Unlock Your Creativity: The Mega Course on Adobe Illustrator (With 20+ class Projects)

1. 0 Introduction: Hi and welcome to the Adb Illustrate or 21 mega cost. My name is Wollen, Pe, and I will be your instructor. Digital illustration is a genius invention and intricate art, one which has helped revamp the design world into what it is. One of the major tools which has been at the helm of this revolution is a to now the complexities of this really powerful tool can seem daunting to the movie designer without the right guidance. It will take even years to master this very powerful. Fortunately, I've been working in the professional designs piece for years. Over the last seven years, I've worked on hundreds, if not thousands of designs in a illustrato. I've worked with big clients too. I've worked with luxury brands, celebrities, multi million dollar corporations, and lots more. In view of this, I decided to create this two in one mega cost to help designers at the early and more advanced stages get a good hand on Adb Illustrator as in depth, as practicable, yet in the easiest of ways, the shortest time possible. This mega course is made up of two B Illustrito causes, the Fundamental and Advanced Causes. These are stand alone courses on their own, all on Adb Illustrito, focusing on different levels of experience with the software. And also created to feel like two parts of a single cause. The fundamental cause is aimed at helping total beginners learn the basic principles and workings of Adbustrito in design. While the advanced course seeks to build up the learners knowledge into more advanced concepts in Ab Illustrito, we start by getting familiar with the interface of Adblustrito and learning how to draw out ideas Using the powerful tools Illustrito provides, we will learn about tips to speed up our workflow like using short cuts and actions. We will learn about brushes, different types of them, and how to create and use our own custom meat brushes on our illustrations. We will even learn how to export our custom meat brushes so as to use them on a different computer or even sell them. We will learn a lot about colors and patterns. Clipping and opacity masks, shape blending and effects typography, graph visualizations, geometric grid based designing. D, isometric designs, even creating an emissions using B illustrator and after effects and lot. This metal course takes advantage of the power of practice. Therefore, we put everything we've learned into practice by having assignments and class exercises in each module and even real world projects to work on. By the end of this medal course, you'll have learned all you need to know about a Ellos Frito with Advanced and Visit. You'll have created several designs of your own and we'll be able to tackle even the most advanced vector projects available in the design world today. Lobby the training and I'll see you in the first lesson. 2. 02 Interface and Navigation: Hello, guys, and welcome to the course on B Illustrito. I'm very excited to welcome you to the first video, The Court now in this first lecture we're going to be learning about navigating the interface of B Illustrito and getting our interface set up so as to start creating interesting designs in subsequent videos. And we're also going to learn how to create new documents, how to import documents and work other files. All right, so when you open B Illustrito for the first time, this is the interface you see. Okay, see this interface. And from here you can create a new document. From here you can open existing document. From here, you can select recent files you've worked on. You can select recent files you've worked on. From here, you can start the project with an existing template. Now, this is a letter template. This is a postcard template with the dimensions under. As you can see now these dimensions are in points, right? And then we have other templates here. We can even click here to see more templates. Okay. Now what we're going to do is create a new document. Click on Crete, new as you can see. We now have templates to select from, but what we're going to do is print, print, and select letter. Okay. Now, mind you, if you want to select other templates, we have more templates here you can choose from depending on what you want to create. But for me, I'm just going to select the prints and collect letter. Now we have the preset details here, Okay. Now the file name can be maybe new then Now we have the width here and the T. The units of measurement here is points, and there are also many other units of measurements like the pixels. We have the picks, we have the inches, and we have the fit feet and inches and many other unit types. Here, I'm just going to choose the inches. Okay, We have what we call art boards. I'm just going to choose one. Art board is more like a works piece where your work will appear. We have the orientation, we have the portrait orientation, and we have the landscape orientation, depending on what you want. Okay, then we have advanced settings. We're not going to look at Advanced settings for now. After you have everything the way you want it, you just click Create. Now this is our new document, which Illustrators created for us. As you can see, this is what we call the board is now the board. As you can see, we have only one board because we've selected only one. Coming to our right hand side, we have the property spaniel. But if yours is not like this, just come on. Windows. Common work space, Essentials, Classic. Choose essential. Your workpiece should look like this. It still doesn't look like this. After you essential class, it does come again to Windows and then work space, and then Reset Essentials Classic. When you click Reset Essentials Classic, all you're going to have is something like this. Now, on our right hand side, we have what we call the properties panel. And we have the library selecting the properties panel. We're just going to go through the things we can see. Now this properties panel show us the properties of selected items. Selected item in this case is the art board, because we don't have any other things selected, the artboard is a selected item. As you can see. We have the unit of measurements as inches. We can also select other units of measurements. We have number of art board as one. Then we can also edit the board. Now when we click on Edit the Artboard, you can see that we now have this look. Then this two here, which is called Artboard, has been selected. Now with this two, we can increase the size of our artboard. We can reduce it. We can also move our board depending on what we want. A rather increase or size. You observe a change in the dimensions, right? You can just do this and have the change in the dimensions. Yeah, with this tool selected, we can also create new art boats. We can also create new, we can just come to an empty space like this and draw out the size of our. Now we can see we have what we now call to, you can keep creating as much boats as you want depending on the projects you're working on. Okay. Remember, each of the boats will contain a design design. You'll have to create the number of boats, depending on the number of designs you intend to create. Now our select here, which is identified by this black arrow. It is a selection to just select it and then click on the board. Now click on this albot, see at board one. Click on this one, you see a put two. Click on this at put three, at put four. Now we can basically see the properties of each of the art boards that we've created, right? And when we come here, we can see that we have four boards. Okay, now we have rulers, which we can enable here. When we click enable, you can see the rulers have been able, and they work based on the units of measurements which we've selected. We have grids, we have transparency. Here we have other options. Here we have documents setup where you can actually set up the documents. Again, we have precepts where you can actually just mix settings to the project based on the project or based on A to B Illustrator as a whole. Okay, now that's for the properties panel. For now, what I want us to do is look at some other panels and edit the panel we have here to fit our projects, to fit our purpose of the course. Okay, we have here which is called the color and the color guides. Okay, we're going to lift them. Just the video we have here which we call the switches. Okay? We have brushes here, we have symbols here. Then we have the stroke here, we have gradient, we have transparency. Then we have appearance. Okay, We have graphic styles, we have layers. We have all, many other panels here. We're just going to leave them the, but we're going to come on our layers and just click here and drag it here. We're just pulling out our layers panel. We're just going to click here to get the remaining back. Now what I want you to do is to come and click on libraries here. And drag this out like this. And then just click on this X button, this icon to eliminate the libraries. Then just bring your mouse here and drag your layers panel to this point. And then just leave it, this just target like this. Now you can see we've transferred our layers panel from here to here. This is one thing you can do with your panels. In other illustrator, you can actually shift them based on what you want to achieve. Okay, for me, I would like my layers to be here, so I can see all the layers I have as I walk. This is also something you should do. Okay. We are of course going to look at all of these other panels in subsequent videos. Okay, for now we are looking at our, our tools. These are tools to box. These are our tools. If you're convocant with other B products like the design Photoshop, you'll be able to identify some tools here and there are similarities, right? All those other products also have their tool bar or the two box at the left hand side like this. Now there are two very important tools I want us to look at right now. This is the Quick Selection two and the direct selection to, if you click on the Quick selection to just come on this rectangle and click drug, drug, drug. Just drag three copies, right? Then click back the selection tool. Now this tool allows us to select cool objects, then just move them around and resize them and rotate them. When we bring our mouse to the edge like this, sorry, I'm zooming in using the mouse wheel porton, the control or command. And the Alt rather. The Alt key. And the mouse wheel key. I'm just ruling the mouse wheel while, while pressing down Als to zoom in and zoom out. Okay, To pan left to right or to move left to right. I just hold down the control key and the mouse wheel that's on the PC. If you're on the mark, you'll be holding down the command key, right? Yeah. So the selection tool enables us to select whole objects and move them. You select whole objects and move them while the Direct selection two enables us to select what we call Core Points. Now when we click on our object, you can see 4.1 234. These are the points that are necessary to make up a rectangle, right? Or a square ship. Now when we click on the whole object, as you can see, these points are all blue, right? But when you click on Direct selection two and come and click on one of the points here. You see that the point which you've clicked turns blue while the others remain white, right? So it means this point is now active, no selected. It means you cannot move it up and down. You can move it up and down. Okay. Yeah, move it up and down. Now, as you can see, selecting this co point gives us also properties by your right hand side on the properties panning on why selecting this, you can see that it's an O point that has been selected. And you can see the transform properties, which is the location on the x axis and the value on the y axis, okay? Value on the x axis and the value on the Y axis. And you can see the appearance of the whole ship. This is whole ship and this is the field color. Now the field color is the color inside the ship. While the stroke color is the color outside the ship. Now as you can see, the stroke color is black. The field color is white. Yeah, St color is black. Field color is white. The stroke has a value that the thickness of the stroke. As you can see for this object, the value is one. When you increase it to, let's say it, you see that the stroke keeps increasing. Inside, we have what we call the opacity. Opacity is basically how transparent the object is, and we can see that opacity is at 100 right now. Then we click and drag it down and see the opacity of the entire ship reduces. It means the object becomes transparent. Here are effects, but we're going to look at this in Fdulscens. We have other options. Here we have the Align options, which bus align our objects. Let's just click select on the object and align it. This now our object is aligned based on, based on our our selected artboard in relation to our selected art board. Okay, this aligns it to the middle of our selected art board in the Y axis. While this aligns it to the middle of our selected artboard along the X axis, this aligns it to the edge here, to the edge on top edge below this, to the right edge. That's what the Align tool does. Okay, now you know what our selection tool and our direct selection tools do. We have many of the tools here which we're going to look at very much in for the lessons, but come here and select our object again once more and then drag it out. Now when, after dragging it out, you can see that here we also have the field color and the ste color. We have the field color and the shoe color. You can select here, click and choose a color instead of the one you have here. When you click okay, you can see that the color has been replaced also for the stre color. Click and come. Let's see, we want to make this blue click. Okay. Now you can see the ste colors replaced with this little icon here. We can swap between the field color and tree color. Okay, Lets click here. And the field color becomes the stre color, and vice versa. As we click the portion here, this portion here makes us have no field or no stroke. Okay, when we have the stroke selected here and click this button, turns it to an empty stroke, also with the field. When we have the filler and we click the button, turns it to an empty field, I'm just doing with control Z. Okay? This other tool here choose us the color of the object, gives us the color of the object. And this one talks about ingredients, which we are also going to look at in for the lessons. We've just had a quick introduction to the tools and the panels and the works piece in setting up our projects. Right now, the next thing to look at is our menu here. We have our menu here, the menu bar. And we have the file here, where we can create a new document. We can create a new document from a template. We can open files. We can open recent files. We can close, we can save, we can save, we can Save a copy, we can export, we can use scripts, We can set about document, we can set up color modes, we can exit, we can print and do a whole lot of things. We're going to look at these and we're going to work with these options very well for the lessons. Now we have the edit, which we have the simple undo, redo control Z for undo, and then shift control Z, redo or shift command Z on the mark. For red, we have cuts, we have copy. We have, we have piece in front, we have pieced in back, we have pierced in place. All these are just explanatory. Now, of course we are going to look at, we're also going to use these options over and over again in subsequent videos. I just want you to, to get familiar with them just a bit. We have options here. We're not going to look at this for now. We are going to look at them more in depth for the lessons. In fact, we have a whole module just to look at options. Object menu takes care of our typing and our font, also going to look at this in further lessons. We have the selection which no to select stuff. When I select this and come on selection objects or based on field color, you can see it's going to select this other one. Because I've selected, I've asked adult to select objects based on the color. Every object that has a similar color with this will be selected. That's one of the things you can do with the Select menu. You can use to select all objects you can select, You can reselect, you can inverse select. We are of course going to use these options. Also in Foden, we have the effects which we are going to look at. Also in Foden, we have the view options on the view menu options guiding what we look at our viewport, right? This is our viewport options on our view menu. Enablers, edit what appears in our viewport, things like rulers, things like zooming out, fitting to screen, things like perspective or grids guides and so on and so forth. Okay, we are of course going to use these options or some of these options in Ford lessons. And then we have this other one which is called the Windows, which of course we used the other time to set up our interface right now. These options here help activate other panels that are not presently on our viewports. Things like let's magic wand for example. This is the magic one panel which is not important for now. Let's see Align Panel. You can see it is the align panel we can do all aligning with this panel, you can see brushes. And of course we have brushes here just pops out. We have ingredient see gradients out. Many other panels which our viewports cannot handle for now. We can also, we also set up our viewport for now, it's the essentials classic. Reset the panel, other workspace. We can create new work space based on the panels we have on our work space. Presently, we can manage work spaces. We can choose different presets of work specs based on what we want to achieve. Finally, I want to just look at some other concept, the simple concepts here to illustrate. Now we've looked at zoom, how to zoom in using the mouse wheel. We also have a zoom tool here which you can use to zoom in out zoom in our objects. Then we have the Pan tool here which you can use to this gives that pan around interface. We also have a shortcut for the, that's using the space bar key. When you pull the space bar key, you then see that the pan hand just appears when you click. You can drag while using the space barky. You don't always have to come and select the pan to here. Okay, let's select the two of the right click and click group. Now this is a way of grouping objects that we then work with them as we can just select our selection to them. You can see we are moving the two of them as one because they're in a group. When we use our quick selection two or direct selection to rather, we can also select individual points that without having to select other parts of the group, we can group. And we can also, we click on Group. There's one other thing which you have to know about, which is the isolation mode. We have a group and when we click on a group, then see that all parts of the design get graded out. This get grid out. And we cannot, you can select any other parts but just the objects which are in the group. This is a way to isolate certain groups so that you work on them individually without having to affect the other parts of the design. To get out of the isolate mode, you can click on your works piece. Let's say you can just click here on this back one level to get out, and click to get out. That's it for the isolation mode. You can also enter isolation mode. It's one object, okay? It doesn't have to be a group. It can be one object just to, just for now. This is all you need to do to get started with illustrato. In our next lesson, we should start working with some of the tool to create something amazing. To create amazing designs, to get familiar with the Austro even better. See you in the next video by. 3. 03 Your First Drawings in Illustrator 1: We're going to start creating some very cool designs in our Los Frito. So the first one we're going to start with is this design. Okay, so as you can see, this design is quite simple with just simple shapes, okay, and colors. So this is what we're going to create in this lecture, okay? What you have to do is start a new project file, okay? When you start a new project file, then you'll be in the same page as I am. Okay? You have to use the letter preset. What you then do is come to file and then come to please. Okay. Now, please enable us to please reference or an image in our project. It's just like you're trying to import a reference image. Just click please. Then it's going to open the file and then you just come to project files, right? This project files, that's in your project folder, okay? In the court folder rather. When you come to this project files, this is the one you're going to choose. This one that says your first drawings in Illustrator. When you select it and you click please, it's going to enable you to please your drawing. You're just going to click, click and drag, and release. You see that your drawing is down placed in Illustrator. Okay? But this is not the kind of place we want to use. Okay? In this case, because what we're trying to do is we're trying to make this kind of a reference image. So there is a very easier way to do this, okay? Just delete and then come here file and please again, when you come to the project full lock, just click the file you want to import. And then you see where it says template, click template, okay? So when you click template and you click please, it's going to import it, okay? But what does it do? It just puts it in a new layer and then turns down the opacity. Okay, so we can now draw over it. Okay? And then it locks the layer so we can select it. And now we now have layer one on which we can do our designs. Okay, one other thing you can do is you can unlock the layer. When you unlock the layer, you see that you don't be able to select your file. Okay, And then the next thing to do is just fit it on the art board, then lock back your layer. As you can see, we can't select it right now. The next thing to do is to start drawing. But we are not drawing on the layer, so we're going to select layer one on which we want to draw. Okay, can you see here? We can just see different ships. Different ships. I'm just going to take you through the process of achieving this. The first thing you want to do is come here where it says rectangle, okay? Hold your left mouse button to open the options so you can see other options, Okay, Not just rectangle, we have the rounded rectangle, two we have the ellipse two, we have the polygon too. We have the start tool and we have the flat two. For now, let's use the ellipse tool. When you click the ellipse tool, drag out, you see we are now able to draw an ellipse. Okay? We are not able to draw an else, but the way we're dragging it out, we are not going to get a perfect shaped ellipse, a perfect circle. Rather, what I want you to do is wild holding it. Just hold down shift, Okay? When you hold down shift, you then see that scales up and down evenly, okay? Scales up and down evenly. Holding down ships helps you create even sizing for your ships. Okay, just hold down ship and then release. Now come to your selection two and then try to fit it in like this again, Why holding down shift? Drag it down to reduce the size. Okay. But if you want to reduce the size from the middle, holding down shift, hold down shift, and then hold down Alt. Also you see that you can now reduce it from the middle. The reduction is even from both sides. From all sides. You just try to fit it in like this. Just try to adjust it, make it bigger. I think I have it perfectly lined out right now. As you can observe, my ship has a field color and color. Field color of white and str, color of black. But my reference image doesn't have fill color of white. It's pole, right, Pop. What I would do is I'm just going to come here. Come here. Okay. I'll come to my property panel and then just give it Nootkejt. Give it no stroke. And then for the field color, you just have to come here to this point and just select Popula. Let's just drag it out to see if it's going to fit better. Yeah, I think this will do. Just control Z to bring it back and I'm just going to adjust this to align better. Okay, so as you can see we've been able to please our first ship. Which is this ellipse. Now we have many other ships, we have a triangle here. We have a rectangle here. But this rect go, I'm just going to come, hold down this two and select the rectangle to come. And click here. And holding down shift, I'm just going to grog like this. Okay? Now this rect, what I've done here is I have given it a St color and no field color. Okay? Just come here, come to St Color and select this color. Okay? Come to Field Color, and click here to make an empty field. The next thing you would like to do is increase the stroke size. You can see I'm increasing the stroke size and it's getting filled up. I'm just going to reduce the size bit. Move it down with my arrow keys. Muzzle fit perfectly. Actually, muzzle fit perfectly. Muscles be similar. I think this would do it. Then what next? Do the line too. If you hol, here, you then see the line to the, the spiral to rectangular grid. To the polar grid to. Okay. But what we are going to use is the line segment. Just click on the line to just click here. And holding down shift to this point, okay, It didn't perfectly feel to this point. I'm just going to select the direct selection tool, this anchor point, and drag it out while holding down shift. Okay? Everything happens in the street way. As you can see, the stroke is too large. What do we do? Let's just adjust this one to the stroke is too large. What do we do? We just reduce the stroke here. Reduce it to this point. Maybe maybe a little bit bigger. Something like this is perfect. Also the stroke color. Click on the color and then just choose a black color. Now the next thing we do is we like to duplicate this line and create this pattern here. What do we do? Come to your selection two. Then all you need to do is the copy paste in place. It pieces it at the exact place way where you've copied it. Okay, It means it places it on top of the existing one. Just come here, bring your mouse to this edge and then just click and drag this way, okay? When dragging, just hold down shift to make it align specific angles, okay? Like one T 90.45, and so on and so forth. But this is one that we need that we're going to use. Just make it align to 180 degrees, okay, And then select your bot file, your boot lines and come to copy. And then pierced in place. There's a shortcut for this, which is Shift control V. Shift control V or Control. Okay, Shift control V or control. Control. And shift control V control is pierced in front. It's going to place it in front and in the same place, while shift control V is going to do the same job and also pieced it at the same location in a different project file. Okay, let's have a different project file and want to place it in the same location as this one. So we can use shift control V. Just select then just come to this edge chair and out why holding down shift so as to align perfectly. Then for the third one, just select all of them and copy piece in front. Then out to drawing. This will do it when we go. Sorry. What did I do? Just reset my box piece. Mystic. Reset Essentials. Classic. Yeah. And I don't need libraries, right? To include libraries. And bring my lease. What next do we do? We have another ellipse. Here we have another ellipse. Now just select your ellipse, or we can just duplicate this one. To duplicate this one, select, then you can in front duplicated a short cut of doing this. Selhu, another shortcut for duplicating your fire or your object. Just resize it bigger and to fit the drawing perfectly. Then come and select your color. Let's just make this color less for now. See what's happening better. We can now choose a blue color. Let's choose this blue. Let me just show you one thing. First of all, let's just group the ships to the one, to the appears one. Let's assume we want this ship to come behind this ship, right? We want these ships to come behind this ship. Even though that's not the ideal situation in this case. I'm just trying to show you something. Let's assume we want the ships to come behind this ship. What do we then do is just click on them and then then send backwards, which will send it one step backward. Okay? If we keep doing send backward sack, keep sending it behind when we are satisfied. Okay? When it appears it finally sends it behind ship because as you can see, we have plenty of other ships here. So it's actually sending it behind all the other ships we have. If we just keep doing send back, as you can see, it has now send it behind this particular ship. But let's assume we want to do as we want to send it back to the last position. All we need to do is to send back, to send it behind all of the layers again. But that's not the ID situation for now. We just arrange bring front. Now the next thing to create is this ship and the way I created this is I just meet. I just made a rectangle. I made this rectangle like this. Okay? Then I made my color. I give it no stroke and then made my color. Okay. What I then did, I came and selected my Quick select my direct selection too. And then selected this anchor point and this anchor points. When I select this anchor point, you'll see this little circle here. When you just click on this cycle and drag it out, you see what happens then makes our edges rounded. It makes our edges rounded in relative to how much we drag it in. You can see how I was able to achieve that rounded effect. What I want to do right now is I want to see through this. I want to make the discolor right now, so I can just replace it later on. What I do is come while selecting the file and then come and just swap, okay? When you swap, it makes the field color transparent. And then the stroke color, the field color, it just exchanges. Just move this one, okay? The next thing is select your ellipse to drag out like this. Let's just give it a white strew color. You can swap it later on. And then come and duplicate our ship piece in front. Then we size it down, this an orange color, this color shade. Then do I need to do? All I need to do is to just select and swap back the colors. Okay, Make the field color the shoe color, and then the shoe color the field color. Okay, I'm just going to click this button. There's a short cut to do this, which is shift x. Shift X. If you shift x, it's going to swap the colors. This is what we've achieved so far, I just disabled. The reference layer, so you can see what we're having so far. Okay? Okay. We're pretty much doing a good job now on the next one is spiral. Okay? The spiral. So just come here and pull down the left mouse poten and click on the spiral two. Okay? So when you click on the spiral two and just click on your artboard, you didn't see the options for your spiral. Okay. Your spiral design. Now we have the radius as 50 points. We have the keys 86 and segments 77 in style. Just going to leave the settings and just click okay. But you can also check them for yourself to see what effects you get. This is now in the spiral I've created, might not be very similar. Perfectly similar. Going to suffice. Reduce the size to fit in more perfectly then just reduce the stroke size. Let's reduce the stroke size. I feel this is okay. I'll work with this then. Now we are coming to these ships. Okay. I consider them the most complex for this tutorial. Why is that? Because we're going to use a tool called the Path Finder. The pathfinder can be found on the windows, then path finder, click on Pathfinder tool, then open. Now this is the pathfinder panel, or the pathfinder. To. What the pathfinder does is it creates part. Let's just make an example by creating this ship right down, all to duplicate the ship. Now we have two ships here. Okay? What the pathfinder does is the pathfinder has many modes, okay? It has the ad mode, the subtract mode, the intersect mode, the exclude mode, the divide mode, the trim mode, the merge mode, the crop mode, the outline mode, the minus black mode, and so on and so forth. Now, these modes will give different effects when used. Now if I have an arrangement like this and then use the Ad mode, what happens is it just adds the two ships together. Okay, let me just confuse you. If I have them like this and then use this mode, which is the minus front mode, then minus the one in front from the one at the back. This is now what we have. Then when we select them and intersect, we see that it cuts an intersection. It's now deletes the other parts which do not intersect and then mix the parts which intersects a hole for this one. This is the opposite of the intersection mode. Then we have this one which is the divide mode. Now this divide, when you click, you see that nothing happens. But what happens is a illustrator divides the edges, divides the ships, and creates intersections based on the edges. You can just come here and drag it out down. This is a hole because it cuts the ships at the point where the pot intersect. That's how this divide effect works. I'm just going to undo then let's see, this one stream trim. See what then happens. We have this key now you can explore all the other options. But for this Ese, what we're going to use mostly is the divide. What I did here was came and created a rectangular two out like this. Then what I did was selected the direct selection two. The shortcut is you can just hit to select the direct selection two. And this one, the shortcut is V, you can just hit Select and V, this is then I just came on this C point and drag it out like this. Then choose a blue color. Selected this color, this blue. Right. Good for this other parts. For this other ship here, what I did was I selected the ellipse two and kind of created this ship. Okay. A perfect circle like this. And let me just make this stock as to see what I'm doing here. Just drag it out and kind of duplicated the ellipse again. And what I did was control C. Control V. Control. Right. And just made this one little bit smaller. We have two of them for this one. I'm going to this pink fl, and make the colors bring the colors back. What do we then do to make an intersection in the middle or cut in the middle, because that's what we have. I selected the first one, selected the second one, and minus, minus the second one from the first one. Then we can see that when we take our ships away like this, we can see that this part has a different color, right? Control. All you need to do is to select them. And then it divide. When you hit divide, we then have division like this. We don't have them as separate points, Okay? Now we can just make the show colors so you can see what's happening. As you can see this part control V to bring the selection to this part. Now we have to double click to go in because they are more of a group right now. Part now has a popular color, has a popular color, while the others have blue. We're going to ungroup them so as to have more control ungroup them. Okay, Now this one is a triangle. How do we create a triangle? Just come to our ship and come to polygon polygon and click here. It then gives you the option. Do you have the reduce Now the sites will tell us how many sites the polygon has. In this case, we want just three sides. When you click three, we have the polygon created. Just drag it in, please. And increase the size like this. Okay. Yeah, it fits perfectly. Now. Just bring the color back and bring it back to. Now what we want to do, want to create a, want to use the Pathfinder tool, the divide option to select this one, and select this guy and divide. Now we have them as separate parts. Good. I'm going to swap the colors so as to see what's happening beneath. Okay. Select your selection to group them, because they are now in the group. Yeah. The next thing to do is to add our colors, right, for this one. For this one orange color. Okay? For this one we have a yellow color. For this one, we also have a yellow color. For this one, we have a black color. For this one we have a lighter blue. For this we have this dark blue. And for this one we have this purple. All you need to do is just select your shapes and swap the colors back. Sack swap back and swap, select this guy, swap, swap back, swap back swap. Yeah, this is what we have so far As you can see. We have been able to create our ship for this last one. Select your recangle two, this last one D it out the color grey, make this colorless. Just select boots, ankle points, and drug them out like this while increasing the size of our. Finally we have our design. Our first design completed, yeah, we have our first design completed with this, we've come to the end of our video, in our first design, in a dub illustrator. Hope to see you in the next. 4. 04 Your First Drawings in Illustrator 2: Hello guys, come back. In this lecture, we're going to be learning how to create this design in Adulto. Okay, we're going to learn one new, two which is the shipbuilder two which will those in creating this design just come on adulto, create your new file and import your reference file, which we did the last time. All you need to do is come to file, then please come to Project Files and see this one which says your first drawings in reference image two. Select it and click on Template. And then you're going to place it just like we have it here. Okay, Now the first thing to do is of course to come to direct angle. To create your angle like this or your square. Okay, Now how does the shipbuilder work? Okay, let me just demonstrate how the shipbuilder works. Let's assume we have two ships, or let's say three ships like this. We have them with different colors. Let's give this guy no stroke and make this one green. Let's see. No stroke and make it range this guy. No stroke. Let's say you want it to be black. Okay, great. Now this is the ship build. This is the ship builder to the one you see here. This is the ship builder tool. When you select the two, first off, you have to select the ships you want to use the tool on, then select the tool. Now what the tool does is it creates ships based on the arrangements of ships. We have our works piece. Okay, When we select the ships and select the two, we can just click on one ship and add it to another ship. Now you see the pot ships are the same. I'm just going to do also now the ships are the same. You can just drag it around all of them. Now all of them are on the same ships. Okay. What you can also do with the ship below two is you can minus ships from each other. Okay? When you pull down Alt, then click here, You see that it has minus this intersection. Okay, I was going to undo and then just hold down Alt. When I hold down halt instead of this icon, it's going to show the minus icon which signifies subtraction. Okay, The plus signifies addition, which means it's going to add ships together while the minus shows subtraction, which means it's going to subtract ships from each other. When I alt and drag the ship like this, we can see that it has subtracted this whole ship from the one we have here. One other thing we can do with the ship builder to is to add colors. Okay? Let's assume we have color. Let's assume we choose the color. Here. We can use the Shibuler to to add the color. Okay? Give display the color and just base on the colors we want, we can choose the color. And okay, basically this is how, this is one of the uses of the ship below. Apart from creating ships based on intersections, the arrangement of the ships, of different ships which we have, it can also be used to add colors to specific points. Okay, just delete this demonstration we have here. Come on, ellipse, ellipse. Let's make it this big. To make it bigger now let's give it a true color, let's swap the color and make it a true color control. C control and reduce the size like this. Why holding down all and shift reduce the size like this. Okay, then let's just control C. Control again. Just make this one smaller. Okay, we're going to increase the size literan, but let's work with this first. The first thing you want to do is select this and swap back the color. And give it, let's see, blue color, select this guy and swap back the colors to. The first thing you can do is just select both of them. Select both of them and select the Shape Builder to and cooling down Alt. Click here. Now we have a cut in the middle here. The same thing you can do here. Select this one, give you the field color back. Select the other ship and select your ship builder to pulling down Alt minus this ship from the entire ship. Now as you can see, we now have two different ships. Of course, we want more courts at this point, right? Just select the both of them come to windows and part finder. And let's just divide, okay? When we divide, we then have our separate ships like this, okay? Just swap the colors to us to see what's going under for this other one. All we then need to do right now, just make it bigger, as big as this. Then just send it to the back right click And send to back it appears beneath all these other ships. This one we need to give it a nucleus. The group them for now. And then give this guy orange color, orange color. Give this guy a purple color. Give this guy a yellow color. Let's choose this sheet of yellow. All you then need to do is to select all of them. Just select each of them and swap back the colors. Now when we disable our template layer, we then see all sombness, enable it back. And we can just do the same thing for this other part, okay? You can actually create them from scratch. I recommend we do so. We can also actually just group them together and then duplicate them like this and then them like this. And fit them together like this. Fit them perfectly that instead of doing everything, I feel we should do it once more. We can just swap the colors on group. Just swap all the colors so as to see what colors we have to use for these ones. Okay, for this guy, we a brighter shade of orange for this guy, we use yellow for this guy. We use a brighter blue for this guy. A purple back our colors. Finally, we have this shape here. And of course you know how to achieve this, right? We did it in our last video. Just drag it out like this. Give it a black stroke. Then control C. Control F, which is copy and piece in front. And then make it rotated like this while holding down shift of and select both of them. Control control F, hold down shift and route it like this. Then select all of them. Again, control C, control and adjust them. Here we're done with our second design. Looks very perfect. This video we were able to work with the Pathfinder tool. Again, also we were able to learn about the shipbuilder tool, that will be it for this video and see you in the next one. 5. 05 Your First Drawings in Illustrator 3: Hello guys and welcome back. In this lecture, we're going to be creating this amazing dog illustration. Okay, so we're going a step further. We're going to learn how to create this illustration while learning the Pin tool. Okay, so in order to start, just come here and please, please, please then come to project files and your phrase design in Illustrator. Key reference image three, select it while clicking on template and then import this is now what we have. All we need to do is come to the artboard two and resize our artboard to fit into what we already have. Okay, then selection two. Then while on the first layer, layer one, just come to your ship two. And then rectangle two, what I want you to do is just come to this edge and start drug out to create the body. Okay, drag out to this points to create the body. Then let's just give this zero stroke. Or let's just instead give it a white stroke, give it a white stroke. While selecting our anchor points, this one just drag down like this. The other one select and drag down like this. Okay, the tool I want you to learn about today is the P. This pinole is used to create ships. It's used to create parts with precision, using anchor points and handles. When you just set the paint and start to draw, you start to draw, just click, click and drag. Just click, click, click. What you then see is when you click and drag, it creates a curve while giving you these handles. Now these are handles that can be used to adjust the look of this curve, of this curve. This is what you can do. This is what you can do, this is what you can do. But when you just click and click, what it does is it creates enco points. Okay? These en points just precise, I just direct, didn't have handles like this one. Okay? So these are for sharp angles. While click and drug, we give you curves. Okay? Click and gives you curves. Click, give you sharp angles. Do that, how the pin to works. Then just delete this. Let's see, we set the pin, Click, click, click, click, click, click. When we come to this point, close the ship, we would then see this circular icon appear. This tells us that if we click, we will be completing the ship. When we click, it's going to join the ship as one. Okay, It's going to join all the parts as, as one ship. If you just select this and swap back, we then see that we have our ship complete. Just delete this. Where we want to use this ship to, or this pencil for the first time is this steel here. Just click here, come here, just drag it out like this. Come here, let's just click here and come to the end like this. It all depends on how well or how comfortable the situation is. I think this will do, this will suffice, crack our anchor points a bit or our handles a bit to make the ship even look better. Select your pen back and come to where you stopped. Now when you come, you then see that a line appears under the two icon right now. This line, this diagonal line that appears tells you that if you click, you'll be continuing drawing from where you stopped. We just click and you can see that it has joined with the existing path to finish up the drawing. For this again, we're just going to swap the colors as to see what's happening below. And then for this other shape here, all I'll do is also select the pin two and just come on. Click. Click. Click. Click. Here and just complete the ship while selecting the ship on stroke and give it a zero stroke and common color and give it a field color. After you do this, just select the boot ships and then select your shipbuilder. Click on a ship builder to, while holding down Alt, you can delete these extra parts you don't want. Then the next thing to do is to create the leg. Click your rectangle to just the leg, this, okay? After which we select the white color and just swap the colors like this. Then select our anchor points. Come to this anchor point, select it, and grab our cuff like this. For these parts, I'm going to create erect angle and drag it out like this. Okay? Just give it a pople color, pop color, stretch it out. Then make the anchor points rounded or make the edges rounded while holding down Alt and shift. Just drag the ship to create these extra ones. This will suffice. Now what else is left? We have to create this other leg here. This other leg. What I'll do is I'm going to select this one. Hold down Alt and shift and drag it out. You know what? I'm just going to select these other ones, Drag it out like this for these parts. All I would then do is come and select my anchor points to my direct section to sell these anchor points and them out like this to reduce the size. Then select your rectangle. Two creates ship. This while giving it an orange color. Then you swap the ship like this. The next thing to do is select this guy. Select the ship builder to hold out this extra part we don't need. Yeah, we're making progress, progress now. We would like to create the head. For the head, I want us to just use the pain. Click, shift, Click here, here, click and drag. Okay. Click and drag. Then what you should then do is after you click and drag, you see that you still have kind of a curved continuation. If you wanted to turn back to street, all you need to do is to click your last co point, which is when you click this, you see that it's now uncle, it's not rounded any longer, just click and drag this point and click. Then come here, complete our circle. Or our ship like this. Even though the ship is not completed, we need to still click our last anchor point and then just come here so as to create this head ship like this, for this one we can just click here and to complete the ship. Now as you can see, we have our sh, we have our ship. When we finally come to add other colors, we'll see how everything comes alive. Now, the next thing to create for me is this year. For this year, I'm just going to select the peniln shift. Click here, click here, just click here. And then finally complete the ship. Select our ship, give it an orange color for this other year. We just have to click here. Cool. Down shift, click here, then come to this point. Click here, come. And this final point, like this, perfect. Of course, this ship has to be below the head, right? Let's just select the head and select this guy. And right click and bring them to front because we want them in the front. Now we have this. Or you select your ellipse out the eye like this. Finally, select color for this nose. Select your ellipse to click. Click and drag it out like this. Mustn't be perfect. Drag it out like this. Click back here, click and complete your ship. Now I'm of course to go back to our select to go back to our direct selection tool. Select this one, select the existing ship and then come to the ship builder tool down. Just let what else is left? I think we haven't created these ships right now. Come to your ellipse to for this one, just drag it out like this. Just drag it out like this. Come to your selection to just drag it out manually to fill the ship right. For these other ones, all you need to do is wooden olduplsr ship like this. Increase the size to make it appear perfect. Halt and also duplicate the sky. Increase the size to make it perfect. Finally, halt to bring the sky and reduce the size. What else do we do? Select all of them. All these ones. And select the mean ship. Then select the ship below two and doll minus the ships. Yeah, we have our design complete. All we then need to do is to swap back our colors. I'm just going to disable our ship here. Let me just ble it so as to see what's going on. Come here, swap our colors back. Come here, swap you back, okay? Come here, swap you back, okay? Come here, swap you back here, swap, swap back, swap back. Remember, you can use the shortcut which is shift X, okay? Shift x, shift x, shift x, and shift X. For this one, finally we shift X, Okay, Here we have our design. The letter, select the whole design and bring it out. Shift of course, and drag it out so as to see what's happening more clearly for this guy. Just select the ones and right click and bring them to front. They appear on top of this guy. For the colors, I think I'll just make them become more similar to this one. Yeah, that's what we have so far. Now we can enable our Lia and just drag it out to fit in more perfectly. What's left then our background is left. Our background is the last thing to do. So just select your rectangle to and out this, select your selection to come to colors. And choose this purple color, right Click, arrange, send to back. Now we have our design complete. Yeah, that's it for this design, and that's it for the Pin tool. In our subsequent lessons, will learn even newer tools and techniques in Db Illustrator. See you in the next video. Bye. 6. 06 Your First Drawings in Illustrator 4: Hello guys and war, come back. In this lecture, we're going to be creating this design, or this BA illustration in Adb Illustrito. We're also going to learn one new drawing tool, which is the Covito tool in Adb Illustritot's open Adbustrito. Then come come to place and choose this design, this one, which is your first drawing in Illustrito Reference image four. Okay. And make it a template please. Now this is it. I'm just going to use my artboard tool to fit it in more perfectly perfect. Okay. Now the covture two can be located here. This is the coviture two. It's very similar to the pen tool. Okay, Just that it works with curves. When I hover around the coviture two, we see the curvature. To create and edit curved and street lines easily. Let me just demonstrate. When you select the curvature to click on an empty piece, you have this point, okay. You can move this point to wherever please you want it to be. Okay, This is where the first cove point will be. The next thing you have to do is then click and drag. You see a curve is now being formed. Click and drag. Click and drag. If you do not want curves to be formed, you can click, click, click, click. Then instead of curves, angles will be formed. Double click. But if you click and drag once, it's going to form curves instead of angles. Double click for angles, click curves. Basically, this is how the coviture tool works and it's very similar to the pencil to create our design. Now we're just going to start drawing out our points, right? For this first point, I'm going to double click. Come here, and click to create this curve like this. Come here, and click here. Let's just click here, double click here, then click here, click, click, click here. Click Our first shape has been drawn, and we can use our selection to to edit anchor points. Okay? Just fit them in more perfectly if we want to this just to make the drawing fits perfectly. Now we have our first one. Just select a grey color and then swap the colors, okay? The next one we will handle is this one. Come here, double click here, and then come to this point. And drug come to this point. And drug also come to this point. Double click, come here and click on Drug. Come here, click come here, and click. Very simple, We have our second ship. We can use our ankle point here to just make this ankle softer and slid back our coverture two. And then now we'll work on this other guy here. This one is just a circle, just an ellipse, complete ellipse. Click here and click here. Then click here, and click here, and complete the circle. For this other part here, just click here, click here. Bring it this way, click here, sorry, double click, click, click, click, click, click, click, and complete. Double click, It's to complete. Now, I want us to make fewer adjustments to the points like this. Now we have two ships and we'd like to delete these extra ships, right? Like we did before. Select the two ships and select our shipbuilder two, and then pull down and delete the extra useless piece. So that we have just this ship. Good. Now the next one would be the head. The head is also like a complete circle. Just click here, click here. Let's click here, and click here, okay. And finally, click here, Perfect. Select our ankle 0.2 of it. Out this, okay. The next thing to create is this white mid ship. No, select covert to click. Click here because it's Angular. Then come to a point. Click, click, click, click and drug. Click for the other points of this other ship. We click, then click. And I'm going to undo the double click rather. Come here, double click. Let's just this, we'll come back and edit this ankle points here. What's next? We just click and click. Perfect. Now we can come and make some adjustments to our ankle points like this, okay? Perfect. And for this one, we can just adjust it like this. Okay? Perfect. For the last part which is this, we just click here, click here, and Rug click here, double click here, click here, and Rug gets to this point. Click here, and just complete the design like this. Perfect. Now let's color our ships. Okay, for this one, I will choose this sheet of brown. Now these colors might not be available on B Illustrator because they are custom colors. Okay. And we're going to go into seeing how to create custom switches, cost colors in our switches, in little videos. But for now, if you really want to create something like this, you can just come to to that double click to open the colopica two and just manually adjust your colors. Your colopica, as you can see, I'm dragging it down right so as to change the color. When you have the brown like this, you can then use this icon or your mouse to choose the exact color you want to keep. But any color will suffice for this project, just use any color of your choice just because we have one specific color. And then all the others are sheets of that color, right? This is what we have now. Now for this guy, we just swap the colors, okay? This guy as swap the color, but this guy has to be at the back, center, back this guy. We will choose a brown color, brighter brown. Then swap, swap, yeah, then swap. This guy should be at the front like this. For this one we will choose a brighter color and swap, probably select all of them including this guy. And send everything to the back so as to enable or see this one. For this guy, I'm just going to swap him and bring him to the front. For this guy, I'm going to choose a white color or brighter green and reveal white Should work better for this guy. I'm going to choose a darker brown for this one. Finally, I'm going to choose a white, Swap the colors. Now for this, here we want it to appear at the back. When we disable our reference layer, you can see what we have. I want to create a background. Just select your record. Let's see, a brown color, shade of brown. Just drag it out like this. Send to back, just going to choose another color. When we see send to back should go to the back of everything. But we need it on a separate layer because we don't want to be selecting it because it's a background. Come to your shape panel here and create new layer. And then grab the new layer below. Like this. Click on this guy and then select the layer and piece in front. Okay, let's just maybe change the color of this. Let's use this one then. We can now click here, this empty space to lock the layer so we can select it any longer. Okay, good. Then do we do what we then need to do? Reflect this shape here, flip a copy of it to the other side of the transform and reflect reflect options are here. For axis, it tells you whether to reflect it along the horizontal axis or the vertical axis. For this case, we want the vertical axis and then we want a perfect reflection. We're going to choose 90 degrees. Okay. Instead of Ok, we will choose Copy, because when we click Copy, it's going to keep the original version while creating a copy with the reflected attributes copy. And then rug while hooding down shift. Drag it out like this. Yeah, perfect, same thing you'll do for this guy. So select transform and reflect, and then copy. Just drag it out like this. Okay, drag it out like this. This just checking to see if everything aligns perfectly. Let's work with this, right? Yeah, this will work. As you can see, we now have our design, our beer design. I want to add highlights and shadows to our design so as to give it more from our reference image. If you look closely, you'll be able to see some shadows and highlights. That's what I just want to add for this purpose. I'm just going to come here, we can add them with either our pin two or covature two. Okay, I'm going to use the pin two. I'm just come here out of the ship like this, then have something like this. Okay, why selecting it? We select the main ship and then use our ship bul tool and while holding down Alt we can delete the extra mediate ship Pm. We have this one here. We can use the direct selection tool to at our points even better. Okay, let's choose a brown color. For brighter brown or let us choose the same brown color. And then I chose the color to make it look like a high light. Right, so the next thing we need to do is to bring the layers on top of the layer. We now have it looking like a highlight. Okay, I just want you to go about and add the remaining. Okay, just the pen or curvature tool and the ship builder tool. You can add as many of highlight and shadows as you can so as to give the drawing more depth. That'll be it for this lecture. In the next one, we're going to create one last drawing using the tools we've learned about. See you in the next by. 7. 07 Your First Drawings in Illustrator 5: Hello guys and welcome back. In this lecture, we are going to be creating this bird illustration together using the tools which we've learned in previous videos. Okay, we're going to together create this amazing bird illustration. Go into a B illustrator and then come to file. And please. And then select our reference image here. And the template, click template, please. Now the next thing to do, like always, is to use our artboard to adjust our art board charged pod to fit into a reference image. Yeah, in order to begin by selecting our near one, we have to use our coviture tool. Right? To select the covture, to zoom in using the old and mouse. We then click here, come to a point like this, and click here, Come to this point, click here, and click here. I'm just going to use the direct selection tool to just bits on our arc points like this. Okay, good work. Bits on our arc points to make them look even better. Perfect. Select our two, and continue, sorry, select our two. Okay. Okay, I'm just going to click here to see if it works well. Yeah, do just come here, come here, here, come here. Double click here, double click, double click. I'm going to, I'm going to remove the field color. I'm going to move the field color like this. And then double click here. And kind of click here to create this curved ship like this. And then click here, okay, click here, and click here. Finally, click here to complete the ship. Okay, then for this ship, we're just going to choose, let's choose this sheet of blue. And then edit it to make it look very pale. Okay, I'm just going to select the direct selection to make our ship look even better. Okay, But this look even better. Okay. Move it out. Must be perfect. Mustn't follow the template perfectly, okay. We just want to have the best ship we can. I think we can work with this. Now for this other line, we select our ship two. That's for the wings right. Coviture two rather. Then come here, double click here. The double click here. Then click on Drug. Let's click and drug. Click and drug. And then click for this, we're going to make the blue darker perfect. Then for this other part, we'll take our curvature to click, click, Click, Click, Click, Click, sorry. Clues, We can just adjust our points to make them look better, to make our drawing look better. Yeah, this will work. Then we just have to select this guy. And select this guy. Come to our ship builder tool and pull it down. All delete this guy. This is now what we have. Then the next thing to create is F here, here, select, click, click, click, click, click, select it, our red color for the beak. We can click, click, click, click here while drag perfect. Then let's do the ice first. For this, we can just use to that've to the covet perfect and make this white. And copy and then paste in front while reducing the size to something like this. Then making this color Ppp. Yeah, for these other ones, all we need to do is use a rectangle to this. Then this select the both of them and use a gray color fit. Just use the computer to click here, click here, click and drug, click and rug, click and rug, click perfect. Then we will just use a right color and we can pull down holes and duplicate it like this. Perfect. Now all we need to do is just swap our colors, back swap our colors, back swap our color, back swap our color swap this guy, the move it to the park, swap this guy, swap this guy, swap this guy, swap this guy, and swap this guy. Just check our reference image. You see, yeah, we've done a good job. Even we can walk on this color in the colors of the legs, maybe. Let's make this while sending them to the. For this guy, we can make the color brighter. Yeah, yeah. And then for the reds, you could make them bit pale. Okay, little bit pale. Yeah, this is it. And as you can see, it's not too complex. Nothing too complicated. If we want to go an extra step further, we could add highlights like we did before. Okay, I'm just going to add highlights for this guy. I'm going to make it looks like this. Okay? Make the color we brighter. And then select boats. And use our Shuler, holding down Alt and deleting the extra space. Okay, so we've created this highlight here for this other guy was going to use the court. Then click, click, click here, double click here, double click, Select the new ship, on the old ship, and then use the ship Bul tooling down Alt. Delete the excess for this new ship. Just make it brighter. Ok, brighter. Now you can just come and try to make this one look better like this. Okay. If you would like to turn an ankle point like this into a curved smooth point, all you need to do is to click convert selected anch point to smooth icon. Click it. It's going to turn it to a smooth point with handles. If you want to turn a smooth point to ankle point, you have to click Smooth Point to a point with sharp angles, right? You have to just click this and it's going to convert. I think we need to create a point here. Okay. To help us It, our Shape better. Yeah, that's our highlight. Just select this. Come to Shape Builder. Okay. Okay. Okay. We can't actually delete because it's part of our background image. If we just remove our background image, we see that everything looks perfect right. Now. After you're done with the drawing, I would like you to just go in and try to create more shadows and highlights to give our drawing more depth, okay? Okay. I've done this first and second one for you. Just do the remaining and see you in the next video by. 8. 08 Assignment 1: So in our last few lessons, we got introduced to be illustrator. We learned how to use a lot of tools, diverse tools. We started with the simplest of them, which we had, shape tools. Okay, so we created designs with those, and then we built on that knowledge, we got introduced into newer tools and even came to the point where we started using the pen tool and the coviture tool to create really nice designs. Right. In this video, this is actually an assignment. Okay, I have created this one for you. All you need to do is to just replicate this design. Okay? You can just come to file and please and choose the design. Here is the reference image. You can make it a template. You can choose it again, Have it side by side so that you try to draw what I have drawn here. If you by any chance encounter some difficulty while drawing, of course, this is the main one. You can just go in and see how I have laid out everything. Okay, this is the assignment. Just try to create this with different color combinations. You can use the ones I have here. You can use other ones. You can use your color combinations. Just try to have as much combinations and feel free to share your work with me. I'll be glad to see what you are able to come up with. That is for this assignment, that's all you need to do. Just use the knowledge you've gathered over the course of the last lessons to create this illustration. Now see you in the next one by. 9. 09 The Pencil Tool: Hello guys and welcome back. In this lecture, we're going to be learning about the pencil tool. Okay, So the pencil two can be found here, so just hold down your left mouse button and where you see the shipper to just hold it down. And then the pencil two will be the second one. So just click on the pencil two. And this is the pencil two, right? This is the interview of the pencil two. This is how it looks. Okay? And I have gone in and created this cool illustration. Okay? This dog themed illustration or this pet themed illustration. Okay? Where we have this dog thinking of a bone, we have this crown on its head. This wanting of a bone, dis, wanting of money. With crown, we have a pulse. We have, I love pets and so on and so forth. Just very cool illustrations. Just with the pencil too. Okay. So how does the pencil to work? The pencil to enables us to draw out stuff. When you select it, just draw out stuff. We see zooming. We didn't see what we now have with our pencil too. Okay? So with this, we cannot go to our properties. We can increase the stroke size of our pencil too. Okay? We can choose brush presets. Okay? We can choose brush presets, which we are of course going to look at later on in more details. Okay? But for now, just know that these are the few things we can do. The pencil tool. Just delete this and select our pencil tool again. Now, when you select our pencil tool and B, click on it, we see pencil tool options. Okay? These options will help define how our pencil tool will act. Okay, Now we have this slide here, Title Fidelity. Okay? This will help us to smoothen out our drawings if we drag it to the extreme end. Okay, When we drag this to the extreme end, it helps us smoothen out our drawings. When I click, okay, and I draw this and I select my drawing too, We can see that because I increased the fidelity to the maximum, it has made my drawing very, very organic. Okay. That's just how it works. That's just how it works. I'm just going to take my time to import, to import this image without the illustrations. I'm just going to please now when I please, as you know, I can drag it, I'm going to drag it and come to my layers creates a new layer. This odd layer going to lock it. I don't select it, I don't select. We're just going to go through how to use our pencil to, to create amazing illustrations like this. So I'm just going to increase the struck two, then select our pencil to the increase the change. So color to white. Okay. And then just try to draw out and see what we have. So you can see now our crowing. Let me just make the shklitt bit bigger. Yeah. Our drawing is now more visible, right? I can even make the Sk even bigger, and let's make it 66. Yeah, for this one. For the crown, you could just draw a crown like this. Okay. See, you now have a crown. If you want to draw a straight line, just hold down shift and then draw and have a straight line. But for this I'm just going to leave it like this. My drawing might be rough in some places. Okay? But this is just to illustrate to you how to use the drawing or the pencil to create my circles here for my crown. Okay. Then we have an illustration like this. We have one like this that comes like this. Yeah, We can just have nice cripple effects. We even have this one which is more like an arrow. We are going to come to this later, but you get the point. Now for this one, we have a boon. If your drawing doesn't come out well, you can undo it and just try to create a new one. Then we have something like this. Okay, this. Right? Yeah. We're making progress. After doing our drawings, we can still select our drawings and adjust their sizes. Just the sizes, maybe make this smaller, perfect. We also have a bone illustration here. My drawing is bad. Just a bone. Just do perfect. Ah, it's still not good. I'm still not satisfied with it. Let me try it once more. This one is quite big though. You know what? Just going to delete this guy. Select this guy here. While selecting our ankle 0.2 I can actually select ankle point here and it can make the boon longer, longer. Select this ankle point and just just the edge curve like this. Even do same here. All these are what we can do to our drawings after using the pencil to go back to our pencil to then just create this cloud ofs mustn't be perfect. This is good and we just have circles. Is pointing to our very lovely looking dog. I'm not satisfied with this guy. I'm just going to delete him. I'm going to bring this one here. We can be okay having some progress for this other guy he's thinking about. He's thinking about some cash. Just drag it like this. Perfect. Then have some clouds. Perfect. Then thoughts coming, coming, we get the point. Then we then have an outline like this, another one like this. Just be creative. It mustn't look as exact as this. Just be creative with it. You could have other things added. Okay, so I'm just going to pause for now and then just try to show you one more option which you can use the panel now. This option is called the Stroke. Okay. Now this is the Sky panel. Now, click, double click when you come here and click on Show Options. It's going to show you the Strk options. Okay, with the stroke options, you can actually modify the strokes of our drawings. Remember, these are just shapes with strokes. Okay, we have a stroke color and we have a stroke thickness. Now with the options here, we can actually edit our stroke. We have the width which is 678. Adjust the width. Here we have the cap, now it is set to both cup. We have the rounded cap, we have the projecting cup. Let me just create one line here for you to see how the hooting works, right? For this, we have the bot cup. If we choose the rounded cup, you can see the changing happening here, right? Both cup, rounded cup, projecting cup, okay, projecting cup, rounded cup. Both cap. And then for the corners, we have this one which is called the Tam, just going to create a corner here. You see how it works. We have this one which is the default called the met joint. Then we have this one which is called the round joint, so you see how it's changing, right? And then we have this one which is called the pavo joints. This is how it works, Joints, rounded joints. And In ta joints, right? And then we have the other ones. Not too important. We have what we call dash lines. Okay, when you enable this, just creates dashes. And you can edit the dashes by changing the value here. Let's make the 16 can change the value of the gaps. It means the dashes are 16 points long and the gaps are ten points long. Okay, let's make this 20. You can see the dashes are two times the gaps. Okay, That's the whole thing behind here. Now you can also create more variations. It creates dashes within dashes. Okay. Just to bring it back to the normal, just go through these options on your own. We have here which is called the arrowheads. Now these arrowheads are just what the name imply. Arrowheads. Okay? When you come here, you can choose a head for your line and you can choose a til for your line. Okay? Depending on where you want it to be, you can choose a head and head or tail. Tail. Head and tail, just depending on what you want. Okay, These are the arrow heads. Then finally we have what we call profiles. The profile just create a line like this. These profiles are of the way our lines will appear. Okay, The profiling of our line. Let me just choose this one so you see what's happening. Let's just check the dash line. You can see that the profile created similar to the one here. It has tipping edges. We have many other profiles. We have this one. Let's just make the strip bigger to see what's happening even better. We have this one. We have this one. This one. Okay. These are the profiles we have for this guy. Actually going to give it a arrowhead, just like how we have here, right? Arrow head and a tail. Head and a tail. Yeah. Perfect. Okay, I think the tail we here is this one. Yeah. The arrowhead and the tail. Okay, perfect. Basically, these are what you can achieve with a pencil. Just go in and just try to create, add more things. Make yours as impression as possible. And we'll see in the next video, bye bye. 10. 10 Working with Brushes: In this lecture, we're going to be learning about the brush tool. Okay? Now, as you can see, I have gone in and added some more effects to our initial illustration. Okay, I added some brush effects, added some more drawings. Okay. Some more to do to make illustration even better. Okay, So the first thing I need you to do is come and open this file. Come here, click open. Come to Project. And then this file which says working with brushes. Okay, just open it, you have this drawing. The next thing I need you to do is come to our initial drawing and then just free this layer. Just unlock this layer and mark, you select our entire drawing, that's the initial drawing. And hold it in drag, like this non release. So we're dragging it to our drawing. Right, our new drawing, so we can practice on it. Perfect. I want to separate the background from the layer which we have our drawings on. As you can see, they are all on the same layer. All right. Just click here. Come to Edit and Cut. And then just come in the layer beneath. Keep in front, everything looks perfect. Just lock the layer. Start. How does the brush tool work and where can we find the brush to now? This is the brush to, you can see Pint brush to. This is the paint brush to and selecting our layer, you can just grab there. You see it? It works just like the pencil to which we just looked at. Right? Let's just select them and delete and select tool once more. It is used to draw out lines. Used to draw out lines. Okay, just like the pencil too, But we don't use it to fill our species. We don't use it to fill our species because it doesn't do a good job. Okay? If we try to use it to fill our species, we can see that all these lines have anchor points and it just makes our work very messy. In order to fill species, we can use the blob brush tool. Okay? It's a brush tool, but it does not create anchor points like the brush tool does. It only creates who objects. Okay. As you can see, this is on the brush to the brush tool. This can now be seen as a whole objects on the brush tool. That's by the way, on our brush tool. When we click the brush tool, we then see a similar option with what we had on our pencil tool. Did they work just similarly? Now we have the fidelity once more when we drag it to smooth it, then helps us smoothing out our drawings like this. Okay. I actually find the brush tool easier to use than the pencil tool. Okay. That's just the brush tool for you. Okay, let's select the brush too. Let me just look at some other illustrations which I added came here, made this ship here. I made one other one at this point. All right. Okay. For perfect, this other random shape like this one, like this, I came here and made. Okay, made this guy look like this. Okay, perfect. Now, what else did I add? Iman added stuff like this, added some random drawings like this. Okay, just made the whole thing look busier. Just Okay, you get the point, right. Depends on your creativity and your ideas. Yeah, How did I add the brush effect? The brush effect, you see? How did I add them? What I did was I came to windows, came down. Now you see where it says brush libraries right now. These are the brushes. Now these are presets which you can use on your brushes. I added, one of the ones I added is the vector p. Okay, when you click, you see that the panel appears with the brushes, with the brush presets. Let's say I want to even activate more, just come here, come to brush libraries then. Let's see, we want artistic paint brushes. Now we see that they have been added to the Pana, right? We can navigate through them. You can even drag this one to come before the other one. What I wanted to show you the last time was the brush options. Right now, the brush options we click here. We see that the art brush options are out the name of the brush preset, which is the grunge brush, to park 01, then the width. We have many other options. Actually, it all depends on the brush you pick. It all depends on the brush you pick, if not directions. Directions depending on what direction you want the brush to follow. As you draw, we have the key color, you can change the, we have the flip, we have all other options. When we come on a brush like this, we have some options different from the ones we just saw. Now this one has what they call the angle. The angle at which the brush will draw the line. We have the roundness. We can make it oval like this. We can make it around. We can create the size, so on and so forth. Just for you to know, let's just try to make our drawings more interesting. Brush presets. Select this guy, and come on this. And select this one. And see how it looks so we can reduce the size of our stroke and test more presets. Let me select this guy and reduce the stroke size. I think I'll just go with you guy I don't like this part is empty. Just go with something. Just go with this guy. Maybe increase the size bit. Then just use the anchor, 0.2 Come here and make the softer. See it softer? Same here. Make it softer. Same here. Make it softer. Sorry, Make it softer. Okay. Yeah, perfect. What else do we have? We have these ones too. Perfect for me, guys. We have a lot of brush presets you just go and check out for yourself. I can't cover all the brush presets we have in this video. Okay, okay, perfect. We have the other brush presets. Let me just select this guy and give it this preset and see. Yeah, let's use this one for the pause, sell, it doesn't look too perfect. Remember, we're trying to make it look. Then we have some other presets. Let see artistic rose borders. We have the decorative other, many others. Let me just. Okay, there's this one I'm looking for. Okay. Let's choose artistic ink. And let's see how it looks here. I'm not feeling this one. I'm feeling it. One thing, you also have to know about this brush. Precess? They can be used as single entities. Okay? What do I mean by single entities? They can be used as art assets instead of following a path broaches. How do we do that? We just come here and drag it out. Okay, when you come and drag it out, you have the effect. You don't have the effect. Instead of following your bush, we can use these guys for our graphics, drag the guy out. Some of them are very heavy, heavy. Really heavy. It's this heavy because I was applying it to this existing brush. I'm just going to delete that, P. Okay, let me just select this guy to see which one we used. Which is, this is the Dran brush vector p. Right? Let me just look for it, see if I can get it. Good. Brush presets and vector vector p. This is it. We can, let's like this here, like this. Let's make our drawings more interesting. Okay, perfect, perfect. The next thing to do is to have this effect. This brush effect. We'll just select the drawings and then come on. The grunge brushes and the ones we deem fit. This is cool for me. Like I told you before, we can use the blob brush tool to fill our brushes, right? To fill in the empty specs, right? Yeah, we can do that. We're going to just try to do that here and use other methods also to fill these other places. For that we come to brush, then click it for this guy, we're going to use a purple color. Can we make this big come instead? And select a bit brush. Not to satisfy it, but I'm just going to use it like that. As you can see, we filled in, we are filled in our drawing and we can select it and just choose a color for it. Choose a color for it, and then bring the drawing in front. Okay, we can do same with other, with all other elements in the design. And then bring this guy to front. Just feel free to do the rest then for the ones when you select them, I'm going to choose the ship builder to. Now, like I told you before, the ship builder to can also be used to select colors, right? If we select the color here, we can just fill it in. The ship builder to and then choose another color. Then fill it in. Choose another color. Fill that color in, and then let's keep filling how we want it to be filled. Right. Okay, Perfect. Perfect. Perfect for this guy. Your direct selection to click the ankle points and just kind of petits like this to kits even better. Okay? Mm hmm. For this crown, we're going to use my Shape builder tool here. I think it won't work for this one. We're just going to use my block tool instead. And then our raw out select you, choose a color for you and then bring the mean guy to the front. Okay, we can select this guy and duplicate it and reduce the size. Instead of redoing the drawings over and over again. This guy, same thing. Change the color, change the color, and bring the mean ships to the front. Just go on and try to complete the design. Just going to close the libraries here. Just complete the whole design your way. Okay, pieces of left out. Just fill them in and try to add as much details as you can. Okay, we're going to delete all the other elements. Redundant elements. Yeah, we have come to the end of this video. Okay, so I hope you've learned a lot concerning the brush tool and how to use the brush tool. See you in the next one. Bye bye. 11. 11 Assignment 2: Hello guys and welcome back. I'm very much excited to have you Till this level of the course and in the past videos we really learned a lot. We learned about the brush to the pencil, to using the brush options, using this and that. We've learned so much right now. This is an assignment which I want you to do. I have this image here, okay? All you need to do is come here, open file and come and select this, assignment two. Okay? Assignment two, just come and select it and this file will be open. Okay? So from what we've learned from the last video, we've learned about the brushes and the pencil tool. I just need you to create custom doodles. Okay? Just like we did before. Just create illustrations with the pencil and brush tools, just like we did before. Okay, we used bones, drawings of Boons, crowns and so on and so forth. So just be creative or you can browse online to get more ideas Okay. So as to know what to come up with. So I'm very eager to see what you will come up with. Okay, Yeah, so that's all these assignments it is all about. Just do your drawings, of course. You have to create a new layer and then lock this guy before you do your drawings on this layer, right? Yeah. So hope to see the drawings. Feel free to share them with me and see you in the next one. Bye. 12. 12 The Width Tool: Hello designers, and welcome back. In this lecture, we're going to be learning one new tool, very interesting too, which is the width to, this is the two here. This is the two. And from here you can see what it does, right? Vary the thickness of strokes along their parts. It varies the thickness of strokes along the apart as, as what it does. And we're going to demonstrate the width two with a line here. Okay? Select the two. And select the two. Select the width two, Come on your stroke and click and drag. Now, can you see what's happening? Can you see what's happening when we leave it? We can see that we've illustrated something that looked like a leave with our width. All right, So it tiers the boots ends and varies the width, Right? Okay. Again, we can have something like this. Depending on what you want to create and depending on where you choose or where you choose to put it. The we give you different designs. Okay? Different designs. You can see we are having different designs depending on my location of, of effects. Okay. You can see this is what the who does for you. Perfect. Perfect. Very simple but interesting tool, right? Yeah, perfect. This is the two for you. I have come up with a few drawings here to use for demonstration purposes, so as to demonstrate to you the effects of the W. I'm going to select them to make my stroke at. And when you select my width to, when I come to the drawings and just grog like this, you can see that immediately the sizes increase, right? You can just undo and bring the sizes and make it happen here. This also happen, I can just, I'll just use my direct selection to try to make this come deeper as to meet the other one. Right? And then the next thing to do is select our drawing here to create this defects. So we're trying to illustrate and do just a perfect job. Okay? Perfect grout, gouts, draw routs, draw groutsry gut the bits draw grouts, perfect for this one. So rays, perfect. As you can see, we now have our beautiful leaf design cut of the, it can do seem with this guy. Dry it out. Draw it out. Draw it out, perfect. Yeah. So this is what we've been able to come up with with our tool. So there's one more thing I want us to do. I want us to fonts to create a type with the with. What I want you to do is just come here, pull and click the rectangular grid tool does this tool do This tool creates grid. When you click, you see that the option come out. And then we now have the size, which is the width and the height. We all have them at 100 points. We have the horizontal dividers, we have the vertical dividers, we have the skew. What? We're going to do it at zero, well we don't want to skew effect then. That's for the horizontal and also for the vertical. Immediately, you see. Creates this for us, this kind for us. Okay, that's of course with the settings which are 12, 345-612-3456 Right, conflict. What we want to do is we don't want to use these options. We just want to, we want to make this 0.0 and then so that it one. Okay. We want the grid lines to serve as our protection for our funds. Right? All you need to do is to select and then out drug out like this as to get a tiny piece in between them. Come to edit, come to objects, then transform again. This will do the previous action and the short cut is control D. Comdr mark, right to control D. When and control D. We see that we have another box here, the same distance control control. What I want us to write is Flora Flora. Okay. You can use any tool you deem it fit to create this, but I would like to create a Cosi fonts. Okay, Cosi create to use my pen tool so as to have quite a bit of control. Okay, the F to select connect this guy and just make more interesting, select our anchor points out like this. And then use our pen to back again. Just creates an like this. Okay. Perfect. Create other. The other part of the letter said this will stand for and then we want the next one which is okay, the L should start. You can use any tool you're most familiar with. You can use the Cove tool if you want. You can use the pen tool if you want. You can use whatever too. I'm just going to use the pen tool. Grab this out like this. The next letter to create this letter For this, I'm going to use the Covet two. Click. Click. Click. Click here, sorry. Click here. Click here. Click, yeah. Just click here to complete it. Okay? Perfect. Then the next one is the R. I'm just going to tick this guy and bring him this. Okay. I'm going to select this guy. Shall use this. Let me just, yeah, let me just select this guy. Drag him like this too. And what I'm then going to do is just select this ankle point and delete it. Select my pen to connect to the previous point and drag it out like this. Drag it out like this release. Come on and do some to adjustments. Yeah, finally the leg perfect, floral, and then we have the litter to create. What can we copy from our existing ships? Let me just copy this. Sky here. One other, looking like this does look good. I don't feel it. Let's just create a new one then select our co point here. Just adjust it like this depends on what you want to create. Type of courts or whatever type of fonts you want to create. Then we want the spots. Finally, we're going to the last word, letter select, and draw it out. We have our fonts floral repeating. Just delete the grid which we created. Just delete them. Ovulate this guy, make it to create some of design. The next thing to do is to use our two to achieve some nice effects, right? Let's start with this guy. Come to two, let's just come to the middle here, create this kind of effect. Perfect here. Perfect Sam here. This fine Sim here, here. This guy here. Of course, you can, you can create several points depending on what you want to create. It all depends on what you want to create. Here could have a point like this all depends on what you want to create. Really, this guy, you want to make this guy. Oke, this guy smaller. Who knows? Make this guy bigger. Okay? And just this, this, this, finally, this. Okay? Nothing too interesting. Just for demonstration purposes, we definitely can come up with better than. Okay. The next thing I want you to do is select this guy that says Flora. And please now we can just drag out our designs like this. Then just group this group or control for group range into fronts. This is what we then have. We can reduce the sizes sizes. When we reduce the size, of course see as we reduce the size, we get thicker. We don't want this to happen then you just want the size to be this thick. The thing you can do to avoid that is just come here to object, expand, appearance. You can come again and just expand. Okay? What it does is it breaks this point. It turns it from stroke to an actual ship. It turns them from strokes to actual ships. The problem with this is you can't go back to edit the strokes. The only thing you can edit is the anchor points now of the new ship it has created. We don't want to do any more edit, so that's why, that's why we expanded the whole thing. For this, you can come select your color or whatever thing you want to fit it to it. One other thing we can do is just a bit copy piece front. Okay? Just use your arrow keys to shift it's backwards. Okay? And then make, and then just make this Dak. You know what I want to do. The next thing I want to do is just select range, Send backwards. It appears like a shadow effect. Not too attractive for me, but you get the point. You get a lesson trying to pass onto you here, right? Yeah, that's just what we've been able to create. Just the tool is a great grito, you can just knock yourself out with the as much things as you want. In the next video, it will be an assignment. Most probably, you'll be required to use the two to create stuff. That should be the next per video, not the next video. The next video should be on the blend ship to the blend ship two. With this, we've come to the end of our lecture. See you in the next one. 13. 13 The Blend Shape Tool: Hello guys, and welcome back. In this lecture, we'll be learning about the blend ship tool. This is the blend ship tool. Okay, What the blend ship tool does is it blends between ships. Okay, it blends between ships. It can blend between one ship and another and creates a line of ships blending from one ship to another. Let me just demonstrate it. Let's assume we have a red angle here. Let's me this color this ship here. Okay, let's make this blue color. Let's have one of the one here that looks like this. Let's say we have this green color. The blend ship like you can see here can end the blows blend between this ship to the ship and this ship to the ship or whatever arrangement we want. Okay. So this is an example of something of a blend between three ships. So these are just three ships. This is the first ship, the second ship on the third ship, okay? So it can blend the colors. It can also blend the ship of the ships. Okay, the form of the ships. All you need to do is to come here and then just double click to open the blend options. Okay, it's the blend options. And then now you can choose smooth color. You can choose specific steps, You can choose distance. I'm just going to choose specific steps. And then let's, let's make this ten then. Okay. Now when I choose my first ship, okay, Then I blend it with this second ship. You then immediately see that Abels Frito has blended this ship to the ship. That with the forms of the ships and also the colors of the ships. We can then do this guy to this guy. And as you can see, it creates a perfect site blending between these ships. Okay? You can even play around the ships, try to edit them, and everything falls out just perfectly, okay. The more those steps, the more complex are drawing. Let as we have this guy and then let's see. Starts the star is this color. We have this guy to be discolor, right? When you double click on your blend ship two, blind ship two. You have the blend options like you know it now. Let's just make 50, Okay, let's just make this 50. So you see what then happens, like your tool, like the blend ship to click here and click here. Now what can you see? You can see a perfect blend. Because the ships are, the steps are much rather not just ten steps like we have here. We have more steps and therefore a more unique way of blending, more unique blend. That's the way this tool works. We can use this to create very amazing design, very sweet designs. We can edit the color, color, different adjustments to our design so as to get the ideal stuff we want. Let's just get this out of the way. Come here and just select your pen. Try to create something like this and something like this. Okay? Skip, get out, then come here and also create something like this. Then select this guy, give him st color purple. This guy give him color of pink. This should be pink, right? Yeah, it is magenta pink. Yeah, this is what we have now. Let's, let's make it 30. Let's make it 30. Then select this guy. Select our blend shape to click here and click here. You can see now we have a blend between booths. Let's just try to increase their stroke sizes. You see better. We have this one. What I'm going to do is I'm just going to click on it, come to objects, come to blend, and then come to release. When you release it, then releases the blending you've done. I'm just going to make the stroke. Two were to go again to make this 100 101st One. Click here and click here. What do you see? This is a more interesting look, my own opinion. More interesting. When I increase the stroke size, we can see a more sweet look again. Imagine just use a clipping mask mask. Don't worry about that. We're going to lend that in for lessons. Just them in control seven. Boot in control seven, just to trim the design to the work piece. You can see that we don't even know that there is another part here. It looks cool, right? These are the things we can do with our blend shape. Do this and even more. In for the lessons, we are going to really use our blend ship two to create very nice designs. Most probably in our last lessons. Okay, we're going to use most of the things we've learned in discourse to create very nice designs. And the blend ship two will be one of the things we work with. Okay, that will be it for this video. All of these files would made available for you so as to see for yourself a hope to see you in the next one. 14. 14 Assignment 3: And will come back to this third and very simple but interesting assignment. In this assignment, I want you to use the knowledge you've acquired on the width tool. Right on the width you're going to come up with, you're going to come up with font designs. Remember how we handled the font the other time? We just created the rectangular grid and then just created a duplicate and control control control. What I want you to do is to come up with font designs. We can use the To to give you different looks. All right? Just going with interesting fund designs from just from, probably not from Z will be way too much. Just use your discretion. Whatever letter you want to stop at, just stop at that letter. But you create funds just like I'm doing right now. I'm just creating a Yeah, this will suffice and should be something like this. Okay, So this is mine, this is mine. I'm just giving you an example. C and then D. C, okay? Just something creative and out of the box, okay? So let's just stop at D. And this guy, this guy, this guy looks more like an E than a C. So I'm just going to want you to look to C, okay? We're just going to look like this. Now. We have BCD. Bcd, okay. I'm taking our, we can just maybe something like this and something like this. This just depends on your creativity, guys. There's no rule for this. It all depends on your creativity and what you want to, what you want in your fonts, right? I'm just creating random designs. Are. Yeah. So these are mine for now. Just come up with yours and I would love to see what you are able to come up with. Okay, and that will be it for this assignment in this module and see you in the next one. 15. 15 Exporting from Adobe Illustrator for Print: Hello guys and welcome back. In this lecture, we're going to be learning how to export our designs from Dub Illustrito for the purpose of printing. Okay, So just come to file and open this design, this file rather this 13 export from Ad Illustrator for print. Okay, Just come on your export from Dub Illustrator folder and select this one which says for print. Right? And then just open it. So when you open it, you're going to have this on your screen. Now before you export for print, there are a few things you have to conclude on. And there are a few things you have to check. So the first thing is the format to which you would like to export. Generally, there are two formats that most printing companies use. Most printing companies use the PDF format and also the Pec format. And I'm going to show you how to export in boot formats in this video. The second thing you have to check is the column mode which you want to export in. For the column mode, I recommend you also confirm with your printer which column mode they will accept. Because there are two column modes, we have the MYC column mode and we have the RGB Colum Mode. Don't worry if you do not understand much about the column mode. We have a separate module in this course where we take a dive into colors and look at even the CMYK and RGB colors. Okay, so generally, for bit printing presses, the CMYK columnude is usually used, but for smaller machines, the RGB columude will work perfectly. So how do you reach into columnudes? Just come to file and document columnude. Now you see it's parrently at RGB, sorry, purrently at CMYK. And as you can see it here, it's CMYK, right? Just come document and change the RGB if you would like to use an RGB column mode. Okay, So this is just the simple thing you have to do in order to change the column modes. So these are the first two things you have to agree on, the column mode and the format to which you would like to export. And finally, you have to check the document size, okay? A higher document size could slow your system's performance. If you're dealing with a very complicated design, okay? You could lower it doing the work or doing your design fees. And when you want to export, I recommend you use the high, which is 300 PPIs. Okay? You can also choose custom resolutions where you can choose higher resolutions. Okay? So this resolution figures will guide how high resolution your design is. Higher PPI values will generally help you achieve higher resolution designs. Okay, so in order to export your design, let's assume we have everything set the way we want it. We have the color mode, we have our resolution, and we know the formats we want to export. So let's export in the GP format for now. So in order to do that, just come to file and go to export and then port us. Come to the folder and just choose the format here. In this case we're choosing GP. Select Pec and then click on Use Artboards. As to select the Artboard we want to use, and as you can see we only have one Dbodre. This is artboard one, okay, bot one, and click Export. Now this optional comes in, comes up where you are asked to choose the color mood again, which is CMYK or RGB. We choose greyscale. It's going to export grey design. Okay? It's not going to have colors going to be black and white. I will choose our CMYK then for the quality, this would determine the quality of your design. Okay, Just keep it at ten, let's keep it at maximum, it doesn't cost you anything. Then for here, just leave this as line. Okay? And then for resolution, just take it to 300. Get 300, or you can use others to take it even higher if you want, 300 will do, then just click Okay. B, Illustrator will create a document for you. As you can see, this is a document ready for print. This is the process you go through in order to export J pec format image. Now the next one is to export a PDF. In order to export the PDF, just come to file and save us, okay. Now you then choose how to be PDF, okay? And save. Then the PDF option will pop up. There are presets which you can choose from. You just choose the high quality. If you choose the high quality, we can just save us here. It's going to create a PDF file. Going to create a PDF file. But the PDF file is going to create, if we do this, going to be probably very high in size or high in size, Not too high. Probably as you can see, it's 835 KB. This is okay. It is okay. But if the size is too big, you can just come to see PDF again. Let's just make this one and sus. After choosing the high quality, just uncheck this box. If you uncheck this box and click Save Us, it's going to create a smaller but very usable version. So you can see this one is 835 and this one is 88.6 KB size. The quality has not reduced. The quality has not reduced. It's just that this one it's created is more of A to B Illustrator file. Okay? This one is more of a general PDF file. Okay? And we want a general PDF, right? This will work. This will suffice. These are basically the two steps you take in order to export your designs out of B Illustrator for the purpose of printing. Okay, And that will be it for this video. Okay, in the next video, we're going to be learning how to export for web and screen purposes. We hope to see you in the next. 16. 16 Exporting from Adobe Illustrator for Web and Screens: Hello guys and welcome back. In this lecture, we're going to be learning how to export for screen and for web. Now there are diverse ways. There are several ways of exporting for screen and for web. We're going to look at all of those ways in this video. Just come here and then open Select. This other one here, this other one which says 14. Open it and you're going to have this design opened in order to export. For screen for web, we only use the RGB format, That's a recommended format. The RGB column mode, that's a recommended column mode for export for the sake of screens and in the web, Okay? The first method of exporting, which we'll be looking at is just going to file Export. Export. When you export us, you're going to choose the format, whether it's GP or PNG. Png will be if you have transparency. All right, if you don't have a background and then more format other formats. Here we have the Photoshop formats, we have the SVG, the IFF, the format, We have the Targa, and we have other formats. Okay. I'm just going to choose the peg and export. Now this option, this dialop box now still pops off. And then for color mode, you'll just choose the RGB and the color like this. And sorry, the quality like this, that's the maximum or we just make it high, or we just make it nine or eight. Okay. Just know that with a higher quality comes a higher file size, right? That's just what you need to know. The now line for this resolution. We could choose 150 or 301 Export. Now, right now, there's something I forgot to do. We're just going to cancel and we do that. Export. Export us, we forgot to choose the boat. Okay, we're going to use, if we choose all going to export all our boats. Export all our outboards in a single design, in a single Pe image. But we don't want to export all our boats, we just want to export one. The first boat which is about one, right? That's this one. Okay. Just choose one here. And then export for quality, we can make this nine and resolution. We can just make this 150 or 300 just. Okay. Then A, B Illustrator would then do its magic and create a file. And you can see we now have a file created. Now we can send this to our mobile devices. We can use it on the web and so on and so forth. We can even print it okay, using machines that accept RGB color modes. Then the second way to export is come to file export, and then export for screens. Export for screens, and then come to art board. It's going to show you all the artboards are available. You can export them or you can select the one you want to export by simply checking this box. If you check this box und, it's going to export artboard one. Check the booth of them. It's going to export the two artboards. You can click to change the name of the artboard. Okay? Maybe you make this EI one. Okay? Then we have what we call the prefix. Now you can choose a prefix in order to differentiate your designs. Then what else? Here you can click here to go to the location where you would like to export your design. Then for the resolution, we can come here where it says kill. Presently we have it as one X, which is just the same size as this one doing to export the same size as what we have. We have two X, which will do times two of the size. We have three x times 12 size. We can actually choose resolution here. We can type in custom resolution. Let's say 35350 PPI. Okay, then for suffix, we can also put suffix, maybe I to further differentiate our designs. That's in the case where we have multiple designs. Okay, where we want to export multiple boards or multiple assets. Okay, now we have, we format and we can choose PNG, so it exports the whole board as a PNG. Okay, we have PDF. We have SVG. For this, we can choose any of them depending on what we want. A, and then just click export Artboard. When you click export Artboard, it's going to export the artboard to this location where we have chosen. Then the next way to export is export selection. Okay? How does this one work? Let's assume we want to export this asset only, okay? This one, just this one, when we select it can come and file Export selection. It's going to export the particular asset which we've selected. It's going to export just the particular asset or the particular item which we've selected if we see counsel And then come and select the whole sign here. And come to file and select Export Asset. It's going to export the one we've selected. That's this one, okay? As you can see, the one we had selected before is still here. And we can just check this box to export all of them together. And you can then choose the format, duplication, size, the prefix, the suffix, Just like how we did before in this case, let's see, we want to export a PNG image. Okay, so let's assume we want this to be a PNG image, that's without a watermark, that's without a background. All the then do is selected. Let's PNG. Okay, just make this resolution. Let's make this 250 PPI. Then we won't write anything for prefix and suffix, and just choose PNG here. And export assets. Now to exports our assets then creates a folder with the name 250 PI. Okay, that, and with our assets export. Now the last and final way to export is using a tool called the Asset Export To. Okay, we can find this tool on the Windows Asset Export or Asset Export. As you can see, it even saved our history of the previous exports we did in order to use this file, just select this guy on group, we have them separate assets. In order to export using this tool, all you need to do is select your file and drag it in. That's all. Just drag it in and select it from here. And choose the resolution, choose the format and the prefix. And then export. It's going to export your assets like this. Yeah, when you click Export, it's going to allow you to choose location, right? To select this location. And now you see it has exported in this folder. Perfect. Let's say we want to export this guy. And we select them like this and just drag them in. You can see that it's going to view each of these ships as individual assets. Why does it do that? Because they are not group. Okay. They are not groups. If they were group, if they were joint, using the Pathfinder tool, going to view them as a whole asset, just select them and delete. In order to export it, you have to select them all and just group and then drag it in and everything will work out just perfect. With this, we've come to the end of our video on exporting out of a illustrito for web and for screens. Hope to see you in the next one. 17. 17 Color Modes: Hello guys and welcome back. In this module, we're going to be learning about colors in to be illustrator and colors as a general term. Okay, now in this video particularly, we're going to be learning about column modes. Okay, so there are two column modes available for us as designers to use. These are RGB and Myk. So these are the two column modes available for designers. The RGB columnde stands for red, green, and blue, which are the three primary colors, and all other colors be derived from these three colors, right? Then the CMYK stands for Cyan, magenta, Yellow, and Key. Now this key is also black. These are the two basic colomudes. Now, what are the difference between these columdes? The difference is RGB stands for red, green, and blue, which are the three primary colors. Like I said, this columnde is used for screens. Okay? Whether it's your computer screen, your laptop screen, your tablet, your tablet screen, or your phone screen. You have to understand that colors are displayed in RGB or images are displayed in RGB. And then when it comes to prints, that's paper, prints, print on paper. We use the CMYK column mode, okay? Because the printers only understand this color format, okay? The printers only understand this color format in order to display our design in prints, okay? Even though there are very new generation printers that use the RGB. But if you're talking about large formats or big printing projects, or big printing presses where they use the traditional concept of printing, they always use the CMYQ column modes to generate a prints. Okay, so how does the computer generate images with the RGB column mode? All right, that's a very valid question for that. Let me just bring in an image to help explain this. Okay? So let's just bring in, let's see, this image. An image will work actually, okay? You understand how the computer generates images with our color mode, okay? Now, we have to understand that in each of these images, in an image, there is what we call piel. Okay? The piel is the smallest structure of color that up the whole image. I don't know if you, if you understand, but pixels are quite popular and it's a quite popular word and it's something you shouldn't have problem grasping right now. When I zoom into this image. Depending on the resolution of the image, depending on how high the images, you zoom into a point where you see pixels. Right now these are pixels. Now you see a pixel just a box. This pixel just a box. Okay? All these places are amiable pixels. All these places are amiable pixels. Okay? Depending on how high raise the images, Like I said, you'll see pixels. Okay? Now we can't see anything here because this whole place is just white, okay? But at the edges where there is a blending between the white and the blue, you'll definitely see pixels, okay? So what happens is in each of these pixels, we have the RGB colors embedded in them in different intensities. Okay, So we have a mix of the R, G, and B, the red, green, and the blue in diverse intensities to generate this particular color and to generate this particular color, and this particular color, in this particular color, okay? All pixels have a percentage of, of the colors to be able to generate image. Then there's one thing that makes the RGB color stand out from the CMYK. What's that? It's called light. It's called Luminant. That's the secret ingredient that the RGB column would has this light makes the RGB colors pop out, they look more vibrant than the CMYK. As you can see, this project is an RGB project. How do I know? When you look at this, please? You see RGB, it means this is an RGB project. And as you can see, the colors are quite vibrant. If I turn into a CMYQ project right now, you see that the colors get washed out. Okay, And we're going to do that in a minute. But I just want to show you how RGB Illustrator understands this concept and helps us, even in the presets it creates, when we want to start a new project. Okay, when we create a new project, we see this presets, right? We see the print presets, we see the web presets, the mobile presets, the Fmmission, illustration, or the art and illustration rather. And whatever print presets right. Now, when you come to the print presets and choose one, you then see that the CMYK color is selected. Okay. Automatic. Because Illustrator knows that because we're using this as a print project, it means we are going to print we're selecting a print preset. It means we are going to print the project. Therefore, the CMYK is the most suitable for this. Okay. So that's how a illustrator understands the color motor. And then if you come to, let's say Web, you then see that it's RGB that has been selected. It's also RGB. Film and video is also RGB. And why is that? That's because we are going to interact with these designs on mobile devices. Okay, so it means the RGB color will make more sense. That's why it's selected automatically. But you don't have to select it here, because there's a way to change these colors, okay? There's a way to change the colors. And let's say we want to change this color from an RGB to a CMYK color, right? So, how do we do that? We just come to file and then come to document color mode. Now it's RGB, and if I turn it to CMYK right now, you're going to see that the colors just feed out. So you see that the colors feed out, right? Because this is how the CMYK works, this is how it handles colors. Okay? Just going to do that to take it back to RGB. Okay? Then finally, you have to understand that the RGB column modes, bigger column mode than the CMYK. Okay? Because nowad printers, most new generation printers use RGB, okay, then it's also used on screens, it serves wider purpose. While the CMYK is not suitable for screens, that's what meets the RGB standard. If you're not too sure of the whole thing, if you're not sure of which column to use, just stick to RGB. Okay. Everything will just go fine at the end of everything. You can always convert your RGB to your CMYK and your M RGB. That's just all you need to know about RGB and CMYK. For now, the next lecture, we'll be diving deeper and learning more about colors in Abt. 18. 