Monoline Illustration

1. Introduction: What if I have warmed up like I was a doll or something? All clear. Hey, what's up internet, my name is Jon Brommet, and welcome to Monoline illustration. In this class, I'm going to be showing you how I create unique, modern, and minimalistic Monoline illustrations. These illustrations are really useful for a wide variety of different applications, including things like logo design, because it's really easy to use the vector artwork and blow it up on things like billboards. Also shrink it down, so it's on things like invoices, letterheads, on an embroidered shirt. Really the sky's the limit when it comes to this style. Which is what makes it really useful for you to learn how to do. I think what I love most about Monoline illustration, is it allows me to really control where I put my lines, and where I put my curves, and let's me go outside of having to worry about it being perfectly realistic. It's a little more stylized. It's easier for me to make it more unique to me, and make them logo more unique for a client, if that's what you're using it for. Of course, this illustration style doesn't have to just be used for logo design. It's really great for just fun illustrations. It's good for editorial. It's good for basically anything you can illustrate for. In this class, I'm going to be showing you how, how to illustrate a cat, a monster, and a skull. You can pick one of those three or do all three. I'm going to show you my process, from creating the ideas, to sketching them, to putting them in Adobe Illustrator and creating perfect vector artwork. This class is designed to be educational for all skill levels, although I've aimed it a little more towards the intermediate. I think that beginners, will be able to follow along too though, because when we are actually using Adobe Illustrator, we are really only using a couple of tools. It should be easy for you to follow if you're a first-time user of Adobe Illustrator. Without further ado, let's get into the class.I hope you check it out. What are you doing? What are do you doing? Hey. No, don't come over here.No. No. Don't do it. Don't do it. Now I have to take the floss off my shirt again. 2. Why I Love Monoline!: Although I mentioned a little bit in the intro to the class, I want to explain exactly why I love Monoline Illustration. The first reason is I believe that because of the clean, modern, and professional look it can be used for a ton of different kinds of businesses. For example, I could draw something for a beer company, tattoo shop, soap shop, perfume company, or even a motorcycle brand and the style would still make sense for each of those clients needs, as long as I pick the right thing to draw of course. The same can't be said for all illustration styles. Let's say you like drawing really detailed, distorted drawings with tons of texture that may work well for that motorcycle brand, but it wouldn't work well for the soap shop or a day spa. It just isn't as versatile. A common design trend right now is the flat look, a lack of shadows, and depth has created a really modern movement across web and into smartphones and tablets. This illustration style fits really well for icons, logos, and other illustrations. Another thing I didn't touch on in the intro is time; if you're rapid designer making this for a client or even a busy stay-at-home parent, just wanting to kick start your business, time is often a huge factor. Once you open your computer to create a Monoline Illustration, if you follow my method, it should go pretty quickly and easily. The only difficulty is learning when to add or remove lines and when they consider the project finished. A less experienced artist or designer will often want to add more and more, but this can often detract from the artwork. This is why on top of all of the applications, this style works really well for logo design. Lastly, just to be a little bit contrary. Let's say you're illustrating this style for a rock band. Feel free to make the poster as complicated and have as many lines and textures and distortion on top of the Monoline effect as you want. It doesn't have to be really simple and clean. You don't have to follow everything I'm saying. I want you to use this style and make it your own. 3. Class Project: Let's talk about the class project for a minute. I know how difficult it can be to actually come up with an idea and to put it out there and hope that lots of people see it and enjoy it of course and that can sort of hold you back from finishing the class, so I thought it was important to give you some options. So what I'm going to do is I'm going to give you three different ideas that I want to see you draw. You can pick either one of them, all three of them, or even none of the above. It doesn't really matter, you're open to doing whatever you want, but I'm hoping by giving you these options, you're going to be able to start drawing basically right away and actually follow along with the class. Those three options are; a cat, a monster, or skull. Whichever idea you choose, try and come up with your own take on the subject, try and figure out a different pose and it's a lot easy to have your own creative, different-looking design. Especially for the cat and the skull, try and come up with something a little bit unique if you can. You can also use some of the ideas that I actually put together that you'll see in my sketch book, but I may actually create some of those myself or use them for merchandise and things. So, it will be nice for you to try and come up with something really unique to yourself. It'll probably be a lot more rewarding for you if you do that. Once you've picked your subject, I want you to basically start sketching right away, especially when I'm sketching because those videos are tiny bit slower. That way you can actually put your computer or your tablet or whatever to the side and start drawing while I'm talking. It might help inspire you to basically get going and I know if you start as soon as possible in this class, you have a way better chance of finishing it, practice definitely makes perfect. Actually following along with the class and physically doing the work is a lot different than just listening to it or watching it. You're gonna get a lot more out of the class. You also pick up a bit and muscle memory and you'll have a better chance of actually remembering the information and be able to use it moving forward. I think it's really important for you actually follow along with the class and definitely check out all the videos and hopefully post your project. I look forward to seeing what you guys come up with. 4. Finding Reference Imagery: No matter what you're drawing except for a monster, you're going to want to find some reference photos. So for example, if you're drawing a cat, you're likely going to want to find some cat reference photos that you can use to make sure you get proportions and just like the overall, look correct. So here's some sites that I generally use to find reference images. Most commonly I'll simply use google images. It's a great source for finding the magnitude of the image quickly, although they won't necessarily be professional, well-taken photos, you don't necessarily need that for that purpose. Of course, if I'm drawing a cat, try and be specific and put in the exact thing you want to draw, which in this case is a cat face. So from here, I'll just try and find an image that I think best represents the kind of look that I'm trying to go for. So I might want kind of like a cuter looking cat or something. You know, this is an illustration, but it actually seem really good balance and symmetry. But basically from there, I'm just going to try and look for the images that I think is most useful for me. The next site that I tend to use is a stock photo website. There's a lot of them, but one of the favorites is stock.adobe.com and from here we'll just type in the exact same thing with just cat face. We have lots of images. These ones are actually professionally taken. Now if you want to actually use this image, you need to be able to purchase it. But just for drawing kind of inspiration, it should be perfect. The next one is istockphoto. Since it's been known by getting images that prices are a lot better, but again, you don't really need them for drawing, you just need to be able to look at the photo. So again, we'll type in cat face and they're going to be a lot of similar looking ones to the others. But from here you can also specify whether its illustrations or not, and you can do that on Adobe Stock as well. But basically we're just going to scroll through and we're going to try to find the best image that we can to kind of get our reference from. So let's say we want to use this one. It's got good proportions, it's balanced. It should work pretty well for our purposes. So what I'm going to do is I'm just going to drag that down in my desktop. So I have that so that I can refer to later. I definitely think it's important to try and get as many angles and images as you can, but for the