IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! I am Sharon Steuer.
I am really thrilled.
| | 00:07 | We are going to get to work with some
of the most creative tools in the
| | 00:10 | entire creative suite.
| | 00:11 | First, what we are going to do is set up
your workspace and cover some of the
| | 00:16 | basics of naturalistic brushes
and a couple of brush like effects.
| | 00:18 | We are also going to take an in-depth
look in to each of natural media tools
| | 00:22 | which will include the calligraphic brushes,
the bristle brushes, the
| | 00:26 | naturalistic art brushes and then also
a pair of effects that aren't brushes at
| | 00:30 | all, Blob brush and variable stoke profiles.
| | 00:33 | So let's get started using
Natural Media Brushes with Illustrator.
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| Using the exercise files| 00:00 | If you are premium member, or watching
this course on a DVD, you have access to
| | 00:04 | the exercise files used throughout this course.
| | 00:08 | You can download the files from the
exercise files tab on the Course Detail pages.
| | 00:13 | I have organized the folders by chapter.
| | 00:16 | The chapter folder contains the
files we will use in the movies.
| | 00:19 | If you don't have access to the
exercise files, you can just follow along
| | 00:23 | using your own assets.
| | 00:25 | Now let's get started.
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| What you should know before watching this course| 00:00 | The group of tools that we were calling
the naturalistic brushes in Illustrator;
| | 00:04 | they are both a much more intuitive way
to get going in Illustrator than most of
| | 00:10 | the cryptic and confusing vector tools;
and also it's a powerful set of tools
| | 00:16 | that every intermediate of professional
Illustrator user should consider adding
| | 00:19 | to you creative tool set.
| | 00:21 | So if you are a beginner, welcome,
and if you are more advanced, I have
| | 00:25 | hopefully included enough tips and
tricks and advice that this is going to be
| | 00:30 | worth your watching as well.
| | 00:32 | And there are some extra movies at
the end about combining the tools and
| | 00:36 | suggestions for how you can ramp
up the complexity in another level.
| | 00:39 | But wherever you are with your Illustrator tools,
if you follow along, hopefully
| | 00:44 | there will be enough here for you to
get going, making art using naturalistic
| | 00:48 | brushes in Illustrator.
| | 00:50 | So there are a few things that you
are going to need to know before watching
| | 00:54 | this course; and that is to make sure
that you are at least comfortable with the
| | 00:58 | basics of using panels; of choosing colors
from the Swatches panel and the
| | 01:03 | Colors panel; and how you can open and close panels.
| | 01:08 | You need to be able to Undo and Redo
that's a given.
| | 01:10 | And it's really helpful if you know how
to Save and Save As, so you can have
| | 01:18 | incremental versions of your work
to be able to back track and see what you
| | 01:23 | have done and you need to understand that
you need to hover over the Command
| | 01:27 | key in Illustrator, or Ctrl key in Windows,
because that's how you can switch
| | 01:32 | any tool that you are using.
| | 01:34 | In this case, many times it will be the
Paint brush tool and your Selection tool.
| | 01:39 | So you will be able to pick things up.
| | 01:41 | If you need help brushing up on
Illustrator skills or if I touch on
| | 01:44 | something that you want to go into
in more depth, check out the
| | 01:47 | Illustrator Essential Training Course.
| | 01:50 | This course is made for both
beginners and advanced users.
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| Vectors vs. pixels| 00:01 | So this is an image that integrates both
Rasters and Vectors and you might think
| | 00:07 | well, why not just stay in Photoshop,
if I did so much of it in Photoshop;
| | 00:11 | and I did the reference image that I used was
a composite collage that I created out
| | 00:17 | of half a dozen different photographs.
I wasn't very careful about making
| | 00:22 | sure that I did a good job.
| | 00:24 | I was just using it as a creative tool
to give me a base and to create this
| | 00:30 | imaginary view point of this Goody-Goody Cafe.
| | 00:33 | So I could be loose and I could be intuitive
and figure out what I wanted to do
| | 00:41 | and not have to worry about doing a good job
because I knew I was going to be
| | 00:45 | recreating it in Illustrator, giving it
the focus that I wanted.
| | 00:50 | Then once I was in Illustrator, there were some
Photoshop elements that I ended up putting
| | 00:55 | back in to give it just a little bit of details.
I am going to hide and show
| | 01:00 | that layer, which has Photoshop
photograph placed in clipping mask there.
| | 01:06 | Then again, you might be saying
why bother doing this in Illustrator?
| | 01:10 | That's because the level of editability
of every stroke was phenomenal.
| | 01:16 | So if I select this object and get my
Paintbrush tool, I can use the Bracket
| | 01:23 | keys not to affect a brush I am about to make,
but to change a brush that already exists.
| | 01:31 | I can decide that I want to change this color altogether.
| | 01:42 | I could insert layers inbetween things
when I didn't know I wanted to insert
| | 01:47 | anything between things.
| | 01:49 | Within a layer, I can select an object and act upon that.
| | 01:53 | So there is a level of detail and a level
of changeability that really takes the
| | 02:02 | concept of what you can do
with digital painting to another level.
| | 02:07 | It's not that I am not going to
use Photoshop anymore,
| | 02:11 | but I think for painting,
if I am not going to use traditional tools,
| | 02:16 | I think for painting, I am going to use Illustrator.
| | 02:18 | I think I am going to use Photoshop
for the collaging, for the correcting
| | 02:24 | but I love the infinite ability to change anything.
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| Using layers for brushes| 00:00 | There are lots of places on lynda.com
where you can expand your familiarity with
| | 00:05 | layers, but what I wanted to do is
highlight the things about layers that will
| | 00:10 | make your working with brushes a lot easier.
| | 00:12 | So here we have a version of a drawing
that I started of Mina the cat, without
| | 00:21 | layers, just the Standard template on
the bottom--and you can look up how to open
| | 00:26 | an image as a template--and then this
layer 1, which is the default layer name,
| | 00:32 | which you can open up and you can
see all the paths within it, but it's a
| | 00:37 | disorganized file. And it
makes it a little more difficult.
| | 00:41 | Now in the early days of Illustrator we
didn't have layers. So there are ways
| | 00:45 | to move things in back of things.
I can actually take this and move it in
| | 00:50 | back or cut it or something like that,
but it's much easier to be able to
| | 00:55 | organize things in layers.
| | 00:56 | So let's just show you a couple of
really quick things to do. The first thing I
| | 01:01 | would do is I would call this Cat Outline.
| | 01:03 | There is never one good way to do anything,
there is always a million different ways.
| | 01:08 | So there aren't very many color objects
on it, so I would probably at this point
| | 01:12 | just make a new layer and call it Colors.
| | 01:19 | I am going to just select those few objects
using the Selection tool.
| | 01:25 | Now when I select them, you get a
selection indicator in the Layers panel.
| | 01:30 | All I have to do is drag that
indicator to the Colors panel.
| | 01:34 | To know whether I have got them all or not,
I just hide that Colors layer.
| | 01:38 | I say--oh no, I missed something, so
I can just grab it--and when it's hidden,
| | 01:43 | I can still drag to it.
| | 01:44 | I am going to Undo that.
| | 01:46 | If it was locked, either locked and visible
or locked and hidden, I can't drag to it.
| | 01:53 | So I am going to just hide it again
and unlock it, drag it to it and it looks
| | 01:57 | like yeah I got all my color, so the color is there.
| | 02:01 | There is still a problem of course.
| | 02:03 | I want the colors to be below
the cat outline in this case.
| | 02:07 | So to move a layer from one position to
another, because if it's above it in the
| | 02:12 | Layers panel, it's on top of it on the artboard.
| | 02:15 | So I want to move that below. I am just going
to grab it and move it below and there you go.
| | 02:22 | So here we go, this is the organized
version without the template, again take
| | 02:28 | the details and move from below.
| | 02:30 | Now if by accident you have one of these
outline lines that was moved to the
| | 02:36 | wrong layer for instance, which you can see here--
| | 02:39 | I actually did have one--
| | 02:41 | just select them and move them to the
proper layer, whether it's visible
| | 02:45 | or not and there you go.
| | 02:47 | So that's the first thing, you can make layers,
you can reorder layers, you can
| | 02:51 | move objects from layer to layer.
| | 02:55 | And the more you keep objects in their
proper layers, the easy it will be.
| | 03:01 | Once you have started, it becomes
an easy task to add to them.
| | 03:05 | Now if I am using brushes, the great
thing about Illustrator--and we have gone
| | 03:11 | through part of this in another movie--
is when you have an object selected, you
| | 03:16 | are resetting the default stroke and
fill and style. So I am using this brush,
| | 03:23 | the Colors layer--this particular brush, the 15 pt.
| | 03:27 | Round--and this particular color, this mustardy color.
| | 03:33 | So if I was to draw here that's what I would get.
| | 03:36 | If I select a calligraphic black mark,
it puts me on the Outline layer, selects
| | 03:42 | black and changes my pen to this.
| | 03:47 | Now if I wanted to draw to a different layer
or a different color, there is
| | 03:52 | something else you have to do.
| | 03:53 | So if you select when you are switching,
so right here, I have got the color
| | 03:58 | details. Pretend now that I want to
make this light blue. I want to add to this
| | 04:05 | Colors layer in the background--this is
the background colors. And if I want to
| | 04:11 | draw over here, if I select it,
it's on the wrong layer.
| | 04:15 | I could either move it now or
I am going to undo it. While it's still
| | 04:19 | selected, if I just click on the layer
that I want to be on, it does not change
| | 04:26 | where this object is. If you notice the
selection indicator is still saying, nope;
| | 04:31 | by clicking on the Colors layer, I am
not moving that object but what it does is
| | 04:37 | it targets that layer for the next object.
| | 04:40 | I am going to do it one more time.
| | 04:42 | I will select some of that green from
the Colors details layer and I am going to
| | 04:47 | click on the Colors layer to
say no I want to do it there.
| | 04:51 | And I am going to put the green here.
And selecting it, you can see yeah,
| | 04:55 | that's where the green is.
| | 04:56 | So there are couples more tricks
about doing this that I want to show you.
| | 05:01 | Chances are you have an option set, so
if you have an object selected and you
| | 05:06 | draw near it, you are not going to draw
an additional object, you are going to
| | 05:14 | add to or redraw the current one.
| | 05:17 | So if I want to just fill in this area
with this mustard color--and that's why I
| | 05:24 | selected it--and I just start to
draw, that's not what I wanted.
| | 05:30 | So you just undo and in this case,
you could either go in and turn off the
| | 05:36 | option to redraw, but that's kind of overkill.
| | 05:39 | All you need to do is deselect that object.
| | 05:42 | I am already on the correct layer.
| | 05:44 | I have the correct brush, colors, settings.
| | 05:47 | If I just deselect it--which means either
hold down your Cmd key on Mac or
| | 05:52 | Ctrl key on Windows, and click outside
of the object to deselect; or if you have
| | 05:59 | a really complex document you can
deselect using the command, which is
| | 06:04 | Cmd+Shift+A or Ctrl+Shift+A--
and then you can continue to draw.
| | 06:11 | The same thing holds if I select this object.
Because this has a lot of the
| | 06:18 | characteristics that I like, it's on
the right layer, it has the right brush,
| | 06:21 | but I want the next brush to be a different color.
| | 06:25 | If I go up to change the color
and I realize oh no that's not what I intended--
| | 06:30 | I wanted to change the color
of the next object, not this one--
| | 06:34 | just undo, deselect.
| | 06:35 | Select your next color and then you can paint.
| | 06:43 | And the last thing I want to show you,
another good reason to organize your file
| | 06:49 | into layers is it makes it really easy
for you to copy--or drag and drop--not only
| | 06:56 | your brushes, but your entire image
into another document if you want to.
| | 07:01 | I am going to Select All and Copy.
| | 07:05 | I am going to just start a new document--just a
standard new document--and I am going to paste.
| | 07:14 | In order to paste in alignment, I am
going to Cmd+F, which is paste in front,
| | 07:18 | which is paste aligned, and look what happened.
| | 07:21 | Not only did it paste my image,
but it created the layers that I needed.
| | 07:26 | It left the layer 1 alone. I hadn't selected
my template, so it didn't bring in
| | 07:31 | the template. But it constructed
all the layers for me, which is pretty
| | 07:36 | miraculous. And the reason is,
it had a tricky setting already set on it.
| | 07:42 | I almost always have this enabled.
One of the first things I do when I start up a
| | 07:47 | new version of Illustrator is I enable
my Paste Remembers layers.
| | 07:51 | If it's off, which is off by default, this is what you get.
| | 07:55 | I am going to Select All, I am going to
undo to get back to where you were.
| | 08:00 | It does not Undo Paste Remembers layers.
| | 08:02 | That's a toggle that's application-wide
and it is not undo with a document undo.
| | 08:07 | This time I am going to Cmd+F to
paste in front. What it does is it
| | 08:12 | sandwiches all together as if you
flattened out the image on to one layer,-
| | 08:18 | whatever layer was targeted. In this
case, it was only layer in this document.
| | 08:22 | So sometimes you do want a flattened
version of your image, in which case
| | 08:27 | you want to toggle off Paste Remembers layers.
| | 08:31 | Or if you want to paste into a particular layer,
for instance, I will show you that one thing.
| | 08:37 | I am going to create a second layer.
With this layer, targeted layer 2,
| | 08:41 | if I Cmd+F, that's where it will go.
| | 08:43 | So in those specific instances, you are
going to want to toggle Paste Remembers
| | 08:48 | layers off. Most of the time though, you
are going to want it on, so that when you do
| | 08:53 | you paste, your image doesn't lose its layer structure.
| | 08:57 | So there is a lot more you can learn about layers,
but this should be enough to get you going.
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| A little bit about the Pencil tool| 00:00 | So if this is a brushes course,
I bet you're wondering why am I talking
| | 00:04 | about the Pencil tool.
| | 00:05 | And that's because it works really well
with brushes and there are many cases in
| | 00:09 | which you're going to want to just
place a solid filled object underneath your
| | 00:14 | drawing or gradient filled object or all sorts of possibilities.
| | 00:19 | But you're going to need to quickly
create a shape that you want to be filled
| | 00:24 | not stroked and therefore, the
Pencil tool comes in really handy.
| | 00:29 | So Pencil tool, if I move it into my artboard.
| | 00:34 | If you haven't seen the previous layers
lesson before this movie, please go do
| | 00:40 | that because that will help you.
| | 00:42 | I get that slash symbol with most of my
tools if my current layer is not a viable one,
| | 00:47 | it's either hidden or locked.
| | 00:51 | So I'm going to click here on the layer
that I've made for my Pencil white and
| | 00:56 | I'm going to create a solid white object
to define the outline of this white cat,
| | 01:02 | so that Mina's background doesn't interfere with her fur.
| | 01:06 | So if I go to draw with the Pencil tool
with the default color, I want no stroke
| | 01:14 | but just a white fill.
| | 01:15 | I'm going to do a little circle here just as a test.
| | 01:19 | And you'll see, Oh!
| | 01:21 | What happened? I got no fill and no stroke.
| | 01:24 | Well, that's strange, I know I selected a white fill.
| | 01:27 | Well, the problem is, the default Pencil tool
settings might be set for not to be filled.
| | 01:35 | So in this case, I double-clicked Pencil tool Options.
| | 01:40 | If you need some guidance as to
what fidelity and smoothness means, then
| | 01:46 | tune into the Paintbrush tool Options movie
because there are the same settings there.
| | 01:53 | The relevant thing here is I'm going
to make sure that I allow it to Fill
| | 01:58 | New Pencil Strokes.
| | 01:59 | I'm also going to Keep selected paths enabled
as well as Edit selected Paths and
| | 02:04 | you'll see why in a minute.
| | 02:05 | And again, we'll go into more details
with this with the Paintbrush tool Options
| | 02:09 | movie and I'm going to say OK.
| | 02:13 | And now, I have Pencil white layer selected.
| | 02:17 | I'm going to go get my white fill
and now I'm in a draw an enclosed object
| | 02:24 | which I am going to start outside of my artboard.
| | 02:27 | The artboard is are going to very nicely and
crisply trim that object for me at the border.
| | 02:34 | So I don't have to worry about it.
| | 02:36 | And I'm going to just draw Mina, an outline.
| | 02:53 | And I make sure I go outside of the border
and enclose the object. And there you go.
| | 02:59 | Slipped in there between the other layers.
Because I left Keep selected enabled,
| | 03:05 | Mina is still selected. So in here I can see
there is a little area that I want to
| | 03:10 | adjust a little bit. And because,
I also kept enabled Edit selected,
| | 03:15 | I can actually make a couple of
adjustments to this as selected.
| | 03:19 | I can deselect her.
| | 03:23 | And if there's anything I want to
change again, all I have to do is select it
| | 03:27 | again and I can re-edit it.
| | 03:29 | So as long as pressure sensitivity isn't
the issue, you can apply a Paintbrush to
| | 03:35 | s
any paths that you draw with the Pencil tool.
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|
|
1. Naturalistic Illustrator Brushes OverviewA quick intro to naturalistic Illustrator brushes and effects| 00:00 | To get you started imagining what you can
do with these tools, I've put together
| | 00:04 | a few of my images grouped from earlier
calligraphic brushes to more current
| | 00:09 | pieces, in hopes that maybe this will
inspire you to roll up your sleeves and
| | 00:14 | get going, because this is an incredible set of tools.
| | 00:19 | I really, honestly believe that one of
the true great inventions of the 20th
| | 00:24 | Century was Undo because, with Undo,
we've become more fearless as artists.
| | 00:30 | We can take that risk, make that stroke,
add something to a piece that's good
| | 00:35 | enough and make it even better.
| | 00:37 | And I just don't mean undo once.
| | 00:41 | Even Photoshop has multiple Undo's and
of course Illustrator has multiple Undo's.
| | 00:45 | What Illustrator has--and I'm just
beginning to scratch surface of this, and so
| | 00:50 | I feel like I have a lot more expressive
exploration to do with brushes. Because,
| | 00:56 | I'm just beginning to figure out that
if I can go in and edit every single mark
| | 01:01 | I make, I can change its form, color, width.
| | 01:05 | I can change its opacity.
| | 01:07 | I can change its order.
| | 01:10 | I can remove things from
within the depths of something.
| | 01:14 | That's something no other
artistic medium can offer.
| | 01:19 | I can apply brushes to objects I've already created
or you can just embellish text.
| | 01:26 | In the earlier works, I might have started
with the Calligraphic brush moved on
| | 01:30 | to art brushes and now, I'm using Blob
brush and Bristle brush and of course,
| | 01:36 | most of the time, I'm combining brushes.
| | 01:40 | I sometimes work for my imagination
or I work from drawings, I trace photographs.
| | 01:44 | Sometimes I work from images that
I've assembled or collaged in Photoshop,
| | 01:48 | imaginary places or situations.
| | 01:51 | But the possibilities of using these brushes,
literally, it's like giving me an
| | 01:55 | entirely new medium to work in.
| | 01:59 | And I feel like I'm just beginning
to wrap my brain around what I might
| | 02:03 | eventually be able to do with these amazing tools.
| | 02:06 | I really hope, you take the opportunity
to see what you can do with naturalistic
| | 02:13 | brushes in Illustrator.
