Introduction to Affinity Designer for iPad Version 2

1. Welcome to Class!: [MUSIC] You've upgraded to Designer for iPad Version 2. You're all set to dive into the app and get started but wait, [NOISE] where is everything? How does Shape Builder work? Where are the Warp tools and what's the difference between the Knife tool and Sculpt Mode? If those questions and more have been on your mind, welcome to class [MUSIC]. Hi everyone. I'm Tracey Capone. I'm a Chicago area artist and top teacher here on Skillshare and together we're going to explore all new Affinity Designer for iPad Version 2. I've been a full-time artist for over a decade and Designer has been a key app in my creative toolbox for several years. I've taught a range of Designer classes here on Skillshare, as well as tutorials on YouTube and I've had the privilege of being spotlighted multiple times by Serif, the makers of Designer as an online teacher to watch. I've been using Version 2 for the iPad since it was in Beta and I can't wait to share what's new with you here in class. You may have noticed things have changed a bit. While the existing tools haven't changed that much, the overall interface got an overhaul and there are some brand new tools that have been added to the lineup. In this class, I'm going to walk you through all of the changes, additions, and updates, and show you how to put everything to work for you. We'll start at the beginning with an overview of the all new Home screen. I'll show you how to create new documents and import existing ones, as well as how to use presets, templates, and projects to make the creation process more efficient. Next, we'll walk through the updated user interface and I'll show you where everything is, including the revamped Contextual Menu. We'll follow that up with a walk through some of the key changes to existing tools and studios, such as auto-close on the Pencil tool, the revamped Layers Studio, and the ability to import and export color palettes. Finally, I'll introduce you to Designer's three new tools, Shape Builder, Knife tool, and Work Groups and we'll use all three along with some of the existing tools to create a fun, Scandi-inspired, textured floral illustration. Plus along the way, I'm going to share some of my tips and tricks on how I use those new tools in various scenarios. All you need for class is an iPad and Affinity Designer. I'll be using an Apple Pencil but you can also use a compatible stylus or your finger. When you take the class, I'll provide you with the color palette I'll be using, as well as a set of textures. This class is beginner friendly, but it does assume some familiarity with Designer Version 1 as it's intended for those who have upgraded or considering upgrading. For those of you who are brand new to Designer for iPad with the Version 2, you're welcome to join us in class, but I will be releasing a complete three-part beginner's guide to Version 2 separate to this class. Be sure to hit, Follow my profile so you know when the modules are released. You're ready to explore what's new and exciting with Designer for iPad with Version 2. If so, I'll see you in class. [MUSIC] 2. Class Project: [MUSIC] The project for this class is to create your own Scandi-inspired illustration using one or all of the new tools we'll be covering in class. Uses many of the existing tools as you'd like as support. You're welcome to follow along with me as I create my project or create one of your own. Either way, I'd love to see what you create. The easiest way to share your project is to create a screen grab directly from designer and save it to the Photos app on your iPad. I've included directions on how to set this up in the Projects and Resources tab. To share your project, click the green "Create Project" button at the top right of the Projects and Resources tab, create a cover photo and title when prompted, upload your screen grab, just make sure it's under two megabits, add any comments you'd like and hit "Publish". Sharing your project not only helps future students see what they'll learn when they take the class, it helps more students find the class. Next up, I'll show you how to download the resources provided with the class. I'll see you there. [MUSIC] 3. Downloads & Resources: [MUSIC] The downloads for this class include the scandi-floral color palette that I'll be using as well as the sampling of my gel plate textures, which I'll be using on the final illustration. To access the downloads, go to the Projects and Resources tab on this class via a browser, not the Skillshare app, and click the link at the top. You'll need a password to access the downloads, which I'll put up on the screen right now. When you get to the Downloads page, you can either hit Jump to Downloads, or scroll through for additional information about the class. Now, you do want to note these are not automatic downloads. You'll be taken to Google Drive to download. The palette file is not going to provide you with a preview, however, it will provide you with a Download button. When we get to the lesson about updates to new tools, I'll show you how to import the color palette into Affinity Designer. Just make sure that you save the AF palette file somewhere that you can access from within Designer, either a Cloud file or directly to your iPad. Next up, we'll take a tour of the all new home screen in Designer. I'll see you there. [MUSIC] 4. Overview of Home Screen: Your home screen is still your gallery where you're going to create new documents, import existing ones, as well as manage the documents you currently have open in designer. Now, when you first open version 2 of designer, this screen is going to be empty until you begin adding your own documents or opening existing ones. Now, I want to note version 1 will remain on your iPad and functional until you decide to remove it. But version 1 & 2 are not linked. You're going to deem to import any existing documents that you want to continue using in version 2. Before we get into creating a new document, let's take a closer look at the gallery and how you can use it to manage your open documents. At the top right of every document you'll see a burger menu and this is where you can save your file in designers native format AF design. Now you're not going to be able to do that from within the Canvas. You can export in other formats like JPEG, PNG, and SVG from within. But it's important to note that if you want to save your history and layers, you're going to need to do that here and save the original file before you tap X to close. Additionally, you can swipe left on the Canvas and use these options to save. One final option here on swipe left is to duplicate your Canvas. Documents can be rearranged by tapping and holding on a single document until things start to wiggle and then dragging to reorder. They can also be gathered into projects by tapping and holding and dragging one file over the top of another. Now if I go into the project, you can see I have my two Canvases here. I can rearrange their order again by tapping and dragging. Whichever one is in the first place is going to be the cover photo for my project. If I want to rename my project, I'll just swipe left for edit, or I can use the burger menu and choose rename. To remove a document from a project, I would simply swipe left on it and I'm giving this additional option of remove from project and now it's back out into my main gallery. To create a new document, you can tap the New Document icon and you'll be given four options. You can create an entirely new document, create one from a clipboard, create one from a template you've created. You can also create an empty project. Now I just showed you how easy it is to create a project simply by dragging one document over the top of another. But you can also create an empty project here. When you create a new document, you'll be given the new document dialog box. At the very top, you can decide whether you want portrait or landscape. Over on the right side is where you're going to key in your dimensions and other options. You can turn it to hop by keying in your dimensions and whatever document unit you'd like to use, as well as your DPI, then you can either tap or drag. You can choose how you want your images placed, whether it's embedded or linked. Embedded documents are stored within the document, which means the entire document is portable because the image file that you placed is not tied to a file somewhere else. It's on your system in that document. The issue with that is you're going to have a much larger file size. Linked images are linked to your document but stored elsewhere. The upside of that is that you have a smaller file size. But the downside is that the document isn't as portable if you don't have access to the file where that image is stored, you can also create an art board here by toggling this on or off. You can set your color as well as your transparent background. Drawing scale is going to be for the creation of floor plans, design plans, and anything where you need to create objects to scale. Using and creating presets isn't new to version 2, however creating presets in version 1 wasn't quite intuitive, so they've broken it out and you'll find the four icons along the bottom here. You can, of course use the baked in presets if you'd like. But if you have something very specific that you need to set up that you use on a regular basis, you can create your own presets as well as your own preset categories. Once everything is set over here, as far as your dimensions, whether you want an art board, your color profile, transparency, you'll just tap this first icon and you can name your preset as well as choose your category. Now, if