IntroductionWelcome| 00:04 | Hi I am Robin Schneider, and welcome to
Illustrator for Fashion Design: Drawing Flats.
| | 00:09 | In this course I am going to show
you how to use Adobe Illustrator to
| | 00:13 | create technical flats.
| | 00:14 | I'm going to focus on only the tools
you'll need for drawing fashion flats, like
| | 00:18 | working with Selection tools, Shapes,
Pathfinder and the Pen tool, so you can
| | 00:22 | jump right in and start drawing.
| | 00:24 | I'll walk you through creating some basic
flats such as shirts, skirts, blazers and pants.
| | 00:30 | I'll also show you how to create custom
brushes and symbols to speed up your workflow.
| | 00:35 | Finally, I'll show you how to create
and render croquis and how to layout your
| | 00:39 | designs for a professional finished product.
| | 00:41 | Now let's get started with
Illustrator for Fashion Design: Drawing Flats.
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| Using the exercise files| 00:00 | I've included some templates to use
when making flats that will be available to
| | 00:04 | all members of lynda.com.
| | 00:06 | If you're a premium member, you'll have
access to the exercise files that I've
| | 00:09 | used throughout the course.
| | 00:10 | They are organized by chapter and in each
chapter are the files I use in each movie.
| | 00:15 | For some movies I've included final versions
of my work or some extra assets you
| | 00:19 | can use to practice.
| | 00:21 | If you don't have access to the
exercise files, you can still access the
| | 00:24 | templates and follow along to
create your own flats from scratch.
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| Working with older versions of Illustrator| 00:00 | Here are a few things you need to know
if you happen to be working in an older
| | 00:04 | version of Illustrator.
| | 00:05 | Anything covered in this
course should work perfectly well in
| | 00:08 | Illustrator version CS5.
| | 00:10 | But if you're using 4 or below, you
need to be aware of a couple of things, one
| | 00:14 | of them is joining anchor points.
| | 00:16 | In the video I frequently join anchor points.
| | 00:19 | We Reflect and Copy images, and then we
select the image, right-click and join.
| | 00:25 | You cannot select with a Black Arrow in Illustrator 4.
| | 00:29 | Instead, what you need to do is switch
to the White Arrow and select only the
| | 00:34 | two anchor points that need to be
joined, then you can right-click, Join.
| | 00:38 | If you try and select the entire object with
the Black Arrow, you'll receive an error message.
| | 00:43 | Once again, be sure to select the
individual anchor points using the White
| | 00:47 | Arrow before you Join.
| | 00:49 | The other thing that you'll need to
be aware of is the lack of profiles.
| | 00:53 | In CS6, in the Stroke panel, at the
bottom, there is a dropdown here called
| | 00:58 | Profile and I use them frequently.
| | 01:00 | Instead of using the Profiles there
are a couple of other options that
| | 01:03 | are available to you.
| | 01:05 | The Profiles I use most are this
top one and this triangular one here.
| | 01:09 | But you can easily make an
art brush as a substitute.
| | 01:12 | Let's make the top one first.
| | 01:14 | You'll draw an ellipse using the
Ellipse tool, something about like that.
| | 01:21 | Now switch to the Convert Anchor Point
tool, click on the two endpoints to turn
| | 01:26 | them into corner points
and get a shape like this.
| | 01:29 | Let's fill it with black and change the
stroke to white and now we can select it
| | 01:34 | and define it as a brush.
| | 01:36 | Click on Brushes, click on the New
icon, select Art Brush and click OK.
| | 01:42 | When the new window opens, click OK
and now you can draw a path with the Pen
| | 01:47 | tool and when you apply the
brush it will look like this.
| | 01:53 | The other one that we want to make is
the triangular one, except we don't want
| | 01:57 | to make it as a triangle;
| | 01:58 | we want to make it look a little more like a
teardrop, and here is how to make this one.
| | 02:02 | Start with the Pen tool, click, click
to the right and drag straight down and
| | 02:07 | then click back where you started.
| | 02:08 | Now you have a teardrop shape.
| | 02:10 | Fill it with black and make sure the stroke is
set to none, select it and make an Art Brush.
| | 02:16 | So New>Art Brush, click OK, click OK again.
| | 02:21 | And now when you apply this brush, it's
thick on one end and thin on the other.
| | 02:29 | If you want another option, you can
take this brush, duplicate it and Reflect
| | 02:34 | it -- all of these skills will be
covered in later videos -- and make a brush
| | 02:39 | going in the other direction.
| | 02:41 | So again, New>Art Brush, OK, OK and
now you have a brush going in either
| | 02:48 | direction for whatever you need.
| | 02:50 | So I hope this is helpful and hopefully
soon you'll be able to upgrade to CS6.
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| What is a flat?| 00:00 | A flat is a technical illustration of a garment.
| | 00:03 | It's used in the fashion industry to
present all of the info about a garment,
| | 00:07 | kind of like an architect's elevation
shows all of the information about a
| | 00:10 | particular wall of a building.
| | 00:13 | At one time they were drawn by hand,
but drawing them on the computer is now
| | 00:16 | the industry standard.
| | 00:17 | And to be competitive in the
fashion industry, drawing flats in Adobe
| | 00:21 | Illustrator has become a necessary skill.
| | 00:23 | You'll be hard pressed to find
a company that doesn't use it.
| | 00:27 | For an entry level job it's an absolute must.
| | 00:29 | There are a couple of different kinds
of flats that are used in the industry.
| | 00:34 | There are technical flats, which are a
very clean, basic flat like this, that are
| | 00:39 | used for tech packs and spec sheets.
| | 00:41 | They're drawn into proportion with
measurements added so the clothing can
| | 00:45 | go into production.
| | 00:46 | There is also a looser type of flat
called a flare or a float that's more like a
| | 00:51 | garment on a body without the body.
| | 00:54 | Flats can be plain and basic or
fancy with extra embellishments.
| | 00:58 | Everybody develops their own style
and every company has their own style.
| | 01:02 | So once you learn how to draw them you
will need to be flexible and adapt to the
| | 01:06 | style of the company you're working at.
| | 01:08 | Flats can also be filled with color to
be used in a line sheet, or they can be
| | 01:12 | fully rendered with fabric to
show the look of the final garment.
| | 01:15 | So in this course I'm going to show you
how to use Adobe Illustrator to draw flats.
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1. Getting Started: Overview of Basic Illustrator ToolsExploring the workspace| 00:00 | Welcome to the Illustrator workspace.
| | 00:02 | Let's start by opening a new file.
| | 00:03 | We're going to go up to the menu,
click on File>New and you want to make sure
| | 00:09 | that the Profile is set to Print.
| | 00:11 | As long as you do that, it will
open the right size page, click OK.
| | 00:15 | The page you see on your
screen is called the artboard;
| | 00:17 | anything you draw on the artboard will
print since this is an 8.5x11 size page.
| | 00:22 | Anything you draw in the gray area of the
screen will not print, consider it scratch paper.
| | 00:27 | On the left side of your screen you'll
see the tool bar, it's a series of tools
| | 00:31 | you can use in Illustrator and many of
them have a little arrow next to them.
| | 00:35 | If you click and hold on this arrow
you'll notice that there are additional
| | 00:38 | tools available to you.
| | 00:39 | The right side of the
screen has your panel dock.
| | 00:42 | Each one of these icons relates to a
panel that we're going to use later on
| | 00:46 | throughout the course of this video.
| | 00:47 | If at any time you accidentally close
or lose one of these panels, you can
| | 00:52 | always find it again by going up to the
Windows dropdown menu, and it will be
| | 00:57 | listed right here. I just closed the
Symbols panel, so I'm going to scroll down
| | 01:01 | to Symbols, click on it and now it's restored.
| | 01:06 | Now that you know your way around,
let's move on and talk about the tools
| | 01:09 | you need to know.
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| Using selection tools| 00:00 | Let me introduce you to the
first two tools in the toolbar.
| | 00:03 | I have opened my Basic Shapes file
and I am going to use them to just move
| | 00:08 | around the page a little bit.
| | 00:09 | The first tool I want to show you is
called the Selection tool, it's the black
| | 00:13 | arrow; and if you click and hold over it,
you'll see that it tells us it's the
| | 00:17 | Selection tool with the shortcut key of V.
| | 00:19 | To use the Selection tool all you have
to do is click on an object to select it.
| | 00:24 | Once selected, you'll see a
bounding box with handles.
| | 00:27 | I can select any of these objects by
clicking on them; and to move them around I
| | 00:32 | click and drag them into another location.
| | 00:34 | The Selection tool selects the
entire object, that's the beauty of it.
| | 00:38 | If I want to select multiple objects
on my page, I have two ways of doing it.
| | 00:42 | I can hold my Shift key and make
another selection, continue holding my Shift
| | 00:46 | key, make another selection in
order to get all the objects selected.
| | 00:50 | To release the objects I click
anywhere on the page and it will release them.
| | 00:55 | The second way of selecting with the
black arrow is to marquee select; and what
| | 00:59 | that means is to drag a marquee around
any shape or object you'd like to select.
| | 01:05 | You can select multiple objects by
marquee selecting all of them, or a couple of
| | 01:10 | objects by marquee selecting just two.
| | 01:12 | The bonus of this tool is that it's
designed to select the entire object, so you
| | 01:17 | only need to marquee select a small
portion of the object in order to get the
| | 01:21 | entire object selected.
| | 01:22 | Sometimes that's a very handy thing.
| | 01:24 | The second tool I want to show you is
called the Direct Selection tool and
| | 01:27 | that's the white arrow.
| | 01:29 | This tool is designed specifically to select
individual anchor points and line segments.
| | 01:34 | So for instance, I can come over here
to this circle, hover over this anchor
| | 01:38 | point and click to select it.
| | 01:40 | Now I've selected this one anchor point,
I can now drag it to distort the shape
| | 01:45 | and I can also mess around with the
handles here to distort the shape further.
| | 01:50 | I can click an individual anchor
point and drag, or I can click on a line
| | 01:54 | segment by clicking in between two
anchor points and drag that in order to
| | 01:59 | distort the shape as well.
| | 02:01 | The Direct Selection tool or white arrow
is used to manipulate shapes and we'll
| | 02:05 | be using it quite a bit in future videos.
| | 02:08 | So now that you know the tools,
make sure to use the right tool at the right time.
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| Drawing shapes| 00:00 | In this video I'm going to show you how
to draw basic shapes using the Shape tool.
| | 00:04 | Over here in the toolbar you will see a
rectangle and this is the Rectangle tool.
| | 00:08 | If you click and hold on it you will
notice assorted other shape tools that can
| | 00:13 | conveniently be moved on a separate toolbar.
| | 00:16 | If you drag your cursor over to this
little arrow at the end and then release,
| | 00:21 | it will tear off this little bank of
tools and you can drag them right over to
| | 00:26 | your page and make them easier to use.
| | 00:28 | The first one is the Rectangle tool.
| | 00:30 | To use it you click and drag
across your page to draw rectangles.
| | 00:33 | You can draw vertical rectangles, you
can draw horizontal rectangles and if you
| | 00:39 | want to draw a perfect square you need
to hold the Shift key and then click and
| | 00:43 | drag and you will make a perfect a square.
| | 00:46 | I'm going to select all these with
the Selection tool and hit Delete on my
| | 00:49 | keyboard just to clear the workspace.
| | 00:51 | The next tool here that I want
to talk about is the Ellipse tool.
| | 00:55 | With the Ellipse tool you can
draw similarly to the Rectangle tool.
| | 00:58 | Click and drag to draw a horizontal
ellipse, click and drag to draw a vertical
| | 01:04 | ellipse, and hold the Shift key
and drag to draw a perfect circle.
| | 01:09 | Notice all of these shapes are drawing
from left to right, because that's the
| | 01:13 | direction I'm dragging.
| | 01:14 | I could just as easily drag from bottom to top
or right to left in order to draw the shapes.
| | 01:19 | But sometimes you want to draw shape
from the center and in order to do that,
| | 01:22 | you need to hold your Alt or Option
key and then click and drag and the shape
| | 01:27 | will draw from the center.
| | 01:29 | If you want to draw a perfect circle
from the center, you're going to click,
| | 01:34 | hold your Alt or Option key and then
your Shift key, click and drag and you will
| | 01:39 | get a perfect circle, drawn from the center.
| | 01:42 | Again, I'll marquee select everything
on my page and delete to clear it.
| | 01:46 | Now what if you want to draw or a circle but
you needed them to be drawn to a specific size.
| | 01:51 | For instance, instead of just arbitrarily
dragging a rectangle out on the page,
| | 01:55 | what if I needed a very specific size
of rectangle, for instance a rectangle
| | 01:59 | that is 1-inch by two inches.
| | 02:01 | Very simple, you select the Rectangle
tool, click once on the page to open the
| | 02:06 | Rectangle Options box.
| | 02:08 | Notice the default size is points,
so we're going to have to make sure to
| | 02:12 | type in, in, for inches.
| | 02:13 | I'm going to make this two
inches long, so I'll type in 2in.
| | 02:16 | I can hit the Tab key on my
keyboard to move to the height box.
| | 02:20 | Notice how it automatically changed back
into points when I tabbed over to Height.
| | 02:25 | Don't worry about that 144 points is 2 inches.
| | 02:28 | Now I'm going to type in
the height, 1in for one inch.
| | 02:33 | Click OK and I now have a rectangle
that is two inches long by 1 inch tall.
| | 02:37 | The same works for the Ellipse tool,
click once on the page and I can draw an
| | 02:42 | ellipse of any size, but I'm
going to go with a perfect circle.
| | 02:46 | So we'll type in 3in, Tab, 3in, click
OK and there is a perfect 3 inch circle.
| | 02:54 | We'll marquee select and delete these
so I can show you one more tool here.
| | 02:58 | The Star tool, this one
works a little bit differently.
| | 03:01 | And it's a lot of fun to play with,
click and drag to create a star.
| | 03:05 | But notice I can rotate the star by how I drag.
| | 03:08 | If I want to make sure the star is
sitting upright, sort of like the star on top
| | 03:12 | of a Christmas tree, I'm going to hold
my Shift key, then click and drag and it
| | 03:16 | will keep my star restrained
in a nice upright position.
| | 03:20 | But there is one more thing about
the Star tool that's kind of fun.
| | 03:23 | While you're in the Star tool if you
click once on the page it will bring up
| | 03:27 | the Star Options box.
| | 03:29 | This gives you the opportunity to
type in an outer radius and an inner
| | 03:32 | radius for your star.
| | 03:34 | So I can type in a radius of three
inches for my outer radius, two inches for my
| | 03:40 | inner radius and I also can
adjust the number of Points in my star.
| | 03:44 | I'm going to go for -- how about
11 just to make things interesting.
| | 03:48 | Click OK and I now have an 11 point star
that's three inches in diameter and two
| | 03:54 | inches in diameter from the
inside point to the inside point.
| | 03:58 | One last little trick is to draw a triangle.
| | 04:01 | If you want to draw a triangle, the
tool you want to use is the Polygon tool.
| | 04:04 | Click on it, click on the page to
open the Polygon Options box and the key
| | 04:09 | to this is to change the number of sides to
three, click OK and you'll get a perfect triangle.
| | 04:15 | So that's it for the Shape tools.
| | 04:17 | What's really important to take away
form this video is that holding the Shift
| | 04:20 | key keeps your shapes constrained to
draw a perfect triangle, a perfect circle,
| | 04:27 | or a perfect square.
| | 04:29 | And holding the Alt or Option key
allows you to draw from the center out.
| | 04:33 | Those are two tools that we will be
using frequently when drawing flats.
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| Using color| 00:00 | In this video I'm going to
show you how to color an object.
| | 00:03 | There are numerous ways to do this in
Illustrator, but I want to focus on the
| | 00:07 | three that I use the most.
| | 00:09 | There are three areas to look
for when coloring an object.
| | 00:11 | One is the Swatch panel which you can
find on the right side of your screen.
| | 00:15 | You click on the Swatch
icon and it opens the panel.
| | 00:18 | I'll just detach it so we
can take a closer look at it.
| | 00:21 | Up here in the Control panel you'll also
find the icons for Color, the first one
| | 00:25 | here is Fill and the second one is Stroke.
| | 00:28 | You also see something that looks
very similar to the Swatches panel.
| | 00:31 | Down at the bottom of the toolbar is
the third place we can look for color;
| | 00:35 | a Fill color and a Stroke color.
| | 00:36 | This is Illustrator default,
white fill and black stroke.
| | 00:39 | So the solid square represents the fill
color of an object and the picture frame
| | 00:44 | shape is the stroke color of an object,
whichever one is in front--and notice I
| | 00:48 | can swap them by clicking on
them--is the one that's active.
| | 00:51 | So if I draw a shape right now, you'll
notice that the fill is active because
| | 00:55 | it's in front, which means if I click
on a Swatch over here in the Swatches
| | 00:59 | panel, it will change the color of the fill.
| | 01:01 | I'm going to go ahead and make the
Stroke larger, which I'll show you how to
| | 01:05 | do in a later video.
| | 01:06 | If I have the Stroke in front, it
means that the Stroke is active.
| | 01:10 | So now any color that I click on in my
Swatches over here will affect the color
| | 01:14 | of the stroke; and it's important to
pay attention to which one is in front.
| | 01:19 | The other place you can change color as I
mentioned was up here in the Control panel.
| | 01:23 | In this case it doesn't matter which
icon is in front because you can dropdown
| | 01:26 | specifically on either the Fill
icon or the Stroke icon as needed.
| | 01:31 | And the last place is the toolbar.
| | 01:34 | You'll notice that any changes we
made in either of the other panels are
| | 01:37 | reflected in the toolbar.
| | 01:38 | But if I want to change the color here,
all I have to do is double-click, it will
| | 01:42 | open the color picker where I can go
ahead and select a new color and that's
| | 01:47 | awfully close to my original, so how about red.
| | 01:50 | And I can double-click on the Fill Color
and select a new color, click OK and it
| | 01:55 | reflects my colors here in
the panel as well as on my page.
| | 02:00 | If I need to restore my default
colors there are two ways to do it.
| | 02:04 | One is to click on this little icon in
the toolbar, which is the Restore icon and
| | 02:08 | it will restore my defaults.
| | 02:10 | The second way to restore my defaults is
to go ahead and use a keyboard shortcut
| | 02:14 | and I'll be giving you keyboard
shortcuts throughout these videos.
| | 02:17 | If you hit the letter D on your keyboard, D
for default, it will restore the defaults.
| | 02:22 | Any objects that are selected
will restore to the default colors.
| | 02:26 | If nothing is selected, the
object will stay the same color.
| | 02:30 | So let me deselect this object, I'm
going to hit D on my keyboard and you'll
| | 02:34 | notice that in the toolbar the default
was restored, but since my object was not
| | 02:39 | selected it stayed the color it is.
| | 02:41 | But the next object I'll draw is
going to draw in the default colors.
| | 02:46 | If I change the colors of the object
I'm currently working on and then draw
| | 02:50 | an additional object, that object will be
drawn in the colors that are currently active.
| | 02:55 | Since I've just change this to a
blue Fill with a yellow Stroke, the next
| | 02:59 | rectangle I draw is going to have
a blue Fill and a yellow Stroke.
| | 03:03 | If I restore it to default by using the
D key on my keyboard, the next rectangle
| | 03:07 | I draw will be default colors.
| | 03:09 | One last thing I'd like to point out.
| | 03:11 | There is also the choice of No Fill.
| | 03:14 | I'm going take this shape and I'm
going to select this icon right here.
| | 03:18 | It's a square with a forward slash;
| | 03:20 | this is the icon for none.
| | 03:21 | There are times that you
would want no fill on an object.
| | 03:25 | You might need to see through it,
you might only need the stroke.
| | 03:28 | The shortcut key on your keyboard
for this is the forward slash key.
| | 03:32 | It looks just like this little icon here
and it's easy to remember because it's
| | 03:35 | like the signs for no smoking,
the circle with a slash through it.
| | 03:39 | The last thing we need to be aware of is
making selections on an object that has no fill.
| | 03:44 | If you were to take your black arrow or
Selection tool and try to click in the
| | 03:48 | center of an object, nothing will happen.
| | 03:50 | Since the object has no fill, it's
like reaching through an open window.
| | 03:53 | In order to select an object that has
no fill, you must select the edge of the
| | 03:58 | object or the path directly in order
to select and move the object to another
| | 04:02 | location and that's how you add color.
