Turn Sketches Into Vector Art in Adobe Illustrator on the iPad + SVG Cut File Guide | Mary Rose | Skillshare
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Turn Sketches Into Vector Art in Adobe Illustrator on the iPad + SVG Cut File Guide

teacher avatar Mary Rose, Illustrator & Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:59

    • 2.

      Class Project

      1:26

    • 3.

      Vector Basics

      2:39

    • 4.

      Getting Started

      10:14

    • 5.

      Pencil Tool

      4:35

    • 6.

      Blob Brush Tool

      8:17

    • 7.

      Vector Lineart

      13:06

    • 8.

      Lineart in Procreate

      7:04

    • 9.

      Vectorize

      10:34

    • 10.

      Cleaning Up

      6:59

    • 11.

      Thank You

      1:19

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About This Class

Learn to draw and create SVG cut files on the iPad!

Vector art is a powerful design tool because it allows you to create infinitely scaleable art, not beholden to canvas size or resolution. Vectors are great for commercial design like die casting, engraving, vinyl cutting, embroidery, and more!

In this class, you will learn how to use Adobe Illustrator on the iPad to create commercial-ready SVGs using two methods: drawing directly in the app and vectorizing raster art in the app. I’ve provided supporting materials like example sketches, lineart, and lesson activities so you can follow along with my entire process. Also included, is a printable guide for using the vectorization tool in the app, including advice for optimizing quality for commercial use.

This class is for all skill levels, previous digital art experience is a plus but unnecessary. All you need for this class is an iPad, an Apple pencil, and access to Adobe Illustrator on the iPad. You can apply these techniques to other vector programs but this class is best for those wanting to get started with this app.

Lesson Overview:

  • Discover what makes up a vector and how to use it
  • Explore the app and workflow
  • Learn techniques for a traditional drawing approach
  • Compare the methods of raster vs. vector linework
  • Utilize the vectorization tool and explore the settings
  • Finalize vector art and prepare for commercial production use

Don’t forget to download the resources provided: SVG guide, example sketches, and lesson activity sheets in the project and resources section.

Adobe Illustrator on the iPad version: 3.0

Meet Your Teacher

Teacher Profile Image

Mary Rose

Illustrator & Designer

Teacher

Hi, I'm Mary Rose! I'm a freelance illustrator, teacher, sewist, and all-around crafty person based in Portland, OR.

Since graduating with my degree in Graphic Design in 2018 I've worked as an in-house designer, freelance illustrator, and remote illustration instructor.

Teaching turned into an unexpected passion, utilizing my life-long love of learning and problem-solving.

When I'm not creating something, you can find me deep in a book (nonfiction or fantasy) with a mug of coffee and my cats on my lap. ?

