IntroductionWelcome| 00:00 |
(MUSIC).
| | 00:04 |
Hi, I'm Angie Taylor, author,
illustrator, and motion graphic designer.
| | 00:09 |
I use Adobe Illustrator on a daily basis
for designing characters for my animations.
| | 00:14 |
If you're interested in learning about my
techniques and Illustrator's extensive
| | 00:18 |
drawing capabilities, then this course is
for you.
| | 00:22 |
The tutorials are pitched somewhere
between basic and intermediate level.
| | 00:27 |
You don't need to be an expert to
Illustrator to follow along.
| | 00:29 |
But a basic working knowledge of
Illustrator will help.
| | 00:33 |
Topics include how to set up the
workspace for video and animation using
| | 00:37 |
multiple artboards for creating story
boards, and taking advantage of views and workspaces.
| | 00:44 |
You'll also learn various techniques for
drawing freehand in Illustrator using a
| | 00:48 |
variety of tools, including the new
improved Eraser tool, the Reshape tools,
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and the wonderful Blob Brush tool.
We'll also take a look at Live Trace,
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Cooler, and Live Paint.
Three amazing tools to speed up the
| | 01:03 |
process of creating artwork for animation
in Adobe After Effects.
| | 01:09 |
I hope that after watching these
tutorials and following along with the
| | 01:12 |
exercises, you'll love Illustrator just
as much as I do.
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1. Setting Up the Work AreaWorking with preset document profiles| 00:01 |
When opening Illustrator for the first
time you're greeted with the Illustrator
| | 00:06 |
welcome screen, which allows you quick
access to recently opened items as well
| | 00:10 |
as new document profiles.
For animation, you're probably going to
| | 00:15 |
be most interested in the profiles for
Web Mobile and Devices and Video and Film documents.
| | 00:21 |
We're going to use this video and film
presets.
| | 00:24 |
So I'm going to click on Video and Film
Document and it opens up the new document
| | 00:28 |
dialog box where I can enter a name for
my new document.
| | 00:32 |
So I'm going to call this Document Profiles.
Okay, and obviously, we're in the video
| | 00:40 |
and film document profile setting.
But if you decided to change your mind,
| | 00:44 |
you could Choose something else from the
list here.
| | 00:47 |
Now, we're going to start with one art
board.
| | 00:49 |
Because I'm in Europe, I'm going to choose
PAL D1DV wide screen.
| | 00:54 |
We're going to create a wide screen
animation.
| | 00:57 |
In the advanced section you can also
change the transparency grid settings if
| | 01:01 |
you prefer a lighter or darker
transparency grid you can select that
| | 01:05 |
there, you can overwrite the color mode
and also the screen resolution and
| | 01:09 |
preview mode they can all be set in here.
Okay so if I Click on Okay, it will
| | 01:16 |
create a new document for me, and here we
can see the guides marking our video safe
| | 01:21 |
zone, so, action safe zone and title safe
zone.
| | 01:26 |
You can use these as guides when you're
creating source artwork for your animations.
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To be sure that your designs adhere to
broadcast guidelines you need to make
| | 01:33 |
sure that all the text exists within the
title safe, which is the inner rectangle
| | 01:37 |
if you like.
And anything outside those areas may not
| | 01:42 |
be visible on screen during broadcast.
And all action must remain within the
| | 01:47 |
action safe zone, which is this one here.
And that will make sure everything's A,
| | 01:52 |
visible, and B, readable on screen.
We also have cross hairs for the center
| | 01:56 |
of the screen marked, as well as ruler
increments.
| | 02:00 |
So that's a little bit about your
document profiles and you can find out
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more about them in the online help if you
need to do so.
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| Setting up your workspace| 00:02 |
Okay.
I've got the Workspace.ai file open and
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you can find that in the Setting Up Work
Area folder.
| | 00:09 |
Now, what we're going to do is just set up
our workspace and optimize it for the job
| | 00:13 |
in hand.
Now, we're doing animation.
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So, I want to create an animation
workspace.
| | 00:18 |
If we have a look in the Essentials menu
here in the task bar, you'll notice that
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there's no animation workspace.
These are provided as a default by Illustrator.
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So, if you prefer to have Illustrator
looking like Photoshop, if you're
| | 00:30 |
familiar with Photoshop, you can choose
like Photoshop and it will open up all
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the palettes.
There are ten to be available when you
| | 00:37 |
open up Photoshop, give you a nice,
familiar workspace.
| | 00:41 |
Even if you're coming from freehand, you
can choose to have it look more like
| | 00:45 |
freehand to make you feel more
comfortable within the application.
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There are also preset work spaces for
things like painting, which will open up
| | 00:54 |
all your color and swatches and brushes
panels, making it easier to do paint jobs.
| | 00:58 |
There are also ones for typography and
also the web.
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Now, the web workspace opens up quite a
few of the pallets that I would want to
| | 01:07 |
work with whilst animating.
But what I'm going to do is just customize
| | 01:11 |
it a little bit.
So, you can customize it just by closing panels.
| | 01:15 |
So, I could choose to close this flash
text panel, which I'm not going to use.
| | 01:18 |
I could also maybe, close the Art Boards
panel or bring the Layers panel forward.
| | 01:24 |
Or, I could choose to have the Layers
panel more prominent.
| | 01:28 |
So, I may want to drag out the Layers
panel, and just place it up here, so that
| | 01:33 |
it appears at the edge between the two
sets of panels.
| | 01:37 |
You can see here, it will basically drop
the panel wherever I have highlighted in blue.
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If I drop it here, it will place it at
this left edge of my buttons.
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If I drag it in between the buttons and
the panels, it will place it in between
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and my buttons will be here at the edge.
So, I quiet like that set up so I'm going
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to keep that.
But I'm also going to open up another
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panel which isn't currently visible, and
that is the navigator panel.
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Now, I love the navigator panel.
It's very useful.
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It gives you and overview of your
document, so if you're zoomed in, and you
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can also zoom in and out using the
navigator panel.
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If I'm zoomed in, it gives me a quick way
of being able to move around that zoomed
| | 02:19 |
in document.
And of course, I can zoom in and out
| | 02:22 |
incrementally using that as well.
Or, I can type in a value.
| | 02:25 |
Anyway, it's very useful.
It gives you an overview.
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So, I'm going to drag that above the layers
panel.
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So, if I place the panel at the top of
the layers panel it will place it here.
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So, now I've got an overview of my
document where I can very quickly center things.
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And I've got my layers panel underneath.
Finally, I'm just going to drop the info
| | 02:45 |
panel up above the color guide.
So that, that appears there, 'cause I
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also quite like to have my info panels
showing.
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Once I'm happy with this, I could delete
other panels.
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Maybe I don't need the links panel, for
example.
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They can all be deleted if necessary.
But I'm just going to save that for now.
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So, I'm going to go to Window > Workspace
> Save Workspace, and I'm going to call it Animation.
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Click on OK.
And now if I go into my workspace menus,
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I have the choice of my own preset
workspace, as well as the ones provided
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to me by Illustrator.
So, that's how to set up, a workspace for animation.
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| Working with views| 00:02 |
Illustrator allows you to work with
multiple views of the same document.
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This comes in handy if you want to be
able to see more than one view of your
| | 00:09 |
art works simultaneously.
For example, I find it useful when
| | 00:12 |
working on icon design, because it means
I can have one view set up at 100%, with
| | 00:16 |
a pixel preview, while the other one is
zoomed in for close up working.
| | 00:21 |
It's a really handy feature.
Now I'm going to set up multiple views here.
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So I'm going to go to my window menu and
choose New Window.
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And that will create two windows for the
same document and at the moment, they're
| | 00:33 |
both exactly the same.
Now what I want to do is tile them side
| | 00:37 |
by side.
But you'll notice, if I go to Window,
| | 00:40 |
Arrange Tile, it doesn't work if I'm not
in application frame mode.
| | 00:44 |
Now, if I'm not in application frame mode
you'll see that my document exists in a
| | 00:47 |
separate window, separate from all the
other elements within the interface.
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If I go to window menu and choose
application frame those are now docked
| | 00:55 |
within the interface and the whole
interface can be moved around as a group.
| | 01:01 |
Now that I've done that I can chose
Window, Arrange Tile.
| | 01:05 |
And that will tile them side by side.
Now view number two, I might decide that
| | 01:09 |
view number two I don't want to see the
transparency grid so I can go down here
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and say hide transparency grid.
And now, this view has a nice white
| | 01:18 |
background so I can see how my artwork is
looking on a white background, but still
| | 01:22 |
also be able to see the areas of
transparency.
| | 01:26 |
I may also want to zoom out, maybe I want
this one to be of the whole art board.
| | 01:31 |
Whereas, this one I want to be zoomed in
100%.
| | 01:35 |
Now there's all sorts of other things
that you can change.
| | 01:38 |
As I said, you can make one a pixel
preview, and the other one would be a
| | 01:41 |
standard preview.
Now once you've set up your views and
| | 01:45 |
you're happy with them, you can also save
the settings.
| | 01:50 |
Now, the settings are saved here in the
view menu.
| | 01:53 |
If I go down to the bottom you'll see
here we have added views and new views.
| | 01:57 |
So I'm going to say new view and I'm
going to call this storyboard.
| | 02:02 |
And this is a pretty good set up if you
want to work on storyboards.
| | 02:06 |
So I'm going to click on Okay and now I
can maybe set this one up for multiple boards.
| | 02:13 |
Can start creating new boards here and
this one will be my new view.
| | 02:16 |
So I might want to actually even make
that a little bit narrower and let's just
| | 02:20 |
double-click the hand tool so we can see
that in there.
| | 02:25 |
And now I have a perfect setup to start
creating multiple boards for my animation.
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| Using multiple artboards| 00:02 |
Okay, we're going to talk about art
boards and I have art boards start.ai open.
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And you can find that in the setting up
work area folder.
| | 00:13 |
Art boards are a great feature
Illustrator CS Five and indeed in
| | 00:17 |
Illustrator CS Four.
Now art boards are a great feature.
| | 00:22 |
They allow you to create multiple pages
within one document, or multiple spaces
| | 00:26 |
for your designs within one document.
And there are ways of using these as
| | 00:31 |
individual frames for storyboards or for
a stop frame animation.
| | 00:36 |
Now with art board tool selected, which
is this one here, and you can see there
| | 00:40 |
if I hold the cursor over the tool, you
can see the keyboard shortcut is shift o
| | 00:44 |
for that.
Now, with that selected, I can actually
| | 00:49 |
duplicate these and start to create
frames for an animation, and I do that
| | 00:52 |
using the modifier key, the alt key.
So if I toggle to the alt key, you'll see
| | 00:57 |
that that creates my little duplicate,
and I can click and drag a copy of that
| | 01:01 |
art board down.
And you'll see that it brings the video
| | 01:05 |
and the action safe and title safe zones
with it, as well as all the other elements.
| | 01:11 |
And I can start to very quickly build up
document with multiple frames like I said
| | 01:16 |
that I can use then for study boarding or
for an animated sequence.
| | 01:22 |
You can also use it to create a multiple
page PDF which is useful if you want to
| | 01:26 |
show your storyboards to clients for
example.
| | 01:29 |
This is artboardstart.ai and there is
also an art boards end document fee that
| | 01:33 |
you can open up from the setting up work
area folder.
| | 01:37 |
And if I open that I already have it open
here you can see my end product where
| | 01:43 |
I've actually taken frames of animation
and placed within the different art
| | 01:48 |
boards and of course that can then be out
put for flash or After Effects for an animation
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2. Bringing Artwork into IllustratorOpening files| 00:02 |
When you open a file in Illustrator, you
get different options presented to you,
| | 00:06 |
depending on the file selected.
And if I go to file, Open, or hit command
| | 00:11 |
O, or control O on the PC, to set up the
open file dialog box, you'll see that I
| | 00:17 |
get access to the files, as you would
expect.
| | 00:21 |
Now I'm going to select this
multi-layered PSD file called open layers
| | 00:25 |
PSD, and that's in the bringing artwork
in folder.
| | 00:28 |
As I open it, I'm presented then with a
dialog box, which is the Photoshop
| | 00:33 |
import options dialog box.
Now in here I have got various features
| | 00:37 |
that I can show you.
First of all, I can have a preview of the
| | 00:41 |
file and you can see that as showing me
the top most visible layer there.
| | 00:45 |
I can also convert the Photoshop layers
to objects an Illustrator meaning that
| | 00:50 |
each layer in Photoshop will be an object
placed on its own layer in illustrates or so.
| | 00:56 |
Its kind of like converting the layers
from Photoshop to straighter layer.
| | 01:00 |
You can also choose to flatten the layers
if you want to, I'm going to convert it to
| | 01:05 |
objects and click on Okay.
Now, instantly even if you have hidden
| | 01:08 |
layer, you can import those layers too.
I'm going to click on Okay.
| | 01:12 |
And here, you can see my little stop
frame animation of a dog if I hold down
| | 01:16 |
the Alt key and click on the Eyeball for
the bottom layer.
| | 01:20 |
To silhouette, I can look at them 1 by 1
as they're stacked in Illustrator.
| | 01:26 |
Now, you can also output these as
animated frames once you have your stop
| | 01:31 |
motion animation in separate layers.
Now, if you open a flattened PST or
| | 01:36 |
another single layered bitmap image such
as a TIFF, JPEG ,or PMG it will
| | 01:41 |
automatically open as a single layer and
here I've got an open image dot JPEG
| | 01:47 |
which is in the same folder bringing our
work in and I'm going to click on open and
| | 01:52 |
since I do that it just places it into
the last used template or the last used
| | 01:58 |
art board that I had set up.
Now notice it brings the image in and I
| | 02:03 |
can scale the image down if I want to
choose the scale too.
| | 02:06 |
And just bring that down into the
composition.
| | 02:09 |
And for some reason it's brought in two,
so I'm just going to delete that other one,
| | 02:13 |
not sure exactly what happened their but
we'll ignore it for now.
| | 02:16 |
Now, I've got my image in and what I want
to do here is use this rough sketch to
| | 02:21 |
create effect character in Illustrator.
It's important I make this fit inside the
| | 02:26 |
safe zones of the format that I'm going to
use.
| | 02:28 |
So if I double-click the art board tool,
I can open up the art board options.
| | 02:33 |
And just make sure I've got the correct
preset chosen.
| | 02:36 |
So I'm going to chose PAL, D1, DV
widescreen.
| | 02:39 |
And I'm also going to ask it to show the
center mark crosshairs, and video safe areas.
| | 02:44 |
And now when I click Okay, you'll see all
the safe areas that are normally set up
| | 02:49 |
when you choose a document profile have
been added to my document, and I can now
| | 02:55 |
go and work on this in Illustrator.
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| Placing files via import| 00:01 |
If you've gone through the trouble of
setting up a document, you don't really
| | 00:05 |
want to use the Open command because
that's going to open up a separate document
| | 00:08 |
and you're going to lose the template
features that you've already set up.
| | 00:13 |
For example, the Video Action Safe guides
the Transparency Grid multiple views.
| | 00:19 |
So, the best thing to do then, is to
place a file.
| | 00:22 |
Now, the file I got open is
placingfiles.ai, which is in Bringing Art
| | 00:26 |
Work Into Illustrator folder.
And into there, I am going to place a
| | 00:31 |
file by going to File > Place.
Okay, that's going to open up the Place
| | 00:35 |
dialog box where I can choose the file
that I want to place, which here I've
| | 00:38 |
called File to Place funnily enough.
Now, this is a multilayered Photoshop file.
| | 00:44 |
Now, the difference between opening the
file and placing the file is, when you
| | 00:47 |
place the file, you don't get the options
to bring in multiple layers.
| | 00:51 |
It just brings in as a flattened
Photoshop file and you can see here I
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only have one single layer.
But that's still the, probably the
| | 00:59 |
simplest way to bring an existing image
into an existing Illustrator document as
| | 01:03 |
a layer.
Now, there are other ways of placing the document.
| | 01:08 |
You can go up here to the Control panel
and click on the Bridge icon to open up
| | 01:12 |
Adobe Bridge.
And I've got Bridge in compact mode at
| | 01:15 |
the moment.
In compact mode, it will float above the
| | 01:18 |
other applications, and allow you to drag
and drop files into the applications from Bridge.
| | 01:24 |
So, that's another way of placing a file.
You could take the more traditional
| | 01:28 |
approach, and go to the Finder, and just
drag the file from the Finder into the document.
| | 01:34 |
Now that's a third way of placing an
image into your file from Photoshop to Illustrator.
| | 01:41 |
Now, the final method I'm going to show you
is just to go to Photoshop.
| | 01:45 |
And let's just open up our Photoshop
window, and here we see Photoshop
| | 01:48 |
floating on top of Illustrator.
All I'm going to do, I've selected the
| | 01:53 |
image, I'm just going to copy it.
And then, go back to Illustrator and just
| | 01:58 |
paste it in.
Okay.
| | 02:00 |
So that's four ways of placing a file
from Photoshop into Illustrator.
| | 02:06 |
I'm now ready to trace the image and
start creating my character for my animation.
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3. Tracing Artwork ManuallyCreating template layers| 00:00 |
Depending on the situation and the look
that I want to achieve for my artwork, I
| | 00:05 |
use various methods for creating my
characters.
| | 00:09 |
Sometimes I draw directly into
Illustrator without using anything as a guide.
| | 00:14 |
Other times I draw my characters in
Photoshop, and then import them into
| | 00:18 |
Illustrator to convert them to vector
files, because I like to use the brushes
| | 00:22 |
and some of the effects in Photoshop on
my drawings.
| | 00:25 |
But the most common technique I use is to
do a rough sketch on paper, scan it in or
| | 00:30 |
photograph it if I'm not near a scanner,
and use this as a guide in Illustrator to
| | 00:35 |
create my drawing.
Now in here I have the template layers
| | 00:38 |
file open, which is in the tracing
artwork manually folder.
| | 00:42 |
And in here I've already placed a file
where you can see it's directly taken
| | 00:46 |
from my sketch, because I just
photographed this and then captured the
| | 00:51 |
image in quickest way I could do it.
I think I just took the photo with my
| | 00:55 |
iPhone, so it's a nice, quick way of
getting an image into the computer.
| | 00:58 |
So, it's a rough drawing that I did in my
sketchbook, and now I'm going to use
| | 01:02 |
Illustrator's drawing tools to create a
cleaner and easier to edit version using
| | 01:06 |
vector art.
Now the first thing to do is double-click
| | 01:09 |
the layer that the drawing is on, and
choose to make that a template layer, and
| | 01:13 |
there's a few reasons for doing that.
A template layer is a non-printing guide
| | 01:17 |
layer, and it won't export when you save
the file.
| | 01:20 |
So if I open up this file in After Facts,
and this has been made a template layer,
| | 01:25 |
it won't come through as a layer.
So it's kind of like an invisible layer.
| | 01:30 |
So when you choose to make a later
template layer, Illustrator will
| | 01:34 |
automatically lock it.
Now if I click on template you'll notice
| | 01:37 |
that lock also becomes activated.
It also dims the image to 50 percent.
| | 01:43 |
Now you can overwrite the dim setting if
want a little bit more depth to the image.
| | 01:47 |
So that you can trace over a bit more
reliably then you can change that value yourself.
| | 01:52 |
And then when I click Okay, I'm just
going to give it a name, for now lets just
| | 01:55 |
call it template.
And click Okay, and I now have a locked
| | 01:59 |
layer that I can start to create my
artwork on.
| | 02:03 |
And then I just create subsequent layers
to draw the artwork on.
| | 02:07 |
So, that's how to create a template layer
for tracing manually the drawings that
| | 02:13 |
you've done and imported from Photoshop
or from your sketchbook.
| | 02:18 |
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| Drawing with the Pencil tool| 00:00 |
Okay.
So, I have to admit, I'm a little bit
| | 00:02 |
nervous about sharing this next technique
with you because it involves drawing in
| | 00:08 |
front of you directly in Illustrator.
Now, normally, when I do my drawings, I'm
| | 00:12 |
on my own, in my studio.
And I'm free to make as many mistakes as
| | 00:16 |
I want, and I can just easily cover them
up and correct them as I go along.
| | 00:20 |
But here, I'm going to be drawing live in
front of you.
| | 00:23 |
The file that I have opened is Pencil
tool.ai and that's from the Bringing
| | 00:28 |
Artwork Into Illustrator folder.
Now, the Pencil tool is a great tool to
| | 00:33 |
use if you want to draw freehand in
Illustrator using a graphics tablet.
| | 00:37 |
Now, I'm using the Wacom Intuos Wireless
Graphics tablet and I'll just quickly
| | 00:43 |
bring up the Wacom website, where you can
find out more information about that tablet.
| | 00:47 |
Now, if you don't have a graphics tablet,
you can still use a mouse to draw,
| | 00:53 |
obviously, but it won't allow you to be
quite as detailed as using a pen and a
| | 00:59 |
tablet will allow you to be.
I've created my Template layer, so the
| | 01:01 |
first thing I need to do is create
another layer to be able to draw on.
| | 01:04 |
I'm going to hold down the ALT key as I
click on the New Layer button.
| | 01:07 |
And that's going to bring up my Layer
Options dialog box, where I can type in a
| | 01:12 |
name for the layer.
So, I'm going to call this layer Head,
| | 01:15 |
and we're going to draw his head onto
this layer.
| | 01:17 |
Now, I like to set up the layers as I go
along, keeping in mind that I want to
| | 01:22 |
animate all the different body parts
individually.
| | 01:24 |
So I'm going to create a head layer, a
body layer arm layer, et cetera, et
| | 01:29 |
cetera, et cetera.
So, I've set up my head layer.
| | 01:31 |
So, I just start drawing the head shape.