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| Using the Layers panel| 00:00 | Before we move on to another tool let's
take a moment to look at the Layers panel.
| | 00:05 | You can find the Layers panel on the
right side of your computer in the panel dock;
| | 00:09 | it's this little icon right here.
| | 00:10 | If for some reason this icon is
missing, you have two options.
| | 00:13 | You can reset your Essentials by
going up to the menu bar, clicking on this
| | 00:17 | little dropdown and clicking the word
Reset Essentials or you can go to the
| | 00:22 | Window dropdown menu, scroll down
to layers and open your Layers panel.
| | 00:27 | Why bother to label your layers? I get
that question a lot from many of my students.
| | 00:31 | Well having your layers unlabeled is
the equivalent of scrolling through a pile
| | 00:35 | of papers on your desk.
| | 00:36 | I currently have all of these things
here in my layer and as I scroll through,
| | 00:40 | it's really hard to determine
what everything actually is.
| | 00:45 | What if I need something specific?
| | 00:47 | It really helps to have things layered.
| | 00:49 | For instance, layer7, what is on layer7?
| | 00:52 | The eye here next to the layer allows you
to toggle of the visibility of the layer.
| | 00:56 | So by clicking on the eye I can turn
off the layer and I discover that my
| | 01:00 | buttons disappeared.
| | 01:01 | So now I know that buttons were in layer7.
| | 01:04 | Let's label the layer properly so
that next time it's not a problem.
| | 01:08 | I'm going to double-click on the word layer
and now I can type in buttons and click Enter.
| | 01:14 | Now my layer is labeled and it will
make life much easier the next time around.
| | 01:18 | If I want to make a new layer all I
have to do is click on this icon down here.
| | 01:23 | It's supposed to indicate a page
that's turning like a new page in a book.
| | 01:26 | If you click on it, it makes a new
blank layer and it titles it with the next
| | 01:31 | layer that would be on the stack.
| | 01:32 | You can delete a layer by
dragging it into the trash can.
| | 01:36 | You can delete an existing layer by
dragging it into the trash can as well.
| | 01:40 | I know this layer has my pocket on it,
so I'm going to click and drag that into
| | 01:44 | the trash can and there goes my pocket.
| | 01:46 | But I want it back so I'm going to
use the best command ever created in the
| | 01:50 | history of computers and that folks is
Ctrl+Z or Cmd+Z. And it's Undo in
| | 01:55 | Illustrator we get do overs.
| | 01:58 | So for layers you can make
them visible or invisible.
| | 02:01 | You can make a new layer by
clicking on the New layer icon.
| | 02:05 | You can name a layer by double-clicking
on the layer name and changing it and
| | 02:09 | you can lock a layer.
| | 02:10 | If I go over here to my pocket layer
and I grab it with my Selection tool, the
| | 02:14 | black arrow, I can drag it and move
it elsewhere on my page, Ctrl+Z or
| | 02:18 | Cmd+Z to undo that.
| | 02:20 | But if I lock the layer first by
clicking in this empty box right next to the
| | 02:25 | eye, now it will not allow me
to grab and move that layer.
| | 02:28 | I can grab everything else on my
page but not the pocket and that's a
| | 02:33 | really handy thing.
| | 02:34 | There are times that you want
things to stay put and not move.
| | 02:38 | There are a few other things
you can do with layers as well.
| | 02:41 | I'm going to grab this and bring it
over here to make it a little easier to see
| | 02:45 | and I'm going to open it up so we can
see all of the layers I currently have.
| | 02:49 | There is layer 5 here which is unlabeled,
I'll turn it off just to get an idea
| | 02:52 | and it looks like that's my
collar, so let's label that.
| | 02:56 | Besides using the selection tools that
I showed you earlier to make selections,
| | 03:00 | you can also make
selections through the Layers panel.
| | 03:02 | You do this by clicking on these
little targets in the different layers.
| | 03:06 | For instance, if I want to select the
buttons, I can click on the target in the
| | 03:10 | button layer and now all
my buttons are selected.
| | 03:13 | You'll notice that it put a little
square in that layer next to the buttons.
| | 03:16 | It's a big square and that big square
tells me that I've selected everything in
| | 03:21 | that particular layer.
| | 03:22 | If you only select one object in
a layer, you get a small square.
| | 03:26 | For instance, the Plackets layer, if I
click on the target, I get a big square,
| | 03:31 | this time it's red because it happens
to be a red layer because both of my
| | 03:35 | plackets are selected.
| | 03:36 | However, if I were to select only
one placket, it gives me a small square
| | 03:41 | showing me that something in the layer is
selected, but not everything in the layer.
| | 03:46 | If I wanted to then move that placket
to a different layer I could do it by
| | 03:49 | dragging it into another layer.
| | 03:52 | I've just put my plackets in with my buttons.
| | 03:54 | So you'll notice if I turn off the
eye for the button layer, my placket
| | 03:57 | will disappear as well.
| | 03:59 | But let's put that back where it belongs.
| | 04:01 | We click that little square and we
drag it back into the Plackets layer.
| | 04:05 | The last thing you can do with layers
is shuffle them like a deck of cards, we
| | 04:09 | can change the layer order.
| | 04:10 | Right now the collar is sitting
very nicely on top of the shirt.
| | 04:14 | But I could select the collar and drag
it down below the sleeves layer so that
| | 04:19 | it's partially hidden, but that's not
a very practical way to work, so I'll
| | 04:23 | Ctrl+Z or Cmd+Z in order to undo that.
| | 04:26 | I could do the same with my pocket.
| | 04:27 | Take my pocket layer and I
can drag it behind the sleeves.
| | 04:31 | Even though the layer was locked,
it will allow me to move it.
| | 04:34 | It just won't allow me to
move the objects on the layer.
| | 04:37 | But since the pocket makes no sense
behind the shirt we're going to put it right
| | 04:41 | back where it belongs.
| | 04:42 | So layering your labels is a
really good habit to get into.
| | 04:45 | It's going to make your workflow much
faster and it's going to make life lot
| | 04:49 | easier in the future.
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| Using the Rotate tool and duplicating objects| 00:00 | In this video I'm going to
cover how to use the Rotate tool.
| | 00:03 | Let's start by drawing an ellipse on
the page so we have something to rotate.
| | 00:07 | The Rotate tool is located in the
toolbar on the left side of your screen,
| | 00:10 | it looks like an arrow kind of going
in a circle and the shortcut key for
| | 00:14 | the Rotate tool is R.
| | 00:16 | The way we're going use it is double-click
on it and that opens a Rotate Options window.
| | 00:21 | We can type in an Angle I've typed in
30 degrees and click OK and it will rotate
| | 00:26 | your object 30 degrees.
| | 00:28 | Most of the time when we use the
Rotate tool we're going to want to copy the
| | 00:32 | object rather than merely rotate it.
| | 00:34 | So to do that we're going to double-click
again on the Rotate tool, type in our
| | 00:38 | angle of 30 degrees and this time click copy
instead of rotate and it's going to make a
| | 00:44 | rotated copy of our ellipse.
| | 00:46 | If you'd like to duplicate that,
rather than going back to the Rotate tool,
| | 00:50 | double-clicking and clicking Copy again, we
can just use a shortcut key, which is Duplicate.
| | 00:55 | The shortcut is Ctrl+D or Cmd+D and
you can hit it as many times as you like
| | 01:00 | to duplicate the previous move.
| | 01:02 | So now I've gone all the way around
and created some sort of flower here
| | 01:06 | using the Rotate tool.
| | 01:08 | You'll notice when the objects rotate with the
Rotate tool, they rotate on their own center.
| | 01:14 | I'll turn on preview so you can see it.
| | 01:16 | If you rotate it, it rotates on its own center.
| | 01:20 | What if you wanted to rotate
from a very specific point?
| | 01:23 | For instance, what if I wanted this
particular object to rotate from the bottom
| | 01:28 | here instead of the center?
| | 01:29 | Simple, select the object, click once
on the Rotate tool and then click on that
| | 01:35 | point at the bottom where you want the
rotation to be and you'll notice that
| | 01:39 | this little target appears.
| | 01:41 | Now I can click anywhere on my page
and drag and my object will rotate around
| | 01:47 | that point, so I'll move it just a
little bit over here; and I can continue
| | 01:52 | duplicating it all the way around using
my shortcut key, Ctrl+D for duplicate.
| | 01:56 | This time, it didn't make a duplicate;
| | 01:58 | all it did was move the
ellipse around the circle.
| | 02:01 | And that's because the Duplicate
command duplicates the last move you made, it
| | 02:05 | doesn't actually make a copy.
| | 02:08 | And since the move I made previously
was to move and not copy the rotation, all
| | 02:13 | it does is continue moving
the rotation around the circle.
| | 02:16 | I'm going to delete this.
| | 02:18 | Let's draw a new ellipse.
| | 02:20 | There is one more way to use the Rotate tool.
| | 02:23 | I'm going to select my ellipse, click
once on Rotate and this time, I'm going
| | 02:28 | to hold down my Alt or Option key and
click on the page to define the rotation point.
| | 02:34 | Once I do that, it opens
automatically the Options box.
| | 02:38 | I can type in an Angle for rotation;
| | 02:40 | I'm going to type in 45 and click Copy.
| | 02:43 | And this time it's still rotating around
that point but in a very specific amount.
| | 02:49 | Again, I can duplicate that, Ctrl+D, and
move it all the way around and that is
| | 02:54 | how you use the Rotate tool.
| | Collapse this transcript |
| Using the Pen tool| 00:00 | In this video we're going to talk about
the Pen tool which is the main tool that
| | 00:04 | we're going to be using for
drawing flats in Adobe Illustrator.
| | 00:07 | But first I want to
explain to you what a path is.
| | 00:10 | If we click open the Layers panel, and
I'll drag it over here so we can get
| | 00:14 | a close look at it.
| | 00:15 | The Layers panel shows everything we
have drawn to date and in this case I've
| | 00:19 | got my Shirt file open again.
| | 00:20 | Everything you see here is a path; and a
path can be anything from a closed shape
| | 00:26 | like the silhouette of the shirt,
this would be considered a closed path.
| | 00:30 | Sleeves would be considered a
close path, the front placket.
| | 00:33 | Any path that starts and ends at the
same anchor point and can be filled with a
| | 00:37 | color is a close path, a pocket, a collar.
| | 00:41 | Then we have something called a compound path.
| | 00:44 | A compound path is two paths put
together that form a shape with the hole in it.
| | 00:50 | Think a doughnut or a bagel and
buttons are a really good example of that.
| | 00:55 | They are considered compound paths.
| | 00:57 | Lastly, we have open paths.
| | 00:59 | Open paths would be used for things
like bar tacks and all the details in
| | 01:04 | stitching we add, we'll put
the sleeve plackets back, too.
| | 01:07 | So those are paths.
| | 01:09 | Anything you draw in Illustrator is a
path, and a path is made up of anchor
| | 01:14 | points and line segments.
| | 01:15 | Basically, it's a series of anchor
points that are connected with line segments
| | 01:20 | and that's how you
manipulate shapes in Illustrator.
| | 01:24 | So let's talk about the
Pen tool and how to use it.
| | 01:27 | You'll need to make a new
layer to draw with the Pen tool.
| | 01:31 | The poor Pen tools seems
to get a really bad rap.
| | 01:34 | The Pen tool is over here in the Tool
bar and if you click and hold on it, you
| | 01:38 | can detach it and bring the Pen
tool over to where you're working.
| | 01:41 | Let's get rid of the layers here.
| | 01:43 | The way the Pen tool works,
think connect the dots.
| | 01:46 | We're going to click from
point to point to point.
| | 01:48 | So I'm going to start by clicking the
first point, click, click, click and it's
| | 01:52 | important to go back where I started.
| | 01:55 | Notice that the Pen tool now shows me
a little circle, that's indicating that
| | 01:58 | I'm about to close the path.
| | 02:00 | So I've clicked, now I've made a closed
path with the Pen tool and I can give it
| | 02:05 | a color and that's how you use it.
| | 02:06 | So you go click, click, click, click,
click, click to close and that's how you
| | 02:13 | draw a shape with the Pen tool.
| | 02:15 | Now comes the Add an Anchor Point tool;
and that does just what it says it does,
| | 02:20 | it adds anchor points.
| | 02:21 | So all you need to do is click along a
path and it will add an Anchor Point to
| | 02:25 | it, as many as you like.
| | 02:27 | The reason you want to do this is so
that you can go back and grab your Direct
| | 02:31 | Selection tool and manipulate those
Anchor Points, which is what allows you to
| | 02:35 | draw things a little more creative
than circle, squares and triangles.
| | 02:38 | The next tool is the Delete Anchor
Point tool and that allows you to
| | 02:42 | surprisingly delete Anchor Points.
| | 02:44 | So we'll click on an
existing Anchor Point to delete it.
| | 02:47 | You'll also notice that if you're in
plain old Pen tool, if you hover over an
| | 02:52 | area of the path, the tool will change to the
Add an Anchor Point tool and let you add it.
| | 02:58 | And if you hover over an existing
Anchor Point, it'll change to the Minus tool
| | 03:02 | and allow you to delete it.
| | 03:04 | The last tool in the group here is the Convert
Anchor Point tool and this is the important one.
| | 03:08 | It allows you to change a corner
point, which is what these are, to a smooth
| | 03:13 | point which is a circle.
| | 03:14 | We'll click on the Convert Anchor Point tool;
| | 03:17 | we'll click on the anchor point and drag out
handles, which will help me control the curve.
| | 03:22 | Click and drag on the anchor point.
| | 03:24 | Now sometimes that happens and it
twists like a piece of wire, just untwist.
| | 03:29 | The farther you drag out the handles,
the flatter the curve and the less you
| | 03:33 | drag out the handles, or the closer they
are to the Anchor Point, the tighter the curve.
| | 03:37 | I'm going to delete these two pieces and
show you a good exercise for practicing
| | 03:41 | using the Convert Anchor Point tool.
| | 03:43 | Grab the Star tool and
draw a few stars on the page.
| | 03:48 | Now you can switch the Convert
Anchor Point tool, click and drag handles
| | 03:53 | out from the point.
| | 03:54 | Think of it as a seesaw, you want to
keep it level, you want to be nice to the
| | 03:58 | person on the other side, not jump
off and leave them dropping like that.
| | 04:02 | Also, if you don't like what you did,
you can use the Convert Anchor Point tool
| | 04:06 | to click on the smooth point and
restore it back to a corner point.
| | 04:09 | So click and drag out the handles, click
and drag out the handles, and the idea is
| | 04:13 | to aim for consistency so you can
practice controlling the handles.
| | 04:17 | Click and drag, and you want to
turn your star into a flower.
| | 04:22 | So again, click and drag, click and drag.
| | 04:24 | Now if you drag and this happens, again
don't worry, just untwist it like it's a
| | 04:29 | piece of wire, click and drag,
click and drag, click and drag.
| | 04:34 | So that's how you use the
Convert Anchor Point tool.
| | 04:37 | We'll be using the Pen tool and the
Convert Anchor Point tool through most of
| | 04:41 | the rest of these videos, so it's
definitely something that you'll want to
| | 04:44 | get up to speed with.
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| Using the Reflect tool and joining paths| 00:00 | In this video we're going to
cover how to Reflect and Join.
| | 00:04 | These are two really important skills
that we're going to be using over and over
| | 00:07 | again to draw flats.
| | 00:08 | The benefit of doing it on the computer is
that we only have to draw half of the flat;
| | 00:12 | then we get to Reflect it and join it.
| | 00:14 | It saves a whole lot of time.
| | 00:16 | The Reflect tool can be found in the
toolbar hiding behind the Rotate tool.
| | 00:21 | So click and hold on the Rotate tool
and you will find the Reflect tool.
| | 00:25 | Let's draw something we can reflect,
I've got the Pen tools open from
| | 00:29 | the previous video.
| | 00:30 | With the Pen tool I'm just going to draw
click, click, click a little shape here.
| | 00:35 | Switch to the Selection tool, the black
arrow, and release and select the object.
| | 00:41 | To use the Reflect tool you double-
click on it, select Vertical, which is what
| | 00:46 | we're going to use 99.99% of the time
since flats are usually symmetrical on
| | 00:52 | the right and left side and we're going
to click OK and we just reflected it to
| | 00:56 | the other side, expect generally we
don't want to just reflect it, we want to
| | 01:01 | make a reflected copy.
| | 01:02 | So I'm going to undo Ctrl+Z or
Cmd+Z and we'll do it again.
| | 01:06 | Double-click on Reflect, make sure
Vertical is checked and this time we're going
| | 01:11 | to select Copy and we
just made a reflected copy.
| | 01:14 | The one problem is, like Rotate it
doesn't write on top of itself, it
| | 01:18 | reflects on its own center.
| | 01:20 | I can use my arrow key to move this over,
but as far as I'm concerned that takes
| | 01:26 | just take a little bit too much time.
| | 01:28 | Every 20 seconds you use, adds up to a
potential coffee break and I think it's
| | 01:33 | really important to work fast,
so I'm going to delete that.
| | 01:37 | And I want to show you a way that you
can define the point to reflect, just like
| | 01:40 | we define the rotation point.
| | 01:43 | Select the object, click once on
Reflect, this time you're going to hold down
| | 01:47 | the Alt key and click.
| | 01:48 | Wherever you click defines the point
where you're going to be reflecting.
| | 01:53 | Select Vertical and Copy and it puts
the reflection on the other side of that
| | 01:59 | defined axis, which works very nicely for us.
| | 02:03 | So let me do that one more time.
| | 02:06 | Select my object click once on Reflect,
Alt+Click on the center, Copy and now
| | 02:13 | I have my two sides.
| | 02:15 | The next thing we need to learn how
to do is join, because once you have
| | 02:18 | reflected your flat you need
to join the two sides together.
| | 02:21 | So let me show you how this works. Let's
delete this, I am going to draw another
| | 02:27 | piece, so with the Pen tool, click,
click, click, switch to my Selection tool,
| | 02:35 | marquee select to make sure
I've gotten the whole thing.
| | 02:37 | Once on the Reflect tool, Alt+Click
on the center to define the reflection
| | 02:42 | point, make sure it's set
to Vertical and click Copy.
| | 02:45 | So now I have two pieces.
| | 02:47 | Back to the Selection tool,
we'll marquee select both pieces.
| | 02:51 | To join them together you're
going to right-click and select Join.
| | 02:55 | For those of you on a Mac, you can
actually Ctrl+Click, if you don't have
| | 02:59 | a right-click mouse.
| | 03:01 | And you'll notice it joined the two
pieces together, it actually added a line
| | 03:05 | segment between the two pieces.
| | 03:07 | We'll do it again for the bottom;
right-click Join and it just connected
| | 03:11 | the bottom two pieces.
| | 03:12 | That is the way we're going to make flats.
| | 03:14 | We're going to draw half the flat and
then we're going to reflect it across the
| | 03:18 | center axis and then draw the other half.
| | 03:20 | So let's look at how all of this
works together by drawing a heart.
| | 03:24 | Start with a Pen tool, we're going to
click once up into the right and then
| | 03:29 | back down at the bottom.
| | 03:31 | Switch to the Convert Anchor Point
tool, click and drag and turn this upper
| | 03:36 | point into a curve, this is
going to be the top of the heart.
| | 03:39 | This is the point where I can go ahead
now and select my Direct Selection tool,
| | 03:43 | the white arrow, and manipulate this
point if I'm not pleased with the way I've
| | 03:47 | placed or shaped it, I can pull the
handles out further, I can lower it, I can
| | 03:51 | raise it, I can perfect it.
