Create A Fun Minimalist Illustration.

1. Intro: Hello, everyone. Anil the Husham and I'm an illustrator and graphic designer based in Houston, Texas. Welcome to my illustration class in this quasi, really learn how to create fun yet minimalist. Illustration. Using a limb The color Pettit we really great a sketch. First, render it in Adobe Illustrator and then add beautiful satel textures in adobe for the shop to dig deeper. I will show you how to draw Freehand with help off a graphic tablet. Then we'll talk about the importance of color in illustration and how and why to choose limited color palettes. We'll also talk about the importance of value and contrast and how to incorporate it into your illustration to make it really stand out. And finally, you will learn how to make your illustration shine by a plan. Beautiful texture to it. In for the shop, I will show you how to harmoniously applied to different textures together to achieve a passive final look. To top it off, I will share with you would tools, settings and shortcuts I used throughout my process, along with my best tips and tricks. To take this quest, you will need a graphic tablet and the basic knowledge off Adobe Illustrator. And for this trip, I am very excited to get started, so let's begin 2. Sketching a Concept: the illustration I'm creating in this quest is about selfie culture. My main idea is to depict a girl taking a selfie in her room. I want to give this illustration. I feel that one can instantly recognise or relate to. Basically, I wanted to be a little behind the scenes off a common selfie. Let's go ahead and sketch it. I usually start with a very rough dodo like this. I do it to establish a composition and give myself an idea where I want to place things around the canvas. Then I create a new layer where I define the shapes a little more clearly. I always stressed the importance off sketches and this quest want to be an exception. Sketches served as a foundation for your future illustration. Why, while sketching, you can quickly see if your idea works as well on paper as indeed in your head. Sometimes certain ideas just don't work that well once you put them on canvas or they need adjustments. A sketch allows you to figure it out quickly as an opposite off jumping into a graphic design software right away and spending a significant chunk off your time, rendering your illustration to further realized that it doesn't quite work. It's way easier not to mention faster to make a new sketch or rework an initial one, then to scrap your illustrator file and start from scratch all over again. When you work with a client, it's a rule off some to start with a sketch and get it approved. Briar starting any work in illustrator or for the shop? Another thing that I want to mention here that it's best to establish a Rachael for your illustration in the very beginning, off the process as well. I would advise you to do that, because when a commissioner approaches you, they very very often give you precise dimensions off a future illustration. The intentions limit your composition choices. So basically you have to build a strong composition within a given canvas size. You want able to be like, Hey, my composition works best as a square and not as a rectangle. Can we change a Rachael or Hey, my composition works best vertically, not horizontally. Can we change that? The side of my illustration is 1600 pixels by 1000 200 pixels, so I will be taken into consideration my whole canvas as I work and not doing something like that. If you've ever switched to oil painting after working in watercolor for a long time, you probably understand very well what I mean. When you work in watercolor, you're able to crop your artwork after it's complete. If their size off your artwork is different from the size off your paper when you work with , you can't grope your canvas, right? So you have to think of how toe feed your artwork. Inter your canvas size from the very early stages off your process. The main goal of creating a sketch is Do convey concept, slash idea, moody and composition off your future illustration. Before you don't have to spend hours perfecting your sketch, it should be clear enough, so you end. Your client would be able to read it. Going too much into detail and perfecting is not necessary at all. So you can see I don't focus on joint fingers. For example, all that perfection and Italians will be happening a later in Adobe Illustrator. So remember, we create a sketch toe, establish a concept composition and mood off your future illustration. This sketch is complete. I will say that to my iCloud to use it for my father Work in Adobe Illustrator In the next lesson, I'm going to show you how I work with sketches in Adobe Illustrator and how I organize layers in the very beginning off my process to ensure a comfortable workflow. 3. Layer Organization: So you make my workflow comfortable. I create a Korpi off a sketch, and I place it next to the original one. Having do sketches next to each other helps me a lot during my process, and I will explain to you wife a little later in the quest. I really alot the capacity of this one to, let's say, doing teat 30%. I needed to look a little faded like this so it doesn't interfere much with vector ships. I will be created on top of it. I will be building up my illustration around these do sketches. Let's name this layer sketches and let's lock it. Then I create another layer on top off the sketch. One. Let's call it vectors. This layer is the where where I will draw vector shapes. I keep sketches on a locked separate layer so they don't get in the weight when I drove over. Also, it will be easier for me to find and hide sketches further down the road when I have lots and lots off Sub Blair's under the vector layer. So this little organization trick works really great for me. In the next video, we'll talk about color blocking, creating first rap shapes and why it's important to start with the whole and then moved one toe details and not vice person. 4. Color Blocking: Welcome back in this, and the next lesson I will be talking to you about Why implement certain processes like color blocking into my workflow? I will be talking as I draw, but don't worry. I will tell you all about the tools I use in my process. Later in this class. Let's get over some theory first. So first thing that I do when I start to digitize my illustration is color blocking. Although I call this process color booking, I don't really think off my color choices much at this point. My mingo here is Teoh. Feel my canvas with shapes, shapes filled with color. So I guess I shaped book This shapes don't have to be perfect. In fact, they don't have to perfect at all. They serve as a basic material that I will perfect in the next steps. In my opinion, it's never a good practice to start drawing perfect shapes one by one right away. Such breakfast may result you in spending too much time on drawing. Let's say her head to figure out later that it doesn't really work with the rest of her body or the surroundings. They're all of them at this stage is to start from the whole to have your rough shapes in place to see how they work together and only then want to perfection. Each one of them, I call it moving from the whole do