Transcripts
1. Introduction: Hi there and welcome to
another Skillshare class. My name is Allie. I'm the owner and
founder of quite creative in illustration
and stationery brand. In today's class,
I am going to show you my new process and
creating vector art as digital illustrations using
Adobe Fresco on the iPad and editing them
professionally and Adobe Illustrator on
a laptop or desktop. You might start by asking
what is digital illustration? And essentially it's
an illustration made with the aid of a computer. You can use a digital pencil, mouse, or even a trackpad. I will be using an
Apple stylus and the iPad for this entire course. But you of course can use
anything you would like. And I'm going to go over
drawing on the iPad. So digitally I start to draw on, on my iPod using
a stylus and then later send that to a laptop or desktop and edit
the illustration in Adobe Illustrator
to professionally make the final tweaks. And think about sizing and all the extra pieces that
go into the illustration. You can use art, the print on products
to licensed to companies had two portfolio. And really I love the iPad and digital illustration to
enjoy making art on the go. Some examples are creating
things like greeting cards. This illustration
was made on my iPad and it's now printed on
an A2 greeting card, which is a standard greeting
card size in the US. You can also create prints, whether you are selling them or creating them
for your own home. This too was a digital
illustration made in Adobe Fresco, and then later edit it and Adobe Illustrator before
sending to the printer. In this class, you
are going to walk away with a couple
of key skills. One, drawing in Adobe Fresco, learning how you
can actually use vector brushes versus raster
brushes and get rid of all the extra steps of using things like image
trace and trying to vectorize your art to
seamless layer management. I'm going to talk about layers
and both these programs and how Adobe Fresco
and Adobe Illustrator seamlessly sync those layers and how you can use
that to organize your file In three illustration cleanup
in Adobe Illustrator, this is a really important
step after you've done all of the
drawing on the iPad. The cleaning up the
different paths and layers and essentially editing all of those elements to
professionally put together a file is really vital if you're sharing
this with other companies, especially if you're
licensing your art. And lastly, overview
of exploiting files, resolution file type,
and how you might resize all of these
different illustrations for different purposes. This class is really
for anyone who wants to learn a different process in creating digital
illustrations. However, I am putting it together with the
beginner in mind, thinking of someone who's maybe really new to
drawing on the iPad, wants to learn Adobe fresco, or maybe just new to
Adobe Fresco wants to learn how to draw in vectors from the beginning and edit
them in Adobe Illustrator. What are all the different
editing tools and how can you actually make
this professional file? As an artist myself, I know that I love learning
other artists processes. So whether you're a beginner or longtime Illustrator
in some other format, I think this could be helpful and might be nice to pick up some other tips or just see how another artist is doing it. As I've already alluded to, I am going to be using
Adobe Fresco downloaded on my iPad with an Apple stylus. I will also be using a
laptop or desktop computer, whichever you have with Adobe
Illustrator downloaded, I highly recommend a mouse. I personally have a
really hard time with a trackpad and find using a mouse for any kind of CAD program is really helpful. And hut drink of choice. I always find this kind of
fun just to watch a video and follow along in your
own cozy space. We're going to go over everything
and broken down lessons from the actual
conceptual drawing and sketching on the
iPad to illustrating an Adobe Fresco to then sending it to your
laptop or desktop, editing it in Adobe Illustrator, I talked about
recoloring the art, resizing all of
the different art, the different export
options and files. And then lastly,
at the very end, I have a bonus guide
that you can download. It's essentially reference
guide distilling everything I'm going
over in this course. It a PDF document with some
extra tips and tricks, things like the
color integration between the Adobe
Creative Cloud in Fresco and some other
file management tips that I really recommend to use. So I hope that you
join me in the class. I am so excited to share my most recent process and creating digital
illustrations. If you have been here
long on Skillshare, you may have seen some of my older classes and turning hand sketches
and effector art. It's still completely
applicable, but this is my new process and I really think the iPad and stylus is changing the game and digital illustrations
and vector art. I hope to see you in the class and I cannot wait
to get started.
2. Class Project: For the class project, I would love if you could
upload two different images. One, an image of your
iPad and possibly just a screenshot of your process in Adobe Fresco with all of the
different layers turned on. You can see in this
example I've got the line work kind of overlapping the edge
of the art board. And this doesn't matter where
you are in your process, but we'd love to see kind of the earlier screenshot and
then to a final image, ideally in the A2 size. So about 4.25 inches by
5.5 inches and 150 PPI. But it's okay if
you don't want to follow along exactly this. This is the artboard
size that I am going to be using throughout
this class. So it should be pretty easy
to export out the image. But the goal here is
I would love to see your process and your
final illustration. You are more than
welcome to upload several different color ways of the same illustration
as I do go into detail how you can recolor your artwork in a later lesson. Can't wait to see what
you create and please don't forget to upload
your project pillow.
3. Pros & Cons of Vector Art: In this lesson, I
wanted to talk about a few pros and cons of vector
art before we dive in. First of all, vector benefits. One, it can be
scaled to any size. So if you are
Commission to create some amazing illustration
for a billboard or a mural, you can scale it to any size and it can
be printed really, really large without
losing resolution, it will not become blurry. It's also easy to replace colors with any
kind of vector art. Lastly, it works for many different programs
and manufacturing, especially if you're
using any kind of digital fabrication like
a CNC or laser cutter. Even printing off labels for
liquor bottles or packaging. You can use the vector art, the.ai and EPS files, which I'll get into later. But these three are my top three benefits
for using vector art. As far as the downsides, there's always some
pros and cons. There is a limit to that textured look and
even the layered look, you're not going to get that
really nice painterly style of different textures. While there are some
brushes out there, it's just not quite the same as something that's
rasterized art. Then lastly, it also
can look like it was made with a
computer in some way, but this really depends on your style and what
you're going for, regardless of how you're making.
4. My Process in a Nutshell: My process in a nutshell. Throughout this entire course, I am going to break down
every step lesson by lesson from using the iPad and drawing to sending it
to Adobe Illustrator. But before we even dive in, I wanted to give you
a really big overview of my process and creating
these illustrations. First, I might come
up with ideas, and this could be in the
form of something in my head or some
thumbnail sketches. Then I start to set up
my digital brushes, which I will walk you through all the different settings
I prefer in Adobe Fresco. Third, I like to
draw on the iPad. Fourth, send it to
Illustrator on my desktop. Fifth, clean up the file
and the layers and a lot of the paths and anchors and we'll all get into all those details. Six, I like to make
size adjustments. So thinking of all the
different formats I might be using the illustration
for seven, I might make some
color adjustments, exporting out a different
image types and sizes. And nine, the use of
that illustration in a portfolio or
creation of products. As we dive in just a reminder, we are going to be using an iPad and Apple pencil
for the first lesson. Then moving over to a laptop or desktop with Adobe Illustrator, I highly recommend
using a mouse. I find it very difficult to use a trackpad and a hot
drink of choice.