purpose of this film, I'm going to try and keep it simple. So definitely one of the things that you're looking for when you're trying to go through these images and trying to find as many examples as possible, is trying to find that form, that kind of facial expression, anything that you're looking for in your drawing. So if you want to draw your cats Narlene that's maybe a better image for you. Sometimes it's just better to see different angles because you'll be able to figure out where cheekbones lie and different things. Of course it's going to matter on your subject, but the more reference photos you have, the more angles you have, you'll be able to see a little bit more information about what you're drawing and you'll likely have a better illustration as a result of that. So of course, just gather all the images that you need and that you think are going to be useful for you. If you're doing your skull, you can use that as well for the monster, I wouldn't bother. Just try and do that on your own without any kind of reference image because you don't want to copy anyone, you want to try and come up with something really unique and hopefully something that just comes to mind. But before I wrap this up, one thing I do want to really emphasize is using an image for drawing. There is a little bit of a risk here. You wanna make sure that you do not copy or trace it even if it's an image. So let's say you like this image right here, you cannot simply copy it directly or trace it. It's going to be less likely for something like an animal or something because you could have taken the photo yourself at this exact same angle. So it's a little bit less likely that you'll get in trouble, but just stay away from copyright because stealing anybody's image, whether it's an illustration, a sculpture, or any kind of piece of art, if you then make it, even if your piece of art is different, you can still get sued for this because the photographer can find out that you are using their image and basically sue you for copyright. A really good example of this is what happened to Shepard Fairey when he did the Hope Obama poster, which was used in Time magazine, he ended up getting sued by the Associated Press because they're photographer took this photo, which is what he based his image on. So just be really careful of that and if you want to read more about that, you can look up Shepard Fairey lawsuit, Obama, and you'll find lots of information. So just make sure you're not copying anything, but drag it over, save a couple of different images, and I'm going show you a few next steps after I show you how to find your inspiration. 5. Finding Inspiration: Okay. Now let's talk about finding inspiration. Some of my favorite sites are Dribbble, Instagram, Behance, and even Pinterest. From those sites, you're going be able to find a lot of really talented artists who have made really great examples of artwork that you'll be able to draw from and use as inspiration. Of course, you won't copy it though. Finding inspiration before you start is kind of use at your own risk scenario. It can be great for getting going and giving you ideas, but it can also be detrimental. Sometimes you'll find yourself trapped in ideas you found in your inspiration rather than coming up with your own thoughts. If you think that's the case for you, consider working on sketches first, then looking for inspiration and doing other rounds of sketches. This is a smart method if you want to get the best of both worlds, because this way you can see what you came up with on your own and then you can see what you came up with the ones "inspired". One important reason to look for inspiration first is, if you're working with a client, you may want to create a mood board with visually similar illustrations to show them the direction you have in mind. This way you can make sure the client is on board with the direction before you start. Otherwise, a lot of time can be wasted working on ideas and comps the clients won't like because they didn't like the style to begin with. I'm going to go here onto some of my favorite sites as I mentioned and the first one is Dribbble. Of course, on all of these sites, you can follow me at Jon Brommet. But if we just go over here to the "Search" and we want to try and look up something and let's go with skull this time. From here you can see the popular or you can see the most recent and you can scroll through here and you'll definitely going to be able to find a ton of inspiration. There's some really great pieces of art here by very talented artists, basically some of the best in the business. Dribbble's probably my favorite. If you're able to look at all these different inspiration sources and not be inspired, it'd be kind of amazing. See, even scrolling through here, I found this illustration by Nick Slater. Later in my video, I try sketching and I sketched before I film this, so this is a good point of how I've seen this exact illustration so I didn't want to use this exact idea, especially because Nick's such a talented artist. I don't want to try and recreate something that he did already so well. If you can't find something great on Dribbble, which I would find very unlikely, then of course you can head over to Instagram. The problem with Instagram is that its Search feature doesn't work so well. For example, let's just say that I type in "cat illustration". Luckily, there actually are some posts, but let's go ahead and click those hashtags. In this case, it's actually working pretty well, but a lot of times what you'll find is things like this. I don't even know if there's a cat in that image. A lot of times you're going to find, see, there's a raccoon. You might find pictures of girls taking selfies. Because we're so specific though, it's going to be a lot more illustration. Whereas if you just typed in "cat" and we went to that hashtag, of course, we're going to find a plethora of different ideas and different looks, whereas on Dribbble or Behance if you type in "cat", you're specifically only going to get illustrations and vector artwork, you're not going to get photographs. Instagram's not the greatest for everything, but it is awesome for certain things, especially something that's lesser known to the general population. If you type a monoline, you're going to get a lot of what you're looking for because this is a term that only graphic designers and illustrators, and artists and things of that nature know of. You're not going to probably find very many selfies. That's one thing about Instagram. Behance is just a totally different beast. It's owned by Adobe. It's a really great website, but it's more of a portfolio website. So when someone posts to it, they post a lot of things. It becomes a nice detailed page and a portfolio. So sometimes I find it isn't updated as often. But we can do the same thing here and we'll type in "skull" this time, and we'll hit "Enter" and you're going to find a wide variety of different illustrations. But some of them are going to be definitely more complex then a little different. But you're going to also find different artists, different styles, and more inspiration on this site. You can see some of them are really different from the stuff you're going to get on Dribbble. For whatever reason, Dribbble has a lot of web designers and really simple vector artwork. Behance you're going to find some more of these really complex, really detailed artwork. So it's really nice to get a bit of everything because having inspiration from all different artists and all different styles is really going to probably motivated you to come up with something unique and interesting. The last one I want to talk about is Pinterest. Truthfully, I don't really use it much for my own promotion, but it is good for finding inspiration. Even if you can't find inspiration on it, which definitely happens to me, it's still good for keeping track of everything. So if we type in "cat illustration", you're going to find lots of different ideas here. But one of the better things about Pinterest is if I go back to Dribbble and lets say, I click on this. Now the problem is I have got this little Pinterest button over here that I've added to Safari, I think you can get it for most major browsers. So if I click it, sometimes it won't be here, but luckily it's right there, I click "Save", and then now I can pick which board it goes in. The great thing about that is if I don't want to keep it on my computer, if you're running low on space or whatever, you want to be able to refer to it easily, you can put it on Pinterest and you don't have to worry about saving it to your desktop. Now knowing these sites, especially something like Dribbble, which you may not have been familiar with, you've probably heard Instagram before, but with Dribbble and other sites like that with Behance and things, you should be able to find lots of really good inspiration. So hopefully you're going to do that now, follow along with the class and get ready to start sketching. 