the category you want to put it in doesn't exist, you can create your own by tapping the second icon. I'm going to create a very generic category here of my presets and you'll see it here at the bottom. Then I can tap this first one. I'll rename this 3,000 pixels at 300 DPI. I'll choose my category. There it is. Now I can edit the name of this simply by tapping it and hitting edit. I can also reorder both the presets as well as the preset categories using this last icon. The first time I tap, I'll have the ability to reorder the presets themselves. The second time I tap, I can reset the order of the categories. Open document hasn't changed from version 1, you can use this to either import a document from the Cloud, an external hard drive or your iPad, or import directly from photos. I'm going to go back up to new document because I want to talk about templates. Now admittedly, I never used these as much as I should have, but there are really great way of saving a formatted document, for example, a seamless pattern template in the original format that you created it in including layers without having to keep it in your gallery so that you can continuously duplicate it. I like to have my gallery pretty clean and empty and organized. I don't like to have things just sitting there just so that I can duplicate them. I created a pattern template. I'll tap New from template. I'll choose the template I created. It's automatically going to pull in a blank document with all of my layers and all of the symbols that I set up, and I'm all set to create my pattern. I can save this as an entirely different file and that original template file will remain there. If you want to save your own template once you've created it, just go to the Documents menu and choose Export As Template. Serif has created an updated comprehensive guide to Affinity Designer for iPad version 2, and it's out on the home screen here, so you can just click, "Help". You can search for a particular topic or use the drop-downs. You can also go directly to their support forums or suite a video tutorials. Preferences haven't changed much with version 1 other than adding linked services. You can link something like Dropbox. I'm not going to run through each of these. But just like with version 1, you can change your user interface and how it looks. You can change tool settings and things like that. But again, there had been no wholesale changes to the preferences here, they work exactly the way that they did in version 1. Next up, we're going to open up a Canvas and take a tour of the all new user interface. I'll see you there. 5. Tour of the Updated User Interface: [MUSIC] In this lesson, we're going to take a look at the user interface for Version 2. Now, just like with Version 1, Version 2 is broken down into three personas. The designer persona is the vector side, the pixel persona is the raster side, and the export persona is where you can create slices and export them individually. Now, overall, the tools and studios haven't changed as far as their place in the user interface. In another lesson, we're going to touch on what's changed with the existing tools. But aside from a facelift for the icons, the actual layout of the tools and studios is the same as Version 1. I do want to note two things before we move forward. The first is that my screen is set for a left-handed person. Our tools and studios might be opposite of one another and the tools along the top might be flipped. Additionally, I have display zoom set on my iPad so that you can hopefully see the icons a little bit better on video. Our screens might look slightly different, but everything else works exactly the same. Let's start at the top of the screen. Before we do though, I want to remind you if you ever have a hard time finding a tool or a studio, just tap and hold the question mark at the bottom. You'll see labels along the side for the tools and studios and on the middle for the tools on the top. The very first option here is zoom options, and there's two ways to use this icon. If you tap on the right side, you'll see a number of zoom options to choose from. I'm going to choose zoom to actual size. If I tap the magnifying glass, it's going to take me back to the last zoom level selected. I can also zoom in and out, of course, by scrubbing up and down on the navigator studio, as well as using pinch to zoom. If I tap this is going to take me back to actual size because that's the last zoom level I actively selected. Toggle preview is going to allow you to turn your Grids and Guides on and off so you can see your work without distraction when you need to. If you tap the right side of that icon, again, you'll see a number of options, including where you can change your Guide and your Grid settings. Guides will be along the side here and you can change your Grid settings along the top. You'll also note you can clip to Canvas. If you have this on, anything that you pull outside of your Canvas is going to disappear. If you have it off, anything you pull outside of the Canvas that's sitting here in the interface is still going to show. Sometimes that can come in handy when you want to get it out of your way, but you still want to see it without having to set up an entirely separate art board. The next option is snapping. They've moved this from the bottom to the top to give it a more prominent space. You can turn snapping on and off by tapping the magnet. You can also tap the side to enable it here. Then you can tap snapping options to turn things on, like snap to grid or guides and adjust other settings. If you tap this background, it's going to take you to your home screen. Then you can toggle between the personas by tapping on the color icon and you'll see one on each persona. You'll see designer, pixel, and export, and you'll see these in each of the personas. This next option is your documents menu. Now this icon has actually changed. It used to be two little pieces of paper. Now it's a burger menu. This is where you can convert the size of your document, you can export your document. You can export it as a template, which we talked about in a previous video. You can place images, you can add art boards, you can turn your transparency on and off, as well as change your defaults and set up your assistant. Edit hasn't changed, except that they have pulled the Grid and Guide settings out to the top as we just talked about. They've also pulled out the Boolean or geometric operations, and they've given them a prominent space up here at the top, rather than hiding it in the Edit Menu. One of the biggest changes to the user interface is the Contextual Menu is no longer at the bottom of the screen. If you're anything like me, you like as much space to work without distractions. I personally find this to be a great change. You're going to find everything at the top here and it's going to change depending on the tool that you have selected, just like Version 1. Now the other thing that I like about this is it means everything is right there, there's no longer a need to cycle through a Contextual Menu using that little right facing carrot. All of your handy tools like the Stabilizer and Select Same are right at your fingertips. Now where you do see a little arrow at the bottom, you'll see additional options. Let's head down to the bottom of the screen here and talk about this circle. This is the Command Controller and it's new with Version 2. It gives you standard modifiers, Shift, Alt Option, Command and Control.. You can use them when you're creating shapes or using tools, for example the Pen tool to create cusps. Let me show you an example of how it works. I'm going to choose my Ellipse tool and I'm going to tap and turn on Shift. If I drag a circle out is going to give me a perfect circle without a finger modifier because I have the Shift modifier on. If I tap an add Command to that, this time it'll give me a perfect circle, but it'll size up from the middle. Now finger modifiers still exist. If I turn these two off and I start to drag a circle, I can get a perfect circle by holding a single finger down. Or I can get a perfect circle from the center by holding three down. If you want to move your Command Controller because it's in your way, you can tap and hold until it starts to pulse and then drag it wherever you'd like. I'm going to move that back because I'm left-handed. One final feature I want to talk about is the Quick Menu. There's three ways that you can access it. The first is to double tap on the button for the Command Controller. The second is to tap and hold and release on the Canvas, and the third is to three finger swipe down. Whatever works easiest for you. The options showing are going to depend on what you have selected. In this case, I have my Ellipse selected. I have these options down here, which we'll talk about in a second. The very top is going to be constant. These are some of the key tools from the Edit Menu like Cut, Copy, Paste, Duplicate, and Delete. The bottom is customizable. If you want to change one of the buttons, let's say you don't use Solo very often and you want to pick something else, you can tap and hold and this list is going to come up. I can change this to New Vector Layer instead. If you want to reorder your buttons because you like to have certain things handy in certain spots, you can just tap and hold until things start to wiggle and you can drag over the top of another and those will flip. Let me show you that again. If I take this one and drag it over here, these two are going to flip opposite of one another. We have finished touring the user interface. As I mentioned, overall, the layout itself hasn't changed that much with