From Sketch to Vector Illustration - Rocker Pirate

1. Introduction Rocker Pirate: Do you want to get good at creating awesome vector illustrations using Adobe Illustrator? Well, you came to the right place. This time, we will be working on a cartoon ish illustration, creating a hmsical, exaggerated character. In terms of the style of the illustration, I wanted it to resemble a sticker or decal aesthetic with a touch of retro rock influence. Whether you are an aspiring illustrator, digital artist, graphic designer, photographer, marketer, or simply someone with a passion for visual storytelling, Mastering Illustrator provides you with the tools to turn your ideas into stunning vector art. I will be guiding you through every step of the process from the initial sketch to the final touches, giving you a comprehensive understanding of Adobe Illustrator's incredible tools and features. This course is perfect for you if you are new to illustrator, or if you are self taught and aiming to get more confident and effective using it. I am Martin Perini, a certified LOB professional, and instructor with a design background spending over two decades. Throughout my career, I've collaborated with renowned clients such as Disney, Mattel, Cartoon Network, Nickelodeon, and BBC. Leveraging this extensive experience, I have carefully crafted this course to help you navigate OB Illustrator like a seasoned professional. I am not just teaching Illustrator. I am empowering you to express yourself. Tell your story and create illustrations that resonate with your unique style. This is your chance to create work that is truly personal and worthy of your professional creative portfolio. You can follow along and replicate my illustrations, or you can use the workflows and techniques I show you and create something completely different than need. There are at least two additional compositions you can choose besides the one I am using in my examples. And roll now and let the fun begin. Your creative adventure with Illustrator starts here. 2. Drawing the main shapes of the head: For this type of illustration, I like to concentrate on certain areas. And since it's a really fun character, I'm probably going to start with the head. Once I have the head illustrated and detailed enough, it's going to encourage me to continue drawing the rest of the details. So it's always good to motivate yourself and work on something that you're very excited about and then move on to other areas. I also keep in mind that certain details, like, for instance, in this case, the shark, is probably the furest away from us. So maybe that's also makes sense to concentrate on. And instead of just drawing the head, I would draw already the tail together with the body. And then later on, the additional details will be added on top of it, like the guitar. Now small details like the skull or these tiny little details on the guitar, and maybe even the tattoos on the arms. I will probably leave till the end. So these are like final refinements that I will only work on once I'm 100% happy with all the rest of the details. Without any further delay, let's get started on the head. What I'm going to do first is to draw the beard. So for the beard, I am going to draw the outlines, and I'm going to use the pen tool, click and drag, click, and I will already set up the color that I was planning to use. I'm going to use a thicker brush maybe around. Five points. And then I will also zoom a little bit closer, so we can see it better. So at this point, I just clicked one more time on this anchor point to make sure that it can start as a new curve. Just to see this again, I'm going to click and drag, define this next curve. And if I don't click again here, it's going to try to continue and make this into a smooth transition between the two curve segments. So I'm just going to click one more time here and then continue creating these little curves. There's one more there. Another one here. And at this point, I already can see that the guitar is most likely going to overlap this detail. But still, there is no harm in just finishing it off, just adding a few additional curves here. We need one more here. And then another one there. And the last one here, click and drag. I can hold down the space bar to reposition this point if I'm not happy with its placement, and then come up to here. Now we can go down and follow the beard line this way. Then we can go under the nose because the nose will be added separately, then go up here. Again, create a nice smooth curve going down the ear, probably around there and then just connect it to there. Again, maybe we can just go a little bit further out this way. And then connected together. And here at this point, I also want this to be a smooth point. So I'm using the direct selection tool selected, and then click on the convert selected anchor points to smooth option. And then I'm just going to drag this out a bit and align these handles to make sure it creates a nice smooth transition. That. And we can maybe even get rid of this anchor point here. If we use the minus keyboard shortcut that takes us to the remove anchor point tool. And holding down the shift key, we can try to remove this. I felt like that wasn't necessary there. Maybe even this point here, we can remove ye, to simplify things a bit. Feel like the rest of the points are necessary yet. This one can't be removed. Maybe this one can be removed, no, even that one is necessary. So I feel like this is the minimum amount of anchor points that we will need for the beard. And I might actually change the color of it just so we can see it better for now. So then we will also need a few lines to define the shape. So I'm going to click and drag draw this command click to start a new line. Click and drag here. Command click, click and drag. These lines should lead into those details below. Again, we can click and drag. Click and Drag. Another click and drag. Command click or Control click. Here's another beer detail. And one more. And maybe we can have one more up here as well, even though I didn't have that in the sketch. And then we can also have this one here. Okay. I feel like these are looking good. Now we can probably draw the hair line. So for that, I'm going to come out this way, come down here, and then go up this way. That's going to be the hair, which will be hidden behind the ear. We can already draw the ear for this. I'm going to again use the pan and just draw that shape up and then come down and close it. So the ear is going to be behind the beard, but in front of the hair line. Then let's draw the mouth. This, again, I'm going to start with the lips. I'm just going to draw the lower lip. And it's probably not even going to need the upper lip. I feel like it's going to work quite nicely. Just going up here. Come back down and then continue drawing this way, like that. This point here can be set to a smooth point and just refine its position. Like so. Now we can draw the teeth which is actually the mouth. We'll just use the pen try to do this from one point. If I click and drag up here, I can go down all the way there and then create a nice transition here, and then I'll just fill this in below it. So as you can see, I already think about what's going to be in front and what's going to be behind. Like with the nose as well, I can just draw this coming around, going up, maybe just curve it up a little bit that way. Again, this is going to overlap the beard, so it will come in front of it. Then we can also draw the eyebrow. I want this to be nice and thick, so it's going up that way, holding down the shift key, can drag it out, just like that. Then for the eye, we can just draw a circle. And then I'm actually going to have another line underneath it for the lower eyelid. Even though I didn't have that on my sketch, I think that looks good. Now, the eye patch, using the pen tool, let's draw over it. Click and drag. Yeah, that looks good. And then this detail here can be drawn with a single path, and we are just going to add thicker stroke on it. So we hold down the shift key and add the stroke size probably around that much. And maybe just continue drawing a little bit this way as well. Now, of course, the stroke can be set to cap. Which is going to round it down a bit, and that's looking better already. We can press shift X on this detail and also on the eyebrow and the eye. So we swap those colors around. I'm already using this dark purple that's going to be our dominant color that will be used also for the background. But for now, I'm just using it for these details. And then we will need to also have a shape for the skin. So that's the face, essentially. So that's going to come down here. I'm just going to draw around this section quickly. And I'm going to use this color for the skin, so I will fill this in already. And I'm using command left square bracket to move this behind the other shapes. So it's actually going to be almost all the way at the bottom. In this group. We can already select these few lines that we created here and group them together. So we need all of these together. And I will already apply the color that I was planning to use on them, and even the outline of the beard can be the same. It is this pink color, and I will use round cap on them, round joints, and that is looking good. Now, all of these smaller lines, I will group together commando Control G. And I can drag that all the way to the top. Now, what we can do is to have these shapes filled in as well. I will press shift x and then change the field color to also skin tone. So that's the lower lip. And then this detail here, I will fill in with this brighter color, which is going to be used for the teeth. This shape can be behind the lower lip, and the lower lip actually needs that outline. I will use the five point stroke size like this. And then we can now have the beard selected, and let's have that filled with this dark color. And that's looking already more interesting. It's starting to come together. This one can be also dark or shift g to swap it around. 