, which is here now. OK. So what I want is this part of the image right now, what can I do? Well, first of all, if you want, you can unite the cat to make it easy. That's one way to do it. You don't need this, right, so let's make the rectangle. And making it everything a little bit different so that you can see other ways to build the images. OK, so I'm going to need to rotate the rectangle. You can rotate from here or from here. It's up to you. If you want to see the background to fit, you can reduce the capacity of the rectangle to 20%, for example, and then adjusted to whatever you want, since it has an opacity, since it's not, none, I can move it by touching the inside of the rectangle like this. OK, instead of just looking for the stroke. So I want to touch this part of the ear and this part of the cat. I'm going to zoom in to check if this part is selected to zoom in. And it's not. I want to touch this part with this. So, I'm going to select the Selection Tool, zoom a little bit out and then adjust it. Right here, if you're not sure, you can always press CTRL+Y or CMD+Y on the Mac and zoom in again. And move it. To adjust to the right place CTRL+Y again and zoom out. Fit the screen. Ops, let's go here. That's cool. So what I want is this part of the image, the last time I used the Shape Builder Tool to remove everything that I didn't need. So let's make it a little bit different. One way to do it. Select everything and choose the Divide, Pathfinder Divide. And then you have ungroup, if you right click and ungroup and then click outside. You can select a specific object and then just move it to wherever you want, holding SHIFT. Now, as you can see, it's overlapping a little bit of the face, I think if I click here and unmark the Snap to Point and then zooming. I can move, you can press CTRL+Y as well to check, and I can move this object to the exact place I want it to be overlapping the other circle. So I'm going to press CTRL+Y again, to come back, and Fit on Screen There you go. Did we finish? No, because this part of the image was supposed to be darker. So I'm going to choose Eyedropper Tool, choose the black color and then I'm going to reduce the opacity to 20%. We did it! We finished! 19. Pen Tool: Hi there, we're back. The Pen Tool is located here, on the Toolbar. Pen Tool. And you can access the Pen Tool with a shortcut letter P. And go to Properties, we are going to choose the fill as none, so click on the fill and choose none. We don't want any fill, and you may keep this Stroke black with 1 point. That's enough. One more thing. If you don't like the shortcuts, Adobe Illustrator, I'm sorry to say this, but you're going to have to learn the shortcuts for the Pen Tool. They are essential while you are drawing So let's make a triangle here. All you have to do is click once, so for corner, with the Pen Tool, You just click once. So I'm going to click once. Click once. Click once. For corner, every time you click, once you are creating an anchor point, every single anchor point in Illustrator is based on the Bezier Curves. The Bezier Curves were named after the Pier Bezier, which is a French Engineer, and he helped establish this field of geometry in modeling. So by the rules of Bezier, for every single Anchor Point, there are two Handlers as well. Davi, I'm not seeing the handlers here. I can see the anchor points, where's the handlers? Every time you select the Pen Tool and if you can't see the handler, it's probably because the handler is on top of the anchor point. So let's learn how to create some curves with the Pen Tool. I'm going to delete this, so I'm going to select it, Selection Tool, delete it. And again. P for Pen Tool, let's try and make this circle now with the Pen Tool. The Pen tool is selected. You can also click and hold. If you click and hold, it means your choosing where you're going to position the Handler. So if I click once, I'm choosing the position for the anchor and when I'm holding the key. I'm going to choose the position for the handler. All right, so it's different. The first click and hold, it's the anchor. And when you move your mouse and now you're choosing where you're going to place the handler, the handler for this anchor. So I'm going to place around here. When you're starting to use the Pen Tool, it's really good to use SHIFT when you're moving the handler. So I'm going to release the key and then I'm going to release the SHIFT. So I'm still holding the left key of the mouse and I'm holding SHIFT key, as well. First, I'm going to release the mouse and then I'm going to release SHIFT. Now, I have placed one Anchor which has two Handlers. The next Anchor, it's here and to help me, I'm going to hold SHIFT. As you can see, this is the line, and when they move, this anchor also affect the lines before me. So I'm going to place it here and release the mouse key. Now, just a second, let's think. Can you see that when I positioned this anchor It has two handlers and both handlers have the same size, this means that this is a continuous Bezier . You can have a continuous Bezier or not, if the handles have different sizes or if the handler is are going in on different directions, it means it's not a continuous Bezier. But anyway, when you start building it, it starts with a continuous Bezier and then you can change. So where am I going to position the next anchor? here. Davi, if I click here, the angle of my new circle, it's not touching the angle where I want it to be. . Don't worry, because when you create this anchor, it means that it's going to have handlers and the handler will affect the line before and the line after. So let's click on Hold, Hold SHIFT, so this handler can go in a straight line and position it here. Release the left key of the mouse and then the SHIFT key, where can I please my next Anchor? Here. Click on hold and up with SHIFT. Half of the way and I'm going to release the left key of the mouse, the next point is where I'm going to finish. But I can't just click here or else the angle won't be correct, because if I click once. It means it's closing the circle, so I have to click and hold as well. So CTRL+Z. I'm going to click here and hold. In this direction, holding SHIFT and release the left key of the mouse. When we finish the circle, it had a shape near the Pen Tool. Let's zoom in and see it now. Now it's of Minus. If I move it out, it has an Asterisk. This symbol here that you can see, it means I'm going to create a new Path if I put the Pen Tool on the top of an Anchor, it means I'm going to delete the Anchor. So if I click it now, I'm deleting the anchor. Davi, I don't want to delete the anchor, CTRL+Z. I already taught you how you can move Anchors, it's with the Direct Selection Tool, so if you select the Direct Selection Tool. You can select one of the anchors. This one is selected, only this one, the rest is white, and now you can move only one anchor. Now. Handlers, as you can see, we have these handlers here, so if you click and hold, you can reposition as well, the handlers. CTRL+Z Let's say I only want to move one of the handlers, all you have to do is press the ALT key. So I'm holding the ALT key, I'm moving this handler and this one is not moving, and you see? And now I'm going to click on this one. Because they're already locked, this handler, it means I can move this handler alone, so I'm going to place it around here. All right Davi, but how can I choose to move one of the handlers while I'm drawing? I want to only move one of the handlers, not both of them. All right, let's go. I'm going to delete this. Pen Tool again, I'm going to click here, click here, I'm only creating lines and now I'm going to create a circle. OK. Press and hold now, I'm going to hold SHIFT to go in a straight line, and then we're going to position it more or less here. All you have to do is press ALT, the ALT key now, and now, I can only move this handler here. Isn't that great? So I'm going to reposition the handler more or less here and release it. Every time you want to change the angle, you have to use the ALT key to change the position of the handler. One more thing. Let's say you want to leave the path open. You don't want to close the path. If I click here, it will close the path. And you have this symbol with the Pen Tool. But if you want to leave the path open, you can either select one other tool or you can press the ESC key or you compress the CTRL key and it leaves the path open. OK, so I can control key and you can do something while you still have the Pen Tool selected. So let's say I want to change the first handler from this anchor, our press the CTRL key, and then I can select this handler and change it again. I still have the Pen Tool and I can still go back to the same position that I was. There you go. So this is basically it. If you want to make corners with the pencil, you're going to click once, if you want to make curves, you're going to click and hold, but you have to get used to the shortcuts, the ALT key, the SHIFT and CTRL. 20. Anchor Point Tool: Let's learn one more tool that complements the PenTool, and that's the Anchor Point Tool. In the same box in the toolbar for the Pen Tool, you click and hold, and you'll find the Anchor Point Tool The Anchor Point is for changing the anchors, the handlers that you have created in any shape that you create in Illustrator. So let's create a shape with a Pen Tool, which we are learning, and then let's change it with the Anchor Point Tool. Let's create a square here, so I'm going to click here. Click here. So let's choose the Anchor Point Tool, click and hold, find the anchor point tool and this is a symbol for the anchor point. With the anchor point, you can move the anchor and its handlers. So if I click on an anchor, I can reposition the handlers. So I'm going to click and hold. Look, now I'm moving only one handler. I'm ready to position it more or less like here. I'll change it to a corner. With the anchor point, you can just click on the line, look at the symbol and you can bend the line Isn't that easy? So I can just click here and create a circle from the squares by just using the anchor points tool and the last one. And there you go. One more thing. If you just click in one of the handlers, you're changing the handle and reposition it on the top of the anchor. So if I want to bring it back, I have to click and hold and bring it back, were I want. There you go. So basically the Anchor Point Tool is this and I just want to give you some more tips from the Pen Tool let me delete these. When you're creating your angle. Let's say I created the Anchor Point in the wrong place, I created here, for example, click and hold. All you have to do is hold the SPACE bar. I'm going to press the SPACE bar and you can repositioning the anchor point while you are drawing. Isn't that cool! And I'm going to place it more or less like here, to create the circle in the right place, holding SHIFT. And then, again, I click the in the wrong place. My anchor is in the wrong place. What do I do? Press this SPACE bar and you can reposition in the right place. And then I'm going to click to close the shape, click and hold and there you go. 21. Practice - Pen Tool: Hi there, we're back, and now it's time for some exercise with the Pen Tool. On this file "Practice - Pen Tool.ai", you have 9 artboards. So if I click here, I can see 9 artboards. OK, I'm going to select the Selection Tool and I'm going to zoom out. So the first 3 are easy because I have a line and I'm showing what to do on the first one, on the second line, the next three, you have to repeat these angles and then repeat again without the blue line in the bottom. Now, as you can see, I have several squares that I'm showing on my artboard, this is called the Show Grid. If you find it too hard to exercise the Pen Tool, you can activate it by going to view and Show Grid here, because I'm showing the grid it is saying "Hide Grid" for me, if I click it, it will close the squares, I can activate it again, View, Show Grid. What I want you to do, is to do the same things I'm doing in the block line here. So on the second artboard, I'm going to show it to you. You're going to get the Pen Tool and you're going to create straight lines to the end and then a curve and another curve, another curve, and you also can use the Anchor Point Tool, but you can do everything with the Pen Tool as well. Practice with them both, OK? 22. Practice Solved - Pen Tool: Hi there, welcome back. So were you able to do the exercise? Let's go to the second artboard, which is this one, you can choose here, and fit on screen. We're going to select the Pen Tool. Click can hold here and let's go the straight lines are really easy. You just have to click, click once, click once. And remember, if you click in the wrong place like this, you can press the CTRL key. Key to move. The anchor, but if you are making an angle like, for example, this, you can SPACE to move the anchor, the existing anchor. So it's a little bit different the CTRL on the SPACE. I want to press CLTR+Z So, press the ESC key and let's continue for the Strokes. I already showed you a way to make The Strokes, which is click and hold. Why am I going to hold Davi? Because there is an angle following this way, angle following and angle continuing. And if there are Anchor Points Here? It could be, I could add an anchor point and then add the handler's click on hold for the handles. Another one here and click. I can make the angle and then press the ALT key to rearrange the other angle. Why am I pressing this. Because we have one of the angles and then we're changing the path. It's going on the other way. Every time you have to go on the other way, you have to do that by pressing the ALT key and repositioning the handler. And then press and hold, building another curve and positioning the handler, released the bottom. And then you can use SHIFT, to make it easy, press and hold, choose the place, press the ALT key, change the handler, and then, there you go, click and hold. Hold SHIFT key to make it easy. And there you go. Click and hold, hold, SHIFT, press the ALT key, go up and release. And click and hold, hold the SHIFT key, release the bottom, click on hold and there you go. OK, I'm going to press the ESC key. And this is one way to build this. There are other ways. Let me show you an easier way to build this type of angle. So I'm going to select. All the objects and I'm going to delete it. Now there are other ways as well. So I'm going to select the Pen Tool and just click on the places that you think you should have an anchor. There you go. And then instead of using the Pen Tool, you can use the anchor point to SHIFT+C and change the angle of the path. Check it out. Click on hold, and hold SHIFT, when they hold SHIFT, both of the handles go up. Can you see that? So if I'm just moving. They angle the angle, it's not really nice, but I can hold shift and then the handlers will go in the same position of the mouse. Both of them are going up. I'm going to release the left key and then release the SHIFT. Click and Hold, Hold Shift, and there you go, easy, click and Hold, Hold Shift and there you go. Click and Hold, Hold Shift and there you go. Press the ESC key, selection tool, and there you go. Much easier, right? Well, this technique that I used can also be used when using the curved and corner and also the last one, Curved Changing Direction. So let's choose the Pen Tool. And if you have an angle, you have to click and hold. And then select the anchor, click and hold for an angle, but then the next part, I don't want an angle, so I'm going to hold ALT to locked this handler, position the other handler here and release. And then click and Hold, Hold, SHIFT and hold ALT and go back. There you go. And then choose the position. Hold SHIFT , hold ALT. Go back. There you go. Click and hold, hold SHIFT, hold ALT, go up. All right, but this is really hard. Is there an easier way? Yeah, yeah, that is. Let me show you. So let's do the easy way now. I'm going to press ESC, selection tool, and delete these. Again, just like the Curve and stroke, I made the angles and then I changed them to curves using the anchor point tool. So first I'm going to the Pen Tool and select all of the anchors. And how are we going to make the angles? With The anchor point tool, click and hold. And there you go. I'm not holding shift now, OK? And zoom out. The same thing goes for here, I can add all of the angles and then just change the lines, I'm going to select the Pen Tool. Let's just make the curves here by selecting the anchor point tool, I'm going to zoom in a little bit. All right, so I can change this. Like this one. All I have to do is on the segment line, click and hold, and there you go. How can I make this angle here? This one, I change it in a diagonal way. I can just change here on horizontal way. So this one, I'm moving diagonal. On a 45 degrees and this one horizontal. Anyway, it's really up to you on how you're going to build it. I've done it here on my way. If you know how to change the anchor points, the handlers, you can just build anything you want. If you have any questions, just drop a line, I'll be glad to answer. 23. Align Panel: Hi there, welcome back, the Align Panel is located on the window. Align, you can also access the Aline Panel by selecting multiple objects and using the properties, Right here, Align, or you can even use the control bar, Align. On a daily basis, when I want to use the Align Panel, I just go to Properties and click on the three dots. . But we're going to use a window and Align, you can also drag, next to library. OK, so let's go, let's say the obvious, the Align is used to align objects in the artboard or among themselves, you can align the object and you can distribute them also. As you can see in the Align Panel, we have the Align Objects and they Distribute Objects. Below, we can distribute the spacing among the objects and we can also "Align to", now this is very important when you're using the Align Panel because every time you choose one of the objects, it will always align to the option that is selected here. In the Align To option, you can align to selection, align to a key object, or aligned to the artboard. What are the difference between those three options? They are lying to select an option, it means that every time you select multiple objects, it creates a binding box. For example, we have 6 grouped objects here. And among these six grouped objects, there is a binding box, every time you use the Align Objects with the align selection, it means that you're going to align to this binding box, not to the artboard. So, for example The Align Objects can be done horizontal to the left, central horizontal and horizontal aligned to the right. So if I click horizontal line to the left, it means all of these objects here are going to come to the left side of the binding box. Let's check it out. Cool, huh? Let's press CTRL+Z, if I click to the right, CTRL+Z again, and in the center, every time you align an object or you distribute an object with the "Align to" selected the binding box of the selection will change. So let me press CTRL+Z. As you can see, the binding box was really big. And when I line everything to the left, it changed. Therefore, if I try to align them to the right, it won't go to this side here, it will just go to this new side of the selection. So pay attention, it's a little bit different. Le's press CTRL+Z, and let's select only the top objects. If I select the top objects and let's say I want to distribute them, and let me just move one of them, to make it more clear. Let's say they are like this, and I select all of these three objects, and let's say I want them to have a specific spacing among them. So I'm going to distribute the objects and click, let's say, vertically distribute to the center. So this object here came a little bit down. And now I want to distribute them horizontally, and as you can see, we have distribute the objects horizontally, but you have to pay attention because when you distribute the object using a Align to selection or using the artboard, it means it's distributing the object according to the center of the object and not according to the size of the object. Therefore, this space between these two objects and this one can be different because the objects have different sizes. For example, let me make the fox bigger and let me make this one smaller. So I'm going to increase the fox holding shift. And this one, I'm going to make it even smaller and now I'm going to select all of the three objects and I'm going to distribute again and let's see what happens. And as you can see, the distribution between these three objects are the same, according to the center of the object, not according to the site. So the center of this object to the center of the cat, to the center of the bunny are the same, the distance, but the distance to the end of the bunny and to the beginning of the cat. It's not the same as to the beginning of the cat to the fox, because the distribution is made based on the center of the object. Let me align the artboard again, and fit on screen. There you go. Although we made it easy aligning to the selection, we can also guarantee that the distribution are equally and we can do that by choosing an object. So if I select all of the objects instead of using the selection, Align to Selection, I can use Align to a key object. When I choose this option. The symbol here changes. It's a key now. And as you can see, one of the objects was considered the key object. How do you know this Davi? Because the lines of this object are darker. It has a bolded lines. All right, Davi but let's say I want to select another object as a key object. What do I have to do? All you have to do, when this option is marked, is click on another object in the selection, so Click on the Fox, for example. As you can see, the lines of the fox are now darker, indicating that this is the reference object that will be used in the Align Panel isn't that cool! Because of that, you can now choose a specific type of distribution. You can increase or decrease the distribution among then, to make it perfect. So let's say I want a 30 pixels distribution. Now, when they try to align them, I will have a specific size of 30 pixels among the objects, and now the distance are perfect. Isn't that cool? All right. Now, what else can we do? We align them horizontally and we can also do that vertically as well. The principles are the same. One more thing you can do is you can use the artboard. So instead of using the selection, it will consider now the artboard and you just have to click here and select align to artboard. And it's not selecting why if it's not selected because I don't have an object selected. So I have to select the object first, and then align to artboard. So, let's say I want these 3 objects aligned to the artboard from the center. I would just click here, and everything is in the center, I'm going to press CTRL+Z And now lets say I want to distribute the objects from the center, and there you go. As you can see, the bunny is touching the end of the artboard and the fox is touching the beginning of the artboard and the cat is in the center of the artboard. Let me select the objects again. When you do align to artboard or align to selection, you are not allowed to specify the distance between them, but if you want, you can just click here and distribute them vertically or horizontally. So I'm going the press CTRL+Z, and if I press here, now I have a specific distance between the cat and this object, and the cat and the fox. Instead of having a distribution with the center of the object, and when you have different sizes of objects, you can see that more clearly and let's increase it again. Holding SHIFT, and when they like all of the 3 objects, and make the distribution, there you go Now, the distance between this object and this object, is the same as this object to this object. 24. Rulers, Grids, Guides and the Measure Tool: Hi there, welcome back. So I have a file "Rulers Grids Guides.ai" opened. I also want you to unmask the smart guides, which is in view and smart guides make sure this is not selected. So let's start with the Rules. If you want to activate the rules, you have to go to view. Rulers. Show Rulers. When you click on show rulers, you will see the ruler on top. Basically, on Illustrator, you have two types of rulers, you have the Global Ruler and the artboard Ruler. Right now I'm looking at the Global Ruler. If I want to activate the artboard ruler, I have to go to view. Rulers. Change to artboard rulers, ALT+CTRL+R. Davi, I just clicked it and it didn't make any difference. That's because you'd have to have more than one Artboard to see the difference. Let's create one. I'm going to zoom out. And create a new artboard. All right, really good. And we have now two art words created. Let's go to the first one, click on the first one, on the status menu. And you can see that the first one, the rulers, starts on zero and zero. Let's select the selection tool, the letter "V", and let's go to the second artboard. Now that we are on the second art board, we can see that the ruler starts on zero. If I go to the first art board, the ruler starts on zero as well. That's because we have two types of rulers, the global and we also have the artboard ruler. If you go back to view, and go to rulers, you can change to global rulers. Therefore, if you do that, it will change the second order board. The rulers are continuing to count from the initial artboard, the Davi, I don't want the global ruler to start in that point. Can I change it? Yeah, yeah, you can change it. I got the first artwork. Let's zoom out a little. And let's say I didn't want the ruler to start here on zero and zero, I wanted to start over here so I can just click on the top left corner of the ruler. Click, hold and reposition the ruler, and look what happened. The global ruler changed. We have a new position. Isn't that cool? Also, the rulers can be activated by clicking here Rulers & Grid in the Property Panel, only when nothing if selected. As I told you before, the Property Panel changes according to the objects that you have selected. If nothing is selected, you can activate the ruler or deactivate them. But you can only change Global Rules to Artboard Rules going to the menu, view, and rulers. Here, on the Property Panel, you can also activate the Grid. Show Grid and Hide Grid, and also Show Transparency and Hide Transparency. So this is the basics for Rulers and let's check the Guides. Let's go to the first artboard so we can zoom in here. And fit on screen, and we're going to learn guides, let's say, I want to add a line to make it easy for me to position an object. When you have the rulers activated, you can click on the ruler on the top. Click and Hold, and Drag. You will see a line to see this line, you have to have the guides activated. So let me show you, you can either activate the guides by clicking here. Hide guides and show guides, as you can see, I have a line here in the middle. Or you can go to view, and guides, and hide guides, or Lock guides or show guides. If you hide the guides and come back view guides, then they will be changed. It's show guides. You can create as many guides as you want. So I can create multiple guides horizontally by clicking on the ruler and dragging to the screen, or I can create them vertically as well by clicking on the ruler. And dragging. You have to have the rulers activated so you can bring in the guides, when you have the guides, you can click on them. To position where you want to help you. Or you can click on them and delete them, by just pressing the delete button, click on one of them its selected and press delete, it's gone. The guides can help you to position your objects. Like this, for example, I can see where it fits. The guides can also be locked. By just going to. This option here. Lock Guides in the Property Panel, if nothing is selected, or going to View, and Guides, and Lock Guides you can also clear all of the guides at once. You don't have to delete them one by one. You can just click here and all of the guys will be deleted and you can create more guides. Remember, you will only see the guides when the guides are activated. You can either activate the guides by. Click on the properties when nothing is selected here and activate them or deactivate them. Now they are activated. Let's check the Snap to Point. Snap to Point is one of the options that can be used by going to view and Snap to Grid, Snap to Pixel and Snap to Point. I'm going to activate this one now. When they activated Snap to Point If I try to move, something can snap to a specific point. So, for example, let me deselect Snap to Point first. I am going to deselected here. It's deselected. If I move the mouse to the cat, I can see that when it position the mouse in one of the anchors of this object, of this grouped object, the mouse changes. So if I position here, the symbol is changing. It has a square and the point. Let's zoom in. Can you see it? good. Let's zoom out now. Now, let's say I want to drag and put this point here, this anchor exactly beneath this guideline, what do I have to do? I'll have to go to a snap option. And Snap to Point activated, and go to the object and look for the anchor and it's here. I can move it. If I click and hold the mouse, I can move the object. Now pay attention, below on the status bar, we have the name move. When I moved near, one of the guides, Now it says "SNAP TO" so I'm going to snap this object, the cat, to the guideline below. It will snap when we get to 2 pixels close to the guide, I'm going to release the key of the mouse . There you go. I have snapted to this guide in the exact position that I wanted. Isn't that cool? And one more thing. If you want to measure without using the rules, you can! You just have to work with the measurement tool. It's here in the Eyedropper Tool. If you click and hold, you will see the Measure Tool. You just have to click on one point, like, say, the difference between this fox to the cat. So I'm going to click here, hold the key, and position it here. Illustrator will provide me information from the distance between the fox and the cat, and I can do that in anything of the artboard. Let's say, for example, I want to measure the distance between the cat and the bunny below. And I have the information here from the angle, the distance, the width. Anyway, it's really up to you on how you're going to work with this. Let me close this now. And before we finish, I want to show you the advanced options for the guides. You should go to Edit, Preference. You can see the options, Guides and Grids, if you're on the Mac, it will be Illustrator, Preference, Guides and Grids, and it's this option here. You click on it and you will see the specific options for guides and grids. You can change the color of the guides and you can change the colors of the grids as well. You can also change the divisions and the distance between the grids. Please don't change this. Let's keep the same grids and the same colors that I am using. It's the default colors. So let me cancel this option. 25. Smart Guides: Hi there, welcome back. Today we're going to talk about the Smart Guides, so the Smart Guides you can set it up in View, And Smart Guides, you can also access the Smart Guides just by going to Properties and choosing this option here. Hide and Show Smart Guides. The Smart Guides helps you to snap objects to another objects let's say I have here a triangle. I'm going to use the polygon and click a triangle here. Let's make it a little bit bigger. And then let's make a square. Now, let's check if the Smart Guide is activated by going to View and the Smart Guide there it is, and let's select the Selection Tool to click in on one of the objects. So one of the things the smart guides does is when you get close to an object, it will snap. It will snap one of the anchors of the objects to a line or anchor in another object. I have one anchor here, in this object, here is the anchor. And it's snaping to this line here, of the rectangle. So if I click in the rectangle, and start moving, and try to snap, it will start giving me some pink lines in the artboard, to try to help me where I'm going to position the rectangle. So just remember, smart guides are a snap to guide the appears when you create or manipulate objects or artboards. Another important thing is to know how to work with the advance options of the smart guides. So if you go to Edit, and Preference, you can see the option Smart Guide. When you click on it, you will get this option here. The preference option with smart guide selected. Here, you can change the color of the smart guide. You can also activate or deactivate some of the options. These options here arethe default options for the Smart Guide. And the smart guide, you can activate the Alignment Guides, the Object Highlighting, the Transform Tools, the Construction Guides, the Anchor/Path Labels, the Measurement labels, the Spacing Guides. You can also activate and activate angles to help you snap objects to one another. You can also define the Snapping Tolerance, in this case, by default is 4 points. That means if it gets really close at 4 points, it will already snap. So sometimes when you use the Smart Guide It won't snap exactly to the line that you're looking for because you have a tolerance here. If you want to zero, you can. It's up to you. That being said, let's just press, OK. And just remember, the smart guide is pink. Every time you see something pink , a pink line on the artboard, it means that you're using the smart guide As easy as that! When you have lots of objects in your artboard, sometimes it's a little bit harder to to use the smart guide because it gets confusing sometimes to know which object it is, not to the other. To solve that, I usually zoom in the image to try and find the correct snapping point. Another important thing to know about the Smart Guide is that it won't work if you're using snap to grid or the pixel preview So if you activate the pixel preview or if you activate snap to Grid, according to the Adobe manual, the smart guides won't work. That being said, this is a smart guide. You use it, make sure it's on all right, because you're probably going to use it a lot, just like me. 26. Clipping Mask: Hi there, welcome back. Today, we're going to talk about Clipping Mask. The Clipping Mask is located on the Object and Clipping Mask. A Clipping Mask, if an object whose shapes mask another artwork so that only the area that lies within the shape are visible. To help you understand, I'm going to place an image in this artboard, so I'm going to go to File and Place and I'm going to choose the only image and just press Place, just once, and the going to choose the Selection Tool to place the image more or less where I want. So as you can see, the image is cutting outside of this artwork, how can I cut part of the image so that I won't see the rest? Well, you would have to use the clipping mask. How do you create a clip mask? Well, all you have to do is create a shape. It can be an Ellipse, aTriangle. You can create a shape with the Curvature Tool or you can just create a Rectangle, for example. If I create a rectangle. Let's say from here to here. Let me make a little bit smaller. Like this, I can create a mask to hide part of the image. That's what Illustrator calls a Clipping Mask. How do I create a Clipping Mask? Let's go to layer first, You can see that the rectangle is in front of the image to make Clipping Mask, the rectangle or the shape has to be in the front of the object that that's going to be clipped. Therefore, all I have to do is select both of the objects. It doesn't have to be an image. It could be a shape, for example, as well, or another vector grouped anyway when both of them are selected. All you have to do is go to Object, Clipping Mask, and make the shortcut is CTRL+7 When you do that, you hide part of the image and you can only see the image that it's over the shape, there's something important about using Clipping Mask. Let me press CTRL+Z and do it again. When I select the rectangle, the original one. OK. There you go. It's here. Let's say it has a color, a color and a fill. Just going to choose one color and There you go, black, anyway, when you use the Clipping Mask with the shape, you will lose the reference of the fill and the stroke. Therefore, if I apply again the Clipping Mask, I will lose the color blue Clipping Mask and Make. And as you can see, I lost the color blue. I also lost the stroke as well. OK. All right, now that I have a clip mask. Let's go to Layers, If I go to layers. You can see that we have a clipping group. And inside the clipping group, we have the rectangle and the image, one way to get back the image is going to layers and remove the image from the clipping group, like this, for example. Or I can just put it back. Isn't that cool? Another thing that you can do is double clicking. On the clip mask, and you can isolate the image from the clip mask if a double click again. I will see the image, as you can see on the top, I have the layer, I have a clipping group, and now I have the image selected. Now, you may ask yourself, why would I want to do that? While in this way you can move the image and rearrange the image without having to change the clipping mask. Let's say a little bit like this if I go back. Now the model is inside the Clippy mask, she's not cut. Isn't that cool! And now let's say I want a Clipping Mask as an Elipse, I can just press here creating an Ellipse. More or less like this. Selection Tool, just increase a little and a little more. And if I select both of them, the Ellipse and the image, I can now apply. Clipping mask, CTRL+7 or CMD+7 And there you go, isn't that cool! Also, if you want to release the clipping mask, all you have to do is select the Clipping Mask, go to Object, Clipping Mask and Release. If you do that, it will just go back to normal. 27. Strokes: Hi there, welcome back. Today, we're going to talk about Strokes. Let's build a star here. So I'm going to click and hold, find the Start Tool, click once. And just create a vector, that is a star, let's just Make it a little bit bigger, holding SHIFT, there you go, and let's add some colors and some strokes, so I'm going to put a stroke of white. When you choose the color of your stroke, you can then increase or decrease the size of your stroke. You just press here to increase or decrease or you can click here on the combo box to choose a specific value. Or you can just select the number and type 50, for example, press enter. It will bring the star. You can also click here on this arrows holding shift. It will decrease and increase the stroke by 10 points. So if I increase the stroke, the Star gets a little bit bigger. We have a star, with a stroke of white, which doesn't have any fill. After you have drawn a symbol. You can always go to stroke. Click on stroke, and you get more options here, you can, of course, increase or decrease the size just by clicking here as well. The first three options, the only work if you have a line, so let's build a line to teach you this one as well. I'm going to write a line and holding shift and there you go. So we have a line and we have to start. If I click on the line and click again on the Strokes, I can choose these three options. I can choose the line with a Bud Cap, a Round Cap and a Projecting Cap. The first one is exactly this one. If I zoom in, and again, click on stroke, you can see that the end of the line. If this option here, if I click on Round Cap, the end will be rounded and if I click on this option, it will project the ending a little bit more. Let's go back. And now the Star, if I click on the Star and click again on Stroke, I will have this option here, which is a Meter Joint, a Round Joint and the Bevel Joint. Let me zoom in the star to show you. Click on the Stroke again, so if I change to Round Join, the corners in the stars will be rounded. If I click on Bevel Join, it will cut the corners and have this shape here for every corner. As you can see, it cuts the top part and the inside parts as well. Also with the stars, you can align the strokes, to the middle so the line will be in the middle of the stroke. You can align inside and to the outside. For every stroke You can also have some dashed lines. If you want to have a dashed line, you just have to click here. You can configure a pattern of the dashed line, the first option, if the size of the dash, if nothing here is filled, it means that the spaces between the dash will be the same space of the dash. So the gaps here are also 20 points. But I can reduce that just by writing ten points. I'll have larger dashes and smaller gaps, so I'll make some changes. I'll make them rounded and I'll reduce also the weight of the star. Just pressing shift, click once and reduce to 10. Now, let's play more with the dashed line. Let me zoom out, fit on screen, and let's play some more. Let's say I wanted a circle around our model, so I'm going to click here. I'm going to add an Ellipse Tool and just add something nice. I can always go back and change the colors to another one. Anyway, it's really up to you. But what I want to show you is that when you select the stroke, you can also have different spaces for the gaps. For example, I can add here 50 and then just 10 again, and you'll have larger strokes and then the gap and then the regular 20 dash and then another one 50. And it's really up to you how you want to play around with these and see how it goes. There you go. Let me zoom in. Below the dashed lines, I can make some arrows really cool, I could just click once and it will make an arrow. I can change the rotation. I can also add 2 arrows, if you want, one pointing to the other. Usually when they use this function, I usually make it on a regular line. I usually choose a line like this line Here, let me zoom out, and click on stroke, and add an arrow, for example. It's really big, this one. I can always change the scale here, and just reduce the size of the arrow. As you can see, we can make dashes around arrows, but we don't have a specific option for circles, but there's a workaround that you can do to make circles instead of dashes. This is what you have to do. Select the object and go to stroke. And instead of putting dashes, you just press zero. The gap, it's really up to you. And then in the cap option, you choose round cap. Let me zoom in the image now. Now we have lots of circles instead of dashes. Isn't that cool? Let me press again Stroke. Now let's say you want to make some spaces between these circles. All you have to do is go to the gap and increase the gap. And you'll have lots of circles making a Star, which is really cool. And again, you can apply this to any type of shape. 