See full profile

Level: All Levels

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Transcripts

1. Introduction: Do you like the idea of making vector art but feel like it's too rigid or complicated for your expressive hand-drawn style. Hi, I'm Mary Rose. This last year, I challenge myself to open my very own Etsy SVG shop to sell vector art as a fun experiment. In the past, I always felt like vector art was incompatible with my art styles as I like sketchy layer texture work. But then I tried to Adobe Illustrator on the iPad. And with the minimal workspace combined with the pressure sensitive Apple Pencil. The first time I actually started to draw in the app and get used to its features and functions. In this class, you will learn to draw and create vectors with a more traditional look and feel ready to be used in commercial or cutting machine application. We will start with a very quick overview of the app. Complete beginners are welcome, and then using the lesson activities as a guide to learn the tools and the sketches to get comfortable with them, we'll cover things like the pencil and brush features that help get that hand-drawn look and feel and make the program more comfortable. Traditional experience. I prefer to draw on paper. I will demonstrate how to turn clean raster art into vector r using the vectorization tool native to this app. I've also included my entire Procreate liner process so you can understand how to optimize my workflow for vectorization. Finally, the last step is cleaning up our vectors for commercial use. I'll show you how to check your work in cricket design space. So you know your clients will be happy. All you need for this class is the iPad, Apple pencil in, Illustrator on the iPad, downloaded and ready to go. Alright, let's get started. The next lesson. I'll cover what you can expect for your class project. 2. Class Project : Welcome back. The goal of this class is to get comfortable drawing directly inside of the app and to learn to vectorize our raster art into vector r that maintains our hand-drawn quality. The combination of these techniques produces reliable, easy to produce commercial ready SVGs for your projects. I simply want you to create an SVG from a sketch using either the drawing inside of the method or vectorizing arrest or sketch. You can follow along with me and use the provided sketches to end up with some cat vector art. Download the sketches and lesson activities from the project resource section. Use the provided is like a template to trace over in the vector program or simply use your own sketches. It's up to you. I've also included a written SVG guide that covers the techniques and settings for the vectorization feature inside of the app. You can use this while you're working or for future projects. When you're finished, remember to upload your project to the project gallery section. We all want to see your work and I'd love to give you some feedback. Upload a screenshot, or export a PNG or JPEG, and make sure you show the before and after the sketch and finished vector. Alright, maybe in the next lesson we're all cover everything vectors. So you understand the difference between raster and vector art. 3. Vector Basics: So we're all starting out on the same page. Let's cover the basic information you need to know about vectors. What is the difference between a vector and raster image. Raster images use a rectangular grid made up of millions of assigned color blocks or pixels that make up an image. That's why when you zoom in on images, they become pixelated. You can see the building blocks. So you have to make sure you start with a large canvas and the correct resolution for the project. The scale restriction limits the applications of pixel-based art, but makes it easy to mimic a traditional style like drawing and painting. Since you are just changing the colors on the pixel grid. Vector graphics, on the other hand, are lines and curves connected by plotted points defined by mathematical formulas. Because there isn't a grid or set limit vectors can be scaled infinitely, making them great for billboard ART, large decals, commercial pattern design, and of course, vector-based cutting machine software. So how do vectors work? When multiple points are connected, we call this a path. A path only be opened or closed. So to create a solid shape, you need to connect the path to close it. E.g. an open path is just the line, while a circle is a closed path or shape, the points that connect the segments are called anchors. When you directly select an anchor, handles will appear on each side, which can be used to change the angle of the path segments it's connected to. There are two types of anchors, corner and smooth point. Smoke points are where both sides are connected in a smooth curve with the handles following along the path. Corner points are where the path abruptly changes direction like in a corner. You can toggle between these options and I'll show you that more later. I know this can feel odd or to mechanical for traditional artists, don't worry, the methods I cover in the following lessons let you draw first and think about how to fine tune the anchor points later. One last important element, the stroke. Stroke, is the outline of a path. When creating the color panel always gives you stroke and fill options. You can change them independently to be empty or filled. Alright? That should be everything you need to know about vector basics. Meet me in the next lesson for a quick overview of the app and how to get started. 4. Getting Started: Welcome back. This is what you should see when you first open the app. Not going to cover every feature, but I am going to show you everything you need to know to complete our project. You can create a new document or import a document down here. And up here you can choose the canvas size. Makes sure to choose letter. That's the size of a lesson activities, but this can be changed at any time. So create a new document. This is what you should see. Now, this app does use the Adobe Cloud service, so you can jump from desktop to your phone back into the iPad. So everything's saved in the Cloud. It's really nice to utilize the Adobe library feature that way and keep your assets close at hand. Just so you know, everything will be saved in the cloud. Alright, let's cover the settings first. That's this little gear icon up here. You want to hit app settings. I'm just going to walk you through mine. You can change which side the toolbar is on. It doesn't really matter. I have my program in dark mode. You can choose the light mode, whatever suits you. I do have Scale Strokes and Effects turned on. This is so my strokes will get bigger as I scale my objects. Automatically update the links. For the Apple pencil you want to turn on palm rejection. I find that helpful. And the double-tap is the button on the second-generation Apple pencil around here. It's just a tapping feature and you can decide what that does in the program. I wish there was an Erase option, but for now, de-select object or path is really useful. If you have my tabs with blue dots turn-on for you, but you might want to turn that off. And of course I allow my canvas to rotate. Blob brush. We'll come back to