3. Drawing the ear, ear ring and headband: The ear can be the same appearance as the lip, so I would want to have the skin tone and dark outline around it. But here is one thing that you can't actually use the y dropper tool to sample a color when you're using a sketch on top of your illustration so that template layer that we have here have to be turned off temporarily. Have the ear selected and then use the y dropper tool. The shortcut for it is I, click on the other shape, and then there it is. It's already sampled. Now, this needs to go behind the beard, but in front of this hair line, just like that. I'm actually going to refine the shape of this move it down a bit. Also this part here can be a bit rounder. That detail as well can be a bit rounder up there, something like this. And I was actually planning to draw a line in here, so I will just draw that before I forget like this, and I don't need a feel color on this, but I want a round cap at the end of it, and this should also go behind the beard but in front of the ear. Like this. I can also see a few additional lines that should have round caps on them. So I just turn those on. And then for the nose, I want to make sure the feel color is the same as the skin tone. So this way, it comes in front of the beard. And then I'm just going to select one of these lines that I already created just so I can draw another similar one. I would like to have one additional line here. And then also maybe one more here. Just to define the expression a bit more, and maybe we can even have another line underneath there, just to make it look like there is also the lower eyelid, even though it's covered up by the eye patch. And we should also have some lines here for the lips, just to define it a little bit better. As one line there could work. And let's take a look at the sketch. I wanted to have the lines here for defining the teeth, very simple lines, a few additional lines like that. And then of course, we want to make sure that these lines are also behind the lower lid. I'm going to select all three of them. We can even group them together commando Control G and then drag them down in the layer spanel either using the shortcut or the layer spanel itself until they go behind the lower lip. And then that one I can just refine a bit, have a better curve here on this side. Okay, I'm going to also extend this line a bit this way. I feel like that is looking quite good. Let's zoom out a bit. And now we can focus on the rest of the details, so we will need the hat. That's part of the heat. And also, I was planning to add an ear ring here. So for this, I'm actually going to use the ptol let's draw this quickly, like that. But what I will do here is to change the fiel color to this more golden color. And I actually will use two strokes instead of a fiel. So I'm going to remove this feel because I feel like it's going to be easier if we have two strokes. So former the appearance panel, going to add another stroke value, and I'm going to set that to be the cold color, and I'm going to increase it a bit. So actually, this needs to be the dark color and the one on the top needs to be the gold. And let's just increase it a bit more. There you go, is looking much better already. I can be more accurate here using ten point stroke width and 20 point stroke width for the one below. This way, there is exactly five point thickness on both sides for the dark outline. Since this path is centered, that 20 point is divided between these two. So the one that is being overlapped by the brighter color is now exactly 5.5 point on either side. But I want this path to be interrupted. So for this, I'm going to use the scissors tool, and I'm just going to crop it. Here and drop it there or cut it. And then we can just select that path and delete it. And then this remaining path we can create a round cap for. But when you are setting the round cap, by default, it will only apply to the selected stroke attribute. But we actually need to select this other stroke as well, since we have two strokes on this path, and also set the round cap That one. So now it is looking much better. And this detail here should actually be hidden behind the ear. Now, one thing that you can do in these cases when you have an object, in this case, the ear, and the ring that is supposed to come at one part in front of it, but another part behind it is to use an opacity mask. So we select the ear, copy it, commando Controls. Then select the ear ring, and then add the opacity mask from the transparency panel, click on the button make mask. By the way, if you don't see the transparency panel, just go to the window menu and open it up from there. So now that we have the opacity mask, we just have to turn off the clip feature. Click on the mask, this white square, and then press commando Control F to paste the shape in, which is the ear. Now, while this ear is selected, we have to make sure that both the stroke is set to black. And also the fill is set to black, so just adjust that quickly because black hides white shows in an opacity mask. And notice how immediately the ring is hidden away completely. But what we didn't want to do is to hide away this side here. So for this, simply, I'm just going to use the eraser tool, hold down alter option key and cut away the part that we don't need to affect. So we only are left with this small shape here, which is literally just hiding that section of the ring, the left side. Going to put this back. But you can see as I move this around, it's used to hide the details now, since it's set to completely black. So this is a simple way of using two objects, in this case, the ear and the ring and still be able to create an interaction between them where one side comes in front of the ear, the other side seems like it's going behind the ear. But that's just simply achieved by using the opacity mask. Going to click back here on the other thumb nails, so we are exiting the mask, and then we can click away and zoom out just to see how this looks. Now, the good thing about this method is that we can still go back and easily make adjustments. So, for instance, if we wanted to make the ring thicker, we can increase the values, maybe go up to 15 points, and that way, we can also increase this by five points. And I feel like that looks a little bit better. It's just more noticeable from a distance. Let's just turn off the sketch. Take a look at this. I like the way this looks, and now we can just go back, turn on the sketch. And let's just finish off by drawing the additional details that we need here. So we need first of all, this ribbon or band that's around the head. I'm going to draw this way, and I will go back to five point stroke size. Just reduce that down quickly. And it should be running across here, so this can be done a single curve using the penol. Then click on this point here, come up a bit and then go in Go up. Click again on it, and here's another big curve. Feel like it can be one with a single one. Just use the command key and drag it over once it's ready. Now, for the feel color of this one, I wanted to use this teal color. I think that's going to be a nice contrast, and it works well. I actually wanted this line to be running across that band, so I bring this forward. I wanted the eyebrow to go under it, so I'm going to drag this up a bit like that. That completely runs into it. This detail here as well can come a little bit further in be around there. 4. Drawing the hat: Now it's time to draw the hat. So for this, I'm going to start drawing the first path. Then again, the stroke size for this should be five points. So we click here in this corner point, then we click and drag. Click and drag. Click and drag here. We can just hold down the commando Control key, drag this back a bit that handle. Then click and then click and drag. And we can just close this off here behind everything. This is going to go behind the head, so it can be created this way. And I think we can set this up with a feel using yellow, and we won't actually need a stroke color for this. So just that yellow. And then we are going to draw another shape. Similarly to this, but still slightly different. So I don't like to use the same shape for this because I want to add a bit of variety and make this feel a bit more unique. So we have this secondary shape, and this one can be filled, again, fill color with the dark purple. Now, I can select these two, group them together, Comando Control G, and then send them all the way to the back. And let's just turn off the sketch. Just to judge what we created. I'm going to adjust this shape a little bit. So drag it out, make it more continuous. Like that. So this point here can come out a bit and down. And then this side can go down a bit more here. And I feel like that is looking quite good already. I can select this shape, and I will probably add a bit of round corners on it. I don't want this to be too sharp. Yeah. Something like that feels better. Same thing here. Just add a bit of round corners. So those details are not so sharp. Actually, like these corners the way they are. I'm not going to round them down. I like them to be slightly more curved. Maybe they can be reduced in just a tiny bit like that using the corner widgets. So I used the direct selection tool and selected these four points, just rounded