28. Pencil and Paintbrush: Hi there, welcome back. The pencil tool is here below the rectangle tool in the toolbar. If you click and hold, you will see the pencil tool and the paintbrush tool, on the right side of the rectangle, paintbrush tool. Let's select the pencil tool. I'm going to choose the stroke of white, a fill of none. There's none here, and a 10 point stroke.So the pencil tool it lets you draw opened and closed path. Just like if you were drawing with a pencil on the paper. It is very useful for a faster sketching or just making a quick draw on illustrator. Once you draw a path, you can immediately change it whenever you need it. The anchor points when you start using the pencil tool, they are created automatically. You don't have to worry about creating their handles or creating the anchor points. Let me show you how it works. Basically with the pencil tool, all you need to do is click and hold, and start drawing, and then release it . When you finish, let me show you. The pencil tool and the paint brush tool, they have advanced options. All you have to do is double click on them and you will get the advanced options. They are very similar, but they are not the same. The paint brush tool has less options in the advanced options and the pencil tool has some other options in the end here. But both of them have a fidelity option on the top. If you use the option like I'm using, the most smooth option, it means Illustrator will create less anchor points and it will help you create a more of a smooth line. Let me show you, if I reduce it to accurate, it will follow the exact moves of my mouse. I'm going to press OK and draw again the hard with my mouse and there you go. And it didn't really look so good because it added more anchor points and it didn't make a smooth line. So if you're using the mouse with the pencil tool, I'd advise you to use it on the most smooth option like this and press OK It will make a much better objects with smoother curves and less anchor points. Let me show you again using the mouse. Look how it goes. It's much better like this. If you choose fill new pencil stroke, it means that every time you start drawing, it will draw a new line. So let me check this option here, fill new pencil strokes and press OK. there you go And when you draw a new line. It will just create a new stroke. And the next option is keep selected, it means it will keep the last stroke selected. If I just unmarred that keep selected. When I draw a new line, it won't maintain it selected just that. Let me double click again. I like to keep this on and remove this. The next option here ALT key toggles the Smooth Tool is an option that you can use. If I marked this, I can press the alt key to change the tools it will use this tool here Smooth Tool. It means that if I'm using the pencil tool and press the ALT key, it will automatically use this tool. When I teach you to use the Smooth Tool maybe you will want to keep it selected. The next option here is really interesting. What it does is it will close the path when they're really close, when they're 15 inches If I make a circle, for example, and go really, really close, it will automatically close the path And make an Ellipse isn't that cool! The same goes for a rectangle, for any type of object. It will automatically close the path using the pencil tool, this is really cool And this is one of the options that you don't get using the paintbrush tool any type of polygon, any type of path if you just start drawing and then when you really close, the cursor of the mouse will make a circle. It means that it will close the path automatically for you. And there you go. If I remove that option, it won't close the path anymore. So let me show you again. The circle now won't appear on the screen, so the cursor won't automatically close the path for me. Cool, huh? Anyway, I like to keep that on. The next one is really interesting. It's editing selected path. It means that if you have a path selected, I can change it. It's really cool and I can just change this path. There you go. There you go. Isn't that cool. just because it's selected. So you can change the end of the path or the middle as well like this, and then just start playing around. All right. So this is the pencil tool, let me delete these. And let me show you the paintbrush tool. With the paintbrush tool. The basic difference from the pencil tool is that the paintbrush tool automatically draws the paint brush tool is already drawing for me. If I choose the pencil tool, it will just show the stroke. Let me show you again. It's only showing the stroke. Can you see? And if I use the paintbrush tool. I can increase here, and increase here, and with the paintbrush tool, it will show on real time what I'm doing. Isn't that cool? And there you go. All right, so this is a big difference, and if you check the advanced options of the paintbrush tool, there are some things that you don't get. You only get fill new brushes strokes, keep selected and edit the selected path. You can't, for example, close the path with the paintbrush tool 29. Width Tool and Variable Width Profile: Hi there, welcome back, Variable Width is this option here on the top on the control bar, here, next to the stroke, if you click on it, you will see a variable width profile and the width tool it's this one here width tool and the shortcut is shift+w so let's build a line with the curvature tool. And I am going to select the variable width. Right now, the variable width profile is marked with the default option, which is this one, the uniform, variable width. If you change it The Stroke will change according to the shape that you have here, let's say, for example, I'm going to choose the first shape. You might not have seen so much of a difference because the Stroke is just one, if you increase the stroke. The curved line will form a width profile exactly as the one you have selected here, and you can change, the variable width profile, to all of these ones available. And you have really cool lines and very cool shapes to work around in your projects. This is not. Everything that is available, you can build your own width profile just by using that width tool if you select it, and let's select the first option here, uniform, and let's keep it at 10. And I have the basic form of the stroke. I'm going to zoom in. When you have the width tool selected, it will show you the Anchor Points, but it won't show you the handlers. What you got here is an option to reduce or increase the size of the stroke, in each of these points. All you have to do is click once, in any part of the stroke, with the width to selected, and when the cursor has a plus sign next to it, as you can see, it has a path sign. If I click and hold, I can decrease or increase the width. Isn't that cool. Davi, you could have just increased the size. It's not the same thing here, you can choose to have one part of the line bigger, and the other part smaller, right now This part here is smalland this part is a big, I can even move The part, so that the beginning of the shape is small And the end of the shape, it's bigger. When you change the width of a line automatically in the variable width profile, it will create one for you. So it's creating right now, one variable width, that can be used later on. Isn't that cool? And you can create multiple points in this line to change even more the line. And I'm going to increase one here, what I'm doing here is changing the variable width, that doesn't mean that the configurations for this stroke cannot be changed. It can as well. So I can add around cap to it and all of the other things that we have seen earlier on the course. So there you go. One of the things that you can do as well is with these points here, you can move them. Anywhere in the line. And you can. Click on the circle and increase it more or reduce it, so to me, this one that I included It's really big. Let me select here and this point here and reduce the size. There you go. When we use the variable with profile it increases on both sides of the line, but if you want, you can increase or decrease just one side, you have to press and hold the ALT key on the windows or the OPTION key on the mac, with the width tool. When you have one of the points selected, you hold the ALT key and then click and hold. This circle here, to increase or decrease just one side of the line. I'm going to add one more item here, and I'm going to increase just this side here holding the ALT key. Let me zoom out now. So there you go, there's the shape that I have created. When I've created the variable width, it's right here, on the top, and you can just add it, to your profile, by clicking here. And you can name it, press OK, and when you add a new variable width all you have to do is access later on and apply it to your lines. One important thing is, with variable width it doesn't work the Eyedropper Tool. So let's say, for example, I'm going to add another curve, and let's say I want to apply this variable width in this curve, if I use the eyedropper tool, it won't work. It will catch only the size of this line. It will not catch the variable width. If I want to apply this exactly width profile. I have to first add it to my profile and then select the correct one. There you go. 30. Practice - Width Tool: Hi there, and we'll come back. Today, we're going to practice the width tool and the variable width profile, so we have build this cart before on earlier exercises, but we have removed the Stroke, this time I want you to keep the Stroke and change the width. For example, let me show you let's say I select one of the years and just change the stroke here with a different variable width profile. Let's see this one and then I increase the size of the stroke. Check it out. This is what I want you to do with all these strokes here and the cat. You can even add different strokes as well. 31. Practice Solved - Width Tooll: Hi there! And we are back! I guess you have tried to exercise with the width tool and the variable width profile, you're supposed to open the file "Practice - Width Tool.ai" and change the size of the strokes in this cat And now I'm going to show you how I would do it, so I will select the ears first, and start changing them. I'm going to select this option here. When you change the variable width with the low Stroke, you might not see the difference. So you have to increase the Stroke to look at it better. So I'm just going to add 6 points to the stroke and then I'm going to click here to flip along. It will change the position where it starts, to where it finishes. I'm going to select the other ear. And I'm going to select the same type and increase to 6. There you go. Now, why did I change this to flip along to the side? Because I want to make it a darker line in the left, like a shade indicating that the light is coming from the right and then hitting the cat. So to do that, it has to make sense. The lines, they have to agree with themselves. So I'm going to select the face now and change as well, if by any chance you're not happy with the result, you can just. Change it again later, going to add a 6, for now, don't worry about the ears inside the face, OK? When we paint this image, it will just look much better. One way to reposition the beginning of the Ellipse and the end, it's just by rotating it so I can rotate it and this part here will get darker now, but that's not what I want. I want to rotate at the other side, maybe around here. There you go. If I rotate too much. The shade will go beneath, I wanted to go more or less. Here, there you go, for the light is coming from the right, the top right of the scene hitting the cat. Now, let's change the eyes as well. I'm going to select. The outside part of the eye, and I'm going to choose a variable width profile, let's say this one, and then I'm going to increase it just to look at it and make as many changes as you want. I'm going to select the inside part of the eye now and choose a different width, let's say this one, and increase. Maybe this just too. How does it look? In this specific case, because the Ellipse is not perfect, it won't make much sense for me to rotate it. Let me zoom out now. There you go. Now, let's make some better eyebrows. I'm going to zoom in again, and select this eyebrow, and instead of using the variable width, I'm going to use the width tool. But first, let me make a better eyebrow by using the direct selection tool and repositioning. One of the angles, there you go. How does it look now? Maybe I made a mess of it. I think it's better like this. When you have your ideal stroke, one way to use the width tool is select the selection tool, click outside and then select the object. When you can see the variable width in the control bar, then and only then, you will select the width tool sometimes it's a bit confusing when you're using the direct selection tool and when you start changing one of the anchors, it changes the control bar and you want to see the width tool profile. What you do is, you use the direct selection tool, click outside, of the image, and mark the object and then select the width tool I going to press CTRL+Z. What I want you to do first is I want you to decrease the size of the eyebrow. So now I have a zero point twenty five points for the stroke. And let me zoom in. Because this Stroke is very thin, when I use the variable width profile, I can choose how it's going to grow. So let me zoom in here first, and let's say I want more of a straight line. To it, there you go, and here I'm going to remove The round camp, keep it straight. There you go, and maybe increase it a little more. If you want to increase a variable width that you already started, you have to use these circles here. This one or this one, when you position your cursor over the circle, the symbol of the cursor will change a little. Here is a plus and here is just a curved, if you click and hold, it will increase both sides at the same time. There you go. I'm going to zoom out, to see the eye and the eyebrow, and I'm going to reposition the anchor points because I didn't really like how the new eyebrow looked with the eye. So I'm going to select the direct selection tool and click on the anchor and then reposition it if you don't really like how it looks. It means you have to change the handlers as well. So it's really up to you how you're going to do it. And let me just change a little bit more. There you go. I changed the handlers and I have a really cool eyebrow. Let me zoom out. I'm going to delete this one. And ops sorry, there you go, I was using the direct selection tool, so instead of deleting the whole stroke, it only deleted an anchor point. With the selection tool, I'm going to select this object. Press CTRL+C, CTRL+F. copy it and then right. Click and transform and reflect. There you go. Make sure it's a vertical reflect, press, OK, because I already copy the object. I don't have to click it and copy. I'm just going to press OK. And then I'm going to move it. Holding shift to reposition the new eyebrow. How does it look? this I brought here. I use the width tool, so every time you use the width tool it creates a new width profile. If you want, you can add this width profile. By just clicking here, add to profile and there you go. And now it has been added, it looks a lot like this one, but it's not the same. It's another one. Let's continue. I'm going to select the same option for the nose. There you go. And it's this one, and I'm going to increase the stroke a little. And for these parts, I'm going to change it as well. But I'm going to make it very subtle. So I'm going to select just this part here. And decrease it to let's say, 0.75 Let me zoom out. Let me zoom in again, I'll make some changes here on the mouth and I'm going to select, If you're not sure which one you want, you can just start selecting them, and see what happens. And I enjoyed this one. How does it look? And for this part of the face, I'm going to change it as well. Let's say Nope, sorry, didn't like it. This one here, there you go. Again, because this is not a circle, if I just rotate it, it won't look so good. Let me just leave it like this. Let me first fit the screen. There you go. So I told you before that you can use the Shape Builder Tool to remove some parts of the objects, but in this case, using these techniques, it won't work because if you remove the shape builder tool will create a different shape. And when that happens, the lines won't be the same. Therefore, let's say, for example, I'm going to select only the ears and the face. So I'm selecting only the ears and this part of the face. If I use the shape builder tool to remove these parts here, it will create a different shape and therefore it will change and rebuild my object, affecting how the line looks. Therefore, you have to be careful using these techniques to use the variable width profile or the width You have to make the object on another way. You have to paint it and build it in a different way. So let me press CTRL+Z I'm going to show you later on how to solve these problems with the ears as well. 32. Outline Stroke: Hi there, welcome back. There was something I need to teach you that is to remove these parts here of the ears. I told you before that if you select the cat and if you use the shape builder tool to remove these parts or to include them in the circle, it just won't work because all of these strokes they have a variable strokes. And when you change it, it will just change the lines of well. I'm going to press CTRL+Z. First of all, I would recommend that you make a copy of the cat. So let's make a copy, and drag it to the right, there you go. And I'm going to group it. And I'm going to add this copy to a different layer. You can just say "backup layer" if you want. And there you go, and this is the cat that I copied and I'm going to put it here and I'm going to make this invisible and I'm going to like it. You can do that or you can just leave it here as well if you want to see it. Anyway, the first thing I want you to do is I want you to separate the ears so that we can work with it and then put it back in the image. So I'm going to add another layer and I'm going to group the ears, there you go, and group it. It's grouped, it's here. And I'm going to drag it to my first layer, and I also want to copy the circle, I'm going to copy the face and I'm going to drag it. To the layer that I'm going to work and I'm going to lock this layer, the original layer, and I'm going to . Toggle the Visability, so now all that I'm seeing is the two ears and the face of the cat that I have just copied. I'm going to select the face and I'm going to change it, so I'm going to add a stroke of none. There you go. It's none, but it's here what I'm going to teach you is called outline stroke. We're going to transform this stroke. To a shape, it will no longer be a variable stroke, you can do that to any shape, to any path. Let me show you, if I select, for example, the line segment. There you go. It's a line segment, I can change the Stroke to black and increase it, for example, and I can change this to make it into a path. Let me look at the layers to show you. I have a line here, but if I go to object. Path Outline to stroke, if you click on it, it will change. It's no longer a line, it's a path. It means that the size of the line became a shape. Instead of having just two anchor points, I will have the number of anchor points necessary to build a shape. If I select the direct selection tool and zoom in, you can see that I have now. 4 Anchor Points, instead of only 2. Let me press CTRL+Z. I've pressed CTRL+Z and it's back to a line, let me fit on screen. And this technique is what we're going to do with the ears. I'm going to delete the line. So when you select the ears, all you have to do is go to object, Path and outline stroke, it doesn't have a shortcut when you click here, it will no longer be aligned with a variable width, It will be a shape. I'm going to click it here. And there you go. This is the group. And as you can see, we have four shapes. We no longer have a lines. I'm going to select the ears with the circle. And if you cut this part of the ear, it will work, it won't change the variable width, because it's no longer a variable width. So I'm going to use the shape builder tool and start adding these together, to the circle. OK, and there you go, you might get some points here, because it was no longer a line, it was a shape. All you have to do is just add it to the circle. There you go. Let me zoom in and is added to the circle. Zoom out and zoom in here, adding it to the circle. I'm going to zoom in again. And as you can see, this part of the ear is not added yet to the circle. So I'm going to zoom in here and add this one as well. You might get some different shapes. So if I zoom in here, you can see that the line didn't made an empty point in this point here. All you have to do is add this part together, and add this part together. There you go. Zoom out and sorry, go to the next ear and you can do the same with this space here. There you go. And there you go. It's ready. I'm going to zoom out and fit on screen. Fit on screen. If I toggle the face now, the toggle the visibility, I will get the perfect ears without this part here that we had before. So let's add the ears back to the original face, in the layers We had the original face here and this is just a back up. So I'm going to. Toggle the visibility. 33. CC Libraries: We are going to learn how to use the Library Panel You should have the Library Panel on the right side of your screen. If you don't have it, please do activate the workspace that we created in the beginning of the course. You can also access the libraries by going to Window, Libraries. What are the libraries for? Basically, it's a space where you can add your projects and your artwork and you can share it with other people and also access these libraries in other applications within the Adobe Creative Clouds. Let's check it out, so I'm going to open the Library Panel. Just click once and there you go. These are all of my libraries that I have created. And if you want to create a new library, all you have to do is press a great new library. You can add the name of a project. You can add a client that you're working with, anyway. I'm just going to put my name here. And press create. You can see the library here among the most recent access libraries, or I can go down and find a library right here as well. And when you open the library for the first time, you won't have anything on it. What you can do is you can start adding objects, you can start adding your art, you can add colors, text, anything that you maybe want to access later on. So let's do some practice. All you have to do is click on your object. And all you have to do is drag some click and drag. It's going to create a new artwork based on the objects that you have selected and dragged, so here it is can be used and access it anywhere among the Adobe Creative Cloud products. Let's add all of them. Just click once and drag, click once and drag, because they are grouped. I only have to click once. But if they weren't grouped, I would have to select everything and then drag. So I'm going to click here. Click and Hold, and Drag, and there you go. And the text as well. I'm going to drag the text. And there you go, and I'm going to drag this one as well. Click and hold and drag. All right, one good thing to do is to create groups so you can click here and you can create a new group. So I'm going to create one group for icons, one group for logos and one group for others. So I'm going to click once. And you can type in the name of the group icons. And there you go. Now all you have to do is click in the libraries and drag inside of icons and then click again and drag, one thing you have to pay attention is everything you do here in libraries. If you want to undo it, you can't just press CTRL+Z, OK? Because if you press CTRL+Z, it's going to undo something you did in your artwork, not in the libraries. Let's say I added an artwork that was not supposed to be there. For example, let's add again the bunny click and hold. Now, let's say I want to delete the bunny, can I press CTRL+Z? No, you can't. You have to click on the artwork and then click delete. Because if you press CTRL+Z, it's going to undo something you did here in the library. I'll show you. Click and hold and let's delete it. Let's build on the rectangle to show you, click and rectangle and build it. There you go. Now, let's say I'm going to add an artwork inside the library. There you go. Oh, I just realized that I have already this artwork here, so should I press CTRL+Z? No, check it out. I'm going to press CTRL+Z. As you can see, when you press CTRL+Z for something that you just did inside the library, it's not going to undo it. It's going to undo the artwork, your main artwork. So be careful if you want to delete something that you added to the library. You have to drag it to the garbage, OK? Or you can just click on the object and press delete. So we added icons and we have added also icons to a specific group. We can create multiple groups. I'm going to create another one for logo, logo, and I'm going to add this artwork here. Another thing is when you start creating artworks in the libraries, they start with a specific name. It's really good to change your names so it would be easier for you to find them. For example, if a double click on a name here, I can write Bunny And I can write Fox and Cat double click on it. Oops, sorry, guys, I'm going to explain this. Let me close it first. So I have added the names, inside the groups, and the groups names Icon. So if you want, you can search here for icons and you will find all of the artworks inside Davi Salgueiro library's Or you can write Fox and you can find all of the artworks that has the name Fox. So giving a name for your artwork inside the library. It makes it easy for you to find.I'm going to close it here. As you have seen, I accidentally double click in one of the icons, when you double click in one of the icons, it will open the icon file. This is the icon that I have copied to the library's. Every time you copy something to the libraries, automatically it goes through the clouds, to your account in the CC, the creative clouds account. And when you double click to see this icon or any other, it will have a different name on the top. This indicates that you are accessing one of the files from the libraries. They always create these things, the crazy names. Remember also that these files are only copied from the original files, so if you go to open the original file, I'm going to close these. If you change this original file, you will not change the library if I delete something from this file. For example, the shadow, I'm going to right click on it, ungroup and delete the shadow. And if I open the bunny here. The bunny still has the shadow. Why? Because there are different files. Here's the interesting thing. These files in the libraries, they can be used within other applications that are in the creative cloud account, for example, Photoshop. Let's open the Photoshop and find the libraries that have created. Photoshop. Let's go to the library and you can find the library that I have just created in this course. They'll have all of the files that I have added. Let's add this logo. I'm going to click and Hold and bring it here. As you can see, this action created smart objects that are linked back to creative cloud libraries by default. To get the original separated layers, not linked libraries, hold down ALT as you drag from the libraries or use place layers command in the library's Panel. What does this mean? It means that if you change the library, it will also affect this image here in Photoshop. So right now I just dragged the file, but if I drag the file holding the ALT key. And there you go. Now we have one file, there is a copy of another file that is vinculated to the library. What does it mean? It means that if I change the file itself inside the library, if I go to illustrator and open the bird If I double click on it. And then change something here, it will affect one of the birds in Photoshop. So I'm going to select it, and choose property, let's choose another color for it. For example, let's just choose the green color There you go, and I'm going to save it. It's saved, and then go back to Photoshop and there you go. As you can see, the file that I have a change in illustrator also changed here in Photoshop. Why, if they the other will not change because I made a copy. Do you remember how you can make a copy? You can just select the artwork, right Click on it and please a copy. Or you can click on hold and press the ALT key. When you release it, you have a copy of the original artwork. It's not related to your libraries. So if I change the file itself, it will not change in Photoshop. Let's go to Illustrator again and let me close these. And this again. In libraries, we have other texts and vectors, you can also add colors. But you have to add them one by one. So, for example, if I select the cat here and right, click on it and Ungrouped. And and again, it has more than one group, yeah. OK, if I select a specific object that is not grouped, I can come here in the plus sign and add fill color. It will start adding the colors. To your libraries and add fill color, there you go. And this one as well. For example, if you have a project and you want to add the colors of a specific company, you can add them, and work with them later on. And again, the colors inside the library can also be used in Photoshop, in InDesign, After Effects Anyway, let me just show you in Photoshop, if I click in Photoshop, I can see the colors inside my library. On the top right of the library, you can click here and you can access the menu for the libraries, you can export all of the files of the library. You can also invite people to access this library. You can also rename, it deleted. Just remember, if you delete the library, you're going to delete all of the objects that are inside the library. And you can only invite people that already have an Adobe account and basically this is it, I hope you enjoyed the libraries. We're going to use it later as well during the course. 34. Practice - Building the background: Hi there, welcome back. All the typography tools are located on the toolbar, right here. Click and hold, and you can find Type Tool, Area Type Tool, Type on a Path, Vertical Type Tool, Vertical Area Type Tool, Vertical Area Type Tool, Vertical Type on a Path Tool and Touch Type Tool. To start we're going to build this together. But before we start using the text tools in Illustrator, I want you to build this with everything that you already know and then we're going to add the text. I want you to open the file "Live - Instagram - part 01.ai", and you will have a artboard of 1080 to 1080, and you are going to build this, with all that you know. So pay attention to the symbols, you have, a rectangle here, around the rectangle, some lines, some circles. You have an image. Maybe you have to use a clipping mask, anyway. Build this and then we're going to add the text. OK. 35. Practice Solved - Building the background: Hi there, welcome back. So, was it too easy to build it? this background? Let's go and solve it, as you can see, we have some rectangles. And they are rounded and some parts of it are not, what I can do Here is, first, I'm going to build a rectangle to build this part here, so I can just select a space and put it more or less like this. As you can see, a movement of smart guides to help me position the objects, when you position the object Eyedropper Tool and select the color. I think it's this one. OK, it looks good. Now, let's build this part here, which is almost a rectangle with rounded corners just build a rectangle, a regular one. And instead of using the Selection Tool, I'll use the Direct Selection Tool and I'm going to zoom in and I'm going to just change this corner here with the Direct Selection Tool and I'll have the same image. Let me zoom out, and I can use the Eyedropper Tool, to get this color here, which is this one. So let's build the next one. The next one is a rectangle, the larger one, and they're rounded. I can just use the rectangle or I can click and hold and select the Rounded Rectangle Tool. And they can use the Selection Tool. Let's select the Eyedropper Tool and change the color. There you go. I think I can position better, this image, a little bit like this, or I can just position it in the center of the artboard by using the Align, align to center And there you go. It's one way to do it. Let's build these lines. I'm going to change the position of the lines. It's very likely, at least so, I'll just place them anywhere and choose a color, which is this one, and increase the size of the line of well. And. Convert. And there you go. I going to take off the fill, no I'm going to need it, and I'm going to choose white, I'm going to change this to white. When you build one. All you have to do is CTRL+C, CTRL+F, and then drag and hold SHIFT. Let's add the circle now, this one, click and hold Elipse to hold SHIFT, hold ALT or just hold SHIFT. It doesn't really matter. There you go and Eyedrooper Tool and get the color. OK, now we have to add this image here and these circles, let me zoom in, so as you can see, we have several circles or they are strokes anyway, I'll just add them. I can add the same size as this one, I can press CTRL+C, CTRL+F and drag down. And then I can just press CTRL+C, CTRL+F again, I'll have two of them, here. So I'll have two of them, as you can see, and I can reduce the one in front, holding SHIFT and Holding ALT . That looks good to me. Now let's change the colors, so I have a light gray in the back. Eyedropper Tool, light gray and in front we have a darker gray and there you go. Now let's add the image. Does anyone remember how to add a file, an image, you just have to go to file and place, SHIFT+CTRL+P, SHIFT+CMD+P if you're on the Mac, and you will have in your resource a file, a PNG file, with my name on it, you can add my file or you can add your own. Just remember, you can use the link or you can remove the link. If you remove the link, the file will be inside the illustrator's file and it won't be vinculated to the original file. I'd rather remove the link, but it's up to you on how you want to use it, and then just press place. Click once, you will have the size that you want, and you can reduce or increase. It's really up to you. Now, what I want to do, I want to put my picture here, if I just do this, what will happened? It will be in the front of this image, let me do this, I'm going to make it a little bit bigger, OK? So I'm going to increase this one. Holding SHIFT and ALT And I want to make a Clipping Mask so that my picture is behind the Clipping Mask. If I just use the gray circle as a Clipping Mask, then I won't have the color gray anymore. So I have to build another circle as well. I want to click only on the Green Circle and copy only the gray circle to use it as a Clipping Mask. As you can see, I have both of the circle selected. I don't want that. I'm going to click outside, click only on the gray circle, and now I'm going to press CTRL+C, CTRL+F or CMD+C, CMD+F, and then I'm going to reduce this circle holding SHIFT and ALT. Now I have one more circle. So threre's 3 circles. Two of them are darker gray and one of them is a lighter green, the one in front. It's going to be used as a clipping mask, if I position my picture here, somewhere here, and bring this circle to the top of my image. This is the space that my image is going to appear, so I can reduce the image, Holding SHIFT and ALT. More or less like this. What do we have to do to make a Clipping Mask? Select 2 objects, the Clipping Mask and the image, and then go to Object, Clipping mask, and Make. There you go.You can double click, and double click again to get inside the clipping group and then the image and then you can just move it a little bit. Let's zoom in to check it out. So basically it's a rectangle with the line and then a rectangle inside and the circle and this part is transparent. Can you see it? I'm going to be outside one way to do it. Is to use the rounded rectangle tool or the rectangle tool. Anyway, I'm going to use the rectangle tool and make a square, a perfect square and then I'm going to use the Selection Tool. To make a rounded rectangle there you go. Let me zoom in. And then I'm going to make another one because I want to remove the space here, so I'm going to press CTRL+C, CTRL+F and reduce the size, holding SHIFT. And now I'm going to build another one because this part here is going to be transparent. I'm going to remove it. OK, so. CTRL+C. CTRL+F and another one holding shift and ALT. There you go, so you should have 3, one, two and three. The outside one, I want. The inside I want. And the middle I just want to remove, some I'm going to Select everything. Shape Builder Tool, and holding ALT key, and remove the inside part. So this part here is now transparent, as you can see. It's almost the same, right, the same thing here you can do with the circles, you know, Elipse Tool and find the center, hold SHIFT and ALT, and more or less like this, CTRL+C, CTRL+F to copy and paste another circle, reduce the size. If I select everything again, you can see that I have two circles, and this one, on top, is going to be removed by using my favorite tool, the Shape Builder tool and then holding the ALT key. And there you go. We almost finished. We just need a little circle here to be removed. So, again, Elipse Tool, and more or less like this. Holding SHIFT. There you go, select everything. And Shape Builder Tool, I'm going to zoom in, and then press ALT to remove this part. There you go. We finished easy, huh? Let me go to the artboard, select this object. And let's put the correct color as well, right? Color is white. So it's white, it's there and then I'm going to group it as well, to make it easy. Group. And add it more or less here, there you go. 36. Type Tool: Hi there. We're back and we're finally going to talk about Typography. This is the Typography Tools. You get the Type Tool, Area Type Tool, Type on a Path Tool, Vertical Type Tool, Vertical Area Type Tool, Vertical Type on a Path Tool and Touch Type Tool. We're going to work first with Type Tool and Area Type Tool. So Type Tool, the shortcut is letter T, and this is the symbol you get when you select the tool. All you have to do with Type Tool is click once, on the screen, if you click and hold by default, you will get another tool. So if I click once, I will get to type two if I click and hold. Automatically, Illustrator understands that I'm using the Area Type Tool, so it's different, in this case, I have used the Type Tool and in this case I have used the Area Type Tool. Another thing I want to tell you. When you use the Selection Tool. On a Type Tool, or on an Area Type Tool, you will get a little circle here. Using the Selection Tool, as you can see, the Type Tool is a wide circle, and in the Area Type Tool is a fill circle. If you click twice on this circle, you will transform this Type Tool into an Area Type Tool, if I click twice, it became an Area Type Tool and if I click on my Area Type Tool and click twice here, it transforms this into a Type Tool. All right, Davi but what's the difference? Let me put back. let's make this one an Area Type Tool by clicking twice, and this is darker, and I'm going to click here and click twice to become, again, a Type Tool, to show you the different. Type Tool When you change the anchors, it increases the sizes It changes the size of the text. Area Type Tool is not like that, if you change the size of the area, it will not change the size of the text. Davi, what is this Lorem ipsum? Don't worry, Lorem Ipsum is just some Latin words that illustrator generates automatically, It's just a placeholder text, so it helps you to know where the text is going to go. You can also change the Lorem ipsum by going to edit. Preference, if you are on a mac remember its illustrator and preference, and go to Type. This is the advanced option of the Type Tools. When you choose this option, you can change the configuration and here you can remove the Lorem ipsum by just unmarking this option "Fill New Type Object With Placeholder Text". This is the Lorem ipsum. So if I unmark this option, I won't get any more. Lorem ipsum, it's really up to you on how you want to use it. But for the course, please do keep this marked. You've learned how to create the Type Tool and the Area Type Tool. Let me delete theses, just to show you some more things, but let's say you don't want a square, you want your text area to be in a circle, all you have to do is create the circle. So you can click and hold, use the Ellipse Tool And when you click on the Type Tool, all you have to do is click over the path. When you click once, you will get the text here. Davi, That doesn't look really good. That's because the tax is really big, if I reduce the size for, let's say, 20. And if I use the lorem ipsum again, so I'm just going to delete this and create a new circle. Use the Type Tool over the path, and there you go. You can get some text inside a circle that goes through a triangle, a polygon or even a path if you want. Our goal here is to build this text, so let's start with this text here. Instagram Live , all I want to do is put a text here. So I'll select the Type Tool and click once. When you click once, it will bring the size that you used last, you remember, they change the size when I put a text inside the circle. So let's change the size to, let's say. 100. It will get bigger. Now let's change the text, and let's put Instagram. Live Cool, and let's put the right color, so let's select all the text and select the color white. OK, Selection Tool, click outside, selection Tool. There's a "M" missing here. It's missing, and Selection Tool and I can move now the Instagram somewhere where I want. As you can see, this word here is using a paragraph of center, align center, if it was aligned left. This point here indicates that this text is a line left. Now. What is my goal here? Do I want to align this text in the left side of this box, or do I want to align it in the right or do I want to align it in the center? If you align in the center, it means that the center of the Instagram life has like an anchor, and when you start moving the Type Tool Smart guides will help you, to place exactly where you want, as you can see, it's using this anchor to position the word somewhere around in the artboard. And the smart guide is always trying to help me, so please keep the smart guides activated. So we have the text, but we don't have the fonts for the question is how do we get better fonts? When you install Illustrator, you will get some fonts by default. But you can also download more fonts from Adobe. All you have to do in the new version of Illustrator, is click here. In the font type, and start looking for fonts, this fonts are the ones that's installed in my computer. When you start looking for fonts, you can use the filters. To search for Seriff, with Seriff, Slab Serif, Calligraphic, a Blackletter, gothic, Monospace, handwritten, decorative, Anyway, there's lots of properties that you can use to find the fonts, for example. I think this one, is the one I was using. So it's like italic. So if I want, I can just choose a classification for it, like this one. And start looking for the fonts, and click outside, and start looking for the fonts that I already have downloaded, which are italic. But there's much more I can click here, on Find More And automatically, I'm going to filter this information in the Adobe font. You'd have to have Internet, to do that, and sometimes it takes a little while to get the files in Adobe fonts, like now, for example, I'm going to clear. The filter. And for some reason, it's not initializing and there you go. Anyway, I don't know why take that long. But when you're accessing the adobe fonts, you get loads of fonts to search for, and all you have to do is click here to activate the fonts and download it to your computer. When you're searching, you can also click here and configure the filter so that you can find the fonts that you want. So let's say I want to with Serif fonts, Serifs Fonts are fonts with a little feet underneath. If I click here, I will get a little feet under. The fonts, like this one. I don't know if you can see it, ops, click again and let's search again, click in find more, and the filter, when you access again the filter, it always keeps the last filter that you used. So do remember to clear all, the filter, before trying to search for a new font. What I want is a font that already downloaded, so I can go to fonts And I think it's this one, the Brush Script MT Italic Click once, and there you go, you have a really cool font. When you open a file that it doesn't have that specific font, it will try to download it for you from Adobe Fonts. And now let's do the rest. Let's say I want to write this text here. All I have to do again is click once, click once and write grab your followers. Attention. And click on the Selection Tool And there you go. So this one is another text type, just like Instagram Live, so if I click here, it will increase and decrease. CTRL+Z, when you're using text type, just remember one thing, don't click over an object. So let's say, for example, I have a circle here and I want to write a type, If I accidentally click over an object, it will be creating an Area Type Tool and not a Type Tool. So let's delete these and let's select a text for this part here. I don't want an italic text, so let's click here on the characters and click and find more. And let's choose a filter without Serif, for example. Let's choose this one, a different one, if I don't have it yet, I just have to click activate Abolition. OK, just click once. And click, OK. And it will start downloading for you Abolition. Look, it's activating, now I can find this font in my own font, in my computer, I can also mark it as a favorite. If you mark it as a favorite, it will come here in the filter. And there you go, when you have the fonts in your computer, all you have to do is click once and there you go. I have the abolition here. I didn't really like it. I just wanted to show you that it's possible to download fonts, and let's choose white. And reduce the size, let's say 50. As you can see, the Abolition font doesn't have lower caps. Ok. It's just some fonts, they don't have it. Again, when you go back to search for something, it's really good for you to clear everything. Because sometimes the filters just get on your way to finding a specific font. OK, so now that we have made this, let's make this text here below. So let's look here to this part of the text now, this zoomin, as you can see, the text are separated here. So there's a part of the text here apart. Then it's here. What can I do? I could write Several Type Text or I could do also an Area Typed Tool. Let's go back to the artboard. So, like I said, I could write a Type Tool and click once here and click once here. And I don't know once he is well. And positioned the words like this with the left. OK. As you can see, the text is following the circle. Or even better, I could write a text. That is inside an area and they are it can be just outside of the circle. 