them. We cover that section. And I keep all of my units and points. Use the help feature to quickly look up tutorials or other Adobe resources. And the about section helps you find any of illustrators social links. All right, That's the settings. Let's start with importing the lesson activity for this section. On the left side, you have all of the tools, mostly for creating and adding things to the canvas. You want to use the place tool here. It looks like a picture. I'll use the files here to import the lesson for the Pen tool. If you're like mine, kind of puts it randomly in the middle of the canvas. I want to show you another feature real quick. Right here on the right side of the Canvas. Most of these tools act onto what you place on the canvas so it can modify what you do. We want to choose the Align, make sure that we have everything we imported selected and we can hit center and center. And now everything is right in the middle. This is especially useful if you chose a document or canvas size different from the lesson activity. That first tool on the left is the selection tool, the arrow, the image on the Canvas. You can use this tool to manipulate it in any way. But you might want to undo that and you can do that with the undo and redo arrows right here. The second arrow is the Direct Selection Tool or path tool. This shows you the anchor points, letting you select them individually, which gives you more control when you're editing your shapes. Before we get into the activity, let's cover some of the panels. On the right side, the layers panel works like any raster drawing program where the content is separated it and you can move elements forward and backward in space to create depth and keep order in the process, you can lock or uncheck the visibility of any layer. I'm going to lock the activity and add a new layer for the art. Let's cover the most basic tool, the Pen tool. You can find that third down on the left, the little pen. But before we get started, I wanted to make sure you check your color panel. The color panel is right here. You have two options at all times, the fill and the stroke. I'm going to make sure I have my stroke on with a eye-catching color like green. The pen tool is mainly used to placing connect points to make paths. When you close the path, you get a shape. With the pen tool, you can add or remove points and modify the shape you've created. I only typically use the pen tool when I'm refining my art at the end corner points. Do you remember those? To create the square? You just want to tap on one of the corners. Tap, tap, tap. Then close it by tapping the first one, and then you have a closed shape. Use the button to de-select. All right, points to create smooth points. Tap and drag the handles. Start anywhere you want to drag a little bit before you move on, tap and drag. Tap and drag. Tap and drag. And drag again. To use both corner and smooth points, you can easily combine the two to create any shape like this flower. I'm just going to tap, drag, tap and drag, tap. Dr. And so on. Enclose it out and you have a flower. But what do you do if the curve isn't following the sketch? Let's try it the regular way. Tap, drag, tap and drag, tap and drag tap. Do you see it's not really following the gray lines like we'd like it to. I can't get that sharp point. And it just kind of not going the direction we need it to. But first, I need to introduce to you the primary and secondary shortcut. I'm sure you've noticed this floating circle here. This is the primary and secondary shortcut. To use the primary shortcut, touch and hold, and you will see it expands. To use the secondary shortcut, simply move your finger to the outside and you'll see the circle is now filled. These are two different functions that will allow you to have more options when using the tools. Now we can attempt this example. So tap, drag, hold the primary shortcut. And what we're going to do is move these handles to go the direction where we want to be headed. So I'm letting go, tap, drag, tap drug, use the primary shortcut and move the handle towards the direction we want it to tab drag. You can modify the handles as you go. Zoom in to get a better picture. If the handles don't appear, simply tap on the anchor and then you can modify the handle. And there you have it. Here are some other pen tool tips for the primary and secondary shortcut, e.g. to move the anchor point along the path when drawing, enable the secondary shortcut, and then select the anchor you want to move. It will move along the path so you can edit it quickly. To add anchor points. Tap anywhere on the path to add a point with the pen tool. Convert a corner point to a curve point by double tapping on the points. These are some quick tips for using the pen tool. Use the property panel to modify and fine tune the stroke. Change the color and blending mode, or fine-tune the transformation property like the width, height, and rotation. To modify the relationships objects have with the canvas to each other, use the Precision menu. Here. On the Precision menu, you can turn off the grid, turn on Smart Guides, and change the color and add new guides. Notice when you use the selection tool on an object, this menu pops up down here called the Common Actions menu. It's pretty straightforward. It allows you to modify the opacity of the selected object. Change the stroke quickly. You can change the layer stacking order, and this only matters if you have multiple objects. It will change the layer order in which they are in front of each other. You can quickly move an object. Lock the object, unlock with the symbol. Here you can group multiple objects if they are selected. Duplicate, and delete. Some other features you might want to be aware of are the touch gestures shortcuts for a list of all the touch gestures shortcuts find them up here in the question mark on the touch bar and then choose view gestures. Here is the list of all of the gestures that you can utilize in this app. The most notably being undo, redo, and the rotate and pan and zoom. But makes sure to really look at the options that this program has to offer. You might be surprised. Alright, all of the basics have been covered up. Next, I'm going to walk you through my lesson activity for the pencil tool. See you there. 