Vector Illustration in Adobe Illustrator: Create a Fun and Effective Workflow

1. Vector Illustration in Adobe Illustrator: Welcome to Vector Illustration in Adobe Illustrator. In this course, we will explore how to create bright, clean, and engaging vector illustrations using Adobe Illustrator. Whether you want to design stickers, spot illustrations, or children's books. This class will equip you with the skills to create professional illustrations that are infinitely scalable. Hey guys, my name is Kyler and Parson, and I am a freelance graphic designer and illustrator with over ten years of experience using Adobe as well as being a top teacher here on scale share, I've worked with numerous clients creating illustrated logo designs, editorial illustrations, and even my own color. Throughout this class, we will start with a simple sketch and transform it into a polished vector illustration. We will learn how to set up various layers in Adobe Illustrator to establish an efficient and repeatable illustration workflow. From there, we will delve into laying down smooth and clean line work using illustrators drawing tools. We will also explore the live paint feature to quickly fill in base colors of our illustrations. We will add additional layers for shadows, highlights, and key details. Additionally, we will explore Adobe Illustrator's AI features to enhance our vector illustrations combining creativity and originality. I've recently heard a quote that said, if you want to be more creative, use AI. If you want to be more original creative yourself, why not get the best of both worlds and create something original and explore the creative potential of AI. If you have some experience with Adobe Illustrator and want to enhance your illustration skills, this class is perfect for you. It is not focused on teaching a specific style of drawing, although my illustrations do have a distinct style. Instead, this class aims to provide you with an illustration system that can be applied to various projects streamlining your workflow. Even if you are new to the program, I will guide you through each step so you can follow along and create illustrations more efficiently than ever before. I am excited to embark on this illustration journey with you, and I look forward to seeing you in class. 2. Class Project: The project for this class is to create a simple vector illustration using the techniques taught in the class. I will be creating a simple animal illustration, but really you can create whatever you'd like. You will need the latest version of Adobe Illustrator installed. Since we will cover some generative AI functions, this class will be broken into sections so you can easily follow along. The first section, we will pick out a simple sketch to use for our class project. I want you to keep it super simple so you don't have to be an amazing artist to complete the project. If you want to just get started. I've provided multiple sketches for you to use to create your class project. I'll show you how to make it look really cool and refined in Adobe Illustrator. In section two, we will dive into Adobe Illustrator. And I'll show you how to set up an illustration system by setting up a template so you don't have to deal with the task of setting things up each time you want to illustrate. In section three, we will learn how to quickly lay down linework and go on to trim and refine your lines. In section four, we will break down how to quickly lay down the base color of your illustration with the live paint tool, as well as create a more pleasing line work by adjusting our strokes. In section five, it covers shadows and highlights. We will cover the simple blending modes using the illustration tools to create shadows and other details to really make your illustrations come to light. In the following sections, we will quickly add some extra details and explore the AI, generative images and colors in Adobe Illustrator to create a simple background and complementary assets. Finally, we will export all our work in various sizes and formats to share it with the world. If you're ready to get started, grab a pencil and paper and I will see you in class. 3. Sketch: Keep it Simple: In this class, we'll go through a couple of sketches and decide upon one for our class project. So let's take a look. So this is one of my sketch books here. Honestly, on the most important thing as an illustrator is just constantly sketch, even though it's not that great, just sketch and you'll generate more ideas more and more, and you'll come up with something to illustrate. This is my first page. I have like a burger. I was going to make an infographic of that, that would be pretty cool. These are a couple small little sketches, honestly. These are very simple and very small. That's what I would recommend you doing for this class project is create something pretty small. You don't have to put a lot of detail on the sketch page, make it simple. I have a couple turtles. My friend asked me to draw a turtle. I try to draw a character of a turtle. I have a few characters of cats, and as you can see, I go through many variations of my illustrations and I just test out these ideas. They're really small. Some dinosaurs, my son loves dinosaurs. I have a few simple illustrations in a different style, try to use more geometric shapes. And as you can see, like a lot of these sketches are quite random, right? Sometimes they just put pencil to paper, draw a line. And I go from there and I come up with something that works out pretty well. But again, these are only about a few inches high and a few inches wide, so they're quite small illustrations. This is one of the pages that I was working for a series of vector illustrations on sea creatures. I made a bunch of small illustrations of devariousea creatures with a more stylistic approach. But they are all really small and really simple. So you see this little octopus here, a little shark here, a little whale here, a sea slug sort of thing, a little fish. And actually all these sketches, they are quite small, but even though they are quite small, you could put in enough detail to get the general forms out there. And when you put it into Adobe Illustrator, you can add a lot more detail and it'll be infinitely scalable among these. I'm going to pick one for the class project. I'm going to pick this little octopus here with big eyes. I think it's pretty cute and pretty friendly. So I'm going to use this one for my illustration because there's potential for a little more detail of the bumps in the head and a lot of nice overlap to give it more three dimensionality. And I think it's, you know, it's going to be fun to illustrate. You can decide whether you want to sketch your own little illustration and use that for your class project. Or you can use one of the sketches I've provided in the project resources. When you've decided upon your sketch, take a picture of it and upload it to your computer so it's ready when we start illustrating. In the next class, we'll learn how to set up our document to create an illustration system with a custom template, workspaces, toolbars, and so much more. I'll see you in class. 4. Layers: Building an Illustration: In this class we'll go over setting up by template layering system as well as how to set up custom work spaces and tool bars. Let's temperate in. I have the layers document open and you can open it up to follow along and just to play around with it. This document is set up so that you can see how important it is to set up your illustration into specific layers so you can have the most editability in our layers panel, you could see that I have multiple layers. Linework, layer highlights, layer shadow layer details, layer, base color layer, offset layer, reference layer, and so forth. Now I can turn all these on, and now I have my full illustration. But the best thing about having layers is that you can lock and unlock the ones that you want to work on. It gives you editability, to not have to play around with selecting specific things in your illustration. If I wanted to adjust the color temperature of my shadow, I could simply unlock my shadow layer. I could select everything in that layer and I can adjust the color of this shadow. Maybe I wanted a little bit of a warmer shadow so I can bring it up into the oranges or reds, and then I could decrease that. Now I have a nice warm shadow. If I wanted to, I can change the base color, lock all the other colors, change the base color. Might have to double click into the group. And then I could change the base color to whatever I want. Maybe I want it to be more of a lime green character. There we go, he's changed to a lime green character. You can see how quickly and efficiently you can change colors within your illustration when you set up specific layers. Now what we're going to do is we're going to set up a template for you to use for your illustration projects. 5. Creating a System: Customizing Your Workspace: In order to set up a template, you want to start with a new file and you can set it to whatever size you want. I'm going to set it to 2000 pixels by 2000 pixels and hit Create. It's going to open up a blank document. And I'm just going to reset my workspace to essentials. So I have a bunch of windows here and I have a tool bar here. But when you're illustrating, you don't really need everything that's available to you in the Essentials panel, you might only want specific things and there might be things that are not in the Essentials panel that you do want available. So what we're going to do now is we're going to set up a custom workspace and tool bar so that you can have the tools you need when you need them. The first thing that I'm going to do is I'm just going to get rid of all my windows. Now that I got rid of all my windows, what I want to do is I want to bring out the windows that I'll use in my illustration. We can go do that in Windows. You can find all the windows here. Just open up the ones that you think you'll need in your illustration set up. I'll probably need color, I might not use color guide, so I'm just going to eliminate that. I'll set up the align panel. I won't use the transform panel, but I need a line and pathfinder. But I want them both visible so I can actually drag and drop it underneath. A blue highlight will appear underneath and it'll lock it in place and both of them will be available. And maybe I also want to have a few other properties like the Stroke property and the Transparency property available. Now I'm going to go through and I'm going to pick and choose the windows I would like available for me, and I'm going to do them within my workspace. If you hover over to the side, you can see that a blue highlight appears at the edge. And you can lock it right to the side. And I'm going to do that with a few other windows. I could go all the way to the side. I could do it over here as well. Then maybe I'll lock the color on top of all these other ones. And then if you go over to the hamburger menu, you can actually open up more options if needed. So that'll allow me to have different things accessible in the Strokes panel. Then if you don't want something always visible, you can actually put it beside another group like the layers in the libraries. Now I can toggle between the two groups. That's looking good for me. I think that's everything that I really need. I really reduced the amount of windows that are there and I also made it so that everything that I need is always available to me. 6. Creating a System: Setting Up Your Template: The next thing that we want to do is we want to create a custom tool bar. If we look through here, we can see that there's a bunch of tools here. But there's some that we will use and some that we won't use when we're illustrating. We probably don't need the text tool nor do we need a few other blend tool. Maybe gradient tool we're not going to use, we're going to reduce this quite a bit. How we can do that is we can go to this triple dot here and we can say Edit toolbar. You can see that it has a bunch of tools that are grade out, and that means that they are available in this tool bar. Then there's a bunch of them that aren't grade out. They have the ability to add it to the tool bar. Now what we're going to do is we're going to go up to this option here and we're going to say new tool bar. What that'll do is we can create a new tool bar, just call it skill share. Then what happened? It created a new tool bar right here with nothing in it. Now we can click the triple dots and we can see that nothing is grade out because nothing is actually in our toolbar yet. We can click and drag the tools that we want to have accessible to us. There are certain things that I want to have accessible that may not have a keyboard shortcut. I'm definitely going to