details and no the other way around. Also, it's a way easier for your eyes and bring to analyze canvas field with the color shapes put together rather than analysing scattered shapes on an empty canvas. Before, I never really start with just an outline. Often proportions start to look way more different when a few outlines with color, often composition that looked good in playing out, lights start to fall apart as you add color. You see there is something very competent when I have my ref illustration done as an opposite off starting by, working on details laid against white tennis and thinking off how to put them all together later. My point here is that one should start with the whole and then move on to working on details and the no, the opposite. Don't start with details. To understand this concept. Better think off the way sculptures work. They start building up a shape by great and Arraf clay lump and then removing unwanted material to perfect this culture. I prefer to add some sort off color right away. If colors destruct you, you can work in gray scale. At this stage, it's really good practice as well, and it helps you to figure out conscious and value. I don't talk more about it later. I start with color rather than grayscale because it's my personal preference. But if you're more comfortable to start in grayscale, feel free to do that. 5. Working with Color: college choice for your illustration as well as an employment off value, in contrast, is as much as important as a strong concept. A clever concept will fall apart, and we will not create an impression supposed to without a proper combination off color, contrast and value. When choosing a color palette, try to limit and number of shapes you want to use in your illustration. It's very tempting to try and incorporate all those pretty collars are a beautiful world has to offer. But unfortunately it may result in mishmash and force your illustration to fall apart. We want our illustration toe look Cohasset and put together a good exercise here is due. Limit yourself. Do just $3 for example, black, grey and white or black, grey and yellow or purple, blue and pink. You get the idea, or create an illustration using only shades off blue or try to use shades off red on. Here are some examples off ministrations that I created using limited color palettes. As you can see, all of them have one dominating color. For example, this one has purplish pinkish shade as the main color. Instead of making held dress, let's say green bumpkins orange and her hair brown. I limited my color choices toe and narrow range, and the example. The minute in color in this one is blue, purplish, bluish again. This approach new tissue that you can actually convey l out and reach very interesting results through the use off blamed the carpets. When choosing a color palette, I tend to pick one dominating color and then build up the rest off my color better by choosing shades within the range off these initial color. In other words, I used analogous colors. Let me show what I mean for the administration. I want purple to be a dominating color. Let's choose it from the color picker. This one looks good to me, So let's breast. OK, well, maybe this one. This is the range where I will look for the rest off my color swatches. In other words, I limited myself to a certain junk off the color of you. If you have a look at this traditional color, well, here you will see that my color range is within this perimeter. You can deviate from it a little bit in certain cases, but do it mindfully. I don't want to go in here to look for dominating colors. I will go there to look for a complimentary color that I really used to give my illustration. A little kick, but more about it. Later, let's start building collar for this illustration. I like some off the elements to blend in with their surroundings. This piece has a distinct edge here, where it meets the lighter shape, so I don't have to worry about it being impossible to be read. Let's change her hair to black. I dont goto beach black, though I don't want it to look too dark. Now let's select these guys and find a color for them. As you can see from what I'm doing, it's a matter off experimentation. I choose a hue, and then I look back at it to see if it works. If something feels off, I hoped for another shade. Let's switch the color off this shadow toe the big round one. It appears lighter now, but only because I have another layer sitting on top of it. When choosing a color, I usually go with my gut. This feeling comes with practice, and although I've bean in the art field for a very long time. Sometimes it is still challenging to find the right combination. When it happens, I push through it, do several color options until I'm satisfied with the result. If you find it hard to work with color, I recommend to Lorne through looking at works off established artist. It can be paintings in museums, art books, works by contemporary artist. You enjoy notice how they used collar and get inspired. Practice. Be patient and it will come to you. This is just how it works through observing and practice. I want to this sport to blend with the background as well, but I think I will do it later in for the show. I'll make its collar slightly different from the background for now, so I can see it easily when I perfected. I want her skin to be warm, so I'll go for a very dark red. It's always nice to create some contrast by combining warm and cool shades. The background is definitely cold, so how Stint only look warm in relationship. I will make the get dark violet so it stands out against the main characters letters. I want the window crossbars to have the same color as the background. So let's do just that. The little ring light on top of the phone is gonna be white because well is the light, and it must be bright here. I want to put an accent on this socks, except color is a color that falls off from the color range you're using in your illustration. For me, it will be yellow or orange, both so great against purple and blue teens. Never mind me organizing my layers. I just want to bring the yellow so could beat up so it's not covered by another layer. I will also low that passage of this layer just a beat down. I wanted to be more transparent to find the color on the color wheel to use as an accent. Look at the one that is opposite to a color you choose as the main one opposite toe. Arrange off analogous color skin off your illustration, so basically, since I am planning to build my color palette within violet slash purple range, complementary colors for me are yellows and oranges. If I would choose, yield is my main color, it would reverse, and I do use one off the blues or purples as an accent, while yellow will be dominating For this illustration, I want violet slash purple to be at dominating color. In this case, I will use a complimentary. Yellow is a small accident so it will not dominate in the illustration. Instead, it will give it a nice little kick. So this is one of the many ways how you can create a limited carpeted with a color accent. When I create administration for a client, I am usually limited by a given color palette. But when I worked on a personal piece, I hardly ever have. Ah, 100% clear idea off what colors