5. Pencil Tool: Alright, now we can finally get comfortable with the tool with more intuitive quality, the pencil, just like before, make sure you have imported the pencil tool lesson. So you're ready to go. Alright, right under the pen is the pencil. There are multiple options if you hold and select, but we just want the top one, the pencil. You can see that there are different types of pencils you can use. But I'm just going to use the thin one. The pencil is great for tracing defined sketches and making quick custom shapes like hair line thickness or large shapes. Pencil creates straight or curved segments that are connected by anchors. Just like the pen tool, you can tap to create a shape. Starting at the corners. When you close the path, it will automatically de-select and create a new path so you can keep drawing. Now for more hand-drawn experience, just drag and drop. My initial. Be careful if you tap away, this will just be a line segment. So double-tap with the Apple pencil to create a new path. If you hold while drawing in continue from that point you can create a corner point, e.g. I'm drawing and then I pause, and then I just keep drawing and complete the shape. There's a heart. The pencil has a feature called smoothing. Smoothing adds a mechanical quality of the lines that keeps them from looking too jagged or traditional. It also reduces the amount of anchor points. So this is why you might want to keep it somewhere mid-range so you can get that perfect amount of hand-drawn quality with reduced amount of anchor points. I like to keep mine lower around 234. Here, Here's an example at zero. And then 100 or ten to them the same, but they look quite different. And then for free draw, this is an example I really like to draw fur or hair with the pencil tool because it handles large spikes and quick random repeating marks easily. Like so. You'll notice when you use the direct selection or path tool, a separate common action menu pops up. I call this the path common action menu. Here you'll see a couple of different options that you might want to utilize. First is cut path. This option delete the anchor point on the path to cut the path. So if I select just one anchor point and select that, then you zoom in. You'll see that the path is no longer connected and we actually cut a section out of the path. Only use this when you're trying to modify the path. Otherwise, you'll end up having a lot of open tasks that you didn't intend for. You might notice the corner round symbols here. Here you can convert a point to a corner point or back to a smooth point. Just either or. Now let's say I cut the path. I wanted to join it back up. Tap this option to join two paths together through an anchor point. Simplify path is an option you may use the most. It actually reduces the amount of anchors, but it can drastically change the look of the shape. So be wary. I use it a lot though when I have really overly complicated drawn paths. And it can really help to reduce the amount of anchors when needed. Smart delete will delete an anchor without breaking the path. So tap on an anchor point and smart delete will keep the path close while getting written upsetting her. I also use that option a lot. Delete is pretty obvious and you can just use that to delete the entire selection. Also. Select an individual anchor and delete it that way and delete an entire section of the path. Alright, that's everything you need to know about the pencil tool. Up next is my very favorite, the blob brush. 6. Blob Brush Tool: Welcome to the final lesson activity, the blob brush. Make sure you import the blob brush activity and lock it. And you'll want to hover over the pencil. And the other options come up. Select the blob brush. Use the blob brush tool to paint filled shapes that you can intersect and merge with other shapes of the same color. For the best traditional approach, the brush needs tweaked and practice with. All right, so I've selected the blob brush and I want to just use the basic round here. And down here under the smoothness, which works just the same as the pencil, we have the brush settings. I have all of the selections turn on, but for now let's turn them off. I have the roundness out 100% and the angle doesn't matter when it's round. You want to turn off the stroke. In turn the fill to a bright color. I'm going to choose that green with 100% round brush and none of the selections turned on. Let's just sketch what I have. Like the pencil you just want to drag and draw. This should feel like any other drawing software. Let's go back to the settings. We can see what a basic round brush looks like. But what happens when we turn the pressure dynamics on? And once you do, there's an extra arrow from even more settings. In this, I want to pull the dynamics up to 100% instead of 40. You'll notice the harder you press, the thicker the line. In, the lighter, the thinner. Before we move on, I wanted to mention the last setting here, merged brushstrokes. You'll notice in the last drawing I did that each section is separate. So if you want to easily modify the different elements of your drawing, you can. But I tend not to need to do that for my work. So I like to make sure that I have this box checked. Alright, with tapers turned on and merge brush strokes turn-on. Let's do that. This might be more what you're used to with a pressurized brush and drawing program. It feels intuitive and it's quite responsive, although not 100% real-time. Some interesting features I wanted to talk about is changing the taper at the beginning and the end. When you're working on a sketch and trying to mimic a really interesting thin to thick line. It can be hard with these very tapered lines to duplicate this. Like e.g. if I wanted to duplicate this look with the tapered lines on, you can see that where it connects, It's just too thin and it doesn't look right. So when I go back in, turn the beginning taper off. I can now connect the solid elements to each other so it looks more complete and have some of that tapered look. But it's just at the beginning. So you have to keep that in mind. Let's go back in and instead of the beginning taper, let's change the ending taper. It's a little bit of a different process and gives us similar result. But you might choose one or the other based on how you like to approach a drawing or a sketch. So here are some of the different options. My preferred brush would be something with both tapers turned on round merge strokes and with a smoothing somewhere around 20% or less. That allows me to have a really intuitive look and feel with my drawing, without feeling like I'm using vectors c. Now that I have merged brushstrokes on into one solid object, becomes a lot more easy to create cut files from this type of drawing. I did want to mention the taper mode. I choose a link velocity will change the length of taper based on the speed you draw. So you can get really long tapers if you draw quickly or short ones if you draw slowly. I don't like to think about my speed, so I just put on link. Alright, now I want to cover the eraser, which is very similar to the blob brush. You can tap it here right underneath the blob brush. The eraser also has smoothing on, so you can mess with that. And there are a little bit of the same settings with roundness and angle and pressure dynamics to turn on or off. Of course, like to keep that turned on and keep a round brush. Be careful that you don't just paint and erase wildly though, it can be tempting to just throw our down like normal onto the canvas. But this adds lots of extra anchors in layers. And then it makes the refining process a little bit more tedious. So let's say I want to erase a little bit. It works just the same. And creates a really clean eraser and separates each shape. This is a really nice way to just simply separate the sheep. Make sure you have the object selected that you want to erase. And then erase. It makes it super easy to create two separate elements. I often use the eraser instead of like the pen or other precision tools because I just want to quickly make an edit. Lastly, I wanted to quickly mention the standardized paintbrush tool. You