put it in my toolbar so I have easy access to it. But there are also tools that I might just want to have them because it's easier to click then find the keyboard shortcut. I'm going to just drag and drop these two. As you can see that we have the selection tools available to us, but they're on top of each other. Now I want to have a wider toolbar so I can actually click the double arrow and it'll extend it sideways. And now I'll have two rows instead of one. And I'll put the pen tool there. Maybe I'll want the Anchor Point tool available to me. Maybe the Curvature tool, maybe I'll have some shape tools, the hexagon and the star. They are not keyboard shortcuts. I'm going to have them there. I might want to have the pencil tool and the smooth tool available to me. Now you can see that it actually created a group. If I double click, you can see that it created a group. But I don't want this. I'm just going to click this icon and I'm going to drag it below so it's always visible. I'm just going to go through and I'm going to pick the tools that I think I want to have available to me when I illustrate. All right, so I have all the tools there that I wanted. Now what I can do is I can actually go down to the bottom and it'll allow you to show specific things so it can show the fill in the stroke. We want that available for sure. You could show the coloring control whether it's color, gradient or none. We definitely want that. And then the different types of drawing modes as well as screen modes, we can have that accessible there. Now that we have our tool bar set up, we don't need the other tool bar. I'm going to drag this one out and I'm going to close it. Now I'm going to dock this one back to the side. And now we have our custom tool bar with everything that we use available to us right on the side. Before we save this as our custom workspace, I do like having the top menu bar here. I'm going to go to Window and I'm going to hit Control, and that'll allow me to have the control bar on the top. The next thing that I want to do is I want to save my workspace as a custom workspace. So I'm going to go over to this window over here and I'm going to say New workspace. And I'll save it as Skill Share. Now whenever I want to go back to this workspace, all I have to do is I can go back to skill share just like that. Now we can set up a custom template that we can reuse for our illustration. Illustration. Template layers, it can have grids, it can have various things like custom color palettes, stroke profiles, and things like that that we will create throughout the class. What we're going to do first is we're going to set up a template with all our custom layers. What I can do is I can customize all the colors if I wanted to. And I can also double click on my reference layer and I can set this layer to template. What that'll do, it'll dim the images on that layer to 50% as well as it won't export into any file. Let's hit okay on that. We can just unlock it for now because when we use it as a template, we'll have to put our images in there. And then we can lock it after. I'll just dock my window back over there. And now we have our system. Now to save it as a template, all we need to do is go up to file Save As. What we're going to do is we're going to save it as a IT or an illustrator template file. Then we're going to change this to illustration template. Now it's saved as an illustrated template. Now I'm going to close this. I'm going to go to my window, my menu last project. And now I have a file. Now if I double click on this template, it'll open it up with a new untitled file with all my layers available to me. Now we have a template that whenever we want to start a new project, we just open that up and all our layers will be there already. This will reduce the time it takes to re, input all those layers and it'll speed up your workflow immensely. In the next glass, we'll import our sketch into our illustration project file. I'll see you there. 7. Importing: From Page to Screen: Now that we set up our illustration template, we can import our image into our illustrator file and get ready to start illustrating. Let's jump right in and see how we can do that. We have our new illustrator file, our template opened up as a new file. We can go to our window, We can find our class project file with our image in it. This is our sketch we took a picture of. We can just drop it into our illustrator file. Now we can it, and one thing that we should do is we should crop the image. By cropping it, it automatically embeds the image into our file. It Enter. Otherwise you can just click Embed if your image is the perfect size. Now I'll just blow that up a little bit. What I'm going to do is I'm going to cut it control X, and I'm going to paste it into our reference layer. Control shift V to paste in place. As you can see, it actually decreased the opacity to 50% on this layer. And then we can lock the reference layer, and now we're ready to start illustrating. Now it's your turn. Take a picture of your sketch, upload it onto your computer, import it into Illustrator, and place it into the reference layer. In the next class, we'll learn how to quickly lay down line work with illustrators drawing tools. I'll see you there. 8. Line Work: Getting to Know the Pencil Tool: In this class, we'll learn how to quickly lay down line work using the pencil tool in Adobe Illustrator. Let's jump right in. I have the linework doi file opened up in Adobe Illustrator. You can open it up to follow along. Now as you can see, we have line work here and we're going to go through the pencil tool settings first. The pencil tool is N on your keyboard. We're going to make sure we're on our linework layer. As you can see, we have a pencil tool and all you have to do, click and drag to create a path. We can get rid of the fill for now and increase the stroke width so we can see what we were doing now. You can see that created a nice smooth line there. I'm just going to delete that. We'll go through some of the pencil tool settings. Hit on our keyboard, and we can see the pencil tools here in our toolbar. If we double click in the tool bar, we can open up the pen tool options. The first thing that you can adjust is something called the Fidelity. The Fidelity is basically how smooth illustrator will try to make your lines what it'll do, it'll either place your anchor points closer together or further apart. The more space between your anchor points, the smoother your line will be. The closer space between your anchor points, the more accurate and the less smooth your line will be. If I decrease the smoothness or the fidelity all the way to the end here and I draw a line, you can see that it has lots of anchor points close together. Now if I were to open that back up and increase it to smooth, we can see exactly what happens. Draw the line. You can see that there are a lot fewer anchor points and the line is very smooth. Now if we open up the pencil tool options again, we can see that there are a lot of options for the pen tool such as fill new pencil strokes. Actually, this allows us to give a fill to the pencil strokes and this is perfect when we are putting down blocks of color. Also, there is the block that says keep selected. It means after you draw a line, that line will remain selected. And that's actually very important when using the pencil tool. The next one is Alt, Key Toggles Smooth Tool. When we hit Alt on our keyboard, we can activate the smooth tool and instantly smooth our line. And when we keep selected on, it'll automatically smooth the line that we have selected so we can easily adjust our strokes. The next one is close paths when ends are within 20 pixels. It means that it'll create an actual close shape when the ends meet up within 20 pixels. And you can adjust this pixel density to increase or decrease when you want the shape to close. And then lastly, it says Edit selected paths. When we have a path selected, we can actually use the pencil tool and redraw the line and it'll make a new line where we drew. Let's see how that works. So we're going to keep all of them on for now. And if something is not working well, you can turn it off now. Now if I draw a new line, as you can see, the path is selected after I release. Now if I hit Alt, it'll actually activate the smooth tool. Now I can drag and smooth that line even more if I wanted to. I can actually re draw this line because it is selected and I can actually edit the path. If I want to draw it like that, then if I wanted to, I can make a closed path. And as you can see, when I get close to the end, a little circle appears by my pencil tool, and that means it's going to create a closed shape. If I had a fill, it'll actually give it a fill. If I hit close, it'll give it a fill. But if I went to this option fill, new pencil strokes and turn that off and I make a fill, it actually won't have a fill even though I had a fill initially. It'll get rid of the fill when I create a new pencil stroke. When you're making blocks of color, make sure you have that checked on. Now that we understand about the pencil tool, let's jump over and put it into practice. 9. Line Work: Illustrating with Overlap: In this class, we will learn how to quickly lay down line work on our illustrations using the pencil tool. Let's step right in. All right, we're back in the line work practice sheet and as you can see, we have an illustration of a little acute apple here and we are on the linework layer. I'm going to just her over and I'm going to lead all this line work. What we're going to do is we're going to illustrate it using N on our keyboard, the pencil tool. And make sure we have a black, make sure we have a four or five point stroke width. And then what we can do is we can start to draw our illustration. Now I'm just using the Mel, I increased my fidelity to the maximum, but if you're using a pen styles or something like that, you might want to decrease that so you can have more control of where your path goes, but I'm going to hit. Okay. Now as you can see, I created this path. When we're illustrating, we want to use something called overlap. Overlap allows our illustrations, even though they're two dimension, to have a more three dimensional feel because in the world things will naturally overlap each other. We're going to use overlap and go past where our lines would end. And remember, you can always hit all to smooth out your lines if they're not working the way you wanted to, or you can just redraw your line as well. I'm just going to undo that. I like it where it was. I'm going to draw cheek as you can see I'm actually overlapping where these two paths meet. Later on we're going to delete this section of overlap and only have the one section. But for now we're going to keep it like this and we're going to continue our illustration. Now I'm using control z to undo the line and just redraw the line. Another way that we can adjust our path is something called the Reshaped tool. The reshaped tool allows you to pinch and pull your path in various directions rather than using the bezier handles. Now, if I have the reshaped tool selected, I can find it here in my tool bar. I can actually pull it into place. There's a few different ways that you can reshape that, but this is one of the ways, and it's pretty cool. I'm just going to hit N on my keyboard. Hit Alt, and I'll smooth the line out a little bit. There you go. Nice and smooth. Going to hit N again. And I'm going to just draw through the shapes. And that turned out really well, and I'm going to draw the stem. So when you're drawing your illustration, actually it's very important that you use overlap. And we will go through why it's important in the next class. 