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| Illustrator artwork gallery| 00:00 | Throughout this course, you're going to
be seeing plenty of examples of my work.
| | 00:05 | But because, I'm also the author of the Illustrator WOW!
| | 00:08 | Books, I wanted to share with you some
samples from the latest Illustrator CS6 WOW!
| | 00:12 | Book, so that you can see some of the
range of amazing artwork that's being
| | 00:17 | created using naturalistic brushes
by wonderful artists around the world.
| | 00:22 | So let's take a look.
| | 00:27 | This is a Blob brush drawing by David Turton
and he saved it in stages so that
| | 00:32 | you could see how it evolved.
| | 00:35 | He used a Syntec tablet
and we've a demo of this Syntec tablet.
| | 00:39 | And he was able to get in an excruciating
detail to all the fibers of the fur.
| | 00:48 | This is a wonderful Blob brush painting
by artist Lance Jackson.
| | 00:52 | He calls it a vegetarian Cheetah.
| | 00:57 | This is a beautiful floral illustration by Lisa Jackmore.
| | 01:02 | And she took a very standard vector
illustration and applied custom stroke
| | 01:07 | profiles in order to add warmth and texture
and a more hand-drawn look to what
| | 01:14 | would otherwise be crisp and little cold.
| | 01:19 | This is also a wonderful example of
use of stroke profiles by an artist who
| | 01:24 | calls himself MCKIBILLO also Josh Mckible.
| | 01:28 | And starting with the parable of the
blind man and the elephant, he created this
| | 01:33 | beautiful grid of images and he
added his custom stroke profile.
| | 01:38 | So we could add a hand-drawn look
to what would otherwise be crisp.
| | 01:42 | And here's another take on stroke profiles
by artist Donal Jolley.
| | 01:48 | And here, in his rubber ducky, you can
see some stages going from very simple
| | 01:55 | vector to his customized set of profiles
and adding color with brushes as well.
| | 02:02 | Here's another Donal Jolley
and he made a sampler of a bunch of the
| | 02:08 | out-of-the-box brushes that are
available in the Illustrator tool sets.
| | 02:12 | So he didn't make his own, these are
just using the brushes that Illustrator
| | 02:16 | makes available through the Brush libraries.
| | 02:18 | Here is another Lisa Jackmore,
lyrically drawing with a number of the different
| | 02:24 | brushes--mostly calligraphic--taking
advantage of pressure sensitivity in her
| | 02:29 | beautiful fluid lines.
| | 02:30 | In this pair of images, I love these.
| | 02:34 | Because, this is a series of students
that teacher Stephen Klema, who is also an
| | 02:40 | artist featured in the book, gives as
an assignment following the WOW! Book.
| | 02:44 | So they create a series of food
illustrations using a variety of brushes.
| | 02:52 | And Greg Geisler, who is a master of the Bristle brushes.
| | 02:57 | Greg is one of the artists who actually
does max out Illustrator's ability to
| | 03:01 | handle all the Bristle brushes he packs into one file.
| | 03:04 | So he's had to develop a couple of ways
of how to Rasterize intermediate
| | 03:11 | versions of his image in order for it to print properly.
| | 03:14 | But he always makes sure he keeps live versions.
| | 03:18 | So any editing can be done at any point.
| | 03:22 | And here is another one of Greg's pieces,
also done with Bristle brushes--
| | 03:28 | a completely different effect--this
time using some squiggly lines and filled
| | 03:34 | shapes created with the Pencil tool.
We'll cover incorporating the Pencil tool
| | 03:40 | into the brushes, because a lot of artists do that.
| | 03:43 | And then finally, using Draw Inside,
this is again a painting by Lisa Jackmore.
| | 03:49 | She started with the Pencil tool,
sketching out the initial artichoke here
| | 03:56 | on the left, and then used Draw Inside mode
to paint in depth with the Bristle Brushes.
| | 04:04 | Even if you don't have a premium account,
we've made a copy of this PDF excerpt
| | 04:10 | of the book, including some front
matter and contact information for each of
| | 04:14 | these wonderful artists.
| | 04:15 | So hopefully by now you're ready and
excited to get out that brush and start
| | 04:20 | exploring, experimenting and seeing
what discoveries you can make with this
| | 04:23 | wonderful set of tools.
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| Applying brushes to objects with the Brushes panel| 00:00 | Well, now we're going to get going just
applying brushes to objects you already have.
| | 00:04 | You could have drawn them already
with the Paintbrush tool or you could have
| | 00:09 | created them with any other tool in Illustrator.
| | 00:13 | This is probably one of the more
straightforward ways that you can do it.
| | 00:18 | You just select your objects.
| | 00:20 | Open your Brushes panel.
| | 00:21 | All you have to do is click on a brush and you get it.
| | 00:32 | If you click on the word Basic,
you will remove the brush, and it will go back
| | 00:36 | to being just a regular old Illustrator line.
| | 00:40 | And I don't know if you noticed, but up
at the top, at the Control panel, you're
| | 00:44 | also changing the brushes.
| | 00:46 | So right here, it says Basic, but you
can also click on it, and access the same
| | 00:51 | list of brushes here as well.
| | 00:56 | So you can always click back to Basic,
and you're back to being not a brush at all.
| | Collapse this transcript |
| Applying brushes to objects with the Eyedropper tool| 00:02 | Another great way to get brushes into
your objects that already exist, is using
| | 00:06 | the Eyedropper tool.
| | 00:07 | So to do that, you select your object.
We're going to do this just with
| | 00:13 | regular Eyedropper first without brushes
to show you just the way the Eyedropper
| | 00:17 | you expect it to work.
| | 00:18 | With your object selected, you just click on
the object whose appearance you
| | 00:23 | want to grab with the Eyedropper, click,
and it applies to the selected object.
| | 00:30 | And you can see I can just click around
and whether it's got a stroke or a fill,
| | 00:34 | or color, or if it had opacity,
it would be grabbing that too.
| | 00:41 | So let's see what happens if you try
that same easy action using brushes.
| | 00:44 | So I'm going to select these two objects.
| | 00:47 | And I'm going to move over to this blue
brush path and pick it up, and I'm going
| | 00:55 | to hide my edges so you can see what I've got here.
| | 00:58 | And that's under the View menu, Hide Edges,
or Cmd+H, and so it's still selected, it's just hidden.
| | 01:05 | And notice it took the blue, but it didn't take the stroke.
| | 01:09 | So again, if I click here, it will take the brown
or the black, but it's not getting my brushstroke.
| | 01:16 | And the reason is there is something
you have to set in Preferences for the
| | 01:20 | Eyedropper tool in order to
be able to pick up your brush.
| | 01:25 | So I'm going to just double-click it to access Preferences.
| | 01:28 | And what's missing is you want the
Eyedropper to pick up and apply the full
| | 01:33 | appearance, and that will allow you to,
in this case let me grab that brush,
| | 01:37 | and there you go.
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| Drawing and painting with brushes directly| 00:00 | Well honestly, this is probably how you're
going to use brushes most of the time.
| | 00:05 | And that's to go over to the Paintbrush tool,
or the B key for Brush, and select it.
| | 00:13 | And then, you can open up your Brushes panel,
and select a brush and paint.
| | 00:24 | Select another brush and paint.
So that's one way to work.
| | 00:26 | This is all variations of painting directly.
| | 00:29 | You can also choose a different brush
from the Control panel.
| | 00:35 | And I'm going to switch to the Selection tool
by holding the Cmd or the Ctrl
| | 00:40 | key and select and delete those.
| | 00:43 | My favorite way to switch between brushes
is to keep a couple of doodles of
| | 00:50 | brushes on the side or off the artboard, actually.
| | 00:53 | In this case, it's on the artboard,
so you have it in your Exercise File.
| | 00:58 | And I'm just going to select this brush, and
note that that's the one I am drawing with.
| | 01:04 | So I keep switching using the Cmd
or Ctrl key, switching to the Selection
| | 01:09 | tool, clicking on it, then moving
away from it, and drawing directly.
| | 01:14 | And it's very easy to switch between brushes.
| | 01:18 | Again, you can select it from anywhere,
it doesn't have to be off the artboard,
| | 01:22 | and that is your next path.
| | 01:24 | So there are lots of other things we're
going to be looking at in future movies.
| | 01:29 | But this is probably the quickest way,
and again, you can just go up to the
| | 01:33 | Control panel or to the Brushes panel at any time
and choose different brushes. So stay tuned!
| | 01:39 | There's a lot more to cover, but this is getting you started.
| | Collapse this transcript |
| Switching between brushes and layers easily, by selecting| 00:00 | Not all programs do it and not even
all Adobe programs do it, but I am really
| | 00:05 | grateful that Illustrator does it.
And I'll bet that you're wondering what it is.
| | 00:09 | So what the it is, is if I select any object,
let's say my blue shape with a
| | 00:17 | fairly thick brush, the next object
I create--so I'm going to select the
| | 00:21 | Paintbrush tool--is going to
be a kind of blue thick object.
| | 00:25 | And the same if I select a whisker which
is a thin calligraphic object, the next
| | 00:30 | one will be a thin calligraphic object and so on.
| | 00:33 | This is pretty amazing, and pretty cool. But wait!
| | 00:37 | It gets better.
| | 00:38 | I'm going to get those out of the way,
and I'm going to open the Layers panel.
| | 00:44 | You're going to see that not only
when I select this blue object, it will switch
| | 00:50 | to the blue object layer, which is Color details.
| | 00:54 | So if I select another object on the
Color details layer and I just make a
| | 01:01 | mark, it's not only going to be that
color and that brush, but on that layer.
| | 01:10 | Same thing with the whiskers, I'm going
to get the calligraphic brush, and it's
| | 01:14 | going to be on the Outline layer.
| | 01:18 | This blue eyeball on the Color details layer.
| | 01:21 | So as your paintings get more complex,
you'll find that this way of working
| | 01:25 | quickly organizes your image.
| | 01:27 | And as your images get more complex,
that's going to be more and more important.
| | 01:31 | So this is a great timesaver
and a great way to keep organized.
| | Collapse this transcript |
| Copying and pasting or dragging and dropping art with brushes| 00:00 | When you open a new document--and this
is a brand new one, default in CS6--these
| | 00:06 | are the brushes that are loaded here.
| | 00:08 | Depending on your version of Illustrator,
you may have a couple of different brushes here.
| | 00:12 | But what if I want to get more brushes in here?
| | 00:16 | One of the easy ways to get brushes
into a document is to actually copy and
| | 00:20 | paste objects containing those brushes into the document.
| | 00:25 | You can either copy and paste
or drag and drop, so we're going to try that.
| | 00:29 | So for instance, I could just say
what is this brush? Round Dark.
| | 00:34 | So I can just copy this object, go over
to my other document, and Cmd+V or
| | 00:41 | Ctrl+V, and I paste, and look, voila!
| | 00:44 | Round Dark appears.
| | 00:46 | I can even delete that object, Backspace
or Delete, and Round Dark remains.
| | 00:52 | And if I save this document, whatever
brushes are in that list when you save the
| | 00:58 | document are going to be the
ones that are available to you.
| | 01:01 | But you can also do multiples at a time.
| | 01:05 | So if you look at how many brushes I've got
in here, I can even enlarge it so you can see.
| | 01:12 | And if you Select All which is Cmd+A or Ctrl+A,
and then Copy, move to the
| | 01:20 | other document, and this is how
many brushes I have there.
| | 01:23 | And if I paste, there it is more
in this list even, because I had obviously
| | 01:28 | deleted some of the originals
from the previous document.
| | 01:32 | Now I'm just going to Delete or Backspace,
and again, all those brushes are there.
| | 01:36 | So I'm going to close this document.
| | 01:40 | I am going to start a new one,
which will have nothing special in it, and we're
| | 01:44 | just going to do a drag and drop
just to show you how to do that.
| | 01:48 | So I've got all these selected, and I'm
going to just drag them over the name
| | 01:52 | of the document which will bring it to the front,
and then I move into the artboard, and I drop.
| | 01:57 | I can again delete it and all of those are there.
| | 02:01 | Now instead of deleting it, I'm going to undo it.
If instead, you move them off to the side--
| | 02:11 | and you can put them wherever you want to--
| | 02:16 | you can move them totally off the artboard,
or change the size of your artboard.
| | 02:19 | Remember, if they are there, you can then
select them from here, and not have to
| | 02:24 | find them in the list.
| | 02:25 | So I hope this helps you to quickly
get some new brushes that you've created in
| | 02:31 | another document into the current
one that you're working on.
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|
|
2. Brush Settings and WorkspaceSetting the default Essentials workspace| 00:00 | If you've watched any of my movies so far,
you've noticed that my default screen
| | 00:06 | probably doesn't look like the default
screen that you started out with.
| | 00:10 | That's because there are some things
that I do to make it the way I like it.
| | 00:14 | If you know how to do all that stuff,
then don't worry about this.
| | 00:17 | I'm going to cover how I set up Preferences,
Workspace, change the user interface,
| | 00:21 | and change my cursor view for a lot of them.
| | 00:25 | So these are the things that I've done
to modify my working space, so I'm happier.
| | 00:30 | The first thing I do whenever I start
up Illustrator after it's had a
| | 00:35 | preference reset, or the first time
I'm starting it up, I always go in and
| | 00:40 | change the User Interface color
because I really don't like it dark.
| | 00:45 | Ah! I can breathe when it's lighter,
so I've made it lighter here.
| | 00:49 | Then this is the Essentials default workspace,
which right here I've got the Application Frame on.
| | 00:58 | If it's not on, then you can access workspaces
through this menu under the
| | 01:05 | Window menu, Workspace.
| | 01:06 | I'm going to select Sharon's Brushes.
| | 01:09 | And we've made them available to you if you want.
| | 01:12 | On the right-hand side of the screen,
watch what happens to my panels.
| | 01:15 | When I select the Workspace, ah!
| | 01:16 | It sets them up a little bit more the
way I like them with the arrangement
| | 01:21 | of panels, so that I can have multiple things
from each column of panels open at the same time.
| | 01:28 | So those are two of the things.
| | 01:32 | Another thing I do is I set up brushes.
| | 01:34 | This is the default way of seeing brushes
usually in most versions of installed Illustrator.
| | 01:40 | This is what they call the Thumbnail View.
| | 01:42 | And I prefer the List View, which gives
you these many thumbnails, and then
| | 01:46 | alongside next to the thumbnails, you
get the name of the brush, which you don't
| | 01:50 | see in the thumbnail unless you hover over it.
| | 01:54 | But it also tells you what kind of brush it is.
| | 01:57 | These are the icons for the calligraphic brushes,
these are the icons for the art brushes,
| | 02:01 | right here is a bristle brush,
and this is actually a pattern brush,
| | 02:05 | which we're not going to talk about here.
| | Collapse this transcript |
| Overview of the Paintbrush tool options| 00:00 | So all of these brushes that are within
the Brushes panel--whether it's
| | 00:03 | calligraphic or art brush, bristle brush,
pattern brush, even scatter brushes--
| | 00:08 | they're all controlled on a bigger level
by the options set in the Paintbrush tool.
| | 00:17 | And you set that setting, and it will last
until you change that setting.
| | 00:22 | And there's a number of reasons
why you might want to adjust it.
| | 00:25 | In order to make those adjustments,
you double-click on the Paintbrush tool,
| | 00:30 | and you have a set of settings, and we'll go
into details later in separate movies.
| | 00:34 | But just understand that all of these brushes
are controlled to some extent by
| | 00:40 | what options you set in Paintbrush Tool Options.
| | Collapse this transcript |
| Options close-up: Smooth or accurate strokes| 00:00 | All of the brushes in the Brushes panel
are controlled by the Paintbrush tool.
| | 00:06 | And that means, the quality of the mark
that you make in terms of how accurate
| | 00:12 | or smooth it is, is controlled by the
top two settings in the Paintbrush tool
| | 00:17 | options that I will show you.
| | 00:19 | So these top two settings control the quality of your mark.
| | 00:23 | And I will show you what I mean.
These are the default settings.
| | 00:26 | And if I make a bunch of loop de loops,
when I let go, this path is going to
| | 00:33 | adjust based on what those Paintbrush tool settings are.
| | 00:38 | So on three, I am going to let go; one, two, three.
| | 00:42 | And you see that it made some adjustments.
| | 00:44 | So I can change those settings, and it will change
how accurate or smooth those marks are.
| | 00:51 | So I am going to do what I do when
I am using a tablet, which is, I put the
| | 00:56 | fidelity all the way to the left.
| | 00:58 | You don't have to remember which settings
do what, because it's a very quick
| | 01:04 | little adjustment of sliders.
| | 01:06 | If it isn't what you want, you change it.
| | 01:09 | So for instance, if I forget if it was
all the way to the right or the left,
| | 01:13 | if I want this to be the most accurate,
and I make my little loop de loops,
| | 01:18 | when I let go on three;
| | 01:19 | one, two, three, oh!
| | 01:20 | No, that wasn't the setting.
| | 01:21 | So let's undo that.
| | 01:24 | Double-click again.
| | 01:25 | It must have been all the way to the left;
one, two, three.
| | 01:33 | That's pretty good.
| | 01:34 | That didn't change very much.
| | 01:35 | So I am going to select all and delete.
| | 01:40 | And we are going to look at why might
you want it smoother, and less accurate?
| | 01:45 | You might think I always want it to be accurate.
| | 01:48 | Well, maybe not all the way to the extreme,
but let's try somewhere in the middle.
| | 01:53 | Let's say you want to do something curlicue
and smooth, and all you have is a
| | 01:58 | mouse which I am using right now.
| | 02:01 | And that's a little jaggedy and a little rough.
| | 02:03 | So I want it to be smoothed out on three;
| | 02:06 | one, two, three. So that may or may
not be too smooth or not smooth enough.
| | 02:12 | And I only have to do is play with the
Fidelity, and the Smoothness, and see
| | 02:18 | what happens if I do that.
| | 02:22 | Is that more what I want, or what happens if I do this?
| | 02:27 | Is this more what I want?
| | 02:32 | I don't remember what the defaults
are at anytime, all you have to do is
| | 02:35 | hit the Reset button.
| | 02:36 | Now you are back to just a little bit smoother
than the marks you make.
| | 02:43 | I am going to select all, Cmd+A or Ctrl+A and delete.
| | 02:47 | And now I am going to switch to my tablet,
and we are going to see why I am
| | 02:52 | going to double-click my Paintbrush tool options.
| | 02:54 | I am going to make it the most accurate,
and the least smooth.
| | 02:58 | And now you are going to see--I am
going to switch to a little smaller tool
| | 03:02 | maybe--and you are going to see, if I do
something that's really intricate, I may
| | 03:06 | not want it to be smooth at all.
| | 03:08 | This isn't exactly intricate of course, it's just scribbly;
| | 03:12 | on three, one, two, three, pretty accurate.
| | 03:16 | You will notice that it will change a bit.
| | 03:19 | The more zoomed in you are, the more
accurate you can be; the less zoomed in,
| | 03:23 | the smoother it can be.
| | 03:24 | So these are settings that you're going
to want to adjust pretty regularly
| | 03:29 | depending on what you are doing,
and what tool you are using.
| | 03:32 | So with a mouse, you'll probably want
it a little bit smoother; and with the
| | 03:36 | tablet, you will probably want
it a little bit more accurate.
| | 03:39 | And if you ever want to reset,
you just click Reset to the defaults.
| | Collapse this transcript |
| Options close-up: What does Fill New Brushstrokes do?| 00:00 | The default style in Illustrator,
if you hit the D key at anytime,
| | 00:05 | is a white fill and black stroke.
| | 00:08 | So if I move into the Artboard with
the Paintbrush tool selected and I draw,
| | 00:17 | you will notice that instantly when I
let go, the fill has disappeared,
| | 00:22 | and what I've got is just a black stroke.
| | 00:28 | If I choose different colors here for
the fill and the stroke, and then I go
| | 00:34 | to my Brush tool again and I go to draw,
it does not do anything with the
| | 00:41 | fill except for switches it to None, and
I got the correct brush color here for the stroke.
| | 00:47 | So in the instance where you do want
to maintain that fill, this is when you
| | 00:53 | use the Paintbrush tool option,
which is Fill new brush strokes.
| | 00:56 | So I double-click the Paintbrush tool to enter options.
| | 00:59 | And this is the strange center option,
which is Fill new brush strokes.
| | 01:04 | It's off by default.