37. Area Type Tool: All right, we're back. if I want to put a text in a specific shape, I have to first build the shape, So I'm going to delete this text here, and I'm going to try to build a shape here that is curved so that when the text is inside, it will follow the outside of the circle, so let's build the shape first, OK, to build the shape, I will need the circle. So I'm going to create a new circle just like the outside of this one. To do that, I have to unlock this layer. So I'll got layers, unlock the background, select the outside circle, It may be grouped. Yep, it's grouped. So you have to ungroup it, right Click, ungroup. And I just want this circle here, the outside one. So I'm going to press CTRL+C, CTRL+F just to build another one just outside. So I have 2 ellipses and one of them I'm going to use to build this area that will be curved with text. So I'm going to put these Ellipses in the Text Layer, and they go, I'm moving It was gone. Davi, why you can't see the pictures? Because they Ellipse is now above the picture. If you want, you can just click on the Ellipse and reduce the opacity, for example, to see everything like 20%, for example. So let's then build a rectangle here that touches this ellipse. And let's lock also the background. And I'm using the text area, and I'm going to build a rectangle from this point To, let's say here, so I'm using the smart guides to find the exact place and there you go. Now I have a rectangle and I also have a Ellipse Can you see this? What does it mean? that you can use the Shape Builder Tool or the Pathfinder? Because I just love the Shape Builder Tool, I'm going to hold SHIFT and select the rectangle on the ellipse, Shape Builder Tool and remove these things here, that I don't need anymore. There you go. I had a rectangle, and now I have a really cool shape CTRL+Z. This new shape can have text in it and the text, if it's aligned to the left, it will follow the curve, isn't that cool! By the way, when we add text to a shape, it will automatically remove the fills like this. If you select the Type Tool and if you click in the path of the text, there you go. The text will follow this shape. Let's select a different type of text and let's go for a different one. I'll choose the ones I have here. Let's say this one, no, I don't like it. Let's look for a cool one. Too dark. Let's get this call type text Adventure. I know I added a different text from here, but don't worry, we're just playing around and I'm going to reduce the size of, well, if you hold, SHIFT it reduces 10 by 10. And now let's just add the text. As you can see, when I finished typing, the words are now breaking the lines, if you don't want that, select everything. And when you select everything, if you don't want to break the lines, you have to go to Paragraph, click here and remove Hyphenate. And there you go. Now the word "question" is beneath. Let's fix some stuff first, so let's select everything and change it to white. In a text area, you can also increase parts of the words, so I've selected only my name and I will increase it to, holding SHIFT, to 40, Selection Tool. Well, I didn't really like this text, so I can, also, have different types of characters in the same text area. For example, my name is Italic is the Adventure fonts. I can choose choose a different type of fonts for the rest of the text. It's really up to you. Because my words are touching this shape, I'm going to remove it a little bit. It's touching this shape. It means that the words will be really close to the circle. So sometimes, let me press CTRL+Z, sometimes really good for you to select everything and then go to paragraph and make some changes. You can give them spacing between the Left Indent or the Right Indent. It's really up to you. So I'm going to increase, a few dots. I think 10 is enough. There you go, it gives some spacing between the circle and my text. Remember, you have these advanced options for Character. Just click once, you will get the options and you also have for the Paragraph, click once you get more options as well. 38. Type on a Path Tool: Hi there, welcome back. We're going to learn how to use this tool here, Type on a Path Tool. I have, build another artboard. You learned how to build a text in a line and you learned how to read the text in a text area. Let's say you don't want a text in a line, you want a text in a curve. All you have to do is select the Type Tool and with the cursor of the mouse, go to a path, a path that is not closed, and you can see that the symbol of the cursor changes, when you click on the cursor, you will get a text following the path. Another way to do it is instead of selecting the Type Tool, you can just select the Type on a Path Tool and click on a path, it will make also the text follow the path, making it with a curve. Let's select again the Type Tool. If you click on the path of a closed shape, for example, this Ellipse, it will create the text inside the text area. Look at the symbol. If I do this, it won't create a text on a path. What I have to do is, first, with the ALT key on the window or the OPTION key on the Mac, when you press and hold, the symbol of the cursor has changed, indicating that if you click now, it will use the Path on a Type Tool, as you have seen, it's different. Let me press CTRL+Z. Another way to make a text on a path inside the shape is to select the type on a path tool. If you just click on it, you don't have to press the ALT key. Press CTRL+Z again. And let's zoom in here. Just like the text type the Text on a Path, they follow the same rules. If you double click anywhere, you can just edit the text any time you want with the Direct Selection Tool, you can reposition the text in the path. Right now, the text is centered, that means that from the starting point, which is here, to the ending point, it will find the center of this distance to position the text. For example, if I double click here and start deleting the Lorem ipsum, select the Selection Tool again, the text will be centered here. Davi, the text is not centered in the path. That's because the starting point is not the starting point of the path. There's a difference between the starting point of the text and the ending point of the text from the starting point of the path and the ending point of the path. Let's select the Direct Selection Tool. As you can see here, I have a line, cutting the path, and here as well. I have a line cutting the path. Please be careful. Don't touch on the white square. This is for threading text===, and I am going to teach you later. So if I position the initial point of the text, which is this line here, click and hold, I can change the position where the text will start to begin. I can, for example, position the beginning of the text in the same spot at the beginning of the curve. And there you go. If I align the text left, by clicking on the paragraph here, the text will start at the beginning of the curve. If I align the text on the center, it will be in the exact center of the curve. And if I like it to the right, At the right of the curve. Let's right just some more text here, OK, so I'm going to double click, "this is just an example" Oops, where did the text go? We have a red square here. That means that the line doesn't have any more space to continue the text. This is called Threading Text. When you see a red rectangle at the end of the line, it means you don't have more space to write the text. You'd have to continue somewhere else. This is indicating that you have an overflow state. You don't have space to write the text, to continue the text somewhere else. You can use the threading text by just clicking here and then clicking where you want to continue the text. Now, these two curves are vinculate and you're starting the text here and you're finishing the text here. So let me just press CTR+Z and go back. Let's go see the text in a text area. Now, the text in the text area can be done again by just, selecting the type to holding the ALT key and position in the cursor over the path. If you hold the ALT key, you have one symbol, if you release the ALT key, have another symbol. This symbol indicates that the text is going to follow the path. There you go. What we wanted to, was to teach you to write the Instagram name. So let me write Instagram, Instagram and select the Direct Selection Tool. All right. So now we have here, on this side, the beginning of the text and the finishing of the text. Look at the cursor. They both have different symbols. This symbol here indicates the beginning of the text and this symbol here indicates the finishing of the text. So I'm going to place the beginning of the text at 9 o'clock and I'm going to place the finishing of the text at 3 o'clock. There you go. And let me correct the text again. As you can see, there's a line here, indicating that the text is above the circle if I click and hold. It will position the text inside the circle, when you do that, it also changes, again, the position of the beginning of the text and the ending of the text. So you have to put this back to the same spot again. There you go. So let's just go back to the first artboard, so we want a text here saying the main Instagram, just like this text here. So let's go here. Let's zoom in. Let's put the name here, Instagram. And I want to unlock this circle here, because I want to build the text inside the same circle. So let's go to layer, unlock, and select this circle. I'm going to press CTRL+C, CTRL+F, therefore I have two circles, and I'm going to add one circle to this layer here and let's lock again at the background, so now that we have a circle, all you have to do is use the Type Tool or press "T" and then ALT. If you are on a Mac it will be OPTION. And when you see the name Path, all you have to do is click and then write Instagram. Another way to do it, let me press CTRL+Z, is to select the type on the path tool and then click on the path, and then, write Instagram. So like the color for the text, of course. Let's put the text inside. And then let's position the beginning of the text and the end of the text. You can make the circle a little bit shorter, holding SHIFT and ALT. Now, all you have to do is choose the fonts that you want. To change the fonts you have to select the whole text, and then go to the character panel, here, on Properties, select the font, or you can use the control bar as well if you have the font selected, to choose the font that you want. So before we finish, let's make some adjustments to the spelling here. 39. Create Outlines: Hi there. We are back. And Today we are going to talk about the paragraph Panel, the Paragraph Panel is mainly used when you have a text area. Let me select the Selection Tool. The paragraph panel can be accessed on the right, in the property bar. Right here, you can click on the three dots, and then click on the menu to have more options, or you can access the paragraph panel as well by going to the control bar and clicking on the word paragraph. But to do that, you have to have a text area selected. If you don't have a text area selected, you won't see the name paragraph in the control bar and neither you will see the name paragraph in the property panel. So I'm going to select again the paragraph. Another way to access the paragraph panel is going to menu. Type and paragraph. Just like the Character Panel , the Paragraph Panel has an menu option on the right, you can click here, and you can reset the panel. So let's go through these options here, first of all, if you got the menu, you can choose the option, hide options or show options. Make sure you have the show options on. And next on the menu, we have the Roman Hanging Punctuation, Justification Hyphenation, Adobe Single-line Composer and Adobe Every-line Composer and then the Reset Panel. So in the paragraph panel, you can align the paragraph to the left. You can also align the center by clicking here and you can align them to the right. You can also do a justified with the exception of the last line to the left, and then you can do the same for the center and to the right as well. The last option I hardly use, it's justify all of the lines. If you do that, it's very likely that you get a big space between the words and it just doesn't look really good. When you justify except for the last line, which has these three here, justified with the last line, You have to be careful as well, because when you have an area type box, which is really short, what you may get is some big spacing between the words. So sometimes that doesn't look really good. Now let's increase this area, to play around more. And , let's reset the characters as well, so I'm going to click here and reset the characters. I have a 12, and a Myrad Pro I'm going to add, let's say 20 and I also want to fill up this area with more Lorem ipsum. What you do is, you right click and then you choose the option Fill with placeholder text. There you go. I have lots of Lorem ipsum as well, and for some reason they are not reseted. So I'm going to reset again. So I'm going to go to paragraph and reset the lorem ipsum, so menu, and reset. In this specific case, I would usually use the Justified with the exception of the last line. The first options that we have is the left indent, which is this one, and the right indent, With the left indent and the right indent, you can separate a specific paragraph from the area. So let's say I'm going to select a specific paragraph, in the text area, and I'm going to increase the . left indent. You can just click here, or other specific number, or you can use shift to move them by 10. So the left indent just pushes the text from the left of the text area, because I have selected only one paragraph, then the left indent is moving only one paragraph. One thing that you have to pay attention is that you don't have to select the whole paragraph. All you have to do is click in one paragraph. And if the cursor is in a specific paragraph and you apply the left indent The paragraph moves of a whole, so you can push the left side, holding shift to increase, and you can also push the right side. As you can see, I have moved the third paragraph in a different way. I don't have to select the whole text. I just have to place the cursor in a specific paragraph to apply these rules. Below the left indent you have the first line indent. So let's say that you want the first line indent of a specific paragraph to be applied, All you have to do is increase this line. As you can see, I'm not changing all of the paragraphs, but I can do that if I want. Let me select the Selection Tool, select the whole text area, and then I'm going to reset the paragraph again. So I'm going to reset the panel. There you go. Now, let's see. I want to first do a justify with first line aligned left and then I'm going to apply the first line indent to all of the lines and 30. There you go. That's enough for me. Let's say, for example, you want to separate a paragraph from the rest. One way to do it is just go inside the paragraph press enter and maybe a separating them. But there's a much better way to do this. And the way to do it is to create a space before or after a paragraph. You can select a paragraph or you can just place the cursor in the paragraph and then use this option, which is space before paragraph. If you click here holding shift, it will increase by ten points. The spacing before the paragraph. If you don't hold shift, it will just increase one by one. OK, and let's say I want 20, 20 before and 20 after. And there you go. Let's say I want this specific configuration to the whole text area. Well I have to do is select the text area and then just increase here holding shift, I'm going to add 10 and 10 again, and there you go, now Davi, if you have added 10, why is there so much space here? That's because I have a line here. I can remove this line if I don't want to anymore. And then I will have a space of 10 points before and after each paragraph below the spacing of the paragraph. You have the hyphenate option. As you can see here, some of the words are hyphenated. You can just select the text area and remove this and then it will remove the hyphenate. If you do that, it may increase some of the spacing between the words. So I usually use hyphenate when I have a really small space to position the text, in this case here, maybe it will look better because the spacing between the words will almost be even among the whole text. Also, when you have hyphenate, you can also have advanced options for that when you go to the menu and choose hyphenation and you can reconfigure some advanced options for hyphenation, I won't go to details, but you can look around and have some fun later on. You can also have some other advanced options for justification. Which are these ones 40. Character Panel: Hi there, we're back, let's talk about the Character Panel. So let's write something here lorem ipsum With the text tool and the Character Panel shows up when you have a text selected, right here, on the Properties and you can also access the Character Panel by going to character in the control bar. You can also access the Character Panel by going to Window, Type, and Character. All of the text related panels are inside the option type, and we have here the Character Panel. I want you to go to the advanced menu for the Character Panel, click once and click on show option. You can do that here as well. Just click on the three dots and you get all of the same options. The first option that you have is the fonts, so you can change the font to any of the fonts that you want. The first thing that I would recommend to you to do was to "Clear All" so you don't have any filters and then go and find out which font you're interested in. Below the Character Panel, we have the styles of the fonts available, depending on the fonts, you may have different types of style. Below this checkbox, you have the size of the font, the size of the font, you can change with a combobox or with the up arrow on down arrow, if you hold shift here, you will increase 10 by 10. Another good tip to increase and decrease the size of the fonts is using CTRL+SHIFT+ "." CTRL+SHIFT+ , Also, in a Character Panel, you can choose to show font's height options and you can also choose to show the Touch Type Tool On the right side of the font size, you have the font leading, which is just option here. To teach you leading, I have to change a little bit of text. So let's just double click on the text. A space in here and selection to again. And let's say I want to separate this space even more from the first line to the second line. All I have to do is go to the Leading Option and I can set the leading higher or lower. By default, we have an option here for auto leading, the auto leading depends on the size of the fonts. So, for example, if I change the size of the phone to 150, auto leading will change automatically as well. Our next combo box is the Kerning. The kerning is about character spacing. To explain kerning, let's select another font first. As you can see, between each character, the specific space with the kerning option, I can configure a specific spacing between each character. If I double click between letter E and letter M, I can reduce or increase the kerning. And if I reduce a lot, it will reduce this space, I can hold shift and increase or decrease the space between the words. When you use kerning, if you want to reduce or increase all of the characters, then you would have to use the tracking. You can increase the tracking, and decrease the tracking. The track and the leading are both a horizontal way of creating a space between the letters in the same way that you can increase this space horizontally. You can also increase the letters vertically. For that, all you have to do is just select one letter. And increase it and decrease the size of the letter. With the vertical scale, you can also increase the letter as a whole, using the horizontal scale as well, below these two options, we have the baseline shift. Well, to explain the baseline, let's just remember that when we select each word, we have an invisible line here. Let's activate the ruler. When we have the rulers, we can create a guideline, click and hold, you can just place the guideline here just for you to see the difference. So we have one guideline for this baseline, and I'm going to build another guideline for the other baseline. With this option, I can select just one letter. And change the baseline so I can increase and decrease the baseline. So although this word has this specific baseline, which I'm using the guideline to indicate to you, the letter M doesn't have that baseline anymore. It has this baseline plus 30 points. I can reduce it as well. So the baseline can go below. You can also rotate a specific letter, for example, let's select the other letter M, you can change and rotate the letters with the character Panel. You can also do a lot of other things, for example, I'm going to create another word with 50. There you go. And just remember that when you create another word, you will be using the same options that you used for the last time. Therefore, the word lorem ipsum you has just a small rotation, which was the same rotation that I did with letter M, and let's just put this to zero. OK, and select the Selection Tool. And continuing in the character panel, you can use the option "All Caps", to change how it's written and you can change again to small caps, you can also select a specific letter and use this option here, the Superscript to put up or the Subscript to put it down or Underline it, let me underline something else or underline everything or strikethrough. You can also reset the Character Panel by going to option and reset Panel, so all of the changes that I did doesn't take any more effect to this specific word. OK, so if I want to reset this part here, I have to select this text and then reset the panel. And the word is out here. And in fact, I like all of the both words, I can reset them both as well. I'm going to change it to 100. To me, the option reset panel was always confusing because if you reset the panel before you start typing, it's one thing. But if you reset the panel with a text selected, it's just another thing. So, for example, let's say I have this text selected and I'm going to make a rotation of 30. And there you go. And let's say I just want to make a new text. So I've clicked on the type two and I'm going to start a new text. But I don't want to text to have the same configuration I used for the last time. So before creating a text, you'd go to Menu and Reset Panel and then start typing. 41. Paragraph Panel: Hi there, We're back. And today we're gonna talk about the paragraph panel. The paragraphs painter is mainly used when you have a text area. Let me select the selection tool. The paragraph painter can be accessed on the right in the Properties bar. Right here, you can click on the three dots and then click on the Menu to have more options. Or you can access the paragraph panel as well by going to the control bar and clicking on the word paragraph. But to do that, you have to have a text area selected. If you don't have a text area selected, you won't see the name paragraph in the control bar, and neither you will see the name paragraph in the property painter. So I'm going select again the paragraph. Another way to access the paragraph panel is going to menu type and paragraph. Just like the character panel, the paragraph spinning higher than menu option. On the right, you can click here and you can reset the painter. So let's go through these options here. First of all, if you've got them in you, you can choose the option, Hide options, or Show Options. Make sure you have the Show Options on a next on the menu. We have the rami hanging, punctuation and then justification, hyphenation, Adobe single-line composer, and Adobe every line composer and then the reset panel. So in the paragraph panel, you can align the paragraphs to the left. You can also align them, the center, by clicking here. And you can align them to the right. You can also do a justified with the exception of the last line to the left. And then you can do the same for the center and to the right as well. This last option, I hardly use its justify all of the lines. If you do that, it's very likely that you get a big space between the words and it just doesn't look really good. When you justify, except for the last line which has these three here. Justify with last line. You have to be careful as well. Because when you have an area type box, which is really short, what you may get is some big spacings between the words. So sometimes that doesn't look really good. Now, let's increase this area to play around more. And let's reset the cart as well. So I'm going to click here and reset the characters. I have a 12 and a mirror. Bro, I'm going to other, let's say 20. And I also want to fill up this area with more Loren Ipsum. What you do is you right-click and then you choose the option, fill with placeholder text. There you go. Have lots of Loren Ipsum as well. And for some reason they're not reset it. So I'm going to reset again. So I'm going to go to paragraph and reset the Loren Ipsum. So Menu reset. And this specific case, I would usually use the justified with exception of the last line. The first options that we have is the left indent, which is this one. And the right indent. Move the left indent and the right indent. You can separate a specific paragraph from the area. So let's say I'm going to select a specific paragraph in the text area. And I'm going to increase the left indent. You can just click here are other specific number or you can use Shift to move them by 10. So the left and then just pushes the text from the left of the text area. Because I've selected only one paragraph, then the left indent is moving only one paragraph. One thing that you have to pay attention to is that you don't have to select the whole paragraph. All you have to do is click in one paragraph. And if the cursor isn't a specific paragraph and you applied the left indent. The paragraph moves as a whole. So you can push the left side holding Shift to increase. And you can also push the right side. As you can see, I haven't moved the third paragraph in a different way. I don't have select the whole text. I just have to place the cursor in a specific paragraph to apply these rules. Below the left indent, you have the first-line indent. So let's say that you want the first line in the end of a specific paragraph to be applied, all you have to do is increase this line. As you can see, I'm not changing all of the paragraphs, but I can't do that if I want. Let me select the selection tool. Select the whole text area. And then I'm going to reset the paragraph again. So I'm going to reset the paint. Oh, there you go. Now let's say I want to first do a justify with last line aligned left. And then I'm going to apply the first-line indent to all the lines. 30. There you go. That's enough for me. Let's say, for example, you want to separate a paragraph from the rest. One way to do it is just go inside the paragraph, press Enter, and maybe you're separating them. But there's a much better way to do this. And the way to do it, it's to create a space before or after a paragraph. You can select a paragraph, or you can just place the cursor in the paragraph and then use this option which is space before paragraph. If you click here holding Shift, it will increase by 10 points. The spacing before the paragraph, if you don't hold Shift, it will just increase one by one. Okay. And let's say I want 2020 before and 20 after. And there you go. Let's say I want this specific configuration to the whole text area. Well, I have to do is select the text area and then just increase here holding Shift. I'm going to add 10 and 10 again. And there you go. Now the view, if you have added 10, why there's so much space here. That's because I have a line here. I can remove this line if I don't want it anymore. And then I will have a space of 10 points before and after each paragraph. Below the spacing of the paragraph, you have the hyphenate option. As you can see here. Some of the words are hyphenated. You can just select the text area and remove this. And then it will remove the hyphenate. If you do that, it may increase some of the spacing between the words. So I usually use hyphenate when I have a really small space to position the text. In this case here, maybe it will look better because the spacing between the words will almost be even among the whole text. Also, when you use half a neat, you can also have advanced options for that when you go to the menu and choose hyphenation. And you can reconfigure some advanced options for hyphenation. I won't go to details, but you can look around and having fun later on. You can also have some other advanced options for justification, which are these ones. 42. Finishing the example - Social Media: Hi there, welcome back. The only thing you have to do here to finish the example that was started is add the text in the bottom. I'm just going to click here. This text line, press CTRL+C, CTRL+F, and coppy And there will be 2 of them. And then I'm going to move one of them to the bottom and write the text that I want. And there you go, now that you have learned how to use character and paragraph, you can change the character, the font, the way you want it. One thing that I would recommend you to do is to use the Selection Tool, select is text area, and then change it to just to justify Left It will look much better. Also, you can increase this text area box a little bit more if you want. In this way, the spaces between the words won't be so big. Or you could also reduce the size of this part of the text. But just remember one thing. This is not a rectangle, OK? When we created, we created in a way that will follow the circle. So if I move again, you will see that this shape has an angle here. I'm going to press CTRL+Z. So if you just increase this shape like this, like a regular rectangle, look at the shape. This won't work, OK? So if you want to change part of the shape, you have to remember what we have seen on earlier classes. I taught you how to use the Direct Selection Tool, which is this one, the White Arrow. Remember? with the White Arrow, you can move just a specific numbers of angles. In this case, we have like 1, 2, 3, 4 and 5 anchors, but you only want to move these two. So the best thing to do is, in this case, select only 2 anchors and move it a little bit more. Hold this shift, and there you go. Remember what you have learned, for characters and paragraphs. I've saved the a file for my students called Solved Live - Instagram. They are inside your resource file. So that it, we finish this example. I hope you enjoyed it. 43. Threading Text: Hi There! We are back, and we're finally going to talk about trading. I told you before that every text area has two squares, one in the beginning of the text area and one in the end of the text area. And I mentioned before that when the text goes beyond the text area. What happens is these rectangles start to be red like I've just added some text and it became red. When it comes red, it means it's an overflow state. It hasn't been deleted. It's there. You just can't see it because it goes beyond the space of text area. The text area, they can be independent or they can be connected when they connect to each other, it means we have a threatening text. For example, let's say I want to unite these text areas together so that the text flows continually. You must first connect the text areas and the way to do that is to use the import and the output. So the import is this square and outport is the below square. When you want to connect the tax area, all you have to do is click on the outport, the Red Square, click once, and then you can either click somewhere else and it will create another text area, like this. I'm going to press CTRL+Z, or you can connect to an existing text area. You just click once and it will connect. So the end of the text in this text area will now go to the beginning of this text area and you can do that throughout several text areas. So, for example, I'm going to continue this text from this text area. Click once and connect to the next. Look at the symbol of this cursor, it changes is indicating that we are going to connect this two text areas, isn't that cool. And the great thing about threading text is that you can do that through several artboards. I could just go to the next artboard. Click on the earlier and click on The Outport. And click on the next text area and there you go. Davi why it doesn't have any text here? Because all of the text that was here came to this text area. It's continuous. If I enter this tax area and write something here, keep writing, keep writing and writing more, it will show up in the next Isn't that's cool! And one important thing here to do is you have to know where you're going to go. So from this text area, do I have to go down or am I going to the right? So let's say it's going to the right and it's going to the right. Click once and connect and then I can connect this one. OK, I'm going to click here, connect on the outport and click it here now. Oops. Sorry, it didn't go, click again. And connected here and then I can click here, click once and then connect to the last text area and there you go! You can always select one of the text area, right click. and fill with placeholder text. I think I've mentioned this before. And there you go. Now, one thing you have to learn is that the type menu on the top has also some functions for threading text. It's here Threaded Text. When you select a text area that has a threatening text. This option will be available Threaded Text. You can release the selection, it will remove this connection, or you can remove the threading. If I release the selection, The text will continue from this place to here. Let me press CTRL+Z, and If I Remove the threading. It just removes all of the threading that I have just done. So be really careful when you use this option here in the option menu type and threaded text. Let me press CTRL+Z. And what I want you to do is open the file and try to make the connections between these text areas. And just remember one more thing, you can't build any type of tax area, so if you want to build a circle, you can!. There you go. And the Ellipse and the Polygon can be connected as well with threading text. Let me show you. And there you go, and click on this one. Find the outport and then connect to them. 44. CMYK: Hi there, welcome back. Today, we're going to talk about CMYK, which is a color mode. It stands for Cyan, Magneta, Yellow and Key, which is black. Applying colors to artwork's is very common in Adobe Illustrator and you do require some knowledge of the color models and the color modes. So color models, they describe the colors we see and work with in digital graphics. Each color model such as RGB, CYMK or HSB they represent a different method for describing and classifying a color. So the CMYK is a color model and it is a subtractive color model. It's based on the CMY color model used in color printing and also used to describe the printing process itself. The first time I saw the CMY color model was with a printer called HP 500c To me it was the best printer ever because it was my first printer and I had it in the 90s, the early 90s. Let me show you how the HP 500c looks like. That printer, it used this color model 20 years ago, and we're still using it. So let's check these callers on how they work together. So as you can see, these three pure colors, they are pigments. And when they combine together, they result in the black color, subtracting the light. And it's for this reason, they are called subtractive colors. The black ink is added for better shadow and density. The letter K came into use because black is the key color for registering other colors and because the letter B also stands for blue. So as you can see in the file color mode, CMYK, we have here an image that is combining all of these colors together. When you're combining the colors, you have a percentage that you can combine with. So if the Cyan is 100% and when you combine it with 50% of the Magneta, you will get a color like this, and so on. And remember, you can also combine these colors with the black color, with a percentage of the black color. When you combine the magnet and yellow, you will get the closest to a black color as well. If you want to choose a specific color or if you want to change the percentage of the colors. The best thing to do is to open the Color Panel where you can find in the Window, Color. Or if you have an object selected, it will show you in the Property Panel when you select either the fill, or the stroke. Sometimes you will see a palette instead of the Color Panel. All you have to do is click here. To the Color Mixer and you'll find the same screen that you can see. Again, when you choose a specific color, it will indicate to you the colors percentage. Davi, I'm not seeing CMYK, I'm seeing RGV or HSB. Well, that's because you're wearing the wrong document. This document that I gave you, the color mode CMYK has a CMYK color mode. Therefore it should be CMYK here. If it's not, you have to go to the menu in the Color Panel and change it to CMYK. and we'll see the others later on. If I choose another color. I will get the 100% of Magneta and a 50% of Cyan. All of these colors here, These circle colors, the shapes, they are 40 percent of the Key, which is the black and the last one, the last column, you get 40% of black plus 100% of Magneta and 50% of Cyan for this option. Each one of these indicates a different form of mixing colors. You can have thousands of color in the CMYK model, all you have to do is mix the colors. So let's say, for example, I'm going to add here a circle. I can just add more yellow, 40%, I can reduce the black. And I can reduce the Magneta. And there you go, and I can increase the Cyan. As you can see here in the Color Panel, I have this option here, which is also very similar to this option here, if I click here. I will switch the fill color to the stroke color, if I click again, I will switch back, if I click again, I will get the none color for the fill and the green color will go to the stroke. Another way to catch a color is just to select one of the color in The CMYK spectrum. And there you go. You just click with your mouse on your getting a specific color here in the spectrum, isn't that cool! 45. RGB: Hi there, welcome back. And it's time for RGB, so let's go. A large percentage of a visible spectrum, everything that we can see with our eyes, it can be represented by mixing the RGB mode, the Red, the Green and the Blue colors. The more we mix each one of these channels, the more light we will have on our color. What's interesting about RGB is that when we mix RGB among themselves, we create the colors used in CYMK, as you can see here, when we use the green from the RGB and the red from the RGB, we get the yellow, the same yellow used in the CYMK, this yellow here. If I click once in the fill, you will get the colors in the the CYMK, but I can change it up here to the RGB. And as you can see, the RGB color is using full red, it's in the maximum and full green and zero of blue and the same goes for the other colors as well. OK, there are just a combination. I'm going to open the Color Panel, to make it easy. Window, Color. These are other combination of colors. So if I mixed 100% of red with 50% of green, I will get this orange here. What is interesting is that RGB is an addictive color mode. So the more color you add, the more lightning you will get. If you have a maximum color of the 3 channels, you will get the pure white, which is this one here. OK, Davi, I understand we have red, we have a green, have a blue, and when they mix together, they make another color. But I don't understand these numbers here. 2 5 5, 2 5 5 and lots of F's. What does that mean in RGB? So let's go to the next artboard to explain this part of the Color Panel to you. So I'm going to go to the second artboard. So RGB is based on three colors, red, green and blue. Each one is a channel of color. The more you mix, the more lightning you will get. But for every number in a color, the computer changes to a binary number. So for each one of these channel, there is a binary code where combining them together, you will get this number here, which is two five five, for example. We have this color here. I'm going to select the Selection Tool. There you go. Which is 1, 2, 6 on the green, zero on the red and zero on the blue. These are, here, are the decimal numbers for this color here, which is this example here. So the red has zero. It can go from 0 to 255. The green has 126 and the blue has zero as well. As you can see here, I'm going to select again this object. And this number here is just the same number of the one above, but it's written in hexadecimal code, the first two numbers, here represents the red, the second two represents the green, and the last two represents the blue. Davi you said these were numbers, but there's a letter E here! But because this is a hexadecimal number, each number can go from zero to 15. And after the number nine, it starts using letters instead of numbers, but this represents the same values that you can see up here. 1 2 6 is 7E in hexadecimal number, which is the same number here in binary code. I'm going to show you using a calculator, which is much easier. OK, so I've opened the calculator. If I write, for example, 126 using the Windows calculator in the programmer mode I will get the hexadecimal number for 126 and the decimal number, which is 126 and also the binary number. It seems that I have made a mistake here, I'm supposed to add zero, so I'm going to add zero here. Sorry. There you go. We got get it fixed. So the binary number for 126 is 0 1 1 1 - 1 1 1 0 OK, the RGB color gammut has 8 bits in each one of the channels. That's the default version of RGB. It's called True Color. But some cameras, they can capture more color, even more than 16 million colors, and they have more bits in each one of the channels. We're not going to go through that in this course. Just understand that you can use a hexadecimal number here in the Color Panel and you can also use the decimal numbers to change the colors. And one more important thing is, let me select one color here, when we select the color using the RGB, we have some of these options here. This indicates it's Out of the Gamut. It means that this color doesn't exist. The CMYK color mode. If you click here, Illustrator will change this color adapting it the better way possible to be used in the CMYK. So although I'm using RGB color mode in this document, I can also change the colors to better adapt to a CMYK model. And at the top we have a cube which indicates that the color is out of the web color warning. So if you want an RGB color that accepts the web safe RGB, all you have to do is click here and it will choose a color that is capable of understanding the RGB Web safe color mode. One more thing. Let's go to the third artboard available. These are RGB colors. OK, so we have a maximum of red, maximum of green and maximum of blue. When we create the artboard we can choose if we want a RGB or a CMYK, but when we go to the options in the artboard options. You can't change it from here anymore. There is a way to change the color of the artboard, but you have to go to File and Document Color Mode and you can change from RGB to CMYK. But be careful because when you do that It will change the colors and the only way to go back is by pressing CTRL+Z. That means if you save in CYMK and close the document, you won't be able to press CTRL+Z again if you're on the Mac you'd have to press CMD+Z. So if you change from GRB to CMYK, save the document and then come back, you will lose all of the colors in your file. So just be real careful when you change from RGB to CMYK, here, in File, Document Color Mode. 46. Swatches Panel: Hi there, welcome back. Today we're going to talk about the Swatches Panel, I'm going to open it, Window and Swatches. And you can increase it a little bit as well if you want. Let me open as well, the Color Panel We have seen the color swatch when we've talked about RGB on CMYK. . There it is. So to start working, remember to open the file Swatches Panel.ai And select the object, the bird, when you select the bird, you can change the fill the stroke here. Or you can even change it using the color or the swatches panel. When you select the fill You have two options at the top, you have the Swatches Panel and Color Panel. The Color Panel is the same one as here, but since it doesn't have a fill, it's using the greyscale. The greyscale Is this one. When you add a fill it will change and you will be able to access the RGB, the CMYK and the HSB. now. One thing that you have to pay attention to is that when you access the Swatches Panel inside the Properties Panel, you don't have two options here on the right These are the thumbnail view and the list view, what you get is just the thumbnail view, but you can have also the list view, as you can see, You can't do that here. All right, so using the thumbnail view, when you have an object selected, all you have to do is click on the color. And you will get that color for this object. In the Swatches Panel, you have also below the libraries You can add more color to your Swatches Panel, let's add some, so I'll go to color book, I'm going to click here and just add two colors and then I'm going to close this one and add some more, Color Books and PANTONE. OK, I am intentionally adding some specific colors so we can talk about later, OK, and let's add some Gradients. Calor Harmonies, I'm going to add these ones, every time I choose a color, the object change the color. And gradients as well. And Sky. OK, great. So every time I click in a color, inside the library, it's added to my color Swatches Panel. All of these colors, they belong to this document, the Swatches Panel document, if you try to open another document, you won't be able to access these colors. You have to go to the library and add them one by one. On the top left of the swatches, you have the fill color and the stroke color. If you just click here, you can choose a color for the stroke and a color for the fill, since the fill is selected, when I choose a color, It changes the color of the fill. But if I select the stroke, it will change the color of the stroke. Let me increase the size of the stroke in this document. So you can see it better, I can select the object again and choose, for example, a gradient for the stroke, since the stroke is on top, it will select a color for the stroke. And we also have what we call patterns. I'm going to select the fill to show you. I have selected the fill and I'm going to like this object here and the film and choose a pattern. These are patterns. When you click on it, you have a really special color to use. Now, let's check the top options, the first one is None. When you click here, the object doesn't have a specific color for this option, for the fill, if I choose stroke and then click in none, it will go blank. The second one, you have to pay attention because it's called registration object. Let me select the fill color again and click it here. This is the registration swatch, it is used for PostScript printer, although it's black, you're not supposed to use it as a black color if you use it as a black color on text. It's very likely that the printer will show the color of muddy. OK, so this is just for post script printer and we're not going to use the registration's watch. The next one is white. And the next one, the black, the real black, all of these are regular colors, they are called process colors. How do you know the difference Davi? There are 2 types of colors Either they are process colors or they are spot colors. Spot colors have a little dot here below. Do you remember that I have added some colors to the Swatch? Well these ones I added intentionally because they're called Spot Colors. So we have the process colors, which is a RGB or CYMK colors. We have also the Gradients with, which is a blended of colors. We have Pattern colors, which is this one's. We have the spot colors and we also have what we call global colors, global colors have a little triangle . Below the colors, we have the groups, so we have a greyscale, a web colorgroup and a gradient. You might not have this one, but I can teach you how to add it later on. And below the colors, we have the Swatch Libraries, that we have seen. On the right, we have the Color Theme Panel. Next, we have an option to add some colors to our libraries. So if I select, for example, this blue here, I can click it here and the selected color to a group in my current library. If I do this, this color will be added to my libraries, and when the color is inside the libraries, I can use it anywhere I want. On the right, you have a filter. Let me select Properties before. So here we have a filter, if you click here, you can filter which colors times you want. If I only want the color swatches, I can click here and I won't see the gradients and I won't see also the patterns. If I click again, I can show only the gradients or I can show only the patterns or I can only show the color groups. Basically, this is a filter. Next, you have the Swatch options, you click here, you can access a specific color from the swatches panel, so let's select the red one, I'm going to select the red one and choose the Swatches Option in the swatches options. I can change the name of the Swatch. I can change if the color type is a process color or a spot color. Below, you can choose it if it's a global color or if it's not a global color. Below if the color mode That you can choose for this a specific color and you can add it or not to the library. What you have to pay attention here, in the Swatches Option, is that if you select a pattern, the screen will be a little bit different. It will show you another panel. This is a Patterns Options Panel. I'm going to close it and go back and you can access that Panel by going to Window and Pattern Options, OK, or in the swatches panel, when you have a pattern selected, you can click on option to edit the pattern. I'm going to close it. On the right, you can add a new color group, click here. And there you go. And you can select a color, a process color, and just if you want, you can add it. As a new Swatch, for example, I'm going to add it as Red 2, just to show you. And then I'm going to drag it. To my new group, I have added this color as a global color. I know that because it has a little triangle below on the right, if I double click on it, It's called global. If I unmark it and click OK, it will remove the little triangle below. If I click on the color, I can delete it. And click, yes, to delete. Another way to view the Swatches Panel is by clicking here on the show list view, when you click here, you'll have all the colors listed. There's a specific symbol for the none color, which is this one. There's a specific symbol for the registration color and for the RGB also, as you can see, these are the symbols for the RGB colors. Below. When you have a Spot Color, you will also get a different symbol. This is the symbol for spot colors and bellow we have a specific symbol when the color is a global color. One other thing, let me go to the top. If I change this document from RGB to CMYK, by going to File, Document Color Mode, CMYK, it will change the symbol on the right, indicating that this is also a CMYK color. 