10. Line Work: Trimming and Joining Your Paths: In this class, we'll take that practice illustration and we will refine those paths by using the live paint selection tool to get rid of the unwanted overlap lines. Let's jump right in to refine our paths. We are going to use something called the live paint selection tool. In order to activate the live paint selection tool, what we'll need to do is we will need to go to Object, live paint and make. Now, I forgot to add it into my tool bar. I'm going to just go into my tool bar and I'm going to find the live paint options and drag and drop them in. We have the live paint bucket and we have the live paint selection tool. The live paint selection tool is Shift L on our keyboard, or you can find it here in the tool bar. What it allows me to do, it allows me to find paths and remove them from my illustration. I can drag over this path here and I can delete that selected path, wherever it met another path it'll cut at that point. This is going to make it really quick. We don't have to use the cut tool or anything like that. We can use the live paint selection tool, select that path, and delete. You can either drag over the line or you can select the line itself and delete it. Just like that. And we'll do that. Just click delete this line there. As you can see, we can actually refine our paths very quickly using the live paint feature. Now, after we've completed that, we can change it back into editable line work. Right now it's in the live paint function as you can see by the of corner widgets it has. We can go to object, live paint and expand. We don't want to release it, we want to expand it. Make sure you hit expand and now they are all strokes again that we can easily edit. One thing that happens when you use the live paint feature is sometimes the lines break and we have to rejoin them. I'm going to show you how to quickly rejoin the lines that broke. If we double click into this and we ungroup the line work, we can see that this line and this line are now two separate lines. That'll happen on occasion, but it doesn't happen all the time. Depending on how you drag over and you remove your lines. What I'm going to do is I'm going to click both of these lines, and I'm going to hit control J. What control J does is it finds the points where those two paths meet and it joins them in place. As an example, we can use these two lines. Hit control J, and it'll join them up there. But we don't want that, we're just going to undo that. But it works well for these two paths because they're right beside each other. Let's see if there's anywhere else that needs to be joined. This path. And this path should join. Just hit control J, and now it is joined into one path, which is great. Let's see if there's another path that needs to be joined. These two paths, this path and this bottom path needs to be joined. Let's hit control J. It join those paths if a path needs to be cut. On the other hand, if you want to separate the path, there's an easy way to do that by using the direct selection tool A. If we wanted to cut a path at a specific location. Let's say we wanted to cut stem right at this top point here, maybe right here. We can select that point and we can go up to the top panel. You can see here it says cut path at selected anchor points. We're going to just hit that button. Now if we select it, it is cut right at that selected anchor point. We don't have to go into our cut tool, we can just use our anchor point tool. Select where we want it to be cut. Go up to our top panel and cut path at selected anchor points. Then that'll allow us to easily refine our path into its specific sections. Now if I wanted to rejoin all three of these, I can click all three of these. I can go control J, and now it is all joined into one path. Again. That is how we can refine our paths using the live paint selection tool as well as control J to quickly join our paths. And using the cut along anchor point at the top bar to easily trim our paths from one another. In the next class, we will apply what we've learned to our class Project Illustration. I'll see you there. 11. Line Work: Putting It All Together: In this class, we'll apply what we've learned through the line work sections to our class project. Let's jump right in. We have our cute little octopus here. And I renamed it and saved it class project. Now what I can do is I can go to my linework layer in my layers panel. And I can hit on my keyboard to bring up the pencil tool and I could start drawing. I'm going to switch the fill to a stroke, make it a black stroke. And increase the stroke a little bit so we can see it. Well, I'll double click into my pencil options and I will make sure everything's checked on and hit okay. Now when I'm illustrating, I can find paths of overlap. I can find where I want to add a little more detail and characteristic to my illustration. I'll start off with the eye here, I'll draw the eyes, and then I'll just smooth this part, holding Alt to smooth the line out. Yeah, I think that'll be okay. I'm going to do the other eye here, nice bulging eye on it, really smooth. Okay, we've got two eyes there. We'll do the big irises. Remember the overlap. And I'm going to draw some highlights. Now we're drawing in anywhere that we think that we're going to have separation of base color. The irises will have one color, the whites of the eyes will be a different color, and the highlights will be a different color. And I'm going to use that in my base color. I need to have a separation, the pencil tool and let's draw the brow ridge here. Maybe draw a crease like that. I'll draw the other brow ridge here, another crease like that. Then also line work can be used to emphasize points. Smile, let's put a cheek on both side like that, looking cute. For this one, I'm going to just draw the top of his head. Then I'm going to go back and add in some overlap bumps. I'm going to add overlap bumps at the top and give it a little more dimension. And then I'm going to select this path and I'm going to make sure it goes underneath the other path so it butts up right underneath. We've got a bumpy head. And I'm going to draw some lines of line work for other bumps. Then the bottom section, I will draw in the tentacles. Since my path is selected, I can just continue the line and it'll merge into it. And maybe I want to smooth that out a bit or I might just decide to re draw the line. We got our line work down. Now what we want to do is we want to go in and refine the line work with the live paint selection tool to get rid of any of those overlaps. So let's jump right in and do that. I'm going to select all my linework and I'll go to Object, Live Paint and Make. Now I'll hit Shift L on my keyboard to bring out the live paint selection tool. And as you can see, if I hover over it, it'll allow me to select the lines and easily remove the unwanted overlap sections. So I'm going to go through and do that. All right, so that's looking really good. The last thing that I want to do is I want to expand it. And I'm just going to double check that all the paths are joined correctly. Go to Object, Live, Paint and Expand. Now I'm just going to ungroup everything and I'm just going to go over some key points and see if everything is joined properly, where I want it to be joined. I can see here that this is not joined properly. I want this line and this line to connect control J. Now it's a solid path. Let's see if there's anywhere else. There is one section here. Now what I can do here is I can just go into my minus Anchor point tool, and that's minus on our keyboard. Click that point and it is gone. Then I'm just going to click on my keyboard and move this so it butts up right against that. That'll help me out later on think everything looks pretty good. All right, that's how we can quickly lay down our line work for our class project illustration. In the next class, we'll learn how to set up a custom color palette as well as lay down our base color for our illustration. I'll see you there. 12. Base Color: Selecting a Color Palette: This class will cover how we can create a custom color palette for our illustrations. Let's Shep Brighton. I have the base color practice sheet open here and you can see there's a few different practices that we're going to go through. The first one is where do we get our color palettes from? Well, number one, we can just play around with the colors in Adobe and we can select whatever color we want and we can create it into a shape. And we can play around with that and create our custom palettes that way. But we can also use the tools available to us, such as Color.adobe.com We can go to Color.adobe.com And what we can do is we can actually create our own custom color palettes using their tools. You can play around with different color harmonies. You can play around with different types of sliders that we have here. Not only that, you can explore premade color palettes by a search term. Just search for something that would resemble or give you the feel of the color you want. Moody sunset. Then it'll give you some different color ranges like these. The best thing that you can do is you can quickly add it to your library. Now after I add it to my library, I'll have instant access to it in Adobe Illustrator. Now we can open up our library panel. And you can see that in this class we have all these color palettes. All we have to do is right click on them, Add theme to swatches. And now you can see in our swatches panel, the theme was automatically added. Let's add another one now. You can see it here. Now what we can do is we can apply them to our colors over here. That's one way that you can find a color palette. You can use color.adobe.com you can find a color that way. Another way that you can create a custom color palette is finding images with colors that you like. Now you can bring those images into Adobe Illustrator. You embed them in your project. And you go to Object, Create, Object Mosaic. And then you can set it to around five tiles by five tiles. And hit, okay. Now it'll sample the colors from that image and it'll give you color blocks. Now we can set up our own color palette based on these colors. Just like that. We can do that with all of these images. Just go to Object create. Object, Mosaic hit. Okay? Now we have multiple color pellets that we can apply to our illustrations. The last thing that I want to talk about is the type of swatches you can use in Adobe Illustrator. You can use either global or non global colors. Let's take a look at those in our swatches panel. If we drag it over here, we can see that some swatches have a little triangle on the bottom right side that shows us that it is a global color. These three colors are global colors, and these two colors are non global colors. All these colors are used in our turtle illustration and they are also found in our Swatches panel. Now if I were to change this color here in the swatches panel, I could double click and I can edit the color manually. And I can adjust it to any other color, maybe a light brown. But as you can see, nothing happens to the shapes in which that swatch was applied to. However, if our swatches are global colors, let's click on this one. Now we hit Preview On, we can actually edit that color. And every instance where that color was used in our project will also change according to our adjustments. There we go. This makes it super easy for you to edit your colors in Adobe Illustrator. Using global colors allows you to edit them even after you have applied it to many objects. Within your illustration, you just have to change the color in the Swatches panel, however, you must remember to use it as a global color from the beginning. How do we set up the global colors? Well, let us set up this bottom layer as a custom color palette. We can select these shapes here and we can go to the file folder to create a new color group. Now what we can do is we can say convert process to global colors. It means that all of these instances of colors, it will create a new group. They will all be converted to global colors. As you can see, this color group. Now, all of them have the little triangle on the bottom right side. Now when we apply those colors to our illustrations, they can be easily when we change them in our Swatches panel. That's how we can create custom color palettes in Adobe Illustrator, as well as set up global colors so that we can have easy editability later on in our illustration. In the next class, we'll learn how to quickly apply these colors to our illustrations. 