Transcripts
1. Class Trailer: Hi, my name is Esther Nariyoshi. I'm an illustrator, a surface designer, and a top teacher here on Skillshare. My works are seeing on fabrics, magazines, and various design blogs. Today we're going to talk about five advanced techniques in Adobe Illustrator. This class is designed for advanced users. It is designed for creatives who know their way around the program and perhaps even use it daily at work. You may be an in-house creative who's on the lookout for tips and tricks. You may juggle multiple unique projects with diverse graphic systems, and the tips you're going to learn today will definitely speed up your workflow and make you a more efficient designer. We will delve into five pro tips on how to give your work a more organic look, even on the simplest element like a halftone pattern. How to level up your vector graphics with customized to yummy textures by using symbols, and how to streamline the creative process and easily transfer the styles to other objects just with a few clicks while everything is completely editable at the same time. You can focus your time on creating not repeating. We will be working through key steps in transforming a flat illustration from this to this. By enrolling in this class, you will have access to download the exact starter file with all the bells and whistles, so you can have all you need to follow along. But you're also welcome to apply the techniques directly onto your current work projects as you go. By the end of this class, you should be able to create a spot graphic like this to use for post parts, stickers, wall art, or anything for your personal use. Like always, the discussion tab is the best place to reach out to me and your fellow classmates if you have any questions regarding to this class. Without further ado, let's fire up your machine and jump right right.
2. Technique 1: Actions: In our first lesson, we're going to learn the magic of making an Adobe Illustrator action. An action is a series of tasks that you can automate to make your design life easier. It will save you time enormously, especially if your workflow involves any level of repetition. Let's take a look. This is our starter file that you can download over the Projects and Resources tab in this class. This is what it looks like when you open. We have seven artboards, which include a basic illustration we're going to work from some assets and the title of each section we're going to cover. If you have been working in Illustrator for awhile, you may have a favorite workspace. This is a good time to switch it over so that you can follow along in a more familiar setting. Mine is pretty close to the default painting option. You're welcome to use that as well if you want to work from a similar interface arrangements. Let's jump to the actual art board and find our star of the show. You can find it under Window and then Actions. By default, Illustrator gives you about 20 actions out of the box, which you can use right away. Depending on your project, you may find yourself using certain actions more than others. Actions are most helpful when there are things that you would find yourself doing over and over again. Like making a copy twice as big for 100 of those, or exporting all your assets in a particular format. Things like this. I don't use all the actions on a daily basis except this one. It's called Delete Unused Panel Items. Let me just show you real quick and then we'll get into creating our own actions. Here's a new document. It comes with tons of options for colors, patterns, brushes, and symbols. These options can be helpful if you need some ideas to get started. But I oftentimes have very different color choices so I end up not finding my own colors because there are just so many of them. If you can't relate to that, this button is your best friend. Go ahead and click, "Delete Unused Panel Items" and hit "Play" and automatically Illustrator cleans up all your symbols, graphic styles, brushes and swatches. As you can see, these are the things that it has deleted. Let me just close it and jump back to our file. In my own creative process, choosing colors is a big part. I always think about ways to mix things up a little bit. For example, if I have two colors that I really like, and I want to come up with the third color, I usually like to play with blending mode, which is under a transparency. But before that, let me just drag this actions panel and tile it over here so that it doesn't have to stay in our way. I'm going to click on "Transparency". By the way, at any point, if you don't have the same panel that I do or they're at a different spot, you can always just come to Window and then find your panel. They are all listed over here alphabetically. With the top item selected, I'm going to click on "Normal" and "Darken". As I change blending mode, it gets me a third color that works very well with the first two, but it's quite laborious to click through the list. It's a pretty long list. Whenever you find yourself spending a lot of time doing the same thing, it's probably a good time to create an action. Let's do that. I'm going to go back to normal here and collapse this guy and pull up my actions. I'm just going to drag it to the artboard so it's free-standing. It is helpful as we record our individual actions to see what's going