I am going to click it on.
| | 01:07 | And now, I am going to reset my Fill color
to blue, and the stroke is red.
| | 01:15 | And I will choose another brush for fun.
| | 01:19 | And now, I am going to make it an object.
| | 01:22 | And you will see that it now is filled.
| | 01:24 | So instead of zeroing out to None,
it maintains the fill.
| | 01:29 | It's not something you're going to use often,
but when you want it, it will be useful.
| | 01:33 | So now, if I go back to my default with the D key,
white fill, black stroke,
| | 01:38 | and I make an object, it is indeed filled.
| | 01:41 | Most of the times as I said you're going
to want to keep it to the default,
| | 01:45 | which is disabled, and if you are not sure,
you can always hit Reset.
| | 01:51 | At the default, white fill, black stroke, it ignores the fill.
| | Collapse this transcript |
| Options close-up: Controlling whether you're redrawing or adding paths| 00:00 | Double-clicking the Paintbrush tool,
we get the Paintbrush tool options.
| | 00:05 | And we've looked in the previous movies
at the Accuracy versus Smoothness
| | 00:10 | settings of Tolerances, and what 'Fill new
brush strokes' does under the center option.
| | 00:17 | This one is going to be looking at what
the Keep Selected and Edit Selected Paths
| | 00:21 | and the Within Pixels do.
| | 00:24 | So the default is the Keep Selected
and Edit Selected Paths.
| | 00:29 | Keep Selected is off, and Edit Selected Paths
is on within 12 pixels.
| | 00:34 | So what that means is when I draw a mark
with the Paintbrush tool, it becomes
| | 00:41 | deselected instantly when I am done.
| | 00:46 | But if I select a mark and I am within
12 pixels of that mark, when I draw again,
| | 00:53 | I am redrawing that mark versus
outside of 12 pixels drawing a new mark.
| | 00:58 | So again, if I want to redraw it, I just
select it, I am holding the Cmd or
| | 01:04 | Ctrl key to get the Selection tool.
| | 01:07 | If it's deselected, I am going to
be drawing a new one, and if it's greater than
| | 01:13 | 12 pixels away, it is going to be drawing a new one.
| | 01:21 | Why might you want Keep Selected on?
| | 01:23 | Let's look at that.
| | 01:24 | I am going to select all;
| | 01:27 | Cmd+A, Ctrl+A and then Delete.
| | 01:29 | If I am drawing a very specific mark,
I am going to switch to my Graphics
| | 01:34 | tablet and Pen here.
| | 01:35 | You're going to have to trust me on that.
| | 01:38 | And I am going to draw a very specific curve let's say.
| | 01:42 | But I want to make sure I get it just right. Oops!
| | 01:47 | If it ever redraws improperly,
| | 01:49 | Undo, Cmd+Z, Ctrl+Z. Sometimes,
it redraws properly and sometimes it just
| | 01:55 | makes a mess of your work.
| | 01:57 | So you've got to always have your hands
hovering over the Cmd and Z at any one time.
| | 02:06 | So if you want to continually redraw
your curves or your marks because you want
| | 02:13 | to make sure you get them right, then you
want to keep selected on. However. Oops!
| | 02:19 | See now that's the mess up part, undo.
| | 02:20 | I just want to change that curve. There we go!
| | 02:23 | Here's for instance why you don't
want to keep that on all the time.
| | 02:29 | If I make a mark, and then
outside of those 12 pixels, I am fine.
| | 02:34 | But let's say I want to make hash
marks close to each other. Oops!
| | 02:39 | I am redrawing them by accident.
| | 02:40 | So in that case, I want to make
sure that I turn off Keep Selected.
| | 02:49 | You could alternatively try to adjust the range.
| | 02:57 | Let's see if I can draw the hash marks.
There you go!
| | 03:00 | So that allowed me to draw closer together,
meaning it would only redraw if I am really close.
| | 03:08 | But more often than not, it's best just to
Keep Selected off and Edit Selected Paths on.
| | Collapse this transcript |
| Zooming in for control and zooming out to make gestures smooth| 00:01 | So in addition to setting your Paintbrush Tool Options
for maximum accuracy or control,
| | 00:07 | I've set it all the way to the left on Tolerances.
| | 00:11 | And there is a previous movie that
explains that for the most control.
| | 00:14 | Whether that's the case or not, from
this zoom level, I have some sample
| | 00:18 | brushes here on the left.
| | 00:20 | And if I select one, that's the one I am drawing with.
| | 00:26 | And there are other movies that talk about that as well.
| | 00:28 | But no matter how much I want to be
accurate from this zoom level,
| | 00:34 | I just am not, and I will zoom in.
| | 00:38 | And there are a million ways to zoom.
| | 00:40 | There is no right way, no wrong way.
| | 00:42 | I am holding the spacebar key and the Cmd key
or Ctrl key, and I am going to zoom in.
| | 00:47 | And notice, this wasn't anywhere near accurate.
| | 00:51 | So I am going to just delete it
by undoing, and I am going to draw again
| | 00:58 | at this zoom level.
| | 00:59 | And you will see, I can be a lot
more specific and accurate.
| | 01:05 | And if I need to redraw it, I just select it
holding down the Cmd key or
| | 01:09 | Ctrl key, and redraw that mark.
| | 01:12 | So in addition to the Paintbrush Tool Options,
the zoom level makes a huge
| | 01:18 | difference as to Smoothness or Accuracy.
| | 01:24 | So if I want to be really smooth and broad,
| | 01:34 | I probably want to be smoother
on Paintbrush Tool Options as well.
| | 01:40 | And I want to be able to draw smoothly with the brushes.
| | 01:46 | So you can play with that, play with zooming in and out.
| | 01:49 | Obviously, you don't have to use my template.
| | 01:51 | This is Lady Liberty here.
| | 01:53 | But you feel free to play with anything
and play with your marks,
| | 01:57 | and experiment with how adjusting
Paintbrush Tool Options and zoom level
| | 02:02 | also affects your accuracy versus smoothness.
| | Collapse this transcript |
| Selecting and smoothing a brushed path as you work| 00:00 | Here we are again with the Lady Liberty file.
I'm going to make sure that my
| | 00:05 | Paintbrush tool is the maximum in Fidelity,
and looked at that before
| | 00:12 | and Edit Selected Paths is on.
| | 00:14 | Make sure you go to the Paintbrush
Tool Options movie if you want more
| | 00:18 | details on what I just did.
| | 00:20 | And I'm going to select a delicate brush
and I'm going to zoom in and I am
| | 00:27 | going draw some drapery.
| | 00:30 | Let me go back to the brush, its maximum
accuracy because we want to look right.
| | 00:40 | We could be using track pad or mouse.
I am just showing you typically what I'll
| | 00:45 | do is if it's way off I'll do it again.
If it's close I'll keep it because we
| | 00:49 | can always make adjustments. I'll do one more.
| | 00:55 | We have already seen how you can redraw with
those settings properly, you can redraw a path.
| | 01:01 | What about if it's just not quite right?
You don't want to actually redraw.
| | 01:06 | You just want to smooth it perhaps.
| | 01:07 | So I am going to zoom in on an area
that's probably too raggy.
| | 01:13 | So right up here that's not quite right.
| | 01:16 | And from the Paintbrush tool we know
that it if you hold down the Cmd key
| | 01:22 | you get the Selection tool.
We can redraw with it as we just saw.
| | 01:27 | But what if you want to smooth it out?
What if it's too jaggy?
| | 01:33 | Instead of the Cmd key or Ctrl key,
if you hold down the Opt or Alt key,
| | 01:39 | you can actually remove points and make it smoother.
| | 01:42 | Now how much smoother it gets
is determined by the Smooth tool.
| | 01:49 | And the only time you're actually
going to probably go and get the tool,
| | 01:53 | because it's such an easy access
from the Opt or Alt key,
| | 01:56 | is when you want to set
the parameters of the settings.
| | 02:00 | So this does one thing at this
setting but let's go check it out.
| | 02:04 | So where is the Smooth tool, because
I just don't see it in the panel?
| | 02:08 | It's hiding under the Pencil tool.
| | 02:10 | So I am going to grab the Smooth tool.
| | 02:12 | Now I can double-click the tool to access Options.
And you'll notice, if you saw
| | 02:19 | the Paintbrush Tool Options movie,
this is the same settings as the top Tolerances
| | 02:24 | is part of the Paintbrush Tool Options.
| | 02:27 | So it does the same thing, if it's similar concept.
| | 02:33 | So if I swing the Tolerance settings all
the way to the left and I go to Smooth it,
| | 02:39 | it doesn't do a heck of a lot. It's very
subtle and very incremental steps.
| | 02:45 | It wants to keep accuracy for me.
| | 02:46 | So instead, let's try to make it a bit smoother
or let's actually overstate our case here.
| | 02:53 | And this case we are going to
make it quite a bit smoother and see
| | 02:58 | what happens in this area. Ah!
| | 03:01 | Well, that's not nearly what I want to do.
So I am going to undo again.
| | 03:05 | All I have to do is fiddle with these things
that I have been able to decipher.
| | 03:12 | I can't really tell exactly where everything
is supposed to go there except for,
| | 03:17 | for instance this is a case in which it seems
to be smoothing in a way that I feel like
| | 03:23 | I still have control, but it's actually
making an impact in terms of the smoothness.
| | 03:31 | If I wanted to really make this sweeping curve,
see instead of doing this incrementally,
| | 03:36 | I could actually see what happens
if I increase the Smoothness even more.
| | 03:42 | What happens if I go like this?
There you go.
| | 03:44 | So as I said before, when we were
looking at Paintbrush Tool Options,
| | 03:49 | there probably is a science to this. But I
approach it as more like, is this working?
| | 03:55 | Is this not working? And it's very simple
just to go in and make adjustments.
| | 03:59 | Make sure that it's what you want.
| | 04:01 | So just remember, in order for the Smooth
tool to work, the Path has to be selected first.
| | 04:07 | If it's not selected first, it won't be doing anything.
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| Exploring ways to scale brushstrokes| 00:00 | Here we are with two versions
of the same image that I created.
| | 00:04 | I used a black Calligraphic Brush and a
Gray Art brush and I just need to scale it.
| | 00:11 | So I am going to scale the one on
the right. I am going to select it with
| | 00:16 | the Selection tool and I'm going to
grab the Bounding box corner--holding
| | 00:19 | down my Shift key to keep the proportion
intact--and I am going to let go and what a mess.
| | 00:27 | It thickened up everything, it messed
up my brushes, I am not happy at all.
| | 00:32 | So I am going to undo, Cmd+Z, Ctrl+Z.
And in order for the brushes to scale
| | 00:38 | properly, you need to set a setting.
They're a bunch of different places in
| | 00:42 | Illustrator that toggles this setting
on and off, and it toggles it off in all
| | 00:47 | of the instances when you do it
in any one of these places.
| | 00:50 | So the object does not have to be
selected, it's an application-wide
| | 00:56 | change when you make it.
| | 00:57 | So I like often, making this change from
this button up at the top of the Control
| | 01:03 | panel on the right side that's called
Transform, and it gives you a little mini
| | 01:09 | version of the Transform panel.
| | 01:10 | It will only be there if you have something
selected because you can't transform
| | 01:15 | if nothing is selected.
| | 01:16 | So when I open this panel, and again
this is mini version of the Transform panel,
| | 01:22 | which you can get from the Window menu.
| | 01:24 | You see this option, it says,
Scale Strokes & Effects is disabled.
| | 01:29 | In order to scale properly this needs to be enabled.
| | 01:32 | So I am going to enable it and now I am
going to go back, and now I am going to
| | 01:38 | scale it holding down my Shift key and Voila!
| | 01:43 | It works perfectly.
| | 01:44 | Now there are times when you're not going
to want to scale properly, and here is
| | 01:50 | for instance; what if I wanted to thin
down all of the strokes in this image.
| | 01:57 | Well, I would make sure that things
are enabled when I scale it down and then
| | 02:03 | disabled when I scale it up.
| | 02:05 | I could of course do it again in the Transform panel
but here's one more place I can do it.
| | 02:10 | Let's say if I want to by 50%
reduce the thickness of my brushes.
| | 02:14 | I can Scale it down by 50%, and look here's
another place where we have that option.
| | 02:20 | It is still enabled, because we enabled it
in the Transform panel.
| | 02:24 | I'm going to scale it down 50%, and now
we are going to is scale it back up so
| | 02:30 | it has to be 200% to restore it to the
original, not 2000, and we are going to
| | 02:35 | disable it, and now I have reduced
the brush strokes by 50% numerically.
| | 02:42 | So there are lots of different places
in Illustrator where you can make
| | 02:45 | that adjustment, the toggle holds.
Now notice there's no Transform in the
| | 02:51 | Control panel, I have to select something
for it to be available and note
| | 02:56 | it is deselected here.
| | 02:58 | So it's a toggle that's application-wide
and sometimes you will want it off and
| | 03:03 | sometimes you will want it on.
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| Painting and drawing with a Wacom tablet| 00:00 | So if you are using Illustrator brushes
or Photoshop brushes or actually
| | 00:04 | anything in Photoshop, it's really important
that you invest in a graphics tablet.
| | 00:09 | And it's not just that you'll have a lot more
control when you're working with a tablet,
| | 00:14 | but also that you are going
to access another level of power and
| | 00:18 | subtlety with the Drawing tools themselves.
| | 00:20 | The brushes just take advantage of the tablet.
| | 00:23 | So let's take a look at that.
| | 00:25 | So here is a drawing that I did in about
25-30 minutes using the tablet and
| | 00:32 | Illustrator's calligraphic brush.
| | 00:34 | I am going to open the layers and
I'm going to show you what I did with a
| | 00:41 | mouse in about a minute.
| | 00:45 | So I'll do a little more mouse drawing for you.
| | 00:48 | So I am going to just select a mark
and I am going to show the Template,
| | 00:56 | which is a shot of San Francisco's Alamo Square,
and I'm going to show you just a
| | 01:01 | little bit of how I would just really trace this
using mouse and I am struggling,
| | 01:09 | and there is the movie that we've included
that will help you to
| | 01:14 | maximize control, if you are using
a mouse or a track pad.
| | 01:19 | But it still doesn't really make up for
the fact that--I can undo of course--but
| | 01:26 | that I'm struggling to do it as I go.
| | 01:31 | So let's hide the template for a second.
I'd undo that mark.
| | 01:36 | We would still hide the template, and
this is what I've done with the mouse
| | 01:41 | and here's the drawing.
| | 01:42 | So it's a whole other level, not only of detail,
but the ease of doing it.
| | 01:49 | So the key is, if you are going to use a tablet,
and of course I think you should use a tablet,
| | 01:53 | you have to make sure that the tablet
is always square to your body.
| | 01:58 | It doesn't matter if you rotate relative to the monitor.
If the tablet is square to your body,
| | 02:05 | you are going to be oriented fine
when you bring the pen to the tablet.
| | 02:08 | And you're going to hover over the tablet.
It's going to take a learning curve.
| | 02:12 | Just bear with it, because once
you get it, it will change your life.
| | 02:17 | So just be patient, understand it will take a while.
| | 02:22 | So for instance, I am just going to draw
a little bit here, just to give you an idea
| | 02:29 | as to how much more quickly I can function here.
| | 02:37 | I think you can see, just relative to the mouse,
it's kind of absurdly easier.
| | 02:45 | I just wanted to show you a little
bit about the kinds of extra power you
| | 02:50 | have with the bristle brush and the blob brush.
| | 02:54 | If you are drawing with the mouse,
and by the way you notice that I'm still
| | 02:58 | using my keyboard and I am still using
the mouse even though I have the tablet.
| | 03:02 | It's not that it's one or the other,
it's adding the tablet into your workflow.
| | 03:06 | So if I select this mark and draw with
the mouse, the mark is very consistent
| | 03:16 | from one end of it to the other.
| | 03:18 | If I draw with the tablet, the pen gives me
all this feedback as to what the
| | 03:25 | cursor is going to look like if I touch down.
| | 03:28 | And the bearing, tilt, pressure, rotation, of my
stylus is going to change what I get as a mark.
| | 03:39 | So if I press lightly and rotate and press hard
and tilt and change the bearing,
| | 03:49 | I can make a mark with a lot more nuance.
| | 03:51 | So if you don't yet have a tablet,
there's still plenty to learn from this course.
| | 03:56 | I even cover tips for how to maximize control
if you've a mouse or a track pad.
| | 04:01 | But I really hope this has inspired you
to take your work to another level,
| | 04:05 | and if you don't have one yet, get yourself a tablet.
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| Painting and drawing with a Cintiq tablet| 00:00 | So we have already looked at the difference
between making marks with a mouse
| | 00:04 | versus a regular graphics tablet.
| | 00:06 | This time what we are going to do is compare
the kind of marks that you can make
| | 00:11 | with this Wacom Cintiq versus a regular tablet.
| | 00:14 | And to do that I'm going to show you
first the drawing that I made with a
| | 00:18 | regular graphics tablet using this iconic view
of San Francisco's Alamo Square as a template.
| | 00:24 | And so this is a gestural drawing, I wasn't trying
to be exacting, I was trying to be gestural.
| | 00:29 | But this is about the level of detail that I was able
| | 00:32 | to easily accomplish using the tablet.
| | 00:34 | And let's look at the difference
between that and what I could with Cintiq.
| | 00:41 | So it's a lot more control and a lot more detail.
| | 00:44 | Do it again before and after, before and after.
| | 00:50 | So I am going to do a little bit of drawing
for you so you can see what it's like.
| | 00:55 | So I am drawing directly onto a flat
screen monitor, directly onto it.
| | 01:04 | That way I can actually get in, I am still
trying to be gestural, I'm not trying to be
| | 01:08 | exacting or technical, of course I could if I wanted to.
| | 01:11 | But this level of detail is just impossible
to accomplish with a regular tablet.
| | 01:18 | So I highly recommend it, if that's what you're trying to do.
| | 01:22 | Let me just show you one more example of it.
| | 01:25 | This is using the Blob brush, here is
the template here, so using the Blob brush.
| | 01:37 | And I can really get in there.
You can use the eraser just like you can
| | 01:48 | with a regular tablet by just flipping around and
you can use the Bracket keys on the keyboard.
| | 01:53 | I always keep a hand on the keyboard.
| | 01:56 | So I've easy access to the Ctrl or
Cmd key and the Opt or Alt key.
| | 02:06 | You can really accomplish an amazing level of detail.
| | 02:12 | Let me hide that template so you can see it.
| | 02:19 | And so you can see that the Cintiq
gives you an amazing amount of control,
| | 02:24 | and you are able to use that control
with all of your brushes.
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| Setting and preserving pressure-sensitive settings| 00:00 | When you open a new document in Illustrator
you are going to have one pressure-
| | 00:05 | sensitive brush or couple of them, set ready
to go. Those are the bristle brushes,
| | 00:10 | this is the icon for the bristle brush where it says Mop.
| | 00:13 | And the amazing thing about the pressure sensitivity--
and I am using a tablet here--is that,
| | 00:19 | depending on how you're holding your pen,
| | 00:21 | you can vary the brush so significantly--
and how hard you press--that there is
| | 00:29 | a really very little need to modify
this brush, especially because Adobe
| | 00:34 | will give you lots of different, additional
brushes. In other movies we'll cover where
| | 00:42 | to get those other brushes and such.
| | 00:44 | So you'll see that all of these modifications
were done to this one brush,
| | 00:49 | and there is really little need
for me to go in and modify it.
| | 00:54 | I am going to select all and delete.
| | 00:58 | However the calligraphic brushes out of
the box, or installed with Illustrator
| | 01:05 | are not pressure-sensitive.
| | 01:06 | So I'm pressing much harder
and nothing is happening here.
| | 01:11 | So you will want to modify those
and the artbrushes. Let's look how to do that.
| | 01:18 | Let's go over into the second document.
Here I have already a couple of
| | 01:22 | pressure versions of brushes.
| | 01:25 | So for instance here's 3 pt. Oval brush.
| | 01:32 | Press it--nothing is happening--select all and delete.
| | 01:36 | Let's do the 3.pt Oval with pressure, and
here I am exerting more pressure, and here it's lighter.
| | 01:44 | So that's a lot different, it's a
lot more variability in pressure.
| | 01:48 | So the way I did that is, you just would take
any brush that you want add Pressure to
| | 01:54 | and I duplicate it. I drag it to the New Brush icon
| | 02:00 | Then you take that duplicate, move it near the
other one so they group together,
| | 02:05 | just for keeping things in order.
| | 02:07 | And then double-click on the Brush icon.
I am going to now call this Pressure
| | 02:13 | There's already Pressure one,
so I'll call this Pressure 2.
| | 02:17 | Where it says Fixed, Random and Fixed,
this is where I can modify to be Pressure,
| | 02:23 | let say the angle will be the tilt of the pen.
| | 02:28 | You can play with this and see which modification
works for you in each circumstance.
| | 02:35 | I am going to do Pressure for this.
So these are all being affected by my brush now.
| | 02:41 | I want the size variation to be 3 pts
because if it had no variation then the
| | 02:49 | Pressure wouldn't do anything.
| | 02:50 | So the variation is telling it how much to vary
and the tilt so let's try that. See what's happens.
| | 03:06 | I can still do some modifications on-the-fly.
I just change the width--thicker and thicker--
| | 03:17 | with modifications of just my keyboard.
| | 03:20 | We will go into that in another movie.
| | 03:23 | So you still have a lot of variation within it
as long as you have Pressure enabled.
| | 03:27 | In a similar way, you can duplicate
the Artbrushes and then go in and
| | 03:35 | double-click it to modify it and set Pressure.
| | 03:38 | We are going to details about that when
we get into the various different brushes.
| | 03:42 | But just so you know, if there is a brush
that exists and you want to add pressure
| | 03:47 | capabilities to it, duplicate it, group
it together, double-click on the icon,
| | 03:52 | make the modifications, put pressure in
the name and then you are ready to go.