I'm going to start from the bottom of the
| | 01:36 |
ear here and start drawing the head
shape.
| | 01:38 |
Now, I don't need to worry too much if
it's not too accurate and I make mistakes.
| | 01:43 |
Like, you can see me making all over the
place here.
| | 01:45 |
Because I can actually adjust, the path
after it's been drawn.
| | 01:49 |
And sometimes that's easier than drawing
in one continuous shape.
| | 01:53 |
So, quite often what I do is start by
drawing it roughly, and then just go over it.
| | 01:56 |
And you'll see that as I redraw, it just
adjusts the shape of the path for me.
| | 02:00 |
And that's because of the settings that I
have for the pencil.
| | 02:04 |
Now, you have to be careful.
If you draw a little bit too far away
| | 02:08 |
from the path, it may just remove part of
the path, so we'll just have to undo that
| | 02:13 |
and start again.
So you need to make sure you're drawing
| | 02:15 |
quite close to the shape of the path.
You can adjust those settings if you
| | 02:19 |
double-click the pencil tool.
You can adjust the Fidelity and the Smoothness.
| | 02:23 |
Now, if we want to make it a little bit
more accurate, we can increase the Fidelity.
| | 02:27 |
Smoothness will take out any bumps, so if
you feel that your hand's a little bit
| | 02:32 |
shaky, increase the Smoothness up to
about 20%, and that will just smooth it
| | 02:38 |
out a little bit.
Now, edit selected path defaults to being
| | 02:40 |
within 12 pixels.
So, if you draw within 12 pixels of the
| | 02:45 |
original line, that will redraw it.
If you want it to be a little bit more
| | 02:49 |
accurate and not miss when you stray too
far away from the path, that's the reason
| | 02:55 |
why we lost the ear there, you can
increase this up to 20 pixels.
| | 02:58 |
And now even if I'm 20 pixels away from
the path it will still redraw, so I don't
| | 03:03 |
have to be quite as careful.
Now I don't like that smoothing.
| | 03:05 |
That smoothing is st a little bit too
smooth for me.
| | 03:07 |
So, I'm going to undo a few steps, and
you'll have to do this when you're drawing.
| | 03:12 |
You'll have to try undoing and redoing
and playing around with the settings
| | 03:16 |
until you get it right.
So, I'm going to bring the Fidelity down
| | 03:20 |
to 3 and the smoothness down to about
maybe 5.
| | 03:23 |
And we'll leave this as it is.
So, let's just click on OK.
| | 03:26 |
So, I can just smooth that a little bit
but not too much.
| | 03:30 |
And again, just redrawing until we're
happy with the shape, and that's bit too
| | 03:36 |
much there.
Now I need that to be a little bit
| | 03:38 |
rounder, so we'll just round it off a
little bit.
| | 03:41 |
Okay.
And his jaw's a little bit too fat.
| | 03:43 |
Again, I've just strayed a little bit too
far away from the line there, so I'm just
| | 03:49 |
going to redraw that.
And we'll put a little bit of roundness
| | 03:51 |
in his chin.
So, he's got a nice dimpled chin.
| | 03:54 |
And we'll just take that corner off there
as well.
| | 03:57 |
So, you'll see that by redrawing, you can
just perfect it and get it a little bit
| | 04:03 |
closer to what you're after.
Okay.
| | 04:04 |
Now, I could sit and play with this for
hours, and I usually do.
| | 04:07 |
I usually waste a lot of timeLAUGH
redrawing until I'm exactly happy with it.
| | 04:11 |
I used to do sculpture at art college and
it reminds me of being able to redraw
| | 04:17 |
until you're happy with the look of it.
So, once you've draw round that and
| | 04:21 |
you're happy with it, I would probably
take a little bit longer, you can maybe
| | 04:26 |
start to draw some of the smaller shapes.
Like, if we draw the eyebrow in there.
| | 04:30 |
And again, I'm just doing this quite
roughly at the moment, I'm not being too
| | 04:36 |
careful about it.
Now you'll see that as I try to draw the
| | 04:39 |
line of his eye, it replaced the eyebrow.
And that's because I have that setting
| | 04:44 |
on, edit selected paths.
If I don't want it to edit them, I can
| | 04:48 |
remove that and we can take off keep
selected as well.
| | 04:51 |
And now when I redraw it will draw a new
line.
| | 04:54 |
So if you're going to be drawing a lot of
lines close to each other, then it's a
| | 04:59 |
good idea to turn that option off.
And of course, if you make mistakes while
| | 05:03 |
you're drawing, you can always switch it
back on again.
| | 05:06 |
But I think this is going to be okay for
us.
| | 05:07 |
I'm just going to trace his mouth.
His chin, get that nice dimple in his
| | 05:12 |
chin, and we'll also put some detail into
the ears here.
| | 05:15 |
So, I'm just going to put some ear detail
in there.
| | 05:19 |
Okay?
So, they look more like real ears.
| | 05:22 |
Now, another thing that you could do now
that you've got the Edit Selected Paths
| | 05:27 |
option off is you could draw hair on
there, which of course you couldn't do if
| | 05:32 |
you had Edit Selected Paths on.
Every time you do that, it would draw a
| | 05:36 |
new line.
So, there we go, there we have a rough
| | 05:39 |
drawing of our little character.
Not the best drawing in the world but
| | 05:43 |
we're going to improve it.
So, you can use the Smooth tool as well,
| | 05:47 |
over the selected lines to iron out any
unwanted bumps.
| | 05:50 |
So, if you don't necessarily want to
redraw but you just want to smooth some
| | 05:56 |
of the lines, you can just select the
Smooth tool and then hold down the Cmd
| | 06:01 |
key or Ctrl key on PC to select a line.
Let go of the Cmd key or Ctrl key and
| | 06:07 |
then just redraw, just to Smooth it out a
little bit rather than redrawing it.
| | 06:08 |
You can do the same with the ear here.
So, I'm holding down the Cmd key or Ctrl
| | 06:13 |
key on PC, and then I'm just smoothing
out that line a little bit using the
| | 06:18 |
Smooth tool.
So, the Smooth tool does the same as the
| | 06:21 |
pencil tool without redrawing the line,
it just smooths out any bumps that are
| | 06:26 |
left after drawing your pencils.
Okay, and if you want to get rid of any
| | 06:31 |
sections, if we have a look here and I
just zoom in using Cmd Plus on the Mac,
| | 06:37 |
or Ctrl Plus on the PC, you'll see I've
got a little overlap section here.
| | 06:41 |
I can also use the Path Eraser tool.
So, if I've overlapped or drawn a little
| | 06:46 |
bit too much with the pencil tool, I can
just go in and just erase sections by
| | 06:51 |
using that there.
So, I just erase a section of the path by
| | 06:53 |
clicking and dragging over it, until I'm
happy with it.
| | 06:56 |
So, that's the tools that exist under the
Pencil tool, the Pencil tool, the Smooth
| | 07:05 |
tool and the Eraser tool.
| | 07:06 |
| | Collapse this transcript |
| Drawing with the Pen tool| 00:02 |
There are few occasions when working in
Illustrator that using the pencil tool or
| | 00:07 |
the paint brush tool, which refer to as
the sketching tools isn't practical,
| | 00:11 |
because drawing freehand isn't easy for
one reason or another.
| | 00:15 |
For example, if you don't have access to
a Wacom tablet and a pen, or other
| | 00:19 |
graphics tablet, it can be quite
difficult and cumbersome to draw shapes
| | 00:24 |
using a mouse.
Or, if you want to do highly technical
| | 00:27 |
drawings, where the curves and lines need
to be really precise.
| | 00:31 |
Then the Pencil tool and the Paintbrush
tool, with their kind of freehand type of
| | 00:35 |
sketching, isn't really appropriate.
Now, in these situations the tool of
| | 00:40 |
choice is always the Pen tool.
Pen tool is fantastic, it can be a little
| | 00:45 |
bit tricky to use if you have never used
it before.
| | 00:47 |
But believe me it's worth learning, and
it's worth getting over the awkwardness
| | 00:52 |
of using Bézier curves initially to be
able to get a precise level of control,
| | 00:57 |
further down the line.
Now, when you click and hold on the pen
| | 01:00 |
tool you'll see that you get access to
four other tools, or three other tools rather.
| | 01:05 |
You have the pen tool, the add anchor
point tool, the delete anchor point tool,
| | 01:10 |
and the convert anchor point tool.
If you want to you can hover over the
| | 01:14 |
tear off strip and have these tools float
above your work space, as you're working.
| | 01:18 |
Now, we're going to use these to draw the
legs of our character.
| | 01:22 |
And I'm just going to run through how to use
the pen tool for anyone who hasn't used
| | 01:26 |
it before.
Now, the pen tool can be used to draw
| | 01:29 |
both straight lines and curves.
Drawing straight lines is easy, you just
| | 01:34 |
click to create your first point, and
then click again to make your second.
| | 01:38 |
Illustrator will draw a straight line
between those two points, and I can
| | 01:42 |
continue clicking to create a series of
straight lines.
| | 01:45 |
Now, I'm going to undo that, and what I'm
going to do, is get you now to follow along.
| | 01:50 |
So I want you to open Pentel.AI, and you
can find that in the Tracing Paths
| | 01:55 |
Manually folder.
And what I want you to do is make sure
| | 01:59 |
you have the pencil selected and this
time, instead of just clicking, I want
| | 02:04 |
you to click and drag, and as you drag,
you'll see these handles coming out from
| | 02:08 |
the point.
Now, what these handles do, these are
| | 02:11 |
called Bezier handles and what they do is
they allow you to determine the angle and
| | 02:16 |
the amount of curve that you're about to
draw.
| | 02:19 |
Now, dragging handles around determines
the angle of curve.
| | 02:23 |
For example, if I want to create a curve
going around his belly here, then I would
| | 02:28 |
pull the handles out in this direction,
and then when I draw my next point,
| | 02:32 |
you'll see it creates a curve in that
direction.
| | 02:35 |
Now, pulling the handle out farther
determines the amount of curves.
| | 02:40 |
So let's just undo that last step and
let's draw this again.
| | 02:44 |
Now this time, we want to go in this
direction, so I want you to click and
| | 02:48 |
drag towards that direction.
Now, pulling the point out from the
| | 02:52 |
center point determines the amount of
curve.
| | 02:55 |
Let me just show you this, so without you
following, if I drag a small amount in
| | 03:00 |
that direction.
And then click down here, it creates a
| | 03:03 |
very shallow curve.
If I undo that, back to the start and
| | 03:07 |
click and drag quite far, then it creates
a much steeper curve.
| | 03:11 |
And you'll see that that's practically
perfect.
| | 03:14 |
Okay, so if you've drawn and practiced a
couple of times what I want you to do is
| | 03:18 |
undo till there are no points.
And what we're going to do is start to draw
| | 03:22 |
this path together.
Now, one more thing to show you.
| | 03:24 |
If I click and drag the first point and
then click on the second point that's now
| | 03:29 |
going to create a straight edged point.
So if I click here, I get a straight line.
| | 03:33 |
I don't want us to do that, so what I do
is on the second point I click and drag again.
| | 03:38 |
What that does is that helps me refine
the curve before this point and also
| | 03:43 |
determine the angle?
After the point, so what I want you to do
| | 03:47 |
is just drag, concerning on the line
between the points, making sure that
| | 03:52 |
matches that leg.
So I'm going to undo a couple steps again
| | 03:55 |
and run through that process with you.
So let's undo, so we click and drag on
| | 04:00 |
this point out to about there.
And then we click and drag down on this
| | 04:04 |
point until the line between the points
matches the line of his trousers as much
| | 04:10 |
as we can.
Now, in order to do that, we've had to
| | 04:13 |
drag this quite a lot, which means that
if I was then to draw the next point, it
| | 04:17 |
would create too big a curve.
So I'm going to undo that to here, and I'm
| | 04:21 |
going to show you how you can adjust the
curve before you continue drawing.
| | 04:25 |
Now, you don't want to select this tool
here, the convert anchor point tool,
| | 04:29 |
because as soon as you select another
tool, this path is going to become broken,
| | 04:33 |
and you'll start drawing a new path.
Instead, what I want you to do is, move
| | 04:37 |
over the handle and hold down the Alt key
to convert to the convert anchor point
| | 04:41 |
tool temporarily.
Above that's will do, allow you to adjust
| | 04:45 |
the handle without breaking the puff.
So, what one needs to do is just change
| | 04:49 |
the direction so it's coming out about
that angle and then release.
| | 04:53 |
And if you let go of Alt key, you go back
to the pen to and you can continue drawing.
| | 04:58 |
So, again on this one I am going to click
and drag, and then release.
| | 05:03 |
If I want to adjust the angle, which I do
here, hold down the Alt key, click and
| | 05:08 |
drag in the direction I want to go, and
then release.
| | 05:11 |
Click up here, choose the direction, get
the curve matching, hold down the Alt
| | 05:17 |
key, change the direction, click and drag
here to get the curve following the path.
| | 05:24 |
And then finally, I'm going to click once
here, and I'm going to leave this as an open path.
| | 05:29 |
Now, if I now select the selection tool I
can also change the fill so that we can
| | 05:35 |
see the drawing behind, so I'm going to
choose the fill swatch and then I'm going to
| | 05:41 |
hit on none, and that's going to remove the
fill from my new path.
| | 05:46 |
Now, you may have noticed that we've just
drawn this on an existing layer.
| | 05:50 |
Now, if I open up my layers, you'll see
I've actually drawn it on the head layer,
| | 05:54 |
which was a bit of a deliberate mistake.
Now, if I want to add this to a new
| | 05:58 |
layer, all I need to is hold down the Alt
key and click on the New Layer button and
| | 06:04 |
we'll call this left leg.
Click on Okay, and instead of having to
| | 06:10 |
copy and paste it to that layer all I
need to do with the layer selected or the
| | 06:14 |
object selected is click on this little
red square here and drag it up to the new
| | 06:20 |
layer, and now that exists on a new
layer.
| | 06:22 |
Now, we'll very quickly alt click on the
new layer button again.
| | 06:26 |
Create a right leg, and what I want to
you to do is use the pen tool to draw on
| | 06:31 |
that again.
Now, what I recommend doing is just
| | 06:34 |
locking down the other layers so you
don't accidentally draw on those.
| | 06:38 |
Select the pen tool again and this time
we'll start drawing from here.
| | 06:42 |
Click and drag down to start the curve,
click and drag across to adjust the curve
| | 06:48 |
to fit the shape here.
Hold down the Alt key to break the
| | 06:52 |
handles and change the direction of the
curve, click and drag here to make the
| | 06:57 |
curve match the join behind.
Hold down the Alt key to determine the
| | 07:02 |
new angle, and then draw down here.
Now, at the bottom you'll see he's
| | 07:08 |
obscured by this dog, so we have to kind
of somewhat make this up here.
| | 07:13 |
Some going to alt click and drag and then
we'll click and drag here to create the
| | 07:18 |
bottom of his leg, again alt click and
drag.
| | 07:21 |
And I'm going to create a little knee here,
so let's just create a small bump for his knee.
| | 07:27 |
We'll change the direction again holding
down the Alt key and then click at the top.
| | 07:33 |
So again, we've created another open
path.
| | 07:36 |
Now, if you want to close the path, which
I'm not going to do, but I'll show you how
| | 07:41 |
to do it is you just hold the cursor over
the first point until you see a little o
| | 07:45 |
beside it.
I don't know if you can see that, but as
| | 07:48 |
I move the cursor it changes and it has a
little o beside it so I click on that and
| | 07:53 |
that will close the path for me.
So that was how to use the pen tool to
| | 07:57 |
create shapes, though it may be difficult
to draw with the mouse if you haven't got
| | 08:02 |
access to a Wacom tablet, I'm just going to
undo that last point, so you have an open path.
| | 08:08 |
And I'm going to suggest that you practice
using the pen tool to really perfect the
| | 08:14 |
techniques of drawing using Bezier
curves.
| | 08:18 |
| | Collapse this transcript |
| Working with the Brush tool| 00:02 |
If you're used to painting in
applications like Photoshop, you may want
| | 00:06 |
to try using the brush tool.
Now, the brush tool uses brushes to draw
| | 00:11 |
vector lines in Illustrator.
They're still vector-based lines, but
| | 00:16 |
they draw using textured brushes.
Now at the moment, if I open up my
| | 00:20 |
brushes panel over here, if you can't see
your brushes panel, you can open it up by
| | 00:25 |
going to the window menu, and choosing
brushes, or hitting F5.
| | 00:29 |
Now, with the brushes panel, I can load
up different styles of brushes.
| | 00:33 |
So I can go to this win menu here, and
choose open brush library.
| | 00:38 |
And Illustrator comes free with lots of
different kinds of brushes.
| | 00:42 |
Now, the ones that I'm going to use are the
artistic brushes.
| | 00:45 |
And we're going to start by having a look at
the calligraphic brushes.
| | 00:48 |
And these represent calligraphy tools,
like fountain pens and different shaped nibs.
| | 00:55 |
So, it allows you to draw as if you're
drawing with a shaped nib like a flat
| | 01:00 |
chiseled nib for example.
Now if I look at the thumbnails, I can
| | 01:05 |
get a rough idea of what the line is
going to look like.
| | 01:09 |
But I can get more of an idea if I go to
list view, because then it will describe
| | 01:14 |
the shape of the brush, as well as
showing me a little indication of the shape.
| | 01:19 |
So if I'm looking for something flat,
maybe a ten point flat brush and it's
| | 01:24 |
very easy for me to select it.
Now notice that, when I choose it here in
| | 01:28 |
my artistic calligraphic panel, it places
it into the brush's panel, and makes it live.
| | 01:34 |
Which means, when I start to draw, it's
going to draw using that brush.
| | 01:38 |
You can also see the brush listed up here
as well and these options can be changed
| | 01:42 |
at anytime.
Now, if I start to draw with that you'll
| | 01:46 |
notice that ten points is probably a
little bit too fat.
| | 01:49 |
So, I'm going to undo that.
Now, you would think that you would
| | 01:53 |
adjust size of the brush by doing this.
Now, you can do but if I draw now It's
| | 01:58 |
kind of going 2 points away from 10
points, which is confusing so it's kind
| | 02:03 |
of like 12 points.
So, rather than adjusting the stroke
| | 02:05 |
settings what I recommend you do so we'll
just undo that, and we'll undo our stroke
| | 02:06 |
settings back to 1 point.
We'll choose our 10 point brush, what I
| | 02:10 |
recommend you do is actually double-click
this and edit it.
| | 02:14 |
So, I am going to double-click it here and I
am going to change it to four point flat
| | 02:20 |
brush and will change it here as well.
And the good thing about this is you are
| | 02:26 |
changing it forever, we can start to
build up a set of brushes that you want
| | 02:32 |
to use in Illustrator, so click on Okay.
And now if I draw with that brush, you'll
| | 02:38 |
see I get a nice, variable width.
So sometimes it's fatter, sometimes it's
| | 02:42 |
thinner, depending on the angle that I
draw with.
| | 02:45 |
And of course, I'm drawing with my Wacom
pen, so the Wacom pen, the direction it's
| | 02:50 |
moving is relating to the direction of
the curve, if you like.
| | 02:54 |
So, we're getting a really nice inky kind
of look.
| | 02:57 |
You know, it really feels like I'm
drawing with ink, it's really nice to
| | 03:02 |
draw with.
So, if you want a varying edge rather
| | 03:04 |
than a really straight edge, it's nice to
draw with the calligraphic brushes.
| | 03:09 |
Now, once you've drawn them, you can
select them, and edit them, and smooth
| | 03:14 |
them, and redraw them in the same way
that you can with a pencil tool.
| | 03:18 |
If I go back to the brush tool and double
click it, I'll open up the Options.
| | 03:24 |
And you'll see it's got the same options
as the pencil tool, but it defaults to
| | 03:28 |
having edit selected path switched off.
Because usually, when you're drawing with
| | 03:32 |
the pen tool, you're doing multiple
strokes.
| | 03:33 |
But if you want to adjust any of your
strokes, you can just switch that on and
| | 03:39 |
then just redraw the strokes until you're
happy with them, exactly the same as the
| | 03:45 |
pencil tool.
Now as well as having calligraphic
| | 03:48 |
brushes like that, you can also go back
to the brushes panel and choose from open
| | 03:53 |
brush library, some artistic brushes.
And the ones that I'm going to look at are
| | 03:58 |
ones that look like paintbrushes.
And you'll see it lists then here for me
| | 04:02 |
in this little panel, and I can scroll
down and decide which kind of brush I
| | 04:06 |
want to use.
So, I'm going to start with something like this.
| | 04:10 |
Now, you'll notice that if I have a
stroke selected and I choose that brush,
| | 04:14 |
it's going to apply it to the brush strokes.
So I'm going to undo that and just
| | 04:19 |
deselect that before I choose the brush.
Now, instead of having to go to the
| | 04:24 |
selection tool and back to the brush tool
you can simply hold down the Command key
| | 04:28 |
or Control key on PC and that will toggle
to the deselection tool.
| | 04:32 |
Now again I'm going to select the brush that
I want to use and now every line that I
| | 04:37 |
draw from this point on will be using
that style.
| | 04:40 |
Now again, you'll notice that it's a
little too fat, the default settings, so
| | 04:45 |
I'm going to undo that.
Now, you can double-click the brush here,
| | 04:49 |
it's slightly different from the
calligraphic brush.
| | 04:52 |
You can adjust the width here, so if you
want to bring down the width of the
| | 04:57 |
stroke you can do, and click okay, and
now when I redraw it you'll see I've got
| | 05:01 |
a narrower stroke.
Now if I had drawn that and then double
| | 05:05 |
clicked it and made a change and clicked
Okay.
| | 05:09 |
It would ask me, do you want to apply
that to the stokes or do you want to
| | 05:13 |
leave them as they are?