5. Brush Setup on the iPad: In this lesson, I'm
going to talk about brush setup on the iPad and
getting everything started. You can see here,
I've got my iPad, which I'm actually
using the iPad Air, and it works just fine. I've got the Adobe
Fresco app downloaded, and then I have the
first-generation Apple pencil, which at this point
is a little dated, but I still using this until
it doesn't work anymore. I've got a few little
extra accessories, for example, that first-gen still has the lid
that comes off. So I've got a little
silicon holder and I also have a grip. So opening up Adobe Fresco
among the Learn page and here there's a bunch of default tutorials all
about Adobe Fresco. And I will show you everything
you might need to know for my process and
digital illustration. But the first thing
we want to do is actually go to the home menu. We're going to create a new
custom size illustration. This is your chance to name it. So you can click on
these different fields. And let's call this
Skillshare example. You can name it anything
you would like. Then I am actually
going to create this as an A2 greeting card that I can then show you how you
might enlarge that later. For something as large
as a 2436 inch poster. Or even greater if
you want to go bigger because we are
working in vectors. So the width is 4.25
and it's inches. So I made sure to
change the units to inches and the height is 5.5. Now, I'm going to change
this to 300 pixels per inch. That's the PPI over here. Because I'm working in inches. I'm going to keep that PPI
as opposed to peep ECM. But if you are working
in the metric system, feel free to use centimeters. Then I'm going to keep
the background white. And I'm not going to save the size because I actually
already have it in. Here's A2 greeting card, but I wanted to show
you how I might set up and click Create Document. Now if I zoom out, I want to go over brush
settings and give you just the lowdown of the workspace and what
you might need to know. On the left, we have our toolbar really standard
for Adobe products, but it's pretty simplified
in Adobe Fresco. I also have this little
color and brush piece, which you might
have it down here. I like to tuck it
up along the left. And we're gonna get into
here when we're talking about our brushes
and the brush setup. The top is kind of
like a menu bar. You can drop this down
and you can rename it. You can zoom in and
out and you can see that percentage is
changing at the very top. And then up here is
actually some of the settings that
we'll talk about in addition to the exporting to your computer when it's time in your illustration
is complete, then the far-right are all
the different panels so we can expand things
like the layers. We've got Layer
Properties under here. There's precision. And that is where we
can turn on the grids, which I'll talk about
when we're drawing. And then there's also
an area for comments, which I don't typically use this because I'm not
sharing my document. Brushes. Let's talk brushes
on the left and Adobe Fresco, there are three different
kinds of brushes. One, there is your
pixel brushes, and it actually looks like a little tiny grid of
pixels in the top left. These brushes will be pixelated, so we're not going to
use them because I want to show you my process
and making vector art. However, there are some
really fun brushes in here, kind of similar to Procreate, which is also a
raster based program, which rasterized art
is a series of pixels. That's a whole
another discussion. Pixel brushes. You can find tons of
different kinds of brushes in here for different uses. Now the middle one
is live brushes. Right now, Adobe Fresco has
watercolor and oil options, and these are pretty
fun to play with. But again, the live brushes are actually rasterized or
pixel-based as well. So we're gonna be working
with vector brushes. I'm going to show you my own settings of
how I like to draw to make it feel like I'm using a micron pen or a
different kind of brand, just a really simple
black ink felt-tip pen. But there's tons of
different options here. You can add to your favorites. As you can see, I've
started that one. But this is where we're
going to be working through the entire course. And I actually use the basic
round brush for everything. I'm going to show you all of
my settings in this lesson. Before we even get
to the brushes, you also want to go up to the setting gear
wheel on the right. Because this is
where you can change your Apple pencil
settings of how it's working on
your entire screen. I didn't mention that I
have a screen protector. It's a really thin film. It feels like paper, so that adds a
nice extra texture just for the drawing
on the iPad. Going under App Settings, this is where I can pull
up a few things to do with my Apple Pencil interface. This is where you can
change your appearance, export settings, time-lapse. We're not going to
get into that yet. But input is where you can
play with the Apple Pencil. So under touch, this is
where you can change things. Finger settings,
whether you're going to disable the
undo redo gesture. We'll talk about the
double tapping long press for eyedropper. I
turn that one on. I have my duration
set up to 0.5. I have the snap line turn on, which is really nice if you're
drawing straight lines. And then I have degrees with brush as my touch shortcut setting and then
show touches off. And then under
brushes, we go down. I have the brush preview off. So this is everything
you need to know as I accidentally change all
my settings under input. I'm going to exit out of there. As far as the brush, we're gonna go into
the vector brushes, clicking on the basic round. You're now set up. Oops, I click the ruler. You're now set up to
have the basic round. I could start drawing
and phase zoom in here, you can see that it's just a really simple
beginning and end. And it's pretty
sensitive whether it has that little tail at the
end or how I'm drawing it. But it draws just like the pen. What I want to show you is the different settings
I have set to do this. Now, I didn't click
Undo on the top rate few times or it can always
double, single tab. Under this brush panel. Oops. Pull this to
the middle so you can see I have the color, which we'll get into
as we draw the size. I can kind of move
and toggle this, which is what I usually do. So this is the size of that brush head can
get pretty small. Then the smoothing. I like it around 44, but let me show you
what this does. I'm going to turn the size up just a bit so you can see it. As I'm drawing. You can also see
there's a lag where my pen tip is,
where I'm drawing. I had a little gap
there was I pulled up my pencil where I put it to 0. It can be really gigantic. It's smoothing does, is it
kind of smooths out your line. And I find the 44 to be a lag that I've gotten
really familiar with. There's not actually
that much lag. You can see as I'm moving
that tip of my Apple Pencil, the ink is flowing from it. So play around with that. You don't have to
use my setting, but I prefer to keep
it around the low 40s. Then pulling up the
brush settings, this is where you can actually test out your
settings up here in this box. Now, I set my
roundness to a 100. The angle is actually an 81. I know it sounds silly number. But it works for me. The taper mode is under length, but there's no taper
because I don't want the end of my lines
to be tapering off. Then I have none of these
extra boxes checked. Then under stylus pressure, this is where you can
start to play with it. You can start to adjust
it if you really want to overhear or reset
it to the default. Really what you could do
is start to play around with light versus heavy. If you're really heavy handed, that might be handy. And then under really light, you can still draw
really lightly. Again, I like to keep it
in the middle somewhere. That's it. So to recap, we have got our vector brush
basic round set. You can go ahead and
start it on the right. When you select it. As you select different brushes, you'll have the
option to store them. That means there'll be
added to your favorites. We have we can change
the size as we go. That doesn't matter for now. We've set the smoothing to 44, and we've set roundness
to a 100 angled 81, and everything else
is 0% or turned off. Now, if I zoom out
here and I'm like, Oh gosh, I'm going to
delete all of that. I've made kind of
a scribbled mess. I can go up to my
layers panel over here. Click on that layer,
delete the layer. And now we're all set to
begin the next lesson where we're going to start drawing and sketching and
administration.
6. Drawing in Adobe Fresco: In this lesson,
we're going to go over drawing in Adobe Fresco. Coming back to our iPad, we are going to start
drawing from start finish the entire illustration
in Adobe fresco. Now, as I mentioned
in our brush setup, we are just going to be
using the basic round brush. So assume that I have that brush setup for
all of the drawing. Then I like to keep my layers
panel on the right open. As I add this little
plus sign new layers, I can start to stack
them and organize them. And the amazing thing is
all these layers will come into Adobe Illustrator
when we go to export it. Let's cutover. Let's create a new
layer just like I did. So adding that plus sign, if you accidentally
add a second one, you can always click on
it and delete the layer. When you click on it,
you just want to make sure it's selected by having that blue outline.
