Vector Illustration 1: Drawing Dogs & Animals

1. ! INTRO dogillustrations: Hi, My name's Brian White. I'm an illustrator and designer from Lawrence, Kansas. I love to create many different types of illustrations. I want to teach you how to draw dogs and animals using a tried and true vector illustration method. This technique is easy to learn, so I wanted to share it with you. This class uses Adobe Illustrator, but other vector software will work as well. We'll walk through steps for tackling each part of the drawing. The beauty of this technique is that it confused in portrait's and other types of illustration. My hope is this class will give you one more tool toe work with daily. I can't wait to see what you all come up with, and I hope to see you in there. 2. Setup and matching styles: welcome to this class. We're gonna be drawing animals, basically dogs right now with vector and basic. Where you were just using illustrator Just using amounts are not using procreate or anything crazy with apple pencil or anything. All we need is illustrator. It could be an old version two and a mouse. Obviously, you can use whatever you want for mouse, for instance, like a pen tool on a like a comb, tablet or lack of however you say it. But we're going to start with this large dog, and I want to show you how I set these up and just produce it. And I'll speed up parts that might get boring, Teoh and just focus on the specific areas so that you have the tools to build other animals or even people. But this will be a good practice to get a good base illustration for other projects that you can drop into Web design. And for this one, I'm doing a package design, which I'll show you as we go. All right, let's get started. So to set up this this file, what you want is to bring in the dog, and it might feel like cheating and be like, Oh, you're just tracing. But the idea is that we're going to use a squint technique that I learned in art school long time ago, and you're making decisions to match your style so it might look different than mine. But this will give you a base to keep going and to Bernice illustrations pretty quickly and kind of sky's the limit, especially with factor. You can scale it and chop it up and move it around and do all sorts of fun stuff. So So we're gonna go Teoh our guides and grids in units area. And so, obviously we have inches usually at the start. We're gonna go Teoh file documents set up and at it art boards, so you can see it's in inches. Right now, I like to start with, like 12 by 12 and just just for size and having to scale in a little bit. And just for point purposes, stuff like that. So and then I usually just kind of center it. Some some of them will have backgrounds, you know, obviously with the photos. But this one just get it close, and then I walk it so you can see this is the base, and I lock it. And then I go to document setups, file documents that apps go two points and then, um, say, OK, so that will be a little bit easier when we're using the pen tool, which is this is a pentacle process. So, um, let's see. Now we want to go to view hi dart boards, and since the background white, I just want to kick it toe white. We can scale this any size you want later, which is beautiful. But what we're gonna do is make sure that we have our base locked down here, and then we'll just start clicking on a new, uh, layer. So we're gonna call this a large dog. Sometimes I'll build multiple dogs or animals on the same file. There's a lot of points in these, and it gets a little bit heavier. Not, I mean, not super heavy as far as file size. But in case something happens and you delete it and you don't have a backup. I like to build these in separate files. So I've got the colors that these are from the package that were that this dog will will reside on, and I'll show you that in a second this dog will be a little bit more. I would call it realistic, and some of the other dogs are a little bit more cartoony or less detail. So what I'll do is I'll show you just briefly. A few of the others have done. And so this This is a very simplified version off of a dog, and you can see there's only a few different colors like this on. Lee really uses, like six colors and these air beast shapes. But the idea is that when you get back a little bit it it reads like the dog is three dimensional. Same with this poodle, so you can see I'm going up close. You can see the eyes aren't perfect perfectly round, which I've tended to find out that if you have a perfectly round I, it just doesn't look for help. But you can see even on the nose. There's only one highlight, and it's it looks like a jumbled mess, but then when you back up, you have a nice feel to it. So this is the next style, which is a little bit stronger are stronger, more detail. I mean, even in the I can see that there's some waves and all sorts of detail. But as you as you scale loud, you start to get a sense and feel of that dog and the style of it. Um, this is obviously almost black and dark ray with, like, a high contrast dog, and this is a little bit tougher with this great Dane. You're using a lot of lighter colors