them ever so slightly, like that, and I can still move this up a bit just to adjust it. Now what I want to do also is to have this point drag down a bit this way. This actually needs to go behind the ear. So let's see if we can do that. There. And then the eyebrow has to go behind the band like that. And then I'm just going to draw a few lines here to divide this detail up. I use the y dropper tool sample that path that we already created. This can be dragged up a bit more and aligned. And let's draw another line starting from here, coming to the left. Yeah, that is looking good. Now I'm going to have a skull here on the pirate at, but I'm going to add that later. That's a bit more time consuming detail. I'm not going to do that right now. I am quite happy with how the head looks at this stage. Maybe one small touch that I wanted to do is to make the nose look a bit more red. And for this, I'm just going to draw a circle here on the tip of the nose. Like that, and I'm going to use this red color. But I'm actually going to blur this out. So I go to the effect menu, choose Blur GaciM blur, and we just need to reduce the amount on this probably to around this much. And let's click. So that's one way of doing this. But whenever you use roster effects, you have to also make sure that you check the effect menu, document roster effect settings, and you want this resolution to be at least 150 points or 300 PPI. And that's going to make these effects much more subtle or softer. But one other way to do this is to use a gradient instead. So we can remove the gaussian blur. I'm just going to show this quickly. So we have this shape already here, and I'm going to open up the gradient panel. So from the window menu, let's get the gradient panel, and I'm going to click on radial gradient. And here we get the controls. If I press G on the keyboard, I can also see these colors directly on the illustration. So the center point, I want it to be red, and then the point on the outside so that swatch can be changed to the skin tone. And this is a much better way of doing this because here we are relying on roster effect. And we actually have better controls as well. We can control exactly how far we want this to go. We can also change the shape of it. But, yeah, we can drag it out like that. And of course, we can also change the size of this shape. But what I'm going to do to avoid having a harsh transition is to make sure that this outer swatch is kept within the shape of that ellipse that we created. Increase the size of the ellipse if I want to something like that. So let's take a look at this from a distance. That's looking quite good. Now, one other thing that you can do is to also have this gradient selected, either from the gradient panel or from the annotator and reduce the opacity to 0% on the outer gradient. And you can actually drag that out all the way. So this way, no matter where you move this, it's not actually going to have that additional color on the outside. And we can drag this point further out if we want to intensify the redness. Something like that, drag that a little bit closer. So the transition is less visible, but this works quite well, and we can take a look at this from a distance. Yeah, I feel like that is looking quite good. And we can always refine this later if we wanted to. But for now, I'm just going to drag this line out a bit this way. Yeah, I am happy with how this turned out. So now let's select everything that we created so far and group this together, Commando Control G, and this is going to be the head. So let's rename it. And let's turn the sketch back on just so we can see where we are at this point. Now, like I said, we have one of the most exciting details ready. Now we can move on to maybe do the second most exciting detail, which would be the Shark. So let's work on that one next. 5. Drawing the shark: For the chart, I'm going to use the pen tool again, and this will be easier compared to the head. There's not as much details here. So we will only need a couple of shapes. So let's just start drawing maybe up here. I always like to start with the corner point. So click there and then click and drag. Click and drag again. And then we can come all the way down here, click and drag. And even though there is the mouth here, I probably will do this as one single curve. I think it makes more sense to do it this way. So I can click and drag this point out. Hold down the space bar, maybe. We can reposition it. So yeah, that created a nice curve there. We can adjust this curve a little bit more just to make it even more smooth. And then come up here, create a straight segment, then click and drag to create the tip of the nose. Like that. Then come down and click and drag here for the next curve. Again, I'm holding down the space bar. Looks good, and then we can come up here. I think most of this will be covered, so we won't see much of these details. But still I'm just going to draw the line here, then click and maybe drag down this a bit. Click and drag. This line out, again, this will be covered up, but still I'm going to click there to create a sharp point and then click and drag to define that last curve. Okay. So that is the outline for the shark that we needed. I'm just double checking if everything is looking good. But I think it's going to work well. So now I can already draw the segment that needs to be cut from this. So I'm using another shape to create this. Click and drag. Click and drag and then come out this way and close the shape. So we can select these two parts and then use the shape builder tool that's shift. Hold down old option key and cut into it. So even though I could have done this with a single shape, I sometimes prefer to work like this. So this way, I get a very nice continuous line up here. I know it was made of a single curve that is making it more continuous and adds a bit more flow to the shape. I can still refine these, of course, if I wanted to just to make sure it looks good. Yeah, I like the way that looks. And we can draw this other line here. But what we can do is already have that drawn inside the main shape of the shark. So I will switch to draw inside mode or just press the shift on the keyboard twice. And then again, I'm going to start drawing out here, click and drag. Click and drag. These are all going to be curves. Coming down this way. Going down there. Then again, most of this is not going to be visible, but I just keep drawing it out here and then coming up this way. Maybe this can be dragged up a bit, can be dragged up as well, and this can be dragged out, and then we can just close this off. Coming all the way out here. Okay. So that's going to be a shape that we need. And we can also draw the I now. So the I we can start with a circle more like an ellipse and then use the rotate tool. Maybe also drag this point down a bit like that. And then we can draw another ellipse for the i. And then we can just rotate that as well do something like this. And then maybe we can drag this again a bit that way. Okay. This looks good. And what we can do is to already color these. I'm just going to remove the draw inside mode, go back to just drawing normally. And these shapes actually for the eye, I can drag outside of this clipping group. They don't have to be part of it. Just makes it easier to select them. So I'm going to press shift exxon to swap the colors. And for this, I'm going to add the color. We have here as the feel. Maybe we can make this slightly bigger. We can adjust this later, of course, but I think that is looking quite good. Now, for the main shape, which is our clipping path. I selected directly from the layer s panel, I would like to use this feel color, the teal. And then for that additional shape that we added inside it, I'm going to use this bright cream color. So, let's click away. And let's take a look at this without the sketch. Yeah, is looking good. So let's turn the sketch back on. Now we need a couple of additional details like the teeth. These I am actually going to draw with a single shape, at least the ones on the top. I will add a little bit of curve. So they won't be completely sharp at the end. Just like this. And more down this way. And then we can just close this up here on the top. And to make this color differently, I'm going to use yellow or this golden color and then set it behind the other shape like that. Let's use the penol again. And the reason I'm doing this in a single shape, both on the top and the bottom is to reduce the amount of shapes that we have in the composition, but also to make it easier later on if I change my mind about their color or the roundness on these top details here. And I'm going to again just set this back behind the other shape. And then we need one more shape, using the pantol, just going to draw this up quickly. Here, going up this way, curving down, click and then create a shape that is closed like that. And this one just simply needs to be filled with the dark purple, no stroke needed, and set this behind also all the other shapes, just like that. So that is looking really good. Now we just need these three lines here. For this, I'm going to turn off my sketch layer and just sample, maybe this line here. That's exactly the same style I want to use for these. Let's bring back the sketch. Use the pen tool, command, click away, start a new line, Trow it. And then one more click here. Maybe hold on space bar, drag it out a bit. That looks good. Now, maybe these can be actually thicker a bit. I'm going to use maybe ten point thickness on these. Feel like they are working better if it's a bit thicker. And I can just adjust them a little bit more. Okay. Yeah, I feel like that looks