| | 03:53 | Back to the Selection, I'll marquee
select and now I'm going to reflect it
| | 03:57 | to get the other half.
| | 03:59 | Click once on the Reflect tool, Alt+click
right here on that center point, which
| | 04:03 | is going to be the center of my heart,
make sure that I have it set to Vertical
| | 04:07 | and click Copy; so there is
the other half of my heart.
| | 04:11 | But as you can see, if I go ahead and
fill it in, it's only half of a heart.
| | 04:15 | I need to join the two pieces together
in order to make sure it's a closed path.
| | 04:19 | In order to that we go back to the
Selection tool, marquee select both halves of
| | 04:24 | the heart, right-click and select Join.
| | 04:26 | So that's how you draw a heart.
| | 04:28 | You basically draw one half, reflect it
and join the two sides and that's also
| | 04:33 | how you draw a flat.
| | Collapse this transcript |
| Using Pathfinder| 00:00 | Pathfinder is one of the tools
that makes Illustrator so amazing.
| | 00:04 | It's a way of combining shapes rather
than drawing outlines the way you would
| | 00:08 | with a pencil, let me explain.
| | 00:10 | If I was drawing a cloud with a pencil,
I'd grab my pencil and I would probably
| | 00:14 | do something like this and
draw a big fluffy cartoony cloud.
| | 00:18 | But if I was doing it in Illustrator,
which conveniently I am, I'm going to do
| | 00:23 | it a little differently.
| | 00:24 | First I need Pathfinder.
| | 00:25 | So to find Pathfinder in Illustrator,
you go up to the menu dropdown, click on
| | 00:29 | Window, find Pathfinder and it
will open the Pathfinder panel.
| | 00:33 | Now there are 10 of these, don't worry
about it I'm only going to make you learn three.
| | 00:38 | To draw this cloud using Illustrator
and taking advantage of Pathfinder, I'm
| | 00:42 | going to start by drawing some ellipses.
| | 00:44 | So I'm going to take the Ellipse tool
and click and drag out a few ellipse
| | 00:50 | shapes to form my cloud.
| | 00:53 | The only thing that matters is that
they overlap each other a little a bit so I
| | 00:58 | can combine them all together.
| | 01:00 | I'm going to Marquee select them
with the Selection tool and now go up to
| | 01:04 | my Pathfinder panel.
| | 01:05 | We're going to select Pathfinder Unite,
which is the very first pathfinder icon
| | 01:10 | and it unites all the ellipses together
in one shape forming a cloud; much nicer
| | 01:14 | than the first and a lot easier to do.
| | 01:17 | So that's Pathfinder Unite.
| | 01:19 | There are two other
pathfinders that I want to show you.
| | 01:23 | The next pathfinder is called Exclude.
| | 01:25 | Pathfinder Exclude is used to make
compound paths and the thing we would most
| | 01:30 | likely use it for when we're talking
about fashion is things like buttons.
| | 01:34 | It's good for zipper poles, that kind of thing.
| | 01:37 | So let's shoot a few bullet holes in our cloud.
| | 01:40 | I'm going to take my Ellipse tool and I'm
going to draw a few circles on top of my cloud.
| | 01:46 | And just to make this really clear, I'm
going to select everything and I'm going
| | 01:51 | to give a fill just so you can
see exactly what I'm talking about.
| | 01:56 | I've got some circles and I've got
a cloud, I'm going to marquee select
| | 02:00 | everything and this time I'm going to
click on Pathfinder Exclude, which is the
| | 02:04 | last one the top row here; and magically
it punches holes out of my cloud and you
| | 02:10 | can see they are actually
holes and not just white circles.
| | 02:13 | If I move it off my page, you can
actually see through these holes, that's
| | 02:17 | Pathfinder Exclude and that as I
mentioned is great for buttons.
| | 02:21 | The last one I want to
show you is Pathfinder Divide.
| | 02:24 | Divide is something that we
will be using quite frequently.
| | 02:27 | Let me grab my Ellipse tool and draw an egg
and now back to my Pen tool, let's crack it.
| | 02:35 | So I'm going to take my Pen tool and
click, click, click, click, click, click,
| | 02:40 | to make a little crack on my egg.
| | 02:42 | You'll notice that I started beyond
the size of the egg, beyond the shape of
| | 02:47 | it and I ended beyond the shape of the egg; and
that's important, I'll show you why in a minute.
| | 02:53 | The other thing that's important is to
make sure that there is no fill on your
| | 02:57 | dividing line and right
now there is a white fill.
| | 02:59 | It's a little hard to tell but you can
see it's blocking this piece of a path.
| | 03:04 | So I'm going to change the fill to
None and if you remember from earlier the
| | 03:08 | shortcut key to change to Fill to
None is the Forward Slash key on your
| | 03:11 | keyboard, there you go.
| | 03:13 | Now for Pathfinder Divide to work you
need to marquee select both pieces, the
| | 03:18 | piece that you are dividing and
the piece you are dividing with.
| | 03:22 | If you only select one piece,
Illustrator doesn't know what you want it to do,
| | 03:26 | it's smart but it's not a mind reader.
| | 03:28 | Now I'm going to click on Pathfinder Divide.
| | 03:31 | Notice that the parts that were
sticking out disappeared anyway, so we don't
| | 03:35 | have to worry about them.
| | 03:37 | but we have one more step and
that is right-click, Ungroup.
| | 03:41 | It's a good habit to get into;
Pathfinder Divide always followed by
| | 03:45 | right-click, Ungroup.
| | 03:47 | Now click anywhere on the page to
release the selection and my egg is divided
| | 03:52 | into two pieces; and you can tell this
because I can fill it with two different
| | 03:58 | colors, happy Easter.
| | 03:59 | Now the really cool thing about
Pathfinder Divide and Unite is that you can
| | 04:04 | always restore things.
| | 04:05 | Now that I've broken my egg I can go
back to Pathfinder Unite and put it back
| | 04:10 | together. Too bad Humpty Dumpty
didn't have Adobe Illustrator.
| | 04:14 | The reason it changed to green is
because green was the last color I filled with.
| | 04:19 | So let me demonstrate Pathfinder one more time.
| | 04:21 | You take your Pen tool and
you draw the dividing line.
| | 04:24 | you make sure it has no fill and you
can do that by using the Forward Slash
| | 04:28 | key in your keyboard.
| | 04:30 | You marquee select both pieces,
click on Divide, right-click, Ungroup and
| | 04:36 | now you have two separate pieces that you
can either pull apart or color differently.
| | 04:42 | I have one last thing to show
you when it comes to Pathfinder.
| | 04:45 | This is a great exercise used to master
Illustrator and if you really understand
| | 04:50 | how it works, you have it made.
| | 04:53 | I'm going to take the Ellipse tool and
I'm going to go ahead and draw an Ellipse.
| | 04:57 | Let's go back to default colors here.
| | 04:59 | I'm going to click on the
Default icon over on my toolbar.
| | 05:02 | I am going to make a second ellipse.
| | 05:04 | I'm going to start in the center and
I'm going to hold my Alt or Option key,
| | 05:09 | which allows me draw from the
center, to make a second ellipse.
| | 05:12 | And now with my Selection tool,
marquee select both of them and we'll go over
| | 05:17 | here back to Pathfinder Exclude
to punch out the second circle.
| | 05:21 | So now if I color it, you'll see I have a link
like the link in a chain, let's make a copy.
| | 05:27 | There are a couple of different ways to copy.
| | 05:30 | You might already know the keyboard
command Ctrl+C or Cmd+C for copy. It's
| | 05:35 | a good command it works in Illustrator as well
as Microsoft Office and numerous other programs.
| | 05:40 | But there is another way to make a
copy in Illustrator that's very handy.
| | 05:44 | Hold down your Alt or Option key and drag,
release the mouse first and then you
| | 05:49 | can release the Alt or Option key
and it makes a copy.
| | 05:52 | So now I have two links in
my chain, let's link them up.
| | 05:56 | Select both links, Pathfinder,
Divide, right-click Ungroup;
| | 06:02 | I've just divided my chain into numerous pieces.
| | 06:05 | Now I'm going to put it back
together in the order that I want.
| | 06:09 | So I'll select this top piece, hold
down my Shift key to make a multiple
| | 06:13 | selection, select this middle piece and
while holding my Shift key I'm going to
| | 06:17 | select yet a third piece, this one right here.
| | 06:20 | Now I can release my Shift key, go back
up to Pathfinder and select Unite, and it
| | 06:25 | combined those three pieces together.
| | 06:27 | I'll give it a new color just to
make it a little easier to see.
| | 06:31 | Now I need to link these three pieces
together to complete my linked rings.
| | 06:35 | So I'll click on the first piece,
hold my Shift key, select the next piece.
| | 06:41 | While still holding my Shift key,
select the third piece, Pathfinder, Unite and
| | 06:46 | there you have linking rings.
| | 06:47 | You can see if I pull them apart how
they look, let's restore them, and that is
| | 06:52 | how you use Pathfinder.
| | Collapse this transcript |
|
|
2. Drawing a Basic T-ShirtPlacing a template| 00:00 | Before we can start drawing our
first flat, we need to place a template.
| | 00:04 | It's important to always work from a
template so that everything is consistent
| | 00:07 | in size from garment to garment.
| | 00:09 | You can think of it as sort of paper
dolls; you want all of the clothes to fit
| | 00:14 | the same paper doll.
| | 00:15 | The first thing we did was open a new file.
| | 00:17 | You want to start with a nice clean
slate of a new file and then place the
| | 00:21 | template rather than open the template.
| | 00:24 | In order to place the template you're
going to go up to the menu bar and select
| | 00:27 | File, scroll down to Place
and navigate to the template.
| | 00:32 | You're looking for the Basic Flat
Template and you can find that in the exercise
| | 00:36 | files with this video.
| | 00:37 | We're going to select it and click Place,
here it is right here on our page; but
| | 00:42 | currently it can be moved around, and a
template that moves is not a very handy
| | 00:48 | thing, we actually want to lock it in place.
| | 00:50 | But we want to do than lock it;
| | 00:52 | it would be also helpful if we
lightened it up a little bit so it would
| | 00:56 | be easier to draw on.
| | 00:57 | Here is where the Layers panel comes in.
| | 00:59 | Open the Layers panel by
clicking on the layers icon.
| | 01:01 | You'll notice right now there's one
layer called layer 1, double-click on it and
| | 01:05 | it'll open the layers Options.
| | 01:07 | Go ahead and click the
Template box and click OK.
| | 01:11 | This is going to automatically dim the
image to 50% and notice the little lock;
| | 01:16 | it also locks it in place so it won't move.
| | 01:19 | It also gives us this little pencil
with the little circle and slash saying,
| | 01:23 | nope, you can't do anything on this layer
because it's locked; which gives us two
| | 01:27 | options, we can unlock the layer, which
is a bad option since we locked it for
| | 01:32 | very good reason or we can make a new layer.
| | 01:34 | To do that we click on the Create New
layer icon and now we have a nice fresh
| | 01:38 | new layer ready to go.
| | 01:40 | Now there is another way you can place that is
a little faster and I'd like to show that you.
| | 01:46 | I'm going to delete my second layer,
go ahead and delete the template, we can
| | 01:51 | do it all in one shot.
| | 01:52 | We're going to go up to File and select
Place and again select the Basic Flat Template.
| | 01:57 | But this time we're going to
check a couple of buttons here.
| | 02:01 | Check the Template button and make
sure that the Link button is not checked.
| | 02:06 | We want this template to be part of the file
and not linked to the file, now click Place.
| | 02:12 | It did the same thing, it placed it;
| | 02:14 | it locked it in place so I
can't move it and it dimmed it.
| | 02:18 | It also made us a new layer,
| | 02:20 | layer 1, that's already ready to work on.
| | 02:22 | You'll notice if I grab my Pen tool and try to draw;
| | 02:26 | it will let me, no evil pencil with a slash through it.
| | 02:30 | So we're ready to start.
| | Collapse this transcript |
| Drawing the bodice| 00:00 | So we have our template placed and now
it's time to actually go ahead and start
| | 00:04 | drawing the bodice for the t-shirt.
| | 00:05 | I'm going to start by grabbing the Zoom
tool over here and using it the way we
| | 00:10 | use the marquee selection, click and
drag over the area we want to see so we can
| | 00:14 | zoom in nice and close.
| | 00:15 | We're going to grab the Pen tool; and
again the Pen tool is going to be used as
| | 00:20 | if we're playing connect the dots.
| | 00:21 | So the first point we're going to
click on is high point shoulder, right here
| | 00:25 | where the neckline meets the shoulder.
| | 00:28 | The second click will be low point shoulder.
| | 00:30 | The third click is inside the armhole
and I gave you a little target there so
| | 00:34 | you can aim for that, under the
armhole, and the final click is going to be at
| | 00:39 | the hip where the shirt is going to end.
| | 00:42 | The next thing we're going to do is
switch to the Convert Anchor Point tool. So
| | 00:46 | we'll go back to Pen tool grab
the Convert Anchor Point tool.
| | 00:49 | We need to turn this hard cornered
edge shape into a nice smooth curve of an
| | 00:53 | armhole; and to do that you're going
to click on the anchor point and drag
| | 00:57 | straight down to form an armhole curve.
| | 01:00 | Now we have one half of the t-shirt drawn.
| | 01:03 | So I'm going to switch back to
my black arrow or Selection tool.
| | 01:07 | Now it appears that the entire
thing is selected, but as I've mentioned
| | 01:10 | earlier, unless the anchor point is
filled in with the color, it's not selected.
| | 01:15 | And right now the only anchor point
that's actually selected is the one we just
| | 01:19 | converted in the armhole.
| | 01:20 | So I'm going to click on my page to
release the selection and marquee select to
| | 01:25 | select it again and ensure that I have
the entire half of the bodice selected.
| | 01:29 | Now we can Reflect it.
| | 01:30 | We'll click once on the Reflect tool,
hold down the Alt key and click on the
| | 01:35 | center line, anywhere
along the center line will do.
| | 01:38 | When the Reflect Options opens, you're
going to make sure it's set to Vertical
| | 01:42 | and click Copy, and there is the other half
of your shirt exactly where it needs to be.
| | 01:47 | Now we need to join the two halves together.
| | 01:49 | So back to the Selection tool, marquee
select both pieces, right-click and Join
| | 01:55 | to join the top neckline, right there.
| | 01:57 | While it's selected right-click
and Join to join the hemline.
| | 02:02 | We're almost there.
| | 02:04 | we just have to shape the
neckline and the hemline.
| | 02:07 | To do that we're going to add an
anchor point, so I'm going to grab the Add
| | 02:11 | Anchor Point tool and click right in the
center of this path to add an anchor point.
| | 02:16 | While it's selected I'm going to use
the arrow key on my keyboard to nudge it
| | 02:21 | down a few clicks and put
the neckline where I'd like it.
| | 02:24 | I'm going to add a point right on the
center of the hemline and do the same
| | 02:29 | thing with the arrow key in my keyboard,
nudge it down, but this time only a little bit.
| | 02:33 | We have one last step, back to
the Convert Anchor Point tool.
| | 02:37 | I'm going to click on the center
neckline point and drag to the right to curve
| | 02:42 | my neckline; and then I'm going to click
on the center hemline point, this time
| | 02:46 | I'm going to drag to the
left to curve my hemline.
| | 02:49 | Now if you've made a mistake and you
dragged to the right, it's just going to
| | 02:53 | twist, so untwist and drag to the left,
and that is your bodice.
| | Collapse this transcript |
| Adding the back neckline| 00:00 | Now we can add the back neckline to the bodice.
| | 00:02 | Generally the back neckline is higher
that the front neckline so we would see it.
| | 00:06 | Here is how you do it. Start with
the Direct Selection tool; remember the
| | 00:10 | Direct Selection tool selects
individual anchor points and line segments so we
| | 00:14 | need to use this one.
| | 00:16 | You're going to hover your cursor over
the neckline until the anchor point pops
| | 00:20 | up and click on it to select.
| | 00:21 | Now we've selected this part of the neckline.
| | 00:24 | By selecting this center anchor point
we've selected everything from this anchor
| | 00:29 | point all the way around to this anchor point.
| | 00:32 | If we were to select either of this two
top anchor points, it would also include
| | 00:36 | the shoulder, which we do not want.
| | 00:38 | Now that we have this selected we're
going to copy it and you can use the
| | 00:42 | keyboard shortcut for that,
Ctrl+C or Cmd+C for copy.
| | 00:45 | And then we want to past it which
most of you probably know as Ctrl+V or
| | 00:49 | Cmd+V. But there is a problem with this.
| | 00:52 | When you use this command for copy, it
puts the neckline wherever it wants; and
| | 00:56 | that's not very helpful because then
it's up to us to grab it and drag it back
| | 01:01 | into place, which may or may not be
exactly right and it causes trouble. So I'm
| | 01:06 | going to go ahead and delete that, and
we're going to do it a different way.
| | 01:10 | I want to teach you a new command,
it's called in front and the shortcut is
| | 01:14 | Ctrl+F or Cmd+F. So we're going to
select the anchor point, Copy Ctrl+C or
| | 01:19 | Cmd+C, and then Paste in front, Ctrl+F
or Cmd+F. And what that did was
| | 01:25 | place the segment we copied
exactly where we copied it from.
| | 01:29 | And now it's an open path, we need
to close it; and to close an open path,
| | 01:33 | right-click and select Join.