can find it in under the blob brush. It reminds me of the Pen tool more than one of the other brush tools. I don't typically use this brush in my workflow because it's slower and less intuitive than the other brushes. You can use the paintbrush tool to stylize the appearance of past. There are some pre-made stylized brushes that have texture that look and feel like art mediums, like e.g. charcoal. But you will notice that you don't get to see the preview as you draw and you can end up with a result that's not exactly what you had in mind. But the best part about this brush is how easily you can edit things. E.g. you can still independently change the size of the stroke and it will edit the texture as it changes size. Which can give some varied results. You can use. It's very highly textured looks to make a chalk script or other types of art to mimic your favorite traditional methods. In the Properties panel, you can choose which brush you use. After you've drawn it. So quickly change an entire illustration to an ng-click charcoal look, or just the size of the lines. I find this very powerful and intriguing and I definitely want to get more comfortable with it in the future. There's a Settings panel right down here that can really fine tune the brush in all of its settings. You can even create your own. Alright, in the next lesson, I'm going to show you my real-time process, drawing directly in the app. See you there. 7. Vector Lineart: Welcome back. I've imported my cat sketch. I've locked it on its layer and reduce the opacity to around 30%. Now, I'm going to ink in real-time to show you my full process for creating a hand-drawn look similar to inking with a pen or marker. I'm going to be using the settings we talked about in the last lesson, 100% round with all of these boxes checked. I like to keep my pressure dynamics up to the max 100% and have both of my tapers turned on. And the mode is the length. You want to make sure you have merged brushstrokes selected. So you are reducing the amount of anchors and the objects you're creating as you go. I'm going to draw just in black, single color, with the size turned down small to around somewhere 2-4. We'll go with three. And I like to keep the smoothing at or around 20. I do change my size based on the element I'm drawing, but I don't like to change it too often. I like to thicken lines by simply redrawing it in the program combines your marks to reduce the result. You can use the eraser to clean it up as you go. I like to use the simplify feature with the direct selection tool to turn some of my shapes into more simplistic elements. And then just go back to the blob brush tool. Keep the eraser smoothing up quite high. So I get really crisp edges when I use it for like let's say the circle, then you get more of a perfect circle instead of a jagged edge one. See if I turn down this smoothing a little bit more, I get more of a custom shape that you can see the edges. But if I turn it back up, more of a streamlined oval, you can just copy and paste these elements to make the second, I take my selection, duplicate. You'll remember the align panel here and you can easily flip. But the highlights not the same. So let's take the blob brush again, fill it back in and create a matching highlight. There we go. You'll notice as you add elements, so layers, it will just create groups under the main layer and you can look at the individual parts that you draw by just keep going through the arrows. If you want to modify or select my new elements, it can be hard to select them sometimes when they're on the Canvas. Remember you don't have to hold your pencil down. I like to just make quick marks for areas like this and then clean it up with the eraser. I have a more unique look and feel. Now from the notes, it's a unique shape that's not easily drawn with the blob brush. I think it just ends up all but two. Bobby, I wanted to show you another method with the pencil to the Phyllis turned on. And I'm going to aim to draw the outline of the shape. Keeping that bumpy, hand-drawn look, I using the eraser, I'm going to erase the middle part. You can Merck move. I just selecting it like that and I'm going to now redo the line thickness with the blob brush. Just do a few passes and it will merge into the shape. Mimicking the original sketch. I like that it hasn't been about bunk be not so perfect. Look. There's the nose and then for the mouth, I want to use the pencil again and just draw that outline. Make sure Phil is turned on. If it ends up to bumpy, remember you can turn up the smoothing. But we have two objects now. We went everything together. So it's quite easy to do that. You just want to select both of them. And I'm going to introduce to you the combined shapes are Pathfinder panel as it's known on the desktop. That's right here with these two shapes that look like they're merging. And I especially like the, I've had version because it gives you a preview of what to expect. So if I combine, it's going to combine Minus Front, removes the front shape from the back shape, removing the overlap. Intersect will only leave behind the intersecting section between the shapes. So that little bit there, we don't want that exclude overlap. We'll get rid of that little bit of overlap. All of these options definitely have their purpose in time, but I mostly and you will probably only be using combined. I'm just going to tap that and make sure you hit Convert to path. And now it's one solid shape. As you can see. I'm just going to keep drawing with the blob brush. When I'm trying to recreate circles and other obvious. Turn up the smoothing a whole lot. So the program will refine my shapes to look a bit more clean. Still have some personality. You can select multiple little shapes and use the Simplify to get rid of any wonky edges. Like these little bumps right there. So I'm going to select them. Track, select, Simplify. And there we go. Let's keep going. I'm going to do the head outline now. I run the sections that connects to be thick enough. Let's say if this was going to be vinyl art, you want this to be completely connected. So I just make the lines thicker as I go. I don't like to make the points like this because you end up with a rounded edge, a lie. So I just go down, down and down and use the eraser to clean up my points. You can periodically check your vector is to make sure they're exactly how you want them by going up into the top corner and choosing Outline View. Now you will only see the vectors you've created and you can see if there is open shapes are just extra points that you need to merge basically just to make sure right here, I would have never known that there was a little divot there that I need to clean if I wasn't looking at outline to you. It's how, you know, you've got really clean looking vectors. So let's go back to preview. I'll probably save the whiskers for the end because they will overlap my lines and I don't want them to overlap unfinished lines because that means more cleanup for me. Now I'm focused on maintaining the outline shapes. I'm probably going to do this way buffer. And then the entire outline of the body just kinda slowly going through the illustration, one piece-by-piece. I'm not trying to