18 Color Swatches, Color Panel, Color Picker & Color Guide tool: Hello guys and welcome back. In this lecture we're going to be talking about four really important color tools in would be Illustrito. Okay. We're going to be talking about the switches. We're going to be talking about the color panel. We're going to be talking about the color picker. And finally, we then round up with the color guide tool, or the color guide panel. Okay, now we're going to start with switches. Switch, what are switches? Right? Just come here and see for yourself. This is what we call the switches or the swatches panel. Let me just drag it out like this from here. Okay, this is what we call switches. What do they do? They just hold presets of colors and patterns, ingredients which we can basically apply to our graphic. Okay, that's just what do we have different presets of colors. When I just create a ship, for example, just come and choose a switch. Okay, immediately, color is then applied. You can see there are different colors under the switches. We even have this one which says new colors, right? We have different ones. We even have patterns, we have patterns, we have gradients. I know we haven't spoken about ingredients, but we're going to learn about ingredients at the end of this module. Okay? We have different colors, different colors. There. We have different colors. We have these ones which are called groups. Okay? Anyone you see with this folder icon here is a group. These are groups. These are. And that's just how switches work. We can create our switches, we can create our groups, and we can togo between views. Okay, This is a more condensed view with the color of values. Okay, well, this is a more graphic view, I say because we then see the colors more clearly. Right? Okay, now there are a few icons here. This one is for delete. Okay, so you can delete a switch. And then we have this one which enables you create a new switch. We have this one which enables you create new group. We have show switch kind menu. Okay? So it can show all the switches here. Then it can show colors, watches alone. Okay? You remember it said to switches enabled patterns, right? We can enable just colors, we can just ingredients, we can just patterns, we can enable color groups. Okay, let me just put this as all for here. You can see different, different presets of switches. Okay, let's come here in this please. You can actually come here also and then see the different presets. Right? That's the library of switches. Now let's just come here and choose this ancient. Now, immediately this library panel opens up and you can see the colors under this ancient library, right to the guys. We're going to look at them when I come here again and celebrations. You can see that we have the color groups, right, These color groups on the television. And as we click them, they just get added to our switches here. Okay? Remember we can select them, Delete, delete the switches if we don't want. Okay? Then we have many other ones. We have patterns. For example, let's see Nika's animal skin and then you see them here. Just add them to shape here. Now you see that this one is called the Alig, right? Yeah, call Ali. So it's more of an allgto skin pattern. We have this one which is more of a cheetah, right? Yeah, and then this one elephant skin. We have this one which looks like a giraffe. Then this one which looks like a liar pod or jaguar rather than the peacock. And so many other patterns, right? This one looks like the zebra pattern. Then let's come here again and see if we can get other ones. Okay, let's see pattern. Sorry. Let's say, patterns, nature and foliage. Yeah, this is what we get for foliage patterns. Very nice patterns already made for you. Then If we were to access it from here, it's basically the same thing, right? Just that we can actually move from one preset to another, from one library to another. Patterns here, the hundreds and hundreds of switches, I won't even scratch the surface with these. We have a lot of them. We have this one which is web textile and so on and so forth. Now, how do I create a custom switch? Right? How do I add a custom color? I click here, which is the color picker. To then just select a nice color. Let's say I like this color and it's not here in the switch and I want to add it to the switch, right? How do I do that? Come okay, just come here and basically new switch, if you click on new switch, you then see that you're then asked to type in the name of the switch. Presently we have just the color values. Okay, We have the R B color values is six and is two oh nine and blue is 226. Right? Then if you want to give it as this you click, if you do not want, you can just type the name. Okay. Then we can basically it further edit the color. And as you can see as we increase or decrease the color channels, they appear here. Okay. So the RGB color just being edited and it's updated and the values are updated here before your eyes. Right. We can choose other color modes. Okay, we have the green scale, we have the HSB, we have the CMYK, we have this one, we have this one. You can do your experiments with them. I'm just going to give this as RGB, right then I'm going to give the name new switch immediately. You see that? It's now added here. It's now added here physically there. This is what we can do with our switch. Okay? And we can just keep saving our colors so that we can use them later on. There are many of the switches which we can use, which we can use, and as you can see as we just click, they are then added to our switch. Okay. Now I spoke about the color picker panel, and we've actually been using this panel without knowing it. Okay. Now this is how you get into the color pick. Just click and now you're in. How does it work? You just slider here where you can select the color you want. Okay? And then you have this one, so you can edit it and use whatever sheet of that color you want. And we have the live preview here, and this one is the present color of the selected sheet, right? So if you want to just, let's say you just want to go back to the selected color, you can just click here and it goes back and maybe you want to edit it. Okay, so that's how it works. And then we have the codes here. These are what we call the color code. So whatever color you create has a code. So these codes can be copied and used somewhere else. Right? And then when it's used somewhere else, let's say on the website, you're going to get exactly this color. Okay, You're going to get exactly this color. One other thing you can do here is you can actually change it from this view to just switches, okay? So you see them as switches. And you can basically select, select, select, select, select whatever switch you want. Okay? As you select it, you see the values, right, the values. And when you select, you can just go back to color mode and do your adjustments. Okay. If you're okay with it, you can recreate a switch and have it stored. Is it? That's just it for your color picker two and your color switches. Or your switches. Now, the next thing we have to look at the color panel. Okay, this is the color panel. Just select this guy. Yeah, this is the color panel. This is how you should see your color panel right now. We also have options here. We can create a switch from a color, from the color which you've chosen, which you've sampled. Our color panel. Come here and create new switch. Okay, as you can see, it's now added. To a color panel. Okay, come here. Great new switch. Okay, it's now added to a color panel. Okay, now there are different modes here. We have the grey skin mode, which just shows you gray. That's black and white. Then we have the RGB, which shows you RGB, H, SB, CMYK, which works with CMYK. And then Web Colors. Web RGB is just another color mode. Then we have inverts. The inverts, I don't see every option here is useful, might never use some of these options. We have inverts, we have complement, then let's just go to RGB and then Show Options. Now when we click Show Options, what do you see? You then see that you can edit the colors here with this slider. Edit the values of the colors, then probably create a new search with what you've come up with. Or you can copy the color mode here, the coloqdlode, you can copy it just like how we copied the cold. In this, please, you basically togle between the stroke and the field color like we did before. You can between the stroke and the field color. Okay? You can toggle between the stroke color and the field color like we did before. Basically, that's it for the color panel. Just close these guys here. And then the last two we're going to be looking at is the color guide two. Okay. Color guide, where are you? This is the color guide panel. And how does it work? Right? How does this panel work? Now, the color guide panel helps us to to choose different other colors. Let's assume we make a selection of a color here. Let us go with blue, right? This sheet of blue, what the color panel does, it helps us choose other colors that can blend well with our selected color. As you can see, as just selected, this blue, the colors here just changed, right? So it uses the principle of color theory, okay, To helpogenerate other colors, okay? Based on concepts like tints, shades, how well the complements, complimentary colors, and so on and so forth. So that is what this tool uses to helpogenerate colors that would blend better with our selected color. Okay? If we select, let's say this color here, okay? We didn't see that the color go immediately generates colors for us. Okay. There are of course, options for the color pan we have here where we can actually choose whether it should show us tint or sheets. We click tints or sheets is what we get here. We can actually choose whether it should show us the warm and cool complements of that color. Here we can choose the vivid stroke, muted complements of that color. Okay, so all these are concepts of color theory. That's how this tool works. Let us select tints and sheets right now, and then we can actually edit our colors with this tool right here, right? We edit our Cos with Tool right here. We can choose different other presets, different other presets, you're going to see different other presets which the color guide tool uses to generate these colors for us. Okay, we can have complimentary, we can have a complimentary to, we can have analogous colors. Then we can have triad. We can contrast, and so on and so forth. All these colors will actually blend well with our selected color. Okay, we're going to use this simple design here to just help us illustrate how these colors blend Well, let me just start by selecting the color I would like. Let me go with this guy. Okay, good. Now we can just come here, select this guy, and just give it this color right here, which is the mean color. Right. Now for this one, I want something a little bit dark. You can see I can choose this shade of the color. For this guy, I might want something, choose this shady, want something very choose this shade. And finally, for this guy, I might want something bright as you can. With the E of the color guy too. We've been able to select colors that fits perfectly. Okay, with this design. This guy, let's choose something dark. Yeah, let's walk. That's perfect now for these guys, let me just make use of this. One's okay. Let's see what we can come up with for the background, let's make the background, let's just use this as the background. And then for these guys, can have something like this. This guy like this. Right guys, take a look at this. This is all by the aid of the color guide. So we've come up with this. We could also have different variations, right? Just we have different variations. For example, we could see, we want to see, we want to use this preset right now. We have other colors we can choose from. Now, in fact, we can completely change the look of this design. We can make, this can make, the guys can make this guy Dak. Hey guys. Now for this one, yeah, we could just leave the background as this. And for this guy, maybe take this shade of you and yeah, maybe you can just, it's a bit darker. This also works as you can see. Just by using the color guide to we've been able to create color selections. Okay, two different color selections with just the colors the color guido help generate. You can see for yourself how the color guide tool makes work very easy for us to be illustrator with this, We've come to the end of this video. Now in the next lecture, we'll be learning about other color tools. See you there. 19. 19 The Eyedropper tool and Live Paint Bucket tool: Guys, and welcome back. In this lecture, we'll be learning two really interesting tools in B illustrato. These are paint tools and the enablers achieve good painting of our artwork. Okay, in Ab Illustrator. Now, the first tool is the ydropato. The second one is the live paint bucket two. Where can we find these tools? We have the drop tool as this tool. Just click this tool and you can see it is the Ydropatol. What does it help us do? It helps us sample colors. Just Crete this shapes. And so we can see what the hydro pato helps us do when we select our ship and select the hydro pato. We are then able to select colors in our view port, right? So we can select this guy and the hydro part to automatically select our color. Okay, now we can see that with this. No, we can create a new switch. With this color, we can just create a new switch. Okay, And when we come to the color guide to, we can see that the color guide automatically creates colors that will rhyme very well with our selected color. Okay, so that's just what the hydro pato does. The shortcut for this color is instead of coming here, always to click it, you can just hit to activate the tool, select your ship, hit activate the tool and then sample your color. That's just how this tool works. Okay, we have the other two which is the live Pint bucket two. How do we access this to just come here and hold your left mouse button to see the two, the live Pint Bocket two. Before I show you what the live Pint Bocket two does, I'm just going to color this graphic with our eye drop two. Okay? So this is a simple graphic. I've created credit cards and with some type here. Right? I'm going to use this to basically generate the colors which we would then color our graphic here. Now what do we do? We select our graphic, insect, the eye drop two and just come on sample color. We can see that we're making progress right immediately we sample this color. And this is one of the most basic work flus most designers follow in coloring their artworks. Okay? And works that are similar to this, where you have an image and of course there are colors in the image which you can sample and use for your graphics, right? I'm going to use that work flow to color my graphic here, to select this background and we want something bright, okay, We can sample this color, or this one, maybe this guy. Just keep sampling till you get what works best for you. Right? I'm just going to work with this guy here, okay? For this one we want something, something. This guy should do a good job. Scholar should do a good job, okay? As you can see, we are having a good design, common life for this guy. We can use this color. Yellow, one looks like yellow. Maybe for this guy, we can use this color. Okay? Maybe this color. Then choose something similar to this. Okay? Oh yeah, we can just use this guy here. As you can see, there is no single way of doing this. You can just keep sampling till you get what works best. I think I'm okay with this. I'm okay with this. And you can see how we've been able to use our drop to to generate colors, to sample colors for our work. If we combine this tool with the color, we then see that we are being provided with many other options which we can work with. You, select this guy. Let's see. When we sample this color, the color go immediately generates colors for which we can work with, right? We could just maybe. This guy here and work with some of these colors. Means we can select this guy and give it this one. Maybe select this guy. Maybe give it this one. This guy should be this color. This guy could be this color. This color could be color color. As you can see, all these colors have been generated by our color guide to how to work in B Illustrator, just how to work as a designer, right? You have to use all the tools available to you to achieve the best results possible. You can come here, maybe tweak this color bit. Come here, maybe choose something brighter can come here. And just this guy. Brighter. Yeah. What can't we do? Right? We can do a whole lot of things. Yeah guys, this, we've come to the end of our illustrations on the drop two. Okay, we've done with the ydroput two. With this, we're going to come to the live pin bucket two. How does the live pin bucket to work? Right? Life pin bucket two works by helping us color our scenes color. I'm just creating different ships right here to illustrate to you how the live pin bucket will work, right? So let's say we want to use the live pin bucket two on these ships. When we select the ships, we just select the life pin pocket and then come click our artwork here to make it active. Then after we click our artwork to make it active, we then just come and select whatever color we want to use. And click and then get applied immediately. See wherever we select the colors, whether it's from the color picker, from the color guide, from the swatches, wherever we just pick the colors, we can immediately add them to our work. Okay, and you see that's it for the pin bucket. As simple as this may look, it can really be game changer for you can really be a game changer for A lot of designers use this to really come up with outstanding work. We're going to delete this. I have created this guy here. And we're going to use our live pin bocket to help color our character here. Okay, now how do we begin? Just select all and cause activate your live pin bucket and come on click here to get it activated. What I'll do is I'm going to pin the face. To pin the face and I'm going to pin the skin. Right? This is the skin. I'm done. You're going to see how everything comes alive, right? So once you just click, the whole ship gets filled with your desired color. Okay. Then we want it to be the sea here. Cha, no you don't want it here. Control Z A. I'm also going to color everything that has to do with the fast color for now. Okay. Yeah. And then maybe we choose a darker sheet to color this guy. Okay. Then these are the guys we can use brighter one. Okay. Then we can use black or this eyebrow. And also we can then call. You see I'm dragging it. Drag it. It just fills the whole piece, right? It drag, drag it, good. Okay, now for this guy, for the glasses I want to give it I want to give the glasses is color. Okay. Don't worry about the shrks. We are just having them on so we can have a guide. Okay, when we are done, we're just going to remove all the shrks in our drawing common life. Good. And we could choose a brighter shade of black to color these guys. Maybe even she, actually maybe you could make don't you know is good. It the initial do see here. Okay. Maybe you could make here. Here a little bit, right? Okay. And maybe not. And then we can just then select everything, come to gradient and I'll come to stock and then deceive. As you can see, we now have a very cool head completely colored using the life pint bucket to. Okay, that's it for this video on the eye drop two and the live paint bulket two. The next lecture will be rounding up with color gradients. Okay, You're going to learn how color gredients work and you're just going to learn all about color gradients in P Illustrator to see you in the next one And bye bye. 20. 20 Color Gradients: Hello guys, and welcome back. In this lecture, we'll be learning about ingredients. Okay. So what are ingredients? Ingredients are basically a combination of two or more colors. Simple, simple as that. Okay? In B illustrator, we have three types of ingredients. We have the linear ingredients, we have the radial ingredients, we have the free form ingredients. Okay? And when you come here, you see the gradient panel? Okay, I'm just going to close this. Okay, so we have the gradient panel here, and we have three types of ingredients as you can see here. We have the linear gradient. We have the radial ingredient and free form ingredient, and all these ingredients just tick after their name. Okay, for the linear ingredient, we have it in linear way. The blending between the two colors is in a linear way. Okay? Like for example, this one. We have this color and this color. So we can see that there is now a blend between the two colors in a linear way from here to here. Okay? From here to here. That's what a linear gredent is. Then the radial gradient has the same blend, but it's in a dial. Okay, Then for the free form ingredient, it's a more complex type of ingredient. And we are of course going to look at it last. Now we also have the ingredient here which helps us in editing our ingredients. Okay, let me say the ingredient to we see these points now. These points are what we can use to modify our ingredients, to modify our ingredients as I'm doing right now. We can modify ingredients from here. Also, we can see the sliders here and we can just modify them. We can double click on the points and change the color. You can see we now have this blue color. And of course, we have a lot of options here to choose from. We have switches to select from. Okay. We have this eye dropper to which we can use to sample colors. So that's how it works. I'm just going to choose the sky here or maybe this other one. Yeah, We also have which Iboss creates a new switch with a selected color, right? Which us delete the switch or selected. Okay. Some other things we can do here is we can delete points. Right. Now, for example, when we click here, we see that we deleted that point. When we click here, we delete that point. Now we are left with three points. Okay, This slider here can be used to smoothen out our gradient. Then we have other things like the gradient angle and it's the angle of the gredient right present. We have it at zero degrees, we can have it at 01:20 You can see it's modifying here. We have 135 depending on what we want. Okay, Depending on what we want. We can also just select one of the points and then edit the opacity. Okay, we can edit the opacity so that it appears less okay, on our image, so that color appears less on our image. So we can see it's transparent, right? Transparent, And even the location, let's change the location to see how it works. So we can see that it chooses a location along this path, okay? Basically that these are the options we get to play with for this guy. We have the same options only that this guy is a radial redient, right? You can zero and you can see this part transparent. Just take it back to 100. And this is just how the radial gredient works. Okay, use the ingredient to ingredient. We can achieve very nice designs. These ingredients, ingredients, we can achieve nice tents and we're going to use them for the lessons to achieve really cool designs, right? As you can see, these are some of the things you can do with your redent. Now we are coming to this guy who is the big boy here is called the free form ingredients. And it's the complex type of ingredient here. I'm just going to drag this ship. This just to Board Now when we select the free from ingredient, which is this guy, and then click Edit Ingredients. We can now see that what it does is it doesn't work like the radial or the linear, but it gives us the ability to drop points on our shape. Okay, so we can drop points, we can just add a point. And we can see that click on this point, we can edit the color. Okay. The color then when we, we can use the color picker two. Okay. Yeah, we can just keep adding points. Chose the color. Pick two is probably brighter. Okay. Yeah. These are just what we can do with our free from ingredients right then. Apart from points, we can also add lines. We can add lines with the lines. Let me just create a new, a new one. Give it a red color for now, and then come and select this guy. Okay? How do the lines work? Right now, when I select the lines, you know what? Let me just make our art board this big. The shortcut for your artboard is Shift Shift. Give you the board, help you select your board. This, Okay. Now when we select the free form and then edit the predents, the choose lines instead of points. We can all come and then just keep going and creating points along a line, along a path. Now we select each of these lines, or each of these points rather. Select each of these points and assign a color to it. Okay, Select the points and assign a color to. We can have the lines and also the points on the same ship. Right? We can have, as you can see, the point for the points which, which come along the line for the line option, right? And we all have them on the same ship. Can just at the color come a change of color. Okay. Just keep doing that to get what you want. Okay. There is a lot we can achieve. These two. Lot we can achieve these two in fact is one of my best features in one of my most favorite features in B Illustrator. I like gradients. Yeah, you can see we have come up with something very cool here, very interesting. Using the line type of free form gradient. You get the point. You now understand how all these ingredients work. That has brought us to the end of our module on colors and color tools. The next module we'll be learning about Fountain and Typing. Not to be lost. See you in the next one. 21. 21 Basic Type: Hello guys, and welcome back. In this lecture and in subsequent months to come, we're going to be learning about type and pontine in B Illustrito. Okay? Now what we'll be learning is how to use the type two, how to create amazing type effects. How to modify our types, okay, And do a whole lot of things in Aporeto. Now, want to create types in Adblorito, we have to use the type two and this is the type two here. As you can see after I over around it, you can see the name, type two text at a point or in a container. Now, when I say the type two, we see it like this. Now just click on my Artboard and then I have a sample text. Let me just scale this up by holding down Shift. Now this is a sample text, right? Okay, I'm just going to double click on it and type, let's say lust treta trato. Okay? Now there are two types of types to ilustreto, we have the point type, or we have the point text, and we have a type. Okay? Now, this type is an example of what the point type is because this is just how it is when you click it allows you to just keep writing. Just keep writing. Just keep writing until when it falls off your art board. Right then for the other type, just undo this, kick us back to what we had. Then. For the other type, which is the era type, it gives us a container with the type in it. Just click the type two. In order to create this type of type, all you need to do is to just click Hold and Drug. Okay? You have to drag, Drag to the size of the container and then Release. Now we can see that Lustrito automatically fills in our container with a sample text. Okay, so this is just please under for your text. Okay? These are the two types, two basic types of types. Alto. Now what's the difference? The first difference between them is for this guy, you can just keep typing and keep typing, okay? And it's suitable for logos and headings, while the other one is more suitable for body texts. Okay, text. Let's assume you're writing or you're creating a magazine or newspaper. Okay? Or even just a postcard with some texts in it. Okay? You might want to use this type of, this type of type. Okay, let's start talking about some of the modifications we can make to our area type. Okay, let's assume we have this other one. I just duplicated this by holding down Alt and shift and dragging it to the left hand side. Let's assume I just delete everything here. I didn't have any right up here. You can see that this guy stops here, but when I drag it down, you can see that we still have enough sample text at the bottom. Let's assume I want it to end here and continue here, right? All I need to do is to come here and where we see this red box. This red box. All I need to do is to click he then come to the next please just click. We can see that when it ends here. It then continues with a right up here. As I address the box here, for example. It then continues to go down in this other box. Okay? So it means they are working together. They're working together. So that's how to do this. When you're designing stuff like magazines or newspapers. You like to use this feature a lot. There's another, there is a way to, let me just delete this. There's a way to convert your point text to your era text and your text to your point text. And then one thing you have to note about them, for example, is for your point text, when you try to scale it, you see that the whole text scales up. Right? When you try to scale using the frame, right? You see that the whole text scales up and down like this. And then the front size reduces, okay? So that's one thing you have to note, okay, For this guy, when you try to scale it down, the front size doesn't reduce. Instead the container size reduces, okay? So you see, can see the container size is reducing, but the front size is not reducing. If you want to reduce the front size, we have to select it. Then come to a property panel and then just maybe reduce the front size like this. We're going to come to the property panel. A bit like I was saying before, if you want to convert this guy to this guy, you introduce, select him. Then you see this button here, or this circular icon, right click, Click. It then turns from white to blue, turns to blue. It simply tells you that this is an area type. Skill it. When you skill the container, you see that the container is actually crabbing out the name. It's not just reducing the font size like before. See what we have. Now it's paving, basically like this guy here. So how do we convert this one to this one? The same thing we have to do, we just have to double click. And it's now a point type, so you can see it's now scaling up and down. Okay, let me just do All right. Yeah, once more. Okay, so let's now come and see how we can just make changes to our type here, right? We make changes to our type on the properties panel even though we have a separate panel. This also now this is the type panel. Just come to Windows, then come down to type, and you can see that we have the characters. And when you click the character panel, you see that our type panel just appears. You see what we have is basically almost the same thing as what we have here. Right now. We have the character, we have the paragraph which is similar to this, we have the P type, and so on and so forth. When you come on the windows and check, also see other taps that we can use to edit our funds and our types. For now, we're just focusing on this guy. Okay? We'll be using this and this concurrently. Now when I select my text, I then see that here we have the funds. Okay. With this, we can change the funds. Just click here, you see a list of funds, like working, let me just work with this guy here as to give enough room for the funds, okay? You can see now we have the fonts installed on my computer so I can just keep scrolling and keep testing out all the fonts we have. Okay? To see which one is more suitable for me. When I see a font that I like, I just select it. Okay? Or if I have one already in my mind, I can just come here and then type the name. Okay, let me see. False. Okay, so I've selected false. There is the name of the font. False. Just type the name. And it appeared right because I knew the font and I've used it and I personally installed it on my computer. So it's a custom font. It doesn't come with a lot Street. But of course you can install fonts. You can download funds from the Internet and install on your computer and then be able to use them here. Now when you click here also, you're going to see that we can apply filters in case when you click on filters, we can see that we can classify our funds. We can filter our ponds based on classifications. Okay. We have the Sun Serif classification. So if we click this, it's only going to show us phones that are under this classification. We have the Serif, okay? If you click this guy, it's going to show us phones that are under this classification. And this other one is the slab serif, and then this one is the script. Okay, Kind of calligraphic. When we select this guy, we see all the calligraphic ponds here. And this guy is the kind of black letter, boutique script. And these are the ones. This one is handwritten and depending on the types of funds you have, you need to have classifications of those funds, right? So you can just select the classifications you have and then illustrate, filter the funds based on your selected classifications. And when you don't, you just clear all and everything should come back to normal. You can even cre, create favor, right? Okay. You can see I have some favor right here. So you can create favor rights by just hovering on the fund and then clicking on the star icon. So you're just going to add it to the favor, right? Okay. So this is how to select funds. Select funds. We also have the style of the fonts. Let's assume I choose something like clash display, which has a lot of styles. When I choose something like clash display and come here, you see that we have pulled, you see that we have the extra lights. You see that we have the light, that we have the regular, we have the medium, and we have the semi medium. Okay, the pull, of course, here you can see the type of, the types of the font you're selecting, right? Then here is the font size. We can increase the font size or reduce the font size. Here you can control the distance between each piece. As you can see, as I increase the value here, the line size between all the sce size between each line is then increased for this guy. Here, you can increase the spece between the characters. Okay, here it's at 200, can make it 100, make it -100 depending on what you want to achieve. Okay, we have here where you can align to the middle, to the side of the artboard, the bottom to the top, depending on the line. Of course, for this guy is the paragraph, it's work based on a scenario like this. Let me just reduce this, then. When I come to paragraph we can see that we have this guy here. It's aligned to the left. You can see that this guy allows you to get centralized, centralized. This guy aligns it to the right. Then this one tries to achieve a box look, tries to fill the space up properly. And so also this one but while centralized right and then this other one. Same thing but while aligned to the left, to the right rather and this guy, you get the 0.1. Other thing we have to understand about the types and punting in able is we have the type menu here. Okay, we have the type menu here. When we click on type menu, we have other options that enable us to modify our types. Okay, When we click here, we have more phones from A. So you can click here to go online and get phones from your Creative Cloud account, okay, From B subscription. And then we have the fund option here, where you can actually see all the funds and with the ones you used recently and all the others that are loaded on your computer and you can actually select them. Okay? Just like you can do here. We now have all the recent funds you used. We have the font size. We have a lot of other options, convert to point type and so on and so forth. Some of these options, we'll be looking at them in our next video. Okay, we can actually find and replace funds. We can actually change the kissing of our funds of our type. Let's assume we want this guy, the lower klose. When you select lower keys, we can see that it's now lower keys, right? We want it to be title keys. We see that the first letter is then capitalized. The want, if we want it to be sentence keys, we then see that it's treated like a sentence. Okay, Let's, let's assume we have Illustrator right to be right. And then we want it to be a sentence key. We have it like this as a sentence key because in a sentence after Illustrator, the next word will start with a small litter. Right? If we choose the title Keys, it's going to capitalize the first litter of every word. Okay? The first litter of every word. That's the difference between the title and the sentence keys. Okay, for now, let's just make this capital letter. Okay, so basically we've covered all that we need to know for now. The next lecture we're going to dive even deeper and learn more advanced stuff we can do with the text tool and the text feature in illustrator. See you in the next video. 22. 22 More Advanced Typing: This lecture we'll be learning more advanced type and fontin to be lost. Frito, come to your type tool and instead of just clicking on it, just just left click and hold. And you can now see different types of type tools, right? We have this guy, we have this guy, we have this guy. This guy. This guy. And we're going to look at all of them. Now, just come to your ship to, and select your ellipse. Okay? Then just give it the color. What I need you to do right now, just come here. Instead of clicking on it, just hold it like before. This guy area type two. Now when you select this guy, just come here and click, okay, the size is too big ten for example. Instead of leaving, like just delete it and try to come and create another shape. Let's redo it. Just come here and good. So as you can see, we have our text following our ship. Okay, we now have our text following our ship. Let's make this lights probably. Let's change the font size or the font type. Just select a random font. We can see what we have now clearly this is our type following a set ship right now to the second tool is the tool that makes this possible. If you want to have your font type follow a set ship, you have to use that front right there. It's more of a type, okay? It's more of an era type instead of a point type. Again, like I told you before, era types give us an area, okay? So you're basically telling your type to follow this area, spherical area, okay? So this is the tool you use for that. Let's assume we want to have even a more interesting ship, right? Let's assume we want to have a ship like this, okay? Ship like this. Even if we had a ship like this and still want our type following our ship, we can make that possible with this tool. This tool. Let's just a address our ship to make it look more cool. Come and select Tool. Just click on the ship now, as you can see our type has followed the ship. Our object, right? Yeah, this is one of the cool things we can achieve with the type to. We have many other options. We have this guy which enables our type set path. Okay, let's assume we have a path like this. We want our type to follow this part. All we need to do is to click. Yeah, we have a type following the path now. Now, in a case like this, let's assume we want to move it to the left hand side or the right hand side. We just come and click on this line in the middle. Just click on it and drag. Okay, Just click on it. I'm not getting it. I think we just need to maybe reduce our type. So let me just write something shorter, straight up and then increase the size. Yeah, as we want to move our type, all we need to do is come here and then move it like this. We just need to select it. And then now you see this line, this line here. Not the white box but this line. This is the line you just use to move your text. And we also have the same line here in the middle. The same line in the middle. And then when we drag it to the bottom, drag it down, you can see that the orientation now changes, right? Okay. And see that the orientation now changes just by dragging it, drag it up, back, drag it back up. We can see that we now have what we had before. The next two we have is this guy here, okay, Which enables us create vertical texts when you just click on it. When you click on your work work area, you see that it automatically creates a vertical type for you. You can increase the size, okay? Can increase or reduce the space between them with this guy here. Then you can even come to your menu here and type orientation and change it back to horizontal. Okay, So you can create horizontal to vertical, and vertical to horizontal. Let's make this zero, come here, make this horizontal. Okay, so that's the vertical type two. We also have the vertical area type two, which is similar to this guy here. The two we used to create this guy. Only that instead of creating it in a horizontal manner, it's going to create it in a vertical manner. Vertical orientation. So let's try it and see how it goes. Right, Create your ship and come here, select it and click on the path. Now my computer is dragging a bit. I'm just going to give it some time. And we can see that it now created the tool. And if we type, even though the computer is dragon, but keep creating our type, we can see that it's filling in the ship in a horizontal manner, right? In the horizontal manner. We can of course keep using our options here to further edit our. Right. Okay, just how we can see that changes are being made as it using the options here. That's just how this one works. Going to delete. You need you, we have this guy vertical type on a path to. You're going to type it on the path just like this guy but in a vertical orientation. Then finally, there is one other one I want us to look at. I'm just going to select this guy here, come to type and make this then just make it per case. Then come here, click here, and come to this touch type two. Now how does this one work? It works by modifying the character we've chosen. When we select it and click on the character, it enables us modify the character, can reduce the size of that character. Rotate the character. Let's see if we want to select select. We can rotate like this and reduce the size. Select M, bring it here. T M, select this guy. Move him. Okay, select you, make it bigger, the guy, just move this one's there are some of the things you can do with this tool. Okay? Select him, the size, bring them. Just have your phone with this. Basically, this is what you use this last 24, okay? Yeah, this is what you use this last 24. I want to just select our path type here and then just come here and so we can look at one option. Okay, there's this option called type on a path. Again, you can see apparently set to rainbow. Let's just click here and then enable preview, so you can see how the changes have been made, Right? Rainbow, This rainbow. This is okay. I think the best way to see the effects of this guy is to just something like this. Okay, let's just create a type along a circular path. Okay, Let's get you, let's see designer for life, okay. Then let's move the guy like this, let's make it centralized. Okay. Move like this. Okay. Now. Okay, one more thing. Let's just make this bold. And come to your type and type on the path. Choose this two chose type on the path. Then we can see the changes that will be made. Right? So let's preview and skew. We see what happens, right? We can choose the path to align to, should be the line, which is what we have here. Should be the center, which is what we have here. That's the center of the path. She'll be aligned to one step up, that's called the descender. And then the ascender one step downwards, depending on how our type is set up. Right? So we can make this line okay for you. See what happens for rainbow is normal guy, for three D bon. You see what happens. See the changes that happen. Then stair step, okay, we can mess with the speck, mess with the space. Let's make this study and see what we have. -36 Okay, so you get the point, right? Yeah. And then we have this odor guy which says gravity, right. Good. So these are some of the things we can do, some of the more advanced stuff we can do with our type. I'll type two. Okay. So I have created this stuff here and we're going to recreate it. We're going to recreate this logo. It is basically using all what we've learned here. So I started with this guy with a path right looking like this. Okay, then let's just come to our stroke and let's give you a stroke. Let's give you a stroke, a black stroke. Then come to stroke the profile. Just boost up the stroke size bits. Okay, I think we should modify our ships. Okay, This will do. Okay. The next thing we want to do is just control C, control. Let's duplicate the current ship. It reduced like this and boost the stroke. Okay, We move it down bit. Okay, for this other guy, we still have to duplicate it when you see control F because we'll be using it to create our phones. Okay, Our type. If we use it to create our type, we're going to then see the complete line disappear. Okay, So we have to duplicate it. Just click. And then what I typed is ferrous. And of course, I moved our stuff like this. Okay. What phone did I use? I used the ponte. Just copied it. Come here, Pi. Okay. We now have our funds. We can increase this value. Increase the sky, correct? Just make it bigger. A little bigger. Yeah. So what next is left? We just have to create this guy, right? This guy. So what did I do? I came here, created our path. Give it a stroke. Okay, the stroke then just duplicated it because it's the same thing for up and down. Ok, we need to create them separately for this guy. All I did was I typed this traditional blue wing and just copy it instead. Then come here, piece it, Then just move your guy to the front. This to the top like this. For this other one, copy everything I'm using control to copy. Then come here and those pits. Okay, only that for this guy, you need to drag him down. Sorry to come here. Drag down like this. Perfect. Then probably just I just, I just take like this and what do we have? We have it set up on the same points as the other one. And then what I then did was I just selected the boot of them. Just give them just give them made them kind of aligned to the S line. Right to the center line. Okay. Then yeah, just made them aligned to the center line. And then created this guy since 1990. And then finally this ship. All right. Just an S funds. Okay. It's quite simple if you know what you're doing. It's very simple if you know what you're doing. Yeah, basically that's what I did. And now we can see that we created a very cool logo for a brewing company. Yeah, that's it for this one. In the next video, we should be taking an assignment. Okay, see you in the next video. Bye bye. 23. 23 Extra Modify and Manipulate Texts: We come back in this lecture, we'll be learning how to modify our type. Okay, So I'm duplicating this guy. Bringing him downwards, Yeah. Now, this last extra step gives us the ability to modify our type. It gives us a great deal of flexibility. It also has its downside. Now, what's the downside when we cross this line? When we do what we're about to do, we won't be able to modify our text like this, add new, let us or use panel to edit our font. Or change the font size, font orientation or whatever. Okay, now that's the downside. But it will be able to tone our type to ships and do every other modification we can do to ships. It means we can modify anchor points, We can modify, we can add gradients. We can add a whole lot of things after this is done. Now what's the process? What do we do? It was free to the thing we have to do. Just duplicate this guy here. The thing we have to do, come here and click on Create Outlines. When we create, click Concrete Outlines, what it does is it converts our text to ships and then groups them. Okay, We can now right click on Group. We now have another group here. We can go into our group by double clicking. Now we can see that we have individual ships created from our text. Okay, now with this, when we hit A or come to the direct selection two, you can see that we now have Ancho points. If we can select anchor points, maybe do extra modifications, right? It gives us a great deal of flexibility. We drag this, then this like this. Yeah, you can see we are now having very cool front design here. You can even use this as a logo, right? Can use this as logo. Just come on, Maybe I'm going to create the new logo illustrated. I'm just going to come here and duplicate you again, of course, by holding down, Create it and grab it or enlarge it. And then select this core point. And then maybe do something like this. Select this guy to do something like this. Okay, this stuff we've done, we have achieved something cool, right? Yeah, so as you can see, we've totally changed the look of our fonts. Can even come here, make this guy maybe something like this. Come and select, Use our Sibulolt. Delete this guy. Yeah, we are now modifying our phones. Okay, We can do this with all our letters, all our letters. We can just keep modifying them till we get what we want to get. Okay, perfect. Now that's the actual ability this option gives us. Okay, of course, we can come and add colors. We can even use greetings. See, for example, you use this guy K. We can do who love things with this K Perfect. Arrange to buck. We give this. As you can see, we started with a type and we extra modified it to even create this logo, okay? So some of the things you can do stuff like this with this, we've come to the end of our lecture. See you in the next one. 24. 24 Assignment 4: Hello guys, welcome to this assignment. So I've got two designs for you here to do. I have this one from the previous video. This is just for you to take an example from. You're going to create a logo like this, okay? You're going to create a logo like this, but with words of your own choice, okay? So you don't have to use plenty ferrous here. You can use whatever brand name you want and use whatever design you want, okay? The idea is for you to be able to use the type of tools which we've spoken about, okay? The idea is for you to be able to use the type tools which we've spoken about. Type tools on the path, normal type tools and so on and so forth. So just use them to create a logo like this, okay? Then we have this other one, Pros Creatives, okay? You're going to create a logo design. You don't have to use these funds. You can change the funds. Use whatever funds you want. But the word here is PC, okay? It's Pros Creative PC. I need you to create outlines. When you've gotten the funds that you are satisfied with, you create outlines and then you modify the fonts, okay? Or you modify the type, just like I did here. To create this logo, you have to modify this and create a very cool logo with the word PC with the characters PC, right, which stands for Progress Creatives. And then just work on this guy. Also make it very cool. Make it very nice. I'd love to see what you are able to come up with. Okay? So I'm expecting you to work on this guy and work on this guy. I'll be it for this assignment. See you in the next one. 25. 25 Masking in Illustrator: Hello everyone. I'm welcome back. In this very brief module, we'll be learning about masks in a Ellos Fried. Okay, so what are masks? Masks are basically used to reveal certain parts of an image or an object while hiding others. Okay. So they're just used to reveal certain parts of an image. Let me explain to you what I mean by that. So I'm just going to come here to file then, please. Okay, let's just come to this folder, this mask and clipping mask folder, or this mask folder, and then select this girl image. Okay, so let's assume we're doing, we're creating a poster. Maybe a fashion poster or make up poster. Okay? And let's assume we want to just make this, okay, we have this image, we have this image here, and we actually want it to just appear in a circle, right? While having probably a font type here, maybe. So we type, just make it big. Let's assume we want, this image does appear in circle. How do we do that? We use marks to do that. Just create your circle. Okay? Then make sure your circle is on the image. Okay, on the image. And just select both of them. And right click and clip mask. That's all you need to do in your image will appear in the circle, right? Basically, that's how masks work. For masks to work, the ship has to be a vector ship. Okay? The ship has to be a vector. It can be a font, okay? But it cannot be an image. It cannot be an image. It has to be actually a ship that has parts, right? It can also be a font, like I said, it can't be an image for the part that will be masked. It can be an image. It can be a vector. It can be whatever you want. Let's assume we want to mask this word Fashion week, maybe into a circular or something like that. You can just set the word of them like this click. As you can see, it's now inside. What if we want to adjust our image? What if we want to adjust our image? All you need to do is to double click on it. And as you can see now we can adjust our image. This transformation guides, we can resize our image image, we can rotate our image key depending on just what we want to do. Then if we want to release our masks, we can actually release it to enable us see our image in full again. We can just right click and then release clipping mask. Okay, that's just, it's very simple and that's how masks work, right? Just as simple as that. Just come here and import the other image. Okay, let's import this image. Create a mask with it. All right, let's release this guy, because I don't like the way it looks. Release it and they just copy this font. Send this to the buck. Okay, come to your artboard tool and create a new art board by clicking on Just click on the image to create a new art board. Let's type Mitch right ch. We'll create a clipping mask with this image right, with the word Mitch. Let's just at our fonts. The spacing just make the size bigger. Now we have a shortcut for cleaving masking. We don't always have to select and write. Click. We can just select them and control seven. Control seven and everything will go perfectly. Yeah, this is what we have. Perfect. Nature. Yeah. Then I would like us to work on something else. Let's assume we have another art pot. All right, just delete this guy. Let's see. We want the word nature, but we have the characters as separate entities. Okay. On their own, let's create outline to separate them. And then on group to have them as separate entities. Okay? And then why do we want to do like this? Maybe because probably because we want to just create a very nice design, right? Okay, we increase this guy and this guy and just play around with the entire design, right? Maybe this is what we want to achieve. This is what we want to achieve. Fine, we're going to achieve it. And then we're going to create our clipping mask. Perfect. Let's come here and please our image once more. Then Irene, send to the back, let's select everything. Country seven, right? Wow. What do we have? We can see that it doesn't work. Seven doesn't work because we have them as different entities on it won't work in this case. What's the solution to this? The only way we can solve this problem is to combine these paths. Combine these ships. And we can do that by making them a compound path. Okay? We can do that by making them compound path. Now let's just adjust our design further, adjust our design. Turn our ships to, how do we turn them to compound masks? Just select all your ships. Okay, select all your ships. We come to objects and then come to compound path. Then Nick, as you can see, we now have them as a compound path. They are now the same. They're no one. Okay? When you select this guy and select this guy and control seven. We then see that our clipping mask, no no, works perfectly. And we have what we wanted to achieve. Nature we can do clipping masks for whatever type of ship we want. The ship doesn't matter. All that matters is that we follow the, all the matter. We fully should make sure. We should make sure we have a setting like this. Okay? We should make sure we have a setting like this. What do I mean? We should make sure we have the image behind. Okay. And then the ship a poll, right? Then select all and control several. And we see that no matter the ship, we can create clipping masks. No matter the ship, we can create our clipping masks. This is just all you need to know about clipping masks. We are definitely going to use clipping masks to be designs in the future. With this, we've come to the end of our video and of course our module on masks in abuso. Okay, see you in the next one. 26. 26 The 3D Effect and Panel: Hey guys and welcome to this module on three D and materials. Okay, we'll be learning how to use the three D effect and materials in B Illustrator in order to apply the Tre D effect or you just need to select your ship. Okay, And come to Effects. And then go to three D and Materials. And then choose one of these. Okay, so maybe you can choose Xrude and Bev. Then immediately this three D panel comes up. Okay, let me just cancel this in, Delete okay, and draw another ship. Now, apart from coming here, we can immediately come to the windows panel, to the windows menu. And then come to the three D and materials panel here. And just activate it. Okay? And then it's going to pop up. Okay. You don't have to always come here. You can just come to Windows and activate the panel, and then when you select your object, you then click on the one you want, okay? Now this is the extrude, which was the one we used the other time. Okay? If we do, we also have this guy which is plane. Okay? We are going to look at all of this in details. Okay, Let me just choose this guy and show you one other thing. When I select it or when I apply the three D extrude defect. And I come to this panel here, which is the appearance panel. Come to the appearance panel, you then see that your effect is now visible here. Okay, from here, you can disable your effect. You can enable your effect. You can delete your effect, duplicate it. You can do a whole lot of things. The effect you apply to your ships, effects that affect the appearance of your ship, all be here. Okay. So you can see stroke, you can see field color, and so on and so forth. Okay? So in order to edit it, you can just click again. You can just click once and the panel will now open. Okay? So these are the types of three D effects we have. Okay? We have the plane effect, which basically turns your selected object into a three D plane. Okay? And then we have the extrude panel which, which extrudes your three D ship, or rather your selected ship or for your selected ship. Okay. That's what this guy does. And then this other one, revolve. It works. It revolves the ship and we're going to look at examples. And this other one called the inflate, it just inflates it like a balloon, as you can see here. Let me select this guy. Add the plane tree effect. Now we can see that it has no thickness. It's just a plane, okay? Just a three D plane. This is suitable when we want to add images symbols on our D object. And we're going to look at examples for you to know. This just acts like a plane doesn't have any thickness. You can only rotate it. So you can rotate it here. Okay. Then it has other options, which we're definitely going to look at now for this guy, when I extrude, we can see that immediately an extrusion is created and then we can of course, do our edits. Okay, for this guy, let me just increase the size of my art board. Okay, I can spitz them out properly now for this ship, when I revolve. When I revolve, we can see what happens. Okay. Then turns it to what one could see. It looks like you do not. Right? Yeah. It revolves. Okay. You might not fully understand how this guy works, but when I create an example with something like this, okay, I'm just throwing out a ship. Now, I just want to explain the revolve effect properly for you, okay? So let's see, We want to add the revolve effect on this guy. Okay, So that we understand how this effect works very much. Select the ship and then click on Revolve. Okay. Now we see what happens. It revolves it around the path. Okay? This one solves as path. If you come here to offset direction, okay, drop domina and then select right edge. So what do you now see? Downturns it into what looks like a container. So now you can see the similarity between the ship here as it's highlighted, okay? That's the profile of the ship and then this guy, so basically uses this symbol here or our ship here as a profile for the revolving effect, okay? So that's how this revolve effect works. And then for the inflate, it just inflates it like a balloon. Like I said before, when I click on the inflate takes some time, then we can see that it has inflated our shape to look like a balloon. Okay, perfect. Now let's go through each and every option now for this guy, now we have the three D clean, right? The options we have here are the rotation options. When you come here, we can see that we can route it to fit the front. We can see it's facing the front. We can fit the back. Okay. Can fit the left. Okay. We won't see this one now, since it's clean, right, But it's facing the left, it can't fit the right. Can't fit the top. And of course we won't see this one too because it's plan, it doesn't have thickness on. Now we have the other ones which will give us looks like this, looks like this. We can actually rotate them using these sliders here. Apart from this, we can use the gizmo here to create custom rotations based on what we want. As you can see, the Gizmos to create rotations, Rotations, when you highlight the chism, you would then be able to select and then rotate, okay? For this other guy, we have more options, okay? We have the rotation options which are completely the same as the ones here. We have even more if we just close this option here, we can see that first of all, we have depth. Depth controls the depth of our ex, as you can see, a adjust the depth slider, the depth of our extrusion being adjusted. Okay, then we have this guy which is called the cap right now. It enables us to open the cap or just leave it closed. Apparently it's closed and then if we click, we wouldn't be able to see that it's now open. Now we can see through our ship, we want it closed. And then for this other option, it's called the Pavle effect. When we click on P, we then see what happens, right? It puts a profile on our ship. Now we have different types of bevel effects. We have the classic, we have the round, we have the convex. Okay, convex. We have the step also, depending on what you want. Like I said, it's basically what you want to design that will drive you to using one of these. Again, we have the classic outline, we have the round outline, then we have the square outline. Let me choose the convex. Start with convex. When you choose any of the profiles here, you see that we now have what we call the width. This will it how sharp or how wide the profile here is, Okay? As you can see, as I'm taking, it's towards 100, it's becoming thinner. Then as I drag it towards zero, becoming wider, right? And then we have the height which does what it does, as you can see, it creates the height. It adjusts the height to be longer or shorter. When I reduce it perfect. Then we have what we call the copies. I think I duplicated this. Delete this one. Then we have what we call the copies which duplicates the profile. Be proof. Right? So we can now have two of them. The slider which controls the spacing between them. Okay, perfect. You can create complex designs with this. You can even have three. You can have four. You can have as much as you want, Just type the amount you want, and then you're going to have them perfect. Then we have the spacing, like I said before. Then we have this option bevel inside it. Bevels it inside. We have reset, which will bring everything back to the original. Okay, that's it for Pav. We can use the port in here to remove the Pav or activity, depending on what you want. Now, let's talk about the revolve options, right? Revolve options. Now the options we have here are the rotation, which are similar to the ones we looked at here and here. Okay, We have this guy also with *** cap. We can sit through it, but since the rotation does not allow us to situate, see what's happening, we have this guy, okay, which is the direction of the offset. Now we have it at right, that's why we have this design. We have it at left. We have something different. We have the direct opposite of the pull file. Perfect. Let's just keep that at right. Then come to offsets. You can see that offset controls the offset, right? Yeah. Then we have the revolve angle. We can see that this. We can cut our ship and we can complete our ship. The revolve angle mediately with a 364 complete revolving for the last one which is the inflate, we have just the depth and the volume, then the cap and finally the rotation. The depth, the volume, then the rotation. Just go around and see what you can come up with. That, of course we are done because we're not done yet. You can come up with a whole lot of beautiful designs which just tweaking just the objects options. Okay, the next thing we will then be looking at is the material options here. As you can see, we are presently on objects. All right. We have the materials here. We have the lighting. Okay. We can edit the materials. We can edit lighting, and we can even render. Okay. These are the render settings. We can activate render settings here. We can activate or retracing rather. Then we can render. We can choose the quality of the rendering. We can even edit our Raster settings. All right, remember we spoke about Raster settings at the time. We can change this to higher resolution for a better rendering. Now for the materials, we can see that we have materials. Here we have all materials, right? Different materials. We have the material which is the default one, which is the one apparently activated on the, on the ship. Right? And the default material. And you can apply colors to these materials, right? To this material, to the default one. So we have other materials. Okay. Now these are dub materials. The dub materials derived from Dubs Substance library. Okay. Those who are conversant with substance painter will be conversant with these materials. Okay, so these are just substance materials so you can actually add custom materials. Okay. And C, the file format accepted this SBS ER. Okay, so this is the native file format for substance materials. Okay. There are a whole lot of materials. You just go through these on your own. You're going to go through each and every one of them. You can just go through them on your own, but just for a few, just apply. This guy you reach look like a brick. All right? So applying the materials can require a bit of system performance, okay? So you have to have a good system to be able to run this. Now we can see how it looks here. Doesn't look good for me. You can use this guy, okay? So this is what we have with this material. Like I said, it all depends on what you want to achieve, right? It all depends on what you want to achieve. So we're not going to dive into these materials for now. Okay, Now we have other options here. Other material options here. Okay, Which enable us edit our materials. So we have materials properties, we have roughness, we have the metallic. The roughness affects the way light interacts with our object. It could either be shiny, we could make it shiny by taking it down, or make it more dull or more normal. That makes sense by dragging it towards one. And then we have the metallic, which is very self explanatory. This will make it look more metallic as you can see, even before day before. That's what the Okay, and then let me select we custom material to see if we are going to get extra options. Right. We're definitely going to get extra options with custom materials. As you can see, we now have a custom material applied and we now have extra options. We have custom textures applied and we have extra options like this one now is the resolution, so we can change it from one K to two K of. The higher the resolution, the more taxing the work will be on your computer and we have the brick color. My system has been working for a very long time, so it's responding not too well to load. Okay. For this guy, we change the resolution. Okay. We have one K, we have two. These other ones we can change the color of the brick here, click here, and then change the color of the brick. It might take some time to load. Okay, Let me just change this guy to one K. It's less tasking on my computer. We have other options depending on what materials you choose. Okay? Now, remember this guy is a brick material. That's why we have these options related to brick, right? We have all these other material, all these other options to just help us edit our material properly. Now we have these other ones here which will help us with the scaling, with the rotation, with the density, okay? When I increase the density, you can see that it's editing the UV mapping. The UV mapping, okay? Or how the material appears on our object. The skill of the material on our object. Then we have many other options here which I want you to just go and check out on your own. I'm not going to go through all these options. Should just choose our default material and continue other things. Now, coming to lighting, we have different presets for lighting. The standard lighting, we have the diffused lighting, we have the top left lighting here, we have the top right lighting. And all these are all self explanatory, plus you can see how the affect our ship. Here we have the color of the light, we want white light, you want red lights on, the intensity of the light. And then the tission light, you see what we get as we adjust the stuff. Then we have the height of the light, at the height of the light from our object, right then we have the softness. Then we have the ambient intensity. Ambient intensity. Then we can activate shadows, can activate shadows. I'm not going to activate shadows for this one. Then finally, we have the render settings right now, the render settings, we can just come here and then retracing, then come and choose the render quality. We can make it low, medium or high. Then activate reduced Noise. Let's try medium and then click Render. Need to take some time to render. As you can see, we now have our rendered image. Now have a rendered image now we can use this in our graphics. You can use this now graphic design and other works to be Illustrator. Let's try to render this one also. When you just come here and click here, it's going to render low settings. It's going to render with lower settings automatically. If you want to render with a high settings, you have to come here and then select the high settings, activate, select the higher settings, and then render. But of course, you have to also know that selecting higher settings will also require higher system performance. Now we have a better and even cleaner render. Right. As you can see, we don't have much noise on our ender. We don't have any noise on our ender unlike this one, which we have a lot of noise. Right? That is about this. We've come to the end of our video on the three D matters panel. In the next lecture, we'll start creating really cool stuff. Okay, we start turning our two D shapes, our two D objects into three D's, and creating nice designs with them to see you in the next one, bye. 27. 27 Turn 2D Shapes to 3D: Hello guys, and welcome back. In this lecture, we'll be turning our designs here, our illustrations here, into three D. Okay, turning our illustrations here into three D, and we're just going to create nice designs from them. Maybe at the end of our designs might create the poster, we might create these just playing around with the whole stuff. Okay, now for this, I'm going to maybe adjust my color. Do I like this color? Maybe choose a pop. Pop. Okay. Popular or popular? Yeah. Maybe something darker. Okay. Let me just walk with this one, Okay? Now we're going to, we're going to turn our ships into treaty. As you can see, all the ships are to D ships. All right. So we're going to turn our ships into treaty to see what we can come up with. Now we have this guy here. We can see this is the ship and this is just a compound ship. All these guys are joined together as one. Okay? So all of them are joined together as one. So I'm just going to apply the effect now. That's the three D effect. So I'm going to use the extrude effect. To use the extrude effect and immediately see that extrusion has been created. Right. First thing to do, activate the pebble. Then. Yeah, we're going to work with the classic Pblejtdue. The width, this. Okay. And come down to t. Then let's just play around to see which one fits best. Select this guy here, isymmetricpymmetric top perfect. Now select these other ones. These other ships here they are also compound ships, right? Also compound ships. Apply the clean effect. Click on plane, then choose the same Tion. Choose for the first one, the top, isommetric top. Okay. You can see we now have three D effects applied on boot Now, just adjust it to fit properly. Adjust it to fit properly. Yeah, as you can see, the making progress just increase the width, then the height like this. And for the I think the previous depth was okay. Now what I want you to do is just the symbols, symbols then come to light. We want light to really have much effect on them because they are going to be white and they're just meant to reflect light. Just increase the intensity of the light. Then for this one, I think we are pretty much done. Next thing to do is just come here activity, Retracing this high render, a high just click render to take some time. As you can see, we now have our D keyboard keyboard to let me just check how much roughness we have. Okay, I think I am okay with the roughness. I thought I had some metallic effects on it, but I think everything is cool. Everything is cool. Now for this other guy, we just select him, that's the letters and the symbols just come and render. You render them. Just select the here activity, you're retracing high, and then render, boom. After rendering, you can now see that the pop out well, okay, we're done with this guy. Go to the other ones. Now for this guy, I want to apply an inflate effect. Click in Fl, bring it here. And play around with the play the depth to what you want. There's basically no rules with this. Just what you want, you can just do what you want. I'm okay with the rotation. What do I do next? Just come and activate my retracing and click on Render. It's going to take some time to render and we're done. We'll see the effect. Very sweet looking. All right, perfect. Now we're going to work on these other ones. Maybe I should make my, maybe I should create a new art board. Just create a new art board here. Create a new art board. Okay. So I can have these other ones for this guy here, I'm just going to give it a background, then arrange send to back while selecting this color. While selecting the color, just come to your color guide to see what suggestions lost has given us to blend well with what we have. We have this background, we have this one. We have a couple of them, a number of them. And I'm just going to go with, with this one. Okay? I'm going to go with this one and adjust my artboard beats to the side and move the background like this. Just come and create a type here. I love keys. But we're not going to write type love because we're going to use this guy here to represent love. Key. Come and make your phones bigger. Centralize the whole thing, increase the speed between the lines. It appears like this for the type, just move this block. I'm using Montserrat font. Just select the block font if you have it, or you can choose any font that looks good. And I feel like kind of increasing the size of my artboard towards the left hand side perfect. We can just make our front bigger. Okay. Then for this guy, we would choose this color or this one or whatever color, that will look good, right? Yeah, this color would do perfect. So this is our first design using the three D effect. Okay, now we have all other ships here. Other ships here. I'm just going to use, I'm going to create the three D effect with this guy here. Then I'm going to allow you to create the remaining, okay, maybe with this other guy and this guy, maybe. Okay, maybe this one. I'm just going to do this once and then you then handle the rest. And then we'll see in the next video. Now for this guy, I'm just going to apply the inflate effects on it quickly, okay? And of course, you can maybe create a rotation like this. Or adjust the rotation from this slider here, we make it look like this. Perfect for this one. You can see that there's a cut in the ship right when we apply our inflates. You can see that we now have the effects, adjust your rotation. Maybe something like this. Perfect for the other points. We just give them an inflate effect. Also just arrange them like this. Maybe make them bigger. I think we won't make them bigger, I'll just maintain the size and just do these other guys. Now what I want to create a right, I want to create a for this one. We're not going to use the inflate effect, we are instead going to use the ex. You're going to extrude ships like this, give them an extrusion of 76 pixels. I'm going to copy this 76 points rather then create an extrusion. Again, the pieced 0.76 this guy also create an extrusion. Maybe 76 will do o for all these other ones, just create extrusions. Extrusions but the extrusions, right? Let's make this 120, for example. 20 for this guy. Put an extrusion also, then make the depth 20. Let's select this white ship here. As you can see, this guy is also cut out to select the white ship for this one. Maybe I'm just going to give it a plan, just inflate it instead, like this for the mean ship, that's the main amount I'm going to extrude. Okay, And then remove it. This depth, maybe we reduce the depth to 20. Let's try bringing this guy forward to get here. Okay, let's leave it like this for now. Then for this other one, I'll just add an in fleet effect. Perfect. Now we're going to just start adjusting our ships to make it look more like a. So I'm going to drag this one to this point. This guy, I'm going to just send him to the bark, It can look like it's at the other side just a bit. Just this guy. Then just try to create an accurate perspective. I think we can start to work with them arranged like this. Okay, let's select this one and then come and give you the bebe, select the round, it look like this. And Seem also with all of them. Give all of them a Bev and then select the round. Okay, perfect. Seem with these guys be round, we might not be seeing much happening here, but after we render it, we'll see what's happening better and give this guy also a Bev round. Seem also with this guy round. Yeah, we're pretty much done with this. You can now begin to render. All right, so select this guy. I'm feeling that maybe I shouldn't use the highest quality of rendering because it takes time to render. I just go with the low quality for now. Yeah, let's just use the low quality. I think this is good, manageable. Perfect. Select your ship and click Render. Okay, Select your ship and click Render. Select your ship. Click Render. And what? Select your ship. Click Render. And what we've always done. Perfect, Select your ship and click Render. Perfect. Then, okay, we have these guys to do, Select, click Render. So let's click. And as you can see, we are now having a better visual on the effect here. Same with this guy. Click, Render. Click and Perfect. Perfect, perfect. We now have all our shapes in three D. Okay, and I feel like doing one more thing here. Was going to create a, an ellipse, Give it a brown color, then just come and give it an inflate effect. Come to materials, then give it a wooden finish. Which one will select? Let's select this guy. Give it a wooden finish. This large wood perfect for density under materials properties. Just increase it. Yeah, we want to leave all of the settings, but of course you can, you can adjust them for yourselves to see if you can get something better. Okay. I'm just going to leave mine like this and render perfect. With this, we have been able to achieve our treaty, our treaty effect. Now we can just select this guy, drag it here to create the background. Then maybe this one them up for this guy. Just send it to the park. Okay, one final thing to do. One final thing to do. Select this color so I can see what's to be illustrator suggests for me because I moved upwards. It's just trying to update the effects. Now it's done. When I come to my color guides to, I am now given different options to choose from. I think I'll go with this one. Finally, what I want to do is come to your ellipse, to then create an ellipse, bring it to the front, of course it's at the front. And then come to your gradient to and give it a dialredientjt, black and white gradient. And then come here to revise the gredent. Then come to the white channel. Select, come to opacity, then give it zero. What do we want to, we want to create a shadow effect on the ground. Just reduce holding down Alt, Reduce drug and reduce your shadow or your ship like this. Okay, let's reduce it like this. Then select while selecting it, select also the background layer. And arrange send to the back. To the good, send to the back, okay, This is what we have. We can come on opacity, okay? Or come here, either of the places. When you click, you see this now opens up and you can just choose multiply. Just adjust the slider for the ingredient here that's too much. Or rather, just select this guy here and give it a 70% opacity. Yeah, this is what we now have. We can also duplicate it for this other ship here, right? Yeah. So with this, we've come to the end of this lecture. Just go about and create the treaty effect for these ships. In the next lecture, we're going to go about and create some cool designs with what we've created so far and even more. Okay, see you in the next one. 28. 28 Poster Designs with 3D Characters: Hello guys, and welcome to the third video on the module on three D and materials in a dub illustrito. In the last lecture, we were learning how to create three D objects from two D ships. Right. And as you can see, I've gone on and imported some of the ones we've created from the last video. Also, I've worked on this logo, a illustration ad illustritologo. I've imported it here. Also, I have gone ahead to duplicate this Artbo so you can have these guys to work on. Okay, I'm going to use this ones in this video, this file. Just go to your projects folder and then select this one, which is the tread poster design and with character. Okay, just select it and open it. It's the one we're going to be using. Okay, now we're going to create poster design here with this character. And then we're going to basically turn this guy into Tre D, this design here. We're going to turn it into treat. These are the things we're going to do in this lecture. Another start, we're going to turn this character into tread. Okay, It's going to be quite simple you need to do is to select your ship and then choose either the extrude or the inflate, depending on what you want. Okay. I'm just going to choose the inflate and see if I get what I want. All right. Yeah, I think I like this. Select each and every part of this design and just add the tre D effect. Either the inflate or the extrude will do a good job here. Select this guy, inf like the inflate, better for this, okay, Adjust the volume of bits. And then select this one, also in flit, right? This guy in flybejust, volume Bitel, this guy also in flit. Then adjust the volume, Also the depth volume. Just play around with the settings to see what works best. We're not doing any custom rotation for this, we're just going to use the front view. Sellefllso should be inflated basically. That's okay. The eyebrows also maybe inf inflate effect also work. I was thinking of the shoot but let's just walk with inflate what we can just do this for the eyes also perfect for the mouth. Maybe you have the effect applied to every part of the design except for the glasses. I don't want the inflict effect on the glasses, I just want the glasses to be okay. Now I feel I should make. Soldjust the volume here. Perfect. So as you can see, the process is quite simple and we now have our three D character. Right. The next thing we need to do is to just render. Come here, Re, select medium. Okay. I just want to use the medium for this one. It's done and you can see some noise here, but I'm not going to do anything about it. You can do something about it. Maybe you can use the high if you want. We just going to use the medium for time sake. Okay. To select and medium also you observe that the bigger the object, the bigger the object we're applying, the three D effect on the longer it takes to render, the longer it takes to render dude, I will select this one. Tracing and Render. And then select the fees Ricin and render. Good. Select the Ear Ricin and render. Select this other ear triene. Render. Select this guy. Risen and render. Okay. And then select the Eye and render. Got the eyebrow render, so we can see that we're having an error here on this eyebrows. I'm just going to delete this guy. I'm just going to delete this eyebrow. Maybe I'll just duplicate this one and bring it to the side here. Then for our eyes, we have to render our eyes. It shouldn't take too long. The second eye retracing render. And then for the nose trice and render. Then finally for the mouths vitrine render. Okay. I think I'm having an error here also. I don't know why it's like this, but what I'm going to do is I'm just going to select this guy to be K and then route, hopefully the problem should be gone. Okay? I think the problem will not go away. We might all be forced to use something else. Let's try, let's try using the extrude effect. Okay, let's try using the extrude and then just give it a P, then round depth. Just play around with the sentence basically and then come and give it render. Let's see, we're still having the same issue here. We still having the same issue. I really don't know why it's behaving like this. Let's just, let's assume we do not have this issue, right? Let's assume we do not have this issue. So we can just finish this video. The next thing you have to do is to come and create a mask like this. Okay, over your ship. A drawing over your ship, just like this. Okay, select everything and control seven. Okay, seven to clip mask. Right for clipping mask like we saw in the clipping masks tutorial clip mask has to cut this other down part that looks ugly when we come something like this, maybe this white color then duplicate. Okay, let's make ga and send this to the back. Then maybe I'm just going to come and select color here that illustrator should suggest some colors for me. The color Guide to. Right, I'm just going to come here and try to see if I can get more colors or better colors. We're going to try out some of these. Let's work with this one for now. Then, what do we want to type? Add lustre, reduce the size for, make bigger the size of the B. Then centralize the whole thing. A, come here, align it to the middle. Then we can use the thick version of this font. Very thick one. Maybe the extra bold or the block should use the block and then choose some colors here. And then basically choose different colors for this guy, maybe something like this. Okay, Just try it out and see manageable. So what I want to do is I want to use this one here. I want to use it is going to update, maybe not. So we'll just arrange and bring you the front. Just reduce the size to cover the, the letter B. Perfect. So it's to be illustrator. Okay. I need to then bring this guy here and just place it here with this one, and I'll see this one perfect. Now for these guys, we'll give them an extrude, come the rounded preset, and then just come and use front here, rotation, okay. Then just adjust the height like this, we can do seam for the next two ships, okay. Front, front, the rounded, rounded. And then for this one which is white, I would like to increase the reflection of light or the interaction of light with it. Just increase the intensity of the light. Then this, maybe we give you an inflate, Either inflate or extruded volume of trach. The volume bite, perfect. Then we need to turn this guy into a ship. Let's just come to object and expand. So we see that we've turned it into a ship, right? Seem also with these guys here with the ships here, expand then let's infltI'mjing to leave them in flying. Leave them as the default rather for this guy. Also in flu, the volume in flips to the William, and we forgot this guy here, M, Maybe I should just delete this symbol. Okay, so for the other one, give it an inflate also this guy flits volume inflates the volume. This guy, that's just group them and group them, Group one, group simos, Simos ones. To select all of these ships in flits reduced to volume, okay? Do it, select these other ones and in Flits. Volume select. This one inflates, let's reduce the volume bits. We are basically done with all of them. What do we do next? We just need to render them and that'll be all I just want to increase or edit the color of this one. Let's make it closer to white. Okay, get closer to white. For this one, I'm going to, okay, it already has a color, almost white. It's in between white and blue. Okay. Okay, I actually forgot to add the effects on this, and this actually forgot to add the effects and inflate. Okay? Is the volume okay? The volume again, for this guy. I will give it another inflates effect. The volume should of course be reduced to I'm satisfied with everything I have. Now guys, all I need to do is to render. I'm going to use, I'm going to use the default render. It doesn't take too much time. Okay, we're going to select render. Going to take a short while to render. It's done, Selander, I'm just going to fast forward the video while I render every ship here. And we'll be back when I'm rendering everything. Okay. As you can see, we're done with our rendering and we now have our cool designs completely ready for a final touch. Maybe I'll just tick this guy and bring it here. Maybe reduce the size and wait for it to perfect. Maybe for this one I'm just going to bring it here. Maybe reduce the size also perfect. Then for final touch, I just want to add another shadow effect, right? Instead of creating a new one, I'm just going to select this guy all down, hold and duplicate it. And bring it here. And just drag it out like this. Okay. Drag, select it and select our ship, our background. And send wood of them to the bark that it appears below every other thing here. Yeah, this is it. This is what we've come up with. Perfect guys, that will be it for this video. See you in the next one. 29. 29 Assignment 5: Hello guys and welcome back. So in the previous videos we just learned about three D in adulto, Okay? Three D materials in a do So. This is the last video in the module. And this video is an assignment. Okay? This is an assignment. And just come here and open the assignment. Assignment five file. Okay? Just open it. Okay. And it will bring you to this, please. Okay. Now, this is a girl character. All I need you to do is create a poster design with this character, just like how we did the last designs, right? So just create a poster design with this character. Okay, Turn the character into three D and create a poster design. And of course, you can also use some of those elements. Some of those extra elements we created. Okay. You can also use them in your poster design. And I would love to see how you go about it. I would love to see the color combination. Yeah. Just use the color guide tool of course, to generate colors. Right. Feel free to share a project with me and I'll definitely love to see what you come up with. So that will be it for this one. Okay, we'll see you in the next one. 30. 30 Distort and Transform Effects: Guys and welcome back. In this module, we'll be learning about effects in Ab Illustrator. Okay, so there are two categories of effects in Illustrator. Just come to effect and click and then you see the effect. Okay, we have the Illustrator effects here and we have the Dub Photoshop effects here. These illustrator effects are native to Dub illustrtoka. These are the native effects of Adbusto, while the Photoshop effects have their origin from Photoshop. Okay, if you're familiar with Photoshop effect, you definitely are familiar with these effects there under filters in Photoshop. Okay, we're going to look at each and every one of them, or most of them in this module. Okay, in this video we'll start with the one we call the distort and transform. Okay, when you come to effect, you see that we've covered three D and materials in the Pvous module. What we'll cover in this one is the distort and transform. Okay, just select your ship tool and create a ship and we'll look at how they work. Okay, Now come to effect distort and transform and then free distort. Now the way this effect works is it gives us a preview of what we currently have selected, which is shape in this case. Then it gives us the ability to edit the anchor points to just the anchor points like this. You just select the anchor point and edit and just edit it the way you want. We still have a preview of how the original one is. Okay, this is the original one. This one with the dashed lines. And then this is how we are editing our anchor points to be. Then we click Okay. We see that it then turns our ship to look like how we've edited it, while our original ship handles that these ones are still intact, like how the wear when the ship was a squared ship, right? So that's just the way this effect works. And you can edit the angles like this or the edges like this, okay? And do a whole lot of things. But basically it is just a simple effect and this is how it works. Nothing special, nothing much. I rarely use this effect, okay? But this is how it works. When you come to the appearance panel, you see that all your effects are. Now this is the new effect which we just added. If we click this eye button here, we are going to togle the visibility. So we're going to off it. And we see that we now have our original ship on it. We now have the effects applied. We can delete, we can duplicate it, and we see the effect of duplicating it here. Okay, we can just click on it. And then it gives us the ability to re, edit the effect. Maybe we want to add more adjustments or we want to do whatever. It just gives us the ability to do whatever we want to do. Okay, just delete and create another one. Come to effects transform and plower and blot lock and blood turns our ship into what looks like this. Depending on the ship and depending on what you want to achieve. Okay, This is a square ship and it has turned to look like this star. Okay, we will have a star ship. Let's see what it does to our star ship. Effects Bloods, We can see what it does with our starship. Okay, let's use lips effects. You can create very nice ships with these effects. Very interesting ships. Okay. Yeah. So basically it is what the ship does for us. And of course we can add multiple effects on single ship. You can add multiple effects later as we want to add the free distort effect. You can see the preview here. Okay, You can see that we've been able to add another effect here. This is the distort, or rather the free distort to then, this is the pluck and blot, okay? You can bring them above and below each other and you can see the effect is here. In the live preview, we have the rough on. Which is the ruffin, kind of us roughens are edges. These are rufens are shaped like this. We have the relative mood. We have the absolute mood. Okay, Claus. Okay. Maybe you want to create a cartoonish tree or something, okay? Okay, So we've used this to create a tree, change the color, can bring it to the front. Maybe even duplicate control, C control. Okay. Come to appearance, you increase the size, then send it to the back to back. Then probably do more adjustments like this. And then walk the color, change the color to a darker one. Yeah, the sky is your limit, your imagination is your limit. Okay, We have the next one which is effect. This transform effect basically is a transform effect, right? The transform effect, those transformsions to our ship. As you can see, okay? We can move our ship practically and horizontally. We can scale our ship. We can rotate our ship, our ship. We can even duplicate our ship by. All right, so let's just try something out here. Let me just use this. Why it's not moving. Why my ship not moving? I don't know why it's not moving. I'm just going to delete you. Since you don't want to move. Look at the tool I've selected. I'm supposed to be on my selection to, I guess that's why it wasn't moving. Just come to my select two and grab it and you can see that it just moved. Now let's see what we can do with the, let's see what we can do with this tool, which is where is it? S, which is the transform tool, right? The transform effect. Let's just give it put, let's see, 15 degrees and let's 20 cap perfect. We can see what we now have by just adding the transform transform effect. Okay? You can have stuff like this. Let's take this guy and give it a effect. When you come here, you can actually apply the last effect here. If I just transform, you can see that automatically takes the last effect with the settings and just applies it to the new one. Okay, let's assume you want to add to this guy. Yeah, looks ugly. Yeah, that's what the transform effect does. It transforms our ship. It transforms our ship. And it gives us, gives us the ability to, to add different copies. Sorry, I added an effect by mistake, we didn't look at it. But this is the crop marks effect. It just creates a crop mark on the edges of our ship. Okay. But it's not a very important effect in my own opinion. It would be good for printers, people who would like to engage in printing so that you know the boundary of your design. Okay, so you can just add it before printed to show the boundary of your design so that when it's being cut, the cutting machine should follow the boundaries, right? So that's just the importance of this effect and nothing more into effect and transform. Okay, let's try something out. Let's try moving our ship by one. And that's horizontal and vertical by one. Okay, let's create 50 copies. Okay, with this, we can see that we've now created, okay, we can actually expand our ship so as to try expanding our ship. Let's try on doing or rather on grouping Now after expanding our ship, we can now see that we now have each of these ships are separate ships. We can select this guy and maybe change the color. Change the color to black. Okay? Or maybe select all of these guys and change the colors to grey. Okay? And then change the mean one to blue. After we change it to blue, we can see that this now looks like a shadow effect. Like a long shadow effect. Okay, using the trans transform effect. This long shadow effect. Okay, select all and delete. Come and get another ship. Distort and transform. We have this guy name the tweak, Tweak our ship like this. Some of these guys just do crazy stuff, right? Yeah, yeah, you can see the options it gives us. I have never used this effect, but you might have a need for it. This other one, twist effect, it gives us the ability to twistleur ship like this. We can see that we twist ships by an angle of tan, angle of 830 degrees. And this is what we've got. Perfect. We can have a star, maybe then this guy looks ugly. Let's have a star. And come and add our twist effects. Let's see we want by 360 perfect. Now we can see how these effects work. They just work by modifying or distorting our ship. That's the distort and transform. Now we have the final one which is the zig zag. What does it do? Just gives us zigzags. Our ship is zig zags. Yeah, that's basically what it does. So we have a smooth mode. Makes the point smooth. I may have the corner which makes the point sharp, then expand. Object, expand, Appearance, expand. And yeah, maybe you would like to add another effect. Okay. Effect. And then maybe another effect, like I said. Okay. Like I said, to have multiple effects. Multiple effects. We want to add the rough. Okay. So we can see how much crazy stuff we're creating here by just adding multiple effects plus the Plc blues and the rough. Just two effects. Let's try adding another one. Let's, we want to add the twist. It makes sense. Let's make this 15% 61% Yeah. I think this is cool guys, Your imagination. Is it Your imagination is your limit. There's no limit to this. You can keep creating and keep creating, and keep creating, And keep creating. Yeah, I think we've come to the end of video on the distorted effects. This might come handy in your design. This might come handy in one of two things you're doing. Feel free to explore more. As we go on, we're going to look at even more effects. Okay. We get to see the stylized effects, that's this one here. We get to see rap effects and so on and so forth and how we apply them to our designs. Okay, that'll be it for this lecture on the distort and transform effects. See you in the next one by. 31. 31 Stylize Effects: Hello everyone, and welcome back. In this lecture, we'll be learning about the stylized effects now. Create a new, a new ship. A simple ship. And then come to effects and stylize. Now these are the effects on the stylized. There are six of them. We have the drop shadow, we have the feather, we have the inner glue, we have the outer glue, we have the rounded corners, and we have the scribble again. Let's have the drop shadow. What it does is it adds a shadow to our selected shape. Okay, so we can edit the opacity. Here. As we reduce the opacity, let's say to ten, you can see that our drop shadow reduces depending on what we want to create. Then we have the offset on the offset, x and Y. The adjust where our shadows are located. The distance of our shadows from our main object in the x and y axis. Okay? As you can see, I am adjusting the offset and our shadow is moving. Okay? The further it is from our object or the higher the offset rather, and then the farther it is from our object. Okay? Then the closer or the smaller the offset, the closer it is to our object, This gives depth to our whole object. Okay, It shows depth. And then we have this one which is the blow, just the amount of blurriness our shadows. Okay. The smaller the ship there, the more visible there thick our shadow is. Then of course, this is not realistic, right? Real shadows don't appear this, this sharp. So we have to add a little bit of blurriness to it to be realistic. It all depends on what we want to achieve. Actually, there's no root to this. And then we can just leave this as color which is black. Or maybe give it another color. If red works, okay, I'll give it blue. Okay. Then we have darkness. Darkness will just make it black. The percentage will determine how dark it will be. Just leave it at color. I know that color always works. And then we can choose the different colors you want. That's choosing color. While the darkness will only ensure that you have a dark shadow. We increase the opacity. Boom, this is what we have. We have other effects. The feather effect. Now this effect, add a feather to the edges of our ship. It makes the edges of our ship less sharp. It makes them feathered. You can see the preview here. The edge more smooth, smoother as we increase the feather. When I bring it to a background like this, you can see the effects. Of course, increasing the raster document resolution of your image will increase the quality of the effects because they are actually raster effects. Right? This is how the feather effect works. Let me just create a black background here, turn to black and come to my layers. And just give the separate layers, put it on the separate layer and grab this down and lock this layer. We can see how these effects are working on the black background. The yellow shadow is not working well on this background. Just leave it here. Then let's come here and just create, let's see, E. Give it a white color key. Let's choose old font. Just create outlines. Okay. Now when you come on effects and stylize, we have other effects of the inner glue. This gives our ship an in glue, okay? Is black. See you can see. This is how it works. All right. It creates an inner glue that's inside our ship. Inside our ship. So as we increase the opacity of course, it increases the blurriness and see what we are achieving. A, make it center. We see how it then works, right? Yeah, that's how the inner glue effect works. Just deleted. Who just select this guy and delete. We have other ones. The outer glue, make this green again, maybe blue, make it green. We now have the inner glue, right? Or rather the outer glue. It's the direct opposite of the inner glue. The inner glue creates the glue inside the ship, while the outer glue creates the glue outside the ship on increase the blurriness and see what we are achieving. Right? And then, yeah, that's it. We, of course, can add multiple effects just like we did before. We have this one which is the route on the rounded edges or rather rounded corners. It increases the rounds, the roundness of our corners. So as you can see, this is what we get increase. Yeah. Okay. Then we have this other one which is the scribble effect. The last one is the scribble effect. This is what the scribble effect goes for us. It gives us pop up menu which gives us presets to select from. You can choose this one, which is called the childish dance. This is the other one, I don't know to pronounce this word. We have the sharp sketch, We have the snot, whatever swash we have, the ties, zig zag. Okay. Then we have been given settings which we can manually create what we want, the look we want. Okay. Make this too. Okay. Then we have coviness which increases how cov, our scribble. Then variation we have the sing of our drawing. Right? Variation of this piecing also. Yeah, that's it. We have two effects on this guy. We can release instead of release, let's just come here and expand. Okay. Then we then see that it turns the scribbles into sketches, into real lines. And we can just maybe on group, we have them as a group. We can furthermore change the color of these guys which make them darker. Green. Okay. Okay. Yeah, have something like this. Instead of this, we could even the inner shadow. Instead we have the inner shadow. Since we expanded the ship, we didn't have the effects any longer. We create an EEE or maybe I, in this case I is add to be illustrator instead of an outer glue. Maybe we add an inert glue. Okay, just reduce lowliness. Perfect. Maybe we just deleted this one. Bring this guy here then, maybe. Created the scribble effect on it. It turns out that the ing completely disappears. Why is that? I want it to mean, let me just duplicate the ship to see what happened. I think why it happened like that is because I still have it as a type. I haven't expanded it, let me just create outlines. I haven't expanded it to select a ship and come and give it a scribble. I think the same thing is happening. What will happen? I'm just going to, let me just delete first. Come here. Instead of just giving it an effect like that, let's just create outlines first. Okay, let's further expand if necessary, then let's just give it an in glue first enough. I'm very sure this in glue will not be visible because of this color. Let's just turn into black. Yeah, this is in glue and let's try adding the script effect. See, it still disappears. Okay, I don't know why like that. Okay, so because of that, I'll just control that duplicates the layer and then add the scribble effect on the separate layer, on the new one. I've not even seen the outline very much, but one thing I have observed here is so much is happening here, where you get the point. We mustn't add all the effects, but I don't need to create something. Let me try releasing this one in. Just select this guy. Select this guy. And Pathfinder, we apply the Pathfinder effects. Yeah. Okay. Even the way it is, this is still cool. That's without even adding the scribble effects. All right, and what if we added describable effect? If we add describable effect, we call add the describable effect and give it another color maybe. Okay, The reason why it wasn't showing was because describable effect is taking the color of the inner glue. Okay, What if I do it like this and then release, or instead of release, just come to expand and expand appearance then. And bring it forward, maybe like this. Okay, Then we give it black color. What I wanted to create something like this. Nothing too special. Something like this. Yeah, there are a lot of cool effects under the style lines. We've looked at them. We probably should create a poster design with some of these effects after we look at the other effects. Okay, at the end of this module. Okay, yeah, that would definitely do that. Yeah. With this, we've come to the end of this lecture on the stylized effects. As you can see, there are six of them and we've learned what each and every one of them does. Okay. Yeah. So see you in the next one. Bye bye. 32. 32 Wrap Effects: Lecture, We'll be learning about the rap effects. The rap effects deleting everything here. Select your ship, your type to then come and create an area type like this. Okay, now let me just change this color to white. Change color to white. Maybe we should make our artboard bigger so as to accommodate a lot of things. Now I'm going to increase the size of my ship here, of my background. Okay, then just select this guy now. Now the rap tools, or rather the rap effects are also a type of effects that create distortion to our ship or to our selected object. Now, common effects. And the rap, right, and then just click on Immediately, we see what it does. It creates a kind of form or ship with our entire text. Okay, that's what the effects do. We have a number of them. We have the okay, which does this. You see what the arc lower does. We have the preview here, so you see what you're expecting. And then we have the arc upper. Okay, We have the arch, or arch whatever. And then we have the bulge, okay, which makes it to just bulge out like this. Then we have the shell lower, which, which creates this distortion. Then we have the shell upper, which creates the opposite. Then we have the F, which creates a flag. Then we have the wave, which gives us a avy design. Then we have the fish, which shapes our ship in what looks like a fish, in a pattern that looks like a fish. And then we have the rise, which does this. Then we have the fish eye, which does this. Then we have the inflate, which does this, okay? Then we have the squeeze, which does this. And finally we have the twist, which does this. Select the, select the arc. So we can see some of the options here. Now we have the bend which determines the level at which our bending occurs. Okay? It's either towards 100 or towards -100 This is -100 and this is 100, the opposite of each other. Okay? When you have it at zero, we have no bend. Then we have the distortion. We have the distortion towards the horizontal, out to the horizontal. We have it toward the vertical, out to the vertical. Depending on what you want. You're given the opportunity to create whatever design you want. Okay? So I just prefer to leave this as 000. Just simple distort, simple bend like this, okay? Okay, Now I just want to duplicate this guy holding down Alt and dragging down for this one, just come here and make it -39 -39 What I want to do is just come on the properties and then give it a paragraph like this towards the right. And we're going to leave it at aligned to the left. Okay, The wrap make this guy -39 Okay, 39 then. Okay. Okay, now this is what we have and then we can now it's arranged like this. So it looks like the type is coming and flowing like this, right? Yeah, we move it to the left bits. Okay, To create a clear demarcation. Yeah, so this is just what I wanted create in. Okay, Then maybe we could have the wave. With a white color. Just have it aligned to the mele like this. Maybe we can even control X can have it separately. I have the word wave separately so that this one could be small in size. This guy. Maybe we could even apply another rap effect to the word, right? Maybe we could give it, just leave it like this. And then maybe come and expand. Okay. And then come to effects and give it a stylized effect. We give it out glue, let's make the color black first, then give it an outer glue, stylize outer glue or rather an inner glue. In glue glue. So we could have where we choose whether center or edge. So an inner glue would do okay. Okay, the wave. Let me just try adding another effect. Let me add the scribble effect to see if it's going to work. This time it's totally destroying our glue effect. Okay, let's just contra control and maybe give you the scribble and give you the scribble and expand. Okay? Give it a black color or white color depending on what we want. Or maybe a red color, maybe just change the stroke to one. Okay? Yeah, this should work. This should work, Yeah. We could work with this. We work with this. So the wave, okay? Basically we've looked at everything about the wave, the wave effects, all right? Yeah, we've looked at everything about the wave effects. These options here are just same as the ones we looked at as we looked at here. They are just the same thing. It's just that we are able to select the one we want directly from here. Okay, yeah, that is for the wrap effects. And see you in the next one. 33. 33 The Shape Distort Tools: Hello guys, and we come back and this lecture we're going to be learning about some very interesting tools in Db Ilos. These tools are called the ship distort tools. They can be found beneath the. We just come to the W and just click and hold, and you're going to find them here. Now these are the tools. We have the Wap two, the 122, we have the poker too. We have the blood to. These are the one, okay? We're going to look at them individually, separately during the course of this lecture. Now, come and just create a square. Okay, tab with the square to come here and select your wrap to. Now when in this two we see what it does enables you to distort your ship like this. Drag it goes in, drag it out, it comes out, drag it out, it comes out, drag it out, It comes out, it comes in. Okay, you get the point, right? This is just what this tool does. If you don't click, you're going to see options. These are the brush dimensions. You're going to be able to choose the width of the brush, the height of the brush, the angle of the brush. Now we have it at zero, the intensity, this at minus 120, then we will definitely see a difference. Now we also have the detailing. We have the simplification to simplify in detail. Basically, this is what this tool does in distort our ship like this. That's just what it does. I think it's quite similar to the smog tool in B, Photoshop, to those who are familiar with Photoshop, it's quite similar to the smog tool B. You could make an argument for that. This is just what do you can create. All sort of ship, just keep modifying to get what you want. Perfect. Delete you. And that's it for that tool. And we're going to come to the next one which is the most interesting. In my own opinion, this is the tel to. Now what this two does is very interesting. Okay, interesting. Just look at what this two is going to do here. Select the two towel to then just come here without selecting any ship, Just click and hold and release two Dos. It creates this circular twirling effects. And you can actually modify the brush size by holding down Alt, the bush side, and ship by holding down. Also, if you hold down Alt or Option on the Mac, just grab your mouse like this in the ship you want. You're going to modify your brush to that ship and then when you release it's just at that you click you. Then get your to start in the ship of your brush. In the new ship of your brush right when you come in. Click you then see that you also have the brush dimensions. Of course, we have the angle, we have the intensity and whatever to get to zero. We have the bush bush, let's make it a 100 bush height, make it 100, have something square, then we have the toll th the detail, we have to simplify and so on and so forth. O this to our imagination is our limits. There's no limit to this. Very nice to. We can modify texts, we can create custom phones. We can even create floral floral designs. Let's assume we are create this. We're now using our direct selection two to get this edge like this one like this. Then maybe even making our chip bigger, then getting the two, this edge like this guy, like this. Then let's see. We then use transform effect to create a rotation rotation of 15 degrees. Let's just. Ten copies. Let's give it 11 copies. 11 copies. 11 or 12 copies should do 15 degrees and 12 copies maybe just come and give it a stroke instead of flybe. Increase the stroke size like this to maybe we want to reduce the size. We can't reduce the size but no problem. We just want to select this guy and then just come here and give it a approach side of 300 by 300 and okay, okay, then see that we're creating something cool, right? Maybe we come here, okay, see how dynamic our design is becoming? Very cool design, like I said before, the imagination is your limit. This tool is very cool. There is no limits to what you can create, create, maybe expand them. Then on group, just come the guy here, the big boy here, give it 100 by 100 or 200 by 200, okay. Then with this, we can just start creating distortions to our ships. So you can use to even design funds, right? Yeah, to even design funds, To modify your funds and so on and so forth. Just do crazy stuff. Very nice too, okay? I'm liking what I'm seeing. You will even have maybe different colored ships, blue or maybe purple. Or maybe Marion. Then I have another one, maybe yellow. Okay, It's like this two, it's come on, blend them like this. See, blend them. This, blend them like this. Blend them and move a perfect. Yeah, with this, to our imagination is our limit. Our creativity is our limit. Okay, that's it for the two. We have other tools. Here we have the plot. Think the interesting 12 to they are not as interesting as this 12 too. In my own opinion, this is what you do. All of them have the options you can tweak. This is what the plug, it creates an intrusion. If you drag it out, it creates an extrusion As simple as that. Then we have this one, the blood, to drag it out. It creates an extrusion. Drag it out. It creates an intrusion, drag, it creates an extrusion. Just play around with them to see what they do. Okay, Then we have this guy which does this. Okay? So you might find a need for this, but honestly, I haven't. In fact, I haven't worked with this to this particular one. I think I've used the 12 to a couple of times, but some of these ones are just weird. We got this other one which is called the crystallized and just creates crystalline edges. Just create crystalline edges like this. It's creates them inside it out. Okay, you get the point. Of course, if you double click on the tool, you're going to get options like this. You can play around with these options for yourself to see what they do. And finally we have this one which is called the Ruin cool tool. It creates in cools, let me create a new ship and try it out. It creates in cools in that depends on what you want to create. Just holding down my mouse release, you can increase the detail. In other options we have, the complexity. Maybe we make it at six, the horizontal, 60, vertical, 100, whatever, okay? And see what it does. You can see, just turn, just messes up our ship, creates a whole lot of points. Okay. Yeah, you might find the need for this to Depending on the project you're working on, of course. Yeah. So that'll be it for these tools. As you can see, we've looked at the good, the bad, and the ugly. These tools, I think this is the best one in my own opinion. But the 12 to the good and the best for me. Perfect guys. And with this, we've come to the end of this lecture. See you in the next one. Bye bye. 34. 