on over here. But as you are more familiar with how actions work, you don't always have to see. I'm going to create a new action by clicking on this "Create New Action" icon and you can call it blending mode audition and you can select folder. In this case, we have the default actions. You can also create your own folder as well and then I'm going to give it a color. I'm going to choose Orange here. You might not make complete sense now, but I will explain in a second why selecting a color matters. Record and automatically it will start recording. What I'm going to do is to bring out my transparency panel again and then just literally going through the motion of clicking each. As you can see, as I change my blending mode over here, under the new actions we just created and start recording the steps. That's what we want. This is once I'm done. We're just going to go through the list until we hit the very last option, which is luminosity and then we click on "Stop". As you can expect when we click on "Play" it will flip through the entire blending mode list. But you may be thinking, whoa, this is 125 miles per hour, it's Not helpful at all. You're right, we need to slow it down in this case. I'm going to go to this hamburger menu and choose my Playback Options. By default, it's the super fast version, which is great if you just want to jump straight to the result. This option doesn't always show you all the visual changes on screen, which can be just what you want. For example, files may be opened, closed, modified, and saved without ever appearing on screen, enabling the action to happen a lot faster. You can also choose step-by-step, which is essentially a medium speed version, which literally shows you the changes step-by-step. The last option let you choose the speed that you want to see. I'm going to go with one second. That should give me enough time to decide if I like certain combination. I'm just going to click "Okay" and "Playback" again. Actually, I'm going to create two different graphics. I'm going to create a group of three objects. Doesn't matter how simple or complex it is because this action only changes the blending mode, which is what we want. I'm going to select the top two and then hit "Play". As we can see, it goes through the blending mode list, giving us one second in-between to decide. Say that I really like this combination and you want to sample the colors. If you do it directly on top of this object, it will only give you the original color. What we want is the actual pixel color so what we need to do is to select all three objects and rasterize it, which is also an action here. It says rasterize, just go ahead and play. That will turn our vector graphics into a piece of raster graphic. Since we only want the color, we can just go ahead and sample and then you can add them on to your swatches panel. There's another function that I used a lot for my surface pattern work that is called Expand Appearance. For example, if I were to draw a stroke like this, it is a path with anchor points. But if I were to turn this into a shape or a combination of shapes, I need to go ahead and click on the "Object" and "Expand Appearance". Since I do this a lot, I need to create an action for it. I'm just going to undo and hit this "Plus" icon to create a new action. Expand Appearance and I will assign a color to it. I will just give it a different color this time, maybe green and hit "Record". I will do the same thing again. Click "Object" and "Expand Appearance". It did the trick for me for this particular stroke. But if you pay attention to our actions panel over here, no action was recorded. This is because according to Adobe Illustrator, not every task is a recordable directly. In this case, you can go ahead and go over to this hamburger menu and insert menu item and type it in. Whatever that is not recording, you can just type it in. I'm going to say expand appearance. You want to make sure you have the correct spelling. Hit "Enter" or "Okay". As you can see, we have our expand appearance recorded over here. I'm just going to go ahead and hit "Stop" and test it out. My stroke right here and I will hit "Play". It does the trick for me. This is great. Whenever you want to add more steps to your existing actions, you can just go to the last step and hit "Begin Recording Again". In this case, I'm going to unite all my shapes. There you go. Just remember to stop when you're done. If you have recorded anything by accident, say that you clicked on a different color, Illustrator will just keep recording until you tell it not to. Go ahead and click on "Stop" and then you can drag whatever unnecessary steps into this trash can and it will clean things up for you. Remember at the beginning, we have given our actions colors. Let's find out why. If you go over to this hamburger again and click on this "Button Mode" it will make sense. These are all the actions that we already have and for the buttons that we have assigned colors, they do show up in here. For example, if you were to expand appearance again, you can just click on it and it will initiate the action for you. Now you know how to create your own actions for yourself, go ahead and give it a try. Think of something that you have done more than three times in Illustrator this week, and see if you can turn it into an action.