in. You can see where the light is hitting him on its nose, and it's more of those decisions that you're making is as how much phone you want in their mouth or just some of the different variations where some of its sharp some of its round. But the idea is that when you back up, you get a real sense of that dog. This one was really tough. This lab, you can see when you're zoom into the eye, you really aren't going pretty detailed, and you get a sense of where they're all those shapes air creating and you have. And actually I think it was on the Great Dane that I took it out. But you could see the photographer in his eye. That's a detail. That picture was It was pretty crazy. But I like to start with the eyes or do one eye and keep moving forward. If I get bored in one area, I moved back to the other. I just cause it's you really want your call to action for Focus for the dog to be on that on those eyes. So this is a black lab. But if you did it all black, it would get really flat quickly. So you really have to focus on the darker dogs to get the sense of, you know which which part is working. Which part isn't so And this is the last one I did, which was super hard. And this, thankfully, you didn't have to go through this one. But all of these hairs and step just released. You get a sense of that for and how they move, how it moves. And I actually had to come back in here and click a few different colors. Teoh really get a sense of that shape for him, and I'll show you where he's residing. So this is our file that I'm working on, and so This is the small dog in there, and I actually built out the base body all the way so I could use it in, you know, just a show illustration style. But the way that this box is built, you can see the clips and cuts that he'll slide behind this logo really nicely. So the client picked these These photos and I think they were pretty well, you really want contrast between all three products, so this would be small, medium and large. So this is the large dog were using. And so these air the colors that are primarily used and then the branding that did last year just keep building on it. So this is an A bug off. Naturally. So it's a natural base product like a spot on spot her, like this squeeze on tick tick products. So going back to here, you'll quickly see why I did this because this is the main color, and then that this is actually the more than this is used more than this one. So I'll just push this back. So these two colors, you really wanted to work well, but I mean, honestly, if we're using these based colors pretty close. It'll look great with that dark green. So this that's it for right now, just set up. So we'll get started and start on one of the eyes and some of them with patterning styles. 3. The nose: So let's jump in and create a new layer for this dog. Will call it a large dog, not walking through some of this process to get a nice looking illustration. We're gonna work pretty close. I think the idea is that you want you want to feel comfortable and But if you get too close , you get too much detail. So since this is going to this illustration is going to match with some of these other ones . What I'm gonna do is bring this last one over, and I like to have a few a few illustrations next to it. So you get a sense of how it might work with the other one. So making sure that they match on the style. But if it's your brain and your doing this, uh, on and it will be your decisions, So it will be similar to this one. So some will walk that file, and I've got the large dog here and you'll see why I'm trying to go a little bit faster for you. So don't get bored. So you get the idea of how to do it but not watch the entire process. What? I'm gonna do is zoom in about here stand. I want to start with the I so all prize human even more. But what I like to do is if there's certain layers that will be hard to work with. If there's too much going on, I'll I'll do that above. So obviously the whiskers would be above and then the base down below. Sometimes I'll do the eyes above for this process will just have the whiskers on a separate layer. I think eso you can see if I cook the whiskers that I've already done a bunch unlock it and I moved back and forth sometimes. So the idea is that you want to do it quickly and make sure that you're not building on the wrong layer. So I don't want lime green. And right now I'm just using white. So what we'll do is change it in a second. So I'm using the pen tool and clicking and dragging to create a line. The stroke. I had it set 2.25 points pretty small, and you can jump back and forth by hitting command V Command P. So I'm in hit um, command. Uh, it's saving a lot. I was hitting command p for print, but it's the pen tool is just p sorry. And then going back to your selection tool, which is just fee. So I had V. Now I hit p again and I could go to a new line, click, click and drag and just get it Sonic close. V P. Now we could do one. And sometimes I just skip the ones where I don't want another. You know, if that it just feels like too much, we're not trying to make this a photo realistic