6. Drawings Tips - Breaking Your Subject Into Shapes: If you've been illustrating for a while or drawing for a long time, chances are you probably already know this or do it automatically. But there's definitely a lot of artists out there that don't do it and even I forget to do it a lot of the time. It's something I'm trying to remind myself to do and the more I draw animals, the more I draw things that are interesting to me and I want them to be realistic. The more useful this really is to me. Although this method is extremely useful for all methods of drawing, it's particularly useful for monoline or geometric art. Generally, different artists will approach drawing in different ways based on how they learned to draw and what they feel works best for them. Although I think it's totally fine to draw however you're comfortable, breaking the thing you are drawing into shapes is extremely useful. One of the most difficult aspects to drawing is getting the proportions right. For example, if you draw a portrait of a woman and you started with the eyes by the time you finish the head, you might start finding it doesn't look like the source and you weren't able to visualize how certain elements fit in, in comparison to others. This is where this method becomes handy. Let me show you some tips on drawing a cat easier by breaking it down into elements. This class is designed for an intermediate. I'm going to assume that you have some knowledge of how to use Adobe Illustrator. Because of that, I'm not going to explain all the tools really well, but you should be able to follow along even if you're not familiar. I'm going to use the ellipse tool first of all, and what we want to do is we want to try and break this cat down into these shapes. The first is the overall shape of the head. As you can see, it's basically just an oval. I'm going make that pink and I'm going to make that the outline. Hopefully you can see that nice and strongly. Let's zoom in much closer. That's the basic outline of the whole head. Again, I'm not trying to get every line perfect, but the idea is just to figure out how everything fits together. If we got the eye there and we have the eye here. Then what we want to try and figure out is basically I don't want to trace this, I want to draw it from scratch. If we put an eye here, an eye here, and an eye here. This shows me that the overall head, if I'm starting with the eyes, should basically be five eyes wide. Or if I were to draw an oval and then I draw five circles in the center, then I know that my two eyes are basically properly proportion to the size of the head. I think that's something that's going to be really useful for you if you're new to illustrating. Another thing that's interesting is that if we take this circle down here from the eye, it's almost a full circle down, full eye width down to the nose. Again, that's another useful thing to pay attention to. Another thing we can do here is try and break this down into a shape. I'm drawing a rectangle. I'm simply going to rotate it by holding Shift, grabbing the Pen tool, which is P on my keyboard, I'm just going to hover over this anchor and hit "Minus". Again, I know if you're new to Illustrator I might be moving a little quick for you, but it's more important that I just show how to break these steps down and make it a little more obvious. Another thing we can see is that this bridge of the nose is a bit of a rectangle. Whether you are going to fill that in or use that in your illustration or not, that's up to you. Let's get the stroke the same for everything here. Then another thing we have is these cheeks, which are basically two circles, there's one, there's another and we've got the chin, which is basically a big oval. This is going to look complicated, but this is the basis of how you're going to break down a monoline illustration. The only difference is you don't want to trace from an image, you want to create your own. But this is still really useful if we're trying to figure out how to actually use the correct proportions. Of course up here I'm just going to drag. All I did to copy it is I clicked on my shape, I held Alt and I let go of it somewhere else to paste it. From here we're just going to scale this up, put this over here, this kind of thing. But that gives you the basic idea of a triangle. It's maybe a bit more over here. This is another thing to pay attention to is that this point of the ear doesn't quite but pretty close falls to the center of the eye. If you were to draw that point of the ear at the center of the eye, you would have a pretty close proportion. Then you can try and figure out the space of where this ends. It'll depend on how perfect your geometry is going to be. But again, doing this is going to help you a better illustrator no matter what you're drawing. It'll help you break things down and you don't have to do it like this on the computer where you're literally breaking it down into shapes like I'm doing. I'm just showing you the example in case you can't visualize it. But the idea is that when you're drawing something, you're doing this in your mind anyway. You're looking at it, you're breaking it down into shapes, whether you're actually doing it literally or just in your brain. Another thing we've got here is these cheekbones and that's the basic idea of a cat. If I click ''hold Alt" drag these over, and then I'm going to mirror it. Then let's just make it all the same thickness. Those are the basic shapes to make your cat. If we get rid of that, even at the most basic form, which isn't so pretty looking, you can still tell that that's a cat. You can see right away what you're drawing. Now that you're going to start illustrating your cat. I want you to do the exact same idea and I want you to be able to sketch it knowing how things fit together and knowing the shapes that the cat's face are made out of. Do the same idea if you drawing bodies, the same idea if you're drawing anything, the skull and so on and so forth. I think it'll really help improve you as an artist if it's not something you were familiar with beforehand. 7. Sketching a Cat: Before we start sketching our cat, what I want to tell you is that I've already presketched a whole bunch of these in my sketchbook as you'll see. The idea there is that if I were to feel myself actually drawing all of these sketches, it would take a long time, and it might be boring for you. What I've done is I've predrawn a whole bunch of ideas. The main reason for that is because, it doesn't come that easily for me to actually come up with all these ideas. Some of them took days, some of them I worked on for a few hours or I'd take a break. It's just not as easy to film that process. I want you to know that it's unrealistic really, for me to come up with a really great illustration that i'm proud of in ten minutes on cameras, just not going to actually happen. Before you start sketching, what I do want you to do, is to try and basically pick a goal. I want you to have a sketch number of a goal, that's going to be different to you, different to each person. But a good starting point might be say, 15. The idea is that you're going to try out 15 different options and 15 different ideas before you actually settle on which one you're going to actualize, and bringing it into the computer. Sometimes you'll actually hit it right on the first one. You'll know it's perfect, but I still recommend going that extra 14, going whatever that extra goal is, because you never know if you're actually going to get something that's even better than you had originally. But if you do 15, 20 whatever it is, and you still go back to that original sketch, that's okay. At least now you know for sure that's your best idea. This eagle that you're seeing that's taken up a lot of my sketchbook. I was actually in hide, but it was just for a different logo. It's not related to this class, but I like to obviously use my sketchbook and fill up all the pages that I can. This is my first sketch is very loose, very rough scary. You can see that I added in a little too much detail, I tried adding in these highlights here too, around the cat's face and things like that. What I found is, the more detail you add it and made it look older and made it look scarier, just didn't look as good. Don't make it cuter, younger, nicer looking. I took out detail. That's what this made me realize. You can keep it simple, and that's actually going to make the icon or the illustration a little more and eye-catching. Over here, I could drew in these patterns in the far, and that made it to look, to me a little bit better. This is definitely a little more of a cartoon approach to join the cat, which I don't necessarily always do cartoon style, but it worked really well. You'd see I've played around , the idea is just put down as many ideas on the paper. I had the idea of a mouse tail coming out of the mouth. I had this nine lives idea or mouse sitting on top of the cat head. Then over on this page too. Again, trying to ignore the skills for now, we'll get to that in the next video. But I had ideas that of the cat sleeping and dreaming of dead