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| Maximizing control without a tablet| 00:00 | If you don't have a graphics tablet or
you are too lazy to plug it in, there are
| | 00:07 | some things you can do to make
your life a little less frustrating.
| | 00:10 | They used to say in the early days of
the Mac that drawing with a mouse is like
| | 00:14 | drawing with a bar of soap, and it kind of is.
| | 00:17 | So I am going to give you a couple of tips
for how to make it a little less painful.
| | 00:22 | If you try to draw and you are having
trouble controlling it well, one thing
| | 00:26 | you can do is zoom in.
| | 00:28 | I am just holding down the
spacebar+Cmd or spacebar+Ctrl.
| | 00:34 | And if you zoom in, if you leave your
Paintbrush tool Options in the default settings--
| | 00:42 | we went over Paintbrush tool Options
in a previous movie--then your lack of
| | 00:47 | control is a little less of a problem
when you zoom in, because the smoothness
| | 00:53 | can take care of the jitteriness.
| | 01:00 | But you are zoomed in enough to be
able to have that little extra control.
| | 01:04 | And if you are way off, of course
you can undo it and just redo it again.
| | 01:10 | So I am drawing with my bar of soap here,
I mean mouse, and it should work about
| | 01:16 | the same on the Trackpad.
| | 01:18 | So another thing you can do besides
zooming in and zooming out, if you want
| | 01:23 | something to be more flowy, you may
want to keep it zoomed out, and if you want
| | 01:30 | something more detailed to zoom in.
| | 01:33 | The other thing you are not getting
is variability of your mark.
| | 01:37 | It's all kind of the same weight.
| | 01:38 | So one thing you can do is increase
Randomness, and because, you don't have
| | 01:44 | pressure, tilt, rotation, bearing.
| | 01:47 | So in order to do that you're going to
want to duplicate your brush,
| | 01:53 | drag it over the New Brush icon.
| | 01:56 | You want to group them together--things
that are similarly sized, you can find
| | 01:59 | them in the future--and then double-click
the icon to open the Calligraphic Brush
| | 02:05 | Options or the Art Brush Options,
whichever brush you duplicated.
| | 02:10 | And I am going to call this variable,
just so I know that's what I am doing here.
| | 02:16 | And what the three means is the maximum
here but, I am going to change it then
| | 02:20 | to Random and I am going to make
sure that variable goes to 3 point.
| | 02:25 | And instead of Fixed for Angle, let's
make the angle, we're going to do a little
| | 02:33 | randomness but we just only want a
slight amount of variation there.
| | 02:36 | And for the Roundness, let's do a
variation of maybe 50%, that's the whole time.
| | 02:47 | And so let's see what happens if I try
to make a mark with this new variable.
| | 02:56 | It's little more a variable than the other one.
| | 02:58 | Let's see what happens. What are the
parameters that really make a difference?
| | 03:02 | Let's make another duplicate of
it because that might be useful.
| | 03:05 | I am going to make this one at 5.1.
| | 03:08 | So I am going to group it up here,
we'll make it 5 point, and the Variable 5
| | 03:14 | point, and we'll call this 5 point.
| | 03:16 | Let's see what happens if I try to make a mark.
| | 03:27 | And you can see you are starting to get
just a little more variation of that mark.
| | 03:32 | It doesn't look quite so uniform
as this mark over here.
| | 03:37 | And the same thing, we're going to
go into in more detail, the different
| | 03:41 | parameters and what they do. You're
going to do the same thing to add randomness
| | 03:46 | to the art brushes as well, to make it
compensate just a little bit for not
| | 03:51 | having pressure on the tablet.
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| Safely experimenting: Duplicating and customizing brushes| 00:01 | So what you see here are a bunch of
different brushes and a couple of variants
| | 00:06 | that I created by dragging a brush to
the New Brush icon, making couple of
| | 00:11 | changes and saving it like
adding some pressure to it.
| | 00:14 | But we've also got here some variants of a brush.
| | 00:19 | So for instance, this is a round brush that's pink.
| | 00:25 | Some of these brushes are the same brush
with different colors, different sizes,
| | 00:30 | even though they are the identical brush.
| | 00:32 | So this is Stippler. I can do Stippler.
| | 00:37 | I can increase the size of Stippler.
| | 00:42 | I can change the color of Stippler, change the opacity.
| | 00:50 | Now let's say this brush here is one that I want to save.
| | 00:56 | So one option is, I can just keep it on a page
or off my page and then every
| | 01:06 | time I select that brush, I will be
able to draw with it somewhere else.
| | 01:09 | Remember, we can switch brushes easily
by just selecting a particular brush.
| | 01:18 | So that's easy, that's one thing I can do.
| | 01:20 | Another thing I can do is to save
this particular brush, which has a lot of
| | 01:26 | parameters that I changed; color,
opacity, size. I am not exactly sure what
| | 01:32 | any of the those things are. So going
in and making a brush from scratch with
| | 01:36 | those parameters is a little tough.
| | 01:39 | So an easy thing that I can do is go
into what's called the Graphic Styles
| | 01:43 | panel, and if it isn't available to you,
you can find it under the Window menu.
| | 01:49 | And for the Graphic Styles panel,
if I hold Option when I click on New
| | 01:54 | Graphic Style, I get to name it so I can call it,
pink transparent thick (pink transp thick).
| | 02:06 | And now, if I want to switch to that brush,
I merely have to go here and I have it all ready.
| | 02:15 | So again, if this is a brush I want to save,
I hold Option key, click New Graphic Style, Green thick.
| | 02:29 | Here is my pink, here is my green.
| | 02:33 | So without having to go and figure out
exactly what are the parameters that made
| | 02:38 | up a brush, by a creating a new brush,
I can easily save it for quick reuse.
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|
|
3. Calligraphic BrushesUnderstanding the Calligraphic Brush| 00:00 | I love Calligraphic brushes because
using Calligraphic brushes I can draw and
| | 00:05 | paint really intuitively and yet have
incredible amount of variability compared
| | 00:12 | to traditional media.
| | 00:14 | I can continue to make adjustments and
deletions and changes from one brush to
| | 00:24 | another, change the weights and the
opacity and the color, and it can look like
| | 00:36 | pen and ink and wash and
watercolor and there is so much to it.
| | 00:40 | The bones of it, if you are familiar
with Illustrator, are just plain old vectors
| | 00:47 | and so you can use all your
traditional vector tools if you want to.
| | 00:50 | But if you don't, if you just want
to deal with in an intuitive painterly
| | 00:55 | graphic way, you can, and that's
what's really, really wonderful and powerful
| | 01:01 | about Calligraphic brushes.
| | 01:04 | And I hope you'll continue to stay with me a
nd see what kinds of exciting and
| | 01:09 | wonderful things we can do.
| | Collapse this transcript |
| Drawing with calligraphic brushes| 00:00 | Now it's time for you to get drawing
directly with the Calligraphic brush.
| | 00:05 | And there are number of ways you can do it.
| | 00:08 | You can select an existing brush which
I have given you a squiggle of on the
| | 00:13 | left and just start drawing, or you
can select a brush from the Brushes panel.
| | 00:18 | Either way, just get going.
| | 00:21 | I have given you this iconic view of
Alamo Square in San Francisco to use as a
| | 00:28 | template, but feel free to
just hide it and doodle away.
| | 00:32 | And the key here is for you to get used
to some of the easy changes that you can
| | 00:39 | make in Illustrator with Calligraphic brushes.
| | 00:42 | When the brush is selected and you
have the Brush tool selected, you can
| | 00:47 | simply use Bracket keys up and down
like you can in Photoshop to change the
| | 00:53 | width of the brush.
| | 00:55 | But unlike Photoshop, you can do it
even after you've made the mark, and that
| | 01:00 | sets the brush parameter for the next mark.
| | 01:04 | So if I press the Bracket key down a
couple of times, before I make the next
| | 01:09 | mark--I am doing it again--it'll make
it progressively smaller, whichever one I
| | 01:13 | select, sets the tone for the
next mark that I am going to make.
| | 01:22 | Opacity, it would be nice to be able
to tell you, you just can hit the number
| | 01:27 | keys, to change Opacity. You
cannot with the Calligraphic Brush tool.
| | 01:31 | You must use manual Opacity adjustments.
| | 01:39 | You can access it here in the
Control panel or from the Transparency or
| | 01:44 | Appearance panels, which you
can get under the Window menu.
| | 01:48 | And so just experiment with playing
with different brushes and what happens if
| | 01:54 | you select it. Adjust the Brackets,
adjust the Opacity, and just get a feel
| | 02:02 | for what it's like to draw and paint.
| | 02:06 | I've given you my little quick Alamo Square
drawing and play away and have fun.
| | Collapse this transcript |
| Creating an ink-wash effect| 00:00 | So we've already seen how we can use
the calligraphic brush to draw in very
| | 00:05 | realistic ink marks.
| | 00:06 | And I actually didn't draw this in black;
| | 00:10 | I actually drew it in this Transparent wash.
| | 00:15 | And it's very easy to do.
| | 00:18 | All you need to do when you are
initially painting with your brush is set an
| | 00:25 | Opacity. And you can set it in a
number of different places; up here in the
| | 00:30 | Control panel, and the Appearance
panel, and the Transparency panel.
| | 00:36 | But probably easiest is to get it up here.
| | 00:39 | And you can add blending modes if you wish.
| | 00:44 | This is just set to Normal.
| | 00:48 | And I just drew this with just a few
different pressure-sensitive marks.
| | 00:55 | And just by selecting, again the
previous, which I keep mentioning. You just
| | 00:59 | select the previous kind of brush, and
that's the one that you get to use next.
| | 01:05 | The nice thing is, if you use a color
as a wash that is a global swatch--so
| | 01:17 | this is, if you enable this option in
Swatch Options, then it allows you to make
| | 01:28 | changes to all appearances of that swatch.
| | 01:33 | So all I have to do is click Preview.
| | 01:37 | I like to experiment like this in HSB
mode which is Hue, Saturation, and Brightness.
| | 01:45 | You can simply just make adjustments,
and without the object selected and
| | 01:58 | you can get something else that you might like a lot.
| | 02:02 | But notice that what I did was, I am
modifying my original sepia tone.
| | 02:09 | I don't want to do that. I want to
have this as an option in addition.
| | 02:13 | So I should have duplicated it
before I came in here, but I didn't.
| | 02:18 | So what I would do is to write down
these values in Hue, Saturation, and
| | 02:25 | Brightness. Just make notes of them, and then cancel.
| | 02:30 | Now you can duplicate the original swatch,
name this Indigo, and enter those swatch values.
| | 02:41 | Turns out I wasn't that sure that, that
was exactly what I wanted, so I am just
| | 02:46 | going to mess with it.
| | 02:47 | If you don't see what you want,
you don't have Preview on, probably.
| | 02:50 | But look, it's not doing anything.
Do you know why?
| | 02:56 | Because I didn't select it in this case
and reassign it to the new color.
| | 03:00 | So I am going to say Cancel one more time.
| | 03:02 | And this time I am going to select my objects,
assign it to the second swatch.
| | 03:09 | Now I can keep it selected or not,
doesn't matter, because it's global.
| | 03:13 | Now I can go in and say Indigo, do my HSB,
and make that adjustment with Preview on.
| | 03:24 | So here is the thing.
It's so easy to correct yourself.
| | 03:28 | If you make a mistake, don't worry
about memorizing, just understand that it's
| | 03:32 | possible, it's doable.
| | 03:33 | What was the step you missed, and go back
and back-track, and make sure it's right.
| | 03:38 | Now I can say OK, and now the objects
do have to be selected to change from
| | 03:42 | one swatch to another.
| | 03:46 | But once you've set up your swatches,
you can then go in and make further adjustments.
| | 03:52 | And so you can see, going from just a
simple ink drawing to a wash drawing is
| | 04:03 | just a couple of steps.
| | 04:04 | So there are all sorts of ways that
you can use the calligraphic brush.
| | 04:09 | Start playing and experimenting and
adjust the Opacity, change the Blending
| | 04:13 | mode, see what happens.
| | 04:14 | And if you think wash is fun, stay tuned
to the next movie where we're going to
| | 04:19 | start to add more colors and create
a more watercolor-like experience.
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| Creating transparent washes and watercolor effects| 00:01 | So by default, when you make a mark
with a Calligraphic Brush tool, you get
| | 00:05 | something that looks kind of like an
ink pen. Even though it's much more
| | 00:10 | editable than an ink pen, it
still looks very much like an ink pen.
| | 00:13 | But one of the things that I love about
the Calligraphic Brush is that it can
| | 00:19 | also really look like water media.
| | 00:21 | The way it works is if you select
a brush, the style of your next brush
| | 00:28 | will be styled the same.
| | 00:29 | So for instance, if I want to make a stem,
it's styled the same as the previous path.
| | 00:36 | But once it's created, I can modify it.
| | 00:40 | I am pressing the bracket keys as long
as the path is selected, or as long as
| | 00:45 | your Paintbrush tool is selected,
| | 00:47 | you can adjust the bracket keys to
modify the current brush if it's selected,
| | 00:54 | or, for instance, I am going to deselect it.
| | 00:56 | I am going to thicken up that brushstroke again
for the next stroke, and
| | 01:01 | let's see what happens. There we go!
| | 01:03 | So I thickened it for the next one.
I will make it even thicker for the next one.
| | 01:08 | So if you have a path selected, you
are affecting that path, and if you don't
| | 01:13 | have anything selected, you are affecting the next path.
| | 01:18 | And what makes it water media-like is
that you can layer these,
| | 01:28 | and adjust the opacity, the color, add a flower.
| | 01:40 | So obviously, as it becomes more complex,
there is a need for you to become more organized.
| | 01:47 | And if you are not comfortable and familiar
with layers, you should tune into
| | 01:51 | the little bit about layers lesson.
| | 01:54 | But this is a really exciting and creative way
for you to work with Calligraphic Brushes.
| | 02:01 | And remember, unlike traditional media,
it's infinitely editable.
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| Creating and organizing complex transparent layers| 00:00 | As your images become more complex,
it's going to be more and more important
| | 00:04 | that you create layers in order to be
able to take advantage of what's most
| | 00:10 | powerful about painting in Illustrator,
and that's that each of these brush
| | 00:16 | marks are separate individual marks
that you can vary any time.
| | 00:21 | So as your image develops, you're going
to want to develop a layer structure to
| | 00:26 | help keep it in order.
| | 00:28 | So this is an early stage where I just
set a plant and here's a little bit later
| | 00:33 | stage where I've developed the pot
and the plant is now within the pot.
| | 00:37 | So there is a layer that I created at the top,
and double-clicking it, I'll call it Pot.
| | 00:46 | And if you're familiar with making layers
just hold tight for a second, because
| | 00:51 | what I'm showing you may or may not know.
Then within the pot I would, for
| | 00:56 | instance, create a plant layer, and so on.
| | 01:01 | And so if you've got an object on a layer
that you want to move to a different
| | 01:06 | layer, you can either drag it--I'm
going to undo that--or if you hold down your
| | 01:12 | Option key or Alt key when you drag it
it makes a copy of it. By doing
| | 01:18 | this you're able to, not only separate
out your objects, but it helps organize
| | 01:24 | the image as you go.
| | 01:25 | So I'm going to delete this fabricated layer on top
and I'm going to show you what I mean.
| | 01:32 | So for instance, if I select this object
in the plant layer and I choose to make
| | 01:37 | another object over here with the same
common style as the selected one, it not
| | 01:43 | only creates the same kind of
paintbrush mark, but it also puts it
| | 01:48 | automatically into the correct layer.
| | 01:50 | So if I select, let's select something
that's not in there, something from
| | 01:55 | this unnamed layer.
| | 01:58 | If I draw here it's going to be not only
in the same color, but in that same layer.
| | 02:03 | Likewise, if I select something from
within the swirls, and to select I can
| | 02:10 | just click on it here and it's selecting
my swirl, so you can click on it either
| | 02:14 | on the artboard or in the Layers panel.
Once I do that, then this next object
| | 02:22 | I make it styled identically.
| | 02:23 | Now here is, for instance, I want to
select that swirl, but this other object
| | 02:27 | is getting in the way, so I can lock
that layer and now I can easily select the
| | 02:32 | swirl to make another one.
| | 02:35 | So by locking, hiding and reordering layers,
you can control a lot in addition to
| | 02:43 | when you're actually initially painting it.
You can build complexity and
| | 02:48 | have more control over every stroke
and every mark within this transparent
| | 02:54 | building painting, something you
certainly can't do in any other media; not in
| | 03:00 | traditional media and not even in Photoshop.
To have access to every mark is really magical.
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| Overview of Calligraphic Brush options| 00:00 | So with the calligraphic brushes you
are likely to create your own brushes that
| | 00:05 | incorporate pressure, if you
have the pressure-sensitive tablet.
| | 00:09 | So let's say this 5.5 brush, which
makes this kind of mark, it's not responding
| | 00:14 | to my relative pressure in any particular way.
| | 00:18 | Let's make a pressure-sensitive version
of it by dragging it to the new brushes icon.
| | 00:22 | That makes a copy, and then I'm going
to group it with the other one
| | 00:29 | and I'm going to call this pressure,
and double-click it.
| | 00:38 | And you'll notice that by default Adobe
brushes generally don't have pressure
| | 00:44 | as an attribute connected with it at all.
| | 00:48 | So one thing I'm going to do is
I'm going to say--and you can play with all of
| | 00:53 | these things and see what they do--but
for instance, let's just say the angle
| | 00:57 | I want to be based on the tilt of my stylus.
For my pressure-sensitive tablet, the
| | 01:02 | roundness will be built on the rotation,
and the size we'll say, based on pressure.
| | 01:09 | But in order for it to work you need
to increase the variance, so I want the
| | 01:15 | pressure to go from one to five points,
based on how much pressure there is
| | 01:19 | and tilt, I'm going to say vary it
and Rotation doesn't get a variance, so let's say OK.
| | 01:29 | Let's see what happen if I press lightly
and then press hard and you'll
| | 01:35 | see a much more control and nuance.
| | 01:38 | And the shape of it is changing as I rotate
and as I tilt, obviously you're not
| | 01:46 | watching me right now.
| | 01:47 | And if I say it's lovely, but I want
even more variant than that, so you can
| | 01:54 | make it duplicate of that one,
We can call it, let's make it bigger one.
| | 02:01 | Now remember you can vary it on the fly,
but I usually give it a basic name for
| | 02:05 | where it starts when you start out, let's say 9 point.
We're going to put this at 9 point.
| | 02:11 | So we're going to vary it a full 9 point.
We're going to give it more variation here.
| | 02:21 | And so this time, if I do light and then heavy, there you go.
| | 02:28 | And you can see that by making these adjustments,
you can create incredible variations of your brushes.
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| Expanding calligraphic brushes| 00:00 | So what happens if you make this really
wonderful, stupendous and once-in-a-lifetime
| | 00:07 | calligraphic mark with a calligraphic brush?
| | 00:12 | You look at it and you say, oh no!
That ending needs to be more pointy.
| | 00:19 | Well unfortunately, because actually
calligraphic brush marks are purely vector
| | 00:26 | paths-- I'm just showing you an outline mode--
| | 00:30 | if I try to erase the end of this path
in order to just clean it up a little bit,
| | 00:37 | sharpen it up; what happens?
It just redraws the path and sticks that
| | 00:41 | same old ending on it.
| | 00:43 | So there are occasionally times when
you're not going to want to leave it live,
| | 00:48 | when it's live of course you can do
all sorts of vector type reshaping and
| | 00:54 | reediting and editing with any of your
other tools and smoothing and all the
| | 01:00 | other things we've covered so far.
| | 01:02 | But what you can't do is actually,
physically reshape part of the path, just
| | 01:08 | shave of part of it. In order to do
that you're going to have to turn this
| | 01:12 | live calligraphic path into an expanded path.
I'll show you what that is.
| | 01:19 | Go to the Object menu, Expand Appearance.
| | 01:21 | And now suddenly, yes, the edges of it
are editable like a regular vector path.
| | 01:28 | It is no longer easily changeable
in the same way. I can't redraw it.
| | 01:36 | I am redrawing each side of the path
that has its own vector points and
| | 01:41 | path associated to it.
| | 01:42 | But what that does mean is that I can
come in with the eraser and I can put
| | 01:55 | exactly the point that I want to on it.
| | 01:59 | What this means is, what you get
essentially when you take a live calligraphic
| | 02:06 | path and expand it, essentially once
you erase it, it becomes a united path
| | 02:15 | with holes within, which is called a
compound path. If you want to look at
| | 02:23 | more information about that,
in other lynda movies you can.
| | 02:27 | But let's move to the other file and I'll show you,
essentially what you just saw was
| | 02:32 | a live calligraphic path, and this
is the same path viewed in outline mode.
| | 02:38 | This is the expanded version viewed
in outline mode. It's got lots of extra
| | 02:45 | joints in it and those will disappear
as soon as you erase into it,
| | 02:49 | Then essentially what you have is you've
turned a live calligraphic brush path into a
| | 02:55 | blob brush path and that's where the
next chapter begins is with the blob brush.
| | 03:01 | So in the instances where you want
to just take that calligraphic brush,
| | 03:06 | expand it so that you can just take that
little eraser to it to shape that path,
| | 03:14 | that's the way you do it.
| | 03:18 | So stay tune to the blob brush
if you want to learn more about that.