34 Effect Gallery: Guys, and we'll come back. In this lecture, we'll be learning about the effect gallery in a illustrator. Okay, On the effect you see on the Photoshop effect, we see the effect gallery. So it's a Photoshop effect or it has been burrowed into a illustrator. Okay, let's just come and import some images. Just come to file please. And then go to your project folder. You'll see these images which I have uploaded. Okay. Now just select this guy, please. Gl please. And then just drag it out like this. Okay, and maybe we just delete this layer. Can delete this layer and just maybe adjust our, our image to fit to our artboard. Maybe just edit our artboard to fit perfectly like this. Now, while selecting our image in order to use the effect gal, just select the image, come to Effects and click on Effect. Gallery now opens up, and then you can just drag it out like this to make it bigger. On the left hand side here you see preview. The preview of your image, right, of your selected image. On the left hand side, you see the effects. Here you see the sliders where you can modify the effects. Just come here and fit in view. You're going to fit your image right in view. These are the effect, there are different full dials of effect. There are different categories of effects. We have the artistic, we have the art strokes, sory brush strokes, we have the distort effect, the sketch effects, we have the stylized effect, texture effect. We might not go through each and every one of them, but we just do our best under artistic come under pencil or colored pencil rather. And you can immediately see that the effect has been applied to our image and it gives it a pencil effect. Colored pencil effect, just like the name implies with the sliders, you can modify the intensity of the effects. Stroke pressure and then the Piper lightness. Yeah, And 2.2 forth. I don't like this effect. I'm going to apply the cut out now. This cut out gives it a sketchy effect, like a cartoon sketch effect. And you can modify the effect with the sliders. This one is the number of levels, that's the number of levels of the effect. You can see with the higher number of levels. We have more details, right, in our sketch. The lower number, this whole place as one color. We just have a few colors. Okay, We just have a few details. Okay, Then we have what is known as edge simplicity. When we increase it, we have the edges become very simple. It becomes more and more like a drawing. More and more like a rough drawing. Okay, Rough sketch. When we decrease the simplicity, we get a lot more details. That is for simplicity and then H fidelity. You can see the many decrease you get sharp edges, row sharp edges and increase it, you get more details. Okay. It all depends on what you want, it depends on what you want. In Photoshop, you can actually add effects here. But I just found out that in Illustrator, you cannot add the effects. You can add multiple effects that multiple effects from the effect gallery in Photoshop you can actually do by just clicking on this plus icon. Unfortunately for Illustrator, we can see that it just blow just grit. Okay. But nevertheless, we can make do with what we can work with. Right? We have all the effect, we have the dry brush. Okay, Dry brush. And just come around and play with the sliders to see what you can achieve. We have the film green. I think I'm liking this. A it just makes it look like a painting. Like a sketch, like an artistic sketch. And then we have the film Green. Okay, film green. We have the fresco. There we have the F brush size, We have the brush details. Okay, there we drag the more details. Then we have the texture, you drag it to the right hand side. You're increasing the texture of your effects. You can see what we've been able to achieve this effect, we have a whole lot of effect. We have the neon glue ups, we have the palette knife, we have the plastic wrap. It gives us a plastic look. Okay, we have the poster edges. We have the rough pistols and so on and so for, depending on what you want. And we'll have the sliders, of course, which you can it for this image. I'm just going to maybe go with one and then we'll look at other images. All right, maybe I'll go with the cut out. I'll just go with the cut out and give it this level of detail in. Then for simplicity, we're going to add this. Yeah, I prefer this settings, and I'm going to click Okay. And immediately Illustrator applies our effect to our image. Let's please another image. Let's come and choose this one, Okay? And drag it out like this. Okay. Now, come to the effect gallery, and then, and then, let's see what we have here. Let's fit it to view immediately. We can see that the cutout effect has been applied. I like the way it has applied this effect here. I'm just going to click okay and bring in the same image to apply another kind of effect to file, Then bring in the same image, okay, and drag it out. For this one, I'm not going to apply an artistic image effect. I'm going to be applying a texture effect. Just fit it to view for this one. Let's try applying the stainless glass and see. Okay, we can see what we get with the stainless glass. It gives us this stink stained glass effect stainless glass. We have the cell size, the border thickness. Okay. We have the light intensity. Okay, good. We have this other one. I don't like this one. The one I like the most, the glass. It's the one we're going to be working with. First of all, let's take a look at this one texturizer. This one gives our image some level of texturing. It makes it textured, textured. I still prefer the stained glass. Yeah, just going to make our cell size 12 and just click. Okay. Immediately. Illustrator as our effect. You can see how effect. See how effect we can even. Let's try bringing them over each other. Whenever I move the image, it loads the effect over again. Set this guy ran to back. Then just Properties and click on Opacity to give us a blending modes. So we can see if we can try blending the two layers together, the two images together, we can see that it's taking a toll on my computer. These effects are graphic intensive, right? Immediately. You can see that it now blends. Effects for us. Okay, it blends the two effects for after just giving it a dark effect or a darkened blending mode. Let me change the blending mode. Multiply, so we see what's happening to Lod. We see what's happening under multiply, right? Okay, so let's try other ones. Let's try lighting. Let's try screen. Yeah, I think I Okay, let's try this other one over. Okay. I think I'll just go with dark effects. Yeah, I think with the darken effects. So I like this effect and that's the one we're going to use. We have the second one, the sketchy effect With the cutout effect. The cutout effect, yeah, we could even add a frame to our image, to our images. Maybe add frame, remove the field color and then give it a bigger stroke. Then maybe the green color. Okay, we reduce the size like this. Sorry, the size of the, of the frame. Perfect. Okay, we could do some for this guy if we want, or we can just come and create maybe something like this. Just give it, sorry. Just give it a blending mood. We change the color. You change the color like this. Then maybe come give it a type can convert the orientation to critical and maybe let's use Montserrat, okay? Yeah, something like this. Maybe even increase the size of the little o, then decreased a size like this. Okay. Then we have love, make this bigger. Bring it to the fonts. Just have it like this. Okay. Yeah. And then maybe maybe choose a different color, different blending color for this other ship here. Yeah, We have a cool poster design here just with the effects with the effects gallery. And some blended ships and some text, right? Yeah, for these other options here. These actually effects from the effect gallery, the artist, the effects from the effect gallery of these other ones are all effects from the effect gallery. You can just go to them directly. Let's assume we want to apply the cut out. Okay, have the effects edited. And we already have the effect, we already know the effect. We can just select our image and then come to artistic. And out immediately will be applied directly to our image. We don't have to then go to effect gallery again and we have one final effect we might want to learn about which is the blow effect. The blow is a very popular effect. It's just a blow, right? We have the Gaussian blow, we have the radio blow, we have the smart blow. I'm not going to go through them. You can go through them on your own. But the blow effects has a lot of importance in graphic design. It gives depth, it gives realism, helps in a lot of scenarios. Okay, But we're not going to check them out this course. This, we've come to the end of our video for our lecture on effects. In the next one, we shall be looking at an assignment, okay? Yeah, all the files will be made available to you so you can follow along. Okay, see you in the next one. Bye, bye. 35. 35 Assignment 6: One and welcome back. In this lecture, we're going to be taking an assignment, okay? Just come on your file. Just come to file and open this project named assignment. Okay? Just open it and you should be brought to please. Now I have either two images. These images will also be made available to you, come to please and you can find the images. These are the images I've imported. Okay. Now what I need you to do is to create three designs. You're going to create three poster designs. Okay. Now you're going to use the effect, we've learned here, that's for artistic, that's for effect gallery. Okay. You're going to use effect gallery effects. You're going to use distort effects on these two images. You're, you're going to maybe posters using the effect gallery. Maybe texts and some of the little manipulations you've learned in the previous lessons. And maybe on this other one, you're going to use some of the effects, like the wrap effects to create texts, posters, okay, Maybe with a black background, with glues and some other stylized effects. Just be creative with it. I don't want to give any rules, just be creative with it and just use the effects. We've learnt to come up with nice designs and I would love to see what you can come up with or what you come up with. Yeah, that would be it for this assignment, and see you in the next one. 36. 36 Transform Options, Repeating Shapes and Long Shadow: Hello guys, and welcome back. In this lecture, we'll be learning about the transform options under the Objects menu. Okay, and this is quite similar to the transform effects which we just looked at in the last module. Okay, so let me just show you, let me just remind you of the transform effects. These are the transform effects. Okay, we have the horizontal scale. The vertical scale. The horizontal, vertical move, the rotation, and then the copies, and so on and so forth. This helps us to create a transform effect on our ship. Now the transform option is very similar to this. Okay, so we access this option by coming to object and then transform. Now we can move. Now this move enables us to move our ship. Okay, now we can put the position vertical, position. Let's see, 50. Let's say 50 horizontal, okay? And then the distance is here between the vertical and the horizontal, right? And then we have the rotation, okay? This is now the rotation. And we can, okay. And then the original ship will be copied, will be transformed, the move property will be modified to this. And we can also click copy so as to create a new object, a copy of the original object with the move property. Now we have other ones. We have the rotation, they reflect the skill and the share. Now we have this other place which is called the. In this place, we are now able to transform each of the properties. Just like how we are able to transform each of them using the transform effect. Okay? We can transform each and every one of them to come to transform object transform, and then transform each and then we can see that we are now able to transform each and every one of them. We can transform the scale, the vertical and resital scale. The move, okay, Regal, then the rotation. Okay. Then we can copy. We can modify the original and we can change the point of rotation. Right? That's the point of anchorage. Okay. Using this limit at the middle end. Yeah. That's about the transform options. Let's just try to create something cool with this transform option. Come here and create an ellipse, and then just duplicate this ellipse holding down Alt. I'm going to drag it to this point. What I would then do, you select the boot of them and then come and select my ship builder tool holding down Alt. I'm just going to drag this and delete them. Now for this ship. Well selected, come on ingredients and create ingredient field. Then just disable the stroke color and maybe rec to this point. And then come to objects and then transform, transform each. Now I want to make this 45 degrees, I just want to make it 45 degrees. That's all. I don't want to change the scale or the position. What I would then do is copy, copy. And you can see we've copied the ship now while it's still selected, just come to object again and then transform. Now you see transform again, control D, right, or command D on the mark. Now what this option does is it creates the last transform. It does the last transform. And when you just click it, we can see that another transform has been done to this ship. Come and control D and control D, okay? Now, instead of just doing this by coming to objects and transform, we can do a control D, right? Control, control, control, control, control, control D. We can just keep eating control D, and we can see that with this, we've now created a pattern, repeating pattern, okay? That's one of the importance of this. We can use it to create repeating patterns. Okay? We can even use it for stuff like long shadow effects. Okay, let's say we have here written, we can use it for a long shadow effects. Just come and use the bold and then come to object and expand. Okay, well, selecting your ship, just come to object and then transform. And then come to transform each. And we want this to be zero. And what we want to adjust here is the position, okay? You just want to make this two and this two. And then click Copy. Now what it does is it creates a copy with the new positions, right? And then we can now duplicate the effect and keep hitting control control. And here we now have a long shadow effect. For the mean ship. We just come and make it maybe yellow. I think we circle the wrong one. You can just make it yellow or give it another color. And just bring it to the front arrangement. To front. Yeah. Now we have a long shadow. We can now select everyone, every of the ship and maybe select the mean guy. Just come to a pot finder and just unite everything. Just add them and now come to your direct selection to. And all you need to do now, just select the unneeded anchor points and delete them like this. Select them. Delete, Okay. Select delete. And do that to all the anchor points that are not needed. Just delete them so we can have a street shadow right select and delete. Select and deletes seem also with this one's deletes. Deletes effects, we can just adjust our mean shape to fit like this and we now have our long shadow effects. Maybe just make this gray color instead of two black. I think it's of greyish like this. This is now a long shadow effect by which we've achieved by using our transform options here. Now there's one more thing I want to try out and just come here and then come to your star. And create a star. All right, create a star like this, then you can use any other option. Any other ship also must necessially be a star while selecting the ship. Come and give your ship ingredient few. Okay? I want this gradient to be darker at the middle and brighter at the edges. I'll just work with this one. Okay? Now, while selecting our ship, go on objects and transform each. Let's make the rotation 20% And also the scale. Let's make the scale of 95, 95 maybe. Let's make the scale 90.90 for reason vertical. And then let's create a copy. Creates a copy and come to object transform again. And let's just keep hitting control, control control. As you can see, we now have what looks like a flow, right? A flowing pattern. Just come here. First of all, let's make this bigger, this is bigger. And come here and just create a square ship in the size of our board line. And then select every ship. Select all the ships, right click and create clipping mask. This is what we now have. Okay? You can use this method with other ships. Okay, You can use method with other ships. Let's just come here and add the Pl blot effects. We have something like this to start with. Make the ship bigger again, probably adjust the effect once more, maybe to make it look even slimmer and look like this, right? And then the next thing we're then going to do is to come here to object transform and then transform, each still having the same settings. For the last transform, we're just going to use the same settings actually, okay? But instead of having move I will just make move zero because I don't want to apply move right. Just click okay. Okay. Okay, we should have the copy instead of the O. Use the copy, That's the mistake we made. Let's do come here, transform each, having it like this. Let's copy this time. We can continue at control D or command D on the mark and we'll see this beautiful repeating pattern being formed. What next can we do? We can just like this and then just select everything, right. Click mask and perfect. Of course, we can play around with the colors and to have a different feel, right? Yeah, we've come to the end of the lecture on transform options. In the next lecture, we're going to look at more options or more effects under the Objects menu, and see you in the next one. 37. 37 Assignment 7: Hello guys and welcome back. Okay, so this video is an assignment on what we just learned in the previous video, which is using the transform option. Here I want you to create a flowery pattern using the transform option. So maybe you could have a star star with a number of, of points. This particular one has, I think, nine, okay? Depending on what you want, actually guys from the star. Maybe you could even play around with the, with the corners here with the edges. Then apply your transform option. You transform effect, that's of course choosing ingredient which you want. And just apply the transform option control D and so on and so forth. And then get your nice pattern. I'm doing the cool assignment for you already. Just create something cool. Just create something cool pattern, just like the ones we created in the last video. Maybe have three of them. Just create three of them. And I would love to see what you can come up with. Okay, that'll be it for this one. See you in the next. Bye bye. 38. 38 Gradient Meshes: Hello everyone and welcome back. In this lecture, we'll be learning about gradient meshes and how they work here in alto. Gradient meshes can be used to create colorful backgrounds and they can also be used to create objects with different shading. In Adulto, I'm going to show you how that works in a bit for stars. Let me just introduce the gradient mesh to show you how the whole thing works while selecting my rectangle two, I'm going to draw out a simple rectangle. Okay? Now the gradient mesh two can be found here. Now this is the mesh two. As you can see we have mesh two, right? So it's a Brian mesh two. So just select it, then come to your ship. And immediately when you come to your ship and come to an edge, you see the plus icon or the plus symbol rader appear. When you just click, you then see that we have a new edge in the middle. And then if you come here also, we see that we have the plus icon. And time we come close to the edge, we have a plus icon or a plus symbol rader. We click. We then see that we now have our ship divided into four different boxes. Right now, what we can now do is come here, come to our direct selection to select it. And then come and select these anchor points. Okay? If you select the anchor point instead of moving it or doing whatever, you just have to select it and then come and assign a color to it. Okay? You can select multiple anchor points and assign colors to them like I'm doing right now. Okay. That's all that the redient mesh tool entails. You just allows you to create Ancho points, okay? To divide your mesh into whatever subdivisions you'd like and then come and assign colors to each anchor points. That's just how it works, okay? And this can be very handy in a lot of scenarios. These anchor points, we give it a blue, this guy give it a darker blue. Select this guy, a brown. Come here and give color color. Okay, You can see I am already creating an interesting background. All right. This is one of the uses of gradient meshes. So we could just have a background like this. Maybe select the artboard to Cbt, our art board like this to fit our background, right? Then maybe then have a text ingredient and give you the white color. Okay, you can see now with this, we've been able to create the simple ingredient colored background. Now for one of the uses of the gradient mesh tool, you can use it to make beautiful backgrounds, beautiful colored backgrounds. But that's just one of the uses. We have other ways we can use this tool and I'm going to just show you one of them in the next example. Now come to your file and then come to please. Then in the project flees to me to image. Just select it, please. Just draw it out like this. I want to put it on different background. Okay, one, I'm just going to lock this layer, create a new background above it so I can draw over the one background. Okay. Now, while on this layer, get the pin two, I just want to get the pinto and draw out the shape of this tomtom. Going to draw it out roughly, nothing too special. Remove the field color. Keep drawing it out. Even it out, Yeah, we have a basic representation of our tomato fruit right now. Select drop two and just give it a random color. That's from the tomato fruit. Right, let's swap this to make it our color so we can have enough space to draw out the remaining ship here. Now select your And then just come and follow this, this other ship come and try to draw it out. A, draw it like this, mustn't be perfect. Just for demonstration purposes, right? Musn't be perfect. I just pick the eye dropper two and maybe sample a green color here. And also swap the guy, swap the field color to the color. And just select your boot ships and take them out of the film. I want to create a color pelt. Okay, with the colors of our fruit here. Now, just create a box here. Remove the show color, and then maybe give it the grandom field. Then create three versions. And also, and then select all of them and create another three version. Okay, for this one now I'm going to select the first one and I'm going to just try to pick the darker tones of the tom to cold. I'm going to choose this guy here edge from the edge, so it's a little bit darker to select that color. And then select this other one. Then select a brighter tune. I'm going to sample this tune here and get this guy and maybe pick something in the mid tunes. If we really want to sample all the colors here, we might be forced to do more than three. We might be first to go very bright, the very dark P This. So with the five tunes, we have basically represented every color representation of this tomato fruit. Select this guy here and try to sample three sheets of this green. Okay, so we're going to choose this one, then maybe sample something in the tunes. Okay, maybe something like this. Then come on, get this one from the bright side, right? We can just hide this guy for now and then work on this one. The next thing to do is select our greenthu gradient mesh tool and just come to the ship and try to add some divisions. Okay, we can add divisions to represent the structure of our tomato fruit. After you click, we can see that we are giving handles. So we can just come and drag the handles to create a better representation. Okay, So this is basically following our ship or our object. The main object we're trying to create, right? We just come here and add another one. Okay, We add another one. Yeah, this one is going this way. Add another one, maybe zooming and just add another one. Just going to undo this one. Try to add one like this. I like the way the handles are. I like the way everything is structured so far. Maybe add one here. You have to understand that there the handles, the more the ability you have to tweak things, okay. So we can come and create one here, maybe create one here, one here. In places where there are more colors, you might want to, more color variations you might want to have. Divisions. Okay? Just for you to know with this, I think we are ready to start painting. We start painting, so we're going to come and select this tool. And you can see that whenever I select this tool and just select one of the points here, I can actually grab the points. Okay, I want to do, I want to grab the point away. I don't need to use this tool. I can still select the mesh too. And then come on, click the point and drag it, so we can actually see a preview of it. While dragging, we want to drag this guy to the edge, like this to the edge. Okay, so this would do guys. And then now we can select our direct selection two. And I have an alternative to select to using these two. That's the two beneath it. This is the last two. This tool is used to select multiple Ancho points. Okay, This guy is used to select just one Ancho point. But if we want to select multiple Ancho points, since we have multiple of them here, we have to use these two. You have to use these two. Okay? So first of all, just sell the two. And when you sell the two, just come ahead and drag out area you want to select. And we can see that we mistakenly drag into this area. All right, we don't need this guy, we need this one. Just drag it out like this. And we can see that all our points have been selected. When we select them, we just go to our hydro paton or hit on your keyboard, and then just come and give it a color. Okay, let's give it a flat color. First color. Maybe you can give it this one or whatever color you want. Let's just start working with this one, Okay? Then the next thing we can do is look at pleases and then give you drag select your hydroptwo, start working your way. Okay. That's selecting the colors that are prevalent in those areas. For this please, I just want to come and select the two points here. Maybe give you this bright color. For this one, I might just give it this other color. That's the very bright one. Right. Okay. We can progress. And I feel that somewhere around here we could have this color. Okay? And maybe we'll have this guy to be darker. Okay? Darker like this. Then around here, maybe around here people have very dark. It very dark here. Okay? And then maybe even select this guy and just come on, tweak the sheet to be darker, right? Because of course we have it very dark here already. You can see that we are already achieving our ship now. It's already looking close to what we have here, right? It's really looking close to what we have here. That's just after some few steps of tweaking with our mesh tool. Now I'm just going to come towards the edges, sorry. Towards the edges to select this guy so I can see what I'm doing. And come towards the edges and let the points here maybe too dark, we give it even darker sheet of this. Ok, that works. Yeah, we can see that we are already adding a lot of depth to our drawing here. To select these guys at the, and you can select your hydropatud, Come on, just sample the colors here. Okay, perfect. Then take this else. Where else? Okay, come this way, just come on, sample, sample this dark color, or maybe not want to sample this one. I'm just going to add my cap here. That's this one. Okay? I'm going to bring my colors to this point and then maybe sample this guy here. Okay. Right away. Our ship needs more points at this. Give more darker points at this pere here, give it. We already have the color that way. One other thing to do is you can just come and add more points, Right? More points. We have the ability to put in more colors, add more points. Okay, Maybe select all of this and give it this color. Maybe these guys at the very middle, we might want to give them a really dark shade of this color, dark sheet of this color. Maybe just calm down here. Yeah, I think we can just put our cap now. We mean to create meshes for our cap, right? Just come on, click random, click randomly. This is not a very organized shipized ship like a square, so there will be a phony behavior of our ship. As you can see, that will matter. We still do what to do anyways. It's common. I'm okay with what we have here. Okay, so just select your lasso to, maybe we should isolate this one so we don't get to select these other ones here too. Just sell your lasso to come and drag out some points here. Some selection here. Give it darker shade. Okay, then select this guy. Give it something darker to maybe we need the very bright ones at the edge, like this. Like this. Okay, perfect. And then maybe select this one, give it very dark shade. Okay. Already I think what we have is K. We don't need it to be too perfect. Perfect, good. So this is quite rough but you get the point. We can see that we've almost replicated what we have on this, please. All right, Just using the redient mesh to this, we see how this tool works. Right? And not just for this fruits, but we can create a whole lot of things with this mesh tool. Okay, we can walk on cucumbers, we can characters, just something that has to do with different sheets of color. Some places like this might be brightly sheeted, some might be dark, and so on. And so that's just the use of the tool guys. One of the things I forgot to mention, which you should know, is that the green tool has its options under the object menu. When you create a sheet like this, maybe give it a red color and then come to objects. We see that we have an option here to create gradient mesh. If you click here, then going to immediately see that your ship has now been subdivided into certain numbers of rules and columns which we have here. We have this other one which is apparent and then we have flat to center and edge. You can try other options for yourself, but I'm going to stick to flat when we just Okay. You can see that now we are now able to select these points, just like we did with this one. We're now able to select these points and then give them a color. I give them a color. Okay. That's just for you to know, so you can access the gradient mesh options here. And of course, you can also use the Gredent tool here. That's it for this lecture guys. We've come to the end of our lecture on gradient meshes and see you in the next one. 39. 39 Assignment 8: Hello guys, and welcome back. In this assignment, you are required to use the mesh tool. Okay, which we just learned in the last video. That's this tool to create this banana fruit. Okay, you're going to create an illustration of this banana that's with the highlights and the shadows in the mid tones. Okay? All the sheets. Okay. You probably sample the colors like how I did before. Sample different aspects of the colors. Okay. Then just to use them to sheet your illustration. Okay, We're going to do, in this assignment, I would love to see what you can come up with. You will get the file, that's the assignment file, and also the banana image will be made available for you in the project file so you can also get it okay. And see you in the next one by. 40. 40 Patterns and Repeat: Guys and welcome back. In this lecture we're going to be learning about the repeat effect at the repeat option here. Also we're going to be learning about patterns. We're going to be making some, some interesting patterns all here In adulto starting, I'm going to start with angle or rather a square ship. Let's centralize the ship and then give it the color. Okay? I'm going to come to my color. Let's, let's choose this color. Okay? And then go to the color guide tool. I'll, I'll just choose, maybe this preset. Just give it a nice sheet. Just play, There's no specific rule specific rule. Just play around to get the colors you want. With this, I'm just going to come on effect and select the Plc and blood effect and just edit it like this. Yeah, I like this shape to click. Okay. Maybe reciting the bait. Maybe boost up the stroke. Okay. Maybe give it another color, more interesting color. Yeah, I think I'll go with this one. Let me just copy our ship and bring it here. Now we're going to start off with the repeat effects. Okay, we're going to start off with the repeat effects. To activate this effect, you have to select your ship. Come to objects, then repeat. Let's see Dia. And immediately you see what it does. It gives us the ability, it repeats our ship in dial manner, right? And then it gives us this point here. Now on this point, when you drag it up, you see that the reduce expands. Okay? The diameter expands. The circle expands and reduces. When you bring it in, and you can see that when we bring it in, we are now having very interesting ship. Okay? We can drag it out, bring it in. We can adjust the amount with this other icon here. Okay, this, if we drag it like this, we're actually reducing the size of, of our ship, right? We're reducing the size of our ship perfect. When we come here, we see that we can increase the sizes or the amount rather Here also, I'm just going to come to objects, then release so we can have our ship back. When I come to repeat and choose the grid, we can see that it repeats it in a grid format. It repeats it in a grid format. And yeah, so this is what we have repeated in a grid format, right? The ones will add to the number like this, so it can keep going infinitely, okay? Or reduce to the number this, okay? Perfect. So with this, now we now have a very simple pattern, okay? Very simple pattern can increase the size like this or do whatever we want. So I'm going to go and just release my ship, drag it to the middle once more. When I select the options, we can see that we now have options, right? And then we have the di, we have the grid. We have the mirror. Okay. This on mirrors our ship through the selected angle. Okay? We can adjust our sentence and do whatever. We have the flip rules, flip columnes, we have the grid type, okay? And we can now click Okay. When we now come and choose the grid format, or the grid option, it actually creates it with our new settings. Creates it with our new settings. These our new settings, new settings we just updated. These are created based on the new settings we just updated. That's how it works o you can create simple patterns with this. We can even use it to furthermore enhance our process of creating patterns. I'll just show you an example in a minute to release it once more and centralize. Okay, then come and select our guy and give it the dial repeats. Maybe have it like this. Like this may reduce the size like this. Okay, let's reduce the quantity. Let's make it five, Let's give it five, quantity of five. Make it look like this. Generally. Yeah, the trick here, we're going to come and maybe expand it so as to make them separate shapes, right? They are linked together with the repeat option here, but when we expand, we actually separate them. And then when we write Click, we can actually ungroup them and work with them individually. Like this with this can come and just basically adjust our colors. Can adjust our colors. We give this blue come here and give it this color, that color like this. Okay, let me just try increasing our stroke size. Maybe we should have a stroke side of three for everyone. Okay, let's give it a stroke side of three. Okay? Okay. Now we will just create more color variations. We can choose this one presets, this color presets. And I don't like the blue here. There's no specific rule to this. You just have to create or set the colors what you feel is nice. Okay? I don't want to spend too much time on this. I'm going to just try to do things very quickly. Again, I'm going to leave this guy like this while selecting the three of them. We can, we can group them. We can group them. When we group them, we can see that when we now go to object and then pattern and make, we are now able to make a pattern from the arrangements of ships. Right? And we can see this one in here that the new pattern has been added to the Swatch panel. Okay. We still know that the new pattern we are about to create has been added to the switch panel. Any changes made while in pattern edit mode will be applied to the switch upon exit. Okay, so we can hit. Okay. Immediately we see that we now have our pattern. Okay. We can select three ships and adjust them like this, and the whole pattern just gets adjusted, Right? Yeah. Perfect. We didn't have our pattern options here. We didn't have our pattern options. We can choose the name of the pattern. We can see flowers. Okay? And then we can choose the tiling type. We have the grid. We have the brick by row. We have the brick by column. We have the column. We have the To do what their name imply, he arranged them in hexagonal wan, increase or reduce. And we can see that the spacing between them keeps getting adjusted increase or reduction in the values. I want to keep this at 01:35 by 135. Okay. Well, let's say 120 by 120. This will do. Now. We have other options here. We can actually select how we want them to overlap, if they overlap, if ships overlap, But fortunately or unfortunately for us, they don't overlap. We won't see these options do anything. They are actually for overlapping ships. Funny enough, we can just make them overlap. So we can see how the options work. As you can see, the changes are being updated based on what you select. We have an overlapping change here, but we don't want any overlap, right? 120 by 120, good. Then we have the copies, we have one by one, which is the original. We have three by three, we have five by five. We have seven by seven. I'm just going to choose agreed. Agreed arrangement be okay. Maybe 100 instead of 19 by 100. Okay. Then we can keep choosing the copies we want. And when we are okay with our settings, we can just click X, Okay. And then here we now have an option whether to cancel the project or click for you to be Sid. And our pattern then disappears, right? Yeah. We now have it in our switches panel. As you can see this pattern, if I make this bigger, let's see if we can make it bigger. We then see that here is our pattern, okay? We can create a ship, for example, then select our pattern, and we now have our pattern on our ship. This is basically how to create a pattern in Illustrator. Okay, Now we can keep increasing our ship to have more patterns. Okay? We of course observe that as we resize our shape, our pattern does not resize. Okay? We just have the pattern maintaining the same size as the original. It's not resizing. In order to make the pattern resize, what you need to do is to come to the transform panel here. Transform come to the transform panel, come here, and then we see where we have transform objects. Only now we have to make transform patterns or transform boots. When we transform boot, you can see that we are transforming objects in the patterns. Okay. Then we see patterns are fun, can transform the boot of them. Okay. That's how you do to enable you be able to resize the patterns. Okay? Yeah, we have our first pattern, Just keep this at one side. Maybe work on another pattern here. I'm going to drag this guy here and I'm going to come to my appearance and make a little bit of adjustments to our pattern. So click Ok. What I want to do right now is I want to create these boxes, this, let's have them like this also, let's just group them, control G. Then have this guy centralized like this and have them also centralized. We have a perfect arrangement on group them. We're going to do some adjustments. We choose a very nice color. Coming to our color guides too, for field color loser to blue. We can get some cool sheets of blue here. Make it just the color we make. Sorry we make it then for our patterns, we can just recreate the struck size and then give each pattern a different stock color. Thank you. And then a different field color also, of course. Maybe choose a different preset. Let's go with this guy and this one. Make it like this. Then I would like to make circles with middle ellipses in the middle. This K, maybe I'm going to choose my Dro. Pat, select this guy. Select this guy. Select this guy. Finally, select this guy. Perfect. Now we can just resize our ship. Okay, Resize our ship. Okay, We can reside ship to this and just group our ship. And then select your ship and come to objects pattern and make. Okay, now we have a new pattern with the heights 80 by 80. Increase the copies. Let's name it. Cool stuff, okay. Maybe choose a different tiling type or a different kind of tying instead. And then maybe this kind of tying will do. Just close your panel and now we now have a new, or rather a new pattern. Select your re, drag it out like this. Maybe we should just board something like this. We can have a ship this. Now remove the stroke, then come here and select your new pattern. Select your new pattern. And boom, we have our new pattern. We have two patterns, the first and the second. Now I'm going to just adjust our art board to square. Okay, You can have the dimension here. I think. I'm just going to do this man. Okay? Okay, I should then just welcome my skiing options. Right? Have a copy of the artboard here and have our second, our second pattern instead. Perfect guys, with this, we've come to the end of our lecture on patterns and repeat. Just go ahead and try creating new patterns, new interesting patterns. And I would love to see what you can come up with with this. We've come to the end of this lecture and see you in the next one. Bye bye. 41. 41 Assignment 9: Hello guys and welcome back. In this assignment, you are required to create a pattern following what we've learned in the last video. Now, you remember this pattern from the last video, right? You're going to use the method which we learned in creating this pattern and the other one to create your new pattern. Okay? And that's what we're going to do in this lecture. In this assignment. That's what you are required to do in this assignment. Yeah, so that will be it. And I would love to see what you come up with. See you in the next one. 42. 42 Shape Blending: Guys and welcome back. In this lecture, we'll be learning about ship blending, Not to be illustrato. If you recall, in one of our past lectures we spoke about the blending tool. Okay, which is this tool. We spoke about the blending tool. We learned how to use it and how to do a whole lot of things with it. I mentioned furthermore that for the lesson that's in the future lesson we'll be learning more about the blend tool or the blend feature in to be illustrato. In this video we're going to be doing that and we're going to use the blend option here. We won't be using the tool in this video, but we're going to use the blend option here under the object menu. You come to blend, okay, and then these are the options we'll be using in this video. And we're going to create some really interesting designs. And yeah, so to help you recall properly the blend to had to do with two or more ships, right? So we have one ship here, and let's say we have another ship. Okay, Like this and maybe with varying colors. Right? And then you just have to now select, select the blend to, and then kind of blend from one ship to another. Right? And then here, there you have it, right? So it's blending from one ship to another, from one color to another. Right? Now, that's the same thing we are going to be doing here. Okay. Except that we're going to take it a little bit more advanced. Okay. I started by creating this little illustration of litter and litter. And I'm just going to duplicate the whole thing here. I'm just going to duplicate the art board so you can come and try it out for yourself. And of course the file will be made available for you. Okay, now I have this illustration, then I have this whole illustration, and then I have the objects here. And I just added ingredient feel to them. Okay, I just added ingredient feel to them. Just come to ingredient field. Just come to gradient tool. So you see the gradient colors, right? And there are two vary ingredients, even though they are quite similar. Just create the gradient you like. Okay? It can be any ingredient you want. Okay, The blend option works by you selecting the boot of them and then just come to blend. Then go to blend options. Okay, now we have different options. We have the smooth color, but we want to be choosing those specific steps. Okay? And then the number of steps here would determine the number, how smooth the blending will be. Okay, So if we have more steps, we'll have a better blending between both ships. Okay. If we have less, less steps, we'll have less blending. So let's just start with it, because let's see it. And let's hit, okay. And then come again to objects and then go to blend. And then now we see that it has blended from this ship to this ship in eight steps. Okay? But of course we don't want E steps because we want it to be very smooth. So I'm just going to then come on the object, blend and then release. When you release it doesn't blend again, just select the boot of them. Okay, to blend to objects and then blend blend options. Now we want this to be, say, 3000300 steps, okay? Then when you come to blend, then make you see that. Now we have a smoother blending, so I'm just going to select it and hold down a maybe duplicated two times to have actual copies. Then now the next thing we're going to do is very cool. Again, we're going to take the objects and make them follow the parts we have here. That's the tricky, we're going to take these objects and make them follow these parts. We have the advanced stuff. Remember, we can do this with this tool, that's why we're using the objects and blend options here. What do you, how do you do that? Then just select your blended object. And then come and pull down Shift. And also select this guy here. Now go to object, then blend. Then you see where it says replace sine. Okay, just click replace sine, and boom, you see what we now have. We now have our blended ships following our selected path. Okay, Then we can select this guy here, come here, object. We please pine and we can select this one now. And then just come to object and reverse front to back. Okay, so that we have this cool design. And then I want to bring it to front range and bring it to front, it looking like this. Okay? I like it looking like this. What we can then do is This guy, given the, select the guy select the path, come to object, blend and replace pine. Then you see how cool blended. For this last one I want to duplicate and bring. But what I want to do is I want to just reduce the size because we don't want it to be this big, there won't be enough space. I'm just going to reduce the size like this. Then while selecting it, select the path with the object blend, Replace pine like it, like this. Let's try. Um, given this, see I prefer this, I prefer this version from here. Maybe we can even make it bigger. Okay? Let maybe move it to the front or to the top. Okay. Or move it under. Do like this, maybe reduce the size. It just depends on what you want to do. Okay, yeah, you can see we now have a cool I design. I'm just going to remove this guy out of the frame. We can further more add even cooler effects. Right? Remember, we can add multiple effects in to be illustrated. We can add multiple effects, and this just makes it cool. Let's select this guy and go to effects. And let's try adding the Plc and blood effect. Okay. Let's then maybe give it this value. We can see how it's beginning to become. Okay. We can something cool with this now. Okay, yeah, we can see how it has the modified our ship to look beautiful. Then select this guy and give you the same effects. Okay, Yeah. Do you just do the Sam? I'm just going to do the same with the remaining. Okay, So I like what we have so far. Let us give you the background. Okay. Maybe black background or maybe not. Maybe just go to our color guides to try to get some inspiration. Maybe let's choose the sky. Then just try to get some inspiration from our color guides to like this. And maybe we just give you a text lust, we make the text eager j. Maybe we change the color j. Maybe we just have a comment like this and B. This will do. Yeah. I think I like what we have we've created so far. That's basically how to use the blend option here. You can furthermore expand your ship and have more control over it. Just go and just create your own version here and play around with the tool. Furthermore, to see what you can come up with by yourself. This, we've come to the end of the lecture on ship blending. 43. 43 Assignment 10: Hello guys and welcome back. This video is an assignment and you are required to create a poster like this. Okay? That's using the blend to create something of this nature. Okay? It mustn't be I, it can be a word or whatever thing you want to create. Just create something and use the blend to maybe add one effect or the other to create more complexity to the whole thing. Okay, I would love to see what you come up with in this assignment. Feel free to share with us your results and yeah, we'd love to see what you can come up with and see you in the next one. 44. 44 Vectorizing an Image: We'll come back in this lecture. We'll be learning about vectorizing. We'll learn how to vectorize an illustrator. So that's how to turn an image into a vector illustration automatically. We don't have to draw the images manually. Okay. It just happens automatically with a B illustrator. The first thing we have to do is to come and then please our image. I'm going to use this image in the project for the girls image. Open it up and just drag it out like this. Okay, I'm just going to resize my artboard to fit my image. Okay, And then the vectorizing process takes a tool on our computer in order to just explore all the features. I would like us to use a lower arrays image because this image is quite high. I'd like us to use a lower arrays image and then come back to this one to finally do what I have in mind. Image it's, let's place it so we can see all the options we have. In order to vectorize an image. You go to objects, image trees. Then automatically we see that the image turns into a vector image. Right now, the next thing you have to do is to just come to this to your properties panel and where you see image trees, you see where it says presets. Okay? So now apparently we have the default preset set. You just click here and we're going to have the image trees panel out. Okay? And then when we have this out, you see up here we have a number of presets which we can choose and go with immediately. And we also have the ability to create settings or to choose presets and kind of change their parameters. Okay. So I'm just going to go through some of the presets so you see how they work automatically. Okay? So this first one is called the auto color, so it's just going to create an automatic vectorization with colors. And then we have the presets here where we can modify, right? We can modify the number of colors. Do we want less colors or do we want more colors? Okay, now you see what we have. With more colors, we have more details, right? With less colors, let's see, four colors. We have just very few details. We just have four colors. One to three, maybe four or something like that. But when we have more colors, we definitely have more details. Now you can see this one is looking almost like the original image. And we then have this other guy, which is a high color preset. Okay? You see this one gives us 85 colors, okay? And it's very detailed. We almost will not know that it's a vectorized image when we look from afar. Then we have this guy, which is the low color color, just gives us 16 colors. 16 colors. Then we have the grease kill, which turns it into a Cresci illustration. And then we have this guy, which is a black and white, which turns it into a black and white illustration. Then we have this guy, which is the outline, which turns it into an outline illustration for all of them. We have what we call threshold, okay? For the colors, we just have colors threshold, okay. But when we just come to default, for example, we have what we call threshold. The threshold determines how much of detail we want, okay? How much of our original image we want. Okay? Now this is black and white, and we have a blue threshold, so the image is almost disappearing. When we have a high threshold, we're going to have more of our image. Okay, Then we now, yeah, let's see, we choose default, and then for this one we have what we are going to view. Okay, Are we going to view the trecing results? Are we going to view trecing results with outlines? Okay, It's going to put out the trecing results and then create outlines around the edges. Okay, and then for this one, are we going to just view just the outlines? And then are we going to view the outlines with the source images so we can see where our vectorization is happening in our original image? Okay, And then are we going to choose just the source image? Okay, that's what this guy is. We can use this eye putting here to talk between the source image and the present vectorized results. Okay, When we hold, we see the original image, and when we release, we see our result. And then we have the mood here. Of course, right now it's black and white, right? Because of the presets we've chosen. And we have the threshold like I showed you before. And then we have this advanced option, just come under this option here. And then you see where you say ignore, you're going to see that it ignores the we ignore white. Okay? We're going to see that. Ignores the white and then kind of makes it a transparent something. Now if you go take it above image, you see that it's transparent, right? That's because we no longer have any white. That's how this guy works. For these other ones, we're going to see little detail adjustments for the part. When we take it to high, we're going to see details on the parts, right? Okay, when we take it to blue, we are going to see that there are no much details. And also this one for corners, it's going to create little adjustments. Our corners, you can see the opts happening right then. For noise, we have more noise. All of these are just to create more details to our illustration or our vectorized image. Okay, now we have this other preset here, which is maybe tricolors. Let's say tri colors. It breaks down our image into tricolors. It vectorizes our image into tricls. We can actually adjust the number of colors. Let's say ten. Now we see what's happening, right? And we still have our advanced options here to play. We have this one to toggle between the trition result and the source image. Okay, now we have the pillets have limited full tune and so on and so forth. Okay, so I'm just going to take it back to Limited. Then we then choose, let's say six colors and just adds three more colors to our three colors. And 16 colors adds ten more colors to our six colors. Okay? So it's going to be more detailed. Right? Then we have shades of gray. All these are just presets. Okay? And then we have black and white logo. Okay. Then we have sketched art. The sketched art automatically removes our weights. So we can see that in white is active here. Okay? And we have the threshold where we can actually adjust the threshold. Right Then we now have lo weights, we see the effect we have. Line art just creates an illustration of lines around our edges. We have technical drawing, you might not want to use some of the process. I'm just going to delete this guy and now you get the point, right? Select your image, right From here. You don't really have always go to object. Okay? You don't always go to object and then image trees can do it right from here. You can just come select your image and then select the one you want. I just want to, I don't want to start with the three colors. Okay. It's telling us that that Triscin may proceed slowly with this large image. Would you like to continue and Okay's going to take some time because the image is high. When it's done, we're going to have our image tried. Good. Now you can see that we now have our image vectorized into three colors. Three colors. We can divide it into triclors 12.3 Okay? Perfect. We can have more if you want. Let's choose six colors and see what we get. She's going to take some time and we're going to have our results perfect. Now we see that we are now giving six sheets of colors. Okay, our illustrations have been breaking down into six colors. Cool. I don't like this, but I want to try other precept. Let me try taking this to ten At ten colors. So the higher the colors, of course, the longer it takes, Right? Yeah. Perfect. Now we have ten colors assigned to. Okay, we actually have 30 here. Why give us 30 colors? I actually wanted you to be ten, but I'm just going to work with what we have now. We see what we have now and I kind of like it. We're going to come here and ignore white. Okay. T going to remove all the white slices? Yeah. So all the white places have been removed. Now if I have a background, if I create a background and send it to the back, you then see that these places are non black. Right, My background color. So I'm not going to assign my background very subtle color. I think I'll go with this color just like this. Yeah, we now have our images. We now have our vector illustration from our image. Now selecting the image if you want to conclude, things just come here to expand. And then now we have it officially a vector drawing, so we can group. We now see that we have the ability to select different parts, right? Select different parts, okay? Different parts of our drawing. Okay? I just want to come and create another image on top and maybe change the plan mood and multiply. Let me just play around with the plan moods to see which one I would like to go with. Yeah, maybe over. Okay, so I like this plan mood. Let me try changing the color H. So let's go with this guy. I'll go with this guy. Yeah, maybe we then add a text or something. I love dogs. Give this title is. And then let's come and choose a font. You know what, I'm going to just create a filter. And filter all the funds by the cursive type, and then choose from the many course funds I have on my computer. Love dogs. I think I'll just go with this one. Okay. Then we do something like this. The size maybe we change this eye to, We love dogs. Increase the size of dogs. Okay. Perfect. Can now close this panel. Yeah, I like what we have so far. Maybe give it a drop shadow, right? Maybe give it a drop shadow. Okay. Instead of black color, maybe we give it dark purple color. Then the blow. Okay. Just use the the offset is good key. Yeah. Guys, I'm going to leave it like this and I like what we have. So what we've made so far. Guys, feel free to import your images and try creating some cool stuff. I'd love to see what you can come up with. In the next lecture, we're going to be taking an assignment. And that will be it for this one. See you in the next one. Bye bye. 45. 45 Assignment 11: Guys, and welcome to this assignment in Db Illustrator. This assignment we based on what we learned in our last lesson, which is factorizing an image in Illustrator. Okay. Where we created this Posta with the factorized effect. Now what you're required to do in this assignment is to come and please this image. Okay, I have this image of two dogs here. We just come and create a posta with this image, similar to the one we created here. Okay, okay, create the pota and you will have effects, maybe blending effects like we have here. You can have texts and just bring in your creativity. And I'd love to see what you can come up with. Now that'll be it for this one and of course, this modulo. See you in the next one. 46. 46 Windows Explorer Logo: Hello everyone and welcome back. And this module, we'll be creating some real life designs. Okay, we'll be recreating some real life designs. So we're going to take real life designs okay, randomly, and then try to recreate them. Most of them will be logo designs, and then one of them will be a poster design I did some years back. Okay, so we're going to start with the Windows Explorer logo. Okay, so the first thing I need you to do is to go and import the file. Now I have this file uploaded in the Projects folder. Okay? So just come to the Projects folder. Okay, come on please, your file, and then just come and select the Windows Explorer logo. That's this Windows Explorer new logo design. Okay, This one, Just come on, place it, then let's use template so it places as a template. Okay, So please and then renounce that it's placed it as a template, but it's quite, it's bigger than our Bod. Just come to layers and unlock the layer And just resize it like this, rec it like this, perfect. Then the next thing I would like to do is I'd like to import it again, but not as a template. This time I just want to import it as a normal image so I can be able to sample the colors. Please, let's just please here. Okay, now this is our design and we're going to recreate this here in Illustrator. The first thing I'm going to do is select my covert. To select my covert to come to the edge like this and just click on, then follow the curve. It mustn't be perfect at first because we have the ability to actually to actually work on our path. After we are done drawing, just try to redraw the design like this. Just follow it okay from edge to just follow it like this. The way I'm doing, just like how we've learned in the video where we covered the coveture took some places will need more points, some will need less points in. I'll just click it here and click, click, Click on, and so on and so forth. I want to click once again, This smaller cove tends to have more points. Okay? Because we're dealing with a more intricate cove here. Okay? I just want to create one here, here, and here, and finally one. Let me just make it okay. Did it to make it that I did control Z. To make it a sharp edge, right? Because I want it as a sharp edge for now. I'm just going to go about and try to fit my design perfectly. Okay. Select the ankle points and just try to feed your design perfectly. Okay. And so far, so good. I think I like what we have for these sharp edges. Select them and the curve like this seen with this guy like this, this perfect. So, so far so we have our Cough or rather we have an overall sample of our ship. Okay. And we can make do with this. We can make do with this. Maybe I'm just going to this cough like this, confuse, drop this one to be like this. Okay. So I like what we have so far. Let me just do, let me just Unlock or hide this layer to see what we're having. Yeah, I think we're having something better now. The next thing to do is to get these curves right. I'm still going to use the cove to Okay. I'm going to click here. Bring it here. Okay. Click here, click here. I'm going to hit my escape key. Take this to fit my drawing better. We're going to need more at this point, we see how we have, this place is been. We're going to just spend some more time here. Maybe I'm going to just delete this point and just try to use this tool this time, the pencil, and see if I can create it to be more, to be more perfect. I think I've missed the holting up. Okay. Let's just, let me just keep playing with the with the handles and try to fit the holting better. If I can't, I'll just delete it and start all the way again. Okay. I think I'm having progress so far. We don't need to delete. Yeah, I think I like it is now. And maybe we can move on to the next part. Okay, so the next part is this one. Tick in my core two. And then click, click, click, click on, Keep clicking to make your perfect call. Okay. Hits skip. I think this guy is perfect. Now the next thing to do, you select all your ships, then select your ship. Then all, just delete the random redundant parts. These parts you don't need, delete them like this, pull down all and click on the parts that is needed. Yeah, now we have them all deleted. I'm coming to my color guide to select a color and just add, select a random color, give it to this guy. And select maybe a better sheet, another sheet, and give it to this guy. Okay, we now have our three ships like this. Okay? Now I'm going to select all parts. And just to remove the stroke and, and now we have our ships right now. The next thing to do is to sample these colors and create the gradient. You know, this is kind of a ingredient because we have a mix of discolor in this color, mix of discolor in this color, color in discolor. Okay, Some of them are so two ingredients like this one and this one. This one is more shot. Okay, some of them are less conspicuous. We're going to just sample them. Anyways, we're going to create two boxes for each ingredient. Hold down alt and duplicate your boxes to the lower side. Hold down Alt and duplicate to select the first one, the eye dropper two, this color here. Then go back to the, select the second one, drop two, sample this color here. Remember we can use the key on your keyboard for drop two. I'm not going to be coming in to the two box to keep selecting it, I'm just going to be using shortcuts for drop to for the select two. Sample this, then this one. Guy. Okay, then this one will sample this guy. And this one will sample this guy. Okay, now we have it perfect. The next thing to do is to create our ingredient. Okay, just come to your gredient. Give this ingredient. Apparently it's on the stroke, so I'm just going to remove the stroke. And click the field and then give it ingredient. Okay, now the first color. Come here and select this first part. And select this eye drop two, then give it the green. Okay, Let's just select these colors. And drag them here so we know that they are the first one. Okay, Give it the green because the green is here. And select this one, and give it the blue. Now we need to edit ingredients to look close to this. Okay, now let's just free style here. Try to edit it look like this. Maybe the angle, something like this. Let's just keep free styling. I'll keep modifying rather, okay. And okay, so maybe this will work, okay? This should work. This should work. Yeah, this ingredient should work. Now the next guy is this one to select and give it ingredient. Then select this guy, give it, select this guy. Select drop to give it the other guy here. Okay, perfect. Am I sure we don't need to edit the ingredient? Okay, maybe let's give it -61 Just like the other one. Okay, let's just leave it at minus zero for now. This guy give it the gredient, the first color pick the first color, the second color pick the second color For this guy, I'm tempted to just come and try to edit the color sample what we have here. Let me just do something like this. Yeah, I think it's better now. Probably resample the first color also. Maybe just, I'll just work with like this because I'm going to add a drop shadow to them. Okay. So I can just delete my colors now. And I think we are more than 80% done. Give me more than 80% done. I like what we have here. The next thing to do is to add these drop shadows. Okay, to add these drop shadows, the shadows you can see here, just add them and we'll be done with the logo. Now, select the first guy to effect stylize. Effect stylize and then drop shadow. Okay, Now we see why it's fishing right now. We need to this point. So are going to bring offsets like this. Okay? Maybe this guy should go back a little bit. Then maybe let's boost up our blow. Okay, Now select the guy in arrange. Bring to front, the shadow appears here, right? And we can see that the shadow is too much. Just come to your appearance panel. Let's reduce the opacity to 25. I like it like this. Maybe we can even make it 30. Okay. Yeah, I like that. I think we'll work with 30. Then the next guy is this guy. We need to add a drop shadow effect. Stylize and drop shadow, let's okay. And then select it. And select the one on top. Arrange, bring to front. We have drop shadow here. But I think we need to do some adjustments to drop shadow to offset. We need to bring it like this. Maybe make this guy 40. That's the opacity. And let's see what we have. I like what we have. I like what we have. We are almost done. Okay, We are now almost done. The last thing to do is to kind of stop the shadow, the drop shadow from falling on our art board. Because as you can see, the drop shadows are just confined to the areas. These areas, they are not falling on the mean art board. Okay, not on the white background. So how do we do that? What we have to do now is select all our ships and in all down halt and duplicate them to the side again. Just come to your appearance panel and delete the drop shadow effect we have. Just delete all drop shadow effect we have. Okay, we don't have any drop shadow here. After we delete them, just select all of them. Come to your properties and the path finder, just unite them as one. And then pulling down all drag it to fit perfectly, just like how it was before. Yeah, it's perfect. Now the next thing we're going to do is select everything Right Click, clipping mask. And now as you can see, we now have our shadows confined to the part. Okay, yeah, we are now 100% done with our logo redesign. Or redraw rather. Yeah, so I can now delete the original log in with this. We have come to the end of our lecture. I hope to see you in the next one. 47. 47 Twitter Logo: Hello guys and welcome back. In this lecture, we're going to be redrawing the Twitter logo. And we're going to follow the steps we just followed in the last video. So the first one is to go ahead and import our logo. Our logo which is this guy. Okay, everything will be found, of course, the project folder. Okay, Now we have to import the logo as a template. Once more, just come to file. Please set the logo and template. Now we have it very big, we just need to resize it to the shape of our layer. Select the layer and drag it to the shape of our layer. Centralize it perfect. The next thing, local layer. Select the mean layer. We're going to start with the covet re two once more. Click. Click. Click on. Do not worry about the looks for non, we're going to full it open. Uh, and make it to better. Okay. Now, I just did the last click I did, I'm going to remove the stroke, sorry, the field color. And also for the stroke, I'm going to maybe make it very small, like this. Okay. And then then I'm then going to come and click. But I'm going to do click this time because it's a sharp corner, right? I'm going to click and then click once and continue clicking once. All right. So click once, click on, click, click, click, click, click, click, click, click, click, Ok. We are clicking on at point where there are coves, right? And clicking at point where there are no caves. Hope you remember the logic of the two, how the two works. Click, Click, click on and click. Click on and double click. Click ones and double click. Click, Click on, click ones and then click. Click on and click on. Double click, click, click perfect. Maybe we need to just try to fit parts of our ship well, but overall we've done a good job. Okay, so we're just going to fix some minor parts. Well, okay, maybe you just do this one. Take this guy up, these anchor points. Okay. So far so good. I think we have done a good job. Maybe just try to fit this guy closer. We've done a good job. Now the next thing to do is to create our circle, right ellipse. Come and select ellipse. Just draw out a circle or an ellipse and just align to the mid evenly. And using your eye dropper to now sample mean color. Select this guy. Arrange send to back for this guy. Sample the white color. Yeah, we have our Twitter logo. Quick and simple. Now we can delete the guy, maybe resize this one bit, select everything and group. Now we have our Twitter logo. Perfect. We can see how simple it is to redraw the logos. The idhest thing is actually creating them from scratch. That's the hardest thing, and that's not what we're doing right now. If you want to learn how to create really powerful logos from scratch, I advise you buy my course on logo design. Okay? I have a separate course that deals with logo designs in a illustrato. Okay? And with this, we've come to the end of this lecture. See you in the next one. 48. 48 Google Logo: Guys and welcome back. In this lecture, we'll be redrawing the Google logo. Create your new file, your new I file at the low set of file. And come on please. The design, the design. We need it as a template and we need to resize our design and lock the Liao. The next thing is to place our logo, but this time not as a template, we can sample the color of. The first thing to do is select your coach or two like usual. And then click, click, click, Click on. Maybe let's just undo. And let's remove the feel. And let's give it a very small stroke so we can see what we're doing very well. Let's divide this into three key instead of two as I did before. So click on, click on, click on. Now you see we now have a better, okay, this one. Let's just divide it into two. Click click once. We now have a better cover for this guy. It's quite big. Let's do four. Let's divide it into four clicks. Click on, click, click on, click on. For this guy, let's do it into three. Let's divide into 33. Click on, click on, click, perfect double click. Now I'm holding down shift, that's why you see snapping to the 45 degrees and 90 degrees like this. Okay. So I'm holding down shift. When I hold down shift, I'm very sure I'm going to have a street line right to double click and double click. Now for this guy, maybe let's just click twice to click on and click once this guy, you can click three times. Click, click, click once. For this guy, you can click twice to click on. Click once this guy, we can click three times, two times, click, click, click on. Finally, now, without even needing to adjust our curve, you can see that we've perfectly been able to represent the drawing because of the multiple Ancho points which we added. Okay, adding multiple anchor points gives you the ability to create smoother designs. Okay, that's of course, using the To two. That's for you to know. The next thing we do is just select your pencil and then click here once, and just try to come on. I'll follow the line here like this here once for this guy, click click on. For this guy, click on, Click once, Perfect. Now what next we, all we need to do is select all our ships. And then the ship below to right. And then holing down at, we shall delete our unneeded parts. Okay, I'm using the mouse wheel, of course, to zoom in and out. That's holing down at. And using the mouse wheel. Perfect. Now what we have now, we can just sample the colors. That's the Google colors. Let's use eye to sample this red and duplicates guy here. And sample the yellow. Sample the green, and sample the blue. Okay, this guy. Now let's come to our color guides to select all of them. Come to ship, ship below to okay, selecting our color, fill it in here. Okay. Then for this guy, everything guides to then select our shipulo to selecting our color, fill it in here. For the green guy, select, select everything. And then select our Sipulo to making sure it's selected it in here. Same with the blue guy, sell everything here. Select the Sipulo, making sure it's selected. Fill it in here. Now we can delete all of these guys. You select everything here and just remove. Okay, and boom, we're done with our Google logo design. Okay, again, maybe hide the template. Lea Perfect. With this, we've come to the end of this video. See you in the next one. Bye bye. 49. 49 Instagram Logo: Hello guys and welcome back. In this lecture we'll be withdrawing the Instagram logo. Okay, So you just go ahead and import your file. Instagram logo. Okay, And then just draw it out here. And we have to import one as a template like we did before. Template please. Now it's been pleased perfectly, so we're not going to adjust anything here. The next thing we are going to do is select your rectangle tool and drag rectangle around your main ship. Just remove the stroke. Just adjust it to look better. To look perfect. Okay. Now the next thing we'll do is just keep duplicating our rectangle to copy this part and every other part. Okay? We're just going to them out with thin lines like this. We can make the lists, we see what we're doing Better select the guy control C control, that's a copy. And pets in front. Okay, Cont control. And let's pull down your Alt shift and just drag it down like this. Then contra control drag down like this. And the contra control drag it down like this. Okay, And for the last guy here, we just need an ellipse like this. Perfect. Now, very simple thing to do next is select your ship and just come to this little coverture icon here that controls the curve of our edge. Okay, just drag it out like this, select the guy, and drag it out like this. Yeah, I think we, we forgot to draw this one. Just copy and piece in front contra control the dt. This. Then draw out like this to create a curve, right? Then do same with this guy here. Finally, this guy here. Maybe we can just make it bigger, a little bit bigger. Then drag out like this. Maybe drag it out this, drag down like this. Yeah, let's just hide this layer to see what we have. So far. I like what we have. Maybe we can do more adjustments to this guy. Let's just leave it to it's like this. And I like what we have Serrel all your ships and come to your ship build. What do we do next down? Okay, And just minus all these places. White. Just minus, just click them and minus all of them. Okay. Then the next thing we do, we select everything and then come to object compound path and make making all of them into a compound path. Okay? It means they are just acting like one. Now as you can see, the next thing will be to sample our colors. Just create an ellipse with these colors. We have two colors here. We have this guy. We have this guy, select the first ellipse, your drop to, and sample the edge like this. Select this guy, drop to sample the top like this. We do, I don't think we need to sample anything here, as it's supposed to blend the boots colors to give us this color at the middle. Let's just try out select redent two or rather gradient panel. Open red panel and give it a gradient. The first guy give it the pop color, the second guy give it this color. Okay? And then just remove the stroke. I think we actually think we need a middle color because the blend, it is not really giving us this middle color here. Just select this guy and duplicate it. Drop two and come to the middle and sample the middle color. And select our ship to ingredient and create dent in the middle. Just come here and just click, create redent in the middle. Select drop two, give it this color in the middle. Boom, we see that we now have the colors lined up perfectly. Now we can set the ingredient to try to the angle, or we can just come here and do it like this. Minus 135, maybe not. So let's just drag the angle numbers like this. Okay? Using the mouse wheel to see what we have now. I think I'm satisfied with this one, maybe 140. I'm satisfied with 140. We will between 14145 with 145 key. And now we can delete our colors. We delete every other thing. Yeah, we now have our Instagram logo. Now we can see, yeah, we now have our Instagram logo. And with this, we've come to the end of this lecture. See you in the next one. 50. 50 Animal Planet Logo: Guys and welcome back. In this video, we're going to be withdrawing the last logo which is the Animal Planet logo. Okay, Now come to your file and place your logo. Okay, I'm going to place it like this and then I'm going to place it again as a template. Obviously it's too big to select the guy and skill it. This just centralize everything and lock your layer back. Now this is very simple, just like the others. All we need to do is select a Curvature two and just come and start. Click, Click, and just remove our stroke and give it a very thin stroke size. Now of course you know the anchor points the better the curve right to. We're just going to keep doing our thing here. Just keep adding the points. And of course for this guy, click at the points, at the points, that will click. Click at the point, at the points, on points, one point as click, click at the point, at a point and double click at the point and click click. Then at a point, at the point we're going, we're having what we should have at this point at the places. Just let the two ankle points and grab them down at this perfect select your two back and continue adding points and adding points. Click then at the point and click, and then click. And then, no, maybe you should click at this point instead. At the point. At the point. Okay. And there will click and they will click at the point. At the points. Okay. Okay. Okay. Okay. Okay. Like what we're having here, we're making progress. You just keep adding the points there. The points the better the curve. Now we do with go by just adding multiple points around the ship. Okay. I select the guy here using your eye porto and sample color here and we done now for this animal planet. I don't want to just leave it like this. I want to create the animal planet. But unfortunately for us we do not have this phone, right? And I really do not know how to get this phone right now. I might have it, but I want to just use a different method to create it. Okay, So we're going to trace this look right now. Select the image to objects and image trace and make we now have our logo, right? But I think there are a more adjustments we should do. So let's activate the Imageres panel, then come to advance and let's see what we can do, right? You can see that edges like this are being carved out. I presume they're supposed to be streps to be street, but they have been carved out here. Let's boost the corners like this. K can see that immediately. We now have street corners. We don't have them coved out. Again, they're all straight. Now I'm just going to work with what we have here. The next thing to do then is just ignore white. Just click ignore white. Now we can see that our, we can see that our white has been completely removed. If we just expand, we don't see that our image is down here. Our test logo is down here. We can just select it, carry it complete on our design like this, adjust it to fit better, and maybe centralize it or align it to the center. Yeah, we now have the Animal Planet logo complete and done to see your file and marvel at your awesomeness. And with this, we've come to the end of our lecture. See you in the next one. 51. 51 Skull Line Art Poster: Guys, and welcome back. In this video, we are going to be recreating a very cool design. Okay, now this is a line art poster design I did a couple of years back for a client. I actually did 50 of them. Okay, And we're going to recreate one of them. Just come here to file and please, and just drag or select the line art poster, the score poster, drag it out. This is what we're going to be creating, right? And this was achieved using the blend function. Be Los Frito. Remember we spoke about the blend option in some couple of videos back. This is what I used to create this design. Actually created it from a real score image, but unfortunately, I did not have that image. So we're just going to create it from this image we have here. While selecting our file, our design. Just drag it out to the middle of our dashboard of our artboard. Maybe resizing the bit. Okay, I have to serve as our template. All right, the next thing will be to create a new layer. We select this layer, just select the guy here, instead of select the object and just reduce topacity like this, maybe 56% And then lock layer so we can comfortably draw over it, right? Selecting our second layer. Come to file and come to your pencil and just try to draw out your She click and then holding down Shift, I'm just going to click here so as to achieve a straight line, right story ullous field color. And then for the stroke, I want to give it a stroke of 0.5 for now. And then continue my drawing. I'm just fretting out the outer shape of my call design here using the pain too. So I'm just drawing out my scholarship. Okay, fulling it up. And I'm just going to first in the video and we'll come back after I am doing out the outline guys, this is what I have so far. I have the outline drawn out so far, even though I have this little detail here. Okay, the next thing I'm going to do is to try to create details. Okay, try to create details that maybe draw out this line like this, then draw out this line like this, and bring out the eyes and the nose and some vital details. Okay, So I'm just going to do that quickly and come back after I'm done. So I have my detail in done and when I just hide the layer, you're going to see how I have everything done. Okay? So that yours should look like this. I have the the left eye. I have the nose, and I have this part. I have the overall head like this, I have all the parts just lined up like this. Okay? Now I want to also create the duplicate of the sketch, right? So I have a pack up. Just select everything and Alt and drag it to the left hand side now to bring back our layer. Okay, and now the first thing I have to do is I have to understand the blending I'm going to do, okay, I'm going to blend with this, I'm going to blend this with this. I'm going to blend this with this, with this, and so on and so forth. And you're going to see how we're going to do all this in a minute. Okay. I want to also use this opportunity to share with you 121, final two. And where is it where the Cass two, It's just under the S two. Just hold down the eraser two. Okay, now you see the Caesors two. We're going to use the Esos tool in this project. Now what does it do? Let me just explain to you what the Esos tool does. So let's assume we have a line like this and we want to cut our line here. We can make use of the Esors two. To do that, we select the Esos two. Just come to your line and click Now. We can see that the Esor two line divides our line into two different parts. Right? That's the importance of the Esor two line. We're going to use the Esor two to achieve some important cuts in this project. So the first thing we want to cut is this. At this point, select the sors two and cut here. Okay, Then your selection to go back to, your selection to select the mean ship. Again, I want to create another cut at this point, right? Select your sors two and create another cut here. Then the next thing is you want to blend this guy. The guy select the both of them to your objects. To blend blend options. Then from smooth color, select specific steps. Then let's try 50 and see object blend and make. When we just hide this one, we can see that 50 is a bit too much. Okay. A bit too much to do. Then while selecting them to blend, again, options, and let's change this to 30. Objects blend and make I like 30, 30. Just select your direct selection tool. I think we can try to make some adjustments here. Because we're having this sharp look which I don't like. Maybe this could help get down like this. Okay, I think I'll just leave it like this. I'm just going to leave it this way by for me I think of this layer, okay? So as to see what I'm doing properly for this guy. I'm going to control control just like this, like this. Then give it a field color to swap the stroke with the field. Then this guy here, this guy here, we want to actually blend them, but we want this one to actually reach the ground. Let's continue our shape to the ground. Just bring it here. And then use our anchor point selection to fit it here perfectly. Let's select the guy here and the guy here. And just go to Object Blend, then make. This is what we have, right. Let's undo and just make the steps 45. Okay, we need to work with 45. Now the next thing I want us to do is I wanted to crop out, wanted to cut out this unwanted one here. But first of all, I'm going to select this guy. Go to my direct selection tool and try to fit on the line more perfectly, right? Do see this one, good. Now maybe for this one I'm going to create a curve like this. And it's creating a new problem here. Let me just try to fix it. If it doesn't work, we're just going to go back to the way it is. Or it was just work with it like this, right? Select this guy and go to properties. And instead of properties, go to objects and expand. Okay, Now we can see that it then tons all our lines into real lines, right? We want to do the same with this one here. Object and expand. Perfect. We want to just bring this guy out a bit. Okay, and then we want to select this one. And then come and select this line here for the nose, which we duplicated. Let's just go to, so there, holding down Alt, Let's try dragging out to delete, but it's not working well because it's deleting line, That's not what we want. So we're just going to select them individually. You see this, Something that will take time, but if achieved, it's going to look nice, right? As you can see, after creating some space, I can now, instead of using Alts, using the minus, I can just drag it like this. We're going to make everything white, right? Just like this. Remember the other time we were doing all? That's why we're having this subtraction here. Okay. We're doing to do plus. Yeah. So far so good. We are making progress now. We can bring back our black ship if we want. And we do want bring back our black ship. Okay. Maybe resize it a bit. Okay, then we work on this one. Select your ships. This guy here, maybe we want to group this one. So we can just select this very one without having to select every other part of the. To select this line. And select this one. And go into your sibular two. And holding down Alt, you can drag, as you can see, it's now cutting the lines from here, right? So hold Alt and drug, old drug, drug. Keep dragging this. As you can see, we now have, it's looking nice here. Now the next piece will be blending this line and this line. This line from here to here, and this line. Okay? So what do we do? We need this single line. We need a single line. One thing we can do is you can just group the whole thing and select the line. And control C control. Okay. And then what we need to do is to just isolate it so we can cut it at the right points we need. All right, right click and isolate selected path. Now we can see it's in isolation. Select your sess to and then just cut it around here. Then come here and cut this guy also around here. Now, setting this to select your unneeded ships, just delete them. We now have this guy and this guy. The next thing now is to let's just duplicate this one control C control. We don't need to duplicate it, but let's just duplicate it in case I slit the path also and then use the Sess from here and delete The unneeded part for this guy. Let's just cut it using the Esos. Too short covers to when you hit on your keyboard. You're going to have the sores to cut it here. Okay, then select the redundant or unneeded part and just delete it. Okay, perfect. Now select this guy. Select this guy, put your blend. Let's hit and see what we have here. I will go with this. I like this, it, it what? Next do we do? We just have to expand our blend. And then select this guy here, right? And then go to our Sibulo tool and minus this needed parts. Now we now have this part, right? I like what we have so far. The next one I would like us to handle is this part here. Just come and try to make this fit better. Yeah, I like this. Then for this guy, we're going to duplicate this guy and also this guy. Let's just, let's select the boot of them. Then control C control. Okay, that's to duplicate them and then right click and group them. When we group them, we will now be able to isolate them as a group. Okay, we'll be able to isolate them as a group. What then do we do? Use our Sss to cut this guy. He cut it here. Delete the needed parts. Then this other one, cut it around here. Okay, Delete the unneeded parts. This guy caught it around here. Delete needed parts. Yep, think we're done. You know what? Let me just blend and I think we'll encounter a little problem here. Not a big problem. Okay. Yeah, let's just blend. Select the pot of them, and then we can see that it's too much. But this is the problem I was envio, We can see that it's not reaching the top, right? It didn't reach the top. So we can actually cut it. What we can do instead is just drag this one. That's what I wanted to do, but I wanted to see the problem first. Before doing it, we need to release our blend and we do it, but this time it's fewer points, right? Let's hit 20 and make it looks better. Expand, Sorry, we are in isolation mode, so let's just go out of isolation mode by hitting a skip and then selecting our blend. Now just come to objects and expand. Then select this guy here. And then select your shipuler to just delete the unmediate parts like this. Perfect. Now the next thing we need to do is, let me just check what we have in here. I'm just checking how I came about with this. I came about this, what I did is blended this guy with this guy, like this. Blended this guy with this guy. That's what we're going to do now. Just hide the layer. And now we have this guy, right? Perfect. Now we need one coming in like this. What I'm going to do is I'm going to select this guy and go to isolation mode so I can create another one, so I can put another one. So I'm just going to follow this line here. Let's follow the line, okay? And we still need to draw it to a certain points, maybe to this point like this, and then maybe even. Extend this guy. Extend this guy this. Okay? Maybe just extend this one also. So, meets this point, sorry. And make sure it's joined with that one. Now what we need to do is select this guy and this guy to blend. But of course, we need more points, right? Do blend blend options. Let's make this 50 and see. Select the both of them and make okay, 50. Make it even more. I want to make it even more. Okay. I'm just going to release the, make it 60. Okay. To blend. Make 60, so I'm going to work with 60. Heating skip, I have come out of my inion mode. Select this guy control C control. Just reduce the size Like this. Okay, let's just see what we have. We must not reduce the size or we can still reduce the size. Yeah, they just reduce the size and give it a black field, rather black field. And just shift it away, all the points selecting the mean guy here, we just go to objects and expand. Expand it. Okay. And then let's select the group. And select the guy inside. And put your shipbuilder to pull down Alt. Delete one to first. And then like this, like this, like this. Yeah. I like what we have so far. I think we should trim these ones. I just came out. Okay. We should just trim them. Okay. That's with line. Select the line and select them. Then go to your shot. Them out like this. Perfect. Now we can now drag our skate to its point. I like what we have so far, we can progress. The next one is the next and last one is this. All right, so first of all, I'm going to just control and reduce the size like this like we did here. And swap the colors. That's the field and so colors, right then let me just peep the original to see how I did it. I basically did it the same way I did this one. Okay, so what next do we need? We need this line here to control C and control, and then isolates. We then need to extend the line to this point. Okay, select this guy, draw it out like this. Okay, we need another point. We need another line rather, to this point, I get to cover the other parts. To just use your pentol and draw at the point or the line rather. I'm going to extend this one also and then select the boot of them. Object, blend, and make perfect skip. Now we can select this guy. Just expand and select the whole of them. The whole group. And select the guy inside, this one inside with your shipbuilder, pulling down Alts, let deletes, and then draw out like this. Perfect. I like what we have. We have made progress so far. As you can see this, we have basically withdrawn our advanced line out. Right? We call it advanced because it's not the normal blend. The last things left are what I call them tentacles line structures. So these are just the last things left. And to draw them, we draw our pen. Maybe create a new layer. Just lock this layer and maybe lock this layer also. Okay, the mean layer we drew on. Okay, we're going to lock it and create a new layer and lock all the hoolaers and hide the mean layer we worked on so we can see what we're doing, right? Select your pencil. Select your new layer. Just draw them out like this. We are in our image. Okay. Um, maybe we can do a little bit of twitching. Okay. And then go to the next one. Take your pencil, throw out the ship like this. I also need to do it like this. Okay. So I can use the co points to create the cove. We'll select ankle point, and just drag it out like this. Seem here, Seem here. Okay. Perfect. Go back to your pencil guys. I feel I should just take my time and do this as to not make the video too long. Since this part is the last part, it's not the advanced part. The advanced part has been done with. This is just about your drawing lines, right? I'm going to fast forward the video and take my time and all of them. And when I get back I'll be done. Just take your time and draw all of them too. And we'll see at the end of the drawing. So I'm done with the drawings and as you can observe some of them we're just duplicated and routed. Just fitted in a different way. Okay, Like this guy was reflected and I had this guy. This guy was reflected and I had I think this one. Okay, And rotated. So I just did all this so as to save time, now that you get the point, the next thing left, okay, I need to unlock this layer. The next thing that is left is to cut out the unwanted parts to create what is needed. Okay, to create what is needed, I'm just enable our image for you to see what we are working towards. Now what we need to do is to just cut out the parts and so as to create this clean feel. Right now, I'm just going to select all parts like this, all our drawings and go to the ship builder tool. Then use maybe Al to just cut out some of them like this, like this and then use my plus to just add the whites together. Maybe this one just use a to cut out the points. Yeah. Okay. Seem for this guy, we need to add them like this and this one here. Okay. Now I can also just add everything up like this. Okay. The points, finally this guy, you can just stick subtracted. We have our first ship perfectly drawn out. Right now, we're going to do the same thing with all the others. We just fast forward this, okay? Because of course you can definitely do this, right? So I'm just going to fast forward and come back when I am fully done. At this point, I'm done with all my ships and I'm done with my drawing. I like what I have here and a ship, our art pod to fit the drawing better. Yeah, this is what we have now guys. Basically, you've seen how we're able to create this from scratch from beginning to this point. It's all about blending. This can be called at once blending because we're using blending to actually create an image. Okay, it all boils down to the basic principles of blending, which you've learned with this, We've come to the end of this lecture. See you in the next one. This is actually the last lecture for the course. So see you in the next video. Bye bye. 52. 52 Adobe Illustrator Interface Refresh: Hello everyone and welcome to the course. I'm very much excited to have you learn with me in this course on Adp Ills Trito. Now in this lecture we're going to be learning about the interface and the tools of Aposto. We're simply going to be brushing our knowledge because this is not a begina cause a key is not begino cost. We're not going to be learning very basic things. This course is meant for intermediate and advanced lenars. It's more of build up to the beginner course we have on Ab illustrido. If you're coming from that course, then you're going to find most of the things we'll be covering in this lecture familiar. Okay, because we covered them in the beginner course. It's basically the interface and the tools of Ab Illustrido. If you're not coming from that course, feel fine. You can continue with the cost as far as you have some basic knowledge of Ab illustridokay. If not, I will advise you to go and take that course. That's the one for the very basic lets. Okay. That's people who are very new to Ab Illustrito. Okay. I'm going to assume that all of us taking this course have a beginner knowledge of, at very basic knowledge of alto. Okay? In order to start now, I'm going to create a new document like usual, okay? Now, whenever you open abrio, this is the first interface you see, okay here. Having some presets which you can choose from here. You being able to create a new document, open an existing document, and then you seen your previous works here. Okay, Your previous works here. What I'm, I going to do now, I'm just going to, let's say, create a new document. Okay. Then I'm just going to choose, come on, I'm going to choose this one. Come on. Okay. Now the size is 1366 pixels by 768 pixels. On the Colum RGB, we have RGB, we have CMYK Cold RGB. And then I'm just going to click Create. This is now file okay is the art board. And then this is the board, of course, created in the size we've selected. Now, I'm just going to, of course, brush through the whole thing because I'm assuming you have a beginner knowledge of what Loreto is. Okay. B lostto is the file where you create a new document or you open an existing document, you see you, see you please. That's basically important. Then you export and do a whole things. We have D, we have objects. Okay, these are just the menus. Okay, is the menu bar here, which is the Windows menu. Now, in the Windows menu, of course, we know that the Windows menu takes care of, um, the panels of the interface. Okay, and then the work piece of the interface. So we can activate panels here that panels bind features, okay? We can activate them and deactivate them. And we can choose from work pieces, okay? When we come to Workspace, for example, we have the essential. And it's going to just edit the workpiece to the essential. Okay, then we have the automation. We have the layout. We have the painting, for example. Now this is what we get with the painting. It activates the brushes, the Sk, the symbol, and many other panels. The color panel, the color guide too, and so on and so forth. And then we have the properties here. We have properties here, okay. We also have a properties panel. We also have a properties panel. For example, if we come on windows and we choose box piece, and then Essentials Classic, we're going to see the Properties panel here. Okay? Your Essentials Classic would probably have libraries here. Okay. In order to make mine just like yours, I can just come in Windows and reset Essentials Classic. It's going to take it the initial it was what I did was I had to just remove this libraries and then I brought layers to this point Okay. To this place. Okay. So that I have layers instead of libraries. So you have to note that whatever you create or you select rather on your works piece, you're going to have properties relating to what you've selected. If we don't have any selection, we're going to have properties related to our artboard. Okay? To We have no selection. The documents units which are in pixels. Okay. Have them in points, in pickers, in inches, in feet, and so on and so forth. Then we have the number of bots, which is one. We can have multiple bot, we can edit the O. It's going to select the boat tool here, which we can use to move to resize our board to duplicate. We can just hold a duplicate, the Dbo to have a copy, so that when we now come, we see that we have two out pots here. We have the number of boats. We can select about one, We can select two here. And then we can edit them. Okay? Can navigate between them using these icons here, these buttons here. Now of course we have the rulers and grids. We have the guides, the snap options, and so on and so forth. I'm assuming you in one time or the other have come in contact with these options. Going through them again and again and again will not be needed. That's it for the windows. Now we have panels. We have many other features to be illustrated which we can activate here, which we can activate here. For example, let's see the brushes, some of them are just docked here. And then when we click on them, we have them opened again. We have the, the clog guide. We have, we have the switches, we have the brushes, the symbols. We have the stroke, we have the gradient, the transparency. Then we have the appearance panel, the graphic styles. Then we have other ones, like the asset export, the art boards. Then we have this other one which says comments. But to me I'm not going to be using it. It's useful for me. Yeah, these are some of the panels we'll be working with. Of course. We are going to be working with a lot of other panels in the future. Let's come to tools. Let's come to tools by your left hand side. Of course, we have the tools in a Illustritok. There are a lot of tools in Aostrito. Looked at a lot of them in the beginner course. If you have some experience with Austrito, definitely have used a number of tools. A lot of tools. Okay, we definitely have used tool, I'm very sure you know what tools are, are used to do things. If you like the selection to, we need to select objects and move them, move them around in the work area. You can move them around the work area. We have the tire selection tool which is used to select points. You can select the point and you can move the point. We can use the edge curve tool here or icon here. And the angle or the curve ness angle, he, you can use this tool to select the archer point. Now when you come here to this point, you see Edit tool bar. Okay, now we have here opened and we can see all our tool bars here. Now all of them are activated. That's why you see them in this kind of grey faded out style. All of them are activated. Why is that? Because we are in the advanced tool bar setting. Okay, so this is the advanced toolbar setting where all the tool bars are activated. When you come a Basic, we just have a few of them we can do, some of them are activated, some of them are not activated. That's Basic and advanced tool bars. We can also create our tool bars. We can have a new tool bar, then we can call it my toolbar. My. Okay. Now we have our tool bar here. New tool bar here. Now, we can now add tools to our tool bar. Let's assume we are drawing, and then we have specific tools which we want to use, which we want to use. So let's say we have this guy, we just drag it here. Okay, see that now. It's now grid out. We have this guy, which is a direct selection tool. Drag it there, or we can just drag it on here in order to create this drop down any way you can select between the two of them. Okay, that's one thing we can do. We have other tools here which we can add to this tool bar. Okay, We also have this icon here where we can choose basic advanced new tool bar. Managed tool, tool bars. Right? But what I'm interested in doing is adding more tools to. To my new too. I'm just going to add this guy here. Add this guy here. This, I'm just doing this to demonstrate for you. We can add more tools to my tool bar. Okay, Then of course, we have them in categories. We have the selection tools. Okay. Then we have the draw tools. We have the type tools, we have the paint tools, we have the modified tools, We have the navigate tools. The navigate tools will help you navigate around your work piece and the type to help you in printing types. Okay. That your ponting and styling and you're typing. Okay. Then we have the paint tools which will help you in painting. And then we have the modified tools which will basically modify the ship. Okay, We have the selection tool, of course. Colors select objects. And then we have the draw tools which will draw out shapes right objects. Now here is now our new tool bar. Let's just come here Windows and then come to to Tool Bars. Now let's click on Advanced number, Click on Advance. We see that this guy is now out. We deactivated Advanced. Now we can just tick this guy, which is our new tuba, and then tuck it here. Now we have our toolbar, custom tub, right? So we can just use our custom tub to create our drawings or whatever we want to use it in creating what we want to create. Then we have this one for the board, this one for the start, to this guy delete points and so on and so forth. That's with our custom tool bar. You can try it out and maybe delete it. Come to fire tool bars, then Advanced. We can also come and manage our tool bars. We can delete our tool bars. We can select the tool bar, the custom ones delete. We can select them, delete, add new tool bars we can add to keep adding. And we can delete. Okay, we can okay, we see our changes that we can cancel. That's it. About managing our tool bars and creating new tool bars. Now, let's just have a round up of our tools. Here. We have the selection two, we have the direct selection two. You know what they do. We have the group selection two. We select groups. We have this guy, which is the magic 12. It's also a selection two, select objects with similar colors. Let's assume we have this guy with red, this guy with red. Then see we have this other guy. When we select this guy here, come on, click here. We see that we're selecting the ones with similar colors. That is the use of this tool bar, this tool here. Now we have other tools. We're not going to go through all of them in this video. There are too many tools. We're going to go through the important ones as we use them as we advance in the course. We are going to look at quite a number of them, quite a lot of them. Then of course, if you want to learn how to use the tools in details, you can check out the basics on to be Illustrator. Then we have the pen tool. Now, this tool is used to create drawings, right? It's a pen, you can just click and it creates a point. Click and create a point. Create a point. You can click and drag and turn your point to a cove, gives it handles. When we click this direct section to come on selection of this coved point, we can see handles here down. The handles can be used, of course, to edit the covture of your curves. We have other tools under the pin two. We have a Anch 0.2 which is used to add points. Okay, we can see that we're adding points now to our ship. You can move these points, we can turn them to curves and do things. We have the Delete 0.2 which is used to delete points. Okay? Then we have the Anch 0.2 which is used to turn Ancho points into a curved points like this, or curved one into an angular one like this. Okay? Then we have the curvature two, which is used to Draw, draw ships. Draw curved ships. We can click, click, click, click, click. We can see that we are creating a curved ship. Click, It creates a point, click creates a point, click creates a point, click ones and drug, it creates a curved ship. Delete, I'm just going to delete one board here. Come on, edit, select copy, and delete. Now we have other tools here. Of course the pen to other types of rather is used to create types. If you can click and then we're going to look at types in a separate video. We have other type tools here. We have the line to the line segment two. We have the, we have the spiral two, we have the rectangular grid two. We have the polar grid two. We're going to look at all of this, of course they are just to what CD create for this guy, the line segment two, we just use it to create a line segment. We have the just used to create an, then we spiral two, which is used to create a spiral. We have the Ctangular grid Tune, which is used to create rectangular grid. We have the polar grid which is used to create a polar grid. We have the shape tools, we have the rectangle two, we have the rounded rectangle to the ellipse, to the polygon, to the star, to the flare. I'm very sure you know what all these tools are used for now. We have the brush to and we have the block two brush to is used to create drawings like this. Okay. Just pints just like using a brush. The Blob tool is also a brush to just that it works in a separate way. We're going to be looking at the two later on. And then we have the ship to the pencil to the pencil two. Then we have the ship to which the ship two, create custom ships for us. We can do this and create a square. We can do this, create this. We can do this and create an ellipse and so on and so forth. That's what this two does, the ship two. And then we have the pencil two, which we've used here to create this drawing. Then we have the smooth two which smooths our drawing. Okay, Smooths our drawing, smooths out. Okay. Then we have the eraser two which erases orawingk like this. The joint two joins, two points, two joints. Let's say we have this guy here and we have another one. Clues when you set the both of them and select the joint. We joined them like this then yeah, we have the eraser to the sors, to the knife to all these tools are used to cut for the sors too. We have to just come and cut and see that when we did it, we now have a segment of it like this. The knife to it's also used to cut out things. We have rotate to. The reflect to rotate tool is used to route just like me implies the route like this. And the route then the reflect tool is also used to reflect, that's flip, all of these things, We can actually do them by clicking and then going to transform, rotate, reflect scale, and share, and transform each which will enable us to do the whole thing, that scale and move and rotate, and do all that transform stuff. We have this guy which is a scale, Shahip. And we have the W, which is used to kind of do stuff like this. So we select this guy and the need to kind of do stuff like this. Okay. What's happening? We have you like this with enables us kind of increase the width of our, of our shape like this. Okay. So it helps us do stuff. We edit the profile profiling of our stuff. That's what we do. I have other tools here. We have the wrap to the 12 to do stuff like this, it distorts our ship. This just draw a normal ship. Sera rectangle, yellow color, yellow field can come and set this to see what the 12 tool does. All of these tools distort our ship in certain ways. We have this one, the free transform tool. The all of them transform to our ship in certain ways, the pups distorting our foam certain ways by putting joints on them, on separate parts of, of the ship. We have the ship bul two, which helps build a ship like this, connect two ships together or subtract them on. We're looking at all of this in details, each of these in details. That's when we start handling the project as a whole. I just want to refresh your mind about these tools in this lecture. So that's it for the ship two, we have the life paint bucket two, we have the live paint two, we have the perspective two, which is used to create perspectives. Okay, then we have the mesh two, which is used to create meshes. Okay, Now with this meshes, you can now create gradient meshes. Okay? Now this gredient meshes, you can select points and give it a whole different color like this. Maybe give this guy a blue color. This is what we now have. Give this sheet of blue. Now that's the use of the mesh tool. Okay. Of course, if you are coming from the other cars, again, you know all of these tools. We created several projects with these tools. This should not be a problem for you is just refresh to your existing knowledge. We have the gradient to two, helps us create gradients and edit gradients. We have the Hydropato, which he choose colors from existing colors. You can select the guy here, select the hydropero. Then select other ships or the colors around. And it's going to adapt to what we've selected, the blend two, which helps us blend between ships. Ok, let's sky blue color. We can use the plan to select the bend to select this guy. This guy. As you can see, we have blended these three ships together. Okay. We have other tools here like the symbol sphich symbols. We have the column graph two, which creates graphs. We have a whole of them here. And then we have the artboard tool of course, which we've looked at. We have the other one, slice side selection, to have the hands used to navigate around this. We have the zoom two which is used to zoom in and zoom out. Okay, This is just refresh to your memory again once more. In the subsequent lectures, we're going to, like I said, work with these individual tools and learn very advanced ways of doing things with them. Okay, with this, we've come to the end of this lecture on tools in order to be illustrated. See you in the next one. Bye bye. 53. 