mimic the sketch entirely. In fact, I'm more worried about drawing what looks good. And now I can go back and refine with the eraser. I want to add curve where there maybe isn't enough. Erase extra lines, clean up intersections, stuff like that. During this adds a bit more of a hand-drawn look and feel back into the lines. When you're done with the overarching shapes, I like to go around and thicken some lines or add some details. Remember, you don't want to add too many details in too many unconnected elements because all of those will be cuts. For cutting machine file. Let's add the whiskers. Let's use a thinner. Remember to toggle the outline view to make sure there's some elements like this that are a little bit too detail that probably should just erase and combine elements and make it as simple as possible. Make sure everything is merged. Can also go into a line, highlight everything, and flip the canvas. Turning the visibility of the sketch off. So you can make sure everything looks balanced in normal, especially the face. Like this ear looks a little bit shorter, so maybe I should edit that. I'm not sure. Alright, with that, I've finished the vector lining process. What do you think? The next lesson, I'm going to ink a different cat sketch in Procreate to be vectorized. So we can compare the two methods. See you there. 8. Lineart in Procreate: This isn't a Procreate tutorial, but I wanted to show you my workflow for creating optimized raster art. To become vector. You want to start with a large canvas. The bigger the better. This is an eight-and-a-half by 11. At 300 DPI, I could definitely go bigger, but I found this works really well. I have my sketch on one layer and I'm on a new layer, I'm going to reduce the opacity just like before, to around 30. I'm using black. And what matters here is the brush. I use a brush with a similar look and feel to the blob brush. So these techniques are very much the same. Sarah brush. Here in procreate, there are brush settings for stabilization. Both streamline and stabilization will control your lines a lot like the smoothing feature in Illustrator. Turning them up over, move the nuance of the mark and help keep the line clean. But I only like to keep mine a little bit stabilized. Just like an illustrator. I also use the eraser in the exact same way, making it the Sierra brushes as well. Unlike Illustrator, I'm just going to draw in my regular way, trying to mimic the smooth and clean lines, you want to draw out a full opacity. There is a lot of thin to thick quality to this line as well. Do you see how the edges are a little jagged though? That's because the resolution is 300 at this canvas size. So at this size you don't see the edges. And if you zoom in, you see the pixelated edges. So that's what we're trying to prevent for our illustration. So I'm going to blow the catapult little bit bigger to prevent that uniform turned on. There. I treat the furnace similar way, creating that same jagged texture. Can drag and drop to color fill. I bring my liner above my inking so I can see the negative space. This is an important element in my illustration because you want to constantly be aware of the push and pull of negative space in your illustration. Zoom in and refine edges. I like to keep things minimal. I can always add details in Illustrator. Make sure you think about the outline as you draw. I know it's easy to get carried away in roster programs and add details because it's easier. And just like before, after I get done with the face, I'm going to move on to the outline of the body. But Morris time you spend on your edges and points, the last time you'll have to spend on them in Illustrator. So you can decide if you want to refine fine details or not. Remember that vectorizing process will eliminate a lot of information if it's only a couple of pixels wide. So trying to make everything at least five to ten pixels wide so you maintain your details. I have to decide if I wanted to leave certain elements open. Vector art is a constant push and pull between positive and negative space, especially if you're trying to create cutting files. I have to decide if this thin the line is preferable to a open gap in the line. But since there are a lot thinner lines, I will keep that since there are similar weight. Alright, the whiskers. Over here, you'll notice that the whiskers fade to black. So I'm going to use the eraser to meet halfway in kind of an illusion effect of changing from white to black. Same thing here with the side of the face. It kind of merges into the white. You can more easily see this effect by turning off the other sketch and the background element. Now you are just left with the actual ink on the screen and you can more refine it. I like to think of this as the outline view from Illustrator. And then turn it back on. Make sure everything is even. You want to make sure the line thickness here is similar to overhear. Use the eraser to carve out details. Make sure you analyze your work. You wanna make sure everything reads well, it makes sense. I don't like this area right here, so I'm going to work on that a little bit more. Remember, you're trying to reduce and simplify and make everything easy to read. If certain things just don't come across, write, erase, and try again. There. I think that's a pretty decent simplified result. Remember to always flip your canvas to make sure everything looks right and proportional. And nothing is a little wonky. Export. By sharing your work as a PNG or JPEG to be vectorized. Alright, that's everything for the line art in procreate. Up. Next, I'm going to vectorize this using the vectorization tool in Illustrator. See you there. 9. Vectorize: Alright, here we are back into Illustrator. I'm going to walk you through how to vectorize this raster liner we just did. There are a lot of settings in this section that I cover in my SVG guide. So remember, you can always refer to that if my examples don't look like yours or if I'm going a little too fast. But remember, you can always rewind and watch the video again. You'll want to place your art onto the Canvas, makes sure that you have everything selected. You don't want the layer locked. So I have the art board in the art selected. Over here we have the object panel, tap the object panel and select vectorize. So here in the Properties panel, you have all of the settings for the vectorization process. The first step is choosing the source. The program auto detects the source file when vectorizing the image, you can modify the source to sketch, line art, logo, painting, or photograph. The most detailed option photograph will create the most anchors and color options while sketch in line art will produce a more refined, simplified result. Since sketch really reduce some of the details in my work, I'm going to try and line art. It will reprocess in re-vector eyes. Obviously this is not the look I was going for. So the first thing I want to change is the output. I do not want strokes, I want fills. And now we have something that looks remarkably just like the original piece of art. Can you tell it's not raster anymore? After you make sure your output is Phil's, you want to make sure your color mode is set to black and white. Color