Now we have a closed path.
| | 01:37 | But it's still not shaped quite right.
| | 01:39 | The back of a neckline would never be
straight because it would buckle against
| | 01:43 | your neck, there is always a slight curve to it.
| | 01:45 | So we're going to shape it the
same way we shaped the front neckline.
| | 01:49 | We're going to start by adding an anchor
point right in the center of the back neckline.
| | 01:53 | We're going to use arrow key on the
keyboard to nudge it down and then switch to
| | 01:57 | the Convert Anchor Point tool, click
and drag, this time it's to the left.
| | 02:03 | And you won't necessarily know which
you're dragging when you first start, but
| | 02:07 | if it a twists, just untwist
and drag the other direction.
| | 02:10 | So we've curved it by dragging it out
and there is one last thing we need to do,
| | 02:15 | that's fill it with gray.
| | 02:16 | It's traditional when you're drawing
flats to indicate the back side of the
| | 02:19 | fabric with the color gray.
| | 02:21 | I'm going to go over to my Swatch panel,
select to light gray to fill the back
| | 02:26 | of my shirt and there you go.
| | Collapse this transcript |
| Adding sleeves| 00:00 | Now we need to add the sleeves and
adding the sleeves is a lot like adding the
| | 00:05 | back neckline, the process is very similar.
| | 00:07 | We're going to start with the Direct
Selection tool, white arrow, and we are
| | 00:10 | going to find that little anchor point that we
made inside the armhole, click on it to select.
| | 00:15 | We're going to copy it, Ctrl+C or
Cmd+C, and just like with the back
| | 00:19 | neckline, we're going to paste in
front, Ctrl+F or Cmd+F for front.
| | 00:23 | Now that we have this pasted here,
we can join it, right-click, Join.
| | 00:28 | Kind of an odd looking armhole, but
that's okay, we're going to fix it.
| | 00:30 | We're going to go back to the Add an
Anchor Point tool and we're going to
| | 00:35 | add two anchor points, one near the top of
this line segment and one near the bottom.
| | 00:39 | The placement of the points is not
critical as long as you add two points
| | 00:43 | to this line segment and there is enough
space in between the two to make a selection.
| | 00:47 | We're going to switch to the Direct
Selection tool and select the line segment
| | 00:51 | between the two points.
| | 00:52 | Drag it down moving this lower anchor
point into place along the template.
| | 00:56 | Then you're going to go grab this other
anchor point and drag it into place on
| | 01:01 | the other side of the template,
forming your sleeve.
| | 01:04 | Now for the other sleeve, it's even easier.
| | 01:06 | We're going to switch to the Selection
tool, release, marquee select the sleeve.
| | 01:11 | Notice I only selected the
sleeve, click once on reflect.
| | 01:14 | Alt+Click on the center line make sure
to select Vertical from the Reflect
| | 01:21 | options and Copy to place
the sleeve on the other side.
| | 01:26 | And now you've got two sleeves.
| | 01:29 | Next thing we want to do is group
everything together, so we're going to marquee
| | 01:32 | select the entire shirt, right-click and Group.
| | 01:36 | And that's your t-shirt.
| | Collapse this transcript |
| Organizing the Layers panel| 00:00 | So now that we have our t-shirt and
it's all grouped together, let's go ahead
| | 00:04 | and take it and make a
copy of it for the back view.
| | 00:07 | To do that you can hold down your Alt or
Option key, click and just drag to make a copy.
| | 00:12 | Now let's do a little organizing in
the Layers panel before we move forward.
| | 00:16 | I'm going to open the Layers panel and
you'll notice there are currently two layers.
| | 00:20 | There is the template that
we placed and in layer one;
| | 00:23 | there are our two t-shirts, so
let's label this layer T shirt.
| | 00:27 | You'll also notice in the Layers panel
that there is a little triangle here.
| | 00:33 | This arrow, if you click on it, allows
you to twirl open the layer and show you
| | 00:37 | what's inside; and you'll notice that
inside this layer are two groups, they
| | 00:41 | each have the t-shirts. And you'll
notice that one of them has a big square next
| | 00:45 | to it, meaning that's the one that's selected.
| | 00:48 | You can see that by turning the eye on and off.
| | 00:51 | And that shirt is going to be our front.
| | 00:53 | So let's double-click on the word
group and label it Front, which means the
| | 00:59 | other shirt is going to be our back.
| | 01:00 | So let's double-click on
that one and label it Back.
| | 01:04 | So now that we've labeled our layer and
our front and back, this would be really
| | 01:07 | good time to save the file.
| | 01:09 | And to do that, you're going to go up
the File>Save As, navigate to where you
| | 01:15 | want to save your file and name it.
| | 01:17 | So you'll label it.
| | 01:19 | I'm going to call it T-shirt.
| | 01:21 | Make sure that the type is set to
Adobe Illustrator and click Save.
| | 01:25 | And it appears that nothing
happened, but actually, it did.
| | 01:28 | Adobe added the ai to your file name.
| | 01:32 | Now if I clicked again, it's going to
go to the next window, which allows me to
| | 01:36 | save to a different version of
Illustrator if I'm going to be working on
| | 01:39 | somebody's computer with an older version.
| | 01:41 | And in this case I won't be, so I'm
going to keep it in Illustrator CS6,
| | 01:46 | click OK and I've saved my file.
| | Collapse this transcript |
| Drawing the back view| 00:00 | Now let's create the back of the t-
shirt by using the front of the t-shirt to
| | 00:04 | make a couple of changes.
| | 00:06 | Basically what needs to happen to this
flat so that it looks like the back is
| | 00:10 | this area here needs to go away.
| | 00:12 | And the way we're going to do
that is by using Pathfinder.
| | 00:16 | So we're going to start by
opening the Pathfinder panel.
| | 00:19 | You go up to Window in the menu bar,
drop down to Pathfinder and there it is.
| | 00:24 | The pathfinder we're going to be using
is Unite, because what we're going to
| | 00:28 | do is unite this back piece here that we
just made with the front bodice of the t-shirt.
| | 00:33 | But before we can do that, we need to do
something called going into Isolation mode.
| | 00:37 | Right now if I were to try and select
one piece of this shirt, I would end up
| | 00:41 | selecting the entire shirt and that's
because in the last video we grouped
| | 00:45 | the shirt together.
| | 00:46 | Now we can solve this by ungrouping it,
which in this case wouldn't be that big
| | 00:50 | of a deal, except that as your
illustrations get more complicated and detailed,
| | 00:54 | when you ungroup it, you
sort of open a can of worms.
| | 00:57 | It's the equivalent of taking a full
file folder full of files and dumping them
| | 01:01 | on top of your desk and now you've
got to shuffle through all of them.
| | 01:04 | Grouping allows you to work within the file folder.
| | 01:07 | So what we're going to do is go
into something called Isolation mode.
| | 01:11 | To do that, you double-click on the
group and it takes you into Isolation mode.
| | 01:15 | Now you know you're in
Isolation mode by a couple of things.
| | 01:18 | One is, notice how everything else on
the screen turned light gray and the only
| | 01:22 | thing that's dark is the object that was grouped.
| | 01:24 | The second way to know you're in
Isolation mode is to look at the Layers panel;
| | 01:28 | it says Isolation mode, nice and clear.
| | 01:31 | Now, because we're within the group in
Isolation mode, I can select each piece
| | 01:35 | of this garment individually, but I didn't ungroup it.
| | 01:39 | So now what I'm going to do is select
the back neckline and the bodice and I can
| | 01:45 | do that by marquee selecting
straight down the center.
| | 01:48 | I made sure not to select either sleeve,
only the back neckline and the bodice.
| | 01:53 | Now I'm going to go to my
Pathfinder and select Unite to unite the two
| | 01:56 | shapes into one shape.
| | 01:58 | It turned gray, because gray was the
last fill color I used, but I can very
| | 02:02 | easily change the fill back to white and now
I only need to exit Isolation mode to be done.
| | 02:09 | So I'm going to double-click on
the page to exit Isolation mode.
| | 02:12 | Now I've completed the front and back of my shirt.
| | Collapse this transcript |
| Perfecting the flat| 00:00 | So now that we've drawn the front and
back of the t-shirts, they look pretty
| | 00:04 | good, except there's actually one little flaw.
| | 00:06 | Notice when you zoom in really close,
there are little spiky things sticking out
| | 00:10 | some of the corners, at the
neckline and where the arms meet.
| | 00:13 | This has to do with the way the
strokes work in Illustrator and I'd like to
| | 00:17 | explain how that happens.
| | 00:18 | Let's move over here and I'm going to
go ahead and lock this layer so I don't
| | 00:23 | mess with it and turn on
something that I've already setup.
| | 00:27 | Right now, I've got three paths.
| | 00:29 | And if I highlight them, you can see
the paths and each path was given a very
| | 00:35 | wide stroke and I gave it a
stroke of 10 points instead of 1 point.
| | 00:40 | So the path is what the computer
reads, but the stroke is the visual
| | 00:43 | information that we see.
| | 00:44 | I'm going to open the Stroke panel, which
you can find on the right side of your desktop.
| | 00:49 | The icon looks like this.
It's the three little lines.
| | 00:52 | I'm going to click to open it.
| | 00:53 | If yours doesn't open up full size like
this, all you need to do is click this
| | 00:58 | arrow here to open up the panel to full size.
| | 01:00 | I'm going to go ahead and tear it
off and bring it a little bit closer to
| | 01:02 | where we're working.
| | 01:04 | You'll notice that you can
change the weight of a stroke.
| | 01:08 | So if I go ahead and select all of these,
I can change the weight of the stroke
| | 01:12 | in this dropdown right here
and the default size is 1 point.
| | 01:15 | But I'm going to make it 10 points,
just so I can really make my point.
| | 01:19 | You'll also notice that the
strokes can change the caps.
| | 01:23 | These are called End Caps, and all
the strokes you see right here have this
| | 01:27 | first one, which is called a Butt Cap.
| | 01:30 | The second available option
here is this one at the end.
| | 01:33 | It's called the Projecting Cap.
| | 01:35 | And with this one, the cap sticks out
or extends beyond the end of the path.
| | 01:42 | And these both are quite
nice, but not my preference.
| | 01:45 | The one that I like to use
is the one in the middle.
| | 01:49 | It's called a Round Cap.
| | 01:50 | And what it does is it rounds
off the edge very, very nicely.
| | 01:54 | Since we're dealing with fabric and
fabric rarely has sharp pointy edges, I
| | 01:58 | prefer to use round caps.
| | 02:00 | In addition to this, there is a way
that the corners are dealt with in
| | 02:05 | Illustrator as well.
| | 02:06 | This first one here is the first one
here and it's called the Miter Join and
| | 02:11 | it's a standard corner, pretty much what
you would expect a corner to look like.
| | 02:14 | This one right here, it's called the
Beveled Join and what it does is it sort
| | 02:18 | of cut off the little corner point of the corner.
| | 02:21 | The one in the middle again is the one
that's just right and that is the Round Join.
| | 02:27 | It rounds off the corners and
makes this lovely smooth little shape.
| | 02:31 | And here's why I like it.
| | 02:32 | When you have a bunch of corners
altogether like this overlapping, you can fix
| | 02:36 | them by assigning the Round Join.
| | 02:39 | What I'm going to do is select this
entire shirt, which I can't, because I locked
| | 02:43 | the layer, so I wouldn't mess it up.
| | 02:45 | So let's go back to layers and I'm going
to turn off the Strokes we were playing
| | 02:49 | with and unlock my t-shirt
layer so I can select it again.
| | 02:53 | So I'm going to select my entire shirt.
| | 02:55 | And in the Stroke panel, I'm going to
select Round Caps, which didn't really
| | 02:59 | change anything because we're not
seeing the end of any of the paths, but I'm
| | 03:03 | also going to select Round Joins.
| | 03:06 | And like magic, all of those nasty
little spiky things turned into smooth round
| | 03:11 | corners and my shirt looks the way it should.
| | 03:14 | So let's do the same thing on the back view.
| | 03:16 | We'll select the shirt, click on
Round Caps and Round Joins and
| | 03:20 | everything looks great.
| | 03:21 | Now one last thing in case you're
wondering how I'm maneuvering around my page
| | 03:26 | right now, I zoomed in using the Zoom tool.
| | 03:28 | And to do that, I clicked on the Zoom
tool and I clicked and dragged to marquee
| | 03:33 | select the area I wanted to zoom in to.
| | 03:35 | In order to zoom back out, all you
need to do is hold the Alt or Option key
| | 03:40 | which changes the zoom tool to a minus sign.
| | 03:43 | And if you click, it will zoom out.
| | 03:46 | But it didn't zoom to the area of the page I want.
| | 03:49 | To do that, I can switch to the Hand
tool, this one right here, which allows me
| | 03:54 | to click and move my page around
the screen to where I'd like it.
| | 03:58 | There's a great shortcut key for the Hand tool.
| | 04:00 | It's one of my favorites and it's the spacebar.
| | 04:03 | So no matter what tool you're in, if
you depress the spacebar, your tool will
| | 04:07 | turn into the hand tool.
| | 04:09 | You can move your page around to where
you'd like it, release, and it will return
| | 04:13 | to the tool you were using previously.
| | Collapse this transcript |
| Adding stitching| 00:00 | Now that we have our t-shirt,
let's add some stitching.
| | 00:03 | One of the nice things about doing
stitching in Illustrator is that you don't
| | 00:07 | have to draw every single stitch.
| | 00:08 | Illustrator will do it for you.
| | 00:10 | Let me show you how it works.
| | 00:12 | I'm going to zoom into the shirt.
| | 00:14 | And remember, we grouped them together.
| | 00:16 | So in order to work on this, we
need to go into Isolation mode.
| | 00:19 | And to do that, I'm going
to double-click on the shirt.
| | 00:22 | Let's do the stitches.
| | 00:23 | First thing we need to do is draw a
line where the stitches are going to go and
| | 00:26 | I'll start with the hemline.
| | 00:28 | So let me move this up just a little bit.
| | 00:30 | We're going to do this in a very
similar way to the way we added the back
| | 00:34 | neckline in the sleeves.
| | 00:36 | Start with the Direct Selection tool
and select that anchor point right in the
| | 00:40 | center of the hemline.
| | 00:42 | Copy it, Ctrl+C or Cmd+C. Paste in
front, Ctrl+F or Cmd+F. And with your
| | 00:48 | arrow key on your keyboard, you can
then nudge it up just a couple of clicks.
| | 00:52 | Make sure to change the Fill to None and
now we can change this stroke into stitches.
| | 00:59 | To do that, we're going to open the Stroke panel.
| | 01:01 | Remember if your Stroke panel got closed
and the icon isn't here, you can always
| | 01:05 | go up to the window dropdown and find
it under Stroke, but I've got it over
| | 01:09 | here so we'll open that.
| | 01:11 | If it opens small like this, you can
expand it by clicking on this arrow.
| | 01:15 | And what we want to do is turn on this
little icon here next to dash line, which
| | 01:20 | will turn our line into dashes.
| | 01:22 | Now mine automatically went to 2
points, because I did this once before today.
| | 01:27 | Yours is going to open to 12 points and what
you want to do is select it and set it to 2.
| | 01:31 | Hit your tab key, type in 2 for the
gap, and then hit Enter or Return.
| | 01:36 | This is going to make your dashes 2
points long, which is a good size in
| | 01:40 | proportion to the shirt we were drawing.
| | 01:42 | But if you zoom in, you'll notice that
they're still sort of thick and chunky
| | 01:46 | like we drew them with a big
fat crayon or magic marker.
| | 01:49 | And stitches are very delicate
little things, so what we want to do is
| | 01:53 | change the line weight.
| | 01:54 | I'm going to dropdown here,
scroll up to .25 from my line weight.
| | 02:00 | Now there's a very clear cut definition
between the border of my garment and
| | 02:04 | the stitches, and they're very
delicate and they look like stitches.
| | 02:09 | Let's do some more.
| | 02:10 | To do the stitches at the hem of the
sleeve, select the Direct Selection tool,
| | 02:16 | Copy, Paste in front, use your Arrow tool to
nudge it up a couple of clicks. For the sleeve,
| | 02:22 | because of the angle, you might also
have to nudge it once over and now you can
| | 02:27 | change your line weight to .25,
turn on the dash line.
| | 02:31 | Make sure that you remove the fill.
| | 02:33 | For the other sleeve, we have two options.
| | 02:36 | We can either select this sleeve and
reflect it to the other side or we can do
| | 02:40 | the same process, which is select the
path, Copy, Paste in front, nudge it up a
| | 02:46 | couple of clicks, and over one.
| | 02:48 | But instead of having to type in
all the numbers again, we can use the
| | 02:52 | Eyedropper tool to copy the stitches from
someplace else we've already drawn them.
| | 02:56 | The Eyedropper tool is in your tool bar
and it looks like a little eye dropper.
| | 03:00 | Click on it and click on the stitches
elsewhere on your page and it will turn
| | 03:05 | the selected line into stitches.
| | 03:08 | We have one more place now where we
need to do the stitches and that's around
| | 03:12 | the top of the neckline.
So I'm going to zoom in.
| | 03:15 | Again, I'm marquee selecting around
the area I want to zoom in to, so it
| | 03:18 | takes me right there.
| | 03:19 | This one is just a little more tricky.
Take the Direct Selection tool.
| | 03:23 | You're going to find that
center anchor point, click on it.
| | 03:25 | We're going to copy the neckline so,
Ctrl+C for Copy and then Paste in front,
| | 03:29 | Ctrl+F or Cmd+F. With your arrow key,
you're going to nudge it down a couple of clicks.
| | 03:35 | We have a fill on here and we really
can't see what we're doing, so we're going
| | 03:39 | to change the Fill to None by using
the / forward slash key on the keyboard.
| | 03:43 | Now what we want to do is get this curve t
o match this curve and we're going to
| | 03:47 | do that by switching tools.
| | 03:49 | The bottom curve is still selected.
| | 03:51 | We don't want to de-select it, so don't
click any place on your page, but we're
| | 03:55 | going to switch tools and switch
the Selection tool, the black arrow.
| | 03:59 | Now remember when we talked about
drawing shapes and I made it a point to tell
| | 04:03 | you that to draw from the center,
you hold the Alt key?
| | 04:06 | Well, here's where this comes in handy.
| | 04:08 | I want you to go ahead and hold down
your Alt or your Option key and take one of
| | 04:13 | the side handles and drag it to the right.
| | 04:15 | And you want it to be just a tiny bit
wider than the distance from here to here.
| | 04:20 | Now release that Alt key and grab the
top handle and drag it straight up until
| | 04:25 | the neckline touches the outline of your
shirt and now you've got your stitching
| | 04:29 | line for around the neck.
| | 04:31 | All we need to do is change it to
stitches and we can do that with
| | 04:35 | the Eyedropper, right?
| | 04:36 | Let me zoom out a little bit.
| | 04:39 | We can grab the Eyedropper tool
and copy the stitches from this arm.
| | 04:43 | So we have one more to do and
then the front of our shirt is done.
| | 04:47 | Take the Direct Selection tool.
| | 04:49 | Grab that Anchor Point on the back of the neckline.
| | 04:52 | Copy, Paste in Front.
| | 04:53 | Get rid of the fill with the / forward slash key.
| | 04:56 | Nudge it down a couple of clicks with the arrow key.
| | 04:59 | Grab the Eyedropper tool and copy the stitches.
| | 05:03 | And there's the stitching on the back neckline.
| | 05:06 | Double-click on the page to exit
Isolation mode, and now all we have left to do
| | 05:11 | is the back of the shirt.
| | 05:12 | Now truthfully, if I was drawing this
myself and not doing a demonstration
| | 05:16 | video, I would have done all the
stitches on the front before I did the back,
| | 05:20 | but this gives us a chance to do it one more time.
| | 05:23 | So let's do the back of the shirt.
| | 05:24 | Again, we need to start by going in to
Isolation mode, so double-click on the shirt.
| | 05:29 | Now we can add the stitches.
| | 05:30 | With the Direct Selection tool, select
the anchor point at the center hemline,
| | 05:35 | Copy, Ctrl+C, Paste in Front, Ctrl+F,
nudge it up a couple of clicks and we'll
| | 05:41 | change it to .25 with a dashed line.
| | 05:45 | Another thing that I should note about the
dashed lines, there are two buttons over here.
| | 05:50 | The one on the right is the one that's
going to give you the most even-looking
| | 05:54 | stitches and we'll talk about this a little
bit more when we get to doing shirt plackets.
| | 05:58 | For the sleeve, select the hemline of the sleeve.
| | 06:02 | Copy, Paste in Front, nudge it up and we
can use the Eyedropper tool to copy the
| | 06:07 | stitches from the hemline.
| | 06:09 | We'll do the other sleeve, Select,
Copy, Paste in Front, nudge it up.
| | 06:15 | And with the Eyedropper tool, we can Copy.
| | 06:18 | And last but not least, we have the neckline.
| | 06:20 | We'll select, copy.
| | 06:22 | Paste in Front, nudge it down.
| | 06:25 | Get rid of the fill.
| | 06:26 | Switch to the Selection tool.
| | 06:29 | Hold the Alt or Option key and drag to the right.
| | 06:32 | Release the Option key or the Alt key
and drag straight up until the line
| | 06:37 | touches the upper shoulder of the shirt,
and then you can copy your stitches and
| | 06:42 | get rid of that fill.
| | 06:44 | Double-click on the page to exit Isolation mode.
| | 06:47 | We can zoom back out a little bit and
there you have your completed shirt.
| | 06:52 | Your front and your back is already
automatically behind the front, because of
| | 06:57 | the order in which we grouped it.
| | 06:58 | Everything is nicely grouped
together to move around.
| | 07:01 | None of the stitches are going to fall off.
| | 07:03 | We can go to the layers panel
and turn off the template.
| | 07:06 | And there you have your first front and
back t-shirt drawn in Adobe Illustrator.
| | Collapse this transcript |
|
|
3. Drawing a Button-Down ShirtThe parts of a shirt and collar| 00:00 | In this chapter, I'm going to show you
how to draw a button down shirt with a
| | 00:03 | collar and cuffs and sleeve plackets.
| | 00:05 | We're going to start with a collar
stand, which is the piece back here, we'll
| | 00:09 | move on to the rest of the collar.
| | 00:11 | We'll then do the bodice, we'll add the
yoke, we'll add sleeves, we'll separate
| | 00:20 | the cuffs, we'll add the front placket.