For sketching. Here is your chance to start
sketching an illustration. Now I might have an idea of some kind of like
mountain scene. That horizon line
halfway through. Thinking of the 1
third, 2 third, I'm going to try to create
some peaks in the distance. So now I'm using
about two-thirds of my art board of that drawing. The other third is the sky. Then I might kind of sketch
out stem of different trees. Really roughly thinking of placement of different elements. And this is your chance where
if you want to refer to a photo or something that you have ideally taken yourself, so you don't want to be
copying other people's work. You can bring that photo and I'll show you how
in just a moment, I can start to sketch
some of the elements. Maybe you have some trees
in the middle here. What kind of work that out? Maybe one up here in
front of that trail. I also like to typically
add kind of like weird low, It's of snow into my mountains. It adds a little bit of detail. And I'll also occasionally
bring some clouds. Scott, you're really rough idea. Now, if you do want to bring
in the photo on the left, this image, you can go over
here and I'm going to photos. And then it's going to
bring up your photos. I took a bunch of photos
of some dried flowers to refer to because I really hard time
drawing some flowers. And I've got a ton of Wildflower
images from the wild. But I wanted to add a
little bit of variety. So if you know which one
you want to bring in, you can click on it, bring in your photo, click Done. And you can see it's added
its own layer over here. Now while I have
that layer selected, I like to go up into the properties and turn
that opacity down. I'm going to turn
off my sketch layer. So now you can see
I've got a base photo. And if I want to
use the Move tool, I can start to adjust it. Maybe I want to bring in those flowers somewhere
in the center there. Then what I like to
do is add a new layer where I might be sketching
what I want from it. So you're kind of
sketching over it, then you still have
a sketch to refer to when we do the illustration, if this is how you
would like to work on, just be mindful of
what photo you're referencing and
hopefully your own. And bringing that into almost
trace like a light table. It's kind of like a glorified
light table and tracing. So let's say that you have
but all set up your sketch, maybe spent a little bit
more time than I just did. You could turn off that layer and then work with the sketch. And then eventually
we're going to turn that opacity down as well. So turning off layers, these little eyeball, just like many of the other
Adobe programs. I'm going to turn off
both of those and turn on my original
mountain sketch. Let's say I'm
pretty set up here. The only other thing
is maybe I want to add a little bear or
something into here. Think about just
the rough placement and falling off to
spend a little bit of time drawing him because it
wasn't a very great bear. Let's say that I've
finished my sketch, whether using a photo reference or not, it doesn't matter. Now, we're going to
turn down the opacity. This is the trick. I like to take it down to
somewhere between 2035. Keep it in the
normal blend mode. Now we have our
sketch to reference so we can see over
it as we draw. The thing about the
sketch is I want to make sure it's the top layer. So every time I add a layer, I'm going to click on our
base for that background. Click plus and I
have a new layer. Then I'm going to
come into my colors. I've got a couple
of different things on this color wheel. We have in three
different options. If I collapse them all. One is the color
wheel where I can just toggle my way around. Move this up to
select the color. I could go to the HSB sliders, which is hue
saturation brightness, which is really
handy when you start to play with different tones. I can play with all of
these different things. Then we have all
in recent colors. So recent, There's
nothing here except that black that I used a sketch. And all this is Saint
with Adobe color. If you go onto Adobe Color.com
on any internet browser, you can save different
collections into here and start to use the
colors within that palette. Now, sometimes I might save several different color
palettes that I might refer to because you can only
save about five at a time. This is a really nice way
to make sure you're using, say you have a color palette. This is what I do for my brand. But you don't have
to do this and you can always change
the colors later. So don't feel like you're
stuck with the colors. Maybe we'll just use the
color wheel and kind of go from there for, for this. Now, as I drag this
color back over, I get that blue highlight. Let go. And it actually
starts to dock into the side. I don't want to talk it there because I'm going to exit out because I don't
want to always up. So as I click on Color and click on it again,
it disappears. Now I like to use the
paint bucket tool. Next, we've got my sketch setup. Turn down the opacity and
added a layer below it. Now I'm going to click
with the paint bucket and make sure to select vector. My entire background is painted
this kind of sleep blue. Now I'm going to
click the next layer. So I like to work from the very back of the image to the front, the background to
the foreground. So I'm going to
start with that sky. Next, I might start
drawing some clouds. I'm going to try
this color in here. I'm going to start drawing. Now notice I'm drawing outside of the background
for that edge. Then I could paint bucket and that's really
quick and simple. You can, depending on the texture and look
that you're going for, you can start to
draw in the clouds, but I like to go over the
edge just to make sure I'm really closing
that shape and go between the brush and the
paint bucket, filling the men. Now, I can go back to that sketch layer and turn it off and on just to
kind of see my progress, It's kind of hard to see now. I just saw clouds in the sky, but that's something nice to do. Now sometimes I will collapse
or merge layers together, some clicking and dragging where I'm making a layer group. If I double-click on this, I actually have a couple
of layers together. Now I can turn off that
entire layer group. This is a handy tool
when you are perhaps working on a really large
illustration with a ton of layers where it becomes
kind of hard to organize. You can't name them over here like you would
on a desktop. And so I'll typically put
different groups together. If I were to draw
a person hiking, I would have all the elements from the person to their hat, to their shorts, to their boots, all in the same layer
group because then that's really easy to move around. So I'm going to
keep that together. Click on a new layer. And now we're going to draw
the mountains in the back. I'm going to go back
to my color wheel. I'm actually going to come
down to a charcoal gray. I like this thinner
to 0 size pen. I went outside the art board. It's hard to see this
dark background. Then I'm gonna fill
that new layer. Now I'm going to try to
find maybe a yellow, maybe we'll make this kind
of a weird yellowy degree. If you're like me. And you feel like
you're changing your mind with color a lot. Don't worry too much. You can change it. Once we get into
Adobe Illustrator. If you don't have a
color palette set, colors you usually use, you're not you're not stuck to whatever
colors you're using. I actually like that. Little yellow over here. Now if I go into my
colors under recent, so you can actually
see the variation and it's saving both of those. But it has some of the past colors and this is
going to come in handy when I come back
through for my process. Okay, so we've got
these blocks of color. Now I'm going to add a layer. I'm gonna do all the
trees on the same layer. But I want to start
with the screen. If I had something
else selected, I'm gonna come in to recents, select the green, or I could use the eyedropper tool
to select that green. Then I'm gonna go
under the HSB sliders and turn the darkness down. So this is a really
nice way to keep your color palette fairly