3. Technique 2: Symbols: Many people know of the Symbol tool. It's the little spray can icon that people oftentimes just gloss over. In this lesson, we're going to take a deep dive into this tool and its cousins. Hopefully, you will feel inspired by the end of the lesson to incorporate it as a regular part of your work. Symbols are really great for any irregular repetition on your artboard. If you have a motif that you want to spray all around your artboard in different sizes or even different colors, symbols are great for that. I'm going to use Symbol tool in this case to fluffy up our snow. If you look at the white shape in front and behind our ornament, you can guess it's snow because it's white, but it's also really flimsy and flat. It doesn't look like real snow, so we're going to add a bit of texture or shading for our snow. If you look at the Symbols panel in your starter file, you should see this little ball of snow flurry in it. If you drag it to your artwork, you will see this is a bit of snowy noise. That is a great candidate for our texture. I'm going to use this in conjunction with our symbol tool. Make sure the snowball is selected and then press Shift + S on your keyboard. You'll select this spray can icon. Just go ahead and just drag across the basic arc of the snow in front. As we can see, this gave us a great groundwork to lay down our shading. I happen to have some pretty appropriate density or intensity for my snow. But if you want to adjust the speed of the sprayer tool, you can double-click on your can and then it will bring out the symbolism tools option where you can change the size of your symbol or the intensity and the density. Don't worry too much about the terminology. Basically, the first one lets you adjust the size and the second and the third decides how fast it sprays. Just play with it a little bit until you are happy and then just click on "Okay". Our symbol have the uniform color, the blue color. You can leave it as it is, but I'm going to tweak it a little bit. I will zoom in to a clean patch of snow, just to show you a little bit better. As you can see, we have some sandy snow over here. If I were to add even more depths to our snow to make it more fluffy, there are a couple of things that we can do. One of them is to change the opacity of some patches of snow within the set. I'm going to long click the sprayer can and select a Symbol Screener Tool. This changes the transparency. You can use this as a Q-tip to just click around or you can drag across, which gives you a slightly stronger application. I'm going to just drag for the sake of bravity. The highlighted area will change the opacity. As you can see, we already have the variation of opacity, which is great for our fluffy snow. You can also add a second color by using the Stainer Tool. For example, if I were to select a darker shade of blue over here, and then find my drop-down menu, and use Symbol Stainer Tool, and just click and drag across, this will give me some darker variation towards this blue. Now you know how the Stainer and Screener Tool works. I'm just going to go ahead and do it real quick and apply the two effect to the entire body of snow. All things considered, this is a pretty small detail of a larger illustration, but I feel like it's the small things that really set your work apart and is in fact, that is much harder to achieve. If you were to alter the transparency individually, it's going to really take forever. Now we're going to turn this symbol set into a bunch of shapes and then use a clipping mask on top to make the shading effect happen. Let me just resize a bit to fit the arc better. It's a lot faster to reposition and re-scale your symbol set before you expand the shape. Then we're going to hit "Object" and "Expand" to turn our symbol set into a group of individual symbols. There are a bunch of grouped objects. Then we want to break the link between all the symbols here to the original symbol. Then whatever modification we make from here will not change our original symbol. What happens is pretty similar to expand appearance, which is turning a path or in this case, symbols, into shapes. Depending on the setup of your machine, this process may take a few seconds to maybe a minute. Once the shapes are made, we can clean up a little bit by using Unite. It's under Pathfinder panel and the first option, Unite. This will combine any overlapping shapes into one. This is our result after uniting all the paths together. Now we want to make a clipping mask by selecting the bottom shape. Make a copy, Command + C and paste in front, Command + F. Then while it's still selected, send it to the front by pressing Command + Shift + right bracket. We have a copy of this shape to give boundary for our textures. While this is still selected, we want to hold Shift to select our texture shapes as well, and then Command + 7, or you can right-click and make a clipping mask. This will only show whatever that is on top of this shape. It still keeps all the information within. If you double-click on this shape, you can see all the fluffy snow that goes outside of the boundary. That is redundant information that slows the machine down. I'm just going to press "Escape" to get out of it and then trim it off. Select the top shape, come over to Pathfinder, and click on "Crop". This will trim off anything that is outside of this shape. It will only give us the necessary information. I hope you are now a lot more comfortable using symbols. Now it's time to take it for a ride. Go ahead and create a triangle on your artboard, define it as a new symbol, and test out some of the options that we have just covered to your heart's content. I will see you in the next lesson.