| | 00:23 | And when we're done, we'll turn around, do
the backside and add the back sleeve plackets.
| | 00:28 | This is a pretty basic shirt.
| | 00:29 | But with a little bit of practice,
you'll be able to move on from there to do
| | 00:34 | something a little more sophisticated kind of like this.
| | Collapse this transcript |
| Drawing a collar| 00:00 | Let's get down to business and draw
a buttoned down shirt with a collar.
| | 00:03 | Just like with a t-shirt, the first
thing we need to do is go ahead and
| | 00:07 | place the template.
| | 00:08 | So you're going to go up to File>Place,
select the Basic Flat Template from
| | 00:12 | Chapter 03, make sure that the
Template box is checked the Link box is not
| | 00:17 | checked and click Place.
| | 00:18 | And we can zoom in and start.
| | 00:21 | We're going to start by drawing the
collar and the first thing we need to do
| | 00:25 | is the collar stand.
| | 00:26 | Now I know that collars appear to be
difficult but I'm going to break this
| | 00:30 | down into steps for you.
| | 00:32 | Start with a Rectangle tool, and we're going
to draw the rectangle for the collar stand.
| | 00:36 | You want to make sure it's
actually centered on the template.
| | 00:39 | So we're going to hold down the Alt or
Option key and start from the centerline
| | 00:44 | and click and drag out a
rectangle, about this size.
| | 00:48 | Don't worry too much about the
placement as long as it's centered.
| | 00:51 | Now with the arrow keys on your keyboard,
you can nudge it down so it's sitting
| | 00:56 | just about with the bottom edges
touching the collar of the template or the
| | 00:59 | neckline of the template.
| | 01:01 | That's going to be our collar stand and it's a
good idea to copy it now and save it for later.
| | 01:06 | So just Ctrl+C or Cmd+C and
save it in your clipboard for later.
| | 01:09 | The next thing we're going
to do is draw the collar.
| | 01:13 | We're going to do that using the Pen tool.
| | 01:15 | So go ahead and grab the Pen tool.
| | 01:17 | The first click is going to be where
the centerline meets the neckline of the
| | 01:20 | template, so go ahead and click right there.
| | 01:23 | The second click is the upper outer
corner of the rectangle that you just drew.
| | 01:28 | Click number three is where the collar
meets the shoulder, and click number four
| | 01:33 | is the point of the collar.
| | 01:35 | The final click is to close the shape of
the collar, and that's how you draw one
| | 01:40 | half of your collar.
| | 01:41 | Now at this point, if you're not
happy with the shape, you can edit it very
| | 01:45 | easily with the Direct Selection tool.
| | 01:47 | You can raise or lower the points over
here, you can make it a 1970s collar, but
| | 01:52 | we're not going to do that.
| | 01:54 | You can tweak it anyway you like
and you want to do this at this point
| | 01:58 | before you reflect it to the
other side, so that you have a nice
| | 02:01 | symmetrical-looking collar.
| | 02:02 | So now, we're going to go back to the
Selection tool, release and re-select to
| | 02:07 | make sure the collar piece is selected.
| | 02:09 | Notice I did not select the
collar stand, only the collar.
| | 02:14 | We're going to reflect it to the other
side just like we did with the t-shirt,
| | 02:17 | which means click once on Reflect, Alt+
click on the centerline, select Vertical,
| | 02:23 | Copy and there's the other half of the collar.
| | 02:26 | Now it look like it's finished but
we're actually going to go backwards
| | 02:30 | before we move forwards.
| | 02:31 | We're going to do something
that makes it look unfinished.
| | 02:34 | Go back to your Selection
tool, select the whole collar.
| | 02:37 | We're going to unite it
together using Pathfinder.
| | 02:39 | So Window>Pathfinder to open the
Pathfinder panel and we're going to
| | 02:43 | select Pathfinder Unite.
| | 02:45 | And it looks like I just took a perfectly nice
collar and made a mess of it, but that's okay;
| | 02:50 | bear with me for just a minute.
| | 02:52 | Take your Direct Selection tool and
select the corner of this little inside
| | 02:57 | triangle and you are going to tuck it
up in this corner here, and then you're
| | 03:01 | going to take the corner of the
triangle on the other side and tuck it up in
| | 03:06 | the back over here.
| | 03:07 | What we just did was create the
collar roll, so it looks like the collar is
| | 03:11 | actually folded over the back of the neck.
| | 03:13 | Now we can finish the collar up by
switching back to the Selection tool and
| | 03:17 | clicking to release so that
we've released the whole thing.
| | 03:20 | And before I move on, I actually noticed a little flaw.
| | 03:23 | I'm going to zoom in and show you.
| | 03:26 | You'll notice right here, see how this
corner is nice and this corner has an
| | 03:30 | extra little jog in it.
| | 03:32 | That's because when I reflect it, I
must have not have hit the centerline
| | 03:36 | perfectly, and so I'm off by a point or a half a point.
| | 03:40 | I want to show you how to fix it
just in case this happens to you.
| | 03:44 | Go to your Pen tool and select the
Delete Anchor Point tool and then just delete
| | 03:48 | that extra anchor point. Problem solved!
| | 03:50 | Remember that collar stand that
we copied, the very first thing?
| | 03:54 | We're going to paste it in place, but
I'm going to teach you a new command.
| | 03:57 | Instead of Paste or Paste in front
which is Ctrl+F, we're going to Paste in
| | 04:02 | back this time and it's named very cleverly
and conveniently Ctrl+B for Paste in back.
| | 04:09 | So Ctrl+B or Cmd+B for back, and that
restores the collar stand to where it belongs.
| | 04:14 | Now there's one more thing that we
need to do, and that is fill this little
| | 04:19 | empty area here with gray.
| | 04:21 | And there's a nice easy way to do that.
| | 04:23 | Grab your Rectangle tool and draw
a rectangle right over that spot.
| | 04:28 | Fill it with gray, and now we can send it to back.
| | 04:32 | I'll show you a new little command
right-click, Arrange>Send to Back.
| | 04:37 | Now you'll notice there's an option
called Send Backward, but that's only going
| | 04:41 | to sent it back one step and we
want it to go all the way to the back.
| | 04:46 | So we want Send to Back and that
will put that behind the collar.
| | 04:49 | So we'll zoom out a little bit and
now you see we have a completed collar
| | 04:55 | except for one problem, the sharp points.
| | 04:57 | So we're going to select the whole collar,
open our stroke panel and make sure
| | 05:02 | that we have round Caps and round Corners.
| | 05:05 | Let's group it together, right-click,
Group and there is your first collar.
| | Collapse this transcript |
| Adding the front placket| 00:00 | Now that the collar is taking care of,
let's move on to the rest of the shirt.
| | 00:04 | I'm going to zoom back out a little bit
so we can see the entire bodice and I'm
| | 00:09 | also going to do something surprising.
| | 00:10 | I'm going to open my Layers panel.
| | 00:12 | I'm going to click on the Template
layer and I'm going to make a new layer that
| | 00:16 | ends up above the Template
layer but below the collar.
| | 00:19 | We're going to go ahead and
label the collar layer for now.
| | 00:23 | I'm going to turn off the eye
so that it's no longer visible.
| | 00:26 | I find it's a little distracting sometimes
when the collar layer is turned on,
| | 00:30 | but we're going to move on and draw the
rest of the shirt and we're going to do
| | 00:34 | that in this new layer that I just drew.
| | 00:36 | Drawing the shirt bodice is exactly
like drawing the t-shirt bodice.
| | 00:39 | We're going to start with the Pen tool.
| | 00:41 | We're going to click on high point shoulder,
low point shoulder, inside the arm
| | 00:46 | hole, under the arm, and down at the hemline.
| | 00:49 | You'll see it's gray because the last
thing I did was fill the little rectangle
| | 00:53 | behind the collar with gray.
| | 00:55 | So I'm going to restore this back to white.
Let's see.
| | 00:59 | Let's go to white, much better.
| | 01:01 | Now that I have this part drawn,
I need to curve the arm hole.
| | 01:04 | I'm going to switch to the
Convert Anchor Point tool.
| | 01:07 | Click and drag straight down on the arm
hole to give it a nice curve and now, we
| | 01:12 | can select this whole side of the
shirt and reflect it for the other side.
| | 01:15 | So switch to the Selection tool,
release and marquee select the shirt.
| | 01:21 | Click once on reflect, Alt+click or Opt+click
on the center line to define the access.
| | 01:27 | Make sure it's set to Vertical, Copy.
| | 01:30 | Switch back to the Selection tool,
select both sides, right-click,
| | 01:34 | join, right-click, join.
| | 01:36 | Now there's one last step we have to do.
| | 01:39 | When we did the t-shirt, we
went and shape the neckline.
| | 01:41 | But in the case of this shirt, since
the collar is going to cover it, there's
| | 01:45 | really nothing we need to do there.
| | 01:47 | All we're going to do is shape the
hemline a little bit so we'll add a point
| | 01:51 | to the center hemline.
| | 01:53 | Nudge it down just a bit, and with the
Convert Anchor Point tool, go ahead and
| | 01:57 | just soften it a tiny bit.
| | 02:00 | And there's the front bodice.
| | 02:01 | Now we can go to the Layers panel
and turn on the collar. How's that?
| | 02:07 | Now one thing to be aware of, make sure
your collar is sitting in the right place.
| | 02:11 | Mine is actually sitting just a
little bit high so I'm going to select it.
| | 02:14 | And with my arrow key, nudge it down one
click so it's sitting right on the shoulder.
| | 02:19 | Your collar might be sitting in the
right place or it's possible it's also
| | 02:23 | sitting very low as if you're
making clothing for a hunchback.
| | 02:26 | You want to be careful to avoid that
and nudge your collar back so it's sitting
| | 02:30 | just above the line of the shirt.
| | 02:32 | We'll zoom back out and let's add the placket.
| | 02:36 | Now the placket can be really difficult
so I want you to watch very carefully.
| | 02:40 | I'm going to take the rectangle tool
and I'm going to start right here at this
| | 02:45 | point of intersection and I'm going to
click and drag a rectangle that goes from
| | 02:49 | the collar, all the way down to the hem
of the shirt and I'm going to make it as
| | 02:54 | wide as I think it should be and this
is up to you as the designer to visually
| | 02:58 | decide the width of your placket.
| | 02:59 | Now you'll notice that the placket
right now is in front of the collar.
| | 03:03 | And if you were sewing a shirt, the
placket would be beneath the collar.
| | 03:06 | So all we need to do is go to our Layers panel.
| | 03:09 | Select this little square here, which
is the placket, and drag it into the
| | 03:13 | layer below the collar. Problem solved.
| | 03:16 | We do want to make sure that the
placket is actually centered on the shirt, so I
| | 03:21 | need to show you how to use Align.
| | 03:23 | In the Pathfinder panel that we opened
previously, there's a tab called Align.
| | 03:28 | And if the Pathfinder panel isn't open,
you can find it by going up to Window
| | 03:32 | and selecting Align and it will open the Align panel.
| | 03:35 | Here's how align works.
| | 03:37 | Align takes two objects and
aligns them together either
| | 03:40 | horizontally, vertically.
| | 03:42 | I want to make sure that my placket is
actually centered on the bodice of my shirt.
| | 03:48 | And it looks like I might have done a
pretty good job, so I'm going to make sure to
| | 03:51 | move it really off centered so I can make my point.
| | 03:55 | I'm going to marquee select both
pieces and I'm going to go over here to the
| | 03:59 | Align palette and I'm going to click on Align.
| | 04:02 | What you need to do is look at the icons.
| | 04:04 | You want the one where
they're aligned through the center.
| | 04:06 | And look what happened.
| | 04:07 | You'll notice that my placket is now
aligned to my shirt bodice, but now my
| | 04:13 | shirt is no longer aligned to my
template and that's going to be a problem.
| | 04:17 | I'm going to undo that, Ctrl+Z. What I
want to do instead of aligning them to
| | 04:22 | each other is I want to tell the computer, or
Illustrator in this case, what to align to what.
| | 04:29 | And to do that, you have to define a key object.
| | 04:32 | What I'm going to do is select both
pieces, the placket and the bodice then I'm
| | 04:37 | going to click one more time on the
bodice because that's the piece I know is in
| | 04:42 | the correct place and I want the
placket to align to the bodice.
| | 04:46 | Now if I click Align, the placket jumps
into place right where I want it on the
| | 04:52 | bodice and I can continue drawing my shirt.
| | Collapse this transcript |
| Adding sleeves with cuffs| 00:00 | Let's put some sleeves on the shirt.
| | 00:02 | We're going to do it exactly the same
way that we added sleeves to the t-shirt.
| | 00:06 | So that means you need to start
with your Direct Selection tool.
| | 00:09 | Find that little anchor point in the
armhole and click on it, copy it, Ctrl+C.
| | 00:13 | Paste in front, Ctrl+F or
Cmd+ F, right-click, Join.
| | 00:18 | If you're not a right-clicker, I'm going
to give you another shortcut key, Ctrl+J
| | 00:22 | will also join for you.
| | 00:25 | Now we're going to add two anchor points
with the Add Anchor Point tool along this line;
| | 00:29 | so one, two.
| | 00:30 | Switch to the Direct Selection tool,
click in between the two points and you're
| | 00:34 | going to drag the sleeve all the way
down to the bottom of the sleeve on the
| | 00:38 | template and then move the other
anchor point on the sleeve hem down on the
| | 00:42 | other side and there's your sleeve.
| | 00:44 | But since this is a button-down shirt
and we're going to put a cuff on it, we're
| | 00:48 | going to do one more step.
| | 00:49 | I'm going to take the Pen tool and go
ahead and draw a line at the point that I
| | 00:54 | want my cuff to be, which is going to be about there.
| | 00:58 | And if you need to adjust the angle of it,
you can take your Direct Selection
| | 01:02 | tool and move things up or
down a little bit as necessary.
| | 01:06 | I think that looks about right.
| | 01:07 | To create the cuff, we're
going to use pathfinder divide.
| | 01:10 | So let me zoom in a little bit to the cuff.
| | 01:13 | We've got our sleeves.
| | 01:14 | We've got the line we want to divide with
and remember, that line needs to have
| | 01:18 | no fill, so I'm going to remove the fill.
| | 01:21 | I'm going to take my Selection tool
and select the sleeve along with the
| | 01:25 | dividing line but nothing else.
| | 01:28 | Pathfinder, Divide, right-click Ungroup.
| | 01:31 | And now, I have my sleeve separated from my cuff.
| | 01:35 | So if I want to give it a different color,
I can do that very easily.
| | 01:39 | One other thing I need to do.
| | 01:41 | The whole point of a cuff is to button
and unbutton so that you can tighten the
| | 01:45 | sleeve around your, wrist which
means there's more fabric up here.
| | 01:49 | So we need to give a little more
fullness to the top of the sleeve.
| | 01:53 | We can do this with the Add an Anchor Point tool.
| | 01:55 | I'm going to add an anchor point
to the sleeve just above the cuff.
| | 01:58 | And with my arrow key, nudge
it over just a couple of clicks.
| | 02:01 | I'm going to do the same on the other side,
nudge it over and I've just added
| | 02:06 | fullness to my sleeve.
| | 02:07 | If I zoom back out, you can see
now a sleeve with a cuff.
| | 02:13 | To do the other side, all we have to
do is reflect it so we'll select the
| | 02:17 | sleeve and the cuff.
| | 02:19 | Click once on reflect, Alt+click on
the center line, select Vertical, click on
| | 02:24 | Copy and there's my sleeve on the other side.
| | 02:28 | Now sometimes, you might be off just a
little bit so all you need to do is use
| | 02:33 | the arrow key on your keyboard and
give it one little nudge back into place.
| | Collapse this transcript |
| Adding a yoke| 00:00 | Let's add a yoke to this shirt.
We're going to do it with a Pen tool.
| | 00:04 | Take the Pen tool and draw the yoke
making sure that you extend beyond the
| | 00:09 | armhole, going to the center
line and get it the angle you want.
| | 00:13 | If you're not happy with the angle
you drew, you can grab the anchor point
| | 00:17 | here, move it up or down.
| | 00:19 | You want to make sure that
you stop at the center line.
| | 00:22 | I'm going to switch the Selection tool,
select the line I just drew and reflect it.
| | 00:27 | So click once on Reflect, Alt+click
on the center line, Vertical, Copy.
| | 00:32 | Now I can select both these pieces.
| | 00:35 | Select the first one, hold the Shift key,
select the second one and right-click,
| | 00:39 | Join, so that they're one piece.
| | 00:42 | Now you'll notice it has a white fill
and it's a little hard to see but you
| | 00:46 | would find out really soon because if
you select it, select the bodice and go to
| | 00:51 | Pathfinder Divide, you would end up with
something that looks like this, which is
| | 00:55 | definitely not what we're going for.
| | 00:57 | So I'm going to undo and I'm going to
make sure that I remove the Fill from the
| | 01:03 | yoke line that I just drew.
| | 01:05 | Now I can select the yoke and hold
the Shift key, select the bodice.
| | 01:09 | Pathfinder Divide, right-click, Ungroup
and now I've just divided my yoke from
| | 01:15 | my bodice except unfortunately, the
placket seems to have disappeared.
| | 01:19 | It really hasn't disappeared.
| | 01:21 | What happened was I drew the
yoke after I drew the placket.
| | 01:25 | And when I divided the yoke line with
the bodice, it moved everything up to the
| | 01:29 | level of the yoke line.
| | 01:31 | So it's a very simple fix.
| | 01:32 | All I need to do is right-click,
Arrange>Send to Back and you can see
| | 01:38 | your placket again.
| | 01:39 | One other thing to remember is you
always want to do the sleeves before the yoke.
| | 01:44 | If you divide the bodice into these
separate pieces for the yoke, you'll have a
| | 01:48 | very difficult time adding the sleeves.
| | 01:51 | So the proper order is sleeves first,
yoke second, and then
| | 01:55 | we'll move on to buttons.
| | Collapse this transcript |
| Adding buttons| 00:00 | The next thing we need to do
to the shirt is add buttons.
| | 00:03 | But before we do that, we're going to
group it so that we can work in isolation
| | 00:07 | mode, because it's going to save
us a lot of trouble down the road.
| | 00:11 | So I'm going to marquee select
everything, right-click, Group.
| | 00:17 | Now that it's grouped, we can double-
click on it to enter Isolation mode and I'm
| | 00:21 | going to double-click a second time
just on the placket so we can isolate the
| | 00:26 | placket from everything else.
| | 00:27 | Now I won't risk moving any other pieces
of the shirt when I go to apply the buttons.
| | 00:32 | Since we haven't made any symbols yet,
we're going to be doing that in a later chapter.
| | 00:36 | We're going to need to draw circle for our button.
| | 00:38 | So I'm going to go ahead and grab the
Ellipse tool and draw myself a very tiny
| | 00:42 | little circle holding the Shift key
to make sure, it's a perfect circle.
| | 00:46 | The button should be about a third of
the size of the placket, which is probably
| | 00:49 | a lot smaller than you expect it should be.
| | 00:52 | Here's how we're going to do this.
| | 00:54 | You have to decide how many buttons you need.
| | 00:56 | I'm going to go with nine.
| | 00:58 | So since there's one button, I'm
going to copy, Ctrl+C or Cmd+C, and I'm
| | 01:02 | going to paste in front, Ctrl+F
or Cmd+F, that's two buttons.
| | 01:07 | Again, three, four, five, six, seven, eight, nine.
| | 01:11 | So I've just copied and pasted,
| | 01:13 | well, copied once and pasted eight
times to get a total of nine buttons.
| | 01:17 | And now I want to teach you
how to use Align and Distribute.
| | 01:21 | What I'm going to do is take the first
button and place it up at the top of the
| | 01:25 | placket where the button wants to live.
| | 01:27 | I'm going to take a second button from
my stack of buttons and place it down at
| | 01:32 | the bottom of the placket where I
think the last button should end.
| | 01:35 | Don't worry about it being centered at this point;
| | 01:37 | you just want to make sure it's all selected.