And if I say apply to strokes, it will
| | 05:16 |
fatten any existing strokes.
Again, if I'd said no, I don't want to
| | 05:21 |
apply it to strokes, then it would leave
the stroke as it is, but from that point
| | 05:25 |
on it will adjust the stroke.
So let's apply to strokes again.
| | 05:29 |
So now I've got much finer line.
Again, I can redraw it for once to be a
| | 05:33 |
little bit more precise.
And what I'm going to do is just draw in his
| | 05:39 |
nose and his mouth, and his chin.
Of course, you don't have to draw that as
| | 05:44 |
one continuous line but I just felt
confident there so I decided to do it.
| | 05:47 |
And we'll draw his ear over there, and a
couple of lines there.
| | 05:50 |
Now again, you'll notice that it's
redrawing the lines so I may have to
| | 05:56 |
change my options take off, edit selected
paths and just redraw that.
| | 06:02 |
You'll see I'm getting a much more inky
look to my brush strokes.
| | 06:06 |
You can just up the stroke setting as
well and you'll notice that effects the line.
| | 06:11 |
If I only want it to effect it on the
non-selected lines, then I'll put up 2 to
| | 06:16 |
3 points and draw in the eyebrows.
You'll see for the eyebrows I get a nice
| | 06:21 |
thick, (UNKNOWN) stoke for his bushy
eyebrows.
| | 06:25 |
So that's a little bit about the paint
tool.
| | 06:27 |
As I said, all the paths that are created
are editable, and you can adjust the
| | 06:31 |
settings for the brush by double-clicking
it here in the brushes panel.
| | 06:35 |
And there's various different techniques
that you can use for doing that if you
| | 06:39 |
also click on this button that opens a
dialog box, which allows you to adjust
| | 06:44 |
the width, flip it, and add tints to it.
That, that's a little bit about the brush tool.
| | 06:52 |
| | Collapse this transcript |
| Working with the Blob Brush tool| 00:00 |
Okay, so now we're going to have a look
at the Blob Brush tool.
| | 00:06 |
I love the Blob Brush tool.
It's fairly difficult to explain, but
| | 00:09 |
basically it allows you to paint like a
painter would paint.
| | 00:13 |
And that means painting several strokes
to get one continuous line.
| | 00:17 |
It's very seldom that I draw a line in
one stroke like this.
| | 00:22 |
And with the Pen tool and the Brush
tool, you tend to have to do that.
| | 00:26 |
Or, you have to join the paths later.
But with the Blob Brush tool, you can
| | 00:31 |
paint a series of lines and it will
automatically join them together.
| | 00:34 |
So, if I paint there, and then paint
again there, and paint again there, and
| | 00:39 |
let's do it once more.
And now I select that holding down the
| | 00:44 |
cmd key or ctrl key on the PC.
You'll see I've got one editable line.
| | 00:48 |
Now you'll notice something different
between that and the regular Brush tool.
| | 00:54 |
If we zoom in, again using cmd+on the
keyboard, ctrl+if your on the PC.
| | 01:00 |
Notice that the line goes around the
brush stroke.
| | 01:04 |
So instead of having one line denoting
the brush stroke, we have two lines
| | 01:08 |
denoting the brush stroke.
And if I go and edit that, you'll notice
| | 01:12 |
it makes it slightly more complicated for
editing.
| | 01:15 |
Cuz I've now got two paths to edit,
instead of just one path to edit.
| | 01:19 |
So it has pros and cons like everything
else.
| | 01:22 |
Now notice I can undo one stage at a time
and redo one stage at a time.
| | 01:27 |
Which again is really nice and like a
real artist would work.
| | 01:31 |
Now if I just go back to the regular Pen
tool and I choose the same brush, I just
| | 01:34 |
want you to see what the difference is.
So if I do exactly the same again, the
| | 01:39 |
first thing you'll notice is we have only
one line per brush stroke.
| | 01:44 |
Which makes it a little bit easier to
edit for sure.
| | 01:48 |
I can just select these points and edit
them individually, and the brush stroke
| | 01:52 |
will adjust to either side.
But notice I have 3 separate paths to
| | 01:56 |
edit, and if I wanted to join them
together, the only way to do it would be
| | 01:59 |
to group them.
So pros and cons, but the other nice
| | 02:03 |
thing about the Blob Brush tool is you
can create shapes like this belt buckle here.
| | 02:09 |
So if I choose the Blob Brush tool and
I'm going to make it slightly bigger.
| | 02:14 |
You can also use calligraphic brushes as
well incidentally with the Blob Brush
| | 02:18 |
tools if I select this one.
And then select it you'll notice it gives
| | 02:22 |
me an editable calligraphy line so I can
go in and edit the points and change the shape.
| | 02:29 |
Make it look a bit more random.
Or even use the Smooth tool on it, so I
| | 02:32 |
can start to smooth out my calligraphic
pen strokes.
| | 02:37 |
So you couldn't really do that as easily
using the regular Brush tool.
| | 02:41 |
So again, pros and cons.
But as I was saying, if I select the
| | 02:45 |
regular Brush tool, and I come down here
to the belt and then, I make the brush bigger.
| | 02:52 |
So, using left bracket and right bracket
will allow you to make the brush bigger
| | 02:55 |
or smaller.
Then I can start to create these nice
| | 02:58 |
hand-drawn kind of shapes.
Start to create this belt buckle with shading.
| | 03:04 |
Now, I've made that brush a little bit
too big.
| | 03:06 |
So, again, I'm going to undo those steps.
And just make that brush a little bit
| | 03:11 |
smaller before I start so, let's just
double-click that and we'll make it a
| | 03:15 |
2-point brush.
Okay.
| | 03:18 |
So again, you can use the dialog box,
you can use the keyboard shortcut.
| | 03:22 |
Left bracket and Right bracket tools will
allow you to make adjustments.
| | 03:26 |
Okay, so I can start to draw and create
this nice inky kind of effect by drawing
| | 03:31 |
repeated strokes.
Now, you might be thinking why is she not
| | 03:35 |
worrying about going over the edges,
well, I'll show you why in a second.
| | 03:39 |
Okay, so I create the effect I want, and
then you'll see that I have these nice
| | 03:43 |
chunky shapes that I can go and edit
really easily, move them, adjust them any
| | 03:47 |
way I want.
The reason I'm not being too careful with
| | 03:52 |
the edges is I can then use another tool
I really love called the Eraser tool,
| | 03:56 |
which is here.
With the Eraser tool, I can make my brush
| | 04:01 |
smaller again using left bracket, and I
can just trim the edge of that.
| | 04:07 |
The edges I want to trim off, I can just
quickly trim using the eraser tool.
| | 04:11 |
So, it's kind of like sculpting, with
vectors.
| | 04:14 |
It's fantastic.
Okay.
| | 04:16 |
Just trim off those edges.
So, get the benefit of having inky brush
| | 04:21 |
strokes without having to be too careful.
Which, in my book, is fantastic.
| | 04:29 |
Now notice it's not deleting the one at
the bottom.
| | 04:32 |
That's because it's not selected.
It has to be selected in order for the
| | 04:35 |
eraser tool to work like that.
So there we go.
| | 04:38 |
We've drawn something that looks like
it's been drawn with a marker pen or
| | 04:41 |
something, just by using one tool.
And instead of having hundreds of brush
| | 04:45 |
strokes to edit, we've only got one.
Now it's also good for drawing things
| | 04:49 |
like the arms, so let's just Create a new
layer for the arm, and we'll call it Arm 01.
| | 04:55 |
And I'm very quickly going to drawn in this
arm here.
| | 05:00 |
Again, just drawing all the strokes with
the Blob Brush tool.
| | 05:05 |
Not really worrying to much about them.
So its great.
| | 05:08 |
But one point with Illustrator, you have
to be very precise and careful with the
| | 05:13 |
way that you drew.
But now with all these tools, you can
| | 05:18 |
draw quiet roughly and it's a lot more
like drawing in a paint program then it
| | 05:23 |
used to be so I love it.
Now I'm going to draw another arm so let's
| | 05:28 |
put another arm.
We'll call this Arm O2, and we'll draw
| | 05:33 |
this one here.
And it's really nice as well because it
| | 05:38 |
picks up, the kind of natural inflections
that you have when you draw.
| | 05:44 |
So if you have a slight wobble it doesn't
really matter.
| | 05:48 |
I am going to go back to the jacket layer
and I am just going to fill in these
| | 05:51 |
sections here okay, again I am not being
too careful.
| | 05:54 |
I am just going, rough strokes and if you
do too carefully you don't really develop
| | 05:58 |
a style.
I find that if you're a little bit rough
| | 06:01 |
with your pen strokes you start to
develop more of a style.
| | 06:05 |
Cuz you're kind of working more
intuitively I always think.
| | 06:15 |
Okay, so very quickly we can get that
whole body drawn, then I think I'm going to
| | 06:19 |
leave you there, and open up one where
I've done a lot more on it.
| | 06:25 |
So let's just zoom out a little bit.
And then we will have a look at the
| | 06:29 |
finished one.
Okay, so here we have one way of taking
| | 06:35 |
at look a little bit further and drawn a
few more lines on there.
| | 06:45 |
| | Collapse this transcript |
|
|
4. Creating Complex ShapesDrawing using shapes| 00:00 |
Now there are times when the easiest way
to draw something is just to use a
| | 00:04 |
primitive shape.
And there are lot's of primitive shapes
| | 00:08 |
available to you in illustrator,
including the rectangle tool, rendered
| | 00:13 |
rectangle tool, ellipse, polygon, star,
and flare.
| | 00:17 |
We're going to use the ellipse tool and
all I'm going to do is just move to the
| | 00:21 |
center where I want the eye hold down the
Alt key to draw from the center and then
| | 00:25 |
hold down Shift to constrain it so that
it becomes a perfect circle.
| | 00:29 |
Okay, and that places it over the eye, I
can just nudge it into position using the
| | 00:34 |
arrow keys on the keyboard.
Now it's a little bit too perfect for my liking.
| | 00:39 |
So what I'm going to do is apply this
nice artistic dry brush stroke to it.
| | 00:43 |
It's a little bit too big now I could
double-click the brush and edit it that
| | 00:48 |
way just that with just the with
commander, but really the quickest way is
| | 00:52 |
to just go into my strokes settings and
to bring that down to about 0.2 should do it.
| | 00:58 |
And once I have that, go back to the
selection tool, hold down the Alt key and
| | 01:02 |
click and drag to make a copy.
Now that should be a little bit smaller
| | 01:07 |
then the other eye so what I'm going to
do is just select that.
| | 01:11 |
And we can either use the scale tool or
the free transform tool.
| | 01:15 |
Free transform I quite like to use to
just adjust that in size.
| | 01:19 |
Okay, and then we need to create the
circles inside.
| | 01:22 |
So I'm going to reverse the fill in the
stroke after deselecting.
| | 01:27 |
So I'm going to toggle to the selection
tool, deselect, swap the fill in stroke,
| | 01:31 |
and now I'm going to draw the pupils.
And I'll just draw one, select the
| | 01:35 |
selection tool and drag a copy over to
here, and again I can make that a little
| | 01:40 |
bit bigger if I want to, using the free
transform tool.
| | 01:45 |
Okay, so there we have the eyes.
The other primitives that you can use are
| | 01:49 |
the line segments tools.
So you've got the line segment tool which
| | 01:52 |
will create straight lines.
You've got the arc tool, the spiral tool,
| | 01:56 |
and the grid tools.
Now with the line tool What I'm going to
| | 02:01 |
do is just click and drag to create a
line.
| | 02:04 |
Now you'll notice that it has no stroke
or fill which is a bit odd so the first
| | 02:08 |
thing that we want to do is first of all
choose a stroke and then draw the line
| | 02:13 |
and now we get a line represented by the
stroke.
| | 02:16 |
It's a bit odd that that happens, not
sure if it's a bug but if you reverse the
| | 02:20 |
stroke and fill you'll get a line.
It's because the line tool relies on
| | 02:24 |
having a stroke value.
But instead of just giving you a warning
| | 02:28 |
it just kind of removes it completely.
And I'm also going to adjust the weights
| | 02:32 |
of that a couple of notches.
Now, again with the line tool you can
| | 02:35 |
apply a brush stroke if you want to,
that's perfectly feasible as well.
| | 02:39 |
We're going to draw another line that
intersects with that one.
| | 02:43 |
Now, I'm drawing this as a separate line
cause I want this to be slightly fatter.
| | 02:48 |
So let's do that up to value of four and
then let's deselect that and then go back
| | 02:55 |
down to value of two and draw this line.
Okay, so the line draws really nice
| | 03:00 |
instead of clicking to create one point,
clicking to create another.
| | 03:04 |
You just click and drag to create your
point.
| | 03:06 |
And then finally, what we're going to do
is just again hold down the command key,
| | 03:11 |
quickly deselect, change it to one point,
and then draw around the frame of the glasses.
| | 03:17 |
That one's going to end there and then
we'll start here, just draw a few lines
| | 03:24 |
to represent the frames.
Okay, so there we have the glasses.
| | 03:28 |
Now, you'll notice I've accidentally
reversed the eye at some point I must
| | 03:31 |
have swapped these around with that
selected.
| | 03:33 |
These kinds of things are going to happen
to you over and over again in illustrator.
| | 03:38 |
You've got to learn from your mistakes
and move on.
| | 03:40 |
So there we go, using the primitive tools
to create basic shapes and then using
| | 03:44 |
brush strokes to randomize them a little
bit.
| | 03:47 |
There are also facts that you can use to
make them look a little bit more hand drawn.
| | 03:52 |
Things like roughing will allow you to
create much rougher circular shape.
| | 03:57 |
If I just say smooth and then bring the
size down a little bit and put the detail
| | 04:01 |
up a little bit, you'll see we just get a
more wobbly path.
| | 04:04 |
Once you've applied that, you can select
the second one and just apply it straight
| | 04:09 |
from the effect menu again, just to give
you a slightly more random shape on the eyes.
| | 04:14 |
So, there we have it, using primitive
shapes but creating a hand drawn effect
| | 04:21 |
from them.
| | 04:22 |
| | Collapse this transcript |
| Combining shapes and tools| 00:02 |
Now sometimes, the easiest way to create
a complex shape is to use a combination
| | 00:07 |
of tools.
And I'm going to show you how to create a
| | 00:10 |
complex shape using a variety of
different tools here in the tool palette.
| | 00:14 |
Now, the file that I have open is called
combiningshapes.ai, and you can find that
| | 00:19 |
in the creating complex shapes folder.
Now what we're going to do here is we're
| | 00:24 |
going to start by choosing a primitive,
just a ellipse tool.
| | 00:27 |
And I'm going to start by drawing his
belly.
| | 00:30 |
So I'm going to click here in the center,
hold down the Alt key, and that allows me
| | 00:34 |
to draw from the center out, and then I
can just decide how fat I want his belly
| | 00:39 |
and get it exactly where I want it and
release it.
| | 00:42 |
Now, I can use free transform on that if
I need to rotate it a little bit, or move
| | 00:46 |
it just to get it exactly where I want
it.
| | 00:49 |
Now, I've done that, I can create a copy
of it just by going back to the selection
| | 00:54 |
tool, and holding down the Alt key that
allows me to drag a copy of that file.
| | 00:59 |
And again, using the Free Transform tool,
just transform it to the shape that you want.
| | 01:04 |
Okay, when you're doing this kind of work
you probably want start leaning your
| | 01:08 |
keyboard shortcuts.
So the Selection tool is V, if you want
| | 01:12 |
to quickly get back to selecting that you
just hit v on the keyboard, and that
| | 01:16 |
allows you to just Alt, click, and drag
without having to go back up to the tool
| | 01:21 |
palette, and again if you want free
transform, it's the E key to Free
| | 01:24 |
Transform and just make a slight
adjustment.
| | 01:27 |
Okay.
So back to V to select the Selection tool.
| | 01:31 |
Move it into place holding down the alt
key to make a copy, and then Free
| | 01:35 |
Transform is E.
And we just make that a little bit
| | 01:38 |
smaller and fit into place for the bicep.
And what we're creating here is a kind of t-shirt.
| | 01:43 |
So in fact that's a little bit too big
there, so let's just bring that down so
| | 01:48 |
it's not quite covering his face.
Okay, and then we'll create another copy.
| | 01:53 |
Again, V to select the Selection tool,
hold down Alt to create a copy, and bring
| | 01:57 |
it over to the other side and make any
adjustments that are necessary.
| | 02:01 |
So we've got the rough body shape.
Quite often it's much easier to build up
| | 02:05 |
someone's body by using primitives like
this.
| | 02:07 |
Takes the pain away from drawing.
You start by building the primitives, and
| | 02:11 |
then you make adjustments with the other
tools.
| | 02:14 |
So what I am going to do now is use
another tool, the Pen tool, just to
| | 02:18 |
create this scalloped edge here, the
collar shape.
| | 02:21 |
So I am just going to create a nice curve
here just by using a my beziate tools and
| | 02:27 |
then we'll just fill it in by clicking
and dragging along there.
| | 02:31 |
Now, now that we have those shapes,
there's a couple of techniques we can use
| | 02:36 |
to combine them.
I'm going to show you the old fashioned way
| | 02:39 |
because it's still very useful, and then
I'll show you a new way.
| | 02:42 |
So the old fashioned way would be to
select one of these shapes, and then I
| | 02:46 |
can use the Select Similar button to
select all the other shapes, and if I
| | 02:49 |
need the options, I've got options there
to choose by fill color, stroke color,
| | 02:53 |
fill in stroke, et cetera, et cetera.
So it's a quick way of selecting multiple items.
| | 02:58 |
I can then use the pathfinder palette.
And I'm going to open the pathfinder.
| | 03:02 |
Now the pathfinder allows you to combine
shapes in different ways.
| | 03:06 |
If I click on this one, it will unite all
the shapes together.
| | 03:10 |
If I undo that and click on this one, it
will remove the front shape from the back shape.
| | 03:15 |
So it's taking all those front shapes off
this back shape.
| | 03:18 |
And there's various different ways you
can use expand.
| | 03:21 |
There's all sorts of different ways of
combining shapes.
| | 03:25 |
So I would probably use unite, and that
would create a shape that's then editable
| | 03:30 |
like any other shape.
Now another way of combining these shapes
| | 03:33 |
together is to use this tool here, and
this is called the shape builder tool.
| | 03:37 |
And you can see the keyboard shortcut for
that is shift M.
| | 03:40 |
And it allows me to highlight shapes and
intersections of shapes, and allow me to
| | 03:44 |
join them together.
So if I wanted to join this shape with
| | 03:48 |
only this shape, I can just drag between
those two shapes and then they become a
| | 03:53 |
united shape.
I can then also attach them to this
| | 03:57 |
shape, and that creates one solid shape
there.
| | 04:00 |
And I can continue to drag and combine
these shapes together and I don't have to
| | 04:05 |
do it individually I can do it in one
drag, like this.
| | 04:08 |
And you'll see that, that's a nice
intuitive way of being to join shapes together.
| | 04:14 |
Okay.
And once you have this shape, exactly as
| | 04:17 |
the same techniques as we used before.
You can use things like the Smooth tool
| | 04:21 |
to smooth out bumps.
You can even use the Pencil tool just to
| | 04:25 |
create slightly smoother edges here and
there, and we can use various other tools
| | 04:29 |
to roughen the edges and things like
that.
| | 04:32 |
Now the other tool that really like to
use is the eraser tool, and the eraser
| | 04:36 |
tool is fantastic.
For example, here I was to create a
| | 04:40 |
scalloped edge, and instead of having to
adjust these anchor points, all I need to
| | 04:45 |
do is just choose the eraser tool and I
can just erase a curved shape from there
| | 04:49 |
to create a sleeve for his t-shirt.
And again, do the same here.
| | 04:53 |
In fact, if I make the brush big enough,
I don't even need to drag.
| | 04:56 |
I just need to click once, to remove a
scalloped edge from the T-shirt.
| | 05:00 |
So, now I've got a couple of sleeves.
That one's not quite in the right place,
| | 05:04 |
so I'm just going to redo that.
I need to make my brush a little bit smaller.
| | 05:08 |
And there we have a scalloped edge for
that T-shirt, too.
| | 05:11 |
And I'll just finish off that edge there.
So using this combination of tools, you
| | 05:17 |
can start to create a kind of sculpture
effect by combining shapes together like this.
| | 05:25 |
| | Collapse this transcript |
| Using adjustment tools| 00:00 |
Okay, so here we are in the adjustment
tools dot ai file, which you can find in
| | 00:06 |
the creating complex shapes folder.
And I'm just going to toggle to the space
| | 00:11 |
bar tool.
Just clicking on spacebar will toggle to
| | 00:14 |
the hand tool, which allows me to move
the view down so that we can see what
| | 00:18 |
we're dealing with.
And we're going to focus on the right upper arm.
| | 00:23 |
Create a new arm, focusing on the
adjustment tools in order to do so.
| | 00:26 |
Now the first thing I'm going to do is
select this shape here, and you'll notice
| | 00:31 |
a bounding box appears around it.
If you don't see the bounding box just
| | 00:35 |
make sure in the view menu that you don't
have hide banding box deselected.
| | 00:40 |
If you do it will say show banding box.
So you need to make sure that this is
| | 00:44 |
active and you'll see that if I toggle
between them it changes from show banding
| | 00:49 |
box to hide banding box.
So make sure you can see your banding box
| | 00:53 |
before we proceed.
Now, Illustrator offers so many tools for
| | 00:57 |
different purposes, and when you first
encounter some of these tools, some of
| | 01:01 |
them may appear to share the same purpose
and in many cases that true.
| | 01:05 |
Particularly, in the case of adjustment
tools, for example I can scale this using
| | 01:10 |
the selection tool here.