regards to the tools and studios. But there are things that have changed, for example, like the Contextual Menu and the addition of the Command Controller and Quick Menu. In the next video, we're going to take a look at some of the changes to the existing tools and studios. I'll see you there. [MUSIC] 6. Changes to Existing Tools and Studios: [MUSIC] In this lesson, we're going to talk about changes to existing tools and studios, starting with the color studio. One of the biggest changes to the color studio in iPad is that you can now import and export color palettes on the iPad. This was always an option on the desktop version, but it's brand new here. You'll head to the Swatches tab under the color studio. Under the burger menu, you're given the option to both import and export. Once you have a palette setup, if you want to export it, tap the burger menu, choose Export and it's going to be exported as an AF palette file. To import a palette, you're going to follow the same process that you would to import brushes or assets. You want to save your palette file somewhere you can access it from within the app. Again, you'll tap the "Burger Menu" and choose "Import Palette". It's going to ask you if you want to save it as a Document or Application Palette. A document palette is only going to be accessible within the document you import it into. An application palette would be available across all documents, this one and future as well. Another change which actually impacts several of the studios is that you can now link your palettes, so they're automatically pulled into photo or publisher on the same device if you have them. It would need to be an application palette, not documents specific. Again, this has to be on the same iPad. It doesn't bridge between the iPad and the desktop or one iPad to another. To find out if a palette has been linked between your applications, just tap to select a palette and you'll see this little link next to the names and on these palettes link will actually be grayed out at that point. At first glance, it doesn't seem like much has changed with the layer studio, but it's actually changed pretty significantly. But before we get into the details of what's changed, the one thing I want to note first is a very important setting that's been causing some questions since version two was released. If your layer studio looks like this and your groups are showing as folders rather than icons, go to the burger menu at the top and tap "Show Group Thumbnails," and you'll see the thumbnails here in the layers studio. Let's talk about some of the other changes here starting at the top. If I tap these three squares, you'll see I get a condensed version of the layer studio and I'm only seeing thumbnails. Now the disadvantage of this view is that regardless of whether you have Show Group thumbnails checked or not, you can't see the thumbnails on the group. You can expand and see the thumbnails within it, but not the group itself. The advantage of this view of course, is it gives you more workable space without distraction, and the thumbnails that do show are much more visible. If you swipe right on a layer, you have multiple options. You can lock your layer, change the opacity, change the blend mode, add a mask and here's where you can turn visibility on and off. Moving down to the second line, this actually hasn't changed. This is where you can add your vector layer, pixel layer or masks, as well as open up an empty group. Let's go to the next one. This has always been merged or rasterized. The biggest change with this particular one is that if you want to rasterize multiple layers at once, you no longer have to group them and then rasterize the layer, you can select your layers, tap "Rasterize," and they'll rasterize all at the same time. We'll be focusing more attention on this next icon when we begin creating with the new tools. But this is warp group. Now this changes cause some issues and that group, which used to be the puzzle icon is no longer there. It's actually set within the Warp Group icon. Now that's only if you have something selected. If I deselect these circles and go back, you'll see that it doesn't show. You do need to have something selected within your layer studio and you'll see that option. Now, while this does take an additional step to group here using warp group, there are actually multiple ways to quickly and easily group without even having to enter the layer studio. Let's take a look. With my move tool, I can select my shapes. Three fingers swipe down in group. Three fingers swipe down and ungroup. I can go up to my Edit menu and do the same thing. Then finally, within my layer studio, with my layers selected, I can pinch to group and go the opposite direction to ungroup. Then finally as one bonus method, if you're using a Bluetooth keyboard with your iPad, you can type command G to group and Command Shift G to ungroup. The layer studio has been optimized to make clipping and vector mask layers easier by improving the drop zones that make it clearer where you're going to drag and release. Vector masking actually looks the same. If I were to drag this down and pull over the icon of the layer below it, you'll see that icon lights up in blue. If I release, I create a vector mask. Clipping masks have had the most significant change. If I drag this down in version one, you would see a very thin line in the middle of the layer and now they've made it so that you can very easily see this is where you're going to drop and that's going to create the clipping mask instead. Finally, you now have the ability to add unlimited masking layers, both the vector and layer masks. I could again use this to create a vector mask with that. I can select this and add an empty mask layer. Go to my pixel persona and grab my brush. I can brush back some of that using the empty mask layer that I just added and I can keep going with that. You can continue to add more and more masks, which you weren't able to do in version one. The only change to the Asset Studio is similar to the color palette. You now have the ability to link categories between the various apps that you have on your iPad. If you have photo and publisher, you can link an assets category, so that you can automatically pull them up there. Again, this doesn't work between multiple iPads or the iPad and the desktop version. In the FX Studio, you can now add more than one non destructive effect to a single object or group of objects depending on which effect you choose. If you choose one and see a plus sign, that means you can add multiple effects. If you choose one and you don't see that it means that you can't. I'm going to select my group of circles here and add a drop shadow. I'll choose outer shadow. I'll just drag this out. I'm going to bring up the radius pretty high to diffuse it. Now let's say I want a much tighter shadow closer to the circles, with version one, I wouldn't have been able to add a second shadow. I would have actually had to duplicate my circles, turn them black and done it that way. Instead, I can just hit "Plus" and I can adjust my settings. I'll just bring the diffusion in a little bit. Now I have two separate shadows on one group of layers. If I want to reorder the effects, I can use these arrows. If I want to delete an effect, I can just tap the delete within the FX Studio. You want to make sure you're doing it here and not in the layer studio because this will delete your entire group. While we have this open, let's take a look at the next change, which are the setting sliders. They've been revamped and have been moved from the bottom with the contextual menu to the side of the screen. You can either use the sliders to change your settings or you can tap and key in a specific number. You can tap on the icon to see what the slider is for. If you see a white dot here, it means there's more than one setting that can be changed. If I tap this one, I can switch between radius and angle. For this one, I can tap between intensity and opacity. For the most part, existing tools haven't changed that much. However, there is one very big change to the pencil tool that I do want to mention. It's the ability to toggle on and off Auto close. In version one, if you would draw with the pencil tool, your shape would remain open until you manually closed it, either by using the close setting on the Node tool or physically dragging your nodes together. Now the same thing happens here, unless you turn on Auto close. In which case when I draw, it's going to close my shape with the path that it deems to be the best fit. One final note about the pencil icon, if you're looking for the vector brush, it's actually with the pencil tool now. Just tap and you'll get this menu and you can choose between the two. One final note is the shape told. There's not a lot to report here, but one thing I will note is there's now a rounded rectangle baked into the settings here. That was always the case with the desktop version, but not the iPad. You can draw out a rectangle with your shape tool selected, you can use this slider to change how rounded it is. Next up, we're going to dive into the new tools that have been added with version two and use them along with some of the existing tools to create a fun botanical illustration. I'll see you there. 