good. Let's take a look at this without the sketch. And at this point, I'm happy with the way this looks, so we won't need to do anything else, so we can already group all of this together. I'm going to just lock the head layer so that won't get accidentally selected, and I am going to select all and then control or command G to put it together into a group, and let's call it Shark. So we have our second detail ready. We can also lock this, and then we can move on to maybe draw the guitar next. 6. Drawing the electric guitar: To draw the guitar, I'm going to start with the body. So again, I'm going to use the pen tool and just define this first path here, then this can be a straight line on the straight line straight line. Then we can click and drag and come up here. I can reduce that a little bit this way. And then I am going to continue with another curve coming down this way. Actually, this can be a straight line just to make it symmetrical to that side. Come down here and then come out this way. Okay. So that is going to be the body of the guitar. And we can just draw the bridge quickly. I will actually draw this with a rectangle. And then we can just add a bit of curving on it using the direct selection tool, I can access the corner widgets, and that creates a rounded rectangle for us. I'm going to add two circles for the tonne controls. Since this is an electric guitar. Yeah, something like that. We'll refine these later. And I actually would like to have this object a bit wider, so have a bit of a three D effect here. I'm going to draw the depth for the guitar. So I'm going to draw it down here. Just come all the way down here, like on my sketch. That. Then come up here, I'm going to keep it mostly straight like this, straight line, straight line, straight line, and I will actually go also here and then connect up to this point. Actually we will connect down here. Like that, and then go up that way. Okay, since this shape is going to be behind the other one, I can just close it up like this, and I can already place it there where it's going to be. But maybe we can already start adding the colors. So this field color, I was planning to use the yellow. For this other shape. I wanted to use this red or pinkish color. I'm going to move this behind where it's supposed to be. So that is looking already interesting. Now, for this shape, I'm going to go into the stroke settings, which is down here. Let me just bring that up so we can see it. I would like to use round caps. So that way, it's not coming out so much here on the corners. And maybe for this other shape as well, we should use round caps and round joints. Yeah, that looks better. Now it's time to draw the neck of the guitar. So for this, I'm going to start here and go up all the way here. And I'm actually going to draw this together with the head because it will be the same color. So I go up all the way here, then come back down and maybe add the bit of curve here at the bottom, bit of curve there as well and come down all the way here. And close it off. And by the way, if you're not familiar with how a guitar looks. So if you're not playing a guitar, you probably won't be that familiar with the parts of it. It's always good to look at references. So I just find a reference image or a few of them, and then you will be able to find the details that are important. And of course, stylize it. So since it's a very stylized illustration, you don't need to show every little detail, but the most important characteristics of the guitar you should be able to capture. So we have this ready. And for this, I wanted to also use this yellow color. And just to create some division here, I'm going to draw a pick up detail. So this, again, I can draw with the pano. I just draw over it like that. And this one can have this pink fill. And maybe we can have one more of these down here, and this can be a little bit smaller, like that. That looks good. Now, the tone controls can also have the same fill color. That one. And for the neck, we will need the frets, the horizontal lines, and of course, the strings. So while I have this shape selected that we created for the neck, I'm going to switch to draw inside and then use the pen tool. And then we can just draw these lines. Or in some cases like this, you can actually use the line segment tool. It's not something that I use often because you can draw them with the pen tool. But one advantage with this tool is that you can just draw and then automatically starts a new line completely independent to the previous one. So I can just draw them like that.'s keep drawing them. There should be equal distance between them. But again, I am doing a stylized illustration. So I don't try to be so accurate with these lines. The hand is going to cover this part here, so I can just come up this way and then draw one there, and also just draw the final one, which is called the nut in case you are interested. And now we can draw the strings. I will actually draw the strings with five point thickness. And it should start all the way down here, and then go up all the way up to there. Now, this should actually not be inside this clipping group, so I'm going to drag it out because they need to go all the way down there, and I'll turn off the draw inside mode. And I think with the strings, it's easier if I just duplicate it. So I hold down t option key, drag it out, drag it out one more time. Now, there's only space for three of the strings. But obviously, there's supposed to be six of them. Maybe what we can do is to cheat here a bit and just maybe add one more down here, and it's just lined up to the edge of the guitar. Maybe we move this down a bit, and that one as well can come down a bit. At least this way, we have four of them. It looks better here at the bottom. But on the top, we just have to make sure that this is lined up and it disappears into that line on the guitar. Maybe we can actually have this neck dragged down a bit this way and then aligned there as well, just to distribute them better. And then these lines can also be aligned up here. Drag it all the way up there and this line last string also can go up here. Yeah, that's looking a little bit better now. Okay. Like that. And then we need the tuners here on the top. Maybe this point can be a bit rounded down, so it's not so sharp. But before I do the tuners, I'm just going to do a couple of lines between the top and the bottom of the guitar. One there, another one here, maybe another one there as well. And I'm just going to draw a few more. For this, again, I can use the line segment tool. Draw one up here, maybe a bit closer. Set round cap is already. Just to make it a bit more interesting. We have some lines here on this side as well. Some on this side. And maybe one more here. Okay. Yeah, that looks good. So now I think the final detail we need are the tuners here on the top. And for that, I'm just going to draw a very simple object rectangle, fill it in with yellow again for the stroke, the fill. I want to apply it and then rotate it a. And then also have another shape that connects it, that could be just a simple line. Let's just draw that line from here out that. And then let's place this line behind everything that we created, group this together, and then let's just drag it out to create four of them. We can have them following the shape of the like that. Again, they're supposed to be six of these, but I feel like four will be enough in this case. And then these strings are supposed to be connected. I'm just going to do a little indication of it by adding these little circles here. Maybe we can reduce the thickness on these down to five points just like for the strings. There is one here, just align it. Then click and drag. Next one, supposed to be up here. Again, drag this out. Next one, old click and drag, drag it up here, and then maybe drag one more up here. And then align this and that using the direct selection tool. Okay. I feel like that looks good. Let's just take a look at this without the sketch. Yeah, maybe we can just extend the neck a bit more to allow space for it for all the strings. Looks good. This side can come down a bit. This path again. Okay. Now we could also add a bit of depth for the neck, and maybe this shape here can be dragged down a bit. I like that was not the best, but now it looks a little bit better. Maybe we can add a little bit of depth for the neck. I'm thinking, but might introduce that later. However, since we are already here, let's just draw it. Just going to draw this again as a separate shape. I'll come up here. And replicate what we've done before, go up, and then go behind. I like that. And then let's just move it down until it reaches the point where it's supposed to be. Five points thickness is going to work better. And then the color for this, maybe I can use this other color just to add some more interest to it. And we can, of course, move this point out a bit more just so it shows, and then here on the top again, you can align this better like that. And have a bit of curve there and then come up all the way here. Okay. I feel like that looks good, and now we can just select all of this, and since the head and the shark are already logged, I can group all of this together and then call it guitar. Let's take a look at this as the sketch. So this is what we just added. It looks quite good. We can refine details on it at the end, but for now, let's move on to draw the arms. 7. Drawing the arms: In some cases, like here, it might make sense to hide certain details like the guitar to be able to draw the hands better. Since I know these will be on top of the guitar and there won't actually be a direct interaction between them, I