47. Practice - Celtic Cross: I would like you to practice using the tools that you already know to build this celtic cross, and then I want you to color it using the Color Panel and the Swatches Panel. 48. Practice Solved - Celtic Cross: Hi There, we are back. If you were able to build the cross easily, you can just jump to the next class. I'm going to build first the hardest part, which is this one. I'm going to use the Ellipse Tool. I'm going to click once and build it, an Ellipse. And there you go. And then I'm going to copy the Ellipse, CTRL+C, CTRL+F and drag it down, holding shift, I'm going to select both of them because I'm going to remove the fill to make it easy for you to see. And then I'm going to copy again, CTRL+C, CTRL+F and just drag it around, holding shift. So I'm going to move it up now. So I'm going to zoom in, and I'm going to press CTRL+Y to see the exact place where these two ellipse cross and I'm going to use the center of the other ellipse to move it and position it in the correct place. And it's good enough for me. CTRL+Y And back the zoom, I'm going to fit on the screen. And this is the symbol we want, but I'm going to remove everything that I don't want using the Shape Builder Tool There you go. All right, now I'm going to teach you something new, I'm going to select everything, increase the stroke and I'm going to transform these shapes in a way that the size of the stroke is going to become a new shape there. The specific option for that in Illustrator, which is Object, Path, and Outline Stroke, and it transforms the size of the stroke into a new shape. I'm going to choose a Stroke of black and a Fill of white. What I'm going to do is, I'm going to select the shape. To unite theses parts here. Now, pay attention, because sometimes, I'm going to zoom in, you will get some extra parts here, which you have to fix. OK, so I'm going to fix this, fix this here. And, I guess this is it. Let me zoom out and select the Selection Tool, go to Properties and check out how the object is. Maybe you'll have some garbage around. I can see that I have it. It's here. And if you want, you can just delete it. And you should have three objects. Let me zoom out. I'm going to select the object and just move it to the left. Let's build across now. So I'm going to select the Rectangle Tool And they have to change the corners to rounded corners. There you go. Just make a copy CTRL+C, CTRL+F, of the object and rotated. No, I'm going to select both of the object, and I'm going to remove the fill to none. And I'm going to add some circles here. Ellipse Tool and select the place, SHIFT and ALT. When you're happy with the circle, pressCTRL+C, CTRL+F make a copy, using the Selection Tool, just move, holding SHIFT, again. If you don't want to press CTRL+C, CTRL+F you can move the object and after you start moving, holding the key of the mouse, you can press the ALT key, and it will make a copy, and then press the SHIFT key. And there you go. So I'm going to move and copy at the same time. So I'm going to select everything now and then, with the Shape Builder Tool, I'm going to remove everything that I don't want, holding the ALT key on the windows or the OPTION key on the Mac. There you go. And the inside part, I'm just going to unite using the Shape Builder Tool. Now, I can build this star here using the Star Tool, just press once and 4 points because you only need 4 points in this case. And the trick part here is instead of having corners, you can change it into curves. I'm going to zoom in. How can I change a corner to a curve? You can do that with the Curvature Tool, we have seen this before, you just have to double click on an anchor point, and it will change from a corner to a curve. I'm going to zoom out. So I'm going to select everything, group at first, and then bring it to front. And then I'm going to move it more or less here to find the place and then resize the object, holding Shift. Now that I have this object, and I think the size is really good. All I have to do is copy and put one on the top. I can press CTRL+C, CTRL+F or I can start dragging and then hold the ALT key. It will make a copy, hold the shift to go in a straight line. There you go. If you're on a Mac, remember, it's not ALT, it's the OPTION key. And release it. Now have to build 2 of these to position it here. First, let me rotate this. There you go. The rest is only circles, you should manage to do it, but I wanted you to paint the object as well. So you're supposed to select the object and using the Swatches Panel, choose some colors for the swatches. Remember, you have to choose the stroke color and the fill color. If you want, you can select all of the objects, and then just choose a specific color once. One way to do it is to have the same color of this shape as the color in the background. So for the Stroke, I've added the same color and it will give an illusion of the same object that you have been seeing here, for the star in the center, All you have to do is choose a none for the stroke and a fill of white. And there you go, we've builder the cross. I'm sure you're capable of building the circles and choosing the colors for it. 49. Adobe Color Themes: Hi there, we are back. And today were going to talk about Adobe Color Theme. The Adobe Color Theme is a Specific Panel inside Illustrator and you can find it in Window, Color Themes You can also access this panel if you go to the swatches panel, so if I select an object, go to fill, there's this option here, open color theme panel. So inside the Swatches Panel, you can access the Adobe Color Theme. As you can see, I have the file opened Adobe Color Theme.ai which basically is a file with several images that we worked during the course. Let me fit on screen. There you go. OK, and open again, the Color Theme. And there you go. So before we start talking about the Color Theme Panel, which is this one, I want you to know that Adobe has a Web application there is called Adobe Color. Let me show you, I'm going to open the navigator. And there you go. And this is the color web based application that Adobe uses. The Adobe Color theme Panel also accesses all of the information in the Adobe color application to provide a better user experience with the color themes Panel. So let me go back to Illustrator. And there's one more thing, for the Adobe Color Theme to work, you will need to have access to the Internet. So basically, all you have to do is open the Color Themes and you can create colors or you can explore colors, when you access the explore option, you will be able to access public colors that are available to you using the Adobe Color Theme. So somebody must have published this colors and you can use them in your work. One other good thing to do is just to type something here. For example, cat I can type cat, press enter, and it will search for me for some cat colors that I can use. One good thing to do is, after you do a search and you find a specific group of colors that you're going to use, is to and these colors, this group of colors to your Swatches Panel, all you have to do is click here and add to Swatches, when you add the swatches You can go to your Swatches Panel and it will be here. Also, you can add this group of Colors to your favorite colors, just by clicking here to my favorites, when you do that, you can just come here and search for your Appreciations. My published themes. Most popular. Most used, or just random. And you're also able to search for monthly, weekly or all themes when you select My Themes you will also be able to look for all of the color themes that have been added to your libraries. Now, what I want you to do is, go to explore, Search for a group of colors, here. You can search for most popular, most used or most popular search for specific words and find colors to paint these artworks. So you have around 4 artworks, in this file, Adobe Color Theme.ai, and I want you to repaint it by adding some of the group colors to your swatches Panel. . 50. Recolor Artwork: Hi there. We're back. Today we're going to talk about Recolor Artwork. I have selected the first object, in the first artboard. There are several other artboards here. I'm going to zoom out, and zooming again, and let me fit on screen. All right. So what we're going to do is: we're going to recolor this artwork using Illustrator to help us choose the color. When you have an object selected, you can use the quick actions options, which is called recolor, right here, in the Properties Panel, or using the control bar. There's an option that shows here, on top Recolor Artwork. Basically, what's going to do is, Illustrator is going to help us choose different colors for the object that you have selected. When you click on the Recolor Option, it will show you the basic functions of the Recolor Artwork menu. If you click below on Advanced Options, you will get the advance options. For now, let's stick to the basic options. And let me move to the right. There you go. So this is the basic option for the recolor artwork, and I have an object selected. If I want, I can change the colors, by clicking here, Change Color Order Randomly. It will change all of the colors, among themselves, and then it will go back to normal. And where it is? And there you go. Or I can just change the saturation of the color and the brightness randomly, all you have to do is click here and start changing the colors of the object until you have an option that might suit you. And this case is not choosing the colors in the back, but I can, below, increase the brightness or decrease the brightness or I can even change the colors using the color wheel. Just remember, if you want all of the colors to change at the same time. This option here must be marked. It has to have a link among all of the colors so that when you move the colors, all of them will change at the same time. Cool, huh? You can also choose one of the colors groups in the color library just by going on the top and choosing a different color. So if I choose a different color, for example, corporate, it will choose colors in this group of colors to change this object. And again, using these new colors, I can just move the color wheel and select another color as well. You can also change the number of colors that are going to be changed. And you can also reset to the original colors, by clicking here on the top. Just remember, when you're using the recolour artwork, if you change the colors and just CTRL+Z, it will work as well. OK. All right, let's reset it and now let's go to the advanced options. If you click here, it will show you the advanced options of the recolour artwork. By default, the color black on the color white won't be changing automatically. If you wanted to change automatically, with all of the other colors in the object, you'll have to click here to make sure an arrow is created and you have to check the all the colors will be changing as well. After you assign a color, you can just click here. To add a specific color to white and to black so that when these colors changes, it will change as well. So let's go to the Edit option, which is very similar to the options that we did in the basic view of the recolour artwork. There you go. We have the color will again. And if you have the link option selected, you can move the color wheel. To change the colors, if you unlink the harmony colors you will change only one of the colors at a time. There you go. Isn't that cool! Anyway, you can then link again and move all of the colors at once. You can always reset the colors and then choose them from the menu, this menu is accessing the Adobe Color Themes to help you choose the colors for you. For example, I can choose complementary Colors, and just click here. And then if the option is marked as linked, I can move them around to choose a better color for my object. I can also choose all the different colors, like, for example, monochromatic or analog colors. There you go. And again, if it's linked, I can just move once. And it will change all of the color at once. Isn't that cool! Of course, I'm not choosing the best colors, but it's really up to you on how you're going to use this function inside Adobe Illustrator. In the color wheel, below, you can increase or decrease the brightness. There you go. You can also change the color wheel to display fragmented colors and just to display bars. Below the color wheel, you will also get the HSB color mode, which is Hue, Saturation and Brightness, and you can change the colors here as well. Just make sure you have the correct color selected so that when you change it, it will change this color. For example, if I unlink it and if I just want this color to be changed, I have to select the color and then change the positio tn. There you go! When you have select the correct position you can just link again and move the color wheel all at once. You can also mark the open the Advanced Recolor artwork dialogue on launch, this means the advanced options will be launched automatically. And you can also save this color here, by clicking new color group. If I click here, this color will be added to my Swatches, to my Swatches Panel. So let me click, OK, if I go to my Swatches Panel. There you go. This is the color that I have added. To practice more, I want you to recolor all of the artworks here, so using the recolour artwork, I want you to change the colors of these objects, all of them. And this is it. 51. Gradients: Hi there, welcome back. And today we're finally going to talk about Gradients, we're going to work mainly on the bird, so the bird is on artboard number 4, make sure you fit on the screen. And let's talk about gradients. You can access the gradients using the toolbar and this option here gradient. Or you can also access the gradient by going to Window, Gradients. When you have an object selected and when you click on the Gradient Toolbar automatically it will add a gradient for you by default. It will also add the linear gradient. There's three types of gradients, the Gradient Panel. We have the Linear Gradient, the Radio Gradient and the Freeform Gradient. And when you click in the Linear Gradient, it will show you the Gradient Annotator, on the left side of the Gradient Annotator there is a circle And on the right side, there's a rectangle. The rectangle can be used to enlarge the annotator and to reduce the Annotator. On the left side of the Annotator, you can use it to reposition the Annotator. In the Linear Gradient, you can also reposition the gradient just by clicking Once, holding the left of the mouse, and reposition the place where you want the annotator. The colors inside the gradient annotator they are called Stop Colors, in the middle of the annotator. Between those two colors, we have what we call a midpoint. You can reposition the midpoint as well Just make clicking and dragging. Right now, I only have two columns blending in this gradient, but if I want, I can run multiple colors as well. Below the grading slider, the mouse cursor will change by adding a plus, if I just click it here, it will add another color and another midpoint if I double click in one of the colors I can choose a different color from the color panel or from the swatches panel, you can even choose a color picker, which is the eyedropper tool to choose a different color. Let's choose this one Let me go back. I can change the position of the midpoint so that the black color won't have so much of an effect in it . I can also increase. The size of the graded so that I can hardly see the black. On the grading panels You can also choose one of the gradient colors that you have on your swatches panel, just by clicking here. Let me choose the sky, and this by default has 4 Color Stops and 3 Midpoints between them, you can change it as well, either by clicking once in the image and dragging. Let me zoom in. Let me zoom out. So these gradients here, they're all located here in the swatches panel. If you want other gradients to the swatches panel by going to libraries gradients And if I just add them. And I'm going to add another one. So if I add other gradients to my swatches panel, I can also access the gradients here. All of these were gradients with a linear type, but I can have a gradient as well with a radio type, the Radio Gradient also has the rectangle. And it also has the circle. And again, the Radio Gradient also have the midpoints to change, and the Stop Colors, which are these ones, and you can change it using the image or using the gradient panel, if for some reason you don't like one of the colors, you can just click on the color, in the gradient the panel and press the delete stop. Let me delete the middle color here, when you have only 2 stop colors, then you can't delete them anymore because you need at least 2 colors to create a gradient. If I double click on this color, I can change the color from the color swatches or from the color panel, but I can't choose a none color. If you go to the caller panel, there will be one option here, which is none. But on the gradient panel, you can't access this color. But there is a workaround so that you can use an none color. All you have to do is with the color selected, choose 0% of opacity. If you do that and press OK, you will get a transparent color mixing with the other color. Although we have a gray color here, because I chose zero percent of opacity, it means that this part of the color will be transparent, will be none. So I'm mixing this gray with a zero percent transparency. And one more thing. When you have a linear gradient, 100% of opacity, if you want, you can change, reverse the gradient. That means that you're going to change this color of the gradient to here and this color to hear if you just click it here, and there you go, you can reposition the gradient and this is it. We've learned how to use the gradients with the linear gradient and the radio gradient. I want you to change the colors of these objects in the order artboards And start using some gradients colors to play around, to have some fun and to see how the grid works. 52. Gradients - Freeform: Hi there, welcome back. And today we're finally going to talk about Gradients, we're going to work mainly on the bird, so the bird is on artboard number 4, make sure you fit on the screen. And let's talk about gradients. You can access the gradients using the toolbar and this option here gradient. Or you can also access the gradient by going to Window, Gradients. When you have an object selected and when you click on the Gradient Toolbar automatically it will add a gradient for you by default. It will also add the linear gradient. There's three types of gradients, the Gradient Panel. We have the Linear Gradient, the Radio Gradient and the Freeform Gradient. And when you click in the Linear Gradient, it will show you the Gradient Annotator, on the left side of the Gradient Annotator there is a circle And on the right side, there's a rectangle. The rectangle can be used to enlarge the annotator and to reduce the Annotator. On the left side of the Annotator, you can use it to reposition the Annotator. In the Linear Gradient, you can also reposition the gradient just by clicking Once, holding the left of the mouse, and reposition the place where you want the annotator. The colors inside the gradient annotator they are called Stop Colors, in the middle of the annotator. Between those two colors, we have what we call a midpoint. You can reposition the midpoint as well Just make clicking and dragging. Right now, I only have two columns blending in this gradient, but if I want, I can run multiple colors as well. Below the grading slider, the mouse cursor will change by adding a plus, if I just click it here, it will add another color and another midpoint if I double click in one of the colors I can choose a different color from the color panel or from the swatches panel, you can even choose a color picker, which is the eyedropper tool to choose a different color. Let's choose this one Let me go back. I can change the position of the midpoint so that the black color won't have so much of an effect in it . I can also increase. The size of the graded so that I can hardly see the black. On the grading panels You can also choose one of the gradient colors that you have on your swatches panel, just by clicking here. Let me choose the sky, and this by default has 4 Color Stops and 3 Midpoints between them, you can change it as well, either by clicking once in the image and dragging. Let me zoom in. Let me zoom out. So these gradients here, they're all located here in the swatches panel. If you want other gradients to the swatches panel by going to libraries gradients And if I just add them. And I'm going to add another one. So if I add other gradients to my swatches panel, I can also access the gradients here. All of these were gradients with a linear type, but I can have a gradient as well with a radio type, the Radio Gradient also has the rectangle. And it also has the circle. And again, the Radio Gradient also have the midpoints to change, and the Stop Colors, which are these ones, and you can change it using the image or using the gradient panel, if for some reason you don't like one of the colors, you can just click on the color, in the gradient the panel and press the delete stop. Let me delete the middle color here, when you have only 2 stop colors, then you can't delete them anymore because you need at least 2 colors to create a gradient. If I double click on this color, I can change the color from the color swatches or from the color panel, but I can't choose a none color. If you go to the caller panel, there will be one option here, which is none. But on the gradient panel, you can't access this color. But there is a workaround so that you can use an none color. All you have to do is with the color selected, choose 0% of opacity. If you do that and press OK, you will get a transparent color mixing with the other color. Although we have a gray color here, because I chose zero percent of opacity, it means that this part of the color will be transparent, will be none. So I'm mixing this gray with a zero percent transparency. And one more thing. When you have a linear gradient, 100% of opacity, if you want, you can change, reverse the gradient. That means that you're going to change this color of the gradient to here and this color to hear if you just click it here, and there you go, you can reposition the gradient and this is it. We've learned how to use the gradients with the linear gradient and the radio gradient. I want you to change the colors of these objects in the order artboards And start using some gradients colors to play around, to have some fun and to see how the grid works. 53. Practice - Panda: In this practice, we're going to exercise what you have learned in the gradients. We are also going to apply some of the tools that you already learned during the course. Please do open the file Practice Gradient Panda.ai Instead of having colors, normal colors, it has gradients. Therefore, you have to draw the Panda, here in the artboard, and then apply what you have learned with the Gradient Tool and the Gradient Panel. 54. Practice Solved - Panda: All right, we're back and we're going to solve the exercise, the practice gradient panda and I have the file open, Practice Gradient Panda.ai. So as you can see, in this example, we have lots of Ellipses. Let me add the Ellipse Tool, start building some Ellipses. Because the last color I used was a gradient, then I have a gradient here, but I'm going to choose white and a stroke of black just for now. As you can see here, I have some black colors in the ears, so I'm going to select the ears and I'm going to go to Properties and I'm going to select the gradient and I'm going to change the colors of the gradients and put some black color here. And then, for the other color, for the other stop color, I'm going to use this color here or maybe this one. Let me zoom out a little. Fit on the screen and then zoom out. All you have to do is select on the other ear, Eyedropper Tool, and you can do the same with the ears as well and the face. That's just not calling for the face. I'm going to choose the radio color, the radio gradient, and then I'm going to choose a stop color of gray And then, the other one, I'm going to choose an almost white. There you go. And when you're happy with it, all you have to do is select the other objects that will have the same colors and use the Eyedropper Tool to get those colors,| again with the eyes, I'm going to choose linear gradient and then I'm going to choose a black color. And then with the other one, I'm going to choose a darker gray color. This one, and I'm going to zoom in just to check it out, and I can edit the gradient and reposition it, by clicking once, holding and releasing somewhere else. OK, if you're happy, all you have to do is select the other eye Eyedropper Tool and get the color. When you get the color, sometimes you have to rearrange the position. So you're going to have to, I think this is group, so I'm going to right click and ungroup it and then I'm going to get this object and get the Eyedropper to get this color. If the color is not in the right position, you have to press the edit gradient to reposition the way you want it to. OK. And for the Eye I'm going to choose a black color. There you go. And for the other eye as well. I'm using the swatches panel. There you go. And this one, I'm going to choose the white color and the front as well, the white. Let me paint as well. The nose. And then I'm going to zoom out, one thing that you could do, is you can select everything, Without the mouse, and you can remove the strokes of all of the other objects, it will look much better. I didn't select the mouse because these are strokes. OK, let's make a background as well. And I'm going to choose some colors, a gradient color for it. There you go. And let's choose one of these colors and here I'm going to choose a white or maybe this one is much better, OK? There you go. Selection Tool 55. Global Colors and Global Edit: Please do open the file Global Colors and Global Edit. To teach you global callers. First, I have to open the swatches panel. In this file, I have three global colors, if you have a triangle below the color. It means it's a global color if it's in the list view. The symbol for global colors is this one is this square here. Let's go back to the icon view. If you want to create a new color, all you have to do is click on the new swatches and you have to define it. as a global color. What does it mean to be global, it means it can be used anywhere in the file. Therefore, if you change this color, it will affect all of the objects that you have used, this color. And so, for example, let's say I want to change the black color. All I have to do is double click on it and change this color, let's say, to red. There you go, and you can preview if you want, and it will show you everywhere where the red is being used. If you're not sure on what colors you're going to use or if you want to reuse these objects in another project, you can apply global colors to them in a way that all you have to do is change the colors and it will apply to all of the objects in your artwork. So, for example, let's say I want to use in a site and the colors I wanted to apply would not be black, would be green. All I had to do is double click on it and change it to green. It's green, and it's easy to change, it's easy to maintain, and you can always use another mode. Some of the colors are darker and others are lighter. So if I double click in the light color, I can also change it as well. And there you go. You didn't see much of a change because the colors that I have changed, what, this one's on the top. Aside from global colors, you also have what we call a global edit. A global edit, is when you want to change something in your project without having to change the colors. So, for example, let me close this. And let's see, I want to change this size of the circle all at once when you select an object that has a related object in your file. All you have to do is go to Properties, the Properties Panel in the bottom. There's an option called Start Global Edit. It will select Similar objects to the ones I have selected. Just be careful because the global edit has a filter. If you click on a sign here, you can remove the appearance and remove the size And select all of the artboards are not. Now, as you have seen, I have removed the filter from the global edit and now all of these circles have been selected. So, for example, if I click outside, stop global edit and then select the letter F. And let's say I want to change this letter F, all I have to do is start the global edit and it will select all of the similar letters F inside this file, but you have to be careful because, for example, if I say like the circle and if I want to change all of the circles, all I have to do is start global edit. You have to be very careful here because in this case, since I'm not filtering anything, it means that Illustrator also selected all those circles. Let me zoom in here. As you can see, it has selected other circles as well. So if I change the size of this circle, SHIFT, holding ALT, it will change all of the other circles as well. Let me press CTRL+Z. If I change the color of the circle, to another color, instead of the global color, that it's not the global color, And then I'm going to touch outside and it will change the colors of the circle. Let me press CTRL+Z to maintain the global color. Remember, when you're using the global edit to use the filter to select the correct objects or else you might be making a mess in your artwork. 56. Magic Wand Tool: Hi there and welcome back. Today, we're going to talk about the Magic Wand Tool. In Illustrator, The Magic Wand Tool lets you select objects of the same color stroke, weight, stroke color, opacity, and also by blending modes just by clicking on the object. The magic one tool is here below the Selection Tool. I want you to be very careful, because there is a Magic Wand Tool in illustrator and there's also a Magic Wand Tool in Photoshop. There are different. Illustrator is a vector software, Photoshop works with pixels. Therefore, in Photoshop the magic wand selects pixels based on the tone of colors. So in Illustrator, when you want to select multiple objects that are similar, you can use the magic wand tool to select them all. All you have to do is click in the magic wand tool, click in one of the objects, and all of the other objects that are related to this object, they will be selected. Davi, there are some green objects that are being selected as well. Why is that? Because there there's a filter in the Magic Wand. If you want to customize the filter you have to double click to see the options for the filter, just here in the Magic Wand Tool, double click and you will get these options here, fill color and the tolerance, stroke color and the tolerance. And this option here, it's getting a tolerance of 32, what you have to understand is that if you're using CMYK, this value will go from zero to 100. If you are using RGB, it will go from zero to 255. In our case, we are using RGB. This document is an RGB color document, so it will go this far. The same goes for stroke colors and they opacity. But the opacity will be a percentage value, depending on the tolerance, it might select other objects as well. So let's reduce the fill color tolerance to zero and try it again. So I'm going to select the Selection Tool, click outside, deselect all of the objects, and select again, the Magic Wand Tool. Now I'm going to select only this object here, and click on it. There you go. Now, I don't have the green object selected. I only have this one. And it will select similar objects. It will be similar according to what? According to the fill color. Let's say I want something similar to the stroke color, I will have a tolerance as well. In this case, I don't have any object with a stroke color, so I'm going to remove it. And I can have a filter as well for the Stroke Weight. And the next one is the opacity, so if one of the object has an opacity, it will select according to the tolerency of the opacity. Let me remove this and close it, and let's change one of the objects opacity. This one, I'm going to change it to, let's say 50. 52 , and then I'm going to select another one, very similar to this one. Let me bring it here. And I'm going to change the opacity as well to, let's say, 50. There you go. So I have one object with 50% opacity and the other one has 52, if I double click on the Magic Wand Tool, choose to filter by opacity and have a tolerance of 5%, when I select one of these objects, both of them will be selected because the different is only 2%. . Click outside, to deselect and click again. There you go, in the Magic Wand, we can choose my fill color, stroke color, stroke weight, opacity, and the last one is blending mode. You haven't seen blending mode yet. Just a quick explanation. Blending mode is just a different way for you to create an opacity that relates to objects and their backgrounds. The blending modes are in window and transparency Panel, there you go. This is the blending mode. OK, to show you really quickly, I'm going to close this. And I'm going to select these two objects and put back the opacity to 100%. OK, so I'm going to select these objects here, half of them, and I'm going to choose a specific blending mode for them, let's say multiply. OK, don't worry. We're going to see in details later on. There you go. It change the color according to the background. And I'm going to select the below ones. And I'm going to choose another blending mode, let's say color burn. It's a little bit different. I'm going to teach you that it's possible to select objects according to the blending modes by choosing the Magic Wand Tool. So if I select the Magic Wand Tool, double click on it. Remove the opacity and choose blending mode, if I select blending mode, it will select the same objects that have the same blending mode. So if I choose one of the top objects. It was like all of the objects with the same blending mode, now let's say I want blending mode and FILL color, I'll click here, choose fill color, zero tolerance, blending modes and click outside and click again. There you go. Now I have the same object, with the same fill color and the same blending mode. If I remove the fill color and click below. I will get all of the objects with the color burn blending mode because I can see it here Color burn, as you can see, in the middle. We have a larger object. Let's say you want to choose objects in the same size. Can you do that with magic wand? No, you can't, because the only options you have to filter the magic ones are these ones. 57. Practice - Repaint the cat: All right, so let's solve the exercise. Remember, we're using the file Practice repaint the cat.ai So let's go. The first thing I'm going to do is I'm going to choose the color in Adobe Color Themes I'm going to search for colors related to cat. All I need to do is write the key words cat press, enter and Adobe will provide for me public colors related to cat. And you can use it to paint your own cat. I'm going to choose this one cat cafe, so I'm going to choose this one, add to swatches, and here it is. And I'm going to close this because I don't need this anymore. All you have to do is select the object, select the fill and choose one of the colors. if you want, you don't really have to select the fill because the swatches are already selected. So if the swatches are already selected and if this option here is in front, it means that you're going to choose the color for the fill. If the stroke is in front. I clicked in the stroke. It means I'm going to select the color for the stroke. So if you keep the swatches open and if the fill is in front, it's just the same thing I have going here and choosing a color. So I'm going to choose a color for the face, which one, let's choose this one for now, and all you have to do is select the object and choose the color, select the object and choose a color. There you go. This is a one way to do it, you know, there's several ways. Now, let's work a little bit harder and make and better icon of this cat, let's use the gradients. So I'm going to select the color of the face now and choose the gradients for it. I could choose the Linear Gradient, for example, and then start choosing the colo|rs. All you have to do is double click, in the colour and select the colour here, for the gradients. You have to open this panel here, which is equivalent to this one. you can't just like this color or else it will change the color of the gradient. so you have to select the gradient and change the color from the gradient panel or else it will just think that it's not a gradient anymore. It's just a regular color. So in the gradient panel, let's change these colors here to see if we can do something better. Let's double click on it and select one of the colors in the group colors that we've worked with. But I'm using a linear gradient, so let's change the position of the linear and then you can choose to change in the gradient slider. All right, maybe like this, anyway, it's really up to you. But in this case, since the face is a rounded face, maybe if I used radial gradient. Selection Tool, how does it look now, the gradients? I tried to make the light come from the left side, the top left, going down. So what we did here with the face, I can do as well with the rest of the objects. Let me zoom out and there's the cat. It has new colors. It was repainted using the gradients, using the swatches, and this is it. 58. Practice Social Media Intro: Hi there, welcome back. We're going to practice a lot and we're going to start with some social media related to Black Friday. So basically, I want you to create all of these social media. We have basically 3 social media related to Black Friday and some variations in the background for those social media. So let's just check some of the files for the Black Friday social media. We have the Solved file, which is this one Solved - practice Black Friday.ai And we also have the file that you are going to work with, which is this one Practice Black Friday.ai In this file, we have just the image, that you're going to work with, and several artboards. The idea is for you to replicate this image in these artboards. 