4. Technique 3: Transform Each: In this lesson, we're going to learn Transform Each. It may not have the snazziest name, but it's super handy when you want to loosen up your composition by adding variety. This technique allows you to scale, rotate, and move multiple objects relative to their own reference points. This function easily adds a natural organic look to your artwork. In your swatches panel, I've put in a pretty two halftone for you. If you zoom in super close, you can see this is a halftone pattern with an organic twist. In this lesson, we're going to cover how to make this pattern. Let me just zoom back out and delete this copy. We're going to get started by selecting a solid color and make a perfect circle and just Option and drag and Command D to repeat. We have several of them in a row with equal space in-between. We're going to do similar things vertically as well until we have a bunch of them. This seems to be a pretty good group to get started. This would be a regular halftone. How do we add some variation to this? We can get started by varying the size. Of course, you can manually go into tweak it individually to change the size. Then you have to align things because it's been off center, which can be tedious in this case. I'm going to undo and show you what I really recommend, which is transform each. Right-click and Transform and Transform Each. If you want to use the keyboard shortcut, it's Command Shift Option D. As you can tell from the window, we can change the scale independently on the horizontal axis as well as the vertical axis or we can move. If you don't know what each one means, just make sure you turn on the preview and just play with the slider. You can see this one moves things horizontally and you can also rotate. In this case, we won't see a difference because there are circles and you can't tell the difference when they rotate. We're going to change our scale to 150 for both vertical and horizontal. As you see, when I put in the number, everything blow up 150 percent uniformly. That's not what we want. We want the changes to be different for each element. To make sure you add in that random factor, you want to check this mark before the random. This will give you the result randomly. It'll be basically from 100 percent to 150 percent. Every time you turn it on and off, it gives you a new result. I'm just going to be content with this and click on "Okay". As you can see, the sizes have changed already. Right now I have a bunch of dots that are in different sizes. They all look very perfectly round. I'm going to change that a little bit by using the Warp Tool. Under the Width Tool, it probably looks like this. Then just long press and go to the Warp Tool. The keyboard shortcut is Shift R. Let me just zoom in because this one is subtle. Just like playing with the Plato, when you start dragging on top of a shape, it will knead the dough. Go ahead and play with them and just make some changes. Not everybody is perfect circle. If you want to make a Warp Tool more impactful, you can double-click it and change the parameter here. But I'm content with what I have here, seems appropriate to what I want to do. Just make things not very rhythmic and then I will be ready to make a pattern out of this. While everything is still selected, you want to come over to Object and Pattern and Make. You can zoom out a little bit so you can make sure you have the right spacing on the address. Apparently, they're too snuggy, they're too close to each other. I'm going to do maybe 850, It's still too big, maybe 800. It's not really science, I'm just eyeballing it right now. You can press the up and down button to adjust one pixel at a time. I'm going to say, this is my happy size. Then click "Done" at the top. Now you have a pattern. Let's give it a test. I'm going to select my newest pattern, which is the last one in your swatches panel right here and then make a shape. It could be any shape. This shape will be filled with the pattern we just made. If you want to change the scale of this, you can select your square or rectangle, right-click, Transform, and then Scale. You can make it maybe 50 percent. It scales everything down to 50 percent, but if you uncheck the Transform Object, you will keep the original boundary, but only squish the pattern down to 50 percent. That was nice and easy. Let's make another run. I'm going to delete this guy and maybe make a bunch of triangles this time. I want to start with my solid color and then just copy my way across vertically as well, so we have a bunch. This time, I'm going to select them all, right-click, Transform, Transform Each. Instead of changing the scale, I'm going to put the scale back to 100 percent each. This time, I'm going to play with the rotation. Maybe up to 90 degree. Anywhere between zero degree to 90 degree. I make sure I have the Random checked. Each time I press, things have rotated randomly. This adds a lot more fun to this group. I can also change this at the same time. I can also change my scale at the same time. Maybe I will do 200 percent. That's the maximum you can go for this function. Maybe give it a little jingle by moving 20 pixels horizontally or vertically. Then use random to toss things around. This is a happy combination. I'm just going to go ahead and click "Okay". That was like two minutes tops. Imagine you have to do everything by hand from scratch, that's going to take a lot of time. It's not impossible. It just going to take longer. If you ever find yourself needing to do something like this, Transform Each is your friend. Coming back to our starter graphics. Remember in previous lesson we have add the shading for the snow, and we have just learned how to do Transform Each. We're going to add a bit of sparkle to our background. Inside your symbols panel here, you will find the three dots here. If you drag it to your artboard, it looks something like this. I'm going to go ahead and use the Symbol Sprayer tool just to spray a few on the artboard. Shift S for the keyboard shortcut. You can debit like a Q tip. Whoa, this is a bit intense, so I'm going to undo and adjust my numbers. Maybe I'm going to do it as 3 and 1 and make the size smaller as well, maybe 100. Let's try it again. Much better. Some go outside of the boundary, but we can always use a clipping mask. That's fine. This is nice. Maybe one more right here. I will expand this symbol set so they are individual symbols. Go ahead and click on "Object" and "Expand". Make sure the object and fill are checked. Click on "Okay". When you click on one of them, you still see the little plus sign. That means that they're still treated as symbols. We want to go ahead and break the link so that they are treated as shapes. When we click on one of them, we can see they're all selected. We want to go ahead and ungroup them. They are grouped by three, not a huge lump. Now we want to hold our Shift to select each groups. We