illustration. It's just the feeling of it, VP. And that one kind of looks odd because it's so straight. So sometimes I'll just fake it and get the s nice little s curve VP. And so now that these air all in here, they're not all white. Obviously, I think we need one there. I had this last one, so we've got almost all of them, but we'll get there. It's a VP. Okay, so now what we're gonna do is select all of these. And what we're gonna do is is select this. I have the details selector on which is helpful. So that's almost That's close, and it looked messed up because it's finding the fill. But don't worry. So what we're going to do is select this color and go a little bit lighter. Okay? And now just flip it and it went to one point. So we're going back to the stroke. His 1.0.25 So that should be good. Okay. And now it will do is lock the whiskers. We'll turn him off for now. So weaken work on other stuff. So we'll go to a large dog. And now we don't have to worry about all that stuff. It's going toe show up later, and we might even make it a little bit less light, you know, so that it blends in a little bit more, but at least we've got on a separate layer. It's nice, So let's start kind of just with the nose, make it a little bit simpler. So the idea is that you're gonna squint one I or two. Sometimes I use just one. But the idea is that when you're squinting, your I kind of makes a contrast of the image, and you could go into Photoshopped and, like, blow out the contrast stuff and like make you know, do layers and make it super contrast ing for each layer and all that. I like to just flow with it and do it off of the photo itself because it feels more natural . And that's the style I have. You can go the other way. We're you go into Photoshopped, take the photo hit command L and then hot, highly contrast or ah, color select to. But that would make away more cartoony dog and sometimes a flattened pretty quickly so I can see that there's like, two or three shades. And usually I start with the dark, and what I'm gonna do is just use my pen tool and click and drag. And the idea for me is that it's not gonna be perfect, and that makes it feel like it has a little bit more energy to me. But obviously don't want, like, really bad von, which could would would be like cringing with really bad, uh, pen, pen marks. But a lot of this even I don't even curve on some of these. So when you have your base color and I'm gonna simplify it and used black and here. So I'm and sometimes I'll just click and not even make it like, perfectly round, because it just I like that feeling of it not being perfect. And you can see that this is pretty pretty dark, too. So getting some of those curves in like I just did And this this portion here, So this one's a little bit lighter, but I'm gonna go ahead and do that too, so you can see that it's it's darker on this side than this. So the light is coming from the sign, So OK, and so now we've got this shape here, and so this this kind of dork darker area. So I honestly just start grabbing that area and thinking, Hey, I'm gonna go ahead and just have this all one color, but I'm going to let the bottom part of this right here be a different gray. And so now this is the cool part is you can actually just cheat really quick, not she, uh, that's not cheating. But the idea is that you can you can just a short cut behind this, because this will be behind the black. So I'm going to go like this there. So once you've got some shapes going down, you can select the ones that you want all the same color. And And the idea is that you want to simplify it to like three colors, probably. And this color will be the same color as this color. It's like a dark grey. So this black, what we do is you click the Eyedropper tool, which is I and you select this color here. So that's all black now. And we're gonna look for other pieces of this, this shape, and you can get kind of anal on. You don't need to do that and just keep moving and then clean up as you can. So when you flip these the reason why I started with 12 by 12 it's so that this one point stroke gives you some options to be able to see what's in there. So I do like a little bit more detail on the nose is it just just looks better to me and and it's a focal point to So I'm just getting this dark, Grady, and I'm in a select. This is the part is like first selection. You might hit this light bump, and that's too light for it. So you really want to get kind of a medium part, like we're instead of on top of the bump, your hitting like, just to the side of it? And now what I'll do is is eyedropper tool. You're like, that looks horrible, but then jump it through. And since this will be, it won't be blown up crazy, big than that works really well. And this might be a little bit light, so you can always flip back and and try it again with a little bit darker. See, if you get like a room, you're like, Oh, that's not good. But the idea is that you there you get a sense of the the whole color and it's kind of hard sometimes that simplify it down to one color. But that seems to work Well, um, and sometimes I'll be like, No, I need to add