consistent by using the same color and
just playing with the brightness to come up with different tints and shades. Now I'm going to turn up
this brush just a bit. Zoom in here, draw a
really rough tree. Now, I tend to draw in this
almost cartoonish style. But this is where you can start to draw in your own style. And you're welcome to follow along and draw
a similar scene. But you can also have a
little bit of fun with it and draw something that
you really want to know. All Zai YN to try
to start drawing. Make sure that again,
drawing in the center, go up and combine those
and I didn't like that. So I'm double
tapping my fingers. Tapping once with two fingers
to zoom out and use them. The paint bucket tool
to fill that in. I'm going to continue to do
this with all of the trees. Then we're gonna come back. Now that I have golf,
my tree is drawn. Wanted to show you the grid. So the grid tool
on the far-right, if I click on the precision,
it looks like little grid. You can turn on the
grids and you can actually change the grid color. Let's say they are
like a bright red. You can change the spacing and you can toggle
around the opacity. I find this to be the most
helpful when hand lettering. But as you see here, my tree, it's not really flat, but you know what trees outside
aren't always super flat. They usually do grow
up towards the sun, but sometimes they can be
leaning on a hillside. But let's say I did draw
this tree like really wonky. And it's part of a huge layer. You can see over
here, there's all the trees are on the
same layer together. When you turn off my sketch. Now you might be able to
see this a little bit more. I'm going to just select this
tree to rotate it a bit. And this is a pretty handy tool. So going over to the
left, I'm going to navigate to the Polygonal Lasso. I'm just going to hand
draw around the tree, making sure not to select
any other elements. And we can select this entire tree without
accidentally clipping it. Then while it's selected, I can click the Move
tool or transform. I can actually
rotate it and click and move it with this toggle
on the top and click Done. Now, I still have my selection. I don't want to mask it. I don't erase it, although that's an
easy way to quickly erase a large area. If I click erase, I'm
going to undo that. I just want to click de-select. Now my tree, Cancel lasso. Let's go back to our Pen. Now my tree is all set. You could draw with the grids
on from the very beginning. Or you could alter
it after the fact. It's really up to you. Like I said, I usually just turn the grids on when
I'm hand-lettering. But you can do it
really at anytime. Now going to turn
my sketch back on. Notice here I want that trail
to be behind this tree. I'm going to go between these
two layers and click plus. And if I didn't do that,
I can always click. And drag and move this. So instead of docking it together there
until layer group, I'm going to hover between the two until it kind of
pulls up some space. Now I'm going to
draw, let's try this. And we're gonna go a bit later. The edge of the green here, the grass is where I
want my trail to end, but there isn't an
edge of the art board. What I'm going to do is draw to the edge
of this artboard, overlap it just like I
have on the other edges. I'm going to treat the
mountain like the overlap. So what does that mean?
It means I'm going to have this white line
going over the mountains. We're going to clean this up
later in Adobe Illustrator. But what you do need
to do is close it. You could add it
at the very ends. You could add it anywhere
just above that green area. So when I use the paint bucket, know the trail is
completely filled in. If I'm like, oh, that's a
little bit too white there. I could come over here and use the eraser tool and
do the same thing, toggle the different size. Just kind of eyeball it. If I do that, I'm going to
have to come in here and erase everything around it, which could be tedious. Undo, undo. I like to use that
same polygonal lasso. Select an area, erase, de-select, then
kind of look at it. Now, there might be some spots
that aren't very pretty. And oftentimes what I'll realize if it's something
really quick to draw, it might be easiest
to turn that off and just draw new layer. Again. It's up to you. That is just part of my process. And I want to show
you all of my ways of thinking about this
and how I go about it. I've gotten neutral, I'm
going to delete this one. But when I export, you
don't have to export out the hidden layers so you don't necessarily
have to delete it. I just like to keep my
workspace pretty clean. We've got the main base and
if I turn off my grids, I turn off my sketch. You can see I've got
a really rough idea. Landscape going on here. Now there are a few things
where this tangent, these two lines
next to each other, a little bit weirdly close. So this is the point where
you could start to select things and using that
transform, move them around. You can make this tree
even bigger because I don't want those edges
to be close either. Deselect it so you could
start to kind of clean up a little bit of your design. We still want to add the
snow in the mountains, so we're not, we're not
completely done yet. I'm just going to
edit a few of them, just making sure not to
have those edges touch. Coming down to the mountains. New layer in-between. Going back to my recent colors. I'm going to turn this way down. Then I'm going to
start to kind of guess what these
kind of snow cups, pockets of snow looked like. Now, I personally
spend a lot of time in the mountains and
have a lot of photos. But even so, I find it can be nice to reference
every once in awhile. So you might want to
take your time here. If you're tracing something. We really want to get
in there and zoom in. There's some overlaps
that I'm going to kind of fix and go over. So the more that you can
fix here in Adobe Fresco, the better because
it can take a lot of time to smooth out some of these edges and
readjust the paths. So I recommend just taking
your time with the drawing. The color is really easy
to change actually, so don't worry so
much about the color. But as far as the shapes go, kind of the edges of them, make sure it all looks. You would like it to, or at least pretty
close in here. You can of course, always edit it later. But I find that it keeps my
process a little bit quicker. When I'm making sure that
this is all pretty accurate. I'm going to continue
finishing these. And then we're gonna come back
and talk about next steps. So coming back then
let's say that we brought this illustration
took place in wanted. I can always turn back
on my reference sketch and remember I had
the little bear here. I may or may not
want to include it. I think I want to
keep it out for now, but feel free to
finish everything. I still have this
overlapping trail here. That's fine. I'm
going to show you how we clean that up later. But essentially I've got all
my different layers now. I could start to group
a couple of the layers, maybe the snow in the mountains and the trail on the grass. If I wanted to
change that color, I have to double-click
into it to come over here and change
the color of that trail. Let's say that I
wanted to make it a little bright yellow. I don't really
think I like that. Thought is where you
can start to change it. Now, we have play
around here just for a second and
turn it to color. We're just going to go
back to the late green. That's where you can
start to edit it. If you wanted to add
anything same with the snow, I would have to come
back into that layer instead of just
clicking on the group. If you've got everything set up, I have the colors mostly
setup to how I would like it. I have the layer is turned
on that I would like, and I've turned off
the layers that I don't need, that's important. Then in the next tutorial, we're gonna talk about
exporting it and cleaning up this illustration
in Adobe Illustrator, which is where it goes from. A really fun there'll
Fresco drawing to a professional illustration
that you can then send to minus potentially license.