59. Practice Solved - Black Friday Artboards: Hi there, welcome back. If you think this subject is already too easy for you, you can just jump for the next class. Since you already have the file available for you. You don't really have to replicate what I'm going to do. I'm going to create a new file. I'm going to choose 1080 by 1080 I already have one here on my recent files. If I don't have one, I can just build one here as well, just write 1080 by 1080. Remember, I'm choosing pixels. And since the height in the width are the same, the orientation, it doesn't really change. In my original file I had 9 artboards. I can create all of the 9 here and I'm not going to bleed because this is use when you want to print something and I'm going to use RGB, I'm just going to create for you. There you go. We have 9 of them, I taught you how to use the artboards panel. And in this panel, the artboard panel, you can reorder all of your artboards or you can just create more here on the plus signs, all you have to do is click here. I'm going to choose the layout order from left to right and I'm going to choose the grid by row. And I just want 3 of them. But they spacing, I want a larger spacing, let's say a 1000. And if you already had some objects in your artboards, I would recommend that you keep this marked on so the objects can move when the artboards are moving. But just remember, if the objects were locked, then you wouldn't be able to move them. Another way to reorder the artboards is by using the artboard tools. All you have to do is move them along using the art tools to reorder the way you like, I'm going to press CTRL+Z. Another way to build it, if you are not sure how many boards you are going to create. Let me delete these. Deleted, let's say you didn't know how many artboard, so you have 3, you can always create using the artboard tool and holding shift and clicking on the artboards names and then just moving, holding the ALT key and shift. There you go. But not all of the functions here that works with objects also works with artwork's. For example, if you press CTRL+C and CTRL+F to copy above, it doesn't work for the artboards. But if you press CTRL+C and CTRL+V, it copies and you can move them. When I'm copying an artboar, I much rather copy with the ALT key, so I usually select all of them using the shift key and I move holding the ALT key and holding the shift key so that it moves in a straight line using the smart guides. And this is just another way to copy artboards. As you can see, the names of the artboards is a little bit different. It says, copy, copy, copy. OK, so let's press CTRL+Z. This is just a quick review of what we already studied. And there you go. This is it. We have the 9 artbords, but in the original files I also have some guides. How can I create a guide? Does anyone remember? its with the ruler So we have to activate the ruler, view, and show ruler. Let me close this panel. We're not going to need it anymore. And let me zoom in the first artboard. A really good way to use a ruler is to mark the ruler in the zero position of your artwork. All you have to do is double click here in the corner of the ruler with the artboard selected. So I have the first artboard selected, and if I double click here, it will position the zero of the height and the zero of the width in the first position of the artboard. And there you go. All I have to do now, to create a guide, is to click and hold, in the ruler and drag it down. And I'm going to leave it on the 40 pixels. As you can see, I'm using the ruler also to show me where I'm going to position when I release. It creates a guide. If I go to the layers, there will be a guide object here in the layer. If you want, you can also zoom in even more to make sure that the guide is in the correct position. OK, it's good for me and I'm going to drag one here as well from the left corner. And there you go. And all you have to do is replicate this for all of your corners. I'm going to go down here, zoom out and zoom in again. And there you go. Let me add one here, to this position. Since I have an artboard that it's 1080 by 1080. And if I want a guide with 40 pixels, that means I'm going to position this in 1040. OK, so I'm going to drag, one guide here to 1040 and it's here. And there you go. Let me zoom out. And since all of the artboards are in order, it means that these are words are also using the same guides. So if I build more guides here, these artboards will use them as well. One other way to create the guides is just to copy the ones existing. So I'm going to click here, hold shifts and click here. And there you go. And I'm going to drag holding the ALT key. And I'm going to select these ones and drag holding the ALT key. We need also to place the images and how do we place images? just by going to file and place, but before placing the images, I'm going to add a new layer here. That's placed the first image for the first artboard. All I have to do is file and place, CLTR+SHIFT+P and you can choose the image. Select the image and just click on place and you can choose the size of the image, or you can just click once and then reduced to the size that you want. You can reduce here holding shifts to maintain the scale, or you can always change it in the Properties Panel by using also a plus sign or divide signs. So let me press CTRL+Z, to go back. And I'm going to divide it by 3, then I can position where I want. You can place the other image just the same way I did, or you can just open the file that I have provided for you. And the name of the file is Practice Black Friday.ai 60. Practice Solved - Black Friday 01: Hi there, We're back. The first thing I'm going to do is to build a background and to select the correct layer. So I'm going to choose the Layers panel. And there you go. And I'm going to use basically two layers. This one, the final layer and the draft layer, where I can do something between them. Before we start drawing. It's really good to find some colors that you're going to use. I told you how to use the Adobe color themes. You can just go to Window and find Color Themes. You can't search on Explore here for some types of colors. So with a Black Friday in the Explorer, you can just search for color here. And let's say this one. Click here and add to swatches. Alright? When you add this color to the swatches panel, it will appear in your swatches panel right here. Let me close these now. We have these colors here that were added by the Adobe color themes. And these ones that I already added in the file for you. One thing that I did is that in each of these scholars, I change the name and I made it global. And this is the group of colors that we're going to use. There are all global. And I don't need this one anymore. I'm just going to delete it. The first thing I'm going to do is create the background. And I'm going to choose a color which will be this one. And I don't want any strokes. I can remove this strokes here. Or in the swatches panel. If I click here in the stroke, I can remove it as well. The swatches panel uses the color in the front. So this one is the stroke and the behind one is the film. And we have a color here. It's black. It's not pure black. If I double-click on the color in the swatches Plano, I can see that it's a variation of the black color. Let me zoom out a little bit. Twenty-five percent. Let's go to the layout Pino. I have the background here. And I'm going to use the draft layer for now. And I'm going to build some rectangles. I can change the size later on. And I'm going to choose a color here in the swatches panel. And I'm going to rotate the rectangle. I can rotate it here when a position the cursor of the mouse in the corners of the rectangle, I have the symbol to rotate. Or I can go to Properties and just do a rotation here, let's say 45 degrees. There you go. I can always rotate even more here. I can reduce 360 by 45, and it's 315. There you go. And using the selection tool, I can position in the correct place. Or I can always use the align options in the control bar to align this object to the artboard. Because I have some space here. I can always increase holding the ALT key and the Shift key. So that this part here is covered as well. Let's reduce a little bit holding the Alt key to make it a little bit smaller. All right, now, all you have to do is control C, control F to copy above. And if you go to the layer panels, you will have to. If I select the one in France, I can just make it larger holding the ALT key. And I can position the one below in front. You can't see much of a difference. But if I select the one behind and change the color, I will have some really cool lines to use. Now let's add the text. All you have to do to add the text is use the topography tools here, the Type Tools and click ones. And you can just start writing. If you want. Let me press Ctrl Z. You can always go to Properties. You can select the type tool. And just after you click once, you can change the size before typing what you want. By holding the Shift and clicking here. It will add ten by ten. I'm going to write now what I want. I want sale. But I don't really want this character fonts. I can change it later. So let's position it here. If you want to position in the center of the art board using the Align panel, you can, but you just have to remember one thing. When you're using the smart guides to position our text, it will position according to the paragraph that you have selected. So if you want this text to being the center of the art board, using the smart guides, you'd have to choose this option of the paragraph I like to center, and then you'd have to position it in the center. There you go. Now let's increase the text holding the ALT key and shift something like this. And let's choose the white color. But I don't want the white color as a fill. I wanted other stroke, right? So I can click here to swap the colors, the fill to stroke. And there you go. You can hardly see the lines because it's really small. All I have to do is increase the strokes Property panel or in the control bar. And there you go. Let's change the fonts. Now. I can change the font searching here. You can search for a specific fonts that you want and you can go to the Creative Cloud fonts as well by clicking here. I'm just going to choose a mirage and choose the black one. If you don't have Internet, when you open the solid file, you might not see the fonts that I'm using, but you can always change the fonts as well. So let's add some more text here. So the goal to use the guides was that I won't position the text outside of this space. I'm going to reduce the space between the tax and by reducing the leading. I'm also just going to copy control C, Control F. I can also add more texts. Now let's add this part here, the shop now part. This character here is just too small. So I'm going to select only the character and change the size of that character. And I'm going to add a rectangle here. I'm going to leave these rectangles here for now because maybe I'll change them later. So let's look now to the layers, to what we have built. We have the background layer here on all of the other stuff. Here on the draft layer, I'm going to select everything from the draft layer, not the background. I'm going to lock the background and select everything. And I'm going to group it, right-click and group. So I have a group of everything and the background is separated. If I unlock the second layer here, and I can just drag it down to this layer, unlock it again. So now I have the social media graphic design separated from the background, right? 61. Practice Solved - Black Friday 02: Hi there, welcome back. If it was too easy for you to build the social media layout, you can just jump to the next class. You don't have to watch everything. So on the right, we have the layer panel with several layers and we're going to use this one, the Black Friday date one. And we also going to use the draft layer, make sure you lock everything that you don't need. And the first thing I'm going to do is I'm going to build the background, I will click here on the layer, select the rectangle tool, click and hold, rectangle. And the color is this one, so now that we have build a background, I'm going to go to the draft here so I can build this here. So as you can see, we have a rectangle here, I'm going to build this rectangle first. So one way to do it is just to click once and choose the sizes. I'm going to choose 600 by 100 pixels. And there you go. The color selected is the last color that you have used. I want the red one and maybe you can't see. But this part here, with this part, is almost a rectangle, If you consider lines like this, one way to do it is to build another rectangle and then just cut the parts that you don't want. I'm going to do that. So I'm going to press CTRL+C, CTRL+F to copy above and I'm going to drag a little bit down. You have to choose a number. I'm going to go for 15. If you don't get 15, you can just zoom in as well and drag exactly what you want. It's going pixel by pixel because I have the option view and snap to pixel selected. If you want, you can remove it as well. It's really up to you. I'm going to move it a little bit. So let's say 10 and zoom out or maybe a little bit more zooming again and click and drag and 10 plus 5. All right, let's see how it goes. This part here of the rectangle, it's bigger. OK, this one as well. So I'm going to increase this part, holding the ALT key and I'm going to select both of them and drag to the left so that it won't be on the top of the artboard. Now, let's remove the stroke's And this one has to be on the back, right click, arrange, sent back. Another way to do it it's going to the layer panel and just drag it on the back. And this one has a different color. It's a darker color. Now that I'm looking at both of them, I think that this one should be a little bit more below. Let's go to the next part of the objects and this part here. Now, when you have what you want, you can zoom in as well and change the color to make sure it's correct. This part here, as you can see here, is a rectangle as well. All right, so I just have to add a rectangle here and it's done. Let's just copy and make the necessary adjustments, I'm going to press CTRL+C, CTRL+F. When you have everything, all you have to do is select everything and use my favorite tool, the Shape Builder Tool. This one, is unnecessary as well, but if you remove this while the rectangle is selected, it's also going to remove the rectangle. So in this case here, I recommend that you just add everything. If he changes the color to because it was the color on top, all you have to do is Selection Tool, select only the rectangle and choose the correct color. For this part here, it's a shadow. I don't have another red color, but because it's a shadow, all you have to do is select the black and go to properties and reduce the opacity, let's say 30% and again on the other side as well. Let's do something, let's select everything and group it, OK? And group, and check the layers it's grouped, for some reason. There is some objects here and here as well. Let's just delete it. We're not going to use this. So for this text, all you have to do is text tool. Now, there's just one thing that I haven't taught you yet to build this we're going to see later on the course when we check the Effect menu. And here behind the Black Friday, there is a little shadow in illustrator. We have a specific effect for that. It's in effect menu and style and Drop Shadow. OK, don't worry. We're going to see in detail this effect. But for now, just click here and click, OK? All right. So let's select everything and group it again and group and go to layer, zoom out a little. And since we have finished this, I'm going to drag it back to the artboard and unlock the artboard, the artboard is unlocked and just drag this back. And there you go. And in a draft layer again, I'm going to click on the draft layer. I'm going to build this calendar here, but zoom in, select the rectangle again and click and hold. 62. Practice Solved - Black Friday 03: Hi there, we are back. And today we're going to solve one more social media layout for the Black Friday and we're going to work with this layer here, the Black Friday, 70 percent. I'm going to unlock it and I'm also going to use the draft layer. So be changing from this layer to the next. Sometimes when I have multiple layers and it's a little bit hard to work with them, sometimes I just bring the layers together, you know, I just move them. I know I'm going to work with only the layers on the top. Everything else is locked. So let's go. This is the 7th artboard. I'm going to create a rectangle. And you can just type in the text. Now that I have both of them selected, I'm going to select the rectangle and I'm going to reduce this space here. So I have rounded corners. One of the things I'm going to do is I'm going to change the color inside this rectangle. And let's try and build this circle with lines. Let's select the Ellipse Tool, you can just click once if you want and just click, OK, or maybe 400 better. So I have a circle, but where are the lines? I'm going to build some really thin rectangles. And here's the tip, we're going to learn how to use the CTRL+D, it's duplicates one of your actions. And when you hold the ALT key, it copies, there's a special command in Illustrator that you can duplicate an action. This was one single action that I did. I moved and copy, although it's two things moving and copy. But when we do that, holding the ALT key, it's considered only one action. There's a really good shortcut that is CTRL+D, If you no Windows or CMD+D, if you're on a Mac, it duplicates an action. So I'm going to press CTRL+D And it's going to duplicate several times this rectangle, there's 2 ways that you can make this circle here. You can either select everything and remove or you can use in another way. Let me show you. I already taught you how to use the Clipping Mask, so I'm going to just make a quick review. In the draft earlier, we have a circle an Ellipse here. This one, OK, if I copy the Ellipse, with CTRL+C, CTRL+F I'll have 2 Ellipse And if I place the Ellipse on top and then select everything, I will have one ellipse on the top, one ellipse in the bottom and several rectangles, these ones. So let's apply the clipping mask in object and clipping mask and make. There you go. And we can do this with the stars and the circle as well. Let me just move this to the side. All right, so let's build the rectangle first. I don't really know the size, but I can change it later on. Let's choose the black color and let's make some changes, maybe a little bit smaller and go and let's change these parts here on the rectangle, only the two corners. So I'm going to select the Direct Selection Tool, And just click once and move with the direct selection tool, cool, huh? And this one as well. So I have the object now, as you can see, we have some lines here, how can we build dashed lines? Does anyone remember? Select the objects I'm going to press CTRL+C, CTRL+F to have two of them and the one on top, I'm going to reduce the size. So I'm going to select the selection tool which selects the whole object, and I'm going to reduce the size with SHIFT and ALT, OK? And there you go. We have two objects. This one, the one on top. I'm going to change the colors. We have a line, a straight line, but we don't have dashed lines. I'm going to increase the points of the lines, not 10, just 2, lets see it's, 4 and then select the strokes and add the dashed lines, cool, OK. And we have it. We have this rectangle here with dashed lines. Let's add the text with SALE on it, SALE And let's right this part here, the shop now with 2 rectangles key, and let's make some round corners here. There you go. And I'm going to change this color. I'm going to add the darker red and then I'm going to select this object CTRL+C, CTRL+F and make two of them and reduce. So I'll have fun Shading. There you go and select this object, and select the other color, I think this part here could be smaller. So I'm going to select the object and increase it, holding the ALT key. There you go. So let's add the text now. Shop now. I'm also going to use the Selection Tool to add the job shadow here. Let's make the circle here with the text, so I'm going to add the Ellipse Tool, just click once, press OK And I'm going to reduce the size I can play around here as well. I think 300 for now. And I'm going to add the text. Oh, wait, I'm going to add the red color and the text, up to 70% discount. Before we add in these circles, let's select everything here. And group. The layers here, layers panel, we have the circles, they are going behind. I can add another circle, CTRL+C, CTRL+F. There you go. Now we have two circles with straight lines and I'll add one here, but I want a smaller one shift. And let's just move it here. And there you go, cool huh? I haven't build a background yet, but we could build one if you don't use a background and this layout It would be really good to remove the white behind the circles and also to remove the text here. OK, let's say I want a background. OK, so let me select the layer. OK, so I'm selecting the layers. So now I'm going to draw something in this layer and I'm going to select the rectangle tool and I'm going to add a background here, OK? And I'm going to select the white color. Uh, there you go. All right. So this is basically it's for now, but we are going to have variations of this layout later on and you will see that we have to make some changes on it, because if we go to the next option, we have gradients behind this background and it affects the text. So you have to remember to do this variation as well and on the next one as well. So we have the straight lines here and we have some variation on the text and also in this circles. So we have to figure out how you can do that as well in the variations of this social media layout for the Black Friday. 63. Practice Solved - Black Friday Backgrounds: Hi there, we're back. All right, so I'm going to unlock the Black Friday Sale 02, which is this one, and I'm also going to unlock the first one as well, because it's just a variation. Let me zoom in. I'm going to zoom in. There you go. So this one is just a variation of this social media layout. What I'm going to do is: I'm going to select everything here. I'm going to press CTRL+C, CTRL+F to copy, and then I'm going to bring to the next artboard. You can hold shift to help, make sure you have the smart guide selected. So now that I duplicated the first art board, I'm going to bring them to the correct layer. Just click and hold. Because I placed the background in second, it came in front of the object, so I'm just going to organize it here. Now, let me zoom in this artboard, the second artboard is almost the same of the first. The only difference is that it has a gradient. So I'm going to select just the background. And I'm going to change the color properties and change it to a gradient. OK, I'll have to go to this option here gradient or I can activate the gradient panel just by going to the windows and gradient when you have a gradient. OK, now I have added a gradient. I can change the colors below. So I'm going to double click here and change this color, which is a global color, and then double click here to add the next color, which will be this one. OK, but. Right now, I have a gradient which is in a linear gradient, which also works, I mean, it looks really good. You could use a linear gradient. But on this example, I added radial gradient, which is this one radial gradient. And there you go. I have more light in the slider from the side. So I'm just going to change it a little bit. And there it is. We will just finish the second dartboard if we're able to do the variations of the backgrounds. If it was just too easy, you can just jump this class. It's OK. Don't worry and go to the next class. Let's do the next one. The next one. Let me zoom in. The only difference is that has some lines in the background. OK, so let's do it. I'm just going to add the first one, just like I did. So again, go to the layer panel. I'm going to close the gradients and I'm going to lock the second layer and I'm going to unlock the third layer, which is this one. Again, I'm going to copy all of this objects, OK, CTRL+C, CTRL+F, it's copied and I'm going to move to the third artboard. There you go. All I have to do now is change the background. For the third artboard has some lines here, as you can see, what I'm going to do is I'm going to zoom out and I'm going to select only this artboard, OK? It's here in the second layer, so let's organize it. So I'm going to select everything and I'm going to right click and group. It's here. So I'm going to place in the correct layer and then lock the first layer. There you go. All right. So I'm going to work with the draft layer if I need it. And I'm going to work with this one as well, which is in the third artboard. All right. So I'm going to check the layer on. Everything is grouped. I don't want it to be grouped because all I want is to change the background. So I'm going to select the object. Right Click and Ungrouped. When I ungrouped, I'm going to select only the background, move it the side holding shift and I'm going to add these lines. You can add using this segment line or you can add like I did last time, using the rectangle tool I'm going to add using the rectangle tol Now that we have built this, one thing that you could do is select everything OK and use the Shape Builder Tool, or you could have another rectangle on top and you could build a Clipping mask. You can do it on both ways. I'm going to use the shape of the tool this time just to make it different. And I'm going to remove these lines holding the ALT key. I'm going to group it now. It has to be behind the object. All right, let me zoom out now, this part here is the same I can even use the same background in these two objects. OK, so I'm going to unlock the date, select everything if you want. You can unlock these ones as well. And in the date, if you want, you don't have to select the background. This one, if you hold shift and click here in the layer panel, it will remove from the selection. Now, I only have the date and the name Black Friday selected. I'm going to press CTR+C, CTRL+F I've copied I'm going to right click and group to make it easy for me. All right. And then I'm going to move it to the next artboards. There you go. And then I'm going to move with the alt key selected. Now everything is in the wrong layer, can you see it? Now, let's do the background for these ones. I already have the background because they're here in the layers, it's the same background, the radio background here, and the background with the lines. All I have to do is click, hold and move and hold the key to place it in a correct output and release this way. I've copied to backgrounds. The only problem is that one of them, the selected one, is in the wrong layer. I'm going to place it in the correct layer just by clicking and moving to the correct layer and reliefs. And there you go. Now, in the correct layer, I can organize the objects by placing the background behind. Now, let's do the same for this one. Now, what do we have to do is to build these others backgrounds? So in the slier here, we have a group and we have the background, so I'm going to select everything here except the background. So I'm going to hold shift and remove this one and copy everything holding the alt key. There you go. And let's bring this background to this artwork. OK, so I'm going to unlock the second one and select the background and just move holding the ALT key on the keyboard. If you are on the Windows or if you are on the Mac, you have to hold the OPTION key. Now, I'm going to move it to the correct layer. I also have to move this object here to the correct layer because I moved the background first and then the object, it stayed in the correct order. OK, now, before we create this one, let's take a look in this object here. Let me zoom in. This object has a background in each one of these clipping mask, and the background was white. That's why we have the white color in the circles here, which we will change. OK, but before we change, let's select the background and change the gradients, OK, so I'll go to Properties and edit the gradients and click here in the three points. And we are going to change these colors here. OK, so I'm going to double click here and add the white color. All right. And then just click here to reverse the gradient. As you can see, we have much more colors for the grey than the whites. So I'm going to add the slider. I can do it here. All right, or I can also do it here, if I change it the slider here, OK, now instead of adding this gray color, I'm going to add it's transparent color here, so I'm going to double click on it. And reduce the transparency, let's say, 50%. These circles here, all of them, they had objects on it. They have an object in the background, because they have an object of white in the background. The colors are not so nice, between the lines. OK, so what I'm going to do is oops, sorry, CTRL+Z. Let me select the selection to what I'm going to do is I'm going to change all of these Clipping Masks. But first I have to check the object here. I have to Right click and ungroup, and each one of these Clipping Mask I'm going to change. So the first one here, it's here. I can double click on it. All right. There's the clipping group and I'm going to delete this circle here. OK, delete. Let's see how it looks. Let's go back from the isolation mode. Check the circles. Is it better? Yeah. Let's do this one now. Let's go back first. Go back. This one now, double click and enter the clipping group and search for the Ellipse, it should be the last one, select it and delete. And back again and do for each one of these circles. OK, double click. Now, the Black Friday name, as you can see, is not filling with the gradient behind, how can we change the Black Friday so that you can see something behind? OK, let's do it. Let's go back from the isolation mode and select this object here. The name Black Friday. The layers to see what it is. It's here. It's grouped as well. So I'm going to Ungroup it Right click And ungroup. There you go. And the name Black Friday is here. Well, to remove the name Black Friday, one way to do it is to first, convert the text to a path and then exclude it from the rectangle. OK, so I'm going to first select only the text, select the text, go to type and create outlines, SHIFT+CTRL+O it will change this name Black Friday to a path. It's no longer a text. It's a path, as you can see here in the layer panel. Then you can select the path with the background and you can go to the Pathfinder and make an exclude. OK, when you exclude, you will get the rectangle without the text. So the text is transparent. The bad thing is when you do that, you will not be able to change the text again. OK, so why did the color of the background changed? Because it took the color from the first object on top. OK, so I have to select the rectangle, the rounded rectangle and put it back in the correct color. There you go. How does it look? Better. Cool, huh? Now all we have to do is the last one. All right. Let's build the last one. The last one is this one. OK? It's this object with lines. OK, so to do this object with lines, I'm going to select this background because it's easy. Let's go to this object here, to this combination, and let's group everything, without the background. OK, so I'm going to group it without the background, and hold the shift key to remove the background from the selection. And then I'm going to group it, right click and group. I'm just going to select the background and go to properties and check the fill. There you go. How does it look? Not really good, huh? Let's select the lines now, OK? I'll select the lines to reduce the colors of the lines. So I'm going to go to layers and select the whole group, to make it easy, and then select Properties and reduce the opacity to 50% There you go. Let me zoom in now and this is it. Maybe it would be better in this case if we had reduced even more the opacity maybe to 30%, 30% or 20%, or maybe if the lines were not so larger, if we had thinner lines for these rectangles before we've built it. OK. 64. Changing the workspace - Effects: Hi there, We're back and we're going to change the original workspace that we have created in the beginning of the course. The goal to change the workspace is just for you to have a different perspective on how to use Illustrator. Let's add some panels here to change the workspace. Remember before to reset the original workspace that you have created. And let's add some petals here. So let's go to Window. We're going to add the transparency panel. We haven't seen this yet in my workspace. It's opening the transparency panel with this stroke together, I just want the transparency panel. So I'm going to click, hold and drag. And now I'm going to fix the transparency panel here. I'm also going to bring the color panel for I'm going to go to Window and color or F6. Let's bring also the swatches panel. So let's go to Window and swatches. And we're going to bring one more petal here just by going to Window and appearance. And the important thing is that you have some space to see the things beneath the appearance. This is the workspace that we're going to use. We're going to save all of this by going to Window Workspace and new workspace. And click OK. So now we have the Effects workspace in Window Workspace and affects. 65. Appearance Panel: Hi there and welcome back. Today we're going to talk about the appearance panel. Just before we start the swatches panel. We're not going to use all of these colors are usually just remove them and just keep these ones. Or maybe some groups, usually the groups that I'm going to use. And instead of deleting one by one, you can always select the first one that you want. Delete, hold down the Shift key, select the last one, and just press the Delete swatch. And it will delete all of the selection. In the beginning of the course, I sent that an object has a stroke and a fill. So for example, this star here, it has a stroke of none and a fill of white. This shape here, the cross, it has a stroke of none and a fill of green. I said that an object has a stroke and a fill, but that's not exactly right. When we learn to use the appearance panel, we will be able to understand that an object doesn't have only one stroke on landfill. It can have one stroke and fill. And it can also have multiple strokes and multiple fills. Let me show you. So we've selected this object here. It's a star. Let me move the object from this place. How can I add multiple lines in the object? Let's say I want to add another line going through this angle here. While I could copy the object, it's one way Control C, Control F. If we go to the Layers panel, there will be two objects now to start these ones. And I could make one shorter, right? Holding shift on out. Then adding a different line to this one, maybe a green line. I'll use the swatches panel. Let's say this one. And then I could add another one. Again. Let's press Control C, Control F to copy. So we will have three stars and then we can produce again and then build another one with the white color. There you go. That looks good, doesn't it? Well, you can do that just by using multiple strokes. Let me show you. Let's make a copy. Okay, so let's zoom out and control C, control F, and make a copy of the three of them. And I'll place it here. And this one, I will group it, okay, right-click and group. Cooh. And this one, we're going to work with it. Let me zoom in again. So here we have three objects. And I'm going to teach you to use multiple strokes. To do that, you have to use the appearance panel. This panel indicates what the object has. I haven't selected in your object. But when they select, for example, the biggest star has a stroke of none and a fill of white. Let's delete these other two. Now that we have removed the inner stars, Let's play around with the strokes. So the first thing I want you to learn is that if you click here, you can create a new stroke to an existing object. But right now I don't have an object selected, so let's select this object here. Cool. This object is selected. Therefore, if I click here now, I will add a new stroke to this object. It already has one stroke and one fill. Let's create a new stroke as well. When they add a new stroke to this object, it now has two strokes. One of them is none and the other is black. Let's change the Scholar just to make a point. Okay, so I can click here and choose the green color, the darker green. There you go. Now what you have is you have a star with two strokes. One of them is green and the other is black. The V, I cannot see the green stroke. Where is it? That's because it is the same size of the black stroke and they stroke. The top will always be above the ones below. Therefore, you cannot see the green stroke because the black stroke have the same size as the green and it's above the green stroke. But if I increase the green stroke, I will be able to see the black stroke and the green. They are all in the same object. So the larger stroke has to be in the bottom and the thinner stroke has to be on top. Also, you can change these strokes here by going to this chalk Spain or right now again, select the object anymore. Let me select the object or else it won't change. So I have to have the object selected. And then I can change the stroke by clicking here. I can choose the stroke, the green one, to be. Outside, for example. We can also add dashed lines. I can also add this stroke to be the in the inside. And they can make it smaller as well. Let's see. Two points. Alright, heavy, but to me it's easier to have multiple objects and just work around with that. Well, I'm going to tell you a thing. To me, it's easier as well. But there will be several times where that will not be possible. In this case, you can do that. Let's go back the Celtic Cross and I'll show you why. So this star here has multiple objects, not multiple strokes. And sometimes it will not be possible to create objects above objects. For example, with this cross, let's say I want a line that goes around the cross. Can I reduce the cross and make a new object? Yeah, I can do that, but it will just look strange. Let me show you. I'm going to select the object, press Control C, Control F. I've copied the object, I have two of them and I'm going to reduce holding Shift and Alt. Look at the lines. The lines are not going around the object because it's a complex object. It will be much easier to have an object with multiple strokes. Let me show you. I'm going to delete this object. Fit the screen. Now let's select the cross, and let's add some multiple strokes to the object. Let's just click here to add new strokes. So for the first stroke, I'm going to choose the color white. And there you go. And like I said before, this stroke below has to be bigger to be seen. So let's make it 10, for example. And let's build it inside. So let's click in the Stroke panel here. And let's choose to create this stroke in the inside part of the object by align the stroke to inside. Now that I have created this drug in the inside, it seems that it's a little big. Let's just reduce it to eight. And now for the second stroke, here, from bottom to up, I'm going to change it to, let's say six. And let's add again the inside stroke. And again. Let's just change the color. I'm going to add the darker green. And there you go. Look how it's going. I'm adding an extra line to the object. Isn't that cool? Let's do it again. In the next stroke. Let's add size four. And in the inside, there you go. And let's change the color to if the last one was green, and I want to combine the green with the white. The next one will be the white. And for the last one, again to the inside. And let's add two points for the stroke. And we can also change the color to green. We can also add multiple fills as well. Like I said, the fill option is here. Add New Fill, and then it makes sense to add different fills to the same object. Yeah, if one of them has an opacity for example, or if one of them is a pattern, we can do that as well. It will look really good. Now let's play some more with the strokes. Let's say for example, this stroke here, I want a dashed lines. So let's click here. So this was just the introduction for the appearance panel. Try playing around with it and building more lines, building more objects. 66. Transparency Panel: Hi there and welcome back. And today we're going to talk about the transparency panel. We're going to divide in three parts. The first part, I'm going to talk about a past dirty masks. Then we're going to talk about the blending modes. And then we're going to talk about the options in the transparency panel. Let's just first activate the options. It's here in the menu. If you click on the menu, you can choose Show, Options and market. When you do that, you'll get three options here below the transparency panel. We're going to work with these later on. So on the top of the transparency panel, on the left side, you have a combo box, which is the Blending Mode. And on the right you have the opacity. This is just the same option that we have here in properties. Okay? So if you select an object and change the opacity here, it's just the same thing as changing. Here. I'll show you how to Z. What we are going to talk about is this part here of the transparency panel, how to make a pathogen mask? First of all, a poverty mask is not the same thing as clipping mask, which is in the menu object and in the option here, clipping mask. Please don't make this mistake. And also it's a common mistake to think that the opacity mask has to be used with the blending modes. No, it does not. They are independent. You can use the opacity mask and you can use the blending modes. So you don't have to use them together. Now, opacity mask, Let's just compare it first with the clipping mask. If I are the clipping mask here. And if I select the clipping mask and the object, I'll check the libraries. We've seen this before. I'm just comparing it. The first object on top, if I apply the clipping mask, will be used as a clipping mass. So everything outside of the object won't be seen. Let's apply the clipping mask. Let's go clipping mask and make, therefore this part of the object cannot be seen. Okay, I admit that the opacity mask is very similar, but it's not the same. Let's press Control Z. What the opacity mask does is it changes the top object to the gray scale. So this is the grayscale here. And depending on the color that you choose, the color of the opacity mask will be applied to the object behind. And it will show either more or less of the object. And let's apply the opacity mask right here in the Options make mask. When you do that, you can see that the object is changed. Everything that is outside cannot be seen just like the clipping mask. But what's inside of the opacity mask? The result is different from the clipping mask because it gets this color, the green color, and changes to the gray scale. And then it will apply some transparency according to the color. The more wide it is, the more the opacity mask will be shown. So let me press Control Z. I'm going to select only the rectangle, and I'm going to change the color to white. And then I'm going to apply the opacity mask right now. If I do that, because this is the pure white, then that means that the opacity mask will be the same as the clipping mask is the only occasion that the result is the same is when the color of the mask is pure white. And let's make it. But before we make it, we have to select the object behind and the mask, okay? And I'm going to build a positive mask. The opacity mask will be pure white. Therefore, it will be just the same as the Clipping Mask and press. And there you go. And one cool thing about the transparency panel is that you can see the icons. You can see the object that you have selected. And you can also see the mask when you create it. If you want, you can change the mask as well. And all you have to do is click in the mask. You can see that you have selected only the mask. When you select only the mask, you can see it on the earlier panel opacity mask right here. And the cool thing is that you can change the object here as well. I can increase or decrease the opacity mask, right? And I can change its color. When you change the color, the opacity mask will convert to a grayscale and it will apply to the object behind. Okay, So let's say I choose this red color here. And there you go. The V. Why is it not read? Because Illustrator's converts the red color to one of the greyscale color, and then it will add transparency to the mask. Let's say I find the exact color in the grayscale for the red hydrogen, which one it is. But if I find it, it will be just like this. Okay, so let's select an object. There you go. The V. Why does it have a line here? Because the original object had a stroke of white. That is, they go right here. That's why we have a line here. And because the opacity mask uses wide, just like the clipping mask, then you will see this line here, just like the clipping mask. If I select here in the transparency painting on the opacity mask, I can just change it and select the stroke of the opacity mask and then select none. You have to be really careful here when you're using the opacity mask. Because you can change the object or you can change the opacity mask. But you have to pay attention to which object you are selecting. On the top in the transparency painter, if I choose to select the object, I have to click in the object. Now, the object is selected and the opacity mask is not. If I click on the opacity mask, then the capacity mass will be selected and the object, not. When you have an opacity mask you being used like this one, you can also remove the link between opacity mask, which is the square and the object. All you have to do is select the object and click here to unmarked the link. When you do that, you can move the object and it won't move the opacity mask. Oh, just one more thing. As you can see, we have an object here and it's been seen, it's not being applied the opacity mask. That's probably because when I selected the whole object, I didn't include this one. Maybe it's locked. Let me check. No, it's not a lot, but maybe when I've selected everything, I didn't include this object here, okay, this one. So let's press Control Z to go back. And I'm going to release the opacity mask by clicking here. When you release, you separate the opacity mask from the object. And as you can see right here, there's one object that is not in this group here. So I'm going to put the opacity mask in front of this object. And then I'm going to apply the opacity mask by selecting everything. And I'm going to make again opacity mask. Now, I have an opacity mask with all of the objects selected, all of the objects in the Celtic cross. If I continue from that part that we have stopped. Let me just change the color of the opacity mask by clicking in the opacity mask and choosing and different colors so that you can see that an opacity has been applied to this object. And if I click in the object here and then clicking the link, I will remove the link between the opacity mask and the object. Therefore, if I just select the object and move it, it will move the object from the opacity mask, the V. I can't see the opacity mask on the right in the layer spinner. Yeah, that's right. You cannot see it because when you make an opacity mask, it brings the object here to the transparency panel and you have to access the object here either by selecting the object or by selecting the opacity mask. Now, the opacity mask has been selected and I can see it in the layers panel. Isn't that cool? I can even change the color and change again this stroke to know, let me select the fill. Let's say I want a darker color. What will happen? It will be really transparent. And the more white I add, the more it will look like the clipping mask. Now, when I have the object selected, and if I move it, I can choose another place for the opacity mask. The v, y is the link between the opacity mask and the object not marked. Why can't you market? Because if you want to mark the link, first, you have to click in the object, and then you have to click in the link to a positive mosque. Let's say I want to see this object, this square back in the layers. What do I have to do? You have to click here in the release option. And then you will see again the object here. Remember to make a mask, you have to have more than one object and the object on top will be the mask. When you make a mask, you can also remove the clipping. In the capacity mass, you have an option to clip and unclip, which will be able to show you the whole artwork without removing everything that is not inside the opacity mask. Let's put it back in the clipping. By default, the clipping is used, okay, if you invert the mask, if you click here, what it does is it reversed the luminosity values of the mask object. Therefore, if the object selected is really white, is more tending to white, it will tend to the black. For example, let's say the luminosity is only 10 percent. If you invert the mask, it will change to 90%. And if you want to return the values to the original state, all you have to do is unmarked the invert the mask. Let me press Control Z to go back. Let me remove this opacity mask and deleted. So how can you use this on your daily basis? Let's say you want to add a pattern to your image. Let's add here on panel to show you, I'm going to add a painter. I haven't shown you this yet, the graphic style. But you have an option here in the window, which is the graphic style. And you can bring some patterns here to the graphic style. I'm going to bring bricks pattern. So I'm going to select this option here and select the textures. And I'll select the brick. Okay, I'm going to bring the brick here. I just drag the brick. So I've selected the graphic style going back from the beginning in the window and graphic style. And then I came here in the options, in the libraries, options, I selected the options texture, and then I've just clicked and dragged. And let me show you how it works. Let's select an object here to fill everything. And I'm going to change this rectangle. If you want, you can remove the stroke. And then let's add some textures. Select the brick, alright, and then select everything. So I'm selecting the brick with the Southern Cross. If I apply the making mask, look how cool the Celtic cross will have the image of the bricks behind. Isn't that cool? Let me press control Z. And again, I can select the object, the one that is going to become the opacity mask. And I can also add a different texture, select everything, and make mask cool. Ha, look at the texture behind the cross. It's really nice. Asides from that, you can also let me delete these, press control Z and delete only the rectangle. You can also add image and apply it. So I'm going to go to File. And I'm going to place an image here. And we're going to place them a background image. This is an an Adobe Stock image. You have to license it to use it. I did. You are allowed to use it for trainings. But if you want to use it commercially, you have to license it with Adobe stocks. Okay. I'm just going to click once to apply it. Let's see how it looks. It's a paper background. And now I'm going to select everything again and apply the paper background to the Southern Cross with an opacity mask. Let's see how it looks. How is that cool? There's so many options, so many textures that you can work with. I'm sure the transparency panel will help you a lot with the opacity mask. Okay, let me press control Z. And I also use the transparency paying for something really simple. When you select an object, you can see the object here in the transparency painter in this icon. And sometimes when I have lots of objects in my artwork, I just click on it and look at the Transparency panel to see if I'm selecting the right object. 