can do our Transform Each rotation and give them a random angle. Right now they're all standing straight up at the same angle. We just want to toss it up a little bit, so Transform Each. Our Transform Each remembers our previous setting. I don't want any scale change. I will do 100 for both. I will turn down the movement as well and only play with the angle. Maybe go a little bit bigger. You can check the random on and off until you are happy with the result. Go ahead and click on "Okay". While everything is being selected, I will play with the blending mode a bit before I move on, because this light blue color looks a bit too close to the background. Remember in the first lesson, we have made a blending mode audition. This is a great time to use it. I'm going to go ahead and click on "Window" and "Actions". I'm going to find my Blending mode Audition and click "Play". It's giving me different choices with one second in-between. So far I'm not seeing great result. Maybe I just have to go ahead and change color. I'm just going to go and change it back to normal and click on my "Recolor Artwork". This will bring out my colors option. You can go ahead and click on "Advanced Options" and just tweak the color individually or just assign them with a color group. Either way would work. I'm looking for something happy but not too distracting. Maybe something like this. Then I just go ahead and click on "Yes". I hope you're having a lot of fun following along. If you haven't already, it's a great time to test things out. Again, go ahead and create several triangles on your artboard. Throw a bit of variety here and there so it's more fun when you see the transformation. Go ahead and use Transform Each to see what does it do for you as you change the numbers. I'll meet you in the next lesson.
5. Technique 4: Graphic Style: In this lesson, we're going to work with graphic styles. A graphic style is a set of reusable appearance attributes. Graphic styles allow you to quickly change the look of an object. All the changes you apply with graphic styles are completely reversible. You can also apply graphic styles to objects, groups, layers, even topography while texts are still completely editable at the same time. Without further ado, let's get to it. Let's get started with something simple. In your symbols panel, we have this tree symbol where you can just drag it onto your artboard. We will expand it, break the link first, and then maybe unite all the shapes to make it as one. I'm going to make it a little bit bigger so we can see it better. To get started, I'm going to open up my appearance panel. Again, if you couldn't find yours, you can go to your window and then just click on "Appearance". It should look something like this. We have our basic fill and stroke. For starters, we're going to add a new fill. Come over to the bottom and add a new fill. It is this icon right here. Automatically, it will add a new layer on top of your fill and stroke. I'm going to go ahead and apply the new pattern that we have made previously. You can add an effect to it as well. You can go to this add new effect. There are tons of options to choose from. I'm going to go ahead and select Transform, Distort, and Transform, and then Transform. I'm going to offset to move my pattern a little bit just off the center to give it off print look. Well, actually, since we have learned how the random works, I'm going to make my movement a bit bigger, maybe 30 pixels by 30 pixels, and I'll turn on random. What this one does is that every time I apply this effect, it will give me anywhere between zero pixel movement to 30-pixel movement, both horizontally and vertically. I will just go ahead and click on "Okay". You can also add a stroke. I'm going to go ahead and add a stroke that is maybe this color. Let me see. Propose time. I'm going to go ahead and make it a little bit bigger. You can also click on the word "Stroke" and then change the appearance of the stroke, the corner style, the cap style, and stuff, or you can click on the dashed line, which will give you the dashed line. This is a fun look. I'm just going to click outside. I will layer on top of that to roughen it. Well, no, that will be too much. I will transform it to a different direction, maybe negative 50 and negative 50. Click on "Random" and click on "Okay". You can also drag to rearrange your layers. They function exactly like layers. You can even turn the visibility on and off. Maybe I'll change the original color to a lighter pink. Make this a bit thinner. The point of this is to front-load your design and really take the time to find something that you're happy with and apply this with a lot of other things across the artboards. I'm happy with this. I'm going to go ahead and define this as a graphic style. Go ahead and click on the graphic styles or find it under Window. Then graphic styles and click on the plus icon. There. Now, you have a style. I'm going to go ahead and test it. I would delete this guy and I will make a circle, just some generic circle with the solid color, maybe without stroke. Something like this. While you still have it selected, go ahead and click on your new Graphic Styles and you will apply the style definition that you have given to your artwork. You can also apply this with text, which I think is even cooler. I'm going to say graphic. I will make this a bit bigger. While it's still selected, go ahead and press the graphic styles. It gives your texts a graphic style. This one doesn't work out super well because the font is really skinny. I'm going to go ahead and give it a different font. Command T for my character panel. Maybe I'll go with milk and clay. This is a nice font. It's chunky and elegant. This one works a lot better. Whenever you want to make adjustment to your existing graphic styles, you can always go back to appearance and then just change whatever you want. In this case, I'm going to change too much smaller halftone, which is this guy right here. If you want to make any changes to your pattern while on the fly, you can click on this icon that says Edit pattern. It will take you back to the pattern tool, which allow you to change colors if you want. In this case, I'm going to change it to this color. If you click "Done" here, it will alter the original pattern or you can save a copy, which is a safer choice. I'm just going to go ahead and click on "Okay", and click "Cancel". This gives me a new choice. I'm going to go ahead and apply to this new pattern that has a different color. I'll make some changes to my stroke as well. In this case, maybe I want smaller and closer dashed lines. Then just click outside. Yeah, this is our graphic style. Before we move on, let's save this as a new graphic style. Go ahead and save it. Now that you understand how graphic style works, go ahead and give it a try. While you experiment different styles, make sure you try at least two different effects.