7. Illustration Cleanup: In this lesson, I'm
going to go over illustration and how we might be editing our illustration in Adobe Illustrator
on the desktop. Coming into Adobe Fresco. I have left it at my
final illustration with all the layers pulled up and
the layers are turned on. The next thing I want to
do is in the top right, right next to this little
gear wheel is a Share button. I want to go down
to open a copy, send it to the Illustrator
on my desktop. Now, I have a laptop and
then a monitor next to me. It's sending to my laptop. Whether you're using
a laptop or desktop, you're going to send the file. Now, while that's sending, you can see here are
on Adobe Fresco, it's got the blue little wheel. I am going to pull up
Adobe Illustrator on my laptop and wait for that
AirDrop to come through. Now the important
thing here is that you're on the same Wi-Fi or internet connection
between both your laptop or desktop and the iPad. It says document sent. Now looking at my laptop, I have some import options. Even though it says
Photoshop import, it's actually going
to come in as, as vector layers from Fresco. I want to keep Convert
layers to objects. So this is where I
actually like to keep them all different layers as opposed to flattening it
into a single image. And then this is where I can
say Import hidden layers, but I don't check that. I just like to keep
the layers I turned on and click Okay, now I've got a file
in Adobe Illustrator. With my illustration. And opening up the layers panel. I've got a bunch of
layers over here. So you'll notice that there's actually a default
background layer. I'll typically delete
that right away. And then I've got all the
other layers turned on. We've got all of them separated
out just as we did it. And you can see here
there's actually a layer group which
I can then expand. It should come expanded and then the different
elements within it. So we've got our
file, it came named, but what I want to
make sure before I do anything is go up
to File save As, and just save it locally
on your desktop or laptop. Using a folder, AI files
in my Skillshare class. You can find your own
folder if you want to. I want to save this as a dot AI Adobe Illustrator and click. Okay. Now I actually it says
Skillshare example dy. So I have this file saved. You could rename it if you
would like to as well. What I want to do is I
actually want to clean up all these illustrations that are kind of hanging
out over the edge. The trail that's hanging
out over the edge. I might even have some random little pieces
which I can just click Delete right there and then I might want to clean up. So I want to go through and make this a nice clean
up illustration. Then in future lessons
I'm going to show you all the different
sizing and the way to think about this art board. The first thing I typically
do is I go up here and I click and drag all
these little eyeballs off to turn off the layers. Now, I wanted to leave
this bottom one on, but because it's part
of a layer group, I need to turn that
layer group on. I could take this opportunity
to call it the sky. I could call this clouds sky. Now, you can see
here they're all actually say Vector Layer. Then there's layer group. If you had a pixel layer, it will say pixel layer. You will know. If you
don't already notice, I'm going to actually copy
using my Command or Control C, depending if you're on a
Mac or PC, my base layer, lock it internal the next layer. Now, it's hard to
see, but this does overlap on the edges. Instead of doing one
huge layer mask, I actually want to clean up the line work and get
rid of it forever. This helps limit the file size and keep it really
clean for the future. So if you were to send this file to accompany and it
was just masked, you're not risking that
mask coming undone. I'm going to do is I just
have my cloud layer unlocked. I'm going to select it all. I'm going to pull open
my Pathfinder tools. Now, you might want to pull this out so you can reference
it really often. Or you can expand and play with your workspace
over there on the right. But I want to talk about
the Pathfinder tool. And if you don't see this, you can go up to window and go down to Pathfinder
and open it up. The Pathfinder tool has
shaped modes and Pathfinder. The first thing I'm
going to do is actually unite all of these
shapes together. Now. Is click on one. It will
click on all of them. It's kind of like grouping them. Now the next thing I want
to do is Shift Command V, which is essentially
paste in place. Remember I had the
sky on my clipboard. If you don't do that, you can go up to Edit, Paste in Place and you can see this is my
keyboard shortcut. I'm on a Mac, so I
have the command key. Then selecting
everything on the layer. I knew the clouds
are at the top, so it was just going
to select the top. I now have this sky outline, which is the size of
the art board and my clouds that are overlapping. I am then going to use
the crop Pathfinder tool. It has completely cropped off my clouds to this
blue rectangle, which I know is the
size of my art board. Now if I click on this, it's still going to
be one big group. You can see there's an outline
around the whole thing. I can right-click
and click Ungroup, and then come in here
and delete the outline. So now I just have
my three Clouds. We're going to unlock these two, but lock the whole group and collapse it just for
the neatness of layers. So I'm gonna come in and
turn on my next layer group. And then that first layer. Step one is to unite. Step to paste in place
that background. Step three, pathfinder crop. Then optional step
four is to ungroup, delete that kind
of excess space. So that way we just have these mountains locking that
turning on the next layer. Now I don't think any of these layers actually
go over the art board. I'm just going to unite them. Then lock it and unlock
with just lock the group. Then we're going to
call this Mountains. We've you're getting
the hang of it. I'm going to keep going
through this rather quickly as I go
through each one. This can be really tedious. However, I find it to be really helpful in cleaning up your illustrations
in the beginning. So you always have some
nice illustrations. Now we're at the path. If I place this over
and do the same thing, It's just cropping the bottom, but it's not cropping this
top part of the trail, the path to that meadow. I'm actually an
undo and I'm going to delete that rectangle. What I want to do
is actually use this green element as my mask, not the blue rectangle
to refer to. I'm going to unlock it. Copy, lock it again, come back into this path layer. I had united it just to make sure all the
line work is united. If you scribbled by hand, this is important
because it will unite all those individual strokes because I use the
paint bucket tool. It's already one shape. I've selected that, united it
and then you can de-select. I'm going to Shift Command
V to paste in place. Right now I have this on top
of that trail or path below. Then I'm going to click Crop. Now it's important
that I copied it because if I use my
original meadow, it would disappear entirely. Just make sure you're copying
whatever you're going to use as that crop shape. Then I could ungroup
it again and delete the space to the left
and the right of the trail. So I just have the path. I could name this, let's just call
this meadow grass. Locking the whole group and then turning on the last layer. Now we're at the trees. I could do the same thing, select everything, but now
actually need that sky. I'm going to unlock it,
copy it, lock it again. Then paste in place on the
top of the tree layer. Pathfinder crop. Ungroup, selecting the border
should delete everything. And now I have all
my individual trees. You could also start to kind of play around and
move your elements. While you have it separated
into different layers, you could unlock everything. So you can now see
it altogether. I'm making sure to go up and
save your file as you go. And fat is in short, how I edit the illustrations. So we've named a
little of our layers. We've cleaned up each one
using the Pathfinder, Shape Modes and Pathfinder. Mainly the first one for
the shape modes unite. The fourth one for the
pathfinder crop tool, are the two that I refer
back to time and time again. When I'm coming up these
illustrations, saving the file. Then we're ready to
move on to lesson.
8. Recolor Illustration: In this video, I'm going
to cover re-coloring your illustration and using
the recolor artwork tool, which is one of my favorite
tools in Adobe Illustrator. Opening up our file. In Adobe Illustrator.