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|
|
4. The Blob BrushComparing Calligraphic and Blob Brush tools| 00:00 | When I first heard about the Blob brush
and saw it in action, my thought was why bother?
| | 00:05 | I'd rather have live calligraphic marks
than expanded Blob brush.
| | 00:11 | I'm going to show you a couple
of things that I like about it.
| | 00:15 | I use it a lot more creatively now than
I did when I first found out about it,
| | 00:19 | which is often the case.
| | 00:21 | So if you see on the upper left-hand here
this quadrant has live calligraphic brushes
| | 00:25 | and just below it is the same brushes
in outline view, so you can see
| | 00:31 | they're just a vector path.
| | 00:33 | And in the upper right quadrant of
this little grid here, are the expanded views
| | 00:40 | You see sort of what a mess the Calligraphic
brush turns into when you expand it.
| | 00:47 | And here's a similar set of marks that I
created with the Blob brush.
| | 00:52 | Here is the blob brush in outline mode.
You can see pretty clearly that it's not
| | 00:58 | only expanding the marks as you make
them they look very much like a
| | 01:03 | calligraphic mark. In fact, the controls are very similar.
| | 01:07 | But when you do things like scribble
like this the marks actually not only
| | 01:14 | expand, but they unite and
so you get this clean shape.
| | 01:17 | You'll see that the script becomes very
clean as you write it as opposed to all
| | 01:24 | these overlapping marks.
| | 01:25 | So in the next movies we're going to
look at a couple of things that you can
| | 01:30 | do with the Blob brush that make it
really quite powerful and exciting, and
| | 01:34 | quite more than just taking a Calligraphic brush
and expanding it, because you can combine it
| | 01:39 | with the Eraser tool and you can
use it to unite objects that are separate.
| | 01:46 | It's really quite a flexible tool
and it does quite a few different things.
| | Collapse this transcript |
| Understanding the Blob Brush| 00:00 | The silly truth is the Blob Brush isn't a brush at all.
Because if it was a brush,
| | 00:06 | then I would be able to access it
with the Paintbrush tool and the brushes,
| | 00:11 | and that's not where you get it from, actually.
| | 00:14 | It has nothing to do with the paintbrush.
It is its own tool.
| | 00:18 | So the paintbrush is the B
and the Blob Brush is the Shift+B.
| | 00:25 | With the Blob Brush, I can draw directly.
It's very similar to the Calligraphic Brush.
| | 00:30 | I am going to undo that.
I can also modify it.
| | 00:33 | And notice you can actually see the results
on screen in a way that you can't
| | 00:39 | with most of the brushes.
| | 00:41 | This is a preview of what I get, and I get this.
| | 00:46 | And what's really amazing about it is that
if I am using my graphics tablet and a pen,
| | 00:51 | if I turn the pen around, I get the eraser,
and it's automatically loaded to be the eraser for me.
| | 01:01 | And with that, I can modify my path in a way
that I cannot do with live vector brushes.
| | 01:10 | In a way, there is something slightly more intuitive,
slightly more painterly, actually.
| | 01:22 | Although, the kind of editing that you're doing,
it's sort of more sculptural than it is in drawing.
| | 01:29 | Like suppose to some extent, you can do this
with an eraser, but not often with the ink pen.
| | 01:34 | So what you've got up above is a
Blob Brush, a couple of shapes, which I've
| | 01:40 | duplicated, and then added to, and then
worked on with a combination of changing
| | 01:49 | the size, and the eraser.
| | 01:50 | And here are those same paths,
top to bottom in outline modes.
| | 01:55 | You can see what's happening.
| | 01:56 | I am actually modifying the internal aspects
of where these brushes overlap
| | 02:05 | by using the Blob Brush.
| | 02:07 | So in practice, if I select my gray shape
and I go to paint with it,
| | 02:17 | instead of getting a whole bunch of scribbles on
top of each other, when I let go and
| | 02:24 | select it, you will see it's just one
outlined path, which if I use with the
| | 02:29 | Eraser tool either by flipping around my stylus,
or if you don't have a tablet,
| | 02:34 | you can just grab the Eraser tool,
and then you can modify it.
| | 02:37 | Then the Eraser is also capable of
being pressure-sensitive, and is also
| | 02:44 | modified by the bracket keys.
| | 02:48 | So this is really exciting and powerful,
and it still looks like we're just scribbling.
| | 02:55 | So we'll get to how you can then use it
to join objects together as well as
| | 03:02 | create much more complex images.
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| How is the Blob Brush different from other brushes?| 00:00 | Even though it kind of looks like a brush
when you lay down the marks,
| | 00:06 | the Blob brush isn't really much of a brush at all.
In fact, whereas brushes are simpler
| | 00:11 | than they might at first seem,
I think the Blob brush is a little
| | 00:16 | more complex than it at first seems.
| | 00:18 | You can join objects together
that have the same appearance.
| | 00:25 | You can carve into them with the eraser.
| | 00:30 | I just turned around my stylus to get the eraser,
but you can just choose the Eraser tool.
| | 00:36 | You can make holes in things using the eraser.
| | 00:39 | There are all sorts of things you can do.
Behind the scenes it's actually pretty complex.
| | 00:46 | So even though beginners feel free
to explore it, understand that you are
| | 00:52 | dipping your toe into some much more
complex Illustrator technology
| | 00:59 | that involves compound paths and just some
rules about what things join and don't join,
| | 01:05 | having to do with appearance and
what appearance means and all that stuff.
| | 01:10 | But there is no reason why you can't just start
to play and start experimenting with it.
| | 01:15 | We are going to go in to some of the
options in later movies, but I just wanted
| | 01:20 | to sort of give you a peek as to how
you can transform from this to this--
| | 01:24 | I obviously hid the template here--by
just scribbling. Similarly to the Paintbrush
| | 01:33 | tool, you can select a previous mark and
it will set the color, however it does
| | 01:38 | not affect the width of your Blob brush.
| | 01:41 | So when I am adjusting with the bracket keys
you notice it is changing the
| | 01:46 | future mark here that I'm going to make,
but it does not affect the selected mark here.
| | 01:54 | That's because it's no longer a vector path.
It is an expanded vector path; it's not a brush.
| | 02:00 | So if I select this brown mark, it has
nothing to do with the size of the brush,
| | 02:06 | it's just setting the brown color.
| | 02:08 | In order to make the brush smaller, I have to
actually make it smaller using the bracket keys.
| | 02:17 | Same thing with the Eraser;
I can make it larger and smaller.
| | 02:21 | Now if you have nothing selected you can erase,
which is very powerful, but it
| | 02:32 | can be also really tricky and really scary.
| | 02:35 | So make sure you tune into the Blob brush
options so you can see how you can
| | 02:41 | control what you erase and what you don't.
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| Basic Blob Brush options| 00:00 | So because the Blob brush is its own tool
in the tool panel, it also has its own set of options.
| | 00:08 | Now double-click to access Options.
Later in this chapter we're going to go
| | 00:14 | into using the Keep Selected and Merge
Only with Selection in terms of merging
| | 00:20 | objects with the Blob tool.
| | 00:22 | Just like with Paintbrush Tool Options
with Fidelity and Smoothness all the way
| | 00:26 | to the left, you will get the
most accuracy with your mark.
| | 00:33 | To make it a bit smoother you can
increase Fidelity and/or Smoothness.
| | 00:38 | You can see the Paintbrush Tool Options movie
in order to get more information on that.
| | 00:43 | The really interesting thing is, the
Default Brush Options part of the dialog is
| | 00:49 | really not one that you need to deal
with and I'll explain that too in a second.
| | 00:53 | If you go in to make adjustments, they
will only apply for that one moment that
| | 01:00 | you're creating them.
| | 01:02 | But in real life there's a much better way
for you to switch between different
| | 01:09 | shapes and sizes of Blob Brushes.
| | 01:12 | You probably know by now that you can
use the left and right bracket keys to
| | 01:16 | enlarge and shrink the size of the brush.
| | 01:20 | But what about switching shapes and sizes of brushes?
| | 01:25 | Well, it turns out that instead of making
brushes in Blob Brush Options, all you
| | 01:30 | have to do is choose a calligraphic brush.
It could even be pressure-sensitive
| | 01:37 | and I can even select them from an existing object.
| | 01:41 | Look, it even inherited an opacity reduction.
| | 01:48 | And because these are the same opacity,
they work like a Blob brush.
| | 01:55 | All I have to do is select any calligraphic brush.
I can switch colors.
| | 02:02 | I'll have to reset my Opacity and it's
ignoring what I have in Default Brush Options.
| | 02:13 | So there is no need really, for you
to mess with that at all. Just create
| | 02:18 | whatever calligraphic brushes you want
and you'll be able to have a full
| | 02:23 | complement of brushes at your disposal
for Blob Brush Options.
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| Whittle while you work: Applying the Eraser and Smooth tools| 00:00 | I actually do think that working with
the Blob Brush is a little bit like sculpture
| | 00:04 | or carving away at the contours of something.
| | 00:09 | If you have a tablet then just flipping
that stylus or pen over gives you the eraser.
| | 00:13 | If you don't you can choose
the Eraser tool or you can choose
| | 00:19 | Shift+E for Eraser and
Shift+B for the Blob Brush.
| | 00:23 | So turning over my stylus, in this case
I have it, I'm going to enable actually.
| | 00:31 | If you enable the Merge Only with Selection,
it makes it really simple. I am
| | 00:36 | just going to be whittling away with
the Eraser tool to the selected object.
| | 00:40 | However the selection edges kind become
annoying and a pain. An easier way may
| | 00:47 | be to just lock the lower layer, which is
where I have separated that Gray object.
| | 00:52 | That's where the Gray object is. Instead, I am
going to deselect Merge Only with Selection.
| | 00:59 | That way the merge also affects the Eraser.
What Merge means is, are you going
| | 01:06 | to be affecting that Blob object.
| | 01:08 | But it's not just Blob objects, actually. I am going
to just stick a star in there just for the heck of it.
| | 01:19 | Now I am going to go back to my Blob brush
and I am just going to join those two objects.
| | 01:25 | The other strange thing, and we'll
look at that in a little bit, is that even
| | 01:30 | though it doesn't matter whether
you start with a stroke or a fill,
| | 01:36 | it eventually is a fill.
Notice that this is a filled object.
| | 01:43 | So it is a filled object, but I'm drawing
with the Stroke color.
| | 01:48 | It's very confusing I think.
| | 01:50 | So if you select the object later it
will tell you it was a filled object.
| | 01:54 | But if you drawing it from scratch,
it behaves as if it's a stroked brush.
| | 02:00 | I find that actually there's a lot of perplexing
things about the Blob Brush tool.
| | 02:05 | This is what I was talking about when
I said that the Blob Brush is much more
| | 02:09 | complex once you get going and
looking at it than it is to begin with.
| | 02:13 | Because if you are just using it you just say,
okay I'm erasing it, I'm drawing on it,
| | 02:17 | it's not very complex.
| | 02:21 | But underneath the hood
it's quite complex and perplexing.
| | 02:29 | So don't get caught up in the details of it
if you're a beginner. Feel free to
| | 02:35 | look into it if you're a more advanced user.
| | 02:37 | See how powerful it is, a very few
times in Illustrator, unless you are working
| | 02:43 | on a very complex path with the Pen
tool on your Vector editing tools, and even
| | 02:50 | so it's very hard to create things like this.
| | 02:53 | So whittle away, have fun. Switch between
the Eraser and the Blob Brush tool
| | 03:02 | and play with different ways to isolate
which objects you are affecting and
| | 03:06 | which you're not, and how
you merge and how you don't;
| | 03:08 | a little more about that in following movies.
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| Adding to and joining objects with the Blob Brush| 00:00 | The Blob Brush--which isn't a brush
but a drawing tool and a painting tool
| | 00:07 | and a joining tool--it's kind of fun. You
can add to objects, it's really quite amazing.
| | 00:13 | But there are all of these rules about
when it does and doesn't work, and scary
| | 00:18 | times when it works when you
don't want it to work and stuff.
| | 00:21 | So I am going to just show you a few
things that you can count on working and
| | 00:25 | not working when you're trying to
merge objects or not merge objects.
| | 00:29 | So one thing is if you have a black stroke
and you have two objects that are
| | 00:38 | filled with black, with the default
settings if I just draw anywhere on the screen
| | 00:43 | you are going to join those objects.
I am going to undo.
| | 00:47 | So for instance if I select it, the Gray
object if I draw you are going to merge
| | 00:56 | the Gray objects. I am going to hide
the Black for a second so you can see.
| | 01:00 | So that may or may not be what you want.
If you were intending to just draw and
| | 01:04 | you didn't want to merge, then
there are a couple of things you can do.
| | 01:11 | You can lock your layer that has the
objects that you don't want to merge.
| | 01:16 | If I have the Gray color it's not going
to merge with the black objects.
| | 01:22 | Now it's separate, so that's one thing you can do.
| | 01:25 | You can also change the setting, which I highly
recommend, which is to Merge Only with Selection.
| | 01:32 | And when you have that chosen, you won't
accidentally join anything ever, unless it's selected.
| | 01:41 | So if I select this object I am going
to join to it. If I select these two
| | 01:47 | objects, it can join them together.
| | 01:51 | So I highly recommend controlling what
you're merging and not merging in that way.
| | 01:57 | Down below, I've got a set of objects
that are all on the same layer.
| | 02:03 | That becomes a little harder to do.
| | 02:05 | But as long as your Merge with Selection
is enabled you are not going to
| | 02:13 | accidentally merge things together.
| | 02:14 | So you can play with this file.
See what does and doesn't work.
| | 02:18 | I've got another little file in here
for you in which I've written,
| | 02:22 | nope, these aren't going to join;
nope, these aren't going to join;
| | 02:24 | yep, these are going to join.
And you can look at this.
| | 02:27 | So the reason why these won't join--see if
you can guess--they're not on the same layer.
| | 02:34 | So they do have to be on the
same layer in order to merge.
| | 02:37 | And the reason why these
aren't going to join, any guesses?
| | 02:40 | It's because this object has stroke attached
and you cannot merge objects that
| | 02:48 | have a stroke appearance associated with them.
| | 02:51 | And if you look at the layer order, the
stroked object is between the other two
| | 02:59 | objects in stacking order and preventing
the merging between them.
| | 03:05 | That's a little complicated but I'll give you
this file so you can play with it.
| | 03:09 | If you reorder the stacking order--
so I'm going to move the stroke object
| | 03:15 | below--now if I select these two objects,
I am going to be able to connect them.
| | 03:23 | And these are just a set of objects
with no parameters set that are going to
| | 03:28 | prevent you from joining away.
| | 03:32 | So I am going to give you these two files
plus this little onem which will explain to you
| | 03:35 | again, before and after joining.
You can play away, experiment.
| | 03:41 | At least you have some resources for,
if things aren't working, you are
| | 03:45 | going to be able to backtrack and figure out
maybe what the problem might be
| | 03:49 | so you can fix it.
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| Example of Blob Brush artwork| 00:00 | So I thought it might be fun to show
you one of the images that I've created
| | 00:05 | using the Blob Brush. I've opted to
show you my Layers panel when I'm not
| | 00:12 | being organized along the way.
| | 00:14 | So I usually do name layers so they're
meaningful along the way, I didn't in this case.
| | 00:19 | So you can go ahead and name them for me if you want.
| | 00:22 | This is a Blob Brush illustration that I created.
| | 00:25 | It was a photograph--which I left for you--
which I liked a lot but it wasn't a
| | 00:30 | great photograph, so it didn't quite capture
what I wanted out of it.
| | 00:38 | So I was able to bring out the part
of it that I liked the best, which is
| | 00:43 | what of course art always let's you do is
pick and choose what you want to concentrate on.
| | 00:48 | So I created this image using the Blob brush
and a bunch of different colors.
| | 00:53 | I was able to merge things as I went.
| | 00:55 | And because, unlike working with brushes
when you can literally pick a part what I did,
| | 01:00 | you can't do that.
| | 01:02 | And so what I've done as I've saved
the file in stages for you. You can go
| | 01:08 | ahead and zoom in on them and look at
them and see how I built the image.
| | 01:13 | There is a little bit of how I built it
from start to finish.
| | 01:18 | I've given you the file to play with.
| | 01:19 | So it just gives you another quality of line,
and I wouldn't say its equivalent
| | 01:24 | to a traditional line. I would say that
it's its own exciting and powerful new
| | 01:31 | medium that you can work with.
| | 01:33 | So I hope you have fun. Enjoy picking a part mine
and creating your own masterpieces.
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|
|
5. Bristle BrushesThe basics of using bristle brushes| 00:00 | So this is a painting created in Illustrator
using only two Bristle brushes.
| | 00:07 | I created all of these marks, which
were pulled out from variants that
| | 00:12 | I created on the fly from these two brushes.
| | 00:16 | I think you may not need to create
your own brushes, you can just get going
| | 00:21 | on the fly and start creating work.
| | 00:24 | You are going to want to use a graphics tablet.
| | 00:27 | You really, really are, because you get both
more control and more nuance with your marks.
| | 00:34 | The Bristle Brush builds up,
if you keep going over and over it.
| | 00:42 | It does not build up if you scribble on
top of itself, but if I keep scribbling
| | 00:47 | on it, it will build up in color.
| | 00:49 | You can of course combine colors, combine textures.
| | 00:53 | You can adjust the brushes
on the fly for Size, for Opacity.
| | 01:00 | It's very intuitive, powerful and we're
going to just cover some of the details,
| | 01:07 | breaking it apart for you.
| | 01:09 | But I hope you're inspired to just get
that tablet out and start painting.
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| Adjusting brushstrokes with modifier keys| 00:00 | So here is a painting that I created
using only two brushes, modifying
| | 00:04 | the brushes on the fly.
| | 00:06 | Even though I gave you a bunch more
brushes to play with if you have the file.
| | 00:11 | Feel free to hide my image and just
be able to work on your own or keep mine
| | 00:18 | to be able to see what kind of
modifications you're able to accomplish.
| | 00:22 | The way it works is a little bit like Photoshop,
but then in some ways it's even
| | 00:26 | more powerful than Photoshop.
| | 00:27 | So if I select a mark, this is very
Illustrator like, whatever mark you select,
| | 00:33 | the next one will be the identical mark.
| | 00:36 | Like Photoshop I can use the Bracket keys,
the Right bracket key to enlarge my brush
| | 00:41 | and the Left bracket key to reduce my brush.
| | 00:46 | Also because of the particular
parameters set for this brush, I am just
| | 00:50 | changing the angle and rotation of my
stylus on my tablet to be able to change
| | 00:57 | the shape of this brush.
| | 00:59 | You can see how powerful that
would be and therefore doesn't necessarily
| | 01:03 | require me to make lots of different brushes,
if I can make all of these different marks with one.
| | 01:11 | You can also adjust the Opacity, like Photoshop, 1-9.
| | 01:15 | One is the most transparent.
I'll do 1 and I'll do 9.
| | 01:21 | Zero is the maximum Opacity and it means
you will lose the Bristle brushiness of it,
| | 01:28 | so I don't recommend going to 0.
So use 1-9 to adjust it.
| | 01:32 | But here is where it's a little more
powerful than Photoshop.
| | 01:37 | Is that if I after the fact say, ooh,
| | 01:39 | that mark was too subtle.
| | 01:42 | I want to bring up the Opacity.
| | 01:44 | Maybe I want to make it a little smaller.
| | 01:47 | On the fly I'm doing this, I want to reduce
the Opacity again maybe midwa.
| | 01:52 | Or how about if we make it larger, smaller.
I can use all of my vector editing tools if I know how.
| | 02:00 | And I can hold down my Option key or
Alt key to get the Smooth tool, so you can
| | 02:06 | actually smooth it as you go without
having to go through major editing.
| | 02:12 | Just smooth it a little bit and then keep going.
| | 02:16 | Again, the Paintbrush options are set
globally for all brushes at once in
| | 02:27 | Paintbrush Tool Options.
| | 02:35 | And I gave you lots of different brushes to play with.
| | 02:37 | It's hard to imagine that you're
going to get through them all.
| | 02:40 | So take some time, play with both before
the fact, adjusting your brush with the
| | 02:48 | Bracket keys and with the
Opacity, and then selecting it.
| | 02:54 | You can of course completely
change it, use your Eyedropper.
| | 02:58 | Pick up another color or completely
other brush, so right here I'm changing it.
| | 03:08 | For this to work, Appearance has to be
enabled in Eyedropper, we went through
| | 03:13 | that in a previous movie.
| | 03:14 | So just play with what you can do.