13. Base Color: Using Live Paint Bucket: This class will learn how to quickly apply our colors to our illustrations. All right, so I have the base color practice sheet open here to the live paint section. And what we're going to do is we're going to fill in this illustration with color. First thing that we're going to do is we're going to select all our artwork on our linework layer. We're going to hit control C to copy it. That layer go to the base color layer and control shift V to paste in place. Now we have two sets of line work. We have the base color linework and we have the main line work that's locked. Now what we're going to do with the base color line work, we're going to go to Object, Live Paint, and Make. Now it is a live paint object. What we can use is we can use the live paint bucket tool, which is K, on our keyboard. Now you can see this paint bucket comes up and you can see when I hover over sections, it highlights them in yellow. Now we can double click on our paint bucket options. And we have a couple options here. It'll paint fills. You can paint strokes. We don't want to paint the strokes, we want to keep it as fills. And we want to see the cursor Swatch preview. And we can also change the highlight color from yellow maybe to red or something like that. Now you can see it as a red highlight. Instead, I can also hit control H to hide all those bounding boxes. Even though it's selected, I don't have to worry about seeing all those extra lines. Now I can see exactly what's happening. Now you can see that there's a little swatch panel above my paint bucket. What I can do is this is actually connected to my swatches panel. We're going to drag it over here in my swatches panel, you can see that it has selected the black up here. If I use my left arrow key and right arrow key, I can switch back between all the colors in the swatches panel. That's very useful. If I hit down, it'll go to the next group. Within my swatches panel, I can go from group to group with the up and down arrows. And I can go left to right through that group. I'm going to color it with maybe this group here that looks pretty fun. I'm going to just cycle through, Maybe I want the fish to be orange. I want the fins to be pink, just like that. I want a dark iris and I'm going to go up to the white. And I'm going to paint in the eyeball white. That's it. The last thing that we're going to do is we're going to have this selected and we're going to go to our stroke over here and we're going to remove the stroke. Now what that did is if we go over to our layers panel now, and if we hide our linework layer, we can see that it is just colors with no stroke. That's going to be very important when we adjust our stroke width so there's no underlying stroke actually poking through or affecting our strokes above it. After you fill in your color, make sure you eliminate that stroke from your base color layer. We don't want that there because we already have the stroke on the linework layer. That's how we can create our base color in Adobe Illustrator using the live pate method. Now underneath there is the live paint practice. What you can do is you can select these. You can go to Object Live paint, and you can color them yourselves using different colors in Adobe Illustrator. I'll just hide that and make it easier to work with. There you go, You have fun. And you can color those like a coloring book if you'd like, and fill in the base color of your illustrations. In the next class, we will apply what we've learned into our class Project Illustration. I'll see you there. 14. Color: Putting it into Practice: This class will apply what we've learned through the color palettes and base color application to our class project. So we got our little octopus guy here. The first thing that I want to do is I want to select everything. I will copy it. And I'll go to my base color layer control, shift V, and now I have a second copy in my base color layer. I'll lock my line work so I'm never going to affect that. I'll go to Object Live Paint and Make. Now I want to essentially create a color palette for this. I found some color palettes in color, dotadobe.com I added them to my library, and I'm just going to add them to my swatches so you can see that they appear there. Now what I can do is I can select my object, hit K on my keyboard, I can select my color group, and as you can see, there's a little tile icon above my paint bucket and I can swap through the colors. Now maybe I want this guy to be maybe orange, yellow. Let's go with yellow. I'm going to hit control H to hide all those guides so I can see what's happening. Let's see what's better. I think I want him a little brighter. That'll be nice. And then maybe a dark purple for his eyes. And then I'm going to go up on my keyboard to the swatches to the white. And I'm just going to fill in the white sections and fill in those areas. Now you can see that's great. And I'm going to go back down for the back sections there maybe a dark purple in the back. The last thing that we can do is we go over to our side panel and we're going to get rid of the stroke on our line work to our layers. We hide our linework and we just have our base colors showing through there. That's how we can apply base color to our project illustration. In the following classes, we're going to go through how we can add a little more variation to our linework to give it a little more character. I'll see you there. 15. Refine the Line: Line Weight Hierarchy: This class will learn how to refine our line work through line weight theory. I have to refine the line practice sheet open here to the line weight theory section. What we're going to cover is how we can add variation and character to our line. Going down to this line hierarchy. Illustration here, what we can see is the circle here are the sphere in this box, actually they look very flat. We're going to add a little more dimension to them using line weight theory. The first thing that we see here is line should be thicker where only one side is visible. It means that when there is a corner, if you cannot see both sides of the corner, actually that line will be thicker because it's actually the outermost edge. Let's put that into practice. These lines like the circle as well as the square here or the outer edge at, you can't see the back side of the square and you can't see the back side of the sphere. What we're going to do is we're going to increase stroke size. Increase the stroke size a little bit. Maybe three points already. You can see that that added a little more character and variation to the box here. That makes a stand note. You can see it says the lines should be thinner where both sides of the corner are visible. When we can see both sides, that line should be thinner than the outside edge line. And that will give a little more variation and character to your illustration. All right. We already have quite thin lines there. A thicker line on the outside. The last way we can add variation and character to our illustration is thickness, adds depth to the silhouette. When we have objects in our illustration that are overlapping each other, the one in front should have a thicker line than the one behind it. We can take the outermost stroke and we can increase the box, maybe a point or two. Now this line is thicker than the sphere line and the inside lines are the thinnest. Now you can see there's a lot more variation to this illustration and a lot more character. We can actually see that this feels like it's pushing forward. This one is pushing back and it looks really good. That's line weight hierarchy in principle. Let's see how we can put it into practice in an illustration. Here we have two dolphins. We have one with line weight with no hierarchy and one with line weight with hierarchy. Here we can see that the outermost edge of the silhouette is thicker. It makes it stand out and it pushes it forward a little bit. Then the inside edges where there's a crease such as the brow line or the cheek or the mouth, those thinner than the outside lines that overlap. However, this is a more round object that overlaps and then it merges into a plane where we can see both sides, and then ultimately it becomes one side. This is where we have to use something called a tapered stroke. A tapered stroke is thick on one end, thin on the other end. This allows us to blend this overlap into this flat surface. Here in this illustration, you can see that there is a sense of hierarchy. We have the silhouette all the way around it. We have the thinner lines on the inside and we have the thicker lines where we can't see the other edge of. Then we can see that it tapers off where they meet. You can take these principles of line wing hierarchy and apply them to your illustration. Create the outermost edge a little thicker, the inside edges a little thinner where you can see overlap. Make it a little thicker than where you can see both sides of the line or the crease. You want to use a tapered stroke to see that variation. We can apply this in many ways in our illustrations. In the following classes, we'll learn how to use the tools in Adobe Illustrator to create various stroke profiles and apply them to our illustrations. 16. Refine the Line: Stroke Profiles and Width Tool: This class will learn how to adjust our strokes to give them a little more character. In our illustrations, I have opened the refined the line practice sheet, adjusting stroke profile section. And as you can see, there's a few things that will go through. The first one is a stroke profile. As you can see, all of these strokes look exactly the same. They are built up with a path going from point A to point B here. Now we can actually add variation to these strokes by using stroke profiles. Where can we find stroke profiles? We can find them up at the top bar here, or we can find them in their strokes panel here. Now what happens when we apply a stroke profile? A stroke profile applies a width to our stroke, even though it's still going from point A to point B with two anchor points, it has a little more character. Now, we can apply a different stroke profile to each of these lines. And you can see the variety that you can get with a simple stroke. There you go. How can we modify our stroke profile? We can do this by using the width tool in Adobe Illustrator. In Adobe Illustrator, if we go to our menu, we can find the width tool. The width tool is shift on our keyboard. If we hover over our path, you can see that little dots actually appear. And these are actually with points. This is where width is applied to our stroke. If we hover over it, we can see that two dots on the side come out. And that's how wide our width is at that specific point. If we cover to the end, you can only see one. But we can also click and drag it out to increase that width. This is how we can adjust our stroke profile. By using the width tool, we can create that tapered stroke. Look now. This one has multiple width points going in and out. This one has multiple with points and then keeping a consistent path at the end. This one has one tapered one thick. You can play around with the width tool and you could try to make custom stroke width. Now, how do we apply this to our illustration? If we go over here to this leaf, we can see one leaf looks a little plain and the other leaf has a little more character. We want to transform this leaf into this leaf. We can select all our paths. I'm just going to ungroup it for simplicity. All right, now that it's ungrouped, I'm going to click on one of the strokes and I'm going to go and give it a stroke profile. Since I want this edge to be full width and this edge to taper off, I'm going to find a stroke profile that matches my needs. Stroke profile four here, as you can see, it's thick at one end and it tapers off at the other end. And that's perfect for what I need it to do. I'm going to select all the shapes in which I want that stroke profile to apply to. I can use my eyedropper tool. I can eyedrop that stroke profile and apply it to all of those instantly. Just like that. Now I can apply it to the larger stem as well, but as you can see, the stem became very thin. I'm going to increase the stroke width of that stem a lot bigger. I don't want it to have a flat end like that. I want it to have a round end. To give it a round end, I go to my stroke panel here, make sure all options are shown and you can see that it has a cap option. You can either have a butt cap or a round cap. I'm going to switch this stroke to have a round cap. As you can see, it switched from flat end to a round end and it looks a lot better now. Now if we wanted to, we can hit shift W and you can just go into any of these strokes and you can add a new width point and make your own custom adjustment. If I wanted to have it thicker in the middle and then thin again, I could do that as well. And maybe thicker over here where it overlaps the other two. Also, I can click and I can drag my width point. Click in the middle. I can drag my width point to wherever I want it. You can play around with that and create your own custom leaf there, and it'll be really cool. The last thing I want to show you is how to create your own custom stroke profile. Down here we can click on this, we can hit Shift W, You can click and drag out a With Point, you can Alt and click and drag out the exact same with point size. Then if I go to the end, I can drag in these two with points to create a tapered middle stroke. What I can do with this line is I can go to my stroke profiles. I can go to add two profiles and I can name it with profile six. What I can do is I can click on this one, go find profile six and apply it to that. Now I can change the size to whatever I want and it'll apply that stroke profile. You can build up your stroke profiles and customize them how you want and apply them to your illustrations. In the next class, we'll learn how to refine our line just a little bit more through color. I'll see you there. 