I'm going to use it in this illustration. If you have a look at my illustrations, you know much is that I love shades off purple, pink and blue. But there are so many different hues off each one of them that I often find myself spending hours trying to find the right one for administration. I often start by creating a color palette consistent off shades that I like and I want to try. And then I tried different ways off, incorporating them into an illustration until something clicks and the color better. It feels just right during this process. I exclude a lot off colors from my original color swatches, but can be painful to let them go. But it's for the greater good. Choosing color palettes, combining different shapes together and figuring out our color proportions can be challenging, and it requires practice. Even seasoned illustrators often spend hours trying out different color combinations, so don't get frustrated if they're right collarbone. It doesn't come to you right away. It's totally normal. I put together a file with some of my favorite color inspiration resources. By the way, this file will also include color swatches that I used to create this illustration. Feel free to experiment with them. You can find the file under the resources tab. So in this lesson, I talked to you about how beneficial limited color pets are and how to create them. And we talked about agent colored accents to give your illustration and ice touch in the next lesson, I'm going to refine and perfect this illustration while talking to you about what to end important settings. I used when I draw freehand with Welcome 6. Important Settings for Freehand Drawing: in this lesson, I'm going to show you how I perfect shapes and what tooth and settings are used to do so when it comes to join humans and animals, I prefer to use my welcome debit and my Wacom pen. It allows me to achieve more, are gunning shapes than when I draw just with my mouse or the mental. When I draw with my walking pen, I feel more freedom and less restriction in Illustrator, you can either draw with the brush toe or with the pencil toe. I prefer the pencil to, but just my personal preference. So this is what we're going to look into today. Let's have a look at my settings for the pencil toe that allows me to work comfortably to bring up the settings menu. I double click the pencil toe I can. The most important part here is to have your keep selected and aged Selected Path box is checked. Let me show you what happens when it's unchecked, and then I will show you what changes when I check. This box is, Let's and check. Keep selected first. I don't try to edit these shape now. Once I released the mouse. It gets dis elected. If I want to edit it, Father have to manually selected and then correct the shape. Once I release the pen, it gets dis elected again. It's kind of a tedious process, isn't it? When I perfect the shape, I don't want to go through a process off constant manual selection. Let's check those books again and see what happens now. When I released the pencil after each edit, the shape stays selected. This book's spares me the labour off manual selection every time I release the mouse. Not to mention it saves time. Now let's go into the pencil settings once again and less on check Edit selected bath books . I will try toe Edge it this shape again. But Illustrator doesn't let me do that anymore. Instead of correction, the initial path, it grows a new one. So I've better check the edit selected bath books again. Now I can edit the shape over and over again until I'm satisfied with the result. Another thing that I want to mention here is fuel. New pencil strokes, books. I keep this box checked, so every time I draw a shape, it gets filled with color automatically. If I uncheck it, I will be joined empty shapes and I will have to feel them in with color manually every time. So keep this one checked as well. When you draw in Illustrator using a graphic tablet it's not much more different than drawing with a regular pencil. To me, the biggest difference here is a bath flow. Let's open up the pencil tool settings once more and look at the fidelity setting. Mine is located right in the middle. Let's see what it gives me. The bath flow is Brita smooth. Let's change their fidelity to setting to accurate and try to draw again. See the edges off the shape Look rough now just come buried to the first shape. If I bump for their A C all the way up to smooth, the shape will come out well. Very smooth play with this setting to find your comfortable range. Mine is in the middle. So yeah, when you started working with the pants photo, it will feel different from drawing with their classic media or in for the show. But it is just something you have to get used to. So this are the settings that I used for the pencil toe As I draw in Adobe Illustrator, I correct the shapes until I'm satisfied with the way they look. So let's go ahead and start perfecting everything. 7. Refining Objects. Illustration Style.: as usual, you can see that scene red lines showing up. It shows you about your joy. Once he released the fancy, it gets filled in with color, and then you can see how the object you're working on is changin. I actually really enjoy this because I don't have to use a razor to, so it makes it really easy to correct shapes just by using the pencil to. So I will finish drawing this character using their pencil toe and the approach I just talked to you about. I go sped up video here because it's all going to be pretty much just a repetitive motion, and I will talk to you more on how I draw humans. My style is definitely not realistic, although I do keep body proportions close to reality. I can sometimes make a person's head a little smaller than it is according to our anatomy rules, and I can elongate characters legs a bit, but I don't really exaggerate anything. What I do is that I simplify a human body. I don't try to emphasize muscles and all that the way you would do it. If you draw according to academic standards, I don't draw each and every curve there is in an actual human body. Instead, I simplify everything and only make accents on the makers like, for example, waste or hips. I simplify facial features, a word in many off my illustrations. I even skip drawing ice, for instance. The fun thing about illustration is that you can ban to their roles. You are in tight toe academic standards. Unless this is what you want to pursue. You can experiment with proportions, make head super small and legs really a long and wide. You can go abstract or mix realistic and abstract approaches. Together. You can make small objects appear way larger than they actually are in real life. Mix things together, change the color off water to pink and make human skin purple. Experiment, explore and just have funded it. The administration is pretty normal. Okay, so let's draw a cat. Now. I follow the same rules and techniques for doing cats or dogs as I do when I draw humans. I used the pencil toe and I simplify ships a lot like a lot, a lot. I make them look somewhat cartoonish. I enjoy having my second sketch here is I can check in with it any time I want. While another one got all covered up with Victor. Shapes in the process now is our main characters are complete. Let's move on to refining the background. 