this to So when I'm squinting, I just added that on now, this is like our second during medium grey. Okay, you can see. And so I keep flipping it so that I can see what I'm doing. You could see where I'm going now. where this this portion, it'll be kind of interesting. You get some kind of fun loops going on and your mouths battery might burn up in this because you click so much. But the idea is that you don't want a ton of ton of dots or points, but when you when you have, like, little details, you'll get a little bit more points than normal. Okay, so that's this one Something. Yeah, that was good. Something read you that. Let's go back so you can see you've got some subtleties going on. And this portion now you can see I'm using straight line since it's going to be behind. And it's kind of hard to like, squint and talk at the same time for some bricks Que and that little bump, it's like it doesn't it doesn't matter. So this all is that same color, but Okay, so this is a good example. So you've got this kind of darker grey here, but there's there's a couple of details I don't want to leave out that that you that you can add while you're going, because this is just a little bit darker, Okay, so you can actually punch the sides from. We'll get into that, too. But what I'm gonna do is select this guy and click there. Yeah, it's a cool grey. So sometimes you can do this where? Well, it says warm. But this is way warmer. Um, let's just warm it up by dragging this down a little bit. You can see you get that nice a variety of grays. So now we're gonna go for the light, agree? And so now, as you're diving in further, you can go a little bit faster. And before I forget to do that that side piece of Mina make sure punch this down, okay? And then if you if you get some layers going on, like where this one needs needed, there's enough room right there barely to hit that color. Or you can select one of these colors to kind of mimic what's going on. You might have two or three layers where you have to just outlined really quick. Just flip flop These So now we have the really chunky stuff, and you can go even were detailed in this. Where there's there is a slight halo here, and I think I might do that actually, just since we're here, it's It's so slight. But it just adds a little bit of dimension for that highlight on the nose. Okay, so I'm gonna try and hit the top of that. Those bumps. You don't need all these bumps. That would be a realistic drawing. We're just doing an illustration quick, so I'm might trying hit. Yeah, punch it back. Okay, now we have the edge. So it's starting to get, like, where This, you know, this is dark here, but this is starting to get for. So what we're gonna do is look and squint at this gray here. Make sure you are on outline and getting these like zigzag patterns, but not perfect is really helpful. So I think what I'm gonna do is is keep going. You can see that there's, like, this shape here. This is the hard part is like making your shapes. You might have to redo it a couple times, but what I'm gonna do is jump up here and we'll do that later in just second. So I have this kind of outline. Now, this is less Harry. So it's like you kind of stick with it. Where you stick with shape and less of the bumps on the zigzag pattern and saying that it's partly for just by, like, doing a couple of these things. It really helps in the long run, but you can see this isn't the same color either. So I'm gonna jump down here clips too far gonna capture that. Okay, so now we really want that all these different greys to be one gray. So this is a warm great, and this is a cool grey. But since this will be cool, I think we'll just kind of hit it up here. Things don't work good. So you get a sense of how quickly you can create something. And if if you're you know, if you miss something like this over here, I'm gonna hit that down. And this might look funky, and we might change it to this one. But the idea is that you're getting a sense of where where you want this to be and how detailed you want. So what I like to do is zoom out looks cartooning right now, but the idea is that but it looks right that, um, that you won't want just enough detail, but not too much. So we don't. We probably one is start zooming out now so that when you're working with this next layer, it will be less and less detailed as we go forward. So now I mean, some of these where you can go all the way down. It might be a little too crazy, but what we're gonna do is just work on that light like a shadow. So now we're starting to get into more of the Hey, what do I take out? What dough I leave in? And so this is the light here. And sometimes I just like That's two goal. That's perfect. Okay, so now you can see God knows here. Yeah, choosing mouth looks kind of wet and working, so we'll jump into the next 4. The eyes: okay, and we're back. We're going to look at the eyes now, and these were a little bit more simplistic, which is nice. Let me show you a few others. So we're going back to the more simplistic ones. And you can see they're not these air more perfectly round. But there is this nice, um, I