7. New Tools | The Shape Builder: While Designer has always offered Boolean or geometric operations that allow you to create new and unique shapes using a combination of other shapes, the Shape Builder Tool can do that more quickly. I'm going to show you how it works first and then we're going to use it to create a pitcher for our botanicals. Let's start by taking a look at simple shapes so that we can talk about the mechanics or the Shape Builder and it's contextual menu. I have three simple shapes here, and I want to use them to make a quick coffee mug. If I were to use the Boolean operations to create this mug, it would take several separate steps to create this shape, and it likely need to start with slightly different and probably more shapes. The Shape Builder Tool allows me to create the exact same thing using a single overlay of shapes. Before I begin using the Shape Builder Tool, I want to make sure that all of my shapes are aligned where I want them. I'm going to select my two ellipses here and with snapping on, I'm going to drag this until I'm centered on the mug, and then it's centered within the circles themselves. The right half of that red circle is going to create the actual handle. Everything else looks good. At this point, I'm ready to begin deleting certain shapes and adding others together. The first thing I want to do is select "all of my shapes", and I can either do that using the Move tool and simply dragging across, or I can go to my Layers Studio. Next, I'll select the Shape Builder Tool, and that's this tool right here. Now, what you'll see is that when I tap that, the regular selection box disappears and I'm left with this bold blue and white outline. I'm going to double-check to make sure that I've selected everything and everything has an outline around it. If it didn't, for example, let's say I didn't include that rectangle, I don't need to go back and start again. All we need to do is go into my layer studio and select it. Now everything is included in the Shape Builder. It's important to note that while I have this bold blue line around my shapes, this is just the initial selection. It's simply telling designer that these are the shapes that are potentially going to be added or subtracted. But if I tap any of my selections up here nothing happens, because I haven't officially told Designer how I want to combine them and in what direction. Let's head up to the contextual menu and take a look at the tools available for the actual build. Starting from the left, you have three ways to build shapes, add, subtract, and create new shape from selected area. I have two ways of using these. Either I can leave them de-selected until I'm ready to combine or subtract, or I can pre-tap them, select my shapes, and then the build is automatic. Most of the time, I think you're going to find it easiest to make sure that those are not selected until you're ready to make your new shape. In addition to simply tapping a shape to select it, there are three ways that you can select your individual shapes or groups of shapes to either combine or break them apart. But first, wherever you see an intersecting line, those are considered separate shapes by Designer, which means that I can select them separately. For example, for this mug, I pulled into full ellipses, and I'm going to use them to create the handle of a mug. Now they were full when I brought them in, but because the rectangle is effectively splitting them in half, I can select one area of it to create the handle. In addition to tapping, I can choose one of the options at the top. I can choose from freehand, which is going to allow me to create a freehand selection just as it sounds. This is perfect for when you have tiny little details that you need to get into. Line will allow you to create a selection using a straight line, and then marquee is perfect for when you're selecting all of your shapes, you don't need to worry about particular detail, so you can just drag across and select everything. Let's look at the last three icons. Use style from first selected object is going to tell designer that you want your final shape to take on the style, whether it's color, both fill and stroke, stroke size, gradient, whatever it may be of the first shape you select. This doesn't apply when you use the marquee selection only when you're tapping or either using a line or a freestyle selection. Let me show you an example of this. I'm going to de-select these, select my rectangle and grab my gradient tool. Let's just add a gradient here. I'll go ahead and select my shapes again and grab the Shape Builder Tool. I want all of my shapes to take on the gradient of the original rectangle. I'm going to make sure that that's on. I'll go ahead and choose line in this case and I want to start from this object because remember it's a use style from first selected object. I'll drag it across, and then I'll hit "Add", and the entire thing has taken on the gradient of the first object. The last two icons are automatically clean up unused curve, which is going to remove any curves that extend outside of the selected area after you add your shapes together. Then automatically clean up unused areas is going to remove any full areas outside of the selected area after adding, Let's go ahead and make the mug. Again, I need to select my layers. I'll grab my Shape Builder Tool, and I'm going to start by removing the curve here to create the handle. I'll just tap and hit" subtract" and I'm all set. Now I can just take the rest of the objects and combine them together to create the mug. I want it to be this pink color of the rectangle. I'm going to make sure that first object is selected. With the line tool, I'm going to start from that one. I'll go ahead and select this, select this, and then hit "Add", and I have my pink mug. I have my mug shape, I'm happy with the color, but I want to soften it up a bit. I'm going to use one of the existing tools, the Corner Tool, because I have nodes that I can work with. I'll grab my Corner Tool and I'm going to drag across to select these two. I'll just drag up on my slider here just to curve up the bottom a little bit. I'll do the same thing at the top, but maybe a little bit less. Then I'm going to select these two nodes, and I just hold my finger down so I could tap to select, actually I want to deselect that one, select this one. It's going to curve that up just to touch. Now I need to make sure that I bake these in. What that means is I'm setting all of my curves so that if I sizes up and down, those corners don't move. I'm just going to tap "Convert to curves" and I'm all set. Let's take what we just covered and make a vase for our floral illustration. We're going to be using the Shape Builder Tool a few more times as we progress through the illustration. But for now, let's focus on creating the vase for our florals. Since the final illustration is going to be a symmetrical folk art piece, I want my vase to follow that lead. I'm going to create a jug, with two handles on either side. I'm going to use different colors so they can better see where I'm placing everything. I'm going to start with an ellipse and I'll just choose this cream color for my fill. Make sure you don't have your background selected. Shouldn't make a nice oval shape. I want a rectangle for the bottom, to cut off the bottom. I'll just grab red here, doesn't really matter what color. Then I'm going to add another one at the top for the mouth of the jug. I'll select all of those shapes, go into my transform tool and just make sure there is center aligned. Next, I need my handles. I'm going to create a perfect ellipse. Let's try the yellow here. I'll grab my ellipse tool and I'm going to hold a finger down or I can, I could use the shift, create a perfect circle. Then I want three finger swipe down and duplicate that size that down. Actually if I use three fingers, little size from the center, and I will make that this orange color. I'm only making them different colors. One so that you can see what I'm doing, but also so I can see where I'm working. I want to place that just below the mouth, I'm sorry, just below the mouth of the jug and off the side because again, these are going to be handles. Then I'm going to three-finger swipe and duplicate that. With that and snapping on, I'm going to drag this across till it snaps into place. Now I have a very odd-looking shape, but this is about to become a jug. Let's go ahead and select all of our shapes and grab the Shape Builder Tool. You always want to step back and think, what is the easiest way to start. I know that I have to subtract some elements and I'm going to do that first. I'll grab my subtraction and I'm just going to tap, and that's going to automatically subtract the shapes that I tap. Now I'm left with the final jug shape. Now, one thing I want to do before I do anything else, I actually wanted to make this wider. I'm going to back up a second. I'm going to grab that shape. I'm going to hold two fingers down and just drag out, and that's going to drag out evenly on both sides. Again, I want to make sure that everything is aligned so I'm going to center that up. All right, I'm still all set. Now, I can go back and select all of my shapes and go back to my Shape Builder Tool. You want to make sure that you're watching for things like that. Because if I had waited to do that, it would have combined the two shapes and I would have had to do it with nodes. I just keep an eye as I'm moving through and I go through slowly to make sure that everything looks exactly the way I want it. At this point, I can actually add everything together. The easiest way to do that is to use the marquee tool. However, I actually want everything to have the off-white color. Instead, I'm going to use a line. First, I want to de-select, subtract. I'll go ahead and start selecting these shapes. I'm starting from the off-white shape so that everything takes on that color. I'll hit plus and now I have my jug. Let me make this a little bit bigger. Again, I want to round off some of the corners. I'll grab my corner tool. I'm going to select these two and just round that up slightly. I think I'll do that here. I'm going to round that a lot here. I'll leave these all pretty straight. But I think I'll round up the top just to touch. Not too much though. Again, I want to bake that in. I'm going to hit "convert to curves", and now I'm all set. I'll make this a little bit smaller and center it up. One final thing I want to do is give it a little bit of decoration. I'm going to clip a red rectangle inside. Let's grab our red here and maybe make a second smaller one and a little bit thinner. Now, I could actually use Shape Builder if I wanted to, but I'm just going to go ahead and clip these in place. That way I can move them around if I need to. I like how that looks. I'm going to call that done. Next up, we're going to create some florals where we take a look at the all-new work groups, as well as another use for the Shape Builder Tool. I'll see you there. 