8. Refining Background: Normally when I draw background, I used to approaches or they makes over two, depending on what a background consists off. I use my Wacom tablet and draw freehand with the pencil to when it comes to drawing more organic shapes like, for example, natural objects. Think trees or mountains or objects with the softer edges like, for example, this soak on the floor and s administration. When I draw men made objects like, for example, buildings or furniture, I use a combination off the pento, the tango toe. The lips told the shape builder toe and the Pathfinder panel why men made objects tend to be more geometrical and help the loads of straight lines. Hands of the tools I've just mentioned are perfect to express justic, By the way, you don't have to own a graphic design tablet. Teoh. Utilize these tools. You can easily a great them just with your mouse. No freehand drawing required. By the way, if you are interested to learn how to create an illustration in Adobe Illustrator, just by using your mouse, you may want to check out some of my previous classes where I do just that I will link them in the description for this quest. In fact, some styles require even more are gunning shapes to look geometrical before they don't require Freehand drawing at all. I personally prefer to mix these two approaches, join freehand with the pencil toe and using the tools I've mentioned previously. Like right now, for example, I'm starting to enjoy it. Pink paper background. It curves, and I want this curve to look very organic rather than machine made. By the way, the pento can substitute for the pencil tool in some cases. But I only use it when I want a shape to be more precise. Overall, I feel like the pencil toe has more flexibility. I've changed the scholar now just to be able to see it. Clearly as I edit it, l switches back to the dark purple. Once I'm satisfied with the outcome, I want to make the edge off the shape straight. I don't want it to have even a steptoe curvature before I'll create a rectangle using Derek tango toe, select both the rectangle and the shape in question and use the Pathfinder panel. Tose obstruct direct angle Rolla. The ship is corrected. Technically correct. That pink shape, so we don't see the background begin in between of the two objects, and I will change the color back to the dark purple. When I worked in Illustrator, I zoom out a lot so I can see how my illustration looks from the distance. It helps me to analyze how all elements work together, what needs to be adjusted and so on. I'm now back to refine in the pink background paper. I'm using the pencil to again because I want its curves to look organic. As I mentioned before, this edge looks funny, so I'm going to use the anchor point to to correct. I simply click on the anchor point I want to correct, and it magically look better. I like this tool and I use it when I need to straighten a corner off a shape, I will edit the yellow stock on the floor in a similar freshen, probably some off. You may find that you can draw in the style by using just the mental, but I personally feel that I have more control over what I can do when using the pencil toe I used the pen doing when it comes to join straight lines. For example, I drew these gross bars with it. Let's make them sicker, by the way, I now need to draw the crossbars reflection on the floor, and I'll do it by using Guess what? The panto. That's right. I like using them for things like this because it creates a stroke and not a shape, which lets me easily manipulate its thickness. Using the stroke menu settings, there is no need to struggle and try to draw them with the pen to when there is an easier way around it. Let's edit the light coming from the window. This light stream has a great effect on the composition. Off this piece. It sort of ties the illustration together and gives it unity. You can see how it starts from the window, goes across the canvas, touching the main character, then hits the floor and comes back to the window. I'm editing it with direct selection, toe moving individual anchor points. The store is great for that. I will now perfect the curtain the same way as I did with the pink paper background. I'll take care of these little thing here and finally I will add some details to the curtain. Details are important. They spice up an illustration. I work in the rather minimalist style, but I do enjoy toe. Add some details here and there to make my illustration Speaking off the details. Let's edit some to the kid. I want to make her powers white. So I do that by using the elites to and then cutting off their unwanted parts with the shape builder toe. Now it's time for some final touches before starting with texture. Basically, I go over my artwork, zoom in and out a lot and refined pieces that I feel can look more polished. I also just stared it a lot, figuring out what all I can improve. - And finally, let's add some light coming from the light ring. I'm joined into the handle. I can smooth it right now and make it look more natural by Aidan White to transfer graded, but I will not do it. Instead, I will make it look more organic and for the shop. Okay, Now I'm going to have the second round of staring and improving at this stage and make sure that all shapes work smooth, sometimes slightly move objects and improved color just a bit if I'm not satisfied with my color Bennett. This is where I start to really experiment with it. But the administration isn't the case. I really like these scholars. So after doing all these little adjustments, I consider my artwork Rady for texture. But before we move on to apply texture in photo shop, let's talk about contrast and value in the next lesson. 9. Value & Contrast: Let's talk about the importance off value. Contrast in an artwork. The charm value in the art world is used when talking about lightness and darkness. Our eyes read objects around us because off how dark or like they are. Basically, if your artwork has the same or very similar volume throughout, if you appear, blend or hard to read once as well, skim through it without having anything to grasp on. The best way to check on value in your artwork digitally is to switch to gray scale as select everything, Goto added. Aged colors convert to grayscale. It still reads pretty well. You can see a high contrast here, here and here I can steal, read my illustration. Clearly another way is due. Squint your eyes like these when looking at your artwork. This way, Uriel instantly see the darkest and the brightest sports in your illustration if they are present, if there is not enough conscious between light and dark values, an artwork will appear very monotonous. This last screens and tip is an old school on. This is what arses do when drawing or painting with traditional media. The convenience of graphic design programs allows us simply to switch to gray scale without doing any squinting. If objects in your illustration have the same or very similar value, they will sort off blend in together, and your registration will be hard to read. As I mentioned previously, light and dark values have to be present in your illustration. In order for it to stand out, you can create value contrast by