So I can scale this layer quite easily
| | 01:15 |
using the selection tool.
I can also rotate and move it using the
| | 01:19 |
selection tool.
Now, I can also do that using the free
| | 01:23 |
transformed tool.
And that gives me the same options, I can
| | 01:26 |
scale, I can rotate and I can move using
free transform.
| | 01:31 |
I can also scale using the scale tool,
and I can either click on it and use it
| | 01:35 |
to scale the layer, or the object rather,
or I can double-click it and enter
| | 01:40 |
values, to scale it by predefined
numbers.
| | 01:43 |
If I want to scale it to say, 60%, it's
very easy for me to be able to see how
| | 01:48 |
that's going to effect my layer.
I can also do non uniform scales and
| | 01:53 |
preview that, and create copies.
Now I can also scale using the transform
| | 01:58 |
panel down here, entering numeric values.
I can also access those same controls in
| | 02:04 |
the control panel by clicking on this
little hyperlink here.
| | 02:08 |
So, lot's of different ways to scale.
Which one should you use?
| | 02:12 |
Well, as my grandmother used to say,
there's more than one way to skin a cat.
| | 02:15 |
There's not right or wrong way to work
when using this software.
| | 02:18 |
That's what they saying means, it
basically means there's no right or wrong
| | 02:22 |
way and any method is fine if it gets you
to your end goal.
| | 02:25 |
Now, you should never feel pressurized
into feeling that you have to do things
| | 02:29 |
in a certain predefined way.
By working your own way you're more
| | 02:32 |
likely to develop a unique style and it
doesn't matter how long it takes you to
| | 02:36 |
get there.
If it gets you to where you want to go
| | 02:38 |
and you feel comfortable using those
techniques, by all means use them.
| | 02:42 |
However, there are pros and cons for each
of the adjustment tools I'd like to share
| | 02:47 |
with you so that you know which of these
tools are best suited for each of the tasks.
| | 02:51 |
Now if we start with the scale tools, the
tree trunks form tool is great for most
| | 02:56 |
things or the selection tool, I'm using
the selection tool.
| | 02:59 |
But either, it's really nice because you
can do lots of different transformations
| | 03:04 |
using one tool.
You see that I hold the cursor over the
| | 03:06 |
corner and it becomes the rotate tool.
If I hold it over the edge I can scale
| | 03:11 |
non-uniformly, either horizontally or
vertically and if I hold it over the
| | 03:15 |
corners and scale I can scale it
uniformly and of course, holding down
| | 03:19 |
Shift will allow me to keep the
horizontal and vertical scale identical,
| | 03:24 |
lock the aspect ratio.
And holding down the Alt key while
| | 03:27 |
scaling will allow me to scale from the
center point rather than from one corner
| | 03:32 |
to another, which is the default.
So holding down the Alt key allows you to
| | 03:36 |
scale from the center.
But there are times that I might like to
| | 03:39 |
scale from a different anchor point, and
free transform doesn't allow me just to
| | 03:44 |
drag that anchor point, but scale does.
If I click on the scale tool, I can
| | 03:48 |
determine a new anchor point just by
clicking.
| | 03:51 |
And you see that it moves the anchor
point to there and now when I scale, it's
| | 03:55 |
going to scale around that point and also
rotate and skew around that point.
| | 03:59 |
Now, that's another nice thing about
using the scale tool, it allows you to
| | 04:04 |
skew the object if you drag around as
well.
| | 04:06 |
So, that's another benefit to using that
above the transformed tool.
| | 04:11 |
Now, if I don't want it to distort as I
drag it around, like it does when I'm
| | 04:15 |
using the scale tool, we get a kind of
skew kind of effect as it scales
| | 04:19 |
non-uniformly around that point, what you
can do is use the rotator, and and the
| | 04:24 |
rotator also allows you to set an anchor
point.
| | 04:27 |
And you'll notice it remembered the
anchor point from scale to rotate there.
| | 04:32 |
So if I pick that up and move it, you'll
notice that now it's rotating without any
| | 04:37 |
distortion at all.
Now, underneath the rotate tool is the
| | 04:41 |
reflect tool.
And what I want to do before I use the
| | 04:44 |
reflect tool is select both of these
objects.
| | 04:47 |
Now if I click on both of them with the
reflect tool selected, I'm just going to
| | 04:51 |
reflect the object.
So I need to toggle, temporarily, to the
| | 04:55 |
selection tool by holding down the
command key, or control key on PC, and
| | 04:59 |
then holding down shift to add this to
the selection.
| | 05:02 |
So I've now got two objects selected.
Now, I can release my modifier keys and
| | 05:07 |
with the reflection tool selected I can
click in the center of where I want the
| | 05:12 |
reflection to occur around.
And that creates an anchor point here in
| | 05:15 |
the middle.
Now, if I just drag those, you'll see it
| | 05:19 |
moves them over to the other side.
But I'm just going to undo that because
| | 05:23 |
instead of dragging, what I want to do is
actually create a copy of those.
| | 05:27 |
So I just need to hover over the shape
and hold down the Alt key until I see the
| | 05:32 |
copy icon.
And then I can click and drag a reflected
| | 05:35 |
copy of the arm over to this side.
And then it's just a case of using the
| | 05:39 |
arrow keys on the keyboard, Up and Down
arrow keys and Left and Right arrow keys,
| | 05:43 |
just to nudge it into place.
And there I have two arms instead of just
| | 05:48 |
one arm.
Now obviously, the arms should be
| | 05:51 |
underneath the body.
So, I can also just go to my layers panel
| | 05:56 |
and just drag the body layer up to the
top of the stack so that the T-shirt is
| | 06:02 |
on top of the arm layers.
| | 06:04 |
| | Collapse this transcript |
| Creating complex shapes| 00:00 |
Okay.
So, what we're going to do now is use the
| | 00:03 |
techniques we've learned to create a hand
out of primitive shapes.
| | 00:08 |
Now, if you want to follow along, we're
in hands.ai, which you can find in the
| | 00:14 |
Creating Complex Shapes folder.
So, as I said, what we're going to do is
| | 00:19 |
create a hand.
So, the first thing we need to do is
| | 00:21 |
create a new layer for the hand.
So, Alt click on the Stop Watch and type
| | 00:26 |
in right-hand, and click OK.
Now, you can either call it right-hand or
| | 00:31 |
lower arm.
We're actually only going to have upper
| | 00:34 |
arms and lower arms.
So, to be really correct, I should really
| | 00:39 |
rename that right lower arm, but either
is fine.
| | 00:43 |
So, just rename that as you prefer.
So, what we're going to do, as I said, is
| | 00:48 |
create a hand from primitive shapes.
And hands are notoriously difficult to create.
| | 00:54 |
So, I'm going to use Cmd+on the
keyboard, or Ctrl+on PC to zoom in.
| | 00:59 |
And as I said, hands are notoriously
difficult to create.
| | 01:02 |
So, what we're going to do is start by
building it by primitive shapes, and then
| | 01:07 |
we can use various tools in Illustrator
to combine those shapes and create our
| | 01:11 |
finished art work.
So, we'll start the process by choosing
| | 01:15 |
the Rounded Rectangle tool, which is
particularly good for doing fingers.
| | 01:19 |
So, if I click and drag here, then I can
create my first finger.
| | 01:24 |
And I'm going to then select the
Selection tool.
| | 01:27 |
Now, the keyboard shortcut for that is V.
You're going to want to jump between tool
| | 01:32 |
here, so there's a couple of keyboard
shortcuts you're going to want to use.
| | 01:36 |
V for the Selection tool, and then we
have S for the Scale tool, and R for the
| | 01:40 |
Rotation tool.
And we may also go to Free Transform
| | 01:43 |
every now and then, which is E.
But for now, what we're going to use is
| | 01:47 |
the Selection tool.
And we're going to just adjust the hand
| | 01:51 |
slightly, make it slightly smaller,
slightly fatter.
| | 01:54 |
Now, if you hold down a Modifier key
after you start scaling, you can change
| | 01:59 |
the way the Free Transform tool works.
If I hold down Cmd > Alt > Shift, and
| | 02:04 |
that's Ctrl > Alt > Shift on the PC.
With the Selection tool selected, you'll
| | 02:09 |
see it just constrains the scale and
allows you to scale from this center.
| | 02:14 |
If I do that with Free Transform
selected, so again, I click and drag on
| | 02:19 |
the corner.
And as I click and drag, I hold down Cmd
| | 02:22 |
and Alt, and you'll notice that I can
skew the shape now.
| | 02:26 |
And if I hold down Shift as well, I can
do a perspective shift on the shape.
| | 02:31 |
So, that allows me just to change the
shapes so it's slightly fatter at the end
| | 02:35 |
than it is at the top, okay?
So again, to change perspective, you
| | 02:39 |
start dragging the corner handle and then
you hold down Cmd > Alt > Shift or Ctrl >
| | 02:45 |
Alt > Shift on the PC.
And that allows you to change the perspective.
| | 02:49 |
So now that I've done that, I want to
rotate it.
| | 02:52 |
But if I rotate it with the Transform
tool, it rotates around the center.
| | 02:57 |
So, I'm going to hit R to select the
Rotate tool.
| | 03:00 |
And with the Rotate tool, I can choose a
rotation point to the top, and just
| | 03:04 |
rotate it 'til it is where I want it to
be.
| | 03:07 |
Now, as you're drawing like this, it's
good just to remove the film so that you
| | 03:11 |
can see the drawing behind for reference.
So ,I'm quite happy with that finger.
| | 03:15 |
What I'm going to do now is go back to
the Selection tool, which is V, and then
| | 03:19 |
I'm going to hold down the Alt key, and
that will allow me to take a copy of it
| | 03:22 |
and move it to here.
So, I'm creating a copy by holding the
| | 03:26 |
Alt key and dragging.
Now, you'll notice if I have the Free
| | 03:29 |
Transform tool selected, that same
keyboard shortcut doesn't work.
| | 03:33 |
So, this is why you need to keep
switching between tools.
| | 03:36 |
Free Transform allows you to create the
perspective effect, but the Selection
| | 03:40 |
tool allows you to hold down Alt and
click and drag.
| | 03:43 |
So, I'm going to switch to Rotation tool
by hitting R, click up here again to
| | 03:47 |
change my anchor point, and then move it
to here.
| | 03:50 |
Now, I'm going to switch to the Scale
tool because the Scale tool allows me to
| | 03:54 |
keep the registration point there and
just pull the points to scale them, okay?
| | 03:59 |
And I can decide whether I want it
scaling horizontally or vertically and
| | 04:03 |
get it exactly where I want.
Now, I'm going to go back to the
| | 04:06 |
selection tool hitting V.
I'll just scale it a little bit on that
| | 04:10 |
axis and then I'll hold down the Alt key
and click and drag to make a copy.
| | 04:14 |
Now this time, I'm going to keep that
tool selected because what I want to do
| | 04:18 |
is I want to make it shorter here and
shorter here.
| | 04:20 |
So, I'm going to start scaling and hold
down the Alt key so that I scale from the center.
| | 04:25 |
And that's going to reduce it at the top
and the bottom.
| | 04:28 |
Hit R on the keyboard to change my
rotation point and just move it 'til it
| | 04:32 |
lines up with the one before.
Okay, so the next one.
| | 04:36 |
Hit V to select the Selection tool, hold
down the Alt key, drag it along.
| | 04:40 |
And this one, we generally want to make a
big smaller.
| | 04:43 |
So, just with the Direct Selection tool
selected, I'm just going to scale it and
| | 04:47 |
hold down Shift as I'm scaling just to
constrain it.
| | 04:49 |
Now, it needs rotating a bit.
And at this time, rotating around the
| | 04:53 |
center works for me, so I'm just going to
rotate it a little bit and use the arrow
| | 04:56 |
keys on the keyboard to nudge it into
place.
| | 04:59 |
So, there I have my four fingers.
I also need to create a thumbs, so I'm
| | 05:03 |
going to select this one, hold down the
Alt key, and drag it to around about here.
| | 05:08 |
And then, I'll switch to the Rotation
tool by hitting R, make the (UNKNOWN)
| | 05:13 |
point here at the top of the thumb, and
rotate the thumb around to get to the
| | 05:17 |
point where I want it to be.
Now, the thumb is really in two sections.
| | 05:22 |
So, what I'm going to do is select the
Selection tool, scale it down, make it
| | 05:26 |
look a bit smaller.
But then, scale it on this axis, only
| | 05:30 |
just to bring it up to where I imagine
the knuckle of the thumb to be.
| | 05:34 |
And then, I'm going to duplicate it by
holding down the Alt key and dragging a copy.
| | 05:39 |
Okay, and what we're going to do is just
Reverse Scale that but clicking and
| | 05:44 |
dragging and holding down the Alt key so
that the fat bit is at the top and the
| | 05:49 |
thin bit is at the bottom.
And then, we switch back to Rotation tool
| | 05:54 |
and just rotate that into place.
And if I switch off the Template layer,
| | 05:58 |
you'll see we have the beginnings of the
hand.
| | 06:01 |
Now, it's going to take a little bit more
work to get it exactly looking like a
| | 06:05 |
hand, and you'll see list to that in
another movie.
| | 06:09 |
But let me just nudge that into place.
And then, what I'm going to do is just
| | 06:13 |
switch on this layer that I've also added
of the left lower arm.
| | 06:17 |
And what I'm going to do is just hold
down the Space Bar temporarily to switch
| | 06:22 |
over to this side, and we'll turn on that
layer.
| | 06:24 |
And here, you can see another hand that
I've created using similar techniques.
| | 06:29 |
Now, I haven't added any perspective to
this.
| | 06:31 |
So as an exercise, you may want to just
select these fingers and see how you can
| | 06:35 |
improve them by adding a little bit of
perspective.
| | 06:38 |
And let me just show you and remind you
how to do that.
| | 06:41 |
So, select a shape, go to the Free
Transform tool, and then start dragging
| | 06:46 |
the corner.
And only when you start dragging, hold
| | 06:49 |
down Cmd and Alt and Shift, and that's
going to allow you to adjust the
| | 06:53 |
perspective of each of the fingers so
that they look more correct in terms of
| | 06:58 |
their perspective.
Okay, and if you do that with all the
| | 07:02 |
fingers, you can adjust them and make
them look more as if they have a correct perspective.
| | 07:08 |
Just going to scale that a little bit as
well.
| | 07:09 |
Okay, you'll see just by doing that, it
just adds that little bit of depth to the
| | 07:14 |
drawing and makes it look a little bit
more realistic.
| | 07:17 |
So that's how you can use primitive
shapes to start building your body parts.
| | 07:22 |
And then, what we can do is start
creating a more drawn look around those
| | 07:27 |
body parts once we have the structure in
place.
| | 07:30 |
| | Collapse this transcript |
|
|
5. Working with PathsSelecting paths| 00:02 |
Okay.
In this exercise, we're going to have a look
| | 00:04 |
at selecting paths in Illustrator.
So, I've got the selectingpaths.ai file
| | 00:08 |
open, and you can find that in the
Working With Selections folder.
| | 00:13 |
Now, I've got this file open here.
I'm just going to toggle the spacebar to
| | 00:16 |
move it down, so we can see it a little
bit more clearly.
| | 00:19 |
Now, you'll notice that as I roll over
the different body parts with the
| | 00:22 |
Selection tool, that they become
highlighted.
| | 00:25 |
And this is using the standard Selection
tool.
| | 00:27 |
Now, I'm sure that we all know that if
you click on an object in Illustrator,
| | 00:30 |
you select it.
If you click on another object, you
| | 00:33 |
deselect that last one, and select the
next one.
| | 00:36 |
And it will select objects regardless of
which layer they're on, and you'll see
| | 00:39 |
that as I select them.
This selection is indicated by the little
| | 00:44 |
square to the right of this button here.
this button here can also be used to
| | 00:49 |
select objects on a layer per layer
basis.
| | 00:52 |
So, if I want to rather than select
individual items from the left lower arm
| | 00:55 |
like this, I want to select all of them.
What I can do is click on this button
| | 01:00 |
here and that will select everything
within that layer.
| | 01:04 |
And again, if I do that with the right
lower arm, you'll notice it selected
| | 01:08 |
everything within that layer.
Now, as I've done that, I've noticed that
| | 01:12 |
both arms are on the same layer.
And that's something I didn't really want
| | 01:16 |
to occur.
So, what I'm going to do is open up that layer.
| | 01:20 |
And I can see the individual body parts
within there.
| | 01:22 |
And if I click on these one by one, I can
see each of the body parts selected one
| | 01:25 |
at a time.
So, these actually need to go to another layer.
| | 01:30 |
So what I can do is, with this layer
selected, I'm going to go down to the bottom
| | 01:34 |
of my Layers panel and I'm just going to
create a new layer holding down the Alt key.
| | 01:40 |
And we'll call it left upper arm.
So, this is my new layer and I want to
| | 01:47 |
take those paths and put them on to
another layer.
| | 01:50 |
Now, traditionally people would normally
copy and paste from one to another layer.
| | 01:54 |
You don't need to do that anymore.
You can just select the layers that you
| | 01:57 |
want to drag, and just drag them up to
this layer.
| | 02:00 |
Now you have to drag them individually.
So I'll drag one and then the other, and
| | 02:03 |
you'll see that now that I've dragged
using the little squares, I can drag the
| | 02:07 |
selections from one layer to another.
As I said, if you have two grouped and
| | 02:12 |
your dragging the little square from the
actual layer, it will drag both.
| | 02:16 |
If you dragging individual items from a
layer, you need to drag them individually
| | 02:20 |
from one to another.
That's a quick way of being able to move
| | 02:23 |
a selection without having to do a copy
and paste.
| | 02:27 |
Once you have a selection, you can add to
that selection by holding down Shift and
| | 02:31 |
adding items either by clicking directly
on them in this window or by clicking on
| | 02:35 |
the selection buttons on the layers.
You can start to select multiple items
| | 02:42 |
that way.
Now, the other selection tool is this one
| | 02:45 |
here and this is the direct selection
tool and we also have the group selection
| | 02:49 |
tool which we will take a look at a
little bit later.
| | 02:53 |
So, the direct selection tool can be used
to select paths as well.
| | 02:57 |
But you'll notice if we zoom in, that's
the points on the path are not selected.
| | 03:02 |
If they are hollow and white in the
center, it means they're de-selected.
| | 03:06 |
So, the Direct Selection tool allows you
to click and drag points on the path.
| | 03:11 |
And you can add multiple points together.
And select and move those or you can
| | 03:15 |
adjust handles as well, and change the
angles as you probably know.
| | 03:20 |
Now, you can also drag selections around
areas, say, if I want to get rid of some
| | 03:23 |
of the hair for, example, I can drag a
selection or in multiple paths and hit Backspace.
| | 03:30 |
Now you'll notice that some of the points
haven't been selected cuz I didn't drag
| | 03:33 |
that far.
But if I hit Backspace once, it will move
| | 03:37 |
the active points and if I hit Backspace
once more, it will remove the existing
| | 03:40 |
points from there.
So, there are another couple of tools to
| | 03:45 |
have a look at in terms of selection.
There's the magic wand tool.
| | 03:49 |
Now, if we select that and then I'm going
to toggle briefly to the Hand tool by
| | 03:53 |
holding down Space Bar, and I'm going to
zoom out by hitting Cmd+Minus, or
| | 03:57 |
Ctrl+Minus on the PC.
Now, the Magic Wand tool allows me to
| | 04:02 |
select similar items just by clicking on
one of them, it will select all of the
| | 04:06 |
others with the same fill color.
Now if I double-click that, you'll see
| | 04:11 |
here my tolerance settings.
So, I could bring that all the way down
| | 04:14 |
to, let's say a setting of 1.
And at the moment, it's choosing Fill Color.
| | 04:19 |
So, if the Fill Colors are exactly same,
that's going to select all of those Fill
| | 04:23 |
Colors regardless of what the tolerance
setting is.
| | 04:28 |
But say I had a dark red here and
lighter reds on the arms.
| | 04:31 |
It could select the Fill Color based on
the tolerance using the Magic Wand tool.
| | 04:36 |
Now, you also have a Lasso tool and the
Lasso tool can be used to draw a
| | 04:40 |
selection around a group of objects.
So, I could draw a selection around the
| | 04:46 |
hair like this.
It's all selected.
| | 04:49 |
So again, hit Backspace once to delete
the active points.
| | 04:52 |
Hit Backspace again to remove them
completely from the selection.
| | 04:56 |
So, that's a few tips and tricks about
the Selection tools in Illustrator.
| | 05:03 |
| | Collapse this transcript |
| Opening and closing paths| 00:00 |
There are two types of paths in
Illustrator.
| | 00:04 |
There are open paths and closed paths.
An example of a closed path would be this
| | 00:10 |
object here where the path is completely
enclosed.
| | 00:13 |
Example of an open path would be this one
here, where you'll see if I just solo
| | 00:19 |
that, so Alt-clicking on the eyeball icon
will solo it.
| | 00:23 |
And let's just switch off our
transparency grid for a second.
| | 00:27 |
And you can quite clearly see,
particularly if I deselect it, that this
| | 00:31 |
is an open path, okay?
You'll be able to see that even more
| | 00:35 |
clearly if I select it and maybe choose
to fill it with a color.
| | 00:39 |
Okay.
You'll see that I have this edge at the
| | 00:42 |
top that is not closed.
Okay.
| | 00:44 |
I can close paths quite easily just by
selecting them and going up to the Object
| | 00:51 |
menu > Path > Join.
Now, the keyboard shortcut, which you'll
| | 00:55 |
probably want to learn, because you'll be
using it quite a lot, is Cmd+J, or Ctrl+J
| | 01:00 |
on the PC.