67. Blending Modes: Hi there and welcome back. Today we're going to talk about the blending modes. You can see the blending modes in the transparency panel here. And also in several other places in the Adobe Illustrator, for example, in the Effects menu, when you access some of the effects, Let's see, Drop Shadow. You will get the mold here, which is the blending mode. Okay, It's just the same thing. Let me cancel this. So I'm going to go to Window Workspace and choose the effects workspace, and then press the reset option to see the workspace exactly as we build it. When we build this workspace ID and the Show Options here. So I'm going to add it now. And for the blending modes, I have this file, the blending mode file. Let me zoom out. Basically have the same image. And in the next images we have some objects that we are going to apply, the blending modes, all of these objects, they are grouped. These squares are grouped. This is the original and in the normal is here it's a group and in the darkness, well, group, okay. So what we're going to do is we're going to apply the blending modes and you're going to see what happens. But before we do that, just understand that blending modes, it lets you vary the way the colors of the objects blends among themselves. I'm going to start in the dark and blending modes. So let's go to the layers in the darken and let's look at it. We have this object here and behind. We have something that we're going to blend with. All you have to do is select an object and apply a blending mode. You will get a different color. So this is the dark and option. It will blend with the object behind, and whichever of them is darker is the resulting color. If you choose this option here, the dark and black will always be black and white will always be transparent. The rest, it depends which one is darker. So areas that are darker than the blending color that just don't change. Why don't I didn't mean normal. I don't like it because it sounds that it's going to apply our type of blending, but it's not. So normal means non. Normal is the default option for the blending mode. And it doesn't apply anything. It's just this one. It's always normal in the beginning. It's the default. It will keep the original colors and blend NFA. And let's just go to the next one. The next one is multiply. I'm going to select it. I'm selecting only the object group, and I'm going to apply the multiply. So here we have our white color, and here we have a black. Here we have a gradient applying the multiply. And here we have a pattern. The next colors are just digs ones. And this is what it does. It multiplies the base color by the blend color. The resulting color is always a darker color. Multiplying any color with black always produces black. And multiplying any color with white always leave the color unchanged because the colors are multiplying. The white color is 0 in the RGB and the black color is 255. So multiplying them will result in black if it's black and white, if it's white. And the next one is Color Burn. Let's select the object and choose the option color burn. And basically the color burn darkens the base color to reflect the blending color. Blending with white produces no change, as you can see as well. So the, what is the base color? The base color is the original color, is the one behind okay, Is the drawing. The resulting color is this is the color that has changed when we chose one of the options in the blending color modes. And let's go to the next one. Next one is lightening. And I'm going to apply the lightened. It selects either the base color or the blending color. Whichever of them is lighter. Areas there are darker than the blending color are replaced. Areas that are lighter than the blending color do not change. Alright, so let's go to the next one. The next one is screen. So in this screen, the effect is really similar to like projecting multiple slides in the image, okay? All one on the top of the other. That's the idea for the screen blending modes. Let's go to the next one, the Color Dodge. Select Color dodge. It brightens the base color to reflect the blending color. Blending with black produces no change at all. So let's go to the next one. The patterns or colors, they just overlay the existing artwork, preserving the highlights and shadows of the base color while mixing it with blend colors reflect the lightness or darkness of the original colored dots, where it does, as you can see here, the black, it also has some of the colors here of the grass. So this is it. I mean, you really have to play around and try to find which one is better for you. Let's go to the next one. This one, I use it a lot on objects because usually I apply the soft light instead of just reducing the opacity, just to get some simulation for a light mean hit on the object. If I have a soft light with a dark object, on top, it will make it darker. But if I have an object with soft light tending to white, it will just look like I'm adding some light. And let's go to the next one, the hard light. And number 11. Again, select the object and choose hard light to see what happens. So the hard light multiplies or the screens, the colors, depending on the blend color. The fact is very similar to shining a spotlight on your artwork. This is very useful for adding highlights to the artwork. Let's go to the next one. To me, it's hard to remember. All of them are usually don't. I usually just play around and choose which one. I think it looks better in my artwork. In the beginning, it would be really hard to use, but then you get used to it. Let's go to the next one. It creates a similar effect, but it lowers the contrast than the difference mode. So in the exclusion, if use black, it doesn't change. And if you use white, the pure white, which is changes the color. So this part here was white. It changes the black. And the next one. And you create a resulting color with luminance and saturation of the base color and the hue of the blend color. Let's select the next one. Select saturation. If you apply saturation in great painting is just won't make any changes. The black and the white. It just keeps the same saturation. Okay? Alright. And for the last one, the luminosity. Alright, we finally got here. Let me zoom out. Hold space-bar. Okay. So with this file now, you can see all of the difference between the blending modes in Adobe Illustrator. 68. Transparency Panel - Options: Hi there and welcome back. Today we're going to talk about the transparency panel options. They are called isolated blending, Knockout Group. And a pasty in mass defines our knockout shape. You can activate these options here by going to the top right corner of the transparency panel. And either hide these options, are show the options. And before teaching how this works, Let's go to the layers to show you how this file here is set. And this file has five layers, are texts layer. They're not going to change the isolated blending layer, which is this art board here. It has some elements that are grouped, unlocked, and the same goes for the other layers, override the backgrounds are all locked. There you go. Now let's see what isolated blending is. Let's fit on the screen. Isolated blending is very useful when you want to limit the effect of an object's blending mode to other objects that are grouped together. Isolated blending will constrain the blending modes to only the group. Let's go and check it out how it works. To show how it works, I'm going to use several ellipse. These colors. Here are the RGB colors. And let's select these objects and choose blending mode. It can be screen. When you use this screen with RGB colors, you will get the combining colors of the RGB. So I have selected blending mode screen without an background. If I select with a background, it will be different because the background will be affected. It doesn't have to be just a background. It can be other image behind it. Okay, so I'm just using the background as an example, but anything behind these objects, they will affect the final result. Now, to use these options here, you have to group the elements together. You can also use isolated blending and knockout group when you have an element with multiple strokes on multiple fills. But we're going to practice here only with grouping objects. So let's group these objects together. I'm going to group it, right-click Ungroup and this one as well. And group. And now let's select this same blending mode for these ones. Okay? So I'm going to select this screen. And below, I'm going to select this screen as well. All right, cool. I haven't done anything different, but now I'm going to apply the isolated blending with out and background to this group here. Let me see if I've grouped it. It's not grouped yet. I have to group it to apply the isolated blending to right-click and group. And this one, I also through I'm going to group it and select everything Right-click and group. So before grouping, I applied our blending mode. And now after you group it, you can use one of the transparency panel options. If you go inside the group and select only one of the object, you will see that it still has the blending mode. If I apply isolated blending without a background, without anything behind, it won't make any changes. But if I apply isolated blending to a group which has our blending mode inside, it will isolate the blending mode and the background won't affected. That means that objects that I have blending modes and are applied a grouping with isolated blending won't be affected by anything behind them. One more thing. Remember, when you're applying the blending modes, it has to be to each one of these elements. Because if you group the object first, this object here is grouped. And if I apply the screen, you won't see any difference. Okay? This one already had a screen. It should be like this if I apply screen because to make sure they blend among themselves, you have to apply the blending modes individually and knowledge to the group. Now that you saw the difference between selecting and not selecting isolated blending, Let's go to the knockout group. Knockout Group is almost the opposite of isolate blending. And let's first select the group. Because the background is locked, I can just select everything like this. And let's choose again a screen blending mode. And I screen blending mode. Right? After you select the blending modes, you can group the R objects, right-click and group, and select everything Right-click and group. And let's show you the difference between applying are not applying the knockout group. The knockout group has an effect on the colors of the background. But if I select the group and if I apply the knockout group, what it will do is it will still be affected by the background, but it will ignore everything behind. This means that any transparent objects in a group are only transparents to the objects notch to the group. There are several ways you can do that. I mean, you don't have to get the same image just by using the knockout group. There are the ways to do it. For example, let's say I apply this object Properties and divide. For example, when you divide the Pathfinder and apply the screen, you will get the same effect as applying a knockout group. But the difference is that these objects are still the same and this one hasn't been divided. So you still have the circle, but the shield is a lot different. Okay, Let's go to the last one. The last one is the positive e mask defines a knockout shape. It's very similar to Knockout Group. But when you want to use a knockout group, you can still ignore one of the elements inside the knockout group by choosing this option here. So let's select everything and select the screen as well. And then select everything here. And select again this screen. And then group both of these objects. Okay, so I'm going to select everything and group, and then select everything and group. Now, if I apply the knockout group, I can steal. Choose that one of these elements are not being applied by the knockout group. You have to go to Layers. Select the group. It's this one. And in one of the elements I can apply, the opacity mask defines the knockout shape. So let's select the first one. And then click here. And there you go. The first element here, the circle has the capacity mask defines the knockout shape. It's like the first element is not being affected by the knockout group. 69. Practice - Opacity Mask: Hi there and welcome back. One of the things that I love to do with opacity mask is to build reflections. Check out this image. On the left. It has the clouds and the tree reflecting in the river. This is what I want you to build us a poverty masks in the transparency panel to build this passage here in the river. Open the file practice dash opacity mask and give it a try. 70. Practice Solved - Opacity Mask: Hi there, welcome back. The first thing you need to do is to copy wherever you want to reflect. So what I'm going to copy, the tree and the plants and the clowns. If you zoom in, you will see the plants as well. I'm going to do only the trees and the grass, and then I'll add the clouds. Let's select the objects. And I'm going to right-click and Transform and Reflect. And when we reflect, we have to reflect it horizontally. And we're going to make a copy instead of just reflecting it. I'm going to drag this down. Since I want this to be in the correct layer, in the opacity mask layer, I'm going to drag it down. What I want also to have the mask. The mask is the river. So I'm going to find the river here. I'm going to press Control C, Control F. And then I'm just going to drag it up to the opacity mask. For now, we have the rectangle inside the layer called opacity mask, and we also have this image. We can't see the image because the rectangle is on top of it. I want to build an opacity mask, which has the rectangle as the opacity mask and the grouped objects. So I'm going to select the opacity mask and the group. There you go, they're both selected. Now, all you have to do is make a mask. As you can see in the image. It's not really like this because the opacity mask has a different color in the beginning to the end of the tree. One way to do it is to select the opacity mask. Be careful because we have two rectangles. You don't want to select the wrong one. So I'm selecting this part, which is the opacity mask that we have just created. And then I'm going to click in the past or to mask. And I'm going to change it. Right now. It has blue color. I'm going to use it a gradient color like this one, for example, black and white. And then I'm going to change it because the black and white is going from right to left. Black on the right and left on the white. I want to do it from top to bottom. So I'm going to go to the gradient in the property panel and the gradient and then position it how I wanted. If I wanted from bottom to up the ego, and if I wanted from top to down, there you go. It's really up to you how you're going to show it. Let's say I wanted something like this, showing a little bit of the leaves in the river. The color here isn't really correct because the color a pure white. And when you have pure white, it means it's going to be 100% transparent in the opacity mask. And our goal is to have a little shade as well in the beginning of the river. So I'm going to change the color of the gradient. Again. I'm going to add the gradient. And instead of white, I'm going to add gray. So I'm going to double-click here and change it to a gray color. If you want to have an exact number here of the angle, you can just add it here as well, 90 or minus 90. It will be better. And there it is. We have the grass and we also have the tree. If you want to add the clouds, you could have done that in the beginning before creating the opacity mask. Or you can just select the object that has the opacity mask and look for the clouds. It's here. Now that you have selected the clouds, all you have to do is the thing, thing you did with the trees. So right-click and Transform and Reflect. And then you reflect, choose the horizontal, and then make a copy. And there you go. All you have to do is drag, hold shift. And when you place the clouds where you want, make sure you then and the group inside the opacity mask, all you have to do is in the layer panel. Select the group and bring it inside to the opacity mask group. You could have done that with the trees in the beginning of the course. But I just wanted to show you another way that you could add objects inside the opacity mask group. 71. Effects - Introduction: Hi there and welcome back. Today we're going to make a quick introductions to the Effect menu. It's on the top right here, a fact. So we'll strictly includes a variety of effects which can be applied to an object, group or layers to change its appearance. If you select an object and apply an effect, let's say the same one we did before. It was drop shadow. When you apply an effect, it will change its appearance. Don't worry about this menu right now. So just press OK. Every time you add an effect, like the drop shadow, the effect will be added to the appearance panel right here. You can also access the effects in the property panel as long as the object only has one effect. If it has more than one effect, you have to use the appearance panel. Let's go check it out. The Effect menu again. The effects in the top half of this menu are called vector effects. You can apply these effects only to vector objects. But there are some exceptions. Effects like 3D effects. Svg filters, warp effects, transform effects, and drop-shadow further, Inner Glow and outer glow can also be used with bitmaps. And their effects in the bottom, here are raster effects. They generate pixels every time you use them. It's very easy to know the difference because illustrator provides a name here on top. It's called Photoshop effects, and here is illustrator effects. So these are vector effects and these are raster effects. We have already applied an effect here which is a drop shadow. Drop shadow is one of the exceptions for their facts. It generates pixels. If I click on the object and zoom in this screen, you will be able to see some pixels here. There is a way to fix this. You can go to the Effect menu and choose document raster effects settings. You will get these options to change the raster effects in document. Usually, I use this configurations when I'm making a draft and when he delivered something, the client, I change the resolution to high. This way will give a better image to your client. As you can see. The V, Why can't I just build it with a higher resolution just from the beginning? Because if you use a higher resolution, it will need more power for your computer to run. And you may get some lag while you are working. Let's go back to the Effect menu and go to the document roster effects settings. And let's check this out. So the first option here is just the RGB color mode of the document. We are using the RGB, we can change it to grayscale or bitmap. It really depends on what you are working. Next one is the resolution. I'm going to put back to 70 to the next part is the background that the effect will be applied. Usually I go for transparent, but if you want, you can change it to white. The next options here are the anti-alias. This. We'll reduce the appearance of jagged edges in the raster image when setting rasterization options for a document, deselect this option to maintain the crispiness of fine lines on small texts. The next one is Create Clipping Mask. Right now you can create a mass that makes the background of the rasterized image appear transparent. You don't need to create a clipping mask if you select transparent forum background. Since most of the time, or just use the transparent background. I don't use the creating clipping mass. But you can play around and figure out how you're going to work. The next one is add a round object. You can do this to make a padding or a border around the image using the specified number of pixels. The resulting image dimensions appears as the original dimension plus they are the round objects setting values. You can use this to make a snapshot effect. Anyway, try play around to see how it works. So let's go and let's press. Okay, let me zoom out and feed the screen. So I still have a drop shadow, which is an effect applied. This object, if I click on the object, I can see that the object is a group. And the group name here in the appearance panel. The job shadow is here, configured to the group. And here, I can also add more effects. For example, let's say I want to add another effect. I can go to Effect menu and go to style and do a feather and increase the radius. Maybe you're not seeing the difference, but the borders here of the corner has included a little feather. Let me zoom. This effect here was just the effect that I used. And they can see it here in the appearance panel. I have both of the effects that drop shadow and the feather. Let me fit the screen. Now. If you want to delete one of the effects, you have to click on the line. Here in the appearance panel, click on the line. And below. You can just delete the selected item. You can also unmarked the view, the toggle visibility to see this feather or to remove the feather. Let's just delete the feather for now so it won't appear in the object. I can also remove the drop shadow or not. But if I want to access the drop shadow menu, you have to click in the name of the effect right here. It's a common mistake to go back to the effect and select a drop shadow. But if you do this, it will apply a mother effect to the same object. If you want to open again, the menu for drop shadow, you have to click on the name to change the options for this effect. Let me press Cancel. One more thing. The effect, they can be accessed on the top menu here in the effects or also in the appearance panel right here. And new effect, if I click here, it will add an effect to the selected object. I cannot the feather again, by just clicking here, I'm going to style and feather. This effect are being added to the group. I want you to be really careful because the objects inside the group, they don't have this effect. If I select just one object. All of these objects that are being selected doesn't have any effect in the appearance panel. What it means is that if you select the group and if you ungroup it to make a specific change, let me right-click and ungroup. You will lose all of the effects that are applied to the group. It's really important. You don't want to lose your work just because he wanted to make a small change and decide to ungroup something during your design. So make sure that if you apply an effect to a group, if you decide to ungroup it, you will lose the effects. Now I have all of the objects selected and the groups are separated. Although I have some groups here. But the main group is not here anymore. So the object was like this group puzzle like this, with just one group, I'm going to ungroup it again. And now I'm going to apply the drop shadow effect so that you can see the difference. Now what I have is several elements that if ion ply unspecific effect, it will apply to them individually. And drop shadow. The drop shadow is being applied individually to all of the objects. 72. Drop Shadow Effect: Hi there and welcome back. We are going to see the details of the drop shadow menus and everything you need to know to use this effect. Just select the drop shadow and it will appear this menu for you. The first option here is the blending mode. The next option is the opacity. So the capacity specifies our percentage that you want for the drop shadow. The higher the capacity, the more you will see the color that you have chosen below. By default, it will be the black color. But when you change the color or when you change the information's in the menu, the next time you use the drop shadow, it will have the last information that you used. And below, we have the X offset and the Y offset. They both specify the distance that you want the drop shadow to be in relation to the object. And The next one is blur. And blur specifies the distance from the edge of the shadow where you want any blurring to occur. If I just reduce it to, let's say 0. You won't see any blur here at all. And then you have the color of the shadow. You can have different colors as well. So you can have a green shadow if you want. All right, It's really up to you how you're going to use it. But let's just keep it with the black one. And you can also choose the darkness. The darkness is specifies the percentage of black you want to add for the drop shadow. As we have seen before, we can remove the drop shadow here in the appearance panel. And we can also create multiple drop shadows as well. If this is a group like it is, I can just remove the drop shadow by clicking the line and removing it. Or I can just pressing Control Z again, right-click on the object and ungroup. And it will remove the grouping. And it will also remove the job shadow because the drop shadow was affected directly to the group, not to the elements. And if we add a drop shadow to these elements, to the circles, it will be a different shadow. Let's see it from here from the menu. Drop shadow. It has the same options that I used in the last time. I could have our smaller offset, let's say 77. And there you go. Look how cool it is. And I can also add our drop shadow to the group with some different configurations. Let's just play around. So I have a drop shadow in the cross and in the circles behind. What you can also do with the effects and the drop shadow is to use it with text. Let's go to the next art board. We have a background and we have this text. I'm going to select the tags and I'm going to apply the drop shadow again. Just to play around. There you go. Now again, the drop shadow uses the last configuration that I used and had too much blur, therefore, I have to fix it. Let me add five of blur. I can reduce the offset to, let's say 10 and then 5. I can also reduce or increase the capacity. Just remember one thing. If we have the preview on, you will be able to see the difference while you are changing. But when we use the preview, you have to remember that the effects are very computer demanding and memory intensive. Therefore, it might be a little bit slow depending on the effect that you're going to use. If we select this object, which is our text, all right, we can also go to the Type menu and create an outline. We've seen this before. And when we do that, the tax is no longer a text. It's just letters in path, but different from the group. The opacity mask is still here. So when we ungrouped something, we lost the effect. But when we had a tags and changed it to create an outline, it maintained the effect, but the effect is in the group, not in the letters. So that means if I ungroup this, I will still lose the effect. I can apply it again. If I apply it again now, it's not in a group. It will be in each individual letter. Let's do it. Let's go apply the drop shadow again, style and drop shadow. All right, look how cool. Now that each one is an object, I can move it. And this shadow will follow the letter. If I increase the latter, which this is not a letter. Actually this is a path. It will increase as well. Remember, because we're not in a group, we have these individual components. So the drop shadow now is in each one of these path. I know that because I'm looking at the appearance panel and I can see the effect here, drop shadow. If I select another letter, I will still see the option Drop Shadow. And another one. There you go. If I change the effect in one of these letters, let's go, let's select letter L and click on drop shadow. It will change the drop shadow just for this latter. Let's increase the offset and check it out. Press Okay. Now let's go to the next artboard. All right, so we have an image here of a person. And what if we add some lights to this image? We have a car passing by, hits the person. If it hits the person, it means it should have a shadow here. How can I build a shadow for this object? All you have to do is click on the object and go to the Effect menu. All you have to do is find the drop shadow. Now, let's change it here. 250 and a little bit more. How about 80? Yeah, that's good. And they offset, I'm going to put minus, minus 50 or minus 60. Minus 60. There you go. I'm using tab and enter to change between this fields, okay? And I'm going to reduce also the opacity to 60. And I'm going to add minus 55. That looks better to me. Let's press. Okay. We have a shadow here of the person. The corresponding by showing some lights, the shadow is hitting the wall. But there's a small problem. There is a distance from this person to the wall. That means that the shadow should be bigger. How can I increase this shadow? There are lots of ways you can do that. You can, for example, create a new object, okay? I'm going to create a new object. I'm going to press Control C, Control F. Therefore, I will have two persons here. One of them, you can remove the shadow and the other one you can, let's say increase the person. Okay? And place it somewhere else. Let's say here, a little bit bigger. And then you could also create clipping mask. So I'm going to add a clipping mask here. There you go. And I'm going to select this rectangle and this object as well and apply the clipping mask. Clipping mask, make, and there you go. Now we have a clipping mask with this shadow of another object. And we have this person here that although it has a shadow effect in the appearance panel, I removed it. Okay. If I click on it, it will appear again. I don't think I made it really big. Okay, I can delete this one, select the other object, and select the other clipping mask, double-click on it, and then just increase the person. I think this is a better. Let's go back. We have to change the clipping mask as well. Doesn't really look so good. So I'm going to select the rectangle and just increase it a little bit. There you go. Let's go back. All right. I showed you a way that you can build a bigger shadow with drop shadow without affecting the image. Okay, so I have an image there is hidden, and I have the object here, which doesn't have a shadow anymore. But there is a much easier way to do that, which is by using the expand and expand appearance of the object. 73. Expand and Expand Appearance: All right, we're back and today we're going to talk about expand and expand appearance. Expand and expand appearance is located in the menu object. Right here. Expand and expand appearance. Right now, I can't select these options because I don't have any object selected. When you have an object selected, you can choose to use these options to divide a single object into multiple objects. For example, if you expand a simple object such as a circle with a solid color and a stroke, the fill and the stroke each becomes a discrete object. Let's check out how the circle works. Let's click on the Ellipse tool. And right here, it's fine. So I have a circle with a stroke of 20 and a fill of black. If I select this object and go to Object and Expand, you can choose to expand my fill, my stroke by gradient mesh. Or you can just specify how the gradient will be expanded. Let's just click Okay with fill and stroke. Ok. And let's check out in the layers panel how it looks. Now it's a group right here. If it's a group, it means it has multiple objects inside. Let's check it out. There's one circle just for the green color, and then a circle for the black. If I ungroup this object right here, I can move these objects individually. Let's say I'll make another circle here. And let's say this color is a gradient. I'm going to add a gradient color. And let's now choose the option to expand Object and Expand. Because this object is a gradient, you can choose to expand by an number of objects or by a gradient mesh, which is this option here. Lets us specify by a gradient objects of 20. It says low number, it will look different. But just for you to have an idea, click Okay, There you go. Now we have this circle, which is a group that has been expanded. When we expand our gradient, usually it creates a clipping mask. Let me increase this part here. So this clipping group here, right here, was created when we expanded the circle with a gradient. If I right-click and ungroup, I still have to release the clipping mask by clicking on the object and clipping mask and release. So some objects that are expanded the Create Clipping Mask. And if you want to move them individually, you either have to release the clipping mask or you can go into isolation mode and then move the object. There you go. This was the object that was created, and this ellipse here is the clipping mask that was created with the object. When you release everything, you can move the object just how you wanted. Okay? If you create, let's say, a gradient that has a radius color. Let's go and change it. And if I did the gradient to let say, this part here is creating several circles. Now, we have seen how gradient works in the region lecture, but I'm just trying to show you the effect that it has when we expand an object with a radial gradient. Clicking the Object, Expand, let's say 20 again. And there you go. Again. It has multiple objects and it also has a clipping mask. Now let's try to expand something more complex. Let's say, for example, an object with multiple lines, a circle. Again, that's another circle. And let's choose the green color here. And then let's add multiple strokes. We have choose strokes. Now, this one will be the orange one. Let's make it bigger. And this one, the black one, okay? When we have a complex object and we tried to expanded, this option would appear. You have to click in Expand Appearance first. When you have expanded, you can go to layers and check it out. You can do the same thing that we did. And you can also expand again if you want to expand and change the circles, just like we did before. You can also expand effects. Let's go to the image in the artboard. There you go. Let's create the shadow again by clicking here, stylize and drop shadow and press. Okay. But I want the drop shadow to be bigger. One way you can do it is by using the Expand Appearance. Just click on the object, go to object and expand appearance. There you go. Now it has two objects, the man and the shadow. Let's ungroup this right-click Ungroup. There you go. I can move the shadow. And I can increase also the shadow to make it different. That's just one problem when we do that. Some effects, they are used in Illustrator as roster of effects. It means it creates pixels. So if I zoom in this image, you will see that the shadow is created by pixels. It is not a vector shadow, it's an image. So illustrated, transform the shadow into an image and added to the file. The problem is that because the resolution is not so good, maybe if you send it to a printer or if you send it to a client, the image won't look so good. So what you have to do is use the option Effect, document, roster effects settings. But you have to use this before the expand appearance because now it's already an image. So illustrator won't make any change in this raster effects. I'll show you if I change now to high resolution and zoom in. So as you can see the rafters effects of this image, It's not better because you have to apply that before applying the Expand Appearance. So I'm going to delete this object, this shadow, and I'm going to click in this object and generate again the drop shadow. There you go. I'll click Okay and zoom in. Now, the shadow is really cool because it has a higher resolution. Let me zoom out. If I apply Object, Expand Appearance and then right-click and ungroup. I can move the shadow and increase it. If I zoom in, the resolution is very good, and I don't have any pixel showing here. Let me zoom out. I told you that you should change the higher resolution when you deliver to the client. But if you want to do an exponent appearance with an effect, The applies pixels, then I would advise you to change it back to high resolution before applying the Expand Appearance. So I'm going to change it back to 72 pixels, the V. Why do you have to change it back to 72? Because when we increase the resolution, this means that the computer will demand more processing power and it will be memory intensive. Therefore, if you don't want any lags while you are working, I recommend that you use 72 pixels per inch instead of 300. Okay? Let me put it back. Because this is already an image and not an effect. It means that it will maintain the resolution that was used when we created the object. 