putting objects off different value next to each other. Value and the contrast make it interesting for an eye to look at an illustration. But remember, you don't have to make each and every object toe conscious in relation toe the one next to it. Too much contrast will result in the same mishmash effect as, UH, not enough conscious. So keep it balanced. For example, if we examine my illustration, you much is that her torso stands out next to the pink background. This is because these background has a light value and her torso has darker value in relation to the background. This great Khan trist then tell exit sort of blend in with the violent background because hell legs and violent background have similar darker value this fall, from high value contrast to almost no value conscious, makes this figure more interesting for a night to look it. Let's look at the window. It has a very light value in the background, has dark value, which creates co interest and makes the window stand out. This illustration is again off very contrasting values and very similar values. I intentionally made the plant value here not drastically different from the background, and I will intensify this effect in for the shop later so it doesn't call for much attention and doesn't distract from the main seat. Same with this structure. If I make every object in this illustration stand out like her torso or the window, the illustration would appear very scattered, and it would make it hard to read. So when you work with value conscious, remember to keep it balanced too much or not enough interest. Well, make your ministrations tough to comprehend, and then the standing off value and contrast comes with practice, and eventually you will be able to incorporate it into your illustrations intuitively, if color distracts you from working with value and contrast, simply switch toe grayscale for the time being and cholera it later as you could not just by now. Starting in grayscale has many benefits. Chip on how to determine where to apply high contrast value and glow conscious value. Try to play with the high value conscious and a low value conscious when you want to emphasize a certain part of your illustration. For example, I wanted a window to pop up, so I made the world behind it way darker. I also wanted to make her torso stand out, so I put a lighter background behind her. Let's join it off for a second see figure. It doesn't read as well as it did when the pink background was present. Now let's see how to choose color value in Adobe Illustrator in the Stretcher makes it pretty simple, actually. With our pink background selected, that's double click the few Aiken toe open the color picker, so it shows us their value range for the being shade I chose. So you can do that with any color and other tips on how to distribute. Value and contrast in your illustration is dio determine the source off like and build other values in relation to it. Basically, all the objects located closer to the source of flight. You'll have lighter values, and objects located farther away or in the shade will have darker values. Let's look at one off my illustrations as an example. So the source of light is the laptop and this floating screen thing. They are the brightest sports in the illustration. Next, competing values are the spotlights on the girl. Everything else is a shaded and hence has very similar values. The conscious I created here by using different values produces the illusion off dark room lightened by a bright laptop screen. If it wasn't for the value conscious, this illustration would not produce the same effect as it does now. So this was a lesson on value Call Interest. And now it's time to export our illustration from illustrator to for the shop toe ed. Some nice texture. 10. From Vector to Photoshop. Export Settings.: this step is a very important one. But if you have watched one of my previous classes, you probably already know how to export your industry. Her file in tow for the shop. If so, please feel free to skip this lesson and proceeded to the next one. But if you're a new continue washing, so to work with texture comfortably in father shop we want to have each shape on its own separate layer. If I export this illustrator file to for the shop, as is, the end appears. Defile Real consists of just one layer. That's because although I have all the shapes located on different suppliers, they all still belong to this main layer. I needed to change that and transfer each shape under its own layer instead of leaving them on Sub Lear's. With that being, said Blair Hiten expert, I should go through a few preliminary steps to properly prepare my illustrator file for expert to for the shop. I have a habit off saving my original file under a new name just to make sure that I will have a corporal fit in the future. By the way, we don't need this schedule. Air anymore, so I will unlock it and deleted like so I have two copies off the background layer. So let's delete one of them. Next step is due on group all their grouped objects. Okay, In this particular case, I can simply unite. This is they should be united. I wanted to be one shape instead off a couple, you know, separate ones. I can unite this thing here too. I united them right now because I don't need each piece off this particular shape to be on its own, wearing for the shop. I want them to be on one layer. Now that's click on this arrow toe. Hide all this sub layers. Next I click anywhere outside of my art board. Don't make sure that nothing is selected. Then I heard, Light said, left this layer like soul. This is important. Next, a goto this hum burger menu and choose release toe wears sequence wala. Its shape is now located on its own layer. All that's left to do is to select all of these new hours and drag and drop them above the original air. I'll scroll back down now to delete the original air. It's empty now and I don't need it. Next, I will go to file down toe expert expert as I o chose BSD as a file format. And I'll check use art boards. Books. These books are Let's illustrator and all that. You want to export everything within your cardboard, but nothing located outside of it. You know, sometimes you leave a few objects here and there outside of your art board. So it helps in cases like that. It's not the case today, but I thought you mention this little trick anyway, I can press expert now in this window, make sure that right layers box is checked. Otherwise, all your newly created layers will be merged into one. We don't want it. Okay. Now, as my file is exported as BSD, let's go ahead and texturizing it. 11. Texture in Photoshop: I absolutely love applying texture to my illustrations because it brings them to the next level. It gives them a more Han drone. Look, if I can say so, even when I add just that that beat off Dexter, it makes an illustration really stand out. I've recently been in tow a more minimalist texture application, but I started to use two different brushes to create. Basically, I add some grain into the background, and I make certain shapes edges to look a little rough. In this lesson, I will explain to you how I choose where to apply texture and how I do it. So let's get started. I will begin by texturizing her hair. I'll click on