| | 01:39 | You'll notice that there's a stack of buttons here.
| | 01:42 | I can pull them all apart but it
was faster to just paste in front.
| | 01:45 | So I'm going to go ahead and
select all of those buttons.
| | 01:48 | I'm going to hold my Shift key and add
to the selection, the button on the top
| | 01:52 | and the button on the bottom.
| | 01:54 | And now, I'm going to go back to my Align panel.
| | 01:57 | Remember before when we
aligned the placket to the bodice?
| | 01:59 | We're going to align the buttons to each other.
| | 02:02 | So we're going to click on that same
Align icon, the second one, and all the
| | 02:06 | buttons are now aligned in a perfect row.
| | 02:09 | But they still look pretty bad.
| | 02:10 | If somebody were to turn in a flat
like this with buttons organized that way,
| | 02:15 | they would get fired.
| | 02:16 | So what we want to do is also distribute the
buttons and that's also here in the Align panel.
| | 02:21 | This bottom section is Distribute.
| | 02:23 | So I'm going to re-select all of my
buttons and truthfully, I never would have
| | 02:27 | de-selected them and I'm going to
click on the second icon which is Vertical
| | 02:31 | Distribute on center and watch what happens.
| | 02:34 | It separates and distributes all the buttons evenly.
| | 02:37 | What it did was it noted the placement
of the top button and the placement of
| | 02:41 | the bottom button and it evenly distributed
all the other buttons in between,
| | 02:46 | much easier than pulling out a ruler
and measuring out your button placement.
| | 02:49 | So now that all of these buttons are
perfectly aligned and distributed, it would
| | 02:54 | be a really good idea to group
them so that they don't get messed up.
| | 02:57 | So right-click Group.
| | 02:59 | And now, the next time I go to select my buttons;
I can do it with one click.
| | 03:02 | One click will select the entire group.
| | 03:05 | Now I need to align the buttons to
the placket just like we aligned the
| | 03:09 | placket to the shirt.
| | 03:11 | So I'll select both the buttons and
the placket, click one more time on the
| | 03:15 | placket to define it as the key, and
Align Center and the buttons will jump in
| | 03:21 | place right on to the placket where they belong.
| | 03:24 | We'll double-click to exit Isolation mode
and now we can move on.
| | Collapse this transcript |
| Drawing the back view of the button down| 00:00 | Let's move on to the back of the shirt.
| | 00:02 | I've gone ahead and added all the
stitching the same way that we added the
| | 00:05 | stitching in the t-shirt to
save time before you do the back.
| | 00:09 | Otherwise, you'll have to do it twice
and again, that defeats the purpose.
| | 00:12 | So let's select the shirt, which we've
already grouped, and I'm going to Alt+drag
| | 00:17 | to make a copy of it and just move it out of the way.
| | 00:20 | And again, this is a good time to fix the layers.
| | 00:23 | So I'm going to open my Layers panel
and I'm going to double-click and call
| | 00:27 | this Shirt, spin open the layer.
| | 00:29 | The group that's selected, which is the
one over here and it's my front, I will
| | 00:33 | name Front and the other one I'm
going to name Back and now let's work on
| | 00:40 | the back of the shirt.
| | 00:41 | The first thing we need to do is go into Isolation mode.
| | 00:45 | So double-click on it to go into isolation mode.
| | 00:48 | When you're working on the back of a
shirt, the first thing you want to do is
| | 00:52 | remove anything that is not
needed on the back of the shirt.
| | 00:56 | So if we take a look at this, what don't we need?
| | 00:59 | We'll we don't need the buttons.
| | 01:01 | But rather than just deleting them,
I'm going to move them over here, next to
| | 01:05 | the sleeve because we're going to
need one of them on the sleeve later.
| | 01:08 | I don't need the placket and I don't
need the stitching on the placket so I can
| | 01:11 | go ahead and delete the
placket as well as the stitching.
| | 01:15 | I don't need the stitching on the yoke,
so I can go ahead and delete that.
| | 01:20 | I don't need the stitching on the
collar so I'm going to delete that.
| | 01:25 | Now my collar is grouped, so I'm going
to go ahead and ungroup it and delete
| | 01:30 | all of the stitching.
| | 01:31 | Now to get the back view of the shirt,
what I need is the silhouette with
| | 01:35 | the collar included.
| | 01:36 | So just like we did with the t-shirt,
I'm going to select straight down the
| | 01:40 | back, marquee select.
| | 01:42 | The one thing I didn't select were the
stitches on the bottom, because I can keep those.
| | 01:46 | I'm going to go back to Pathfinder
and I'm going to use Pathfinder Unite to
| | 01:51 | unite the entire back of the shirt into one piece.
| | 01:54 | So now, I've got the correct silhouette of the collar.
| | 01:57 | We need to divide it again, to get the back of the collar.
| | 02:00 | So I'll take my Pen tool, draw a line
that goes straight across, switch to
| | 02:07 | the Selection tool, select the
collar and align, Pathfinder Divide,
| | 02:12 | right-click, Ungroup.
| | 02:15 | And now, I've got my collar separated from my shirt.
| | 02:18 | If you want to put a yoke on
the back, you can do that as well.
| | 02:21 | Take your Pen tool, draw the yoke.
| | 02:27 | Switch to the Selection tool, select
the dividing line, hold the Shift key,
| | 02:33 | select the back of the shirt.
| | 02:35 | Pathfinder Divide, right-click, Ungroup.
| | 02:39 | Now this time you'll notice that the
stitches along the hem line disappeared.
| | 02:42 | So as before, we'll just right-click,
Arrange, Sent to Back, and our stitches
| | 02:48 | become visible again.
| | Collapse this transcript |
| Adding the sleeve placket| 00:01 | All right let's add the
placket to sleeve of the shirt.
| | 00:03 | First thing you want to do is make
sure to be in Isolation mode if you're not
| | 00:07 | already so I'm going to double-click
on my shirt to get into Isolation mode.
| | 00:11 | Remember the buttons we saved before?
| | 00:12 | Let's ungroup them and select all
but one and hit the Delete key on your
| | 00:18 | keyboard to get rid of it because
we only need the one button and we'll
| | 00:21 | just move it over here.
| | 00:22 | We can zoom in closer to the placket
so we can see what we're doing and now
| | 00:26 | let's draw the placket.
| | 00:27 | Just like the front of the shirt, the placket is a rectangle.
| | 00:30 | So with the Rectangle tool, you're going
to draw a rectangle and you're going to
| | 00:35 | visually gauge the size based on the look of the shirt.
| | 00:38 | We're going to add an anchor point to the
center top and nudge it up with the arrow key.
| | 00:44 | Next thing we're going to do is get rid of
the fill because we don't want a fill on this.
| | 00:49 | We need to add stitches to the inside
of the placket and it's a lot easier to
| | 00:53 | let the computer draw them for us than
to try and draw them with the Pen tool.
| | 00:56 | So we're going to do something a
little bit different this time.
| | 01:00 | We're going to go up to the menu bar and select Object.
| | 01:03 | You're going to scroll down to Path and select Offset Path.
| | 01:06 | Now turn on preview by checking the Preview button.
| | 01:08 | What we're doing is offsetting the path
towards the inside of the path, which
| | 01:12 | means it needs to be a negative number
and by 1 point, so it's very close to the
| | 01:16 | existing path and click OK.
| | 01:19 | Now I want to change that path I
just drew to stitches, which I can use the
| | 01:23 | eyedropper to copy from the stitches I have right here.
| | 01:26 | The only problem is, they're not
organized in an orderly fashion so we're going
| | 01:30 | to click this button here which aligns
the dashes to corners, which is going to
| | 01:35 | give us a much nicer look.
| | 01:36 | Now we want to put the stitches going
across here for reinforcement, so I'm
| | 01:41 | going to grab the Pen tool and click up
in the corner, down, straight across, and
| | 01:46 | back up in this corner.
| | 01:48 | And you see, I've got a white fill on
again so I'm going to click the forward
| | 01:52 | slash key (/) on my keyboard to make
sure that goes away and I also want to make
| | 01:56 | sure that I'm in this particular button
so that the corners line up nicely.
| | 02:00 | Now we need to delete a couple of the line segments.
| | 02:03 | We need to delete the line
segment on the bottom of the rectangle.
| | 02:07 | So click on it with the Direct Selection tool
and hit Delete on your keyboard.
| | 02:10 | And the bottom line segment of
the stitches, delete as well.
| | 02:14 | Now I'm going to select this whole little
package here, right-click and group it together.
| | 02:20 | Now we can move it into place.
| | 02:22 | You're going to select it and drag
it over to the sleeve so that the left
| | 02:27 | bottom point is touching the seam
where the cuff meets the sleeve and that
| | 02:32 | would be right there.
| | 02:34 | Turns into a double arrow when I
get too close, that's the spot.
| | 02:38 | Now what we want to do is rotate this
into place and we're going to do that
| | 02:41 | using the Rotate tool.
| | 02:43 | You're going to find the Rotate tool
which is now hiding behind the Reflect
| | 02:46 | tool and you're going to click right on that
anchor point to define it as a pivot point.
| | 02:52 | Now you can click anywhere on the page
and just rotate that placket right into
| | 02:57 | place so it's perpendicular to the seam.
| | 03:00 | Get it placed the way you like it
and we have one last little bit here.
| | 03:04 | With the Direct Selection tool, you're
going to go ahead and grab and anchor
| | 03:07 | point and drag it all the way down to
the end of the cuff and you're going to
| | 03:12 | drag the stitching that's right next
to it all the way down to the end of the
| | 03:16 | cuff and we need to take the button so
let's go back to the Selection tool, grab
| | 03:21 | the button and move it back on to the
cuff or if not back but on to the cuff
| | 03:25 | where it belongs and you have a sleeve with no button.
| | 03:28 | Because we drew the button before we did
all this other work, which means it's on
| | 03:32 | a lower layer, it's sort of behind everything.
| | 03:35 | So all we need to do to get the
button back is send the cuff to the back.
| | 03:39 | So I'm going to click on the cuff,
right-click Arrange>Send to Back and the
| | 03:45 | button becomes visible again
and that takes care of the sleeve.
| | 03:49 | So let's zoom back out and take a look
at our shirt, which is pretty nice, but
| | 03:54 | we need to get all this stuff on the other side.
| | 03:56 | And truthfully, the easiest way to do
that is to go ahead and delete the other
| | 04:01 | sleeve, select this beautiful sleeve
with the placket, click once on Reflect,
| | 04:07 | Alt+Click on the center line,
select Vertical, Copy, and done.
| | Collapse this transcript |
| Drawing a fitted shirt with princess seams| 00:00 | So let's take a look at our completed shirt.
| | 00:02 | We're going to zoom out.
| | 00:05 | Open my Layers panel, I'm going to turn
off the template for now and just move
| | 00:10 | the front of the shirt next to the back
of the shirt and take a minute to admire
| | 00:15 | our work before we go ahead and
change this into something else.
| | 00:19 | Now that you know the process for
doing a basic button down shirt, what if we
| | 00:23 | wanted to do something a little more fitted?
| | 00:25 | Say a shirt with princess seams?
| | 00:27 | Well, let me show you how to do it.
| | 00:29 | I'm going to turn the template back on
and I'm going to turn the back of the
| | 00:34 | shirt off which is very easy to do
because I've labeled all my layers and I can
| | 00:38 | just turn off the eye.
| | 00:39 | We'll move the front back into place and
I'm going to have to sort of eyeball it
| | 00:44 | to get it into place, but we're going
to need the center line and the template
| | 00:48 | information to do this.
| | 00:49 | So in order to turn the front of
the shirt into a more fitted shirt with
| | 00:55 | princess lines or princess seams, there's a
couple of things we're going to need to do.
| | 01:00 | For starters, we're going to need to
remove the yoke, because we will not
| | 01:04 | need yoke in that case.
| | 01:06 | So let's go ahead double-click to go into Isolation mode.
| | 01:10 | Since it's a grouped piece, we don't want to ungroup it.
We're going to work with it the way we have it.
| | 01:16 | We'll select the things that we don't need.
One of those things are the stitches.
| | 01:20 | So I'm going to select the stitches and delete them.
| | 01:23 | Now in order to put the shirt back together,
what we need to do is combine the
| | 01:27 | yoke with the shirt bodice.
| | 01:29 | And to do that, we're going to go
back to our good old friend, Pathfinder.
| | 01:33 | So Window>Pathfinder and we're going to
use Pathfinder Unite to unite those two
| | 01:40 | pieces back together and now we
can go ahead and add princess seams.
| | 01:45 | But before we do that, we might want
to make the shirt a little bit shapelier
| | 01:49 | since the whole point of princess seams is to shape the shirt.
| | 01:53 | So what I'm going to do is take my
Direct Selection tool, select this one side of
| | 01:58 | the shirt here and delete it, so just that one path.
| | 02:03 | And I'm going to change the fill to None
so we can see the template underneath.
| | 02:07 | I'm going to go back and add an
anchor point on this side of the shirt.
| | 02:11 | Nudge it in a bit with the arrow key.
| | 02:15 | Switch to My Convert Anchor Point tool and click
and drag straight up to give it a little shape.
| | 02:22 | And at this point I can also use my
Direct Selection tool to maneuver this
| | 02:26 | however I like to get the shape of the shirt.
| | 02:29 | Now that I've done that, I'm going to copy it.
| | 02:32 | But actually, what I want to do is reflect it.
| | 02:35 | So I'm going to copy, paste in front,
and now I'm going to click once on
| | 02:42 | reflect, Alt+click on the center line.
| | 02:44 | And this time, I'm not going to copy.
| | 02:48 | I'm just going to click OK, because
I've already copied the piece.
| | 02:51 | I just want to move it to the other side.
| | 02:53 | And now, I can select that piece;
| | 02:57 | hold my Shift Key, the rest of the
shirt bodice, nothing else, right-click
| | 03:04 | Join, right-click, Join.
| | 03:07 | And now, my shirt bodice is connected
back together as one solid piece and I
| | 03:11 | can go ahead and fill it with white, but now
it's got a little bit more of a shape to it.
| | 03:17 | But in order to justify the shape, I need princess seams.
| | 03:21 | So we're going to ahead and draw that.
| | 03:23 | With the Pen tool, I'm going to click
outside the armhole, the apex and then,
| | 03:30 | straight down, three clicks.
| | 03:33 | I'm going to remove the fill; with the
Convert Anchor Point tool, I'm going to
| | 03:37 | curve this line to give it a nice
shape and there's my princess line.
| | 03:43 | Notice I extend it beyond the arm
hole and beyond the hemline to use
| | 03:47 | Pathfinder because we're going to be dividing.
| | 03:50 | Now before I divide, I'm going to
reflect this to the other side so that I
| | 03:53 | have a mirrored image.
| | 03:55 | So we'll select this, click once on Reflect.
| | 04:00 | Alt+click on the center line, select
Vertical, and Copy and now I have the
| | 04:06 | line on the other side.
| | 04:08 | Now I can select the two princess lines
and the bodice, Pathfinder Divide, right-click, Ungroup.
| | 04:17 | And what happens when everything disappears?
| | 04:19 | We right-click, Arrange and Send to Back.
| | 04:23 | And now, I have a shirt with princess seams.
| | 04:25 | And to do the back view you would do
it exactly the same way we did the back
| | 04:29 | view of the plain shirt.
| | Collapse this transcript |
|
|
4. Drawing SkirtsUnderstanding how fabric drapes| 00:00 | In this video, we're going to talk about
how to draw a skirt in Adobe Illustrator.
| | 00:04 | It's important to understand a few
basics about fabric and how it drapes before
| | 00:08 | we can move on to actually drawing the skirt.
| | 00:10 | It's a little difficult for some people
to get this nice soft drape look in
| | 00:15 | Illustrator because of the nature of the program.
| | 00:19 | But I've got it broken down into
some steps that will make it work.
| | 00:23 | First, I want to just talk about the hem of the skirt.
| | 00:26 | Notice how the fullness drapes.
| | 00:28 | The fabric move forward and back, not up and down.
| | 00:30 | I like to think of it as if it's made
up of a bunch of smiles and a bunch of
| | 00:35 | frowns connecting them together which
forms a hemline that looks like this.
| | 00:40 | What happens is the smiles form cone
shapes like this which is what indicates drapes.
| | 00:46 | You want to be very careful to make
sure that you keep it shallow and keep
| | 00:50 | this sort of look to it and avoid scallops,
because scallops are not the way fabric drapes.
| | 00:57 | Scallops are for shells.
| | 00:59 | Let's get to it.
| | Collapse this transcript |
| Setting up guides| 00:00 | Now just like with everything else we've
drawn so far, we need to place a template.
| | 00:05 | So File>Place, this time you're
going to open the Skirt template.
| | 00:08 | Make sure to check the Template and not
check Link, click Place and our layers
| | 00:14 | palette shows the template and
layer 1 and we're ready to go.
| | 00:17 | You'll notice in this template that
I've already prepared a few skirt sweeps,
| | 00:21 | because it's much easier to draw the
skirt when you have something to follow.
| | 00:25 | If you don't like the placement of mine
though, you can easily add your own and
| | 00:29 | I'm going to show you how to do that.
| | 00:31 | With the Pen tool, you're going to
draw a straight line wherever you want it
| | 00:35 | and if you click, hold the Shift key and
click at the other end, you'll get a lovely line.
| | 00:39 | Now I would like to show you a
new tool that we haven't used yet.
| | 00:43 | Underneath this tool right here, which is
called the Scale tool, you are going to
| | 00:47 | click and hold and grab the Reshape tool.
| | 00:50 | The Reshape tool is kind of cool.
| | 00:51 | It's sort of is the equivalent of
adding a point, arrowing it down and
| | 00:55 | converting it all in one.
| | 00:57 | So we're going to click right on the
center line and drag down to create a nice
| | 01:02 | soft curve, which is going to be the
sweep of the skirt. Remove the fill.
| | 01:06 | Now we're going to copy this.
| | 01:08 | So I need to go back to my Selection tool,
release and re-select it because the
| | 01:12 | whole thing wasn't selected. Copy.
Paste in front.
| | 01:15 | And with the arrow key, move it down just three clicks.