don't know, like gray purple that really, like, outlines this and you can see that the dots inside aren't perfect dots. They're they're matching. What's more in the photo saying this one is a little bit more ground on this side, but less on here and said, Now these air, the more detailed versions So you can see where what we did or what I keep saying we it's me, is that this this cut really makes the sense of that secondary glow in the eye and looking up close. It looks crazy. You know, it doesn't really look like an eye, but you can see that there is this background shape than this peach and then tanto two different tans. But these are just different versions of this, this color so that it's really reading it correctly. And so look at the difference between this eye and this eye, and I can see that I missed a couple spots. A lobster fix. But, um, the eye on the right is, you know, completely different than the left. But when you zoom out, you can see that the light was hitting him here and here. But this isn't shade. So reads correctly. But yeah, it's pretty fun just to see how messed up that two slicks different. So I'm gonna have to make a note to go back and fix this. Basically, why Pride do is select this color here, and I just go ahead and do it even though we're not on this project and then move it back. And then if I want, I can put connected to this color and just merge it with Pathfinder, Okay, So let's keep moving and show you this one more detailed, and you can see the highlight is in a different like the I was more moist, actually, So it's a little different, and you can see when the angle is hitting if you're trying to match it so that it reads correctly and it really has a lot of life too. So this one. These are all different. This one has a lot of detail. There was, like, this specific, Um what do you call it? Like a like an overhead light that was creating this pattern. And when I had it all this blue, it just didn't work. It didn't look right. And so I matched more of the photo and you can see it's just not perfect. But the idea is that you kind of back up and see Hey, he looks like a nice little Chihuahua, so you can see that the right and the left eye are very different. This one is pretty dark. You can see the light was coming from this side so that the for is lighter here and here. And then this. This one had, like, a specific overhead life that was more rectangle. And this is darker, so you can see the lighter blue is hitting here on the on the I. And even though this is coming out, when when you back up, it reads, Hey, I'm I'm inset this area. So what we're gonna do is jump into the golden retriever and I had a Belgian tavern, a sheepdog that they're really cool looking. But if you're not used to him, they look like wolves. So I miss him. So All right, so here's the eye and we want a zoom in a little bit closer than normal, and we're going to squint again, so your eyes might get a little tired from squinting, and I'm going to make this outline. And since I'm really close on my stroke to be like 2.1, so it's just just going to show basic outline and not have to fight that how thick the stroke is. So get this black. And since the black doesn't go all the way around, I like Teoh. Um, curve this this end and not bring it all the way across. And this is darker, dark brown. I don't know if you can see it, but this is black, but this will all be black and they have some jump ins. But we're going to keep going, and I think that's the shape because I want a little bit more detail. I'm gonna have a dark brown on the right side, so this has a little bit more of the a smoother transition, so we're gonna just go ahead and select that. So now this is solid. So we're gonna hit the P. Now we're back to our, um, pen tool. I'm gonna start behind this, and this will be this dark, and this is kind of annoying. I just come in and hit point, and I could build a little bit larger, but usually overall, this is a good size. So you don't want this on top. You do shift command left bracket. I should have said that earlier. Is you're gonna be moving these layers around quite a bit. So we're gonna come back here, do the same thing. I just kind of come in here 6.1, quick, and this will be actually, Yeah, I want this to this To be differentiated from this dark kind of gold color because that's the eye color. And I really like that. And I want that to be separate than this so you can see out. I'm just kind of grabbing some of those shapes from squinting. And I've been doing these for a while. Self, You know, I'm getting better. It's like not having to squint. So Okay, so you can see that this really dark and this is darker, but that that undulation of color. So I just jumped this back. I was trying to think, Yeah, I'm not this above. So I said, shift command. Right bracket. So now we'll come in and do this. I part and you can see that it's kind of model. So I'm going. Teoh, go here. 0.1. Don't worry. Don't to do that the whole time. You can build the file like 24 inches high. I just I'm just used to this, So Okay, you can see that that we're grabbing all that color, and then