Feel free to hide my image and get started
| | 03:21 | on your own, that's with this file is.
| | 03:23 | So enjoy, have fun, play, experiment
and see how powerful this is.
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| Accessing bristle brushes| 00:00 | So whenever you start a new document in
the Illustrator, you are going to have
| | 00:05 | the default set of brushes automatically loaded for you.
| | 00:09 | And in my version of Illustrator CS6,
this is the default set.
| | 00:14 | And in this default set there is a bunch
of calligraphic brushes; there is the
| | 00:18 | basic stroke which removes the brushes;
a couple of Art brushes; a Pattern brush
| | 00:23 | and one little Mop brush, that's a Bristle brush.
| | 00:27 | And it's very cool of course, you get
the Brush tool the Mop brush. There is
| | 00:33 | a lot of variance, if you saw the
previous movies for how you can make this one
| | 00:38 | brush act like many by just modifying it on the fly.
| | 00:43 | But what if you actually want to access more brushes?
| | 00:48 | Well there are two ways to do it.
| | 00:50 | One you can go to a file that has brushes.
If you have access to the lynda files,
| | 00:56 | I've given you this one where I've loaded a bunch.
| | 00:58 | If you copy--I'm going to copy this and
move over to other document and paste them--
| | 01:03 | of course the brushes will be pasted in for you.
| | 01:07 | But the other thing you can do--and
there are many other ways to load brushes--
| | 01:12 | but here is a very straightforward
and direct way to do it, is you load the
| | 01:16 | Brush Libraries that Illustrator comes with.
Actually Adobe has created a bunch of brushes.
| | 01:23 | There are a number of different places
where you can access it. I find
| | 01:27 | the easiest one is from the pop-up menu,
Brush Libraries menu. If you
| | 01:31 | click on it, there is a bunch of different brushes.
One category is called Bristle Brushes.
| | 01:35 | If you select the Bristle Brush Library,
it will open for you.
| | 01:39 | You can also access it from the Window menu,
Brush Libraries>Bristle Brush and so on.
| | 01:47 | But for now, it's open.
| | 01:51 | So there are a number of things so you can do.
| | 01:54 | Every time you just select a brush in
the Bristle Brush Library,
| | 01:58 | notice it's in a separate panel.
| | 01:59 | But if you select one, keep one of your
eyes on this Main Brushes panel when I
| | 02:03 | select that 4.5 Round Bristle brush.
| | 02:06 | Look, it automatically loads in here for you.
| | 02:09 | So that's one way to get them in there.
| | 02:12 | Another way is you can select the first one,
scroll down, hold down the Shift key,
| | 02:18 | select the last one and drag them in.
| | 02:22 | Then you can close this library and they're
in your file when you save your file.
| | 02:26 | Whatever brushes are in your file
are going to be saved there for you.
| | 02:32 | There are lots of different ways so you
can manage importing libraries, but this
| | 02:36 | is probably one of the most direct ones.
| | 02:38 | If you decide that, after you've created
a bunch of different marks and brushes,
| | 02:49 | that this is the set that you're going
to want to keep with you,
| | 02:59 | and all of those other brushes are just in your way,
one thing that you can do is
| | 03:08 | to select all the unused brushes and delete them.
| | 03:13 | And then what you're left with then
is a panel of brushes that has only the
| | 03:17 | brushes that you want access to and none of the others.
| | 03:20 | Whatever state a file is in when you save it
is the number of brushes that
| | 03:25 | you have when you reopen the file.
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| Creating complex artwork with brushes| 00:01 | As you start working in Illustrator
with brushes, you're going to find your
| | 00:04 | image gets pretty complex, pretty quickly.
Being able to organize your file
| | 00:09 | by layers is going to be essential.
| | 00:12 | Make sure you see the movies elsewhere
in this chapter about how to work with
| | 00:17 | layers to make your organization optimal.
There's also something else about
| | 00:22 | working complexly in Illustrator.
| | 00:25 | That is that after just a few lines,
you'll find that when you go to save
| | 00:33 | will generate this error.
It's kind of a scary warning.
| | 00:39 | Basically what it says is you've got
too many objects and you're not going
| | 00:43 | to be able to save this with preview,
so click OK at your risk.
| | 00:48 | You can also choose to not show this
again while working on the file in this session.
| | 00:52 | When you save make sure you check that,
so that you don't have to be
| | 00:56 | frightened every time you go to save.
Because you should save frequently,
| | 00:59 | I'm going to cancel now.
| | 01:00 | So what this means is most of the time
it's not going to be an issue.
| | 01:06 | The images that I'm going to show you
that I created with bristle brushes,
| | 01:10 | I have never had a problem printing or saving.
It's not been an issue. I also
| | 01:14 | created the Illustrator Wow Book and
there are lot of other wonderful artists who
| | 01:19 | contribute to the book.
| | 01:20 | Occasionally some of their work is
too complex to print without handling
| | 01:24 | the issues of transparency, which is
what the issue is in Illustrator with
| | 01:29 | bristle brushes. Is that transparency
requires at some point that the image is
| | 01:37 | rasterized, and it's either at the time of
printing or handling it in a couple of other ways.
| | 01:42 | So if that makes your head blow off
just hearing me say that, don't concern
| | 01:46 | yourself, unless you really do have a
problem, and then consider this a learning
| | 01:51 | moment. Take the time out to learn a
little bit more about what's underneath
| | 01:57 | the hood with working with Illustrator
and transparencies. You can look up
| | 02:02 | Illustrator Insider Training:
| | 02:03 | Seeing Through Transparency by Mordy
Golding and it'll explain some of that to you.
| | 02:08 | Chances are this isn't going to come up.
You're going to be able to just say
| | 02:12 | go away dialog box, don't bother me anymore.
You're going to be able to work just fine.
| | 02:17 | So just in case it's a problem, you know where to look.
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| Overview of Bristle Brush options| 00:00 | So as you saw, if I just modify strokes
along the way and brushes along the way,
| | 00:06 | I have a wide variety of parameters
within each brush that exists.
| | 00:13 | I can always load host of others from
the brush libraries menu like we have here.
| | 00:18 | So chances are you're not going to need
to modify your own brushes.
| | 00:25 | Just in case you want to, here are a couple
suggestions, then I'm going to take you on a quick
| | 00:29 | tour of the bristle brush options menu.
| | 00:31 | So in order to modify a brush,
let's say this is the Mop brush,
| | 00:35 | the first thing I want to do is find the
brush that's closest to what I like,
| | 00:41 | and then to modify it, let's do the Mop.
| | 00:43 | I'm going to drag it to the
New Brush icon to duplicate it.
| | 00:47 | Then I personally like to organize
similar brushes together and I'm just
| | 00:52 | going to call this a variant.
| | 00:56 | And now with my stroke selected, I'm
going to double-click it in order to play
| | 01:01 | with the different options.
You can spend a lot of time in here.
| | 01:05 | I'm just going to run through it quickly.
You can choose different shapes.
| | 01:08 | Now obviously I started by saying this
is the shape that I kind of like, so I'm
| | 01:13 | not going to choose one of those other
options, but if you're making a brush
| | 01:17 | from scratch, you have all of these
initial shapes to start with.
| | 01:20 | So that's a lot of options right there.
| | 01:23 | Then the Size parameter is something
that you can change on the fly using the
| | 01:28 | bracket keys, so no need to really play with that.
| | 01:32 | The bristle length--you'll find that
longer bristles are more of visible and
| | 01:37 | shorter are more sort of tucked in there.
I'm going to do long on that.
| | 01:42 | The density--there is going to be a
less space between each bristle in the
| | 01:46 | higher density, and more space between
each bristle, which gives you more sort of
| | 01:50 | white space. But again, varying how
they interact with each other is going to
| | 01:55 | vary what this definition actually
means in terms of this brush.
| | 01:58 | The thickness in general will add a heavier
appearance to the brush. The stiffness--
| | 02:04 | the more rigid the more visible strokes
you're actually going to see as opposed
| | 02:08 | to them smoother and less articulated.
| | 02:11 | But again how these work in relationship
to each other is going to change what
| | 02:16 | each of these parameters actually does.
| | 02:18 | So I'm going to say OK for this one.
This time I'm going to say Leave
| | 02:24 | Strokes, because I realize I didn't
remember that I had this selected when I
| | 02:29 | went in here-- pretend that's the case--
and so I want to say Leave Strokes.
| | 02:34 | What that did was it left the brush as
it was when I entered it, but it did make
| | 02:39 | the variant for me, which is selected currently.
| | 02:41 | So if I draw here with a variant, I've
got both the original and the variant.
| | 02:48 | So what happens if you choose the other option?
| | 02:51 | Let's make another variant and see what
that means. So dragging it over the new
| | 02:54 | brushes icon, putting it up with
the other mops, and we'll call this 2.
| | 02:59 | Now notice if it's the same name
it's going to turn red to warn me that I
| | 03:04 | already have the brush by this
name, so we do 2 and we're okay.
| | 03:08 | My brush mark is selected. I'm going to
double-click to go in. I'm going to
| | 03:14 | make a very different brush, it's very
different brush. I'm going to say OK.
| | 03:23 | This time I'm going to say Apply to Strokes,
You'll see that Mop variant2
| | 03:28 | was applied to the stroke that existed
and was selected when I went in.
| | 03:34 | So feel free, remember just changing
your little angle and your pressure and
| | 03:39 | your rotation of a brush gives you a
lot of different variant, so don't be too
| | 03:44 | anxious to go in and make those changes
yourself, but feel free as long as you
| | 03:48 | make the copies, go ahead and play away.
See what you can come up with.
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|
|
6. Naturalistic Art BrushesThe basics of naturalistic art brushes| 00:00 | There are lots of different kinds of art brushes.
They're all made similarly, but
| | 00:06 | there are different functions
for different kinds of art brushes.
| | 00:08 | For instance this is an image I created
with mostly art brushes. I'll show you
| | 00:14 | what it looks like in Outline mode.
| | 00:16 | You can see that all of these areas
where it's just very simple path, and
| | 00:23 | when I put it back into Preview mode
what you're looking at is a fully formed
| | 00:28 | set of objects, those are art brushes.
| | 00:31 | So for instance, if I take the Paint
Brush tool this is an art brush; this one
| | 00:39 | stem of grass is an art brush; the
trunk was an art brush; the texture for the
| | 00:45 | trunk is an art brush.
| | 00:48 | So we're not going to be looking at these here.
| | 00:52 | I just showed them to show you that
we're not going to talking about them.
| | 00:56 | They're made similarly, but they're also
made similarly to the way lots
| | 01:01 | of other funky things that you can
access from the brush libraries, or you can
| | 01:08 | download from the net. A lot of them are
made to be frames and they're fun and funky.
| | 01:16 | And as I said they're made similarly,
but they also rely on some of the options
| | 01:21 | and features that we don't need to
go into for the naturalistic brushes.
| | 01:26 | So let's look at some of the naturalistic brushes.
| | 01:29 | There are a lots of them available.
There is a movie on opening libraries for you,
| | 01:34 | and also how to thin out the
libraries if you have too many.
| | 01:38 | The key is all art brushes are made the same way.
It's a little cryptic, here is a bunch of them.
| | 01:45 | So the key is, all art brushes are actually
made up of simply Illustrator paths
| | 01:52 | or group of Illustrator paths.
| | 01:54 | There are some rules as to what can
or can't be art brushes, but these are
| | 01:59 | all art brushes applied to paths.
| | 02:02 | If I select one, for instance let's say this one,
that's the dark ink wash.
| | 02:09 | If I want to see how that brush is constructed
you can pull it our, it is purely a vector object.
| | 02:14 | You can see somebody has just
taken the time to make what
| | 02:20 | they think one mark would look like
if it was made with this dark ink wash.
| | 02:27 | What they have simply done is dragged it
into the Brushes panel, and
| | 02:33 | you're presented with a series of options
that allow you to make an art brush.
| | 02:38 | You can choose with options you need
in order to apply them.
| | 02:42 | So some of those options are relevant to
this kind of art brush and some aren't.
| | 02:46 | I just wanted to give you a clue as
to what's underneath the hood when you
| | 02:50 | select the art brushes.
| | 02:52 | Obviously you can make your own.
There are so many to choose from,
| | 02:56 | both from within Adobe's brush libraries
and from the net, that you probably can just
| | 03:02 | spend a lot of time playing and experimenting
before you even think about making your own.
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| Accessing art brushes| 00:00 | So when you start a new document in
Illustrator, you get a bunch of brushes to
| | 00:05 | start with, mostly calligraphic; the
basic is just a non-brush, it resets to just
| | 00:11 | a regular stroke and not a brush.
| | 00:13 | The one after basic--and this is in Illustrator
CS6, depending on your version you
| | 00:17 | may have different brushes loaded.
| | 00:19 | This Charcoal-Feather brush is the
kind of naturalistic art brush that we're
| | 00:24 | talking about here, so I'll apply that here.
| | 00:27 | The other ones--the Divider, is the non-
naturalistic art brush; Mop is bristle;
| | 00:33 | and Cut Here is a pattern brush--so
you really only have one naturalistic art
| | 00:38 | brush to play with here.
| | 00:40 | So that doesn't give you a lot of power.
So easiest thing to do for me is
| | 00:46 | to load more brushes.
| | 00:47 | So before I bother to make my own,
I always want to see with somebody else is
| | 00:52 | providing me. Well it depends on what
you want to spend your time doing, right?
| | 00:56 | So from the lower left-hand corner of
the panel in the Brush Libraries menu,
| | 01:01 | click it, and you can access, under
Artistic, you have bunches of different art
| | 01:09 | brushes. So the calligraphic or the
calligraphic brushes, I don't why they are
| | 01:13 | clustered together with the other art
brushes, but they are. Here are lots
| | 01:18 | of different sets of brushes to choose from.
I've actually loaded a file for you
| | 01:23 | with all of them in it, but let's just
open this to show you how to do it.
| | 01:27 | So for instance, all of these brushes
are available to everybody who has
| | 01:32 | Illustrator. How do you get them
into your working document?
| | 01:36 | Well all you have to do is select a brush
and it'll pop up for you, but if you
| | 01:41 | want them all and you can just hold
down the Shift key, select the whole bunch
| | 01:45 | of them and just drag them in.
| | 01:47 | Now you no longer have just one lone,
little naturalistic art brush, you have many.
| | 01:54 | So you can just go around and select them
and apply them and see what they do
| | 02:03 | and experiment to your hearts content.
| | 02:12 | Of course these are modifiable.
| | 02:15 | I wish I could tell you that you could
use your bracket keys left and right to
| | 02:20 | change the size of the art brush, but
what you can do is increase the stroke
| | 02:26 | weight or decrease the stroke weight.
| | 02:29 | The same thing with opacity,
you can manually adjust the opacity.
| | 02:35 | I have given you a second file here
that has different brushes loaded in.
| | 02:42 | So if you have access to the file,
you can just open the file and you have
| | 02:47 | access to these where everybody can
find them from the artistic library.
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| Applying naturalistic art brushes to type and objects| 00:00 | It's really quite straightforward to start
applying Art brushes to your objects.
| | 00:07 | The key is when you first open a file
you're not going to have very many art
| | 00:11 | brushes available to you.
| | 00:12 | So I am going to first show you just
what you're going be doing, and then I'll
| | 00:16 | show you how to get the
brushes in there really quick.
| | 00:19 | So you just select Objects and if those
brushes are already loaded in your panel
| | 00:27 | you just click on them.
It just couldn't be easier, I think.
| | 00:33 | You can take something, which
is just the standard basic stroke,
| | 00:44 | and add a lot of character and texture
in warmth with just a few clicks.
| | 00:50 | In the more advance movie
we look at how to do this to type as well.
| | 00:54 | But for right now just understand it's
quite easy to do it. I sometimes draw
| | 00:59 | over the naturalistic art brushes, but
most of the time I just experiment with
| | 01:03 | what happens if you apply them later.
| | 01:05 | For instance, here's a calligraphic brush-drawn
painting Mina, the blue and green-eyed cat
| | 01:12 | that we did in an earlier movie.
| | 01:15 | This time I just want to see what happens
if I start adding texture to it,
| | 01:19 | but I just don't have art brushes to play with really.
| | 01:23 | So what I am going to do is load some.
There's lots to load. We've got
| | 01:27 | another move on it, but let's just get the
Artistic_ChalkCharcoalPencils in there.
| | 01:34 | I am just going to drag them in.
| | 01:40 | I'll select a color, and maybe say
select same Appearance.
| | 01:47 | It's not getting enough them,
| | 01:48 | so I am going to select same Stroke color.
There we go, that's all of that
| | 01:56 | sort of mustardy color stuff.
Then I can just start playing.
| | 01:59 | What happens if I start adding this
texture or that, or this or that?
| | 02:08 | There are lots more brushes
to choose from, these are just some.
| | 02:12 | And again same thing, I'll
say a select same Stroke Color.
| | 02:17 | You'll notice that I wasn't sure exactly
how I wanted to select them.
| | 02:21 | It's really to change your mind and so on.
| | 02:26 | If I want to select all the black outlines
together, I just click on the icon
| | 02:31 | next to the layer that has all of the black outlines.
| | 02:35 | And again I can just play.
| | 02:45 | Sometimes, you'll get this, but there's
no harm done, because you can always
| | 02:51 | change your mind. This is
the image that I ended up with.
| | 02:55 | As you see it just didn't take long
to transform an image that already exists
| | 03:01 | into something that had a lot
more warmth and character to it.
| | 03:05 | So feel free to load bunches of
the brushes and experiment away.
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| Drawing and painting with naturalistic art brushes| 00:01 | So using the naturalistic art brushes
to draw is just a little different
| | 00:05 | strategy for me, than using for
instance, the Bristle brush tool.
| | 00:15 | And the reason is it's so easy to change
brush types that I tend to go for the
| | 00:19 | color I like more than the brush
type I like as a starting point.
| | 00:23 | So let's say I want to just draw. I have
to get the Brush tool, which is the B key.
| | 00:30 | Let's say I wanted to start drawing.
| | 00:33 | So it's very easy for me afterwards to
hide the Templates so it's not my way,
| | 00:42 | and play with different brushes.
| | 00:43 | Show the template, and then keep going.
| | 00:51 | So just paint away, have fun, get the drawing
so it's approximately what you want.
| | 00:57 | It's not going to be nearly as accurate
as some of the other brushes,
| | 01:01 | but it can be a lot of fun.
| | 01:03 | Once you get your Basic objects
feel free to undo as you are going.
| | 01:09 | Again, I tend to gravitate toward shapes,
basic sizes and color more than I do this
| | 01:15 | specifics of a particular brush, because
you can just play with different options.
| | 01:22 | If you're not happy with the options
you can always get more. This last set
| | 01:31 | are all artbrushes that you can choose from.
| | 01:34 | So use the B key to get the Paintbrush.
You use the Command key to select your Path,
| | 01:42 | Cmd or Ctrl key. With your Path selected,
you can use your Option or Alt key
| | 01:47 | to smooth a mark if you wish.
| | 01:54 | The character of your line is determined
from the Paintbrush Tool Options,
| | 02:00 | so make sure you see that movie
if you need help with that.
| | 02:03 | Be aware that, although you can't use the
bracket keys if you're going left and right
| | 02:08 | to increase or decrease the size of your brush
the way you can with the Bristle Brush tool,
| | 02:14 | there is a way for you to enlarge it,
and that's using Stroke Weight.
| | 02:24 | It's pretty cool. Of course you can also reduce the Opacity.
| | 02:29 | Now in this case I'm not seeing
the Opacity in the Control panel.
| | 02:33 | So if you want to adjust Opacity and
you're not seeing it in the control panel,
| | 02:40 | there are couple of other places
where you can find it, including the
| | 02:43 | Transparency panel, which you can adjust
here and you can try applying different
| | 02:51 | blending modes for different layering effects.
| | 02:58 | So have fun, play away, feel free to
use the Template or draw on your own.
| | 03:03 | Experiment with loading additional
brushes to see what you can come up with.
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| Overview of naturalistic art brush options| 00:01 | So if you were to make your own art brushes
by dragging them into the Brushes panel
| | 00:07 | or you wanted to modify a brush
you will be presented with the
| | 00:12 | Art brush Options dialog.
| | 00:14 | So I want to modify this charcoal brush.