We want to keep it very shallow.
| | 01:21 | I find it much easier to change the
color to red or blue so it's not distracting
| | 01:25 | against the rest of the template and
lock the layer so that it doesn't move and
| | 01:29 | that is how you going to create your own template.
| | Collapse this transcript |
| Drawing a skirt| 00:00 | Now that we have our template place
and our guides drawn, let's draw a skirt.
| | 00:04 | You want to make sure that you restore
your foreground and background color to
| | 00:08 | Illustrator default if you changed
it in order to draw your guidelines.
| | 00:11 | You're going to want to make a new
layer because we certainly do not want to
| | 00:16 | unlock the guideline layer.
| | 00:17 | As a matter of fact, I'll name this guides
right now and let's make a new layer
| | 00:21 | and we could start drawing the skirt.
| | 00:23 | So we'll grab our Pen tool and start at the waist.
| | 00:28 | I'm going to do a little bit of a lower waist so I'll start here.
| | 00:31 | The second click will be at the high hip.
| | 00:34 | And the third click will be down at the
hem of your skirt and I'm going to use
| | 00:39 | this short one here so I can zoom in easily.
| | 00:42 | I'm going to go with my Convert
Anchor Point tool and curve this line.
| | 00:46 | But a shortcut to get to it, while
you're using the Pen tool, if you hold your
| | 00:50 | Alt or Option key, the tool will
automatically change to the Convert Anchor
| | 00:54 | Point tool and you can just click and drag
without going all the way back to the toolbar.
| | 00:59 | So that's kind of a nice handy little tip.
| | 01:01 | So now, I'm going to switch to the Selection tool.
| | 01:04 | Another shortcut, I can do that by
holding the Ctrl or the Cmd key and
| | 01:09 | it will let me access the tool I was
previously using, which in this case is
| | 01:13 | the Selection tool.
| | 01:15 | I'll marquee select this.
| | 01:17 | Click once on Reflect, Alt+click or Opt+click
on the center line and make a Vertical Copy.
| | 01:24 | Now I can select both pieces, right-click, Join.
| | 01:29 | And if you like, we can take the Direct
Selection tool and select that top line
| | 01:34 | and play one more time with the Reshaping tool.
| | 01:37 | Click and drag straight down just a
little bit to curve the top of the skirt.
| | 01:41 | It's a new toy we might as well play with it.
| | 01:43 | We're going to switch the Pen tool,
change the fill to none so we have a better
| | 01:49 | chance to see what we are doing.
| | 01:50 | I'm going to zoom in a bit closer and
now we're going to draw a zigzag line
| | 01:56 | across the bottom of the skirt.
| | 01:57 | It's important to make sure that you
actually click on this existing anchor
| | 02:02 | point so that you are continuing the line.
| | 02:04 | Notice if you look at the Pen tool it has a little asterisk icon.
| | 02:08 | That means I'd be starting a new line.
| | 02:11 | But when I hover over this point,
it changes to a forward slash (/).
| | 02:14 | That indicates that I'm going to be
continuing the line that I've already drawn
| | 02:18 | and that's what I want.
| | 02:19 | So I'm going to click and now
this is what this double line is for.
| | 02:23 | The second click is down, back up to
the top line, down, up, down, up and I'm
| | 02:31 | going to this all the way across.
| | 02:33 | They don't need to be consistent
because the drapes in the skirt wouldn't be
| | 02:38 | balanced and completely proportional, so
I'm going to go back and forth until I
| | 02:42 | get to the end and make sure, I see the
circle next to the Pen tool and close my path.
| | 02:48 | Now I'm going to curve all of these
with the Convert Anchor Point tool; and
| | 02:54 | here is the key to this.
| | 02:55 | You want to drag the handle out
until it reaches the next anchor point.
| | 03:01 | Whether it's the right anchor point
or the left anchor point, it doesn't
| | 03:04 | matter, whichever one it hits first, that's
when you're going to stop dragging out the handle.
| | 03:08 | So I'm going to start with all of the
top anchor points that are pointing up.
| | 03:12 | I'm going to click and drag.
| | 03:14 | And here on my right-handle reaches an anchor
point first so I'll stop there. Click and drag.
| | 03:20 | When my handle reaches the anchor point,
I stop, click and drag, click and drag.
| | 03:27 | This time the left one hit first.
| | 03:29 | Click and drag, click and drag.
| | 03:33 | Now I'm going to do same thing for the bottom row.
| | 03:36 | Click and drag and if you drag in the
wrong direction, just untwist, click and
| | 03:40 | drag here and I'm going to work my way across like this.
| | 03:48 | Now you'll notice when I drag out the
bottom handles, I'm dragging them far
| | 03:52 | enough so that this vertical here is almost a straight line.
| | 03:56 | It's not on any kind of an angle and that's important.
| | 03:59 | That's what's going to really give you
a more natural draped look.
| | 04:05 | Now at this point, if you need to, you can make some changes.
| | 04:09 | I'm going to grab the Direct Selection tool
and if you want, this is a good
| | 04:12 | place to move things around.
| | 04:14 | Maybe you want a softer bit over here,
not quite so harsh, and then I can drag
| | 04:21 | the handles and making sure to
always keep that squared off smile shape.
| | 04:25 | We'll have a nice smooth curve here.
| | 04:27 | Maybe there's a lot going on over here so
we'll just make that a little bit shallower.
| | 04:32 | We'll pull this handle out farther so this is a nice crisp smile.
| | 04:38 | Basically, this is the look that we're going for.
| | 04:41 | It's going to give us a really nice drape along the hemline.
| | 04:45 | I'm going to fill it with white.
| | 04:46 | And very important now, I'm going to lock the layer.
| | 04:49 | If I don't do that, it's going to move
on me when I try to do the next step.
| | 04:54 | Make a new layer and now, we can go
ahead and add the fullness lines to this.
| | 05:00 | We're going to grab our Pen tool.
| | 05:02 | Every place that you have one of these
vertical lines, we're going to turn that
| | 05:07 | smile into a cone shape.
| | 05:09 | So I'm going to click, click up.
| | 05:12 | And then, while I'm still holding the
mouse button, I'm going to drag up a
| | 05:15 | little bit reaching towards the waistband of the skirt.
| | 05:18 | If I were to now go and click on
the next one, look what happens.
| | 05:22 | It connects the line which is not what I want.
| | 05:25 | So I'm going to Ctrl+Z or Cmd+Z to undo that.
| | 05:28 | What I want to do now to release the Pen
tool is click Enter or Return on my keyboard.
| | 05:34 | Now when I place the Pen tool again,
it didn't continue the line from the
| | 05:39 | previous one and I can go up and click,
drag, hit Enter or Return, click, click,
| | 05:46 | drag, hit Enter, making a very subtle cone shape.
| | 05:50 | Here's the next one.
| | 05:52 | Now I don't have a very specific edge
here so I don't need to put a line there,
| | 05:57 | but I'm going to put one
on this side of the smile.
| | 06:00 | Click, drag, Enter. This is a frown.
| | 06:03 | Here's another smile, so it needs to
form a cone shape, click, drag, Enter,
| | 06:08 | click, click drag, Enter.
| | 06:10 | Another smile, click, click drag, Enter, click, click drag Enter.
| | 06:18 | So I'm creating these very subtle cone shapes
and that is what you're aiming
| | 06:23 | for in order to get this nice soft drape look to your skirt.
| | 06:27 | So here's the last one.
| | 06:29 | And now, it's a really good idea to go
back to the Selection tool, select all of
| | 06:35 | them while it's an easy thing to do, by
marquee selecting, and I'm going to group
| | 06:40 | them together, right-click Group.
| | 06:42 | This way if I ever need to select them
again, one click will get all of them and
| | 06:45 | I don't need to select them all individually.
| | 06:48 | Now at this point, it looks okay but
we can finesse it just a little bit
| | 06:53 | further by using profiles.
| | 06:54 | I'm going to open the Stroke panel, go
down to Profile on the bottom and change
| | 06:59 | the Profile to this triangular one.
| | 07:02 | I'm also going to change the line weight
to .75 making it just a little bit thinner.
| | 07:08 | And now when I release this, you can
see I have a very nice draped skirt.
| | 07:13 | I'll go back and unlock the main body
of the skirt so I can work on it now and
| | 07:18 | here's where I can do some tweaking if necessary.
| | 07:21 | I'm looking at it and it feels a little bit wide at the hips.
| | 07:24 | So I'm going to go ahead and adjust that.
| | 07:26 | And I can adjust that by deleting one
side, taking the other side and nudging it
| | 07:32 | in with my arrow key till I get the shape that I like.
| | 07:35 | And now I can copy, paste in front
and reflect this new side into place.
| | 07:42 | And just to make sure everything works,
I'm going to select the skirt bodice
| | 07:46 | and the side I just copied, right-click, Join,
right-click, Join, and now I've got my skirt.
| | 07:54 | If you want to add a waistband or yoke
to the top of the skirt, you're going to
| | 07:58 | do it the same way that we did the collars on the shirt.
| | 08:01 | With the Direct Selection tool,
you're going to select the front of the
| | 08:05 | waistband, copy, paste in front, use your
arrow key on the keyboard to move it down.
| | 08:11 | Make sure to get rid of the fill and
now I can switch to the Selection tool or
| | 08:16 | black arrow, hold my Alt key and drag
from the side to extend it, release the
| | 08:22 | Alt key and drag from the top to move
it up just a little bit to make sure the
| | 08:28 | line is consistent all the way across.
| | 08:31 | Now I can select both pieces, open
Pathfinder, up to the menu, Window>Pathfinder,
| | 08:38 | select Pathfinder Divide, right-click, Ungroup
and now I have a waistband.
| | 08:45 | One last piece to the skirt, take the Direct Selection tool.
| | 08:48 | Select the upper part of the waistband,
copy, paste in front, right-click, Join
| | 08:56 | to get the back of the waistband.
| | 08:58 | With the Direct Selection tool, you can click that upper line.
| | 09:01 | We can grab that Shaping tool and go ahead
and give it just a little bit of a curve.
| | 09:06 | And as I mentioned earlier, we want to
get rid of these little spiky things.
| | 09:10 | So I'm going to select everything and
make sure in my strokes that I have round
| | 09:17 | caps and round joins.
| | 09:18 | In that way, that stuff is all nice
and pretty and we can change this to gray
| | 09:25 | and that is how you draw a skirt with flare.
| | Collapse this transcript |
| Adding details to the skirt| 00:00 | Now that we have the basic skirt
drawn, let's add a few more details.
| | 00:04 | We're going to add stitching to the hemline.
| | 00:06 | But I noticed there's a little double
anchor point here that I'd like to fix
| | 00:10 | before we move on and it's very simple to do.
| | 00:13 | With your Direct Selection tool, you're
going to select those two anchor points.
| | 00:18 | Now you can right-click, Average,
select Both and click OK and it's going to
| | 00:24 | average the two anchor points into one and problem solved.
| | 00:27 | Let's zoom back out and add stitching to the hemline.
| | 00:31 | To do this, we need to select all of the
anchor points along the hemline without
| | 00:35 | selecting either of these end points.
| | 00:38 | Sometimes that's a little bit difficult
to do with the Direct Selection tool so
| | 00:42 | let me show you another way to do it.
| | 00:44 | We're going to use the Lasso tool.
| | 00:46 | But before we do that, it's really
important that we lock all of these flare
| | 00:51 | lines so that we don't select them accidentally.
| | 00:53 | And since, they're all nicely put together in one layer;
| | 00:56 | I can lock that layer so they won't move.
| | 00:59 | We'll grab the Lasso tool, which is
up here in the tool bar just below the
| | 01:02 | Direct Selection tool.
| | 01:03 | We'll Lasso all of these points and
now I can copy them, Ctrl+C or Cmd+C,
| | 01:11 | paste in front, Ctrl+F or Cmd+F,
use my arrow key to nudge them up a little
| | 01:16 | bit, get rid of the fill and turn on Dash Line.
| | 01:21 | We'll change the line weight to .25 dash
line and now we have stitches along the
| | 01:27 | hemline, much easier than drawing.
| | 01:29 | I'm a big fan of doing this on the computer.
| | 01:31 | Let me show you how to add gores to the skirt.
| | 01:35 | With the Pen tool, you'll draw
a gore on one side of your skirt.
| | 01:39 | And because we've just used the dash
line, that came out dash so let's turn it
| | 01:43 | off and reset this to one point.
| | 01:46 | And now, I can select this gore
and reflect it to the other side.
| | 01:51 | So we'll click once on Reflect, Alt
or Option click on the center line,
| | 01:55 | select Vertical and Copy.
| | 01:57 | Now I'm going to select both
gores and the main part of the skirt.
| | 02:02 | Pathfinder Divide, right-click Ungroup.
| | 02:05 | Now the reason I divide it with
Pathfinder instead of just drawing lines is
| | 02:10 | because sometimes you need to fill
with fabric and you might want the
| | 02:13 | patterns to go in different directions
for instance a stripe or possibly a
| | 02:18 | plaid on the bias, you want to line
things up in which case, you need to be
| | 02:23 | able to fill things separately.
| | 02:24 | But you'll also notice that we lost
the stitches and that's an easy fix.
| | 02:28 | We just select the skirt, right-click,
Arrange>Send to Back just like when that
| | 02:33 | happened to the shirt.
| | 02:35 | One last thing we need to do here.
| | 02:37 | This line looks a little bit odd
crossing the gore line now, so I'm going to go
| | 02:42 | back to my layers, turn that lock off
so I can do a little editing and I'm just
| | 02:47 | going to take my Direct Select tool,
grab this little flare line and move it to
| | 02:52 | this side of the gore so it has a more natural drape.
| | 02:55 | Sometimes, it needs to be moved,
sometimes it might need to be just deleted.
| | 02:59 | You'll have to sort of play it by
ear based on how your skirt drapes.
| | 03:04 | But that is how you finish out the front of the skirt.
| | 03:08 | In the next video, I'll show you how
to do the back view and add a zipper.
| | Collapse this transcript |
| Drawing the back view of the skirt| 00:00 | Now let's do the back view of the skirt
and while we're added I'm also going to
| | 00:05 | show you how to put in a
center back seam with the zipper.
| | 00:08 | So I've got my skirt completed, I'm
going to select the entire skirt and
| | 00:12 | right-click, Group, let's move it over
by alt-dragging and now we can take this
| | 00:18 | and turn into the back.
| | 00:19 | The first I want to do is unite everything
back together because I'm going to
| | 00:23 | get rid of the gores and give
you a center back seam instead.
| | 00:26 | So we'll double-click on the
skirt to go into Isolation mode.
| | 00:29 | Now I'm going to select
the entire back of the skirt.
| | 00:32 | I've selected the three gore pieces, the
waistband and this part of the waistband.
| | 00:37 | I'm not selecting any of the
flare lines or the stitching.
| | 00:41 | Now I can go up to Pathfinder, select
Unite and we've put it into one piece.
| | 00:46 | The only possible problem, which isn't really
a problem, is that there are a few artifacts here.
| | 00:51 | Let me show you how to get rid of them.
| | 00:53 | All you need to do is change the Fill to
None so that we don't accidentally move
| | 00:59 | the skirt around, switch to the Direct
Selection tool and just select them and
| | 01:04 | hit Delete, that's all.
| | 01:06 | Sometimes it happens and it's good
to know how to fix it when it does.
| | 01:11 | You just want to make sure that you don't
delete anything from the outline of the skirt.
| | 01:17 | Now we have to restore our waistband.
To do that we'll copy the top of the
| | 01:24 | band in the back, copy, paste in front,
move it down with the arrow key and
| | 01:30 | you want to move it so that the
waistband is the same width as the front
| | 01:34 | waistband of the skirt.
| | 01:36 | Switch to the Selection tool, hold the
Alt key and drag to the right, let go of
| | 01:41 | the Alt key and drag up just a tiny bit
to make sure the size is consistent.
| | 01:47 | When you're happy with it, select both
pieces, Pathfinder Divide, right-click,
| | 01:53 | Ungroup, and let's restore the default
settings because look what happened if I
| | 01:57 | release this, everything is going to disappear.
| | 01:59 | See, missing skirt, it's not really missing.
| | 02:02 | My path is here it's just that if you
look in the toolbar you'll notice that
| | 02:06 | there is no stroke and no fill here,
which is not a problem, all we have to do
| | 02:11 | is restore the defaults to bring it back.
| | 02:13 | But now the stitches are gone
and again, how do we fix that?
| | 02:17 | We right-click Arrange and Send to Back
to bring the stitches back, not a problem.
| | 02:22 | Let's add a center back seam and a zipper.
| | 02:25 | I'm going to take my Pen tool and add a center back seam.
| | 02:30 | I can hold the Shift key to give myself a straight line.
| | 02:34 | I'm going to divide the waistband and the skirt.
| | 02:37 | So I'll select both pieces, Pathfinder
Divide, right-click, Ungroup, right-click
| | 02:43 | Arrange, Send to Back to make
sure I don't lose any of my details.
| | 02:48 | And there's my center back seam.
| | 02:50 | All I need to do is add my zipper here and I will do that.
| | 02:54 | All I need to do is draw a rectangle
with the Rectangle tool starting at the top
| | 02:59 | of the waistband and ending
where I want my zipper to end.
| | 03:04 | Make sure the Fill is set to None and now
all we have to do is turn it into my stitches.
| | 03:09 | So I can just grab the Eyedropper tool
and copy the stitching from the hemline.
| | 03:16 | Make sure that this icon is pressed so
it's nice and consistent, we get a nice
| | 03:22 | bottom and you can add a zipper pull.
| | 03:26 | All you need to indicate a zipper
pull is a little triangle type piece.
| | 03:30 | We're going to make some fancy ones for
close ups later in the Symbols chapter.
| | 03:36 | So there's the zipper pull, we'll just
put it there and that is how you do the
| | 03:43 | backview of the skirt.
| | 03:44 | We'll select everything and just make
sure we have round caps and round joins.
| | 03:48 | Double-click to exit Isolation mode
and let's take a nice look at it.
| | 03:52 | We'll turn off the template and now
we have your skirt, front, and back.
| | 03:57 | I suppose I can turn off my guideline
layer as well and that's how you do it.
| | Collapse this transcript |
|
|
5. Drawing a BlazerThe parts of a blazer| 00:00 | In this video, I'm going to
show you how to draw a blazer.
| | 00:03 | These are the parts of the blazer you need to
know so that we can set up a proper template.
| | 00:07 | We're going to start with the collar
stand and fall like we did with the
| | 00:11 | button-down shirt, but then we need
to know where the breakpoint is and the
| | 00:14 | extension, so we can set a few
guidelines up on our template.
| | 00:17 | So let's do that now.
| | 00:19 | I've already opened a file and placed my template.
| | 00:22 | Let's go ahead and set up a few guidelines
here to make it easier to work on.
| | 00:27 | What we need to note first is where the
breakpoint is going to be and that's the
| | 00:30 | spot where the blazer sort of folds-open into the lapel.
| | 00:33 | So we'll need to make a note of where that is.
| | 00:38 | I'm going to have this blazer open
just a little bit below the bust line.
| | 00:42 | So I'm going to go ahead and draw
a line just to mark off that spot.
| | 00:48 | The next thing I want to do is decide
how far the extension is going to be and
| | 00:52 | that means how far beyond the center
line is the blazer going to overlap itself.
| | 00:57 | So here's what I'm going to do.
| | 00:59 | I'm going to start at the high point shoulder,
move down to my breakpoint,
| | 01:03 | cross the center line, deciding how
wide I want my extension to be, click on
| | 01:09 | the breakpoint and then hold the Shift key and
click down towards the bottom of your template.
| | 01:13 | This is the template for one half of your blazer.
| | 01:17 | Let's go ahead and select it and reflect it.
| | 01:23 | Now we'll select all these pieces,
change them to red so that they don't
| | 01:27 | distract us, make sure there's no fill.