53 Shortcuts: Welcome back. In this lecture we didn't be learning about shortcuts in a dub illusdo as advanced or pro lenners or intermediate leners. We have the desire to create works, but not just to create works, but to create them in the quickest time possible. Okay, We like to take shortcuts. We like to speed able workflow. Hence, the use of shortcuts. These shortcuts will help us speed double workflow and get us creating amazing stuff in new time. In order to start, I'm going to create a new document. I'm going to choose one of these presets here, the article two, to just reduce the size. I'm not comfortable with the big size here. Now this is our new document. The first shortcut we're going to be looking at in this video is the move to move to. There's a shortcut to selecting the move to. Let's assume we have one of the other tool selected not to go to the move to. All you need to do, is it okay when you hit, you have the move to selected. I need to create maybe some ships here and then just use the squelion to okay, let's say I've been working on the quick selection two. Suddenly I want to go to the move to select the whole stuff. Okay, the whole ship. All I need to do is to hit V And I'll be able to access the move two immediately, so that the first shortcut. The second one is the direct selection two. In order to select the direct selection two, all you need to hit is when you hit keyboard, you need to select the direct selection tool. This too, of course, enables you to select on points. Okay, now the next shortcut I want us to look at is duplicate shortcut, which enables us to duplicate the item we have. The easiest way to do this is to just select the item and then hold down Alt and Drug. Select the item, whether with the direct selection to or the move to do at the, and you have a duplicate of that object A and Dell's quickest way to duplicate your object. And we're going to be all of these shortcuts in subsequent videos. Right. I strongly advise that you take seriously. Okay. And I'm going to provide you with a PDF file with these shortcuts written down so that you can just take a look at the PDF file and recall the shortcuts. Okay, so that's one of the documents you're going to have attached to this video. The next shortcut, we're going to be looking at the shortcut for opening a new file, for creating a new file. What that shortcut? It's control plus n. When you hit control plus N, you are then brought to this place where you can now open or create a new document. You just select a preset or put in your custom settings with the name of the document and of course the height, the units of measurement, the orientation, the amount of art boards and so on and so forth. The color mode, the raster effects, and so on and so forth. And then you click Create in order to create your new document. When I hit Create, you're going to see that we now have a new document. Okay, Yeah, that's the shortcut control plus n for a new file. Now we have the next shortcuts control for. Let's see, you have your work done and you want to se, hit control and you are now able to see the document. Okay? Now the next shot is the X. Is letter X rather. Okay? Letter X is used to select either the field color or the stre color. So if I hit X right now, we can then see that we now have the stre color selected when I hit X. Now we now have the field color selected. So just keep hitting X to switch between the St color and the field color. Okay, let's assume we have a field, we give it the field color of red and Str color of blue. Okay, let us increase the Str. Okay, We have a field color of red and strclor of blue. We want select the field color. Okay? Because the shoe color is selected here. If you want to select the field color, just hit X And then we can now edit the field color to maybe blue or green. As you can see, now, the field color has changed. If you want to select the shoe color, you just hit X again and you are now able to select the stroke color. We have another short cut for swapping the field color with the stroke color and also the shoe color with the field color. That control is control X. Or rather shift X rather, we have shift X. If you hold shift and then hit X, you can see that. You're now swapping the field color to the shoe color and vice versa. Okay, let's say we're drawing the ship out and then let's say we didn't have a shoe color, but we only have the field color and we just kept drawing. Let's say we're tracing a drawing, okay, from a undrawn document. Okay? And then we have the field color, obstructing our view. Right? We want to get rid of the field color so as to see what we are creasing out properly. What we just need to do is to hit shift X, which will now turn the field color to the shot color. Okay, then when we're done, we've achieved what we want to achieve. We can now hit the shift x pack to bring back the field color. That's one of the application of this shortcut. Let's delete everything here. And then we now have the next shortcut which enables us. Let's say I have a drawing here and we have a field color to eat. Or let's say we don't have a field color to eat. Okay, we have the next shortcut which enables us give our ship a field color. Okay, now this is the comma key on your keyboard. Okay, When you hit comma, you can now have the field color applied. Okay, hit comma, you now have the field color applied. And then we have the next one, which is the period or the full stop, which then gives our ship red feel. Okay, The full stop gives our ship ingredient feel okay. We have it as the gradient field, and then we have the next one, which is the four slash, which gives it now feel okay, no field. And also remember that if we have the stroke activated, instead we're going to have all of this happen to the stroke instead of the field. So it means if no hits the period or the full stop, our ship is then given the stroke. Okay, that's the gradient stroke. Okay, because we have the stroke activated. And if we then hit the comma, sorry, if we didn't hit the comma, let's say we increase our stroke, then we then hit comma. We didn't see that our stroke is being given a color. Okay, that's just for you to know. The next shut we're going to be looking at is short cut for ingredient to. Okay, let's assume we have ingredient added to the field here. And then we want the ingredient too so as to be able to edit ingredient. Right, all we need to heat is G, which will then bring up the ingredient to. And with the ingredient to, we can now edit our ingredient. It, ingredient rotated, expanded, and so on and so forth. Okay, that's letter for the ingredient to. Now, the next shortcut we're going to be looking at is the rectangular two short cut. That's this two. Okay? That's when you hit letter M keyboard. You are then able to select the rectangle two. Then we also have a shortcut for the ellipse two, which is L. If you hit L in a keyboard, you all to select the ellipse to. So for rectangle two, L for ellipse two. For rectangle two, L for ellipse two. Okay? The next short code for pin two, which is this two here. Now the short code is you hit P on your keyboard. You'll be able to select the recton Gl to, Ok, select thetan Gl to perfect other shortcuts. Let's say we hit P and we have the pin two selected. And we just draw out ship like this. And let's see, now we want to add an Ancho point or subtract Ancho point. Okay, now we have a shortcut for that. If you want to add an anchor point or into heat is the plus key on your keyboard. And now you can see that the Ancho point Pinto has been selected. And we can now add new Ancho points to our ship. Okay, What if we want to subtract points from our ship? What we need to hit is the minus key on the keyboard and we can subtract points from our ship. That's using the subtract or delete anchor points two, sorry. Perfect. Now the next two we're going to be looking at is the rule to. Okay, rule to. Now the short cut for the rule two is control R. Okay? This is control R. Then it brings up the rule to now you can measure your stuff. Using the rule too. When you just come to the ruler tool like this and click and drag. We can see that these lines then come out. Now with the lines, we are able to measure stuff out and align our design properly. Okay, we can drag them out from here. Drag them out from here. Okay, that's the rule to perfect. Of course, the ships guides will not be rendered out if you export a design with them on the design. Okay, but you can just delete them. When you are done, you select and keep. Delete, Select. Delete. Delete everything that was going to delete that after of course you're done using it. Now, the next two, the next short cut rather we're going to learn is the copy shortcut which is control C, okay? Control C and the piste, which is control V. Control C, control V. Then we have the piste, which is control, sorry, the piece which is control V. Okay? Apart from the piece, we have the piece in front which is to control. If I control control, it's going to piste in front, going to piece what it has copied in front of the existing or the original copy. Right? And then if you want to pit at the back, you have to control C and control B. Okay. It's pieced it at the back of the ship. When you change the color, you see that it's actually at the back of the ship. Right Then we have the Ydroper two, the drop two. And this tool can be activated by just clicking the litter. Okay. So you can just click the litter and have the Ydropa two selected if you, uh, conversing with Illustrator. You know what the Dropper tool is used for, even though we're also going to use it practically in other aspects of this course. But the Dropper tool is used to sample colors, right? Sample colors. So you can sample this color, color, color, that color, so on and so forth. Okay, that's what the Hydropat is used for. And just heating eye will activate the two on the next two, or rather the next shortcut is the pan shortcut. Okay, Moving around your design. We achieved this by holding down the space bar and clicking the mouse so you can cool on the space bar. Click and hold the mouse, and then just move around. Okay, zoom in, hold down the space bar, and just move around. That's the pan. Now, in order to zoom in and out of your ship like this, how easily I do this? I hold down the Alt and of course use the mouse wheel. Okay, hold Alt and use the mouse wheel. Then we have other aspects of the zoom control which we can explore with the control plus control minus control. Control minus control plus to zoom in. And control minus to zoom out just plus to zoom in and control minus to zoom out. We also have the zoom too, and it can be activated by hitting Z. When he click the mouse button and click Drag in and drag out, you'll be able to zoom in, zoom out using the zoom to. Okay. Then for fitting your artboard to the screen, you can just click control plus zero. Control plus zero. Fit your artboard to the screen to your view. Okay, let's assume you're working on a big project. And let's say you are outside a place like this. All you need to do to zoom on your artboard is to control zero. When you control zero, then zoom in or you fit the view to your artboard. Now to check the preferences, you just hit control key for preferences. Now these preferences are settings that control the way your illustrator works. Okay, let's hit control key once more to bring up the preferences. And then we can see where it says keyboard increments, right? And it trans at one. This will control how far you can move your item using the direction keys. Okay? When you direction key, when you hit the left direction key, you can move your item left, hit the right one, you can move your item right. Hit or hold down the directional key on your keyboard. You can move your object up. And then for the down, you can move your object down, right? Then when we hit control key and adjust the keyboard increments, let's make it ten and hit okay, and try to move our ship. Now we can now see that it covers more speed, moves faster, or covers more room than the previous time. Now let's just make this 100. So you see the difference clearly when I select the guy. And now move like this. As you can see, now it's moving. It's covering more space. Okay? It's covering more room. More move room. Okay. So just keep it at one. Okay? Then I have another short cut. Let's assume we have lots of objects here. Okay, let's assume we have a lot of objects here, all in this shape, all in this layer. Okay? We have all of them in this layer. And let's see, we want to select all of them. Okay, when we select one, we see that it's highlighted here with this blue icon here. Select this guy. It's highlighted here. It's hard to select all of them at once. We can just maybe, maybe click here and then will control click, click, click. Then if we have a lot of them, you can see that it's going to be Pin. As to try to select them all. The easiest way to do this, click Hold Alt, and then just click here just on A and click on the Layer, and everything will be selected. And click on the layer, everything will be selected. Let's assume we have another layer, then we have some other ships in the layer. Let's assume we have this guy blue. This guy is blue. Okay, we want to select everything. All we need to do is control everything in both layers will be selected. That's control. But if you want to select the guys in this layer selected. So the next shot cords will be probably the last one which I usually use to to select items or objects which are behind, which are behind another object. Let's, let me just give you a demonstration here. Let me just create different objects here. Let's see. We now have a bigger object here. And let's say this guy is popular color. And we want to select the objects behind this guy, right? We want to select one of the objects behind this guy. Let's just reduce the opacity to make the items a little bit visible. So this is the guy, and then we don't want to hide the ship. We don't want to hide it. We don't want to delete it. We just want to select the items behind the object without hiding it. Without deleting it, distorting the position, the present position, right? All we need to do is hold down control, then click on the object we want to select. So let me just hold down control and then just click click. Now we can see that we are now able to select the object, this layer. From there on we can maybe increase the size T. Select this guy again, all we need to do is just come here and double click. We now have the guy we can move the ship. Can move the ship by coming to the edge here and just dragging it. If you try to move it from the middle here, you are going to select the ship in front. Just down control and club, click multiple times in case of just double clicking once it's not working for you. Okay, right click and do other stuff. Maybe you want to transform it, maybe you want to, let's say share it or something like that. You can even do that. Okay. Yeah, that's the last shortcuts. I of course, like I said before, I'm going to provide you with a PDF file attached to this video so you can just look at the shortcuts and revive your memory. With this, we've come to the end of this lecture. See you in the next one. 54. 54 Working with Actions in Illustrator: Everyone, and welcome back. In this lecture, again, you'll be learning about actions in a illustrido. Actions are automated tasks which a illustrido helps us perform, okay, so as to prevent us from having to do them over and over again. For example, things that we want to do over and over again, we can turn them into actions by recording them, okay? Then whenever we want to perform those tasks, we just have to click on the actions and then play them. And then ab illustrato performs those actions for us automatically. These can help speed up our work flow lodo. To start, I'm going to create a new document. I'm going to choose from this preset here, Perfect. Then to start, I'm going to create an ellipse. Maybe give it the field color. Ultimate actions is they don't work on every effect or every task you want to do, but they have a lot of uses and you're going to find them really helpful. Some of the tasks I have observed, they do not work on. Uh, maybe effects. You can create actions for some of these effects, but in general, other things, you can create actions for them. I'm just going to start by opening up the actions panel, come to Windows, and then Action. This is the actions panel. Then we have Default Actions. Now these are actions that come with Adobe Iusted when you just open the folder, you didn't see them when you click on an action and then come to Current Selection. When you click on plea, you didn't see that. The action then happens or the task happens. Like for this one, we can see that it has reduced the of the selected ship by 60, okay, To maybe 60% o 60% As you can see here, that's the action. It just helps us reduce the opacity. So for example, if we have a lot of things, we don't want to keep manually going to reduce the opacity. We can just select click select and click. What did I do? We can mean a mystic. We can just select and click select and click. And you can see that it's easier to do that instead of just selecting and then going to adjust the opacity. Okay? This is as simple as an action can be, okay? There are quite a lot of actions here. There are quite a lot of actions. We have this for the opacity 60, we have opacity 40. And screen, I guess this one gives it the 40% opacity. And then maybe the blending mode. Screen, Okay, let me just try it out and see this is the opacity at 40. And then as you can see, the blending mode is now on screen, right? That's what it does. We can have many other actions besides some of these actions. You see this box, right? This box can be activated here. Not all of them will have the activation for this box. Okay? We won't be able to activate this box for all of them, But this box helps us to further modify our action. Okay, For example, if we have action, let's move, let's try this guy. Okay, let's have it without the box. Just remove the box. And then click on our action, on our move action, and then play it. So we see that it then moves, okay. It moves by default value, which was used when creating this action. Okay, Now what if we want to be able to the default value, the value of the move right now, that's where this box comes to play. So let's assume we have it here now, and then we have the box checked. Now when we click here, we can see that the option now comes up. And we can now manually put in the position of the move. If we do not want the original, which is 66, we can maybe put 100 and then okay. So that's the use of this box. It has its importance in many actions. Some actions might require it, some actions might have it as optional. Okay, so we're going to look at. Many other options so that you get familiar with how the whole thing works. Now what I want us to do is to have a little bit of walk through for the action panel. Okay? Now, this is the action panel we have here where we can create a new set of action. Like this guy here is a set. This guy here is we can have a new set of action, okay, by clicking on this folder icon here. When we click on it, we can maybe name it, my new sets, my set, okay? Now, all the actions will be when selecting this set will then be created under this set. Okay? When we select our set, we can come here to create new action, then create new dialogue box will then pop up. We can type in the name of the action. Maybe we want to have it times what we want. Skill times two. We want to be able to skill our ship by two. Okay, Now we didn't have the set, which is my new set, which I've selected here. And then we have this function, a lust. He gives us the ability to add a shortcut key, or a short function to our action that's optional. Of course, we can just have it like none and we won't have any shortcut, we'll just have it here. And we can manually click, but we have a shortcut to shift function two. Let's shift function two and then color. Maybe give it red or whatever. Color and record. Okay, now after clicking recording, we can then do what we want our action to be. Remember Illustrator is now recording whatever we do. Okay, What I want to do now is right click and then go to Transform, then go to Skill. Then I just want to kill this by times two, by 150 then. Okay. Now we can see here that we now have skill, right? We now have skill. We can keep doing other things. A, B Illustrator will keep recording them here. But I just want to stop here right now and then click on Stop Playing. Stop recording. When I click here, now we have our action. For that box, we should be able to actually activate our box. That's this box here. We can activate this box when we select a new shape, we can now play our action. Because we have our box activated, we can now edit our value. Maybe we want it to be 200 now. Okay, this is now. But when we do not have our box activated, when we click it, it's going to take the default value which the action was created with, which is 150. I'm sure you get the gist. Now just going to select everything and delete. We can have actions for a whole lot of things. Let's assume we have our design here and we want to save it as a PDF file. We can come to file, save copy, then maybe actions. Then come to the file type and click on PDF. Right, with this we can no save PDF. Okay, Perfect. Okay, I'm actually supposed to record the seven. I'm supposed to record the seven of which I didn't do. So we don't have any action on seven. Let's just create it quickly. Let's come here, click Create, New Action, then let's name it. Saving, Saving PDF, copy, copy. Then let's give it a shot. Let's give it two, but this time it's control shift the yeah, red, maybe green. Then record with this. Now we come to file, save a copy of the PDF and then just receive it as actions. Just replace it. Yeah, now we can see that. We now have it sived as a copy. All right, and now we can click on Stop Recording. Whenever we want to see a PDF file, we can just select this action. Select this action, and then please. Okay. We actually need to get this box checked in this case because we have to write down the name and then select other options, right? Because we are sev, so that's why we need to have this box checked after having this box checked. When I click on right now, we can see that now it enables us to see our stuff. Okay, so let's just add some random letters to our name. And then now we can see that we are now able to save our dile with this action, okay? Actions can work for whole of things, Come work for a whole lot of things. We can create opacity, just like how we saw with this guy here, okay? Now I want to try using, using our short cuts, okay? I'm just going to try control F two. Control F two. And now we can see that we are now able to see, just like how we indicated for this guy here, when I have shift F two would then be able to scale just like for this other action here. As you can see, the shortcuts are also working. Now I want to try something out, something interesting. So I'm going to come here, come to my shift and then set the start to just create a star. Star. And then just come and give it. Then maybe make this guy this color and this other guy color like this. And maybe just common edits, the colors make this guy maybe brighter. This, then I want to make it a dialdientI. Want to make it a radial ingredient. Let's just reverse the ingredients so that the brighter parts are outside. Okay, what I want to do is first create my new action. We select my new sets, then create new action. I'm going to name it Flowery Ship. Flowery ship. I'm going to create an action for flowery ship design. Okay, I'm just going to give it F three and control F three, give it a random color and record. Now what I want to do is right click transform and transform each. And I'm going to make this 15% going to reduce the size of the scale by 85% And then I'm going to click on Copy. Okay, now the next thing I will do is I'm going to click Transform. And transform again, The shortcut for this guy is control D. I'm going to keep control control D, okay, until I achieve this very beautiful shape, very beautiful design. Finally, I'll just select everything and group them perfect. And then the next thing I'm going to do is I'm going to stop my recording. Me. Stop my recording. Stop recording. Now we have our new action here. Let's try it out, right? Let's try it out. Let's create the guy here. Maybe for this guy, we're just going to grivase ingredient. Then let's select the guy and come to our flower ship action and play. Then we see that this box now comes up. I'm going to click on Copy. As you can see now we now have our action. The last action or the last task did not go down. Well, that's the group one. I don't know what happened, but at least we have the others. This will have took a bit of time to perform, but we can see that the action feature Lotto has helped us to automate this task and perform the tasks a very short period of time. So I'm going to create this ellipse and then come to effects, come to distort and transform and then give it a plot blot and to it's to see something like this. Okay? Something like this. Okay, Then I'm going to just reverse the gredent here, then select the guy. And select our action and plea. Okay? Perfect. I feel like doing another one, but this time the gradient colors reversed. Okay. Now, with this guy selected, go to the actions and activates, and as you can see now we have a beautiful ship, okay? The possibilities with this guy is limits are very limitless, okay? Your imagination is the limits to this I to create another quite interesting ship, okay? Maybe we have something like this. Then let's give it the action. Let's see, I make a mistake, control Z. So do once more, select the action and plea. Okay. Perfect. I'm going to do, I'm going to have it with a reversed gradient select copy. Let's I selected out before it's finished, right? So let's try the new action. Let's try to have the action. Where is my actions panel? Here? Okay? Okay, so let's try to have the action with our ingredients reversed. Okay? Okay, we actually did this here. Actually did this here. I feel like adding more effects so as to have more interesting ships. Okay, so we're just going to go to my distract and transform and then maybe give it as a bit of twists. Okay, a bit of twist and yeah, maybe I give it something like this and then try to give it the action copy perfect. You can see what our actions are enabling us to create J. So actions, your workflow, will be very much optimized and you'll be able to achieve your tasks very quickly. With this, we've come to the end of our lecture on actions and see you in the next one. 55. 55 Useful Tips in Illustrator: Hello guys and welcome back. In this lecture, we'll be learning about some useful tips and functions in a Illustrator. Some of these functions are just little things that many people do not know about. Okay, and can better your workflow. In Ab Illustrator, I'm going to start by creating a new document. Okay? A new file. Okay. Create new. Then going to choose maybe this custom nine by 9 ". Let's change the column mode to RGB. Doesn't matter. Then create. Now let's duplicate the art board. Choosing the artboard too. I'm going to hold down Alt and drag this artboard while also holding down shaft, drag it like this. The first thing I want you to learn about, I want to learn about is symmetrical drawing. Okay? You might want to stuff and then want to use symmetry. What I mean by symmetry is, let's see, we have a straight line here, the middle. Let us align the line. Let's see, we have a straight line here in the middle. Then you want to draw something here and also have the symptom being drawn out here. You want to draw something here. I want the symptom being run out here. Symmetry. Okay, You are drawing them symmetrically. This line serves as a middle point where we have draws on our left and right symmetry. Sometimes symmetry is important in design. Some people use symmetry for designs depending on what you want to create really. But symmetry can be important and I'm just going to show you how to create simple symmetry. In other illustrator, let's assume we want to create a symmetry whereby we draw stuff in this piece in the left hand spice and then we now have the same thing on the right hand side. Okay, what you do now is just create a line like this O to serve as the center line. Just align it to the middle. Then come and select your line. Just come and click on this icon here. You get to select the line. Then come to Effects, okay, then distort and transform. Okay, then just come to Transform Effects. This transform effect, what you're going to do is you're going to add effect to the layer such that or whatever you draw here will be reflected here automatically. It's more of a reflect effect. Okay, after adding the transform effect, just come here and leave the angle at zero and reflect x and then make one copy. What I want to do is I want to draw on this side. Okay, when you draw on this side, you then take the points. You see these points? You're just going to bring it at the right hand side because we're drawing at the left hand side. Okay, It's going to reflect what we have here in this place. That's all you need to do and you don't click. Okay, let's come and try it out. Let's try using our brush too. And then when we draw here, we can see that we now have our symmetry perfectly. Anything you do here will totally be duplicated here. So let's say we want to add ship, ship, ship, Okay? This is called the one point symmetry. There are also more complex forms of symmetry, And all of this can be achieved by simply adding the transform effect, just like I added here. Yeah, I'm not going to do much here. Too much. You want to have flow. Okay. Depending on what you want. Maybe you want to draw a guy drawing pad. You want to draw your character. Okay, then give him, yeah, give it, okay. Color the eyes like this. Okay. Then the nose, mouth, eyes, neck. Yeah. That's symmetry for you. When you are done, you can just come, you can actually hide the middle line, line in the middle, so you can actually hide it. And then when you are, you can just select stuff, come to objects and expand, expand. You now have it as a drawing. You can come and take your sta, selection to maybe adjust. Okay, things what you want to achieve. Okay, that's it about this form of symmetry. So let me just take you through the second form of symmetry which is the four point symmetry. Okay, I'm going to be drawing in one place and then it's going to duplicate, Do in three places. To do that you just create your line once again and then centralize it. Okay, Centralize your line and, and give you the stroke in level. Feel how do we do this shift X, right shift X. Then it replaces the stroke with the field. Then you control C, control copy and pens. And then you just like this then make sure it's aligned properly. All you need to do now is just create a new layer for these guys to select the two of them. Control X for cuts, come here to the new layer and control for Pete. The next thing you do is select them like this and go back to your effect and transform. Okay? And this time what you want to do is first of all, it one, okay, One copies and then reflect. Okay, That's all you have to do for now. Then you click Okay. Then while selecting Go, and add another effects. Another transform. Effects. Yeah, add new effects. Then for this one, you just make here 90 degrees, okay. And make the three copies and click okay. Then that is it. When you come to your pencil now and draw, you see that we reflected right now, have everything. Some designers use this to create beautiful, beautiful art. It's symmetry. So this is just how you go about it. Deleting, creating something new. I'm not creating anything specific, I'm just playing around to see what I can achieve. A, really creating something specific, that serious, just for you to understand how symmetry works and how to create stuff using symmetry, or how to create a symmetry effect in how to be illustrated. I'm just going to maybe duplicate the art board again and have another one here for this guy. I'm just going to delete this one so that we can look at all the stuff. Okay, now the next tip I want to give to you is how to change the direction of a path. Let's say I draw a path, this using the pencil, of course draw a part like this or whatever, We maybe just use a curved part. Instead. Let's draw a part like this and it has a stroke. Right now, this part has a direction. Has a direction. And the direction goes like this. Because I started drawing it here and it here. Okay? To make this direction more glaring, I'm not going to use a uniform profile, I'm going to use this profile. Okay? When I now increase the stroke size, we can now see that this is the direction, right? This is the slimmer point. And then this point, this is the direction, okay? Now, how do we change the direction? How do we make this guy the guy and this guy, the slim guy? How do we do that? We can do that simply by just coming to the pentel again. And then if this is the direction I want here to be the direction, just click on this, please. Now you see that the direction has changed from here to here. Samson, see we can keep changing the direction. Right now, the direction is here. Right now it's leading here. While this is the T, this is the head. And the T, if you want here to be the head, just use the pin click. Here is the head and here is the til. Then there's another thing you might want to learn, or you should learn. Let's assume we have different objects like this, Okay? Then we. Let's say we have three or four objects, objects like this. Then we want them to converge to a point, we want them to converge to a point. And we have not been able to perfectly do that point. Because we have to, we've not been able to actually achieve that, okay? There's an easy way to just make this happen, okay? The way I'm going to do this is by selecting all the points. Okay? All the points and then go to objects and parts, the average. It gives us the option here whether we should use the horizontal axis of vertical axis or boots. When you click Boots, we're just going to have them merge on both the horizontal and vertical axis. As you can see, they are now all merged to a point. These are just simple tips that you might find useful in your D, D use of B. Okay, So the next tip I would like to share is how to align stuff. Okay? I know we know how to align objects. We know how to align objects to our art board. For example, for this object we might want to align it to the middle. We can just click Click and we are now being able to align it to the middle. Okay, and then when you come here, you can actually choose whether to align it, the art board of which we just did, or align it to a selection. Okay. It means there will have to be, let's say, two objects. Let's just arrange, move this to the park. Okay, So maybe we have this as yellow. So we can now choose Align to Selection. Okay, Align to Selection. Right, Align to selection. We can select these guys and then align them to each other. Align them to each other. They're no longer being aligned to the art board or they're being aligned to each other when we C the boot of them are aligned to the middle of each other. When we click, this guy is aligned to the topmost part of the other ship and so on and so forth. Okay, so that's another tip, how to align stuff. One other thing people do not know is we can actually on points, we can actually align points. That's when we're working on something. And then we just have some of our ankle points, please. Abnormally. Okay, let's say we have the ankle points maybe move down a little bit and we actually want it to be on the same level with this one, okay? We can actually align them together and have them on the same level, because actually doing it might or might not give us an accurate result to the best way to have them aligned. The best way to adjust it rather, is to align the ankle point. Okay? How do we do that? All we need to do is select the both of them and just align like this. Okay? They are now on the same line. So if we have something like this and we want of them to be aligned like this, all you need to do is select the boot of them and click this Align option here, and we have the ankle points aligned, okay? Okay, so that's for the align function. The next tip I would like to give you is color related tip. Let's assume we have a box here and we have red color on it. Let's say we have this sheet of red on it. When you come to the color palette here, or rather the color swatch here and will down shift and click, we see that this option comes up. Now we have it as an RGB color and we now have the levels of the various channels. Now for the red channel, we have it at 02:16 The values for the various channels. For the red channel, we have it at 02:16 For the green we have at five, and for the blue we have a 35, 36 rather. And we now have the color code here, which it means we can copy this color code and go and pitch it somewhere. Maybe we are doing a web design and we want to copy this color. We can just copy the color code and go and piece it there, and we will now have exactly this color. Okay. Doing logo design and we want this particular color, all we need to do is to copy the color code. Then when you hold down control and drag this points like this, we see that we are now able to brighten or darken the color. Okay, we're now brighten the color by dragging it down, darkening the color. That's of course holding down control. That's it for this little tip. Then the next tip I want you to learn is also color related tip. Let me just adjust the color. Let's see this sheet of pop the color, then come to color pilot, and then just come here and create a new swatch. Now these are new Swatch, we can give you the name. Okay, but we don't have to give it a name. This is now what I want you to observe. There is this check box here which is called Global. When we uncheck it, we are not creating a global swatch, But when we able it, we're creating a global swatch. What's a global swatch? A global swatches, more of a color that remains constant along different objects. Let me just maybe address the color bits like this. You can just click okay. Now we now this color and we now have the new swatch. Now if you can observe properly, you will see that we have this little right angle triangle at the edge, at the lower edge of our new Swatch. Okay? Now this is the icon that show, shows us that it's a global color. Okay? How do global colors work? Let's assume, let me just have another one here and give you the normal color. Let's just our guys, like this guys, you can see that for these ones which have a normal watch, we can just select the object and you choose a different color. Come here, choose a different color. But for our global colors or for our global swatch, when we come to our global watch and try to it, when we try to it, can we try to edit it to be dark, bright? We will then see that we now have it edited across all our objects. Can we now have it edited across all our objects? You know how we edited across all our objects. Like you can see right now, like these other ones. The other normal switches, for example, this one that has the both of them applied here. Let me just try it out and try to edit the switch. We then see that it only affects this object, whereas for global colors it affects all the objects with the global color. Just delete, let me just delete these pods on important this guy one, maybe even the layers because they have that effect on them. Okay, drag this one to the front here. Let's delete this one. Delete this one. Let's assume we have, let's say, a logo. So let's assume this is a logo. Okay, Let's assume this is a logo and we are working on our logo. We're trying to perfect stuff. Maybe maybe we have some path finder effects like this and we're just trying to come up with a very nice logo. Maybe we even have a name. We're going to look at a lot of these things in details also that some of these things I'm using without explaining, remember, I'm assuming that you have some knowledge of bus Frito, Okay? But in our subsequent lessons I'm going to explain some stuff over and over again. Let's assume we're trying to create a simple logo, let's just name this. We are in our process of creating a logo design. One thing very common with logo, with logo designing is that while working on your logo, you might want to be able to visualize it from afar. You remember you're working in close range. You want to be able to visualize it from afar. You want to be able to do some changes while you see it's in a different window, right? The tip I'm going to share with you will enable you create a new window, you just come to windows and then new window. Now when you do that, we've now created a new window of the same job. Okay? Of the same job. Okay? We can still come to windows, then come to a range, and then come to maybe tile. Okay, Along with this, we now have the both of them here, tile like this. We have this original window here and the new window here. Now we can now be working on our logo design. Maybe this one in close range in this window, while we see the changes happen here. Okay, so we move this, we can all see it up here. Maybe change some anchor points, this guy, and we can just see it up here. Okay, That's something I do a lot when designing logos. Okay, I'm just going to just close this window and then need it. The next tip I would like to share with you is a very simple one. Let's just have a ship like this. Let's shift X to give you a stroke instead of a field color. And let's make the stroke five. When you select and you scale down, I think the option is on. This is actually the option. This is the option. I want to give you a tip on. On default we don't have this option. We don't have this option and effects on default, we don't have this option. If you have a scenario like this where you have a ship with a stroke and you try to scale, do you see that? Your stroke remains constant? Okay, You might want to be able to skill the object along with the stroke, okay? You might want to be able to skill the object along with the stroke, and this makes it difficult, okay? Now when you have this option checked, this skill stroke and effect, when you have it checked and you try to skill, are now seeing that you are now being able to skill the stroke with the object, okay? It's very simple but very important. When starting out, I came across this, I didn't like it. I had to figure out a way to skill the strokes along with the object, okay? And we can simply do that by just checking this box here, just so that's it for this tip. Very simple, but very important tip. Then the next one has to do with patterns. Okay, Let's assume we have a pattern on this ship here. This is just a default pattern. You might want to be able to repeat only the pattern, the ship and not the pattern. All you have to do, the ship come to objects and transform. And then let's see route. Right now we have this option which is transform patterns. Right? Let's just try to rotate it like this. And now we can see that it's being rotated with the pattern. Okay. Now when you uncheck this guy, we would then see that the pattern remains constant and only the ship gets rotated. So that's it for the rotting, for the scaling. What you need to do is just come to windows and go to the transform panel. Bring up the transform panel, and let's close this. Let's just put windows again and bring up the transform panel. Now in order to do that, just come here and then where you see transform objects only and transform patterns only. When you come and click transform objects, come and click on transform objects only, and you try to scale the object. We then see that the pattern remains constant. Okay? The pattern remains constant while the objects, when you select transform patterns on the transform together, okay? They can transform together. And then when you select transform boots, they also transform together. That is about scaling up your objects without affecting your patterns, and also rotating your objects without rotating your patterns. Now, the next very simple tip I would like to give you is a way to precisely transform your object. Okay, let's assume, let me just give it a normal color, phenome color. Let's assume we want to divide our ship. Okay? Let's, we want to divide our ship. I want to move our ship, or we want to transform our ship generally. Okay? On the properties panel, we have the transform options. And when we click here, we have more options. These options deal with the width and the breadth here. And you can see that they are linked together. Anything you do here will be affected to this other guy. We also have the rotation, so that's the angle of rotation. We have other ones. Let's assume we want to move these objects and move it by twice its position on the x. Let's do 4.5 multiplier by two, multiply by two, and let's now, we can see that by the x it's moved by two, okay? And now we have it at nine. We can actually transform our objects by just using mathematical functions, okay? We can use mathematical functions like multiplication, division. We can even divide divide by two. We now have it at the initial position. When we come here, we can make this divide by five. Now it's reduced by five. Remember they are linked. Okay, we have everything happening. Even that's the little tip I have for you regarding the transformation of objects. Now on the last and final tip I would like to share with you is something very simple Git tool which is related to the type tool here, we actually looked at this in the beginner course. It's a very simple thing, really just scale up this type like this, maybe reduce this. Yeah, this tool enables us to transform each of the letters without using the options here. And it gives us a great deal of flexibility. Now, this is the touch type tool here. In the touch type tool, when you just click on a type here, it gives you the ability to scale up, rotate, even shift it like this, and do a whole lot of things. This is the tool, the touch type too. We are also going to look at this again when we are looking at typography in one of the common modules. But I just felt I should show you this one again com rotate. We can scale, we can move, we can do a lot of things without having to use the options here. When we use our options here, they still affect our type here. Okay, that's just the tip for you. This. We've come to the end of our lecture on tips and functions. In the coming modules, we'll definitely start creating some really cool stuff. Okay, see you in the next one. By. 56. 56 Working With Brushes Refresh: Hello everyone and welcome back. In this module, we'll be learning about brushes, some advanced level stuff using brushes. At the end of the module, we'll create a co design, a very cool project. And we're going to also have an assignment which I will require you to do. Another start. We're going to start with preset here. Choose this common preset here. Now, in order to use brushes, we have to select the brush to. Now this is the brush to the paint brush to very sure you're familiar with the print pint brush. To, to use the pin brush tool, you have to do select the pin brush tool and draw what you would like to draw. Just draw freely on your art board. Okay. Now when you double click on pin brush tool, we have the paint brush tool options. Now we have here which says Fidelity. This controls the level of smoothing illustrator would do to your drawing. Okay. If we have it at zero for example or at very accurate means, it's going to be very accurate to what you draws. Very accurate to what you draw. Very accurate smoothing to make it look okay. But if we now boost up the fidelity. Okay. We can see that we are now having had to be lost. Frito, help us edit the smoothness of our drawing of our brush to make sure we achieve something really cool. Okay, that's one thing you have to do. I like keeping it at smooth, okay? Everything comes out better with smooth. Now we have other options here which for example, this one says keep selected and edit selected path. What this does is it enables us to continue editing our selected path, our drawing. Okay, so when we draw a line, we have the drawing we just did selected. If we just uncheck it, for example, and we draw, we'll see that it's not selected. It's not selected and that's how it is. Because of that, we won't be able to continue editing. In order to have this option check, we need to have this option. Also check this slider. Here we make a illustrator continue editing the parts based on a distance, distance of 20 pixels. In this case, it can be lower, lower the distance, the easier it will be for blotto to continue 18. Okay, that's just for you to know. That is for the brush options. Now when you have your brush to selected, we have here which is the Bush panel. Bring it to this point. Going to do it out. This is the brush panel. In this panel, we can see more about our selected brush. We can see other brush types which we can select. We can actually create new brushes using this panel. We can edit our existing brushes using this panel. We can access brush libraries using this panel. And we can see brushes that we've created using all using this panel. This panel is very important. When we select a brochure and you draw, we see that we now have the brush applied. So this is more of a stitch brush. Okay, Even if we used, let's say, a pen tool and just drew a path like this and come here and select the brush. We then see, then applied to our path, it's applied to our path like this. Okay. Yeah, let's see, this brush selected. Let's this brush selected. We have this. We can double click this and go to Options. Okay, we can see the type of brush, and this is caligraphic brush, and these are the options for the brush. We can have an angle, we can have a roundness, we can have a size, and so on and so forth. So let's assume we just do this. Yeah, apply to the current, to the current line. We can see that the effects have now been applied if we're going to be using this guy now. We can now see that it gives more like a calligraphic pen. Just get everything. I want us to take a look at the types of brush and how to create a brush in B. Illustratojust going to come here and select my ellipse to grow out an ellipse like this and give it a field color. This is our ellipse. What I want to do is I want to show you the types of brushes and also create a new brush from this ellipse. Now I just need to select my brush or my ellipse and drag it to the brush panel and release it. Now you can see that we now have this menu pop up and we can see the types of brushes. We have scaly graphic brush, we have scatter brush, we have art brush, We have parton brush. These are the types of brushes. We also have Bristol brush, and we're going to look at them in the course of this video. Let's say we want to create an art brush. We don't see options here where we can choose the width. We can either be fixed or can be based on a pressure that when you're using the pressure pen drawing tab, this will come handy. And we have all the ones here. We have the rotation, the width will be Titan. We cannot leave that fixed. We have brush scale options. We have scale proportionately scale to fit, stroke length, scale between guides. You can just come and check these options and see what they do. No, these are the directions, okay? The default one. Then you click okay. We don't see that you have a brush. Let me just try to be weight. This is the type of brush created here, Okay? There are many other types of brushes, many other types of brushes. I'm going to delete this like this, and also delete this guy. Now, in the next video, we're going to be learning about how to create the different types of bushes. Okay, I call them custom brushes. That's what we're going to learn in the next video. We're not going to look a lot into creating these brushes. I just wanted to show you the types of brushes. That's why I tried creating one of them here. I just want you to get familiar with the brushes panel here. Let's select this brush now that we just created, we can delete it using this button here. We can click here to create a new brush. Then we can now click here to save brushes and access other brushes. Now we have different libraries of brushes. We have, for example, the artistic brushes, we have the calligraphic artistic brushes. Now these are similar to this one we have here, and this will help us create calligraphy. Let's just select this guy here and write something. I'm going to improve the size of my artboard so as to have enough room to what I want to write. All right, so let me delete them first. Let me choose a more dramatic one. Let me choose this guy. Let, see what we get. Good, your brush to and good, bad should be, Let me reduce the size like this. Okay, then maybe, let's try other calligraphic brushes. Give it this one. Let's try this one. Increase the stroke size. Let's try this other guy. This one will give us just the normal thing we're used to. Okay, um, the Tate, the stroke size to one. Good vibes, not too perfect, but we get the point. These are some of the things we can do with artistic brushes. Calligraphic brushes, you can write, yeah, there are even more categories of brushes. We have the artistic other ones like artistic, artistic pin stroke, pen brush. We have the watercolor brush. And so on and so forth. Let's just keep adding them. So what we have on ground to see what changes we get, see this how this one works. Try here. We have the brushes, We actually have a lot of them. Prunes, I really like the ones also. We can use them to grow stove up, maybe set the die and give it a growing bush. Just use this one. Maybe we just use this one, the struck size. Okay. In our beginner, we actually use these brushes to create some really cool. Okay, let us keep looking at some other ones. Let's look at the ones. We can actually drag them out. We can actually drag them out like this, and they act like stand alone objects. Actually drag them out like this and maybe increase their size. Then objects expand, expand the group. Yeah, they are actually just one group. One object. Yeah. As you can see, we can now use them as standalone ships, not necessarily as brushes. We have these other ones, they are called the hand bush rather the hand drawn brushes. Okay. And we have decorative banners. Okay. So this one's just walk like this. They actually banners. We criticize again. Yeah, We get Yeah, As you can see, I just dragged it out. So it's also possible to drag them out. How they must stand, Illumin objects, come here, let's take a look at some other ones. Let's look at image brushes. You see these are image brushes. They are made from images. So it's from there we got this stitch brush which we used when starting the video, right? Okay, this guy is our stitch brush. Now, let me just see how some of these image brushes work so you can see how this guy works. It's also similar to stitch, yeah, it's more of a stitch, wolf stitch. And we have this other guy which looks like a flower, right? When we come to look at how to create constom brushes. You're also going to learn how to create brushes like this. That's using custom images. You can actually navigate from category to category or from library to library objects, portents. Good delete. This was a basic round up, or I'll call it a refresh of the tool and how to use the ph libraries. In the next lecture, we're going to be looking at even more advanced stuff, C D. 57. 57 Creating Custom Brushes in Illustrator: And welcome back. In this lecture, we'll be learning how to create brushes to be illustrito. Okay. I'm going to start with this common preset. In order to create the brushes, you need to use the brushes panel. Okay. We looked at the brushes panel in the previous video. We're also going to use it to create our brushes. Okay, We also looked at the types of brushes. In the previous video. I'm going to start with an ellipse to shift x to swap the colors. And I'm going to remove the shot color here and reduce the size this much. To create the brush, we have two ways. We either drag it in like this, like how we tat the other one, or we select the brush and just come here where it says new brush. And you click, now you see all the types of brushes. We have the calligraphic, we have the scatter brush, the art brush, the prestol brush, the pattern brush. Okay, let's start with the calligraphic, let's select calligraphic. And okay, now we see that the options come up and we are able to edit the options for the brush. We have the angle, we're going to make this, let's say 120 maybe, and then the roundness. And you can practically see from the preview here what you get with the changes you make, okay? Then we have the size peak peak. We can actually choose if we want these changes to be random or fixed, or based on the pressure we get from our pen. That's our drawing tablet and we have these other ones you can just kick to fixed for now. Again, just click. Okay. You can actually write the name of the brush. Maybe you see our new brush stand for calligraphic. Okay, When we select our brush to the draw, see that we are going with our new brush. Here. We have it here, our new bush. Want to click it? We are now able to also edit. Maybe we want the ankle to be like this, maybe the roundness little more to the oval site and just okay, you'll be required to specify if you want to apply them on the existing ones. When you do, you see what we now have. Calligraphic pens or brushes can be create some really beautiful art works. Okay. Mostly writing. I just increased the artboard size. I'm certain my purse to leak in. Let's write something. Let's see, Happy Christmas. My writing here is bad. I'm just going to delete this one and try to write again. Okay, we can see that Illustrator puts the smoothing effect for us automatically. That's because we have taken the fidelity to smooth, right, from our previous video, Christ. Okay, we're going to create a new new brush and come here, calligraphic brush for this guy. I'm going to take the angle to this again, then for the roundness, I'm just going to bring it a little bit B, I'm going to leave every other thing same, okay? This one should give us a more dramatic effect. Let's write, let's try to increase the phone size and the sky. I like it, deletes. Start with a stroke of three, so we can see how sweet and nice it's looking. Okay, I know of course that we can duplicate our letters. All right. Kind of edit them. Using the direct selection tool, we can kind of move ankle points, do stuff like this. Okay, If we want here I have good, then Vipes, fat, let them give it a bit of rotation the scale it down a bit. Good wives only was going to make this school really big and dramatic. You see? Was going to repeat it till to the bits. I'm just going to maybe make this lead to be bigger. Okay. Yeah, I like what we have here. Good vibes only. Maybe we can just have something like this. A increase the stroke sizes. Perfect. I'm really going to take the art board to, and duplicate this art board so as to create all those tough. Okay, The next we're going to look at is, the next we're going to look at is scatter bus. For this I'm going to use a symbol symbol. Just come to this symbol panel. If it's not open here. Come to panel, then go to symbols, symbols. Now come here and go to the libraries. And let's look for something flowery. Okay, Sorry, I am currently at the broches panel. Let me just talk it here. We need to be on symbols. Come to libraries, and then let's check flowers. Now, we're going to use some of these flowers to create a scatter brush so you can see how they work. Right? I'm just going to drag them out like like I did this one. Just select the symbol and drag it up like this. Just up and select, drag it out. Sku, drag it out, Kupe, drag it out. Skept's take this guy skill up, lead. Now these are the symbols we're going to use for our demonstration. Okay? Now the next thing we have to do is select them and just expand them. Okay? You might need to do this a couple of times for some of them. Let me see. Just okay, expand, select. Expand and expand. Expand. Let's let this guy finally expand. I think we have done justice to all of them. If we do not expand them, we are going to get some errors while trying to create our brush to open to fronts. This guy to front, I want to be behind. I don't know why it's not. Let me just work with what I have like this. So I think we need to group some of them because after expanding, some of them cease to be groups. All right, let's try it now. Let's every one of them maybe ski down bit. Ski them down a bit. And then come to the brushes panel and click here. And then we just cut a brush. Okay, now we have the size, the space in between them. We have the scatter, whether it be fixed or random based on the pressure pen and we have the rotation. I'm just going to randomize all of them. Just try to create something. I think the best thing to do is them just make them fixed for that. We just create the brush first. That's okay. Now we have created our push. Let's just shift these guys here. Use the push to draw out, to draw out on the art. But now what we can then do is just come double click on the scuttle brush. And then let's now make some changes and see as they get effected on our drawing here. Okay, When we have the size, when we change the size, we can see that the sizes increase. Okay. Then for spacing, I think we just keep the size as default, almost as default. Okay. For the spacing, we can maybe reduce it or increase it. Maybe we should reduce the species, then the scatter. I think what we have evidently is still good. What we have here like this, the default is still good. Rotation maybe? Yeah, something like this. Then we can see that we also have here which says rotation relative to. We can make the rotation relative to the pitch or to the path being drawn. Okay. And you can see the changes as I, I'm going to leave it at path and then. Okay. Whether I should apply the changes and then just click Apply. I don't take my brush. All our artwork created based on our new settings. Okay. In fact, we can saturate our art board with these flowers and create a very nice background and uses as a very nice background. Perfect. It's possible to expo the let me just try exporting. File export. Let's export. And then we, we use peg, then use to and we want to export only port 222. Let's, let's name this background export went we, we choose the color mode. Rgb. Just going to make this. 300. Okay. Our art board has been exposed now. This is what we now have. We can use this to serve as a background if we want. Okay, perfect. Now on the next type of brush, maybe I'll just use the art to separate the two art boards and create a new one. Duplicating this one. Artboard one. Just delete work we have here. Next we're going to be looking at screting Bristol brush to create the ellipse and shift X to give it the field color. When you come, just come here and then choose the Bristol brush. Even though we have the art brush, let's just create the art brush first. When you create the art brush. Okay, we of course have our options. We can change the name, we can stretch to fit length scale proportionately, so on and so forth. We can select a key color, let's just use things, okay. And okay, now we have our new brush. And when we take our brush tool, you can see that this is how the art brush works. This is how the art brush works. It stretches our ship and creates a brush, stretches our ship in the path of the brush. That's simply how the art brush works. Let's try some of the options to see what we get. Skill, proportion, Italy is what we now get, okay? Basically, not much, but you get the point. You get the point. And that's it for the art brush. So I'm just going to create this guy again and give it a fill color and come and create my brush. Now I have the next one which is the Bristol brush. The Bristol brush and Okay, And we have options for the Bristol brush. Just hit, Okay. And then create a Bristol brush. We can see what the Bristol brush looks like, right? Create this effect of, let's see, color, water color effect. This effect. That's what the Bristol brush does. Now click on it, and let's try to change some of the settings so we can see what we get for increasing the size is what we get. The Bristol length, this is what we get. Okay? The bristo density is what we get. The thickness is what? Opacity we have. This one we call the stiffness. So it's either flexible or rigid. We are now asked whether to replace or to apply. Then we apply. Yeah, this is now, of course we can change the color. Get I would like this effect. I'm going to try to use the block too and see if he's going to work with this brush. Back to the pin brush too. That's it for the push. Finally, we're going to be creating the final one which is called the pattern brush for this guy. We are going to be importing some images, Go to file and go to open. Then drag out all of these images, all of the selected ones. Them out like this. All of them excluding this guy and excluding the background. Okay. Just drag them out. Okay. Open. Actually have them a different documents were going to gram the existing one projects. You know what, I'm just going to close them all and I'm going to import them. There are actually other ways of bringing them. Of course by now we can either please them or we can just drag them. The simplest way is to just drag them. So I'm just going to drag them the drag them into a debt. They are now imported. This we have here, this artwork we have here has a way of consuming our memory space. In order to clean up some memory space, I'm just going to dig the whole thing. Illustrator, it's now smooth again. We're going to create brushes with these images. These images for this guy I actually wanted to create the pattern brush with. I've changed my mind. I'm just going to delete. I'm not going to, because I think it's not going to go down. Well now this is a bell. This is a dumb bell for this guy. I want the size of this part to fit into here to here. Okay, I'm just going to reduce the size like this. Let's try to fit in perfectly. Maybe scale it up a bit. I'm going to drag this guy to this point so that we have the other half of them or the other end of the dumb. What I'll do is I'll just reduce the sizes of these images like this. Now, whenever you import an image into Illustrito and you see this X outline across the image, what Illustrator is telling you? That this image has a link outside Illustrator. Okay. It's not fully in Illustrator. It has a file outside Illustrator which it links to. There's what we call embedded image. This function called embed image helps us to bring our images fully into Illustrator. And with that we can take the file of the illustrator, like the file we're working on, and send it somewhere to a different computer where we do not have that image copied and we'll still find our image inside. Okay, that's one thing we can do with embed image and in order to create brushes also we need to embed our images. So that's what we're going to do now select the image. Come to property Spanel and where you see embed, just click on Embed and you can see that we no longer have the X outline. Select each of them and just embed bed. Now if we try creating the brush, let's say we just Dg it and we try creating the brush. Okay? The pattern brush, we can see that we won't be able to create it, okay? It means we really have to embed the image to embed perfect. Then the next thing to do is of course, to our brush, right? To drag it here. And pattern brush and okay, now we can see the option for the pattern brush. Let's give you the name Rude because it's a road image. Then the scale fixed is okay. Basically must reduce the scaly pit. Then we have nuclearization method. We have tint. That tint and stretch to fit. Now we take our brush too and just drag holding down shift. You can see we've now turned our image into a brush. When I zooming, we can see that what Bost did just took these images and multiplied them along the length of our brush, right? We can even do curved shifts with our brush. We can see this white line here. It's just an error that happens when your image is not properly cut. Okay. Of course, if your line is so curved, you are definitely going to get this error even if you have a good image. That's one thing you have to note. Yeah, that's it for this guy. And you can see that we can simply just create our rude design, right, using the brush and everything goes perfectly. Yeah. To select everything and delete. For this guy. This guy is up. Just select the guy, come and click, and use your pattern. Now we can see that this is what we have, right? And the settings just leave everything they take. Oh, and, and we can see that we are now able to create a very beautiful design using our custom. You should definitely take time to pin. That's how our pattern brush work known. For the last one, we have a um bell and what we have here, just delete this guy too. We have a dumb bell. And then we have three parts to this, we have three parts, okay? The first one is the middle, or rather the first one is the left side, then the middle, then the right side. We select the middle, drag it in again, select paint brush. Okay, let's okay, now we have our bellow. What if we want to have these guys at the edge, at the left and right edges of our bell? Right, because doesn't have the shaft right. It has the head and the other head. Right. So what you do is select the first one which is this one. And drag and just hold down Alt and CT. It's like the second one, drag it, hold down Alt and leave it. Okay. Then we use our pain, our paint too. And just do we see that this is our dumb bell? We've achieved our dumb bell. And we can use a pain too. Create a stroke like this and just come and give it this. Yeah, you can see it looks perfect. Good. Yes guys, that will be it for the pattern brushes and for all the other types of broaches. I'm just going to leave this art board in an illustrator file so you can have access to it. I would love you to just go in and try and make sure you create. Just try to create this and many other, maybe three. Okay. You can just think of or whatever word you like to have and then just create it using the calligraphic pen. Okay? And also practice, and practice, and practice because that's the only way you'll get used to whatever you're learning. That will be it for this lecture on custom brushes. And see you in the next one. 58. 58 Adding Grain Texture Using Custom Brushes: Hello and welcome back. In this lecture, we're going to be creating some custom brushes, some really cool custom brushes. And we're going to use them on our artwork to add highlights and shadows to our artworks. Okay, now these are custom brushes. These are green brushes and they kind of a very trendy and modern way of adding shadows and highlights to our artworks to make our artworks come to life. Okay, so in order to start on, need to start with a preset. The common preset? Yeah. Yap. Then next thing I will do is make my art board bigger, something like this. Then now I will need to come to my ellipse too, and start creating the brushes. Okay, Right now I'm just going to create one ellipse, one circle. Remove the stroke and give it a black fill color. And then what I'll do is come to my Lias panel, create a new layer. Then drag it beneath the first one, and then just come and create another circle. This, then give it the stroke, shift X the stroke. And then this new layer will serve as a guide for my brush. Remember, we're creating noise brushes. Okay, This will serve as a guide and I'm going to populate the species with these dots. Okay? I'm going to have a variety of them. I'm just going to use one. I'm going to also this guy and have some other ones just increase the size of our board. We can have four versions for this layer. I'm just going to lock this layer so you can select. I'm going to start with this guy here. I'm just going to start by creating this one and then show you how it works. I'm going to select the guy and the Alt, Duplicate, Duplicate, date. We can select all of them. You can copy and paste. Copy and paste. Okay. Copy and paste. Okay, copy and piste. So the images to complete the whole area with the shapes. Okay, for this first one we're going to have the same size. All of them will be the same size. For the other ones, we might have varying sizes. But for this one, all of them should be the same size as a struck. Thank you. I'm just going to quickly show you how the works just off this layer and select all of them. And then go to your brush panel. Your brush, just click on a new brush, we're going to use this cut brush click. Okay, now we have the name here. Let's just use the default name because we're just experimenting. And then for the colorization method, let's just give it a T for now. Just click okay. Then come to your brush to select your brush to try to pin. Now you see what we then have, okay, just select your brochure and then let's try to edit these options, okay, because we are not just trying to Achieve this organized look, trying to use it to paint shadows and highlights. It's not going to be just this clean and organized. Again, the thing we do is make all of them random and try to play a while. The preview, of course, is on. Let's try to play. We reduce the size that we have. We're going to keep the size like this in the space in, we're going to play around to see what we can achieve, the scare. See what we can achieve, okay. Then for tsion, I think we can work with this. So we can just click okay and apply. Now when we come to our brush tool and try to paint, we can see that our, our changes have been made, have been affected. Okay. So this is just how we use them. And then let me just take time to show you how we will apply them to our drawing or our ship, right? Maybe we have a ship like this, then we have colored pop. Okay, yeah, then we have no stroke on it right now. Do we need to paint inside the ship? Inside the ship. And Illustrator gives us the ability that we see these three options here. This one. This one allows us to draw normally. We selected whatever we're going to draw is going to be outside the ship, which is the normal way of drawing. This guy selected, we're going to be able to draw behind the ship. It means when we come, for example, we come and select this guy here, we try to change the color, maybe draw. We'll be going behind this ship, behind the ships, behind and behind and behind. Then while for the last one, which is draw Inside, when you select your ship and you click on Draw Inside, you're going to see this guide. Okay, this shows you that you can draw inside your ship. You just select what you want to draw. You need the color. Then just now, we can see that we are now drawing inside our ship, not outside our ship. This is what we're going to use to add these shadows and highlights our custom brushes. Just select a brush. And actually before we select a brush, we'll need to sheets of this color, right? The dark sheet. Out the bright sheet. We need to have some dark sheets and some bright sheet. So let's duplicate the guy. Okay, then let's just duplicate a third one for this one, come here, down shift and click, and then down shift and try to brighten or darken our color. Remember how we did it the last time? Just darken the color. Then we can even darken it. If this method is not working, we can come here and just try to do it manually. Yeah, the dark shade. Let's try to have a bright shade. Let's come here and brighten up the color. Maybe we could even have a brighter shade brighter than this one. Maybe we should have one other shade which is not as dark as this one. Brighten up right now when we select our pins two and then select our eye drop two and something. Now we can draw inside our ship. We don't grow inside our ship then why not see the option to grow inside? Yeah, right now when we select our ship, we see the two options here and we see this clip group. Okay, now what happened when we tried painting inside the first time, the other time? To be illustrator turned our ship into a clipping mask. Okay, that's why we were able to draw inside the ship. That's why we were able to draw inside the ship in order to continue do paint inside. Right now we won't be able to just take the pin brush tool and paint inside because when we selected right now we see that this option is down graded out. The best thing to do is right click and then release clipping mask. When we release clipping masks, we then see that it's no longer a clipping group or a clip group, it's now a normal ellipse. Our option is down back. What you need to do is in inside. Okay. As far as you see these dotted lines around the ship, it means you can paint inside. I'm going to select the paint brush. First of all, I'm going to select this, sample this color, then select the paintbrush tool. Just try to start painting inside. Now we can see that we are no painting inside our ship. Okay, I to choose this guy so we can add a bit more light to our dark sheet. Okay, maybe no tick this guy on. Just the brush. Try to create the sheet. Then finally, maybe this one brush to create this might not be perfect, but you get the point. You get the idea of using our paint, our custom brushes to add noise to our drawing. What we're going to do next, we're going to take our time to create three more variations of our custom brochure. And we're going to use these broches to add texture, light, and shadows to our artworks. Okay, I'm going to use two artworks which we created from the beginning cost. I'm going to make them available, the projects folder so you can download them. Okay, so we can all walk along. What I would then do now is just delete this one here, since we're done, you don't get the point. And I'm going to unbark our guides here and just try to continue creating these brushes. Just keep, I want to add more here. Of course, I'm just selecting and holding down Alt and dragging. That's what I'm doing. I think I'm okay with this one here. The next one will be similar to this one, but we'll have the P and not close to each other like this. We just have them far away from each other. So we're just going to delete some of them here. Selecting randomly and hitting Delete. Delete them. I can just delete a large chunk of them and just try to kind spread them out like this. Okay. Olsen, spread the outs. I think this should do this other brush. For the next one, I'm just going to select everything here, go down out and rack them here. For this one I'm going to make some of them, make, some of them to be of varying sizes. Some of them, some of them even smaller than what we have. Randomly smaller. So we're going to just take out time to this. I'm going to take my time to do this and I'll come back after I'm done and satisfied with all the others. Okay, that's with this one and this one. I'm going to fast forward the video to when I'm so we don't meet the video long. So guys, I've been able to complete my brushes. I'm just going to zoom in so you see what I have done, okay? And you can just pause the video and try to replicate what we have here. Okay, so you can follow along. The next thing I'm going to do is I'm going to import or open our projects. That's the ones we're going to use. Just come to file. Come to open. Come to the folder, the project folder that's brushes and textures and you're going to see add green 01 and adding green 02. Okay, just select the both of them and open. Okay, these are the projects we're going to add green two. Okay. Now the first thing we do is I think we should reduce the size of a bit because it will affect the size of the brush. And I actually want us to be able to work with tiny particles. So what I'm going to do right now, I'm just going to import these projects. Into our new projects, right? Just import them. I'm just copying them past in here. Then we're going to create new artboards for them. So I'm just going to close these guys now, I'm not adding the shadows in these original files so you can be able to access them as the R and import them here and do the work. Okay, so you can access the files just as the R. Next thing I'm going to do is create art boards to select the art board to just draw out one of random size. Okay, let's just duplicate this one. You can see that we've duplicated some of the objects touching the first lots. I'm going to delete them. We need to arrange our objects properly on our output perfect. Now, for the ones I really want to reduce the size of the brushes. Really want to reduce them because they will be used on the artworks. And as you can see, the artworks are very small sizes. We need to reduce the size of the b of the brushes. Just reduce the size. I'm just going to increase again, one other thing. You have to understand that reducing the sizes will also help performance because using large brush sizes will slow down the computer. Now we have our brushes. I'm just going to create them right now. There's one other thing that you can add to your brushes to make them really look good. You can add more variations by adding an effect. Just come to effect and then you start and transform the rough effect. When you add the roughen effect, you then see that you then have them not just round, you have them in different ships. In the ships are not just regular round ships, ships are squared and zigza rough. That's one thing you can do and I'm actually tempted to do that. Let's do that. I guess I'm just going to increase the size and maybe one. I want the effect to be very subtle. Okay, let's use smooth and see what we have. Smooth, smoothen the whole thing. Maybe with smooth, we can increase our size and it won't look bad. Right? So let me just okay, see what we now have. Yeah, what we now have. They are not regular ellipses or circles anymore. They have been given the roughen effects. Okay. And you know what, I'm just going to do the same thing for the remaining to come to effects. We can just apply the last effect here, okay? Instead of going to distort and transform. And then roughly again, you can just come and apply it. It's going to just apply the same settings we have here. We can do that for these guys to then for these guys to perfect on. The next thing we'll do, we just expand the object, expand appearance. Select them. Object, expand appearance. Select object, expand appearance. Okay, object, expand appearance. Then now it's time to create, to create our brushes. Just maybe more more. Okay, need to do this. The next thing I'm going to do is select our brush, our chips here, and drag them here. Remember, there are two ways to do this. You can either drag them, or you can just come and click The new icon here. B here. All right, so we choose the scatter brush. Okay, We have no, let's noise one. Okay? Okay then let's quickly the brush. So this is our brush. Click on it and just come make all these random, right? Just like we did before. Try to change settings to achieve newer looks. Let's come to colorization and tens. And select and apply. Try our push now and see what we can come up with. What we have a new bush like what we have. Select everything and now we don't. The first brush, I'm just going to select them and group them and have it kept at one side. I'm going to make this file available so you can also look at them for or see them for yourself. Right. That's the brushes I have used. Next thing we do, we select these guys, click concretes and scatter. Let's Noise to. Okay, let too, let's try to pin randomly the double click on your random. Random. Random, random. And for this guys can let us play with random settings. So there is no specific way of doing this. Just keep playing with the sentence till you achieve what you think is right. You know what, I think? I'm just going to use what we have here. I'm going to use what we have here. Oh yeah, piecing the trick. Okay guys, I'll just go with what we have here. Okay, So I'll go with what we have here. And then click Okay. And apply strikes and yeah. And yeah. We now have our brush. We pint get to select everything, just drop to the left hand side of this. Now the next guy is this one. Select them and then cut a brush. The name will be Noise She Right? Okay. And let's come to your brush to Oh, care. And then let's of course with them run gum. Sure. Yeah. I'm okay with this one and there's drug everything here. And I'm going to group them. To group this group. Yeah. Take all the groups to one side and finally we have this one to select everything and click and scat brushes the noise for okay, these are to pinks what we have double click and just change everything to run dumb. Let's play with our settings to see what we can come up with. My thought should be tints like all the Ok. We can group this guy and bring it to the side. Select everything and delete. Now we can start painting on our drawings. Just delete this to useful right now, let's start painting on our drawings. Let's start with this one. Let's group them. This guy, then we're just going to paint inside. To paint inside, let's use this one. Push the need, so let's give you the darker tint and see we are achieving to choose another person. Let me choose this guy, this county one. Let's change the scenes again, Make it brighter. Let's it very closer to, very close to the mean color. Let me y droplet to choose the color. Let's make it very closer to the mean color. Okay. Was going to make it proprietary Paso Pitts Hydro per two. Okay. And then let's choose the grabo again so we can make darker tins. This time darker, maybe. I'll choose a different brush this time, choose the sky. This is the first brush we created using it, using these other ones. The new ones you see the size of the brush. As you can see, we have given our ship some shadows, some tunes, and some highlights. And we can keep going on and on and on and on. Okay, all we need to do is just select hydro sample the color, make it darker or brighter, and then we paint. I'm just I'm going to choose this method of making my colors right in this. I'm okay with what we have here. With this, we're done with our first ship. Now we can move to the next one. Now we can move to the next ship. The next ship will be this ship. To select the ship, click Pint inside. Inside selected two, sample the color. Let's make it darker. Let's use our pints to start pinching. I'm pinching in the wrong direction. I'm just going to make the shadows at this point. Okay. Really, we can just use one brush to do the whole thing, but having, uh, multiple brushes will make the whole team interesting. So that's why I'm, I'm using multiple brushes for this one. We're just going to make the teams a bit darker. Make the color a bit darker? Yeah. Okay. And then I think I have an idea. Maybe I'll just saturate the whole thing with the tune so that I now have this color as the highlights. Okay? But I now have this mean color as the highlights and sky. So what I need to do now is just to sample this color and then Pint. Okay? Perfect. Yeah. I like what we have so far. Okay. The next ship we'll be using, we'll be handling it. This ship? This ship. The next ship will be handling. Try. Yeah, this is the ship will be handling. To select the ship and then go inside and sample of the colors darker. Use your brush to pin just this brush. Make the color darker can just create this shadows here. I feel like using a brush like, thank you, this one. So I'm just going to do the same thing I did here right now. I'm just going to populate this piece with the tone and then I'll just use this mean color as a highlight. Some one still highlights guys, I like what we have so far. Now we're left with these ships or five ships. I'm going to use this one now. I'm going to use this one. Sample your color, make it darker, really darker for brush, then let's paint most at times to achieve effects like this, designers tend to download brushes. Prefer to download brushes, that's another way of doing that. But I feel a simple way is just to create yours. Why don't you just create yours? Yeah, we can see that even the ones we created are really good. You will easily compete with some of the ones you have out there for sale. Okay, that's the importance of creating your own brushes. I like what we have here. Let's move to the next ship, and this will be the next ship. Set the guy pins inside. Let's just make the color dark. Let's make it brighter. Let's just make it brighter. And pins at this side. Let's pin here, let's make a darker color pink. Do this ship on the next one with this yellow inside, darker. Going to the shutters. For this one you're going to use since that same color walk with this one now version, sorry, hens, darker color. Lastly, we are going to work on this one to select the sheep and paint inside, then give it darker. She push inside, I feel like just making a brighter sheet and painting here so as to make this color stand out from the red color O print brush. Perfect. So, so far so good. I like what we able to come up with. Yeah, the level of detailing you can achieve by just creating your own brushes and using them. Now, we have the second one here. This will be class. I just want you to come and use the brushes we've been able to create, give highlights and shadows to this bird. I'd love to see what you can come up with with this. We've come to the end of this lecture and I'm sure you've learned something new and something interesting. I hope to see you in the next one. 59. 59 Exercise1 Adding Grain Texture to Our Artwork 1: And war come back. In the last lecture, we learned how to create our own custom brushes. Okay, our own custom Noise brushes, and even use them on artworks. Now in this lecture, we're going to be actually doing something cool. We're going to be creating a character figure and then using our custom made brushes to add shadows and highlights and texture to our character. Now the projects folder, you come across these files here. I have two files here. These are what we're going to be creating in the course of this video. Now is our character. You can see this is a modern trendy way of character illustration. I'm sure you've seen characters, we just look before if you are a good follower of illustrations, right, So this is the character we're going to be creating. Okay, first of all we're going to draw the character. And then the second video that follows, we're going to add these green effects, the green highlights and shadows to these characters. When I zooming, you see all the detailing. You can see that a lot of work has been put into this character. Okay? This particular one has the background, while this one just has a plain background. Okay, and we're going to be creating this in this video. Come to other Los D, then let's come and open. When you open, you're going to see this exercise one, just open exercise one. Just come to the project folder and open exercise one. All the files will be made available to you. This is the character we're going to be creating. But I would like us to draw out the character from scratch so that hopefully you get to refresh your memory on the tools we're going to be using. Okay. In order to add the greens, one thing I will have to confess to is that I made some changes to the brushes. I made some changes to the brochures. If you import the brusches from the previous video, or if you come and open this file because this file will be made available to you, you'll see that these are the brushes we created, right? Four of them. These are the brushes we created. And what I did is just came and I spread them out a bit. Okay? I observed that when we have them in this kind of circular ship, this kind of specific ship, and we paint, we just get our painting take this circular form. And that's not natural for brushes like this, right? So what I did was I just spread them out a bit. So this, this guy, this one is this guy, and this guy is this guy, and this guy is this guy. Okay, so how did I do that? Let me just give you a quick tutor of how I did that. We have them as a group, right? What do you need to do is duplicate this by holding them all and drag, just ungroup them. And then just spread them out like this. Spread them out like this. While spreading them out the bounding box, okay, That the blue square around the ships might interfere in such a way that instead of trying to drag it out like this, you then make a mistake and just maybe scale it like this. Okay? That's because we have this bounding box. You might not experience it here, but when you come to start dealing with very tiny particles like we have here, you are definitely going to experience that problem. Okay? That's one of the problems you might experience in order to sort this. You can just come to your view and then where you see bounding box. Okay, hide bounding box. You can just click and then we have it hidden. Okay? If you also want to hide your anchor points, all you need to do is control it and then all heating so you'll freely be able to spread your ship or your brush out like this, okay? Without any interference from the bounding box or the anchor points. Okay, So that's one thing you need to note. So just do this for all the other brushes and then let's have them look like this. So you can have them look like this, okay? And then one thing I didn't cover from the last lecture is how to export our brushes, okay? Our custom brushes so as to use in other projects or so as to sell them in the market, okay? Because of course, there are people selling brochures there, people selling brushes. You can buy brushes, you can get some of them for free. And these people are people like us who just know the skill of creating custom brushes, right? So in order to kind of have these custom brushes as separate files so you can import them into future projects or sell them online, all you need to do is copy them. Okay. So we're going to presently just try to create them as a custom library. Okay? So just copy all of them. I'm just going to go and turn on my bounding box. Okay? Show bounding box. Okay? And maybe control H to bring back the anchor point. Okay? And then just select all of them and just control and we're going to create a new document. I can show you how to turn the custom brushes into real brush files, which you can use in future lessons and also sell them online. Okay, now select the guy. Go to your brushes and just add them. We make them scatter. Let's make it Noise brush one, of course, you need the steps. We just come and take our brush to try to draw our stuff. Yeah, this is what we get. Then just come and let's make everything here random so as to get the best settings for our brush. Okay? Okay, and then for colorization, let's make it tints and Okay. Okay, now we're done with the first one you can delete. And for the second one you just select and add and then scatter brush, Let's see. Noise brush to and colorization Tes and. Okay, let's with our brush. Let's draw with our brush. Of course you can see that it's taking the ship I was talking to you about, right? It's taking the circular ship. But of course here it's a little bit better because we've spread the wilting out. Let's try to work on our brush to see how we can make it better. Turn everything to random. Just try to play around with the options like this. Yes, and okay. Now we're done with this one for these guys now. Just select them and create a scatter brush and Noise. Three, okay, can take a brush to painting like this. Okay. I'll select everything and come and change everything here to random and play around with the settings. Okay, apply. Then finally we have these guys here. I'll select them. Create a scatter brush and Noise Four. Okay, and then use our brush tool to make painting like this. And try to our options. Everything should be random. And then this guy should be tints. Let's try to play around with our settings. Right, you guys, I'm okay with our certain here. And click Apply and delete everything now. From now on, you can now delete everything we have here. And then what you then need to do is come to your panel, brushes panel. And select all the brushes here. And just delete them apart from your custom brushes. Delete them. Okay, Deletes. Deletes. Okay. You can't delete this one, These other ones you can definitely delete them. Yeah, we have this one here which we cannot delete. And then we have the other ones which are our custom meat broches. This one which we cannot delete. Next thing to do is just come here and see Broch. Okay, now let's go to our U. Folder just created. New folds library. Let's make it our custom library. And then go inside and name of noise brushes. So when we go to projects folder, we see that this is library. Now this is our library. Okay. Now this is our library. Now all you need to do is just close this file. Now let's try to import our library and see what we get to create a new file, a new project rather. Then let's have an ellipse here. Let's remove, then give it be okay. Now all you need to do is come here and drag in your custom. Don't drag it in here. Don't drag it to this piece. Just come here and drag it into the project panel. Drag and drop. Now we can see that we now have our brushes here. We now have our brushes here. And you can start to work on them, to work with them immediately, so you can create your ellipse, okay, Then draw inside. And just select your brush right away. You can start painting now you can start painting. You see that's how to create your broches and export them. That's how to export your brohesow. We are going to recreate this drawing here and then we're going to add the textures to make it look like what we have here. Okay, the first I'll do is cont duplicate this art to the side like this. Then just delete what we have here. Deleted. Let's come to file and please then here we have the images. We're just going to please this one without the noise background. Just please and drag it out like this. Perfect. Now we're just going to trece out this drawing. This will just come to layers. Create a new layer. We're going to work on this layer. For this one, I'm just going to reduce the opacity of the drawing. It's going to be positive drawing, maybe to 45. And then I'm going to lock the layer and select our new layer. We're going to draw on our new layer. The next thing we'll do is just kick our pencil and then try to start drawing right away. Starts to this part of the hair here. This is how we draw in Illustrator. I'm very sure you are familiar with this. After drawing the parts, I want to see beneath it and I want to maintain the color. All right. I'm going to first of all sample the color we need, which is this color. So I'm using the hydro. Okay. Why selecting that part? I'm using the hydropo, Hydropojust, going to click Sample the color. Okay. I'm then going to use shift X to change the color. To change the field color to the true color. And then we're just going to draw out this part of the hair. Wouldn't be as exact as what we have here, just make it close. I'm willing to close the ship here and take my direct selection to, and try to play around with what we have here to make it look perfect. Of course, I'm using my mouse wheel and Alt to zoom in, zoom out and move around my drawing like what we have here. All you then need to do is select the ship, select hydro and sample the purple color for the head. And shift x zero and shift X to swap the with the fill color. And real going to arrange and send it to back so it's behind this hairy bone here. And setting the pento going to mount, draw the mining of the hair. You mean part of the hair? Kay, For my direct selection to, and I'll try to play around with the handles to achieve a more fluid look perfect. And we should also take this behind our rep to arrange and send Park. Perfect. Now, let your pencil and continue your drawing for these parts. I'll just start here, then come here and try to create the head like this. For the other parts of the head, we can just create it like this select drop to just sample the color here, of course. Send it to the backreen buck. You can send it to the back by also using this shortcut here and shift control, open bracket. Okay? You can use this for your shortcut. Okay. The next thing will be to draw the ear. Maybe I should use the covet. You get a taste of how the coverture two works in case you do not know. This is how we typically use the coverture to very sweet and easy to use to we're going to eye and sample this color. Then of course send it to the back. Instead of swapping the colors. Let's just leave them like this because there isn't much work to be done here any longer for the neck. I'm going to draw out like this. Come and click on the last point to make it an angular point. Okay? To eliminate the other handle. And then give it an angle like this. So we can draw a straight line like this. For this one, sing to draw and crack, Then zoom out, zoom in it for your hydropat sample. Arrange back. For this one we will do similar. We can just start by, we can just start from here. So we can handle these parts first and then draw this, drag it out like this, because it's going to interfere with my remaining drawing. I'm just going to shift X to a shoe color instead of a field color. I'm going to use my two, that's my direct selection to, to try to even out my curve like this. Then come here a ankle 0.2 and I'm going to add an ankle point here. Select your two, Select your ankle point, Let's drag it out like this. Perfect. Select this guy also. And drag it out like this, perfect. And maybe this handle like this, like your pencil. And continue your drawing. I'm just going to stop here. You stop here. I continue drawing the hand here because it is a different shape. Okay? And just stop here. And then make this, of course, an angle. So you can draw these other parts, like this control to undo and let's try to get it perfectly for this other one. I'm also drawing it out like this. I'm drawing the breast. The breast is a separate ship entirely on its own, the hands like this. And keep drawing. And finally to draw this and continue. Now we use for your direct selection tool. And let's try to even out of growing like this. Perfect for your pencil. Just go back to your direct selection tool. I feel it will be good for us to work on this part. So here we have our curved icon here, right? And we can just drag to increase the curvature. And really I'm supposed to cover some of the features of this curved function here. Because we just covered the one feature, which we give us a curve when we drag. But I haven't covered the other features which can be seen when we double click the point. Okay, so when we double click the point, we have some other features which we can use. So I'm just going to maybe come to this later. So let's just continue our drawing. Continue, leak and drug. It's like you eat to try to even out your drawing. This. Sorry. Perfect. And for this guy, let's give it this color shift x to give it a stroke. It doesn't interfere with the remaining work we have. Let's try to draw the hand now. Click, click, click, click. You can just leave it as this literal. We're going to add the stroke profile and so on and so forth. Now select a pencil, and let's try to create this part of the hand. Okay, and we can just bring it here like this, perfect. The next stem will be to create the breast. The breast is just what we have here. Perfect for my direct section too. So even of the drawing like this, Like this, perfect. Let's continue to draw the lower part of the drawing. Me to start here, come here and just draw it out like this. And kind this, this, close it out like this. And let's just make the preps here more cov, like the drawing perfect for this guy. We need to give this field color. And one thing we do need to sort, okay, range. And puck puck, One thing we do need to sort is this leg, Okay? So this one is kind of a different leg. This one is kind of a different leg. So what I'll just do is I'll select the whole thing and create a duplicate. And I will now use my shape builder to and als delete these other parts. Delete, sorry, Kind of use my two and delete this ankle point. So we have this line that this, then for this one I'm just going to take my, my shape bul too, and just delete this guy that's wiling down all okay, and clicking, that's what I would do. And then for this guy, I really want this one to have a cut here, right? So what I'll do is I'll just come here and take my caes to knorr, not my caso. I'm just going to what I'm just going to come and take my pen tool and draw out a drawing like this. Align like this rather. And select this guy to align it here. Select this guy. Try to align it here. Now site the both of them and then just go to my path finder and then divide. This is divide, divide that. We'll now have this as a separate, as a separate ship. I think it didn't divide properly. Why didn't it divide properly? See what's happening. If it's not going to work properly, we can do this as well. Just drag it like this and select everything. Yeah, divide, Delete the lines here. Yeah, we can also just come here and create another divide, select and divide. Just come and delete the met here. And delete this guys here, what we can just Sean points and delete an points and deletes. Now we have the street line here, then we need to do Come on, just align these guys here. After which, I'm going to close my path finder and just align these other ones here that other leg aligns, you have here arrangeent back. Now we can furthermore delete the unneeded part of this by just clicking to go to isolation mode. And just using, just drag in this, maybe even delete this one. Perfect. Just skip to it, back to normal mode and then select the boot of them. Duck the boot parts and shift X to give you the stroke. Right away, we can see that we have a problem on this ship and all we need to do is just come and join this part. The part, Yeah, we have everything perfect. No, no. Select a pencil and try to draw out the shoe here. Give it this color. Of course, the next leg you can shift X for the stroke, perfect. Now we need to grow the hands here, right? To click and drug all those deletes. Click and click. Rug, sorry. Control Z. Sometimes my computer turns Y on the keyboard to Z and Z to Y. I really don't know why it does that. And that's why when I do control Z, right now you see it's in this mode instead of undoing. Okay? When I experience this problem, all I do is now control y instead of control Z. You might get to experience this a little bit more often. There's a drug behind this, like this. Then sample the color here you're drawing. And let's see, send it backwards again. Just draw this one out. When we come to add color and arrange everything perfectly, we're going to deal with that. Let this guy give it a black color and increase the sky. Two, put it down maybe three. Then we have these parts here. Click these parts here. Drug. We can just select the boots of them. We can even just bring the points here. This other one also bring it here at the meet at this juncture, perfect. Select the boot of them and boot the properties on a profile. And give them this profile. Then you can also do this here, the properties, maybe we should increase the stroke. Then we need to draw the box, right? We need to draw the box, and then we need to draw the flow at the bugs come and get this guy. A guy, Yeah, this guy. Here. Here, select all of them and just come on some Who? Here? Maybe we'll leave it at one and then try to create these other parts here, shift X. Maybe we'll give it a darker color. Let's just sample the original. Okay, I sample the shift X N. Next for this guy will be sampling a brighter shade. Let's see it with the stroke, so you can draw the blood lines here. I'm just hitting skip to end the drawing. When I draw it, Skip, I can end the present drawing and continue drawing it. Skip. I keep skip just for you to know, in case you don't know, we continue our drawing here. Click, click, click, click, click, click, and then sample the color. It's for your penillklkamp, this color stroke shift X. Take your pen and now try to create these guys in the middle. Click, click, select the boot of them. I give them your stroke. It pen, click, click, click, Click the sample dark. Click the guy here in history, the lea is locked so you can click. So just give it a stroke. She then click, click, click, click, click. Give it sheet here. Let's just give it a stroke instead. Then your pin to click, click, kick, click and click. Perfect. Now for this guy, okay, for these guys, let's hit and give them this stroke. Or they just select all the strokes here or all the ships here and give them a black color or this sheet of black. Okay, we can now bring back our colors. Shift X. This one needs to be above this one. To select the ship, select the strokes ten to front. This one needs to be behind this guy. He ran Parker. This guy looks perfect. Here, this guy looks perfect. Also, this guy shift to the color, color and try to at this guy. For this one I'm going to shift and then send it to the park. We shift X, We have what we are looking for. Now for the. I feel like copying what we have here because I don't want to waste a lot of time. So I'm just going to unlock this layer and drug everything put down. Al. Bring it here to the most complex part of this, it seems I've done something. I'll just copy it again. I'll just copy again Al and drop. Perfect. Now you know what I'll do. I'll just lock this layer, select this guy, select the background layer. Control X to copy and come here to this layer and unlock it. And then control to pit in, please just lock back this layer is other guy. The most complex thing here is using the ship builder tool. It's a very simple drawing. Just the leaf like. Okay, the leave, then for the holes, all I did was I used paint to pated structures like this. Maybe give its go green color. Then select the vote of them. Arranger, transform and reflect. Copy, something like this. You get the point. Now select all of them and then come to your ship builder to click it. And then hold down Alt. Click, click, click and drag. Now we have the cords here and I just duplicated and rotated them and just added this effect. Basically, that's what I did. Not much. I'm just going to hold down O and bring this guy here, because I forgot to copy the one here. Perfect. Maybe I will reflect it. Okay, perfect. I'm going to delete this guy and we're going to start working on bringing all our colors to life. Select this guy, shift color going to on it. And sample color for the body to shift, bring the color back. And for this guy to shift X. And you know what I'm going to do to bring it to the front. Perform that. I'm going to control C, Control copy and piece in please. Instead of giving it a color now or fill column to give it a stroke color, boost the stroke and then give it this profile here for this guy. Arrange bring to front shift X and control C control. Then give it a so color shift X instead of this. Give it a black color boost the stroke and give it nice profile for this guy. I'm going to shift X sent to back for this guy, I'm going to shift X S to back ***, shift X back. This guy also shift X and we need to send it to back. Maybe you send to back. Perfect. Now we left to this shot shift. If we just hydro lia here, you can see that we have achieved our drawing. Achieved our drawing. You can compare it with what we have here. Maybe these strokes should be a little bit the stroke by one for these guys. We could make them one more pixel ticker. Just select all of them up the stroke by one pixel and select two for this guy. I'm going to send it to the park. This guy and this guy, I'm going to send them to the park. They appear behind this hand. With this, we have come to the end of our lecture. We've been able to redraw our character. In the next video, we're going to paint our character with our custom brushes. See you in the next one. Bye bye. 60. 