we're gonna come down and have that dissipate out. So now we can just not have to worry about the The edges are going, Teoh close that And I'm trying to decide if I want to put these in, but I'm gonna go ahead just to show you. You know, as far as like, if you're squinting, you're really seen a little bit darker version here. So sometimes I'll work with both of these as outlines and then use this one first and then shift command back. And then this one, we're going to try and find the right color and usually it's actually, that's really good, because, um, you don't want to dark. You don't want to light. You just want it kind of in the middle. So going to redo that shift commands left bracket, push it back and work. So there's this little blue kind of darker area here, Dan, that you can't see it. One. Yeah, So I'm gonna select that. It's kind of blue. I don't think I hit the blue there. And that that adds that that realism to the I even just a few of those really helps something. I get the slider tan here, you can see it. It's just doesn't have to be perfect. The idea is that he wanted to have some fun with it. That just isn't isn't perfect. That's the style I've been going with middle back, And do you get really fast that that I'm just trying to make it go a little bit smoother for you guys? So this is a pretty sharp peace, and what I'm gonna do is go ahead and select this middle. And if you've got a shape that similar, you can hold option and I'm just gonna go like that and crab that blue? Yeah, perfect one of that lighter blue and then push it back. And so this is behind there, and then it's just kind of a quick, quick hit. It looks like it's way more blue than that. So I'm gonna zoom in a little bit more. Not too much, so that so. I want that medium blue lips. There we go. All right, you can. You can see how it's it's working already, So I'm going. Since this is more detailed, I'm going to just hit a few of these and that. The nice thing is, is everything is vector so that you can shift it really quickly, and you can see that this black area here sometimes I'll build this in middle area, and now and then you don't have to do this outline. You're looking at this black part, and so I'm basically going to fill in the other part with one color one. So this is that Middle Iris, and you can you know, just call it a day and and go boom and put a dark color behind there. But I feel like there's there's if you squint a little bit more, I'm trying not to be too crazy detail is that there's this dark gray right here and on this left side, and it comes up all the way to here. And then we've got this middle area, and so this creates that color in the eye. And now we're just gonna go up and try and get this warm a little bit warm sometimes. I just hit until I I really feel like it's working. It's pretty dark, I think. Yeah. There you go. So then you push it back, and now this is kind of fun. On the last four portions, you can either, you know, come in here and hit. Hit that, um, Gray, which is right here, too. Although I think I'm just gonna do it over here. Okay. Great. Command shift, shift. Command back. And so now we're going to use one color to capture all this. Looks like I missed this portion so I can do a quick hit where it's just basically it's going to be in that section. Yeah, fine. Just have a little slightly different. That's the same. I'm going to make a little bit lighter. Yeah. All right. Well, then we need to push that back. It is. See how the shapes get more like geometric 10. Just This is the shape at the end. All right, now we get a medium version. Yeah, And so now we'll start working on the the for and coming out and getting this all I'll do that really quick. Just so you see the difference between the I and the for You're squinting. You can see where this all is almost merges into 11 color. And I like to try and close as much as I can and come and grab as much as I can so that it all reads the same. There's some graze down here, but I'm not gonna worry about that. Just use this. That all this to be one color. So now I've got to find that right color. You see if that's right. Yep. Yeah. Zoom out and you've got You can see when you click off your base. You got a nice I. So I wanted to show you quickly how to do this. Second, I and it's a little bit different than the 1st 1 but I wanted to go through it quickly. So you get a sense of how things are built and how you can simplify different shapes regardless of the eye. But you want to follow certain aspects of the photograph so that it does look realistic, but style ours. 5. The ear: Okay, let's try an ear, because this has a little bit different set up of where your layers can be chopped and punched with your Pathfinder tool. So what I like to do is look for the biggest bunch of of color, and obviously this this shape right here is the most. And you want to jump back and forth to create this kind of hair area. And since it's chopped, I'm just going to start over here, but basically flipped here outline, tool. And what we're gonna do is make a really nice outline, almost like like you're creating a foot of shop