If I zoom out, you can see I've got my
one art board here of my mountain scene that we just cleaned up in the last lesson. To make it all really
cropped to the edges, individualized
elements in addition to named layers on the right. As always, if you can't see the panels that
I'm referring to, you can always go up to Window and then look up both layers and
then we're gonna be referring also to libraries. So go ahead and click on that. If you don't already have
your libraries on the right. First, I want to talk about color palettes and integrating them into Adobe Illustrator. And then we're gonna talk
about changing the colors. Now, we have one art
board that is an A2. And if I click on
the Artboard Tool, it should come up with a
blue and white dashed line. I can either add an art board
by clicking and dragging, then changing that
size at the very top. In the Essentials
Classic workspace. I could change that
to I'm in inches. I don't need to type IN, but I could change that to
that a2 greeting card size. Alternatively, we could click
Plus for new art board. We could then change this
to a different size. So let's say we wanted to
do a 27 inch by 36 inch. Now that is huge and it's
covering our artboards. I'm actually going to undo, come back down to the art board. I'm going to move it over
to the side because I don't really want it
to go over anything. I'm going to make
that the 27 by 36, which I find to be
a really good size for a lot of different prints. It can work for, for both small eight
by ten inch prints and up to really large prints. And it just seems to
be a good proportion. But of course you can always
make those individual sizes. Now, we're going to rename this. Let's call this A2 copy. Then this one I'm gonna call
27 by 30-inch 36 print. There we go. So you can make as many
artboards as you want, but I just wanted to set
this up so we can start working on two different sizes. So back to color. The libraries. If you are logged in and
using Adobe's Creative Cloud, then you can access
your libraries and actually sink color pallets
from Adobe Color.com. So you just need an Internet
browser to go on there to either browse existing color
palettes or alternatively, you can create a
library, for example, mountain scene, and you can create all
different palettes. Now, you're limited to create palettes of five
different colors. But they do have some
amazing tools to help with color theory or specific
rules for harmonies of color, like this monochromatic version or this complimentary version. So you can really test out and try different color schemes. Once you save a couple, I'll show you all four of these how we might
bring them in. You can find them in
your library's panel. So again, that was navigating
down to my libraries. I have several different
folders that I've created, one called mountain scene. Now in order to bring
these into my file, I'm going to open up my
swatches panel colors in there. I could just go ahead and
select all the folders and then click on the little Delete key or Delete swatch at
the very bottom. Now it's empty. Before I even add these colors, my preference is to highlight the color palette
I've already been working with highly everything, making sure those layers are on. And then click this little
folder, new color group. We could call this existing because this was
our existing illustration. And the colors we
chose an Adobe Fresco. It's going to
automatically assign it a color group or a folder
with all those colors. Now let's head over
here to our libraries right-click and go to
Add theme to swatches. Now, you can also
add color by color, but I like to add each theme. Notice here, as I go through my libraries and add each theme, they're all adding in
its own color group. If I wanted to combine
things, for example, if I want to bring
this pink over, notice first that I actually
had everything selected. I'm going to de-select and
Command or Control Z to undo. And just make sure
nothing is selected. When you're playing and
moving around your swatches. I'm going to click on just
these two kind of muted pinks. And if I click and hold, you can see this
blue highlight is moving around that group. So I just move them
into the group and then I can delete
this other one. That's a really nice way to
start to combine swatches. All often save, say you had like a larger color palette
for a specific project. This is a way that you can put it all into the same group. And this will make
more sense when we open up that re-color
artwork tool, you are limited to work within each group in certain ways. So we can actually
access all the colors, but I like to start to group them before
we dive in there. I'm going to leave
it at this for now and take your time here. Play with colors. If you don't have
Adobe Creative Clouds, like sync it up
to your login and all of that to access
your libraries. There are a couple of other ways you can create your
own color palette. One is if you
brought an image in, you could always create your own little swatches and
it doesn't matter what size. I like to use the option key as a keyboard shortcut to
quickly make some copies. And when I click on one, I could use the eyedropper tool. So let's pretend this was a
photograph I brought him. I could start to eyedropper
different colors within it that I really liked to
create my own color palette. Alternatively, I could click
on one of these squares, double-click into the fill. Then I could just zoom
around the color picker to pick something kind
of arbitrary and way. I mean, maybe I'm like,
oh, I really want to find gray navy. You could type the hex
code and directly, There's also the hue and
saturation brightness, red, green, blue or RGB
values or the CMYK values. I find using the
hexadecimal value or the hex code for short, to be the easiest to
write in specific colors. And click Okay. You can do this for all six of these and
maybe I'll kind of go through it really quick and kind of show you
what you would do next. So let's say that I've got
almost all of my colors here. Let's add one more just for fun. Once you have just a solid
rectangle filled in of colors, you can open up
the swatches panel and click on that little folder. That's new color group. And let's call
this example five. And it's going to
create that group. Now once you have that, you can delete these
or you can keep them out there if you want
them for reference. Now we are all set up
with our swatches. Whether you pull those from an inspiration image that
you took a photo of. You just played around with the colors or you went
in to Adobe Color and either created your
own palette based on color harmony rules
or color theory, or found in sourced some of their preexisting
color palettes. The next step, we are going
to copy this illustration. You can either Command
C, command V, Edit, Copy, Edit, Paste command if you're on a Mac control,
if you're on a PC. Or again, one of my
favorite keyboard shortcuts is to hold the option key and the Shift key to bring it over and making sure you want it
to align in that corner. If you notice here I'm getting that bright pink line
that says intersect. You can turn on Smart
Guides if you go up to View Smart Guides and
see it's checked here, That's going to just
automatically pull up some of those alignments and I find
it really useful to work in. Let's start to re-color this image, selecting
everything here. I've got one really
weird line going on, so I'm just going
to delete that. I don't know where
that came from. We're gonna select this. And we're gonna go to
the Recolor Artwork. Now there's a little icon that
looks like a color wheel. If you can't see it, you can go under Edit, Edit, Colors, Recolor Artwork. You'll see here when
I pull this panel up, it's actually opening up
the advanced options. Because I have this
tiny little box checked at the bottom. Open advanced recolor
artwork, dialogue on Launch. I'm going to uncheck it and just show you what
this looks like. Clicking the icon this time. I really like to change it to advanced options with the
button at the bottom. And then always open this
and this is what I'll refer back to every time
I come back in here. Now there's a couple of things. I've got actually the
real white colors if you're using true white, which is the hex code, FFF. Fff Or true black, which zeros, zeros, zeros, zeros, zeros 0. It won't come in to alter it right away so
you can click on it. Do you want to add a new
color to the current harmony? Yes. You have to click on this
little space on the right. So that then adds this
tiny little thumbnail. These bars of color on the left are all of the colors currently
in your illustration. And these little tiny
images with after the arrow or what
it's assigned to. So if I were to click
and drag to swap them, you can see I'm actually
swapping out the colors. Everything that was
this charcoal gray isn't how the bright green. You can also play with
these little icons at the bottom to randomly
change color order. Now you can't go back. So this is just a
fun way to randomize those color
assortments as opposed to manually swapping
them around. You can also play around with saturation brightness or start to find them where they
are in the artwork. I like to just sort them differently and
see what happens. Or if I know, I would just
want to make a quick change. All do that in here. Now, let's say that we don't want to stay with
our same color palette. We actually want
to select one of these other color palettes. This is where the color
groups come into play. Now if I click on my
example of colors, because those are combined, they're named the
same thing now, so I could definitely
go back and name it, but that
doesn't matter. I'm going to select
the second group and start to sift through them. You can play around
with us for a while. It can be very addicting. Or you can start to kind of
change them around yourself, kind of like I'm doing here. It looks like these two
greens are really similar. If you're noticing
that if I switch them, you can barely tell
the difference. I can always
double-click on one. Say I want to
darken one of them. Then I might swap those around. You can always alter the color palette a little
bit if you need to. Change up what
it's looking like, then once you're done and
you like the end result, let me change this
just a little bit to you can click Okay. Then I usually don't
change the swatch group. Then if I really
liked something I altered, I'll select it all, click on the folder, and then add it as
a new color group. I encourage all of you to at least try recoloring
your artwork once. You don't necessarily
need an art board, if I wanted to select both
of these, drag them down. I could start to play with each illustration going
through this really quickly, with some of the different
variations here. And adding that white in there. If you remember, we wanted to get that and maybe I want like a really bright illustration. Then this one, Let's go
through it really quickly with one of the other palettes and kind of sorting through. So this is just a really fun
way to test out different, different variations
and see what's going on here with
some of those blues. And click OK. Let's say that you
actually did want to export out all four
color options, not just a second one or not
just your class projects. You could always go click
on the Artboard tool. Click on the background. The sky I know is a full
square or rectangle, and it's adding art boards. Now, I might call
this color bright, and you can come up with
your own names for them. Color for very unique, but at least I have some names. So when I go to export,
I'll know the difference. So now I can actually
export out each art board. You need an art board behind your artwork in
order to export out a file of just that image
if that makes any sense. So I've got four
kind of a2 sizes. And this would be a
great opportunity to eventually export out several different
color variations or color ways of the
same illustration. That is it for re-coloring. We're going to use this
bigger print on the right, this kind of larger art
board we've created. In the next lesson
when we talk about resizing an art boards
in a little more detail. But for now, Have fun with your color palettes,
recoloring your artwork. I find this stage to be really fun and I feel like I could
spend a lot of time here. So dig into the
colors, don't forget, you do want to add an art board
behind each illustration. Eventually if you plan
to export out an image. But we will talk about all
of that in the next lesson. So have fun coloring.