60 Exercise1 Adding Grain Texture to Our Artwork 2: Guys and welcome back. In this lecture, we're actually going to be painting on our character. Okay, we're going to add those shadows. Add those highlights that make the halting look good and texture. Okay, like this. We going to turn our character to this. Yeah, go back to our Los Fredo first thing, first select your character. Then select the draw inside function here. Activate the draw inside function here. And when you see the box here, you know that now you can draw inside. We're going to start by selecting our brochure. Select the brochure. I have my brushes here. Have my brushes here. Select the brush, of course. I'm going to have this copy here so you can access the file and then follow along. Okay? You have to know that using this brushes add width to your drawing a width to your project. And it might eventually slow down. It will eventually slow down your computer. Just have to take note of that. If possible, do not overdo it. I'm going to take my brush now select my brush and then maybe sample my color and shift X. Then select back my brush when I pinoon't be able to see painted. I just need to make this darker again when I pin. Now you see my painting appears now inside my ship. We're going to undo this then maybe make it a little bit darker. I'm going to come to stroke and I'm going to use a smaller stroke here in five first. Immediately, you can see that I am now pinting inside my ship. Inside my ship, we're going to pin around this. Give it that shadow. Look well. To change my brush to something more dramatic guy and shifts, I want to reduce the size. This. There's no specific way to do this and right way to do this, Just make sure you use the right brush size and then make sure your highlights in your shadows come to life. Right? I'm going to keep painting. Keep painting. Maybe just take this to one too much. Going to do it outside so we can have the after math effects here. That makes sense. The next thing I'll do is brighten up my color, right? Colella mean color And then try to brighten it up. Then select my. I'll just use this scanty. Maybe I'll just use this. Maybe we should increase our 0.5 cheap growing already. As you can see, growing is beginning to come to life. Let's compare it to what we have here. You can see that we even have bright sheets here brighter than what we are currently having. I will not go to the extreme with this, just going to be moderates was a little bit extreme on this one. Don't go too extreme, more moderate. Perfect. Next thing I'll do is select, sample this darker color. And want to use the sin brush to just add life to this. Maybe Ken smaller chook and then just this. And maybe I should make it darker and try to follow the edges. It perfect guy. So I like what we have here. May not be as dramatic as one here, but I think this will suffice. Next we select our selection, can then click out of our inside function. The next thing is to select the other part of the hair and then grow inside. If you do want to add drawings or more painting to the ones we have done already, all you need to do is just come and click. When you double click, you get inside the ship and now you can maybe add more drawings. Okay, so that's the way to add more drawings or edit what you have done. Perfect. Click and you are now out of the ship. Select a next ship and draw inside Tick a brush and start to draw. Maybe make this then use the stok size. Start to draw. Let's compare with what we have here, our key. Let's continue our drawing. Let's just brighten up this guy. Sample our main drawing. And just brightening up so as to add, sorry, let's give it, one thing you can do is just keep selecting the 22. When you select about the two, you can put the stroke size and it's going to non works. You are experiencing some of the problems I'm experiencing here. Perfect. We have the shadows, we have the mid tunes, and we have the highlights. We even pet another layer of highlights. Make this brighter again and just maybe change the brush to this one. Make this brighter and select your stock size. Yeah, we have another layer of high bright highlights. That's the way to add she, the way to shed color your artwork. You have to have the highlights. The mid. Tunes The shadows. Maybe I should add more shadows to this point to eye. And select your eye dropper to take your paint and do this. Okay. We can even make our smaller, maybe 1.50 0.15 rather smaller. Perfect, perfect, perfect, perfect. Now we can go out of our ship, set the pen tool, and go to the next ship. Now this is the next ship and grow inside your brush set. Maybe we do shift and remove the, select your brush once more and just give it that you want. 0.00 0.25 and darken it up and start to pins. Perfect. I'm going to leave it like this. I'm not going to do too much here to go out of the ship, select the next ship, go inside and shift X your brush, select your guy here, and then give it the stroke size you want. It turned out that I clicked the brush too, and it brought out the options, but I'm not going to edit anything. Going to continue my painting. Tah. And then I forgot to change my stroke size. Maybe 15. Okay. Just throw it out like this. Maybe even 10.1 and throw it out like this. Perfect. Perfect. I like this guy here on. The next thing is to pince the neck, right? The neck. And select your guy and go inside. Select your pints, brush to select your preset, change the size and start to draw. All right? I want to take this even smaller 0.15, I want to hear the shadow beneath the head so that the head will pop out. Okay? Maybe something like this. Really guys, you can just use one brush for this one bush for everything. You can use one bush for everything. But in order to add flavor to the whole thing, of course, you can use multiple brushes. I'm just going to sample my color and get a brighter sheet. And select my brush gives 0.150 0.15 perfect. Let's go out of the two. And now let's work on the big guy here. That's the shed. Okay, to select your guy, go inside, select your pencil. Um, select your brush preset. And change the brush size. Okay. Right away you can start painting because I'm going to just undo and I'm just going to start to paint like this. Maybe this color is to show. I'm just going to sample that's got here shift to bring it to the. So just dark color to go back to my brush and choose the size in 25. And I want something more intense, right? So I'm going to choose this guy here. Select this guy here, sorry, this guy here, 0.25 continue. I'm going to focus on making this part very subtle. It won't be so it was going to be subtle. Remember we have looking. So at this point, we even have the bulk of the shadows around here. I'm making a mistake with my painting. Maybe we can just leave them here and have other ones here also, not going to maybe make this darker then here also, this outlines the breast. I'm going to choose this brochere to add flavor to the whole thing. Okay, so we don't just have specific broch. Just one broch. I'm going to. Okay, sorry. I'm going to use my brochet. Just control and try to have the bigger ones around here. Perfect. I like everything going so far. Go out of your ship and select the next ship. I'd like us to walk on the breast. Remember we have brush and then the ship has no stroke. Okay, it's the ship we are going to be drawing on. Select the ship. Go inside, be stroke size. And then I sample my color. Sample, color the hell out of it. When we be undoing some of the painting here, I don't want them to exceed the parts out. My system is experiencing some slowness and that's very common when it painting with these kind of bushes. Want to take my brush to continue painting like I've been doing perfect. So I kind of like what we have so far. Select your selection to go out of the two out of the ship and We are doing something really good here, I must say. I forgot to paint around this part of the ship because the hand will definitely be casting shadows on the bodies. And because to reflect here, right, just click back into the ship. Your pin to I didn't go back into the ship. The ship and click go back like a pin to Let's continue painting. I think we need to reduce the size. Okay, let's keep painting like this. Maybe we make it even bigger. Make the stop even bigger. Yeah, this should work, Should suffice. Let's go out of our ship and see what we achieved. Like what we have so far. Perfect. Next thing to do be to select the next ship and go inside the select your brush to shift and darken your color and undo and just give it a tiny shot. Just pin. Just pin. And pins and pins. Let's kind of blend things here. Good at T. I walk space back and to the last one. Yeah, I think I like what I have so far and I won't do more. Maybe I'll just add one more layer of amazingness. Okay, one more of shadows. Okay, let's maybe choose of the brush and select the guy here, see bodies messing up. Select the guy here, pins around the edges to create more shadows. Stop here. Good, because they need to inside into the body ship to blend it, maybe I should just do it. Okay. Okay, so go into the body ship and it's here to make it look like this. Okay, go out of the ship. Yeah, we know how the perfect blend here. I'm done with the body in the hands. My next target will be here. This hands here. To select the guy and go inside the ship. And the bush shift and select Pint. Change the yeah. Maybe brighten it up or darken it up. Just messing around with your shape painting. Maybe choose this more intense brush, perfect then I would like to brighten it up, Sample my color and shape. Brighten it up like this. This guy, choose the scanty one. This one? Yeah. I'm just going to leave the whole thing like this. Like what we have so far. Go out of the ship and select the next ship. The next ship shift. Tell you the bit confusing I'm feeling we should walk on the second hand, that's finish work. Work on this guy. What I'm going to do is I'm going to walk on the drawing first. Just or maybe delete this guy. And delete this guy. And select this guy, the perfect. Select this guy too, and create the coveect. Finally, select the guy and go into the ship. Select your brush shift, X, S, the color, and click it. Daryl your brush And select your size guys. I double click the brush to lick in, and I didn't need to click, so I just okay, and, and then let's start to draw to paint, right? Perfect. I'm going to brighten up my color bits rising up my color to shift. Just rising up my colors. Blue and B for brush and pins here to reduce the stroke size 0.02 Then maybe make it even more brighter. Maybe the stroke size to 0.15 then. Yeah, see that we're achieving better highlights, right? Yeah, I like what we have so far. I feel like darkening this part up more so that we have the highlights in the middle. Okay, I'm going to do, I select the dark guys here, sample the dark Gci. Hits for push to continue painting. Going to, of course, reduce the shug size 15. Then we're going to paint perfect. Go outside the ship and yeah, like what we have so far. The next guy is this guy is the big guy. The big guy. I can see that we are not able to go inside the ship. It turns out that the big guy is a group. It turns out that the big guy is a group. So let's try to group it. See, yeah, now we can go inside the ship, now we can go inside the ship. So go inside the ship and then take your brush to shift X and make the color bit darker. Okay, and then select your brush. Reduce the size, and we can begin painting. Maybe we should make the size bigger. We need to undo some of the, the paintings and make the size of 0.5 I like 0.5, so we're going to work with 0.5 To work with 0.5 from now, maybe we're going to reduce it. We are trying to paint some other intrigued parts, right? Mm. I'm going to keep painting, if you like, you can use other brush presets, but I'm just going to stick with this one. Okay? I just want to get this done quickly so the video doesn't become uncessially long. Okay, so I'm going to reduce those truck size because I want to pint places like this. I want to add some shadows, places like this. I'm just going to add my shadows just to make this part stand out. All right. You get the point. Like what we have so far. And maybe I'll just add another level of shadows. Maybe K darker. Make it darker so as to have better shadows at the edges. You make it more dark just so that the edges can stand out. One other thing guys. I need to clear demarcation between these two legs. So I need to demarcate them with a more precise brush to select the guy to the color, you know, I think I will just. Smaller size 0.15 and just might not be really perfect because it's interfering with the other parts of the drawing. But you know what, we don't have to make it too precise, right? So we can just come towards, maybe just come towards and pin. Just doing, you know what, I'm just going to use my brush. This brush and I'm just going to use it to I just need to do not and change the stroke size. Then select my brush size. Just going to just make. So make it. So just make it so I'm going to make it. So I think this will work better. Work better. Maybe we can just up like this. Look into these other parts of the leg in so manner. Okay, perfect. Now we're left with this other parts of the leg to go out of the ship. Let the guy go inside the ship. Your pint brush to let this guy here, let your size and begin to pint for this one. Maybe a little bit of darkness. A little bit more darkness. We do us to differentiate this guy from this guy, right? When we do this, see that we now have a shadow casting on the leg behind. Another effect we should have achieved here, but it's not still bad. Just select the brush once more. Let's make the painting more. Now, as we build up to the end of the leg, we're going to let my eyedropper and try to sample on the brighter sheets. And then brush. I like what we have so far. Go out of the sheep and let's do the legs. These legs, okay, select the leg. Go inside. Select the brush to shift X Nick, Select your brush. Brush size pins. Good guys. I'm going to leave this one at this out of the ship. Select the next guy. This guy go inside the ship and push to shift eggs, make it darker. Select your guy here. Smaller size spins, we are doing with the character. The only parts left are the parts here. The guy go inside the ship, select a pin, shift X, make select the brush preset and make this darker pin, maybe even bigger, 0.5 in. We need to make. This shall stand out so that ship stand out. Right, for this next guy, you need to select the guy, go inside the ship, shift X, make this maybe even key. Select the paint brush and then size. Right? And then brush size. Yeah, maybe we select the more intense will change the size to 0.15, more intense painting around the middle ship. Yeah, I like what we have towards the end. We can actually make our ship sample the bright color she X, make the ship make the sheet brighter. Select your guy back. So sorry guys. I tend to keep double kicking the B to Okay. And I don't want to make any changes. Just can then select your shook size and then pints. Pint around the edges. Yes guys will be the end for this ship. Go out of the ship. Set the next ship, this one. We're going to use the same brush shift X and make even Dak smaller, Shook, and then pins. Perfect. Select the selection to go out of your ship. Select the next guy, go into the ship. Select your brush to select your brush preset. Select the size of the S, and then make this and then Ptsd. Sample my color shift X and then make it a T. Sorry. The paints, so my, my shot is big now Pinto. I'm looking to paint all around, all around like this and then come on, darken my color so as to be precise in the middle. And then just select this guy. And so as to be precise in the middle, right? Maybe even reduce my size. And then paint like this. Now the next one is to work on this last, this last to select the guy go into the ship, your pain and your brush. To shift X N, select your push your brush and then select shot size paint. Needs to be more intense at the end so as to differentiate it with the white bug perfect. Just go out of your ship or maybe just biting the color, maybe to sample shift X and bright in the color bit. The brush. And let's just, let's just pins perfect and go out of your ship, select the last ship and go inside shift X, darken it up, bits, select your guy here, this guy. Or maybe even use the smaller ones so we can focus on the middle. Just the middle, like this, like this, lots like this. Sample mean color. She make it even. And stroke size needs to be, sorry, I double click the brush again to select stroke size needs to be small. We can see that 15 can see that we're having some nice highlights here. Basically, that's it. I don't want to do too much here. That's it I docked out. Again, I'm just going to talk it in. Okay, Selection to and go out of the ship. Perfect. Now we're completely done with our character and we can see the details. We've been able to add very beautiful shadows and highlights. The next thing left, the flow is here and the flowers. And then maybe do that background. In order to just keep this video shot, I will ask you to complete the remaining, you get the point. And of course you've gotten the steps. You just have to select the guy, go inside the ship, Select your brush, to select your brush. Reset, Change the shut size and then pin. Okay, you then do the leaves. Do the leaves and do the flow, right? So I'm just going to import the one I did with the background. I do the background so you can see how the background look like. Perfect. This is the one with the background. Just going to skin it up and you can see what I did here. Just put this ship and we had the mean background as this color, you are going to be responsible for quitting the ship also. And then just painting in the ship, the two ships, right? Just like we did here, all the files will be made available to you and I would like to see what you can come up with. This will come to the end of this lecture. See you in the next one. 61. 61 Assignment 12: Hello guys and welcome back. In our previous videos in this module, we learned about the brush tool. Okay, we learned how to use the brush tool. We refresh our memories on how to use the brush tool, how to create custom brushes, how to export them, how to import them, how to use them on our artworks in this video or in this assignment. Okay, so this is an assignment. In this assignment, you are going to come up with an artwork just like the one we have created in our exercise project. You can go on Pinterest. You can search on Google. Okay. Of the creative sites, you should be able to get concepts which you can work on and come up with something amazing. Can be a cartoon character, can be a character like this. It can be maybe an object or a set of objects. Whatever you can come up with, just come up with something and use the brushes which we've created here to just give it this greeny texture look with the highlights and the shadows. I would love to see what you can come up with, share your project with me, and I would love to see that. See you in the next one. See you in the next module. 62. 62 Clipping Masks: Hello guys and welcome back. This module is about masking. Okay, in this lecture we're going to be learning about masking. We're going to be learning about clipping masking in this lecture. And then in the next lecture, we're going to be taking a more advanced type of masking, which is called opacity masking. For the first one which we're going to be looking at, which is the clipping masking. It's basically a simple way of revealing part of a text or an object or a picture. Using ships in B Illusto, using vector, ships in Ab Illustrito's. It's really a very simple, basic concept. I'm very sure most of you know about it, and we even covered it in our busy course. Okay, so I'm just going to go through it over again. I'm going to start by creating a new, new document. What masking does is it helps to reveal parts of a picture or of an object. In order to demonstrate, let's just come here and go to the project folder. Okay, in this project folder, we will go to the fourth folder, which is the masking folder. Okay, which has the name skin. Now, just come and import these two images. I'll just choose one of them for now. And then please see Now. Masking enables us to reveal parts of this image if I take a ship. Okay, then draw it out on the image like this. Then select the boot of them and right click you. Then see where it says clipping mask, right? If you click clipping mark, you can see that the image is now buried within the ship. Okay, within the ship. Only this part of the image is revealed when you double click. Now you then see that we can now move the image. We can now move the image, but when we do not double click, when we just click and try to move, we see that the whole mask moves. Okay, so that's itable marking. And when you select the mask, you then see these two icons here appear and with the name clip group. Okay, now it means that this is now a clipping mask, it's now a clipping group. And when you come and click here, you'll be able to edit the image. It means you are going inside the mask to edit it. That's how masks work. We also have what we call compound masks. Let's go ahead and please the second image, we also have what we call the compound masks. And these masks work as a compound objects work in compound objects. Let's assume we have this ship here and this ship here, and this shape here, and this ship here here. We just have them arranged like this. Maybe this one is bigger. We want to create a mask using the S. We want to create a masks on this image using these ships. When we select them and maybe bring them here, then select everything and right click and make clipping mask. We see that we are not able to do this, I'm just going to undo. In order to do this, just select your guys, your ships go to objects and go to compound path and then make you're making these a compound path. It means they will be acting like one. It means when you select them. Now, when you select everything now and right click and make clipping masks, you then see that you are able to create your clipping mask. That's it about clipping masks, Very simple topic. I'm very sure you have experience with this topic because it's a very basic function, every basic user of B Illustrator should know about it. Ok, you can duplicate. We see that we now have the mask here. Of the masks here, that's one of the ones duplicated. The one duplicated. So you can just select put down all the duplicate, Bring it, maybe recite it a bit, and go out of the group. And we see that we now have the mask here. This is just all I have for you regarding clipping masks. Now in the next lecture, we'll be looking at a more advanced type of masking. Okay, see you in the next one. 63. 63 Opacity Masks: Hello guys and welcome back. In this lecture, we're going to be learning about opacity masks. Okay, so what are opacity masks? They are similar to the clipping masks which we looked at in the previous video, only that they affect the opacity of an object or a ship. Okay, so I'm going to select a common precise here to start and how they work is you use an image or an object or a ship to actually generate them. Okay, so I'm just going to explain that in a minute. I'm going to please file, just come to the project folder. Let's please this first image here. Just draw, you don't please. Okay, then come again and import another image. Let's import this one please. Okay, what opacity marks do is they use one image to generate a mask around another image. Okay, using the opacity channel, I want to use this image to generate my opacity mask in this example. Okay, we're going to see the effects we can achieve with this in a short while. Select the image, bring it on top, the other image, okay, the mask has to be on top. For this example to work, bring the mask on top and then select the both of them and come to transparency. Transparency. Yeah, this is transparency. Just come to the transparency panel where you see, you just click mask immediately. You see what we now have. Now what has happened is a illustrator has shaded out the part with the dark color. Just select the guy once more and release. I can explain this better. Okay, now I'm just going to duplicate the image here to the right hand side. When we look at this image, we see that here towards the end, the image is dark. Okay, the image is dark. If you have any experience with masks, maybe you have an experience with Photoshop. And you know about opacity masks in Photoshop. You know that black color conceals while the bright color reveals. Okay. It's just like having us change the color of this image to black and white. Let me just try to change it to black and white to come here and embed the image And the edit, edit colors and convert to green skeld. You can understand better now this is black and white. And in the principle of masking the black colors will conceal the image, while the bright colors will reveal the image. The whiter, the bright part is that this part, the clearer image, will be revealed. Okay? Okay. We can still select this guy and try to create the mask again. It's going to work just like this one. Select the both of them and make masks. Now we see that we now have our image. One thing we can do is we can actually duplicate our image control. You can see that our image is now more visible. Right? One other thing we can do is come and make the background. It's possible to make the background. We're going to see that our images fit into the background because we actually used the background to generate the mask. Yeah, this is what we have. This style is very popular in the design world. Okay, this is how they come about, this retro ground field in designs. Okay, we can also use the gradient map to our opacity maps, our opacity mask. Let's just create this guy now a ship and give it a gredent. This is ingredient and I'm going to make this 90. And for the black color, I'm going to give it an RGB color, noted green scale color. And then I'm just going to draw it out like this. Okay? You know what, I'm just going to reverse the gradient and then please another image. We're going to please this image right now. Now we have this. Okay, I'm just going to use my gradient map here to generate the opacity mask. I'm bringing the gradient to the front and I'm selecting everything and going to transparency and then mask. Now we can see that. Image then fits out according to the brilliant is now if I give it the background, maybe give it a white background or black background, whatever color it is. Let's say give it a white background and just send it to the back. We can now see that we have our image feeding into the background. Feeding into the background. This is how we can achieve this in a illustrato. This is used a lot in posted design, use a lot in the design world in order to achieve this into this is how you go about it. Now we can see that when we bring our image here, it's actually feeding, Actually feeding into the background. That's to show you that here it has affected the opacity, has used our gradient to actually affect the opacity. With this, we can maybe select the background and then maybe give it color color this color. And as you can see, we are achieving this uniform look and the image feeding into the background. This is how you can achieve this using the opacity masks. Okay, all you need to do is come to the transparency transparency panel and then create your opacity mask. Now we can see that we have the image here and we have the mask here and there. Boot linked. Okay, we are boot linked. You can actually invert the mask. Okay, so when you invert the mask, you then see that it's inverted, right? You can invert it, it's inverted and then you can release it. Okay, this guy also. We can actually invert the mask. Let me just delete the one cupicd, we can actually invert the mask. You can see what's happening, right? Perfect. Now, I'm just going to do more stuff here. I'm just going to please the other mask which is this one. Okay? Just going to please it here and maybe try to generate the positive mask with it on more of the images, this drug perfect. So what I'm going to do right now is I'm going to, just to make the image appear on top this time so as to see what effect we can come up with. Okay, select the boot of them. The boot of them and make masks. We can see now on the effect we have come up with. No, maybe we can also invert the mask, see the effects. We can come up with more of what we called it an inverted effect. We don't need it like this. We don't need it like this. We just release and let's do it normal way. Arrange send to back the boot of them masks. This is what we have achieved. Yeah, that's opacity masks for you. That's all you need to know about opacity masks are going to try to do this color to see what we get perfect. I like what we have and you can see this ground effect we've achieved. Okay, that's opacity masks for you. And with this, we've come to the end of this. In the next lecture, we're going to be using our opacity masks to actually add more detail to a posted design, retro posted design. So we're adding this G to our poster design. See you in the next one. 64. 64 Exercise 2 Retro Poster with Opacity Masks: Hello guys and welcome back. In this lecture, we're going to be taking a poster design and giving it a retro feel, that retro grungy feel that retro poster designs usually have. We're going to give our poster design that feel, that detailing using the opacity masks which we've learned in the past video. All you need to do right now is come and click open, and land on your project folder where you see Grange vectors. This file just click on it and open. Okay. These are the files we're going to be using to generate our masks. Remember I mentioned that we can generate our masks using either objects or images. In the last video we used images. I think we used one object also. That's a squared shape and we give it a gradient, right? Yeah, we can actually use objects. Now, these are examples of compound objects because they consist of a lot of vector shapes coming together as one the compound shape. So just come to file and then come and select this retro pusa here. All you now need to do is just please your retro pusa. Then we are going to now apply the effects to select this guy. One thing you have to understand with these retro files, these kinds of files, this vector grange files, is that it consists of a lot of ships. If I hit here or select my direct selection, we'll be able to see that we have thousands of arc points. Okay, We have thousands of them. To show you that the work is very detailed, there's a lot of detail. These are vectors, these are not pixels. These are vectors. That's to tell you that there is weight in this. Okay? That's why your system might, while doing this, just duplicate this guy at and drag it to the left. Drag it on the poster. Perfect. The next thing I'll do is I'll select my postage and send to back. I'll adjust my poster. Maybe adjust the size like this. Then yeah, maybe adjust it again like this. Yeah. Perfect. Next thing I will do is I'm going to create this ship and send it to the buck. Arrange it. Send to the buck. I'm going to hit eye for my eye and select this color here and just make my background fits a bit more with the push star. What next do I need to do? I need to do is select the guy here and I'll select the push star design. And then go to my transparency panel and make mask. It didn't work out well. It is not what we want. So we're just going to release and try to fix the problem here. The problem is that our mask image or our mark shape is black. Green. Rather, we don't want to be grip of course, because darker colors conceal darker colors conceal. We don't want this color, we just want it to be white. Actually, I forgot to change the color here. Just come and change the color and then select our image. That's our P, K and finally make mask. Now we see that we have now achieved our retro design, our retropielk. I want us to do one last thing. Just come here and drag this other guy to the push that's holding down shift. I'm just going to fit it on our design like this, and in to arrange it, keys' just going to scale it up. We can see that it's taking a tool on my computer. Okay. And I'm just going to drag it down like this. Okay, Next thing I'm going to select both of them like this. And arrange and send to pack so that the all P behind our mean design. Right finally I'm just going to select the other one and I'm not going to create a mask with it. All I will just do is give it a color. Okay, I'll zoom in, use my drop two and sample one of these colors here. And then I'm just going to go back to my selection two and zoom out. Now we can see that we have been able to achieve this retrophin, like what we have so far. I feel like actually changing the color, maybe making it a little bit darker. Okay, Maybe just hit and try to sample this one. Then go back to your selection. To what I want to then do is make this color a bit brighter than what we have here. What we have now. Just brighten it up a bit. Okay? Okay. I feel like making it look even brighter. So I'm just going to select it and try to make it look even brighter. Okay. Let me make sure I'm selecting it's okay. And then try to make it look even brighter. To zoom out and Yeah, I like what we have so far. So what I would then do is select my whole design and come to Edit Copy. What I want to do is I want to create a new file and pie our design. Okay, So that I can scale it up. Because right now it's on a very little size here. And I can now close this file and not save, now I can just control V to paste design. Just scale up our design. Scale up our design gradually. It might take some time because of course they are vectors and we're dealing with a lot of things here. It might take some time to scale up, but you can eventually scale up the design. And then finally, I think I'll just use my art board too and just fit the art board to my design. Now we can zoom out and our design is done. Just come to file export. Come here. We can see it as retro. Yeah, now we can see its. Where is our file? File? Should be here. Now when I click and open, we then see that this is what we were able to create. This is the original, this is the one we came up with. Okay, That's how you create the retro grunge feel on your designs. With this, we've come to the end of our lecture. See you in the next one. 65. 65 Coloring Tools and Techniques: Hello guys, and welcome to this module on colors and patterns. Now in this module, we're going to be dealing with colors and patterns. Okay, for colors, we're going to be talking about coloring techniques and tools. Okay, for patterns, we're going to be creating patterns from our sketches. So we're going to draw out patterns on paper and then sketch them, how to be illustrated. And we're going to use them in some of our artwork. I know that coloring and coloring tools and techniques are quite basic stuff to be illustrator. And I know that a lot of you have knowledge in some of this stuff. I'm going to just try to stick to the more advanced stuff. Okay? And maybe just have a quick brush on the more simple stuff, and then try to stick to the more advanced stuff in order to start going to create a new document. I'm using this common preset here now. This is the new document that just created. As you can see, it's RGB and yeah. So the first thing I would like to look at now is the switches panel. I know you know about switches. You should definitely know about switches, okay? Because of course, this is not a beginner, cause switches are very basic stuff and we use them in past videos, right? What are switches? These are switches. These are switches. In switches, we can find our colors, color presets, which we can immediately just assign to our feel and strokes. Okay? We can access the switches here, We can even access them here. Also on our properties panel, where we can come and click here. And then we see our switches, okay? And we can click here also and have access to our switches. Okay? And this will be applied to, of course, our stroke, and this will be applied to our field colors. Okay? So what's special about switches? Okay? So first of all, you have to know that apart from adding colors here, we can do some other stuff here. We can delete switches. Okay. We can delete some switches. We can create new switches. Like we did in one of our past videos. We spoke about global colors, right? You remember, yeah, we can create new switches. We can create new color groups. Okay, we can come here and show all swatches. Show color swatches alone, which will show only color swatches. It will remove pattern swatches and gradient swatches. And sorry, we also have show gradient swatches which will only show the gradient swatches. Show pattern swatches which will only show the pattern swatches and then show color groups. Okay, just going to take this back to show all swatches. Now one thing you have to know about swatches is that have what we call libraries. Okay, We have the library of switches. Now when you come here, you see the library and you can see switches and you can be able to then load them into new projects. But we're not going to be receiving any switches right now. We can load of some of the libraries. Now, when we come to art history, we have ancient, we have Baroque, we have all these other categories of switches, right? We can just activate this guy, the ancient. We can see a set of colors that depict the ancient art. Okay? We can see them here. And we can use them for our work. We can use them for our work. We can add them to our switches. Okay? We can use them for our work. We can add them to our switches. And when you see this, it says Egypt. This one says me, potomia, then this one says partia, and so on and so forth, right? These colors are categorized by their history, right? Whenever you double click on the switches like this, you see that they appear here when I double click on this one, for example. And then come here. We see that they've been added to, they've now been added to our switches panel. And then we can use them from here. Now, we can also navigate our switches by using these buttons, buttons here. We can activate other switches by just going to the right or to the left. Okay. That's one way we can access them. And we can also access them here. As you can see, we have the other one, Celebration. We have this other one color books. Just a lot of, a lot of very endless switches. And we can see that some of them here are global colors. Actually most of them are global colors. You can see all of them are global colors here, because they have this little triangular shape at the bottom right. Yeah, Yeah, that's it about switches, we can just take them and immediately apply them on our artworks. There are thousands of switches in to be illustrator, and you can, of course, create yours. For example, we want to turn color into a switch, you just come and add it here. And of course, you can edit the R channel, the channel, and the B channel. It's RGB, right? You can edit the R channel, channel and the channel. You can even change the name of the color and or of the switch rather. And you can change the color type key from process color to whatever type of color. And then we have column which is RGB. We can choose, these are the ones. Then when you're done K, and immediately you see that it's added to your swatches panel. Okay. What about patterns, right? We said touches have patterns also. Now, when you come here, you come to patterns, you see basic graphic patterns. We see these ones. Okay? These are just basic graphical patterns. So let me just try to go through some of them. Okay? Some of these patterns are really good and can serve very well in your design. It depends on what you want. We have these other ones which are basic graphics line patterns. They're just line patterns just make the bigger. Okay. Then these other ones. Okay. Sorry, the patterns. Yeah. Apart from these ones, we have these other ones which are text graphics. Text shows all depending on what you want to depict. Then we have some other ones, which, for example, we have decorative and then we have decorative legacy. Some of these patterns are very nice. Okay, apart from these ones, we also have the decorative pattern of phone star patterns. So these are the von star patterns, It looks like the painting. Apart from these ones, we have other patterns as well. We have the natural patterns. We have the natural animal skin patterns which are patterns of different animal skin illustrated. When you're working on projects that have to do with animal skins, this could come handy. We have these other ones, patterns which are natural foliage patterns. Yeah, that's it about patterns. And all of them can, of course, be found on the swatches. Perfect. Now, we're going to be looking at the color picker. I know it's very simple stuff, but we're going to be looking at it anyways. Let the ship and just come here and this is the color picker. When you double click, we see that the color picker comes up and you can immediately just change color. Okay, mix color. And you see the preview here. This is the new color and this is the old color. This is the color code which you can copy and piece, maybe in another project or maybe sent to your web designer or whatever. That. Just about this two. The color picker two we have here which will show us swatches instead. Then here will show us the color models. Now these are the color models. There's a lot you can do here. Maybe you are done selecting the one you want to select. Just click Okay, and you can see that it has appeared here. Then just come here and just create your Swatch with it. We leave it as a global color. Okay. Immediately you see that color. Your new color has been added here. That's it. About the color pick two. Then we also have the color panel. Now this is the color panel. Let's we have ship here, let's see. Random color. Now we don't see that we have this color wheel, we call it color wheel or a color spectrum. Rather we have this spectrum and this hydroper two where we can just immediately sample colors, right? We can just sample colors and we have the color immediately appearing here. And of course we have other options here which when we click Show Options, we have these options where we can no edit our colors with the sliders, right? And we can of course swap from our field color to show color here. We can just edit our color like this, okay? Of course, we also have a color code update in here. We can assign a black color, we can assign a white color, we can assign new color, we can give it a color back. There are many other stuff here. For example, the mode, we have the green scale, which we just turn the holding into a green scale between black and white. We have RGB, which we look at. We have HSB, we have CMYK. Then we have web colors. We looked at color modes in the basic case, where we looked at RGB standing for red, green, and blue. And then CMYK standing for Ion Margent, Yellow and key, right key, which is black. And we looked at the uses of each of these modes. Rgb, which is used for screens to display colors on the screen. And we have the CMYK, which is used for prints. So these are the two most important color modes you need to know about. You can just read about them if you do not know about them or go and check the previous course. If you haven't, then we have this guy which inverts the color, which shoes complements basically. That's it about the color panel. Of course, we can create a new color swatch from here and just delete. We can do a whole lot of things. Now, the next rather more interesting tool we're going to be looking at is the color guide. Okay, the color guides tool is one of the more interesting tools, in my own opinion. One of the more interesting color tools in my own opinion. Now this is the color guides tool. How does this tool work when you come and assign a new color? Let's assign a new color, Let's just assign this color available. And then okay. What the color guides tool does is it comes and gives you different complements of that color. It has this side of the panel, which is the left hand side which has the sheets. Okay? It has this other side of the panel, which has the tints. And then this middle part, which has the active colors. Okay? Or we would say the mid tones. Okay? Then this other place has presets, which we can choose from, which will complement the original color based on certain rules of the color wheel. Okay? This is basically using color theory to suggest colors for us. You can just go through all of them, we're going to go through some of them and you see that all of these colors original color. When for example, this guy has the background and then cut control to have another one here. Let me just select this guy here now. We can now see that we can cover design with some of these colors or all of these colors on it. It's just going to make sense. It's going to make sense because all of them complement each other. On the color wheel, maybe I want to create. Small design. Now let's see. I want to see, to be too, okay? And I want to just up, maybe change the font style. Give this font style. I know we haven't looked at type in this course. You know what type is. And maybe at least have some experience with type. Since this is not a beginner course. Now I'm going to select the guy and I'm going to just create outlines, okay, to destroy the text. So I can furthermore modify the text. Just similar to expanding here. Group to the group. Now, I'm going to select some of, some of these texts here and assign some, some of these suggested colors to them. Right? I need to maybe give it to color, give these guys this color. You can see that these colors blend with the original color blend. They are not totally off. They kind of blend in some way. Okay, So that's what the B color guide to can do for you. Okay. So we're going to be using the color guides to in subsequent videos. In subsequent lectures. Okay. Like we did in the beginning courses. In the beginning course, we actually use the color guides to a lot. And we're going to also do so now. We can choose from other presets here. Okay, let's choose this guy. Let us group them like this. Okay, let's just control. I can see the Group Command control also. We can give it this color select and give it, now we can see we're having harmony. I'm going to use this other guy here. This guy, this color, this guy, this color, this guy give you this color. As you can see, it's not going off. We're having some harmony. No matter how you do, we're going to have them complementing each other. So that's the use of the color guides to, let's choose another preset. Let's choose this one. This color, this color, give this color. You can see we also have harmony here. Let's choose the last one. Let's try choosing colors here that will blend with each other. It's good that if you have a bright background, you should then have darker color selections on the elements on the background. If you have a dark background, you shouldn't have brighter colors so as to differentiate your background from your design elements. So that's a common design rule. Okay, that's a common design rule. Yes guys, that's now we're going to be moving to the next tool and this is the Recolor artwork tool. Okay. Now, in order to demonstrate this too, I'm going to open a file. It just come to your project folder. Come to this folder which says colors and patterns. And you see this recolor at work had to be illustrator file. Just select the file and click open. Now it has opened the file. As you can see, this is just an info graphic design. One thing you have to notice, this design has a lot of colors. Okay? It has a lot of colors. It has purple, it has green, it has yellow. It has this sheet of blue, this sheet of red. All the color. It has black. It has white. It has all the colors you'll need, okay, for a design. I just want to use this design to demonstrate the recolor artwork tool for you. Now, the recolor artwork tool can be found in three different places. Physically, you can see it here. So all you need to do is select the design the group and then come here. When you see this color wheel icon here, it's the recolor artwork tool. Then click it. You can also access this two in the color guides panel. Okay, you can access this tool here. And finally, you can access this tool by going to Edit and then edit colors and then recolor artwork. When you click recolor artwork, this is what you get. This looks confusing or complex at first, but it's not too complex. And we're just going to go through the recolor artwork panel right away. Now, what does this panel do? What this panel does is it gives us the ability to edit our colors. To edit the colors of our artwork. It helps us to add a lot of variations. Okay, we can have this artwork with the colors, the recolor artwork to just helps us to maybe have different variations. We have this guy and have another kind of color theme and have another color theme here, maybe even four different color themes. And the recolor artwork to gives us the ability to just change colors together. Just does it automatically and then does it in accordance with the color theory. So that's one very good thing about the recolor artwork tool. I'm just going to have a duplicate of the work here and then select this guy here. And then go to the recolor artwork tool right now. Now, when you open the recolor artwork tool, we see here which says a sign, and then we see the other one which says it with this please. We can edit active colors in this place. We can also edit the colors. Okay? We can edit the colors and do a whole lot of things here. Right now, I'm just going to start here. We are giving this wheel where we can just basically change, edit colors and we can see the changes happen right away on our design. Right? Okay, I'm just going to cancel this and open the tool again. This time I'm going to just walk through some features here. Right now, you see this, and then in this place you see color groups. And we have grease. We have the bright. Now the brights contain all the colors here and the great green colors, right? If we do not like changes so far, we can just click reset and we're going to have our colors back to the original. Now right away, we can just create maybe a new folder name the folder, let us leave the name as at work colors, we can now make our changes. Let's just come on randomly change colors. This, we can basically go back to our original stuff by just clicking on this new folder we created. Okay, with our original colors. Let's say we're editing our colors. We liked what we have. We can of course, create a new folder with our new colors. Maybe we can name it new. Now we can see that by just clicking, we're able to go back to our colors. Okay. The new colors we had, the new color theme we have. So that's one way to save our changes. We can delete, of course, we can select the new one and just delete. And it's going to delete the changes we have made right now. We see a whole lot of things here and we're just going to go through them. Now, when I select our color here, we can see that here, it says current colors. This is the current color. And then based on the changes we've made, this is the result we've gotten. So this color has been edited to this color. This color has been edited to this color. This one to this color, and this one to this color. If we just simply click on this icon here, we can see that we no longer have it edited. We can basically see the changes that have been made and then decide on whether we want to keep it or not. Here also, when we click here, we then see that this color that has been edited to this color. Here. When we maybe click here, we see that it's no showing here. We then that the changes was made here or the change was made here and we also have this guy, basically this one shows you the original and then on shows you what you've been able to achieve by editing it right now. We have here that says colors and we have here, we see it's in. All right. All the colors are active. We can actually reduce our artwork. Let me just cancel this and start afresh. We can actually, we can just reset. We can actually reduce our artworks, or rather our colors, to a certain number of colors. Right now, this artwork, as you testified with me, has a lot of colors. Has a lot of colors. What if we want to just reduce these colors to a certain number of colors to illustrator using the recolor artwork tool can do this for us. Okay? But in a very systematic way, it doesn't do it just randomly. What if I click coming and then click five colors? See that immediately the changes are made. Now we've been able to merge all the colors to five colors. B, illustrator does this based on color theory. The calculations are quite complex. But it does it based on color theories. And then it just joins the colors to make sure that we have just five colors. And we can keep going down and go and green down, you can see maybe one color. And it has joined all the colors, and now says that, yeah, this is the best color we can have. Now we can, of course, keep this in our color. Okay. Using the tools here. Sliders here, you can keep editing them. Okay? And we will then have different shades of this color. And of course, we can see that the initial differentiation still remains intact. When we see them, we know that this is a different, this is a different sheet, is a different sit. We can all see that this is a pop color, right? That's one good way we can change the number of colors in our artwork. And when we come here, we can actually choose different color modes. We can edit the sliders based on those color modes. We have RGB, we have HSB, we have CMYK, we have web colors, and so on and so forth. And then we have this one which says global adjust. Now, this one will enable us adjust the saturation brightness, brightness, and then the temperature. Then the luminosity, luminosity. This slide, they help us do that. We can maybe just go back to what we have, okay, and just add more colors to the whole thing. By clicking all, we see that all our colors are on back. That's one great feature, had to be illustrated. Now we can actually edit colors by adding them like this. So we can see that right away and see if it's going to work. Let's just click on this two. Now when I click on this two, and then click on one of these, we can see that it highlights the particular color for us. As I click here, we see that this color has been highlighted. This color has been highlighted here. Okay? So I just want to try doing something. Okay. So now we have this color highlighted, right? So let me just try adding it here. Can see the right the way we have it changed, and then we have it added to this one, and Illustrator kind of does its calculation and gives us this one to replace the one we just took out. Right. One we just added. Yeah, that's a illustrator for you. Perfect. We also have presets. We also have presets. We have presets. Now, the presets will, of course, will give us the ability to add, for example, swatches. In this case, let's just click here. And now we can see that with this preset, we've been able to add color libraries. We can add color libraries. We can add single colors. Okay. We single colors, okay. All of these are just switches. All of these are just swatches. You can have two colors. Illustrator enables do a whole lot of things with these. Okay, let's hit color to see what we get. Now, I'm going to come to my color library and then choose a particular color swatch. I'll just go with the art history and maybe this time I'm going to choose pop art. Let's see. What we get is what we got. Color choose all come to color library for art. Let's jot this time and see what we get. Now we see that it has been able to now substitute the colors for us using the Baroque color Swatch library, which we looked at previously. And we can see how it blended everything. And everything looks just fine. Okay? And when you come to edit colors, you can see the work being done here. Okay, we're just going to go through some of these tools here now. This tool enables us to of course, pick out the color we select here. Okay, so we're going to see it's highlighted in the work area here. Okay, so when we click the color, we see it highlighted here. Okay, now this tool enables us to randomly change satuation and brightness of the colors. And this tool enables us to randomly change the color order. Okay, I'm just going to click this and just start clicking. And we can see that randomly we are creating different color orders. Different color orders randomly. That will be illustrated. Just keep creating different color orders for us randomly by just clicking these two and then by clicking this guy here. We now get different brightness and saturation of these colors. Okay? Randomly, as this is very important to, very advanced, too important to already, you can see what we are being able to achieve with this tool. Now, when you come here, you see different presets. Just like we saw using the color guide. Took different presets based on color, based on color theory, and you can keep choosing and keep choosing. And keep choosing, okay. You can choose and then select your color and edit your color. You must not go with what is being given to you. You can still edit the color. There's a lot of things you can do with this tool. I advise that you just explore the tool more and see the things you can come up with. Of course, we have this other Gcia which changes the color built on our hue. It has hue forward, hue backward, then has lightness dark to light, and lightness light to dark, okay? A lot of these things are to make it very easy for us to achieve stunning colors. Of course, we can add our switches here too. We can see that it identified the color preset, the color swatch we are using, which is the park. Right. We can maybe change it to kit stuff and metal skin tones and so on and so forth. So that's it for the rework artwork tool. We're going to use this tool to color our patterns in our subsequent lectures where we're going to explore even more stuff. Okay, with this, we've come to the end of our lecture on colors and see you in the next one. 66. 66 Patterns: Hello guys, and welcome back. In this quick lecture, we're going to be having an introduction to patterns and how to create them in B illustrito. In subsequent lectures, we're going to actually draw out patterns with our hands, maybe pattern elements with our hands. And we're going to bring those drawings into Adb Illustrito and treat them out. Okay. And then create patterns from those drawings. So these are what we're going to do now. In this one we're going to just have an introduction to the whole system of patterns, right? So in order to start, just come and create a new document, I'm going to use this preset. And then just go and create some random ships, create an ellipse, give it this color. Let's boost up the stroke by this. They just the stroke like this. All right, that's of course the Sk color. All right, now I'm going to have another ship, maybe a star, but I'm just going to have three points. Okay. So this is the star were create in. Then going to have the ship arranged like this. My color guides to give it this color shift X to swap the ingredient with the stroke, with the field and just remove the stroke. I'm just going to remove the stroke and then create another shape here. Now this one will be maybe polygon. Yeah, this polygon. And for the color, we'll go to my color guides to choose something else, maybe give it this color. Okay, Maybe boost up the stroke a bit more. Then finally to choose square here. And for the color, just going to choose random color. So you have to note that I'm not trying to create something special at the moment. Nothing specific. I'm just creating random shapes, right? And then finally we then create our final shape. I just want to have a ship like this, shift X and then boost up the stroke like this. It just edits the handles like this. Perfect. Now what do I want to do then? There's one cycle of them. Reduce the size a bit and then selecting them to go to object, go to pattern. And then now we then see this message which tells us that the new pattern has been added to the switch panel. Okay, okay, we can see that immediately. The Lotto now creates a new pattern for us, from our shapes right now. This is the pattern box. And everything we do here will be replicated in all the other pattern boxes or all the other pattern pieces. Right now, we can bring this guy here, bring this guy here, bring this guy here. Reduce this piece. This, okay. And we can even come and add more stuff. Maybe we can come and add this, edit the color. Maybe something close to orange. Maybe add another one here. This guy could be blue. We add another one here. This guy could be green. Add another one here. This one could be for. So I'm just doing random stuff here. Now we have the patterns panel here. Now we have this guy has the name of the pattern, says new pattern. We have the pattern or the tile type. We have the grit tiling, we have the brick by root tiling, which would give us something like this. We have the brick by column tiling, which would give us this. We have the hex by column tiling, which would give us a hexagonal arrangement. We have the hex by tiling, which give us this hexagonal arrangement also. Okay. That's it about the tiling type. We have the width, we can increase our width, we reduce our width and height. We can see the changes right away, We can connect them. Whereas, so that when we reduce or increase one of the sites, we have the other one increase or reduce in proportion to the one we are reducing. Right? And then we have this one which will actually size the tile to art. Okay, We move tile with Arts and all of this will just help us in making adjustments to the size and the position of our, of our patterns, right? And we also have this overlap feature here which will enable us determine how our patterns will overlap with each other if they overlap, okay, So let's say we have this guy here overlapping with this other pattern. And we now have the ability to make them appear above or below depending on what our overlapping looks like, right? So we can see the changes spin made, just going to undo. Okay, So we can see what the overlapping does. Now we have the copies which will enable us how the copies we want created nine by nine. We have one by 33 by one. No matter what you want, you're going to be able to have it here no matter what type of copies you want, what type of arrangement or alignment you want, you're going to be able to have it here. Dim copies to 70% Let's see what this guy does. It actually deems our copies. Okay, we don't want to our copies totally. We would want to see them. Maybe 70% opacity that we see what we are doing before we conclude. Right? We have save a copy as tile edge copy and so on and so forth. Some of these options ain't really important like that. When you are satisfied with what you have, all you need to do is click save a copy. Do. When you click on Done, you now have your pattern created when you come and come to your rectangular for example. Then come the switches, then come here. You see that your new pattern has been added. Now let's just remove the switches. Now we can see that your new pattern has been added. New pattern has been added. When we skill, we see that our pattern is killing with our shape. Why is our pattern killing our ship? What we want on, we want our ship to skill independent of our pattern. Of course, we can do that by coming here. We learned this in one of the previous videos. We can just make our ship skill alone and we can make our pattern skill with our ship if we transform object only. We can now see that we're able to transform or skill object without our pattern. When we click on transform booth or transform pattern on, we can see that we can now transform our pattern with our shape. Okay, Now this is an example of what we call a seamless pattern because it's seamless. Seamless, what I mean by seamless, it keeps repeating itself here. It doesn't have an end. It just keeps repeating itself Depending on what surface or yeah, what surface you want it to cover. Okay, so it can keep repeating itself and keep going, Keep tying, and keep going. That's what we call a seamless pattern. I'm going to take this guy to both and close the transform panel here. Delete these guys guys. Starts it for an introduction to how patterns work. In the next lecture, we're going to be creating more interesting patterns from our drawings and doing more cool stuff. Okay, so see you in the next one. Bye bye. 67. 67 Trace Your Hand Drawn Pattern Elements: Guys, and welcome back. In this lecture, we're going to be tracing our drawn pattern elements in B illustrato. I'm just going to start by creating a new document using my preset here. And first things first, we're going to import our drawn pattern elements. Go to file and please. And then come here and draw pattern elements one, please. Now we have our pattern elements here. We're going to just select this guy and duplicate to the right hand side so we have two copies. Now what I want to show you is two different ways of drawings, of treating this guys. I'm going to treat this guy here using what we call image trees. Okay, we're going to just vectorize this drawing and just treat the whole thing and it's the quickest way. Okay, this other one, we're going to use our paint brush tool to draw out our patterns. I'm going to create a new layer now for this guy. I'm going to select this guy and just reduce the color rather the opacity like this. I see behind it. I'm just going to reduce it to maybe 40 or 33. Okay? Maybe 36. Just to see what's happening here, while also giving me the room to see what I'm going to be drawing. I'm just going to top this guy away. And now we're going to start by using our pin brush to draw out our patterns, right? So I'm going to lock my layer here and dowd on this new layer. Come and select my pin brush to click to see the options. And I like what I have. Maybe I'm just going to keep selected. And I did parts selected so that while I draw it can maybe continue drawing like this. I don't know, Maybe I should just undo or check the feature, right? Maybe I should check this two. So as to draw normally I'll need select my pints burst and then just draw. If I'm not okay with my drawing, I'll just undo the drawing and draw. Okay, with this guy. For this one, I'm just going to draw and try to make it more perfect. Okay, do not do need to take my time to make sure I get something cool, really nice, perfect for the middle guy. I'm just going to draw like this for this guy. I'm going to draw like this. So grow like this, grow like this, like this, like this. Do I don't want it extending out. Yeah, I like what we have so far, and for this one, I'm just going to grow, keep growing. Two. 12, Kim, I'm okay with this guy. And then go to the next 12. That one, I don't like this one either. We're going to start from the side here. Okay. And hopefully we'll get something better. It's a bit small, so I'm just going to manually Increase the size. Increase the size and yeah, I like what we have so far. It's like my pin bush to draw out my guys. Okay, next guy draw. And finally we have this one here here. Okay, it's you. I'm just going to do, draw it perfect. Now we have these little circles inside them. We're going to draw them quickly. Do perfect. Okay, I'm just going to work on this guy now, so maybe I'll reduce those truck size bits. Okay, well, maybe I'll just keep that one. Okay, sorry. I'm just going to start with this part first perfect, then row these parts, and then row these parts. Finally the parts. Then we have this part here. This part, finally we have this part. Perfect. And we're done with most of our work. We only have two left, This guy in the sky with this one, starting with the middle here. Sorry, I'm starting with the middle here. Okay, I'm just going to do it. It's too big. Okay, Then we have this sky here. So I'm going to just go with this one. Okay? Then we have this guy. This one. This guy. This guy here. Finally we now have the flowers, right? Something like this. Just red one. We have this, we're just going to do. I'm just going to draw it like this and this. This one. To draw it like this. This two. Yeah. I think I'll just to again and try it one more time. Okay. I think I'll do it again and try it one more time. Just go with this one. I'm just check like this and yeah, I'll go with what I have here. Maybe I'll just, instead of just going with it, I'm just going to expand it. This, maybe drop the sky. Yeah, what I have here, even though I would like to extend this one copint out, and I like what we have so far. We have two more elements. We're not going to draw the sky because it's basically a repetition of this one. Okay? We have these two elements. Take your brush to this part like this. Let's just draw the branches before going to the leaves. I'm starting with this leaf. This, this guy, I think I will just select the guy we cheat bit. Reduce the size. So this other guys, I'm just going to reduce the size. Yeah, reduce the size to maybe position for these are the ones them out quickly. Perfect was going to see what we've been able to achieve. Perfect. Then finally we have this one set my pin brush to the better we even have this. Then for the body, I'm just going to have it like this. I won't really follow what I have in my drawing perfectly. I'll just manage what I have. Just manage what I have here and do the right hand side and unfortunately for me, I have to restart this one. Maybe I can just yeah, I have to restart. I have to restart. I can just restart like this. I'm finding it out to complete. Yeah. What I will do is I'll just select my direct section to and just complete it manually. That's one advantage of using the thin brush too. You can use your direct selection tool to complete stuff, right? Because you actually have them as anchor points and handles like how we have them here when close this layer, when I hide this layer, we see that we've been able to trese, our drawing like this K, it looks good. So we're just going to do the next one. Now, for this other guy, I'm going to use a different method. Okay, I'm going to use the image tries method. Whenever you import an image into the illustrato, you see this image button here. Now, this button helps you tase out your images, it helps you vectorize your images. We learned about vectorization of images in the beginner course. It's quite basic function, the illustrato, you can vectorize your images by coming to objects and then image tries the Mick click on mics that my images large, a large image and this will a more ram. Okay. I'm just going to click okay. And we can see that it's now processing my image and immediately it's done. We have our hand drawn image vectorized. Now let's just undo our vectorization and come to Windows. And we can access the images panel. Okay, we can see the images panel here. Anyways, just select your guy here, and let's hit imageries. And okay. Now when we come to our properties, we can click and we'll then see the image trace panel. So this is the image trace panel. And we can do changes, we can make changes to our work, to our vectorized art using this panel. We can just drag it to the left like this, it's going to load before moving. Finally with this panel, now we can basically see that we have the default preset set and we have the tracing results of which these are the tracing results, right? And then the mode is black and white. It came, but we have other modes as well. We have the color mode, we have the green scale mood. We have other presets here which we can try out. But for this lecture, we are trying out other presets. We can check them for yourself. What we are doing this lecture, is we're trying to crease them out as black and white. When we click on Advance, we can see that we have many other options which we can edit. We have paths, we now have low and high. When we click on high, we see that it makes changes to our paths. Then we have corners. The more we click, the more we ad just, we'll see changes being made to our corners. And even the other one which says noise, right? This will increase the noise. If you look closely, you see the changes that are being made. Okay? But I don't want to take note of these changes or give them priority in this video because I just want to achieve something decent and go on with the video. Let me see. Basically I think we'll just leave these settings like this where you can explore them on your own. Later on Ok, if you click on Ignore White, it's going to just remove all the whites species. Going to remove all the white species. And we're going to leave this as objects which we can basically add colors to. We don't want to ignore all the white species because I want to use the white species as my colors. Okay? Want to add colors to the white species? What I'll then do is just close this imagery spanner and click and expand. It's going to expand our ship. We now have them as real ships. We now have these guys as a group group. We now have them as separate ships And we can take this guy out. Okay, can take this guy out. These are all separate vector shapes. So as you can see, within a few clicks, we've been able to change our drawings into vectors. Unlike the other place where we had to draw everything with our hands for this one, we just clicked on a few things and we are now able to change our drawings to vectors. I'm just going to select everything here you go to just control X, control x to cut, then come on this layer control as to piece them, please. And then what I'll then do is just delete this guy here. And delete the layer as well. We only have one layer and we have these drawings on our layer perfect. So that is for this lecture. In the next lecture, we'll be basically adding colors to our drawings to our ships and then turning them into patterns. Now, see you in the next one. 68. 68 Make Custom Patterns From Hand Drawn Elements: Hello guys and welcome back. In this lecture, we're going to be adding color to our drawings here. And after which we're going to create our patterns from them. Now, these ones are of course the ones we created using images, while these ones were created using the paint brush tool. We're going to start with the ones, okay? So when I take them outside our art boat, you see that they have these white backgrounds. All right? Okay. These are also vector ships and we're going to be using them to add colors. When I just change the color like this, you can see that immediately the color of this part of the flower changes. Right? And as for the other guys, just draw them out like this. You can see that they don't have white backgrounds like the other ones here on just the ones are just lines. Okay? They're just line arts. We're also going to be adding colors to them, but we're going to be using some other tool. Okay? We're going to start with this one. These are flowers, right? These are flowers. This is a T, this is a leaf and, and so on and so forth. So it's more of a flowery pattern. Okay? Now, I'm just going to start adding my colors. I'm going to select these guys here and just give it color here. Can we start with this color? And I might change the colors or modify them later on. Okay. And for this one, I'm going to give it this color, this color. Then just come to the color picker, to the my color like this. For this one I'm going, I'm going to give it an orange color to some, I'm just going to hit the drop to select the color here. Maybe make it brighter. Make it brighter like this. If I'm not satisfied with what I have, I can go to my color guides to select more colors. As you can see just this outline here. Using my color guides too, I'm going to give it this color. For this on I'm just going to select them again. It seems I selected something off for this one. I'm I'm just going to play around with the colors to see which one fits best. Maybe this one fits best, maybe this one fits best. For this one, win to contra control, just reduce the size. The control reduce, we have this feeding effect here. Contra control, reduce the size, then make it even brighter. Maybe increase the size a bit. Yeah, this is what we have now. Perfect. And I'm going to go on and just change the colors for this. Maybe I should just work on this guy here, since we have some green presets here. Okay, I need to add this color. And then let this one here, maybe give it a red. If a red won't work, I'm just going to the, the one that works here. Okay. So I'll just leave it at this one for this guy, I am going to delete it because it's basically duplicate of this one. Then for this ones going to give it a green color, darker green, and brighter green, this ones will carry a brighter green. I'm not too satisfied with the green. Yeah, for me to select this sheet of green and then just select a sheet here. A sheet of it here. Maybe we'll work with this for now. And I feel like having a duplicate of this, actually feel like having a duplicate of this and maybe totally changing the colors. Maybe even giving the whole thing one color. Okay. Maybe this color perfect. The next thing for me will be to work on this guy. We give this color, so let the outline, we give it this color, then now we work on this one. For this one, I'm just going to sample this color for now. Then I want it to be closer to yellow. It's closer to yellow. And also for the other four ones. Then for this one I'm going to make this guy here maybe make it brighter. And then for this one I'm going to make them a very bright sheet. Okay, very bright sheet of this. This will do for me for the outline. I'm going to use this color here. Perfect. I kind of feel that the combination here is of a bit, don't know why, maybe I should just change the ones. I don't know. Just try to create some fusions and see if it will work okay for this ones. Let's see if we'll be changing work better. If you know what, I'm just going to give it darker shade of purple. And for the, maybe I'll just then give it this one. For this one, sample this color here. Maybe for this one we'll just sample one of these colors. Also, this guy, then I'm just going to maybe sample one. Okay, good. So there is no specific rule to this, We'll just keep trying out stuff and work with the one we think is best. Okay, then for my guy here, I'm going to give you something close to blue. Okay? Something close to blue. And then we'll build up from there. Maybe this guy will be a shade. This guy, something close to this, Well no, Give me this one this color for these guys here. You give them the screen. This screen for this one here. I feel maybe I should give them something that stands out better. Maybe maybe something that stands out better then for the body. I don't know. I don't know. Should we just work with this? Yeah, let's just work with this. Since we have other green elements in our arts. Let us work with this. This one, This bright color, silver. Good, I like what I'm having. Especially this feel we've got here, this new color. Let me try and see if it's going to make sense. Just to, like I said before, we just keep making edits and seeing what we can come up with. So there's no specific rule. Your creativity here will help you on your creativity much more. I'm not really satisfied with what we have here. Really. I'm not really satisfied. I'm just going to e, trying to come up with the best, keep trying to come up with the best casing to randomly keep changing colors, keep sampling colors, keep changing colors randomly until I come up with the best. When I am satisfied with what we have, the nib will continue overall. I'm kind of satisfied with most of painting here, our coloring here. I feel these two, that this guy and this guy are a bit off. Okay? And I'll just keeping them till I come up with what I feel is the best. Okay, I'll just fast for the video so that the video doesn't get too long. And I'll come back when I finally decide on the colors to use. As you can see, I'm done adding the colors on my drawings and I like what I have been able to come up with so far. Now I will just duplicate these guys and put them in the side so you can access them in case you want to copy my colors. The next thing for me would be to transfer these colors here. How do we do that? We don't do that normally. Okay. We have to use some other methods, some other tools. Because these are not shapes like this one. These are parts. And we cannot just add colors like we did here, for example. Okay, let's see if we want to sample these colors, for example. Or let's see, we want to sample the stroke color, right? We select and then maybe hit eye and try to sample immediately. You can see that it has turned this fold drawing into a ship. It has given it a field color instead of a stroke color. How do we do that? I'm going to do and then do it correctly. What I would then do is select everything, then go to objects and expand appearance. Okay. Now it has torn this path into a ship. 50% of the job has been done. I can even select them and come to the Pathfinder and just add them or unite them rather. Okay. Now, when I select my guy here and hit and sample my color here, I'll see that it's now sample. Okay, and what of the ship inside? Right. I will then use my ship builder to. Okay, just come and double click shipbuilder two and make sure this gap detection is checked and then the gap length should be large. Okay? This will enable us to detect gaps. And still fill those pieces with colors even with the gaps. Okay. After I select my ship, all I need to do now is just come here, select the one I want to copy from right away. I then see that my color has been copied here. If I come to the colors panel, okay, I would then see my color here, and then I see my coloqude. Right? The easiest thing I can do now, just copy my colodeI. Copy my coloqude with control C. All right. Click and then select copy. Okay, and what next? Like to select my ship. Come to my ship build two. And now we can just fill our ship with the color. But you can see that we are now not able to fill it with this particular color. Instead we're filling it with this color. That's why we had to copy our color right. When I come here and select everything here and control V and Enter, I then see my desired color being copied here. Now I can just come and click, and you can see that my color gets filled, right. So that's a very easy way to copy these colors right away. Now for the ones I'm just going to copy them and just bring them here, right here. I'm going to select everything here. Come to objects, expand appearance, and then just add them or unite them rather. And then hit, I sample the color while selecting your guy. Before you select your guy, just come here and then copy your color code control. C, select your guy, consider the ship, build the two, then come on piece your color wood and then you now feel in your colors. For fact, now we can delete this duplicate. Maybe bring this guy, just duplicate it. And bring it to the site here. I didn't duplicate it. We duplicate it one more time. Just kill it down a bit. Now we have all of these. We will then select all of them. And expand them. Expand appearance unites. And hit Sample. This guy key for these guys, we just come in sample or copy the coloqude. Then select these guys here, select the Shibul to piece the coloqude and just fell in the pieces. We keep doing the same thing for the rest of the ships. Select your guys here, then come to your shipbu piece, your coloque, and feel this piece. Select these guys here. Rather let your color first, copy the colo code. Let your guy sib two and then fill in. If not colo your colo code and fill in the color Sam. This one here. Copy control V, Enter and fill it in. Now we can delete this one. Then go to the next ship. I want to use this one. Duplicate it inside the Select everything here, Object, expand, appearance, and then unites. I just want to copy it's to the side so as to make this one. For this one I'll just copy it also. Now for this one, I select the ship it and then sample my color. Select this guy, copy the color code. Select everything. Go to my ship piece, my color code and fill in my colors. This guy copy of the colo, Select my ships ship builder to fill in my colors, then just delete. Keep doing the same thing till I am done with all my ships. So I'm just going to forward the video since you now know the steps. You can just do them on your own and we'll meet when I'm totally done with all the ships. Yeah guys, so I'm done with adding my colors. For this one I will need to duplicate them. Conte control a bit so as to achieve this pattern, sample this color. Then conroe control F the size sample, this color. Then control C, control the size sample, this color perfect, perfect. I'm just going to go ahead and group all of these ships together. Control select all and control all Control select all, select all control here. All of them here. Control also with this one's control. Finally, with this one's control G, we to do the same thing here. Control, control, control, control, control, control. Finally, control st, perfect guy. Right now, I'm just going to go ahead and try to start creating my pattern, right? So I'm going to scale this down. Scale this down also. Then I'll just try to distribute my shapes around. I'll get this guy in the middle. Reduce this one to this guy. Let me try flipping it, increase the size a bit. This guy is going to do them in this manner and shape for this guy reflects. So we see what we have. I like what we have, and yeah, I like what we have so far. K perfect. Now for this guy, I'm going to have them arranged a little bit differently. Maybe this guy would not be in the middle. Maybe this guy will be in the middle. Will have this one here. Then this one here. This one here. This one here. This. Maybe this one will be kind of like this. This one kind of like this. Maybe this one transform oh sorry, will reflect it. This, yeah. So we have the booth of them design the boot designs arranged in their own peculiar ways. What I want to do right now is I want to create art boards for each of them. For this guy, I'm just going to edit my artboard. Reduce the size like this. Okay, reduce the size like this. Okay, let's edit the artboard again. Pull down holes the artboard, then delete these. Let's keep the, from now on we can create our pattern, so let everything go on. Objects can, and Mick Okay, let's just move. Okay, We need to move it. Let's give it a new name. Let's see flow. Okay, and then for the green type, let's just play around with them and see I want discrete type, brick by column. The brick offset, see one by 41 by 31 by two. We will go with one by two. Then let's width and height. Let's just just the dimensions to see. Yeah, we can add stuff. All right, remember we added stuff from the last video. We added some things, some other, some other elements. They all appeared in, in our pattern like this. So maybe we even add a ship or a path like this, shift x. Okay, Then one like this, The sample, this color shift x. Because the stroke size, I feel this stroke is too thick. Maybe 0.50 0.5 You can just duplicate this guy here, can see control in, we'll just move it around the sample. This color, this color. Right away we can see the pattern we are creating. Beautiful pattern we're creating perfect. Just going to reduce the stroke K, we select both of them. Just reduce stroke size. So I like what we have so far. Maybe increase the size like this. Guys and then for the copies, I'm just going to make this nine by nine. And so far so good. I think I like what we have so far. I'm just going to close the patterns panel and click on Done. Now our new pattern has been added to our switch panel. To our switches. Okay. Now if I draw a new ship, come to my switches to the last pattern, we can see that we have the flowers pattern applied perfect. I'm going to create the same pattern with these other ones. Okay? I'm going to create similar pattern with these other ones. Now, objects, the first of all, I want them to be in the middle. Then objects part and then just name them flowers to the grid type. I'll give it brick rule or maybe brick by column for the. I'll just increase the S for this one. Let overlap, just try making things overlap here to see we overlapping options copies. Let me give them nine by nine. You see? But I don't like the arrangements. I feel it's too rowdy. So I'm just going to increase my, with my maybe do a bit more adjustments to the positioning of the elements. And then I'll just use my paint brush to, to randomly randomly draw. And we can see that it's using my pattern to feel that's what I want. I just want to use a normal color sample, this color and shift x and just reduce the size of, So maybe 0.02 Maybe I will just sample another color, a brighter one instead and shift X. Maybe this time I should just a different profile. Okay, instead of this uniform, I'm realing to choose this other profile, that tip to the end front. I don't know why it's not working. Okay. It's because it's a brush, right? It's made by the brush. So that's why it's not working. So no problem. Just go with the normal one. Okay, Now we're going to do more, sorry, we're going to do more growing. You should lead to details, just make a patterns more interesting. I think I'm done with this one. I like what I have so far. I'm just going to the panel and Perfect. Let me just copy. Just copy this pattern to this other art, put to control C, control V. Okay, And just align now set the new 1, second one. Yeah, you can see what we have come up with. We can now add a background to our pattern because these patterns come as transparent patterns. Right? To add a background to our patterns, addcgrodi field color copy to the other board and change the colors and arrange send to park this. Now we can go to our color guide panel and maybe change the colors, change the colors grown, maybe even criticize to fit like this. I really do not like this color. It's not standing out for me, it's not the best for me. I'm going to try to get something that works for me. Let's see if the color guide panel, or the color guide too, can suggest something good. I feel a brighter color, brighter background color, should do the trick. Maybe this one. Let me try something dark. I don't like what I'm seeing here. Let's just something bright. Okay? I'll just leave this one for this other one to try selecting something different. Okay. Going to keep trying my luck to see if I get a good color for this one. I'm just going to leave it this color. This background color. Yeah, try this, 11. Try this one. I'm just going to leave it at this background color. All of these will be sived here so you can have access to them. Yeah, control control S for we've come to the end of our lecture. We can see how we started having just sketches of these elements and then turning them into these patterns that we can all see with this. We've come to the end of this lecture and the next one we're going to see more stuff that we can do with these patterns. All right? Yeah, see you in the next one. 69. 69 Recolor Our Pattern and More: Hello guys, I welcome back. In this lecture we're going to be using the recolor artwork tool to add more color quality to our work. Okay, and we looked at this tool in a few videos back and we saw the possibilities of this tool, what we can use this tool to achieve. Yeah, in this video we're going to just use it to add more variations, create more versions of our artwork, different color combinations. Okay, now I'm going to zoom out a bit and just select my Edit to tool and select both bots and duplicate them. We have duplicates of our artwork. Now I want to start with this one to the Recolor artwork tool here. First of all, I'm just going to cancel. I'm going to give it a bit more space. Okay. I'm going to select and then go to the two right now. Right. I'm going to just create one group. I will give you the name. New group. I shouldn't have hit Enter, we start again. New group. He's going to click out, right by clicking on this icon. On this icon, I can immediately start creating variations for my pattern. Okay, color variations for my pattern. Okay, we can see that we are going through a lot and lot of variations for this pattern. Just when I just come across one, I'm covid, I'm going to stop and look at other features. Okay. The possibilities of this two are limit less. If we keep scrolling, we will really never come to a conclusion. Let's just select one randomly and just see what are the features we can look at. No, I have this guy. There is one feature we didn't look at from the past video, which is the swap color features. This feature we can actually swap color. Let's assume we have this color. Let's just choose this guy here to show us what object has this color, right? Let's just click here. And we can see that it's telling us that this object at once with this color, right? When we click on it, we can see them highlighted. And when we click on it here, we can see the just come up and go away. Okay, it's this guys, right? So I'm just going to click away. And let's see, we want to swap them with this color. Just click and swap. Immediately, you can see that these colors have been swapped, right? These colors have been swaped. When I take them back, just observe she and this sky because they are the ones with the boot colors, right? When I swap, we can see that the colors swap, okay? That's one other thing we can achieve with this. You can just keep swapping to see which one is best for you. That's one thing you have to note. Now I want to walk on the background, I want to walk on the background. I'm going to look for the background color, Now I'm going to click Click. You can see this on the background. You can see this on the background. This is not the background. Okay. We're going is a bit far away. I'm, we're going to keep clicking till I get to the background and I couldn't get the background here. So we need to click away to look one more time. This seems to be the background. Let me try this. That's not the background, you see? That's one other thing here. It might be hard to get the back. Let me try this guy here. This is not the background. I don't know why I'm having difficulty getting the background this time. I'm going to try one more time you guys. I'm not sure I even selected the background. Let me cancel this. Okay. I need to select the background in order to have it. Okay. I absolutely need to select the background. I'm just going to make select and make sure I select the background and I'm going to try again color guides to Okay. Now I think I've selected the background. This time it's like the other time I didn't select the background to create new group and call it new group Okay measures. Can I keep making this mistake? Create new group. Let's leave it at new group. Let's leave the new group. Let me just start changes by clicking this two right away. Let me reset this thing and start again. Let's assume we want to work with this. Now, like I said before, we can swap colors. We can actually swap colors. We're swapping between this guy and the background. It now turns out that this is the background. Select this guy, we can the background, right? This time we selected the background. Remember we can just click, of course, and edit the color. Or we can come and edit the color here, right? And we can swap the colors like this. I don't want to keep the color like this and work on some other colors. I want to work on this color. I want to work on this color. Let me look for the color. Let me click out one more time and I look at the color properly. Let me this is the color. Yeah, this is the color, This is the color I want to work on. I'm going to click out of the tool and let's see what we can come up with, what changes we can come up with. I'm beginning to like what I'm seeing, like what I'm seen. Yeah, I think I'll go with this. I don't like this guy here. I don't like this color. I don't like it. I'm going to look for it. I don't like something. We look for it. So this is it. Can click out and try to edit our color. Right? A. Okay. Yeah. I like what I have so far for this guy. Let me see. I want to walk on this guy. I want to work on this guy. Yeah, it's the one got it this time. And we're just going to click out and try to see what I can come up with. We can testify that apart from a blow street of having to edit the colors automatically using the color theory, we can of course, select these colors and modify them on our own. Just like I'm doing right now. I like this guy and we cannot move to the next. Okay, The next will be this one. Let's see if we work on this guy here. For that guy, I'm just going to use this guy now to look for the color, right? Yeah, so this is the color. And I'm going to click out and try to see what we can come up with a. Yeah, I like this one. Okay, perfect. So we're going to keep looking for one particular one. Let me click out again. Yeah, I was trying to work on this one again, but I think I will just go with what I have now so we can see what happened. I just click here and it took me back to my new group, the original group I created to see that's a problem. You have to make your changes first and then create the group. You have to make your changes first, and then create the group. You have to make your changes first. Okay? And then create the group. Okay. That's the mistake I made. I'm just going to, I'm just going to choose some presets, Okay? Of course you get the point here. You can swap colors, you can edit colors, You can locate colors and change them. Okay? I don't have to do this all over again. Okay? I don't have to do this all over again. We're going to go with preset and then I'm going to create a new group way with this presets. Okay, not so perfect, but I guess it will suffice. We can now see group now, we can name this new group one. When I click this guy, we are here. And when I click back, we are now in our new group. You see we have to make the change first before creating the group. I have this guy and this guy. I'm going to keep editing, right? I'm going to keep editing. Maybe I will. Just a preset. I'm going to add the presets. I'm going to come to nature and see flowers. Okay. I don't like what I have so far. Maybe foliage, and then when I come here, of course you see that we have many other presets which you can choose from, which are based on the color wheel perfect. What I want to do is I want to just reduce the saturation, maybe the saturation and then have this as a group two. When I click okay. We now have a change of I can of select them like this and then come to recall artwork panel or two and select another second little group. Now we can have different variations. Let the guy give it one, let's give it one. Now we can see that we now have four variations of this particular artwork. Of course, we are okay with the color of the background or whatever color we can, of course, change. Perfect. Perfect guys. Now we can see how we've used the recolor artwork panel or tool to actually create these beautiful variations of the same pattern, the same pattern, the beautiful color variations of the same pattern. You can see these are looking good. These are looking good. And you can use them. You can use them on prints. You can print them. You can even sell. You can sell patterns. Yeah. And with this, we've come to the end of this lecture. I would like you to go ahead and have variations, or color variations for this other pattern. Remember I did this for this pattern, this first one or the second one. I want you to do the same thing for this other pattern. That's the first one we created with this, We've come to the end of this lecture. See you in the next one. 70. 70 Assignment 13: Hello guys and welcome back. In this video will be taking an assignment. This assignment will cover all the things you've covered or most of the things you've covered in previous videos that's in this module and in some other modules. Also, I'm going to start by creating a new document to demonstrate this assignment for you. I'm going to go to File and import the drawn pattern elements which you're going to trace. This is it. You can find it in your projects folder. It's titled hand drawn pattern elements two. You're going to place it on your artboard and then trice out the work. Right? You're going to treat it out maybe using imageres, or you can use the paint brush tool like we used in the previous video. And then you're going to color it and create patterns from it. That's the first thing you're going to do. And then you're going to use the recolor artwork tool to add more colors to it. Okay? You're going to have different variations of colors to it. And then finally, for this theme assignment, I would like you to come up with a sketch. Okay? A sketch of anything could be a pet themed sketch, it could be whatever thing you can come up with. And you can also use pintrh to gain ideas. You come up with that sketch and then you use this pattern in your sketch. I also want you, apart from using this pattern, you could also use the noise brushes which we created from our brushes video to add more green textures. Green textures, of course, you know what I'm talking about. We learned about shadows and highlights, right? And tunes of all these green textures. You can add them also to your illustrations and I would love to see what you come up with. Okay, that's it for the assignment and see you in the next one. 71. 71 Assignment 14: This assignment is aimed at helping us work better with the recolor artwork. To, in order to do this assignment, I have provided the file to go to open. You see this file, this retro poster? You have to open it. Yeah, this is the project. This is the file. You have to use the recolor artwork two to create different color variations of this design poster. So that's what the whole assignments is about. We could just select the two again, maybe create a variation like this. From there on, you could select the whole design or parts of the design. Select the whole design. Could start, it may be parts of the design, maybe this part of the design. Then go to the recolor artwork tool and start making your variations. Right? Okay, make variations. See we like something. Okay, let's say we like this guy, but we want to make changes to the color of our music. Right? Okay, let's say we want to make changes to this color, this color. Okay? So we then select this color and maybe change this, maybe make it even brighter like this. Then probably select the whole design now, and then try to get some more variations. All right, so the essence of this whole assignment is to get you a bit more familiar with the recolor artwork too. Okay, that's just the essence. So I need you to create three variations of this artwork. You just have to duplicate. You just have to duplicate the artwork. So this will be the original and then the three different color variations of this artwork. That's just what I want you to do for this assignment. I'm just going to save it to us so that when you open the file, you're going to have all of them four land out like this. Yeah, that will be it for this assignment. Feel free to share your projects with me. I would love to see what you come up with. See you in the next one. Bye. Bye. 72. 72 Shape Blending Roundup: Guys and we come back in this module, we'll be learning about ship blending and also the three D effect, all in db illustrito. In this particular video, what we'll be learning is the ship blend effect or ship blending. So we have the ship blend tool which can be used to achieve this effect. We have other ways we can achieve this effect also. Now, ship blending is quite popular in Db Illustrito amongst designers, even though beginners might see it as a bit complex, okay, but really it's not complex. Ship blending is a bit popular in Db Illustrito. We even looked at ship blending from our previous course, from my previous course and to be Los Do, which is the fundamental course in that course, we even created this artwork using ship blending. Ship blending has to do with blending ship. In this case, we blended this line. Okay, To create this line art, you can check that course out if you're not coming from there. Okay. In this course, however, we're going to be taking it a bit further. Okay? We're going to be learning a few things which we didn't learn in the last course. Okay? In order to start and I'm going to just create a new project and show you how this thing works. In order to put your ship blend effect, you have to have some ships, right? Let's have two different ships. An ellipse and square for this one, giving it this color, and for this one and giving it this color, this color. What ship blending does is it blends between this ship and this ship. Okay? In terms of their color, In terms of their ship, in terms of the sizes. That's what ship blending does. There are two ways to activate this effect. The first one is to use the ship lend to. One other way is to just go to objects and go to blend. And you see the options here we can make and we can release, and we can look at the blending options and we can expand, we can replace pine, we can reverse pine, we can reverse front to back. We are going to look at all of these options in this video and more. In order to start, I'm going to use the Plentleno. Click on the first ship and click on the second ship. Immediately you can see that we now have a blend between these two ships in terms of color, in terms of their ship make up. That's how the made up as a ship. This one is a square and this one is an ellipse. And also in terms of their sizes, we can see this one is bigger than this one. And we have a blend between the sizes also. That's how ship blending works. If you just select the guy now and double click on the ship blend two, we'll see this option come up and we see that spacing, we have smooth color. We can change these two steps when we click on Ok or when we just make this, let's say 50 and okay, we'll see that blending is now smoother because there are more steps between this ship and this ship. Okay, So that's how routing works. If you make the steps even more, let's say 500, we'll see that the blending will become even Smooterkay. We can't even see any demarcation between ships because we have increased the steps. So if we take our direct selection two and try to edit one of our ship, maybe move the guy or even edit anchor points, we see that the whole ship is moving, right? The whole blended ship is moving. And it's been modified. As you can see. I have now modified our blend and I have met this guy kind of a trip. Okay? And you can see that the blend still holds, right? Let us see. We have a background into back and selecting the report. Let's select this guy. Now we see that we don't have it coming out of the background, right? So that's cool. That's one of the things you can achieve with the blend effect. Now let's create another ship. Let's see. This time we have a star. We have a gradient this time. Okay, give blue, give it yellow or red. Okay, then the other guy is a rectangle. This guy will give its yellow and then maybe this shade of blue. All right, so let's select our plan ship to click this guy. And then click this guy. You can see how it transitions between this ship and this ship. Let's make the steps even bigger. Let's make them 500. Let's just make them 200, so we don't stress our computer. Now you can see the blend. Okay, I'm just going to increase my blend to say 350. Okay, we have a smoother blend. Now what I want to do is just take my brush to and draw something like this. Then select the two objects. That's my blended shapes in the brush stroke. Good objects to blend and then replace spine. We then see that our blended objects are now arranged along this path. Arranged along this path, yeah. That's one of the things you can achieve. Let's say we make this Paa, we can see the beautiful we have now achieved by simply doing this. Yes guys. And it's also possible to apply effects on this and achieve even cooler ships, even nicer ships. Let's see, we add the come effects and then we add the distort effect. The block effect. Just start to edit our effect to add more more blots to the ship. We'll then see how dramatic our ship is becoming, right? Yeah. So this is a very nice way of achieving really abstract complex ships in to be illustrator. When I select my ship and come to objects and click on reverse pine, we'll see what happens. Okay, reverses it, so that's the reverse pine option. It reverses the whole thing. And if we click on our ship, then come to objects and reverse front to back, we'll see what happens. It turns our ship from front to back. Okay, that's bringing either this one to the front or to the back, depending on its present location. And we see the whole effect ticking ship here. When I undo it, Z, we see the change, right? That's the effect we get with that. I'm just going to select everything and did it and then come and look at something else. Now, we spoke about compound parts. In the last, we didn't learn about using this effect on compound parts, we only spoke about using the effect on separate ships like this. Let's assume we have compound parts like this. Do understand that the more complex you go, the more complex the hooting becomes. Right? And also the more taxing to be on your computer creating something abstract. Compound path to sect the whole guys and come to object and compound pattern make, We have this as a compound pattern and a single ingredient field has been added to them. Okay. The next thing I'll do now is come here the rectangle and create the compound paths with the rectangle. Make it like this guy, make it this. All of them move objects and compound path and k for the median. Feel. Let's choose some different colors. Perfect guys. Select the two of them to object, blend, and make. We see what happens. Okay, this looks very shabby, but we are not done yet to come back to object and then blend and blend options. Let's choose specific steps. Let's give the 250. Okay. We see now that it took some time, but we now have this very abstract looking blend between the two paths, right? It looks very abstract but also looks cool. What I'll then do is I'll take my brush to and try to create a path. So that was going to do something like this, create a path like this so that the guys will follow. Select the guy here, select the boot of them. The boot of them with objects, blend and replace pine. And this might take some time. Yeah. Now guys, you can see the very cool and abstract looking stuff we've been able to achieve here just by creating this blend on complex compound ship. Now select the guy and double click and make this, let's say 350. Let's add 100 steps. Okay? We can see that the blend is non smooth, right? Non smooth. Increase it to 500. 505, 1,500 And of course it's going to take some time. Again, it's, so, all right, these are some of the complex stuff we can achieve. Imagine adding effects now like a blood effect, just like we did before. That will make it look even more complex. Imagine the background image then having a background engine buck. Imagine having a background like this. Apart from just having a background comp and piece in place. Control C, control F, then just bring it to front. Jump in front and select the guy here. And control seven to click mask. You can now see how everything looks more organized all within our B. We can select the background, for example, select the background and try to maybe edit the gradient color to see what better color is we can achieve. Okay, I think what we had before is, okay guys, these are some of the very cool stuff you can achieve with ship landing. So we've come to the end of the introduction on ship blending. I'm just going to see this file so you can have access to its ship blend. Let's see, abstract background. Let's see, instead of abstract background, I think I'll just see it as compound ship blend. Okay, compound ships blend. Okay, compound path blend. Okay? Upshot background, compound blend, blend. This perfect guys, with this, we've come to the end of this lecture. The next lecture, we're going to be learning about the three D effects. Okay, we're going to be looking more into the three D effects. See you in the next one. 73. 73 3D Effects Roundup: Hello guys and welcome back. In this lecture, we're going to be talking about three D in how to Illustrator. So we're going to create a new document. In order to open our three D effect, we have to create an object, for example, like this one. Remove the stroke, give it the color. In order to activate our three D, we either come here to effect and then three DN materials. These are the three D effects. Or we come to our windows and then go to three DN materials. We then open the three D and materials panel, which is this panel, it enables us to add the three D effects. Now, when you come to effect and look at three DN materials, you then see that we have these ones extrude and pebble revolve in fleet materials. And then we have this one which is called the Red Classic. Now under the Red Classic we also have Extrude and Bev classic. We have Revolved Classic and then we have Rotate classic. Now what's the difference between these two? The difference is this tread classic is the old type of reD in Adb illustrido. Okay, so in La versions of Ad Illustrido, we do not have the treats and we do not have this tread panel. We only have this tread classic as a Tre D. Okay. But when Adb Illustrito was updated, we now introduced this new red Okay, and also the treat panel. This old one, which was the only treat available at that time, was now made the Tre D Classic. This treat classic actually has some features which the normal three D do not have. Okay, so there are some features that they didn't want to disband, they just made it into tread Classic. Instead of totally disbanding the tread effect, you just made it into tread classic and then add this new Tre D be illustrative. We start by looking at this new Tre D. Okay? Also you have to understand that this new Tre D, that's the ones, are the ones linked to the red panel. This tread classic is not linked to the three D panel, Okay, to the Tre D and materials panel rather than treat panel D and materials panel. That being said, I'm going to start accepting my ship. Actually, I'm just going to create multiple ships. Okay. The next ship I'm going to create will be this ship. We have this ship, then I'm also going to create this other one, other one, maybe even another one. What I'll just do here is I will divide this one by half. Select the both of them, go to my ship builder to them and drag like this to delete them. Perfect, I'm just going to experiment the Tre D here and we will then look at the Tre D classic. We also looked at thre D from the fundamental cause we looked at it in details if you like, you can check that cost. If you're coming from that cost, you definitely understand what we mean and you can skip parts of this video. That's the part where we're only going to be covering the Tre D and materials. That's the new treat you can unfold to. We covering the three D classic because we didn't cover the three D classic in the last cause. Select your ship, go to effect and extrude Embb. When you extrude Embb, it's then going to give the object this three D effect, okay? This extrude effect, okay? You can either extrude and you can select this one, which creates a flat plane. All of them have different options here. And you can select this guy which extrudes. For the extrude, we have an extrusion depth. You see what happens, right? We have this cap where you choose between this one and this one. Open the cap here and this close it. Then we can choose, you click Bev. We'll see that we now have a Beble on our treaty ship. And we can choose the profile or the ship or the Bev. We can see that this guy is classic and this guy is around. This guy is convex. I'm just going to try to go through all these options as fast as I can. Okay? I can look at the other one. You can see all the shapes of bevel, right? Or the profiles. Yeah, that's what we can achieve with them and we can achieve a whole lot of things. We can determine their width with this one. The width and the size or rather the height and also the amount or the quantity or copies. Right, we have three copies and we have four copies. Now you can see how the update, we can even determine space between the copies, right? The spacing. We can make the spacing big. We can make the spacing small. Then we can choose whether to pavel inside or outside. And then we can reset to the normal, remove the Bbl. And then we have this other one which controls the rotation. Now for this one we have presets. We can choose from presets, right? There are different presets we can choose from. We can etitme like this, manutme rotation, okay? These are what we can achieve these. Now, when you select any of them, you have different options for the cap, you have different options here, but the rotation remains the same for the plane. You don't have some of the options we have here like depth because the plane does not have a depth and we also do not have this cap. And also we don't have the bevel because we can't be the plane, right, but we have the rotation. When you look at revolve, we don't have some of the options we have here like the depth and the cap. We have some other ones like the revolve angle. Then we have the offset. We have the offset direction. And, and so we also have this guy which is the inflate this guy. We have the depth option. We have the volume. We have volume of which we don't have in other ones. And we have cap and the Pavle is not activated and the rotation is activated. I'm just going to stay on the Pav, choose rotation like this. Maybe for the depth, I'll reduce the depth. Perfect. Now we have the material options here. Now whenever you create an object and add the tree effect, it's been given the default material, now they call it the material here. And we can add other materials like this one is the Cape material, this other one, whatever the concrete material, we have a lot of materials here. The materials consume more system power as you add them. We also here where we add new materials. The materials have to be substance materials. If you're familiar with dub substance, the materials have to be in that format. You can select the material, maybe a custom material, and delete here. That's one of the things you can do. Also, when you come down here, you are then able to edit the material. Here we have material properties, we have parameters, the resolution of the material. You can choose a higher resolution. Then we have the pink color. Different materials will have different sets of settings. This particular one has three or four different pin colors, right? This is more of a marble material. Then we have the pin roughness. The pattern, you can see how it's updating. Then we have the pattern up intensity. Then we have the Stein density. Then we have all these other ones. We have position offset, position of set Y and X and many other ones we have materials properties where we have height range, we have height position and so on and so forth. I advise that you go through them on your own. Different materials would have different sets of settings. I choose this one. Now you see we don't have those colors. We instead have ha green color variation. Definitely different materials. We just have different sets of settings. You just go through them. Then we have what we call lighting. This is how the materials will be lighted, or this is how our shape would be lighted. We have this guy, which is a preset, it's the standard lighting. We have the diffuse lighting. Of course, you can see the changes being applied. We have the top right lighting, which will send the light from the top left, and then we have the right, which will send the light from the right, right. Then we have the color of the light. We can change the color of the light. We can change the rotation of the light. You can see the effects. We can change the intensity, make it very intense or less intense. We can change the height of the light. Basically, that's the height of the light from the object. The lower the height, the less effective the light will be on the object. And the higher the light effective it would be. Then we have the softness, softness of the light. Then we can activate ambient light or not. Then for the inmbent light, we have the intensity. And then we then have shadows which we can activate. Of course, you have to know that adding a lot of settings like shadows require system power overshadows. We have position of the shadow, should it be behind the object or below the object. We have distance from object. Shadows can increase the shadow bounds objects and so on and so forth. Finally, we have what we call render settings. Rendering will enable us turn our raw image to a more refined images, going to add sharpness, going to add lights, going to bring out the beauty of our materials, Basically going to add a lot of life to our object. Those who have experience with red red design will know what I mean by rendering. This is where we choose our render settings. We can enable retreat and then it's going to render. Then we can choose the quality. We can choose the render settings, the render settings, these are the Raster settings, rather we can choose the resolution. We can choose all these other ones. We can choose the render quality, whether it's low render or medium render or high rendering. Just know that rendering requires system power. The more powerful your system is graphically, the more easily it would be for you to render. Then we have this reduced noise and we have Renders Vector Render. I'm just going to maybe choose medium. Okay, when I come here I will render. Click Render, Inspino Render, or if I have the setting set, I can just click here in going to Render. So I'm just going to click Render, and we'll see how our render gets completed. It seems our render did not complete. Let me just click here and see when I click here. We then see that the rendering has started. Yeah, now our rendering is done, and we can see all the effects come to life. Now when we zoom in, we see that our shadows now look very realistic and our object really looks more realistic than it was looking before. That's the effect of rendering. I'm going to delete this guy, create another one. I'm just going to try to create different treaties with the ships here. Different types of treaties for these ships, for this guy. I'm going to select the guy and maybe make the color a little bit darker. Then come and click on Revolve. Now we see what has happened, right? Illustrator has revolved our ship and we now have this three D ship. When you come on revolve, we see some options like the revolve angle, right now it's 360. As you reduce the revolve angle, it's going to reduce the revolving effect. Okay, 360 is a complete revolution. Then we have the offset. This is the effect we get with the offset. We have the offset direction. We either have it from the left or from the right. So this is the effect we get from the left. When we click it from the right, we'll see that we get it to create something similar to a pool. Right, We have the cup just works, similar to the cup in the extrusion. Basically, these are the features we get. The revolve type of treat, we can really apply it to different objects. Let's add the revolve to this object. And we can see that it has revolved it into a sphere, right? We see it has revolved it into a sphere. Let's try revolving this guy and see what happened. We can see that it has revolved this guy into this. Do not ship, right? Yeah, that's the revolve effect for you. Let's try revolving the sky revolve. You can see that it has revolved this into a sea Linda, when we come on the ship, we can actually rotate it using the gizmos here. So we can just click and drag. And it's going to basically rotate our ship like this. Perfect. Now let's try revolving something interesting. Let's try doing something interesting and then adding the revolve effect. Okay, I'm not creating anything specific, I'm just trying to create something dramatic so as to see what interesting shape our revolve effect can give us. So I'm going to make this guy darker, then I'm going to revolve perfect. Now we see the beautiful flower we have been able to create with this effect. I'm going to just change it to the right and see what we now have here. So we see the effect we've been able to create. Very nice. And the possibilities with this two is limitless possibilities are limitless revolve. We see what we have come up with, right? You see what we have come up with, right? So that's the revolve treat effect for you. Let me try other ones. Okay, let me click the inflates. It has inflated this and it's more like a balloon. It's more like a balloon now because it has been inflated and you can also apply this to a ship like this inflate. Now we have what looks like a balloon, right? In the last, in the fundamental course at the lot course, we created a lot of projects using this effect. But in this course we're not going to be creating a lot of projects with this particular type of tre D. If you really want to see more of this, I advise you, check that course that's already. If you're not coming from there, what else? Basically, that's it for this effect. So I'm just going to delete everything and then start to check the other one. The other one we spoke about, that's the three D Classic create. This guy give you the darker color. Okay, let's see what the three D Classic has to offer. Click on the Effects, the three D and Materials, and then three D Classic, and then click on Extrude and Pebble Click on this, we see this is the three D classic. This is how three D used to look in B Illustrator. Now we have given it the extrude effect. Now we have the extrude depth here, where we can choose how far we want the extrusion to go. Then we have this one, which is the Bev K, so we can now see the different Bev profiles. We have this one, complex two, we have here for the height of the beveling. We see what we are achieving, right? Yeah, we have different profiles. You can check the remaining. We have this extend in Bab extend out. We have the surface now. We can give it wire frame suffice. Okay? We just see it in wireframe mode, right? We can also give it, just close this guy go to appearance. We can also give it new sheeting. It's not sheeted, just flat, it's not. She also give it, we can also give it the Dif sheeting, which is this one, and the plastic sheeting which would then give it this kind of nice finish. And basically that's it for this one. And of course we can choose the rotation. You can choose different profiles or different presets for routation. Of course we can manually edit our rotation like this. Key Perfect. Let's try to, let's just click the one we've created and go back to our effects. Now when you come to more settings, you then see where you can edit. Light will affect three D here or three D ship here on this please, you can actually manually to direct the effects of light on our object as you move it around. You then see the effect of light on our object. We now have here where we can determine the light intensity. We have the ambient light intensity. We have the high light intensity. It's going to determine how much high lights we have on our object. And then we have the highlight size. We can make them very thin, you can make them very large. Okay, then we have the blend steps. We can increase the blend steps for smoother blending. Then we have the shading color, this is black. Then we can also choose the custom color, so that we select the custom color we want to use for shading, basically that these are the things we can achieve this. Okay, now let's look at another feature of this red. I'm just going to create a ship here. And effects red. And material is pretty classic, we can extrude Now let's make our extrusion depth bigger. Then let's come to this place where it says map art. Now what map art enables us to do, this enable those puts on designs or objects or symbols rather on our treat objects. Here we can come here it's symbol and then choose a symbol. Let's select this guy immediately you can see that it's now on this face. We can increase the size by dragging. Like this can hold down shift to make it even. Okay. That's one of the things we can achieve. And we can navigate through the surfaces by just clicking here. And it's going to highlight the surface. Highlight the surface, okay. We're just going to add them on the surface. We can see that these three surfaces, for this one I'm going to put this symbol, the symbol, and just increase the size of this perfect. And then for the last side, no, going to select another symbol. Let's select this one. Increase the size. We're going to select another symbol instead. Just choose this one. Pull down shift and drag it, drag, this has to fill the space here. You see that we have now added symbols on our ship. Now there are other options here. This one will actually apply shading on our symbols depending on the direction of lighting or the effects. Rather of lighting on our object, it's going to apply shading on our symbols. Then we also have this one which makes our geometry invincible. With this, we now have our geometry invincible. We can just okay and okay. And now we have symbols around our object. How can you make custom symbols or symbols you have created be applied on our object? Right? Because we have just been able to have access to the symbols that are to be illustrated provides for us. In order to do that, we have to come to symbols, these are symbols, and then add our symbols. Let's assume we want to create a symbol from next, I lost, and just increase the size. All we need to do is just select it and drag it here. And we now have our symbol. Now we put in the name of the symbol. We can just ignore everything and click. Okay, now we have it here as the symbol. When we select part, let's say we want to add it here. We select the guy and go. And now you see our new symbol here can reduce the size. Just please it And okay, perfect, everything known is perfect. Now that's how to create a symbol and add it to your ship. Yeah guys, with this, we've come to the end of this lecture. See you in the next one. 74. 