I am going to start, because this is
| | 00:18 | best practice, to duplicate the one that exists.
| | 00:22 | I can either double-click the icon itself
or at the little symbol that tells
| | 00:27 | you it's an art brush,. I am
going to call this Pressure.
| | 00:32 | There are a bunch of options here
that are really geared more toward the
| | 00:36 | other kind of Artbrush, the kind that
can auto generate objects like I showed
| | 00:41 | in the initial movie where you can make
grasses or leaves or arrows or frames
| | 00:46 | and stuff like that.
| | 00:47 | So we are just going to look at a couple
of the options that you may find useful
| | 00:51 | if you're working with the naturalistic art brushes.
| | 00:55 | One is to take advantage of Pressure, obviously.
| | 00:58 | There are a number of different parameters
you can do you at this point with these settings.
| | 01:03 | These are the options with my Tablet.
| | 01:05 | I am going to choose Pressure.
Currently the values are from 100% to 100% and
| | 01:11 | if you anything about math, that
actually leaves you with a 0% Pressure affect.
| | 01:18 | So in order to get the Pressure effect
we have to those change values
| | 01:22 | either by numerically changing them
or moving the sliders. I am going to give it
| | 01:28 | somewhat of a generic guesstimate
as to what I want it to do.
| | 01:32 | For now, I'm going to say OK.
| | 01:35 | Let's get the art brush and let's do the original.
I am just going to make a little loop.
| | 01:43 | I am going to do the Pressure one
and I am going to try it be very subtle as to--
| | 01:47 | oh!, wow, that's too big.
| | 01:50 | So if you do it too big, because
this is not scientific, I'm going to
| | 01:54 | double-click and then I can make an adjustment.
I am going to say OK that's too much.
| | 01:59 | How about that. If this brush is applied,
you can do Preview.
| | 02:06 | It is, so I can actually get feedback.
| | 02:10 | Say okay, that's what I had in mind. All right.
| | 02:15 | That's a better adjustment. So let's say OK.
And yes, I want to apply it to strokes.
| | 02:26 | As opposed to--so again, you can
make those adjustments.
| | 02:33 | You can just double-click the brush.
| | 02:35 | If it's selected--let's try it with
its selected this time--let's see
| | 02:46 | the range can make it all thinner or all thicker.
| | 02:52 | Notice you can see some of it in Preview
regardless of whether I've selected the object.
| | 02:58 | Some of it previews well, some of it doesn't.
| | 03:03 | Obviously it's better if it is selected.
| | 03:10 | So we are going to say OK.
| | 03:14 | So let's look at another one of the
parameters that can make a difference
| | 03:17 | in some cases, although a subtle difference
with this kind of naturalistic art brush.
| | 03:22 | Again these are parameters that you are
going to want to explore in more depth
| | 03:26 | when you have object-related art brushes
instead of just the natural media art brushes.
| | 03:31 | These are very subtle changes
for this kind of art brush.
| | 03:35 | What I have done here is, I have taken
the dark ink wash and I have made three
| | 03:41 | different adjustments to it; Ink
Wash 2, Ink Wash 3, and Ink Wash 4.
| | 03:47 | And you can see there is a very subtle
difference between the way this brush
| | 03:53 | is applied along the path.
| | 03:56 | I haven't done it with Pressure, I've
done it with another one of the parameters.
| | 04:00 | And this is the parameter that's
going to be really useful and really
| | 04:03 | significant in the other kind of art brush.
| | 04:07 | But is a little less significant, in this case,
for the naturalistic art brushes,
| | 04:16 | but let's go look at it.
| | 04:18 | And that's the Stretch to Fit Stroke Length
versus the other options.
| | 04:25 | If choose Scale Proportionately in this
particular object, it's going to render
| | 04:30 | it not useful for this application.
| | 04:33 | Again if you've got an object
artbrush this might be useful.
| | 04:36 | This one however, stretched between guides,
can be useful. What that means is
| | 04:42 | you can decide which area of your art
brush is going to stretch
| | 04:47 | and which is not going to stretch.
| | 04:48 | So what I've done for these other three
variations is adjust which parts of
| | 04:55 | the brush are going to vary.
| | 04:58 | So if you can watch live on the left
as I am making these adjustments
| | 05:05 | you can actually determine that the tip of the
brush, you don't want to distort that much.
| | 05:12 | It's actually useful in this case,
because if it all distorts you
| | 05:17 | actually lose all of the detail in the end of the brush.
| | 05:21 | So it can be quite useful.
| | 05:26 | But it's not a definitive adjustment.
It's something that you will have to
| | 05:31 | adjust by eye for each object.
That means you probably want to make a
| | 05:36 | duplicate for each time that you want
to make this adjustment unless you know
| | 05:41 | for sure that you do not want
your objects to lose its detail
| | 05:48 | in the beginning or the end, for instance.
| | 05:49 | So many of these are parameters might
or might not make a difference for your
| | 05:53 | particular object. Many of them don't actually
affect the naturalistic art brush as much at all.
| | 06:01 | The Tints Method of colorization is what allows
you to change the color of your stroke
| | 06:05 | and have it be reflected in the art brush.
| | 06:09 | So you are going to want to keep it at Tints for these.
| | 06:12 | There are other methods depending on what kinds
of objects you have made into the art brush.
| | 06:18 | Obviously the Flipping can make a difference
for particular brushes as well.
| | 06:25 | So feel free to play an experiment,
but most of these are parameters that
| | 06:30 | you're not going to find that useful,
except for maybe with the particular object
| | 06:34 | if you need to make a certain kind of adjustment.
| | 06:37 | When you move on to the object kind
of art brushes as opposed to the
| | 06:40 | naturalistic art brush, these are going
to be very important parameters for you.
| | 06:46 | Most of the art brushes that you'll be loading
from the Brush Libraries menu
| | 06:50 | will already have the Tints Method available to you.
| | 06:56 | That means that you're going to able to change
the color and the stroke will be affected by the color.
| | 07:03 | If you're making brushes on your own,
it's always best to make a duplicate of the original,
| | 07:08 | if you are going to be experimenting.
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|
|
7. Stroke ProfilesOverview of the stroke profiles in the Stroke panel| 00:00 | So there's another kind of brush-like
thing that you can do in Illustrator,
| | 00:07 | that isn't a brush.
| | 00:08 | So we have already looked at the Blob
brush that isn't a brush. This is even
| | 00:12 | less of a brush because it doesn't even
have its own icon in the tools panel.
| | 00:17 | Even though it probably looks like
I've applied brushes to this, I have not.
| | 00:22 | What I've done is chosen Stroke Profiles
and this is the mini version of it,
| | 00:31 | but let's look at it in a Stroke panel first.
| | 00:34 | If this is what you see when you open
the Stroke panel, you want to
| | 00:38 | enlarge the Stroke panel.
| | 00:39 | Right here, at the bottom you will see Profile.
| | 00:43 | So if I return this to Uniform, you will
see indeed it is just a plain old stroke.
| | 00:50 | This is a thick stroke and you can apply
profiles to any old stroke,
| | 00:55 | but it will be more visible
if you apply it to a thicker one.
| | 00:58 | So you can go ahead and experiment with
what happens. It's pretty easy and
| | 01:09 | pretty powerful to develop objects
that have some character, some warmth that
| | 01:14 | are not quite your classic, hard-edged
vectors that they have some nuance to them.
| | 01:21 | That's a very simple thing to do.
| | 01:23 | So there are of course ways for you to
customize your own profiles and create
| | 01:29 | your own and save your own, but if
you're a beginner Illustrator user, they're
| | 01:33 | definitely going to be a bit over your head.
| | 01:36 | If you're an advanced Illustrator user
and you want to learn how to do it,
| | 01:40 | you are going to want to find out more
about the Width tool, that's this tool,
| | 01:47 | which allows you to customize the vectors,
the paths and the Bezier curves.
| | 01:53 | There are a number of movies in lynda.com by
various authors on using the Width tool
| | 01:58 | and customizing your stroke paths.
| | 02:02 | But for now, go ahead and experiment,
go ahead and play. Don't delete any of
| | 02:06 | these profiles because you will actually
be deleting them from the application itself,
| | 02:10 | not just from the document.
This is a very strange difference between
| | 02:15 | working with brushes and working with profiles.
| | 02:17 | So go ahead and experiment away with
what is here. If you want to take this
| | 02:24 | opportunity to learn more about how
to work with Beziers and vectors and
| | 02:29 | customize your own paths, then please go
learn more about using the Width tool.
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| Applying stroke profiles| 00:00 | So in the previous movie we covered most of
the basics of applying profiles to strokes.
| | 00:06 | But let's just go into a couple of more tips
for working with stroke profiles.
| | 00:11 | One thing is you might want to hide your edges
from the View menu, Cmd+H or Ctrl+H.
| | 00:19 | In that way your selection edges
aren't interfering with what you're
| | 00:23 | seeing when you're changing profiles.
| | 00:25 | Now most of the time, instead of going to
the Stroke panel, you are probably
| | 00:30 | just going to want to take a look at
what strokes are available in the Control
| | 00:35 | panel, which is usually there all the time.
| | 00:37 | So they're calling up the Variable
Width Profile, which is strangely different
| | 00:44 | from just calling it profile.
| | 00:46 | So don't be confused. From here
it's the same set of pop-ups that you get
| | 00:53 | from the bottom of the actual Stroke Profile.
| | 00:56 | As I mentioned before, you don't really
see a lot of change unless your stroke
| | 01:03 | is a bit larger in scale.
| | 01:06 | So I am just going to increase the stroke here.
| | 01:09 | Of course you can also change
your stroke color from the Color pop-up.
| | 01:16 | If you hold down the Shift key, you
get the pop-up for the Color Mixer
| | 01:21 | instead of the Swatches. You can
use the Eyedropper tool to pick up other
| | 01:28 | stroke profiles as well.
| | 01:29 | So that's just a few more tips and tricks for
working with profiles, they are pretty easy.
| | 01:36 | The main thing is you do not, not, not
want to delete the profiles, because they
| | 01:43 | will delete them from the entire application.
| | 01:45 | Do not click Delete, don't have to
ever use it, but don't click Delete.
| | 01:50 | Notice how different, by the way,
the profiles look at different sizes.
| | 01:57 | One last tip, when you hide edges, they
will stay hidden until you unhide them.
| | 02:03 | Unlike Photoshop, where they will
show up again as soon as you drop that
| | 02:08 | selection and start again, not true.
| | 02:11 | So if I go over here to select objects,
they are still hidden and it can confuse you.
| | 02:17 | And even more confusing is that preference
of having the edges hidden will be saved with your file.
| | 02:26 | It will completely perplex you if you
open a file and there are no edges available.
| | 02:31 | So make sure when you are done,
you restore the toggle, which is Show Edges
| | 02:36 | or Cmd+H or Ctrl+H. Stay-tuned to the
next movie where you will see that you
| | 02:42 | can apply Variable Stroke Profiles to brushed paths.
| | 02:46 | So you can combine a brushed path with the stroke profile.
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| Applying stroke profiles to brushed paths| 00:00 | So this set of objects actually do you
have art brushes applied to them,
| | 00:05 | all the set except for the first one,
this is the basic path.
| | 00:09 | Each one of these has a different brush.
You can see as I select it,
| | 00:13 | a different brush is going to be
highlighted in the Brushes panel.
| | 00:16 | So one of the cool things about stroke
profiles is that you can apply them to
| | 00:22 | even objects that have brushes applied to them.
| | 00:26 | You are not going to see a difference
with most brushes, but you do actually see
| | 00:30 | a difference with many of the art brushes.
| | 00:32 | I am going to actually select this whole set,
which includes the one on the left,
| | 00:38 | which does not have a brush applied,
it just has a thicker stroke.
| | 00:43 | I am going to again hide edges,
which is View>Hide Edges, or Cmd+H, Ctrl+H,
| | 00:49 | so they don't get in the way.
| | 00:52 | Let's close the Brushes panel and open the
Strokes panel and you can access the profiles
| | 00:58 | from up here at the Control panel,
where it says Variable Width Profile.
| | 01:04 | Down in the actual Stroke Profile
where it actually does calls it Profile
| | 01:09 | in the Stroke panel, which actually just
says Profile, oddly enough, the same thing
| | 01:13 | and different names.
| | 01:14 | So from here, you can actually just
experiment with what happens to the
| | 01:19 | character of a brush and a brushed path if you change.
| | 01:25 | It may or may not be useful for you,
but depending on the exact object
| | 01:30 | you're working with,
it may actually come in handy.
| | 01:35 | So feel free to apply, feel free to play
and if you feel up to the experimental
| | 01:42 | task of trying to customize your own, you can try.
| | 01:47 | First of all, make sure you toggle off
the Hide Edges, so that Show Edges
| | 01:52 | or Cmd+H, Ctrl+H. In order to try to
customize a path with the Width tool,
| | 01:59 | in CS5 I think it's called the Variable Width tool,
you select the object.
| | 02:04 | Now I am going to move into the object
and I'm going to hover over the object.
| | 02:08 | I am going to look for one of
these nodes that's sticking out.
| | 02:13 | It's a little hard to see. I am going to
grab it and really gently I am going to
| | 02:18 | pull a little bit, just to make a little bit of a variant.
| | 02:21 | If you hold the Option key,
you only are pulling half of it.
| | 02:28 | Let's say that it's just the cat's meow
and I want to save it.
| | 02:31 | So if you go up to either this pop-up
in the Control panel or in the Stroke panel,
| | 02:38 | you'll see if you have varied it enough,
you should see either this icon show up
| | 02:44 | or if you are in CS5 you will get a little floppy
disk icon if you understand what that means.
| | 02:50 | And you click it and you say, you will save it.
So you can call it, let's say Bump.
| | 02:57 | Now my little Bump is showing up as well.
| | 03:00 | The key is that, I am going to
go back to my Selection tool.
| | 03:04 | I can apply Bump to any object I want.
| | 03:11 | So it's not that hard to add things,
it's a little hard to get control of it.
| | 03:15 | If you do need help, please look up
the other movies about using the Width tool.
| | 03:19 | It could be called the Width tool
or the Variable Width tool because it's
| | 03:23 | changed for one version of Illustrator
to the other, but hopefully this has
| | 03:27 | piqued your interest to try to figure out
a little more about working with vectors.
| | 03:31 | Make sure whatever you do,
don't delete any of the profiles,
| | 03:38 | because they will be deleted from your application.
| | 03:41 | So when I have added this profile, let's see,
it should show up in my new file as well.
| | 03:54 | So do experiment with applying the
different profiles and may be try
| | 03:59 | a couple of width variations on your own.
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|
|
8. Expanding Your ToolsetOverview| 00:00 | So far we've been looking at
the different brushes separately.
| | 00:03 | But in practice, you are probably going
to end up more likely than not
| | 00:08 | combining brushes within the same document.
Just be aware you will get more complex
if you are using just a few bristle brushes,
| | 00:16 | you are going to get a warning about that.
| | 00:19 | So make sure you check the
Bristle Brush chapter on the warning.
| | 00:25 | You will notice that in this file, there are
quite a few different brushes loaded.
| | 00:28 | Not all of them are being used in this file.
| | 00:32 | But the more complex your image gets,
the more you are going to want to make
| | 00:36 | sure you do use layers. I keep saying it
again and again, but make sure that
| | 00:42 | you're comfortable with layers.
| | 00:43 | There are some movies in this course
about using layers and there are lots
| | 00:46 | of movies that you can watch other places
in lynda.com about using Illustrator layers.
| | 00:51 | Really important for starting
to organize things, for instance
| | 00:56 | I've separated out the bristle brush colors
from the non-bristle brush colors
| | 01:01 | unto different layers.
| | 01:04 | Another wonderful thing is if you need
to find a path within a Layers panel
| | 01:09 | and you can't find it and you don't
want to go opening and searching,
| | 01:13 | there is a little icon that appeared in
Illustrator CS6 called Locate Object.
| | 01:20 | It's also up here in the panel and
it actually has been there for awhile.
| | 01:24 | So if you have an earlier version,
you probably have Locate Object.
| | 01:27 | But I love this little icon, it will actually
open up the Layers panel for you
| | 01:31 | and find that exact path, so you can then act upon it.
| | 01:35 | So with the Selection tool, I can obviously
change the size of a stroke
| | 01:42 | and I can affect the vectors, I can
smooth it and all sorts of other things,
| | 01:47 | but I can't do things like thicken the path.
| | 01:49 | I am going to make this a darker color
so you can see what's going on here.
| | 01:54 | If instead I choose the Paintbrush tool
or the B key, I can then use my
| | 02:00 | bracket keys to make that brush larger
or smaller, or of course change the opacity.
| | 02:08 | All of these things we've covered
in previous lessons.
| | 02:12 | You are going to be able to pull it all together
and start creating complex works on your own.
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| Using Draw Inside with brushes| 00:00 | So now we are going to look at a
cool feature called Draw Inside.
| | 00:05 | It's actually a simplification of how to
create draw within masks in Illustrator.
| | 00:11 | It's a little complicated, but that's why
this is in the section of the course.
| | 00:16 | So what I am going to do is I am just going
to draw a really basic, not very good teapot.
| | 00:25 | I'm going to then set the Fill Color
to some sort of blue.
| | 00:30 | Now I am going to move to the actual
teapot that I drew, which is here.
| | 00:36 | I drew this with the Pencil tool.
| | 00:38 | And I properly kept ahead of myself and
renamed the layer Pencil Outline, which
| | 00:45 | you can just name a layer by double-clicking.
| | 00:48 | From here, what I did was, I worked
on doing a better job with this
| | 00:55 | by selecting it, holding the Command key
and selecting it. Then taking the Blob
| | 00:59 | Brush tool and working it, working it,
working it, fixing it, smoothing it,
| | 01:07 | gradually smoothing it, getting a
better job. Using the Eraser tool, I am
| | 01:13 | turning around my stylus.
| | 01:15 | If you don't have a pen and tablet, you
can grab the Eraser tool or do Shift+E.
| | 01:25 | I am making a hole for the handle
and so on and so forth,
| | 01:32 | going back to the Blob Brush tool.
| | 01:34 | This is like a cooking show, I am going
to skip ahead to taking it out of the oven.
| | 01:39 | There is my improved teapot.
| | 01:41 | I've renamed the layer Blob
because it's no longer just a pencil.
| | 01:46 | Now what we are going to do is
we are going to use this path to draw inside.
| | 01:52 | What does that mean?
| | 01:53 | So if I actually just made another layer
and drew Bristle brushes into it,
| | 02:01 | I would have to be concerned or worry
about how things touch on the edge.
| | 02:07 | Let me just actually show you that for a second.
| | 02:10 | So if I went and got my Bristle brushes--
let's choose a color. I am going to
| | 02:20 | hit the slash key which will make
the fill none because I want it to pay
| | 02:24 | attention to the stroke.
| | 02:27 | And if I just start painting to make a shape,
trying to sculpt with paint, I am
| | 02:37 | having trouble keeping it within the
confines of the teapot, especially with
| | 02:42 | bristle brushes because they're a little
harder to be exacting in terms of where
| | 02:47 | the confines of the stroke is.
| | 02:54 | It's really more of a very gestural kind of brush.
| | 03:00 | So in order to confine it to the teapot itself,
instead I'm going to use this
| | 03:06 | draw inside mode and that is the right down here.
| | 03:10 | We are in the Draw Normal mode and you
can shift between these using Shift+D key.
| | 03:16 | If you are viewing your tools panel
in a single row, this is going to be
| | 03:22 | available from a pop-up.
| | 03:24 | And the second one is Draw Behind.