And watch what happens if I select that.
| | 01:03 |
You'll see that it joins the path at the
top, so I've now got a closed path.
| | 01:07 |
Now, we're going to do that to the other
leg.
| | 01:09 |
Let's just choose the right leg and I'm
going to choose it by clicking on the target.
| | 01:14 |
And I'm going to say close path or hit
Cmd+J or Ctrl+J on the PC.
| | 01:18 |
Okay.
I'm just going to remove that fill from
| | 01:21 |
there because I don't really want them to
have orange legs.
| | 01:25 |
Now, there are other times you may want
to open a path.
| | 01:28 |
If we have a look at this hand here, and
again, I'm going to zoom in by hitting
| | 01:33 |
Cmd Plus on the keyboard, Ctrl Plus if
you're on a PC.
| | 01:37 |
Now, this hand here, is a case where I
would really want to open some of the paths.
| | 01:42 |
These shapes are too closed and I need to
join this thumb to the hand.
| | 01:47 |
So, to do that I would select this shape
and the tool that I like to use, well,
| | 01:50 |
there's a few tools you could use.
You could use the eraser tool but I'll
| | 01:54 |
show you what happens if you use the
eraser tool.
| | 01:56 |
So, I'm just going to make that brush
smaller by hitting the left bracket key
| | 02:00 |
and then, I'm going to erase the section
that I don't want to appear.
| | 02:03 |
And everything is looking okay till I
release and you'll see that it remains
| | 02:07 |
stroked on that edge.
So, the eraser tool isn't really good for
| | 02:11 |
this because I want to actually remove
that stroke.
| | 02:14 |
So, the best tool to use for this is the
scissors tool because the scissors tool
| | 02:18 |
allows me to click and define a section
that I want to remove.
| | 02:22 |
So, I'm clicking on the path here and
here.
| | 02:24 |
And now, if I toggle temporarily to the
selection tool by holding down the Cmd
| | 02:29 |
key or Ctrl key on the PC, I can select
that section and hit Backspace to remove it.
| | 02:34 |
And now, I've created this gap in my
path.
| | 02:38 |
Okay.
So, if I select this item now, and what
| | 02:41 |
we're going to do is just switch off the
other layers.
| | 02:44 |
So, I'm going to Alt click on stopwatch,
and then I'm going to open this selection
| | 02:48 |
and switch off everything except that.
And I can just click and drag down the
| | 02:52 |
eyeballs to do that.
And if I switch on the Transparency Grid,
| | 02:55 |
again, the keyboard shortcut for that is
Shift+Cmd+D, or Shift+Ctrl+D on the PC.
| | 03:00 |
You can see what's happened.
It's removed that section and left this
| | 03:04 |
section in tact.
Now, I can just put all of these back on.
| | 03:07 |
Or indeed, I could have undone all of
those steps to get back to where I wanted
| | 03:11 |
to be.
So there we have it.
| | 03:13 |
There we have a section removed.
I'm going to do one more.
| | 03:15 |
I'm going to select this one here.
And I'm going to select my scissors tool
| | 03:20 |
and I'm only going to remove a small
section here, because I want it to look
| | 03:23 |
like a knuckle.
So, I'm going to select there.
| | 03:24 |
Select there.
Hold down my modifier key to select that
| | 03:25 |
item and remove it.
And we'll do the same with this one,
| | 03:29 |
modifier key, select it, cut out a small
section, select that section with the
| | 03:37 |
modifier key, remove it.
And we can continue doing that until we
| | 03:42 |
have all the fingers removed.
And I'm going to show you a finished one
| | 03:46 |
where I've done that.
Okay, so here's one where I've worked a
| | 03:50 |
little bit further on it.
You can see that there are a few rough
| | 03:54 |
edges here but it's very easy for me to
go and tidy those up.
| | 03:57 |
And the tool I would use to do that is
the path eraser tool.
| | 04:00 |
So choose the path eraser tool, select
the path that you want to erase, which is
| | 04:04 |
this one, and just click and drag along
that path to remove that section.
| | 04:08 |
So, you can go through and very quickly
tidy up these paths by doing so.
| | 04:13 |
Now, obviously I would take a little bit
more time over this if you weren't watching.
| | 04:18 |
And I would get that all nice and tidy so
there weren't any errors but you get the idea.
| | 04:23 |
That's how you can open and close paths
and use other tools to tidy up the
| | 04:30 |
selections afterwards.
| | 04:33 |
| | Collapse this transcript |
| Filling and stroking| 00:02 |
Okay, so we're going to fill in stroke.ai
file which you can find in the working
| | 00:06 |
with Selections folder.
Now, I've got a few tips for you here.
| | 00:09 |
This drawing is clearly not finished, but
it's at a stage where I want to start
| | 00:13 |
adding color so that I can see the depth,
get a idea of what it's going to look
| | 00:17 |
like at the finished state before I do
any finishing off detail.
| | 00:22 |
Now, the first thing that I'm going to do
is switch off the template layer in the
| | 00:26 |
background, and you can see that some of
the shapes that I've drawn are
| | 00:29 |
transparent and some of them are opaque.
Some are filled with white.
| | 00:33 |
Now, the reason you'll end up with quite
a lot of white shapes with black strokes
| | 00:37 |
is cuz that's the default setting for
most of the tools in Illustrator.
| | 00:41 |
And if you're like me, you can't be
bothered changing the settings.
| | 00:44 |
So, you just start drawing and then you
worry about it later.
| | 00:47 |
And I've found that a good tip is, if you
tend to do that, you'll run into all
| | 00:52 |
sorts of problems when you start coloring
items because if, for example, I select
| | 00:58 |
his body and I color it red.
Now, I'm going to jump to a different
| | 01:02 |
workspace very quickly to open up my
color palettes, and the easiest way to do
| | 01:06 |
that is go to Workspace Painting.
Now, you can also go to that through this
| | 01:10 |
menu here.
I'm just old fashioned and go up to the
| | 01:13 |
main menu.
And that opens all of my color palettes
| | 01:16 |
for me, which provide all these lovely
choices of how to adjust my colors.
| | 01:21 |
So, if I choose a nice deep red and we
zoom in, you'll notice that we have these
| | 01:26 |
strokes in there and there actually
filled with white.
| | 01:29 |
So, you start to run into all these
problems.
| | 01:32 |
So, what I tend to do is, before I even
start coloring my artwork, I just do a
| | 01:36 |
quick Select All and Remove Fill so that
I've got completely open paths to work with.
| | 01:43 |
Now, this is where your two views come in
handy.
| | 01:45 |
Here, I'm on transparent background, and
I don't really want to remove that.
| | 01:49 |
I just want to be able to quickly jump
between filled background and a
| | 01:52 |
transparent background.
Let me just zoom out.
| | 01:55 |
It's in Command Minus there.
Now, you'll notice that in this view,
| | 01:58 |
I've removed the template.
And even though it's the same file in
| | 02:01 |
this view, it's still showing the
template.
| | 02:03 |
So, I'm going to go down and remove the
template.
| | 02:05 |
And now, I can see it on a nice white
background.
| | 02:08 |
I can see what I really have to deal
with.
| | 02:10 |
Now, the first thing I'm going to do is
select his belly again and color it red.
| | 02:16 |
So, a nice red t-shirt.
I'm also going to choose to color his
| | 02:20 |
trousers, as we called them in the UK.
I think in the US, you tend to call them
| | 02:25 |
pants, but we call them trousers.
So, I'm going to color that leg blue.
| | 02:30 |
Now, as I select that color of blue, it's
not really right for a pair of jeans, and
| | 02:35 |
that's what I want these to look like.
I want these to look like jeans.
| | 02:38 |
But you'll notice my color guide is
giving me a nice selection of shades and
| | 02:43 |
tints that I can choose from.
So, I can choose something that looks
| | 02:47 |
much more like denim.
I, one of these desaturated blues here.
| | 02:51 |
And if I need to adjust that, I can come
up to my color pallet and I can adjust
| | 02:56 |
maybe the brightness and the saturation a
little bit, just to get more a kin to
| | 03:01 |
what I'm looking for.
Now, if I want to, I can also choose the
| | 03:05 |
color mode.
I can choose RGB, grey scale, any of the,
| | 03:08 |
if I choose RGB, I get red, green and
blue slider.
| | 03:11 |
But generally, I find HSB easier because
I can adjust the saturation and the
| | 03:16 |
brightness separately.
So, there we have his jeans.
| | 03:19 |
I also want to choose a complementary
color for the cuff of his jeans, or as we
| | 03:24 |
call it in the UK, his turn ups.
And I can do that also using the color
| | 03:29 |
guide to choose a different shade of the
same color to color that.
| | 03:33 |
Now, his other leg, I don't need to go
through that whole process again.
| | 03:36 |
What I can do is select his other leg and
just use the Eyedropper tool to color
| | 03:41 |
from there to there.
And then, I'm going to toggle to the
| | 03:44 |
Selection tool using the Command key or
Control key on PC, and I"m going to
| | 03:48 |
sample that blue from there.
So very quickly, I've colored both of his legs.
| | 03:52 |
Now, let's do his skin tones.
Now for skin tones, I really recommend
| | 03:57 |
opening up a new Swatch Library.
And you do that by going to the Swatches
| | 04:01 |
panel, clicking on the Wing menu, and
going to Open Swatch Library.
| | 04:05 |
And here we go.
One specifically for skin tones.
| | 04:08 |
Now, I'm going to leave this floating
here and I'm just going to select his
| | 04:13 |
head and choose a fairly light skin tone
for his head.
| | 04:17 |
I'm then going to select his arm.
Now obviously, I can select both of those
| | 04:22 |
in one click, that's not too bad.
And I can select a slightly different
| | 04:26 |
color of skin tone for that arm.
But if we have a look at the left arm,
| | 04:30 |
it's made up of lots of different parts.
So, rather than select it there, what I'm
| | 04:35 |
going to do is go to the lower right arm,
hold down Shift and hit the right upper arm.
| | 04:40 |
Of course, it's the left one I need.
Always make mistakes.
| | 04:44 |
So, let's choose the left upper arm and
the left lower arm.
| | 04:47 |
And let's steal the color from that arm.
Okay.
| | 04:51 |
Now, the only one to do that color is the
neck, which is in somewhere.
| | 04:56 |
Okay.
When you see it highlighted, that means
| | 04:59 |
that you can click to select it.
It's quite tricky, so I'm going to zoom
| | 05:03 |
in a little bit more so that I can make
that selection a bit easier.
| | 05:06 |
So, select that and I know that, that's
the right color there.
| | 05:10 |
So, you can see that once I start adding
color, it gives the character a little
| | 05:14 |
bit more depth and allow me to start
moving towards creating a finished character.
| | 05:19 |
Okay, so one other thing to do, and
that's to work on the face a little bit more.
| | 05:24 |
I can give the face a little bit more
definition by adjusting the fills and the
| | 05:28 |
strokes of various elements.
Now, the first thing that I'm going to do
| | 05:33 |
is I'm going to select elements like the
nostrils and the ears.
| | 05:37 |
Okay, and I'm going to select the lines
inside the ears and the nostrils.
| | 05:41 |
And I'm just going to fill them with
black, or I could choose a dark gray
| | 05:46 |
even, just to give it a little more
shading.
| | 05:48 |
Now, I think the inside of the ears is a
little bit too OTT so I'm going to select
| | 05:53 |
those and just remove the shadow from
there.
| | 05:56 |
I just decided that that's a little bit
too heavy.
| | 05:59 |
So, there we have a little bit more
definition in the nostrils and the ears.
| | 06:03 |
In fact, I don't like the ears so I'm
going to just remove that from them altogether.
| | 06:08 |
Okay, notice that because I've made a
selection of multiple fills that it has a
| | 06:12 |
question mark on it.
That means that there's no one fill for
| | 06:16 |
all the selected elements.
There's a mixture of different fills.
| | 06:19 |
If I click on this, they've now all got
zero fill.
| | 06:23 |
Now, the other thing that I'm going to do
is just go up to the eyes and have a look
| | 06:28 |
at the eyeballs.
Now, at the moment, the lines are both
| | 06:32 |
stroked, so I have an inner line and an
outer line.
| | 06:36 |
This one, I'm going to reverse.
So, I'm going to have a black fill and
| | 06:40 |
and zero stroke.
So, by clicking this little arrow, I can
| | 06:43 |
swap the fill in stroke and create the
effect I want.
| | 06:46 |
I'm going to do the same with this one,
swap them around.
| | 06:49 |
But this time, before I swap them around,
what I'm going to do is choose a color
| | 06:53 |
for the eye.
So, I want that color for the eye, okay?
| | 06:56 |
So, I'm going to choose a nice deep
green.
| | 06:59 |
In fact, I'm going to just go for a
slightly less saturated one, and darker one.
| | 07:04 |
So there we go.
And instead of just swapping it, what I'm
| | 07:07 |
going to do is bring the stroke to the
front and then just remove it.
| | 07:11 |
Okay, we'll do that with the other eye.
Move across here.
| | 07:13 |
Again, all I do is swap these.
So I've got a fill, a stroke, and no fill.
| | 07:18 |
Then I'm going to select the outer one,
and I'm going to remove the stroke, bring
| | 07:23 |
this fill swatch to the front and just
fill that with a color.
| | 07:26 |
And again, if I want exactly the same
color as this one, I can use the
| | 07:30 |
Eyedropper tool just to select that.
Okay, so we zoom out and we have a much
| | 07:35 |
more finished looking character.
Ready to start tweaking and adding detail
| | 07:42 |
to finish off.
| | 07:44 |
| | Collapse this transcript |
| Reshaping paths| 00:02 |
Okay, so we're in reshape tools .ai which
you can find in the working with
| | 00:06 |
selections folder.
And what we're going to do here is reshape
| | 00:10 |
some of these paths to make the drawing
look a bit more organic and a little bit
| | 00:14 |
more realistic.
We've created the hands and the arms by
| | 00:18 |
combining basic primitive shapes.
And if I select this arm, you can see it
| | 00:23 |
consists of a circle and an oval.
Now that's great for building up basic
| | 00:27 |
shapes, but really it looks a little bit
too rigid and symmetrical.
| | 00:31 |
So what I want to do is give a, a more
organic hand-drawn look by using the
| | 00:35 |
reshape tools to adjust the paths.
So let's start by having a look at one of
| | 00:40 |
the reshape tools.
Let's click and hold on the Width tool
| | 00:44 |
here and when I click and hold on that,
you'll see a list of tools and if I want
| | 00:48 |
to be able to see them at all times.
I can just move over to the tear off
| | 00:52 |
strip and then release the mouse, and it
allows me to float to that panel above
| | 00:56 |
the workspace.
Okay, so we're going to start by having a
| | 00:59 |
look at the Bloat tool.
And what I want to do is I want to use
| | 01:02 |
the Bloat tool to create some exaggerated
muscles on his arms.
| | 01:06 |
Now you'll notice that I have a circle
representing the area that's going to bloat.
| | 01:10 |
And if I click on the arm, you'll notice
what it does, it bloats it on both sides.
| | 01:15 |
Okay?
That's a little bit too much.
| | 01:17 |
He's not that muscly.
So what I want to do is adjust those options.
| | 01:21 |
Now I can double-click the Bloat tool and
I can change the settings in here.
| | 01:26 |
So maybe we'll want to go for a setting
of 30 pixels, horizontally and 30 pixels vertically.
| | 01:31 |
I'm also going to bring the intensity
down to a value of 10, because is just a
| | 01:34 |
little bit over-the-top, and I'm going to
click okay.
| | 01:37 |
Now, you'll notice I've made the brush a
little bit too small.
| | 01:40 |
I want it a little bit bigger than that.
So another way of changing the brush more
| | 01:44 |
interactively is to hold down the Alt key
and click and drag, and that allows me to
| | 01:48 |
change the brush till it's exactly the
right size for his muscles.
| | 01:52 |
And then all I need to do is just
position it and click to create a nice
| | 01:56 |
big muscly arm.
Now I'm going to do the same with this
| | 01:59 |
arm, but I need to select the arm.
If I just click on the arm it's not going to work.
| | 02:03 |
Now you'll notice I have all the layers
separated here, so that each body part is
| | 02:08 |
on a separate layer, which makes it easy
when I start to animate in After Effects.
| | 02:12 |
It means that all of these body parts can
be animated individually.
| | 02:16 |
So, I'm going to select the right upper arm
and this time I'm going to click on this arm
| | 02:20 |
and just extended it a bit.
Let's see extended it a bit on that side,
| | 02:24 |
and it now looks like he's got great big
muscles.
| | 02:27 |
Now, we're also going to do the lower arm,
and if I click on this arm here, using
| | 02:32 |
the selection tool, you'll notice it only
selects this part of the arm.
| | 02:36 |
If I click on here, it selects the hand
as well, because it's selecting the whole
| | 02:41 |
lower arm.
Now, at the moment, I only really want to
| | 02:43 |
select the forearm.
So I'm going to deselect select the forearm.
| | 02:47 |
And then go to my bloat tool.
We'll make it a little bit smaller.
| | 02:51 |
So, again, alt, click, and drag, just to
bring it in a little bit, and then click
| | 02:56 |
on it, just to add a little bit more
muscle tone to that arm.
| | 02:59 |
Okay, so that's the bloat tool.
You also have the pucker tool, which will
| | 03:03 |
do the opposite, that will thin areas.
And if I select his, thumb here, and
| | 03:08 |
click on that, you'll see it will make it
smaller rather than bigger.
| | 03:12 |
So it shrinks areas down, so let's just
undo those 2 steps.
| | 03:15 |
Now the next tool we're going to use is this
one here, which is called the warp tool,
| | 03:20 |
and this is one that I probably use the
most often.
| | 03:23 |
So it just allows you to push pixels back
and forth.
| | 03:26 |
Now I'm going to double-click the warp
tool and open up the settings, and this
| | 03:31 |
time what I'm going to do is change the
size.
| | 03:34 |
So let's bring the size down to maybe ten
by ten.
| | 03:38 |
And I'm also going to change the
intensity so that it's controlled by the
| | 03:42 |
pressure of my pen.
Now I'm using WACOM pen and tablet here.
| | 03:46 |
So Illustrator will listen, if you like,
to the sensitivity of the pressure that I
| | 03:51 |
am using on my pen, and it will allow me
to control the amount of distortion by
| | 03:56 |
adjusting the pressure.
Now I'm going to zoom in by using command
| | 04:00 |
plus or command minus on the keyboard and
just use the spacebar to toggle to the
| | 04:04 |
hand tool to move so that I can see the
hand layer.
| | 04:07 |
Now, as I said, if I just click with the
selection tool on the hand, it's only
| | 04:12 |
selecting parts of the hand.
Now, the easiest thing to do to make sure
| | 04:16 |
that the hand is always selected as one
item is to group it together.
| | 04:21 |
Now, what I'm going to do is select the
whole layer.
| | 04:23 |
Now, I don't want to include the forearm
in this group, so I'm going to hold down
| | 04:27 |
shift and deselect that, and these items
I'm going to group together.
| | 04:31 |
Now, watch what happens when I group
this.
| | 04:34 |
I go to object, group, and it now
combines those into an individual group,
| | 04:38 |
which means that when I deselect and
select again, it selects a little hand
| | 04:42 |
and I can move that hand around as a
group.
| | 04:44 |
Makes it much easier for editing, and
also for using the warp tool, because now
| | 04:49 |
when I use the warp tool, it works on the
whole group so not only on the thumb, as
| | 04:54 |
I make the thumb smaller, that was a
little bit to much.
| | 04:57 |
But also on this finger here, and you'll
see it works on every single finger with
| | 05:02 |
in the group.
So I can start to really make this look a
| | 05:06 |
little bit more organic, more like a real
hand pushing bits in pulling bits out,
| | 05:11 |
and creating the shapes that I want.
So it's kind of like sculpting by hand.
| | 05:16 |
I love using this tool.
Okay.
| | 05:18 |
I did sculpture at art college, so that's
maybe why I like to use the kid of
| | 05:22 |
reshape tools in Illustrator to kind of
sculpt my drawings into shape, and make
| | 05:27 |
them look a little bit more realistic.
So now you can see how starting with a
| | 05:32 |
primitive shape, and then just adjusting
it, can start to give you quite a lot of
| | 05:37 |
realism in terms of the shape your using.
It'd be quite difficult to draw that
| | 05:42 |
using vector shapes in Illustrator, to
get that level of detail.
| | 05:47 |
But now you can see if I just click away
from that, you can see that's a much more
| | 05:51 |
realistic hand than we had when we
started.
| | 05:53 |
Let's just do a little bit more work on
that.
| | 05:55 |
So I'm going to select again, toggling to
the Command key, or Control key if you're
| | 05:59 |
on the PC, and we'll just give this thumb
a little bit more of a shape as well.
| | 06:04 |
Okay, and we're going to pull it out here.
Okay, now there are lots of references
| | 06:09 |
that you can use online if you can't draw
from your head.
| | 06:12 |
You can look at the reference online to
get an idea of what shape the hand should be.
| | 06:17 |
And it takes a little bit of tweaking
backwards and forwards.
| | 06:20 |
I've just made that knuckle a little bit
too fat there, and we'll also bring that
| | 06:24 |
around, curve it a little bit more.
Okay.
| | 06:26 |
But you can see that very quickly I start
to get a much more realistic hand shape.
| | 06:30 |
In fact I've made that worse, so I'm just
going to undo those last few stages.
| | 06:34 |
Okay.
So there we have our hand reshaped using
| | 06:36 |
the reshape tools, and there are lots of
other tools that you can use in there.
| | 06:41 |
We got things like the crystallize tool,
in fact, let's use that on his head and
| | 06:46 |
give him a punky haircut.