74 Exercise 3 Fur Poster Design: Hello guys and welcome back. In this lecture we're going to be creating this amazing posted design in a dub loreto, mainly using the ship blend two or the ship blend effect in Adblorito. Okay, while in Adulto, I'm going to open the project file. The project file can be seen in your projects folder. Okay. Open and go to the projects folder on ship, blending and effect. And come and select the four poster and click now this is the project file and as you can see, everything is here, neat and clean. In order to start, I'm going to create my art pod. And I'm going to duplicate this one we have here so that we get the same size. And then I'll just delete everything here in order to start. I will actually duplicate the ship here, which represents the four effect. As you can see, this represents the four effects. I'm going to select the guy here, Go to object, blend, and release. When I release, you see that I get the initial objects we used to achieve this, okay? Select the object, the two objects. And these are the objects we used to achieve this, right? So I'm going to just shift them away. Then while selecting the guy, I'm just going to give the path a stroke color. That's the main path that the blend follows, right? I'm just going to give it a stroke color. As you can see, this part was actually created using the brush tool here. All I did was just came and did something like this, something like this. And finally, yeah, basically this is what I created in case I'm just going to delete this one and work with this one. What I did was I just made a blend, right between this guy and this guy. Select my blend to click, click, and then click on it. And we're going to choose specific steps. Let's make this 300 perfect. The next thing to do is select both of them. Go to objects, land, and replace pine. I feel that we need more of them to make the holting smoother. So I'm just going to select Click instead of 300, now going to make it 500. We can see that it's a little bit smoother. I'm going to work with this guy now. I'm just going to bring the ship in the middle, Centralize it here. The only thing I had to do was add one effect, one effect, made this holting appear like this. Okay? One effect, give us this whole four effect we're seen here. What's the effect I just selected, the guy went to effects and then distort and transform. And then we added the roughun effect. Now all we just need to do is boost up our details. Maybe our size bits just boost up our details. Let's have the details at maximum, then increase the size again. With this, we can see that we have achieved our effect here. Can increase the size a bit perfect. Now if I click absolutely, you're going to see it reduces in size. If I click relative, you're going to see it increase in size. Now these are just mods, okay? The moods based on the sizes. The moods of the sizes. And then we have details which are responsible for the minute details that make up the four look okay, or the four effect. Basically, that's what we did to achieve this. And then we had our background. Now we have this background. I'm just going to pull them out and bring it to this artboard. We centralize it, a line centralize. Then we now have this other background which is behind the mean background select. Centralized, then finally we have this group. Okay? I'm not going to create them from scratch because we haven't learned about type. I'm going to copy them. Alt and drug then centralize. That's all I did in creating this. Yeah, that's all. With this, we have now been able to create this trendy looking poster with the four effects. Now on the possibilities of these two. This function and this effect. That's the plan effect. Very limitless, okay? All you need to do is to use your creativity, creativity and you need to come up with something amazing. I feel like just doing something else. Because this video was really shot. Let me give this guy ingredient, and this one also ingredient maybe for this guy. I'm going to change the color a bit, okay? Then I feel like making them compound paths. Let's make this guy look like this guy look like this. We reduce the size here of this one. Let's try to maybe give this guy a different color from this. I just want to see what we can achieve. Okay? We duplicate it. Make it small. Maybe move it like this for this one. Duplicate it again. Make it bigger. I move it here. And maybe give it a different color. Give it this color, this color. I'm just trying to see what I can achieve here. Now I'm going to select everything here. Good objects, compound parts. And for this one I'm just going to go to the ones that intersect each other. I'm just going to unite them like this one we can pound part. Okay, one thing with compound paths in guises will be able to have one gradient, right? One gradient. Just totally forgot, instead of using this gradient, let's use this one. And see for these guys, we select all of them, let's unite them. Okay, I'm going to use my plan to select this guy. And select this guy. Then click on my Plan to Specific Steps and make this 400 for example. Okay. And then I will just ate my body, my art pod so I can have a new artboard for this one. And I will just did this one here. For this one I'll just have another spline like this. Sorry, just want to redraw so it's not something specific. I'm just free styling here. Okay, so let's see what we come up with. Okay, you said good of them. Object, blend. You please plan and this is what we've got. And then for this guy on, let's add one effect. Let's add the roughen effect and see what we get. The size. We don't need to make it too big, we just need to increase the details. So when you make the details too much stress. Your system out the sky, the size of its I think I depictdms. You can see we have another version of the four and I feel we can do more work on the coloring. All right. So maybe you give it the darker color here. It's taking time to Yeah, so I kind of prefer this color, this new color. I kind of prefer the color. Let me see if we can achieve a better coloring for the other ingredients here. Okay. You guys, I think I'm okay with this. All I would then need to do is bring in my text. Just arrange them to the fronts and centralized Yeah, we have another another file export to Just put one exports. This is not a part one, this is a B four. Okay. 124, I think we don't have three. This is at bode four. I can export 42 used. Let's try at four seek. Let's see, at three, it's actually at three. At four and then. Okay, when we go to our fire line, we see that we now have a new four poster. Okay, yeah, so that's how we create these posters. Okay, that's it for this video guys, We'll see in the next one. 75. 75 Exercise 4 Creativity Poster Design: Hello guys and welcome back. In this lecture, we're going to be creating this poster design in Adbustrito using the three D classic effect. And I have two versions here. I have this version which has the write up completely flat in color key. There is no shading to it. And we have this other version which has some shading applied to it. Okay? All of them will make you know that the write up was made out of Phi. Right? And that's what we're going to be achieving right away in Adb Illustrito. Open up the Lost open and come to the Projects folder and choose the Creativity poster and click on Open. We have the file here. These are the two versions. I'm going to start by duplicating one of the artboards to have the artboard where I'm going to quit mine or create a new version. Then delete everything here. So the first thing to do is to come and select the ellipse tool and just draw out an ellipse. I'll give it a color so I can see what I'm doing. Give it a color and come and select the rectangle tool. And draw a ship like this. We can see that we have drawn the ship on the other half of the ellipse, right? Set the booth of them and builder to hold down old lit the left side of the ship. Just centralized everything like this. The next thing to do is select the guy, Maybe give it a bright color effects. The extrude effects classic revolve. Now this has created this sphere for us. The next thing we should do is just bring to the middle. And one thing I think we should do is increase the size like this. Stretch it like this, as to give it this spherical ship. Okay? It's not meant to be a perfect circle. If you remember from our previous video where we learned about the red and how to map objects on our red, we learned that we need to create symbols, right? Because it's only symbols we can map. It means we need to tone this text to a symbol, this text to a symbol. When you come to symbols, all you need to do is to drag in the text and you need to type the name and see it. If you just look at the symbol panel here, you see that we already have it because I created it to create this effect here. Okay, The next thing I'll do is select the guy here. Go to Appearance, and double click then, not changing any other thing here. All I'm doing now is click on Map Art and come to Symbol. And select this symbol. Okay? Just drag it to this side like this. Just key it up to the point where we are, okay? Okay. Yeah. Basically this is how I achieved the effect. All I then did is made the geometry invincible. Right? And then click Ok. Let's just click okay for now and give it a background. I'm going to select the background here and drag them already. You see the effect has been achieved. All right, perfect. Now that's for the first version, which is this one. For the second version, all we needed to do, all I did was I clicked on this shade art work and then I just reduced the light intensity and bits also the high light intensity. Okay. Basically, that's it for this one. Okay? And then we're done. I don't want this particular one to have the shade in. I'm just going to remove the sheeting. Since you understand how we have been able to achieve it, Then the next thing will be to select our elements, copy them to our new art board and just centralize them, maybe make this guy a bit bigger. Yeah, there we go. We have our effect clean and looking good. You guys will be for this video. See you in the next one. 76. 76 Exercise 5 Elephant Line Art: Guys and welcome back. In this lecture, we'll be creating this artwork which I created some years back for a client. Okay, we're going to be recreating this B illustrator again. Basically, we'll be using the blend tool or the blend function which we learned in our past video. Yeah, let's just jump into Abl Street on now and start by creating a new project. Let me just to tore it here. And then we import our image, right? Our elephant image. Actually, I created this from a real elephant image when I created this. But since I don't have that image, I can't find it right now. We just use this one to recreate the effect, which will definitely be easier. Please then select the guy, then we just drag like this. The next thing we'll do is reduce our out pod to fit our drawing. Okay, then select our drawing. Reduce the opacity of our drawing. We can see what we are doing, but don't get distracted. I'm going to create a new folder and I'm going to lock this folder and work on this folder. We use our pentol now to just draw out one part of the elephant. I'm going to draw out the left part of the elephant. And when I'm done, I'll just reflect it to create the right part. Okay, perfect. I'm going to start by drawing the uttermost ship here. So we start with this guy. Click and just take my time to draw out the elephant must be very perfect or must be perfectly the same as the reference image. To use my section to try to edit our handles like this. Then the next thing will be to create other parts like this one. For example. Let me go to other parts. Okay, so click and rug perfect. The next part will be this part just click and drug. Kate said the pencil click, drug, click, drug crock. Then we need to create these parts. Then the next one will be. Pat this. Just this guy like this. Can you just kind of adjust the path like this, this, this chick. And next part will be this guy. And then we'll just create the, the tusk, this. So I'm just going to shift x to give it a fill color instead of a stroke. I'm going to just please this one more accurately. But just it, it like this shift its this. This. Okay. And I think I'm okay with what we have here. The next part guys, will be this part. That's the leg. I want to just a shift X to give you this Sk for my Ancho point to, for my direct selection to rather then as common these parts like this, it ran ring and o. This other part, I'm just going to duplicate this part and just extend it up like this. Use my direct section two and it's a path to look like this. And for this one I'll just draw out line like this and select the boot of them. And use my ship two Alt, click Alt, click Alt and click. I'm just going to select the two ships here. You see these are two separate ships, right? What I would do to join them is to select them like this. Select the outermost anchor points, the boot of them. To select object path, Join, select boot of them. Object path then join. Or you can use control or short cuts. Then we'll walk down on this other paths of the tusk trunk rather Click, click, drug. Okay, just drug like this to smoothing it out. Then click, click and drug. Click and drug. Key. Perfect. Let me just extend this one. Points and just to handle room like this. Perfect. So we're done with almost all of the job. Okay. Click and drag. Yeah, we have this part then, then create these parts. Let me just hide this, lea, to see the progress. Okay, so we have the parts we haven't created. Sorry, here, I won't join it here. I'll just create it as a separate ship. Just created as a separate ship like this. Then you then have coming like this. And then how come like this, this and then for the I have the I come, this, this per shift, maybe reduce the size of bits for this inner part of the eye. I'll just draw it out the pencil once more and shift X for the Shook. I'll just complete the path like this for this guy, I just walk on the bit Y. So far, so good. I like what we have. What we then do is just select everything for now and select the ones that have the field color. Give it a profile and give it this profile. Then we have to increase the size now that the size, increase the size to maybe two for now. Okay, You see that we've been able to achieve a nice effect now we start creating our blended ships, right? We start creating our blended ships. Just start by creating this part. Click, choose your reg section to select the anchor point. And just edit it like this. This adjusts like this now. Then give you the profile. Give you this profile a simple file so maybe I can do more adjustments to this ending part of the Sk. Yeah, perfect guys, the next thing I will do is I'll create this one. This one basically just give it the same look as this one here, size and the same fire. Then what I would then do is just select the both of them and objects land. And we see that we've made a blend between the two ships, right? Just select the blended ships and click on the tool. Then choose specified steps. Let's just increase the steps to 20 and see what we get. I like what we have so far, even though it's not blending perfectly with the original or with the reference image, I'm still going to use it like that. And what I can now do is just walk on this part so as to have all these other parts attached to the line here. I'm just going to pre. Yeah, we are now done with this one. All we need to do is to select objects to path to blend, rather then click Expand. When we click Expand, it's going to turn all of them into strokes, into separate strokes when we select them and select this guy. And then choose Sheer tool and hold down a well, then be able to delete all the parts we do not need. Okay, we can just mark D and deletes multiple guys. And as you can see, we now have the parts created for the other one. We just deletes and deletes to have them eliminated. Let deletes, deletes, deletes. Here we have this part created. Going to the next part, which is which is this part. All right, this part, the press to this is to divide the ship. I'm going to go down or clicks it. N choose the Sesors tool with the Orson cut our ship. We can just cut like this. We can click here. We can click on the part like this and we have it cut out. We can click here and have it cut. The next thing then to do will be to select the boot of them. We can simply use our blend tool, right? So we can click, Click, create a blend between them. But I do not want to just use one step. We use specific, specific steps, right? Let's make this ten to see what we get. Click and click, yeah. And as you can see, we now have a desired to look. Let me try to walk on the parts like this to see if these errors will get the way. I'll just ignore them for now and go on with the rest of the work. Perfect. The next thing guys will be to create MC. To create this, okay, we need to create a blend like this means we need to create a new shape here. Okay, we can start from here, start from here on this. This finally, like this, we can give our profile here. Maybe even increase the size and just blend it up like this. Now we can sell, click, and have this blend here. It's a bit too much, but I like how it looks, so I'm not going to change it. We're going to move to the next thing. The next thing will be having a blend here. Here. For this one I think I'm for this one I'll blend it in this and then create this one manually. I'm just going to draw it out manually. To select the guy, the stroke can give it the profile. Yep. And we have, it's looking cool now for this guy. I just want to adjust it a bit so as to that it flows with the present shape. To me, it's flowing very perfectly. Undo the changes to see, To me it's not flowing. I think we'll just leave it and go on to the next thing. To the next thing will handle this part. The Tusk drug, like this drug like this in both of them. The strong side of two and this profile. Then I also want to just extend this guy like this and then select my plan to click. Click and put my pen tool and click here. And you see that it's been adjusted, right? So just let the guy click on your blind to Let's make this 15. Yeah, I think 15 will work. Just expand our ship so we can cut out some of the parts. Choose our ship to Alt. Delete old and delete. Delete an deletes. Okay, let's keep delete in for most of the parts like this, sorry, we have to be careful to make sure we delete the stroke, not the ship. And finally we delete. We need to also delete, sorry, we need to also delete these tiny parts. We just keep making this mistake. So we're just going to click and delete manually. And delete. Perfect. So I have a feeling that this is, yeah, it's too thick. Let's try one. Let's try 1.51 0.5 1.5 would do now. We'll go to the next part. For the next part, I just want to create this one here, Okay? So and drug and then increase the stroke size. And I'll give you this profile this time. And I just want to, what I want to do for this guy now, I want to expand it so I can edit two an points here and here. Select Expand Appearance, and hit Select an Points It here, like this one. Drag it here. We can manually make everything look better. Yeah, if we disable, we'll see that we're achieving good progress. Okay, we can enable our parts, our reference image then I feel we should work on this. Work on this, I'm just going to manually draw it out like this. Just hit shift X for the stroke, make this perfect. So I hit for the ankle point to grab this guy. I just adjust it to make it look better or closer to what we have here. Okay guys, I'm just going to give this guy a profile right now and increase the stroke size. Then then select the pot of them. Here to blend. Let's choose blend options. Let's make them, let us blend with the ten steps that we have already set and see what we have. Okay, this is a bit different from the original. What I like here and I'm going to keep it. I'm going to keep it. Let's go on to the next thing. Next thing will be this part here. This part here. This part I'll do is select this guy. Control C control and click and isolate part for the Ses to hit here like this and just delete the remnants. We have this guy in, this guy sell. Yeah, perfect. The next thing to do, create the blend here. This blend. In order to do this, I'll just, I'll use two parts. I can actually use one blends from, let's say, a ship that looks like this to this one. It's something like this blending this guy, it might not look good. And I can do it in two parts. This guy to this guy, from this guy to this guy. If you understand what I'm seeing, just this one now, I'll just adjust it to look better. Then have it in please. Then let's have one that looks like this. So we just into this for now. Let's have one that looks this last line here. Okay, I'm going to hit Sea so I can cut my ship here and delete this. Extra parts here. Drag like this. Yeah. Then for this one I'll just try to land it to look better. I like what we have so far and I'll just take the guy here, give you a stroke of two. Give you the profile, select this one, give you a stroke of two. Give you the profile and select the boot of them. I didn't need to select the boot of them. Actually, select to click. Click, click, click. What am I doing? Yeah, I now need to just click then. Let's give it 50. Yeah, I think 50 should do. Let's reduce. Let's reduce. Let's reduce to 40. Yeah, let's use 40. Just expand this one. Why is it I shouldn't have used the expand function. I should have just come to plan and then expand, expand on the blend. Okay, so I select everything and I select this guy. And I, yeah, I select this guy and then I select my ship builder two and start cutting out stuff. All right. Cout stuff out, it out, it out. And I forgot to make my ship extend to this part so you know what? We just undo everything I just did do so as to drag my ship to this part. Okay. So. Select drug. Just adjust it like this. Perfect. I can select everything. Now go to objects, go to blend, and then expand, perfect. I can select my ship here. And then also I need to select this ship also in this ship to my shipbuilder. To shortcut for this guy is shift. For the shipbuilder shift we can just do shift this, the drug, drug, drug, drug, drug. Then for this one which is drug, like this drug, drug, drug. And we also need to drug here. Now remember we're holding down Alt. All right, we're holding down to delete. Perfect. Yeah, we're achieving our objective two by two. What if I increase the stroke size? I'll just make it to perfect guys, we're doing a good job on the next part to this part. Let's handle this part to hide the just ingle the li and, and then draw our part. Perfect. Now, blend this one, This one I need to just my part like this. You select the guy, you read the Sg of two, you read the profile and then ship, blend, Click, Click, then we select click. And just give it, let's see, 20. Okay, perfect. I like what we have here so far. We can now, these are the parts, the head here and here. Let's work on the, let's work on the head first part. For this part we just need to create this guy like this, click and drag rock, then just give it a streak of two and profile. So let's just select them instead this time. And I want to just two bits of adjustments. I think we need to smoothen out the F here. The point here. Select the guy, select this guy. Good object, blend and kick. Give it 15 steps. Yeah, the steps are a bit too much, but you know what, I'm just going to leave it like that. Okay, so that we have some parts being more dense than others. Next thing will be objects don't I don't need to use to expand. On the object, I only need to use the one on the blend to expand. Okay, after I expand, I'll just select this guy here and I'll hit shift them for my **** builder and then I can start to delete the unwanted parts. Perfect. So I like what we have so far and I will just take time to create the next one. I actually should actually delete some part of this one too. Maybe. See. And just it from here. And delete. Yeah. Perfect. The next part will be this part. We have one of them, one of the parts here we just need to create the other one which would be this one. This one other thing I can do is just expand, expand and the other guys expand on group so that I can steal one of them or two of them, one here and one here and use them for my blending instead of starting to create new drawings. Right, I'll just control C control and then control to group them. And click and isolate group. Now I can edit them for my cuts. And I'll just cut here and cut here. So I can delete this one, select the two, come here and delete this one. Then I can select the co points here to objects, parts, and join. Okay, and it's skip. Now I have this new guy on top which is separate. To do now, I can just create my plane between the two parts. Like this, good objects blend. Nick, taking a lot of time. Now for this guy, I'll just click and reduce the blending to, let's see, five, perfect. Yeah, I think I like what you to come up with here. For this part. We will not create anything, we just need to fill out the other parts. Right? And we'll be done. I'll just open my reference li then do this part for this one, just click give the stroke of two or we'll give you the profile first two. Let's give you the stroke of one because it's not long enough. I just address to the bits and then create one other one here for this one, I'll make it long so I can just the relevant parts. And also for this one, I think I'll just make it long so I can cut the unrelevant parts. Like my plan to click Click, I need to give this guy a profile to select my plan to click click, click 20. Now we can expand the Select these guys, select this guy and shift M. And then we can hold them out and just cut perfect. We also need to them, from here select them. Shift M, D, and cut. Perfect. The last thing to do will be to create the parts for the leg and also for the trunk. So I'm going to do this right away. Select or click and drag and crete my parts. Just just okay, select the guy and give it a profile. Go down for this one, we'll just control C. Control click and isolate part and hit C. Let's come and cut it here. Okay, just select and just delete this one. Let's ko, We can click and we can click and click, and then go to objects L and then click on the two. Let's give this 50. I feel that we can give it even more. Let's make it more dramatic. Let's give it 65. Perfect object, blend and expand. Just select these guys here so I can help them. You can help them shift for but the ship build two and hold on, drug deletes. I'll just on two. Deleted one here which I shouldn't have C deleted two which I should not have deleted. Being to delete, I won't delete these two. I'll just for Lita you guys we have a word. Look around here for this reason. I'll just redo this part. That's from here to here. I'll just redo it. Just select this guy. Delete. Select this guy. Deletes drug and deletes drug and deletes and delete. Delete. I don't like how the part looks. You know what? I just feel like we doing the part from here to here and then from here to here. I think that's the approach I took in the original design. I actually did this design years ago. I can't remember everything I did exactly for this guy. I'll just click and drag like this. Then select everything. Give you the streak of two. Give the profile. And then I plan to click. Click Perfect. Now I'll just click and then give it, See, 25. Okay, perfect. Now for the other one, we can just click and give you the profile and stroke of two. Also the blend. Then blend it with this one, right? So flex. I'll just 20, 20. Let's give it 15, perfect. Now we can just expand, while object blend and expand. Click Object Blend and Expand. Now we can select these parts and shift for shipbuilder to delete the unwanted parts. So I just hit se just got from here and deletes. Then finally we have the leg. For the leg which just creates the drawing net. Thank you guys. I'll then create the other ship will be used for the blending. Let me just create it here. And we'll move the position something like this. And set the main guy, the Glu guy, for the lower guy. I still feel we can do better. We can do better. Let's try to create it better. Okay, Select the both of them. And give them, you know what, I'll just shift this guy first to this point. Then select the both of them. Give them stroke of two in profile. And go to Blend. And then click on the two and make the steps 25. Okay, I feel we should make them even more. Let's make them 35. I think we should make them even more. Let's make the 50. Yeah, I'll just leave them at 50. And to objects and plan and expand. Then we tim the unwanted path. Shift them, Select shift them. Just draw, Lets draw. Deletes. So I'll just select these other ones here. Shift them and instead of cutting them, I'll just give these guys a feel. Instead, bring them above the objects in the front and give them a white field. Yeah, we have them looking at these guys, we've come to the end of our lecture. The next thing we have to do is simply duplicate our design, right? So I can group and transform reflect. Then we copy, copy. And then just arrange it to the right hand side. This perfect these guys, we've come to the end of this lecture and see you in the next one. I'm just going to see if it as pants, pants so you can have access to the original file. Okay. Yeah guys, and that's it for this one. See you in the next one. Bye bye. 77. 77 Assignment 15: Assignment, you will be required to create two designs. Okay? You'll be required to replicate this design, and this is a line art design. And you're going to use the skills you've learned from the videos in this module, especially from the last video which is the elephant line art. Okay, You're going to use the knowledge you learn from that video to create this design. Here, the bulk of the job has been done. Okay? Because initially it was created from a real image. The bulk of the work has been done because I have been able to create all the parts that will be blended. Okay. So you don't have to decipher all of that on your own. All you need to do is just create the parts and blend them using the skills you've learned from the previous videos. And then the second one you have to create is a design like this. Mustn't be this concept, but something similar, okay? You can use different effects to depict different stuff, all different things. Okay? Okay, so that's the second one you'll be required to design. Okay, see you the next one. 78. 78 Typography Round Up: Hello guys, Welcome back. In this module, we'll be learning and expanding our knowledge on texts in ab illustrido. Okay? So I'm going to start by creating a new document. So I'm going to choose this common template. Okay? And then I'll just adjust my composition size, or rather my artboard size. Then we're going to start with the text. Now, in order to create a text in a illustrido, we need the text to. This is the text, I'm sure you knew about the text. To this is the text. We have two types of text to be lot. We have the point text and we have the area text. Okay, If you click on the text too, I just come and click on your artboard, for example, and then start typing. Okay? We see that this domin text has been written for us. Let's assume this is just what we've written and maybe we just go and sell it. Okay, Let's assume this is what we've written just by clicking on the type tool and then clicking on our artboard. Now this type of text we just created is called the point text. The characteristics of this point text is that you can just click and just start typing, right? And just keep green and green and green and green and green and green. And maybe you can then go to the next line by hitting Enter and then continue typing. Okay? You can just keep typing till infinity with this type of text. Okay? Then there is the other text which is called a text. Okay? Now this one gives us a container in which the text will be written. Okay, then let's just say we click on the text now and then just come and click and hold and drag and release. See that our box is filled with text and this is what we now call an area text. All of them have their characteristics and we're going to just look at some of them right now. Now for this guy, we can see that if I click on the edge like this. And then how shift for example, and then drag, We can see that I'm scaling the text up and down. I'm scaling the text and I'm scaling actually the text size. Okay, that's the font size. As I do that, when you come to your property panel, you see here we test character. You see that the values here keep changing, because that's the values for the font size. Okay, now for this era text, let's try doing the same and see. Now as you can see, we cannot scale our text and the font size is still the same. We cannot scale our text like this. We can only scale our text by actually clicking and increasing the font size like this. Now, why is that? Because this type of text doesn't allow skill like this. When we just scale our container, we are either making more room for the text or making less room for the text. Okay. Now when I scale it down, you'll see this red icon here. Okay. At the edge. It means there isn't enough room for that. Should have been in, please. Okay. It means there isn't enough room for the text and we should expand it to have more. Now as I expand it, you can see that the red icon now disappears. Let's assume we have it like this, We have another. Let's assume we duplicate this guy here. And we want a continuation from this guy to this guy. What we need to do is to click on this icon, and you see that our mouse now has this new look right now. We can just come in and click, and we can then see that it continues from here to here. This is very, this feature is very handy when designing stuff like magazines and newspapers, okay? Because you need sometimes to continue your writing your text from one paragraph to another, okay? Now, this is what you can do to continue that. You can see that as I reduce the size here, I reduce the size here. It keeps filling up the space here. Okay? It keeps filling up the space here. That means the two of them are connected. That's one of the features you get with the area to. It's possible to change our area, our point text and our point text to our area text. All you need to do is double click the we've changed this point text to an era text. Now as you can see, as I increase the size, it's no longer increasing, right? So also with this guy, all you need to do is double click this guy here. And you need to change it from an era text to a point text. Now you can see I am able to increase the size. So that's the two types of texts. And also the differences and features going to create one point text. Scaled it up to show you more about the features. Of text in a busto. Now, selecting the guy, we to go to Windows. And then click and then go to type and then character. Now they window here, okay? The type panel here. The type panels here are what are responsible for controlling all the features we get with the type function in a B illustritoow. After clicking, we can see that this panel now pops open. Right now, this is the type panel. In this panel, we have many features which will enable us edit our text. Now when I come here, you see that we have hide options and it has reduced the options that are available. When I come here and show options, we see all the options available. Now we have many other options which we can either enable or disable. We have this guy, which is the touch type two, and we see it disappears here. Now the touch type two is another type of text two which can be found here. And we're going to look at everything in this video because this is more of a round up of the text feature in adubloto. If I select the guy here, we can see that we can reduce the size here and increase the size. Let's assume, let's see, we have two paragraphs or multiple lines rather, I'm going to copy this guy go down and pi go down and pick. Let's see, this is what we have. We have three lines of text. One enables us to increase and reduce the species between them. Okay? We have many other options here, like this guy reduces and increases the species in between them. We have this guy which increases the stretchiness of the text. As you can see here, we have many other features. Let me just try this one out and we can see the changes that have been made. I don't really use this guy. We have this other one which increases how stretched or how squashed this texts are. Okay. It's basically posit this one, we have this guy here, let's see. We have this like this and we want to, we can see that we are able to move our text up or down. Up or down the line. Okay? And zero, just keep it at the middle. We have this one for repeating our characters like this. Perfect. Basically, these are basic stuff, right? So I don't want to spend too much time here. These are the ones which will tells this one will it reduced in size, then the other one which will turn into the power off. Okay? Just like using ten recip of two. So that's what it can do here, as you can see the call it superscript, right? Then we have this guy which is subscript o, which will come below's basically the opposite. We have this guy which will line our text, and this guy which will strike through our text. Basically, these are the most important features. You can choose language here. We have other features here which might not be really for now. Now we have here which we can change our text font, right? Then we are now able to choose our text. We could choose Montado, this guy, Okay? We could make them fight, right? We come to our fern, we can see that we already have some fights. We remove them from fights like this. Okay? On checking the star, as you can see, we now have no fight. We can basically add these guys by clicking here, Click here. These are some of the things we can do. Now we go to our fight, we see them here. We have filters where the funds based on the classifications and based on the properties, and we can see this guy, we are filtering it based on the classification of San Serifs, okay? It's going to show only series funds. We have this one which will show the serifs, other ones which show slap script funds. These guys here we have, these are the ones which show the black letter Gothic script. We have the other ones which shows funds. We have the other ones which show the handwritten funds. The other ones we show decorative funds. These are the classifications of funds, and we use these filters to filter funds. We have the properties here, We have the light weight. We have the regular regular We fund, we have the heavyweight funds. Okay? Basically, you can use all of these to filter funds. Okay? We remove the filters. Now we see that this one will show the funds that we have added most recently. Okay. Basically these are the features of the text Panda. What have we looked at? Look at some of the, you can see that we can enable some of these features, all from here. To then for here, we can choose the type, okay, or the classification of that particular font, whether we want it regular or italic bold. All depending on what the font provides. Okay? All depending on what the Ponddes, some fonts will provide just the regular, some pons provide different other options. Okay. We have the paragraph here which will enable us let's quite swat de, just go here. We have this, okay? Yeah. So guys, this one will give us our text aligned to the left. This will centralize it. Align to the right. This will align to the left, while justify with last line aligned to the left. And then this one will be to the middle and the right. And this one will fill all lines, okay? Now all of this are basic stuff, it had to be illustrated, okay? And we're going to keep going gradually to do more advanced stuff. Guys, there are a few shortcuts which are shared to you. Just two short cuts. Let's assume we have our text like this and we have the size like this. I want us to check two short cuts. One will help us increase the size of our text immediately, and the other will help us reduce the size. To increase the size, we just have to color control. Shift, period. Okay, Full stop. Put control and shift, and then period. And you're going to increase your font size. And when you hold on the same control shift and you're going to reduce the size of your phones, okay, increase. We have to do with period or the full stop. Then for reduction, you'll have to do with the. The next thing we'll be looking at is character tiles. Okay, just come to Windows, We come to type and come to characters tiles. What are character styles? Characters tiles are basically character tiles. Let's assume you're working on a text design with a lot of text. Okay, let's see, we just do something quickly here. Let's see, we have a paragraph, okay, this guy here. Let's see, we have this guy. Let's see, we have this guy, and then we have this guy. We have this guy. The guy. This is meant to be a text based design. And the paragraphs have their own style. Okay? Let's say they have the same style, they have the same font size. What I mean by style is the same font size, is the same color, the same settings, basically, okay? And we now have headings, let's say we have headings, let's say we have numbers, for example. First of all, let's say we have one, okay? This number, this one is blue. We have two and we have 3.4 okay? And the shortcut for this guy is right. You just go to the text to 344. Let's assume for one. Let's see design, design. Let's now see for 23, for three, let's assume we even have this guy in different funds, okay? Let's assume we just have all of them, may be in different funds, okay? What character styles do is to help us set a style for particular parts of our type designs, okay? For example, let's, we want all our headings to look like this. We can come here while selecting the mean guy we want, maybe even doing all our changes like this. We can come here and just come to our character styles and then click on here, Create new style, okay? And then it's going to create a new style. Now this is our new style, okay? So if we have this guy now and then give it our new style, okay, it's going to automatically take the settings of this guy. It means everywhere we have a heading, we can just simply create our headings and then just apply the style to our heading. In fact, we can now even create our headings while in this style. Okay, so we can basically choose our styles before we even create stuff. So let's assume we want to work on this style, just click on this style, okay? And then just start creating. Anywhere we create our stuff, it's going to be in this style. Anything we create, it's going to be in this style. Okay? You get the point. Anything we create is going to be in this style. Okay. One thing you have to understand is that Alo Streetor comes with a default style. That's why every time you let's start to create a new project, let me just delete this style here to select the style and delete. Yeah, that's why anytime you come and start, let's say Typopo always start with a font, you always start with a particular phone style font size. Even if, let's assume guys that we close this guy, now let's close it and then start a new projects. Let's start a new project, then come and take the texture and then start to create. Let's start to create something that you have started with 12 font size regular and my red. Right Now this is the default style. Now you can see it has the default style. It's called normal character style. Okay, Now this is the default style, and always it's going to start with this. So for those I'll be asking the question like, how can we change the font style we want to start with? Okay, We want to start designing with, let's assume we have a particular phone style we want, or a particular color phone we want. We don't want this black, okay? And we want a particular settings, which we always want to start with. Okay? And then every time we start we just get this one which we don't like. How do we change that? Okay, We can change that by changing the settings for our style. Okay, so it's possible to change the settings for our style. Okay, so that's the way you can change your default phone style. Let's assume we just come here and click again. Now come to this please. And then from busy character format, you can now change your phone style, right, for the normal default style. Let's assume we want to start with Montserrat. Sorry, I'm typing it. I will just need to go through all of them and pinpoint the phon. I'm looking for M. This is the guy we want to restart with. Start with medium type for fund size, we want to start with 14, We have want to restart on the line of funds, okay? Basically, for now this is what we want. This, please now come to advanced character format and see other settings now we can of increase the horizontal scale and vertical skill and other settings which we of course have here, right, Have in our character panel. You can increase them here or we can edit them here. I'm just going to leave this as one. Great, We have character color and as you can see, apparently it's at black. We can choose from switches here. If the defer color, which you want is not here, you have to create it as a switch. You have to addit to your switches and it's going to appear here. You just choose the color. There are other features here which you can edit if you want. And I'll just click okay. Now guys, this is now our new character style. So it means every time we kind of come to create a new text, it's going to appear in our style. Okay, so let's try creating a new document and see if our style please right tick effect. When I come and select my text and then start to click, we can see that it's not saved here, it's only saved in this document. So what we need to do is we always need to kind of edit our style based on the document, okay, based on our document. And we can see our styles. Library here, that's in a libraries if you have an Ab subscription. Okay. So that's how to see our styles. In order to use the styles we want, we will have to recreate them. Okay. Every time we open a new document or we import the ones we've created which are currently received in our libraries. Okay, Let us when receive them in our libraries, we can import them into new documents and then they will take effect. So that's how we receive our styles. That's about styles. Okay. The next thing I want us to just look at now is the other types of text tools. Other types of text tools. For example, if you come click and hold here, we have this area type two which will enable us to type in an area. Right? So let's assume we have a ship like this. We have it as this two. We can come and click and we along it to type in this area. It's just going to create an area type two with the area we have created. Even if, let's say a ship like this, you're going to create this area type two with this ship, custom ship. So it doesn't always have to be square. It's going to create it with any ship we give it. Okay, that's about this guy. And this guy is a type on the part two which will enable us type on a path. Let's just give this guy a stroke. And now select our two and click. You can see that we have now typed on this path with this guy. You can come and click. You can come to this line and M our line like this. Ok? So we can cream stick. We can, we can move it along the path like this. So you have to come to the middle to this line. And you can move it along the path by moving to the left, to the right. And if you drag it down, you can see that you have changed the alignment of the type on the path. So that's it for this one. I'm just going to be fast guys because this is close to basic stuff. We even covered this in the fundamental cost, okay? If you're coming from there, this is just more of a repetition from what you've learnt. We have this other guy which is basically the opposite of this one. This is horizontal type two. Why this is a vertical type two? If I click to type vertically, while the other one we are able to type horizontally. Okay? We can still create an area type this guy. But it's going to, of course, be in the horizontal alignment, not vertically, okay? Going to be created horizontally, not vertically. While we have this other guy, which is the vertical era type two, similar to this guy. What's the vertical sense? This guy is the vertical type on a path similar to this guy. But of course on the vertical axis we have this other one which is the touch type two. I was talking about the touch type two the other time. I said it can be activated here. Just come here, touch type two and you're going to see it here. You can activate it here and you can access it here. Also, if we have a text, we can just come and click our touch type two here. When we click on the text, it's going to create this box around our text and scale that particular character. We can do other stuff to that particular character. We can rotate it, move it up, move it down. We can scale it freely. So that's what this tool does, you can explore on your own to see what you come up with. Okay, let's just do some more nucleation. Character here. Characters here. Okay, take it up, down, scale it up. Okay, you can see what we've come up with just by using our touch type two. Basically that's it for a round up of our text feature in also, even though we still haven't looked at one other thing, very simple stuff. This is just the menu here, the type menu here, which can be used to control some features of our type here, Okay? Now, if we have this and go to our type menu, we can see that we can find funds on the, okay. We can look at recent funds. Recent funds, okay. My computer has a lot of funds. It's Dragon Here we have fun. We can see the funds. We have recent funds that the recent ones we've used. We have the size, okay. We have these other ones. To type two, you can actually convert a type two to an era and an area to type two using these options, okay? A type options. See these options, control your era type, you can control the width, the height, the rules and columes, whatever. Just explore the set. In this we have the change, change the sing of our type. Now we can change to the upper case. You can see it's non upper case. We have the lower case, the title case. We just capitalize every first word. Then we have the sentence case which capitalize the first word. These are the kissing. We have smart punctuations which will help us when we are dealing with being grammatically correct. Right? This guy, which help us create outlines just basically destroying our text. Just expanding. Here we have optical margin alignment. We have insert special characters. We can insert special characters. We can even find characters and release them. Insert Fill it please. Without text, we can please with text. Presently please without text, There's no point in filling this please. With text type of orientation, we have horizontal, vertical. Okay. There are some features which should only be available for types on a path path here. I'm just going to click Path to give it a type. As you can see, I didn't really choose the type on path to, I just choose the text two And then we created this on the path. It's possible to create text on the path, chose the normal. Just click on the path and you're going to have the text there. If you come to type, let's see, type on the path options, this type on the path and just come here, basic type on a path options, you'll see that the present effect is rainbow. Let's just on preview. The present effect is rainbow. We can leave it as normal and we have other effects. You can just see the effect applied. We have three D rainbow. We can see the effect applied. We have state, we have gravity, we have aligned to B. There's one which is called ascender. Then there is this other guy which is called descender, which will align it to the top of the path or the bottom of the path. And we have the center, which are aligned to the center of the path. We have the line which are aligned on the path. We have the shire, different options, spacing values. Of course we can flip and we can make basically, that's just it for this video. We've been able to specifically round up our refresh on the type tool in Illustrator. I'll see you in the next one, Will then be looking at some more advanced stuff all here in to be illustrato. See you in the next one by. 79. 79 Text Wrap and Distortion: Hello designers and welcome back. In this lecture, we're going to be learning about the test rap effect in a B illustrato. This is a very interesting effect that comes with a B illustrato text feature. This effect gives us the ability to distort our text in very interesting shapes. Okay, and designers are fond of using these effects to create very nice design impressions. And we're going to work with these effects, with some of these effects in the same module where we'll be creating real life designs. In order to start, we're going to create a new document. We'll start with this common preset here and go to just create a simple point text. We're going to of course use this, my text. Just reduce the conning by 75% increase the font size. And I'm going to just have three copies of this guy here. Okay? I don't need to recreate them when we distort our text. I'm going to just drag this one below. Drag this guy here, and I'm going to start with this one. In order to access this effect, we have to click on your text. And come here where you see this, this icon. Okay, As you can just hover on the icon, you see what they say is K enfla, You click on this drop down menu, you'll see that there are actually two options. The first one is with wrap and then the second one is K mesh. So if you click on the first one which is kit wrap, this is the icon you're going to see. If you click on the second one which is kit mesh, this is the icon you're going to see, but we're going to cancel this one for now. Okay, this is the icon you see, but what we're going to use is K wrap. Okay, so let's cancel it. And just click on the icon here, K wrap. Now immediately you can see that we have rap options, right? We have the style, we have the horizontal and vertical. We have the bend slider, we have the distortion sliders, we have horizontal distortion, vertical distortion. Now we have a couple of presets here. We have the already, you can see the effect, it's given to our ship or to our text. We can bend it like this. We can bend it like this. We can do it vertically. We can do it horizontally and so on and so forth, right? Yeah, that's effect you get. We have the distortion here, which we can choose horizontal and which you can choose vertical, all depends on what we want. K00, we're just going to look at the Re, meaning we have the lower, you can see the effect we have, the upper, you can see the effect, we have the arch, you can see the effect we have the bulge. And you can see the effect. These are very interesting effects and there's no limit to what you can achieve with them. We're going to use them in Fs in the exercise parts of this module where you're going to see how I apply them to real life designs. We have the other guy, this is the shell lower, this guy, which is a shell opper opposite the shell lower. This is just what it's like. Okay, If you're okay with it, you can click. Okay. We have the F, okay. Just turns our ship into a flag. We have the wave which turns the inside of our ship into a wave. We have the fish, okay? This is the ship of fish. We have the rice, which looks like. We have the fish, which looks like. We have the inlet, which looks like this. And of course, there are sliders for all adjustments you might want to make guys. We have the squeeze, which looks like this. We have the twist, that's basically what you get with this guy. Of course, you know that when we go to effects, we can actually apply some of these effects on ships, even on texts, right? We can apply them here also. These ones are peculiar to our text. These are the effects we can apply. And we can just come here and edit them. If we're not satisfied with the one we applied, just keep editing them to see when we are okay with. Now we can also use our direct selection tool to edit them manually. Here we can see effect coming up just by editing the mesh here to us by a best. That's it for the first type and I'm going to just look at the second type very quickly. My ship, select my text, come here and this is now made with mesh so we can see that it gives. Us a mesh, an envelope with certain rules and certain columns. We can increase them. You can reduce them. You can increase them. We can reduce them. The level of increase or reduction you make gives you more level of control, right? Or more level of flexibility. Now, when you do okay, just come and select Selection. To here, click on the points and make your adjustments manually. You adjustments manually. The more points there, what I say control, the more complex the hoofing is, the less points, the smoother it will be To a large extent. Okay, You can just manually your ship here, guys. That's what this effect brings to the table. That's what this effect brings. The table we have here where we have the number of roles. And we can of course, increase them, increase them, making the whole thing more complex. Okay guys, we can type our text, give it something else. You can see that our texts are going to be pleased. Right? That's where you get with this one. And we finally have the last one which we're going to look at now for this guy, when you centralize my ship, I'm going to create an ellipse centralized my ellipse. What I'm going to do is picture my ellipses above. Arrange, bring to front. Okay. And then site the booth of them to objects to envelope and then click on me Top objects. You can see that it has adopted the shape of our ellipse. This is similar to what we did with the treat effect at the time where we created this text with a shape, right? So let's try to see if we can come to pass here without using the actual treat effects. Let's see, we created something similar to this guys, then we made a text like this. Now the text read, I can't really recall what's the text read. Let's just create something random. Let's think. Let's think in box maybe. Let's leave it like this guy and just centralize everything. Let's change this to most in case you don't have it's a font and you can feel free to download it, just need to use this. Most alternatives alternates, whatever that means, to just reduce this landing and bring it here the size maybe to this. Now make sure my ellipse or my sphere is above the boot of them. Objects elk distort and make the top object. And you can see it old control at the short control. See that guys, we have achieved our effect. We perfectly achieved our effect without having to create thing. Okay, so just let your guy, and with this we've come to the end of our lecture on the text effect in a dub illustrato. Next video, we should start looking at real life designs. Okay, we're going to really replicate some cool designs here in Adb Illustrito. I'm really excited to get into that section with you to see you there. Bye bye. 80. 80 Exercise 6 3D Blend Text Poster Design: Hello guys and welcome back to this section. We are here in the most interesting part of this section, because we are going to be creating really interesting designs. We get really cool designs and we have a lot of them. We have about four of them which we are going to create. This is the first one you can see on your screen right now. Going to just go to Adbloreto. Start to create this design. To see you in Abloretoowtreto. The first thing we should do, we open our design. Okay, we should open our design. So the first thing you can do is come to open, and then you can see where it says Three D blend Text P Star Design. Right now this is the design, you just click on it and click on Open. Now we can see our design life and direct. The next thing we'll do is try to replicate our design. I'm just going to close some of these tabs here. Okay, we don't need this one. Just close it. We're going to start with creating a new art board. And we're going to duplicate the one we have here you to to pull down Alt and drag to the left, to the right rather. Just delete everything on the board. Guys, I'm going to start with my text. I'm going to start with this text. Now, I used a phone named I think rather display. I use clash display. What I did was I created my first text which is create a front size. We have 1204124 centralized and I had the spelling error create is the right spelling. And we're just going to use clash display. Clash display, is this bold or is this black, or is this medium? See bold, large display, bold display. Yes, it's correct. And we're just going to centralize the whole thing properly. The next thing is to paint our text right. Give our text the right color. I'm going to start by choosing this color here. Sorry about that. I'm going to put it back in please. Okay. Now, this is our text centralized again. Our line again. Okay. Perfect. Now, how did I create this guy? All I did was I duplicated my text, drag to the bottom, arrange center the back. Then we just need to give this guy a color color that blends with the background. We're going to give it this exact color, right? We choose the drop to choose this color. The next thing we do is we blend between the pot shapes. Right now, the blending now creates this tre D effect. Just wait and see. Select my blend. Click, Click, Select My Shapes. Click on the blend, and then go to specific steps, or specified steps rather, and give it 300. And now immediately you can see that our red effect has been achieved. All we now need to do is manually come and select our ship Make at the back. And just move it to have our red effect edited in the way we want it to. Use my direction keys on my keyboard to just make the hole ting, more refined. I feel we can work with this guy. We click the holding again and centralize. Centralized. Perfect. Now the next thing I will do is I'm going to duplicate the thing here. So control, okay, And bring it up. This moving down shift key. Then we're going to release our blend release and we're going to delete this guy in front. Delete, need to bring this guy in place and we need to give it a brighter colors. It can stand out because it's just too much blend here. I'm going to give it a brighter color. This color. Let's try. Let's even come in at here, one of our swatches. Now we can see the demarcation, right? Let's properly place it. Now, we need to give it one more thing, which is our stroke. I'm just going to brighten up my color a bit. Okay? Yeah, I like what we have so far. Select the guy, come in here and give it a white stroke. You can see that I chose the wrong clash display. I choose the clash display variable, that's why we're having this weird stuff happening here. I'm going to choose the right clash display, clash display variable. C display. Delete this guy here. Clash display variable. We need to do the same to the ones under click select. Actually for this guy, I'm going to write click transform. Going to move, I'm going to move horizontal. Vertical by 2022. Small transform vertical. Let's just move this by 120 guys, we have it out of. Please select everything here. Both of them. This guy and this guy, rather. Let's just select them individually. We have clash display, display. The guy here, Smoky display, perfect. Now we just have to centralize our guys on more time. Bring our good guy here back in place. Let me just arrange the guy, make sure everything is nice and perfect. Next thing I'd like to do is just reduce the struck size to 0.5 Hey, we want a very thin struck size already. You can see we've created the main character of this design here. Now I'll just cool down, all duplicate my background here and centralize it already. You can now see how the last text here, that's the last one on the background, blends with the background. I see it's actually coming out of background, right? You can see a demarcation like how you can see sharp line here. That's because it's the same color of the background. That's the subtle effect we're looking for here. Now most of the job is done. All I need to do is to get this guy to this place Alt and duplicate it to the site like this. The next thing will be to create this text here. Now this font I used is what we call it is Arizona. What I typed, typed always. The message is always create. You're to put it here, centralize it, or align it like this. We're going to bring it here, pulling down shift rather, bring it here. And we're going to hold down Alt to draw another version here for this guy. I'm going to shift X to give it a shock instead. We're going to then also pull down to bring another version here. Now we're going to blend between the two versions. First of all, we need to reduce the Sk, the opacity of this guy to take it to see 15. I think it's lower than 15. Let's make it six. We can see how really subtle it is here. Let's make it six. The other guy. The other guy with a stroke. Remember, good to objects, good to blend. We can see that immediately we have adopted the exact copies we want. Adopt four copies. Let's try changing them to I think I'll just leave it at four immediately, guys. You can see that we have achieved our design. Most of our design, I'm going to reduce the positive guy to three. Perfect. I love what we have so far. The next thing we'll do is to copy our other guys. Remember these other guys? All we need to do is just copy them. We don't need to recreate them. They're just, you know, to create texts, very simple stuff and they're all cooped. Just copy them. Come and piece them here. And just centralize the whole thing. Boom. We have our design replicated. You can hit control for safe and even export your design. You come in to file export and export us on and so forth guys. Basically that's how we create this. Sing can post a design and in to be illustrito. Basically, that'll be it for this one guys. You can go ahead and try to create variations. Okay. Maybe color variations and try to do more stuff on the same design. Okay. I would love to see what you can come up with. Okay? But for now, I'm going to go on to the next design to see you in the next one. 81. 81 Exercise 7 Advanced 3D Text Poster Design 1: Designers. And welcome back. In this lecture we're going to be creating this beautiful poster design. Now to be Loss Trek, be creating this one also. There are two and they're just different variations. Okay, this guy is a double tread. The main shape is a tread, which is followed by treaty. And then when you zooming, you see that the individual characters are also tre D. Okay. We just learn how to create both of them. And this one is more of a one week, three D because only the texts from the tread. Okay. Just go to the illustrator and come to open, click open and choose this file. I didn't shoot the file properly. The file is titled Advanced three D, Text poster design one. That's a file, you have to open AdvancereD text poster design one. Okay? First of all, you have to understand that this is an L shape, right? We're trying to create an L. This is how we modified our letter L to look like. Okay, L here. I did this so that our long texts can be able to fill in this part. Okay. That's why I did this. I didn't delete everything because definitely, you know, to create this guy all I did was came created a text. I just created L, L then give it text block. The skilled it up, skilled it up. Then I expanded, then use my direct selection to select this anchor point and just increase their size like this. That's basically what I did. I'm going to delete this one. I'm going to start by creating a new output, an existing output, old drag to the right. Then delete everything here. And then grab your ship. Please centralize, keep everything clean. Now this is we're going to be using this one will appear under, while this one will appear here and here. Just like how you see it here. How did I achieve this? The first thing we have to do is we have to come and show ourselves where we want the demarcation to be. When we look at here, we can see that the demarcation is around here, almost at the middle of the data of how that's what you have to come determine, just come and your rectangle to that demarcation like this. We're going to use this demarcation similar to what we have here. I'm just going to now fit everything in perfectly to make sure no part is missing out like this and this. Perfect. Okay, I think something is missing out here. This is the first step you need to do. Of course, you need to come and type the whole thing here. Since you have the text already, there is no need to type and we are going to use what we have here. Okay? The next thing I'll do guys, is to select this guy. Put on a and duplicate it. Because we want to have two versions, right? One for this side and one for this side. The next thing I'll do is I'll come and click on this guy here. Just drag this other parts like this, we have an exact cut at the same point where this guy is ending. Okay, the next thing we'll do is select the both of them. Control seven for clipping marks. Select the both of them. Either right click K, clipping marks or control seven or good to object clip marks and make. Okay, that's the next thing you need to do. We have them like this then have this other guy here. The next thing we have to do guys, is to come and create them as symbols. We have to come and turn them to symbols, right? Set the guy here, drag him here, maybe give it L one. Let's limit L one, okay? The second symbol, L two, okay? And the third one, L three, okay? Perfect. Now the next thing we'll have to do, let our guy here and then go to effects and ten materials, Classic and extrude Guys, let's try some appreciates here and see what we can come up with. I don't think we have any appreciate to give us this guy directly. We have to just editing by ourselves the whole thing to give us what we have here. Let's have it like this guys. Let's have it like this. Let's just make extrude depth this big. I want to just zoom in so I can see what I'm doing very well. Just close this panel like this, then start doing the Tre D tweaks again. I'm going to click there option there. And then let's start trying to mess this up a bit, Okay, so do this and do this. Just continue trying to the D to help us achieve what we have here, right? So we are quite close to what we need to have. Well, I'm not satisfied. We need to do more. Again, there's this option here for perspective where we can make our ship have perspective, right? So if I, okay, for example, you see the perspective, but you know what we want to do, obviously. So we're just going to remove perspective. We need to work with what we have, okay? And just address the lighting like this. Then keep seeing what we can come up with if we can come up with a better arrangement. Okay, let me just compare with what we have here. Select the file, that's this guy. Ally, see the settings we have? We have 41, -36, -27 right? 41, -36, -27 41, -36, -27 Use the exact values so as to skip all the back and forth. Okay, now the next thing we do is we map our, to select the guy. Click three D, then let me just check also how much extrusion we have here. You see that we have 127. Select the guy, Click here, 127, okay. And click also. Click again, and then just come to map. Let's try mapping. Okay, let's start mapping our t, okay? Start with this one. Come here and click this guy, And see if it's, it's not one. Let's click the second one in here. It's the one we're looking for. Just arrange it like this, okay? And we really want to make this fit properly. In order to do that, we will have to zoom in really well. We zoom in really well. Okay, let's, let's do this. Let's just expand our view here. You know what, I would want to just isolate the sky. Okay. I practically see what's happening. I'll click on my treaty again, go to Map Out and just try to make the sky bigger. Then I'll manually come and fit my design more properly kit. Okay. I feel we can work with this. Then green to go to the next side, which is this side. And go and pick my L one just down while holding down shift, ski down. Okay. And then rotate holding down shift again. So we can see that we til the wrong direction. Let me rotate it. Let me just sell down to the size of our our board here. So we just teach it now, Holding down shift. Okay. And finally, yeah, finally we've got what we want. So just just now. Sorry guys, my part. Okay. We can see that our design disappeared, so we're just going to add it again. Ski down, holding down shift there. Okay, I think we added the wrong guy, this one instead. Scale it down, down shift. Let's see. No. Yeah, I think we've got it right this time. So we just ing to scale it up at Ski it up at this and try to align it sk up. Let's try to align it and see if we're getting it right so we have more skilling to do. Skill it down bits, okay? You know what I want to do. I want to zoom in so I see what's happening very closely. Kay? See we're achieving progress. We are close to getting what we desire. Okay. I will just activate my treaty again out and just continue skilling. Okay. I have to go to the right side. Right. The right side. Let's see. So guys, I think we are achieving progress. Yeah. Maybe we just want to scale this one down, okay? And then, okay, we shouldn't have done that. Yeah, I think right now movies, it's just a matter of you being able to get the right thing done, key. It takes a lot of practice to get it right. So I'll just kick it up again so as to see more closely what's happening here. My view is better now. I can see bigger guys. I think we've got what we need. Let me look at it. Yeah, I think we can work with this. We still have gaps here. We should have gaps here. And let's see if we can make it better. So activate map, arts scale, this guy up. Let's see if we can make the things better, right? Okay, good. Let's go to the other side and see. Okay side. Let's see if we can make it better. Okay. Tradition requires a lot of Locke perfect. You might get it perfect, we might get it perfect. Just try to cancel everything and start again to see if we can make it better. But actually, I just want to achieve perfection. First of all, let's handle the guy on the it, under the guy so that we then under the remaining guys, the stubborn ones just down shift, I want eat, all right? Yeah, Walk, criticize, just drag, drag it down like this. It make it feel this piece good. Perfect, like this. What I try to make things here, feed a little bit more. Okay, I'm going to shift my view B to the left. And then put my treaty once more and then expand this ship. We expand the view really well. Okay, Expand the view really well. I think we are closer to it now. Closer to it now. Yeah. Guys, I think we're closer to it. In fact, we can make do with this, but let me just try to see if we can make the last side better down this side. Let's try to, you know what, I'm going to just okay this first so that even if I mess up in this other side and we cancel, we won't have to affect the object we did here. We get the point. For some weird reason, sometimes it doesn't want to l down. Okay. I think I got it this time. I think I I'm going to go with what we have. Okay. As you can see, at least we got at least 98% 97% We'll make it so we don't spend all our time. Come again to Map Art. This time we're going to shaded work and we're going to make our geometry invincible. And click okay. Okay. The next thing we do is to bring in our background. Select this guy out gram to please centralize the. Link them to the middle. Now you see that our design is now out, right. All we need to do is get the lighting. The lighting for this guy is coming from this side. For this guy is coming from this side. To select this guy and try to match the lighting. Okay, let's try to match the lighting and see if it's going to look better. I think we'll go with this lighting for the blend steps. Let's just make it the maximum. And basically this is it for this guy, okay? Now as you can see, we got it, got it. Next thing to do is just this guy start to copy. Won't copy it. We're going to actually create it from scratch. You see how everything shifting, X, shift X. I'll just take my time to align the size control for ruler and dragon. See it now? I can see you just drag a guy and fit everything more perfectly for this one. It's actually at the right place. We need to make our centralize our ship first of all. And this guy a little bit bigger. Perfect. Centralize it. Centralize it. And just use these points. This is widgets to carve the thing like this. Okay, Next thing we'll do is actually copy our text, right, them. Okay? What it's here is creativity, Sk creativity scheme. That's just what I wrote. We took my pencil click. We're not clicking inside, we're clicking on the line. It's still doing the thing, so I'm just going to use the type on the Path tool, We can click on the line. Perfect and control for pets. We have our design. It's perfect. The only thing left is we're going to copy and centralized or a line. Boom guys, we have our first design. For the second design, what we need to do is simply duplicate our outboard shift to bring it to the side guys. Then what you need to do is to come click with objects and expand appearance. Expand appearance. You can also expand anyone. You can write, Click and group them. Now you can select each of these, let's each of these parts separate parts. You see you can select each of them on a separate parts. What would you select this guy using? Your right arrow button click two times. Left arrow button click two times, down arrow button click two times. Yeah, we've created this demarcation and all we need to do now is add our D effects on each of them. D Classic and D. And belts front. We have front. We need to increase front working. Let's make this guy 54. See, Just see what we get by adjusting the guys when we make this guy five, see that? We don't get an extrtion, right? You see you don't get an Ext. This, which is similar to our reference image, we want this guy to have the mean lighting. We want it to be brightest. What we'll do is it clear there D again. And then make the lighting like this, okay? For this guy, you're going to maybe we make it ten, then reduce the extrusion. Maybe let's make the extrusion ten. Also see, okay, maybe we can make this 11, 13. Okay. This guy just walk on the lighting and Okay, perfect. Now for this other guy, let him go effect D class. And let's give him the phone again. Let's try to address our options here. For this one, I didn't just want to make things too complicated, go the same setting needs to be zero K. You guys, we then need to increase the steps, blend the steps, and then, okay, as you can see, we now have our tread like this. The last one will be this guy here, extrude it to the front. Let's do this. See? No. Yeah, this is the one we need. Perfect. I think for this one, we'll make it the darkest. Let's just see if we can make dark. It doesn't really matter. Doesn't really matter. You can see how we've been able to come up with these effects now, these amazing looking tree effects, that's the power of treat. Now, things like this might look very complex at first, But I tell you once you just figure out the little itty ties you need to take care of, you're going to discover that these are really simple stuff. But of course they look complex for this one guys, thanks for staying till the end and we'll see in the next one. 82. 82 Exercise 8 Advanced 3D Text Poster Design 2: Hello designers, and welcome back. In this, we're going to be creating this amazing poster. This is Design Beast. Okay, design beast. And this is what we're going to be creating in this video. Back in a Db Illustrator. We need to open the project file right open. Come here where it says Advanced Text Poster Design, right? Click on it and click open. Boom, we have our design. First things first, Ato, duplicate, bring to the left. Then just delete. We have here. The next thing we'll do is come here and create dips. Create an dip. Let's remove the stroke. Let's give it the sky, this field color, centralize it. Let's just it down a bit like this. Perfectly okay. Now we need to create our text. If you can look closely, you see that I used this font Angella. Okay, I'm just going to create my, Take my text. Click and great design. Click text, Perfect. Select all, scale it up. Scale them up rather. And bring them to the middle. Them to the middle. Design best, both of them. And give them perfect. Let's just this font to the site like this. Just things up like this. The guys, the first thing we need to do is come and tick this two. That's to go knife to rather's around our points from the middle. We can use any shape. We could do something like this with the whole thing more interesting. Something like this. So that the whole thing much more interesting. We do it so that we have a little bit more interesting, right? I now have them divided into two, right? So we have two separate ships for the first guy design, bring it here, Ski it up for the other guy to bring it up. So them up. And then we need to give them a color. So we're going to start with color. You know what I'm going to do? I'm just going to take this one a bit to the upside, select this color. Okay? So that's the first in the puck. Okay, Then we need a second color wood of them. And try to come here and choose. You see this small font that has been highlighted, right? This one. I'm willing to click it. And you see the color of the font, right? This one. When you bring your P to the middle, you see this front highlighted. So you're going to sample the color. You can use it. Maybe we just create actual ships with these colors so you don't have to keep duplicating texts. Right, perfect. We just delete this guy. Just delete this guy. The next one we do, guys, is the guys to the front are front, the ships. The words, right? Not the type, right? Bring the ships to the front. Jumping to front. Now select these guys and then go to objects and envelope these thoughts, remember and make with top objects. All control C. What we now have a control C. Select the other one, all control C, this is what we now have. Perfect doesn't look exactly like this one, but it's still sweet and perfect to work with it. The first step has been done now. The second step would be to select both of them. Control C, control. That's copy and pit in please. And then pull down your Shift and Alt down. Just reduce the size. And then not yet, just click, Select the front here. Double click to enter inside the ship, inside the envelope. And then select your type. Then hit and just sample the color. Then click outside, Select, sample the color. Hit your kept you guys, the next thing we do is I think we should make this even bigger. Yes, quite big. Select the boot of them and reduce the sizes. Let's see. Like this, select the ones on top and arrange them to fronts. What you do is just select two ones on top. Object blend, then click on two specified steps and give it 300 k perfect Do seem for the ones under select the boot of them objects to blend. Click on the two specified steps, 300 perfect Already you can see that this effect is coming in life. It's coming in life. The next thing will be to select the two ships on top. Pull down Al and grab them to the right. Now we want to just released right now to release object, select everything and select the ones on top. And delete so that we delete ones on the right. Then for the ones what we want to do is we the different color. As you can see, I made a mistake. I actually used a different color for this one. They aren't the same colors up and down. The ones blue are blue are. I'm just going to click in this guy. Let's change the color. Blue, color, blue, bright blue. Something like this will work. We then need to bring the ones on top of them. Then align them properly. Now we just need to now make our colors here brighter. Go inside. Click, make your colors brighter, one going to make it bluer brighter. Click out, and you can see that we stand out now, very similar to this one, but it still works. Go into your ship here and we're going to make this one a bright green. Right? Okay, yeah we have it. Next thing we do is to give it a stroke. Give them a stroke them then give them a stroke. For this one, select the guy. Give it the sim color this guy, and give the sim color. What I'll then do is come to my ingredient dent tool and I didn't need to give them the same color, really, we just come to the stroke here to the ingredient and then just give them ingredient map like this. Okay? But of course for these trucks, right, we can see that it seems the gradient is not having effect. I don't know why. So I'm just going to undo now. I can see that my she is not well aligned. You know what, I'm going to remove this ingredient. Okay, I think the redient was the problem. I'm also going to remove the ingredient. Then let's try giving this guy ingredient. We can see that it's all black. Remove the ingredient inside the ship. Select the guy, give me ingredients. Let's see. I know the problem guys. We need to expand. We didn't expand, and we can't give ingredient to a text. It's just going to be blank, right? We need to expand the ones in front. We have actually expand them. Grab them. Here we are just going to select the guy. Object. Expand. Okay, this guy object. Expand. Selective him the redento. See that the redent is now applied, right? Perfect. Select them and keep them back. Please guys, I want to reduce the sizes of the ingredients, maybe 0.5 then compare them with what we have here. Actually, there's no need to reduce the sizes on two reduction and try to fit our ship more perfectly good guys. The next thing would be to actually make our ingredients more interesting. Okay, the guy like this guy like this. Come on, add one ingredient here for this one. I'm going to see for this ingredient here, we select the drop. Just give it this color. Okay, for this one, just give you the black. Give you the black. For this one, I'll just make it brighter. Some of my color make it even brighter, black. I'll make everything look like this, regardless of how shabby this looks. When we check our Agredient, we'll see that it's quite interesting. It's quite interesting. It's a bit too much. Really going to delete some of the points here. Some of the colors are very sharp. You don't even need to use very powerful blocks like that. If you just get some interesting colors, they should work. Let's see how they look. Not bad. I think we'll work with this. These guys, maybe add one bright, so one bright guy, This one could be something, maybe blue. Just kick out and see. Yeah, I think we work with this. Not perfect, but we can work with it. So that's the first step guys. The second step will be to copy our backgrounds. Grab them, please. Perfect. Some girls going to centralize. Align them to the middle. Select them separately. Okay, Align to the middle. Perfect. I think I will just make my guy bigger. Bigger should work. And I'll just control to group them so I can select them as a group and centralize everything. Okay, The next thing I will do is T is to design Beast. All right, Design Beasts Sky. And then we give it a field color shift X to convert the field color to the show color. And bring this guy, align it to the middle. Let's copy this. Let's copy the font size which is 70.6 Let's give it 70.6 Okay, Next thing will be to hold out and drag it down to this point. Then reduce the opacity to say 119. Okay, then now take your brush your blend tool and click and click. Perfect. I'm going to just this guy, I'm going to reduce capacity more. Let's and C work good guys. Good, we are making progress. Maybe I will reduce the overall capacity. Yeah, I think I need to reduce overall capacity. See, after which I increase last guypacity by to click out. Think we are making progress and reduce it to 4092. Perfect guys. Now the next thing will be to copy this guys. I actually added one more effect. Select the guy, go effect with you up and give it this one. We'll just keep scrooling down to see this guy added. Think I added this one? Yeah, added actually added bulge. Okay. We could make it this way. We could make it this way so we can see how our rap effects are making waves here and here, right? Helping us create these square cool designs. At first, you might think the effects are very busy and uninteresting. But if you really discover creative ways to use them, you're going to use them and love them. Okay, Next thing will be to copy our Gci. Pete, align to the middle and boom your down with your design is amazing. Just ****. You can save your work control S, and export your work. Later on with these guys, we've come to the end of this video where we created this amazing design. And feel free to make variations. Feel free to play around, create your version, do do that. And I would love to see what you can come up with. See you in the next one. 83. 83 Exercise 9 Advanced Text Poster Design: Hello designers. And come back in this lecture. We're going to be creating this beautiful pus star design. The black hole. Okay? The black hole. So we're going to be creating this tree hole effect. And assuming you see that this is a hole, okay, And then we have the word black filling up this piece like this and yeah, normal style, right? Basically, this is what we're going to be working on in this video. Open illustrato. Just come and open the file. Open the file, you're going to see advance three D text design to where is it Advance Text design, is it? Click open. Here we have our designs. First things first shift for you to duplicate your ball to the right hand side. Your direct selection, selection two, and then delete everything. The next thing we have to do is to create our text. Right, Come to your text. Fortunately, I didn't back ups of our text. So we're going to create everything from scratch. I think I used the Montserrat fonts. You can already tell that I like the funds very well. Okay. Like the thickness, Morata, black, not alternatives. We need the realest, we're going to create our text now. Black hole, black hole. You can see that our block is blacker here. Let's see what we make this black, black make more sense? Yeah, it's going to make more sense. So we're going to use it. Maybe I should see whatever. We have the black here. Let's just we have the right. Just scale up your hole. Then if you look at the hole here, you see this is a box. This is curved so I want to make it a box just like that. For that I'm just going to expand, come here and expand my ship. Just come here and create my rectangle. And set my rectangle to create a rectangle to fit everything perfect and conduce control F s down to create a Let me just give you the program color and see if everything works well for me. Basically everything works well for me. I'm just going to select the guy, take shape the two hold and delete and minus. Then for this guy, we just click, Come in here, don't need to group this. Then delete here. We have it like this, Select the whole thing, bring it here. Then it's a color, maybe we need to group this objects. Group, let's group the guy. Then go to effect D, classic extrude and bebo, let's just stick it to, I feel we need to make it even brighter for the steps, just steps 256. Let's okay. For now, we can come in here and just make the whole thing brighter, change the color. Bright, Greek, brighter, green Guys, any color work. Actually, we will even work more on the whole thing because we need to edit. I'm going to scale the thing up, drag it down, then still select my ship. Go to. Extrude pebble, then I'm just going to increase the pebble by see 90. Let's see, 70. Let me see if I can make the light in a little bit better. You see these draws? I'm going to click it. Okay. Now I'm still going to select my guy. Come here and make sure the draw activated to do it like two more times because sometimes for some weird reasons it just gets selected. Just do it some more. So make sure it's checked. Then while selecting your objects and expand appearance, then put your direct selection to select these guys. This guy control X to cut them, control X control sheet V to piece them, please. Then what you need to do is to go your objects and got your compound parts and make them compound parts. That's control control seven is for clicking Mask and control for compound parts. So you can see the compound parts, right? The next thing you need to do, the next and only thing you need to do to select everything. Ok, then just go to objects, clip marks, and make. You can see immediately we now have a hole on our ship. We can drag it in. Please keep it in please. You can even centralize it properly. Make it bigger if you want. Right now what I don't want to do is I want to make my colors pop up. Keep my sheets, that's my dark. Make them darker, selecting them, using the direct selection to select them. Then make them darker so that it pops out even more then for these guys. Let's see if making them brighter will work. We might just make the darker. This works. Next we'll do is select backgrounds and drag them here. Let's just group the backgrounds together. Control so we can select them once and make sure they are centralized or they're aligned to the middle. You can see that most of our work is done. Just show, maybe make the bigger the downside. Then we want to make this block look similar to the right. What we do is drug. Drug here, Drug here. We have points of demarcation. The next we want to do is just a guy here. Objects, expand our guy here, need to fit here. Fit them here. Then what I'll do is guys, expand, increase the size of this one. Increase the size. I'll then click on Group. And then just select this guy. And reduce the size of our L. Really reduce the size here. I should have reduced the size of this even more. Increase the size of the L. Then select the L. Just increase the size of, we actually need to shift them. We need to speeze them out, so let them see them out. Going to speeze them out, just like we did here. Okay, see them out then we need to skill the gays them out. Okay, go to Skill the Gays up. Maybe it's too much, maybe we'll just this guy up select making progress. We are making progress. I'm just going to reduce the guy. We scale this guy up a bit, shift this guy. I think we'll just work with what we have here. It's quite similar to this one. The size is very, we can make it to our sheep here. We don't even need to say that we can treat it. It's just a simple, we can go really black field color. Yeah. Good to go. For some reason, black seems to be a little bit of, I don't know if it's my eyes, basically, you can the guy down and make everything look clean. Yeah, we do this, we can delete these guides. Now, finally, we just copy this, our usual guys and come and piece them here. Centralized this. Finally guys, we're done with our nice post design. The block. Maybe I should just put here THE, THE, this one could be lights, regular medium. So it's going to be the block role. She's going to just be like like like a movie cover or a movie poster. Okay, a block perfect. With this, we've come to the end of our lecture. We were able to create this amazing poster design. Okay guys, and that will be it for this video. See you guys in the next one. 84. 84 Assignment 16: Guys on the wall. Come back. In this video, we're going to be taking homework. Throughout this module, we have learned and refreshed our memory on texts in Adblostrito, Okay, on typography in a Los Tritore. Able to create some effects, were able to learn a lot of effects, a lot of things about typography. And hopefully you learn something new, right? We took on some projects and we were able to create really nice designs, really amazing text based designs. Okay, so that's the aim of this whole exercise, to create text based designs. Okay, and that's what we're able to achieve. We're able to create about four designs in the past. In the last video, I think four or five designs, and that was absolutely amazing. Now, in this assignment, you're required to create at least two designs. Okay, two poster designs. With whatever knowledge, which you've learned from the past video, you deem fit okay. If it's the tre D you use it, If it's the blending, you use it. Whatever guys, whatever you can come up with, just come up with two amazing poster designs at least. Okay, you can come up with more. That'll be cool, but we should come up with just two at least. Okay, Share them with us and we'd love to see what you come up with. Okay? To be absolutely amazing to see what you come up with. So see you in the next one. 85. 85 Graphs and The Graph Tool: Hello designers and work on B. In this module, you're going to be learning about data visualizations in a B illustrato, we have what we call the graph tool. In a B illustrato, we use the graph tool to create data visualizations. Data visualizations can come very handy when you want to visualize data or present data graphically pleasing way. This skill can find importance not just in the design world, but also in other fields of life like accounting, like statistics and so on and so forth. So you're laying a very vital skill here. Okay, now we're going to start with the common preset, like I always do. Then in order to start, you have to select, you have to come here to this tool, okay? You're going to see, you're probably going to see on this tool, that's the first one, this Colum graph two. And the shortcut is now if you are not on the advanced tools, you won't see it. When we click Visit, you see that it's not here, right? It's an Advanced to according to a lot, come here and click Advanced and you're going to see the two. If you click and hold, you see all types of graphs, okay, Which you can use to visualize your data, okay? But we're going to be covering just three types. You can of course, just go and see the rest for yourself. Actually, they're not something too complex. Once you understand how one works, you basically understand how every other one work will work. Okay, I'm just going to come and click on the pie graph here. This one enables us to create a pie chart. Enables us to clear the pie chart. If you just come down to your artboard and drug release, you then see that have a pie chart and you also have a spreadsheet where you can type in your data. Okay, for this one, let's just make here to be, let's see. Let's give it the name Facebook. So let's assume we are creating a data that has Facebook, Instagram, Twitter, and maybe what's up. And then for this, please. Now we now have the values, right? Let's say we have that here, 25, and here we have 3200. And we don't click Ok. We can see that immediately, it creates a graph for us based on these values which we've put. Okay, Then we have what's up? Okay? I think this guy and this, this Facebook is the biggest, of course. And you can see that the graph for Facebook or the space for Facebook is bigger than all the others. Basically, that's how it creates our graph. Depending on the values and depending on the data, we can have multiple data. We can maybe another, let me try having another data. So you click just, we see that we have to, we now have two sets of basically to chart. Okay, now we can just delete everything here. Delete, Delete, so that we have one. Then we have some features here for this one. We are choosing the cell styles. We're choosing number of decimal, okay, decimal points. Okay? We have two digits here, we have column width, seven digits, okay? And we can revert to the previous version, then we can call transpose column, okay? It basically changes the way the Holton looks, okay? Go back to our normal one, then We have this one where we can actually import data. We can import data files, okay? And use the data directly from the file. That's basically the features you have with this graph two, okay? Graph two. Now there are different types of graph two when we just close it. Now we come to our properties panel. We see that we have what you say, quick actions. We have graph type click. We see that now we are able to choose different graph types. We can choose this Colum is going to display this data for us in. Graph type, you can choose another one, Maybe columns tax and it's going to display the data for us like that. You see basically these are the types of graph, the types of graph tools, okay. Now you see how all of them work. I'm just going to teach you how to edit a few of them. Basically, when you learn how to edit a few of them, you definitely know how to edit all the others. We can see all of them work, right? We have this one which is the line graph, this other one which should be the area. Some of these ones require more data. To choose something, we're going to actually creates an area graph. We have many other ones, and so on and so forth. Let's choose the pi again. You can see that as we choose, we have other options depending on the type of graph you choose, The type of graph you choose, we choose the pi should be one of the most simplest ones. Then we have some options here on this type, Add drop shadow and click. Okay. You see that we've not added the drop shadow here. The drop shadow is not smooth. We can remove our drop shadow. See, it's now out. Then we have some other options. You can check all these ones on your own. You click here. We still come back to our data where we can edit and change. If we want to change, we have this option here, which is the Recolor. Click here. You are then brought to the recolor artwork. To remember the two when we're looking at colors and patterns. This one now add color to our graph. Now we can immediately choose to pre. Just like this web color group, we can keep playing around with the colors. See which one we like. We sit down, we like, okay, yeah, we accept the changes. Now we can see that immediately, Illustrator has created this basic pygraph for us. Basically, that's what you get. Okay. But definitely there is a way we can go even further. You click, do, write, click, just select the guy who objects and group. If you group, it's going to tell you that you won't be able to make changes your graph. If you click, we don't see our bounding box means we can make further changes. We can further customize our chart to make it look even better. We can add dents. We can just keep on grouping. Grouping, because there are a lot of groups here, group, group. See that? We can select them, right? Select them musically. And then work on our data, right? Work on our graph, right? Okay. We can even give them, maybe ingredients, can do some edits. We give you the background, we change the font style, the font type Lynch back, stuff like this stuff. Just different color color. You guys, that's it for some of the things we can do. Give it a different font style, different font and different font styles and so forth. Guys, let's see Clash Display Clouds. Please also free font which you can download and use creates things as simple as this with this chart. Let's try to look at other charts and see if we come up with something Good. Let's look at the graph first. Let's just come and date for the line graph, we would want to have two things. We're comparing just two things which you're comparing. For this one we won't have anything delete, and for this one we will have Facebook, Twitter, Mr. Gram. And what's up then? For this other one we have maybe the moons, January, February, March. Yeah. Okay. And so on and so forth. And then we now have the Here. Okay. July. Then we now have the mean deta here. So we might have just give them random figures. I don't have time to start giving figures. That makes sense. Okay. Random stuff. Okay, so let's click. We can see what you see. We now have a line grow. I think we have one figure that is outrageous. That's what's causing this is, it's supposed to be 45. Now we see we now have a more organized line line graph. Now we can, from here on start maximizing our stuff, right? Editing our stuff rather. Maybe a group, maybe recall. We can even recall the color, okay? Already you can see what's happening. We can change the graph type. Let's try out the graph type. Let's see this one, they call it scatter. We have other graph types. We have this one. This should be the area graph type. We have the line, if you looked at, we have this other one, the stacked by how the detail we visualized here. Let's try to see how you look. The pie charts, right? You look under the pie chart. Let's look at the column under column. Let's see if we can. We really do not need to do any changes here. Let's try to add shot, see what's happening. Basically guys, you see how you are now able to edit all of the data, right? All of these types of graphs, right? And then come up with something amazing already. If you are not looking for something really graphical, these graphs are ready to be used, okay? You can use them already to visualize data that do not require high graphics, okay? They have color, they have the right values, and so on and so forth. That's how to go about creating the stuff, so we can group and start to tweak things around. Okay, it's good that you've learned how the whole grafting works. Now in the next video, we're going to create graphs and try to add the graphical vibe to them so that they look better. They look better and everyone is happy. Okay, now, and that's what we're going to do in the next video. See you in the next video by. 86. 86 Pie Charts: Hello guys and welcome back. In this lecture, we're going to be creating a pie chart and giving it that graphical look. Okay, now I'm going to start by opening our project created. Come to the project folder where it says graph Visualization. Okay, so you see pie chart at the lustrat file. Just click open and our pie chart will be open. This is what we're going to be achieving right now. What I want to do is just shift, go and drag to the side and just just delete everything now. Okay, then what? We're going to start with this. What I want to do, I just want to bring this guy on a different background. Just going to control x and control. I'll bring this background work on this background. Next thing to do is come to our graph tools and choose the pie graph. Just hold down shift and perfect Facebook. Facebook. Then we have Youtube. And then we have what's up? So this is supposed to be data for the top best social media platforms and the amount of active users. Okay. For Facebook, I think it's 2.9 billion. Let's just use 2.9 billion might be wrong, but for tribute, 2.5 Okay, Let's just use random figures. Try to estimate for what service. Let's see, 2 billion and then for int 1.8 Okay, with this we just click Ok. And immediately you see that we have our graph now. Just close this guy. Let's just give our graphs some random colors. Okay, Let's just give our graphs some random colors so we can know how to differentiate them better. Okay? And that's okay. We're not going to use these colors, they're just for differentiation. Now, next thing we will do is come and group. Tough on group. Yeah, for the ones we choose, clash display. Clash display funds. Clash display. We don't want the regular, we want just the sky, We don't want the variable. We want just this guy. Let's choose a gray color like this, may be even brighter. We can make medium. Just trying to copy what we have here. And then for this one group starts to grouping them one by one. Group. Group, group, yeah, we have them separately now. Okay. The next thing will do, just shoot them like this. Then we want to separate them like this. Okay? Separate them like this, this, like this. Just like how we have here. Just like how we have them here, we can further more separate them. Okay? With the direction tools. Right, The keys rather. So with that being said and done, we'd like to get the colors. Okay, These are the color, these are gradient fields. You can see them here. So I'm not going to recreate, just going to sample, select this guy and this guy, and then sample the color. Select this guy, Instagram. And this guy. The sample the color here. Then select this guy. Just what's up and this guy then the color. Select this guy. Sample the color. We now what we want, select these guys and remove the ste, color. We don't need a stree color. Okay. Then basically we're almost done with what we are trying to create. I'm going to create an ellipse, just holding down shift and out and drag into my dim selection two. I'm just going to leave it in this color for now. Select everything here. To group them, con control copy and piece in front. Then expand it like this. I'm going to write click Isolt group. Now I'm going to choose my direct selection tool. I'm going to delete some of these points here. Delete for the remaining. Just going to select all of them. We can select each one and shift X, shift X, shift X and shift X. All of them give them a white stroke. And maybe even come to the stroke panel here and just give them this round cap. Okay, I feel that we should cut some of these guys. Just cut bits to align them with demarcation here. Cuts guys. We cut not much of a problem. So I'm just going to double click out and select everything here And drug. I think this is where we need to cut. And instead of cutting, I think I'll just control again and let, and then try to cut some of these points here. Delete, select, delete, Select everything. Let's give you the white field, color and shift x, so color create to give you this cup size like this. Perfect for these guys. We're just going to select them and just them up like this. Perfect. Basically we're done with our work guys. All we need to do is just arrange guys, centralized them like this and then copy the background, right background, copy the background old, have them look like this basically. Then just select this guy for the hydropotolan. Sample the column here. Basically we're done with creating this beautiful pie graph. Okay, for this other one to duplicate what we've created so far. Duplicate everything we've created so far, to the right hand side. Okay. And we guys, this guy, for the colors, I'll just choose a section two and choose colors, which we'll just replace by sampling the colors here. For Instagram, we choose guy, sample this colors. Sample this color. Because we want to add the three D effect, we would need to be normal color gradients because they won't work well with ingredients. Perfect. Now all we need to do is select our guys here. Select our group here, The D materials. Yep, here's our effect. I think we might just need to do some more things. Maybe we should remove the stroke. Okay, so that the effects work better. So we now we see that we now have the shading even at the site like this for our blend steps. Let's increase them then. We can make this, we believe that plastic sheeting and then basically try to the profile. Let me just hit okay and see what we have. We can see that the profile is a little bit different from this one, but we're not going to change it, we're going to use this one and we can just, sorry, grouping. We can just expand instead. Okay, the expand Okon. Okay, you know what, Let's just do this right from here. Let's what I wanted to do is on it to offset them a bit. K, I think twin them before the D effect would make more sense. Let's go out and effects. D, give it classic. And first steps, blend steps, Repeat them, basically. Okay, here is what we now have, our treaty effect. Okay. Basically this is how we create this nice graphical look while still visualizing our data to be illustrator pie charts. With this, we've come to the end of this lecture. See you in the next one. 87. 87 Line Charts: This video, We're going to be working on line charts. Line charts here in Los To. In order to start, let's go to your folder and open the file. Is it line chart? Click open. This is our line chart right now, what we want to do right now is just duplicate our board. I'm just going to ungroup everything here and delete everything here. Basically, this pie chart here was copied from our pie chart, so we are not going to be deleting it. Let's just start working on our line charts immediately. Come here, come to line charts, Just drag it out. This, drag it out like this. Now we have Facebook, Youtube. What's up in come board for this column? We need to leave it empty because we are dealing with two columns, right? X and Y, Xi, one. Facebook one. This one. Well, nits Mr. Graham. And then for this other one, January, February, March, March, April me, June, and July will be the last. June, July. Perfect for for theta. Here we just have to use random figures. Right? Let's just put in random figures. So let me see if I'm going to like what we are going to come up with. I don't like it, but just to speed up the video, I'll just try to just do it, style the key. Okay, it's quite messy. It's quite messy. Let's just see guys, let's see, let's just ground for now, Let's event for you guys. We can shift X so we see what's happening in the Wnt. Click shift X and back guys, this is just for demonstration purposes. We don't need them to be too perfect. We're just going to work with what we have now. We're not changing anything. Here. We go to the color. We give it a custom color. Okay, first thing we need to do, we should copy our key here. Key, show your key here. Let's copy your key here. Because we will use it for something important. Let's give it a black color to start with. Then for Instagram, let's go and make sure our colors with what we have here, right? So for this guy, this other guy which is black, you actually select multiple files, multiple lines. Let's try to group them. Yeah, we actually have group, our stuff here doing on group. Forgot to own group, group, group. Then we delete these guys. Okay, delete these guys. We actually need to delete these guys also below. Okay, we don't want to line under select. Delete. Then we need to make sure this line is this color because that's going to be the one for Facebook. I eliminate this. Give the field color, give something like this. This, again, this one we need to give it, we need to give it this color because we actually changed it. It's for phasebook, right? We need to give it that color. Just select, then click here and release, right? So that it's now the same as the field color drug here. Finally we have them. Just now we can delete these guys. For these guys, you might need to still do group, group, group one, group one group one, group one group. You selecting let, then just doing everything please. We forgot to select this guy. Everything please. Perfect. Then for this, Pons need to actually change them outside fund which is clash display. The font size should be reduced to C 28 27. Then we need to just delete these lines. And then to repeat the line to align with the number. This again, let's control D. And from control, repeat our action. The ones, the three on top winds to fill it in. Okay, now we are basically as done. It's our work here. All we need to do now is just give it a background color. Fronts here need to be bright colors, need to be bright colors. You know what I'm going to do. I'm going to just shift x so as to see on the needs and change the elements bright colors. Okay, for you guys. Give it one stock of one. Or 0.50 0.675 And then let's make the color then. For this one, you need to make the colors. We need to make the colors. This. Select the guy here now. And shift X and bring back our colors perfect. I just want to expand our ship for this one. We just select them again. Back shift X back. You see we have what we are looking for now. Looking to bring this guy to the right hand side, like this guy. With this, we have come to the end of this lecture. See you in the next one. 88. 