17. Refine The Line: Changing Stroke Color: Is pass will learn how to refine your line just a little bit more through color. Um, brighton, have the refine the line practice sheet open here to change stroke color. Sometimes when we have our illustration to soften it up, we might want to adjust the stroke color. It's not so really harsh black, deep black. Maybe we want to adjust it to a softer tone to give our illustration a little more character. Let's see how we can do that. We want to transform this into this fish. Here we're on our line work player. We can select our stroke. This outer stroke here. I want to make it a darker version of this blue. I'm going to hit on my keyboard now. If I just click the fill in the middle, it'll actually change that stroke into a fill. And that's not what I want. I'm going to undo that in order to just get the color applied to the stroke. I first have to have the stroke on the top section in my panel here. If it's on the bottom like that, it won't work. Make sure you click it and it's on top. Now what I can do, I'm just going to reverse what I just did. What I'm going to do is I'm going to hold shift and then drop what that'll do, it'll sample only the color and apply it to the top part of this stroke fill layer. Now I can double click into that stroke and decrease it, Make it a little darker and hit. Okay, now you can see that it has applied it to that stroke. Now I want to apply it to all these dark strokes in my illustration. Now what I'll do, I'll click on this line. And then I'll bring up my eye dropper with eye on my keyboard. I could click this line. But what that'll do, it'll also take the stroke property, which is the stroke profile. Since it's a uniform profile, it got rid of my tapered edge that I like. I'm going to undo that now. The same principles apply to adding color to a stroke. From a stroke you just hold Shift click on the stroke and it sampled only the color, not the stroke profile. We'll do this with all our line work that I want to be this deep blue. That looks great. Now on top of that, I'm going to select my fin strokes and I'm going to shift. Click into the pink. Click into the stroke. Darken it up. Just a little bit like that. Now one thing you can see is this fin stroke is actually on top of the body stroke. And I don't want that, I want this underneath. Since we are working in the linework layer, what I can do is I can click and bring it below my body stroke. In order to do that, I select it, Hit Control and I can go left square bracket. I keep clicking that until it's underneath my stroke. If you can see there, left click. Left square bracket brings it back. Right square bracket brings it forward or on top. I'll move it behind. And I'll do that with the back fin as well because it's over top. To move it all the way to the back, underneath everything in that layer. Hit control shift and then left square bracket and that'll move it behind all your objects in that layer. Since we're working on separate layers, our line work will always be above our shading and our base color layers. Even though you move it, it will never move below your base color. It'll always remain on top since it's on a separate layer. That's why it's really important to set up those layers. The last thing that we can do is we can move over and we can do a refine the line practice on this shark. I'm going to make sure all layers are locked except for my linework layer. And I'm going to apply the principles that we've learned through the last three classes to this illustration. So I'm going to adjust the line weight, I'm going to adjust the line color, and I'm going to give it a little more character through the line principles. Right, there we go. So I've applied the lineweight theory, some tapered strokes, as well as adjusted the color to this illustration. Now let's apply it to our class project. 18. Refine the Line: Putting it into Practice: This class will apply our line weight theory that we've learned to our class project. Let's step right in. All right, so the first thing that we'll do is we'll lock our base color layer and we'll go to our linework layer. Now our linework layer is an editable layer. If it is in live paint mode, make sure you expand it from live paint mode, simply just select everything. And if I wanted to, I could just increase this a little bit just to get some more line variation in there. Now I can go in and I can apply some profiles. I can apply all these little ones that have both edges. I can apply a stroke profile like that. And it already gives it some characters. Now on its now the ones inside, they are a little smaller. I'm going to make sure that I reduce the size a bit, add a little more variety. One thing you can see here is that this, I want to have thick, this, I want to have thin, so there is a stroke profile that I can do that. And it goes, let's do that with the other side as well. That got a lot of the thickness removed. So I'm going to hit shift, I'm just going to add an extra width point at it there. Now it's thick again and it covers that last point there. Now what you can see is when I added this stroke width to this front and made it thin enough so that this stroke over here actually overlaps. And you can see that square cap. What I want to do is I want to go in, I'm just going to move this to the top so I can shift and I can make a custom stroke profile. I'm going to just decrease the size a little bit, it fits within that stroke. I'm going to increase the size to about where it is. And then I'm going to decrease the edge so it fits within the stroke. Now I can take this stroke profile that I just created, add it to my profiles. Now with all the ones that go in between, I can add that stroke profile. Now you can see that there's no more overlap. If there is any overlap, I can go manually adjust it, but it's looking much better. Now for our highlights. We don't need any stroke around them. We can delete the strokes of those. And delete the stroke that anywhere you don't need strokes. Yeah, don't worry about it. You can remove them. I'm just going to decrease the size a bit of these ones. You can see here this line and this line should be joined, so I'm going to hit the control J and that'll connect the line. And now I can apply my stroke profile to, it might hit and just make it a little wider at that end. I'll apply a stroke profile to this one as well. This one here, since it's in the middle, I can use that custom stroke profile that I made thin at the ends and now it butts up well. And same with this one. I think I can use that stroke profile and that makes it work. All right, then now that we adjusted our stroke profiles, gave it a little more variation in character, we can apply some color to our strokes. I'm going to just select everything. I'm going to hit on my keyboard, make sure my stroke is on top, and I'm going to select the base color. Now I'm just going to double click and I will modify it, make it a little darker like that. If I wanted to make it a completely different color, I could make it like a purple or a blue. That might work as well. I think I might go with a dark purple. Then for the inner sections, I'm going to change those ones so they're not so harsh. I'll keep the outer strokes to be the dark purple, but I'll make the inner strokes, maybe I'll make them softer by adjusting the color to make it more similar to this color. That's how we can apply our stroke theories to our project illustration. In the next class, we'll cover how we can shade our illustrations and add extra details to really bring it to life. See you there. 19. Shading: Shadow Foundations: This class will go over a couple of principles of shading that we can apply to our illustrations. I'm in the shading highlights and details practice sheet here under the first section of shading. This just highlights a couple basic principles of shading that I want to mention. Obviously, there are so many principles of shading. Something to create it realistic and stuff like that. But there's two key types of shadow that I want to emphasize during this class, that is the form shadow and the cast shadow. The form shadow is simply put, the shaded area of the form where the light doesn't hit. If we have a light source coming from the top left, the light will hit here, but it won't hit the back side of the ball. Therefore, the form shadow is essentially where the light would not hit. The cast shadow, however, is caused by other forms blocking light, the surface of the ground. Normally, if the ball wasn't there, it would be exposed to the light. But since the ball is there, it is blocking the light, and therefore the shadow is caused. Because of that, we can apply this principle to an illustration. We have a cute little penguin here. The cute little penguin, it has a light source from the top left. When we think about the forms, it's rounded, it's curved. There is going to be a certain section of the form where the light hits and where it doesn't, we can see that there's a form shadow underneath his chin because his face is more like a sphere, right? It won't hit on the right side, but it'll hit mainly on the left side. And we can see that there's the form shadow there. Now, there is also the cast shadow caused by other forms blocking the light. We can see this underneath his wing. The wing is one form. It receives the light, but it also blocks the light from hitting the stomach, the stomach. If the wing wasn't there, it would actually receive all that light. But since the wing is there, it actually creates a cast shadow onto its stomach. We have to take these lighting situations in consideration when we're shading our illustrations so that we can give it a little more life and a little more depth. As you go through your illustration creating shadows, you want to consider a few key things. Number one, you want to emphasize a specific light source, right? Really doesn't matter where the light source is, you can try to adjust your shadows accordingly. Another thing is you want to consider that you're building your shadows up with shapes. So you can actually incorporate both the form shadow and the cast shadow into one shape itself. And we'll see how we can build those up in the next class. 20. Shading: Adding Depth with Blending Modes: In this class, we'll learn a couple methods of how we can apply shading to our illustrations. We're in the second section of the shading practice sheet here. This is where we're actually going to apply some shadow to some forms. We have a couple of bean shapes here and we're going to have a light source at the top left. And we're going to apply some shading. Now the first thing that you want to know is that we're going to use something called lending modes. Blending modes are simply a way for color to interact with colors underneath or shapes underneath. Multiply allows the color underneath to be multiplied with the color on top to give you a new darker shade. Since whenever we multiply something, it always increases in value, It is the same with color. Whenever we multiply by another color, it's going to actually darken that color a little bit. That's why multiply is an excellent blending mode when used for shading. Let's see how we can apply that on our shadow layer. I'll just illustrate the principle a little bit. We can actually give this block a specific color, maybe a light orange like that. We're going to go over to our Transparency menu and we're going to drop down and find multiply. Now what multiply does, like I said, it takes the color underneath and multiplies it with a color on top. You can see that where there is white, it is the actual color. But where the blue is, it actually changed it to a different color entirely. It created more of a shadow look. Then we can change this to a different shade. Maybe a darker, like a purple for a cooler shadow. And we can adjust it accordingly. That's how we're going to work with it. We're going to work with a lighter shade for our shadow, and then we'll set it to multiply. And then we'll use that as our shadow color. Then we can easily adjust the color temperature by changing the color of the shadow layer. Now that we understand about the basic blending mode, let us see some methods on applying shading to our illustration. There are two methods that I want to show you. The first one is the additive method and the second one is the subtractive method. The additive method is very simple. All you do is add shapes to your illustration. I'm going to take out my pencil tool, hitting Anonyma keyboard, and I'm just going to draw a shape of the shadow where the light wouldn't hit. Then I can go underneath my linework layer and then I could just readjust that shadow. Now you can see that I've created a shadow for the top form. And let's just de select and create a shadow for the bottom form as well. That's looking pretty good. Now what you can see is when I have 22 different shapes overlapping each other, they also