74. Inner Glow and Outer Glow: Hi there. Welcome back. Let's learn a little bit of Inner Glow first, I'm going to select these three objects. They are in a group right here in the file. And we're going to apply the inner globe. The inner glow is available to you in the Effect menu. Effects Stylize and inner glow. Or you can go to the appearance panel with the objects selected and choose Effect. Stylize Inner Glow. Before we apply Inner Glow, I have mentioned before that sometimes I don't like to use the black color for the color of the layers. This is the layer, the draft layer, and it has a black color. When I see a black color selecting objects, I get confused and I'm not really sure if the color is the color of the stroke of the object, or if it's the color of the layer. So usually I choose a really different layer color before you start working. Since I didn't do that, I'm going to double-click here in the draft layer and choose a different color. Let's go for a pink. Back to the integral. Select the object, go to function, list Allies, an inner glow. It has the ability to add blending modes to the inner glow effect. And you can also add opacity and Blur. Let me zoom in the square. In the square here, I'm going to again, and the inner glow is applying the blending mode screen and the color white to this blending mode. It's also adding 50 percent of opacity and a five pixel blur. The Inner Glow can also be used from the inside of the object selected or from the outside from the edges. Let's see the difference between edge and center. I'm going to click on Center. And the Inner Glow, we'll apply this screen mode with 50 percent opacity from the center to the end. The blur will be applied to the distance here. If we increase the blur or decrease the blur, you will see the difference. Let me press Okay and zoom in the image. The inner glow effect is a raster effect. I've mentioned this before. So it changes the colors and uses pixels to bind them with the vectors that you are creating you. I'm going to zoom out a little bit. The first one, the mode, which is the blending modes. I've mentioned before that the blending modes, the change their values according to the background. In this specific case of the inner glow, you have to understand that the background is the color of the object selected and it's not affecting anything outside because the object has a color and it has an opacity of 100%. So he can't affect anything behind it, which is different from the outer glow. So if I add, for example, a multiply, you won't see much of a difference because it's multiplying white to this color and it won't affect anything. But if you change the color to, let's say black, I think I have changed the color really quickly. Let me go a little bit more as low, I'm going to click again in a color. You can use the color picker to choose a color for you. And this effect. And you can select the color from this spectrum, or you can change it again from here. You can also choose color swatches and select one of the color from the color swatches. You can't see much of a difference, but I have select the blue color and it has an opacity of 50 percent. And this inner glow, if I increase the capacity to 75, you will be able to see this color more clearly. Usually, I use the integral functions in the edges of the object. And I usually apply little blur, let's say 10 pixels. And I also use this screen, which is the default value with white. Let's change it to white here. And I'll get this image effect here surrounding the object. Let me click Okay and zoom out a little. So let's select this object here. Apply outer glow. You can apply it in the same way that we have applied in a globe. Just go to functions and stylize. And outer glow. You can choose the color mode, and you can choose the capacity and the blur. Let me zoom in this image here. So if I select the object again and click in the Outer Glow, I will be able to see the blending mode that it's being applied there pasty and the blur. Depending on the blending mode with the Outer Glow, it will affect what's outside, what's in the background. And I'm going to choose a different blending mode. Let's see. I'll select the multiply and click, Okay. And the multiply with white on a transparent view will be this. But because I have a solid color here, you can't see any difference. So be very careful when you apply the outer glue with different backgrounds because it might affect the background according to the color and according to the blending mode that you select. Let's select again the outer glow. And let's choose again the screen. And choose, let's say a color, yellow. Let me zoom in even more. This color here is a little different from this one because this one is blending with the background. And this one is just blending with the color that it's behind, which is a transparent color. Let me zoom out. Another important thing to pay attention to is when you add more than one effect to the same object. And let's say I want to add an outer glow. So I'll click here in function and its allies and outer glow. And let's say I'm going to increase the blur to 20. If I add another effect to these objects, they will be applied in a different way. So I'm going to press Effects menu and stylize an inner glow. When we apply Inner Glow now, it will consider the size of the object with the other effect, which was Outer Glow. Let me increase a little bit more. If I click on hold in the Inner Glow line and move it up in the appearance panel above the outer glow. What will happen is the inner glow effect will be applied before applying the outer glue. So let's go to the first art board and do something practical. And we have a moon here. And we're going to apply the Inner Glow and the outer glue. Let's select the moon. Be very careful because the order of the effects will make a difference in the object. If I apply the outer glow first, it will look different. Okay, So I'm going to apply first the Inner Glow. And I can choose the size of the blur, the opacity as well. I'm going to increase even more the size, let's say 30. Press Okay. And then I'm going to add an outer glow. And I can increase even more the blur. And that's it. Click Okay. 75. Transform Effect: Hi there, Welcome back. The Transform effect is in the menu effect. Distort and transform and transform. You can also select this effect by selecting an object, going to the appearance panel, choose the options, affects, add a new effect, and then go to Distort and Transform and Transform. Transform effect has nothing to do with the Transform panel. If I select window and Transform panel, this is one thing. And the transform effect is another. Let me close this. Let's add and transform effect to this star. Let's go for something really practical and distort and transform and transform. With this menu, you can increase or decrease the values of the effect. You can also click here in this field, unchanged as well, a 150. Just one thing. When you change the values by clicking in the fields, you have to be very careful because if you press the Enter key, it means that you are pressing here, okay? And if you still have things to do in the transform effect, you have to use your mouse key to click somewhere else. When you click somewhere else, when you're using the fields, it will apply to the star. If you're not seeing that difference, it means that you don't have the preview on. So let's add again a 150. Now, if I remove the preview and change the values, you won't see any difference. If I click again, it will see the difference. The VI. What's the point of having a preview? If we're always going to use it. Like I said before, some effects are very computer demanding and memory intensive. Sometimes when your CPU is demanding too much of your computer, maybe it's worth removing the preview, but in most of the cases, you will keep it on. So back to the Transform effect. The next options here is the move. You can change the position of this object in the transform effect by increasing or decreasing the positions here in pixels. You can also rotate the object, the V. What's the point in doing all that? If I can do this by using the binding boxes of the object. Yeah, you're right, you can do that. Let me press Okay. So I have added the transform effect to the store. And a very good question is, why would I use the Transform effect? If I can just click in an object and start changing the object by just rotating it and changing the position. The whole difference is that when you click in the object that has an effect, the object appearance is the same. We still have the singing star here, but it has an effect applied to it. I can toggle the visibility of the effect of an on. And I can also remove the effect. In the other object. The object has changed, it's no longer the same star. And the only way to go back is by pressing Control Z. But if you have saved this file and open it again, you will not be able to go back to the same object that you had before. In this case, I can all have to do is click on the Star, click in the transform effect and deleted. Now let's see some other stuff in the transform effect. If you click on the star and go to the Effect again, Effect distort and Transform and Transform. Make sure you have the preview on. And let's do some really cool staff of the copies. Let's say I want to add five copies of the effect. If I add five copies, that means that illustrator will create five copies are according to the movement that we do here. So let's say I want to move it horizontally, 5 pixels and five pixels as well. So now I have five stars here. I can also rotate them as well. So let's say I want to rotate 30 degrees. You can also change this scale as well. Let's say 40 percent and 40 percent. When I reduce this skill, it needs that all of the objects are behind the original copy there, here you can't see them, but they are here. If I make them larger, I have the original objects and all of the other copies are behind. I can also move them. So let's say if the move is higher than five pixels, let's say 20 pixels. In the transform effect. You can also choose to Transform Objects, Transform Patterns, and Transform Scale, Strokes and Effects. You can also choose to reflect on the x scale, reflect on the y scale, and make it random. Below next to the copies, you have this position here. What does it mean? It means that you are choosing a place where to position the copies. I'm position all the five copies in the center of the object which is here. And then I'm making all of the transformations again. If I choose to position the carpets below, I'll have to click here. Depending on the position of the object. It will rotate in a different way. And let's go to the next artboard. To do something practical. We have the dense word here, and let's apply the transform effect with something cool. Let's go to distort and transform and transform. Something you can do here. You can make, for example, a 100 copies of this effect and make it move, let's say three pixels and then three pixels down as well. This effect here, the transform, is making 200 copies of this word. And it's moving three pixels horizontally and three pixels vertically. Because it's making 200 copies. It means that it will get the colors of the strokes and the colors of the word and copy it down the V. Why is it all-black? Because I'm moving three pixels and the size of the stroke is four points. It's bigger. Therefore, you can only see the color of the stroke. If I make it bigger, let's say 10 pixels. You will be able to see the colors as well. Let me press OK. Click outside. The word dance is red. I can see blue instead of red. That's because what you're seeing is the color of the layer. Right here. The layer is blue. And when I position the mouse over the word, I can see the color of the layer, but the real result is this. Now let's say I have one color for each word. And let's say I select the dense word and transform it again. Back to three pixels. Let me press. Okay. We have this cool effect, The dance words. You can also change the word because this is a text. The V, Why don't we have a rainbow like before? That's because when they deleted and start writing again, it shows only one color. I would have to go word by word and changing the colors word by word. Okay? I could also write, for example, boom. And then change them one by one again. One thing that you usually like to do is when I select this and click on the transform, I usually add very low pixels, let's say one pixels here. And more copies. And there you go. This one didn't really look so good. Letter B. So I'm going to change it. Let me change it to green. Let's go to the next art board. So in the packs here, I'm going to do something different. I'm going to remove the fill and choose a white stroke. And I'm going to go to Effect, Distort and Transform and transform. And now I'm going to let say reduce the pacs, let's say 90 percent. And then just make some really cool copies. Let's say ten copies. Really cool her. Let me press Control Z. One other thing that you can do is you can select the word and go to type and create an outline. I'm going to right-click and Ungroup. And they can manipulate the objects individually. So I'm going to select just the P. And I'm going to apply the effect Transform. And again, I'm going to make, let's say five copies and move them five pixels. And I can position it where I want. Let's say it here on the top. Or even better, I can just reduce the scale to 90 percent. Let me press OK. And for the letter a, I'm going to make it as well distort and transform and transform. And I'm going to reduce the scale to 90 percent. And I'm going to not move it. I'm just going to make copies. Let's say ten copies. And this one is wrong, is supposed to be 1990, 80. And then I'm going to press okay. And the same for the x. I could have done them together. Function, distort and Transform. Transform, reduce the scale, and then make some copies. You can also select a gradient for the stroke to make it different, to make it look cool. Anyway, this is it for today. 76. Practice - Transform Effect: Hi there, Welcome back. And today's time to practice. You have to build this pattern here using only circles, squares, and the transform effect. That's your goal for today. 77. Practice Solved - Transform Effect: Hi there, We're back and I'm going to solve this exercise for you today. I'm going to zoom in the image. The image has several squares, several circles are rounded, and then it repeats itself a number of times. So we have 1, 2, 3, 4. Let's zoom in more. 56. Oh my god. Because this is a rasterized image, you will see like this. But if you build it with vectors, you can zoom in even more. Let me zoom out. Let me fit on screen. Well, the first thing you need to do is squares. Maybe a little bit bigger, 600 pixels. I'm going to add the rectangle aligned to the art board. And now let's build some circles around the rectangle. Let's choose the circles, the ellipse tool. And you can click ones if you want, or you can just change the size. I'm going to position the circle in the exact spot of the corner of the rectangle. When I find the exact spot, I'm going to click and hold. And then I'm going to drag holding the Shift key. When you hold the Shift key, it goes into 45 degrees. So let me move around 60 pixels. When you have one of the circles, all you have to do is click and hold. Drag. Then press the alt key to copy, and then the Shift key to go in a straight line. I think this is it. I want the circle to touch this square here. So this one has to do as well. So let's put it here. There you go. And now that I have two circles, I'm going to select these two. And click and hold and drag and press the alt key to copy and Shift key to go in a straight line. Now, this is really important. This is where you can make a mistake. If I select all of the objects and use the transform, what we will do is it will transform each one of these objects, but I don't want that. Let's look at the image. The image is transforming all of them together. The v, How did you know that? Because they are rotating. If I rotate a circle, only a circle, It's a circle, so it's going to rotate over itself. So to make sure this happens perfectly, I have to group this objects first. So I'm going to right-click Ungroup. If I rotate this group of objects from the center, it will make several circles, are several squares around the center point. Let's go and apply the transform effect. Let's add 30 degrees rotations and then add three copies. Because I didn't position the squares and the circles perfectly. There is one copy that it's not over lapping the initial square. So there's two conditions that I can do here. I can position the circles in the exact space for these group of object is in fact a square. So the binding box of this object is a square. The v, It looks like a square. The binding box looks like a square. But it's not. I know that because if I look at the properties here, width and the height are different, these is not a square, it's a little bit bigger. I could fix this, or I could also do a workaround and reduce the number of copies to two. And that will do. Now we have the first objects here and I'm going to press Okay. If I press Control C, Control F, and the start reducing the size, holding Shift and Alt. I will have the same object or the one that I'm asking you to build. But I don't want you to build it like this. I want you to build it using the transform effect. So I'm going to delete this. And with the original object, have told you before that you can have more than one effect. So I can go to Function, distort and transform and apply again the transform. Because I'm trying to apply the same effect to the same object. Illustrator will alert you because this is a common mistake. Sometimes people apply a new effect. Instead of changing the current effect. In this specific case, I want to apply the same effect again. So I'm going to press in the apply new effect. Instead of rotating. We're going to reduce this scale. Let's say we're going to reduce to 60%. How about that? Maybe a little bit less, let's say 40 percent. I'm reducing in their horizontal line on, in a vertical line. If I reduce with different values, it will not be the same object. Now that I have chosen the skill, all I have to do is choose the number of copies. So let's say I want five copies. I'm going to press Okay. There you go. So now in this group of objects, I have two transforms effects. They are here in the appearance panel. The first one, I used to make the rotation of the original object which was grouped. And the second one, I made the copies downwards. Isn't that cool? Now let's say I want to make something different. Let's say I want to change the circles, Amika, little mess of it. I have four circles out to have to change each one of them. Or I can select one of the circles and use the global edits. We had this specific lecture on this. It's in properties. Start Global Edit. You can also go to the Select menu and start Global edit. So let's say I want to change this object here to make a different thing and bubble, for example, I can select the direct selection tool, the white arrow, and click in one of the anchor points and just change one of the anchor points. And there you go. How does it look? And I can also change the handlers as well. Just remember, we're changing one of the objects inside a group. And the group has two effects. That's why changing just one object with the Global Edit, it will make all of them change together. Um, other thing, if you just select the group with the selection tool. When you select the group with the selection tool, in the appearance panel, you will see both of their effects. I couldn't see the effects before because I had the direct selection tool and I wasn't able to select the group. Okay. That's why it wasn't appearing here in the appearance panel. When I select the selection tool, which is the black arrow, and then click in the object. I will see both of these objects. Just remember the position where each one of them are affects the whole object. Now let's have some more fun. Let's just press Control Z to go back to the circles. And I'm going to select the selection tool, select the object, and just remove these two effects. Let's do it again. And let's remove the circles. Okay? And let's say instead of the circles, Let's have star here. Maybe I'm wasting my time. And then you can make the copy holding Shift, release it in the corner of the square and then move it holding Shift, and make sure you have 50 pixels. There you go. Now I'm going to group it again. And then I'm going to apply some effects. I could make more, let's say ten copies and reduced to 15 and-a-half to have more copies because some stars are not filling, so let's have 12 copies. I'm going to press okay. And all you have to do again is to add a new effect. And you transform effect to the group. 78. Reshape Tools: Hi there. We're back. In the width tool. There are several tools called the warp tool, twirl tool, pocket tool book to scale up to crystallize to wrinkled tools. Let's start with the warp tool. When you select the warp tool, you will see a circle around it. It can't be a bigger circle or as moral circle. It can even be an ellipse. What illustrate will do is it will get the last configuration that you use for the Warp tool and make it available for you. If you double-click on the warp tool inside the toolbar. The size of the circle is right here, the width and the height. Let's choose, for example, just 50. And just increased intensity as well. And press Okay, so we have a small circle. Let me zoom in the first image. I want you to use the selection tool to select just the rectangle. That's because if you don't select anything, when you apply one of these tools, it will be applied to all of the objects in your art board. So if I start using the Warp tool without selecting anything, it will change the shapes of your objects that are not locked. If you want to change just one shape, let me press control Z. Then we have to select an object first. So with the selection tool, select just the here. What the warp tool does is it molds the object with the movement of the course. So it's just like playing with clay. So if you select warp tool, you can just start bending, click and hold, and it will change the object. If you release it. It will stop bending. If you want to ban from the inside to the outside, have to click in the inside, the center of the circle into here. Click and hold and drag it out. Now let's go to the next one. And the twirl tool will create swirling distortions within an object. First of all, I will select the here, click and hold. And depending on how much you hold, the bigger the trial will be. I'm going to double-click here on the 12th tools options. It also depends on the intensity, the height, the width. And these options here as well. Let's go back. If phi, well from here, it will go up. Maybe I wanted to go down. So I'm going to press Control Z. What I need to do is I need to go to the twirl options, double-click on it. And instead of going for two degrees, I have to go minus 40 degrees and press Okay. And now mitral will go on the other directions. Let me press Control Z. The last one didn't go so well. Because I have the head here. Maybe if I had a bigger here, it will look better. Let me press Control Z again and you go. And now let's do these ones. If I wanted to go downwards, I have to put a bag 240 degrees. And then it's going down. And let's go to the next one, the pocket tool. And what the pocket tool does is it will deflate an object by moving controls points towards the coarser. So it will make it thinner. All right, First of all, I have to select the rectangle here. And then I will select the pocket tool. Double-click on it and check the configurations. If it's good, it will go on. Click Okay. I'm press Control Z. You can also like increase the size of the bucket. And let's reduce the intensity to 10 percent. And maybe reduce the details as well. The details will increase the number of anchor points and the new shape that you create. Oops, didn't look so good. You can always increase. It looks more like a hat. Let me press Control Z. If I select the packet 2 again, and if the center of the circle is outside of the object, it will pull it up. And we press Control Z maybe was too much, somewhere like here. And the next one, if the bloat tool, it inflates an object by moving controls points away from the coarser. I can just click and hold. And it will insulate the object. If the center of the circle is outside of the object, it will deflate a little bit. And the Scallop tool will add random curves around the outline of an object. If you press control Z, you can just go a little bit up as well, see how it looks. And let's go to the next one. The crystallize. What it does is it adds random spikes and details to the outline of an object. It's kind of the opposite of the Scallop tool. We press Control Z. I'm going to do it a little bit up here. Press Control Z. Now, you could always double-click on it and change the configurations to, let's say 50 and 50. I mean, Chris a little bit. And let's go the next one. The last one is the wrinkle tool. Let's select the wrinkle tool. So the wrinkle tool, it will add wrinkles like details to the outlines of an object. It will distort everything and press control Z and show you something else. If I select the whole object, let's add 400 or six hundred and six hundred. And then 5% 1 more thing. Some of these options, they have a default configurations of 0% vertical. I usually keep my own with a 100 percent vertical and a 100 percent horizontal. Let me press Okay, and let's apply the wrinkle tool to the whole face at once. There you go. So like I said before, if I double-click here, some of the configurations for the re-shaped tools starts with 0% of vertical option. That means that if I apply it again on the vertical lines, it won't be affected. 79. Pucket and Bloat Effect: Today we're going to talk about the pocket and bloat effect. What this effect does is it will bend the anchor points and the handles of the object. Let me zoom in and select only the square. And let's apply the pocket and bloat effect, go to the Effect menu, distort and transform, and pocket and bloat. When you bloat, it means that you're bringing the anchor points of the object to the inside of the object. And you're also sending the handlers of the anchor points to the outside. The pocket is the opposite. So it's bringing the anchor points to the outside and taking the handlers and bringing to the inside. So with this effect, you can play around with many things. For example, in this case here, I transformed a square into a little flower. Just like any other effect. It will go to the appearance panel and you can change it later on. We still have a square here. And if you want to transform it into a pocket, just click on the effect and bring it down. Maybe a little bit more AT. If I click on the object with the effect, and if I select the object with the direct selection tool, I will see that the flower was built by bringing the Ankur points of this square to the center of the object. Because the anchor points were brought to the inside of the old object. If I select just one of the anchor points, I can see that the handler has been taken to the outside. So let me undo this and leave it with the effect of the flower. Let me press Control Z. I still have now the pocket and bloat effect and let me zoom out. Let's build this flower here. And I can also copy this press Control C, Control F, and rotated by selecting the direct selection tool. I can also build other objects. For example, this ninja here. I think this is wrong. Is that supposed to be 90? Fix it and leave it with the correct values for you. I'm going to add the packet and bloat. How come the VL Noise minus 30? Because I have four anchor points in the circle and I want to bend to the inside. And I knew it wouldn't be minus 50 because 50% of that circle would just be too big. So it would be around minus 30 to minus 40. And there you go. And what I'm gonna do is I'm going to copy this Control C, Control F, reduce the size, pressing Shift and out. It's reducing like a circle because the object is still a circle, but it has an effect applied to it, that it looks like something different. So if I select the inside the fact, I can for example, rotated as well, holding Shift. And then if I choose a color of this, I know how they affect looks. And I can select the object, which is a circle that has an effect and just remove this oracle of the whole object to have something transparent. For example, I'll select everything with the shape builder tool. I'm going to holding out, remove the inside part of this object. Let's go on to the next one. Um, other flower, really nice flower. I'll press Okay, press control C, control F to copy. Then. Holding Shift, I'm going to rotate to build a nice flower. I can also build a star by reducing the angles to the inside. So I'll select the circle, apply again, distort and transform packet and bloat and go for minus 90. And with this effect, you can also apply it to text. Let's go to the next art board to check it out. I'm going to select it, distort and transform and pocket on bloat. Let's say apply 10 percent or maybe 15. If you apply to march like let's say 50, it will look strange. You probably won't be able to understand what it means. So I'm going to leave it at 10 percent and press Okay. In the other one, I'm going to apply again, but I'm going to use the packet and I'll leave it at minus ten. I'm press Okay. Because this is still text, I can just change the words. 80. Scribble Effect: Hi there and welcome back. Today we're going to talk about the Scribble Effect. It simulates a pen drawing lines like a childish line. To explain this effect, let me go to the left side and just draw a square. And I'm going to apply the scribble to this square. So you can go by the Effect menu style Ives scribble, or you can go to the appearance panel. Effect, Stylize. Scribble. By default. We have several pre settings for the Scribble Effect. It's right here in settings. If you just change them, you will get a different configurations for the scribbles and you can start working from one of these configurations. I'm going to start to explain you by using the default option, which is this one. When you start changing the settings here we'll go to custom settings. So if I change the angle, the settings will change. When we change the angles, the lines here in the square are being built are little bit different. So this is the angle where illustrator will create the Scribble Effect. Below are all the other options. And we have the path overlap. And the path overlap by default is the starting center. The morning the inside, it will say inside of the object that you have selected. Since I have select this square, it's very easy to see that the lines are inside. So if I go a little bit to the left, if I go a little bit to the right, the lines will have 39, 852 pixels outside. I would recommend you to remove the dot values because sometimes it doesn't render correctly, so maybe it will be really smart to keep a rounded number like 40. Below, we have the options variation. Just understand that variation means randomness. So this is the random variation applied specifically to the path overlap. Below we have other options with the variation means. They are variations. There are applied curviness and variation applied to the spacing. So this variation here is the random variation applied to the overlap. You can increase the variation. If I center the path overlap to 0. It means that the variation can go 27 outside of 027 below 0. The lines options here are below. And we have this stroke width right here. It can go from 0 to 1, 0, 0, 0, 0, 0, 0. And I wouldn't recommend you putting 1000 because it will be so big that you might not see it. The values my illustrated just crashed because of the value. Just give a minute and we'll come back. Okay, So as you can see, the stroke is so big that it doesn't show in Illustrator is not rendering. So I'm going to add just five. And we can see it clearly again. So be very careful with the size of the stroke. All right, and let's go to the curviness. This is really cool. I'm going to reduce the pixels of this joke to see it better. So I'm going to add just one, maybe three. So the curviness is in 5%. It can go angular Our little bit loopy. If you increase too loopy, it's like a mesh that you have. And again, for the curviness, we have a variation, which means random variation for the curviness. You can increase the variation of the curviness or just decrease it if you want as well. And the same for spacing for this, that's the spacing between each line. You can increase or decrease it a little bit long by this applying a spacing of 0.01. So you can't see the scribble. If I apply, Let's see four. Let me cancel this scribble and I'm going to show you what happens when we apply to an object that has a fill and that has a stroke. And now I have an object which is blue, the fill and stroke of black. So let me select the object again. Have selected only the object. And I'm going to apply the effect only to the object. So I'm going select Effect, Stylize and scribble. I can apply the effect to both the fill of the object and this stroke of the object. Now, if I click here in the appearance panel, in the stroke, the stroke is selected. And I'm going to apply the scribble only to the stroke. I can do that as well. Because I have selected the stroke in the appearance panel, they scribble effect will be applied only to the stroke. This goes for all of the effects as well. Let's apply it to something practical. Let's go and try some scribble in sticker for example, let me press Okay here. And we're going to apply this scribble effect to the happy days tax. And you will get this really cool scribble applied to the object. It's really up to you. How are you going to work around with these configurations? And remember that you can use some presets as well. 81. Artistic Effects: Hi there and welcome back. Today we're going to talk about the artistic effects in Illustrator. The artistic effects, the one we're going to see are these ones. And basically they will simulate our wrinkly appearance on your traditional object. We have several objects in this file. And we're going to apply all of the artistic effects to each one of these art boards. All right, so I'll select the first one and apply the effect. You can either choose the artistic effects by this menu or you can go to the Effect gallery. So if I click in, for example, the color pencil, if I just click OK, the color pencil, it will draw an image using color pencils on a solid background. The important edges in this effect are retained and they're giving a rough crosshatch appearance. All right, so let's just paint everything and then we'll have a quick talk about the other effects. So I'll select the next object and I'm going to apply again. I'm going to apply the artistic effect, the cut-out. Remember, I went through the Artistic Effect menu and chose cut out. Or I can go to the Effect Gallery. I'm going to go here because it's faster. I know which one I want. But usually on a daily basis, I go to the Effect Gallery and shoot it from there. So I'll select the cutout effect. And this is the cutout effect. Each one of these effects, the hammer specific values where you can change some values according to the effect. I'm not going to go through each one of them. As you can see the tags on the top, it's not been applying the effect because the text is in the mother layer. And because the layer is locked, that text is not being applied, the effect. So the next one, the pink dubs. This one basically lets you choose from various brushes size from one to 50 and times for painterly effects. Let's go and check it out. And faintly dubs. And there you go. That's how it looks. When we increase the pixel by H to 300, it will look much better. Okay? The last one, and I'm going to apply it. The fact there are more effects here in the Photoshop effect gallery. You'll have to play around with them to find out which one suits you better later on. This is the water color. It thinks the image in a watercolor style, simplifying details and using a medium brush loaded with water and color. And let's press Okay and check it out. When you're done applying the effect. Any type of effect that has raster effect, you have to remember that it will be really good for you to increase the pixels per inch of the documents. Because this has so many artboards, it may take awhile. But anyway, let me try it out. Effect, Document, Raster Settings effects, and then I'm going to increase it to 300. Now that I have changed the resolution of the document to 300 pixels per inch, Let's check how the effect is being applied to each one of these artboards. Let's go the first one, the color pencil, this is the resolution that you will get. Let's get go to the next one, the cutoffs, the dry brush. If you click on the object, you will see the dry brush here and you would still come click in the effect and change the values or write to it. And let's go to the next one, the film grain. I usually use this one on backgrounds and don't text. And the Fresco. New grow. The pink dubs. Anyway, There's just so many options here in the artistic effect and on the Photoshop effects. We've only shown you this one, the autistic, but there is a blur. The brushstrokes, the distort, pixelate, sketch, stylized textures and video. You have to go buy your own in these ones. But occasionally, I may apply these effects as well to our exercises. So this is, it. 82. Brushes Introduction: Hi there and welcome back. There are different types of brushes and we're going to work with them. We're also going to learn the brushes panel. We're also going to review the paintbrush tool with other paintbrush to earlier in the course, which is here. This is a paintbrush tool that should be. We're also going to build a new workspace, the V. Why do you build some any workspaces? Because I want you to experience to use Illustrator in a different way. And then you can find out which workspace is better for you. Basically, this is it, This is the introduction. We're going to learn the workspace. Then we're going to see the brushes panel. And then we're going to play around which each one of the brushes, which is the calligraphic brush, scatter brush, art brush, bristle brush. And we are going to create our own pattern brush. 83. New Workspace for the Brushes: Welcome back. I'm going to put back in the workspace that we have created in the beginning of the course. It was something like this workspace, the workspace. And we're going to create the workspace that we're going to use. So if you click on the top right of the screen here, you can change these control bar to show the painted in a different way. I want them to be individually. I want you to remove them so that when we place them here to place them individually, each one in its own space. Because if they are grouped, when you click in one of them, both of them will appear on the top. Well, I just don't like that, but that's personal to me. You just have to figure out how you would rather have. Now, you can, for the course, use the workspace like this so that you can see the text. But I think it would be better for you just to reduce the size and start learning the icons. Each one of these icons represents specific, painful. If you get used to the icons, you can save space on your monitor. When the panels are like this, and when you click in one of them, it will be locked. You can start using Illustrator and it will only be removed when you click on another one. Or if you click on the top here to close the painter. Sometimes I might select one of the panel and just drag it to the right. Sometimes I do that with a property paying bills or with the layers panels because in this way I can see the layers panels and they can also mess around with other panels as well. So I'm going to drag back here the layers panel beneath the properties. When we select each one of them, some of them may be shrinked like this. So I want you to increase it. And when you save your workspace, they will remain like this. The same for the transparency painter. In the transparency pain or I want you to activate the Show Options. And now select the appearance panel. And the character. The character you have to click here on the left to see all of the options and the paragraph as well. And the navigator, you don't have to change if you don't want to say one more thing. In the layers panel, we usually work like this. But sometimes it's better to see the icons of the Lear's larger. So I'm going to select in the menu layers. And I'm going to go to the painter option. And I'm going to add large here. When you press Okay, it will be bigger. And this does make a difference. For example, let's say I make a star, and if I select a color for it, if the star is in the layer panel, it will be much bigger here. This will be our configuration. There's just one problem. When we save the workspace with the layers panels choosing for our larger icon, it doesn't always work when we save the workspace, but all of the other options will be saved. Don't worry if you see the icon is smaller again, just go to the menu window option and make it larger again. So now that we have created our workspace, we have to save it. So let's go to Window Workspace and new workspace. Okay? Just type, let's say brushes, dash workspace, and press. Okay. 84. Paintbrush Tool and the Brushes Panel: Hi there and welcome back. Today we're going to make a quick review with the paintbrush tool. And we're also going to check the brushes panel. The pink brush tool is used to apply brushes in Illustrator. And Illustrator has several types of predefined brushes that you can access in the brushes panel right here. The first ones are always in a circle or in a dashed, which is the calligraphic brush, the scatter brush, there will be an object here. The next ones are the art brush. It's always align. The next one, the bristle brush are always like in a small curve like this. And they have the type of the brothel that is going to be used. And for last, the pattern brush always have these squares here, defining a specific path. And the brushes panel, we can also change how we view it by clicking here in the menu. And you can create a new brush, duplicate an existing brush, delete a brush. Below. You can deselect some of the brushes types. You can also see the brushes are the ListView. If you put it on a list view, you can see some details of the brushes as well indicating what does. The first ones, again are the calligraphic brush. These ones, the V. I can see calligraphic here, but I can't see the name here. That's because this is the name of the brush. So be very careful just because you're not seen in calligraphic brush. It doesn't mean that these are not calligraphic brush. If you double-click in each one of these, you'll have the advanced options for that brush. So if I double-click on the name, but here on the side, I can see the calligraphic brush options. There are different depending on the brush. Let me put back in thumbnail view because I'm more used to it like this. And again, in the menu, you also have the options to open the brushes library, these ones. And you can also save the brushes library. That means if I save, I will save these brushes to a specific file. Like I said before, there are several brushes that come with Illustrator and you can access here in the brushes menu. If you just open one of them. Let's say the arrows. For example. You'll get several arrows here. Several cool arrows. If you just click on it, there will be added to the brushes painter. This is a specific type of brushes library that come with Illustrator. You can save your own. If I open another brushes library, Let's see the bristle brush. I'll have several presets of bristle brush. And the same goals for all of the other brushes as well. You just have to click once and it comes here to the brushes panel. When we have the brushes here in the brushes panel, that means that you can use it with the paintbrush tool or with an object. For example, with an object like a square. I can just select a specific type of brush, let's say this one. And it will add the brush to the path as a stroke. When you click and add the brush to the stroke, the control bar in Illustrator will change and you will see the brush in the top here in the brush definition. Because the fill color of this object is black, you're not seeing the brush correctly. So I can change to a non. And I can see the brush being added to a rectangle. Let's add it to an ellipse. If you use the paintbrush tool. You can also play around with the pink brush tool. There's two ways of making the brush bigger or smaller. You can increase the stroke. If I increase the stroke, it will increase also the size of the object. Let me reduce to one. There's also another way to increase or reduce the stroke using the paintbrush tool. That's by reducing the size of the brush. Let me zoom the screen right here. And let's add, for example, a calligraphic brush. This one. When you select the calligraphic brush, you can see that there's a circle indicating the size of the brush. I can reduce it by reducing the stroke like here. Or I can also increase or reduce the size of the brush. Can you see that the size is changing? It's getting bigger now. But this stroke is not changing. That's because I'm changing this size of the brush, the v. How can you change the size of the brush? There's a little trick. We are going to use a keyboard, the left square bracket and the right square bracket. I'm going to add it on the screen so you can see the difference. Let me zoom out now. And remember also that with the paintbrush tool, if you double-click on it, you will get the pink brush tool options where you can move even more the brush or have an accurate brush. If you're using a tablet, you might want to use the accurate or a middle point here. If you're just using the mouse, you might want to add it more smooth. One more thing, when you're using the paintbrush tool, you can start drawing by clicking and holding mouse key. And if you want to make a shape, there is a trick. You can press the Alt key and the icon of the paintbrush tool has a circle around it. That means that you can close the path. 85. Caligraphic Brush: Hi there and welcome back. Today we're going to talk about the calligraphic brush. You already have some presets of the calligraphic brush in the brushes library. If you go to the brushes library, search for artistic. These presets can be used when you click in one of them. Automatically it will be added to the brushes panel. I'm going to add a few. Be very careful with the name. Sometimes is a little bit confusing. For example, I'm going to go to the wagon 60 brushes. And some of these brushes names are called Art Brush. I'm going to add this one. The 27, 60 art brush, light 27 points. This is not the art brush type. Okay, It's just the name. When the added this library, the appended with the name of another art brush type. So if you double-click on it, you will see that on the top it says calligraphic brushes options. That means that this brush, although it has a name called Art Brush, it is in fact a calligraphic brush. In the calligraphic brushes, when you select one of them, you can use it with the paintbrush tool. If I double-click on it, I will see the configurations for this brush in the calligraphic brush. By default, and this preset already has a rotation variation, are roundness variation by the bearings and a size variation by the pressure. That means that the more pressure I add with my Wacom tablet, the bigger it will be. Let me just write some words here with the paintbrush tool and using this calligraphic brush. As you can see, I'm drawing very simple lines. And because I'm drawing separate lines, I can fix them later on. For example, in this letters here, I'm going to zoom in. And I'm going to fix it by moving this line in the correct position for this letter just to make it look better, this one as well. And I can zoom out as well. Maybe I want to make this line bigger. And I'm going to bring it closer. Now I didn't look so good. But maybe like this. And then start fixing. With the calligraphic brush. You can always change or add more brushes by going here plus sine of the brushes panel. When you add a new brush, you can choose calligraphic brush. And you can make your own brush. And when you add your own brush, you can choose how the angle of the brush will be. You can choose the roundness, you can choose the signs. I'm going to add the size and I'm going to add a pressure size. And I'm going to add the maximum value. And I'm going to reduce the roundedness. And I'm going to add an angle of, let's say 45 degrees. And I'll have it fixed as well. Let's reduce