88 Area Charts: Hello designers and welcome back. In this lecture, we're going to work on the last graph type which we will be looking at in this module, which is the era graph. Come and open your file and then see where it says era graph. This project file. Just click it and open loto. Now this is our area graph. And first things first, we do shift for our output to hold. Drag it to the bottom. Just delete most of this guy. I think I'll just give it a background of its own shift X or control X rather. And control bring it to the bottom. Okay, then. Okay, I think physically we can lock this layer, we can delete this layer group and delete. Okay, we really do not need to delete most of these layers. Okay? So we only need to delete the graph itself because we are going to be using most of these things to delete. And then come to your graph too, and you see area graph insect. It draw out your graph, perfect. This guy, you won't have anything. You won't have anything. This guy will have, Facebook will have you. What's up for this guy who have inter ground then for this one, Of course. January, February, March, April. Perfect For the data, I really want to take time to make sure this thing comes out perfect. Okay, I'm just going to put in random figures. Okay, so just like we did in the other one, I'm just going to put in random figures. Okay. Special. Lastly, if we do not like any of the graphs, we'll just go back and change the figure. I think I like what we have here. Just go with it. That's what demonstration purposes, not special. So it out. I want your properties color and I'll just give you a new color, new set of colors guys. Right? If I just go and just keep this guy to the site like this, I can just group objects and group. Okay, just keep on grouping. Sorry, grouping. Grouping, Perfect. Now, all I'll just do is come and sample this colors here, set the guy here, sample the one under this should be 90 degrees, this should be 90 degrees. But unfortunately, our 2090 sample this guy. It 90 degrees, this guy. Sample this guy, please. Okay, could this one sample disc? Perfect. Now we need to edit something. Yeah, I think the first thing I will do, yeah, we just need to edit something. We need to delete these lines. To delete the It seems the lines are behind to reach. Seem to park? Yeah. No, I can access the lines. Delete them. You can also delete this one. Can delete the line here. Basically just try to mimic what do we have here? I won't copy this one because I'll, there'll just delete this ones because they are not needed. The front side, you can see that are fronts here, clash display medium 54, clash display medium fit four, clash display medium 24. Then definitely we have brighter colors. Bright color. This guy also bright color basically guys, it for this one range going to maybe group arrange. Yeah, you can see how quick and easily we've been able to achieve our A graph. Now we deleted this one. Yep, we have our era graph. Neat and clean. Guys will of course come to the end of this lecture and we are going to take an assignment in the next video to see the bye. 89. 89 Assignment 17: In the last videos in this module, we learned about the graph two and how to create graphical visualizations of graphs to illustrator. Okay. To illustrate our data and also make it look pleasing graphically. Okay. We learned about the line graphs, the pi graphs, the area graphs, and so many other graphs. Okay? Now, we only took three of the graphs in details. Okay? That's the graph, the line graph, and also the area graph. Okay? And we looked at how we could customize them to make them look better. Right now, I wanted to create graph visualizations in this assignment. Okay? Using what we've learned in the past videos. But we are not going to be creating area graphs or line graphs or pie graphs in this assignment, you're going to be using two or three of the ones we didn't cover. Okay? Remember there are many other graphs. Let me just open the file here so you can see. You see there are a lot of them. There are column graph two, we have stacked column graph two, and we have the bar graph. Okay? You're just going to choose three of any of these ones, okay? And create your tail visualizations with them. And I would love to see what you come up with you. Feel free to share your projects with me and I would love to see what you come up with. And hopefully I'll give you some feedback. Okay, so that's it for this assignment and see you in the next one. 90. 90 Grids and Grid Tools in Illustrator: Hello guys, and welcome back. In this module, we'll be learning about geometrical grids. Okay? And grid beach designs not to be illustrato. Okay? Now grids are very popular among professional designers. Okay? And they help us achieve geometrically balanced proportioning in our designs. Okay? And they can be used to achieve very cool geometrical artworks. Even lo, good designs. Okay. And so many other sorts of designs. Okay, now we're going to learn about all this in this module. So right now I'm just on Pinterest. Okay. If you don't know Pinterest. Pinterest is a platform just like Instagram. Okay? But let's say business, just like a picture based search engine. Okay. It's just like picture based search engine. Okay. And we can really find amazing creative works on Pinterest. Now, I've just searched for grid based illustrations. Okay. Right away you can see some of these illustrations. Okay? Most of them have been created with grids. Okay, So let's look at this one, for example. Now we can see that this is a geometrical artwork then it's been created with grids and you can see the balance in the artwork right? We can see a lot of balance. We can see the left side is balance with the right side. And the upper part of the design is balanced with the lower part of the design. Okay? This is basically a search engine. Like I said, if you click on the image, it's sticking into the website. You see this is linked to Skillshare.com Okay, Yeah, we're back on our main page. Now you can see a lot of designs. All of these have been created with grids, with the use of grids. Let me open this one. You see this is very amazing, very nice. All of these have been created with the use of grids. Okay, look at this one, also created with the use of grids. And we're going to create art work similar to this at the end of the module. Okay, after we've learned a lot about grids. Yep. There is another one. Another good one. Okay, I'm looking for a low good design. I would like to show you a good design. That's what's grid of your grids. Okay, let me just. Good design here. Good design. Yep. Right away we can see some. Let's look at this one. This definitely leads to a blog article. Okay, so if you click here with blog, but let's just look at the image here. We can see that this is a grid and this is an isometric grid. This is a type of grid, an isometric grid. And of course, we're going to look at all types of grids and how to create them and use them in illustto in the next video probably. But this is an isometric grid and we can see that this logo has been created using this grid. Okay? It's been created using this grid. That's the way we use grids to create logo designs. Okay, now we can also see this one. You can see that all of these have been created with the help of a grid, as you can see here. Okay, We can really create balanced designs and really amazing designs with grids. In fact, most pro logo designs have been created with grids. Well, I'll see a lot of them have been created with grids. Okay. Just make everything very easy for designers, for illustrators. Okay, so just come on your own and see all of these designs and more understanding of the whole grid thing. Okay, let me look at this logo. We can see how this one has been created with the use of grids, right? Very nice. So we can see the balance, We can see the professionality, and we can see everything that grids have to offer. That'll be it for this one on Pinterest. I'm just going to go into Illustrator and start the video. Okay, We're going to start learning more about grids. I'm going to start with the new document and we're using the common preset here. Okay? When it comes to creating of grids, we have a number of ways we create grids. Okay? We have a number of ways we create grids. Now the easiest one will be to come to this, please, this line to this line segment to just click and hold. Right away, you can see this last tools we have this rectangular grid to and we have the polar grid to. These are the first. Most easy way to create grid. I've just selected the rectangular grid too. I just click and drag. We can see right away that I have now created a grid. We can see that this grid has a set of columns. And set, what do we call them, rules. Right now, we can start creating using our grid. We can just take probably our pinole. When I come to where two lines intersect, you can see that it now tells me intersect. Then when I click, I will now be able to click, Just continue drawing what I want to draw. This is probably the easiest way to create, the quickest way to create the grid. Okay, now you can see what I've created using this bit by just clicking and clicking and clicking from one intersection to another, that's probably the easiest way to create the grid. Now if you come here again, you see this pull grid to this is another type of grid. It's a poll grid. You can edit everything we see here. And we're going to do that just in a bit. I'm going to delete them. I'm going to click and select the rectangular grit. Again, when I come here and click, we can see that this rectangular grid option comes up. And of course the click on the two le game, we can see that the same option comes up right now. These options will control the type of grid will create. Right now we have the width, we have the height, and all of them are in pixels. So that's the height and the width of the grid. So let's make this 1,000 pixels by 1,000 pixels. 1,000 1,000 1,000 Then we have horizontal dividers, of course, which are the horizontal dividers. Then we have vertical dividers, which are the vertical dividers, depending on the number we put here, let's put ten. We have certain number of rules and columns. We have this one which says, we're going to look at it in a minute, not now. Basically that's all we can fill the grid with color. Or we can just like this when we click and drag. I'm holding down Shift now to create something squared. Okay, I leave it. We can see that our grid has been created. Right? I'm just going to come and create another grid. Okay, I'm going to hold down shift and drug. Okay, I'm just going to release my shift and then start messing around with some shortcuts. When I hit, we can see that we have our horizontal dividers coming down, right? So these our horizontal dividers coming down and I hit. So we can see that we are now able to bring them down to adjust the species from the top to the bottom, okay? So the top species are bigger now, and then as it comes lower, it now reduces in size. And when I hold down V or hit V, okay, then see that we are having the opposite horizontal, up and down, Down. And V for up, okay, down and V for op. Okay, Then if we hit X, we see that we're not messing around with the vertical, right X and okay, and V, X and C. Okay, so these are now the skews. Okay, Let's say I double click on this two now and then check the skew. We can see that the skew has been meshed with, now it's 40% and 40% here, it means if I draw it now, you see that it's 40% to the horizontal and 40% to the vertical. Okay, so that's the skew option. So sometimes you might want to create stuff and you might want a grid that looks like this. This is the way to create it. You would have to mess around with the que. It's also possible to add grid, mean by add grids. To combine grid rather, you can combine multiple grid and we're going to look at this also, but for now you know what the skew does. We're just going to look at the polar grid tool. Now, the polar grid creates this type of grid, right? The polar grid. If I hit the same, we can see what's happening, right? And if I hit V, we can see what's happening. We are now messing with the lines, right now messing with the lines. If I hit X, we can see that we're not messing with the circles and see we're also messing with the circles. Again, I didn't talk about this other shortcut shift and the keyboard directional buttons. If you hold down shift and hit right, we can see that we're adding these dividers, right? The line dividers. And if we hold shift and hit left, we are reducing them also with the circles. If we hold down shift and go up, we see that we're adding them hold shift and go down. We see that we're reducing them. That's the shortcuts for this tool. You have to know that if you create your grid and would like to mess around with the horizontal and vertical dividers like we did with the shortcuts just previously. You have to know that you won't release your mouse. Okay? You have to hold your mouse. While doing that, I'm holding my mouse. I'm reducing the rules and columns like this. That's of course with the directional keys and holding down shift, okay? I want to mess around with their positions. We know what to do, right? X and C, V, X and F and V. These are the shortcuts for this one, okay? Now that you know, we're now going to be talking about other ways to create our grid. We've looked at two ways. This is the first one which is in the rectangular grid tool and we've seen the shortcuts for this. We have the second one which is in the polar grid two, and we've seen also the shortcuts for this. I'm just going to create a grid with our line segment two right now. I'm just going to click our line segment to get out to this one. Then I'm going to draw a line holding down shift from top to bottom. Okay, then do you select the guy, hold down Alt and drag it to the left or to the right rather? To create a duplicate, we select the boot of them. The boot of them. Go to Options, or rather Object and blend and make. Okay, Click on our Blend to go to specific steps. Now we can see that we have 882 steps. We don't want that, Let's make it ten and okay. Now we can see that we've now created the vertical lines right. Okay, what we don't need to do is just right click transform. Rotate. Okay, let's rotate it by 90. Let's copy now. Immediately you can see that we have now created a perfect rectangular grid just by using the blend to immediately we can group these guys. Or we can just put object, blend and expand. And we have our grids perfectly created like this. We can ungroup them and start to use them right away. As you can see, this is another interesting way of creating your grids. Another interesting way of creating your grids. One other way of creating our grids is to come to our objects. We just know what, Let me just remove the field color and give you the of two pixels. Select your ship, come to objects, come to path and split into grids. If you click, we'll then see this option. We do click Preview, so we see what's happening. Now we can see the rules and columns. Right now we have number number. Presently we have just one. If we add this, we'll see that we have a new rule. We add this, we'll see that we have a new column and we have other options, right? Let me just add 44. We're going to see what these other options do. Let's look at gotta. When I add the gotta, we can see that there is a demarcation. It's creating a gotta in between the rules, right? And we have the ones for column. And we can see that we're creating a gotta in between the columns. Okay, let's just make this 28, 28 and yeah, now this is the total, which is in pixels, of course. The total width and the total height, right? Height and width, right? Let's just make this the same as this was the same basically. That's how the options here work. And we can add guides. Okay, These are the guides. We can add guides just okay, Right away. We can see that our grids have been created, okay, with a bit of style, right? We have them as separate ships. This guy we can see that we have them as separate ships. They're not linked each other. That's another way of creating these grids right away. We can just select the boot of them or all of them. Rather control, we can use them as one. We can use them as separate objects, maybe to do separate things. You can give it a color. Kim tries in the Shibular to add colors. Minus adding random colors. I'm not doing anything beautiful and specific. Okay, now we can see that we just created our grid and we added colors to get to the boxes. This is interesting way are creating our grid just by going to path and split to grids. We're going to use all of these options very well in further lessons in this module. Okay, lastly I'm going to show you guys the one last way I create grids to. That's by going to view and then coming here to Show Grid. If you click Show Grid, we can see that we now have our grids. Now these grids are of course, inherent to a lot to the default grids. We can actually modify them. Modify how they look so that it fits to what we're trying to create. Right, Let's go to View again, and we always make sure snap to grid is on snap to grid. We'll see that everything we create, we snap to our grid, so we can see that adllustrator now intelligently snaps everything we create to our grid boxes. Okay? It's easy to create something that has a good proportion, okay, that's proportional to our grid. Okay, Perfect guys, that's the snap to grid feature. And how do we modify these grids, right? So I'm going to just hit control key for my preferences. Now, the preferences, like I said in one of the initial videos, I think one of the earliest videos in this course controls of course our settings, right? The whole settings of how a stall work. Everything can be controlled from our preferences. We looked at the keyboard increments the other time. This time we're going to look at not smart guys. We're going to look at guides and key guides and grids so we can control our grid. Will look from here. Now we have the color, the color of our grid. We can make this blue, right? We can see that our grid has changed color control K. Again, we can see that we can change the style from line to dot. Zoom out, we'll see that we have tiny, tiny dots. That's how our grid will be. We see that they still snap, right? Even though they are barely visible, they still snap. They are barely visible. That's one way of creating our grids. Let's control again, see some other options. We just take this guy back to the line. We have the grid grid line every. Okay, This is basically telling also the size of our grid lines. Okay, let's just okay, and go back to our preferences and change this guy. It's 72, 84. Let's make it 200 so we can see the difference. So we can see that our pets a big okay. Bigger in size and control these subdivisions will control the number of sub grids inside each and every one of these bigger grids there are here. Let's make this 20. You can see how plenty, plenty, plenty, 20. 2020 times 2020 times 20. That's probably 400. There are 400 boxes here, 400 boxes here. That's how to control our grids. So we're going to take this back to 72, this guy back to eight. And I'm going to just change the color, change color back to light grey and okay, we have everything just like how we had it before. With this, we've come to the end of this lecture where we had a brief introduction of what grids are and how grids work. Okay, just going to go to you and hide my grid. Perfect. So see you in the next one. Bye, bye. 91. 91 Grid Types and Usage Techniques: Guys, and welcome back. In this lecture we're going to be learning about the types of grids and the usage techniques of these types of grids. Okay, so I'm going to start by opening a new project with the common presets as usual. And from our last video we learned about two types of grids, right? Even though we didn't see the other types of grids, or there are types of grids, we, that we learned about two different categories of grids, right? We learned about the rectangular grid tool and also the polar grid tool. So definitely, you know that there are rectangular grids and there are polar grids. So these are the first two types of grids we're going to look at. I just created a rectangular grid. It consists of rectangles both horizontally and vertically arranged in a grid structure. Right? So that's all about a rectangular grid and the most popular type of grid. Okay? We also have the polar grid. Okay, Let me just duplicate this one board. We have the polar type of grid, which is this guy. And we can see that it's just a circular grid. Circular divisions, okay, from big to small. And we also have lines which divide across the circles, right? So that's all about the polar grid. Okay? And of course all of these can be removed or added. We adjusted just like how we saw from the last video where we kind of adjusted everything with short cuts. Right, And I'm just going to duplicate this 12 more times. So we look at the other two types of grids now. The next one is the hexagonal grid. How does that one work? Okay, It's made up of hexagons. Going to create that type of grid. Right now, I just created one line here. I'll just create duplicate to blend the boot lines. Click, Click, we've created our blend. Click on the brand to go to Steps, and let's make this 50 steps, okay. Now in order to create this hexagonal type of grid, you have to write. Click, and then we go to transform and rotate. We have to rotate it along 60 degrees, right? And we then hit copy at the original guy. You hit copy to repeat it, Duplicate. Okay, when we do this, we write click again transform and we have to reflect this to 90 degrees and we have to copy again. Now we have to make sure that the lines are aligned further follow. What I'll do is I'll just expand all of this blend. Expand, Select the guy blend, expand. And finally, this original guy blend and expand. Blend and expand. I want to turn on smart guides. Smart guides are to, you know, to snap to point. Snap to point here. Basically. Let's work with the settings. Come on, make sure they are aligned. This is the guy. You have to, you have to pick the one that goes across like this, the original guy or the mean guy, the first guy we created. And just make sure it's aligned here. Okay? Make sure it's aligned here. We have to select them and see where the met. And just around to see if it's perfectly aligned, and as you can see, they're all aligned at the same point. Okay. What next we control to group this? We can expand the size, we can come to our pathfinder. Okay. These are just extra steps to clean up the whole thing. We mustn't do everything. Okay. The mainting has been done. These are now the hexacuna grids. As you can see there middle of hexagon, we have 123456. Hexagon has six sides, right? When we create a ship like this, we observe that we now have six sides. Okay, Yeah, this is now the aces, the idea of the hexagonal grids, six sides. We can just select all of them and come and divide and just give them back thetral. Now when we come and the new group. So we can just enter by clicking Delete. Deletes Dt. Finally dragons perfect. I'm going to scale them down. The bits, as you can see, we have fated our grid, right? Our hexagonal grid. And everything fits into our art board. I'm going to reduce the size or the thickness of our stroke to 0.5 We can start creating stuff with our hexagonal grid, right? The last tuple grid is the isometric grid. In order to create this, just do something similar to this. We need to create this time along this axis, okay? Remember this one we created along this axis, right? For this one, we going to create our first ship along this axis. We create along this axis and drag it, just blend to click, click, click, and just double click and make this 50 just like the other 150. The next thing we have to do is right click transform route, not reflect, and we route along 60 is also a, sorry, I shouldn't have copied it Ted, the original one. I'm just going to tet once more and click Copy this time. Then after that, we're going to click and then and reflect along 90. Sorry, I should have copied again. Reflect, copy. Perfect. Now we're just going to expand all of them. Expand, expand. And think this guy is the last one. Expand. Now we do what we did here, we'll make sure this one comes to this point, right? Make sure they are intersecting. Let's use this one. We just drag it here and make sure they are intersecting. Right, the boot of them. We see that we still have some little movement to do. We have to move this guy to this point. Move it again. We see that we are just be almost there. Yeah, we see that we are there now. We just let everything group precise divide and give it a stroke back and we can go into the ship and start to delete the unneeded parts. Delete. Delete. Delete. Delete. Okay. I think we can delete even to this place. Okay, Also here, here we give the 0.5 and as you can see, you guys, we now have our isometric grid. Now with this grid, we can maybe take our pencil, just come and start creating our isometric shape. And I'm going to show you what we can create with this one. Just now guys, we can see that this, we've created an isometric ship. Now this is an example of what we can call an isometric ship. We have three sides visible. It's a three D ship, We have three sides visible. And this shading gives us an illusion of three D. Okay, this is more of a fred. We can also achieve something similar to this using our three D effect. I'm just going to demonstrate that, give this a color and go to effect three D and materials. I'm going to just use the classic. And of course you can also get this with the normal tre D to use the classic and extrude and Pv. When I just come to preset and I choose isometric top for example, we can immediately see that we have this, right. Choose 25, 30, let me just 40, okay. I think for maybe 36 or 35, I just want to make it look like this one, okay? In proportion already. You see that we now have. We now have the same thing. We have basically the same thing. Okay? So that's how the whole treaty works. We can now see that if I adjust my lighting here, because we can see that we have two parts brighter than one other part. Okay? We have the brightest as this guy, and then we have this other one bright, this other one darkest. We have this one as the brightest. We have this one brighter than this one, and we have this one darker than all of them. If I click with you, we see that we just have the same thing here. We have the same thing, everything proportionally aligned. I select this one and just give it this color, this guy, and give this color this color. What I need to do, actually, is to expand our three D. Okay? So you can select and give them the individual colors of the sides, right? Immediately. Now we see that we have exactly what we have here. Now this is the one we got from our thre D effect and this is the one we created with the isometric grid. Here we can see that we can't even differentiate them. That's the isometric grid. And what you can achieve with isometric grid, one of the things you can achieve with the isometric grid. O kay. And of course you can do Two D Stove also like the logo we saw here. I don't know if it's still here. My network is as of, okay, the logo we saw the other time, it's a two D logo, but it was created with the isometric grid. So let's see. For example, I duplicate this one, okay? I just take my blend to, sorry, my ship builder to the color and just start to do something like this. I'm not creating anything special in specific. I just want to show you an example of what we can create which is in two D. With this grid, we can give it this color. You can see that because of how big the grid is, it's taking time to effect my changes, Effective when I click on this guy and shift down control X to cut it out and come on control V to piece it. We can see that we've created a two D logo with an isometric grid. It doesn't always have to be three D. We can create two to also this grid. That's what they did in the other example we saw on Pinterest guys already, we've created this logo. And we can see that one thing, using grids give you balance. Immediately, this icon can serve as a logo, as a logo on a, It's balanced enough, aesthetic enough, we just have to give it the meaning and boom, it's now logo design. And this was created with the isometric grid just to drive my point that it doesn't always have to be a D shaped. We create with this one a perfect guys, right now we're going to try to combine grids and see what we can come up with by combining our grids. Like I said before, it's possible to combine grids, right? It's possible to combine grids and to create ships from these combined grids. I'm just selecting the polar grid tool. We're going to try to create a polar grid here. I'm going to reduce those lines. Maybe we'll just give them like this one. Use them like this, and have them like this. Give it, yeah. Now we can see that we've combined these two grids, right? We've combined the rectangular grid and we've combined the polar grids. I'm just going to duplicate so that we have several copies. Now we can start creating stuff. Okay, let's assume we want to use the shipbuilder, maybe just select the shift X. Send both of them, the ship you to select your color. Let's see if we can start creating something interesting. Okay, we're going to start by having something like this, then creating some random stuff guys. Nothing special in particular. To have this one like this, maybe this one like this guys, basically just then select my direct selection tool and click in the species and control to cut them out, to piece them and I'll just reduce the size like this. Boom. You can see that immediately, we now have our design from our combined grid. It doesn't look too good for where you get the point sent back where you get the point. Right. We've just created a logo by combining two grids. Okay, we just combined rectangular grid and also the polar grid. I'm going to delete this guy and see if we can come up with something better. Okay, what? In fact, I'm going to edit my grid. Let's give this five by five. Okay, let's give this six by six and see what you come up with, a six by six, Okay, and draw the guy like this. Okay? Centralize our shape, our grid. Then. Pull up, let's draw from here to here. One holding the mouse. Let's just. Okay, let me just remove every thing here. Make this like this. Okay. I'll just release everything to have our combined grid right now. With this combined grid, we could have something similar to this. We could have this. You just try to make sure all these two boxes are filled so we don't have a weird instance control Z guys. Immediately, we now have agreed to shift X or control X control V. We now have this design with a grid, right, like this. Bring it down, remove the stroke. Maybe then objects transform each, maybe rotated by 15 degrees and skill it by T T. Okay, And let's copy control control contratrod. You can see what we've created. Not really. So this isn't anything serious, okay, just try to use the transform effect here. Okay, But that's a possibility right now. Let's look at creating some of the stuff. Random stuff. These are just random things I'm creating by combining our grids. And we're going to combine all of the types of grid also, not just, not just the rectangular and polar grids. Okay, just starting with this one, maybe we can have another one here, K, then something like this and something like this. Common cuts. Sorry, Common cut, everything control X, sorry, I did shift X instead of control X, control X, control V, shift X, Y. We can see what we've created by combining our grids. All right, maybe just cove all of all of these edges like this with the color to shape and give it a background. Yeah, we've created a very weird logleke. That's the possibility of combining our grid. Okay, let's look at some other things we can do. Let's look at combining multiple polar grids. Okay, let's look at combining multiple popular grids. I'm pulling down all and just dragging this one to the left to duplicate it. Let's assume we have this selecting the boot of them and then slur tribu dragging this guy like this, she's a different color dragging this other guy. This probably maybe not up to this, maybe. Let's just stop here. Perfect. Yeah. Remove control X, control V. We see the ship we've now created by combining the two. What do we call them? Grid guys. Grids. I'm going to I put another one. We don't want any skew here for these guys. Let's make them three and just draw like this, centralized, centralized centralized aligning to this point to this other bottom. Let's just do it manually. Then need to reduce the size. Bring it to the left and going to pull down at bring it to the right like this. And then wind hold down Alt and drag it again. Let's see what we can create with this, your ship. Sl the color. Let's see what we can come up with this, right? Let's try to have one color, this and then another color like this. She may be choose this color and have one connects. And finally we have this other one. Maybe we choose a different color, this other one connects. Okay. Just sample this color, sorry. Okay. I think we can just fill this one like this. Okay. This one. Sample this, sorry, what did I do? Okay. Just just so we can have it on our color guide to. Okay. With this ship too. Just. Like this already. You can see what we have come up with by just adding, or by just combining four of these grid ships. Right? Four of these grids. So I'm going to just select everything here. Okay, We didn't combine this one. Okay, So we'll select everything here. Control X, control V. Right away we have a very beautiful ship to delete this guy, Bring our ship, let me just circling and group them. Okay, then bring our ship in the middle. Yeah, we can see that by simply combining four of our polar grids, we have created this very beautiful ship. Maybe we could even have another grid here which we can, which we can use to just arrange our ships. Let's just delete this guy something. Let's see what we don't need to put in. Let's see, we have three here. In three here, okay? We have it like this. It's possible to start just filling the pieces with our ship, with our new ship. Okay, pull on Alt and drag it here. Control D. Control D. Select everything. Drag it down. Control Control D. Basically, we could just draw the dice and feed them properly. I think the lines are not big enough and I think the problem is coming from the art board, right? But you get the point. You get what? I'm just trying to hit this pattern with this cool design we've just created with. Okay, The possibilities of these are limitless. Possibilities are limitless. You can create very interesting droometric ships. You can create a whole lot of things with the grid tools. Okay, we just looked at the four types of grids, which are the rectangular grid, the polar grid, the hexagonal grid, and also the isometric grid. We've also looked at how to use these grids, right? We've looked at how to combine these grids, how to use them with our ship tools. We can use these grids with our ship tools. We can use them with our line tools. With our line segment tools, we can a whole lot of things. All right, so let's assume we want to use this Arc tool, right? All we need to do is to click here, click and hold, and drag it to the next point. And you can see that we've created this arc. The possibilities with these tools are extremely limitless, and I will want you to explore on your own to see what you can come up with and discover for yourself. In the next lecture, we'll be diving deeper into creating more interesting stuff than what we did in this video. Okay, so see you in the next one. 92. 92 Geometric Designs with Grids in Illustrator: Guys and welcome back. In this lecture we're going to be diving a little bit deeper into the grid. Thing to be Lstrito by creating some artworks. Okay, just a few simple artworks with both the single grid and also the combined grids. Okay, I'm going to start with the common preset like always, and then we're going to start with the single grid. The single grid. So we're going to start by using the rectangular grid tool. And I'm just going to click to see the settings. And I'll just leave the width and height the Sam, and I'm going to use nine by 99 by nine, or eight by eight. Let's use it by eight. Okay, so we're going to draw a grid like this and centralize everything. Then we're going to take my shape tool here. I'm going to click and drag to create a shape size as one of our grid boxes to give it a color here, a field color. Just reduce or just eliminate the strip color. Okay, Now I want to select this guy here and just drag it like this one, like this, okay? Then the next thing I will do is just duplicate our ship here and bring it down like this, okay? And just let both of them click Transform. And then let's rotate. All right. Let's, let's see 90. And then copy perfect. I just want to have a bit of mix of color in here. I'll give this color in this guy. This color, this one. Give this color, this color, this other one. Let me try to see if you can use more interesting colors. I'll sample this one. Let's see if P here will make more sense. Okay? I feel it's better for me, better. Then the next thing I want to do is to create, create something like this. Okay, something like this. Then I'll just come here, drop like this. Then just transform, reflect, copy, bring, point. Let's use a different color combination here. Green is to shout, let's use something that compliments for this one, Let's just something more interesting. Let's just use this color. Okay. Okay. We can select the boot of them. Let's team. Let's see, by zero, let's try one. Okay, copy. Just bring them this. Perfect. Now I'm just going to fit this one. Be maybe just crack it down. Don't why it's like this. Maybe the grids are not that perfect. Okay guys, I think we are good to go select the booth of them down, bring control. I think we just need to. So I'm just going to drag this one to this point, okay? And set this to and hold Alt and drug them like this. Then for this one. Now for this one I'm going to set the boot of them a drug like this and control control D, y. And this is what we want to create. For this one, I'm going to set the boot of them A and bring them to this point. And for this one, both of them will alton bring them to this point. What I then want to do is K, this one like this, control D. Okay, this one like this A, then control D. Let's see if having them in the middle here makes sense. Okay, Let's try something more interesting. Instead of this, I'm just going to what? Jublicatemltrk them, okay? Then what I want to do now is let all of them to my subu just create another ship here. So that I can select the direct selection to shift and control X to cut that ship out and control V to piece it outside. Okay, I'm just deleting everything else. Let's remove the stroke. And now we can use this ship independently in this please. Right? Just fit it in please. And reduce the size bits. Reduce the size. Like this. And let's give it color. And you can see that we're adding it to the struck instead. So we're just going to remove the Tk. Let me delete this guy and do my delete. I just deleted to see what we came up with. Right. Maybe I'll choose a custom color here, something like this. I'll just go with this. Now the next thing we have to do is just duplicate all our ships. Maybe I want to, this guy, this fit like this, perfect. I won't do any more changes. I'm just going to select everything. The select grid. Pull down al D to the bottom like this. Okay? Control control control D. This is what we have. Might not be too perfect grid. I think we didn't really align everything perfectly. But if I delete the grid right now, you can see that we have our artwork and it looks perfect. Control G to group them, just centralized them and maybe we use my artboard to fit our design. Yeah, we have our ship pattern which we created with our grid tool. All right. Yeah, this is perfectly nice. I like what we have here now. The second one will be a design with a combination of grids. Okay. I'm going to create a new bo, select my Art Alt and Drag to have a duplicate and delete everything here. Now for this one I'm going to use the rectangular go and also the polar grito. I'm going to select the rectangular grid to double click to make this nine by nine. Okay, Maybe we need to adjust our artboard bit. Okay? Perfect. Now the next thing we need to do is create our polar grid. Click here, and then let's make this 80. Okay? Click here and gray, we have grid. I think I want to, maybe we should add one of these line divisions. Right click like this. And shift shift A, right mouse button, right keyboard button. I just keep doing this. Right keyboard button instead. Shift right keyboard button. I think I will just do it this. Release my mouse now I can start creating with my grids, select everything and go to the ship built. Let's try picking a color. Let's now start to apply our ship build ships. I'm looking to color the red. Then I'm just going to take my time here to try to create something nice. Okay, so you can just observe what I'm doing. Okay? I don't have a design in particular I want to create, but I'm just going to try to achieve something cool here. Let's see this work. Let's go with that, this. Okay? And then let's have this. I'm working with symmetry here. Want my left side to look like my right side, right? So I'm just going to do this. When we're done with everything, we come and add colors to the whole thing, right? But for now, we just need to have a shape created perfect then. I really wish we had a diagonal line going like this. Okay. Since it's actually something we can create, we can create one like this. Let me try creating. See, I'm just going to do this. Okay. And the same for here. Okay, so select everything once more, ship you to, let's just do this and do this. Perfect. Let's come to the port. See what we can come up with here. Let me just do this. Maybe I'll just stop here. Do this and feel this one. Sell this points. And so also with this one. Okay. Like I said once more, I'm not creating anything specific or anything in mind. I don't have a particular thin in mind I'm trying to come up with. But hopefully we're going to create something that makes sense, design wise. Okay, that's what we're creating here. When I'm done, you can then see what I've created and then try to recreate it, or you can even create something better. Okay, that's what we're doing here. We have this, this, let's just try this one. So far, so good. I think we're making progress. And of course, we're almost done here, guys. This one, what we have now, I think we do. I will round up and apply different colors so we can see what we have come up with. Maybe one final touch here. This other. Yeah, I think we're done here to select everything and reduce the size. I will just take my time. Okay. I can see that we have some flows here. I'm going to select everything again, my ship tool and try to fix some of these flows we have here. Flows like this. It, this time self colors. I'm just going to the right color. You see we also have one here. So we're going to zoom in randomly and see if we have flaws. And if we do, we just fix them. I think all our flows have been fixed. With that being said, we are going to ships out. I'm selecting my direct selection and then selecting inside our ships. So I'll just make sure I have selected every ship here. Yep, I selected every ship. Control X. Okay. Sorry, I didn't select the one in the middle to select control X. Just come to the site and control V and then scale them down. Then select everything here and delete. Just bring our in ship. I think we can as well group control and align to the art board and remove the stroke and scale up. Yep, we can see our artwork. Yeah, I think we did. We did quite well. Perfect. I'm just going to other colors here. Just going to other colors. Let me select this color for now. When I come to my color guides too, we can see that we now have different colors. Let's look for complimentary left. Okay. I contrast. Okay. Even choose something different. This color. Okay. Yeah, this color. Okay. So this color will do then. I'm just going to that randomly and change the color. These guys like this and let's give them this other color, like this one sheet and some same color. Then we select this one pole colors and this other ones colors. Maybe we could even mix with some other sheets of blue, right? Maybe this sheet give this on this sheet. Then maybe you could just create a background in this background. We have it on the different layer. Control X control, drag it to the lower side. Reduce the size like this and give it a darker color. Darker color would do. You can have it like this and just lock the layer and continue applying our colors. This guy, this guy who use this color. Yeah. Basically I think this is it just going to align our artboards to each other properly. This layer slot need to unlock it. Then align our artboards to each other. Perfect. Yeah. With this we have come to the end of our lecture on grid usage. And we've been able to create this artwork and this artwork during the course of this lecture. I'm going to just see it in the project further, so you can have access to this work Also, in the next lecture, we're going to be creating something even more, mind blowing, creating a pattern. I'm going to use all the techniques we've used, or we've learned rather in past lectures of this module, to create that even more after that. That'll be it for this one guys, and see you in the next one. 93. 93 Exercise 10 Geometric Grid Based Artwork: Hello guys. I'm welcome back. In this lecture, we're going to be creating this geometric artwork. Okay, It's been created with the grid and we're going to just do just that in this lecture parking lot. First thing we do is open the work, go to your project folder and you're going to see this geometric artwork. All right. Click on it and open. This is our artwork. As you can see, it's just made of ships with different colors. On the grid structure. The grid structure, the first thing I'll do is create my artboard and I'll just duplicate existing to I'll just will and drag to the right hand side. Get my selection to then delete everything here. Okay. The first thing we're going to start with iscreting the B's grid. Okay? Now come to your rectangular grid tool and click in. Four by four is what you're going to be using. Four by four, okay? Rather three by 34 by four, because we have 1234, okay? 12343 by 33 by 33, vertical dividers and three horizontal dividers. I'm going to give this black stroke to centralize it or align it to the middle. Then just Kyle holding down shift and old scale to fit our art board. I'm going to give you a stroke of two. I'm going to just have it on its own layer. We're going to lock this layer and do my art work on this layer. Perfect. The first thing we're going to create is this guy here. This guy here. How did we do this? All we did is we created a line like this one, like this. Then of course the color is red. And we can see that it's actually color Stella, color of red. And then we just blend that. Take your plan to click here, click here, work. Click here, click here. We can see that we have too many steps. Let's make this E seven. Let's just make it eat. We're actually going to scale it up. Everything will look perfect. Select everything, then. Control C, control and just rotate it like this. Perfect, select everything. Object, blend, expand. Then we will just route our ship like this. Maybe skated over bits bigger, make it even bigger from here. Now we have our ship. I think we will need more blend. But unfortunately, we've expanded our ship, so there's nothing we can do. So we're going to work with what we have. Maybe we're just going to increase the stroke size so that it fell more space. Then the next thing we'll do is just create another square. Remove the stroke, then we'll use this as our clipping mask. Select everything in control seven, we can see that we now have it clipped. We now have the whole pattern clipped in our new shape. Right? We can of course adjust our boundary like this. Perfect. So we have created the first one. For the second one, we can see that the ship or the square is divided into two. We have the parts which consists of one third of the whole ship. Okay? It's been divided into three, right? This one has two thirds of this one, and then this one has one third of the whole ship. Okay? So what we do is created a ship here the size of our box give you this color and the shop color because of Grid here, we can say that everything is snapping perfectly, right? Everything is snapping perfectly grid. The next thing we do is come to object path and then split into grid. Now we can preview and then we can add our columns. We can just add three of them. And okay, now we have three of them. Now for this one, for these two we just set the both of them go to our pot finder and then just join them and give, yeah, we don't need to give it any color. We just adjust our ship like this. We can then sample our color here. And then stick this guy duplicate it. And use our blend to blend between. This work on our blend steps, make this ten. Let's make it 12 or 13. 13 should walk here, and 13 it is okay for me to. The next one will be this one. And what we need to do is divide this guy into three, right? Object part, split into grids. Let's see preview, we need to increase the rules. Okay, right away we have this into three, for this one, the middle, we're going to sample one of these colors here. Okay? Then we're going to give it this, this, right, perfect. Then control, control rots while giving it this color. Okay? Of course, this guy will come to the front, arrange and bring to the front for this other one. You can see that this color is this, this ship is that color. We need to change it and we need to come and create our ellipsis. Then come and choose the color here. Just align our ship this perfect. Then select the guy control control reducing size, Sample. The guy here, control sea control F, reducing size. And choose the white color here. For this one, we're going to select this guy, and we're just going to delete. Delete, and then we are going to split the ship. Click here, come get the middle point. Is the middle point. Okay. Just click the middle point to set the both of them and then divide. Now we can select each one using our direct selection tool. This one, this color, this one. Give it this color. Then we also need to duplicate the ship. When you select this guy, we see that they are all in the group, right? To control C, control F, and this just reduce the size like this. Now we can give this color, select one, give this color perfect. The next one will be this ship, we can see that. We can see that the squared ship here is divided into four, right? This one divided into 41 to 34. We create the ship, this key fits everything perfectly. Select the guy, little objects, then part split to Grede. Okay? Then for this other guy, we see that they are divided into 33, right? Three here, three here. Select the guy to object and then path and split into greed preview 33, okay? And all of them, all of them should be given this color. Okay? And even the background has to be the blue color, right? So we are not going to just select Ankle points like this. Okay. So let the guy side the ankle points, the guy select this ankle point, just drop like this, drag this perfect. Now we have all our ships done now. Just create another ship for the background for this guy. I'll give it this color arrange and send to park. Perfect. Then we then create our next ship Here we can just set this guy control control and take it down. Give it this field color and shift to give it the color. Increase the stuck size to three maybe. And just teat it like this. Let's reduce the size to this point. And control C control. Increase the size on the side of the new one to this point. And we should also have a duplicate of this guy contra control. Okay, for this one, let's just bring it here because we're going to use it to mask the shape. Right circuit Blend to click here and click here. Click and give it 1010. Should do, ten, should do. I'm just going to expand so I can increase the size of my stroke. So structure of four is perfect. We need to arrange into front. Gets in place. Select this other guy. Control seven. Perfect. Next one guy, we're starting with this one to control C control reduce the size, choose this guy. Control C control reduce the size. And choose this control. C control size, choose this guy. Control this size. Then choose whites. Perfect. Okay? We also need to have this blue in the middle. Control C control, and just give it perfect. The next one will be this guy. Right? All we need to do is to select this guy. Maybe we don't need to select this guy. We just need to come and create. We give it the color here, and the color is blue. Blue. This one needs to be white. Actually, we can just take this one, the size like this, pull down old to duplicate, and just blend between them. Click As you can see we have too much right now, maybe ten. Okay, I think we'll work with ten and then object expand and just drag them to this point. And then create a blend. Also click and click, of course, let's just reduce the size. Let's make it ten. I think ten will do perfect. Now I'll just reduce the size of the overall thing even though our ships here are smaller than are here. Not bad. We'll work with what we have. The next one will be this box here. Let your at angle to create, create your perfect box and fit everything perfectly. The object path split into breeds. Preview to two. Okay, for this one we're going to give it a background color of this and then control C control and give it this color. Then choose our direct selection to click this edge like this. Click this edge, perfect. Going to just do the other guys, for this one, I'll give it this color for this one, I'll give it this color for this one, I'll give it this color. We're going to transform and reflect this shape. Copy, perfect, arrange and bring to fronts perfect and give it the white color. We're going to just let the bottrole control F and rotate them like this, grab them to the bottom, try to fit things perfectly perfect. For this one, we'll give it this color perfect. Now go on to the next guys. They are quite similar to what we have here. They're just the opposite, right? We're just going to set everything here, them out, and to the bottom fits everything here perfectly. Then ranging front select to this perfect for the colors of the background, we're going to select this guy, this color, Select this guy. This color, this color, this guy. This color key. Let this color color, let this guy this color. Okay, We'll just be a little bit faster so that this video doesn't get too long. Okay, Now for this other one, you see that they are divided into, into two right there, divided into two. Unlike this one which are divided into three, this one is divided into two. All you need to do is to put your box box, a perfect box. I think we just have a duplicate of this box so we can copy it the next time we need to create a box. Okay, we have it here. For this one we'll have 22, a division of 22 object path split into grids to two. Okay, for this one we just need to duplicate it to the right, to the left hand side. And just repeat this one like this, sample, this color shift X to give it the strip color, Create a strip color like this or a stroke size like this. I think we need to make it began, we can bring it to the site like this. Then you need to Cta a few more times to this one once, then give it a white strip color. This should be 26, 26. We absolutely do not need white. We need this color. We need this color. White shift x to give the stroke. And then 26 perfect. I think one, okay, one last. The other one needs to be, actually needs to be field color so we can just sample this color and everything will be perfect. The next thing we need to do is to just group our ship together. So click Ok, click this guy, click this guy, and click this guy and control. Then we just bring back our ship. Select the ship and select this new group. And control seven to crab it. Okay, I think we need to get rid of this. Please click inside and you know what we do. We use our to select this guy and let it. Okay. And we can as well delete this one and just go out. And yet we have our ships non perfect. The next one will be to create this ship here, right? So what I did was I came here, sample this color, then click it down like this. Control control, reduce the size. Just turn it this way, keep it like this. Sample the next color, which is this one. Can we make it pick? Perfect. Control, control F guy, reduce the size and sample this color, perfect. The next thing will be to create this one. All right, this one. What did we do? We just control C control. And then give it this color and just is around this side like this. And shift to give it, so then we increase the size of our six pixels. Will be. All I need to do now is delete the unneeded parts. Let me just do this for now. Delete this part, drag it back, and increase the size like this just fits perfectly. We now need to create a blend, right? We now need to create a blend. Pull down all drag, don't need to do. Let's duplicate and just reduce the size like this. Just bring it to the edge like this. Perfect. Now we can put our blend. Select your blend to click. Click what's happening? Let's just group it onto. And just go into the group. Go into this group. Let's try it again. It doesn't work. We click another alternative. Clicks who? K steps. Let's make this. 1010 is not bad. Yeah, can work with ten control, C control. Bring it to the front. Select this guy In control seven, we need to expand the ship. This blending. Expand, Select the ship on top, control seven, we now have it. I think our blending is too much, but we've expanded. The best we can do is just go and reduce the size of the strips. Five El perfect. The next thing would be to okay, to create this guy here. This guy here. It's very simple. All we need to do is to reduce the size like this. Okay? Sample this color shift X. Give it the stroke size of maybe 15152. To reduce the size like this, contrail shift X. The next thing we need to do is como se, control drag it down. Just give this color, just shift x to give the field color. For this one, we need to do one more thing. We need to expand it, then expand. Then after we expand, we give you a stroke color rather of white. This perfect what we now, we'll just increase the size a bit. Guys, you've done with this one. Let's go to this box here. This one divided into two. And this one is just divided into one. Okay, so we start with this one. Just come and bring in our box. Fit it here perfectly, dude, divide our box into 22. Okay, 22. Okay. This guy click, click the united as one. Okay, So we're just going to delete this to co points which are not needed. Okay, For this one would make it white. Okay. We don't really need to make it white. I think we use it for this box. Okay. These boxes. For these boxes. Okay, let's just delete or make it white. Anyways, we're going to create something new for these boxes, for this one. Now we're going to control C control. And we're just going to give you a random color first and then come to object path, split into creates. We're just going to increase our rules by four and our columns by two. Perfect. Let's just give it this color and believe we can start messing with our corners like this key. Okay, I'll just open one first. Then finally for this one, now we need to change the colors. So we just need to change this one. This one, this one give them this color. And then one, we don't need to change the color, we just need to create the ones. In fact, I think A, we change the color, we just need to create some other ones, okay? Just need to create this then old crack and control for this one. Now we need two more colors, right? We need this blue and this blue also. The first blue, then the second perfect. All we need to do is select both of them, or the three of On a control, control, control. D. Control. C. Just to control for just one of them because the speech remaining is not much. I'm just going to drag them like this. Perfect. Now we're done with this guy and we're left with this one, right for this one, I'm going to just, let's just use this one, this ship now, let the guy click here at the edge key so that we have this one control C control. Or reduce the size. Really cannot reduce the size because we have our way. We have it that's curved like this, right? We just reduce the curve a bit and then give it a color and reduce it to where we want our caving to begin at about this point. Perfect. Select the line here. Looking to zooming. Just select it like this. Perfect. We actually need to do for the other guys, what I would do is to use a different tool. To use the line as act. Click here and click Drug. Okay? Don't have it. We want it. Let's create here and track like this. Perfect. You see it's created this perfect, right? So we're just going to give it color. Give it this color. We're going to shift X for stroke color. Just pull down O and reduce the size like this. And then boost up the stroke size, so maybe 45o the size like this. Then we're just going to control C, control and reduce the size like this. My blend. To click here and click here. Why am I always getting this arrow? Just going to group them again. Control G and isolate them. Click here, click here. Then I'm going to give it steps of Eso steps. Okay, let's make it ten. Ten is okay for me. Maybe I'll just increase the stroke size or expand them first before increasing the stroke size. Five or six. Yep, I like what we have so far. Next thing will be to create this guy which is just one control, C control given this color and then sent to the park. Finally, we now have the park Brown is which color is this guy? Okay. Send it to the back as well. I think we made a mistake with this other one. It should be this color blue color guys. We're done with the first two, the first two rows right now. We're going to then go to this one. You can see that we need this guy. Okay, We're going to just fit it in perfectly then split it. We're going to split it into two first or into three first object split, preview, then we're going to just join, we need to just split this one. Now into the tree for this one, we're going to sites like this. The anchor points like this, This one. First select this guy. For the ones we need to have them, we need to have a white background and we already have a white background, right? We're just going to move the guy out of the W. And then we need to create a line. And give it this field, the shift x to just give it a stroke color. Boost it up like this fact, bring it here. And then draw another copy to this point. Drag another copy of this point. Then we use our blend tool to blend two ships. Make this 1013. Let's use 13. 13 is good for this one. Just bring it, bring to front and select. Then maybe we should expand this guy first to expand sent seven. Perfect. Just arrange it, Perfect. Maybe even reduce the size like this. Perfect. Now the next one will be, and these are just this box divided into four right object path split into grid 22. We have it for this one. We're going to give it the background color. This background color for this one. We're going to give it this background color for this one. We give it this background color for this one, we're going to give the colors. All we then need to do is to control C, control Pict, all of them, and just Play around with the curve, with the edge like this. And then then change the color, right, Change the color. We do this for this one, we do. Give this color, this one just just the corner, and give it this color. Then we have the other one here, which are simple ellipses to create your ellipse. Make sure everything fits perfectly. Give it the white color control. C control the size. I control C control the size. Now we have perfect, perfect. The next one will be this guy here. This guy, Very simple. All we need to do is to create this, we created here. All right, so what I would do, just drag the guy here, increase the size. Let's see if it's going to work. All right. We're going to go inside the ship and see. And try to release the blend. Okay, this is not what we have. I'll actually delete a lot of things here and we're going to start creating them all over again. The guy here, increase the size, this color, this color. Bring it to the right hand side, blend. Then let's make it nine. Let us make it nine. Okay. Then we actually need the sizes to this big. Okay. When duplicate, when we duplicate like this, we then bring it to the side like this. Okay? So we don't have them offset like this. Okay? Just like how we have it here. If you look at here, you can see that they're not just on the same rules, right? Some are farther than others. So what we would then do is just let all of them, and try to make this look a little bit, even like this. Okay, select this guy, take it to the lower side, then take your blend to click Click. We shouldn't take this approach, we should actually expand the ships. First, select everything and expand, then click and click. I really do not like. Okay. You know what, we shouldn't even take this approach. We shouldn't even take this approach. What we should be doing is selecting the both of them. Just duplicating okay, because blending would not work. So we can control control perfect. Let's just do, And then just one. This perfect. I just feel we have. Let's just instead delete this one. Okay, Now all we need to do is group them. Control and then the fit this other guy on top like this. And just control seven. Perfect. Yeah, let's just give them like this. We don't need to do any more changes because we're actually going to be removing this white or the black stroke. Okay, The next thing will be to create the square ships. All right, We create our ship, copy our ship and bring it to front, fit it in perfectly. And then select the pencil. Let's just add a pointer. Let's add an anchor pointier. And now we can delete the other points. Select. To just did stand like this. We have our ship sample the color, then control control to the sample the white color. After the blue color, control control sample the blue color, we need to fit our ships more perfectly. Both of them. Then to be more perfect then we need a circle here. The color will be this color perfect. Next one will be this guy. And it's very simple. Click, select, sample your color for the stripes, we're going to use this one. We're going to use this one to pull out and the Y, Let me just, sorry. Let me just see what we have here. So, for these guys, let's try to this one, let's try to think we are good to go to fit them perfectly like this. Okay, let's go out. I just it our mask, okay. And then send the ship to the back to back. Perfect. We need the ones, so I'm just going to copy this one here. Belong at deed, change the colors. Click, Sample. Click. Okay. Same color. We just need to change this one. Perfect. And then we are now on the last rule, right? We need to copy one of these. I think, yeah, this is the guy, so we need to just copy this guy. Bring him here, increase the size. Just drag this and then just go inside our ship. Just go inside our ship. Just make Stroger stroke, Iga, we think our ships are too much. All we can do is just redo the blend with fewer steps. That'll be all. I'm not going to do that. I'm just going to use what we have because of time. Video is getting too long. I just want to finish the video as soon as possible. It my background and send it back. Yeah, we have this now. We need to create this guy. Right plate this one, please. Just eat. Sample the color we can. Nope, control again. Just this time. We're going to click on this point and click on this one. Click on this one, complete selecting the guy to use two. Just click on this one, then what we wouldn't do of them, and just divide, okay? And now we can pick this guy out, okay. We can pick this guy out to the guy and sample this color. And with this one, we're left with this one. For this one, I'm just going to bring in this guy like this. Okay? Just fit it in perfectly. I think we might need to extend at board or maybe adjust some of these ships to fit our art board. Okay, This one we just need to create ellipsis to drag to the middle And increase in size, increase, increase. We can just increase this one, the shapes to stand, sample colors here. This one should be white. Then just duplicate this one. Range into front and sample of color here. Just bring it here. Finally we are now in the last box. All you need to do is select this guy and bring it here. We won't change the background this time. All we then need to do is just cover one part of the ship, the white field, this arrange everything like this. Just give it a white felt sample. White few. Then we only have this one left. And we did something like this here, right? So we can just copy and bring it please and just tie into front sample the color. We're done with our design. It took some time but we're done. Delete just in this layer, unlock the layer and just dital grid. Now we have an exact replica of what we have here. With this, we've come to the end of this lecture and see you in the next one where we'll be looking at more applications of grids in design. 94. 94 Exercise 11 Sequence Logo Design: Hello guys, welcome back. In this lecture we're going to be creating this logo design with grids in a dub Los Trito. Okay? So I call it sequence. It's actually a nonexistent company. Okay. So the not thing is particular company logo design. So I just created to show you the doings of grids in a Dorito. Things you can achieve with grids when it comes to logo design in a Los Reto. Okay? So this is the logo design to create it. We have this one, which is just the icon. Okay, We have this one which is kind of the black and white, not really black or dark sheet, this other guy. So these are what we're going to be creating to be Illustrito. Come to Illustrito open with your project folder and where you see Grid Sequence Logo Design. So click on it and open. Now we see that this is the whole design. Right here we can see the grid of formation. Okay, The grid I used to create the logo design, it's a combination of about two grids or three grids. Okay. Yeah, three grid, it's a combination of our three grid. I'm going to create a new board, delete everything here, Then come to the polar grid, And it's the one I used when you click on the polar grid and you see this, right? I'm going to click and drag, and pull down shift and heat up on my keyboard. We can see that this is now out. I'm going to release my mouse and release my keyboard. Now this is the first grid. Is the first grid we are going to use, right? We're going to combine this with two other grids, combined this with two other gods. I'm just going to go again to my P, and then this time I'm going to remove the division. Okay. This time I'm then going to just scale this other one like this. I had them arranged like this, like this and this. We can see here, that's this one. It's all grouped right now, we can see the intersection here. And that's what we have here. I think we have bits above, so we can have it, maybe even increase the size of bits this perfect. So we then have another copy, this time to the right hand side, right, perfect. And finally we now have another line segments. Goes from here and cut across our intersection at this 0.0 down to this piece. Then comes again from here. From here to this point, this is what we have, right? Basically, this is what we used in creating our logo. Now, select everything with your color guides to select the sherill, Some different colors, some different colors. Now you select this guy, Not join the first one. This other guy joined it like this and finally this other joined this. Perfect basically dies with this. We have created logo, click, click, control X, then control V just pieced it outside and then we can delete this unneeded part immediately. We can see that we have the first part of this logo. It's just right, just like the Windows Explorer logo we created in. Fundamental cost. Now when you have it like this, all we then need to do is have a ruler guide to show us where the B is going to select everything here. Control Group, just repeat like this, like this, it like this. Then just pit the right hand side and repeat once more. Already I can al see a second logo coming out of this second logo. For this one we just have it like this, can look like this. Really, this perfect can both of them just make sure the fall on our like this. As you can see, we now have our logo designs to control G. To group them. Yep, we have everything now perfectly created. The second logo I was thinking of creating, let me see if I can remember to undo this. That one was something like this, right? Yeah, I think something like this. All right. Think we hadn't rotated it this far. It was. And so you can just see that guys, the possibilities with this is limitless, okay? The possibilities with this is limitless, okay? This will serve as representation of MMC maybe. Okay? That could be an abbreviation of a company's name. Okay? We have it like this, maybe. The size of this one, like this, it centralized, Centralized in the middle of this range. That's between this line and this line, right? It centralized like this. As you can see guys, we now have another logo, different logo just from the concept of lines. Okay. Maybe we could even something like this. The possibilities of this is its totally limitless. We now will have our typo which is sequence creative. It's align, everything, this, I think, I then I expanded everything, but I met this semibold. I think this is semi bold. This should be semibold. Okay, after I made the semibold, I don't meet this guy. The E in the middle made it extra black. I made it black. And then I just expanded everything. Then from there on, I started messing around with this corners here, the anchor points here. I did this for all and also some of these other ones. Ends, and the U, and also the. Okay. Select this. What else am I missing? Okay. Okay. I think we did this for you here, but for this other guy, we didn't really do that. We just extended these up. She, Okay, like this F and we stopped on top of the E. All right. And then just I think we did this then we just had this. Basically, that's what that's what we did. Yeah. We can just select everything and group the size. Maybe give it the color, may give it a brighter color or even a darker one, doesn't matter. Delete. That's our sequence logo created for this other one. We could also name it Sequence. Maybe name it sequence. Or we could give it a name that starts with and ends with something like that. Maybe a complete name that starts with M. We see, because we see that this is, it looks like M. This looks like this is how easy it is to create amazing logo designs with the grid. To, with the grid concept and grid generally in a three guys. That's it for this one. You could then create different versions, could create different color variations like how we have here. That's how to create true logo designs with the grid to see you in the next one. 95. 95 Exercise 12 Twitter Logo Design: Hello guys and welcome back. In this lecture, we're going to try to decipher the Tweet logo design here in a Doblorito using grids, okay? We're going to see how to create something like this and even from scratch, okay? And we're going to see how the grids we are lined out for this particular design. Okay. I'm going to go to all reto click open and where you see grid, Twitter logo design. Just select it and open here. Already, I have created the grids here With this grids, we can create this design, this logo here, which is the Twitter logo design. Okay? We can see that this logo has been created with polar grids right now. These polar grids do not have subdivisions or lines dividing them, right? They are just polar grids similar to this, just a lot of them. Okay? In order to create this from scratch, what you or as designer would normally do is to first of all have your sketch. Okay? First of all, new the concept of what you're creating. In this case, this is a bird. You just first of all, have your sketch. When you have your sketch, you snap your sketch and bring your sketch into a design software like at the Loreto, and then try to fit in these polar grids into your design. You perfect geometrical shapes, like the grid into your imperfect sketch. It might not flow all that well altogether, but when you finally succeed in creating your concept with that grid, you're going to see that you achieve a very beautiful and geometrically perfect, or accurate shape or design. Let's assume this was sketch, right? So let's assume this is just my sketch. I have it in black color or grid color shaded. I want to create the grid concept for the grid layout for it, and I want to use my polar grid. Okay, we have my grid here. All I would then need to do is my grid into my design because I know that this will require a bigger segment of a cycle to create. I'll just increase the size and everything fits like how it's going to be. Of course, I'll just keep doing this for different parts of my logo. It might not fit perfectly because of course, my sketch might not be perfect geometrically. But when I'm done and I finally have the layout I want, I will then use my ship builder to to build my ship and we're going to have a geometrically pleasing ship like this one. Here we can arranging our polar grids along our parts, our logo parts like this, like this and this. Basically, that's how you will follow this from scratch, but this is not from scratch. We just try to decipher how the grid was for this one. And I'm going to just create it. I'm moving this log here so as to see from time to time how everything will be created. Right, everything and let your ship color. Just tired to start filling the ship like this of this. As you can see, we have the head, you have the body parts like this. Then we continue with other parts like this guys. So as you can see, this is now what we have. What I did, I should have actually duplicated this grid so that you can do it for yourself. Should have actually done that. So I'm just going to undo everything I did here so as to have a copy of this for you. So I'm going to just duplicate this just here so you can come and have access to this one and do it for yourself. I'm going to just redo what I did here on the second board. Set everything ship builder to select my Twitter color and just start to add our ships. For this one, we had something this perfect. Okay, we now have, this one is on first kit. We have it like this instead, and then like this. Then this fit. Then we can now cut our ship. Then just delete this one now, of course, remove our stroke. Yeah, we can see that guys. We've been able to coin out design here from our grid here. So that's how we can create a design, this grid. Now, this is a very complex grid, depending on the complexity of the ship you want to create. Your grid might be complex. You guys, now you get the point. And that will be it for this video. In the next one, we're going to be taking an assignment, So see you in the next one. Bye bye. 96. 96 Assignment 18: Hello everyone, and welcome back to this module on grids and grid based designs. In our past lectures, we learned about grids, the types of grids, how to use them and do a whole lot of things in Blow Street. We learned about logo designs, we learned about geometric patterns and so on and so forth. And we created a lot of things during the course of all of this learning. Now in this assignment, you're going to be putting all that you've learned into practice. Okay, You're going to be creating two designs. One geometric design, and you're going to come up with one logo design. Okay? So the geometric design similar to what we created, that's something like this. But of course, with your own touch. Okay, and try to make it better than what we have created here. Again, you're going to come up with a logo design. Okay? Just similar to what we've created here. Mustn't be like this. Okay. You can of course, come up with something better. This isn't good enough, but all you should be looking to do is combining grids. And yeah, using grids. Combining grids, and just creating really interesting shapes and designs. Okay, that's what we're going to be covering, this assignment. You can come up with as many designs as you want, but the piece number is just one local design and one geometrically artwork. Okay. You can come up with as many as you want. Okay. The more the better. But you're required to come up with 11. Yeah. And that will be it for this one and of course for the module as well, we see in the next module. 97. 97 Getting Started with Isometric 3D Designs: Hello guys, and welcome to this module on three D isometric design in order to be illustrato. Now, in the last module we learned about grids, right? And then we created four types of grids. We created rectangular grids, polar grids, hexagonal grids, and isometric grids. Now, in this module we're going to pick out isometric grids and then work on them in details. Okay? And we're going to be dealing with three D, okay? Now we're going to create three D designs from our isometric grids. And we kind of looked at a basic of what this is all about from the last module, where we created a treat ship, a simple treaty ship, from an isometric grid. And we compared it with a ship which we actually applied a tre D effect on. Okay? And we saw that it just was the same thing. Okay. We even learned how to create the grid and we learned a whole lot of things. Now in this lecture, we're going to take it a little bit deeper. Okay, We're going to learn more. We're going to create more tre D ships in isometry. We're also going to compare some of those ships with the traditional tre D effect in order to be illustrator. And we're going to learn other things like creating circles. Okay? Or ellipsis in red isometry. Okay? To start, I'm going to create a new project, a common preset. And we're just going to start by creating our grid. We're going to refresh our minds by creating our grid, isometric grid. We come to our rectangular grid to remember, there are two ways we can do this. We can do this by starting with a line and line and then blending them. We can also start with our rectangular grit. Click on the rectangular grid to the width h, 500 pixels. To create this one, we want vertical dividers, but we do not want horizontal vidas for these vertical dividers. Let's, let's make them, yeah, 25. Okay? Let's make them 25. For vertical dividers, we want the zero. We want skew to be 0% okay? Now when we drag, we can no see how ship created. Now we can centralize it or align it to the middle and select your grid. Click Transform and Route. Now we have to rotate this by 60 degrees, okay, Copy. We have to reflect the rotated version Transform, Reflect, and we have to reflect this by 90 degrees, okay? 90 degrees. And then copy. Now we then need to bring the guy in the middle, okay? We then need to make sure it's aligned in the middle, Like this, Okay? Now we can see that this is a perfect one, okay? We don't need to do any further thing. One last thing we could do is select everything with the properties. Just go to your path finder and divide. Okay, from now on we can just basically delete the unneeded parts by dragging a group. So we have to go into the group and delete. Delete. Delete, probably. So we're just going to go a little bit further further into the ship to delete more of those unwanted parts. Okay, so delete this one. I think we kind of deleted a little bit too much. Let's undo for now and just try to take it a little by little. Okay, so I think we have deleted quite much. Let's just delete this one. And yeah, with this now we have our isometric grid. We can just go out of the group and now scale it up. Now we have our isometric grid. Align it to the middle. Maybe resize our art board like this right away. Guys, we can start creating our stuff with our newly created grid. Now we're going to select the grid and just give it the stroke of 0.5 and create a new layer, lock this layer and we can start working on our new layer. You are using our grid. Right? From the last video we created a shape like this, a simple cube with isometric projections. Okay, so something just like this. We specified how the shading should be, even comparing it with the three D effect. And we saw that the three D effect gave us a similar shading with what we created here in isometric, okay? And of course, we had to properly position the direction of light on the three D cube, making it similar to the direction of light we are proposing here in order to achieve the same kind of shading, right? Of course we said light was coming from the front and coming towards this direction. When I just move these guys here, this was the illusion. Light was coming from this angle, was coming from this angle like this, it's coming like this. Then this would definitely be the darkest, please. Isymmetric projection inable to see once again three points right, this top and this side on this side. Let me illustrate this again with our D effect. I'll just remove the, remove the stroke on this shape took me just give it this color and then give it a three D effect. Then come and choose the isometric top projection here. Right guys. We can see that the effect of light is similar to what we have here. Maybe sample this color, color, color. We will then immediately see that we are achieving something very close to what we have here. And of course, we can do more work on the lighting to make it more perfect. We definitely agree that this is better. That's it guys, for this example. And we're going to look at even more examples. Okay, we're going to create more complex ships. Let's create a more complex ship. Let's have that. We see how we create the isometric projection for that ship. All for this ship I'm drawing. So give it the shop so as to see what's happening here. Okay, So this is meant to be a more complex shape. Okay? And turning this into an isometric D will be very simple, so we just have something like this and give it a brighter shade of the color. Okay? Then we walk our way to this point, which could be a little bit darker. Generally, we want this part to be darker than all the others. Maybe like this. Basically, we just keep building up like this. Okay? This one will have the same color as this one because the top, we have to understand this is the first side and this is the other side. Okay. The shading has to be even across all sides. We have to create the part separately. This one will, this shading. This big part here, we have this shading. This other one we'll have this shading. And then for this one, something like this, this, this, for this one we'll give it, of course, sheeting, right? Then for this one I think we will need to give it, okay. Need to give this guy this sheeting. Actually sheeting. Okay? And if we were to apply shadows, we definitely have probably some shadow casting on this part here. But we don't have shadows for this example. And you see how we've been able to come up with the three D of this guy. That's using, of course, the isometric grid which we just created, right? If we were to create this guy in two D and use the three D effect, will still come up with something very similar to this, okay? Something as exact as this. Okay? So the possibilities of this grid is very limitless, okay? And like I said again before. We do not just use this for only three D like we saw in the other example. I created a two D logo, the same thing and we saw one of the examples on Pinterest, right? Yeah, that's it guys. There's one other thing I would want us to cover before we end this video that's learning about isometric circles. Okay? If we were to create an ellipse in isometric projection, how will it be? Okay? We knew that this is an ellipse, okay. But if we wanted to create an ellipse in isometric projection will not serve, Okay? Because based on the rules of isometric of isometry. Rather we want the surfaces or the edges of the circle of the ellipse, the edge of the ellipse, we want it to touch 1234. Okay? All the four points. All the four edges of this guy. Okay? All the four edges. That's this edge, edge, this edge and this edge. The pass of the circle has to touch them. Okay? Or the edge of the circle rather. I just keep mixing these terms. The edge of the circle or the ellipse has to touch them. If we just maybe expand this one now we can see that it's not touching them perfectly because it has to touch them at the middle. At the middle, okay. One way of doing this might be to see, we want to probably adjust it like this, like this and just drag it like this. Okay? This would work, this would work. It's basically touching, you said this would work, So this would be one way of creating this. This might not be as accurate as the second way. Okay? Because there might be some errors, some parts might not be touching and so on and so forth. Okay. More complex approach to it are easier approach to it would be to first of all create a square like this. Just like what you would create if you were going to create a cube, right? So you have to create this, okay. And make sure of course you are touching all of these vertices. These vertices, right? You have to touch all of them. Then the next thing we will do is to come to effects and come to Stylize and come to round corners. We have to on our preview and then just start increasing the size. Immediately you see we'll start from something like this. Gradually increase it to the point where it no longer co, and then we just hit. Okay. Now we can see that it has perfectly touched all of the edges. Perfectly touch all of these edges. That will be the perfect way to create ellipse or a cylinder using isometric projection. This is an ellipse, if we wanted a cylinder, we just need to bring it down like this, maybe to the next please. Then we have a few more adjustments we need to make. Maybe we just change this color and send to the back to make a cylinder. We would want to just come concrete sheet lines like this and this. This two shapes here. This one, this ellipse here, we have to be the same shape, both of them. Okay, We actually have to expand this first. We apply an effect to it. We actually have to expand it for everything to shape to take effect, right? Go to objects and Expand Appearance. Click Object, Expand Appearance. Okay, now we have the whole effect applied when we select our shape right now. Instead of our shape and just unite them. We now have it like this. Let me just make sure everything is to perfectly. Now. We can bring this guy to the front. Bring to the front, and we see that we now have an ellipse. The easiest thing to do now is just apply ingredient to the ship here. Because this will be a curved surface and it's impossible to have it as a flat color. Okay? Because light has to be coming from one direction. If light is coming from this direction, this place will be lighter than this P. If light is coming from this direction, this place will be lighter than this place. One place has to be lighter and one place has to be darker. I'm just going to give the dark place this color basically. Let's just give boot places the same color and just try to add this ingredient afterwards. I'm going to make this one brighter. I'm holding down shift and just trying to brighten up the color like this. Right away we can see that we've now achieved this curved illusion here. This is how to create a curved shift with isometry in blustto reduce the size. Maybe even group them. Could keep going up and up and up and up the size. Keep going up and up and up like this. Perfect look guys, Be it for this video. Not meant to be a long one. So in the next video, we'll be diving deeper in the process. We'll be creating some really amazing designs. Okay, Isommetric designs in B Illustrator with what we've learned so farkus for this one. And see you in the next one. 98. 98 Exercise 1 Modern Isometric House 1: Everyone, and welcome back. In this lecture, we're going to be diving deeper into three D isometric drawing. And we are going to be recreating this guy, this design you can see on your screen right now, of course, this is three D isometry, We've been studying this or talking about this right from the last module and even up to this module. We're actually going to create this design using three D isommetryerB Illustrator. Okay, just come to Illustrator and open and then come to the folder there, D isometric design in Illustrator folder. And you're going to see this file which is the three D isometric house. And you're going to, this is now our design. We can see everything was created here, perfect. Now, this design takes quite a long time to create. For that reason, we're going to be dividing this video into two parts. In the first part, we're going to just create this upper part of the house and this one. Then the second part of the video, we create the rest of the parts of the house. When we come to our layers here, we can see that we have two layers. We have the background layer, which contains the whole illustrations, and then we have the grids. This is the grid we used to create this design. Okay, I'm just going to shift to activate my Art boll tool and just drag this one here to create a duplicate. Okay. And then come on, everything we have here, this new one, because we are going to be creating our new artwork here. I'm just going to activate my grid, and I'm going to activate this guy and move my grids here. I won't be creating these grids because of course we know how to create grids already. These are just isometric grids and we learned how to create them in our last lesson, even in the last module, right? Just shift this T to the right hand side and I can now on my layer now I'll just grab the grid layer beneath background. Greg, I'm now going to please my design because I will be drawing from this one, right? I'll be drawing from it. So I just want to keep it closed. Do the file. Just come and click this guy, please. Just draw it here like this. One thing I want to do is I want to crop it so that this white part will be eliminated. Right? Just select my ship to here, Drat. Address the ship like this. This. Then select the boot of them and control seven to clip mask. Then now we can bring our draw in here and start to make our drawings. Right now from our last video, we learned that we just need to come and use the D as a guide. This creates our D, right? This is how we learn from glass view. This one pin, actually go further and create this. It's not going to be as simple as the last video, of course it's not going to really be complex because at the end of it is just very simple stuff. Once you just learn the basics, you then see that you'll be able to create all of this with new stress. Start with the pentel here, just start creating the upper part here. I'm going to just use eight boxes or seven boxes. Let's just start with, let me see, 12345678. Let's just start with eight boxes, 1234, 56e, 245678. Like this and this. Just click this one. This, just join it here like this. Just give it this color. Select the shape and control C control to copy and piece, please. And just drag it in this for this guy, I'm just going to shift X to give it a Skus, going to reduce the size like this. And shift X to give it a field back. I'm just going to select. Go to my properties and subtract using the part finder. Okay, now we can see that we've now created this box here. This box here. If we see that we need more boxes, we're just going to add them manually by selecting our anchor points and just dragging them manually. But that's not the case now we're just going to start adding other parts. If we see that we do need exercises, then we'll just add them manually. Just click in and add the other parts for this guy. I'll just come here and, and sample this color. Now, from our knowledge of isometry, this guy should be of a different shade than this, right? So let's make it brighter then we need the floor. Just click. When we come here, we see that we actually have a hole here. We actually have a hole here which leads to the roof. Now we can do this like and this and like this, but I do, I do not want our bot to be this small. There's something I'm going to do. First of all, let me just create it like this. And then I'll just select this color that the roof color here, the floor color here. What I want to do here is shift X. I want to be here, The lines to be here and here. But I want them to be at the middle here. Because bringing them this far will be too much, going to select the root of them like this. When I reach the middle, you see that, It tells me that that's the point of intersection. Because now you see this intersect. It's telling that that's the middle of middle of F and middle of falling. To do the same thing for this one here. Drag it like this. Okay? I feel I should just redo this. When I am using the Penu, it's easier to locate the middle parts or the middle points if I'm just hovering around like this. You mean to see where it says intersect? Or you know what? Instead of that, I might maybe start from this point. You see where it says intersect, right? This is the middle point, and this is the middle point also. Perfect. Now, we can just draw like this across the middle point. Let me just click here first. Just come to this middle point. Click this middle point and click. And now this middle point and click, I'm just going to delete the extra less points on. Just select your field color. Then my direct selection tool, this guy delete. This guy. Delete also. Perfect. Now we need to create this part, this part that leads down inside the building like this. I'm just pulling shift drag in, then hit eye for your droplet tool and sample the color. Then we're going to create this other part here which is going to complete the shape. As you can see, this one is a darker sheet than this because of shadows, right? Okay. So what I mean by shadows is the inside will not be of the same sheet because there is a shadow being cast. Because it's a darker part. Okay. You get the point. We're going to go ahead and create the next part, and that would be this part. So I'm just going to choose, I'm just going to use five or six boxes. 12345 boxes. Okay. Maybe we could even us boxes. Let's just walk with five for now and see how it goes. We sample this color. At the end of everything, I think we'll just use six boxes. I think six boxes should do the trick. For this one, I'm going to use this number of boxes, same number of boxes, you just need to sample this part. We can see that we have an error here because we do not have everything aligned perfectly like this. Align everything perfectly. Select your anchor points using your direct selection tool. Let's draw the one box lower to see if we get the proportion we're looking for. I think we're starting to get what we want. Just extend this other part. We'll make this four boxes, maybe 1234, just like this. You know what, we need to actually shift X and shift X and drag the co points here to fit properly. Perfect. Now we wouldn't create these parts 1234 here. For these parts we see that it has to be, we have to create an extrusion. We probably will move this other part. For that we, let's just create the other ones first. This one we start like this and this. Perfect for this one. We are going to just shift x and create it like this. This shift X again, select this guy and shift again, select both of them. And just we have looking like this. So far, so good, we think we can progress. What we'll do then is just select this points here, here and here, and drag them to this point. It's possible, yeah. I think we even need to grab them further away, like this. Perfect. Of course, we will need to address this one also. Perfect. We continue to advance and can see that we actually need this part. We actually need this part now in this part, we then treat it like this. I have a feeling that we need one more step, either here or add one more step here. All right, we're just going to see about that later on. Now, let me just see what we have achieved so far. We shift x, I want to just join this one. This one, click, click, unite. Perfect. Let's delete this one, this anchor point. Delete. I think we deleted something that we shouldn't have, Okay? Okay. Yeah, everything is good. Perfect guys, we now need to create the inner part of this thing. Shift x. Okay, Give me this. And just click. Click. And just try to create this inner part, that's illusion of tree. And of course we have to give it this color. And then we then need to create the floor. We need to create the floor. The floor needs to have, okay, not the floor yet. We need to create this other part of the wall, which will be a darker shade of this wall. Cubicle of shadows. Right? We click here. Sample that color. From what I can see, I think we might need to be bigger because we have 123. Okay, We only have one. We actually need to be bigger guys. That's one thing we do need to correct right? Now. Let's first of form complete and see properly what we need to achieve. 123, right? So first of four, let's just shift x and shift x, let's just do this. First of four, we're actually on the right path here. I think we're actually on the right path. We won't move them further away. Again, this just put a lot of things into perspective. What I want to do now, I just want to extend the points a bit. Shift. I just want to extend the points a little bit further. Okay, perfect. Yeah, these are the ones will do. What I want to do now is just shift x and select this guy and just subtract this guy. And subtract. I see that we actually have a little error here, but it's no problem. We need to fix that later on. Guys, let's create our completing part here. This is it. Let's just shift x in the area I was talking about is this. If we bring this to the front, like range and bring to the front, we can see that we now have this line. This we line. It's actually because we subtracted two ships to give this cut, right? So you didn't cut properly. So I'm just going to select my Cesor to, you can hit for the cesorI'mt Another one, ya delete. Delete. I'm just going to select my soon. That's my direct selection to delete part. You can see that we've cut this one click delete, and we've cut this one. We have this middle one which we can now delete are we have our arrow corrected for this one. Of course, we give it this color. We also have another arrow here. Guys, maybe we don't even need, we just need to our point here effect. The next one will be a flow, right? You need a flow click. Just create a flow like this. We don't need to complete any ship click like this. Then just being to give this random ship, random ship for now, and then just sort this out. Zoom, just fit this guy perfectly. The guy we want ankle point and fit perfectly. Then for this one we actually want it here perfect. Then we need to create another point here to add an ankle point, then drag it here. This just give it our flow feel and perfect. The next one will be a flow around here. Also, before that happens, we need to bring this guy to the right. Are to bring this guy to the right. We need to it like this. Right away we can see that something is lacking, right? This wall needs to extend to this part. For it to appear just like what we have here. It means we can the mystique in the presion of wall first place. We should have actually extended it to this part. We could work with this like this and just create another valuation of the hooting or we could start trying to fit things properly. All right. Those are two things we can do actually, after looking at it properly, I think we actually did the right thing. We did the right thing. We just needed to extend this a bit more. Sorry about that guys. We didn't do anything wrong here. We actually did the right thing. We just needed to extend it a bit more. And it's going to look perfect. Shift x and make sure the guys are aligned properly. Perfect. Go back. We can see that we actually did the right thing here, did the right thing for our flow. We want our flow to extend to here, extend to here. This probably make this perfect. Okay? We can just let the two of them and just unite them. Perfect. Now we're done with this part and this part. Remember we said the down parts will leave them for the second video. I'm just going to create this other part, then we move to the next thing, for this one, you can see that we started here, around here. Let's start from here and see, we created something like this, this perfect. Now, just then, I created the other parts. So we're just going to keep seen, make sure we're doing the right thing. Right. I just discovered that we need to bring this part even further, even further like the boot of them. Just bring them down like this, them down. Let's arrange this guy here like this and see the key guys. Now we can sample this color and just extend this one so we can hit P and discrete. An extra point here, just got fit it in here like this key. We need to make some of these points align very perfectly. We can hit once more, create another point here. Just drag our new points down like this perfect. Then select the boot of them and drag them down. This other guy here, like this perfect. We also want to shift X. And shift X, and then this guy here. Okay, we actually need it adjusted here. First of all, I'm going to just create an extra point here. Okay, create an extra point here. Select this guy here, like this. Okay. So as to have a darker sheet here, this side, create a darker sheet. What we have here, perfect this sky. Shift X sky. So you can shift X. We can see that for this one to work, well, we have to bring this guy here like this, then we actually have to extend it out. This might be getting a little bit complicated key, let's arrange it to the front. I assure you that when I'm done, you'll see that this is very simple. I'm really going to delete this. And so we create this guy like this. Okay, let's see. You know, we can do this just sample of color here. It's red, this other guy, a sample of color, that's this color here. You can see we are now achieving what we have here. Perfect. Now the next thing we want to do is just click. You can click here, maybe cl, cl, cl here. Now we actually want to go very straight. We actually want this to go very straight. All right? You actually want this to go very straight, and we've aligned this. We can see that we're not achieving exactly what we have here. So we might need to reduce this size. We might need to reduce, we can, but we might need to reduce this side. We need to reduce this size so as to make this guy look like a central point. So this will be 1234, and this will be 1234, right? This is what we might need to do and this is what we do, okay? We are probably not getting numbering of boxes here, right, or whatever, but still yet we're going to achieve something amazing. We're going to achieve something very close to this. Okay. Yeah, that's it for this other one known. I just need to put a straight line from here to here. Both of them. Both of them. Go to my heart finder and divide it for my direct selection. To select this guy. Click, actually need to hit for the individual ships. Select this guy and color said this other guy. Sample the color. I know we have this other part that is unaccounted for as compared to this. But no problem. We're going to work with what we have. Okay. We didn't have time on our hands and we're just going to work with what we have. Okay, Perfect. We have this part of the roof. For this other part of the roof, all we need to do is to put on a noises like this. We now have the other part of the roof. We can give it a shadow, give it the black color. Just reduce the opacity like this. And bring this guy up to the front. Perfect. We're done with this. We're done with this. We're done with most of this. I think finally for this part we will need to add the windows. For the windows to shift Shift X, we're going to create them like this. Quick click, I'm just going to sample this color. We probably might want to just this guy a bit. We don't need to see how it's been aligned here. This guy should probably fill in three species vertically instead of two species like we had it before. This is the perfect guy. Now for this one, click on it, I click transform and reflect around 90 degrees and copy. Okay, so we're going to have it here for this guy. Shoot X. And I'm just going to align it here like this, perfect. Now we can put back our field colors. Okay. But I want to handle one more thing before putting back our field color. One of the things actually need to reduce the size of this window. Actually need to reduce the size of the window. Then shot X. Then finally we need to do this. Comp here please. You have to know that. You have to understand that I'm aiming at the middle points, right? So whenever you hover around the middle point, you see it says either intercept or what do we call it, or C. I think you just see. You just know that that's the middle point. Okay, so click, create this guy, and just going to sample this color here. Perfect. We're going to create the one along the other side. Let me see that. It says Intersect, right? And this is the middle. And I'm going to come and sample this color here. Now we can click on the mean window and shift X click on this guy and shift X click on this guy and shift X and click on every other guy. And shift X. Right now we have the window extrusion, perfect to select the boot of them. Click, transform and reflect, and copy. And then we just want to place it here. Perfect. And then just drug these call points like this till the end. Like this. Perfect. Now we creating this part. The part, okay. There might have been some little errors. But the point, the point is that you learn how we have created the holt. You make sure you achieve 100% of what we can see here. As you can see, there is a lot of similarities. Okay, there's a lot of likeness. That's the most important thing. Maybe we're left with this tree and this guy. I'm just going to create them for the tree. We learned how to create ellipses and isometric projections from the previous video. Okay, I'm just going to start by doing that. Sample the green color here, then let the guy go to effect, stylize rounded just around the cons. Perfect. Now, set my pen from here. First of all, actually, I need to expand this appearance. Okay, so as to make the effect of the permanently part of the ship. So click Expand Appearance, and we can see that there are no effects applied again. And now we can read our other part of the tree, like this, perfect. Maybe even extend the height like this. It's like the boot of them unite the create this part of the stem. The stem, okay? Give it this color shift X and to make it the shot colored size for the cup. Just make it round cup and basically bring this guy to the front. Yeah, we now have a tree. We need to give it a shadow, right? Just let your paint just draw down shading. Just draw randomly and shift X to give a few colors at the both ships with your shipbuilder to them out The delete this part. Select the guy and sample this green color. Put your color picker and just make it a darker shade. We have our three, select all of them control to group them. And we have our isometric three. We're going to keep it at one side for now, but we're also going to duplicate one of them and just bring it here, perfect. And we have the other parts. Okay, Which is this table here. Okay? This table. For this table. We're going to create it by yourself. Okay, You're going to start with an ellipse. Just like we learned when we come back in the next video, we're going to continue from where we stopped. Okay, that's of course with this table created. Okay, just go ahead and create this table. After you're done, you come back to the next video. And we'll continue from where we've stopped to see you in the next one. 99. 99 Exercise 1 Modern Isometric House 2: Hello guys and welcome back. And we're going to continue from where we've stopped. So as you can see, I've gone ahead and created my table and just brought it to this point. All right, so hopefully you have done so also. So I'm going to continue by creating the flow here. That's this flow you see. Just come here and start here and here, and just come forward down to this point. I'm just going to shift X. And then click click here. Let's fill it in like this, Shift X. And I'm just going to sample the color here. You see that this is a darker shade as compared to the other floors here. Perfect. Now we're going to create this other parts, which let me start by creating it like this. Click here, click here. Then we're going to pit the top of our wall. All right, so for that we're going to start here. We start here, sorry. Click click and then come down here. Click shift X to just fill color at color rather. Click, click, click, fill it here. Perfect. I'm just going to give it this color here. Perfect. We can see that we now need to create this auto one here, 1212456. You're going to start if we want. If we need more affect the fact. Now we need to create steps here. At this point this should actually be a bright shade of green one we used for the floors. You should actually be brighter shade of it will do. Ok. We actually need one more step. I guess it should be this color. That's this color, right? It's kind of looking here like it's blue. But won't mind it for now. Just going to read this color. And then finally we can see that we need to then create one which is the sheet of blue, right? Perfect. And just perfect position. Make this perfect. Then this will be the next step. This little extrusion here. I'll be the next and final thing to creep. Starts this guy here. Maybe we need to go that far. Yeah, we do, we do. Just make sure everything is lined up correctly. Some of this guy. Perfect. Now for this other part, we need to actually create an ex, like this, like this and give it this color perfect. Then we actually then need to meet one. This 1234535. Actually be six, I don't know for now. We'll find out later. Okay, perfect. Maybe this one line out properly. Perfect Guys, the next thing we'll just handle quickly is the steps. Are these steps here? We just handle these steps quickly. For the steps we start like this, we just come here. We start in here at the middle here says intersect click says intersect click click Intersect. Let's keep clicking. And green, we probably need one more step then we need the footings, right? Are you something like this? This, Yeah, there's some pool, this color here. And then arrange send to back. Perfect. The next thing we'll handle this opening here. Okay, opening here. We'll handle this opening here. For this, we'll control C control, just reduce the size like this, shift X, Bring this one here. Bring this one here. Perfect. Now we give it color, That's this color shift X click click this range to fronts. And just fits everything in here perfectly. Yeah, just fit point properly. Do seem for these other points here perfect. You can see now we have the parts created. We're just going to walk on the other parts, that's the doors here, the windows here, and so on and so forth. For the windows, I'm just going to duplicate this window, date this window. And I'm not going to try to achieve exactly what we have here. I'm just going to duplicate them in front. X, this, click, click, click, and arrange them properly. And shift X we come up with. I think I'll just move it down one more level. Let's see. Yeah, this actually this actually works. You can see that the windows here are smaller guys. We are not trying to achieve exactly what we have here. Whatever, just what we have. We're going to quit another window. But I think, okay, this window is actually meant for this. Please. At least let's, let's just bring the window here. Then another version to get another version. And bring it here. Put it in please. Now we can select all of these core points and bring them down here. This perfect. Finally, we can uncreate the door, right? Select everything out and bring everything down here, the Perfect. Perfect. Then we wouldn't select every anchor point below here, just drag them down. When we select and shift X, we see that we now have our doors. We have our windows, perfect. Now, the next thing left is this balcony protection, right? This balcony real here's what we're going to create for that pin. First of all, we're going to shift X O shift X penil here. Just click here, rack for this one. We might want to use our eyes a bit more to get the percussion. And then we need to pull down shift and just click up like this, create the other one, set the side. Just complete the shift like this. For this one we need to give you the white color. I think before I do that, I'll just create the other parts. Right click here, click here. The other parts like this just use our eyes to achieve the propulsion. Perfect, select. They just give them white color. Remove the stroke, just reduce. So you can shift shift shift, this one shift X for the floor here. Now we can see that we've created this guy. We probably might want this guy to be in front range front also with this guy. Select the guys, this other one. Arrange front. That's it. We might even want to make this guy taller. Yeah, we might want to make this guy taller. So select all the anchor points here. Select on here, Get, select this one. Select on here. This final one. Grab them. Perfect. Select the guy shift X. This one shift X. Yeah, I think we'll just work with this even though it's not like I quitted here. It still good. The final thing for the reel here is to create the extrusion for this one. Also, we're going to use our eyes. We're not going to be using any grids. Select sample of the color here and also the opacity. Let me just start from here. Click, click, click, click. Just click here. Complete your ship. Let me give it the color shift, X. Perfect. No, we don't need this part. We need this other part. For this one, I'm going to cap this and reduce the opacity. Perfect. Just to lose street that this is a glass. All right? Perfect. So the final parts of this design is the flow here. That's the mean flow. In order to do this, we can just start the pen as usual. And start from here, click here, come here, click, then come here. So we sample this color and send it to the park. I think we actually need to extend this guy, okay. And extend this to the guy like this. I think we can leave it as this. Or maybe not, maybe we should just follow what we have here, making it and just adding another point here. Perfect. Now we actually need to create a cut here for that. I'm going to and create on line one point here, one point here, shift x. And just let this one here drag it down to this point. And I'm just going to adjust this one to meet this shift shift. I like what we have so far. Finally, for this one, I think I'll just reduce the extrusion to something like this. This is better for me. And from here on I'm just going to add the lower extrusion. That's this one. Okay. Click, Add Like this. I actually observed that my lighting isn't correct for this one. For that design, my lighting that's on the ground, it's not correct. And I'm just going to show you that quickly. What do I mean by that? You can see that from here, this part of the ground is darker and this part is brighter from all other parts of ours. We can see the light is coming through this direction, right, right is coming through the right. Displace has to be brighter while this is dark. That's the error I made here, and I'm just going to correct it. Displace has to be brighter, this has to be darker. Select the guy and give it the darker shade. We now have it perfect for this guy. I'm going to duplicate you and bring you here for the tree. I'm going to duplicate you and bring you here and just arrange, bring to front. And finally I'm going to add the green. Okay, the green ground up. Click click just complete and give it the green ground. Arrange and send back and select your own call point here. Create this very subtle covectus, just make it a little bit more conspicuous this point basically guys, we are with our design, with our isometric design, okay, did the sky and we can hide our grid and everything control G and just bring it here. Now we've come to the end of our project on this beautiful isometric modern house design. Okay. The next one we're going to be looking at something even more complex than this. This will definitely take longer than this. I will divide the video into differently parts, okay, as to enable you to assimilate better and not get bored doing the video. Be it for this one and see you guys in the next one. 100. 