9. Resizing & Exporting Files: In this lesson, I am
going to cover resizing your illustration
print at a variety of formats and exploiting files, talking about some of the
most common file types I use when exporting
out my illustrations. Opening up our Adobe
Illustrator file, making sure to constantly
save as you go through this. We left off the last
lesson with re-coloring our artwork into these and for little art boards over here. And we have four different
varying color ways or color variations with
different palettes that we integrated
from our libraries. We also added clicking on the art board tool,
this large poster. And we talked about
adding Artboards either by clicking the plus
sign to add a new one, or clicking and dragging to any arbitrary size
with the option to type in the value
or units at the top. Now, one trick for the units, if you don't want to always add IN for inches or cm
for centimeters, is you can go up to
view the very top. Under rulers. You
want to Show Rulers, a minor, minor shown here. I could hide. And then let's go into rulers. Show rulers. If you right-click on
either the x or y-axis, you can select the units
that you want to be using. And this is just really handy when you're constantly using different tools in
Adobe Illustrator that you're constantly
referring back to, say inches. I'm gonna go back to
the Artboard Tool. And let's say I wanted
to delete this one, I just have to select
it and click Delete. Then if I want to
click on any of them, I have to be under the art
board tool to click and move. Now, the benefit
here is that I have one AI or Adobe Illustrator file with all of the
different sizes, as opposed to opening up
several different files. This one saves a
little bit of space, but mainly it's way for me to organize and know where
everything lives. It's for my own sanity there. And I can always rename these. That's my preference is to
rename your art boards. Because when we go to Export, you will see that that
name comes through. If I wanted to go
through and rename it, you can always do that. So I could call this color one. Let's call this color to start to actually
make these match, instead of just
some random names. We've got our 24 by 36 inch
print and our eight by ten, I'll add the word print
just to be consistent. But you can come up with
your own naming system. I find these little tags
just helpful, So I know, but if I forgot
what size this was, I could always click on it with the art board tool and go up here and look at
the width and the height. If you don't see this whole
ribbon or if it's somehow disappears, which
sometimes happens. You can always go
up to Window on the File menu workspace and then go down to
essential classic. Let's go to that. I'm going to show that panel. Then. You can go to Reset
Essentials Classic, which it should come up. Now, I like to rearrange my entire workspace and kind
of customize the panels. But if you ever need a
really good default, I use the Essentials
Classic workspace for several years and it
would be just fine. I find it has
everything you might need when dealing
with illustrations. So let's go and choose one of these color ways for
our larger art board. So what I'm going to do is actually just
highlight everything. Making sure in my layers panel. It's moved around over here. I might even pull
it in to see up here under my layers panel,
everything's turned on. If you remember, I have
it all named in groups, so we make sure we
got everything. And then I can either
copy and paste or use my favorite keyboard
shortcut of holding down the option key and just try to bring it somewhere
in the middle here. Then what I'm going to do with this one is just drag
it to the corners, even though it might
change it a bit. I'm going to show you
something different with this last art board. In fact, I might actually
move this art board out just a bit to have a little
bit more space around it. So we've got our large
illustration prints. So let's say we know
we want to print that at a much larger size. Then let's go over here and grab one of these other options, doesn't matter which one. I'm going to try and group it. So Command or Control G. I could also right-click. So let me undo that
and click Group. To make all of those images one. And now I'm going to
grab one of the corners. I should see that control
box and the arrow. If you don't see that actually, sometimes this comes up to
it's called a bounding box. And you might go
under the View Panel, under the File menu and go to, it'll say Show Bounding
Box if you don't see it. So sometimes if you accidentally hit the key on your computer
or something else happens, that's definitely
happened to me before. So instead of just
dragging it to the corner, see how I can move
this to any size. I'm going to hold the option key and the Shift key
at the same time. That is scaling it from the center point and it's
keeping it proportionate. Now, as I get bigger, we're hitting the bottom
of the art board. Now we've got the sides. So if I move this around to
try to get in the center, I want a tiny bit of overlap on the sides just
to make sure I've covered the art board and the top and bottom are
overlapping just a bit more because my A2
greeting card size, the 4.25 by 5.5 inches, does not scale perfectly
to an eight inch by 10-inch frame or art board here. Instead of just dragging
it to change it, I'm going to show you
how you might mask. Because this is an art board. This is a quick
little disclaimer. I could potentially export out this art board and
Illustrator will automatically crop
my illustration to this artboard frame. You don't have to get
rid of everything. If you remember and cleaning
up our illustration, we actually use the
Pathfinder tools and the crop to get rid of
that information instead of masking everything to save on our file size and kind of
clean up all those elements. But in this version I want to show you how you
actually can mask. If I come in and grab
this rectangle tool, I want to draw a rectangle, making sure I'm on
that top layer trees. I'm going to fill that
rectangle with any color. I like to pick something
really bright. And if you remember, I've
grouped everything in the back. So that was an important step. I could Let's see, I'm just going to select
everything, drag it. I could just click on both
holding the Shift key, but I'm just gonna click
and drag over everything and use the keyboard shortcut
Control or Command seven. It's going to create
a clipping mask. Now if I double-click, you'll see I actually
have that illustration. A little bit of cloud goes
outside the art board. And if I double-click again, it's not grayed out anymore. I can only see it cropped. That is a quick clipping mask. I will do this if I want to preserve the original
illustration. I might need that for
certain files submissions. But oftentimes I'll try and
clean up the illustration, get rid of any
unnecessary information. At the clean-up stage. We've now got let's see if six different art boards
took me a second to count. I want to export out
specific ones at a time. I'm going to show you
all the different kinds of ways to export your files. A few common file types
that I like to use. Our image files, manufacturer
files, and print files. There are so many different
ways that you can export out various
different kinds of files. And this is the moment to
look at any project or any recommendations
or requirements that you need to export. It might be a pixel
aspect ratio, a size, a resolution, or a file type, or maybe a combination of
all of those image files. The most common tool
that I find myself using our JPEG or a PNG
manufacturer files. This is sending two
different kinds of production partners
and manufacturers. They typically want
the base vector file so that AI or Adobe
Illustrator file, your main file that
you're gonna go back to. Or an EPS file, which is something really
similar, print files. So say you were sending this to a printer or you
taking it to go get printed somewhere locally
is typically a PDF. Pdf files are really common, but sometimes you can use an image file and all
sometimes you use a PNG. Now, I'll go over the
different resolutions. Say you're using
this illustration on your portfolio website versus trying to print it out
on a print or a product. There's a couple of
different things to take into consideration, but I'll be talking about all these file types