even more the roundness, which is 5% and press Okay. And by using this new brush here, Davy calligraphic, the one I've just created, I can draw some really nice words. For example, let's draw, boom. Let me press Control Z. I'm going to zoom in a little more. And I'm going to write letter all part. I'm going to draw it with this artistic brush. And I will also press the Alt key. And there you go. The next one, I can draw them differently or I can just copy this to so many things that you can do. I didn't like this letter all it takes some time to get used to, to draw letters. And I am not an expert in drawing letters. By the way, I'm going to copy this one holding Shift and I'm out. 86. Scatter Brush: And this brush here, the scatter brush, it dispersed copies of an object in a path. So let's go to the brushes panel. You already have some brushes, dot our scatter brush available to you in Illustrator, you can go to the brushes library and you will find some brushes here in the scatter brushes. For example, this balloon here, select the balloon. The balloon will enter in your brushes panel. And if you have the paintbrush tool, you will be able to draw really cool balloons in the brushes panel. When you create a scatter brush or when you use an existing scatter brush, you can double-click on the brush. In this specific brush, it has some rules. The first is not really a rule. The first one is just the name of the brush. The second one is a size. You can control the size of the brush. You can increase it or reduce the size. If you're not seeing the change here on real time, you can activate the preview, clicking here. And you will be able to see the changes that we do right now. The second one is the spacing between the objects. So the original object only has 12345 bubbles or balloons. You can just reduce or you can increase the spacing. Right now. The spacing and the size are fixed. Let's just check all of these ones and then I'll enter this combo box and explain to you these options here as well. So the next one is this cutter option. It controls how closely the object follows the path. If we maintain it at a 100 percent, it will follow the exact path that you have drawn. Let's just go to the next one, the rotation. The rotation controls the angle of the rotation of the object. The original objects are like this. You can see the difference because there's a little circle on the top left of some of the objects. This one's a little bit down. So because it's rotating, these circles inside are rotating as well. And let's go for the values here inside of these combo box. They are the same values. And let's understand what each one of these does. Fixed creates a brush with a fixed size. The symbol for spacing is Carter and rotation. I'll just show you for example, let's make it fix this culture and fixed the rotation. It won't rotate. It will rotate just once because it has one value here, and then it will keep the same for the rest of the stroke. The next option here is random. This one is really good because with random options, you can control the possibilities of the size. It allows us to make a random size are runs counter and a random rotation. Let's put all of these two random. It have a random size. So the size it allows to increase 40 percent and maintained at a 100 percent. I could also reduce even more. So now I have some small bubbles here. This spacing is really cool when it's random because this spacing can go from a large spacing too, a really small one. And you will be able to have more spacing among them. The V, y, five of them always have the same spacing because does the object, the object is not one balloon, the object is five balloons. So these balance here. They all have the same spacing according to the original balloon. Because this is the object. If the object was only one balloon, then the spacing will be different to all of them if the random option was selected. And this Carter is also random. So it means that it will not follow the path. The scatter is different than spacing. Spacing is the distance among the objects and Carter is how the object follows the original path. All right, The next one is rotation and rotation. We have a specific option here because it can rotate following the page or following the path. I really like this one. This was the original object, the bubble object. And when we change our scatter brush, it will ask you a question. That means that these brushes here that I have just did, we'll get the new options that I created. Now let's create a new scatter brush from 0. I already have here three fish and some plants. I'm going to select one of the fish. And all you have to do, click and hold and drag and bring it to the brushes panel. You have to choose scatter brush, art brush or pattern brush. The V. Why can't I use a calligraphic brush or a bristle brush to a fish because the fish is an object and you are not allowed to create a calligraphic brush with an object. When you create the scatter brush, you have to name it on the mud fish one. And you have to choose the configurations for this scatter brush. And we have created here this cutter brush. If you select the paintbrush tool with the scatter brush fish one selected, all you have to do is click and hold. The V. Y is the distance between these ones and these ones. A difference if we had a fixed value for the distance. That's because if I select the selection tool and click in the fish, you will see that this distance here, and this one has an angle. So what counts is from the center of the object. So the from the center of this object to the center of this object is the same as this object to this object, because it's an angle. You may think it's different, but it's not. Let me move this. And let's double-click on the fish now. Let's start changing and playing around with the fish. All right, So let's check some other options here. In these options here, you also have pressure, stylus, wheel, tilt, Barry, and rotation. What pressure is it creates a brush that varies in angle, roundness, our diameter based on the pressure of the drawings tyros. So I'm going to choose the pressure here for the size of the fish. And let's increase maybe a little bit more and reduce a little bit, little bit more. Change the size to change according to the pressure. So let me press OK and Apply to Strokes. And I'm going to draw now with my Wacom tablet and I will have the pressure on. So there you go. 87. Art Brush: Today we're going to talk about the art brush. So there are several art brushes already in the brushes library. All you have to do is click here. For example, there's this month, the banners. If you click in one of them, it will be added to the brushes panel. And all you have to do to use it is use the paintbrush tool. You can also use the brushes by using lines on your click in one of the brushes after you draw the line, or you can draw symbol or an ellipse. Now you have to do is click in the brushes panel. There are other brushes as well here. After you create, you can always add some tags in front and it will look really cool. There are lots of other brushes available as well. Let me leave this one here and delete these ones. All you have to do is look in the library for the brushes. If you search for the artistic brush, these brushes here are also art brush. If you click on them, they will be added here. So now I have four our brushes. The first one that was already there, two banners and this one, there are loads more of brushes. For example. You can look from this one as well. If you click on it, it will be added or right, and all you have to do is use it. You can use it using the paintbrush tool, like I said before. This one, it will change according to the color because I have read here. When we add the art brush, just like all the other brush, if you double-click here in the brushes panel, you will get the art brushes configurations. In each brush, you can decide how you're going to change it. You can change the width of the brush. My pressure by stylus wheel back till bearing and rotations. The next ones are really cool, right? It's the brush is a skill. You have three options. You can scale proportionally to the original size, which is this one. If you look here below on the left, I already have one banner selected. And if you have the preview on, when I click here, it will change. Therefore, it had the original size of the banner according to the path that I created. The next one, it will increase everything proportionally. And the last one was the one that was being used. It increases just part of the art brush. In this case, the ending part of the brush and the beginning part of the brush is not changed. It is also following the path, but it's not being stretched. We can also define a specific color for the brush as well. Let's just press Okay. Let's see, I want to add a brush to the brushes panel. All you have to do is select a brush, click and hold and bring it to the brushes panel. You have to choose which one you want. In our case, we want an art brush. When we create an art brush, you can choose to scale proportionally to stretch to fit stroke length or stretch between guides. Let's leave this one. Basically, the size that I create will create the same image, but it will stretch. Okay, so let me press Okay. Now we have here a brush. I'm going to click outside to deselect everything. Select the paintbrush tool. With the new brush selected. I'm going to draw something here. I created several paths. And in each one of these path, it uses this brush and it stretches it to the path that I have created. And the same goes for all of the other brushes as well. For example, if I have this brush here, all right, let me select this one. Click outside, select this brush. If you want, you can change the original configuration of one of the brushes in the brushes library, double-click on it. She is the way it looks. You can stretch just part of it or stretch proportionally. All right. Let me just show you one more thing. Okay. I have here R0 and I'm going to select this arrow here. And I'm going to add it to the brushes library. I'm going to select the Art Brush. Click. Okay, I'm going to add the arrow to the Art Brush and I'm going to press, okay, pay attention because it's stretching to fit the stroke length. Because of that. If I use the paintbrush to, with this new art brush, it will stretch everything. If I don't want to stretch, everything, where I have to do is double-click on the new brush and choose stretch between guides. When you click here, you can change the guides so that the beginning part of the arrow and the end part of the Arturo won't change. It will only stretch this part here. Let me press Okay. And I'm going to apply to the stroke that I was using. 88. Bristle Brush: Hi there, Welcome back. We're going to see how the bristle brush works. So these brushes have the effect in Illustrator, like a bristle brush and real life. It allows you to create brushstrokes with the appearance of an object. Unlike unnatural brush with bristles, there is some predefined brushes. They are here. When you click on it, it will be added to the brushes panel. If you use the paintbrush tool with one of these selected, all you have to do is start drawing. Let's play around and draw from here. And this phase using the bristle brush. So I'm going to use this to get an effect of on here. As you can see it, you have the image showing how the brushes will work. So I'm just going to give them here. Here. You can also select a path, an existing path, and just click in one of the bristle brushes to see how it will look. You can also double-click on the brush to activate the brushes panel, okay? And start playing around. There are different types of bristle brushes shapes here. And you can play around with it and see how it will look on your image. You'd have to play around to try to find which one fits better with you. You're allowed to change the shape as well. And this will affect how your image will look. One more thing, when you add the bristle brush to a path, I'm going to apply the strokes, Okay? When you add the bristle brush to a path, there are some things that will affect differently. For example, let's say I want to use the same path here on the other eye. So normally, what will you do? You just press control C, control F to make a copy. Drag, holding Shift. I'm going to leave it here. I'm going to delete this one. And then you'd have to reflect this image by pressing right-click Transform and Reflect, but pay really good attention now to see what happens, you will lose some of the effect of the bristle brush, okay, by doing that. So be very careful when you use Reflect options with the bristle brush because it won't work. I'm going to press Cancel here. And one way to solve this is either by using a Wacom tablet, enjoying yourself and not getting the thing sheep. Or you can also go to object and expand appearance. And when you expand appearance, it will lose the bristle brush in these shapes. If you go to the appearance panel, you will see that this one is a group and this one has the filbert stroke, which is bristle brush. Now that this is no longer a bristle brush, you can right-click on it and transform and reflect that it will work. And press OK. 89. Pattern Brush: Hi there and welcome back. Today we're going to talk about the pattern brush, which is this one. They have some queries in the middle indicating how it starts, how its ends, and how it makes curves with the pattern. But if you double-click, you will get the pattern brushes options, which are totally different from the art brushes. On the top, we have the name of the brush below. We have how it's going to scale. Below, we have this spacing. This spacing here is, this spacing are according to the size of the object. If I add some spacing, let's say 10%. Going to add 10 percent of spacing between the objects. We can flip along. You won't see much difference because we don't have a start and an end here, but we can use this one as well, the flip across as well to invert size. We can stretch to fit and we can also and spacing to fit and we can change the color as well. Let me press Cancel here. If we select an object here to make a circle, for example, unselect the pattern brush. It will change the circle and on the pattern to the circle. If I do it to a square, we can increase the patron in this stroke. And we can also increase it. In the pattern configurations. I can increase the size here as well. I cannot, let's say to 100 percent. I'm going to press Okay. I'm going to apply. So let me delete these and let's check the libraries. If we go to the libraries, we have several options here. For example, the borders are all of them. Pattern brushes. Let me choose, for example, frames. There are several patterns here. I'm going to add more patterns, borders. And let's just add some more. So there's lots of patterns already built in Illustrator and you can use it to apply to your object. It's really cool. For example, in the borders, if I add some patterns, I can add this one, for example, like a line to be cut. So let's say I want to add this and I can increase the size. And again, there's so many possibilities. For example, I cannot circles around it. So I'm going to add this pattern brush to this square. I'm going to select the square. I already added the pattern brush, and I'm going to click now here in the dashed circles. When I selected the dashed circles, it's already predefined the spacing around it and the color. But I can change that by double-clicking in the pattern brushes options. And then making some changes, I can change the colorization option to let say Hugh Shift. I'm going to select, Okay? And I'm going to apply to this stroke. Although the pattern is still maintains the original color. But because I change the configurations, I can now change the color here of the object by just changing the color of the stroke. Let's see the chat. I want some more spacing between the objects. All I have to do is double-click choose and spacing to fit and then increasing the spacing, let's say 20 percent. You just have to remember that this value here represents 20% of the original object. And I'm going to drag it to the left. And there's just so many things you can do. Let me add a polygon here. And let's select another pattern I can add, for example, the pattern arrows that has a beginning and the end. And I'm going to select this one, this really cool one. If it's true small, you can select it and increase this stroke. Because this object has closed shapes, I can't find the beginning and the end of the object but with the same pattern brush. If I just draw a few lines. And if I select this object, I can increase the size of this tool to see how it works. The pattern brushes are a little bit different from the art brush. If I add an arrow with the art brush and we'll have an arrow in a closed path. Let me just show you that. I'm going to add the arrow, special arrows, these ones, if I click, it's coming here as an art brush. And if I add a closed path. So with the art brush in a closed shape, I can see the beginning and the end of the brush, but with a pattern brush, I cannot. This R0 here in the pattern brush has a beginning and has an end as well. There are different shapes. If I double-click on it, I can see these shapes here. The represent the beginning and they represent the end. But let's see, from the beginning from left to right. Okay, so here it represents the outer corner tile, the side tile, the inner corner tile. Let's start and the end tile with some patterns, it won't make much difference if you flip along or if you flip across. And we can also add some spacing to fit if you want. If you add spacing to fit, it means that you're going to add space between the tiles. That's why we have some more spacing here and they're not stretching. If I stretch to fit, it looks like they're connected. Select the object and I can change the color as well because the red one is selected, we have a red color here, but I can just change the ones as well. If you use a pattern that is not changing the color, you have to remember to select the object, double-click in the pattern options, and change the method of colorization, okay? This one is one of them. You can select the tent. It's going to choose the colors for you. If you select Hue shift is going to change gradually. Does re-used in the circle. 90. Create your own Pattern Brush: Hi there and welcome back. We're going to create our own pattern brush. Let's start with something simple, like an arrow, a very simple arrow like this one. All you have to do is drag the brush inside of the brushes panel. Click and drag and bring it inside the brushes panel. When you release the key of the mouth, illustrator will ask you what type of brush you want. In this case, we want a pattern brush. Let's press. Okay. It already gave me the side tile, which is the middle of the object. It already gave me one option for the corner tile, and I can add one here as well. Let's see. Autos lice. And I still need to add two more objects. They start tile, which is the beginning of the brush, and then tile, which is the finishing of the brush. Let me press okay for now. What I want you to do is to add the beginning of the brush, this part here, all you have to do is click, click and hold and drag. If you just release the key of the mouth, illustrator will understand that you are creating a new brush and that's not what we want. We want this object to be part of an existing brush. Therefore, you have to hold the Alt key. If you're on the Mac, it's going to be the Option key. I'm going to press the Alt key. Now, an illustrator will allow me to add this object either to the beginning tile or to the end tile. Illustrator won't know which one you want. You have to put it in the correct tile, which is this one. And there you go. Illustrator accepted this object as the Start Tile. Let me press. Okay. Let's add now the end tile, which is the last object. I'm going to select the arrow, click and hold and drag. If I just release it in the brushes panel, it's going to create a new brush. That's not what I want. I want to have this object to be part of an existing brush. So I have to press and hold the Alt key. All I have to do is release. I can add more stuff as well. Let me add let's say 20 percent and let me press Okay for now. And there you go. We build it the first pattern brush. If I select the paintbrush tool and start drawing, look what we can do. Let me delete these for now. Remember that you can change the colors if you change the configuration of this brush by double-clicking and choosing the colorization method here. Let me teach some more stuff about creating patterns. I showed you that you can create a brush pattern by just clicking and dragging right hemi group this and group ungroup this as well. One way to do it as well is to use the swatches panel. Okay? In the swatches panel, you can click in an object and drag. Remember, objects in the swatches panel are not allowed to be in a group. You have to add it on the top. I'm going to click in this one as well. Click and hold and drag and release in the swatches panel. This one as well, click and hold and drag. There are other staff that can go in the swatches panel as a pattern. For example, you can't add guys, it's very common to click and hold here and bring a guide. Okay? So if you try to select this guide with this arrow and bring it to the swatches panel. Illustrator won't allowed. There are other staff that are not allowed as a pattern here. For example, clipping mask. When you add the patterns to the swatches panel. And a new brush. When you add a new brush, you will select the pattern brush. Click OK. And now instead of dragging the objects to the brushes panel, select the tiles from the swatches panel. So I'm going to select the pattern swatch 2. And I'm going to select this one as, let's say auto center. And then again after Center. And here I'm going to add. The beginning tile. And in the last one, the end tile. There you go. I'm going to add, let's say 10 percent spacing and click Okay, there you go. We have two different brushes. With the new brush, I'm going to select the paintbrush tool and draw a little the V. Why is it so much bigger than the first one? Because when I created this brush, I created with this objects here. If you want this watch to be smaller, all you have to do is double-click in the brush to access the pink brush options. And then you can reduce the scale. Let's again draw with this brush and it's going to be smaller. Let me move this to the side. Here. Let's work some more. Building this snake here, which is going to be a little bit harder. Let me zoom in a little. And the first thing you have to do is build the middle part of the object. When you build the middle part of a complex pattern, I would recommend that then you use the same part to build the ending tile and the thin part to build the starting tile. As you can see, this part here is the same object, the V. Why do you do that? Because in this way, I know they're going to connect to each other. In this way. I'm sure that all of the three parts are going to be connected in a way that the pattern will make sense. So let's first build this one. I'm going to select an object. This is part of the snake that we're going to build. And I'm going to delete some of the anchor points of this image. Okay, so I'm going to select the direct selection tool. And I'm going to select only these four anchors. And I'm going to press Delete. And there you go. We have a little pattern of the whole object. Now that we have the main pattern, I'm going to add the connections of the body. So I'm going to use the line segment tool, click and hold, hold Shift. Right. Now, pay attention. We're going to have a body of this 10k. And I wanted to connect to the head and to the next tiles that the paintbrush tool is going to use. But there's a little problem. This one is a little bit harder because if I drag this anchor point and use the smart guide to connect, can you see that it's going to cut a little bit of the circle. It's cutting a little bit of the circle. That means that if I select this whole object, this part here of the line is not heating the end of the circle. There are different ways that you can fill this. For example, I could select everything. And for this object, bring the line below, or maybe I could transform this into a form at another way to do it. Dharavi, how can you do that? We can, for example, select everything and on better select this part of the objects here. And then instead of selecting the line, go to Object and path and outline the stroke. So now this is a closed shape and the line, if I drag it, holding shift is going to hit here. All right? And this way, when the tiles of this nick connect to each other, There's not going to get space missing. Let me select the other path, click and hold and drag it here. The same goes for this part here, I want this line to be hitting this part of the snake. And this one as well. I forgot, sorry. And there you go. Now we have the main body of the snake. Just one thing. As you can see, this part is not connecting correctly. So I'm going to click and hold, hold shift. And if it's moving too much, you can press Control Z, zoom in a lot, and then click and hold and drag. I'm holding shift, okay? So it goes in a straight line. I'm going to zoom out now. All right, we have the main part of the body, but it's really good to test if it's working correctly. So I'm going to select the body. I'm going to make a copy holding shift on out. And I'm going to reduce the size. I'm going to reduce to a tenth of the size by going to Properties, and I'm going to divide by 10. All I have to do is bring to the brush panel, click and hold and drag and create a pattern brush. I'll write, cool, ha, I'm going to select this part here to be our two between and this one as well. I'm going to select Auto and between. Now, what you really need to do is you need to zoom out and test this path with the paintbrush tool. Let's see it. Let's check it. How does it look? If there's something missing here? Is there something not being connected correctly? These are the things that you have to pay attention. So to me, it's really good. It's perfect. But let's make a mistake here. Okay? I'm going to make a mistake in this one. And I'm going to use the Paintbrush tool to draw it. As you can see, there is some stakes here. If you have a brush pattern with Floss, people will notice your client won't like it. Let me zoom in again. As you can see, we haven't floss here and you don't want that. Make sure they're connected correctly. Okay, let me delete these. And I'm going to delete this pattern as well because this one has a flaw. And there you go. So this is the original one, the good one, okay? When you build the middle tile, use this tile to build the beginning and the end of the pattern. All right, so I'm going to make a copy of this and move it here. And let's build this part here then part of the tile. I'm going to group it, right-click and group. This size is good. And I'm going to select both of these objects. And now I'm going to show you some tricks. Let's go to Object. This is old school. Let's do some blending. And I'm going to blend these two objects. When you blend objects, you have to use the Blending Options, go to object. Blend. And blending options. We can change that smooth color or we can add a specific number of steps, or we can add a specific number of distance. Let's add some steps. Let's add our no 20. How is that for the sneak? Maybe less 15. And all you have to do is press. Okay. But there is another mistake here. As you can see, the lines are thinner here. So when I reduce the size of this circle, it reduces also the size of the stroke. Do I want that or not? Well, let's say I want to have the same size of the stroke, right? So I have to cancel here right now. And I have to change this object, okay? So if I double-click in this object, I go inside the blending mode and I can change the size of the stroke, right? I can add it back to four. That was the original size. Okay, let me go back, back again. And there you go. Now, let's select again this object, which is a blending object. If you check the layers panel, you will have a blending object here. And we're going to go again back to the Blending Options. There you go. And we're going to go two steps and add 15 steps. Now they all have the same size of the stroke. All right, I'm going to click, Okay, and there you go. But there's one more thing you have to do. You have to expand the object. Right now we're in blending mode. And I want to add this object to our pattern brush, therefore a half to go to object, blend and expand, right? When you do that, all of these objects become circles. I'm going to select everything, Right-click and group. There we go. We finish the second part of the object. If we go back to the brushes panel. And let's group this first right-click and group. And if I drag this here, create a pattern brush. There you go. Very easy. I'm going to have very fast OK, click OK. And now I'm going to bring this object here and hold the Alt key. If you're on a Mac, you have to hold the option key. When you do that, illustrator will understand that you want to add this object to our tile in a specific pattern brush. And I'm going to release it here. And it will understand that this is the ending part of the brush. All right? And because I made it really big and when to reduce the size to, let's say 10 percent. And I'm also going to add this as an auto between and our outer between as well. I'm going to click Okay, and I'm going to test this new pattern brush. So let's select the paintbrush tool and draw some stuff here. There you go. Let's check the tail, right, the beginning part of the brush. How does it look? It's banding. It's following the brush and they're all connected. It looks really nice, doesn't it? Anyway? You can do that with the snake as well. You can build a snake like this. We do zoom in. There you go. Basically this is the same part. These are some lines, a very simple shape. With the selection tool, I'm going to select the middle part of the brush, click and drag. I'm going to select the paintbrush tool now and draw with my new brush, which is a snake. There you go. I mean, how does that look? 91. Stickers Introduction: Hi there and welcome back. The first stickers that I printed worth using a Brazilian site, which is called nerd stickers. But there are some international sites available as well. Let's check some of these sites. There's the sticker mole. There are other ones as well like Visa print, which is this one. This one is sticker you, the one I used here in Brazil was nerd stickers. This one is in Portuguese. So if you don't want to print using these sites, you can also get an equipment to cut the paper, like this one, this silhouette America. I'm not advising you to buy this equipment or right? I'm just saying that with edge, you can print a staff and getting cut at the same time. If in the future you intend to buy something like this, I would recommend that you take a course on the silhouette, the studio as well. We're going to use as example, this ticker mu. Most of these sites, they have specific rules on how to send and how to prepare the files to send them. Usually they have templates for a full disclosure. I have never used strict Camille. I have only used Brazilian sites to get my artwork printed in sticker mu. If you drag down and go to templates, you will get several types of templates available for stickers. We're going to use this tool here, the circle and the dicot. All you have to do is download the template by clicking months and then choosing this size that you want. Let's download the three inches by three inches. We can download the file. All you have to do is open adobe Illustrator file that comes with it. If we go back to Adobe Illustrator, you will get this file here, that three-by-three circle template in this file provider bias to Camille, you will get three layers. One of them where you can just drop your artwork. The other one which represents the cut line, which is this blue line here, and the other one, which is just the instructions. Let's go back to this tickers and let's create a circle here. All right, holding Shift because I want a perfect circle. And let's add up the line. And then I'm going to get this object, bring it to the circle. Position it where I want. Let me zoom in. Just remember, this circle will be the end of the line and the other one will be the line cut. So I want the object to be smaller than the circle, okay? If you want, you can select both of the objects and then just align them together. Align them to the selection. When you're ready. All you have to do is copy this and add it to the sticker new file. I'm going to add fill for the background of white. And then I'm going to add a circle below the fish. There you go. I'm going to select both of the objects, the fish and the circle. I'm going to press Control C to copy. And I'm going to go back to the three-by-three circle template. All I have to do is select the artwork layer. And then as you can see, the object is just too big. All right, so what am I going to do? I'm going to reduce the size, simple as that. So I'm going to reduce holding Shift and Alt. And when the object is in the way that you want, all you have to do is save this file, the three-by-three circle template, and send it so that they can get it printed. Just remember, what you're seeing here is the line, the blue line, where the printer is going to cut your artwork. So we're going to have a few millimeters before the line and a few millimeters inside the line. That is why when sticker Mu separates this file for you, it has as little space here where it is also considered a printable area. So just remember, you have to add the fish or your object inside the circle. And maybe around the circle, it will be counted as well. 92. Die Cut Stickers: Hi there. Welcome back. Today I'm going to show you how to make a die cut. As I've shown you before, we are using as an example, the sticker meals site. And we have downloaded the templates. And this one, the dike cuts ticker. If you decide to use another side instead of sticker meal, you can just look for their templates as well. The first rule is paste your sticker designs onto the artwork layer. So we have three layers, the instructions, the cut line on the artwork, then reposition and scale your design Azure like that means that I can make it bigger or make it smaller. Then I have to indicate your cut line with a stroke on the cut line layer. That means that this line, the blue line here, has to be in this layer, the cut line layer. If your design has a bleed, it should extend 18 inches past the cut line. Outline or race arrived your fonts and click Save. Don't worry about number five. We'll just go up to number four. So the first thing I'm going to do is select all of these texts and deleted because I'm going to build these on these layers here. And then I'm going to go to my artwork and just make a copy and bring it here. Let's say I want the fish. I'm going to copy the fish and just drag it to the template. Now, this fish is here in the cut line and I want my artwork to be in the art work layer. So I'm going to drag it down. And now I have to make a line around the fish on a little bit bigger. So let's select the fish. What would be the easiest way to do that? In my opinion, it would be making a copy control C control F. When you have a copy, all you have to do is go to the Pathfinder and unite. Now I have this object, united. And I also have a copy of the fish. Because the fish was a complex object. This object here is not a path, a regular path. You can see that because it has these little objects here that I have to clear. To do that, I'm going to lock the original object. There's two ways. I could, for example, just add another object here inside and then select both of them and unite again. Or I can do it on another way, an easier way. All right, let me press Control Z. Now, let's go to layers. I have the compound path and I'm going to show you the easiest way by first lock this part here. And with this object selected, I'm going to go to object compound path and release. When they release the compound path, it means that I will have lots of little pieces of the object. And below, I will have the field path, which is this object that I want. I'm going to unlock the artwork. I'm bringing this down. And all of this is just garbage. So I'm going to select everything and delete it. I'm not deleting the layer. I'm deleting what's inside with this path. Now, let me get close to it. There are some things here that might get us in trouble, which is this part here. I can unite it with another object. For example, I can just build a square. Therefore, this is not a complex path anymore. And it's just a path from when select this object and check it in the layers. There you go. Now I'm going to teach you another thing. This object here is just as big as the fish. If I want a line bigger than the fish, What can I do? Well, if you want to increase it, you can't just increase it like this because the fish, it won't go with a line around it. So let me press Control Z. The best way to do it is to use the offset path. And path. And offset path is just below the outline stroke. If you do that, you can choose the size of the offset path. And if I'm not mistaken, Sticker Mule requests it out 1 eighth of an inch. So I'm going to press one divided by eight. And just press the Tab key. And there you go. It will give me an offset of 1.125. So let me press, Okay. Let me zoom out a little. So now we have three objects. We have the original object that we created. To create the offset path. We have the object which is a little bit bigger with their fat path. And then we have the fish itself. This one I don't need, I'm just going to delete it. And this one, I'm going to put it behind. If this is the line for the object. Okay? I'll have to choose a color for it. Let's say white for the fill. And then selecting this object. I can also select this color here. It will be ideal. So I'm going to select this color here. And there you go. So I have the thin color that stick a meal requested me to give them. And then I have to put this object inside the cut line because that's what he said. He wants the line where it's going to be cut inside this layer here. He also said that if I wanted to bleed, I would have to add more color beyond this line. So let's select this object. Let's suppose I want to bleed. What would I have to do? I will have to select this object. And again, just go to object path and offset path. If you are 1 eighth of an inch and then press, Okay. Now I have two colors. You have to remember that the cut line has to be in this layer, which is this one, the other one? No. So the other one, I'm going to leave it with the artwork and I'm also going to remove the stroke. And let's say I wanted a color filling the fish. That means that I'd have to select this object here and choose a color for the fish. And this object would have to be below the fish. One more important thing is choosing this size when you deliver to sticker meal or another site. This is the biggest part of your object. Okay. This one. The V, I don't want it to be just four inches. Have to make it smaller. Well, if you make the fish is smaller, you have to change the cut line again. All right. Because the size of the cut line to the bleed okay. Has to be precise. It has to be 1 eighth of an inch. So if I reduce everything, that means I am reducing also the distance between the cut line to the bleed. 93. Stickers with fonts: Hi there and welcome back. Today we're going to build our diet cut stickers with fonts. I've opened the file, dicots stickers with fonts and also the template from stick a meal. And what we're going to do is basically we are going to copy this logo that we've created inside the template. This logo has some fonts. That means that you have to select the whole text. So I'm going to select all of the tags here in the texts layers. And then you have to go to type and Create Outlines. When you create an outline, this will no longer be a text, it will be a shape. If you send somebody this file with a shape instead of a text, they won't have to download the fonts. Another important thing to do, and that goes for every single sticker is that you have to select everything and go to Object, Path. Outline, Stroke the V. Why do I have to do that? Because whoever receives this object, they might change a little bit When they opened in their files because of the you might have to increase or decrease the size. And depending on how you do that, it might affect your artwork. If I select everything, for example, if I go to transform and if I don't mark this option here, Scale, Strokes and Effects. If I don't mark it and if I increase the size, everything will go bigger. But the lines will maintain the same. As you can see, the lines will maintain this thing. So I advise you to select everything and go to Object, Path, Outline, Stroke. Just make sure they'll print exactly what you have. So now I'm going to copy control C and I'm going to go to the template that sticker Mu provided for me. I'm going to delete everything here and just paste my artwork. Hall I have to do now is to create the cut line. When they pay for the artwork, I paste it in the wrong layer. So I'm going to move the artwork to the artwork layer. And then I'm going to select the artwork Control C, Control F to copy. And then with the last one selected, I'm going to go to the Pathfinder and unite. When they united the Pathfinder in the layers panel. Here it is. All I have to do is move it to the cut line. And then with the eyedropper tool, I'm going to select the exact line that sticker Mu asked me to put here. Maybe you can't see. But if I select the Selection Tool and go to Object Path, Offset Path. So let's just say I want 1 eighth of an inch. Another thing is the joints. Usually I opt for a round joint. It will give me a rounded shape here. But in this specific case, I want to emitter joint because I want the shapes to be exactly the same. In the fish example, I used a round joint. Okay, in this one I'm going to use a meter joint and I'm going to press. Okay. And there it is. We have to pass here in the cut line. This one on the top is the smaller one? Or is it this one? Let me zoom in to make sure I'm deleting the right one. I'm going to click outside. And then I'm going to select this border. It's not this one. It's this one. So this one I'm going to delete. There you go. And now I have the exact line that I wanted. 94. Mock up in Dimension - Bonus: Hi there and welcome back. Today we're going to build a mock-up of the dicots sticker. Another Adobe software which is called dimension. We're using the file salt dicots sticker template. So I'm going to select all of the objects. Press Control C, Copy, and I'm going to paste it in another file. I already prepared the file, a mock-up dimensional bonus, and I'm going to paste it here. I'm going to delete this part of the object, all in this part here. Because this is used if we want to have a bleed and since logistic building a mock-up, we're not going to use this, so I'm going to delete it. And since this is a mock-up, we are not going to use this line here, the color of this line, because this is just for the cut line. You have to change this stroke to know and the color to the color of the paper that you intend to print. Since the idea is to print in white flower, choose just the white color and make sure the path is below the fish. When you have this, make sure you save the file. And then add this to your libraries. I have the libraries here. So I'm going to click, hold and drag and bring it to the sticker libraries. And all I have to do is go to the dimensions software. We're just going to do a real quick introduction showing how you can use the dimension. Let's create a new dimension file. And then I'm going to use a specific asset to put my sticker. So let's go to libraries and starter assets here on the top. And you have to figure out how you plan to show your sticker. Let's say it's a food punch, for example. I'm just going to click here and drag. These are the models that lots of different types of models here in dimension. And each one will give a different effect. You have to figure out the size of the food punch. Let's make it a little bit bigger. If you go to this scale here, the square click, hold and then hold Shift. It will make everything bigger. If you just want this part of the shape to get bigger, then you don't have to hold, Shift, just click and hold. Another important thing is to go down here in the starter assets and on. Let's bring an image. I'm going to bring below. I think there's a table here. There you go. There's a table here. A table here as well. I'm going to bring this one, click on hold and drag, and then select the object and try and place it more or less over the table. Maybe it's a little too big. Let's make it a little bit smaller. Click and hold and drag and hold shift. Now, go to your libraries. Click, select the option libraries and look for these ticker library. All right, go back and sticker and haul. You have to do is click hold and drag and place it on the top of your object. If you want, you can make it a little bit smaller.