Okay?
| | 06:48 |
Let's see how this works.
So I select his head, I'm going to select
| | 06:52 |
the crystallize tool.
And this time I'm going to make it, well, I
| | 06:55 |
don't need to worry too much about the
size because what I can do is just do
| | 06:58 |
that interactively by holding down the
Alt key.
| | 07:01 |
And we'll start by giving him a little
bit of spikiness round here.
| | 07:05 |
Okay, and as we move round, we start to
make his hair more spiky at the top.
| | 07:09 |
So in fact, at the top, let's just do
this side, and then when we get to the
| | 07:13 |
top what we'll do is make the brush a
little bit stronger, so I'll double-click
| | 07:18 |
and in fact just pressing harder and
making the brush a little bit bigger will
| | 07:23 |
give us slightly more distortion.
And whoops, so there we've got him with a
| | 07:27 |
nice spikey hair cut as well by using the
crystallized tool.
| | 07:31 |
Now it might be better to just to use a
basic brush there, so that you can see
| | 07:35 |
that more clearly.
So we've given him a bit of a spikey hair cut.
| | 07:38 |
What we're also going to do is make the
t-shirt look a little bit more organic,
| | 07:42 |
by using the Wrinkle tool.
Now with the Wrinkle tool, you probably
| | 07:46 |
want to make quite a few adjustments to
this.
| | 07:48 |
Becasue you can adjust the amount of
wrinkles horizontally and vertically.
| | 07:52 |
So if I put that on 100 for both, and the
complexity we're going to keep quite low,
| | 07:57 |
and the detail quite low, and we're going to
click on Okay, and then start to create a
| | 08:03 |
more wrinkly edge for this t-shirt.
Again select the t-shirt, and start to
| | 08:08 |
create a kind of ripped look for his
sleeves.
| | 08:11 |
Okay so we want to make it look like he's
torn the sleeves off with his teeth.
| | 08:16 |
And he's torn the neck off with his
teeth.
| | 08:18 |
Cause he's kind of a punk character.
And we'll move down to the bottom and
| | 08:22 |
we'll give it a torn edge down here as
well.
| | 08:25 |
Okay.
Now if I want a little bit more strength
| | 08:28 |
on that, I can put the complexity up to
about 3 and the detail up to 2, and
| | 08:32 |
you'll see that I'm starting to get a
little bit more of a ripped detail there.
| | 08:38 |
Now the final stage is I'm going to get
my warp tool and just pull that t-shirt
| | 08:43 |
down so it looks like it's hanging.
Rather than stretched over his belly.
| | 08:47 |
And again, we'll just give it a little
bit more of a ripped look there on the edge.
| | 08:52 |
So you'll see by using these tools, you
can start to give your drawing a much
| | 08:56 |
more organic look than you had done
before.
| | 08:59 |
And I would continue here with this hand
and tweak that as well.
| | 09:06 |
| | Collapse this transcript |
|
|
6. Using Live TraceCustomizing settings for Live Trace| 00:00 |
Illustrator's got some fantastic tools to
help you draw your characters by hand,
| | 00:05 |
but it also has the most amazing tool
which will allow you to automatically
| | 00:09 |
trace drawings that you've done.
Now, here I have a drawing that I did for
| | 00:15 |
a BBC series called The Inventors.
And this is a character that I want to
| | 00:20 |
animate in After Effects.
Now, I've spent a lot of time getting the
| | 00:23 |
weight of the lines right.
And instead of having to recreate all of
| | 00:27 |
that manually in Illustrator, what I can
do is automatically trace it using a
| | 00:30 |
feature called Live Trace.
Now, unlike manual tracing, you don't use
| | 00:34 |
a Template Layer.
So, what I'm going to do is double-click
| | 00:37 |
the Template Layer here and switch off
Template, and that's going to remove the
| | 00:41 |
lock and remove the dimming on the image.
Now, if you have place an image into
| | 00:46 |
Illustrator, you want to make sure it's
on a regular layer, not a Template Layer.
| | 00:50 |
Now, this is called Template Layer, but
I'm going to rename it and call it Live
| | 00:55 |
Trace Layer, just to save from any
confusion.
| | 01:00 |
And then, what I'm going to do is choose
a Selection tool and select the Artwork.
| | 01:04 |
And I'm going to go up to Live Trace.
Now, I can just click on Live Trace and
| | 01:08 |
that will trace it.
But the standard settings aren't quite
| | 01:11 |
right for me, so what I'm going to do is
customize it a little bit.
| | 01:14 |
So, I'm going to go down here and go to
my Tracing options.
| | 01:17 |
There are lots of other presets by the
way, that you can choose here.
| | 01:22 |
So, something like a detailed
illustration would work really well for
| | 01:24 |
this drawing.
But it's still not quite right.
| | 01:27 |
It's still a little bit too fat in places
for me.
| | 01:30 |
So, I'm going to go into that menu, and
instead of choosing a Default, I'm going
| | 01:34 |
to go to Tracing Options, which will open
up a dialog box.
| | 01:38 |
At now, you can also get to the same
dialog box by going through the Objects
| | 01:41 |
menu, to Live Trace, and you can get the
Tracing Options through there as well.
| | 01:46 |
Now, the first thing that you need to do
is decide, do you want it to trace fills
| | 01:49 |
or strokes, or both?
So, I'm going to show you the difference
| | 01:52 |
it makes.
If we chose fills, basically what it's
| | 01:55 |
going to do is every single line will
have a path at either side of it, okay?
| | 02:00 |
And it will create the line by creating a
fill between those two paths.
| | 02:04 |
If I take that off and instead chose
Strokes, basically it's going to create a
| | 02:08 |
stroke per path.
Now, you could use that technique, but
| | 02:12 |
you're going to get pretty even strokes.
It's going to Default to using the
| | 02:16 |
regular standard one pixel brush.
Now, if you wanted to do that, you could
| | 02:21 |
go ahead and do it.
And then, you could use brushes in
| | 02:23 |
Illustrator to fatten them up and change
the texture.
| | 02:26 |
But really, the whole point for me for
using this is to get the nice fills I've used.
| | 02:32 |
Now, you can use a combination of fills
and strokes, but I really prefer to use
| | 02:35 |
fills so that I get the integrity of the
lines remaining constant.
| | 02:40 |
Now, you can choose black or white or,
gray scale.
| | 02:42 |
If you got a gray scale image, you might
want to pick up some of the grays from
| | 02:45 |
it, or you can choose color.
But we're going to stick with black and
| | 02:49 |
white, and I'm going to adjust the
Threshold Settings.
| | 02:51 |
If I put Threshold Settings up higher,
it's going to choose more of the grey
| | 02:54 |
areas and make them black.
If I make it lower, it's going to choose
| | 02:59 |
more of the gray areas and make them
white.
| | 03:02 |
So you see, I have to try and get the
right balance so that the lines are not
| | 03:06 |
too dark but not too light.
Now, I find the Default of 128 seems to
| | 03:11 |
be a little bit on the light side so I'm
just going to make that a few pixels darker.
| | 03:17 |
Now, every time I change a setting, it's
having to update.
| | 03:21 |
So, if you want to adjust a setting, you
can always turn Preview, Off while you do it.
| | 03:26 |
And just type in a value, and then hit
Preview again to update it.
| | 03:30 |
And you'll see that that's looking much
more like the original.
| | 03:34 |
It's getting there, okay?
Now, the other thing is you'll notice it
| | 03:37 |
kind of smooths out the lines a little
bit too much for me.
| | 03:42 |
It tends to automatically smooth them and
the Path Fitting settings will help with that.
| | 03:47 |
Now, if I put Path settings up quite high
to volume 7, you'll see it's really
| | 03:51 |
smoothing them out a little bit too much.
Now you might like that, you might like a
| | 03:57 |
more stylized look to your drawing.
And like I said, more integrity of line.
| | 04:02 |
Now, if I bring it down to 0, you'll see
it takes a lot longer to calculate and
| | 04:05 |
it's actually too detailed there.
You can see it's picking up all the
| | 04:10 |
pixels as well.
So, setting of about 1 usually does it
| | 04:13 |
for me.
Again, I'm going to try and experiment a
| | 04:16 |
little bit.
Let's try 0.5.
| | 04:18 |
See if we can get away with that.
Now, I think a setting of 1 is where I'm
| | 04:22 |
going to be going.
And I usually find a setting of 1 is nice
| | 04:25 |
because it keeps the integrity of the
lines.
| | 04:28 |
You get the odd mistake coming through,
which I quite like.
| | 04:31 |
But it's not too detailed.
Okay, so once I've set up the settings
| | 04:35 |
the way I want them, I can actually save
that as a preset.
| | 04:39 |
So, I could call this The Inventors BBC
Preset.
| | 04:43 |
So now, when I bring in the other
characters, I can just automatically
| | 04:48 |
apply that preset to them, without having
to go through that whole process again.
| | 04:56 |
| | Collapse this transcript |
| Expanding artwork for fine-tuning| 00:02 |
Once I've live traced my drawing.
I may want to start making adjustments
| | 00:06 |
too the paths for example, and just fine
tuning it.
| | 00:09 |
Now if I expand it so that I can get
access to the Bézier controls that
| | 00:14 |
determine the paths.
You'll notice that I get sometimes quite
| | 00:18 |
complicated Bézier paths and this further
complicated by the fact that each of
| | 00:23 |
these paths, or each of these lines,
rather has a path on either side of it.
| | 00:28 |
So, if I wanted to use my traditional
techniques for adjusting the paths.
| | 00:33 |
I would adjust one side, and then I'd
have to adjust the other side.
| | 00:36 |
And you can see I get into all sorts of
problems where paths cross over, so I
| | 00:39 |
don't recommend doing that.
What I recommend doing is if you want to
| | 00:42 |
adjust any of these paths, use the
reshape tool.
| | 00:45 |
So I can use things like the warp tool,
just to adjust that path.
| | 00:49 |
If I make sure the whole thing is
selected, okay, and then use the warp tool.
| | 00:54 |
It will walk the whole path and I can
start to reshape my path, fatten it up or
| | 00:59 |
thin it down by using pucker and bloat.
So there's all sorts of ways of
| | 01:03 |
controlling the path using the reshape
tools.
| | 01:05 |
It's a really nice way to go.
Now, I could also start coloring this,
| | 01:09 |
and I'm just going to zoom out a little
bit so you can see the whole thing.
| | 01:12 |
But the only problem with that is it's
one complete layer and it would actually
| | 01:17 |
be quite tedious to split this into
layers in Illustrator, you'd probably
| | 01:22 |
have to duplicate the layer and then
remove parts.
| | 01:25 |
So if I wanted to create a head layer I
would hide the layer in the background,
| | 01:30 |
select it and maybe use the eraser tool
and just make it huge.
| | 01:34 |
Okay, using left and right bracket tools,
and just erasing parts.
| | 01:39 |
So I could make my layers that way, okay,
and actually, that would work reasonably well.
| | 01:45 |
But it becomes really tedious when you
then want to split the head into separate parts.
| | 01:51 |
How do you separate the glasses and the
eyes and all that?
| | 01:54 |
It just becomes a little bit more
problematic, so instead of doing that
| | 01:58 |
what I recommend is that you use
Photoshop to create your layers.
| | 02:02 |
So open the filed in Photoshop and split
it into layers and if I open up another
| | 02:08 |
file, which is this one.
I've already done that and when I bring
| | 02:13 |
it into Illustrator, I can choose to
convert the layers to objects, and when I
| | 02:18 |
click okay the whole thing comes in with
the layers already separated.
| | 02:23 |
So in Photo Shop I've just separated the
head, the right arm, the legs, the left
| | 02:29 |
arm, and the body and then I can put them
together to make a full body.
| | 02:34 |
I really, in this, I only want the head
and the arms separate because those are
| | 02:37 |
the only things that I'm going to, planning
to animate.
| | 02:40 |
If I wanted to separate it even more, I
could separate all the other body parts
| | 02:44 |
as well, and maybe do an upper arm and
lower arm.
| | 02:46 |
But anyway, once I've done that what I'm
going to do is just individually trace these.
| | 02:51 |
Okay, so I select the layer that I want
to trace.
| | 02:54 |
Instead of just clicking the live trace
button I've already set up preset for
| | 02:58 |
this called the inventors.
So I'm going to click on that and that's
| | 03:02 |
going to trace it.
And now you'll notice that it's placed a
| | 03:05 |
white background in, and if I just go to
see my transparency grid.
| | 03:09 |
Now I could've done that by just going to
my alternate view, jumping between
| | 03:14 |
transparent and non-transparent.
You'll notice that this white background
| | 03:19 |
is obscuring everything behind it.
Now, if I click on expand it will expand
| | 03:24 |
it and I could delete that, but another
way of doing it is to click on the live
| | 03:28 |
paint button and this now becomes a live
paint group.
| | 03:31 |
And with a live paint group I can use the
live paint paint bucket on it to remove
| | 03:36 |
the background So I'm going to go down here,
choose the live paint bucket.
| | 03:41 |
And choose no fill and no stroke, and
then I can just click on there to remove
| | 03:46 |
those white areas.
Now as we move through, you'll see this
| | 03:50 |
happening again and again.
So I'm going to select this layer.
| | 03:52 |
I'm going to deselect that live paint layer,
and just select this one.
| | 03:56 |
I'm going to say live trace using the
inventor's BBC.
| | 04:00 |
Again, you can see my white background,
so I'm going to just go to live paint,
| | 04:04 |
select the live paint bucket, which is k,
and this time I'm going to get rid of the background.
| | 04:09 |
Now, you'll see what's happened, I've
actually got rid of the center as well
| | 04:13 |
and I didn't want to do that.
And the reason for that is, if you ever
| | 04:17 |
look carefully, there is a gap here.
If we undo that and re-do it again, see
| | 04:21 |
that gap is letting the paint through.
Now, you can change the gap options by
| | 04:26 |
clicking on this button here.
And I can say, detect gaps, and please
| | 04:30 |
close them for me.
And I'm going to choose large gaps so that
| | 04:34 |
it closes this gap for me.
What will happen now is when I go back to
| | 04:38 |
the live paint bucket tool by hitting k
it will divide this into sections and
| | 04:42 |
it's ignoring the gaps, so I can remove
bits individually without getting rid of
| | 04:47 |
the center bit.
Okay, so we're going to move down to the
| | 04:51 |
legs, and we're going to do that by holding
on to spacebar which toggles onto the
| | 04:56 |
hand tool temporarily.
Selecting the legs go into live trace,
| | 05:00 |
inventors BBC preset and we'll go
straight to live paint and also go into
| | 05:06 |
our gap options.
Now in our gap options, if we put gap
| | 05:10 |
section on and choose large gaps.
You'll see it's finding two large gaps.
| | 05:15 |
Now, I can put this up to the maximum
setting of 72 pixels, but even at that
| | 05:20 |
there's still one large gap found here.
So what I'm going to do is I'm going to
| | 05:24 |
click on Okay and what I'm going to do is
use the blob brush tool to close that gap.
| | 05:30 |
Okay, block brush tool is fantastic.
Before I do use block brush tool, I'm
| | 05:33 |
just going to have a look at the different
sections.
| | 05:36 |
So here we go, we can remove that
section, that's fine and this is the
| | 05:40 |
section that's creating the problem here.
So you can see the gaps, there is a gap
| | 05:44 |
there and there are gaps here and here.
So what I'm going to do is just select
| | 05:49 |
the block brush tool, I'm also, I've got
my layers selected.
| | 05:53 |
So I'm going to choose a stroke of a one
point to make sure that we have the same
| | 05:58 |
settings, and I'm going to zoom in and just
click to extend this path.
| | 06:03 |
Now I don't have to be very careful up
here because this bit going to be hidden by
| | 06:07 |
the jacket down here, I have to be a
little bit more careful just to close
| | 06:11 |
that gap there.
And here it doesn't really matter because
| | 06:15 |
it's all one section anyway.
So what I'm going to do now is select
| | 06:19 |
that and go back to my gap options and
see if we've got rid of that.
| | 06:23 |
And we'll click okay, go back to our
paint bucket tool, and you'll see now I
| | 06:28 |
can delete that section, and I can delete
that section without any problems.
| | 06:33 |
That's managed to get rid of thos gaps
for me.
| | 06:35 |
Now as I said, the legs are going to go
under the jacket.
| | 06:37 |
Now at the moment, the jacket is called
background, so I'm going to rename it
| | 06:42 |
jacket, and I'm going to click Okay.
Now, I'm going to trace the jacket as well.
| | 06:46 |
So let's just move up here so we can see
the jacket and I'll zoom out a little bit.
| | 06:50 |
Command minus on the keyboard, or control
minus if you're on the PC.
| | 06:55 |
And with the jacket again, I'm going to live
trace it using the preset.
| | 07:00 |
And I'm going to expand it to live paint and
go to the gap options.
| | 07:04 |
And you'll see, if we put gap detection
on, there are 50 gaps.
| | 07:07 |
And even if I put this on the maximum
setting, there are still several gaps,
| | 07:13 |
four gaps found.
Now, if red is difficult to see here, I
| | 07:16 |
can see the red gaps indicated.
But there are some gaps in here as well,
| | 07:21 |
and if that's difficult to see, you could
change the color to green and you can see
| | 07:25 |
a little green gap highlighted there.
Another thing that will help you discover
| | 07:30 |
where the gaps are is to work in
isolation mode.
| | 07:33 |
At the moment, you can see, it's very
easy for me to accidentally select one of
| | 07:37 |
the other layers with the paint bucket
tool.
| | 07:39 |
And even with the selection tool is very
hard for me to know which layer and selecting.
| | 07:43 |
So at any layer you can double-click it
and enter it into what's called isolation
| | 07:47 |
note and it will isolate that layer and
allow you to work on it without worrying
| | 07:52 |
about the other layers.
So if I select it here, and go to my gap
| | 07:55 |
options it's much easier for me to see
where the gaps are and start closing them.
| | 07:59 |
Some I'm going to click on okay, and what
we're going to do we're not going to worry
| | 08:03 |
about the gaps here and here because they
don't matter.
| | 08:07 |
But the gaps at the neck I want to close,
so I'm going to zoom into the neck and this
| | 08:11 |
time what I'm going to do is instead of
using the warp brush, I'm going to use the
| | 08:16 |
warp tool to push the lines together.
So I'm going to make this say, maybe about
| | 08:20 |
10 pixels by 10 pixels.
And we'll put the pressure up, in fact
| | 08:24 |
we'll use the pen pressure, so I'm going to
use my Wacom pen just to stretch these
| | 08:29 |
lines until they close.
Now in Isolation mode, it sometimes takes
| | 08:33 |
a little bit of time for the display to
update, don't worry too much about that.
| | 08:37 |
But you can just play around with that
until you get it right.
| | 08:40 |
That would have been better with slightly
higher settings there and slight smaller brush.
| | 08:45 |
So lets just bring that brush size down a
little bit, so we get a bit more
| | 08:50 |
precision and move that up.
And I think that's probably going to be
| | 08:54 |
enough to close that gap and we will also
do this one moment in there.
| | 08:58 |
Okay, so again pulling it around to where
we want it to be.
| | 09:01 |
Now you can use, if you prefer use the
blob brush tool just to draw it in there
| | 09:06 |
to close the gaps.
So, either technique is fine.
| | 09:09 |
Again, you sometimes get these glitches.
You saw that, the display just suddenly
| | 09:14 |
flaking out there.
Sometimes that happens but don't worry
| | 09:16 |
too much about it.
Once it updates, it'll be fine.
| | 09:19 |
Okay, so once we've done that we come
back out of isolation mode.
| | 09:23 |
Okay, by clicking on the back button.
And then we'll zoom out and now if I
| | 09:28 |
select it using select it, and then use
the paint bucket tool on it.
| | 09:34 |
We should be able to get rid of the
background.
| | 09:38 |
Without getting rid of any of the
foreground because we've closed those gaps.
| | 09:42 |
So, the only one left to do is the left
arm image, and again we will go through
| | 09:48 |
the same process there closing up any
gaps, and then separating the layer and
| | 09:54 |
we now have them all on individual layers
ready to start coloring in order for us
| | 10:00 |
to take it then into After Effects and
start animating.
| | 10:04 |
| | Collapse this transcript |
|
|
7. Coloring ArtworkApplying gradients| 00:02 |
Okay, so what I'm going to do now is I'm
going to add some gradients to this artwork
| | 00:06 |
to give it a little bit more depth.
Now I'm in the gradients.ai file, which
| | 00:10 |
you can find in the coloring artwork
folder.
| | 00:14 |
And I've selected his shirt here because
I'm going to start by coloring this shirt.
| | 00:18 |
Now it's just colored flat red at the
moment, but if I want to, I can apply a gradient.
| | 00:23 |
And I like to use a starting point of
using the Swatches libraries to provide
| | 00:28 |
me with a simple gradient to start with.
So I'm going to click on the Wing menu of
| | 00:33 |
the Swatches panel and that will give me
access to the Swatch library.
| | 00:37 |
And in there, there's a huge selection of
gradients that you can choose from.
| | 00:41 |
And I'm going to start by selecting Skin
tones.
| | 00:44 |
And you'll see here, there are lots of
skin tones that I can apply to my character.
| | 00:49 |
So, if I select his arm for example, I
can apply a skin tone to that, making it
| | 00:54 |
seem to fade up and as it comes out of
his shirt.
| | 00:57 |
I'm going to undo that for now, and I'm
going to go back to the red t-shirt for now.
| | 01:02 |
And let's have a look for something else
for the red t-shirt.
| | 01:05 |
Now, in my Swatches panel, I've already
opened up a few swatches that we can
| | 01:10 |
start with, gradient swatches.