that I commonly use. All right, so coming
back into Illustrator, I went to first save my file. Next I'm going to go to
File Export, Export As. This is where you
could navigate to a folder that you might have. And if he needed to find
or create a new folder. You could rename one images. Let's go with sculpture example. But before you do anything, the very bottom format, this is where you can
change your format. I'm gonna start with PNG. A PNG would be excellent
for your class project. It's also great for any
kind of image file, like uploading it to
a portfolio website. Before you click Export, you want to make sure
you click Use Artboards. You can click all
of them or a range, and I don't remember
which one is which. I think this was
1234, but I actually, it might've been one to
three is large, 1456. So I'm just going to say
all in click Export, making sure it's going
into the right folder. Then I'm coming up with a few different options
for a PNG file. I'm actually going to go
with the highest resolution and see how large these
files are coming in. 300 pixels per inch. I'm going to go
to Art Optimized, which is my preference
for all of the artwork, even though it doesn't
quite matter as much with these flat illustrations, this comes into play, especially when you're working
with repeating patterns. And then background color. This is where PNGs shine
with a transparent option. But this doesn't matter because my illustrations fill
the entire art board, so I'm just going to stick
with white and click. Okay. Now we went to open this up and it
might take a little while. This large file is
going to be pretty massive at 300 pixels per inch, which is a very high resolution. So I'm gonna go to that folder
and navigate to my Images. Going into my images folder. I'm going to quickly
expand this so you can see I've got all
six of my files, so it started with the filename. Then the computer is adding this underscore with a
name of the art board, which is why I find naming
those art boards really handy. Let's see, my eight by ten
inch print is 2401 by 3,001. This is pixels. That's a pretty good size. It's definitely large
but not too massive. If I go to my 2736, this file is great for
sending to the printer. I would not ever put
this online because an 8 thousand by 10 thousand
pixel file is really large, even though the size
is only 711 kilobytes. That's a pretty big file. So I might want to
export this version smaller if I'm using it
online for portfolio, or perhaps we'll look at
are smaller versions. So let's see our color 1234. We've got all 300
pixels per inch. And this is more
around 1276 by 1650. This is a great size
for uploading online. If you're using this for your portfolio website
or anything similar. These sizes, anything
above 1000 and less than 3 thousand is my
own personal rule of thumb. But again, it really depends
on the aspect ratio. So we've got four great options here and these would all
be wonderful to upload for your class project or to use for your own illustration
online portfolios. Let's say that we wanted
to actually export out this print and
only this print. The first thing I want to do, coming into Adobe Illustrator, the art board tool
and figure out which art board this
is, it's number 303. I zoom way in here. It's still
going to stay pretty tiny. But you could see
which art board. So this one is art board three. I'm gonna go up to File
Export, Export As. Then under use art boards, I am going to go into the range and type in three
and click Export. Now, I could call this
really quick small print. And then we're going
to change this all the way down to 72 pixels per inch. I like to think of 70 to one hundred fifty and three
hundred is like small, medium, large,
screen, medium-high. It's kind of a similar,
similar idea there. Let's go back down to
72 and click Okay. We can always go back. We'll check that
in just a moment. I want to show you how you might export out some other files. So we've got our image files. Let's go back up to
File Export, Export As. Look at some of the
other file types. I could export out
a DWG for Autodesk. And this is more or
something like AutoCad where You're transferring CAD files,
illustrator and AutoCAD. Autodesk products can talk to each other for lack
of a better term. I've got JPEG, another
image options, sometimes lot of
media submission. So if you're submitting
illustrations to magazines, they might require a JPEG. We've got a few options. Photoshop file, SVG, a tiff. So you can see here I don't have the option of a PDF or EPS. So I'm gonna go ahead
and click Cancel. So this is for exporting. I have to go to File
Save As or Save a Copy. Then under Save a Copy, I have a couple more options. This is because these
files are really similar. You probably won't need an
EPS for any personal use. But again, that was one of the manufacturing file
types that is often used. You can even save
your own template if you love how you set
up your art boards. This is where you
can find a PDF. So let's go under images
and click on Adobe PDF. Notice here, you don't get the choice to use
all the art boards, but you can pick a range, so you could say all or range. It's automatically going
to use art boards. It won't just take a picture of your whole, entire workspace. Let's click All and save. Before you click. Okay. This is the PDF dialog box. Under this drop-down, the
PDF slash x dash one. Colon 2001 is the most
standard print file. You can also, I've got one named down here for a
print manufacturer. You can customize it and save
it as a default template. Or you could just go
to high-quality print. This is completely up to you. And again, nice to look
at some of the options. If I click on this
standard print file PDF and click Save, it's going to ask me a
few editing features. Do I want to preserve
editing capabilities? This is really important
to consider in PDFs. If you preserve it, anyone who opens up pdf can completely change your
Illustrator file. And that's both good and bad. I'm just going to click Okay. So my Acrobat is automatically
opening these files. If I zoom out and scroll down and see I've got all
of the different sizes. But third art board
being really large, and then that last art board being a little bit smaller
than eight by ten. I've got all of my
different files. And if I wanted to click
on organized pages, I can always select all of them. Extract, extract
as separate files. If I wanted to individual PDFs. Then locate a folder where you might want
to save all of those. Then we're going to
close out IX out of here and come back into
our Illustrator file. That is it for resizing,
exploiting files. I hope you've learned something
or something different. This is my process
of doing it and I really love all
the art boards in one workspace to save and rename and keep it pretty
clean in one file. Make sure you save right before you exit out
minus grayed out. So I've saved the latest
version and I will see you in the last lesson.
10. Free Goodies: Free studies. This is the good
stuff, the very end. I have created a free
download that contains a digital illustration
guide and tips just for you and those vector brush
settings on Adobe Fresco. So this is essentially putting together and
distilling everything that we went over
into a guide that you can download and
reference for the future. And also remember some of those brush settings if
you liked how I set up the one basic round vector
brush in Adobe Fresco. I would also be really
excited if you could follow me on Instagram
at quake creative, you can find me there. My latest illustrations and I would love to see what
you create as well. I also have a
newsletter, the pine. It goes out weekly with lots of other educational tips and resources and behind the scenes. And you can find everything
quite creative.com. And if you follow
me on Skillshare, you will be notified when
new classes are released. I am hoping to release a new class a month
throughout 2022. Please rate and
review this class. It really just helps other
creatives find me and find my process and using
Adobe Fresco in Illustrator and
learn something new. As always, thank you
so much for watching. I really appreciate it. Feel free to message me below and don't forget the
class project at the end, I cannot wait to see
what you create.
Ali Hooten, Illustrator & Pattern Designer