8. New Tools | Warp Groups: In this lesson, we're going to create some florals for our illustration using a combination of shapes and warp groups. We'll also be using blend modes to affect some color shifts across them. This is going to give me the opportunity to show you another use for the Shape Builder tool, specifically in cases where clipping masks won't work. But first, let's go ahead and use this flower shape and take a look at warp groups. Warp tools can be found in the Layers studio. It's the third option. I'm going to select my three shapes that make up this flower and tap on "Groups". There are nine warp functions to choose from. Let's take a quick look at how each of them works. Mesh, quad and perspective are all manual warps. They're going to provide a grade in varying degrees of complexity that will allow you to use nodes to create your warp. Let's start by taking a look at mesh. This option is going to give you a grid with individual nodes dispersed across the grid. Each intersection is called a junction. You can add additional junctions to the grid by tapping on any of the lines. Tapping a horizontal line is going to add a vertical, and tapping a vertical line is going to add a horizontal. This is how you can fine tune your mesh work. You can delete lines simply by tapping on one of the nodes and choosing Delete up at the top here. You want to make sure you're choosing delete up here and not in the layer studio because that's going to delete your entire group. Tapping on the nodes themselves is going to evoke handles that you can use. I can turn these two simultaneously or these two. If I move from smooth to coarse in a contextual menu at the top, I can drag a single handle. It works just like the pen tool in that case. You can also add a temporary node and drag within the boxes. I'll just tap and you'll see a circle sharp, and I can just drag it. It's a single movement. It disappears as soon as you're done dragging. If you tap "Reset" at the top, it's going to take your object back to the warp groups original state. Quad and perspective modes are basically simplified mesh warps, with four nodes around the corners of your group selection, you can drag the corners to create your warp. You can also drag the paths between and use these handles to further adjust your warp. Now, doing that, it's going to create a mesh warp out of it, which you can see here at the top in the contextual menu. The next four warps are shape warps that are automatic. They create a vertical or horizontal bender arc depending on your selection. These are my favorites. I personally find them useful when I'm creating floral illustrations because it allows me to take a single very plain flower shape and turn it into a variety of different shapes. These selections can be fine tuned by using a slider on the side. I'm going to tap Arc vertical and I'm given this slider and adjust, I can tap through and change as I go to see what each one looks like. This is one of my favorite ones. Now you can also drag your handles but that's again going to create a mesh warp out of it and you're going to lose the use of the slider. The last two are also shape warps, fisheye and twist. These are also automatic warps that can be adjusted using a slider. Now, I personally haven't found as much use for these as I have the others but it all depends on the shape that you want to create. Let's create the flowers for our illustration and we're going to use warp groups to give them an organic feel and a little bit more movement. I'm going to grab my ellipse tool and this red fill and I'll just drag up an oval. I want to convert it to a curve so I can use my node tool. I'll tap this top node and I want to turn it sharp. I want to duplicate this and have the same shape on either side here. With it selected, I'm going to three finger swipe down and hit "Duplicate" and I want to use my transform origin point, so with my move tool selected, I've gone to the Contextual menu and I'm going to enable transform origin and drag this down to this bottom center and now with my duplicate, I'll grab this handle and with my finger down, I'm going to bring it to about 30 degrees. I'm going to de-select and then two-finger tap to re-select. The reason I did that is because I want to duplicate this again and move it to the other side. If I had kept going power duplicate was going to continue this direction. Again, I'll three-finger swipe down and duplicate and I'll drag to the other side. I want to change these top two to pink. I want to add a little bit of a color shift without having to add other petals and other colors. What I'm going to do instead is use blend modes on my top two shapes here. I'll tap the layer options. I'm going to use something like screen because the pink petals are lighter than the red. Screen is going to give me this nice butter yellow color and this darker yellow color here. These shapes are pretty but they're also very static. I want to give them a little bit more movement and I'm going to do that using warp groups. I'll select my three shapes and I'm going to apply a horizontal bend, like I mentioned previously, that's one of my favorites, and I'm going to create a Scandi Tulip shape out of this. I like how it gives that nice little curve there at the top and on the two sides. Now of course, I could do this with the pencil tool or the pen tool but it's much more quick and efficient to do it with this because I can add it to all the petals at the same time. I'm going to copy this warp group and then turn off the duplicate and keep it for safekeeping. I'll go ahead and three-finger swipe down and convert that top one to curves, so I'm working with a regular group. I don't need to make any additional changes to this one. I want to add some stamen to the flower and I'm going to create them in an off-white using a combination of a rectangle, an ellipse, and follow the same steps that I did with the petals to duplicate and set the two duplicates to the side at an angle. I'll grab my rectangle tool and I had this off-white selected. I'll just drag out a nice long rectangle and then grab my ellipse and create an oval shape, and I'll just center this up. I'll select the two. Now I could use Shape Builder but it's just as quick to use add in this particular case. Now I want to duplicate this shape and I already have my transform origin point enabled but if yours isn't, just go up to the menu up here and enable it. I'll just drag this down to the bottom just like I did with the flower, and then drag this over. I think I'm going to go with 15. I'm going to de-select and then two-finger tap to re-select, I'll three-finger swipe down and duplicate. Again, I'm going to go to this side. I'm going to add these three together. Let me just swipe to select all three of them and again, I'll just go up to Add. I want to take this diamond shape and move it into the middle and tuck them behind the pink petals between them and the red shape. The problem is I shifted the blend modes and my two pink petals and the stamen's even lighter than those, so the bottom is going to show. If I drag this down, you'll see that it's not disappearing behind the pink petals, it's just turning a lighter color. Let me center that up. Now I can't use clipping masks because that's going to clip away this top part and I still want that to show, so instead, I'm going to use the Shape Builder tool. I already have that selected. I'll go in and select my two petal shapes and then grab my Shape Builder tool. Logic would say that I could simply tap to select the shapes that are overlapping the petals and hit minus. But instead what that does is delete everything including the pink petals. Let me bring that back. What I want to do instead is select these three shapes beyond that. I'll tap to select them, and there are three separate shapes now because they're getting cut off by the petals. I'll choose this third option, create a new shape from selection, and if I go to my layers studio, you'll see I have this fourth shape. If I turn this one off, it's tucked behind the petals. Even though it's really not, we actually use that to create entirely new shape that's just angled. I'm going to tuck this guy aside for right now because we're going to create our leaf shapes in the next lesson and then put everything together. Next up, we're going to create those leaf shapes using a combination of the shape tool and the brand new knife tool. I'll also be showing you a third way that you can use the Shape Builder tool. I'll see you there. 