So, I've got simple tints, bright colors.
| | 01:15 |
Let's see, color combinations, color
harmonies.
| | 01:18 |
There's all sorts of lovely swatches that
you can use as starting points for your design.
| | 01:23 |
I'm going to choose something simple like
this one here, which is a simple red to
| | 01:28 |
orange fade, which is what I want.
Now, if I want to edit that, there's a
| | 01:32 |
couple of ways of doing it.
I can open up the Gradients panel, and in
| | 01:36 |
here, I have control over how that
gradient is distributed across the artwork.
| | 01:41 |
And you'll notice, as I drag these little
sliders, it adjusts how the colors
| | 01:46 |
combine together and how the gradient
works.
| | 01:49 |
Now the first thing that I could do is
start changing the colors.
| | 01:53 |
So if I go to my Swatches panel and I
want this to be a more vibrant orange, I
| | 01:58 |
can drag my orange swatch onto there and
that updates with the new color.
| | 02:02 |
And I much prefer that orange, much
brighter result.
| | 02:06 |
I can also change the Gradient type from
Linear to Radial.
| | 02:10 |
And the Radial gradient allows me to do
things like change the height as well.
| | 02:16 |
So if I change the height to 50, then I
can get a reduced height of my gradient.
| | 02:21 |
I'm actually going to put that up to 120
so it stretches a bit higher.
| | 02:25 |
And I'm quite happy with that.
I'm going to leave that as it is.
| | 02:29 |
Now I'm also going to create gradients for
the arms as I said using the skin tones.
| | 02:34 |
So what I'm going to do is start off with
one of these.
| | 02:36 |
Let's start off with that one.
And I actually want something a little
| | 02:40 |
bit warmer.
these skin tones are a little cool for my liking.
| | 02:43 |
Now I can double-click these and just
adjust them.
| | 02:46 |
So I could just give it a little bit more
warmth by increasing the red and
| | 02:51 |
decreasing the blue.
I could do the same here or I could just
| | 02:54 |
get rid of that center color just by
dragging it off to the end here.
| | 03:00 |
And then double-click this and maybe
choose a different color.
| | 03:03 |
Now, I could continue using the RGB
palette, or I can just use my tints here
| | 03:08 |
and choose another tint to drag onto
there.
| | 03:11 |
Okay, once I have the color combination I
like, I might want to make that a little
| | 03:15 |
bit more yellow actually, so let's just
add a little bit more yellow to that,
| | 03:19 |
make it a bit creamier.
And once I'm happy with that, then I can
| | 03:23 |
save that as a new swatch.
So I can drag that into my Swatches panel
| | 03:28 |
from the Gradient panel, and now that
appears as an editable gradient.
| | 03:32 |
So now I can select my second layer,
which is this one here, and I can apply
| | 03:38 |
this gradient to that layer.
Now you'll notice it doesn't quite line
| | 03:43 |
up correctly.
The gradient doesn't match.
| | 03:46 |
I can choose to use the Rotation settings
in here to experiment until I get it right.
| | 03:52 |
So I find that a value of about minus 50
matches the gradient so that we don't see
| | 03:57 |
any joint between the two body parts.
But you can also use the Gradient tool to
| | 04:03 |
do this.
And you'll notice there's my rotation.
| | 04:05 |
And if you want to do this manually using
this tool, you just need to move until
| | 04:11 |
you see this icon, the Rotation icon, and
then you can drag it around.
| | 04:16 |
You can also scale it and do lots of
other fancy things with it, move it
| | 04:20 |
around, scale it and rotate it.
So that's the Gradient tool.
| | 04:25 |
Now what I want to do now is create other
skin tones for here so let's choose that
| | 04:30 |
arm and lets just choose the same
gradient again.
| | 04:34 |
And I think that's fine so I'm going to
leave it.
| | 04:37 |
I might reverse it actually, another way
of reversing it is to just simply swap
| | 04:41 |
these around so you can create a reverse
spindle in that way and it's a little bit
| | 04:46 |
of a cheat's way of doing it.
But again, I can also use this if I want
| | 04:50 |
to rotate it slightly, change the angle
of the gradient.
| | 04:53 |
So what I'm going to do now is I'm going to
choose the head, and with the head I'm
| | 04:57 |
going to create a skin tone gradient so
we'll choose the same colors.
| | 05:01 |
But what I want to do is this time what I
want to do is see if I can create some
| | 05:05 |
hair at the top.
So I'm going to rotate this by 90 degrees.
| | 05:11 |
Okay, and I'm doing it numerically there
because I find that just a little bit
| | 05:15 |
easier than rotating it with the Gradient
tool.
| | 05:18 |
And then I'm going to drag this color
swatch in and you'll see that as I do, I
| | 05:22 |
get another color swatch appearing here.
And that allows me to add a third color.
| | 05:26 |
Now I'm going to give for him very bright
yellow hair.
| | 05:30 |
Some I'm going to start just by dragging a
yellow swatch on here, which is a little
| | 05:35 |
bit too bright.
And then what I'm going to do is just
| | 05:37 |
double-click that.
And that allows me to edit the color.
| | 05:40 |
Let's just make it a little bit darker,
and a little bit brighter.
| | 05:44 |
Okay, so say that's the color I want.
Now, the only thing is you can see that
| | 05:49 |
our gradient is the wrong way around, so
I can just do that to minus 90, and I
| | 05:54 |
know it'll be the right way around.
And all I need to do now is just adjust
| | 05:59 |
my settings here so that the yellow is
only at the very top, where his hair is.
| | 06:04 |
Now, that's using a linear gradient.
I could, if I wanted to, choose a radial
| | 06:09 |
gradient and again, I need to reverse
that.
| | 06:11 |
So, what I'm going to do is, just click on
Reverse gradient which is much easier
| | 06:16 |
than dragging these around, as you'll
see.
| | 06:18 |
That just reverses the gradient for me,
so it's yellow on the outside.
| | 06:22 |
Now if I select the Gradient tool, you
can see that when you have a radial
| | 06:27 |
gradient, it's denoted by the circle
here, as you would expect.
| | 06:31 |
And you can make this bigger or smaller.
So what I'm going to do is make this a bit
| | 06:35 |
bigger, and we'll also make it bigger on
the x-axis as well.
| | 06:39 |
And then what I can do is I can just drag
it down so that only the top of his head
| | 06:43 |
is yellow.
Okay, we've got a little too much there.
| | 06:46 |
We've got the ears coming in as well, but
I can control how much just by adjusting
| | 06:52 |
the gradient here or adjusting the
gradient here using my controls.
| | 06:58 |
So, a lot of control over gradients.
The other thing I might want to do is
| | 07:01 |
just swap these two colors.
So I might bring that color to there and
| | 07:05 |
that color to there.
Okay, so we've got the lighter color in
| | 07:08 |
the middle of his head, then the darker
color and at the edge, the very edge,
| | 07:13 |
we've got some yellow for his hair.
So we start to get really nice effects
| | 07:17 |
from that.
Now, obviously, I would edit that a
| | 07:19 |
little bit more, but here you can see how
we can get some nice yellow hair.
| | 07:24 |
With a kind of tanned face, which is a
bit lighter in the middle, giving this a
| | 07:28 |
little bit more depth.
So, that's a little bit about the
| | 07:32 |
Gradient tools and you can use them to
add depth to your characters.
| | 07:37 |
| | Collapse this transcript |
| Working with Live Paint| 00:02 |
My favorite way of coloring artwork has
to be using the Live Paint Paint Bucket.
| | 00:07 |
And if you want to follow me along, I'm
in Live Paint gaps closed.ai which is in
| | 00:12 |
the coloring artwork folder.
What I'm going to do here is use this Paint
| | 00:18 |
Bucket to paint my character.
Now, the traditions way of coloring items
| | 00:23 |
in Illustrator is to select them and then
select a color to apply to them.
| | 00:29 |
Now, you have to select individual layers
and individual items in order to do that.
| | 00:33 |
The nice thing about the Live Paint
Bucket tool, as you can just move over
| | 00:37 |
your image and select different areas to
paint.
| | 00:41 |
Now here, it pays to work in Isolation
mode, because you'll see that it's very
| | 00:44 |
easy to accidentally select the wrong
layer.
| | 00:48 |
Because the Paint Bucket will allow you
to just click and paint on any item you see.
| | 00:53 |
Now, I've got white selected at the
moment, but if I select orange for my
| | 00:56 |
Paint Bucket, and I click on his hair,
you'll notice it changes his hair to orange.
| | 01:02 |
Without selecting anything else, I can go
to his arm and paint his arm orange.
| | 01:06 |
Or his tie.
It's quite difficult to select his tie
| | 01:10 |
because it's behind the arm layer, so
we'll do the other arm.
| | 01:14 |
Now, the reason I want to go into
Isolation mode is because of that problem
| | 01:17 |
with overlapping areas.
That first of all, I'm going to work on
| | 01:21 |
the head.
I don't really have that problem there.
| | 01:23 |
So I'm just going to color his hair.
Now it's picked up and fixed a lot of
| | 01:27 |
gaps, but that means that we probably
have a lot more gaps than we realized we had.
| | 01:33 |
These are now included as gaps, so the
paint stops within these areas.
| | 01:38 |
So you have to do a few clicks to get all
of his hair done.
| | 01:41 |
So we've got his hair nice and bright
orange.
| | 01:44 |
Now, this is a Scottish character.
It's John Logie Baird.
| | 01:47 |
So that's why I've done him with a nice
bright orange hair.
| | 01:49 |
I'm also going to open my Skin Tones panel,
which I can get by going into my Swatches panel.
| | 01:57 |
Clicking on the Wing menu, I am going to
open Swatch library.
| | 02:01 |
And let's find our skin tones, here we
go, so I am just going to use flat skin
| | 02:05 |
tones for him.
And as I said he is Scottish so he will
| | 02:09 |
be quite pale, so give him a nice pale
skin tone and click on all the areas that
| | 02:13 |
we would expect to be flesh colored.
So, there, we haven't done his hands yet,
| | 02:18 |
so we've just got his face at the moment
being flesh-colored.
| | 02:22 |
Now, don't forget these little gaps,
here.
| | 02:24 |
Just here, we'll have a bit of skin
behind his glasses.
| | 02:27 |
On this side of his glasses, we should
have nothing, so I'm going to choose no fill
| | 02:31 |
in, no stroke and just click on that
area, there.
| | 02:35 |
Now, you may need to zoom in here to be
able to get that little bit there.
| | 02:40 |
Okay.
So once we get on to the jacket, and the
| | 02:43 |
arm, it's a bit more difficult because we
start accidentally selecting the wrong areas.
| | 02:50 |
First of all, what I'm going to do, is
just choose a color for the jacket.
| | 02:53 |
So let's go to our swatches again, and
let's have a look through.
| | 02:57 |
We've got skin tones.
Here we've got our brights, so think we
| | 03:00 |
might use like, have a green jacket, or
maybe a grey jacket.
| | 03:04 |
Let's start with green anyway.
So I'm going to choose green, and I'm going to
| | 03:08 |
click on his arm.
And actually that is a little bit too
| | 03:11 |
bright, so I'm going to go in here, back
into my swatches.
| | 03:15 |
And into the Swatch library menu and I am
going to choose some Gradients, put some
| | 03:20 |
Neutral gradients.
Okay, so we'll chose a nice gray color I
| | 03:26 |
think and click on there.
And again it's a little bit too strong so
| | 03:31 |
I may want to just edit my gradient.
So I go to my gradient palette and just
| | 03:35 |
double-click that and make it a little
bit darker in that gray.
| | 03:39 |
So we're going from a fairly dark gray to
a kind of mid-gray color.
| | 03:43 |
Okay.
And I'll click on that again.
| | 03:46 |
So we've now got a darker gradient.
Okay.
| | 03:49 |
And now I'm going to click on this arm, so
we've got both arms.
| | 03:52 |
And again, we could edit that gradient if
we wanted to.
| | 03:55 |
I'm not going to bother here at the moment.
And then we click on different parts of
| | 03:59 |
the jacket to start coloring them in as
well.
| | 04:03 |
Okay, but when it actually gets to here I
can't actually select that part of the jacket.
| | 04:07 |
The problem I'm having is I'm either
selecting the head which I don't want to
| | 04:10 |
color or the arm which I con't want to
color.
| | 04:13 |
I can't actually select that jacket
color.
| | 04:16 |
So what I'm going to do is I'm going to select
the jacket by going to my Layers panel
| | 04:21 |
and its this layer here.
And then I'm going to choose the Selection
| | 04:25 |
tool and just double-click the jacket to
go into Isolation mode.
| | 04:29 |
And that makes it much easier for me to
now use the paint bucket tool just to
| | 04:33 |
fill in these other areas of the jacket.
Okay, now while I'm in there I might as
| | 04:38 |
well do the tie and the shirt as well.
So I'm going to go back to here and
| | 04:43 |
choose some nice bright colors, so let's
choose green for the tie.
| | 04:50 |
So we'll do a nice green tie.
And then we'll choose a nice yellow for
| | 04:55 |
the shirt.
Okay, so he's got a very dull jacket but
| | 04:59 |
nice bright shirt.
Okay and then we want to do the trousers
| | 05:02 |
after that but there's a little bit of
the jacket still to do here and for this
| | 05:06 |
I'm just going to choose a dark gray color
and fill in that section there.
| | 05:11 |
In fact let's go even darker and fill in
that section there.
| | 05:15 |
Now for the trousers.
So now what were going to do is come out
| | 05:19 |
of Isolation mode by just jumping back a
couple of stages so that we can now
| | 05:22 |
select the trousers.
We're now going to go down to the legs layer
| | 05:27 |
again, I'm going to select it so I'm
going to toggle back to my Selection tool
| | 05:31 |
by holding down the cmd key or ctrl key
on PC.
| | 05:37 |
And I am going to click on that, and then
double-click to go into Isolation mode.
| | 05:41 |
And Isolation mode means that I can
select this without having to worry about
| | 05:45 |
selecting the background layer.
So I'm going to choose a red swatch and
| | 05:49 |
color them red.
And then I'm going to edit that a little
| | 05:53 |
bit later.
In fact, let's not edit it later.
| | 05:56 |
Let's do it now.
Let's choose a better color.
| | 05:58 |
I'm going to choose, potato.
Okay, so we've now got potato trousers.
| | 06:03 |
Or pants, as you guys say in the US.
In fact, if I want to add just a plain color.
| | 06:10 |
Maybe I just want to add a regular
swatch.
| | 06:12 |
So, I'm going to go to my Swatch library.
And just open up earth tones, so I've got
| | 06:16 |
some nice brown colors.
And I'm actually just going to click and
| | 06:20 |
color these brown.
Now the nice thing about doing that is
| | 06:24 |
it's giving me some alternatives that I
can choose to just apply to the layer.
| | 06:29 |
Without having to go through lots and
lots and lots of different Swatches
| | 06:32 |
panel, I can use my color guide to help
me choose the color that I want.
| | 06:37 |
Now we'll also use that to choose some
colors for the shoes.
| | 06:41 |
So I'm going to choose a color there for the
sole, and let's choose another one there
| | 06:45 |
for the shadow bit of the sole.
And then we can right-click on here and
| | 06:50 |
see Exit Isolation mode.
And zoom out to see our painted character.
| | 06:56 |
Okay, now, the nice thing about Live
Paint is it really allows you to
| | 07:00 |
experiment with color and paint in a way
that you couldn't do with just using
| | 07:04 |
regular selections and swatches.
So I really recommend playing with Live
| | 07:11 |
Paint to get the most out of it.
| | 07:15 |
| | Collapse this transcript |
| Recoloring artwork with Kuler| 00:02 |
There's a great feature in Illustrator
that allows you to recolor your artwork.
| | 00:07 |
I call it Kuler because that was what it
was called when it was first introduced
| | 00:10 |
into Illustrator.
It's a fantastic feature and I really
| | 00:14 |
want to share it with you now.
So, if you want to follow along, you can
| | 00:18 |
open Kuler.ai and you'll find that in the
Coloring Artwork folder.
| | 00:23 |
Now, here I have a piece of art that
desperately needs recoloring.
| | 00:27 |
Sometimes you want to recolor a whole
piece of artwork, but you don't want to
| | 00:30 |
go through manually selecting everything.
Even with Live Paint it can be quite
| | 00:34 |
tedious to paint all the different
sections.
| | 00:37 |
So, Kuler allows you to take a piece of
artwork and color it using the most
| | 00:41 |
fantastic controls.
Let me show you at, so if I select all of
| | 00:47 |
my artwork.
There are two ways of accessing Kuler.
| | 00:50 |
You can access it up here, Recolor
Artwork, in the Control panel.
| | 00:55 |
Or you can access it here in the Color
Guide.
| | 00:58 |
Now, it does something very different
here to what it does here.
| | 01:02 |
If I select it here, it doesn't actually
change my artwork but it gives me access
| | 01:06 |
to new color schemes that I can apply to
my artwork.
| | 01:10 |
But it doesn't actually apply them until
I click on Okay.
| | 01:14 |
Whereas, if you choose it here, so if I
choose say, a complementary color scheme
| | 01:18 |
like this, and I click on Kuler here, it
actually applies that color scheme when I
| | 01:23 |
enter the dialog box.
So just be careful with that one.
| | 01:29 |
If you get a color scheme you really
like, by all means use it.
| | 01:32 |
But I tend to click on this, because it
doesn't actually change it until I click okay.
| | 01:38 |
Okay, so as I said, you can change the
color scheme of the whole set of colors.
| | 01:43 |
So, you can choose things like,
complementary color schemes, left
| | 01:47 |
complementary color schemes, monochrome
color schemes.
| | 01:52 |
If we go down here we can choose a
monochrome color scheme.
| | 01:55 |
So there's all sorts of ways of choosing
color schemes.
| | 01:59 |
By using the v color artwork dialog
box.
| | 02:01 |
But it's not just for that.
If I come out of here, and go back in again.
| | 02:06 |
And this time, I decide I just want to
darken down all the colors, for example.
| | 02:12 |
I can just come down here to my Color
mode menu, and choose Global Adjust.
| | 02:17 |
To just reduce the saturation and maybe
reduce the brightness of all the colors
| | 02:22 |
in my artwork.
So if I just want to create a desaturated
| | 02:26 |
look for the artwork, or maybe warm it up
or cool it down, then I can use the
| | 02:30 |
Global Controls just to control things
like luminosity, temperature, saturation
| | 02:34 |
and brightness.
So, that's one thing I can do.
| | 02:39 |
I can also go to the Edit mode, where I
can actually manually take colors and
| | 02:43 |
change them individually.
So, I could brighten up the tie again and
| | 02:48 |
maybe bring the brightness down of the
tie.
| | 02:51 |
If I go back out of Global Adjust and
into my HSB settings, Hue, Saturation,
| | 02:56 |
and Brightness, I can just darker down
the tie.
| | 03:00 |
I could maybe choose the yellow of the
shirt and just brighten that up a little bit.
| | 03:05 |
So, you can see that I can manually
adjust colors individually or as a group
| | 03:09 |
by using the Recolor Artwork dialog
box.
| | 03:14 |
Now, I'm going to cancel that and I'm going to
show you another way of using Kuler that
| | 03:18 |
I like to work with.
So, I tend to like to work with layers.
| | 03:23 |
So, rather than select the whole piece of
artwork and try and change everything in
| | 03:27 |
a runner, I tend to choose individual
layers and as you can see this is all
| | 03:30 |
split into layers ready for me to animate
in After Effects.
| | 03:35 |
So, it's very easy for me to just select
the arms and the jacket, and then go into
| | 03:41 |
Kuler, and just edit those colors.
So, if I go into my edit mode now, you'll
| | 03:47 |
see I've got far fewer colors to edit
than I had before.
| | 03:52 |
And another thing that I quite like is,
if I just want to change the color of the
| | 03:56 |
jacket and the tie and everything, maybe
to more blues and greens rather than
| | 04:00 |
oranges and reds.
And what I can do is, I can group the
| | 04:05 |
colors together and just drag them around
the color wheel selecting different color
| | 04:09 |
combinations til I get the one that I
want.
| | 04:13 |
And I think something like that I quite
like, quite like the blues maybe a little
| | 04:17 |
bit more desaturated.
So, we've got some nice desaturated blues there.
| | 04:22 |
And you notice it's changing gradients as
well as solid colors, but maintaining the
| | 04:26 |
balance between the gradients.
Okay, so say I like that but I'm not too
| | 04:31 |
keen on this purple color of the shirt.
What I can then do is ungroup the colors
| | 04:35 |
and just choose a new color for the
shirt, maybe a slightly more pink color
| | 04:39 |
for the shirt.
So, you see by selecting this and making
| | 04:44 |
global changes, you can start to recolor
your artwork.
| | 04:48 |
If I wanted the whole thing to be
slightly more desaturated, I could just
| | 04:51 |
go back onto the global adjust again and
bring down the saturation so that I've
| | 04:55 |
got a slightly paler jacket and shirt
than I had before.
| | 05:00 |
And again, if I want to individually
brighten up a color, say the pink, I can
| | 05:04 |
just pull that out.
So, it's a very intuitive way of working.
| | 05:09 |
And of course, once I've done the jacket,
I can click okay and maybe select the
| | 05:15 |
legs and go back into Kuler.
And for legs, I'm going to go to Edit
| | 05:20 |
Colors again and I want to leave the
socks really.
| | 05:24 |
It's just the grays in the middle that I
really want to change.
| | 05:26 |
So, I'm going to drag them towards blues and
start to change the color of the trousers
| | 05:32 |
as well.
Sometimes it takes a minute or 2 just to
| | 05:35 |
figure out which one you should be
changing.
| | 05:38 |
So, you'll see there that I have the
correct one now.
| | 05:41 |
Okay.