100 Exercise 2 Digital City Isometric Design 1: Lecture. We're going to be creating this artwork here. Okay? I call it the digital CT, isometric drawing. Okay? As you can see, this is a tread isometric drawing. And we have the tall buildings, we have the pull grams or the light beams going up. Okay? We just have some digital digital illustrations. We have these characters here doing some stuff and so on and so forth. Okay, that's what we're going to create in this lecture. This is a big one. It's going to take a lot of time. What I have decided to do is I have decided to create each of these parts individually, in separate videos, so that we don't get to board and we don't take too much time on each video. Okay, it's just going to be a set of shot videos that make up the whole project. Okay. Go to Illustrator and come to open and where you see three D isometric digital. It's the one we're going to use, It's the file. It's going to be under this. That's the three D isometric designs in Illustrator. Fda, Open. We'll see that. To now opens our file. This is our file. We're going to just start right now. One other thing you have to know is, okay, I didn't come up with every idea here. We got some concepts from some artworks in the internet. That's something you should probably know. Okay, In order to start, we're going to define what we're going to cover in each video. In this video, that's the first video. We're going to create this guy and we're going to create this guy. This ones. We're not going to create this ones, we're going to just copy this one. That, this little character. What I mean, if we're going to create this skyscraper, skyscraper probably with the skyscrapers basically all the cylindrical skyscrapers. What we're going to create in this video. Okay, so to start I'm going to come and enable my grid here. Table background, you can see that we have a massive grid here which we've used to create our artwork. Come to my article two and just drag this guide to the left hand side. We can see that our grid did not copyright. So I'm just going to delete everything we have here. We're going to unlock our grid there. Let's hide this one so we can select our grid peacefully. Just move the whole thing there. But we don't want to duplicate our grid to have enough room just to this size so that we can have enough room to create everything we want to create. Just adjust my grid point. Perfect, Let me my layer here and start creating. I'm going to start with this guy here. This guy, I'm just going to Alt and drag and see what we have here first. And first we're going to start by creating the circular guys. We're going to come here, we're going to use boxes for this one box, the yeah, we're going to just select this color. I feel you should even use more than four boxes. We can actually resize them after we're done, but it's also good that we just start with the correct size. So let me just use three boxes for now. I'm going to just lock my layer here, three boxes. I'm then going to apply my effect, right, my stylized effect around the colors. Perfect. I'm going to expand my appearance perfect. And then I'm just going to put guy to this point here. Perfect, right Way we can see that we are making progress. I just want to even extend it further to this point. Perfect. And then come and create the other parts of the ship. Right. The other parts of the sky, Screeperk. What we need to do after this is select all of them. Just come to the part finder and it then we can see that right here have. Our United ship. Perfect. The next thing will be to select the guy down Alt. Bottom from what I'm saying here, it seems we shouldn't have created, just compare to what we have here. We can see that it's actually too long, so we don't need to be this long. I was going to select all our ankle points and try to bring points. This. Yeah. So we just need to work with this one points. Like I said before, we can of course increase their sizes after we're done to select the guy here, I get to the ground. One other thing, I do not buy these guys coming out. Like I think we can just continue. We can just continue. Let's just join our ships. Right click here, down shift, click here, then click here. The outermost parts, right shift, click here. Just join everything like this. Set this to unite them. Arrange, sent to the park. And how we need to ****, we need to give it ingredient field because it's a curved shape. Remember when we learned how to apply ingredient field to create the illusion of coveness, right? Just like how we have here. That's what we're going to do here, okay? We're going to choose this guy going to just reverse it. And then choose the darker guy here, the brighter part here. But for now you're going to choose the same colors. So we need to come and our color, make it brighter. Even choose a preset here, this perfect for this other guy. Not waste time. Another lost. Just going to be sampling the colors we have here. Just sample this color. Even this one. I could just, we don't waste time. Video is very long and we don't want to see any time now, we need to just create the auto parts. This other one is like this. Like this ellipse effect style lies on the colors perfect. And just bring this guy on top of this. For this one we're going to give it this color 'justrolC control give you the size and this color shift x shift x to see where there put aligned. I think this will do to shift x shift x. I think the aligned very well. We're not trying to achieve a very perfect design. We're not trying to mit this 100% That's for you to do so we're going to duplicate this guy. Then alternative, then contra control the size. Just sample the color here. To sample the blue color here. This color, you see that we can sample the color because ingredient is on top right. What we do is we group this so as to sample the color perfect. Then we just contraseontrol F. Control C, control then it on top like this and we to make this darker sheet of blue. This sheet here, this guy will have to be this sheet guy under. We actually have to move it under. This will be on top under this one will control, see, control and reduce the size and give it gradient. Just bring it down to the middle. Like this. We just need to expand the appearances of this guy so as to apply our effects properly. You know what I will do. Just control C, control the size, sample this color. Don't control C control, and then sample this color. And just tick it up. And just please this one here properly perfect for these guys. I'm going to take my pencil like this. I think the problem here is we still have our effect object, expand appearance. Then select our shape in the night. Perfect. Just to backwards to backwards a couple of times we have it like this. Perfect. We should reduce the size a bit more. This is perfect. We can delete this one right away. You can see that we now have the. So we can wooden and grab our skyscraper to look around like this. We're now going to create this circular outlines, right? To select this guy. Control C control. And just right click, isolate path. Just come and take your direct selection to delete parts on top and give it shift X, Give just increase the size of the Shook this. Okay. Just take it up. Just for this one, I think we'll just delete this one. And the ones we'll just delete then we just clean up the ship and we just come to objects. Yeah, I think we can't actually do this because it's not a complete shape. Right? So we're just going to drag and expand it like this, or increase the size like this. Perfect. Now the next thing we'll do is to just compare it with what we have here. Object, expand, okay? And we're just going to have this lines like this. And then select everything. And come your part, finder and divide. Take your direct selection tool and delete the unwanted parts. One also delete these unwanted parts also. We can take this points here and drag it like this. This curve right slo this one here, this curve. Perfect guys, we can go out of our ship and we can give it a different to, similar to this key. Now we just put the first one here. Pull down all and one to the bottom like this. Just blend to click Blend to click the first one, click the second one, Blend. Blended Ships. Click on the blend to two steps, this 20. You can see that we don't have enough blending. Click this 50, make this 30 or 305-30-5305. Will at least 38. Let's 38 38. We can see that we've now created our first for this one. Light beams that we up, we're going to create them later on. This is the main thing. And just select everything in group and we can now delete this one. Now we have our first shape created. As we create them, we're just going to keep them in this side. Right? I said in this video we're going to create 123. Okay. All these ones that are cylindrical and circular shape, they are the ones we're going to create. The next one will be this one, Stanton. Actually, very simple. Just an ellipse is actually four. We're going to make this four. Going to choose this color. What do effect stylize around that corner? Okay. Now, I'm just going to give it a shout color. The shouting colors, see what's happening. To object, expand appearance. The next thing will be bring it down to orange'm. Going to do is give it a mean color. Set this guy, and select this guy. Perfect. Just this guy. By perfect. Now I want to have this guy bottom again. Another version at the bottom even longer, so we could just reduce the size like this. Okay, for this one, now we are going to finish creating this ship here, right, by clicking here, click here, creating it like this. Coming to this parts, clicking here, click here, click click, click, just joining it and selecting it with the one. Then part Finder and Unite, Range back, we have the one we can select. This guy, also control F, Just pull them out and shift size, shift X to give us the stroke we have on the outermost part, right? Just increase the stroke to two pixels here. We now have it select not yet. Just select your pencil and click here. Drop to the bottom click, click here, D to the top, and click here and complete your sheep. And I'm just going to select this guy here, R Park. Select the root of them. Just unite them and sample this color here. We could actually reduce the size of this one. This will do perfect. Bigger, actually work. Set everything, control G to group. Let's just reduce the size to look like the one we have here. Perfect. I'm going to take a side. We can see that. Now we have this other one which is quite similar to what we created here. I duplicate this one. Instead of creating a new one, I'm just going to duplicate the existing one here. I'm going to group. Delete this guy here, select everything. Maybe use my direct selection to select all the anchor points below and just push them up The select everything here. Size like this guy to puck. We also have the same error here to puck. Perfect. Now already you can see that we've achieved this by just duplicating that one. All right, for this guy, we're going to set F P the size. This. The same sucks on what else is left. We just need to create these stripes, right? Just like how we created the ones here. Set this guy con, control islet, the guy to direct selection to delete all of the Gecht X and then increase the size to say just need to increase the size. This pulling alt and shift object expand. We just bring it up a bit and just try to cut out the unwanted parts. Let everything divide. We can see that this first video already is taking too long. Imagine we using one video to achieve everything. It's going to take hours, okay? And that's not what we want. That's why we're going to be dividing the video into several parts. We need to have the first one here. The second one will be on top. We need to blend, just like we did the other time. Take your blend, to click the first 1. Second one, we have a blend, selecting the guy here. Quick blend. Two steps, give the 20 steps. Let's see, not bad, think we should just reduce it to 16. 16 or 17. So good, 17 we do. Just go out and just expand bland. Expand, expand your blend actually. But we have to select the mean ship now. Just give it the same gredent color as this. Okay. Then for our blended ship, we have to give them the same gent color as we made a mistake. Same gredient color. Okay. We didn't really expand the ones. I think we should just expand them. Group. Expand them. There is no we bring to delete the Meines object. Expand then now you can select the guy. The Okay guys, Let's just work with what we have here. Okay, I don't want to make things too complicated. Select everything here and delete. Now we have our new shape. We can group everything. We have our three shapes, right? Perfect. Now we are going to post for now and combat, later on we're going to create more buildings. Okay, so that'll be it for this one you in the next one. 101. 101 Exercise 2 Digital City Isometric Design 2: Hello guys, on welcome back. In this video, we're going to be creating two more buildings. Okay, This one and this one. Okay, so we're just choosing buildings that look alike. Okay. And creating them. So I feel we should also create this bridge. Let me just see can group everything as I should have. So let me try grouping them. See, So we're going to group them. And then to keep them to the site. And fit them in please. And fit it in please, Mother. We're going to create these guys in this video. So the first one is this guy. This is very simple. Just a simple box. This, we definitely want to increase the size. Just select the anchor points here. Lock them like this. Maybe that's too much. Lock them like this. Let's compare what we have here. Okay, I think we should have even left them D like this. Perfect. Then this one. This one. Let me just compare what we have here with what we have here. We got it. And next thing we'll do is simply to other parts of the extrusion, So I won't go too far for now. Click, click, click, wing, the colors we have here. Let this guy, this color, set this guy sample this color. You can see that this is darkest, sample the same color, perfect. Now select our call points and drag them. This will do perfect. Shift X and shift X. The next thing we'll do is create our windows. Click Click here is common sample color here. These are supposed to be the windows with lights, space colors. We can see that these are really big. We really need to reduce the size of this guy. Shift X, and shift X, select the guy and reduce the size drastically. Perfect. We also want to have another copy here. I think we want to bring this one. Yeah. Perfect. For the other parts, we'll just click Transform, and reflect, and copy, and just bring it. It has to be here. Actually. Here. Perfect. So we can now just give them back their few colors and then start adding the windows. Right click your blind click, click, click, blind steps. Let's make this see satisfied. Let's make this five. Let's make this five. And C, let's see, 1234, 567e1, 234567. Let's make this six. Let's check six is O K This guys, let's control to group them for this one. Let's expand them, let's both of them track to the bottom and just click here. And click here. Let's make this 20, not satisfied. Let's make this 22, 22. We'll do the same thing for this one. Click here, This is probably 202-20-2202 perfect. Now we need to, we also expand this because we have many other colors which we need to add. In fact, the predominant colors are blue colors. The predominant color blue colors. We're just going to select everything and give the blue color in, select randomly. And apply the orange, brown color, which signifies light lighting in the room. Okay. Signifies that there is lighting in the room. So I'm just going to select randomly here. So perfect. Come down here and you can see it now for plate or colors. I'm going to do this also for windows here, just random selection, specific sample the color and work with this. The next one to create is this one. Actually I forgot to create this. 1, 2, 3, 4, 5, 6, 7, 1, 2, 3, 4, 5, 6, 7 on the seventh floor, 1234567. Starting from here, we need to add it here like this, like this. And can just, sorry, just like this. Now I can just delete this one here and let this one to serve as the door. We actually need to create this structure. Just control group. You need to create this bridge structure here. This is basically shift, shift X basically pitting something like this. Shift X basically creating something like this. Yeah. Something like this. Right. And then let me just It's calm like this. I'm not It's to look just like what we have already. Statement of that. Do you able to just this litter on for now, let's just try to finish up. Shift X, shift X, shift X and shift X, sorry. Shift X. Perfect key to this. We'll have typically created this, well, you know what, I'm just going to delete this guy and copy this one here. Time is not on our side. I'm just going to dra this one here and arrant front, we can see, yeah, that we have it aligned now. You can see light is coming here. So this one is brighter, right? The entrance here is brighter. Then here. We now have its blend into blue. Just control to group everything. Now we're going to create this one, all right? It's just a square, basic square. It's the basic of them all. Three by three, okay? This phone will have this color to drag everything to the lower parts of the Cred. Then create the parts, let's just sample this colors here, then create these parts. Now, it shouldn't be this long. Chili. Okay, perfect guys. Now we can see that we now have our shape. All we need to do is to copy our windows here. We're going to go in to our ship. Copy them, control C and then come out and control V. Just align them, this shift shift. Align them like this. Perfect for this one. I'm going to just delete the door here. This, let this guy in the sky put them Alts and just drag them down. You can push them up a bit. Perfect to shift X, shift X perfect. Now, we don't need them to be this much, we can just delete some of these mediate ones. Perfect next. Okay, as you can see the they actually three here. Actually three here. If we like we can use them just they are like adjust them. Let's just adjust them. Just adjust them. So we're going to select our ship here and shift X right, going all your ships going. Not in yet. Thank you. I guess we need to use the direct selection to just parts and drug and select all our ships. Move them here and just Alt and drug and create a duplicate. To this point then. Yeah, perfect. We see that we can select everything and we can simply just make sure it's centralized. That's all shift X and now we have them three here. Select and transform and reflect copy. Just have them in the other side. Just going to shift X, shift X. And see how we align them properly. Perfect, shift x shift X. Perfect. Select everything here and control to group. Now as you can see, we have do created the two parts. Okay, perfect. Delete this once. The next thing we will create, in the next video, we're going to be creating this guy. And maybe this guy, okay, maybe the two of them. That's all we're going to be creating the next video. See you guys in the next one. 102. 102 Exercise 2 Digital City Isometric Design 3: Hello one. Welcome back. In the last video, I said, in this video, again creating the two guys. Okay, but on the second thought, I think I will just be creating this one for this video and then create another video for this one separately. Because this one may take some time. Not too much time though, but I just want to create them in separate video. Set the guy in a drug to this point. And then we're going to start by creating a ship. Our topmost ship. This mustn't be perfect for status must be perfect at first. But when we tweak and tick and tick, we're going to have it just the way we want it. This is 1234123. We should add one here, make it four. Then we should have three. He like this, so perfect. I want the next thing would be to create this part, right? So did your pen too during those starts to throw out the extrusion. Good. So I'm just going to sample the colors. This guy, this sky perfect. And we can set everything onto G to group them. Let's sky this to select the guy here and sent to the puck. Then select the guy again. Alton Drug sent to the puck. 1234. Finally Alton Drug, seen the puck. Finally Holton drug Rene Jans into the puck. On this one will have the sites extruded or extended down to the bottom. Perfect. Let's just sample the colosi because I can see that they are known ingredients, not the ones we used before. Okay, everything is perfect. But for this guy, we need to change the colors, right? Perfect. So you can see that this really didn't take time. Okay. The next one will be this one, and finally this one. So we're going to start with two by 22 by two and are just going to extrude it. Downwards maybe? Yeah, downwards this. And then I'm going to just sample this, colors this. Then let's bring this guys up. Even the perfect suck, everything, everything. Sequental, use the size set like this. Select this guy then while selecting squalus, the size, like this. And select this guy here, perfect. We can select everything and group, we can actually just duplicate it. And keep the other one here. So we can use for these other parts, you can just one perfectly like this. Yeah, perfect. Come in here and just delete these unneeded parts. Just select the direct selection to select all the Unc points here. And drag them down like this. Okay, drag them a little bit too much, so you should work. And then this one. First of all, I want to really align this to our grid. This, if you can insulate the uncle points and drag them like this, we should make it bigger. Yeah. So this should work perfect. We need to sample our colors. I sample this one. For this part we're going to control C control and reduce it evenly. Size and just sample this color. Go back to your direct selection. I think we just need to reduce it a bit and just drag this part up a bit perfectly. We've got it to control, control A, reduce the size. Just go to your effects. Rounded corners. Just increase it like this and give it this color. We see control it. Give it this color. Perfect. Select everything. And control to group. Yep, we have a group. We can just bring it in here like this. Perfect. All we then need to do is select everything. Control, group, everything, and keep it at the site. Delete this one here. We now have created our next building, that's this one. In the next video, we're going to be creating this one and probably even tackling one of these. Either this one or this one. Okay, this one. This one afterwards. Yeah, that'll be it for this one guys, and see you in the next one. 103. 103 Exercise 2 Digital City Isometric Design 4: Come back in this lecture. We're going to be creating this building. Maybe we're going to create another one apart from this guy. We're going to be creating this one also. Okay, yeah, just duplicate it out again. Duplicate the wrong one. Good, We're going to be creating these two buildings in this video for this guy. Starts with the top always. We're going to start with the top to E, number of grids, you can just starts, random number of grids like this. Select the boot and control G to join them. We need to just dig this one perfect. Now from what I've seen, we might need to reduce our for ship. First of all I'm just need to fix this error. Perfect, Reduce the size. I didn't need to do this like this. I can just do this from our anchor points, basically, let's reduce one box here, also by one box here. Let's see what we get. Ten, the next ten to create the inner extrusion control the size, let's just give it the color for now for this one. Let's shift control, Shift X, fit things here, quick to shift X, Set the boot of them with your pathfinder and subtract building to fit the guys properly. So it's possible that I shouldn't have reduced the size like I did before from what I'm seeing right now. We shouldn't have reduced the size. Okay. But that's not a problem going to concrete, Manly and quickly. Okay. This one finally. Perfect. Create the extrusion inside. Okay. So quickly, just create it quickly. To select my direct selection to. I'll just sample the colors by heating eye for the drop, two for perfect. I'm going to create my, that's the flow. Yep, that's it. I'm going to just sample this one perfect. Next thing we do is create this guy. But we have actually created it from one of these guys here. From here we've created from here, you're looking to green copy, then Pete, Just reduce the size bits for the coloring for the top. We'll just make it this color, make it brighter here. Perfect sites get this color even darker here. Perfect. Next thing we do is to create the other parts of our building. Good guys. So the next and final step will be to create the guys here. These guys, I don't want to copy. I want to create everything from scratch. So click Start from here, Go click here. Just fit it in like this. Then we need to create these other parts. Fit it in this. Here we have our parts. Now we can select Everything Group, and drag it to the points shift, shift shift please. This one here. Grab this one. Perfect shift X perfect guys, now we have everything lined out perfectly. He now set everything and control group. Yep, we now have our ship. Perfect guys, you can keep it at the site. And we focus on this one. This one. Focus on this one. And this one is similar to this one, So I'm just going to copy this guy. Group this guy and select all other parts here. I think they are still a group group. Just delete all of these other little parts. Perfect. Now we can just reduce the size to fit with what we have here. Probably what we have here is longer. Longer longer. The effect of duplicating this is that we might not be able to get it properly aligned on the grid. You might not be able to get it properly aligned on the grid. That's the effect of actually limits copying it. Rather, let's try to see, we can align everything on the grid. We've been able to partially align it to the. We can see that we're having a hard time. If we had just created it from scratch, we wouldn't even be passing through this whole thing. Nevertheless, we'll just work with what we have. I'm just going to duplicate. See, yeah, just this part which I copied the other time here. Maybe I'll reduce the size. Select this guy and sample this color for this other one. Just create an ellipse. I think we have a lot of ellipses we don't have to recreate. We can just come copy this one guts Ptv. Bring it here. You see control left. Reduce the size. Okay. Maybe change the direction of the gradient. Yeah, that's it for this one. We didn't extend it because we just copied on the ships and we're finding it hard to align it with the grid. But that's not a problem. We just use what we have. The next and final step would be to create the stripes shift shift X. Just going to create it right away. Or create them right away because we didn't align it to the grid start from scratch. We might have to use our ice at some points. Some critical points, this shift X, shift X and shift X. Let's just select this here, K and this one here. Let's just select this one here. Let's select the ankle points. Just try to move them up, them up the bits. And just hold the alter rack to the bottom. Take blend, click, click, click blend to specified steps. And 15, let's try 20 Perfect. I can select everything to them and bring it to the right hand side and delete this guys. We can see that we've now created most of our buildings. When we come back in the next video, we're going to try to create one or two more and then try to finish this up in the next one or two videos. After that bet for this one guys see in the next one, Bye bye. 104. 104 Exercise 2 Digital City Isometric Design 5: Welcome back. In this lecture we're going to be creating two more buildings. We're going to be creating this guy and this guy. So I'm just going to drag the building here for reference. Propositesi'm going to start by creating this one. This one under. I'm just going to start by creating. Yeah, let's just create one under. Okay. We're going to start here three by four, K. Right now I just did three by 33 by four. Let's do three by 412-34-1234 Okay. And then 123. Yeah, like this. Let's okay. This is to actually, let's just get here. Bring it here again. Hit the sun for this color. And then this book like this sum this color, it's oh, here. Okay. The sun for this color, it's P. Sample this color. And finally, create this box here. Sample this color. For this one, sample this color. Now the next thing will be to create this one, right? So we're also going to use by four, just like we did here for this guys. Pop'. Just going to select and dry up. Then I'm going to start creating from the bottom. This time he was going to click here, 12, 341-123-4123, This perfect's going to bring it at the medium like this. Yeah, this is perfect. Now, the next thing, sorry, nesting will be two. Duplicate this guy and bring it below, Arrange, send to back. This will do from here on. We just want to feel up the pieces. Select your pen. What I want to do right now, we just shift X, create this inner species because we're actually going to need them. Because we're actually going to reduce the opacity and make this transparent. So it's good that we have the inner species. I'm just going to give them this few. This few then for this one, sorry. Yep, I'm going to leave it at that. And for this one, finally, I'm going to leave it like this and then hit P And you know what, I just want to create the floor first. Shift X chair, perfect. You just want to create these other parts for the flow, you can do shift X and just basically arrange and send everything to the park. Basically send every other thing here to the back. Then common creates these other parts of the box, we select this color. Then finally select this color here, perfect. Then shift X. Now we have everything laid out perfectly. Select everything and just put your capacity and just reduce capacity by 73% group. We're going to drag this guy up right now. Maybe we should reduce our posit even more, this guy on top. We're just going to sample this. Okay? Perfect. Now we're going to work on the other ones. Again, these are simple boxes. Okay, Let's do them, so let's do them four by four. Okay, perfect. And we're going to just control C. Control reduce the size like this for this guy. We shift X, just reduce the size Like this. Shift X, shift X and shift X select bout of them. Do this, we're going to extrude this one. I'm just going to select this guy and give it this feld color or redientl, some color here. It's for pinto. Hit I. And sample of color here, it for Penton, Somep color here, it's Pop the color here. Perfect society, we now have our ship. Okay, I think we have to sample this color for this one. We have to sample this color. For some reason we see that there's demarcation here. I'm just going to create this man, maybe. Thank you. So this is good. I select everything and we are just going to extend. Yeah, we actually need to extend our ship. This. I'll select everything and just group them. Reduce the size like this and then just increase the size like this. And now we have to bring them to the middle. And then like this and then control D to redo what we just did The final ship to create is, sorry, something like this. So we're going to be mess around with that. This one here. Let's see, 150. Thank you guys. So I think we can work with this. So I'm just going to reduce the size and select our anchor points here and drag them down. Then just group everything control and bring everything like this like we see here. We can't actually have everything go below like how we see that. We see what we have to do. We have to actually create the whole thing. Just do we have to actually create the whole thing fit in like this. Just go inside, so everything perfect, just kits the whole group to the points. So just go inside the ship, select everything just for this one. Let me see how I did it. Yeah, for this one it has to be below, has to be below ships, below our ship like this. And see also for this one has to be below our ship. I think we'll just delete this one. We need to show we're done with this ship. We're just going to go to the next one for the beams. Guys, let me just do the grouping. Look at these beams. They are simply light beams. And we created like this, you can see sample this as you can see the just field. And then this point has an opacity of zero. The entire ship also has a low opacity. That's how you've been created to arrange to park. Perfect. I'm going to just so everything in group and have them and have it at the right hand side to delete every other. Yeah. Let's create this one. Hold on, old guy is very simple. All we need to do is create a square and create the intrusions. Right. So let's make the square. Let's make the square four by 412-341-2344 by four. Okay. Perfect solete. We can just select all our anchor points here and drag them down. Perfect. Now for these other ones, we'll just shift X and try to create, and we have this other one here. I'm just going to create them also. Shift X and shift X and shift X. For this one, I'm just going to give its random color for now. Okay, The next thing I want to do is create the Cots. So I'll just extend lines here, bits perfect. So also with this one, perfectly old, select this guy, select this guy, select this guy to your pathfinder and subtract from here on, we can just shift shift X so as to see what's inside. So click go. This low click, click, click and join. I'm just looking to do the same thing here. Yeah, guys, select this guy, shift X, this guy also shift X. Give it a different color shift X and give it a different field color. Shift X and give it a different field color, then shift X. We just want to cut these ships out. This, select this guy. This guy, this guy. Select this guy. Cut. You might need to just come in, walk a bit on the extra points like I just did here. Select this guy. This guy cuts zoom here. And just delete redundant points like this. Yeah, we can just add the parts like this. The parts then the parts didn't really fit this one. Well, sorry, just fit it. Okay, so the next one will be this pots. And finally we have the pot perfect. Now we're going to work on this one and it's going to be simple. Okay, sorry. It's going to be this one, right to you guys. You can see that I have not created our last building for this video. Control G to group them. Just shift it to this point. Yeah guys, and that will be for this video. In the next video, we're going to be creating our last building which is this main guy. It's the most complex building here and we're going to create it in our next video. Okay, so see you in the next video. Bye bye. 105. 105 Exercise 2 Digital City Isometric Design 6: Guys, and welcome back. In this lecture, we're going to be creating our last building here. This is the building. I'm just going to duplicate it to the side. This is the biggest building in the most complex. Okay, we're just going to create this now this video, this lecture. Let's see, 1234567 boxes. Let's do seven by seven, okay? 1234567 by 71234567. Okay. So okay, and then just drag it down at this arrange and sent to buck. This one will give you this color. Well, this one. Okay. For that one. We'll just give it this color for now and strike it down. This will work. So we're going to create the sites now for this color. Here, for the other parts was created right to some for this color. Now I've created our first box, right? Is it select everything here? A drop to the bottom. Arrange, send to buck. This should be or second box up a bit. Tick up a bit more. Let's take, we'll come in some colors here to group. Now we'll just pull down old this arrange send to back. Now we want to select this guy. It's going to secure the size like this shift and give it this color as colored. Some of this color here, perfect curved edge, right to stylize curved corners. Reduce the cove, to then select this control, reduce the size. One, just give it the color and control C. Control the size one more time and give it this color the same color. Maybe a bit more complete control. F. One more time. Se, maybe a darker sheet. This sheet control F, sorry. Maybe we just need to reduce the Cvturepte control. Take it up a bit, come on, sample this column here, then let's concrete sides like this side. Objects expand, appearance and then unites them. Set one on top, or jump into front, perfects. The next thing left we need to create the parts under here just to be key on. Go inside, set the Sky control C control F and reduce the size and shift x stroke and give it white color some color. Here consider we didn't get it. Just work with what we have here. The effect, stylize coders and give you the size like this And okay, next thing will be this one here in the shock of two. See control the size then give it this blue color. Can see the bed, we can't select the blue color, we can just give it this color here. Let's adjust, even increase the size bit perfect and control C control reduce the size like this. Let's just delete the effect, the cove effects. Let's really reduce the size. Let's give it a dark she just try to start to work our way up. Okay. We can see that we do not have agreed to guide us. We're going to go out of the ship for now and try to copy one of the, going to copy this one. Control group. Let's not group, let's just drag it down and control group this one. Drag it down like this position like this. Perfect. Just go in and then let's select the edges here or the vertices rather the ones here just start to move them. You select one of them. Just move them up like this. Perfect. We just then move the ones which we, if we didn't select properly, we just move them up this perfect. Then these ones are meant to be discolor, perfect. Apart from that, we are meant to create some other ones. Control, control, stick it up. And let's group them so it's a group in a group, right? So go inside this other group, then just select your vertices like this and bring them down. Okay. And then give them a field color, that this field color in this field color. Let's just the vertices here and take them up. Yeah, you can look with this and just drawn all the duplicate it like this and control Decontrol. Control D. Control D. I can go out. The whole thing is our ship here. Just control Mystic let's it's beneath our ship like this. The net we will be doing is creating this glass effect here and here. Here, and here. Here and here. You can see that because I'm not swimming, I'm not getting the points accurately. Once more, perfect for this one we choose this color. For this one we chose this color to just let both of them control and we're going to reduce their is perfect. Now we're done with this part and let your big guy here all down out and drag it below are park. I just want to group the whole thing. Just arrange it like this and compare it with what we have here. It's not bad. The next thing would do to be kit, another version version actually needs to be quite big big. That case we're going to go into our group. Select these guys and bring them. Select these guys and bring them here. Select these guys. Take them here. Disguise them here. So let's try to put it in please and see if we now have what we want to arrange. Send to back. Let's now put it in please see, I see that you actually need to shot disguise back. You select all of them, you can see that they're not even on the grid. We actually need to be on grid first of all. First things first, we are going to put them on the grid here. I'm just going to fit this one more perfectly, okay? We want to actually take them back to the before perfect grad she. Now you can see that we have it. We can better. Yeah. And we can actually work with this. Work with this. The next thing to do is to create this ship. This, this one. Okay. You said the guy here. And sample that color. So this one sample this color. And we now need to create the spots. This part, guys, you also need to create this part here, right? So. Just shift shift shift X and shift x. And then fred, come on, Just fit that part. Now let shift X shift X. Let this one shift x, this one also shift x. This one I'm going to give this few. This one I'm going to give it this el, Just join this, join this. Then we are going to once again shift X and shift X O shift X, shift X. We didn't need this guy to be to shift X, right? We didn't need to show the stroke. Okay, so that's all we need to do now. And perfect now we now need to create these guys, right? To basically shift x and come here. You can see that it starts from here, right, goes here, down to the bottom here, then comes here. So let me do, you're just going to choose this guy then. Yeah, so we can also the same here. Adjusted this and this one also. Now we can just blend between our ships. Let's make this three shift X. Let these guys expand, transform, reflect a copy shift X perfect guys. So you see guys, we are almost done. If not done to work right now, the next thing we'll do is just add some of these to details. Actually we need to change these colors, you change them to this colorect. We just need to add some of these lit details. Okay, we have some beam of light coming here. Instead of recreating the availability to go in, copy this control C guts of the shape and control V. Now this one comes like this. It comes out from within the building like this, right click transform and reflect and then copy so as to create the other one that come out from the other parts of the building. Then for the other ones I showed you how I actually created these pimps. From the other ship. I won't be creating all of these things. Just copy them. Copy for this one it might not fit here actually because you might have different sizes of this cove square. Right? So I'm just going to refer expand the appearance here and control C, control and go inside of ship. Just use this tool. A ship like this. Okay. Make sure we have it like this. Okay, perfect. Next thing we do, we set ships and just join them. And then it give it the ingredient color, right? So I'm just going to sample the ingredient ingredient it up. We're just going to create one more. This one actually needs to be at the front. We're just going to create one more for the one inside to control. Just going to full screen mode, no problem. We're going to control C control and just reduce the size. This other guy, you can see that we have been able to fit it bit perfectly. Not to perfectly, but instead of creating everything to select the points here and extend them up like this, we can see that the gradient direction, or ingredient angle is not proper, 90 degrees to be perfect. Basically, we have not been able to group this guy. We've not been able to create our last and most complex beauty. I'll just select everything here, group them, conclude, and then select everything here. And delete it to go back to my normal mode. As you can see now we have our completes, our building complete. That'll be it for this video. The next video, we're going to be joining all our buildings and we're going to finish our design. Okay, we're going to copy some of these things. We're going to create some of these, okay? These little details on, for example, the ones, they are just squares which I created and then created the beam of light like this. These are little details. And also the humans here getting a deleted one I shouldn't have deleted. And of course the humans here. We're now going to recreate all of these little details. We're going to copy, copy, and Pete, be done with guys, that's it for this one. Glad you stayed till the end. It was a long one but we finally come to the end of it. Now in the next lecture, we're of course going to be adding everything into our complete image like this. Okay, So be it for this one. See you in the next one. 106. 106 Exercise 2 Digital City Isometric Design 7: Hello guys and welcome back. In this video, we're going to be rounding up our project. Okay, from our last videos, we were able to create all the buildings we needed. This video, we're just going to copy everything up. Okay, of course, we're going to be adding these other little details like some of these light beams that are going upwards. Okay? And some of these little details here, most of them will just copy them because they are quite simple to create and of course the people. Okay, we're just going to copy them. And bring them over here to the one we are creating. Okay. We won't screate them from scratch. I'm going to start with this one. Okay. The big is the biggest building or the most complex building rather. That's the one far behind. Also, we're going to start with it. Bring it, just arrange it here. Okay, let me bring up the ruler. Just try to make them align. We can see that part of this one part of the building, that the light beams are going upwards. So we can either reduce the light beams. Okay, I can reduce the light beams or increase the artboard. Just reduce the light beams with my direct selection to drag the points down to this, please. And I can just delete my guide. Okay, We mustn't make everything look exactly like this. Okay? But we're just going to try to achieve the look as much as possible. The next one will be this one. This one needs to be approved. This one you say we're just going to arrange and bring to front. And then try to just fit it in here perfectly, so this should do it. Then the next one will be this one. This one we need to also bring it to the front. We're going to have it here. I think it should be smaller, so we can just make it smaller. Then for this one, I actually want to make the lower side of the building go down as to cover the other empty parts of the art. As you can see here, we have it all the way down even though this building is actually helping cover some of the parts of the building. So I'm just going to take my direct selection to select all the anchor points below. And just pull down, she de this. Perfect. Go out. Then we need to take our next shh, which is this car. Here is our next ship's not really in front of this one. We can now do this. We can just select the both of them and re front. Okay, so that we have this one in front of this one, the boot of them physically in front of this one. And this one in front of this one, just like how we have them here. Just move this one to the right. And then this one, I'm going to just bring it down like this. The next one will be this building. Let's fix this building. This one, bring it here. It's just going to be behind this building. Just select it and move it to the right hand side. Maybe move it up or Ski it up. Skip. Let's move it up. Move it to the left hand side of Next one just down, perfect. The next one will be this guy. This one in front range. Front. Just fit it here. Fit in perfectly. I actually need to bring the lower parts of this building. We below the pot just like how we have it here. I'll have them here. We just double click to go into the ship or the group. And take my direct selection to select all the anchor points beneath them like this and click out. Then the next one will be this one. Select it. Bring it here. Luckily enough, it's already behind all these outliers. All right, just bring it up here like this, basically. That's it. Then we have this one. I feel we should increase the size a bit. Let me just compare it to this one we have here. We have to increase the size like this. This will do, bring it here now. We then bring this one. Arrange bring center back. Now we have then this one. This one will be around here. We'll move it to the left hand side. Yeah, and this look is perfect. And finally, we have this one. And this one should be here. Arrange to front. Just move it to the left hand side like this. Perfect. The next thing I want to do is to bring the human figures, the ones we have here. I just want to bring them, copy them, and bring them over here. So we will hold Alt and drag this one into fronts going fit. And then take this guy old and drag to the right hand side. Arrange and bring to fronts this guy holds and bring to fronts are bring fronts. This guy bring here and bring two fronts. Then we have this guy and this one can sell the boot of them all and bring them here. The rant fronts, basically. I think that's all for the human figures. Now, the last thing left are our beams, our light beams. We're going to start with this one. We're going to create them from scratch. To select your pen, come here, click. Click on. Basically we want to join it with this ship. We want to have a copy of this ship, give it a different color, Black. Need to just select this guy with my direct selection to control F. And then select this guy. We're going to draw this guy. We have to actually expand our ship to apply effect, to expand appearance. Then select this one. Just drain them. For this one we can just shift x to see beneath it. And then hit for hydro two. Sample the color here. Let's just like this. So that we can come and add the gradient field. For this gradient field, we're going to make this 90 for this guy to sample this color, this guy sample the whites. For this other channel, we're just going to reduce it to zero. Now we can delete this one. Then select the ship and just reduce the opacity of the entire ship. Maybe 606022 should do basically that's all except for these are the ones which are those simple ellipses with ingredients applied to them. You see the gradient applied, it's just ingredient between this color, this color here. That's the color we have here. And this blue which is the background color. Okay? And then the blue kind of feed so that it gives this illusion of the parts being behind the beam. Okay, The beam of lies. Okay, Let me just copy the background so we see what I'm talking about. Just copy the background. Like this old we can see that the background is also ingredient feel. Okay. Also ingredient feel. This is it, it's dial gradient. This is what I'm talking about. I, I made it like this so that we see that this place now looks like it's behind the light beam, right? So if it's behind the light beam, it's not going to be as visible as this other place which is in front of the light beam. Okay, so that's what I did Now I can just let this guy drag it down. Just reduce it. That's the size. One other copy down and reduce the size. Perfect. Now we now have this one. We see that this is just a cube. These are just cubes with light beams falling from them. Just hold in to the point. Then we can actually bring them to the front of our light beam. Here. We can select them. Then select every other thing. And arrange to front perfect, so that we can easily select them. And ubicatem basically for this one, for this guy we can just guys and bring them here, reduce the size like this. Perfect. Basically, that's why I did. For most of these other ones, I just duplicated this one P. Then for this one, for this light beam, this kind of control control expanded it like this to the down side like this. And then arrange to back Okay, range. Let's set the range park again. Then we just need to reduce the opacity. Perfect. This is what we are perfect. We actually need the beams to go right up like this. Ofectse other guys should do right up like this, maybe the size of bits perfect. Then this one, we have one other beam here. It's just going to be like this. We see that the gradient has been applied. We can just reduce the size of the opacity For this one, it's not the proper gradient actually. This other guy here should be this color blends like this. For this guy, this guy shift control X and then go into the ship and control go out. We see that it's down behind this here one. We have these other ships. Now these are these just an ellipse and just stroke with dashed lines applied. Right? That's what they did here. Just copy them. This halts the same thing here. Just let them halt drug. Basically, that's all we need to do. This one just going to, I feel like dragging it way behind. But instead of that, I think we can just do some other thing. We could bring this lotion here. For this one we have now. I think if we plead with the angle to work better, let's see, 135. Let's bring it to minus 135, not giving us the rest. Let's bring it to minus 10. Let's, let's use this to see how that's holding down shift and just using the mouse just to see how the hood movement will become. Right, Okay, I think something like this should be better. -60 -60 should work well. We can also reduce the opacity. Yeah, this will work well. It blends well. And basically, that's all we need to do to be done with our shape or with our design. Rather the next thing I'll just do is select my artboard to crop my artboard like this, like this and this. Yeah guys, that will be all. Let's go to view and trim View. And you see that we have not trimmed our board to our design or we have now trimmed our design to our key. Then just go to five. Export can just peg and so on and so forth. So basically guys, this will round up the video for us on this mega project which is the digital. Okay, this will come to the end of this lecture and also this module. In the next video, we should be taking an assignment and see you in the next one. 107. 107 Assignment 19: Hello everyone and welcome back. In this assignment, you're required to recreate or use the knowledge you've learned on isometric projection or isometric drains to create two things, okay? The first one will be a three deiommetric house, like this one we created here. Then the second one will be a logo using the isometric grid. Okay? You remember one of our post videos that I think in the last mode where we started learning about grids, we actually created a simple logo with the isometric grid, and it was more of a two D logo with the isometric grid. Okay. That was to explain to us that we can create both two D and tread stuff with Metric Crete. Okay? One of the assignment will be Tre D, which is to create this one, and the other one will be two D, which is to use symmetric Cred to create a two D logo design. Okay, I would love to see what you can come up with. Feel free to share your work with me and I'll try to give you my feedback. Yeah, that'll be it for this assignment guys, and see you in the next one. 108. 108 Make Animated GIFs in Illustrator: Hello guys, and welcome back. In this final module, we'll be learning about an emission. Okay, Now, this is more of a bonus module, because an emission is not really a feature in a Db Illustrator. Okay, But it's actually possible to create some sort of basic admission in a Db Illustrator. So these are very basic admissions, and we call them ifs. Okay, that's GIF, and that's the format in which they come in. In this module, we're going to be learning about an Emission and also we're going to be learning how to create gifts. Okay, so that's kind of what we'll be looking at in the first part of this module. Okay, now in further parts of this module, we'll be learning about more traditional ways, more professional ways of achieving an emissions by using some other software like after effects. Now I have a court on after effect, and you can check that out. But notwithstanding, we're going to take our designs in a illustrato and try to animit them in to be after effect. Okay, that's the next aspect of this module which we're going to be looking at. And with that, I kind of aim to give you a kind of basic knowledge of how an emission works in general and also in to be after effects and illustrator. Now what we're going to be creating, the gift we're going to be creating in this video, is kind of a logo admission. Okay, now we're just going to start by creating a new document. And I want my document to be in the size 1920 pixels by 1080 pixels. Okay, so this is a full HD preset. That's a full frame size. Now for this number of art boats, we have to put the number of frames we want to create. Okay, now I'm just going to put 30 here and I'll explain later on to 30 and create now we see that it has created 30 frames, 30 different artbots for us. Okay? Now I just want to give you the concept of how admissions are created. Okay? So you have an understanding of what we are trying to do here. Admissions work in this way. If you want an admission, let's see. Of this ball, this point, down to this point, okay, Along this path, okay? So it has to fly along this part, on land here, right? What has to be done is you have to create several images of this ball down to this point. We have one image here, the next image here. The next image, The next image, just okay, just like this and this and this, down to this point. And then these images are now combined together using a software. Using a software like after effects. Okay, Video software. They are now combined together to form a video. When the video please, all of them together like a video. While in the real sense, they are just different images coupled together. So that's the same thing we are doing here. Remember we have different frames right now. These frames are kind of a representation of what we're trying to achieve in an emission form. For each movement, we will represent them here. So from here to here, 12345678, like this and like this, like this. Okay? That's how animations work. That's the basic way of our animissions work. And I'm going to talk about this again when we go into how to be illustrated in the last video of this module. Okay, so I'm just going to import one of our projects and we're going to admit that project. Let's go to our module line, creating designs with geometric grid. Okay, then this logo design here, This is our grid sequence logo design. That grid sequence logo design. That's this guy. Open it. We're going to copy one version here. We're going to copy this version. Control C. Come here, control. Now this is our local design. We're going to centralize it and we want to create a gift for this logo animation. We're going to emit this logo and create a gift for it. I'm just going to close this original version with copy from here. And we're going to start to outline the kind admissions we want to create. Now we have 30 frames to work with or 30 images to work with. Each image will be a step further from the previous image. So that's how admissions work. The way I want to create it is first of all, I just want to have a copy of this guy here. I'll just group them then I'll just delete the right up here for now, and so that we work with this one. Okay, so let's centralize this one to the media like this then. How I want this to happen is I wanted to start from being very small and then just expand and keep rotating till it rotates to its actual shape. Okay, Maybe it's going to rotate a bigger size than its actual size and then just resize down to its actual size. I'm going to do this, so you can see we're going to start by reducing this guy to this size, okay? That will copy it. Or maybe even rotate it first like this, okay? This. Then copy it Control C and come here. Click on this next award control to piece it in place. You have to piece them in place. Then for this one you're going to increase the size of bit and you're going to rotate the bit. Then copy control and come here. Control then increase the size of bits and then rotate the bit. Then then come here and control increase the size of bit and rotate the bit. Okay, This is the mission we want to achieve. Remember, gives a just for simple kind of mission control. Click here, control F, then increase the size and thus rotate it once more. Copy, right? Both control F, increase the size and rotate it again. Copy, Click control, increase the size and rotate it once more. Copy click control, increase the size and rotate it once more. Copy click control, increase the size and rotate it once more. Copy click control, increase the size. And once more, if we want to cause a delay in a slowdown in our admission, we can duplicate the same frame multiple times. Okay? It will cause a Pus in our admission. For this one we'll include it again and rotate it and then we'll copy for this one. We won't do any adjustments to it so that we reduce the speed. Copy won't temperate it again so that we have a pause and there will not copy. And then and then we just start reducing it. Rotating it back. Okay. Copy control, Turn it back. Copy control, you see? Turn it back. Copy control. Copy control, I want to just copy control piece the same thing, so we have a slow down then then copy control. Then the last ones will move them like this, maybe increase them a bit. And just like this so that we have our text fit in here perfectly. Copy, copy again, please control and we'll just increase the size of bits. I think this will be the final size control control basically. Let's just delete this last two boards. We work with 28 to delete the boot. We're done with the admission of the logo elements of a logo icon. Now for the text on group, let's copy everything here. Let's control V. Let's Pete, let us group them once. Once we can centralize the control C, Let's centralize. Didn't group properly centralized for this one. I actually want the admissions see how it's going to look the same size. He let me look perfect. So let me just keep a copy of this. One of the mean, the complete text on the last frame. Okay? Now what we have to do is what I want us to do is I want us to have each of these texts, each of these characters scaling from little to big. Okay? Across our frames, we might really not even start from the first frame. Let's start this frame. Okay? We want to start from this frame. From the first frame. We might have some problem here. We start from this film because the size of this one might interfere with the positioning of our letters here. We can actually start from a film like this one where we won't have any interference. Actually, we can actually start from here, but then starts from a lower please. Right? So that when we are done we'll just move it up. I'm just going to do the cool thing. We're going to start from this guy here, or this guy here in the middle. Okay, we're going to start from this guy here. And then what we now do, we just, we just cut the ones. Okay, let's group everything. We just cut the ones and leave the first letter. Just cut them. Okay. You know what? Just piece them back. Let's copy everything. Let's copy everything control C. Let's delete these ones and then leave the first letter for this one. Let's just reduce the size bit. Yeah, let's reduce the size, then let's come here and piece control F. Then let's now leave the mean size. Okay, for this next one. Now we're going to reduce the size like this. Okay, then we're just going to delete this one. Then we're going to come here control, then leave the mean size like this. Now we'll now take from here and delete all of this ones and reduce the size of this one. This, okay, you get the point. From here, we'll just control F. Here was Q, right here, was Q. Here will be the normal size. And we'll delete this guys and make one small size. This, yeah, like this. We have EQ, have the U here. Control will now have the normal, this one. And have again come here and control. Then we now the normal C and E and just reduce the size of N. Then we now click control F, and we have normal. Now remove the last and reduce the size of click and control. Now we have normal. Now reduce the size of this last control and we have normal. Okay, let's now copy the holing once more. Control C, control the control again. Now for this, this one, I think we can do it from here. You can just copy this guy. Just move it to the top bit. Then copy control C. Control control this one. And control perfect this. We're done with our mission. We can now export them as frames. We're going to export them as separate files are from there on going to create our gifts. Okay, so if you are confused about the process, you can watch the video again. And hopefully you fully understand K because it might be confusing for beginners. If you're confused by the process, you can just watch the video again. But I assure you this is a very simple and straightforward process. Okay. Now the next thing for us would be to export these images. Well, first of all, I want to give a background to all our images. Remember they're both and there are no backgrounds. Presently, I just want to give them a background to select this guy. Go to copy, edit, and piece all boats. Just piece it on all at boards. We can then see that we have two copies on the first album, we can just the first one and select every outboard here and arrange and send back. This is what we want to do now. The next thing we do is export all our films. Put a file, Export, Export Us. We can choose PNG, We can choose Pec, whatever form we want to use. But the most important thing will be to use bots. Okay? So click on Userdb and all. So it's going to export them from the first Artbot to the 28th outbo to create a new folder. Let's call the folder gifts. Okay. Then go in. And now when we click Export, it's going to just take time to export all our images. Let's use medium, which is 150 PPI. Okay, so illustrated will take time to export all our images. And from there on we're going to use an online if maker or gift maker. I keep confusing the pronunciation. So we're going to use an online gift maker to create our gifts. Okay, it's done exporting. If you just go to your, let me just see something. Try exporting exporters. Actually export Unknown folder. I'm just going to export it to this admission folder. Okay, let me export it again. Okay, look, let's see. Give an admission. Use all our boats and let's use PNG and exports. And okay, let's see the file. We haven't seve the file. Let's see the file in this full time. Let's give it the name. Okay, good. So we have our films here, and if I just move from one film to another, you see the admission happening. Right? So this is actually how it's going to happen. Okay, perfect. So that's exactly how it's going to happen. So we're going to use an online right now. Go to your browser, and then come here to this website, Dof.com Okay? If you come to this site, you're just going to click here to browse your file. Just come to gift Ka. Come to the website, and then come to Give K. It's a free online gift Ka. You're going to click browse, and then come to the folder and select all your files to select them and click Open. When you click open, you're going to click Upload and make a gift click. And it's just going to take time to upload all your files. We'll give you the ability to create a gift from your files. We're going to wait for it to do its thing. Come back when it's done, guys. We can see that our images have been uploaded. We can see the first 1, second one down to number 28 here. Okay, we have everything set now. We do not need to change any other setting here. We have to range from one to this. And you don't need to touch with anything here, just leave it as it is. We now have this delay time. Okay, this is the delay time. We can leave it at 20. And basically that's all we don't need to change any setting here. And you guys just click on Make A Gift. And we just allow the system to create our gift for us. When we come down here, we see that our gift has been created. Now we see it clean, right? Perfect. Now we can see our gift by clicking on this icon. Now, it has now downloaded our gift. Just cut our gift and bring it to our our folder here and pieced it here. When you click in Properties, you see that it's a give file. It's a gift file. It opens with the photos. It's like a video, but it's not a video file. When you just click and then you're going to see it. Admit people use this a lot in creating ads on this very light web ads. Now we can see that the site is just 287 kb. That's the advantage of gifts. They are very light lighter than videos. The easy to use perfect guys. With this, you see how easy it is to create admissions with the help of Adb Illustrito. Now we're going to go into after effects in the next per lecture. Okay, next per lecture, so that we see how to create a proper logo admission in Ab after effects. See you in the next one. Bye bye. 109. 109 Prepare your Illustrator Project for Animation in After Effects: Everyone and welcome back. In this lecture and in the next one, we're going to be learning how to create a very basic logo admission after effects. And we're going to be using one of the files we've created. In fact, the last file we worked on, which is our sequence logo design, we're going to be creating an admission with it in a after effects. Okay, now in this video, you're going to be learning how to prepare your files for admission. After effect, you Illustrator files for admission in a after effect. I'm going to start by by creating a new document. I'm going to use one in 20 by ten TP and we're going to use an art board of 11 board for screen rasta effect. Let's just make this 300 okay, high, because we're going to be importing it into B after effect. B after effect. It's not a vector software like Illustrator, so let's try to make the Rasta effects high. Going to click on Create Document. This is our document. Now I'm going to import our logo animation, our logo design, that's the grid logo. Come and open the file once more and then copy the logo control C, control V. Just centralize it. Let's make it, let's make it big. We're going to reduce the size when we get into it, but we want to make it big enough so that we get very high resolution in after effects. When you want to create an animation from a file in Illustrator, there are certain things you have to do before importing the file into after effects. The first thing you have to note is the size of the file. Okay? So we can see that this is a full HD document that's ten by 120, Okay? That's the first thing you have to note, because it's going to appear in after effects in that size. Then the second thing you have to take note is the type of admission you want to create. Different admissions require different stuff. If you want an emission with different parts of the logo emitting more of complex animation, it means there is an extra work you have to do in Illustrito. The work you have to do in Illustrito is you have to make sure each of the animitting parts in separate layers. Okay? This part, this part, this part are in separate layers. Okay? Now the logo admission I'm going to create is more of that type, which requires our parts to be in different layers because there will be a lot of movement, a lot of complexity to a very good extent. Of course, also basic. It's going to be basic but also complex. A bit of sense, that's what we're going to be creating. For that, we have to enable our characters, our parts, in different layers. These are the two basic things you have to look out for in order to prepare your files for an emission after effect. Now I'm going to select my logo and then first of all I'm going to group my logo. I'm going to ungroup everything, all the parts. Okay, Now we can see that group everything here. Let's ungroup the characters. Also, when you're done on grouping, the next thing you have to do is to now come here to your Lia. Then click on your Lia. Go to this menu and click on a two layers build. Now we can see that we now have them released to layers. We can actually now select everything here and just drag them above our layer one. When we close like this, we'll see that all of them are in separate sub layers of their own. We just keep doing this. Now we see some of them are actually duplicated. Okay, what we will do is select the layer again. Come here, and just try to expand it once more. And then select everything, everything and drag them above that. We might actually need to delete a lot of things. Here we can see that some of these things are duplicates. Right? What would clean up our scene? Delete. Just keep deleting till you reach the last guy. This might take some time. I really do not understand why the error happened, that some of the errors you can come in contact with when you start using these options. I think we might just need to select some of these guys and delete everything in them. Okay? Just click here where you see the complete design. Okay? That's not single layers like this one where you see that everything from the Tom Neil is completed. Just click and delete. Let's just keep deleting. And for this one now that deleted one of our last object, we can just undo and keep it. Just continue deleting the other ones. Let's select the ones now. We see that we can keep deleting because we do not have some missing parts from the mean guys. Right, let's set the guys also. Delete. Delete. Delete. So we can see that all of these layers now are empty. We can select them and delete them like this. Continue cleaning up our project. Select Delete. We can see that this guy got deleted. Do, let's go to the next layer. We can see that we deleted successfully delete. You might not encounter this problem, but I just did. I'll just try to clean it up as soon as I can so that we can move on to the animation. I've never encountered this problem. Okay, But I think the problem is coming from the option I choose here. So you can either choose the release to layers sequence or release to layers build. Okay, Anyone you choose and you get this error, you cannot choose the other one. Now we can see that we can select all of these layers and just delete them. Now we are left with these few ones. Select, select, delete, let's sorry. Now, instead of choosing the other one, the other view, you should try to choose this one, the sequence you think it's going to do the job. Now as you can see, we now have these layers with these parts, right? Okay, This one seems to be problematic. We can just select delete, delete layer and continue seen. Select this one and delete, okay, And we can delete the Lia for this one. You can see that there are a lot of parts. Select the guy and select the guy. And it seems this guy is really problematic. But you know what I'm going to do. There's another way to do this. We can actually create the list them. Let's see, we switch these guys off. Okay, let's switch all of the ones that and just cut and then open the one with the problem. So this is another way of fixing it. You can now manually select the object using the direct selection. Two, click here and shift X. Control X, control X, right? Shift X and then control on the new layer, create a new layer. Now we can off this one, create a new lier. Click on the problematic layer, control X to cut. Click on the new layer, control to pit, then create a new layer. You can now off this one to see what you're dealing with to control X. Then control fit, then cretinulian control X, control of Cretinulia. Just keep doing that in case you are encountering any problems. Now we have the two letters here. These two characters, control X, control fits Cretella, the last guy control x and control. Now we can select all of this, this whole thing and just delete it. Now we see that we now have everything in our correct. Let's just try to check them and see if everything is working fine. I want to bring it down to this point. This is I want to bring it down to this point. Now, let's just check them to see if they're working correctly. Yeah, we see that they're working correctly. Now let's just check to see if the ships are working correctly. That's the ships, we can see that this ship has a problem. Okay, So it means they are duplicated here. Let's delete one. Let's now see for the other ones. Now we can just delete this empty the, you see that this one is problematic Also, you can delete one, delete the layer for this one, we see that they're problematic to, you can delete one, delete the lier also for this one you see they're problematic. So we can delete, delete the Liao. Let's look at this one. We see that everything is working perfectly. Now the next thing I want to do is I want to just arrange them. Arrange them properly. So we're going to start with this one, then this one is going to be on top. Then we have this one will follow. Finally, we now have this one third. That's for the first ship. The second ship, we have this one. This 1 second, this one as all of this is, so I can be able to identify them easily and work with them easier after effect. Now for the characters, we are just going to make sure they are all the right sequence, Okay, So we can see that this is the third character and it has to be after, right? Then we're going to have the next one, which is the U. Okay, and then the E. We see that this is the last. It has to be last here. This one should be the next. Yeah, it has to be after U. We now have before the last, and then we have N. Okay. All of this is just for me to be able to use them just the way they are. Okay. And to avoid confusion with this guys, we've come to the end of this lecture for us prevent our documents for admission in after effect. The next thing we'll do is just to see our project control here, we'll just see animation admission. Perfect. Now we see the next step will be for us to import our file into after effects and then create our logo admission in after effects. And that's what we're going to do in the next video. See you. Goodbye. 110. 110 Animate Your Project in After Effects: Hello guys, and welcome back to the cost, okay. Now we are in a B after effect. And this is A Be After Effect is the interface when you open Adobe After Effects, and this is the interface you see, okay? This is a after effect, 2022. And if you do not have Adobe After Effects, you can buy it from their website or find a way to download it and it on your computer and, and then, yeah, you can now open it if you do not have it or if you're not interested in learning it. This is not a composite part of the course. If you want to learn more, you can actually enroll on my cause on motion graphics in after effect, where we covered everything about to be after effects and how to create motion graphics to be after effect. Okay, now this is going to be a quick one. We are not going to take care of learning every single function. You're just going to do as I do. Okay? In case you are a beginner to be after effect, you're going to do as I do. I might not explain why I do some things that we're going to go first and try to create the admission. You see how to create it. Okay. So the first thing you do when you come to be after effects, in order to start a project, you have to create a new composition. Okay, that's the first thing you do. Come here, says create a new completion, and click here. Or come here to this point where it says Create New Composition. And click File, And then come to Composition, and then new composition or control. Okay, that's the way to open a new composition. If your interface is not set up like this, you can just come to Windows and Workpiece and then reset to default. And you're just going to have everything set. So I'm going to just create a new competition here. And now you see that we can now put the name of our composition and the size. Remember in Illustrator, we choose a full HD that's 1920 by ten ATP right now, this is the preset, and you can just click okay to choose the size right away. Now we also have some settings here for frame rates. Let's make this 30, 30 frames per second. A frame is an image, is, it means in 1 second of animation. The 30 images to fill in 1 second of movement. Okay, that's the idea of framed. Then for resolution, it's the quality of the work. The higher the resolution, the more graphically intensive the work is. So we're just going to choose high or full resolution. For here, there is a way to change it, literally. And then for duration, we see that here is the second. Here is ply 12 seconds. Let's make it 20. We now have the milliseconds, and we have the minutes and hours for baground color. You can click here to choose the berg color. We choose white. Okay, And then Create. Now this is our new composition. I'm just using my mouse. We zoom in. Zoom out, okay. Now the next thing I'll do here is come here to my composition and double click here. And then come to my folder, that's my admission folder. Click on the file, that's the logo mission file. When you click on the file, just come to Import us. Down here and choose Composition, Retain Layer Sizes. Click click. It takes time to import your file, and now you see that it has imported it as an blo set of file. Here are the layers, okay, in this folder. And here is the new composition it has created. If you dou click, you see that this is now our logo perfect. From here on, we can start animating our logo. What I want to do right now is I want to edit the size of this composition. The type of admission I want to do might go out of the boundaries, just come to composition again, and then Composition Settings. And I will now be able to edit this composition size for the size and width for the width and height. I'll just click here to lock the aspect ratio. It means you'll be resizing together. I'm going to resize them like this. And then click okay, and I can work with this. Okay, The first thing I'm going to do is I'm going to create an admission where all of these parts will be moving. Basically, we basically have the same thing here as this. We don't want to red, we don't do this over and over again. What we just do is we'll have this animitd and then duplicate it and route it to look like this one, so that we don't have to redo the whole thing. Now, before I start, I'm going to select all my layers. You can see all my S. I'm going to select the first one, then pull down Shift and click the last one to select all of them. Then I'm going to click on them and then go to Create. And create shifts from vector layers. Click here and you can see that it has created no new ships from the layers. Now I'm just going to click anyone like this, not just click, click and hold, and then drag to the most part. The second part like this, where you see this blue line appear. Click it to please and then release it. And we see that all the Lias are now brought on top of the vectors. Cannot select all the vectorlis delete. What we've done is we've created layers that are to be after effects. Understand very well from our existing layers. Okay, now these layers have been created to behave like a native, to be after effects layer. It means if you click on it, you to change the color. To change the color, okay, you to change the stroke and do a whole lot of things with this layer. So that's what we just did. Now to start, I'm going to start by creating a new null object. Now, a null object is basically a null object. Okay? It means it's empty, it's an empty object. And what we use a null object for in after effects is to control multiple parts together, multiple objects together. So that's one of the uses of null objects. To go to file or a go to new and the null object and we can see that this is our null object. We see null one, it doesn't have anything in it and we have to parent objects to it in order for it to manipulate the transform properties. Okay, now do is click on my null object. Then come here and click on this tool which is the pan behind to click on it. And then come here and click on snapping. Then come to this anch point where you see where you see this K, this. Click on it. And now we see that it's moving. It's moving now, just keep it here at the middle like this, where the vertical and horizontal intersect. That's what we want to do. First of all, the next thing, come here and select our selection to click, then the whole thing to this into this last perfect. The next thing we do is select our guys, first ones. First one you can select, let's be the first one. Select the first one and select this tool once more. And then D, the anch point apparently is at the middle. And drag it like this to snap to this point, this particular point, we snap to the other one, to the next layer, click here on the anch point and drag it also to that point. Finally, third one, the third layer, and click here to drag that particular point like this, perfect. We have all of them at this point and we also have our no object at this point. Okay, now the next thing I'll do is I'm going to just hide this. Our layer here, layers here. This is our part of the lore. Going to click here to hide. Click here and click here to fully hide. We're just going to admit this one. The first one we do is select all our layers here, and it R on your keyboard and come to 2 seconds. You see the timeline is the timeline, the timeline where our admissions will play on. You remember we selected 20 seconds for the duration of the admission. Our timeline is for 20 seconds. Now let's drag and bring to two. And then where you see this bell icon, this stopwatch icon. Click on it, while selecting the three layers. Okay, Click on it. And it's going to create this stuff here. This point here. Now these are what we call key frames. Key key frames. And they help us to create our emissions. Okay, before I continue, I just want to explain to you the types of emissions we have frame by frame admissions. And we have key framing mission. Now the frame by frame admission is where you are responsible for creating the frames of the admission. Like the one we just looked at in Illustrator for the GIF format emission that project we did and I think the first video of this module. So that's an example of a frame by frame emission because you are responsible for drawing out each frame of the Animisionka. You draw out each mode of the anmission, then bring it into a software like B Illustrator, sorry, like B After Effects, or a Premier Pro, or even that GIF maker, that gift maker like that we used. You can bring it into that software and then that software will be responsible for turning your images into, into a video. Okay, it's going to combine. Frames into a single video using your frame, using your frame. That's the amount of frames or images you specified for second movement of admission. If you understand that, that's basically it for frame by frame admission. While for key framing admission, which we're going to be using here, all you need to do is to specify the position or the direction or the rotation or whatever property you're trying to mit. You should specify it for different timelines. And then the software will automatically create those key frames for you by itself. Okay? So let me just explain of continuing with the whole thing. Let's see. We want to create, let see, we want to create a new, let's see, ship layer. We, a new ship layer. And we have this ship here. Okay? We have this ship with this true color in this field color. Now this is our ship layer here. When you hit, it's going to bring up the position properties for this layer. If you click here and then come to three second and then click on the layer. And move it here and move it to one other side, one of the location opposition. We have now been able to create a key frame admission. If we come back to our first location and then our admission, we can see that our admission moves from our first location to our second location. Now, that's a perfect example of key framing admission. All we needed to do was specify the positions for the first key. The first key, it is at 2 seconds, and then the second, which is after 1 second tifect creates this movement for us. We can actually explore these movements as films like we did with Illustrator. Okay, that's just for you to understand. I'm just going to a itself and continue my work. I'm selecting everything here. That's 123. As we now have our key frame created, I'm using the space bar and the mouse button to actually pan around my viewport when I create my keyframes here. The next thing I'll do is go to zero second, the start. And then, and select this guy, this rotation to for the two. I'm just going to no rotate them like this. Perfect. Then what I now is just mess with the positions of the first key frames here. So that they happen at different times. We play it happen like this, right? Perfect. Now, this is an example of a basic animation. Now we can just play around with them to see the kind of mission we want to achieve. Okay, let me just, let's now edit the position of these other ones. Perfect. Now what we want to do now is select all of them and right click like this on them, on one of them. And go to Key assistant. And then smoothens our admission and makes it more interesting. Now we see that it starts very slow in the middle and then slows down at the end. That's easy ease. If we come and click here, we'll be able to go to what is called the graph editor and then make select our key films like this and like this. This makes our key films very interesting. Makes our admission very interesting. Now we see that we've modified the speeds of our emission perfect. I'm just going to reduce the speed of our emission by editing our key films here, like this, moving them. And we select everything here and just make everything start on the first second like this, perfect, perfect. And we can do it some more modification of our key frames just to achieve more complexities. Okay? Using control Z to undo undo. I don't want guys. I'm going to settle for this one. We'll settle for this one pad one more time. Maybe we can just move or shorten our admission a bit. I like this. Now on the next thing, select all of them, then come here to this point to point like this. Then hit for Skill, and it's going to bring up our skill properties. I'm just going to click on this stopwatch icon again. Click on it. Then we see that three Qm have been created here. I'm going to drag down like this. Come and click here. And zero. And type zero. We see that all, um, have been edited because all our layers are selected and we have our ski value moved down to zero. We have this, I just want to bring this one a little bit further. Maybe like this. Just see how everything please out. I like the way the who thing is starting to look. We select all our key films, right click, easy ease, play to see what we have. Perfect. I like what we are having so far. Maybe I'll just play around with some of the to see what they can look like. Okay, perfect. I like this and we'll go with this now. We can close our layers like this and we know that these are the layers we worked with right now for this, our null object. What we're now going to do is select these three layers which we've worked on. Come here, away you see the Perente two. Okay, that's, that's this one. The drag like this and drop it on the null object. We can not see that all of these guys led by this one. If you move it, we now move all of them. Okay. Now the next them will be to duplicate our admission. We need to duplicate our admission. Now, let me once more, be very sure I want to proceed with this key filmed. I'm going to hit you all the key films would then appear. Let's play them once more. You know what? I'm going to reduce the duration of this one last key films. Reduce them. Perfect. I like what we have. So focus right now, we have to duplicate them and we're going to actually create another null object. Let's just create an null object when we're done duplicating them, selecting all of them like this, I'm going to once more come to edit, duplicate, duplicate, and control D. I'm going to control, then I'm going to bring the new ones above the old ones. I'm going to select them like this and bring them to the side key. Now we need to create a null object for them to file null object and it's the null object two, right? Now for this one we have to bring the null object here, right? Select the null object and bring it here. We need to actually centralize it first, centralize copy for the null object and then bring it here to this point. We then need to select all our new ships, and once we duplicated and then come and parent them to the null object like we did before, we are now connected to the null object. Now I'm going to just enable our original designs, our original layers for this part. And then try to fit our new designs, our duplicated shapes to fit like this one. Okay, why select my null object, my two null object, null object two? I'm going to come here to this two where it says rotation two and click on it. Now I will come here and just my keyboard is misbehaving. It's using for Z. I'm going to select my null object and just. It's going to be a little bit hard. Okay, so this will do. So now. We can just click on the null object and then route in order to eat the whole ships because it's controlling them. Select my selection to try to fit the new guys with the old guys. Now for the old guys, I'm going to do something interesting. I'm select them like this. Let me be sure I'm selecting them. I'm going to just for transparency or opacity. And then we use the opacity like this so that we just see them faintly. And that will enable us perfectly fit the new guys, perfectly fit the new guys in. Take your rotation to begin and rotate everything to look like the old one perfect. Now we have them perfect. The next thing we do is select the three old ones. We delete them because we don't need them. If we come and no play our admission, we see that our admission please. Perfectly okay. Now this is our new logo admission and we're still creating it. We're not done. Not done yet. Perfect. Now we can see that we have achieved a bit of complexity here because of all these parts that are admitted separately. The admit separately and then come and become one. All right? Perfect. Now the next thing I'll do is I'm just going to create key frames on minor objects. These known objects going to hit for rotation. Then come here to create a key frame here. Come here and do this sort, just undo it first, create a key frame here. Then come behind, not ahead and do this. Let's actually take backwards like this. I'm going to just do this. My takes on practice, my ticks on practice, I haven't achieved what I want to achieve. I'm just going to what I'm going to come here and create a keyframe here again by clicking on this. I'm going to now come to the middle and then try to make my, its, my adjustments in the middle like this. Okay, So let me just split and see what you now have. As you can see, we are achieving different versions of our admissions by simply playing around with our key films. Okay, I'm going to select everything here. Right click, right click, Key film assistant, and easy ease. Let's go to our graph editor, select this last key film and do something like this. That slows down and then settles. Perfect guy. So I like what we have so far and we'll just close the objects and then move to the next thing. Now the next thing will be for us to oh, characters. Right now, we just select them. We edited them by bringing them like this. Okay? I mean, by arranging them alphabetically, that's sequentially rather. I'm not going to select you because it's a special character. I'm going to create a special mission for it. And then we're going to jump to E, N C and 4.44 This one, the last. Okay, let me be sure we have them perfect. Now, the next thing we'll do, come to our first second, and hit for skill, and create a key frame here. And come to the second. And perfecting up like this. Okay, Now we can select all our key frames. Clicks and when we play, we see them scaling up like this. Now I just want to reduce the duration of our admission. It's too long, too slow, rather perfect. This is what we have so far. Then what I will now do is I'm going to edit their positioning. We're going to start with now we're going to hit, then we're going to create a key frame here. And then come to zero second. And the object outside like this, that's to the left hand side of the screen like this. Okay, Holding down shift, okay, So that we have a keyframe here. Select the wood key, frames, clicks. We have this perfect. Basically we want to create this for all the others. You know what I'm going to do? I'm going to select to copy this one. Copy, then bring it to the next character, which is this one. Which is, which is right to it. And then control V and then I don't need to hit, it's actually the position, it's not okay, just on D. Then it took me back to, before I added as. I'm just going to add as again. Now we see that it's on the position right now here. And then copy control. Okay, go to edit, copy, come to the layer and control V. Okay, now we see that it's pit on the right. Now come to this, the linh position, control V. This is now what we all have. Funny enough, mystic, I did, I shouldn't have Pistedll, all the key films because this key film, we just direct our characters to be in the same position as the first one. You know what we do while on the key films like this. Select the second one, bring it in front of the first one like this, and then select and bring it in front of the second one, like this in Pk. Perfect. So that when we now have it like this, we now have it in pace, right? For the other ones, we want the other ones to come from here. For this on the thing I would do is I'll just offset the alias like this by dragging them like this. You can do this or even do it the other way around this, all depending on what you want. I like this one better. The second version. Perfect. Now, we're going to work on, these are the ones. Okay, So we're going to This one, we're going to keep you. Yeah, we're going to keep you. And then work on and E. Okay. Now we're going to start on this. Now for this one we would want to come here, the key film, I'll just do something hit. You see the comparison between the position key films and the skill key films, Right? So there's no way to. Please my keyframes here, because this is key, the position will be a little bit smaller in direction. I'm going to select the letters which I'm going to use, that's the C. And then we're going to come here key and then create a key frame for them for position to hit. For position key frame. Then please just drag them like this. I'm just going to show you that bit. The first one, we start with the first one, drag it down to this point, holding down shift, okay, down to this point. Second one just expose them a bit so that we see where they are. I can as well. Just copy, I can as well. Just copy this key from this new one here. Okay, For this just and then just, it's for the other ones. Okay? Instead of just doing them individually, it's more easier. Now when I play, we see that this is what happens, right? And then now just offset our layers. We just offset our layers like we did. The other ones start by taking this guy, the first one behind, and then selecting itself them and dragging them behind. This select this guy behind, basically is what we now have. Okay, what next should we do? We have to select all of them here. Click in, Easy ease plea. You see what's happening. Perfect. We can just maybe reduce the tuition for admissions like this, like this. Just plea with every other thing, every other setting to what you would want to have to look, you want to have now we haven't worked on our U, right? U will just enable our U. One thing I want to just add for our U is an effect. To set the U and go to effect. Good to transitions. Linear linear wipe, lineal wipe, Venetian blinds. Okay, let's use Venetian blinds. When I select my guy, that's my layer, which I just added the effect to come here where you see project and now you see effects control. Click on this place. Now you see that we now have the effect we just applied here. All right, now we have the transition complete, the direction, the width, and the father for the transition complete. If we do this, we see the effects on it, right? You see the effect on it. You see the effect on the letter, right? Perfect. We can start now. All we need to do is come here, maybe come here, okay. And then come on Crete, the key film here. We can make this 100 and then create the key frame and then just make zero, okay? Selecting the li you'll need to see the key film here we just created here, okay, The boot of the click the okay. So let's see how it happens. Now, how it please out? No, now we can just reduce the duration and maybe adjust the position of this. Then let's select the layer it for position and let's even add some key Fm on the position. We will just bring the key Fm here. We'll bring the key from here and go back in time and bits. And just like this, okay, let everything click easy, Ease. Now hit you for all the key films and let's see how the arranged perfect Just play and see what we now have. Let these guys, and let's just play with you, is like this perfect guy. So I like what we have so far and just do some final adjustments here. Perfect. So I'll just leave everything it is and then go on to the next thing. Now we have to maybe adjust the last E, that's this one. Adjust it like this, it comes earlier. Perfect. Now we're done with words, with our characters. What I'll do is I'll select all our characters. Just combine them. To combine them. In order to group them or combine them, we're just going to right click and then come to precompose. Okay? You just have moved all attributes into new composition and then, okay, now we see that they are now combined into one composition. Now with this one composition, we can maybe just adjust appear or the time they appear on our screen. Okay? Instead of doing that, we can as well adjust the time logo icon animation appears. Maybe our logo icon should appear earlier. Okay, appear earlier before our text. Maybe you'll just, instead of editing the duration of the positions of this one, that's the text. I'm going to just select all our logo icon layers and just move them bit for the time appear earlier than we are appearing currently. See that the lug appears and then this one appears. Now I'm just going to the text a bit so that they appear after the logo appears so that our movements do not affect each other, okay? So that our eyes are not just scattered so that our eyes are focused on what is happening from one time to another time. Everything doesn't just happen randomly, just at once. So this is a more better approach to it. We have the icon admitting first, then we have the text coming. Perfect. I'm very satisfied with this. Now I'm going to bring my mouse here and drag this place like this. Then right click. I think we should even drag it further. Okay, maybe 10 seconds, 10 seconds, then right click. And then go to Trim Composition to work area. Now we've trimmed our composition so it's no longer 20 seconds now 10 seconds. And then come to Composition and the Composka. Instead of coming to competition, let's just come to our new competition, in competition one we created, and then go to projects. Now we see go admission. Let's drag it in here. Now we have our admission in our new competition. Now we can hit S for skill and reduce the size of our mission like this. Perfect. One other thing we can do is we can scale our animation or our composition. When it's at this point we can create a key film on our skill. When it's here, we just skid to see this size that we just have auto movement select all key Fsl'mjust. Going to do the same thing I did in the auto composition. I'm going to trim this. Trim comp to work area. Then one final thing I'll do is I'm going to make this feed out. I'm going to come to my nine second click here for capacity create the key, Fum here, then come to the last second and take it to zero and set everything right. Click Kim assistance. And A, We see what happens. We see that the mean animation happens. In admission. Please, please add and then we have a skisionbt skill admission. In fact, we sold. I think we should ad. Okay. We actually add easy to kid admission. I actually wanted to see. We add easy. There's one final thing we can is motion blow. It is the motion blow effect. Click on it and then come here and just go to your main admission. Motion Blow for all the, select all the layers like this and click here below. You can also go into this precomposition, that's the combined text layers and select everything in motion. Blow gives us some sense of realism. Makes our motion smooth. If I zoom, you can see the blowing as it moves. Okay, that's the effect of motion blow. Finally, we're done with our admission. I'm just going to Export admission. Just come to your main competition and go to File Export Add to render Q, click on Add to render Q. We now have this please opened, this is where we can render our file. Click on Best Setting, and we can choose different settings for our mission. Basically, I'll just leave it as it is. Then click on High Quality here. Now we can choose the format. Now it's going to, let's choose Quick Time. And it's going to export it as a quick time format, in quick time format. And then we can take it to solve like Premier to change the format to maybe MP four format. We can play on our phones easily and our computers easily basically is what we need to ensure here. Basically, leave everything the way it is, then come here to output, to click here, then you then go to your file, to your folder, and then name it's animation after effect, and then just click save. Then now all you need to do is to click render. I'm just going to click Render. And we'll come back when it's rendered. Yes, guy after effect is done rendering our animation. If we go to our folder right now, we can see that this is the file. This is the file. Okay. If I play here, it might not play because I think I do not have quick time per installed. But all we now need to do is to go to Premier Pro. So I'm going to open Premier Pro and convert it quickly. Okay, let's open Premier Pro. Good guys, this is now our project. The next thing I'll do is go to File and then go to Import. Okay, I'll just come to the admission full line, Select the file here, that's the logo admission file, the Quicktime file, that's the MOV file. And then click Open. I'm just going to take time to import our logo admission. Now it has imported our logo admission. All we then need to do is select it, right click, and then go to new sequence from clip. Now we have a new sequence from our clip. From here on, if we have music, we can add music to the background. If we do not have music, we can just go then to file right away, then go to export, and then media. Then here on the media, you can see that we have a preview of our admission here. Okay, now we can use this format, this Itch 0.264 This is the empty four format. For preset, we can just use b tweet. Then for the output name, we can click on the output name. And then go to our location and make sure it's on our location and saved on our location. To save. Then basically that's all we need to do. We can choose to render at maximum depth. Basically, that's all we need to do. And then just click Export. Now we see the potential size of our file which is 12 MB as compared to the initial file which is 29 B, that's the quick time format, it's 29 MB. By exporting into MP four format, we reduce the file size of our admission and that's good export. And just wait for a prima to export our project perfect. Now our project has been exported. Now I'm just going to go to our folder and you can see that our project, it's not even to 12 MB, it's just 5.43 MB. Now you can delete this guy. I'm just going to close primping to save it. And I can now delete this one. I'm going to plead my admission and we'll see how it please. Okay. This is my admission. This is our admission. Simple, clean and sweet. Perfect guys. That's how you create admissions in a after effects, that's using your dub illustrator files into after effects and then creating admissions from them for this one guys. And all the files and folders will made available for you, so you can follow along. Okay for this lecture guys. See you guys in the next one, which should be the conclusion of the course. Bye bye. 111. 111 Conclusion: Hello guys and welcome back. Now, this is the conclusion, the last video of the course. And first of all, I want to just appreciate you for taking the course. Okay? I want to appreciate you for choosing this course out of all the other courses I would be illustrative. Okay. Now, that's very important to me and I appreciate that very much, and I don't take it for granted. So I appreciate you for taking the course. Okay. And then I don't want to talk to you about how to improve your skill, okay? Now, that's very important to you as designers, okay? And why? It's because design is a doing thing. It's a doing thing. And you have to improve to get better, okay? Actually improve by doing, okay? By doing and spending more time around design. And by just doing it over and over again. So it's very important and one thing we design is design is a dynamic thing, okay? One thing could be trending today, tomorrow. The next thing could be trending. You have to always update your skill. You have to always update the whole thing, okay? So that's one of the most important reasons why you have to improve your skill, okay? Now, the first way to do, to improve your skill is by practicing. To practice, and practice, and practice. If this is actually the first time of coming into contact with design, then you have to practice, okay? I have over seven years of experience in this field. And up till the day I still design even if I'm not going to be paid, okay? Sometimes I just do it for leisure. And that's why you have to really have passion for this thing. If you do not have passion for something, you're not going to find yourself doing it even when it doesn't pay you. So that's why you have to have the passion for it and you have to just keep doing it to get better. And then secondly, I will advise you to kind of watch the course again, okay? Because if you watch it again, you are going to gain more knowledge, okay? You're going to solidify your knowledge and experience on the things we've covered. And you're going to kind of refresh your memory over and over again. So if you go through the course again, that'll be perfect. Go through it even twice or three times. The more, the better, the more, the better you learn better. And you master the skills which have been taught. The one other thing you have to do in order to be able to stand out and improve in your skill is to go online and look at samples, look at designs, join communities. Okay. And look at what other designers are doing. I have just two of some of these communities to show to you, even there are a lot of them. One of the many others which I'm not going to be looking at here, we actually used in the cost to look for concepts. Okay, Now that's our Pinterest. Pintres is quite a popular one, so you can check out Pinras again and you get concepts. But the ones we're looking at here are hands and ripple. This is hands and this is ripple. And you can really get very cool designs on these platforms. And I just search for illustrations. Now we can see some illustrations here. You can see them. We can find logos. We can find a whole lot of things D stuff, branding, posted designs, logo designs, even animations we can find on these platforms. Okay, You can just look at the very nice artworks. When you do them over and over again, you're going to master your skill. Okay. This is, this is hands, it's owned by B. Actually, you actually need an BID to login. I don't want to log in right now, but I have multiple accounts with them. I guess. I have two accounts for Dribble to portfolios rather. Not just accounts, but portfolios. You can create an account or a portfolio with them and then also upload your works. When people search, you're going to see your works like this one we're seeing right now, we can see very cool illustrations. Let me just open this one. Very cool illustrations. All of these have been created by designers. Really amazing people, really amazing designers. You can see this is drone, it's also drone illustrations. Very nice talk guys. This is one of the leading platforms. The two that's behind and drip is also very good. Mostly for designers. For graphic designers rather than illustrators, but for hands, we even have three D designers doing crezyingsre three D engines emissions. We have a lot of things, not just illustrations and they're also big on illustrations. We can see the very cool illustrations all here. So you can go in, pick up some concepts, we do them, see what you can come up with. Create your portfolio. Okay, Create your portfolio so that you can show to clients. Clients will always like to see what you've come up with before giving you work. Okay. So this is hands, you should check hands up. This is B, also is also a good one, very big one. And you can also come and create an account with hands, sorry, with Rib. You will be good to go guys. These are two platforms I just want to share with you. Then finally, I also want to look at one more thing which is how to sell your skill. Because that's very important. You under learn a skill and not learn how to market it, right? You have to learn how to market it. Now we have online market places like fiber, like freelancer, like work. Let me just come here and search for five key fiber is a very popular one. We have upwork, let's come. Okay, we have, we have upwork and these are platforms where people sell their skills. Okay. The person we designers, writers, all of these guys, they sell their skills for money. Okay, that's on fiver and upwork. There's another one, freelancer. I really have had my share of experiences with all these platforms I sat with, FivinI said 52015. Okay, 52015. I made a lot of jobs, but at that time, fiber was really paying very little. I wasn't getting a lot of money. I was paid as little as $5 I think I got paid per job on five was $15 When I started, I now got introduced to freelancer. Okay. Now got introduced with two FelancI, think after a year or two. And then I now joined Freelancer, Freelancer.com This Freelancer, I joined freelancer and I said making money. The first job I made on freelancer I got on freelancer, covered all the jobs I had been getting on fivbandonmy fiver account. But years after, I think fiber improved. I am not on favor presently because I deleted my account and I moved to freelancer and later to upwork. But what happened is five upgraded their services. Right now, people are making a lot of money on Fiv. You don't have to charge very little if you go to graphic design. Let's see logo design, you still see people doing logo for $5 okay. There are people who are making a hell lot of money on logo designs, even it nats little as logo designs or a saturated as logo designs. Okay. You can see the guys $20 $15 $15 $400 $400 This is all for logo designs before. Most of the ones you see are just $5 $5 You don't see anything bigger than $5 That's as of 2015 when I started. They just improved their whole game and they are one of the biggest in the market right now. Pork is another big one, okay? They also make money on upwork and freelancer. These are just sites you should look out for and join in case you do not know about them. You also get jobs on platforms like Facebook. You can get clients on platforms like Facebook. You can advertise on your Stattos, so on and so forth. You can create a website. Right now, most of the jobs I get from some from freelancer, and most of them are from my website and from the people I relate with. Okay. So I'm not really on favor right now, but for these other ones, I'm on freelance and work. Yeah, I can say they're really good platforms. Okay. But I don't just depend on them for my jobs. Okay, For the jobs I do. I don't just depend on them, but I also get jobs from them. And that's it for this section. I really would love to see you excel with the skill. Okay, just join these platforms, build up your skill, learn more and practice, and practice, and practice. I'm sure that if you do all the, the sky is your starting point. Okay guys that we rounded up for this course see you some other time. By.