or gray scale will give you values in-between. And that will increase the amount of information in your vector. So we want as little information as possible. So black and white color mode is disabled when the source image is sketch. Now, there are settings you will need to play with every time to get the best result. Thresholds specifies a value for generating a black and white vectorized image. The threshold slider is available when the color mode is set to black and white, or when the source is a sketch image, I like to think of threshold as line thickness. The greater the number, the thicker the lines and less detail I get. So I like to keep the threshold in the middle value that tends to be most accurate to the original sketch. For this, since I am not unhappy with the line thickness, I will keep threshold, as it is. Path controls the distance between the vectorized shape in the original pixel shape of the raster image. Lowering the value creates a looser path fitting. More cleaner, less hand-drawn look. So I tried to keep path low but still maintain the nuances that make my art, my art. For path, I like to zoom in on elements that may be around or jagged. Or I want to make sure has the amount of information to sell it. Well, I'm looking at the face mostly. If you see if I go all the way up with path, it looks like it's a zigzag. There's just anchors everywhere. So you want to reduce it until you start to lose critical information. Like the little chin thing and the whiskers have now rounded out. The ears are still fine and the eyes and the face are still find that some of these details are no longer coming through. Let me bump that back up. Now we're starting to get those details again. Alright, so obviously I need to keep my path 40-50% to maintain the details that I think are crucial for my illustration. Corner specifies the emphasis on corners and the likeliness of sharp bend turning into a corner point. A higher value results in more corners. This depends on your art style. If you want a more rounded look, choose a lower number. But for crisp art, I tend to keep the value high. I found that it really depends on the art for this amount. So just play with it back-and-forth to get the result you like. As you can see, the spikes of the hair become very subdued when I have it at the lowest value and when I make it 100% things, Chris, backup. So I'm going to keep the value high since I'm actually trying to make things look sharp and pointy. Noise refers to the area in pixels that is ignored when vectorizing a higher value results in less noise. Noise will reduce the fine points and edges that don't read well and end up becoming gaps, bumps, or just extra anchors. I keep my normally around ten pixels, but higher value will start to eat away at your details. E.g. I. Lose information with a high level of noise. With a lower-level, it's subtle, but I get information back. I'm going to keep mine at ten pixels. Just to make sure that there's not to find the details in my work. There are two options for method. A budding creates cutout paths. The edge of one path is the same as the edge of its neighboring path. This may end up with spiderweb like gaps and a highly detailed image like a photograph. But for our purposes, this is the choice that works best for wine art, illustrations, overlapping creates stack paths. Each path slightly overlaps its neighbor. Always check Ignore White. This will remove all the background information from the canvas and give you less to edit. When you select Ignore White, the method option becomes a little bit more obvious because now there is not this white background to separate the objects so readily and there is negative space. So when I choose overlapping, I lose information now that there's no longer white to fill in those gaps. So going back to a budding, we'll make sure we maintain our line art with some negative space. Alright, when everything has been tweaked, look over every part of the illustration. Some areas will look better than others with these settings. So it is a bit of give-and-take. Sometimes I have to sacrifice like the crispness of the details in the face. And that's just something we'll have to fix in the cleaning up section next. So when everything is done, you just hit Expand vectorization and now you have a vector file. See no more white. And you can zoom in infinitely. With the raster example finished, I want to quickly show you what happens with a few different types of media, like a picture or a drawing or a more primitive sketch. Here is a basic sketch. This is normally use if I didn't do my line art path object vectorize, it did not maintain the subtle flowy texture of my sketch. You have jagged marks. So let's try line art. Remember it change the output to fills. And here we have something that is more similar to my mark making. But it obviously it's not going to work as a vector art file. Let's up the threshold so we can see more of the line work and we get something closer, but it's never going to be clean and it wouldn't make a good cut file. But if you just want to vectorize your sketch and use it as a print or something like that. This is a method that would work well. How about something a little bit more detailed with color and more texture? Like these watercolor sketches, deck vectorize. It will take longer if you have more information. And surprisingly, it doesn't look horrible. I think that this program handles color very well, but it can be a very large and complicated file that obviously doesn't work for cut files. But if you just need vectorized art, I think it looks pretty decent. You can see the spider webbing we talked about earlier. If I put overlapping on, we might be able to get rid of that. There that filled some of the gaps. We have a color mode on. Now you can see what I mean when I talk about the color slider. This is at all color to colors. Obviously that doesn't work very well. Let's go Midway. Midway looks pretty decent. It looks just about as good as all 50 colors. That's one way you can really reduce the information if you need to for more simplified vector art. So your file doesn't lag or so it's easier to send off to a printer and do a bulbar scale pattern print. But let's put it back up to 50 so you can see the full details. Yeah, a lot of these will not largely in dramatically influence the end result for highly detailed color images. It's going to be the amount of color and the source that will really change the end product. Let's say we tried painting instead of logo. Would it look really different? Not really. So you really want to play around with these color modes and see what kind of results you can get for your art style. Let's try a photograph. Here's my lovely girl, umami. Object, vectorize. Alright, if vectorized it, can you tell it's fairly highly detailed? I would say that this is a humongous file. It took over a minute to fully vectorized. So I don't really want to mess with it too much, but it shows the source properly. It's a photograph, has 255 colors. So if I start reducing that, the information will start to be reduced a lot. Actually, I think reducing the colors really helped stylize it and make it look a little less overly detailed. I really liked the way that it vectorized her for. Alright, with that, That's the vectorization tool. In the next lesson, I'm going to go over my process for cleaning up the vector line art and how to check it with cutting machine software. See you there. 