mice, am doing that here in a little bit more of acute position or on its side, a big fat cat, after that I've got what the legs, all sprawled out in different directions. Just experimenting with different angles and different ways of approaching, and illustrating it. But what I ended up coming up with was this idea. It may look like I did it fast, but I jump around my drawings so. This was actually blank. I drew all this, and then at some point I jump back in here, just to fill up the space. That ended up being the idea that I like the best. As I said, I just actually took a picture of that, and that's what i'm using to do my vector artwork. But I at least want to just draw it here one more time, just to give you an idea of at least how I approached drawing a cat, and how I've learned only by doing these shorter [inaudible] sketches, I haven't drawn cats before, really only a couple of times. I'll show you basically what my thought process is. Breaking it down as I showed you in the video and find inspiration, we figured out that a typical cat head is this oval shape. This is grid paper, so we can't do it perfectly, but it really doesn't need to. But let's just say that, that's our oval there or keeping it loose and rough. Basically we've got our oval here. Then what we want to do is, at this point we want to draw the eyes. If the eyes are centered, we've already got these center lines. I said before that we figured out that the eyes are roughly five apart. You see 1, 2, 3, 4, 5. That means that I've drawn these eyes a little too small. That's just a good way of trying to figure out proportions, and making sure that what you're drawing makes sense. If I make the eye bigger, that's closer, it could probably be much bigger than that. I'll just go like this. This is just me showing, how I figure out the positioning and things like that. Now that we know that this is roughly five wide, and happy with that, these become my eyes. I'm giving them a little more circular rather than realistic because it's a cartoon look. I don't need to worry about it being a flawless, but that's the idea of what I want there. From there we can figure out these ears that landing halfway. I want that height roughly the same. Because the geometric shape, and the the way that this illustration style was done. This doesn't need to be as perfect as I normally would make it. Normally, I want this to be really clean and really well done, so that when I go into actually illustrating my finished drawing, I have a good idea what i'm doing. I'm just going to add a little details, and basically run in that for. Even now I'M drawing a little maybe harder than what I need to add. The idea is just to get the rough end. Now we know that there's roughly a space, eye space between the eye and the nose again, because I want this to be a little more cartoony. That doesn't need to be perfect necessarily. We'll put in a little triangle there. If this is going to be our bottom of the table, then what we want to do is, we want to have these clause here and experiment with the size of them. I'll put in the details for the clause. We have this come back around. I'll draw on his long lines for the hair. That's the basic, at least of how i'm going to draw my cat. It's a cartoon version of it. I played around with having these details near the cheeks. I'm trying to keep the whiskers in there to sunlight because you have to have those for a cat. I try at least thought about drawing, and fish in different ways, but because of how small it is, because it's monoline and it's really simple. I basically need to draw that really typical basic fish maybe with an eye there, that really basic fish. I think that's okay. I think that's effective enough for what we're doing here. From that beyond that, we just really want that that fishbowl. Again, if my lines aren't perfect, that's. Then we're looking at it more flat. I'm thinking it's so maybe it doesn't need to have it round like that to make it more 3D. Then we'll just put in the, the typical iconic water, and again, you can stylize things more and more, but that's the basic idea of how I drew this. You can see I showed some more of the body, decide that was a bad idea. Thought it was cute or to have the paws on the desk. The cats are stretching to see the fish. That's the idea of how I came about drawing the cat. Hopefully that helps you get some ideas. Again, set the number of goal, maybe make it 15. That's a good one to start with. Try draws many cats as you can, and then you'll be able to have the best one, refine it a little bit or don't if you think it's pretty good and good enough to vectorize, and that's enough for drawing the cat. We'll go on to drawing the monster. 8. Sketching a Monster: Now that you've watched the video of drawing the cat, we're going to go about drawing our monster. Again, ignore this, this is for a logo design and I'm just using up my sketchbook. The idea here again is just trying to really just go crazy and draw everything you can think of. You can base it on a monster that you'd like already. I drew this on based on the Yeti and the old Claymation Rudolph. This guy, although I didn't intend to, looks a little bit too much like a minion and that's because I liked the Cyclops idea. It sounds like Mike Wazowski from Monsters Inc. There's that kind of the idea I played with here at my final line, but I wanted to make sure it didn't look like him, so I added the beard and the mustache and the big boots and the big snapback newer hat like I like. That's kind of the idea that I ended up going with. But you can see these different sort of rough ideas and joint lots or something really new to me because, I like to draw things that are a little bit more realistic and I like to think about what I'm drawing before I put it on paper. Drawing monsters really like just let your pencil do the work and you can turn off your brain almost to some degree and that's not something I'm used to. I don't doodle and I hear that that's a really good way to improve your drawing skills is doodling and having the ability to kind of just let your subconscious takeover rather than thinking out every move and even showing you this, I don't want you to see it because there's really bad ones like this. Really looks like a three-year-older art. Which is okay, but I don't even want you to see that really. I'm trying to teach myself that it's okay to draw bad art. Because I think that drawing bad art will actually make you a good artists and doodling and doing loose things without thinking about it is probably going to be beneficial as an artist. I know it is because I hear it from lots of great artists, so that's something that I'm going to work towards doing. But that's what I want you to do is I want you to turn off your brain and just draw, draw lots of eyes, draw no eyes, draw huge mouse, small mouse , big noses, no noses. The arms that are wavy, you know what I mean. Just try it and draw everything and piece them together. The cool thing about a monster's, if you'd like, the way the head is align or their legs and other just combine them, make your own. You can mismatch. The beauty is you don't have to worry about proportions. You don't have to worry about anything. You can just make your monster. I think that that's what makes drawing them really fun. Even though this is the first time I've done it, at least since I was a kid, I may actually go back to it a lot more. There's ideas here that I really like. I like this bad cat containment unit with the cat in the little prison and looking up the fish. I think that's funny, but I just didn't think it fit this class, so that's something I may do in the future. I ended up with this guy that was really simple. You can see I even put a note that says no arms. The idea was that I wanted it to be really circular and really straight forward. But what I found when I was drawing it is that the eye actually started to look like a nose and I didn't want it to just look like a characterization of a human. Where the eyes are above the hat I wanted you to know this is a Cyclops and you know, it's kind of a monster so I added in these straggly little arms that came in here and he was holding on the mustache. Just to show you the thought process, but this is really easy, but you just want to break it down into simple shapes because that's what we're going to do for illustration. This is our standard point. We just want a rough circle. It doesn't have to be perfect, just as kind of a loose circle here. Something like that. It's a little bit more oval, but that's okay, and then from there, we want to figure out where were we want our hat, so I want my hat maybe this far down the head, I'm going to draw that brim. Again, a lot of the mono line stuff that I'm doing is really flat. Like it's basically a camera looking directly at. It doesn't have a lot of depth or 3-D, but that's just the style that I like so you don't have to feel that you need to do that. Now I'm drawing the panels with a hat coming down and that means that these should land here. I like the idea of