And just bring the saturation down a bit
| | 05:43 |
so it matches the jacket a little bit
better.
| | 05:46 |
And there we have it.
So there you go.
| | 05:48 |
Using Kuler, you can very easily re-color
your artwork very quickly without having
| | 05:54 |
to go through the painful process of
editing individual layers, groups,
| | 05:59 |
objects, gradients and color swatches.
| | 06:04 |
| | Collapse this transcript |
|
|
8. Applying 3D EffectsCreating live 3D effects| 00:02 |
Okay, so I've almost finished my
character ready for animating in After Effects.
| | 00:06 |
But I need to make a hammer, for him to
hold in his hand.
| | 00:09 |
And rather than try and draw it to look
three-dimensional, I'm going to actually
| | 00:13 |
make a three-dimensional hammer, and then
apply some effects to it, to make it look
| | 00:17 |
a bit more cartoony.
So I'm going to go into my effect menu
| | 00:23 |
and into 3D and extrude and bevel.
And if I click on preview you'll see what
| | 00:28 |
it does.
It extrudes my circle and gives it some depth.
| | 00:32 |
Now I'm going to change the rotation
settings.
| | 00:35 |
I don't want it to be rotating on the X
axis or the zed axis but only on the Y axis.
| | 00:42 |
And I know from a bit of experimentation
that a value of 70 gets it at roughly the
| | 00:46 |
right angle as if he's looking at it
while he's hitting something on the wall.
| | 00:52 |
And that's just through trial and error
that I discovered that.
| | 00:56 |
I'm also going to bring down the
extrusion depth rather, to 35, and that
| | 00:59 |
will just reduce the fatness of it, if
you like.
| | 01:04 |
Make it a little less flat.
In fact, 30 is probably enough, so let's
| | 01:07 |
just bring it down to 30.
And we're also going to put a bevelled
| | 01:10 |
edge on it, and there are lots of
different bevels to choose from, but I'm
| | 01:14 |
going to choose a rounded bevel to give
me a nice, rounded effect.
| | 01:18 |
Now, you can go into your shading
settings as well.
| | 01:22 |
By going to more options, you can do
things like adjust the highlight
| | 01:25 |
intensity, bring that up a little bit,
just to exaggerate it.
| | 01:29 |
Adjust the ambient light if you want to
make it lighter or darker.
| | 01:34 |
Adjust the highlight size even.
So, you can get those settings exactly
| | 01:37 |
how you want them, before you apply them
to your layer, and then, click Okay.
| | 01:42 |
So I've got one layer ready, I need to
also create three D from these shapes.
| | 01:49 |
Now to join those together, what I'm
going to do is use my shape builder, just
| | 01:53 |
to drag those shapes together so they
form one single shape.
| | 01:58 |
Now theoretically once we have that
shape, we can just go back to the effect
| | 02:03 |
menu and go into the 3D extrude and
bevel, and apply all the same settings.
| | 02:10 |
So, we had 0, 0, and I think we had 70
here.
| | 02:14 |
And if we preview that, it should look
the same.
| | 02:17 |
But as with many things, they don't
always work logically.
| | 02:20 |
Let's try putting -26 back in, which is
the default value.
| | 02:24 |
And you'll see that coincidentally that
seems to work quite well.
| | 02:31 |
And I think a value of around about 25
should be about perfect.
| | 02:37 |
Let's go a little bit lower than that,
let's go to 23, okay, maybe even 20.
| | 02:41 |
So minus 20 we're going to try.
And I think that's pretty good.
| | 02:42 |
Now, we'll leave the extrusion depth.
But we'll put a bevel on here as well.
| | 02:47 |
So let's go to a rounded bevel.
You have to be a little bit careful
| | 02:51 |
because you can get what's called a bevel
self intersection.
| | 02:56 |
If the object is too small for the bevel.
So I would maybe just take that down to,
| | 03:00 |
I don't know, a value of two maybe.
Which may still cause a problem or may
| | 03:05 |
not, depending on how particular you are,
how fussy you are.
| | 03:10 |
It looks okay to me.
Use your own judgment.
| | 03:13 |
And again, you can adjust the highlight
intensity, adjust the highlight size, do
| | 03:18 |
all that nice stuff before clicking OK.
So we've now got the hammer and we've got
| | 03:24 |
the head of the hammer, so I'm just
going to move the head of the hammer onto
| | 03:28 |
its base.
OK.
| | 03:31 |
And we may want to make some adjustment
to that, but that's pretty much OK for now.
| | 03:36 |
If we do need to make changes, it's very
easy to do so.
| | 03:39 |
All you need to do is click the layer and
if you go into the Appearance panel,
| | 03:42 |
you'll see that the effect remains live,
and I could go into Extrude and Bevel,
| | 03:46 |
and I might decide that I just want to
rotate it a little bit more.
| | 03:52 |
So, let's go to minus 15, say.
Oops, wrong direction.
| | 03:57 |
Minus 50, I've typed in.
So, let's put minus 15.
| | 04:02 |
And see if we think that fits a little
bit better.
| | 04:05 |
I think it does so I'm going to click on
OK.
| | 04:08 |
Now as well as being able to change that
I can also change the color as well.
| | 04:12 |
So I could come in here and choose a
different shade of grey.
| | 04:16 |
Even choose a gradient if I want to.
go into my gradients and find a metallic gradient.
| | 04:23 |
So let's go into our swatches, see if we
can find some metallic gradients.
| | 04:29 |
Here we have our metals, and I can choose
some different gradients to apply to my hammer.
| | 04:35 |
So I'm going to go with a silver gradient
for now.
| | 04:39 |
And of course, I could apply the same
gradient to my fill color of my hammer
| | 04:43 |
head as well if I want to have a silver
hammer head.
| | 04:47 |
But I'm going to leave that as it is, and
all I'm going to do there is just choose
| | 04:51 |
a lighter gray for that than I had
before.
| | 04:55 |
Now of course, you can double-click that
and go into your color picker and choose
| | 05:00 |
HSB and just edit the color yourself if
you double-click that to open it up.
| | 05:08 |
We can edit the color, make it a little
bit more of a bluey-gray.
| | 05:12 |
Okay, I reduced the saturation.
So there we have them matching a little
| | 05:16 |
bit better so anytime you can go in you
can adjust the fill stroke, extrudent
| | 05:20 |
bevel or any other of the live effects
that appear here in the top of the menu.
| | 05:26 |
Now, I'm going to apply another 3D
effect.
| | 05:29 |
This time I'm going to apply a revolve,
and a revolve will do exactly as it suggests.
| | 05:35 |
It's going to make a cylinder out of my
selected shape.
| | 05:40 |
So I'm going to experiment with the
settings and I"m going to try a value of
| | 05:44 |
0 and 0 again so we are not rotating on
that axis, and maybe try a value,
| | 05:48 |
positive value.
Well it doesn't really matter with this,
| | 05:53 |
because if I change the wide rotation
value, it's not really making that much
| | 05:57 |
of a change to the result we get.
I might give it a slight rotation forwards.
| | 06:03 |
No, I'm not going to do that.
I'm just going to leave it on zero.
| | 06:06 |
So, I'm actually with that.
I'm going to click okay.
| | 06:09 |
Again and I add my metals think it was
this one that we used, to my fill color,
| | 06:14 |
and I'm going to also make it narrower
just by squeezing that together, and that
| | 06:19 |
is going to form the metal bar, that
joints the hammer to the base.
| | 06:27 |
Now you'll notice that that's in front of
the hammer and the, I really want it to
| | 06:30 |
be behind the hammer.
So what I'm going to do is cut it by
| | 06:34 |
hitting Cmd+x or Ctrl+x on the PC, and
then pasting it, but instead of just
| | 06:38 |
pasting it, I am going to say paste in
back, and that's going to place it behind
| | 06:42 |
the hammer, which makes it look as if
it's holding the hammer up.
| | 06:49 |
Okay, so what I'm going to do is select
the handle and go into my revolve
| | 06:53 |
settings again.
And again, we're going to have a value of
| | 06:58 |
zero, zero, 70.
And we should have the kind of result we want.
| | 07:03 |
Now I'm also going to just adjust the
shading slightly.
| | 07:08 |
You can also choose a custom color for
the shading, so if I choose like a deep
| | 07:13 |
dark, very dark blue color then I'll get
a slight amount of blueiness coming
| | 07:17 |
through in that.
So I'm going to pull this in, make it a
| | 07:22 |
bit smaller.
And then just nudge it into position
| | 07:26 |
okay, now the only other thing that I
need to do now is just fit it into his
| | 07:30 |
hand and maybe just adjust the shape a
little bit.
| | 07:35 |
To do that what I'm going to do is go to
the object menu and chose expand
| | 07:40 |
appearance which makes this into regular
editable layer.
| | 07:45 |
And what I can do now is just use the
warp tool, and the pucker and bloat
| | 07:50 |
tools, just to adjust the path to make it
look a little bit more organic.
| | 07:57 |
So I'm going to hold down the alt key and
just make the pucker tool bigger and just
| | 08:01 |
reduce the size of the middle of the
hammer.
| | 08:05 |
Now that's a little bit too much.
So, I'm going to go into my pucker
| | 08:09 |
settings And I'm going to put that down
to a value of two and click okay.
| | 08:14 |
So I've got precise control over the
amount of pucker that happens.
| | 08:18 |
And you'll see now its just puckering
slightly and I'm also going to round off
| | 08:22 |
the edges using the warp tool.
I'm going to make that smaller, okay just
| | 08:27 |
reduce the size down and just round off
these edges a little bit.
| | 08:33 |
Okay so using these tools are fantastic,
the other thing that you could do to
| | 08:37 |
render off of course is to use the eraser
tool.
| | 08:41 |
So I can make the eraser tool smaller.
Let's just zoom in so we can see whats
| | 08:45 |
happening there and to round off the
corners I could maybe hide the selection
| | 08:49 |
by hitting Cmd+H, and then just trim off
the corners a little bit, just to give it
| | 08:54 |
a little bit more roundness.
Okay?
| | 08:59 |
And we'll also do that at the top here,
okay.
| | 09:03 |
So it now looks like a much more organic
kind of hammer.
| | 09:07 |
I think the head's a little bit too big
on that hammer.
| | 09:11 |
So I'm going to reduce that down in size
a little bit.
| | 09:14 |
Then I'm going to get the whole thing.
I'm going to group it together to create
| | 09:18 |
a group.
And I'm going to apply another effect to it.
| | 09:21 |
This time I'm going to use the effect
gallaery.
| | 09:24 |
Now these are not editable in the
appearance panel, but I know that I"m
| | 09:27 |
going to be able to create a hand-drawn
look by using somehting like poster edges.
| | 09:33 |
So I'm going to bring the edge thickness
down to about one.
| | 09:36 |
And the intensity down to a minimum
value.
| | 09:39 |
Now, you can choose how much it
posterizes.
| | 09:42 |
I'm going to choose something like a
value of 1 or 2, I think.
| | 09:46 |
And of course, you can combine these
effects together if you need to.
| | 09:52 |
But I'm just going to stick with poster
edges.
| | 09:54 |
Click okay.
Reduce it down in size a little bit and
| | 09:58 |
then I'm going to put it in his hand.
OK, now what I need to do is make it look
| | 10:02 |
like it's inside his hand instead of on
top of his hand.
| | 10:07 |
So I'm going to rotate it around a tiny
little bit and then I'm going to use my
| | 10:12 |
old friend the eraser tool.
Just to erase part of it, so that it
| | 10:17 |
looks like it's sitting in his hand,
instead of on top of his hand.
| | 10:23 |
So we reduce all of this until all we're
left with is the top and the bottom of
| | 10:29 |
the hammer.
That would've made life easier if I just
| | 10:33 |
made the brush a little bit bigger.
But there we go.
| | 10:36 |
It needs a little bit more work.
I could maybe recolor it a little bit.
| | 10:40 |
Select the hammer, go into color, and
just edit those colors.
| | 10:46 |
Maybe do a global adjust on them and
bring the brightness down.
| | 10:52 |
Okay, and reduce the luminosity a little
bit as well.
| | 10:56 |
You could also saturate it a little bit
more the, give it a bit more color, not
| | 11:01 |
quite that much.
Okay so a little bit of color in there.
| | 11:06 |
So you get the idea play around with the
setting till you get something that you
| | 11:10 |
really like.
In fact when saturation is not working,
| | 11:13 |
so I'm going to reduce that again and
click okay.
| | 11:16 |
So there you go a few ideas about how you
can use illustrators 3-D capabilities to
| | 11:22 |
create a 3-D hammer that would have
otherwise been quite difficult to draw by hand.
| | 11:31 |
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|
|
9. Finishing TouchesGrouping and working with hierarchies| 00:00 |
When you're ready to output your
animation, you need to check your layers
| | 00:04 |
to make sure that the grouping and
hierarchy structure is going to work and
| | 00:09 |
After Effects.
I'm just going to close some of these panels
| | 00:14 |
by double-clicking on their labels and
that will close them up, give me a bit
| | 00:18 |
more space for my layers panel.
And here, you'll see how I've constructed
| | 00:23 |
one of my files for animation in After
Effects.
| | 00:27 |
There's my original file that I traced.
I have his bottom layer, which consists
| | 00:32 |
of his legs.
He's sitting down.
| | 00:35 |
Now, they're not really going to animate.
He's going to be sitting and his top half is
| | 00:38 |
going to animate.
So, then I have his left arm, his neck,
| | 00:43 |
his body.
Now, the reason I've got the neck and the
| | 00:46 |
body separately is I want the neck to
move backwards and forwards and move the
| | 00:50 |
head backwards and forwards.
So, I need the neck to be on a separate layer.
| | 00:56 |
And this is the kind of thing that you
need to think about when setting up your
| | 00:58 |
layers for animation.
Do I want the neck to move?
| | 01:01 |
Okay, if you do want the neck to move,
then do it on a separate layer.
| | 01:06 |
Then I've got the upper arm.
Now, in this situation, I want the upper
| | 01:10 |
arm to move separately from the lower
arm.
| | 01:14 |
So, what I might want to do is get the
upper arm doing this kind of thing,
| | 01:17 |
moving up and down.
While the lower arm, which is this one,
| | 01:22 |
they also move independently.
So, let's just select that one and it
| | 01:27 |
will be doing this kind of thing,
hammering.
| | 01:31 |
Okay?
And you'll see it's very important that I
| | 01:33 |
can move that separately from the upper
arm.
| | 01:36 |
So, you start to think about which areas
you want to move together.
| | 01:39 |
If I wanted the hammer to move separately
from the hand, I would have done it on a
| | 01:42 |
separate layer.
But I don't really need to.
| | 01:45 |
All I needed to do was group the hammer
so it's in the single group so it can be selected.
| | 01:50 |
And to do that, you just select the
individual pieces of the group and you go
| | 01:55 |
to Object > Group.
Okay?
| | 01:58 |
And that groups them together so I can
now select the object as a single layer.
| | 02:03 |
Now you have to be careful with grouping.
If you group an item that was behind
| | 02:06 |
another item, and one of the items was in
front of the other item, it might move
| | 02:10 |
one of the items that you want to be in
the back, into the front, if that makes sense.
| | 02:16 |
So, if that happens, you need to undo.
If you ungroup, that's not going to
| | 02:20 |
change anything.
You need to undo and undo until you get
| | 02:23 |
back to the stage you were at before.
So, in this case, I can't really move
| | 02:29 |
that in front of the hand layer.
Those kind of things determine whether
| | 02:33 |
you're going to group items or not.
Then we have the head layer.
| | 02:36 |
Now, the head layer doesn't look very
nice on it's own.
| | 02:39 |
But that's because I wanted all of the
other elements on the head to be
| | 02:42 |
animatable individually.
So, I wanted to be able to animate the
| | 02:47 |
eyes and the pupils.
I wanted to be able to take the pupils,
| | 02:50 |
and to move them backwards and forwards
to make them look at the screen.
| | 02:55 |
If I just hide the selection Cmd+H or
Ctrl+H on the PC, you can see that I can
| | 02:59 |
make the eyes look around, make them look
up, make them look down.
| | 03:04 |
So, again I'm thinking about what I want
to do in terms of animation.
| | 03:08 |
The mouth, I may want to scale the mouth
for example, to give him a facial expression.
| | 03:13 |
So, I might want to make him go, oh my
goodness, and then close his mouth again.
| | 03:19 |
Or, I might want to make him talk, so
I've got the mouth on a separate layer.
| | 03:23 |
Then we've got the eyebrows.
Now, if I want to make him look
| | 03:25 |
surprised, I may want to make the
eyebrows go up and down.
| | 03:29 |
The hair, now the hair normally wouldn't
move you would think but by creating the
| | 03:33 |
hair a tiny little bit of movement on the
hair, as he moves backwards and forwards,
| | 03:37 |
it creates a really nice effect, just a
more fluid effect.
| | 03:42 |
His glasses, again, I may want to move
them up and down a little bit, as he's hammering.
| | 03:47 |
And also, his ears.
If there's a noise happening, just making
| | 03:51 |
his ears twitch a little bit, actually
accentuates the noise for the viewer.
| | 03:57 |
So have a little think about how you want
to structure the animation before saving
| | 04:02 |
from Illustrator, because it's much more
difficult to come back to Illustrator and
| | 04:07 |
make changes once you're animating in
After Effects.
| | 04:13 |
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| Exporting artboards| 00:01 |
So here we have export art boards.ai,
which you can open from the saving
| | 00:06 |
exporting folder.
Here's my little dog that we had to look
| | 00:11 |
at earlier and you'll see all the frames
on different art boards.
| | 00:16 |
If I wanted to output this for say, a
storyboard I can go to file Save As and I
| | 00:21 |
can choose to output as a PDF.
Which is fantastic, I can output a
| | 00:27 |
selection of frames or all of the frames
as a PDF and send them to my client for
| | 00:32 |
approval before moving ahead.
Or my other options for outputting
| | 00:38 |
artboards include exporting.
So if I go to file Export and I can
| | 00:42 |
choose all these different file formats.
And you'll notice that I have flash in there.
| | 00:48 |
And if I choose flash, I can choose to
output the art boards as swift files.
| | 00:54 |
And there are also various other options
in there.
| | 00:57 |
We've got Photoshop, we can put the art
boards out as separate layers.
| | 01:01 |
So lots of options for exporting multiple
art boards using the Save and the Export functions.
| | 01:12 |
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| Options for saving files| 00:02 |
When you're saving your final file for
animation in After Effects, it's fairly
| | 00:05 |
straight forward.
Really, you just want to go to File >
| | 00:10 |
Save As, and save as a regular
Illustrator file.
| | 00:15 |
I'm going to just save it into this
folder here, the Saving and Exporting
| | 00:20 |
folder, I'll call it Save Export End.
Okay?
| | 00:24 |
And if we save it as an Illustrator file,
that's going to maintain all the layers,
| | 00:28 |
and all of that will be supported when
you go into After Effects.
| | 00:33 |
Now, other formats that would be
supported would be Illustrator EPS.
| | 00:37 |
You could also save that as that.
And there are also various other export
| | 00:41 |
options that you can use.
But really, to animate in After Effects,
| | 00:45 |
you best save as an Illustrator file.
When you click Save, you'll be presented
| | 00:50 |
with the Illustrator Options dialog
box, where you can choose various features.
| | 00:56 |
Now, what I tend to do is, if I know that
someone is going to be editing this file
| | 01:00 |
and they don't have Illustrator CS5, I
sometimes save it as a backward
| | 01:03 |
compatible file.
And in fact, all the files for this
| | 01:08 |
lesson are saved as Illustrator CS4 files
so that people that have CS4 can still
| | 01:13 |
open the files and have a look at them
and through most of the exercises.
| | 01:19 |
Okay, you can create a PDF compatible
file as well, which can be opened in
| | 01:24 |
Acrobat and can also be edited
Illustrator.
| | 01:28 |
And you can also choose whether or not
you want to use Compression, I'm going to
| | 01:32 |
remove that and click OK.
Okay, now it gives you a warning.
| | 01:37 |
It says, saving to legacy format may
cause some changes to your text layout
| | 01:41 |
and disable some editing features when
the document is read back in, do you want
| | 01:45 |
to continue?
I am not going to worry about that
| | 01:49 |
because I know that all the features that
I need to use are in CS4 as well, so I'm
| | 01:52 |
going to click OK.
Now, the only thing you may notice is,
| | 01:57 |
I've forgotten to change the Art Board
setting on this file.
| | 02:01 |
So very important.
Just before you save it, just
| | 02:04 |
double-click the Art Board tool and make
sure you have it setup to the correct size.
| | 02:10 |
I'm going to choose DVC PRO HD1080, and
that's going to create that size of Art
| | 02:14 |
Board for me.
And also, I'll say, Show Center Mark,
| | 02:19 |
Show Cross Areas, Show Video Safe Areas,
and click OK.
| | 02:23 |
And if we zoom out, we should see our
character in the middle of Art Board,
| | 02:28 |
which will be the right size when we go
into After Effects.
| | 02:34 |
So, I'm just going to save that once
more.
| | 02:36 |
And there we are, ready to go.
Again, we're getting that warning coming
| | 02:40 |
up, so you can select Don't Show Again,
and that way it won't appear every time
| | 02:44 |
you save.
Now, this was originally designed for
| | 02:47 |
print, and you can see the page tiling is
still on.
| | 02:50 |
You don't need to worry too much about
that, that's not going to show up in
| | 02:53 |
After Effects.
But if you want to remove it, you can
| | 02:56 |
just go down here and you can say, Hide
Print Styling, and that's going to remove
| | 03:01 |
that for you and we can save that again.
Okay, so that's how to save your
| | 03:08 |
multi-layered file ready to animated in
Adobe After Effects.
| | 03:15 |
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