can draw it without seeing it, so I can zoom closer, and let's start with this hand here. We'll start drawing it out like this. It can be one long curve coming this way, then we can draw this. Finger. And I'm already going to turn off the field color that's not needed. And I noticed that here I created a bit of a mess. So let me just go back and draw this again. I will drag this back this side, commando Control drag, and that way, I won't have that interruption there. So coming this way, maybe all the way up there creates the first finger. Then we come up here, we can draw the next one. It's a bit similar to what we did with the beard. Next one. Then let's draw the next one up here. For this, I'm going to draw the center point. Come down here. And then come up here to draw the thumb. Click there. I want to keep this sharp or straight and then come down here and finish this line. And then what I will do is to continue drawing this side, come up. And maybe around here it's enough, so we can then click and drag and draw this other path around there. Now, this line here is not necessary, so I'm going to use the shape builder tool and alter option click on it. So I remove it and it will line up exactly to the edge. And now if I select this and assign the skin tone as the fiel, it's going to be an open path because this point and that point is not connected, but this works really well for us in this case, so it's not an issue. And we can actually set the points to ten point for this. The outline can be thicker. And then I'm going to use the pen tool, remove the feel now and just add these details here. So for the finger detail, I'm just going to draw in this way and another line draw there.ther line, draw this way. And we can also have a little indication here. Division between the lines. Then we can have this knuckles represented with a simple line going down like that. Let's just draw this again. Yeah, I think that looks good. Now, the tattoos I am going to do later. For now, I'm going to stay away from that. But I'm going to draw the pick that he's using for the guitar. And this can be set to five points thickness, and the field color for it, I think I'm going to use this purple. We can send this behind the hand. Like that. So that's actually the hand ready, but I'm going to also draw the sleeves. So let's just draw this first one here, going up, wrapping nicely around like that. And then coming back this way, going down. And then the field color for this is going to be the cream color. Yeah, I think that looks good. Maybe this can be aligned a bit more to the hand. Like that. And then that one come down here. And then maybe we can adjust the angle of this a bit more, so it wraps around the hand better. Yeah. I feel like that looks good. That can be smoother as well there. Now we just have to change the stroke thickness here to ten points on this. I might change this later, but now, I feel like that's a better thickness. I'm going to draw the next shape. That's just going to be a quick one, coming down here, close it, send it back behind the other one with the command control square bracket. And then another one going up here, like the folds of his shirt, coming down this way. And close it. Again, send it behind the others and also send this one behind the arm. Okay. That looks really good. Maybe just add a couple of lines here to make it look like there's creases. So let's do one here with no field this time. And we can maybe break this up with the eraser tool. I'm just going to cut into it twice, and then let's draw another line up here as well. We can also break this up with the eraser just to make it a bit more interesting. Yeah. I like the way that looks. So I'm going to select all of this together and group it. This is going to be the right arm. Okay? And let's lock it, and then let's draw the next one. So same process again, I'm going to start with this shape here. I will just draw it down going around, here it is going to be behind the shark. So I can just come up here, maybe extend beyond that path. And even though this is not visible, I'm just going to drag it down, then I will continue drawing on this side here, and I will come all the way down here, curve it back up. I want to make it round here. First finger detail. Nother one.nther one. And the last one. And then come down and do the final curve. That's it. Now let's select this horse shape, and then use the shape builder tool. We want to remove this bit here. So alter Option, click on that. Should remove it. Yeah. That looks good. Now we can draw the lines for the fingers. So first one, come in this way. Next one. And one more. Click away. We could have an indication of the thumb here if you wanted to. I think that might help. Not sure if that's necessary. We'll find out. But I'm going to also draw the knockle line here. Let's just a bit closer to adjust this. Mm hmm. That looks good. I feel like that's all the details that we need here, so we can already start assigning the colors. So we have these two shapes. So this one needs to be skin tone. These needs to be skin tone as well. This can go behind, and this actually needs to come in front. Like that. And that's already looking good. I actually will remove the thumb, I don't think it's necessary. I feel like that goes behind the neck of the guitar anyway, so that doesn't have to be visible. Maybe this line can move down a little bit this way. Yeah. And then just like before, we need to draw the sleeves. So I'll draw the first one. This is going to overlap the hand. So this is going to be the one defining this curve here, and then we can go up and come down. And the field color is this, just like before. And then I think that's enough. I don't think we can see more of the sleeve from this angle. So that should be it for this hand. So we can select all of this together, group it, and then let's turn off the sketch just to see how this looks. Yeah, I like it. Maybe this pick can be adjusted a bit, just to make sure it's more visible. Just going to drag that point higher. Drag this out as well a little bit. Yeah. Make sure it's noticeable enough. And now let's see the guitar. Yeah. It looks perfect, so the hands are in front of it. The only detail is that this is supposed to be behind the guitar already. So we might need to adjust this slightly. It's just easier this way to adjust it down, come this way, and maybe put another point here. Let's just drag it down. Make it look like it goes behind the guitar, like that. Okay. Yeah. Maybe this point here can also come out a bit further, just so it connects to the arm a little bit better. Okay? Now we can lock these two objects as well, and don't forget to save your work. So I always press commando Control S while I'm working. And one thing that I noticed is that the s the outlines of the shark is not thick enough. So this path is actually supposed to be ten points. Going to increase that. Maybe even the teeth can be set to ten points and maybe even the eyes can be set to ten points. This division line here can be thinner, but these rest of the details, I think work better this way. Although I like these sharp corners here, I feel like maybe we can add a little bit of roundness on them like that. And maybe even the same here for this path, we can just add that bit of roundness and even this one. 8. Drawing the body: Nice time to draw the body. I'm actually going to start with the boots here, so I will draw that first. This is a very simple, quick little detail. Using the pen tool and draw it up like that. There's the boot ready to go. And we will use this, I think with the cream color as the stroke. And here actually, I'm going to use something similar to what we've already done with the earring. So I would like to have two strokes set up. So I will add an additional stroke below. This is going to be using that dark purple and set it to 20 points. Maybe even thicker. So if I want to have ten points on each side, I would need this to be 30 points. Yeah, I think that looks good. But we would also need a feel. I will use that dark purple for the feel as well. And that's looking perfect. Let's see this without the sketch. Yeah. And also, let's move this behind the guitar just so I can judge it better. Now I can draw a line here, starting from here, running up there, I was planning to have a line which just needs to be no field stroke set to ten points, and cream color, just like that. And then we can maybe have another line here. And this line can be adjusted slightly like that. Yeah. The boot is done. I'm going to select this shape that I created before because that's what I would like to use next. Here, all we need is just a triangle, and that probably comes all the way out here. Let's just bring back the sketch so I can see what I'm doing. Yeah, it needs to be coming out all the way here. Just move this point up here and then run down this way. So I will turn off the sketch, use the hydroper tool, and sample this other object, and then send this all the way to the back. I wanted this to be looking the same as the boots, the trouser, but this actually needs to be above the shark. I just noticed that the left side needs to be in front of the shark because that leg comes over it. While this detail is supposed to be behind it. Like that. So again, what we can do here is either use an opacity mask to create this transition or just simply, in this case, divide this shape. So I will use the scissors tool and cut it somewhere here where it's not going to be visible and then cut it on the top, we just need to define an additional point there because the scissors can't cut into a shape if there is no anchor point. So I just use the pen tool there quickly. And so