putting in my little JB Logo, smarter the hat. Then the idea is I like that little hat is so low on its head that you can only see part of the eye, and then mustaches are always fun and funny to draw. If we do something like that and a little mouth, but this is a basically all I was doing. There's not a lot of deep thought or worrying about positions and things like that, but it's just goofing around. I drew these big tongue on the shoes. Let it coming in on angles, I get a lot of these things are really strong shapes. The mustache is that one of the only part that's really free. The rest of it are circles and all those and squares and obvious stuff like that. Boots like this and again, what I did is I actually just sketch this in to do the vector illustration. I'm showing you what my thought process is and here I like the idea of those mickey mouse hands and the the stringy arms coming around. The other important thing is that your illustration flows and makes sense. Because he's out these little stringy small legs, it made sense to me to make his arms follow that same looseness. But again, when I'm drawing normally I want this to be a lot cleaner and I want to be able to vectorize it really easily. But in this case, because everything's sets, geometric shapes, it's just really easy to vectorize this without even really using your sketch if you didn't want to. But that's the basis of how I drew my monster and so for the last one, I will show you how I drew my skull. 9. Sketching a Skull: So when it came to drawing my skull, I actually struggled with this one more than the others. The cat came in pretty quick as far as I was thinking of things that likes to kill, and fish and birds, and things of that nature. The monster, I just like the cute big, fat cyclops with the hat. Both those ideas came pretty quick. I didn't have to do a lot of sketching. The skull actually took me longer, and I think the reason for that is because I've drawn so many skulls that I'm at a point now where I want it to be a little more unique rather than just be a flat skull. So I tried this idea at first of just changing the eyes instead of just the simple circle, try to add some arms and legs, tried a skull, a snake. These things have all been done in various forms. I also tried doing some more little stuff, looking up famous skulls as in the traditional New England tombstone where it's got the skull and the wings and stuff like that. Seems a little more but didn't really fit the theme of this class. Same idea with the Blackbeard's flag, where he had this skull that has these horns and an hourglass, and a spear that's hitting a heart. Not in this layout, but basically I was using those pieces. Again a little two more, but so I experimented with lots of different things. Basically, I looked up as much inspiration as I could. Then I did the dead skulls, skulls with birds and flowers. I did this which I actually think is really cool. I may work on this. I just didn't think it would work as well for Monoline. That was a big happy face cut in half and a skull inside it. I think that needs to be filled in nice yellow, and it's not a look I'm going for for this class. This one I really was stuck on for a little while and this was one of the first ones that I drew and I went all around the page after that. I like the idea, the pencil going through it and the micron going through it, and it's like an artist skull. This idea has been done, I believe, or similar, and same idea with a pencil going through the skull vertically. I like that. Definitely have seen that for sure before. So I added in a snake, which I thought was a little more unique. I haven't seen the snake wrapping around a pencil, but I've also seen lots of snakes and skulls. So I wanted to push things a little further. I thought this TV skull was really cool, but again, that it maybe just didn't fit the theme of this class and the look of the cute things. So you can see I drew out a lot of skulls. Again, I just experiment to try different things. I combined a butterfly with it. I redrew that skull I was talking about before, but I added the spinning beach ball for Mac and a little mouse pointer. I made a list of things because my thought was, when I'm drawing, I like to use a pencil. I like to use a micron and I use the computer. Those are my tools for making art. So my thought was, well, maybe I can put in something that represents the computer. One of the ideas I came up with was the command symbol that they use a lot on the Mac. So I experimented with all these different things. One of the things I liked was the idea of having this frame, that is the command symbol but lot of people may not realize and think it's just a frame of the artwork. I played around with the pencil and micron going through that again, and then I tried all different things with USB and having a battery icon be the mouth and all these different ideas, some which I may go back to. One that I finally decided it was a little bit different and unique. At least for me, was putting the skull on an angle so you're seeing more of the side profile. Having one pencil go through it, using the command and then adding a little bird on top, because I'm a big fan of birds. I like drawing them and I think they're fun. Then from there I just thought, well, it doesn't have a lot of balance and symmetry. I do like that. So what if I added another one to this side so it all flowed together? That's what I did right there. So it's pretty straight forward. The idea for me anyway, was basically to draw a big rectangle, something like this. You have those loops coming out there. Then the idea was to have these skulls. So if you're looking at this is roughly centered, which not quite but close enough. Then I want to have a pencil and micron line up there. So what I was thinking here is you basically have this big oval and then you have this square come down that wraps up to it. Another big oval square comes down that wraps up to it. That was my idea there, so we get a little bit closer so it's a little easier to see. That's the basic idea. What I wanted to be able to do is have you see a little bit of the far eye, have you see the full eye that's closer. Have a bit of that nose in there and maybe some teeth kind of thing. Then the idea, of course, these are very well proportioned but that the pencil would come through this eye and connect to here, and micron through this eye, connect there. Then I have these birds, which again are not lined up very well. They would flow here. The idea for the bird is when I was drawing over here is like this really clean bird. The idea was that if I drew a line like this, this is based off of some stuff I've seen of Charlie Harper's whose a great illustrator that's now passed away. We draw the bird head here, and connecting our lines is always nice, so we flow and that becomes the wing. Then we draw the chest which connects back up to there. Then this is our wing here. I will bring this like that, certainly add in a little eye and then we've got our foot. I like the idea that this foot was behind the skull, so one's in front, one's behind. I just didn't like that line connecting through splitting the face in half. So there is basically the idea for the bird which I drew here. So once I had the rough idea here, I didn't need to really refine it here because I knew that this was what I was thinking. That's basically how I got to all three of my sketches and my thought process behind them. If you have any more questions about this, please definitely ask in the discussion or send me an e-mail. I'll be happy to answer anything that I might have grazed over. You don't have to be a great artist to do this class or to do this kind of thing. Just try and work with geometric shapes. You may actually see the world really differently if you start to look at how everything is built, because everything around you is essentially made up of the ellipse: the circle, the square, the rectangle, triangle, those kind of shapes, is basically everything around you. You can break it down into that kind of thing. So I hope you found this interesting, at least this part, and we are going to get digital. See you in a second. 10. Vectorizing a Cat - Part 1: To start this off, what I'm going to do is I'm going to draw the cat, and then from there I'm actually in a time-lapse the monster and the skulls, and the reason for that is most of the ideas that I'm going to use in drawing the cat, I'm going to use in drawing the monster and the skulls. It'd be really repetitive. Just to show you three classes or three videos in a row with the same information essentially. I'll time-lapse both of those so you can really see how they're done, and if you have any questions, you of course can post them the discussion or contact me however you want to. I'm very accessible and I'll help you in any way with any questions that you have. We can see, what I've done over here is I've taken a photo of my three sketches, and I've simply cropped them in the newest Illustrator. That's really easy. You can just use the Crop Tool. In older versions of the Illustrator, you can just draw a box over them and then mask them out, and then the other little tip is I have my layers right here. What I've actually done, if I double-click that layer, I've selected ''Template'' and ''Dim images'' to 50 percent. There's reasons for that, the convenience of it. Let me show you both examples. Let me just copy this cat here, and I'll put it on my mono-line layer. This is what it looks like now. If you haven't done this before, you might just dim it there and then draw over top of it. Now, the inconvenience of this is if I actually wanted to go into wire-frame at any point, if my artwork gets a little complicated, you can see if I go into wire-frame here, this is just a rectangle, which doesn't do me a lot of good. I can't really see if my lines are working. However, on my sketches layer, which I've put as a template when I go into wire-frame, I can still see my sketch. That's really useful when you're drawing directly over your sketch, because using the wire-frame mode is very useful just to check your work and make sure that everything looks good. Now, the only thing I'm going to do is normally what I would do, of course, is I would bring this sketch over here. I'd centered in the middle and then I would start drawing on top of it. But I'm not going to do that in this and that's only because it took me some time to figure out how to lay it out and make all the shapes fit nicely. I've already done all that work. If I do it again over here and I don't do it quite the exact same, then you might call me on and go, ''Wow, that doesn't look exactly like that.'' What I'm actually going to do is I'm essentially going to recreate this exact vector that I have here, and that way at least you can see how I did it, and basically, the tools that I used and the process I use to get there that I may try and skip some stuff because, again, I'm assuming that you are an intermediate and they have some experience. But again, if you have questions, just ask. To get started, I'm going to unlock my finished art layer and I'm going to copy this. I'm going to go to my model line layer and I'm just going to paste it, and I'm going to put it in the center. Now, I've set up my art board as 1920 pixels by 1080 pixels, and the reason why is, because that is the size of 10 ADP resolution, which is what I'm using most of my illustration for this class, and so you can set it up to whatever you want it. In Adobe Illustrator, it's not as important because your artworks actually vector. You can easily just go in and change the size afterwards. That's why I'm going to skip all of that stuff. Again, for change, I'm going to assume that are an immediate, usually I go on and on about how to set things up and use every tool. But I'm going to try and skip some of that today. Now, I do have my smart guides on, as you can see, if I hover over things, I'm getting nice paths and stuff. Smart guides are really useful, I use them all the time, and you can turn them on by having a check mark here or just hitting ''Command U'', that's ''Control U'' on a PC. Smart guides are super useful, but because I don't want them to constantly be snapping to this artwork, I want to pretend like this artwork is an extremely well-done sketch. I'm actually going to rasterize this image. The equality and things that I rasterize it as not very important. Basically, I want this to be in the background, not important. I do want this to be my sketch later because it's very useful. I'm going to just ''Command X'', ''Control X'' on PC. Unlock sketches ''Command F'', which pastes it in place, and lock that backup. We don't need that anymore. Now here I can draw over top of this artwork, and as I said before, if I go into wire frame mode, which is ''Command Y'', ''Control Y'' on PC, it's still there. That's going to be useful. It may not even be as useful for this particular illustration because it's so simple anyway, but when you're growing a really complicated illustration, that's going to save you a lot of time and effort. Depending on where you started is really just going to be on your tastes and what you want to do, but I'm going to go ahead and start with the eyes. I'm using my ''Ellipse Tool'', and I'm just going to hold ''Option and Shift,'' and drag that out. Ellipse Tool is L on your keyboard. You can see it highlighted over here as well, and going to Shift X, that's going to turn it to a stroke for me. It's going to swap, the fill with the stroke, and I'm going to put it to 3.5 points because that is how I've set up my artwork, and it changes to magenta, and the reason for that is I just think it stands out really well. Normally, my artwork isn't going to end up pink. I find that using a pink line stands out really well against what I'm drawing. From there, I'm going to draw another circle, and I'm just trying to hit basically roughly the dead center of what I had before, and then the other important thing here is to try and keep in mind is, to try and get your lines to line up really nicely. In wire frame I want basically these lines to touch, and then I know that there's a nice clean blend here. This line hits this line. This thickness right here is about the same as everywhere else. I think that just makes them nicer illustration. From there, I'm going ''Command C'' and ''Command F'', so that's pasting in place. That's copying and pasting in place, and then I've got this line here. I'll wiggle it up a little bit. I moved a tiny bit and then we're going to blow it up a little, and basically what I did is using my ''Direct Selection Tool'' that's ''A'' on the keyboard. I'm going to select both these points. Hit ''Delete'', and then over here on stroke, I'm going around the cap, and around the joint. Again for your stroke, you can just make sure that it's checked here. Some of the stuff is pretty basic for intermediate users of Adobe Illustrator, but I do want it to be a little bit accessible for all skill levels. I am going to say a little bit of that boring stuff as well. From here, if we're really happy with this, would make sure it's all 3.5. point. That's great. I am going to grab these both and group them. ''Command G''. I'm not going to group this and I'll show you why. Clicking and now am holding ''Shift and Option'' and just letting go right here, and that is going to duplicate it right there. Now, what we going to need is our Reflect tool, which is right here, so you would hit that, hit ''Enter'', and you can reflect vertically. That's going do the trick. I also have a quick key setup, which I just hit ''F2'' and it does it for me. It's really fast. It's basically I just set up an action, and if you want to learn more about that, definitely check out my Actions Class. It'll save you a lot of time with a lot of this tedious stuff. Now that we've got these highlights in the exact same spot, the reason why I didn't copy the highlight, the highlight would have been this way when I mirrored it. I wanted to both to have a highlight in the same direction. I'm already happy with the eyes pretty straightforward. Now, we're going to get into the nose. I'm just drawing a square, and use my pen tool, and I'm just going to click this point right here, which will delete it pretty straight forward or bring this down here and a stretch this again using my ''Direct Selection Tool'', and then you can see that this isn't quite following this line. I'm just bringing it over. Just trying and count the amount of times you move it over with your arrows, so 1, 2, 3 ,4 is what I did. That way you know they're fairly even, you can bring this down a little more, and with any newer version of Adobe Illustrator, when you're selecting these, you'll see these little circles on the corners. If we just click those and drag and it'll nicely round our corners for us, and we've got a nice rounded edge. Now, what I'm going to do is using my pen tool, I'm going to draw on a line here, holding ''Shift'' to make sure that it is nice and flat, and that'll give us basically an anchor to line all these things up to. These Smart Guides are really useful. If you didn't have your Smart Guides on when you clicked, you wouldn't know where you're heading. But with Smart Guides, it's exactly snapping to that point. I click there, I hold ''Shift'', and I snap it to that point, and now I know that this line is exactly from one point to the next that I want it to line up to. Using ''Smart Guides'' have really going to improve your artwork and make sure that you have really precise, clean art. I'm just going to skip ahead a little bit because I'm going to draw a couple ovals and that's a little boring to watch. I'm going to draw that cat just using the ellipse tool, the cat head, and the paws. Now, that I have basically all the ellipses drawn out because there's no point you watching how I draw an ellipse over and over and over, we can go ahead and select all this and make sure that this is select aligned to selection, and we're just going to align that to the center so we know everything is nice and christen where I wants to be. Make sure if what happens if these pause aren't grouped, I'm going to un-group them for a second. Same with the eyes, and I am going to show you guys what happens. Now, if we do this, everything jumps to the center, so that's not what you want. Just make sure that you select your eyes like so, including those points aren't grouped. That's ''Command G'' or ''Control G'' on a PC of the same with the paws, and now when we do this, we know that everything is exactly centered, which is good for a nice clean artwork. 11. Vectorizing a Cat - Part 2: I'm just going to jump over here and I will show you the waves. I've drawn my ellipse here. Using Smart Guides, if I simply hold ''Option'', and hold ''Shift'', that's all done at PC, you'll see that it's snaps to that point. These two points are exactly lined up. We'll just do it again here and we'll do it again here, and one more time. This is a really easy, convenient way to make it. You can go here and make sure that they are aligned center or vertically, but they should be perfect. I'm going to group them and then if I double-click on this line and basically go into a little in group here. Using my ''Direct Selection tool'', I'm going to grab all these top points and just hit ''Delete''. Now we just want to make sure that our cap is rounder, which it is, so that gives it that nice round corner right there. Then what we can do is just chop it right there. At any point when you're creating your artwork, if you're going to be destructive with it, which I'm going to start being, you can simply grab your piece of artwork and using that option ''Shift'', just drag it off so that you have the editable piece somewhere for you in the future. Sometimes what I'll do is if I know that I'm going to be destroying this art soon, I'll grab all of it and I'll drag it down there so that I have it later on if I ever need to go back and edit something or if I've made a mistake. I like to do it in this case a little bit disruptive because it makes a really clean nice art. Because these are grouped, but they're not one continuous line like this point is not connected to this point, if we use our ''Direct Selection Tool'' and I have it over that point, over here at anchor you see connects selected endpoints. By clicking that now, this is one point that it's all connected to. This is one of those little things that's not very important, but it's the difference of having really clean vector art versus not. We're going to do that with all of these points. This is one nice line and I'll keep everything together. Especially if you're sending this artwork to a client that's going to be moving it around and messing with it, you want to make everything finalized so that they can't wreck anything that you would spend a lot of time creating. Now what we want to do is, I'm going to make sure that this line is selected. I'm going to grab my pen tool and I'm going to hover over to that intersect point. What I'm going to do is just click and that puts a line or point exactly where this line from the fishbowl hits. I'll repeat that process over here. Using the ''Direct Selection Tool'', I will just click this point, hit ''Delete'' and click this point over here and hit ''Delete''. You shouldn't see any kind of overlap or anything happening here because these should connect exactly. As long as they are both the same width, which they should be up here is 3.5, you shouldn't see any kind of hump or anything. It should be nice and clean and flawless for you. I'm going to select the whole thing and we've got 3.5 width there. That is good. We want to keep that at that point. We're going to repeat this same process for the head. Essentially what we want to do is, with that selected, we want to find where that hits that paw, draw a point. On this side where it hits the paw, draw a point. We've already got at a point down here, so I'll just select it with the ''Direct Selection Tool'', hit ''Delete''. Now our head nicely ends at these paws. We're going to do the same thing with the paws. Clicking them to make sure they're selected, we'll find that intersect, intersect, ''Delete''. Over here, repeat the same process. Intersect, intersect. You have to make sure that you see a little word that says 'intersect', otherwise you might be missing it just slightly. Our artwork is getting really clean, really fast. We're going to repeat it one more time with the actual fish paw and we'll delete that point. Now we can just jump around. Sometimes I'm a little bit, almost like an ADD thing, I go from one point to the next to draw the next thing. There might not be a lot of sense of how I'm approaching it, but that's okay. I don't think that matters. We're using the pen tool. We want to make sure that we are on this path. We'll click here and we'll extend it to around there. Then we'll do it again. You may want to connect with your cat head. I think that's okay. It's not really important. At least you know that this point is heading to that point exactly. That's not a bad way for creating nice clean artwork. The only issue it's going to cause is when we go to mirror things, but that's okay. Grabbing both these lines which connects to that head, I'm going to hit ''Group'', drag it over, and then I'm going to rotate it and I'm going to drag it here until it snaps exactly in place. If I double-click there, I don't want two cat heads, so I'm going to delete these points. This one isn't technically connected, but it is at that exact point. I just want to make sure we group all of these so that they don't go moving all funny on us. At this point, this should all seem fairly natural and hopefully you're understanding everything I'm doing and why I'm doing it the way I do and you're learning some things about how to reflect art and how to make your artwork as clean as possible. I'm going to clean that up in a second here. Let's group those two lines. Make sure everything is exactly lined up. Now I'll go in here, grab that point and make sure it's snaps at the intersect. This is the kind of stuff that a less experienced designer doesn't have the eye or even the care to go through and make sure everything is exactly lined up. That's what I like to do because that can definitely separate you from someone with less experience. With drawing the paws here, what I did is, I would click this path and draw it up here and then I'm simply going to hit the ''Shift Alt'' that I've told you a bunch of times now. I'm going to do one more thing. I'm going to draw one that snaps to this edge of the paw and one that snaps to this edge of the paw. If I select all five of these lines and I go over here, and make sure again that you're on a line of selection, and I hit ''Horizontal Distribute Center'', what that's going to do is make sure that these paws are evenly spaced, these little lines. They are perfectly evenly spaced from the edge of the paw. Once you've got that, we can go ahead and group those and w can drag that over, snap it on to this other paw. I'm going to delete it, paste in place. We want to group those paws so they don't move. I like to make sure that as you can tell 100 times that everything is perfectly aligned to the center because we're getting very close now. Drawing this little box, we're going to come over here and make sure that we click that path. We're going to maybe refine that a little bit. That is lined up almost perfectly. Very close. Let's bring it over to the intersect. Then we're going to zoom in nice and close over here, grab this point. Make sure we get that intersect right there. That point's a little higher than it was the first time, but I think that's not a big deal. Again, we're going to select our outer fishbowl. Now, you can see what's happening here is because this rectangle is actually above, I'm getting this point where it's not actually clicking where I wanted to. Let's delete that and what will happen is I'll hit this fishbowl and I can either bring it to the front, but that's not really necessary. I'm just going to double-click it so I'm in its group. Now, if I draw this intersect, it will actually draw on the line. As we've done a million times before I will delete that. I'm going to bring this till it snaps, very close to being done now. Again, our fish is pretty straight forward. We're going to draw an ellipse, something around these lines and then using the pen tool, I'm going to hold option and click here. It's basically just getting rid of those guides so it makes a nice point that's really useful for drawing eyes as well. Then we're going to drag it over here until it connects. We're going to use another ellipse. This time we're going use our Pathfinder to divide it and group it, delete that. Also if Pathfinder is not something that you're familiar with, that is one of the most useful parts of Adobe Illustrator so make sure that you learn it essentially. I've actually of course taught a class on that as well if you'd like to check that out. I'll make sure that point lines up. There's a few ways to draw this lines that could maybe match to this curve, they can match. It doesn't make a lot of sense sometimes to match curves as much as you can but I think I'm just going to use the pen tool for this guy. Stretch it out there and bring this one down. Let's make sure that that's lined up to that intersect, very close, but it wasn't quite. Remember this line is selected and we need to put a point at that intersect, delete that. As you can see that, I'm getting a little bump there that's because the stroke size changed. That's not a big deal, I'm going to make it the same size in a minute. Definitely, if you have any questions or if I skip over anything, please let me know. I'm happy to answer anything. I know that if you're a beginner, I am definitely going fast. A lot of the times in my other classes I haven't gone this quick but sometimes it works out poorly for the people that have a little more experience because they get frustrated that I'm explaining everything 50 times, which I still have done a bit in this. Once everything is 3.5 then I'll change, you won't see that little hump anymore. The last thing to draw is our cat ears. Again, I just wanted to use the pen tool. I could use an ellipse, so you just angle it over, but sometimes you're just not going to get that same curve that you want. I didn't necessarily need these to be identical to each other. I'm just drawing it like that, then I'm going to click and drag this down so that that line matches. Delete those and now using our cat head to double-click on, make sure it's selected too, intersect an extra point that we can delete. Then we just want to draw another line. I'm going to bring that line up here. Now, sometimes when you're shifting these things. I'm not going to want to line up flawlessly. Let's group these two lines, select this middle one and we'll hit this vertical distribute center so we know that they're evenly spaced. Now, if we go back and we grab this point, drag it over, put it back until it clicks, and then you know that is perfectly lined up. What's funny now is it looks like it did when I missed it. There we go, in a second. That is a finished cat ear now. We'll just mirror it. I just want to make sure that my lines didn't move when I grouped it. I'll get there. The last couple of touches are to go back into this layer. I see this, I made a mistake, I'm going to admit that. Essentially, what I did here is I deleted this probably before I should have. This is where you are going back and getting your overall, you can do that, but instead we are just going to ungroup it and grab this piece which is continuous. I know I didn't delete that and we're going to delete this. I need a little quick repair job here, drag that over, mirror it, bring it back till it snaps. We group these two, we can connect that point and now we've got that a little back. The reason why I'm doing this is because what I should've done is drawn both ears first, centered them. There we go, everything is centered. Now, that everything is center that's what I should go in here and get rid of my lines. We are basically done, lets just to select it all make sure it's all 3.5 points, which it is, we're going to make it all white and then I'm going to grab my fish. Let's ungroup these eyes for a moment. I grab my fish and my two eyes. I'm going to steal this green from here. Now, we just need to grab these two points and bring them to the top. You can just go to object, arrange, bring to front. We can use the Quick Keys for those if you know them. Now, if we hide our sketch, we have our finished artwork. It should be basically identical to the artwork up here that I've already created and it's based on using that sketch, so if I bringing that sketch back in. You can see pretty much the basis of it came from here, we shrink it down. Of course, as your vectorize the things, you definitely refining things and moving things around a little bit. But I did try and use my original sketch as the basis of most of the important stuff to try and get the proportions roughly to where I wanted to. Then I clean up the rest in Adobe Illustrator. I hope you guys found that tutorial interesting. Let's just bring this back here. Repeat that and we are done. Let's add a monoline design. I think that it's a really cool feature. I think it's a style that I definitely love drawing in and hopefully, even if you're not doing a monoline, hopefully I taught you a few things about how to line up your artwork and just make really clean Chris vector shapes. I hope you guys enjoyed it and let's go on to see some cool time-lapse videos. 12. Vectorizing a Monster - Time-Lapse: 13. Vectorizing a Skull - Time-Lapse: 14. Wrap-Up: So I want to thank you so much for taking the class. I hope you guys really enjoyed it and learned something from it. That's my cat. Say hello then, say hello. All right, so I really hope you guys enjoyed the class. Hopefully by now you have a little bit better of the ideas, sketching if it's not something you are familiar with about breaking these ideas and things that you see in the shapes to really help you be able to draw them a little more accurately with better proportions. Hopefully, I help to inspire a little bit of creativity and try and do something new they hadn't done before. Try a really fun, interesting illustration style. I think it's definitely fun, especially when you're beginning to try as many styles as you can in many different ways of executing an illustration, because you'll basically learn which parts you like best. You might take those all and put them in a little mixing pot with your own ideas and come up with your own style by doing those. Definitely helped you learn something. Make sure to review the class if you can. I'd love to see your project, but even if you don't get a chance to do that, again, I definitely hope you enjoyed the class. As always, you can find me on all social media at Jon Brommet, especially Instagram I'm most active on. If you go to my website, which is www.jonbrommet.com, you can see what I'm doing. You can check out my shop. I've got lots of cool pins, mugs, patches. The new era hat that I talked about and really proud of, lots of different stuff and I'm sure I have more stuff coming in the future. So with that being said, we'll see you next time and take care. All right. Let's do this. 15. A Message From Future Jon: Wait, one more thing, I'm adding this. This is future Jon Brommet talking to you. I hope you enjoyed the class that you just watched. Some of these classes have been recorded a few years ago. So I just wanted to give a little up to date on what I'm doing now. You can see that I've put out a ton of classes potentially from the class that you just watched. As you may have been watching one of my older classes. If you go over to my profile, you can click it somewhere on the skill share website or go to skillshare.com /Jon. Jon is spell just like that with no h, just J-O-N. You'll see here I've got things broken down in my newest classes. This may even look slightly different for you because I'm putting out classes once a month right now. I've got my most popular classes, illustration, efficiency in illustrator, Photoshop stuff, and then all of my other classes. Make sure that if it's not already selected, you click "See More" to see the rest of it. So many different classes. I hope you guys will be inspired to learn lots more and hopefully you're enjoying my classes and want to see more. If that's not enough, I'm @Johnbrommet on Instagram so you can check out my Instagram as well to know what I'm doing. I post all my new artwork there and of course let you know when I'm doing new Skillshare stuff. I've started a YouTube channel where I put short videos that are instructional. I obviously advertising in my Skillshare class, but short videos that I can't really put a whole-class out,I put here on YouTube. I even do have conversations with other teachers, like t [inaudible] , plan to do that kind of stuff more often. If you head over to johnbrown.com, I've newly updated my website. I have a digital shop or you can grab my procreate brushes or other things like that. On top of seeing that my different portfolio elements and things like that, I've also got a Etsy shop, which I'll click here and it would open this. So you can buy all of my pins and different art things that I've created. I will ship them to you from me. I've gotten them all produced here in my home and they look awesome and I know that they're cool. I just recently started a Threadless shop, which you could click here. There's About, Skillshare and Contact. Everything's linked from our website. This new Threadless shop has all my match that can be printed on demand on a really weirdly wild variety of things like, I don't know, let's just click one of these things here. It's going to open a t-shirt, but let's just say maybe instead of a t-shirt you wanted a duvet cover or shower curtains. Why wouldn't you want those things? I don't know. Anyway, I've got lots of different things going on so if you'd like what I'm doing and please check out more of that and I'll keep making more things. Thanks everyone.