9. New Tools | The Knife Tool: In the previous lessons, we used the Shape Builder and work-groups to create our flower and our jug. In this lesson we're going to take a look at the Knife tool, which allows you to create free-hand cuts in a curve and also works as a scissor to break curves at selected points on a shape. Let's get started. We're going to begin with the Scissor feature of the Knife tool because it's straightforward and works very much like scissor features and other vector apps. Simply put, it's going to allow you to create a break in a curve either at node points or anywhere along the path between the nodes. First and foremost, the Knife tool is a node tool, so you must be working with a curve and not a shape layer. If you've created a shape like I have here, the first thing you're going to need to do is to convert it to a curve. I've done that with my ellipse and now I have my four nodes and pads in-between, I'll select my Knife tool. The first way to use this is to tap anywhere along the path. It looks like it added a node there. But what you actually have is two nodes and there is no path in-between. This is an open shape now so you can create a totally different shape, join everything back together. You did it by starting with the scissor feature. The other way to do this again, I'll grab my Knife tool is to tap anywhere on an existing node and the same thing's going to happen. If for any reason you need to break a shape apart to add something to it, to create something else, you can do it using the Scissor feature on the Knife tool. Let's talk about the Knife feature which we're going to use to create some cutout leaves for our illustration. Now, if you've ever used the Sculpt Mode with the Pencil tool at all, the Knife tool works very similarly. However, in my opinion, it's a lot easier to use. The biggest difference between the two is that the Knife tool is going to allow you to cut within a curve, not just along a path, which the sculpt tool does not allow for. But conversely, the sculpt node does allow you to add to a curve by extending the existing path out between the nodes. Let's begin to create our leaf shape for our illustration. I'll select my Ellipse tool, and I had this burnt orange color selected. Let's drag out a nice tall oval shape. Again, I want to convert this to a curve. I'm going to make the top and bottom nodes pointy. I'll grab my Node tool, select the two, and then hit Sharp. I'm all set to start using the Knife tool. The contextual menu for the Knife tool is rather simple. This first option is going to allow you to create a single self terminating straight cut, either from the edge or the inside. I can drag in. You can see it created a line there. I could do that here. If I grabbed my Node tool, just like with the Scissor tool, I can pull those apart. If I turn off the straight line option, I can also create a cut with a free form shape. I'll select my shape and I have straight line off. I'm going to start from the outside of the shape and create a Monstera plant cut here. So I'll just draw. I can tap that with the Knife tool hit Delete, and I have a nice little cut out. You can also see that it's in the Layer Studio here as well. You can delete it from there if you'd like. Just like with the straight line option, I can also draw inside of the shape. But that's where the second option and a contextual menu comes in. Like the Pencil tool, the Knife tool allows you to auto-close your free form shapes. If I have auto-close on, I'll tap that and select my shape. If I draw with my Knife tool, it's going to create a path between the first and last nodes automatically. So I have a complete shape here, which means I can tap this, delete it and I have a full cutout. If I don't have that on, and I start to draw a free form shape. You can see that it's not close, which means I can't tap to select it and delete it. It really just depends on what you're creating and whether you want to have auto-close on or off. Finally, you have stabilizers available with the Knife tool and it works exactly like stabilizers on other tools. You can choose the type of Stabilizer Rope or Window here, and then you can change the length of your Rope or Window Stabilizer here. Now, as always, if you have a lower number here, you are going to have more control over what you're drawing. The higher the number the more designer has control, because that means the stabilizer is working even harder. Now one quick tip. If you want to use the Knife tool to create nice sharp cuts, the Rope Stabilizer is the way to go because the way the window stabilizer works, it has to catch up with what you're drawing, which makes it harder to get a sharp edge. Let me show you what I mean. I have the Rope Stabilizer selected. I'll tap my shape and I can draw a nice sharp cut because the stabilizer stays with my pencil. Let me go ahead and delete that so you can see it better. If I select the Window Stabilizer. I'm going to turn this up really high as you can see what's going on. I'll select my shape. The stabilizer has to catch up with where my pencil is, which means I'm getting a much curvier shape here. You can also use the Knife tool to cut through multiple layers of shapes all at once. I have this very unappetizing looking pizza that I've whipped up here in Designer. I've kept it rather simple for the purpose of the lesson. If I go into my Layer Studio and select all of the curves that make up my shape, select my Knife tool and create a little cut here. It's very small piece of pizza. I can select those shapes that make that up, go into my Layer Studio and make sure that I haven't selected anything I don't need, which would be this little slice here. Then I can drag that piece of pizza out. You can use the Knife tool to split up groups of shapes. But I do want to note that this is a very simplistic illustration for the purposes of the demonstration, I will say the process becomes a lot more time-consuming when you're working with a lot of layers, especially when some of your objects are very tiny. I find it easier to find your shapes in your Layer Studio rather than use the Move tool, Let's use the Knife tool to create the rest of our leaf shape. My overall illustration is going to be symmetrical and I want my leaf cuts to follow that. Here's the third way the Shape Builder tool is going to come in handy. I'm going to select my shape with my Knife tool and make some free form cuts here on the side. It will be pretty difficult to get the exact same cuts on this side as this, just by doing it by hand. What I'm going to do is I'm going to select the four cutouts. Before I delete them, I'm actually going to duplicate them. Three fingers swipe down and duplicate. I'll go up to the top here and flip horizontal. Then I'll drag them in place and I'm going to hold my finger down to keep it in line. Snapping is going to make it a lot easier to do that. It's also why you want to keep your cutouts in place first so that snapping has something to reference. I'll go back and I'll select my previous shapes, so the ones that I cut out, delete them. Now I can select the entire shape, leaf and my duplicates. Grab the Shape Builder tool and with a line and subtract on, I'm just going to subtract those. Now I have the exact same cuts on one side as I do the other. Now that we've used the three brand new tools and Designer to create our shapes, let's finish putting our illustration together in the next lesson. I'll see you there. [MUSIC] 10. Final Illustration Part 1: Now that we've created our elements for our symmetrical illustration, let's put everything together. We could approach this using symbol symmetry, which I've covered in previous classes. However, we're going to take a different approach in this one. Using our grids and snapping, we're going to place the elements on one side, duplicate and flip them and then move them to the opposite side. Now instead of duplicating each individual element as we go, we're going to complete one whole side, group it, then duplicate and flip it. Let's get started. Before we begin, I want to make sure that snapping is on and snap to grid is on in its settings. I'm also going to turn my grid on and change its settings to standard and the spacing to about 200. That's going to give me a nice evenly space grid across. With snap to grid on will more easily be able to place our duplicates exactly where they're supposed to go, and then snapping is also going to allow us to more easily place and rotate the individual elements to a specific degree. I've already added a background rectangle and I'm going to use the dark gray from the scandium flora palette. I've locked the rectangle into place so that I don't accidentally move it around as I begin adding the other elements. My flower and my jug shape are already in place and I'll be adding a stem that ties the two together. But first I want to make sure that everything is aligned. I want my middle flower to be in the focal point, so I'm going to leave it rather large. I already have it centered it at the top and put the jug at the bottom, and I can visually confirm that the two are centered with one another as well as centered in the middle because my grid is on. But to be extra sure, I can select the two groups in my layer studio, go to my transform studio and alignment options and align horizontally. I can also align them with the Canvas by using snapping and dragging until I see that green line vertically and the red line horizontally. It's important that you ensure that your alignment is correct with these initial elements, because if it's off all the rest of the illustration which branches off of it is going to be off as well. Next I want to use my pen tool on line mode to create a straight line between the flower and the jug. That's going to be our main stem. I've selected my pen tool and I'll tap to select a line. I have this yellow stroke selected and set it about nine