it once to select a hair layer in the layers menu. I've been into Carly's. Irani incurs brushes so lately, and especially into this one. Blood to 561 China's brush sets now come with your creative cloud subscription, so it's pretty awesome if you're not a creative cloud. Remember, though, I put together a file where you can find a linked to a brush set with a similar effect. Friend. This pdf under the resource is Dharma, So let's select my brush. It's 41 pixel strike now, and let's leave it at this size, and I will start painting edges off the hair shape. I do it with my walking pen. I like to use this technique for texturizing hair because it gives it life. You know, hair naturally, have more FISA texture. Then, for example, skin. So it's nice to differentiate that. Okay, so this wide shape is currently located higher in the later spendable than the hair slayer . I don't move it down, so this part of her hair is straight to draw a straight line. I will be using my mouse, not the walking pen. It's important I don't put a dot here and then I'll hold down shift and the click here and just like that for the shop drew a straight line for me. I don't explain to you why I used my mouth for that little trick rather than my pan a little later in this quest. So how do I choose Shapes Toe, Apply this fuzzy edges texture toe. I pick the ones that don't have sleek edges naturally. For example, as I mentioned previously, Harris Fozzie stole. I always texturizing unless I try to depict hair with lots of hair spray and gel on it, then animals are furry, so I use this texture. When I draw them. Let's do that now. Actually, I'll sample the car off the kit with the eyedropper to make the brush size smaller and paint over the edges off this shape. This texture gives a more natural feel to origins when applying to the right ones. It's always important to think all different textures and make it a point to emphasize it in your work. For example, I will not as the stature to the edges off her skin because you know, skin is smooth in the sense that it's texture is definitely different from hair or fur texture. So apply your texture mindfully. All this time, I've been a plant picture over their regional shapes. But what if you want to make sure that you can get treated off it anytime you want? In case you don't like it anymore, you can simply create a new where on top of the original one and apply your texture over it . This way, you will be able to easily delete it if you ever get a feeling that you are not satisfied with the way it looks. I played picture toe this soak because I imagine that it's a nice fastest soft and called the stock. So I wanted to look this way. I will texturizing this other soccer as well. I applied lecture toe the sock on a separate layer as well. So now I can easily switch it off. Leggett's next. I want to make shadows casted by the window crossbars, texturizing as well. I don't really like straight lines like this. I think they look to machine made to digital, and I want to give them a more natural hand drawn fuel. I will make a brushstroke cleaner. Sample the color and we'll draw a you crossbar shadow on a separate layer. Again. I don't do it with my wacom pen. I do it with my mouse and the brush toe. I will click at the beginning off the line here and then hold down, shift and click once again here and for the short little fingers. The life for me. No need to try and draw a straight line freehand when there is an easier way around it. This one turned out to think, though, So let's get rid of it and make another one but thinner. I didn't hide the original shape because sometimes they pick from under the new Texturizing line and it doesn't look as good. I would repeat this process with the other three lines. Now I want to show you why I draw straight lines with my mouth and not their walking pen. Here's the deal. Welcome. Penn is brash or sensitive, so look what happens when I repeated the same process with it. See, these lines have different sickness throughout because off my pen sensitivity, when I do it by using the mouse, it comes out perfectly. Even if you want to make it thinner, just change, the birth says in the settings menu. So this is my tip for drawn straight lines and politician, I can delete all this. Now I will repeat this process for the actual crossbars. I know I want to draw over these lands here on the curtain, because again, I don't like to keep long ones like this looking to squeak. I like to give them a more Hendro hook and feel this do I will be carefully drawn free head . I do it on a new layer so I can relate it in case if I don't like the outcome. Yeah. I want to try and draw this once again. Here we go. Now I want to add some lines to the plant, but northwards bringing these two leaves to the top. So the light coming from the window doesn't overlap with them. Although I illustrate in the minimalist style, it doesn't mean that I skip adding in this little details. They are actually something that adds charm to the peace. See, now this planned looks more interesting. 12. Painting Highlights & Shadows: in this lesson, I'll show you how I add highlights and shadows to my illustration to give it some more charm. Let's begin. I'll start with the whole eggs. Since we have these trail flight eliminating whole eggs, I want to emphasize it. So I left click on their legs layer while holding command to create a selection around this shape. Then I would bring up the color picker to choose a lighter color for the highlight. I dont be using the same Ronnie anchors brush that I used in the previous lesson, but I will make its size bigger, and then I will simply paint over her knee like so I made a selection around her leg, so for the shop doesn't let me toe paint outside of it, it's OK. The brush gives some texture on the inner edge off the highlight. In fact, this is what I want. I like this texture. The most important part is to keep their outer edges off the leg sleek, which is super easy. Thanks to the selection, I now low their capacity off their highlight, a big down to make it look less in your face. I painted this highlight on a new layer so I can easily manipulate it without affecting the actual legs earlier. Now let's repeat the same process with help. Ivy Leg. As you can see, I made this highlight longer than the previous one. I did it on purpose. Remember that perfect symmetry doesn't exist in nature. Beauty is always a symmetric, making these two highlights different from each other one longer and another one shorter makes the illustration more compelling to die. Now let's add a highlights to her top upper arm. I wanted to look as if it's illuminated by the light coming from the window. Now let's paint a highlight on her sock. I'll do it in the same manner as I did it on her arm. I like it. How there is a break in between off these highlights, there is no need to connect them by making this one longer. This gap here grades the beauty. If I feel in this gap with highlight, these who live well, look kind of my notice them to enhance the highlight on this stock. But here's the thing. The stock shape and the rough age texture allocated on two separate layers, I'm naming them so you can see better. I need to create a selection around both the silk and its