interact with each other and it gets a little darker. You can use that to your advantage, or you can add both of them together to create one shape. If I select both of them and go to my Pathfinder panel, I can unite them into one shape just like that. It's one consistent shading shadow. Now you can see that I put in a little bit of overlap to get the cast shadow, and then I have the form shadow underneath. That's how we can use additive. A good thing about additive method is now if I wanted to, I can make certain sections a little darker by adding another shadow form that sections a little darker, maybe underneath here a little darker, and maybe in here a little darker there. Now you can see that by adding in the shapes, I can create the shading. The next method is subtractive shading. In order to use subtractive shading, we have to create the entire shape. What I'm going to do is I'm going to take my base color. I'm going to unlock it, and I'm going to copy this base color. And then I'm going to open up my Shadow layer control, shift V to paste it in place. Now you can see that I have this base color here. Now I'm going to make sure that this color is the same as my shadow layer. And there we go. Now that the whole form is in shadow, I can simply remove the sections where the light hits. One way I could do that is I can hit Shift on my keyboard, which is the eraser tool. With that form selected, I can erase into it where the light would hit. You can adjust the eraser tool to be more round so it's a full circle. You can decrease it. You could change the angle of it. Just like that. I like that. And then I could go in and I can remove section down here that I can take some off the side, maybe get some rim light there like that. That's a second method of shading, Subtractive shading, starting with the full thing in shadow and then removing the sections where the light hits. Another way that we can use subtractive shading is with the pathfinder panel. Now I have this shape here, but what if I wanted to remove sections with the pencil tool, I can draw a shape where the light would hit. Now you can see it's built up. Then I'll draw a second shape down here where the light would hit. Now what I could do, I could select all my shapes and I could go through the pathfinder panel and I can go minus front. This means that everything in front or on top of the bottom shape will be removed out of it. I'll hit that, and there you go. Now I simply shaded my object with the pathfinder panel, very quickly building the shapes where the light would hit. I hope that gives you a little insight on how you can shade your illustrations using the blending mode, multiply and using either the additive or subtractive method of shading. Or you can use a combination of them wherever you see fit in your illustration. In the next lesson, we'll go through a couple different ways to apply the blending mode in various situations. 21. Shading: Blending Mode Application: This class will go over the application of the blending mode, whether it's on the shape or on the layer itself. Mr. Breton, a cool thing that you can do in Adobe Illustrator is that you can set a blending mode to the layer itself. In our layers panel, I have two shadow layers. I have the shadow layer and the layer shadow, the layer shadow. If I click on this button here, this little dot, I can actually set the entire layer to multiply. Now there's nothing on that layer, there's no objects on that layer. But what that allows me to do, it allows me to set the entire layer to multiply with other layers. But anything that's contained within that layer will not interact with itself. That gives me the ability to build up shapes without having to combine them into one shape, but yet get that nice, smooth, even shadow layer. Let's see how that works. First, let's build the layer. Let's build a shadow on the shapes. This is on the shape, You can see that it's set to normal. And I'm going to hit on my keyboard and I'm just going to draw a second shape. I have two shapes here, and now I can set the blending mode of these shapes to multiply. As you can see, these two shapes, they actually interact with each other. However, what if I take these two shapes, transfer them over here, then I will set them back to normal. All right, they're both set to normal. Then I take these two shapes, I'll copy them, and I'll set them on my layer control shift V, that layer is set to multiply. But these shapes, if you look at the transparency, are normal. This allows those shapes not to interact with each other. Even though there's two separate shapes, they will only multiply with the layer beneath and not with that. That means I can go in, I can add as many shapes as I want, They won't interact with other shapes this way. You can build up more texture, you can build up more detail. These are really customizable. I can move this shadow over here if I wanted to. I can move this one over here, and vice versa. I can do a lot of things by applying it to the shadow layer. If this was on a normal layer, if it was on the normal layer set to multiply, all these shapes would be interacting with each other and you would have to combine them into one shape unite. But now I can't move those shapes all around. That's a good thing about setting the layer itself to multiply. You have this editability. In this class, we learn that we can apply the blending mode in two different ways. Number one, you can set it to your shapes. The shapes will interact with other shapes on the same layer. However, if you apply the blending mode directly to the layer itself, you can keep your shape blending mode to normal and whatever is within that layer will not interact. This gives you a little more customizability for the shadow layer itself by building up shapes on shapes on shapes without having them building up their multiply blending mode. Now there's one caveat to having your blending mode set on the layer. It's that I wanted to move everything to its own group. If I wanted to select everything, unlock everything. If I wanted to group this into one group, onto the graphics layer, let's say I group it. What's going to happen is that everything that was on that multiply layer actually will be turned back to normal. That's not good. Before you can group things together, you have to go to your shadow layer, layer, shadow, and then you will have to unite it. But one thing you can do in the Pathfinder panel so that you can keep all of these shapes editable, but yet united, you can hold Alt on your keyboard and then click Unite. What that does is it allows these shapes to be united, but they can also be editable. And I'll show you what that looks like. Now if unlock all my layers, I group everything onto this layer. I select my group here, I can set this to multiply. Now since I hit Alt Unite, that allows all these shapes to still be available because it is a compound shape. Now it takes all the shapes that are within this shape and adds them together and acts as if they were one shape. The multiply blending mode won't interact with the shapes within a compound shape, it'll all be one shape. That's how we can apply our blending modes in various ways to create our shadows for our illustrations. In the next lesson, we'll just see how we can edit our shadows to create a different mood and feel. 22. Shading: Adjusting Color Tempurature: In this class, we'll quickly go over how to change the color temperature of our shadows. We're at the bottom section of our shading layer and what we can do is we can play around with the color temperature. All we need to do is make sure everything is locked except for our shadow layer. And we can select everything on our shadow layer and we can just double click and we can give our shadow a different feel. We can adjust the color itself, maybe more blue. We could darken it by bringing it over, making it more black. This is why changing the color instead of the opacity of the shadow layer is a little more effective. You have a little more control of the lightness, darkness and the color temperature itself. Then if you just selected black and adjusted the opacity to 50% or something like that, you'd have to go back in and change that. Just change the lightness or darkness of your color itself. I could go in and I can change each of the color temperatures just by selecting them. Maybe I want a really dark shadow, but a blue make green for him. And this one I'll go in and I'll change this one and make it purple for him. Now you can really adjust and give more character to your illustrations through adjusting your color temperature. In the next class, we'll learn how to add highlights to our illustration. 23. Highlights: Adding Depth with Blending Modes: Now we'll learn how to quickly add highlights to our illustration. I'm in the highlight section of my practice sheet and I've locked all my layers except for the highlight layer, and I am on my highlight layer. I select a color that's pretty light, maybe more orangish, depending on the color of the light you have. You can hit. Okay. I'm just going to use my pencil tool to draw in some highlights on the ball where the light would hit. Then what I can do is I can build it up where the light would hit more and I'll have a nice shiny sparkle. Then maybe I might taper it off the edge with a couple other highlights around it. Just like that if I wanted to, a nice square reflection like that, you can build up your highlights just like that. Similar to how we built up our shading layers. You could do all the same principles with that, with the highlights. It's just the opposite, where the light would be more directly hitting. This subject is where you're going to add your highlights. Pretty simple. Play around with that. You can highlight all of them and you can try and change the color properties. And the blending mode that we're using is screen. But you can feel free to play around with lighten. Overlay might work depending on the colors you have. They definitely interact with different colors differently, play around with it and try it out. But for the most part, screen works pretty well. In the next class, we'll learn how to quickly add some detail to our illustrations. 24. Details: Adding Depth with Blending Modes: In this class, we'll add a few details to our illustration to give it a little more personality. Let's jump in. All right, I'm in the details sections of our worksheet, and in this section we're going to add some details to this ball. In my layers panel, I've locked all my layers except for the details layer. In this layer, I like to use subtlety for the details or I might you really make them pop. One thing I like to do is just select the base color layer. I'll darken it just a little bit, maybe a little more saturated. Then it'll take my pencil tool and I can draw things like freckles on it. Now what's cool about drawing here and having our details layer underneath our shadows and highlight. It'll also interact with the shadows and highlights. If I add all these little details to this, it'll interact and it'll still look really three dimension. We have to consider the shape as well. When we get closer to the edge, obviously it's rounding off, circles will be more elongated like that and then they'll be more round in the middle. Just consider the form when you're drawing out your details. Not only can you do like freckles and stuff like that, we can't do like stripes or anything. It doesn't have to be the color of your object. You can make it a very distinct color, maybe make it a bright orange. I'm just going to delete that one. Maybe we'll do some bright orange stripes around this ball. As you can see, it interacts with the shading layers as well. The form that we created with the shadow layer, you can create some stripes, you can create some freckles. You can do a lot of things on the detail layer, You can play around with it. That's how we can add some detail to our illustrations. Simply adding that detail layer underneath our shading layer and highlights layer allows us to add more texture or stripes, or some variety to our illustration. And it keeps that three dimensional form that we created through the shadows. Now for some practice, you could move over to this practice assignment here where we have the penguin. And your job is to shade it and highlight it and give it some details. Have fun with it, play around with it. See if you can capture the shadows, and the cast shadows, and the form shadows, and adding some highlights, and maybe some fun characteristics to this Penguin. So I'm going to go ahead and do that with this Penguin. And as you can see, the light source here. If I unlock the linework layer, you can see that I could actually hit R on my keyboard, select the middle, and I can change the light source to whatever I want. This is just an option for you to play around with it. If I want light source right above, right side, left side, you can decide where you want it. I'm going to put it over here for this one, and then I'm going to try and practice shading this Penguin. We gave our Penguins shading some highlights and gave us some personality with the detail. In the next class, we're going to apply what we've learned in the detail, highlights, and shading sections to our class project. 