points. I can always change it if I want. I'll just tap both ends here to add my stem. Again, I can see that this is centered, but if I want to, I can grab all of my elements and again go into my transform studio. Or in this case, I can grab my move tool and simply drag until I get that green line. Now I want this to be behind the other two elements. I'm just going to drag it down and I'm going to group the jug and the stem together just to keep everything organized. Now that these elements are in place, let's begin creating the additional flowers. I'm actually going to use duplicates of this flower to create some floral shapes for the top and the bottom. Going my layers studio and select it. I'm going to three-finger swipe down and duplicate. Now the first thing that you can see is that it turns it white. The reason for that is because we changed the blend modes of the original flower. When you add another light flower on top of it, you're basically adding to that screen mode and it's turning it white. We're going to use that to our advantage to create a couple of our flowers. While I'm here and we're going to three-finger swipe and duplicate again and grab these two and group them. I want a nice little cream colored, off-white flower for this side here. I'm going to make it a little smaller, so I'll size down, and I'll rotate it slightly. I may end up changing the rotation and location, but for right now, I'm going to place it right about there. I want another duplicate of this off-white flower to right about here. While I have this group selected, I'll two-finger tap and drag. It's going to be much smaller. It's also going to be rotated sideways here. Again, everything is adjustable, so if I find that I don't like the exact placement, I can always change it. I'm roughly placing my shapes for right now. We're going to add the branches and then we'll just check everything is where we want it before we duplicate it. I want a pink flower for right here. I'm just going to select this guy again, and two-finger tap and drag. He's going to be facing this direction towards the corner. This one is going to branch off of this one. Again, I may end up moving one of these two, but for right now I think I'll leave this guy right here. All right, let's pull our leaf shape in. I saved mine to my Asset Studio. Again, the Asset Studio hasn't changed between the two versions. The only difference is that now you can link your assets between all of the affinity products on the same machine, but other than that it hasn't changed. I'm going to use this leaf shape to create the smaller elements, the two smaller leaf shapes at the bottom. But before I duplicate it, I actually want to add all of the branches because I'm going to be creating some leaf veins using the pen tool first and I want those in place before I duplicate it. Right now, I'm just going to rotate this and place it where I want it. Again, I may end up moving it, but for right now, I think right about here is good. Up here. I know that I'm going to have some filler flowers here and here. I may end up changing the size or the location of it, but I'll go ahead and deselect that and call that done for now. Before I continue to create either my additional leaf shapes or the filler flowers that I want to place, I want to place my branches and I'm going to do that using the pen tool. They're going to be curved branches, but I'm not going to use the pen tool on pen mode, which would allow me to automatically create a curve. Instead, I'm going to use the line mode again, just like we did here. Then use the node tool to adjust the curve exactly the way that I want it. I'll select my pen tool. It's already online. I just need to make sure I have the right color selected. I'll use this same color here. It's again set to nine points. We may end up adjusting that, but for right now, I'm going to use that. Tap at the bottom of my flower here and then tap where I want it on the stem. I'm going to leave that as is. I'm just going to continue to add the rest of my elements and I'm not worrying about the exact placement because again, we're going to use the node tool to adjust it once we're done. I'll go ahead and tab right about here and then change that. I'm not going to worry about that because I'm going to be bending this down. Then I'll adjust this and then add this one. Let's grab with the node tool and start making our bends. I know I want this one a nice bend right about there. Let's de-select that, grab the pen tool again, and then add a stem here. Again, I just want this bent slightly. It's going to branch off and I think I'm going to adjust the rotation of that flower. I'll select it with my move tool and just adjust it slightly. Now I'm eventually going to move all of these stems behind the flowers, but for right now I'll just leave that as is. Let's adjust our stems here. I'll just bend this down. I actually like the placement on both the flower and the stem, but if I needed to, I could always adjust it. I'm going to leave this one straight, but what I do want to change is the very end here. I think it's too thick. I'm going to select this one and go into my Stroke Studio and go to the bottom here at Pressure settings. If you don't see it, there's probably a carrot that'll say advance. Just go ahead and open that up. I'm going to drag this side down. This node here represents this node, and if I drag it down, it makes it nice and pointed. This is a great way of creating a more organic line out of straight lines that you create with any of your node tools. I'll deselect that. I'm going to reset that. I just tapped and hit reset pressure. I want to create some little veins here, but I want them to have their own pressure settings, so I'm just going to go ahead and set it back to normal and create my straight lines, and then I'll adjust them. I'm just going to tap. Again, I'm not worrying about the exact placement because I can use my node tool to adjust. I'm also not worrying about the size because I'm going to end up adjusting that. I want to make these a little thinner. I think I'm going to drop these to about four. Again, I want to change the pressure settings at the very end. I'll select this node, drag that down, and then I'll keep going across. Again, change this to four and just adjust my pressure settings. I may need to pull that back. I'll follow this all the way down, change this to four. The settings are totally up to you. In fact, I think this one, I'm going to bring up a little bit more. I think I might make that six because we're getting down to a thicker part of the stem. Then this one, I may end up keeping it nine will see. No, I think I'm going to bring that down to about six also. I'll just adjust that. Now I can grab these four. I'm going to group them to make it easier, select them three-finger swipe and duplicate, and then I'll go up here and just flip them and place them. With snapping on, it places it exactly where I want them, so you can see it snaps into place. I want to group all of my leaf shapes together, because again, I'm going to use this to duplicate and create my smaller leaves. I need to locate the straight line, I'll just hit "Group". Now while I have it selected, I'm just going to go ahead and create my leaf shapes. I have two finger tap and dragged, I'm going to size it down and create one here I think. Maybe make it a little smaller, two-finger tap again and rotate this guy. I'll put that right about here. Maybe make it a little smaller. Actually, I think I'm going to rotate this a little differently. Maybe I'll put this one here because I don't want it to follow the same, it looks a little too alike. 11. Final Illustration Part 2: Before we create the filler flowers, let's just take a look at what can be grouped together just so that it's easier to move everything around if needed. This one here, this stem, actually goes with this shape here. I'm actually going to drag it down beneath it so it tucks behind it, and then group these two together. You could also rename your group. For the purposes of the video, I'm not going to rename it because it'll take time, but you could always go in and rename just so that you see everything. In fact, I highly recommend that. This flower goes with this, when you drag this down beneath it, and again group the two together. Then this final shape is going to get dragged down beneath the pink flower and group together. Now everything is in a nice, tidy, organized group. Let's go ahead and create our filler flowers by starting with our ellipse tool. I have temporarily moved to the other side of my illustration just to give myself some room to work and create the little bud shapes that I'm going to use as filler flowers. I have this red selected and I'll grab my ellipse tool, and drag out a little oval shape. I'll convert it to a curve and then I want this top to be pointed. I'm going to follow the same process I did here, but without changing blend modes. I'll select it with my move tool and three-finger swipe and duplicate. Then I want to use this off-white color. Right now I'm going to turn off enable transform origin. We'll turn it back on in a second. I want this to be a little thinner and I want it to be even from either side. I'm going to hold two fingers down, and while I drag it in, it's going to change it evenly from either side. I'll bring it to right about there. Now I want to use my transform origin point. Bring it down to the bottom, and then start to rotate it. I'll hold my finger down and I'll rotate it at 30 degrees. Now again, I want to de-select and re-select because I don't want power of duplicate to continue in this direction. Instead, I want to three finger swipe and duplicate, and