texture. To do that, I will first create selection around the stock by left clicking on its sub nail while holding command. And then I'll hold down shift and command and a left bleak on the soaked extra thumbnail. Here you go. We have a selection running around both shapes, and now I will simply paint over the existing highlight with and more brighter color. I will select all socks layers now and bring them to the top off the layers panel because I want to make sure that they re no light shape doesn't cross over the sock. Let's add some shadows. Now I want to add the 1st 1 below her T shirt. For that, I will sample her skin color and choose at darker value. As you can see, I create a selection around the shape. I want to add a shadow, too. This way, I make sure that the shadow will stay within a respectful shape. Here we go. Now I will repeat the same process with the shadow below health sleeve. Then I want to separate how head from her neck by edging a shadow. This is a nice touch, and it makes such a big difference. Let's zoom out and look at the results. Looks much better, doesn't it just compare it to the option without any shadows and highlights? They make such a big difference. Now I want to add a couple of shadows to the pink paper background so it feels like the same style. Just like that, Using a value a little darker than the background, this little shadow emphasizes paper curvature. Finally, let's add a shadow here. It's another nice touch. That may seem like nothing, but along with other details like that, it takes illustration to the next level. - Another thing that I want to do here is to make edges off this shadow rough as well. Let's do it real quick. And where is above the legs that layer so we can see violet pain crossing over her feet. It can be easily fixed. I create a selection around their leg and then use the razor toe to get read off the excessive paint I raised while staying on the violet shadow where but previously created selection allows me not toe erased more than I need to bruising it. So this is it for highlights and shadows. In the next lesson, I'll show you how to incorporate grainy texture into your registration. 13. Grainy Texture: so remember how, in the one of the previous lessons in this class, I said that I will take care of this light here later. Now it's time to do it. It has very clear cut edges, which doesn't really look natural. To fix this, I will be using one off my grainy brushes as an a razor. These brushes are my custom brushes that I made to achieve effects like this one. They can be used as brushes or as erasers, and I will start to erase their part off the shape to create somewhat a gradient effect. I'll work on the shape until the clear cut edge disappears and the white light looks like it melts into the background as it approaches the girl's face. Next, I will switch to the running brush again to paint a shadow. Cast it on the fund by her hand. I will go to do it in the previous lesson, So let's do it now. As always, foreshadows, I pick a color which value is a darker than the original shape. The spot looks out of place. Why? Because it's way too bright. As you can see, it's not allocated within the ritual flight, so I will make a darker. I wanted to blend in with the background. Actually, I don't paint over the shape with the background color, leaving just a small leak off a previous color on the left to create a highlight. It makes sense, as some light from the window should eliminate this part of history a little bit. Look how it looks. Now this ministrations starts to come together. I'm thinking that the window and the light cast it on the floor are too white. I want to reduce this whiteness and mute them just a little bit. It will not take away from the Contras. They create being next to the dark background, but it will make them easier on the eye. So I don't click on this light on the floor to select it. I create a selection around it, and I chose a very light violet shade. Next, I will goto aged. Feel big round color. Okay, Feels much better, doesn't it? Let's repeat the same process with the window change in the Reno collar. Made the gotten stand out. Actually, I like it. Do you see it? But I have a little different plan for this curtain. I wanted to look darker. Hence I will feel it with a darker violet shade like so Will anything change? I love that positive. Let's try it. No, not really. Let's leave it like that. Now I want to make this one darker because I don't like how it looks with these big, wide gap on top, I will feel it to be the darker color the same way I did just now, and I will repeat the process for this shape as well. It's time to work on the violent background now and put some more grainy texture to use. I want to darken the background edges to create a somewhat vignette effect. This will help and night to focus on the main seen faster and easier, fully in the whole composition together. At the same time, it's a good trick. Make the edges off your work a little darker, and it's really unite an illustration. You will have to apply this streak toe each one off your illustrations on Lee if you feel that it requires some framing because you know every yet is sort off a frame within the artwork here. I want to mention that I use my grainy brushes as stand brushes. I don't drag them. I stand them. If I will paint with them, as I would with a regular brush, the effect will smudge. Also remember that this grainy texture is the 2nd 1 I using this illustration. I don't want them toe overpower one another. So I'm not going crazy with grain, as I don't want it to look overwhelming. So I carefully move around the edges, making the texture a little thicker at the bottom and a lighter on top. I don't want it to seamless throughout. Seamless isn't always what you're looking for. Look at your room. You'll notice that a there for or the ceiling looks darker, so no need to make them the same with the green. It extra in place. You can see that the plant boat doesn't blend with the background anymore. Let's corrected by playing some grain on it as well. Well, this is way too much. Ah, hit controls. Ed Teoh, go a few steps back and try. Once again, it looks much better now. You can still read their right side off the boat, but it looks so muted that it still serves the purpose and meets my ideal blend into the background. Next, I want to add a touch of grain to this shadow, speaking off my layer organization because some of you have asked me about it previously. I tend to create anywhere for every object I want to apply texture toe. But sometimes I skip this process and apply texture right on the original shape. I don't have a specific rules for when to create or not create, and you where. I just tend to skip creating a new layer when the F affected by Dexter area will be too small or when I feel confident that I will not need it to do any adjustments, toe the texture or toe an original shape. Later, I feel like agent another court off grainy texture to the background. Let's also adds some texture to this part. Off the paper background. Make it blend with the background below. I want to work on the boat once more. I don't like how great extra guests on the highlight here, so I don't think they choose the highlight color