for a hair or something. But this this just helps and in kind eclipse everything into the right spot. So it really doesn't take that long If you just keep moving, okay, we're going to speed things up. So you don't have to look at boring points until something needs to be said so basically creating a layer that is more detailed than other layers. And it takes a little bit longer on this first shot, but it gives you the opportunity to be able to punch through it and also to not have to do the detail work on other areas, so you can see as you're squinting. There's like three different colors in this year, and when you finish this detailed area, I'll show you how to punch just second. Some of the darker colors in the in the bottom background color. So now we just want we want to get this darker brown area and sometimes like to shoot up one or two little lines so that you get a sensitive of that hair is there so you can see if you're squinting where I'm going with this and you're really trying, Teoh, simplify these shapes and not go too crazy. And, you know, if you're wrong, you just skip back a little bit. But usually there's a lot of air, but like that, you can play through here. That's not too bad. So now that we've got this edge here, I'm going to actually bring this out and go like this kind of crazy looking and what we'll do. I'm just looking in here to see if it will. It will be okay, and I think it is. I'll just show you a quick thing, since there's a little bit light light here to here. I'm going, Teoh. So this is your light here, Here, and I'm going to go ahead and hit that and this will be your just kind of standard, darker area. So I want to hit this that color that I was really working towards. And you go back to this part and you hit command, see, and command f. And what it does is it does a duplication of the exact same shape. And so what I'm gonna do is take one of these shapes. So you have to have two of them. Because if you use this shape and punch, it goes away. So now we're gonna select both of these and we're going to punch. And so what you need to do is make sure that this is in front of that and you clip it. And now it all is black, which you don't want. So this we're going to make that medium grey. Keep saying graze brown. And I feel like we need a couple of these pieces here, but for time peak purpose, I'm gonna go a little bit faster. And then now we have this one, which will be the dark the dark brown, and I'm going to hit that with that one. Okay? And now I'm gonna push this behind, but there's there, clipped pretty easily. And since this is too much space, it's just too much. You need to have some detail in there. So what I'm gonna do is come back here and I've outlined both of them again. So I'm not changing the color. I just flip it to the outline so I can work with within here. And so I'm gonna just add a couple of these and select this color here, do that. I'm just make a couple of these sections where they add a little bit of detail, but not too much. Okay? It doesn't need to be perfect, but you don't want it to be, like all angles, you know, or, like, weird, like casket shapes or something like that. You do want it to be more hair like just you can flip back and see if it's working or not. So I'm gonna click here, Flip. Yeah, that's that's fine. That's what I wanted. I feel like this is even darker here. So what I'm gonna do is come in here. I'll do it one more time. I think there was a reddish brown to that we could add if you want, but just just adding this section here and it gets a little crazy sometimes You just wanna watch for what Layer needs to be on top. So now we're gonna do this again. Select this one. Copy a command C command F in front. And so now we have two of these, and one of these we're gonna punch it. And this is minus front. Actually, we want this one, which is intersect. So it's only going to grab the intersection of those two. So this is our brown is right. And now we flip this and we got a nice here. So this is a little funky right here, but we'll we'll get that figured out and maybe just fake it right now. Yeah, with that. So there are a bunch of details in here, but the idea is that you start working backwards now, and there's, like, this kind of weird gray greyish brown right here, and so you can try and fudge a little bit. But come in here and I say this this all is this color, and that will being the definition between these sections. So it really helps. So now you consume out and we get a sense of how that's going to look. And in match, you can see on the other dog what it looks like. A Sfar asses a different type of year, and this one is more layered. But that's that's the year and how you can punch on the sides to save time. 6. The mouth: Okay, We're gonna go a little bit faster and talk about the mouth quickly. Looking at some of the other dogs, you've got pretty simplistic shapes and and shading. One of the things that look at is the the for over the darker area. Some making sure that you do that first will really help. Either you can punch the shape inside or have it layered underneath it, so going over