then go back the other way. I'm going to combine these two shapes. I don't need them to be separate. I'll just go ahead and do an add, and I'm going to group these together. That's going to be the filler flowers that we add here and here. With this shape selected, first, I'm going to size this down. Let me turn off enable transform origin. Sometimes that can get in the way. If you keep it on, you may consider turning it off. I'll size it down, holding two fingers down to keep it proportion. I want two here, so I now have one facing this direction, that maybe a little smaller. I'm going to two-finger tap and drag and rotate one this way and make it a lot smaller. I'll make this a little smaller. Again, these are just filler flowers. I want to select both of these and just tap and drag. I don't need to start over, I just need to create duplicates. Let's move them right about there. Now we need some stems for these. Let's go back to our pen tool. Again, I still have it online and I'm going to probably keep it at about six, making it a little smaller. I want the stems for these to be a little bit thinner. I'm actually going to rotate this flower, this way. I want my stem to come from here to here. Let's tap and tap again, and I need a stroke there. Let's add that. I want to change my pressure settings because right now it's thin at the bottom and I don't want that. I'm going to tap to reset. I think six is still a little too thick, so let's bring that to a four. Then we'll make another one off of this, as soon as I change the shape of this stems. Let's grab the node tool. I think I'll bend this, this way. I may end up changing the rotation of that again. Then grab the pen tool again and tap to add one here, and I think I'll bend this one this way. I like the stems, but now the flower rotation isn't quite the way I want it. Let's grab that and adjust it, and then do the same here. I think I might make this one a little bit bigger. I grabbed my shape builder by accident. Let's group these guys together. I want these two beneath the flowers, so they're tucked behind, and let's drag him down here because that's up at the top. I'll select these four and group them. Now that one's all set. Then I just need to add some stems here. I have the setting is fine here at four. I want to grab my pen tool, I'm going to tap and tap, and then I'll do the same thing there as soon as I adjust the curve of this one and tap and tap. I need to move this up because it's peaking out from there. Let's go ahead and adjust the rotation of this guy, and then move these two beneath and we'll group everything together. One final thing that I may do is I feel like these stems, the larger ones especially, are a little too perfect. I want to give them a little bit more of an organic feel and I'm going to do that using my pressure settings. I'll go in to the groups and grab the largest stem, go into my pressure settings, and I'm going to keep the two ends where they are, but I'm just going to make slight adjustments by adding nodes to the shape along the way. It's very minor, it's hard to see, probably on video, but it's enough that it doesn't look so perfect. Again, I'll go up, and I'm just making some slight adjustments by adding nodes and dragging up and down. I think I might change the bottom of that one. Then I finally, I want to do this last one here. Unfortunately, the iPad version doesn't have a way of saving a pressure setting. I don't know if that's coming. I believe you can do that on the desktop version though. You can see it a little bit better on this one if I de-select it. This is where keeping your layers studio organized. Whether it's by grouping your layers or grouping and renaming is important because you want to make sure that you're not duplicating anything you don't need to like the two middle elements, but you're not missing anything that you do. I know that I need everything above those two middle elements. I've tapped to select this flower and I'm going to two-finger tap to select all the way to the top. I want to group all of this together. It's going to make it a lot easier to now three-fingers swipe down and duplicate. I'll go up to the top and flip horizontal, and then with my move tool and my finger down on the canvas, I'm going to drag across until it snaps right where it's supposed to. Because snap to grid is on, you can see that it ends up right where it is. It snaps right into place. I like to go ahead and zoom and check my placement on the grid for all of my elements. For example, I can see that this top is slightly cut by the grid, same with here. I'm just checking to make sure that there's nothing out of alignment. Before we add the final texture, I want to show you how you can very easily change the color of the elements in your illustration using select same. The reason I'm bringing it up in this introduction to Version 2 class is because select same and select object used to be buried in a contextual menu over the move tool, and surf decided to give them a much more prominent spot at the top. Honestly, when you're working with a lot of different elements in a pattern or an illustration, this makes it so much easier to change everything at once, and more importantly, make sure that you're adjusting everything exactly the same. Let's say, I don't quite like the color of my leaf shape. Now in this particular case, the leaves are the only ones using this color. I'll go into my layer studio and I'm going to select one of my leaf shapes. I'll go up to select same and choose fill color. Now let me go ahead and close my layer studio and zoom in. Every single leaf shape of that color is now highlighted in blue and selected, which means I can go in and I can adjust the color. If I want to make them darker or I want to change the color entirely, it's changing everything at once. Let me go ahead and back out of that to get it back to where it was. Now, what if you're working with something that's not necessarily the same shape but the same color as this one? You could instead, let me go ahead and grab my leaf shape again, do same shape. Now the same thing happened because it's finding anything in that leaf shape, and I can go ahead and I can change my color. There's numerous options as far as what you can choose, to very easily select your objects within your illustration. One last thing for this illustration is I want to add some texture. Now instead of adding texture to every single element, I'm going to add a single texture to the background, and then a subtle one as an overlay that covers all of my flowers. Now, I'm going to use two of the gel plate textures that I provided with the class. You're welcome to use those or your own favorite texture. Another great resource for texture is using the stock studio that's built into designers. You can just key in texture or whatever you'd like to look up, and it will find those stock images that you can pull in. But again, I'm just going to use the place image. Let me just make sure my layers studio is all set here. I'm going to use one on the background rectangle. I'll go up to the documents menu and Place, and minor in my files under Recents, I'm going to use this 25 in the background. I want it to be seen but subtle at the same time. I'm going to play around with the blend mode first. Gray is a difficult one to add a texture to. I think I like soft light though. I could keep going, but I like how that looks. I'm going to leave that as is. I'm going to go back up to the top of my layers and again go place, image, and this time I'm going to place the number 36. I'll tap to add and place it where I want it. Again, I'll just play around with my blend modes. I'll probably end up at soft light again. I want the top one to be subtle. This is a little too much, obviously. I like the texture a lot, but I don't want it to be the star of the show, so I'm going to bring that down. I don't worry about symmetry when it comes to the texture because I think it adds a little something to have some differences across your leaf shapes. I keep the symmetry with the elements themselves and then bring in some other textures to add some uniqueness across the board. I'm going to step back, take a look. I like how that's looking. I think the texture is looking nice and subtle. All of my elements are in place and I'm going to call my illustration done. Next up, we're going to have some closing thoughts for the class, I'll see you there. 12. Final Thoughts: [MUSIC] Well, at the end of class, and as always, I thank you for trusting me with your time and creativity. I hope you enjoyed the tour of the all-new designer for iPad version 2. I'm excited to create with new tools and I look forward to seeing what you create as well. Remember if you create a project, help other students to see what they learn when they take the class by sharing it to the projects and resources section. If you enjoyed the class, I would love it if you'd also leave a review. If you share your project on Instagram, please feel free to tag me at the handle on the screen so I can share it with my own followers. I have lots in store for my Skillshare channel, including several new version to classes heading your way very soon, as well as classes and the other apps in the affinity sweet, Procreate, and Adobe. Be sure to hit follow on my profile so you'll be kept up-to-date with what's to come and when new classes are released. Finally, if you love texture as much as I do, consider signing up for my newsletter at the link in my profile. You'll receive my big gritty grungy texture pack for free, as well as regular freebies and tutorials throughout the year. Again, thank you for joining me here in class, and happy creating.