and I will paint over the sport where the texture overlaps with highlight Do hide this existed texture. Great. Now I go carefully paying this round corner on the top because, as you can see, the both shape got messed up in the process. But likely it can be easily fixed with a few paint strokes. I feel that this highlight is too bright, though, as a mild now, to see how my illustration looks as the whole zooming out and looking at your artwork from the distance is a very good practice that allows you to see the big picture. It also allows you to see if there is something that doesn't quite work with the rest of the peace. Like right now, I can see that the highlight I have doubt about is indeed do bright. I wanted to look more muted. Let's make it happen, I hope. Paint over the existing highlight with a darker blue. I could simply feel it in with color by making a selection around it and then go into edit feel. But I've minimus with this boat, so I have to do it manually. It's not a big deal, though. Looks good to me in the next Listen. I will continue to enhance this illustration, but more importantly, I'll show you how to make this light here look more alive 14. Drawing Light: first off, let's blend the sport with the background after all. See, some of my decisions are changing as I zoom in and out is the process. Guys, I will paint on the right edge off the shape to blend it in with the background. This selection isn't perfect because, as I mentioned earlier, this spot somehow went through a lot of post production after it's left to the stranger. But we can't really see it unless we create a selection around it. So it's so good it happens. Let's now add some texture to the pink paper background toe. Make it look in place by in place. I mean that I want this illustration to look ahead. And since we have a museum, amount off texture in there violet background, this pink one requires some to the texture. Coat will be lighter, though, because I don't want this grain toe look overwhelming. If, for example, I used a very light green in the violet background, I would most likely skip edge and texture to the pink one. Next thing I want to do is to make the edges off their light reflection on the floor to look rough to do that. I have to paint its edges with the Romney incurs brush. I will be using the color off the current reflection shape. For that. The sample is a color. I first have to hide the light shape sitting above it. This one. I hate it now. Why? Because if I leave it off the dropper toe sandal, its color and not the one I needed to capture once assembled the correct color. I joined the Slayer visibility back on. Now I will simply outline the shape with the brush toe to great rough edges. Wave good. Get showing up here. Let's spend over it to hide it. I will also elongate the crossbars shadows to feed the adjusted shape. Basically, I don't want these later wide gaps to be visible. I like to pay attention to detail like that, because if I don't, my artwork will look sloppy and probably scattered. Sometimes it's perfectly OK to leave this mist register effect, but remember not to go overboard with it. Keep embarrassed. Certain things literally correct. Let's move on onto the land. First of all, I want to lower its capacity because it looks a tad too bright now I wanted to look a less intense. I will create a new where and I was by your light shape with the runny incurs brush. I went for a very light color. Next, I really grab the thing back it too, and feel this new shape with the color. I don't know, hide the older like shaped and the low capacity of the newly created one. Next, I will create a copy off this new light shape. I will name them light one, and like to just so you can see them better in my layers panel. I'll create a selection around their light to and then add a mask turd. I bring up the selection once again and pick my brush toe. I will now raise the whole thing by painting over it with black. When you paint over a mask with black, it hides the shape, and when you paint over it with white, it reveals the back. See, the little I can mask is all black now and before we had a white light shapes it in there. Now I want to reach the white color and make my brush. Size is smaller. I will hang over the mask with white toe bring back their original shape. I am leaving these gaps off over intentionally, and you'll see why I'm switching to even smaller brush size to make these gifts finer and more. Friend, Um, the trick here is to follow the incline direction off the regional light shape. Now I can hide their light one layer. I get there as a spare quilty, just in case, you know, just to be safe. See, these dark strokes have drawn create an illusion off movement. I don't want them to be over power low. So you to the minimum. I want to add just a touch of this effect here. So I will paint over the mask with Breck toe hide the original color, and then I will paint over it with white to reveal some off it back. Leaving a few things gets cubicle. This is how I do it. Now I want to make a little adjustment to this being shadow here. I feel it looks too bright, so I will make it a few shades darker. This is still too intense. So let's dry once again Here. Perfect. So as a mouth once again and I see that the cat doesn't really stand out. I wanted to look more contrast in relation to the girl's leg and background. In general, this get actually consists off multiple shapes located on different glares. I want to change color for all of them. I don't want to do it one by one, so I will find all of them in my lair Spaniels. Just give me a minute to do now. I will group all of them except off their white power. The white power stays right. Click on the group and choose merge groups. Now I can easily feel this newly created shape with the darker car. Here we go. You can see that this white power doesn't quite. I don't believe the shape. Great this election around the cat once again. Great. And you were. And with just one pain stroke, I will draw a you white power that fits perfectly. I love him out once more. I know. I feel that this planned can look a little more permanent. I will select each one off its leaves one by one and feel them with the same color are used for the cat. Since the plan became darker. We are not able to read the lines on it. That's Jolin, once again with a darker color. The last touch for these illustrations. We will be adding a few shadows. Toe cat. I lost the passage down a little bit and this illustration is complete, yea. 15. Class Project & Final Thoughts: So this is eight for today's class. In this quest, you've learned how to create a minimalist yet expressive illustration by using color value and a limited color. Pettitte. You have also learned how to add texture to your vector illustration in for the shop to give it a kick. I hope you feel inspired to create for this class project. Create a minimalist illustration. It's topic can be anything that speaks to you, or you can create a character taking a selfie like I did. But remember to keep it simple, focus on a limited color palette, value and conscious. Be sure to share your work in the project section. I'm so excited to see what he will create. Thank you so much for Washington. See you in my next class.