25. Shading, Highlights and Details: Putting it into Practice: In this class, we will apply what we've learned to our class project Shepherd. Look at this little guy. He is turning out so good. So the first thing that we have to decide upon is where is our light source? For simplicity's sake, I'm going to keep it at the top left, and I will shade it like that. Keeping that in mind, what I'm going to do is I'm going to use the subtractive method at first. So I'm going to unlock my base color. I'm going to copy it. Then I'm going to lock my base color and go over to my shadow layer patrol shift V to paste it in place. You can see that it is a live paint right now I'm going to go object live paint and expand. Now it's editable shapes and I'm going to unite in my path finer panel. Now it's all one color. Now I'm going to give it a light color, maybe a light purple for the shading like that. I'm going to set it to multiply. Now I have shading over the entirety of my character. And I can use the subtractive method in order to remove where the light will hit. I'm going to do that now. I'm going to hit N on my keyboard. I'm just going to change the color of my fill and change it to normal just so I can see what I'm doing. I know that there's going to be a light on his eyeball. I'm going to put a block there. There's definitely going to be light on the top ridge of his eyebrow for the majority of his head. It's going to be in light on this side. Instead of getting all that detail right now, I'm just going to build a shape around where the light would hit. Then maybe it might go down further. So I'm just going to redraw it, the light would hit around there. Then I'm going to have some light hitting this eyebrow eyeridge here. Maybe there's a secondary bridge over there that it'll hit. A little bit great. Then a little bit over on this side too, for sure it'll hit. This eyeball pops out quite a bit. It'll probably be in the light now that I'm thinking about it. I'm going to select this and it's just going to go down a little more. It'll probably hit the top side of this a little bit, or his eyelid right there. There's a little bit of a cheek. Let's just extend this out. Most of that will be in shadow. This cheek would probably rude and see that maybe the bottom of his lip might get some light. Then over on this side will probably get some light as well. I'm just going to draw a shape around this side over here. It'll probably hit some light, for sure. It might extend down onto this tentacle. This is where our light would hit. All I'm going to do is select everything and I'm going to go minus front. That will remove from the shadow layer everywhere where the light hits. Now I can use my additive method to add a little more detail. I'm just going to select the color of this, fill it on my keyboard. Then where there's these bumps, I'm going to add in some shadow appropriately to where the light would actually fall off the backsides, these little bumps. And each one would have its own little shadow. Great. Then this one protrudes a little bit out, so I'm just going to click on that, use my pencil tool and I'm going to re draw so it doesn't hit into there, it looks like that. Maybe I'll add a couple more of these waves into there to give it a little more dimension. Awesome. That's looking really good. What I can do is, since there's some overlapping shapes, but I want this to be one shape. I'm just going to select everything right now and I'm going to unite now it's all one shape. Now what I can do is I can use my additive method to add in deeper tones of shadow in the creases in areas that are more in shadow. In darkness, I'm going to add another layer of shadow on top that will interact with the current shadow down here where there's a crease for sure. Less light wood hid in there. I'm just going to add one more shadow. I'm going to make it the same color as the original shadow but since it's on multiply it. Continually add up, get darker and darker. So I'm just going to turn off my reference to here and see how it's going. I got my shadow down now I'm going to add in the highlights. Let's think about our light source again, hit on our keyboard. I'm going to change this to a warmer color, maybe a light yellow. And I'm going to lock my shadow layer and on my highlights layer. And then I'll just draw in some highlights. But what I'm going to do is I'm going to change my blending nemo to screen. Let's see how harsh that is. I'm going to turn down the opacity to maybe 35% It's there, it's visible. You can always adjust your screen opacity to be a little lower. All of these have a little bit of a high light on them because they're in the light. Okay, I think that's good for our highlights. Now we can add in some details. Let's lock our highlights layer and unlock our details layer and add some details. I think I want to put some spots on the top, so I will just get a color similar to the base color. I'll darken it slightly, then I'll hit on my keyboard and I'll start drawing circles just slightly like that. Maybe I'll put them closer to the middle, more like freckles on his nose. Then I like to make sure that they're both in the sections where there is shadow and light. Just so that you can see that it is interacting with the shading. It gives it a little more realism. Okay, so that's looking good with those details. Now I'm going to add in more details underneath. Maybe I'll add in some stripes or something like that just to add some character, some fun with him. Let's turn these stripes kind of like the blue. I'm going to just decrease the saturation, Increase yellows a little bit. And then I think I will draw him some stripes trying to stick with the form. He's got some and I feel like these stripes will carry over to the tent tickles. Now if I wanted to, I could just select all those details right there and control H and then I could play around with the colors. All right, so we made our character illustration. We added the shadows, the highlights, and some fun details to give it character. In the next class, we'll learn how to change the color using generative AI, as well as create some background and complementary assets. I'll see you there. 26. Experiment with AI: Adobe Illustrators Generative Recolor: Now we will learn how to use Adobe's generative AI recolor to change the appearance of our illustration. Let's jump right in. I have the generative AI practice file open to the refine and experiment with AI generative color fills. Now you can sort of see what's going on. Here we have our original illustration and it's all grouped together onto one layer and I made a few copies. What we're going to do is we're going to use AI to change the appearance. This illustration generally we're just going to change the color of our character in various ways using text prompts. Let's see how we can do that. In order for us to change the colors using AI, all we have to do is select our character. And then we can go up to this little menu here that says recolor artwork. Otherwise, we can go to Edit, Edit Colors, Recolor Artwork. Now we have two options. Either Recolor, which is we can manually change the colors, or we can go to generative recolor. What we can do is we can actually add in a text prompt and set the mood of we want our colors to be. There are a few sample prompts here, we can test out a few of those. Let's go with dark blue midnight. It'll do its thing, and then it'll come up with a few ideas. Now sometimes you'll see the thumbnails appear, sometimes they won't, but you just click and it'll apply those colors to your illustration. They're all very similar. I think I like that one the best, so I'm going to choose that one for this one. Let's try again. Let's go on to the second one. Let's go to Recolor Artwork, And let's go to Generative recolor. Let's type in something different. Let's go super hero, see what that comes up with. It came up with a few different color combinations. I don't know if any of these are really superhero E, but let's go with that one that looks semi cool. Let's go with this one. We can also click here. If you have this bar open recolor artwork, generative AI. Let's go with diamond crystal. It came up with a few different options. Some are pretty similar, that one's a little different, I guess. Let's try one more. Fire, Sunset. Let's try to get some warmer colors here. Okay, it's a little bit warmer, that's pretty nice. We were able to create four different variations of our illustration using the generative AI recolor. Give it a try yourself with your illustration, or give it a try with these turtles, and I can't wait to see what you create. In the next lesson, we will go through how to create a background and some additional assets for our character. 27. Experiment with AI: Create a Background and Assets: This lesson will go over how to create a background as well as extra assets for our character illustration. Let's jump in. In the next section of the generative AI practice file, you can see that we create a background scene, we have access elements. These are the things that we can do with the generative AI in Adobe Illustrator. It's actually very cool. You can see a couple samples that I did. I created these characters in Adobe Illustrator, and then I made a background for them. Really? Q Same with this little dinosaur and this bumblebee. Apart from that, we can also create additional access elements to build up our scene. How can we use this? Let's go down to the bottom here in order to access the image generator. Let's go to Window and text to Vector. Make sure you have the newest version of Illustrator installed so you can access this window. You have a few different options here. You can make a subject, select a scene that will be useful for our backgrounds. You can create an icon or even a vector pattern, which is really cool. I want to build a few extra assets for my characters as well as a background. In order to do that, I'll select subject for my first one. I want to match active artboard style. It means if I were to select an artboard with this little guy on it, it's going to sample the information from this artboard and apply it to generate the image. In order to create my subject, I first have to establish the size in which I want my subject to be. With M on my keyboard, I'm going to create a box. Give it a little color so I can see it. That's about the size I want my asset to be. Now if I go to the image generator I can and it'll sample this artboard and it'll create coral according to this size box. Let's see what happens. All right, that was awesome. Now you can cycle through and you can sample the corals that was generated. As you can see, it picked up a lot of the color information and some of the textures and patterns that is on this character. Now I can take this, I can duplicate it, and I can select a second acid. I'll move it over here, build up a scene. Now what I can do is I can create a box around the entire thing. Send that to the back. Now I'm going to switch my text of Vector from subject to scene. Now I'm going to say Under the Sea. Now you can see that it created some scene so that I can place my character in. It has a fish, stuff like that. I think this one looks pretty good. I'm going to place my character in there, maybe make this one a little bigger in the foreground. What you can do is you can select that background and you can go to Recolor. And if you wanted to, you can actually toggle these two options here. And you could change the brightness of your scene. You could push the background a little further back away from your subject and let that subject stand out quite a bit. And now you can build it up with different assets and maybe recolor the front asset. Make that one a little darker as well. That's looking pretty good. Now you can play around, try to make a few different assets for your illustrations, as well as a background. I'm going to create a scene and you have a few different options here. You can do a style picker. You can actually select from an object. If I selected style picker, instead of being on that artboard, I could select a specific object. It'll use that object to create this scene. Then I can also change the detail I wanted it so I can make it more detailed, have a lot of information, or less detailed. Maybe I want less information and now I'll type in something. Maybe bowling alley. There you go. As you can see, I've created a nice little bowling alley for this ball here. It took a little bit of the colors and characteristics and you can see that it's quite simple because I set the simplicity and detail to one. But I can set it to five and it can get a lot more detail. If I wanted it, we can do the same with the B here. Maybe I'll just create subject. Now. I don't want this one to sample the B. I want it to actually sample the colors from this guy. Because I like the vibrancy of this. I'm going to click on that, I'm going to sample property, and I'm going to click this guy. Now what it'll do, it'll sample those characteristics instead of the bumblebee on that artboard. And I'm going to turn off match active board. Then I will generate a beautiful flower. I got a few different options there in this one. The best, that's how you can use generative AI to create a background for your character, as well as some complementary assets to really build up a scene. All right, in the next class, we'll apply what we've learned to our class project. 