10. Cleaning Up: Welcome back. In this lesson, I'm going to show you my methods for cleaning up my vector artwork so it's ready for commercial use. I'm mostly just going to use the path selection tool and the Pen to clean up the artwork. You don't need to refine like crazy if you want to publish your art on print-on-demand sites or use it like you would raster art. This step is for those that want their vectors ready for cutting machines or other production ready needs. Alright, the first thing I wanted to say, no paths, just shape. As you can see, everything has been outlined. It is not just a line with a stroke on it. If you have shapes that are just a path line with a stroke, I want you to go to the object panel, hit Expand. And that will create lines that look like this. They are expanded. Where are the anchors are on the outside? All of these lines are considered shapes. They are filled. Same goes for any text. If you, if you've incorporated texts in your illustration, you'll have to outline and expand that as well. A path will appear as a line and not the shape you see it unless you outline it. Another quick way to check that is with the outline view, so you can see where this is just a wine or an actual expanded shape. Now, I want you to go with the path selection tool, zoom in and look for any weird bumps or edges. Maybe delete an extra dip or divot of an anchor that doesn't belong. Here. I'm just going to modify thickened certain areas. You can quickly remove anchors with the quick action menu to delete unnecessary extras. You will find those pretty much everywhere and how refined you want to be depends on you and how much time you want to spend on it. But mostly I'm just looking for anything that looks visually upsetting. Like there's like a sharpened Nick here. So I'm just going to select that and remove select this, remove it. And now I have a clean line. You can spend hours doing this if you want or just give it a five-minute overview. See situations like this is what I wanted to avoid, where it's kinda like a jaggedy little area that you might not be able to see from far away. Just remove them until everything looks the way you want it to. There's certain areas you might want to reduce just for the sake of the application. If this is a cutting machine filed, this little chunk of white might be annoying to someone using this for vinyl, let's say so I'm gonna get rid of it. Just hit Delete and there it goes. You can check if you've accidentally left anchors behind by turning on the outline view. Sometimes you can delete things and didn't actually get deleted. And the outline view can actually helped me newness when there's those little pinches in the paths. So I'm just going to go through and delete what I need to. Simple as that. You can also select your artwork and use the pen to add or remove anchors at will. The goal is to have one solid shape of Wiener. If you do have your elements on different layers or not merged, make sure you use the object panel to expand anything. And then use the Combined Shapes panel to combine any separate elements you want everything to be combined. If you want to have, if you want to have different elements cut on different layers, like let's say, a colored bow tie or different colored eyes. You wouldn't make a separate group for just the eyes. So that way in the program they will appear as multiple cuts. Otherwise you can weld the selections in that software for the cutting or commercial use. Just for now know that you want to group everything and make it one layer to export your work after it's ready to go, you can use the Share tab up here. You can quickly export as a PNG. But to use it in vector format, you want an SVG, so you want to click Publish and Export. Ai is also a vector file, but that is specifically native to Illustrator. So choose SVG and the dropdown options. I choose full document and the font doesn't matter. And then you want to hit Export. And then I'll show you in cricket design space to make sure that it looks good and it actually works as we intend it to. There are a lot more options in the desktop version of this program for things like CAD, EPS, DXF, and other types of files. If you need that for your project nodes, look there. You can also use different types of online converters outside of this program. Alright, here I am in cricket design space. Here's the version number right here. I wanted to show you how you can weld together sections of the artwork to use commercially. So I've uploaded the work here. And you want to select, add the canvas. This will make the artwork appear in a working Canvas so you can edit it. But one thing I wanted to mostly show you is when you upload the vector to a program like this. On the side here you see many different, like, let's say layers, but these represent different cuts the program I'll make. These could represent different colors, are just different cuts entirely. You may not want all of these cuts. I know that that can be a little bit troubling. So what you can do is simply hit Combine and weld. And now there's only one result. When the program decides to cut the art, it will cut it as one entire piece. You can also choose to specifically, well just some selection of the cat. Like let's say e.g. I want to do just the elements of the face. So then I would come down here and hit Weld. And now you have an outline and a face selection. When you're using the cutting programs so you could change the color and whatnot. And so it's good to know how you can use the vector. I've provided my artwork from each step of this process so you can follow along and compare your methods to mine. Thank you for taking this class. 11. Thank You: Congratulations, you've made it to the end of the class. By now, you should feel comfortable tracing a sketch directly in Adobe Illustrator on the iPad or using the vectorization feature to turn your raster sketches into vector art. In this class, you've learned all about vectors, how to approach them with a more traditional look and feel. And the best practices for creating fallible, clean, vector art that works well in cutting machines and other commercial applications. I hope you continue to explore this wonderful app and learn all of the features I didn't have a chance to cover. There is so much more you can learn about vectors. Let me know if there's anything else you'd like to learn about Adobe Illustrator on the iPad? Is there something I missed or anything you'd like to see for future classes? If you have any questions at all, don't hesitate to ask them in the discussion section of this class. Feel free to leave me a review and let me know what you thought of this class. I'd love to hear your thoughts. If you liked this class, make sure to follow me. Just hit that follow button right next to my name at the top. And you'll be notified of any future classes. Remember to share your project and the project gallery section of this class. I look forward to seeing your work until next time.