this side is going to stay in front while this other side can go behind. So now we have the right setup. Okay, so we have these shapes ready as looking very good, starting to come together, spring up the sketch. Now, we will need the details for the coat. For this, I'm going to start drawing here. And let's just draw these details up. While I'm drawing, I just noticed that it's 30 points thickness, so that's too big. I will just reduce that come up here. And go up and then go around all the way here, can be a single line like that, going down to here, going down to there. And then it can come out here. Let's just draw a little detail there as well. And then close this up. Okay. I'm going to sample again that other detail we did earlier here. But this time, I'm going to change this stroke color. I will use this yellow color for the jacket just to have something different. It will be easier to differentiate what we are seeing. I'll send this all the way to the back and let's see how this looks. Yeah. I think that defines it well. The only thing again, that this is supposed to be in front of the shark. So we might need to cut into the shark here. So that shark tail. I'm going to select these details here, and put a new point here with the pen tool. Another point here. And then I can just remove these points. And then maybe click on this and then drag this one up a bit more align it like that. So sometimes it's just easier to cheat a bit, make it look like these details go behind that object while it's actually just aligned. But it just keeps the leer span a bit tidier. We don't have to divide up the shark. I feel like that will work. And there's one little detail here, I can see this supposed to be coming behind like that just to fill that area in. This is something you want to avoid these tiny little gaps. Here, I don't want the gap to be visible while here on the top, it's actually good to have that gap. And then let's take a look at the rest of the details. I think the head can be unlocked a bit here. Just going to drag that detail in a bit more. Like that, and the i patch can come down a bit, maybe round it down, and then drag it out this way a bit. Yeah, that feels better. I'm just going to add one more detail here because I remember I wanted to indicate some additional details here. I'm just going to dw this quickly. And for this, I'm just going to use the yellow set it to ten points and round caps and round joins. And then maybe just add one more little detail here another similar detail on this side. Okay. So these are just tiny little details that makes the code look a bit more detailed. And this can go behind the code. I had to move it. And the good news is is that that's all that we needed. So I'm just going to make sure every finalized detail is loged. And then we can tidy things up. So I'm just going to select these decorations. I will group them together, and then we can combine these with the other details here. So I select the jacket. We can even include the boots since they are connected. Although the boot could work on its own, so I'm just going to select these two instead, group them together and call it a body. Let's see, without and call this path boot, and then these are also parts of the body, so I will group them together body details. It's actually makes sense to call this one body and the one on top body details. Now, let's just see, so that's one side and the other side. Yeah. I think that's good, and then we have the boot as well. However, these lines here, I think ended up being in the wrong group, so I'm going to drag those into the boot, which can be then grouped together. Now we can call it boot. There it is. Looks good. So now we are ready with the body. Once again, it's made up of a couple of objects. We can turn them off and on, but it's nicely aligned and still very easy to navigate the layers panel. So even though we are starting to have quite a lot of objects, it's still easy to go back and make changes to them. One thing I notice is that the beard here is a little bit too close to the guitar. So I'm just going to drag this down, hide it behind the guitar detail. I don't want to create these little details that don't lead anywhere or just too close and clash with other details. Either hiding it or making it more visible like this. I feel like maybe making it more visible works better. We can just refine these lines a bit as well. Again, you don't have to stick to your sketch. Sometimes you have to refine these later on. Yeah. I feel like that looks already much better. 9. Adding the flames: It's time to add the final details and refinements. I'm going to start with the flames. First of all, let's start here with this shape. I'm going to use the pen tool and drag it out and then go around. I think this can go all the way here. Following similarly the shape of the shark, but still slightly different. I think we will have to go with this one further back. Let's just drag it down like this, and then click and drag, curve it around. I think I will bring it up here and then out a bit like that. Maybe this one can come further out this way. And let's just change this to have stroke for now and no feel just so we can see what we're doing. I'm going to set this up to ten points. I'm not going to stay entirely true to how these lines were drawn originally. Just get close to them, but doesn't have to be exactly the same. Going all the way up here come down. And probably that's all we will see from this. To be honest, we can go all the way up here as well. Let's just keep things simple and keep them together as one shape. Like that. It's a bit too long. Let me adjust this here. I'm doing this quickly because by now, if you followed along this tutorial, this should all make sense. Let's just continue going down this way behind the body, and I think we can come out here like this. We have another flame detail here, just like that. Curing back. Corner again here. Coming up. I want to make sure I don't create tangents. So for instance, if I were to create a line like this that almost perfectly follows that other line, it wouldn't be obvious, whether it's in front or behind that detail. So I'm coming over it more confidently, giving it more space. And then curving back like that. Let's create this here. Then go up here. Another curve. Then we can go up this way and then close it off at the end of there. Now let's take a look at this. So if I turn off the sketch for now, we can press shift x to swap the stroke to a field color, send it all the way back, and then bring it forward. I think that is in the right place apart from the body up here. So if I move this back again down one, then it goes behind the shark. So let's just try to select this object here. This is the body. So just because I already set things up in a certain way, I'm going to divide this object here. So let's just use the scissors tool and cut it out maybe here and here. So that way I can move this in the background and that one can stay still in front of the shark. And yeah, that's looking good. Now let's bring back the sketch. I'm going to draw the next shape. This is going to start from here. Let's just draw this out, and by the way, before we go any further, this one also needs that stroke, the ten point stroke that we used before. So that's the same should be applied to this as why I'm going to use the hydroper to just sample that. Probably also use round cap and round join on these, since we already used that before. Now, coming back to this shape here, which I started drawing, let's just continue drawing up. So we create these curves. And let's press shift x to swap the field and stroke colors and then go down. Create the shape. And then close this off. And then this one, I'm just going to press shift x and send all the way to the back. That looks good. Now let's draw this shape here. This is going to be just a simple tear drop shape like that. Then let's draw this other one. Okay. Looks good. Now, let's draw this one. Send it to the back. Then let's draw these quickly. Okay. That's it. Let's draw this one. I want to make it look like it's coming from behind team, so I will come all the way down here, but then send it to the back. Since there's this outline here, it's not going to blend into it. Let's just continue this other shape. Like that. And since these are so close to each other, I'm going to merge them with the path, find the unite option. So it becomes one shape, and we can send it all the way to the back now. So that's done, and then we need just one more shape here. To be honest, you can start copying these if you want to. We can reuse some of the shapes like let's say this one. I'm going to reuse here. Just going to make it a little bit bigger, rotate it, and then maybe use this shape there. Just going to use the reflect tool to turn it around and then drag it up down. Maybe adjust this path a bit. Yeah, that's a good fit. And then I'm just going to draw this one. Quickly. 