28. Class Project AI: Applying AI to Your Project: In this class, we'll apply what we've learned about generative AI to our class project. We have our character here. And what do I want to do is I want to duplicate it. I'm going to make sure all my layers are unlocked. I'm going to hit Shift to get the artboard tool, and I'm going to hit Alt and drag it over. Now I have a second board with this character on it. I'm going to re that board, make it a little bigger because I want more space to make a scene. Now I'm going to select my character. And as you can see, everything's on different layers. I want to group it into one layer. Now it is one object, now I'm going to make a few copies of them. Then I'm going to use the generative AI to recolor these characters and give them a little different style. Let's go to our recolor. I'm going to go generative recolor. Let's go with Midnight Moon. Fun with what you put in the prompts. Just think about imagery and the colors of that imagery and how you would describe it and put that into the prompt. All right, I'm cycling through and I'm trying to find one that works. Okay, I like that one has a little bit of contrast to the shading. Okay. I have four different characters. I can resize them to various sizes. Then I'm going to place them around my artboard. Now I'm going to create a box around my artboard and I'm going to bring up my text of Vector and add a scene. Maybe I'll bring this box to the back and I'm going to add a scene under the C and make sure match active artboard style and hit. Okay. Okay. Weird. I had a couple that I tested out earlier. I'm going to pick one of those ones. I think what we can do with that, we can go to Recolor and we can darken it up. It'll allow our characters to pop a little bit. The next thing that we can do is we can make some complimentary assets. Let's go into our text of Vector, Switch it to subject, and we could add some complimentary assets. Let's go with rocks and coral. Okay, it came up with a couple. I like this one. This one actually looks really cool. It's got a lot of colors in there. We can use that as the foreground. I really like that. I had a couple other ones that I tried out earlier, so maybe I'll add this one as well, just in the mid ground behind this one. I'll darken this front one up. Maybe I'll darken this one up just a little bit, let our characters stand out. Okay, now we can set the scene, we can move our characters around. I'll have this guy right there. Maybe this one poking out from behind. All right, this one that's further back. I will recolor and make it darker just so it's blended with the background a little bit more. This one, I want it to be behind the fish. Since this is all built up in one layer there, you could separate the layers of what was generated. However, it's simpler just to create a mask. What I'm going to do to put this guy behind this fish is I'm going to just grab my pen tool and I'm going to draw the shape or the outside of the fish like that. Then I will just draw around what I want to be revealed. We're going to change this to white. Okay, now I'm going to cut this shape control X. I'm going to cut that shape. Click on this character. I'm going to open up my transparency panel. Now in my transparency panel, I have an object called make mask. I'm going to make a mask. And now you can see he disappeared because the mask is completely black. If you see over here, you have a mask that's completely black. If you place something that's white on it, it'll reveal what's underneath. I have to click on the mask. First control shift V. Now you can see exactly what happened. He appeared behind the character. I can move that mask and then just click the character to go back to the normal mode. There you go. He's coming out from behind there. And I think what I might want to do is since he's in the back, I don't need him bright, I need him a little darker. There you go. Perfect. They look like balloons sort of in the ocean. It's quite fun. So that's how we can build a scene using generative AI. We created an original character, we added an AI background, as well as some AI generative assets. We recolored our character with the generative recolor and made something completely unique. In the next class, we'll learn how to export our illustration. I'll see you there. 29. Exporting: Share it with the World: This class will learn how to export our illustration in various sizes and formats, as well as use the offset layer to create an outline for stickers. Okay, jumping into our scene here, now we have artboard and if we go to view and trim view, we can see everything that's on that artboard. We have our illustration. Now what we want to do is we want to create various sizes of artboards. So the first thing that I'm going to do is I'm going to lock all my layers. And then I'm going to hit Shift to get the artboard menu up. Now we have our one art board there. If we were to export that artboard, it would show everything within that. But what if we only wanted a vertical artboard for like a phone screen or something like that? What we can do is we can actually create a new artboard and we can go up to the custom and we can change it to whatever size we want. Let's go with HDV 1080. Then we can change it from vertical to horizontal or back to vertical, just like that. And then we can drag it in place to wherever we want. Now let's hold shift and expand to the top. Just so we have our character in there now, Make sure our layers are locked, so we're not moving any layers. I want my character right in the center of it. Now we have one artboard that is the full artboard, and then we have a phone screen artboard. Let's make another art board up here. We can also make adjustments up here. We're going to have the width 1,000 pixels. The height 1,000 pixels, it's a perfect square. Now if I hold shift, I can drag it out and constrain that perfect square. Now I can drag that over to wherever I want. I can drag that square format board right there. All right, we have three different art boards. We have one that is the full screen. We have a vertical format, and we have a square format. Now to export it, we can go to export for screens. Now we can select boards. Now you can see in the previews what they're going to look like. We have the vertical and we have the square. Now we can select the type of format down in this area. We can multiply it by 1234 times, it means the size of it. And we can change the type from PNG to Jpeg or SVG or PDF. You can actually add multiple scales. We can add a scale and export it two times its resolution at PNG. And then we can also add a different type, such as Jpeg at one times. We can also add an SVG, which doesn't have a scale because it is a vector graphic. Now you can see with our artboard selected, we're going to have four variations of each of these art boards. I just have to click in and select the proper file. I'll hit, okay, Export artboards. It'll do its thing. All right, now that it's exported, we can go and look at our files. Let's go back to our files, class project file. As you can see, we have one times, two times an SVG file. In our one times, I believe we have both a PNG and a J peg. In both versions, we have our big illustration, we have our vertical illustration, and we have our square format illustration in various formats. Very quick, very easy. The next thing that we're going to do is use the outline layer to create a simple sticker effect. Looking at our main illustration, we're going to go, we're going to unlock all our layers. We're going to hit the, we're going to use the artboard tool shift and drag it up. Then what we're going to do is we're going to lock everything except for the base color layer. For now, we're going to select our base color layer. We're going to hit control C to copy it. We're going to paste it into our offset layer. Now in our offset layer, we have our base color. Now it is in live paint mode. So I'm going to go to Object Live Paint and Expand. Now they are Editable shapes. Going to go to my Pathfinder panel and hit Unite. Now it is all one shape. I'm going to give it a color. Let's just change the color to something noticeable. Now what we're going to do is we're going to go to object path, offset path. We're going to increase the path by maybe 20 pixels or so. We're going to change the joins to round. That'll just round off and smooth any of the sharp edges. And we'll hit. Okay. Now we can see that if I hover over this, I have two shapes. I have the original shape and I have the offset shape. You can decide whether you want to keep the original and the offset or pick one or the other. But what I'm going to do is I'm just going to turn on all my other shapes. Now you can see you have an offset shape. This is great for creating stickers or anything like that. If you wanted to, you can change the color, give it a nice thick outline like that. Or if you want to, you can change it to the same color as your stroke outline. If you can find the path, there we go, like that. All right, And then if you wanted to, you can also offset it one more time. Path offset. Increase that again by 20 points and change this one to a different color and just build those up and see what works best for you. Then for this one, unlock all your layers, you can select everything and you can go to File Export, selection it into your file, and it'll pop up right there and we have this cool little sticker effect character. Now we know how to export our images in various formats, at various sizes, as well as create a simple sticker variation of our illustration. Now that you've created your class project, make sure you posted in the project panel in the next class. I just want to say thank you. 30. Thank You! You are Awesome!: Hey guys. You made it to the end of the class and I just want to congratulate you in your efforts. Throughout this class, you've learned how to quickly lay down, line work, trim, and refine your paths. Bring in some color with the live paint tool and add dimension using shadows and highlights. You are able to bring your illustration to life by creating an interesting background with the help of generative AI and have some fun with colors. Now is the time for you to share your work with the world and with us. Here on scale, Share, simply post your project in the project panel of this class. I am always super excited to see your work. If you share your work on Instagram, you can take me at Kyle dot Aaron dot Arc. If you have any further questions regarding the subjects taught in this class, feel free to reach out in the discussions panel and I'll do my best to respond in a timely manner. A lot of time has been put into creating this class, and I would love it if you could leave a short review about what you like most. So this class could reach more students. Ai is a really powerful tool and you can do so much with it. It's going to speed up your workflows in so many ways. But remember, AI should not replace your creativity or personal style, but should assist you on your journey. You must decide when it's better to use AI assets or to put in the work and create it yourself personally. I love the process of making something myself. And if you create something just for pure enjoyment, it's absolutely worth it. If you want to learn more about illustration and graphic design, you can follow me here on scale share to be updated when a new class launches. If you want to learn more about Adobe Illustrator itself, I have dedicated classes on the pen tool, pathfinder panel, graphic styles, and the gradient mesh. Definitely check out those to continue your learning journey. I wish you all the best on your creative journey and I'll see you next time.