If I do that, whatever I draw is going to be
| | 03:31 | behind whatever object I have
selected. That's not what I want.
| | 03:35 | This third icon is called Draw Inside.
| | 03:39 | Automatically, when you select an
object to be able to draw inside it,
| | 03:43 | it will set the default appearance fill and
stroke to whatever the object was.
| | 03:49 | So in this case, it's blue.
| | 03:50 | Now my instinct is to change my brush
color to what I want to paint with.
| | 03:58 | So if I go and choose blue, look at what's
going to happen on my teapot, that's
| | 04:03 | not what I intended.
| | 04:04 | So I am going to undo that.
| | 04:06 | This is really counterintuitive.
| | 04:08 | So you are going to have to deselect
this object in order to actually paint
| | 04:14 | inside of it, it's not the selection
that's determining that you are painting
| | 04:18 | inside of it, it's this weird
little dotted line border that you get.
| | 04:23 | So I am going to hold down my Cmd key
or Ctrl key and click outside, just once.
| | 04:30 | Now I can choose whatever color I want.
| | 04:33 | Now when I go to Paint, even though it
looks like I'm starting to paint, even if
| | 04:42 | I am way outside of it, you will
notice its being confined to the pot.
| | 04:48 | So to get out of it, you just want to switch
back to Draw Normal and there you go.
| | 04:56 | Now if I make a stroke, it's going
to be not constrained by the path.
| | 05:00 | So, as in the cooking show, we are
going to switch to the next phase.
| | 05:05 | And here we go, this is my Draw
Inside, I will zoom in a little bit.
| | 05:10 | So this is the next phase of it.
| | 05:12 | So this is just using a couple bristle brushes
to get it going. I am creating layers
| | 05:18 | to try to keep things organized,
trying to behave myself, so that you can
| | 05:25 | follow along when you open the files.
| | 05:28 | And we are going to cooking show to the next one.
| | 05:31 | So I actually created an overlay layer,
which as you can see is not
| | 05:39 | constrained by the Draw Inside.
| | 05:40 | I also have another version of the teapot,
which I created by just selecting the path.
| | 05:48 | If you just click on the little target icon next
to an object in the Layers panel, you select it.
| | 05:56 | And I am going to create another layer
and if you hold down your Opt or Alt key
| | 06:01 | and drag that little selection icon to
another layer, you then create a copy of it.
| | 06:12 | So that's how I created this other copy
and then applied various brushes to the
| | 06:19 | outline itself, and then was willing to paint
outside of it in order to developing new effects.
| | 06:29 | Ultimately, this is the version I ended up with.
It incorporates art brushes,
| | 06:40 | incorporates a number of different bristle brushes,
| | 06:45 | even some calligraphic brushes in here.
| | 06:48 | And I have given you this file to play with.
You will see that I did organize it fairly well.
| | 06:53 | Feel free to experiment and play.
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| Applying brush and brush-like graphic styles to type| 00:00 | Okay, my confession: I am not a typographer.
I know I'm really messing up this type here.
| | 00:07 | It's really nasty.
| | 00:07 | If you are a typographer, you can probably
use these techniques to do something beautiful
| | 00:13 | and wonderful or grunge type or whatever.
| | 00:16 | But I know you'll do a better job than me.
| | 00:18 | I am just going to show you
the principles of how to do it.
| | 00:23 | So it's tricky and I'm going to show you two ways.
The first is the easy way
| | 00:27 | if you are more of a beginner and you just
want to be able to do it and you don't
| | 00:32 | want to have to understand what's behind it.
| | 00:34 | Then for those who want to stick around,
I'll show you sort of a little bit
| | 00:38 | about where to find out more information about
how to do it and the basics of what I'm doing here.
| | 00:43 | So on the left, I have got a couple
of pieces of graphic and just some type
| | 00:51 | that says, brilliantly enough, type.
| | 00:53 | I am going to Hide Edges, which is Cmd+H
or Ctrl+H. I'm going to go over
| | 01:00 | to the Brushes panel, which is what you would
think you would do and you click a brush,
| | 01:05 | let's say the charcoal feather. What happens?
| | 01:08 | It's applying absolutely perfectly to the objects,
which we've done in the previous lesson,
| | 01:14 | and it's doing absolutely nothing to the type.
| | 01:17 | I am going to undo that, and this is
the easy way for those of you who don't
| | 01:24 | want to know what you're doing, but you
just want to quickly get some graphics
| | 01:28 | into type. Hiding the edges again. The
easiest way to do it is to open up the
| | 01:33 | Graphic Styles panel, which may be in a
different location on your screen.
| | 01:38 | I've moved it so you can open it at
the same time as the Brushes panel.
| | 01:43 | Graphic Styles, you can also find
it from here if you're not sure.
| | 01:48 | If there are any graphic styles loaded,
you can just click on them and it
| | 01:54 | will apply it to anything you have got.
| | 01:56 | Now notice it zeroed out the colors
that I had with the box.
| | 02:00 | So I am going to undo back. When
you hover over it, you see it says
| | 02:07 | Opt+click to add existing style,
Ctrl+click for larger preview.
| | 02:11 | Ctrl+click on it gives me this larger
preview of what it would look like
| | 02:15 | if applied to my selected object.
That's pretty cool, pretty cool, right?
| | 02:22 | The other option was of course if I hover over,
it says Opt+click to add to existing style.
| | 02:31 | Notice it didn't wipe out the appearance
of the fills and it just added that grunge type to it.
| | 02:38 | Now if I keep that Option key held,
it will add the next one onto it, which is
| | 02:43 | smaller so you are not going to see it.
| | 02:45 | But technically, you can keep adding
them on top of each other.
| | 02:48 | But let's undo this, and look at how,
if you want to get into the details,
| | 02:55 | how you might apply your own brush to type.
| | 02:58 | So I am going to close the Graphic Styles panel.
I am going to select my type.
| | 03:03 | I'm actually going to remove all styling from it.
I am going to make it no fill and no stroke.
| | 03:10 | The shortcut is the Slash key, which
puts none into the stroke or the fill,
| | 03:17 | whichever is the focus, the one in the
front here. Then I hit the X key, which
| | 03:22 | brings the opposite swatch into focus,
either the stroke or the fill, by the X
| | 03:28 | key. It keeps toggling that back and forth.
Then the slash key again,
| | 03:33 | so I've no fill and no stroke.
| | 03:35 | So right now I have no type. I have type
with no fill and no stroke. There is
| | 03:41 | actually type there, but you can't see it.
| | 03:42 | It must be selected with your Selection tool
at this point and you want to
| | 03:47 | open the Appearance panel. Again, available
from the Window menu, if you don't see it,
| | 03:51 | where it's this little funky dot.
| | 03:54 | Then you are going to do something
which is to add a stroke to it.
| | 03:58 | So strokes notoriously adding to type
will deform the type. So we will show you
| | 04:04 | how to make that slightly less offensive if you want to.
| | 04:08 | But remember, brushes are only added to
strokes, so you have to add it to the stroke.
| | 04:13 | So what I am going to do here is
I'm going to say now that you have added the
| | 04:18 | stroke in the Appearance panel, I am
going to be able to add that Charcoal.
| | 04:24 | I don't know that I can explain to you
why you can only do it in this way.
| | 04:29 | I'll go ahead and zoom in on it a little
bit to make it even more offensive to you.
| | 04:34 | If you want that effect to be in
the background of a non-deformed type
| | 04:40 | character, you can also add another fill.
| | 04:45 | So with your type selected,
I am going to give it a brown fill.
| | 04:50 | Now you have still got your deformed type.
| | 04:52 | So now I'm going to, in the same way
that you would drag layers in the layers panel,
| | 04:57 | I am going to drag the fill above the stroke.
| | 05:01 | Now I can just increase the size of the stroke and you
have non-deformed type with a grunge behind it.
| | 05:11 | So with this appearance selected,
if I now open the Graphic Styles, I should be
| | 05:18 | able to Opt+click or Alt+click to save it
as brown grunge . If I want to
| | 05:30 | apply the brown grunge to say this type instead, there it is.
| | 05:37 | If you want to learn more about how to work
with the Appearance panel and adding
| | 05:42 | multiple strokes and fills in a way that
may be more beautiful than what I have
| | 05:46 | shown you here, check out Mordy Golding's
Deconstructing Appearance's chapter
| | 05:50 | in the Illustrator Insider Training:
Rethinking the Essentials course.
| | 05:53 | Good luck! Feel free to just experiment
with the Graphic Styles.
| | 05:58 | Please do a more beautiful job than I did.
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| More ways to add brushes| 00:00 | So because this is a fairly straightforward
set of tasks that I am going to be showing you,
| | 00:05 | I am going to give those of you
who are tuning in a bonus,
| | 00:09 | which is a secret way of getting the
eyedropper to pick up colors from your screen.
| | 00:15 | I'm going to try to use the eyedropper
to pick up color from my picture and
| | 00:20 | notice that it's picking up nothing.
| | 00:22 | So here is a tip: hold down the Shift key
and you are picking up colors from your image.
| | 00:32 | So aren't you glad you tuned in?
| | 00:34 | So now I am going to also just show you
a little bit about how to get
| | 00:39 | more brushes into your file.
| | 00:40 | So here we have not many brushes.
These are the brushes that are loaded with
| | 00:46 | Illustrator CS6, the version that I had,
maybe different in your version.
| | 00:50 | There just aren't a lot of anything,
a bunch of calligraphic, one bristle
| | 00:56 | brush, one art brush, there might be a couple more.
| | 00:59 | I might have deleted the ones that are
not relevant to naturalistic art brushes.
| | 01:03 | But let's say I want more calligraphic,
I would just go into Artistic_Calligraphic.
| | 01:10 | Here you go, and I believe we have showed you
on one of the other movies
| | 01:14 | but I will just go through it again.
| | 01:16 | As I click on the left you watch what happens
on the right in the Brushes panel.
| | 01:20 | As I click it, it appends.
| | 01:22 | Notice, it groups the calligraphic
brushes together and this is the
| | 01:27 | basic path, which is basic. It's not a brush
that returns back to just a regular old stroke.
| | 01:33 | If you want them all in here and it
will not add duplicates, so feel free to
| | 01:38 | select the first, scroll down and hold
down the Shift key, select the last and
| | 01:43 | you can drag them in.
| | 01:44 | Notice it didn't bring in additional versions
of the ones that I had already dragged in.
| | 01:50 | If you want to modify a brush, I would
normally recommend that you first drag it
| | 01:55 | to the new Brushes panel to duplicate it,
and to modify the duplicate.
| | 01:59 | I am going to undo that.
| | 02:00 | But what if you forget? I have
set this to Pressure, Random, Tilt.
| | 02:09 | I am working way and I realize oh, no I
want the original flat and I've messed it up.
| | 02:16 | Well in this case, you can go to the 1 pt.
| | 02:18 | Flat and it will add it again.
| | 02:20 | So if you highlight a brush that's already
in the Brushes panel, like the 3 pt.
| | 02:27 | it will scroll to that brush in your Brushes panel.
| | 02:31 | If it's not in the brushes panel
when you highlight it, it will add it to it.
| | 02:37 | So what I have done for you, if you
get the files, I have created a series of
| | 02:42 | documents in which I have already
pre-loaded a bunch of stuff for you.
| | 02:45 | If you don't get the files you
can do this yourself manually.
| | 02:48 | So for instance with my color selected
I am just going to start drawing.
| | 02:56 | You can see that I've added brushes.
| | 03:00 | So I am going to move to the other files
just to show you I have pre-loaded
| | 03:04 | if you have access to them.
| | 03:06 | In this one lots of calligraphy, lots of
bristle brushes and lots of art brushes.
| | 03:14 | I just loaded lots of art brushes,
just looking at the art brushes that are
| | 03:18 | in the natural media art brushes.
| | 03:21 | So this one is really cool it has pencils.
If they're art brushes you can't use
| | 03:26 | the bracket keys, but you can use the stroke weight.
| | 03:32 | Again, hold down Shift key with the eyedropper
if you want to bring in the color.
| | 03:37 | So feel free to make your own documents
that have whatever brushes you want in them.
| | 03:43 | When you save the document, the brushes
will be saved with that file.
| | 03:49 | Now there are going to be occasions when
you have just too many brushes to find
| | 03:54 | the one you want, so tune into the next
movie if you want help trying to figure
| | 03:58 | out how to narrow down your choices
or even delete the ones you don't want.
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| Hiding and deleting brushes| 00:00 | We've gone over how to get brushes
into your document, but as you can
| | 00:06 | probably see, finding the brush you want
could be a little difficult if you have too many.
| | 00:12 | If you get the exercise files, then
you'll have this document that's called lots
| | 00:17 | of brushes. Indeed it has lots of brushes.
It's not nearly all the brushes
| | 00:21 | that you could have loaded from the
Adobe toolset. These are all available
| | 00:25 | from the Brush library.
| | 00:27 | You could create your own document
that has too many brushes in it yourself.
| | 00:31 | So there is two things to do.
| | 00:32 | One is you can temporarily make it easier
to view only one kind of brush. That's
| | 00:39 | one thing you can do, so let's look at that.
| | 00:41 | By default from Brushes panel menu,
I am showing all kinds of brushes.
| | 00:46 | Now I don't have any pattern or scattered
brushes and that's why those are
| | 00:50 | grayed out. I've deleted those from the file.
| | 00:53 | But what I am showing is
calligraphic art and bristle brushes.
| | 00:57 | So if deselect a type of brush, now
all I have are the calligraphic brushes.
| | 01:05 | They are still in the file, they
will still be saved with the file,
| | 01:09 | but they're not in your way visually
if you're trying to just identify the
| | 01:13 | calligraphic brushes.
| | 01:15 | The more things that are in your file however,
the bigger the file is going to be.
| | 01:20 | These days we are all dealing with huge files.
If you're working with Photoshop then,
| | 01:26 | brushes aren't going to add a significant
amount of heft to your file size.
| | 01:33 | But, if you're passing off a file to clients
its sometimes really good just to
| | 01:40 | leave those things that are
being used within your document.
| | 01:45 | One thing you can do is let's say,
make sure I am not on my template layer in
| | 01:51 | order to be able to draw because
my template layer it was locked.
| | 01:55 | So I had to make sure, I activated a live layer.
| | 02:02 | Let's say I have a document and
these are the brushes that I'm using.
| | 02:09 | I do not want any other brushes
to be saved with the document.
| | 02:18 | So what I can do, and I've restored
the view of all the different brushes.
| | 02:25 | No, actually I'll add a Spotter for
just good measure and a Cat's Tongue.
| | 02:32 | Okay, it's a two step process.
| | 02:35 | You say Select All Unused, it will
highlight all of the brushes that I'm not
| | 02:41 | currently using in this document.
| | 02:44 | If at this point I want to change my mind
I can deselect and I've done no harm.
| | 02:50 | But if you click on Delete Brush,
all those brushes are going to be deleted.
| | 02:55 | It says do you want to delete the
selection last chance and you say, Yes.
| | 02:59 | Well it's not actually the last chance
because you can still undo this.
| | 03:04 | So you can redo it and undo it.
| | 03:05 | And sometimes you will notice that
there will be an occasional brush that you
| | 03:10 | didn't use that's still available in
the Brushes panel. It's because it
| | 03:16 | probably was being used by something else
in your system for instance a graphic style
| | 03:21 | might have contained a particular brush.
| | 03:24 | So you can manually delete the style if
you're not using it and then, delete the
| | 03:31 | brush that you don't want in your
document but that still remains.
| | 03:34 | So if you know you want to remove the brushes
from your document before you save
| | 03:39 | the smallest file you can or simplify the file
when you are going to work on it
| | 03:45 | next time or want to pass off a clean
document to your client, then you want to
| | 03:49 | Select All Unused and then delete those brushes.
| | 03:52 | But if you just want to temporarily hide
the ones that are in the way
| | 03:55 | you can choose to deselect the fact
that it's being shown in the panel.
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| Using vector editing tools| 00:00 | Of course, every brush stroke is
an Illustrator path at its core.
| | 00:04 | So I just wanted to show you a little bit
about how you can go back and then do
| | 00:09 | those edits when you want.
| | 00:10 | This is not a photograph, actually.
| | 00:12 | This is a composite collage that I created
in Photoshop of about six different photos,
| | 00:17 | different perspectives to create
an imaginary viewpoint that I could use
| | 00:23 | as a template to create an Illustrator painting.
| | 00:27 | I wasn't really careful in the collage because
I knew I was going to just use it as a resource.
| | 00:32 | So that's what I used as a template.
| | 00:34 | So let's hide the template
and show you where we ended up.
| | 00:39 | This layer here--I will make it a
little bigger--says hidden lines, is one of
| | 00:45 | those typical reasons why I love Illustrator.
| | 00:49 | These lines were in my base layer.
One at a time, as I thought there were too
| | 00:57 | many lines involved, I would drop them
into a hidden layer. I am going to do
| | 01:04 | that again for you just so you can see what I mean.
| | 01:07 | This is my hidden lines layer.
| | 01:08 | So I'm going to lock everything but
the hidden lines layer so I can select easily.
| | 01:12 | If that was a line I didn't think
I needed any longer, instead of
| | 01:16 | deleting it I could just hide it.
| | 01:19 | So I just, one at a time,
pick the lines that I didn't want.
| | 01:23 | I am simulating this for you.
| | 01:28 | There were just some extra details that
I thought I didn't want.
| | 01:30 | I ended up with this, which is a lot more spare.
| | 01:37 | And then, another set of edits that
I couldn't do, if this wasn't vector.
| | 01:43 | This for instance to these words, which
are fairly scribbly and gestural,
| | 01:53 | made with the calligraphic brush.
| | 01:56 | But I could easily select the paths.
I could use any editing tools on them
| | 02:05 | or I could even just make adjustments.
| | 02:08 | Now remember everything in Illustrator
can be sized to any size. Even if it
| | 02:14 | looks like it's paint, it can be scaled
to postage stamp size, it could be
| | 02:19 | scaled to billboard size unlike Photoshop.
Not the A; I was missing one of
| | 02:24 | those lines when I picked it u. So I just
undo back to that, make sure I get that line.
| | 02:29 | Now I could group it and now I could
scale it, move it, do whatever I want to.
| | 02:38 | If I feel like I want to use an Editing tool
on one of them, I select it with
| | 02:42 | a Direct Selection tool, I can obviously
smooth and all that stuff we have gone into that.
| | 02:47 | If I want to really pick apart this object and
edit it with my editing tools I absolutely can.
| | 02:55 | Now obviously if you are a beginner
and you want more help with how to edit
| | 03:00 | with these tools, you are going to want to
go check out Illustrator Essential Training.
| | 03:04 | You can use any of your traditional vector editing tools.
| | 03:08 | So this is without the base, this is
just with the bristle brushes, and this is
| | 03:14 | with the calligraphic brush overlay.
| | 03:16 | There is an amazing amount of flexibility
that you are going to have when
| | 03:21 | you create a painting with vector tools
that is really unavailable in any other medium.
| | 03:28 | So remember, before you start editing,
save versions and save often.
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| Combining brushes in artwork| 00:01 | So to try to get your creative juices going
I just wanted to show you a couple
| | 00:05 | of samples of how I've been combining brushes.
| | 00:09 | Starting in the earlier days of Illustrator
brushes, just combining the
| | 00:14 | calligraphic and art brushes just to do
drawings that include calligraphic ink
| | 00:19 | and art brush washes.
| | 00:22 | Then more recently when the bristle brush
first came out, I sort of dipped my toe into it,
| | 00:26 | adding this pastel color to a calligraphic drawing.
| | 00:34 | Once, I started doing that, I realized
that, there were a whole bunch of other
| | 00:39 | ways that I could combine things.
| | 00:42 | In this image I was playing almost
everything together, almost all the brushes,
| | 00:46 | Blob brush adding to a pencil tool outline,
using calligraphic brushes and
| | 00:50 | bristle brushes drawn inside to the
blob brush and I even used a little pattern
| | 00:55 | brush in there, combining with
other kinds of tools in Illustrator.
| | 00:59 | So I am beginning to feel like the brushes
are becoming integrated into all the
| | 01:06 | other ways that I work with
Illustrator, but it's not just that.
| | 01:09 | In this image, which is created entirely
with bristle brushes to start with, I had
| | 01:14 | then printed it out in archival media,
attached it to a board and actually
| | 01:19 | worked into it with traditional watercolor pencil.
| | 01:22 | So now, I am combining these
digital tools with traditional tools.
| | 01:28 | I hope your mind is bubbling with so
many ideas for how you can incorporate
| | 01:32 | Illustrator brushes into your own artwork.
| | 01:35 | Like I have said, there are countless possibilities.
| | 01:37 | So I hope you take these techniques
as a starting point and then apply them
| | 01:42 | to your own projects.
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ConclusionNext steps| 00:00 | So thank you for tuning in.
| | 00:02 | If you want more technical details
about Illustrator, make sure to tune into
| | 00:06 | Illustrator Insider Training:
Rethinking the Essentials with Mordy Golding.
| | 00:10 | There's lots of information for you there;
| | 00:12 | how to expand your toolset and
take advantage of a lot of things that
| | 00:16 | we just touched on briefly here.
| | 00:18 | I am also thrilled to be able to offer
you a discount code in case you want to
| | 00:22 | pick up my Illustrator Wow book, which
goes in much more depth and intricacy
| | 00:28 | to a lot of the tools.
| | 00:29 | And we've included a free excerpt of
the book which includes a bunch of the
| | 00:33 | pages from the brushes chapter for you to look at.
| | 00:36 | So thank you so much, I hope you've
learned a ton and I hope this starts you off
| | 00:42 | in a whole new creative direction.
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