10. Refinements to details: And now, I am going to actually create a new layer, and I like to keep my background in a separate layer. It's just going to be a big rectangle. So I will fill in the whole artboard with this rectangle. And this is going to be this dark color. So I don't need any stroke on this, just this feel and set it to the back, and I'm going to lock this as well. And now if you turn off the sketch, we can start to appreciate how I imagined the colors to work. And it's easier to spot that, for instance, these two should use the same outlines as those flames. Why these other ones, they don't actually need the outline because there's nothing around them. However, I just noticed that since we will have this dark background on the guitar, I will have to update these details. So these lines, I'm just going to select them. Instead of having the dark color on them, I'm going to use this color instead. And on these shapes, we can just remove the stroke. Again, we don't need them. Yeah, they were just getting lost on the background. And let's just take a look at all of the details that we created. I am not happy with some of them like here, it wasn't smooth enough. This curve. Maybe this one can come down a bit more. Like that. This could also curve, maybe a little bit more here. And then let's take a look. The other curves look quite good all around. Maybe here I can see a little detail talking about this little detail here. I'm just going to hide that part there. Let's go back, take a closer look at everything. Maybe this one can have a nicer curve on this side. And then go down and is looking good. There is a tiny little detail here showing up. So we can either make the foot come out a bit more or maybe just drag this path up until that disappears. And this is also too close I feel like here to that division between the teal and the cream color. So I'm just going to separate that a bit more. This curve also needs a little bit of refinement. Maybe this point can come out here. And then this site here as well needs a bit of refinement, make that more into a smooth corner. And then this point here maybe can go a little bit higher just to have a better separation between the two flames. Yeah. Let's keep it there. This flame can go up here. And I feel like we are in a good place now. Most of the details feel connected and in place, and it's probably time to put these all together. So we have a flame here. Then we have some flames in the background. And then we will also have all of these other flames here in the foregrounds. I'm just going to lock everything and then select all the remaining details and group them together. So just to check, those are the smaller little details flames. I'll call them. Maybe floating flames. We can rename this. Floating flames. And then I call this one more flames. And yeah, I feel like we are in a very good place now. So if I turn off the illustration and then bring it back on, all the details are in place apart from one detail, which I forgot to add. And that's these two floating parts of that scar or headband that he has. So I'm just going to bring back the background now, actually, without the background because we won't be able to see otherwise. So I'm going to have the panto selected, and let's just draw this quickly. Come down this way, go up, then come back and close it. That's it. I will sample this detail here, and then bring back the sketch again. Use the panal one more time, go up and draw the parts one to and close. Yeah. That's looking good. Now we can send these all the way to the back. And we can decide whether these should be behind the flames or in front. So let's just see how it feels. Should they be behind the flames? I think so. I think it makes more sense for the flames to be in front of it. So even like here the flame, I'm not sure whether it should come in front or behind the shark sail. Let's see. So this is that's the flame at the bottom, and then we have these more flames up here. If I wanted to bring it in front of the shark sale, I guess we could draw an additional line there, or we can see what happens if you bring it higher. Yeah, so the body gets in the way. If I move the body above the shark, I think that's actually fixes it, and we just have to move these back. So I'm just going to unlock this and select these flames and drag them below the shark. So we have some flames on there, and then some additional flames underneath. So we can also group these together once more and call it more flames. And I just noticed that this leg actually needs to go behind the shark. So for the body, I will have to separate that and move it under the shark there. So this way, I will have, again, two separate objects. I'll call this one upper body. And this one I'm just going to call leg. Okay, so these ribbons, I'm just going to add some more details on them. So using the pantol, I'm just going to make sure there's no field color, and I can just draw these shapes. Maybe I'm going to select this and draw inside it. That way, these lines won't show up outside only inside. Like these two, maybe another one coming down here. Yeah, that's a good crease. Then I'll go draw inside this other shape, and maybe we can just draw one here, and then maybe one additional line. A. Okay. Let's turn off draw inside, and I'm just going to turn off the background layer just so we can say how it looks. Yeah. I feel like that looks quite good. And now let me just adjust this shape a bit. I feel like this can come higher like that. Also this one can curve a little bit higher. I have a bit more confident shape there like this. 11. Skull on the hat and tattoos on the arms: And now it's probably time to add the detail on the heat. So we want to have a skull here. If I open up the sketch, we can just about make it out there. But if I turn off the head, we can see this better and also the background. So there's the detail that I wanted to create. I'm just going to draw this without the sketch. I don't think it's needed now. Just going to make sure that everything is locked, so I don't accidentally mess things up. And by the way, these two details that we added, the head band details. I'm going to put into a single group. Call it floating head band and lock it. So let's come back up here to the hat, and let's just draw this with the pen tool. I'm going to draw a bone detail, and we will actually reuse this three times or three more times. That's it. Like that. Let's just refine this a bit. I want this to be wonky, but not too wonky. Yeah, that looks good. I think I'm going to use pink, and we don't actually need a stroke around this. So that looks good already. Let's just use the reflect tool, that's all on the keyboard. Click here, and then old click and drag this to the other side, and then select these two, and then use the reflect tool again, click in the middle of first, and then old shift click and drag to put them on the top. And now, just to make a bit of variety, I'm just going to move these points around a bit just so they don't look exactly the same. And this one as well. Let's just move some of these points around. And maybe also this one. Yeah. Just to have a bit of variety. Let's draw the skull and once we have that, we can start adjusting the bones. The skull will come out this way. Then go in here and go down like that. A. Come out a bit. And let's just fix this corner here. I actually don't want two additional shapes there. So I will use the minus tool, remove this one, or remove the other one, and then I feel like that's looking good. Bit more rounds here. Now we can draw the eyes with the pen tool. We just want to come down. Go around. Let's fill this with the dark purple at the corner on that side, maybe another corner here. Yeah, and we can make it slightly bigger. And then let's use reflect and drag to the other side. Can make this slightly smaller, slightly different shape. Again, I don't want it to be so perfect. Let's draw the nostrils. Again, let's set a bit of roundness on these. Just slight one like that. Use reflex tool same technique as before. Like that. Select this shape, and I will use draw inside and then using the pen tool. I'm going to do the division here and use this color and set it for maybe two points. And then we can just copy this a couple of times. So let's just duplicate it. I'm using the old or option click and drag and then reposition it a bit. Yeah. Something like that. I think that looks good. Now we can move these a bit closer. And what I actually want to do is to make sure that there is a division between the skull and these bones. So the skull is supposed to be on top of them. I'm just going to drop the additional details inside it as well. So the nostrils and eyes, they can all go inside this clipping group. So that's one object there. If I select this, and if I assign a stroke on it that goes on the whole clipping group, and I'm going to set this stroke outside. Then the problem with this applying the stroke on a group is that it's going to apply it to all the objects inside as well. So that's not the solution that we need here. So instead, what I'm going to do is just select this shape that we created for the outline, copy that, paste it, and drag it outside of the clipping path. We're going to drop it here. So now we have a duplicate of that shape, and just so we can see it, I'm going to change the color of it to yellow. So yeah, that's the shape. So I will keep it behind the other one. Now I can just simply apply the stroke on it with ten points on this duplicate shape. And as long as this shape is on top of these other bone details, now I should be able to move them closer, and I can just see here, this path is actually not closed. So we have to make sure that we connect these points here. That point with that. And maybe we can just turn this into a smooth corner like this. So now, coming back to the bones, you can move them around freely, and there will be that outline that we needed. So this is looking perfect. And now we can obviously select all of these together, group them and call it skull, and then just oom out and see how this looks. It's obviously a bit too small. So I'm just going to resize this make it bigger like that. Now, when you're resizing things, you have to remember that you might end up resizing the stroke values as well. So that is something that you can check when you have something selected, go to either the X Y W or H values and make