it is kind of tedious the first time. But everything else is layered underneath, which is nice. This golden retriever had a lot of I don't know what you call it. It's not slobber, but it's like a lighter part of the black part of his mouth. So it was a little bit tough. The great Dean had a lot of slobber, and I just cut it out a little bit. It felt like they need to wipe his mouth before they shot it. So going through simple shading, simple grab and figuring out the colors for the basic shapes when you're squinting that this tongue had a fold in it, which was interesting. So making sure that you get that fold toe look correctly even when you're you're back further, you still need toe, try and mimic it as much as possible. So as you can see, doing those cut ins will really make it look more realistic and less flat. This is the most time consuming part with all the for, but it's pretty easy to do. It's just more time consuming. The shortcut for adding or subtracting points to is minus and plus makes it easy. But if you want to trim something out pretty quick, I usually go through on layer the tongue, where it's darker than lighter than highlights. But, um is this is just a suggestion and you can see I'm jumping over and hitting the um the outline, which is just if you hit X So some of these I was kind of looking showing you with my mouth what you could do. But if you can learn those shortcuts, it's really nice. Just if you're trying to select that main color, just hit X, and it will go and you can see quickly with the eyedropper tool to with I that you're basically using those few controls throughout this whole process. So X goes from outline to solid and vice versa. If he hit it again, it will go back and you'll see I'll do a punch with this color. So I'm gonna bring it out quickly and then select the other one duplicated, which is command f and then punch. So using Pathfinder quite a bit too. Try and stay away from the shape tool during this process because I like the punch tool cause then I can punch exactly when I I'm ready. But back to what I was saying is the if you use V goes back to the selection tool so you can select the next object p for, um, the pen tool and then jumping back and forth X and then I for the eyedropper tool. So you get get close to those and really learn those to speed up the process. One of things you have to watch for is layering effects where you're just too deep in layers. So using those controls, like command left, bracket or right bracket, jumps you up and down and always feel free to make groups of layers to make it easier for you to. But that should help and give you some of the tools for the next part, which is the for 7. The fur: - but 8. 07 thefinish: We've got the dog done the golden retriever, and it's matching the other illustrations. I want to show you just kind of what it would look like dropping it into the packaging design. So I'm gonna go in and you can see like this was the more simplistic one. It was like a 10. It's a screenshot, So it was horrible. But so and then this is another one that is for the next 10 on. And this is like the swallow a great Dane and Labrador. And what's nice is that these, you know, I keep him on different layers, but what's nice is like you can position them anyway and just check sizing once they're grouped. So it's just really nice once or group that you can scale them however you want, and drop them into other backgrounds. So I think if I have this right, maybe I don't have a right. But I will grab the dog and you can see this is original small dog and teal, and then the medium dog will do next that this is our golden retriever. So I wanted him to go below the logo and I'm going to drop him in and so obviously is huge . And sometimes you can make a symbol so that you don't screwed up. So I'm gonna drag him in here just ST Golden, And just in case something happens, it's kind of nice to have it as a symbol and not screwed up. Drop this behind. Not that far. All right, So you can play with scale, making sure you hope shift with illustrator, uh, and you can see on this one it that you can see where the cuts are and stuff. But just I wanted to build out the full dog in case it they wanted to use it somewhere else . So I'll just mass this out and, uh, yeah, it looks cool. I might come back in and change some of the these shades just to get more some of the volume, but I like to have it in the package itself. So when you're editing it, you can come in and double click the symbol and come in. And this one looks a little dark to me. So I'm just gonna lighten it up, Even though this is the shaded area. Just look too dark. So yeah, so that helps quite a bit. All right. Well, thank you so much for taking this class, and I hope it's helped tow. Just show how to draw animals quickly where it's It's realistic, but and not to cartoonish but then still stylized. Thanks. Please follow me on skill share for upcoming classes and online. Please post your animals that you're creating to the class so other students conceive what you're doing with the techniques involved. Thanks so much. 9. Bonus Video: Speed Building: