Transcripts
1. Intro Vectorize Using iPad Illustrator: Hi guys and welcome. My name is Dolores now Scranton. I'm coming to you from
sunny, Manitoba, Canada. So I'm excited to bring
you today's class is all about vectorizing images using the Adobe
Illustrator program on the iPad. So up until recently that wasn't available in Illustrator. And I was so excited to see it come out in the latest version. I had been using vector
Nader and vector q, also Adobe Image Capture. And of course those are very relevant and
usable programs. My personal workflow
on my desktop has always been to use
Illustrator for image trace. So I was really excited to see that everything
that I'm used to on the desktop is in this
new function on the iPad. I immediately had to
test it out, of course. And so I'm going to present to you all the different things that I did in order to get
a really nice tracing. And I was super pleased
to see that it is just as powerful on the iPad as
it is on the desktop. We're going to go step-by-step with two different methods. The one method we will trace or draw our pattern or artwork in, Procreate and import that
and then vectorize it. And the other method
involves just taking a photograph of a line
art piece that I have, and then adjusting
the settings in such a way as to get the
best tracing possible. I do a side-by-side comparison
just so that you can see which way is actually
the most successful. So a little bit of
the class will be in Procreate, just the beginning. And then we'll switch over to Illustrator and we're
going to play around with the settings until we get the
absolute perfect tracing. Now I want to remind you if
you haven't done so already, to visit my website at
shop dot dollar start dossier and add yourself
to my mailing lists. I've been adding a
bunch of new products into my artists
resources section. And I think I just put two brand new free products on there so you'll
have to check it out. Also, he haven't done
so already here. Make sure you hit the
Follow button up there. That way you'll be
informed of any of the new classes as I released them in anything
else that I post. So are you ready to get into this process of image tracing? All right, Let's get to it.
2. Lesson 1 Overview and Ideas to Spark Creativity: Hi guys, welcome to Lesson 1. In this lesson,
we're just gonna do a quick overview of the program. Let's get into it. So I want to talk to you today about Illustrator on the iPad. I've been using
this for awhile for doing vector drawings
and such batch. One of the things that
was really lacking, in my opinion was the ability to vectorize an image
that I already had. I been using programs like vector Nader to do
that on the iPad. But I was really yearning for illustrator to come
up with its own version because I'm pretty used
to using Illustrator on the desktop to do my
vectorizing a raster images. So for line art, so on, I had a definite
workflow that I use on my desktop and I
just wasn't getting the same workflow
when using my iPad. I used vector Nader, I used Adobe Capture, but nothing really gave
me that same feeling as working with Illustrator
for doing my vectorizing. So I guess my prayers
to the Adobe gods were answered and they
have now come out with a version of
Illustrator on the iPad that allows you to take raster
images and convert them. Let's take a look at
this quick demo here. So what I liked about that, What is the fact that you could input your drawing
pretty much in any way. You saw her use a photograph. She took that photograph
directly into Illustrator and it looks like she was
easily able to convert it. Now what I've been
doing, of course, was a lot of painting
on the iPad. So a lot of times I do create my original raster
images in Procreate. And today I'm going to
show you that workflow, creating the raster image and then importing it
into Illustrator. And just different
methods for cleaning up and adjusting the
threshold and what not to get a perfect line art drawing that's completely
editable in Illustrator. I'm going to show it
to you by just drawing some images or motifs
and importing those. But I'm also gonna show
you my workflow for photographing some kind of a pattern that I've
already got drawn. I've got so many dozens and
dozens of eight drawings of flowers and fillers and that sort of thing that I
can use for pattern-making. And I've hesitated to go through
all the work of creating the patterns in Procreate or another raster based program. I want to create them in
a vector-based program. And I've just kind of put
my attentions elsewhere until now that I've got this ability to do it
right on the iPad, I really want to take
advantage of that. What I loved about a little
video we just watched was when she left
her studio space and then went and just sat
on her couch with her dog and did her work on the iPad. And, you know, that's kind of
one of the ways that I deal with watching TV
in the evenings. I find TV to be a little
bit boring sometimes, especially some of the stuff
my husband likes to watch. So I end up almost always
sitting there with my iPad and just working
where I'm really comfortable. So I'm going to
definitely take advantage of now having this
feature in Illustrator. And I think that even if you haven't used Illustrator
in the past, you're going to find this
program quite easy to learn. So if you're one of my
students who has been basically focusing all your
attention on Procreate. I think this is going to help
you take that next step, which is to produce art and especially for pattern
design in Illustrator. You're not going to regret
getting to know how to do this vectorizing. I can tell you right now, a lot of the work
that you do for pattern design has to be
done with a vector program. So learning this new skill
is going to be really, really important for
you in the long run. So are you ready to get into it? Alright, let's meet
in the next lesson and we'll take a look at one of the different
ways to get started in Procreate and then
importing what you create in Procreate into Illustrator to vectorize. I'll see you there.
3. Lesson 2 Image Tracing Set Up and Workflow: Hi guys, welcome to Lesson 2. So in less than two here I'm
gonna kinda walk you through my workflow for producing
something like this. So we'll start with Procreate. I'm going to also
go through all of the settings necessary portraits in this particular image. Let's get started. So to start this lesson, I thought it might
be a good idea to explain to you the workflow that I go through when I'm using something that I've
drawn on paper first. So I would generally start
with a quick pencil sketch. Sometimes I've worked
out a little bit of the detail or gun a little
bit of correcting on it. The next step is usually to
take a piece of this balance. Transparent paper. You can get tracing pads. And I would lay
the paper on top. And you might not sure where that mesh stub that
somewhat like this. So I would do the
tracing on another piece of paper because then I
have no pencil lines on it. I have no erasing to do. And I can do a pretty
good clean tracing. So you can see that
it's a decent tracing. The black isn't super
black everywhere. But there's definitely
a clean enough drawing here that I can either take
a photograph or Gagnon. And then generally I would take it into Procreate
and clean it up, then possibly into
vector Nader or Adobe Capture to deal with the
tracing, the vector tracing. Here's another example. I've got sheets and sheets of different motifs that
I've drawn over the years. And I think I recognize
this one as one that I use on a
calendar at one time. So I've kept a lot
of them so I can still go back and
do some of that vectorizing on some
of those and maybe introduce them into some of my new artwork that I am doing. Okay, so I'm going
to switch now into Procreate on my iPad here. And I'm gonna just show you the basic steps
that I go through. So what I did is I went and just took a photograph
of my image. So I've got it in my photos. So I'll have to do
here is important, obviously not the best quality. So here I would make
some adjustments. First of all, probably
going to curves and brightening the entire
image, rocketing the blacks. But even if I did a
lot of correcting, I would have a lot of stuff
that I want to read to you. So a lot of times what
I would end up doing is just simply using this
as a guide for tracing. So I think I would
still do that if I was taking it into Illustrator
to vectorize it. So I'm going to take my favorite tapered
pen pressure brush. That's the one I use for just
about all of my drawing. It keeps my style
kinda consistent. One I would suggest if
you don't have that brush already and I know
I've given that away in quite a few classes. If not, just go into inking here and grab
the syrup brush. So the regular original
syrup brush was quite nice. You could decide on
what your style. The other one that
I like here is this studio pen because it
does have the thick and thin. So that's really similar to my tapered pen pressure
brush that I like to use. I've got this set up
in such a way that it is really stable for me. I've got streamlines
set at what I like. I've got different sizes said here to keep myself consistent
when I'm doing my drawing. So I would lighten this
one here, add a new layer, make sure I have black ink, and then I would just go
through and trace my image. Now, of course, you
would take the time to perfect as possible
because the better this is, is the better your vectors
are going to turn out. In Illustrator, I'm going to do a little bit of a quick job here just so that I'm not
keeping you watching me. For some of this
stuff that you could easily watch or do much faster. And you'd probably want to
do this with your own art so that you could have a
little bit of practice. I would go through
and trace all of my images that I wanted to
bring into Illustrator. Then I'm going to
flip into Illustrator and let's go in there. So I've got documents obviously that I've
been working on. I'm going to add a
new document here. When you open up, you'll have your presets here that
you can choose from. I'm going to create
a new document. Here's the preset. I
would choose 12 by eight. That's what I was just
working on in Procreate. And then here I would
import my inked image. So I saved my ink drawing in my house assets in the
folder for this class, and I didn't trace all of them. I trace the ones they
really liked or wanted. So here are the ones that
I imported from procreate. So I'm gonna be showing you the demonstration using
this illustration, so this inked one. And then I'm also going
to show it to you with the original scan or that
photograph that I did, that was really bad as far
as lighting and so on. And I want to show you some of the settings that are
relevant for both and why I go ahead
and do a tracing in Procreate first to really
get a clean tracing. Now you saw that as soon
as I clicked on the image, so within the selected,
these controls disappear. But as soon as I select them, this is the set of controls that will allow me to
choose the image trace. And it instantly actually
does a tracing for you. But here we have a bunch of different settings that'll help us get a better tracing. As you can see with a
threshold setting at 225, which is, hi, I'm starting
to lose a lot of details. So you can see I'm missing these clean lines
that were in here. Some of these dots
have filled in and everything is super rounded. So of course, that's
not what I want. So I'm going to reduce
this setting here on the threshold until I get those things back
that I'm wanting. Now it's always a balancing
act because as you can see, as soon as I do that, I'm starting to lose detail
in some of the thinner lines. So sometimes you end up
having to do a couple of different tracings so that you get all of the motifs
the way you want them. So I might do the
threshold of two hundred, two hundred and ten in order to get detail in these without
losing any lines by, I might do another
one to allow me to get the insight of
the dots, for example. So that's one of the
things we're going to go through as we proceed
through the class. And I'm going to explain some of these other settings here
just so that you're aware of what each of them
will do and will help ensure that you get the
best possible outcome. Alright, so in the next
lesson we're gonna go through and do the recipe
settings, and then we'll.
4. Lesson 3 Understanding Image Trace Settings: Hi guys, welcome to lesson 3. In lesson 3 here we
then go through and I'll explain
everything in detail, all of the little nuances
of these settings. Let's get started.
And I kind of ignored this source information when I was starting on this
in the last lesson. You can see here that all of these and everything
was gone here. Now it was in black and white. And the reason for
that is because we've got sketch specified here. You can also specify
line art that would also keep everything
black and white. But I find that it's harder to get what you really
want there obviously. So I usually keep it at
sketch for black and white. But as you can see
here, we can also do things like
convert full-color. So a painting would be in
full color and you can even take a photograph and
convert it to a vector. So I'll just leave
it on sketch here. We did kind of look at
threshold in the last lesson. And this is a setting
that is common. I got it in Photoshop,
for example. And what it does controls
the amount of light or dark. So you can see there that
as I reduce the threshold, I was getting more and
more light into the image. So if you've ever
used a photocopier, there is a setting
on there that allows you to add or reduce
the amount of light. This is basically
doing the same thing. So path I didn't
explain really at all. And what there is to know about that is that it
controls the distance between the vectorized shape and the original pixel shape. So the best way I can
describe it is in how tight things will
go into corners. So the higher the threshold is, the more it'll go into
those little pointy areas. But also the more flaws
that are gonna show up on your illustration because it's literally picking out
every small nuance. For example, like
if your hand was shaky and you have a
slightly shaky line there, that would show up the higher
you put the setting here. I usually find
that I live around the 45 to 50 percent mark here. And it really depends on how good that
original inking is. This'll probably all be different when I bring
in that scanned image. Now the corners setting here
specifies the emphasis on corners that also works in
these little sharp bends too. So let's take a look at that. And you can see here that the corner is super
nice and sharp there. Now the only thing I would
caution you with this setting is that the higher
you put this is, the more points you're going
to have on your vector. And for those of you who
do work with vectors, you understand wanting
to keep the amount of anchor points in your image
low is quite important, especially in pattern
design where you going to be repeating elements if you've got 2000 anchor points making up this image and you repeat that five times
in your pattern design, you're going to have a
lot of anchor points. The more anchor
points there are, the harder it is to edit, and the more likelihood
that you're going to bog down your program once you start doing
things like repeats. So again, that's one that
you put it to the highest that you can get away with without losing
too much detail. So if I was to go way down, if it still looks okay, then I would actually tend to keep it at that
lower setting rather than going really high
just for the sake of sharpening it incredibly,
if you know what I mean. Now, noise also specifies an area in pixels that
would be ignored. So if you did have a really shaky hand
or your illustration you're inking would say
was done on paper and you have a lot of bleeding
or rough edges. You might want to adjust the
noise setting here because that's also going to help
improve your final output. So the higher value at you have is the more it helps
to smooth areas out. So again, that's something that you're going to learn based on your own settings and how
clean your originals are. I like to keep this
one fairly low, especially when it is a
procreate file that I've imported here that I have
as accurately as I can. Now the other two things
to note down here are these two settings that kinda specify if you have
overlapping shapes. If you have two
shapes that meet, this will specify whether it's cut out or whether
it's overlapping. So this one is called a buddy and this one is
called overlapping. For a budding, it'll create
cut out so the path, so the edge of one path is the same as that of the next path. If you have, you imagine this
as cut out pieces of paper. You have black paper and
then you have a piece of white paper over top to make the inside of
the donut hole, then that would be
considered a budding because the same
line as he used for the circle is actually
cutting out of worth actually appearing as though it is cut out from
the one below. Now, generally I use
this method because I want the path to be built
like a stacking order, like I just explained. If you were to select
the overlapping, then this is what you're
going to see happen. Now, Ignore White is an important one because
instead of having all of these areas filled with
white is actually going to create compound
paths which allow, let's say, a background
to show through. So if you had a
colored background and you have all the whites
still showing here, if you hadn't clicked
on Ignore White, then all of these would be filled with white and
you'd have to go in and manually create
the compound paths to allow the image to show
through to the background. So you definitely
want to ignore white. And in that way, none of
this extra white stuff is going to be
extra shapes, Okay? And then of course,
the final step here is to expand the vector. So right now we have still
just a bitmapped image here. But as soon as I hit
Expand vectorization, as long as I've got all my
settings the way I want, then we'll end up with
this vectorized image. So if you look at it real close, if we were to use, let's
say the direct selection, you're able to see now each of the individual points which
can be moved independently. It looks like my settings
were pretty good. I don't have a
million points here. I even like it more when I have even less points
in here because if I need to adjust this curve, then I've got to adjust all
of these points in here. So you'll generally, I like it when there's
even less points here, but that's something
that you can deal with. You can get rid of extra points and you can still make
adjustments to this. So towards the end of the class, maybe we'll do some adjusting on our vectors so you can
see how that works. So that's basically the
settings in a nutshell. I can go back here too. Before it was vectorized
or before it was outputs. And I would end up with my
raster illustration here. And I could reset the settings if I wanted
to and go from there. Now, this one is what I
consider the easiest way when you've got a really
nice clean ink drawing from procreate. But if you don't use Procreate, I want to show you how
to take just a photo of your line art and
then import that and some of the changes in the
settings that might occur. All right, so in
the next lesson, let's cover that.
I'll see you there.
5. Lesson 4 Making Texture Brushes: Hi guys, welcome to Lesson 4. In this lesson we're
going to do texture ball, and that's just a
high-level quick motif that I use often in the
backgrounds of my artwork. I'm going to be showing
you my use of it. And then we're gonna do a
full repeat pattern brush. Let's get started
with this brush here that we're going to create
what I call texture ball. I've got a couple of
these that I use a lot. And so I thought I'd quickly
show you how to create that. Now you don't need to do it
in a round format like this. That's the way I'm going to show it to you because I don't want to do a bunch of
fitting of the pattern. I may be able to show
you that later on, but let's just take a
look at how it would be if we had something
textured in the very middle. So if you go to a blank layer here and you can use
any sort of brush. I have in my arsenal
of brushes here, some lineup cut brushes
that I've created. And what I like about these
is they have a really squarish sort of
a shape to them. I'm going to use
this one actually. We're going to go into black. And when I created this brush, you can see that it's created
as if you were cutting with a line O'Toole to
cut into the linoleum, you would use the tool
to kinda gouge it out. That's exactly what the
tool is called gouge and that's the look that
I was trying to achieve. But basically we're using this
in a different way anyway. So we're going to just
kind of start from the middle and we're going
to just do a series of dots. So I'm going to do
this one a little bit different than
the other ones because I know that this is
something that I could use. So I want it to be
different just to have a little bit of variation. So if I pulled sideways, I get a kind of a thinner line and depending on how
I put the pressure, I get sort of different shapes
and they're really random. And that's exactly
what have watched. I want it to look quite random. I don't want any
of the lines to be going in the same direction. What I use this for is to add a textural interests
to my artwork. And you've probably
seen that a lot when you've looked at the kind
of artwork that I create. So this one is
somewhat of a ball. We could put a
couple more in here. So this pressure itself
was created just with a really squarish shape. We'll go into the shape
here, you'll see, and that's just one that's
here in the library. I've got the shape
drawn that'll be adequate for my demonstration. Now, it's on just a
transparent background. So let's add a new
background here. Double-click in this
area to get the white. And now we've got the white
layer and the black layer. We're going to pinch
those two together. And so that's quite different from that original texture ball. I'm going to copy it. Let's go back to that
specialty brushes set. I'm going to add a new brush
and go into the Shape Edit, Import, Paste, two-finger tap to get it in reverse, hit Done. And you can see that this would actually be
useful for creating a brush that has really
a rough bristle look. But that's not what
we want today. So we're going to take this probably almost
all the way to the top. And it's more like a texture
square that I've created. But this is really, I find very, very useful to me. So I'm going to just
increase the size here. I am going to be only
using this as a stamp. So it doesn't matter as far as the jitter and the
scattering and all that because I am not
going to be using it in the same way as
those border brushes. I guess I could if I wanted to, I could run a line of
them and then adjust. But usually how I use it is
just one singular stamp. So for something like that, just go to an artwork here. Artwork that I created for this new brush
set that I have. So I'm going to just hide that. But let's say here in
the background I want to add a little bit more texture. I would add a layer, select a color and I'm just tapping to get the
color that I want. So I've changed color. I just do a single tap. I don't tap and hold. I used to have to tap
and hold and now I just do a single tap which
I like a lot better. So now I could stamp that in. That adds some really nice textural interests to my piece. I could even go quite small and go into one of
the flowers itself. So let's go into this one here. And this one set an
alpha lock on it. And I can actually
go in and use that. So let's just go at
slight tone lighter. But you can see that I could add some real interests
to my motifs. So that's another super
useful little brush. Now I think we do have
time that I could show you quickly how to do a full repeat of this so that we can have it as a solid fill. I really like that in this
new version of Procreate, we can have our recent
brushes up here so I can grab that line of
cut blunt from here. And let's just add kind of
trying to fill this area. Remember that this is a white background
and I know that we're going to have some
spaces here along the edge. So in order to do the repeat, what I would do is
duplicate this, sort of about four copies of it. I mean, they go into
my Canvas settings, turn on the drawing guide, go into Edit for that drawing guide
and we're going to bring it to the biggest. It could possibly be
in the grid size. I'm going to hit Done. Let's go back into
that because I just I just Drawing
Guide to white, but I want it to be darker
so you can see it here. And what we're gonna do here is set the magnetics
and snapping on. And then we're going to move
each of these into a corner and it snaps quite nicely
onto that central line. So you can see here that they'll soon really be able
to see that big gap that would be formed in our brush if we didn't
fill in this space here. So these for now can
be pinched together. And here, even in
this little preview, you can really see that
white stripe along here. And so I'm going
to take a brush, same settings as before. And now we're going to
add a bunch to fill in the spaces there that this is a full repeating pattern for
there'll be no gaps there. And now we can make a
really great textural brush just using this pattern piece. So this is a perfect repeat. This could be used in any way
that you use your repeat, you could easily make fabric
or anything else with this. So just think about that. You could be actually
drawing little motifs here and have had perfect
pattern when you're done. We know it's got the
white background already because that's
how we created it. So we're going to
swipe triple Copy, go into our specialty brushes. We're going to add,
well it's a shape, leave this shaped the way it is. And we're going to go
into the grain this time. We're going to Edit, Import, Paste and reversing it out. And I'm not sure, I may have had a little eraser line there and I think it's
going to be fine. We're going to hit Done. And now you can see that
we've created a brush that we can use as
a filler brush. Let me just open
another document here. So let's say this one here. I had used this document to put his one of
my screenshots for this particular brush
that I think this was line art, flowers seven. And I was using this
slide here to talk about texture so that a
perfect place to actually drop this
texture in there. So let's just sample
a color and a little bit later than
that, a new layer. And you can see how fun
that would be to use for texturing so we can go into Properties and
make the brush bigger. You notice that when I'm
making the brush bigger, it doesn't change the grain. So if I wanted to make the
grain bigger or smaller, I would have to go into
this grain and this is why you need a full repeat. You don't want to have
really visible lines. I mean, even as it is here, if I go really small, I do kinda see a
visible line there. So I probably put some lines in to fit when I was
doing that seem, but it actually is very forgiving when you're using
it in the way that I use it. So you can see that could be
also a very useful brush. So in this lesson, we've created two for the price of one. Alright, so we're gonna
get into a slightly more difficult for us
in the next lesson. So maybe we should take a
little coffee break here, and I will be two there.
6. Lesson 5 Settings for Colored Art Tracings: Hi guys, welcome to lesson 5. I thought before
a class was over, I should explain some
settings for color work. So I've taken a color artwork and imported it
into Illustrator. And there are, we're
going to do a tracing and we'll talk about some of the things that you should keep in mind
when you're doing that. Let's get started. So I like to also demonstrate tracing something
like a photograph. My suggestion there is that you take your photograph
into something like Procreate first or even another simple
editing program where you can remove the background or whatever you have on the
image that you don't need. When I did the vectorization
on this image, for example,
obviously in the end, I really wouldn't
have needed all of this stuff in the
background and to go in and manually get rid
of it is a Payne's. So your best to get rid of most of what you
don't want to use, if at all possible. Now when I talk
about a photograph, I'm talking about anything
continuous tones. So that could also be something that you've
painted in Procreate. So if we were to go
into procreate and find an image that we'd
like to experiment with, then perhaps something
that has a lot of shades intense would be a good idea
to kind of experiment with. So let's take a 10 by 10. I'm going to use just one of my brushes or a
combination of brushes. Let's grab a palette. I'm going to do some images
that have continuous tone. And when I say continuous tone, what I'm talking
about is that they aren't just solid
areas of color. Lake, for example, if I were to use one of my new brushes here, that is just solid
color, you know, that's going to
trees quite easily what I would be wanting
to experiment with. Something that was multicolored. So we can make because multicolored by
adding an alpha lock. And then let's just do some airbrushing or something
to make it continuous tone. So with the airbrush
here, where is it? And I'm just going
to use a soft brush and airbrushed some
lighter color here. I want these areas to be fairly bold so that you
can see what's happening. This is not how I would
actually colorize this. You're wondering, I would
spend a lot more time, but I want to show it to you in sort of a simple format so that you understand what it is that the vectorization will do. So I'm going to go super
dark in some areas, and I'm just adding enough of a variety with the
tones here that each of these areas should be separately trace when
we are in Illustrator. So let's just enlarge that. I'll get rid of that little
flower on the outside. We'll save this or export
it as JPEG will be fine. I'm going to save it
into that same folder and let's go into
Illustrator and import that. So we're going to
make a new document, those triad 10 by 10 this time. And let's import file. So we're going to bring it in. And you know that as
soon as we select it, we're going to get this control, which we can click on. Now, there are going to be some different settings here for us to take a look
at. The course. Now switched into
color, like right here, because it was a color
document that we brought in, it automatically
switch to color. I've set this as
painting rather than as a logo because I do want
more of a painterly effect. So taking a look
at this right now, you can see how it would
separate out the colors. So for something
like pattern design, this may be perfectly adequate. That's maybe exactly
what you want a generally what you're
looking at here is too high of a number for what you would use
for fabric design. I would say you want
to keep this way down something like 16 or 1010 to 16 colors when you're
creating something that would be used for a repeat pattern or
something like that. Now you're going to
see bigger areas, quite chunked up in comparison. Now if you were to look at printed colored patterns and
look at them real close, you'll see that a
lot of them do end up quite chunky like that. And that's not
necessarily a bad thing. You can of course, go in
and do some additional experimenting with
these other settings that we talked about
in the other lessons. And you can see that
the processing is a lot more intense on a color
image now because we had a beautifully clean
original that makes for the settings being fairly low settings and
yet still looking good. So I think we can go
after it with corners. I'm just going to take
a look at this here. So I just wanted to
see if that will make a big difference
on the inside of that. I think that looks
decent, I guess, because we have no
really strong corners. And of course symbol
like a flower is quite forgiving when
you're tracing it. So at this point, I'm going to go to
a budding here. Let's see how that looks. And of course I'm
going to put ignore white and I'm going
to leave it at ten. I mean, you can experiment. Let's maybe try a
little bit higher. Doesn't really make too
much of a difference. But let's expand this vector so that we can
take a look at it. So now you can see and you can tell there are a
bajillion points here. So working on a color
vector is going to be a lot more work and a lot more time and a lot
harder on your system. So I think for myself, it would definitely take a lot of experimenting
to figure out the best way to do this and keep my vector is really small. I would likely plan my illustrations
completely differently for pattern design that I'm
going to be doing as vectors. Let's take a look at some of the colored stuff
that I have got here. And just to give you an idea
on how simple I would keep illustrations or
patterns normally so you can see how we've
really simplified the shapes. Chances are I would do it that tracing in a single color and then I would just go back in and draw some of these
additional elements or accents to make each of
them look a little bit better. I'm not sure that vectorizing the painting would be something that I
would use very often. I think I would need to do
a lot more experimenting to figure out whether or not it's worth at doing it this way. So perhaps one of the
things I could do in Procreate when I am planning something like this is not
worked with gradients because that definitely introduces
a lot more color into it. I'm going to experiment
with colorizing this in such a way
that it would make it easier on the tracing and give us a better
finished result. So I'll do that and we'll take a look at that
in the next lesson. I'll see you there.
7. Lesson 6 Closing Thoughts, Conclusion, and Wrap Up: Hey guys, thanks for
sticking it out to the end. So this wasn't really a
project oriented class. I know what that
sometimes I just need to explain some of
the functions of the software so that you're comfortable using it
when you go to do that. I hope you enjoyed the class
and I hope to see you in upcoming classes that
I plan to be doing in Illustrator on the iPad. I've got quite a
few things in mind. One of the things that's
really exciting to me to is a new pattern builders. So we're going to use
the pattern builder to do some seamless repeats, and these will be vector. So the great thing about
a vector pattern is that it can be
enlarged to any size. There's no degradation
of quality when you enlarge a vector image. So that should be
pretty exciting to any of you who need to create patterns for POD sales or for your business doing
surface pattern design. So if you haven't
done so already, make sure you hit that
follow button up there. That way you'll be
informed of any of your classes as I post them. And also anything
else that I send out. Don't forget to go back to
my website and put your name on the mailing list
there and check out those new free products. I also want to remind you that
I have to Pinterest sites. One is the loris article or sounds grant and the other
one is teacher Dolores. Now scripts on those sites, I share a ton of resources and a lot of
inspiration, so check them out. If you wanted to check
out my work online, you can find me at my campus on the PI creative site
and quite a few more. So just searched me out by name. Also, I have a big store on Sawzall.com if you want
to check that out. And in Canada here
I sell at Arctic where I guess that's it for now. Short class. But I'll see
you next time. Bye-bye. And you have to do.
Delores Naskrent, Creative Explorer