sure the scale strokes and effects is turned on. Otherwise, you will end up changing the thickness of those as well. So I want this to be around this size. Maybe we can rotate it a bit, rotate it this way and set it up there. Bit higher. Yeah, that looks good. And now, finally, I wanted to add some tattoo details on the arms. I'm just going to select this, unlock it. I will go in here and select the main shape that is used for the arm or forearm. Use draw inside, and then select one of these lines just so I sample that detail, and then I can start drawing over this. I essentially want something abstract here, but maybe we can start drawing I don't know, like a little monster head here and come down that way. And I think I'm going to use five point thickness for these just to be able to add a little bit more detail. So that is looking good. Maybe I'm just going to just shape slightly. This can be removed. Wasn't necessary. And then let's just add the circle here as well for the e. Yeah, like that. And then let's continue drawing some additional details. Command click whenever I want to start a new line. I just noticed that this didn't go inside the shape and that we started drawing. So I go back in there and draw this again. I select that shape, choose draw inside, and then I can start drawing. I can draw some additional details here. Again, five point size, and no feel. We don't want any fiel applied Just draw some spikes. And I will probably speed this up a bit. I don't think you need to watch me drawing all of these details because I'm just going to keep drawing the same lines within this clipping mask and then on the other arm. So let me speed this up. 12. Alternative background version: There is one final detail that I just realized now that I was working on the tattoos. The forearm actually here on the left side of the character. I was planning to have that behind the shark's head. That would make more sense, in my opinion. So to be able to do this, it's a little bit actually tricky because of the layering. So the guitar is definitely has to be in front of the shark or on top of the shark, and the hand has to be on top of the guitar. But then this detail here should still go behind the shark. So, in this case, I think the easiest thing to do would be to use opacity masks, and we could actually fix this area here as well, which I was cheating earlier on. So if I just drag this sleeve detail back a little bit higher like that, we will be able to fix that as well at the same time. So this is the left arm for which the whole group, I am going to add a mask. So first of all, in the transparency panel, make mask and then turn of the clip option. Then we will have to select the shark, first of all, let's select that path, copy it, command or Control C, come back to the left arm, going into the transparency mask, and then commando Control F to paste in that shape. We have to make sure that it's set to black. So both the stroke and the feel should be set to black, completely black. Like that, and that's already fixed, as you can see here, without the mask and with the mask, that's looking good. Now we need to do the same thing for the guitar. I'm just going to copy the whole guitar. I go back to the normal editing mode, so switch back from the mask and unlock the guitar, copy the whole thing, and then come back to the left arm. Click back into the mask and then come on the control a to paste the guitar. I will actually merge everything together, so I will use unite so that creates a single object and set this also to black feel and black stroke like that. But we have to remember that we want steal the arm to be in front, so we can see that without the mask, this is how it looks with the mask. That section is perfect now around the sleeve. But this part here, we don't want to hide. What we can do is to use the eraser tool and just erase out holding down the alter option key We can cut into this, and maybe we can even use just free hand eraser tool paint over that section there. And if we click away, we can see how this looks. So once again, without the mask and with the mask, now we fixed the depth of the object. We can switch back to the normal mode. So get out of the transparency or opacity mask. We can lock everything just to see what we achieved, and we can check the original sketch. So let's turn things off. There's the sketch. There's the drawing. There's the background. Even without the background, it looks really good. Of course, that was my intention. I wanted to create the illustration so it could work either way. But if I wanted to use this without the dark background, I would probably create outlines around the flames as well. So that is one thing that you can do is to have a separate version. And you could even have this in the same board. If you want it to. What I would normally do is to use the artboard tool that's shift O and then hold down the old or option key and duplicate the illustration. But of course, for this to work, you have to first unlock your layers. So let me just go back, unlock these. So let's try this again. Old, click and drag to duplicate. And then I'm going to turn back the background layer on the left. And for this version here on the right, what I would like to do is to have everything placed on a separate layer, first of all, so I will cut all of this out, create a new layer for it and call it illustration we outlines. L et's paste them back there. So we have it on a separate layer. Again, separate artboard separate layer. It just makes more sense, make it easier to make the adjustments and changes. So in this case, what I wanted to do is to have a thick outline around the whole thing. So what I would do is to select all from this, I log the other layer, so it doesn't get selected. Select all this copy and paste one more time. I'm just going to move this duplicate out here just so we can see it better. Now, from the path finder panel, if I just use the unite option, it might make a mess. Because if I go back, you might recall that we used a couple of shapes that extend outside of the clipping mask like this one here at the bottom. And once again, if I use Unite, that's going to cause a problem there. So what I normally do to avoid this issue happening is to first use the divide option, which is the icon here. That usually gets rid of the clipping masks and then choose the unite. So we should get a perfect outline now. And the reason why this was important is that if I now move this back behind the other object, so I will align it here perfectly, then we have to make sure obviously this goes underneath it. Now we just have to switch or swap the field to a stroke color, and then we can increase the thickness of the stroke, maybe up to 20 points, have round corners, and that's already looking quite good. It's probably not perfectly aligned. So if I go into outline view, we can just drag one of these points and align it with the other one. The outline view is commando Control Y. So let's just go back. And then we can select that detail and maybe just go down to ten points. Let's see how that looks. Maybe go up to 30 points just to see how it feels with even thicker outlines. That's probably a little bit of an overkill, so we can go down to 15 points. I think that's going to work well. So without this is how it would look on white background or any different colored background, while with the outline, obviously, it's going to much better already. So that is fixing the problem that we had there. I think 20 points is necessary. Now I'll thought about it, because that is going to make it feel equal around the edges. And in case there are already shapes like this detail here, where there was already a thick outline. What we can do is to go back to that detail that we created for the outline, and we can just drag these lines, so we can move this point up here. We can also remove these anchor points. Let's just delete these quickly. And we actually don't need any of this because here the outline was working fine. Same thing around the shark. We don't need that outline. And we can keep deleting all of this until we reach this section here where I can see already, that would be thinner lines. I'm just going to keep this on already here. So it can go behind and that looks much better. Now, I actually feel like all of this detail is not necessary here, so I can just use the eraser tool delete into it, and then let's click away to see how it looks. And without this group and with it. Yeah, I feel like now we have the right amount of outlines. Going beyond the existing outlines, but adding outlines on the objects where was necessary. So once again, looking at it side by side, now we have a version for the original background color that we wanted and having one version where it's going to work on any background, whether it's white or not. So the good thing is that we have the separated in two separate layers as well. So this one here can be moved and placed on any other colors. And just to test this out, if I add a rectangle behind it, maybe fill it in with yellow, We can check how it works, then we can check another color again and so on and so forth. And we can see it would work with pretty much any color now. 13. Conclusion: Well done for finishing this course. I hope you had just as much fun going through it as I had recording it. And of course, don't forget about the class project. Because remember, practice makes perfect. I can't wait to see your work, so make sure to submit it. And in case you like this course, and you would like to learn more from me, then there's plenty of other courses that you can find here. Go ahead check them out now. I can't wait to meet you in the next one.