6. Technique 5: Rotate View: The last technique we're going to cover is the most lightweight of the entire class. This is called Rotate View. I counted as an advanced technique, not because it's complicated, but because it's very new. This highly requested function came out relatively recently and is really helpful for people who draw natively inside the program. Let's check it out. If you have been working in one document for a long time, chances are you may have created a few artboards and you may have artwork all over the place. It's a great problem to have because you've worked hard on it. But it also gets tricky to navigate. Let's see what we can do about that. To get us started, we can hold the Spacebar to temporarily convert our cursor into the hand tool. This will let you move things around without touching any objects or without zooming in and out. Sometime it is really helpful just to find your focus. For example, if I want to jump to a particular artboard, I can just press Command 0. If you want to view your artwork within this artboard at 100 percent scale, you can press Command 1. This is a 100 percent one-to-one ratio. Whenever you want to zoom in to a certain area. If you want to target this place that has a lot of details. If you want to zoom in to see if everything is to your liking, you can hold Command and space at the same time and just drag your way in. If your cursor stops, the zooming also stops as well. If you want to just zoom out, you can drag your cursor to the opposite direction. Added to the list, there's another really exciting feature recently that is a rotate view. If you press H on your keyboard, that will take you to the hand tool. In the drop-down menu over here, you can see the rotate view tool. This one is really intuitive. You can just find a reference point and click and drag. This will just let you freely rotate your canvas. This feature has been available in Photoshop for a long time. I'm so excited that it finally came to Illustrator as well. This is really helpful if you are drawing natively within the program, especially if you draw all day, the little things really matter. Another really cool thing about this feature is that the guides will stay perpendicular or parallel to the boundary of your artboards. For example, I'm just dragging from my ruler above. The guide is still pointing to a true west and the true east. Same thing for the true north and the true south. That's really helpful. Whenever you are ready to reset, you can just press Command Shift 1. This will just adjust everything to in a normal angle. Suppose that you are working in the detail of this work and you found an angle that is really ergonomical and you're just really in your zone. You stood up for coffee and when you came back, the office dog has touched your keyboard and everything is out of control. What are we going to do about that? Thankfully, we have a solution. Say that you really like this view. You can actually save it. Click on your view. At almost bottom, you can click on New View and you can name it whatever you want. In this case, I will say, projects 1 and click on Okay. Going back to the office dog situation, if everything got reset and you lost your view. You can always go to View. At the very bottom, you will find your own saved views. In this case, it will take you right back to where you left off. Your friendship with barky is restored. I hope this little nugget is helpful for you. Go ahead and take your artboard for a spin.
7. Class Project: Practice makes perfect. For the class project, take one or two techniques that resonate with your creative workflow and make it your own by applying on a quick drawing, upload it to the project gallery. I can't wait to see what you create.
8. Final Thoughts + Blooper Reel: Congratulations, guys, you made it. Thank you so much for taking my class. I hope you are inspired in new ways as you work in Adobe Illustrator. It's such a versatile program with lots of potential in it. I hope you work on cool project and remember to share with me. I would love to see it. If you would like to stay up to date with my latest classes, follow me on Skillshare. Until next time, stay creative. You may not have the snazziest name, but it's super handy when you want to loosen up your conversation. I love the versatility of vector graphics and enjoy coming ups with new toys. I love the versatility. The tips you will learn today will definitely speed up your workflow and make you a more efficient designer. We will delve into five pro tips on how to give your work a more. In a nutshell, this class offers you advanced time-saving tips on how to level up your.
Esther Nariyoshi, Published Illustrator based in the US