We'll call this layer our guidelines and
| | 01:35 | lock the layer so it won't move around on us.
| | 01:37 | Now we can make a new layer and go
ahead and start drawing the blazer.
| | Collapse this transcript |
| Drawing the lapels| 00:00 | Now that we have our guidelines in place,
let's go ahead and draw the lapels and the fall.
| | 00:05 | The first thing we need to do is draw the
collar-stand just like we did with the shirt.
| | 00:10 | So grab your Rectangle tool, hold
down the Alt or Option key, click on the
| | 00:14 | center line and drag out a rectangle
that's about as wide as the guidelines.
| | 00:19 | Once it's centered, you can use the
Arrow key to lower it down just a little bit.
| | 00:24 | I'm going to zoom in a little bit
closer to what I'm working on here.
| | 00:29 | Now let's go ahead and shape this a
little a bit. We're going to do it using the
| | 00:33 | Reshape tool over here, but first we
need to select the Direct Selection tool.
| | 00:38 | Click with the Direct Selection tool
on the page to release the rectangle and
| | 00:42 | then click on the top edge of the rectangle.
| | 00:44 | Now switch to the Reshape tool, click
and drag up just a little bit to give the
| | 00:50 | rectangle a nice curve.
| | 00:52 | If you hold your Ctrl key, or Cmd
key on a Mac, your tool will turn back to
| | 00:56 | the Direct Selection tool.
| | 00:58 | Click once on the page to release and
then select the bottom of the rectangle.
| | 01:02 | When you release the Ctrl or Cmd key,
it'll turn back into the Reshape tool
| | 01:07 | and you can click and reshape the bottom edge.
| | 01:10 | So now I have a nicely curved collar stand.
| | 01:12 | I'm going to go ahead and copy it for later use.
| | 01:16 | Now we can move on to the collar fall.
| | 01:18 | With the Pen tool, you're going to
decide where you want the notch in your
| | 01:23 | collar to hit and I'm going to say my notch
is going to hit somewhere about here.
| | 01:27 | So I'm going to go ahead and start
the fall a little bit lower around here.
| | 01:32 | So my first point is going to be clicking
there and this is a point that's going
| | 01:36 | to vary from blazer to blazer, depending
on the size of the lapel and the fall
| | 01:41 | and where your notch is placed.
| | 01:42 | The second click is the upper
outer corner of the collar stand.
| | 01:46 | Notice how it's following the
guidelines that we've drawn.
| | 01:50 | My next click is going to be on the shoulder,
so we'll click out here on the shoulder.
| | 01:54 | Next click is going to be
where the point of my fall is.
| | 01:58 | So I'm going to click about here and
then the final click is to close the path.
| | 02:05 | Now I can go back and change the
shape a little bit if I want to.
| | 02:08 | I'm going to go ahead and convert this
and round it out a little bit and with my
| | 02:13 | Direct Selection tool maybe drag it
a little bit wider so it's a wider or rounder shaped fall.
| | 02:19 | Now I can take that fall and
reflect it to the other side.
| | 02:23 | So I'll select it, click on Reflect,
Alt+click on the center line, select
| | 02:28 | Vertical, Copy and now I
have a copy on the other side.
| | 02:31 | Just like with the shirt collar,
we're going to select both pieces, open up
| | 02:36 | Pathfinder, so I deselected it and Unite
and now we have a piece that looks like this.
| | 02:44 | And I have a little odd artifact here.
| | 02:46 | It happens every once in a while, so let's fix it.
| | 02:49 | Let's see what we have, a couple of extra points.
| | 02:52 | So I'm going to switch to my Delete
Anchor Point tool and I'm going to delete
| | 02:56 | the one down here and the one on the
end so that I don't mess with the curve.
| | 03:01 | We'll zoom back out. And now just like
we did with the button-down shirt, we're
| | 03:07 | going to take these two little corner
points and we're going to tuck them up
| | 03:12 | into the back of the collar stand to make the collar roll.
| | 03:16 | I'm going to click on this anchor point
here and tuck it up there and I'm going
| | 03:21 | to click on this one over here and tuck it up here.
| | 03:24 | Only this time, because we curved the
collar stand, there's an extra anchor
| | 03:28 | point in the middle.
| | 03:29 | So all you need to do is grab that one
and tuck it up in the center and you get
| | 03:33 | a lovely little roll up here.
| | 03:36 | Now we can Paste in Back, the piece
we copied earlier, the collar stand.
| | 03:40 | So Paste in Back, Ctrl+B for Back, and
now the collar stand is back in place and
| | 03:45 | we can move on to the lower lapel.
| | 03:47 | I'll zoom back out a little bit and let's do the lapels.
| | 03:51 | The lapels are not that difficult
because we have our guidelines in place.
| | 03:55 | We're going to go to the Pen tool.
| | 03:57 | We're going to start at the breakpoint
on the left and place your first anchor point there.
| | 04:02 | The second anchor point is going to be
again where you want your notch, so I
| | 04:07 | want my lapel to overlap my fall a
little bit so I'm going click here.
| | 04:12 | Now how wide do you want your lapel?
| | 04:14 | Mine's going to come out to here, so I'll click there.
| | 04:18 | I want a little curve on my lapel so
I'm going to click and drag the handle
| | 04:22 | just a little bit to curve it and then click back
where I started to close and there is my lapel.
| | 04:29 | Looks a little bit big to me so I'm
going to take the Direct Selection tool,
| | 04:33 | select this little section and scooch it in
just a tiny bit, get the shape the way I want.
| | 04:38 | Now I can reflect it so it's selected,
we'll reflect it to the other side.
| | 04:45 | Now I've got my lapel, but there's
a little extra piece sticking out so
| | 04:48 | we'll select the one on the right,
grab the Eraser tool and just erase this
| | 04:53 | little bottom piece.
| | 04:55 | I realize it looks like I erased both
of them, but it actually only erased the
| | 05:00 | piece I have selected.
| | 05:01 | Watch what happens when I release the Eraser tool.
| | 05:04 | It didn't damage this one at all.
| | 05:05 | So now that we've got this done, we
can move on to the rest of the blazer.
| | Collapse this transcript |
| Drawing the blazer front| 00:00 | Now that we have the lapels completed, we
can go ahead and draw the front of the blazer.
| | 00:04 | Let's zoom out just a little bit so we can
see the whole blazer area and get started.
| | 00:09 | We're going to draw this in two pieces.
| | 00:12 | We're actually going to draw half the
blazer and then reflect it for the other side.
| | 00:15 | Of course, we'll be starting with the Pen tool.
| | 00:18 | The first place we want to click is the
breakpoint where there's no lapel point
| | 00:22 | so the one on the left.
| | 00:23 | We're going to click to start then I'm
going to click up at the shoulder, any
| | 00:27 | place underneath the column fall is fine.
| | 00:29 | The fall is going to cover it so it doesn't matter.
| | 00:32 | The next click is going to be the shoulder.
| | 00:34 | Since it's a blazer, it's going to be
a little bit wider than the shirt so we
| | 00:38 | want to come out a little bit beyond the template.
| | 00:41 | We don't need a very rounded armhole
on this case so we skip the inside the
| | 00:45 | armhole point and just click under the arm.
| | 00:49 | Notice how I'm clicking a little bit
wider than the body of the template.
| | 00:52 | I want my jacket to be a little bit
fitted so my next click is going to be a
| | 00:56 | little bit in near the waist and my
final click on this side is going to be the
| | 01:01 | length of the jacket and I want it to hit about here.
| | 01:05 | Now I need to close this shape so I'm
going to go across this first guideline to
| | 01:09 | the second guideline and I'm going to
hold my Shift key while I do that and
| | 01:14 | click to make a straight line and now
I'm going to click back where I started at
| | 01:19 | the breakpoint and that is one half of my blazer.
| | 01:22 | We need to switch to the Convert Anchor
Point tool and finesse this a little bit.
| | 01:26 | We're going to go ahead and soften the
curve at the waist by dragging straight
| | 01:30 | down and I also want to soften down here
by dragging this straight down a little
| | 01:35 | bit as well and I want a little curve in my jacket here.
| | 01:40 | So I'm going to add an anchor point on
the first one of my guidelines and then
| | 01:45 | take the Convert Anchor Point tool and
drag a little bit of a curve and that's
| | 01:52 | kind of nasty looking so let's fix it
with the Direct Selection tool to move
| | 01:56 | this up a little bit.
That's a much better shape.
| | 01:59 | Sometimes you just need to go
back and finesse things a little bit.
| | 02:01 | They don't always hit perfectly the first time around.
| | 02:04 | We'll select this anchor point and
maybe nudge it out just a little bit, too, so
| | 02:08 | the blazer isn't too fitted and I
can kick this point out a bit as well.
| | 02:13 | That looks like a nice shape.
I think I'm pretty happy with it so let's add the sleeve.
| | 02:17 | We're going add the sleeve the same
way as the shirt except for one little
| | 02:21 | thing; we don't have that anchor
point in the center of the arm this time.
| | 02:26 | Instead of selecting the anchor point,
what we're going to select is the line
| | 02:29 | segment between these two anchor points.
One click should do it.
| | 02:33 | We're going to copy it and paste in front.
| | 02:35 | The next step for the sleeve would have
been to right-click and then join, but
| | 02:39 | we can't do that because we don't have
a curve that would make a closed shape.
| | 02:43 | So instead, we're going to grab the
Pen tool and we're just going to continue
| | 02:47 | drawing the sleeve ourselves.
| | 02:48 | Starting at this shoulder corner point,
continue the line we started down to the
| | 02:53 | hemline of the sleeve, across the
hemline of the sleeve and back up to the
| | 02:58 | bottom point under the armhole to make
a closed path and there's the sleeve.
| | 03:03 | One more thing we're going to do on
this jacket, we're going to make it
| | 03:07 | an armhole princess.
| | 03:08 | So I'm going to click in the sleeve,
inside about near the apex.
| | 03:12 | We'll click at the waist and then down at the hem.
| | 03:15 | I'm going to lose the fill, take the
Convert Anchor Point tool, click and drag
| | 03:20 | to curve, click and drag to curve
this point so I have a nice smooth shape.
| | 03:24 | And again this is where I can go back
with the Direct Selection tool if I want
| | 03:28 | to modify the shape at all, soften any
of the curves. This is my chance to do it
| | 03:33 | before I do any dividing or
move anything to the other side.
| | 03:36 | I'm pretty happy with that shape now
so I'm going to select that princess
| | 03:40 | line and this half of the jacket, go over
to Pathfinder, Divide, right-click, Ungroup.
| | 03:47 | And now we're actually pretty far long with the jacket.
| | 03:50 | I can select this half of the jacket along
with the sleeve and reflect it to the other side.
| | 03:55 | So once on Reflect, Alt+click on the
center, Copy and now I'm going to select
| | 04:01 | the entire bottom part of the jacket and the sleeves.
| | 04:04 | Basically, I'm selecting everything but
the lapel, right-click, Arrange>Send to Back.
| | 04:11 | Now it's starting to look like a blazer.
| | 04:13 | We have a couple more things we need to do.
| | 04:15 | We'll need to add buttons.
| | 04:16 | We'll need to fill this area behind the
collar and we'll need to fill this area
| | 04:21 | down here, but we'll do that in the next video.
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| Adding details to the blazer| 00:00 | Now that we have our blazer roughed in,
let's finish up some of the details.
| | 00:03 | One of the things we're going to need is buttons.
| | 00:06 | Let's go ahead and grab the Ellipse
tool and draw a button that looks to be
| | 00:12 | about a good proportion for this blazer
and we'll place it right here; maybe
| | 00:18 | make it a tiny bit smaller. And now we need to
decide how many buttons we want on our blazer.
| | 00:23 | I'm going to make a three button so
we'll take this button and I can Alt+drag it
| | 00:28 | to the next location and then I can
just duplicate it, Ctrl+D or Cmd+D to
| | 00:33 | move it to the third place.
| | 00:35 | And it's a good idea to select all three
whenever you have things like buttons
| | 00:39 | and group them together so that if you
need to move them again in the future,
| | 00:42 | you can do it with one click instead of multiple clicks.
| | 00:45 | In order to fill this area behind the collar,
all we need to is draw a rectangle.
| | 00:50 | We're going to go ahead and start in
this upper-left corner, drag across,
| | 00:55 | straight down so that it's just a
little bit bigger than that piece that
| | 00:58 | looks like a slice of pizza, right-click,
Arrange and Sent to Back and there
| | 01:03 | we have that area filled.
| | 01:05 | But for the back of the blazer, we're
going to grab the Rectangle tool, we're
| | 01:10 | going to go ahead and draw a
rectangle from one end to the other.
| | 01:14 | We're going to grab the Direct Selection
tool and click the bottom edge of the rectangle.
| | 01:18 | With the Reshape tool, we're going to
click and drag down just a tiny bit, give
| | 01:23 | it a slight curve and then Arrange>Send to Back.
| | 01:26 | So it is behind and we just want to make
sure now with the Direct Selection tool
| | 01:32 | that you take this corner point and
move it up here in this corner point and
| | 01:36 | move it over here and you'll just see
a little bit of it peeking through the
| | 01:40 | bottom part where jacket scallops.
| | 01:44 | Now we can move on to the back.
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| Drawing the blazer back| 00:00 | Now that we have the front of the
blazer done, let's move on and do the back.
| | 00:04 | Before we move on, I see a few things I
could do to make this a little bit nicer looking.
| | 00:08 | I'm going to go to my Direct Selection
tool, click on this anchor point at mid
| | 00:13 | waist and arrow it over just a couple of
clicks. I'm going to do the same on the
| | 00:17 | other side so I stay symmetrical, and
I'm going to do it on the bottom as well,
| | 00:22 | one, two, three, one, two, three.
| | 00:26 | It was feeling a little tapered toward the bottom
and now I think the proportion is better.
| | 00:30 | The other thing I want to do before I
do the back is select everything and make
| | 00:35 | sure that my strokes are round caps and round corners.
So that I don't have any of those nasty little spikes.
| | 00:42 | Now we can select the whole thing and group it
and we'll move on to the back view.
| | 00:48 | Let's make a copy and move it over,
now we can turn this into the back.
| | 00:52 | We'll double-click to go into Isolation mode
and start by deleting the elements we don't need.
| | 00:57 | Let's take the buttons and move them out of the way.
| | 01:01 | And then we are going to delete the lapels
because we don't need them on the back.
| | 01:05 | Now what we need to do is unite the
two front pieces, with the collar.
| | 01:09 | So we're going to drag from the top,
straight down, making sure not to get
| | 01:14 | either of the side pieces.
| | 01:15 | I'm only dragging down about this far,
just far enough to get all of the top
| | 01:20 | pieces and the two sides of the jacket.
| | 01:23 | And we're going to go up to Pathfinder
and unite them all together.
| | 01:27 | So we still have our princess and now we
just have to deal with the bottom of the jacket.
| | 01:32 | What we want to do is be careful
down here, because it's overlapping the
| | 01:36 | princess seam and if I unite this
piece with this, it may cause trouble.
| | 01:42 | So instead, I'm going to select the two pieces,
and divide,right-click, Ungroup.
| | 01:47 | Looks a little strange, but now it's
very easy to select these pieces right here
| | 01:52 | in the center and unite them together.
| | 01:54 | Let's grab all of these pieces here
and unite them together and then these
| | 01:59 | pieces here that make up the princess
and unite those together, same over here,
| | 02:04 | unite those together and now we've got
this all back the way it wants to be.
| | 02:10 | I also notice that there's just a
little wiggle here, which means there's
| | 02:14 | probably an anchor point there so
we'll get rid of those two anchor points.
| | 02:19 | And there's the hem of our blazer.
| | 02:21 | Now we need to take care of the collar,
and just like with the shirt, we're
| | 02:26 | going to take the Pen tool, draw a
straight line holding the shift key, straight
| | 02:30 | across. We're going to switch to the
Direct Selection tool to select it and then
| | 02:36 | to the Reshape tool; we can go ahead
and drag it up just a tiny bit, so it
| | 02:42 | follows a little bit of the line of the collar.
| | 02:45 | It doesn't need to be quite as round
as the top, but it's nice if it wraps
| | 02:49 | around the back just a little bit.
| | 02:51 | We want to make sure there's no fill.
Switch to the black arrow, select the
| | 02:55 | dividing line, and the silhouette,
Pathfinder divide, right-click, Ungroup to
| | 03:01 | separate the collar.
| | 03:03 | I'm noticing a little dot here, we can
just take the Delete Anchor Point tool,
| | 03:08 | it was just an artifact from
when we united before. Okay.
| | 03:11 | What's left to do to the back of this jacket?
| | 03:14 | Well one of the things we'll need
to do is a center back seam.
| | 03:18 | So we'll take the Pen tool and we'll
draw a seam, center back, holding the Shift
| | 03:22 | key to keep it straight.
| | 03:24 | We want to select that line, and the
center of the jacket, not the sides or the
| | 03:29 | collar, and go ahead and divide, right-click, Ungroup.
| | 03:34 | My jacket is going to have a vent in the
back, and the way we indicate a vent is
| | 03:39 | with a little a diagonal line of stitches.
| | 03:41 | So I'm just going to draw a little
diagonal line, right here, the width of my
| | 03:45 | vent and I'm going to go ahead and turn
on my dash line, and I'm going to change
| | 03:50 | the point size instead of to 0.25, I
am going to make it 0.5 so it's just a
| | 03:54 | little bit heavier and it can be seen easier.
| | 03:59 | One last thing I'm going to do and
that's make two-piece sleeve, so let's
| | 04:03 | go ahead and divide the sleeve up so that
we can vent the end of the sleeve as well.
| | 04:08 | With the Pen tool, I'm going to
ahead and draw a line that goes from here
| | 04:12 | straight down the sleeve.
| | 04:13 | Let's turn off the dash line that we have on.
| | 04:16 | And now, I need to make sure there's no fill on it.
| | 04:19 | So I'll remove the fill, select the line
and the sleeve and go ahead and
| | 04:24 | Pathfinder, Divide, right-click, Ungroup.
| | 04:27 | Also, we're going to have a vent there,
so we need to do the same little
| | 04:32 | diagonal line of stitches with the Pen tool.
| | 04:34 | We'll go ahead and draw little diagonal
line and we can copy the stitching from
| | 04:39 | here, let's make sure there's no fill on that.
| | 04:42 | And the last thing we need to do is
place some buttons, which is why I saved the
| | 04:46 | buttons from the front. We'll take them.
I'm going to ungroup them.
| | 04:50 | We need to move them much closer together this time.
So let's move them right next to each other.
| | 04:56 | We'll select all three, grab Align, we'll align them
and distribute them, so they're evenly placed.
| | 05:03 | I'll group them together, move them into
place, we'll put the top button where I
| | 05:08 | want it and notice it's behind the sleeve.
| | 05:11 | So all I need to do is right-click, Arrange>Bring to Front.
| | 05:15 | Now I can click on Rotate, click in the
center of the top button and just drag
| | 05:20 | my buttons around until they're
properly aligned with the seam.
| | 05:24 | And rather than do all this work on
the other sleeve, I'm going to delete it,
| | 05:31 | take this sleeve, and reflect it to the other side.
| | 05:40 | We'll close Pathfinder, exit Isolation mode,
go to my layers and turn off the
| | 05:45 | template, we'll turn off the guideline, too.
And here we have a blazer drawn in Adobe Illustrator.
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|
|
6. Creating Custom BrushesTypes of brushes| 00:00 | Using brushes in your work is a huge time saver.
| | 00:04 | And in this video, I'm going to
show you the different types of brushes
| | 00:07 | available in Illustrator and how they
can be used to speed up your workflow.
| | 00:11 | For instance, take a look at this jacket,
instead of drawing all of these little
| | 00:15 | gathers by hand, I made a brush.
| | 00:18 | This is the icon for the brush panel.
| | 00:20 | If you click on it, the little cup of
brushes it'll open the Brush panel, and
| | 00:24 | you can see here all of the different
brushes, most of which I made. These top
| | 00:29 | few, top three actually, came with
Illustrator, the rest are of my creation.
| | 00:35 | And one of them is this brush right
here, and it's the brush that gave me all
| | 00:40 | the gathers for this coat in one click.
| | 00:42 | For the tank top over here, the
braiding looks very, very ornate and detailed,
| | 00:47 | but all I did was create a brush and
the brush I created looks like this, but
| | 00:52 | when applied I get braids.
| | 00:54 | I can also do things like this like
this, Add lace to the bottom of the
| | 00:58 | shirt, with one click.
| | 01:00 | I can change the skirt from this, to this
with just a couple of clicks by using my brushes.
| | 01:11 | So let me show you what the three
types of brushes I just used are.
| | 01:14 | Let me open my layers, let's turn this off.
Here is a rhinestone and I made
| | 01:20 | three different brushes out of this rhinestone.
| | 01:22 | The first brush is called the pattern brush,
and when you apply it looks like this.
| | 01:27 | It basically takes the element that you
created and repeats it in a linear pattern.
| | 01:32 | You can adjust the spacing between the
objects and I will show you how to do
| | 01:36 | that in the next video.
| | 01:38 | The next type of brush available is
called an Art Brush. An Art Brush takes
| | 01:42 | the image and stretches it along
the length of the path like this.
| | 01:46 | So obviously this rhinestone would not
be a good choice for an Art Brush, but
| | 01:50 | something like this makes a great art
brush because it changes the quality of
| | 01:55 | your stroke, and it works on curves too.
| | 01:58 | I can draw an ellipse and apply my
brush and it looks like it was drawn with
| | 02:02 | either a paintbrush with very thick
paint or possibly a piece of charcoal.
| | 02:06 | It adds a different quality to your work.
| | 02:08 | If I was to apply the rhinestone brush
to the circle the linear brush or the
| | 02:12 | pattern brush would do this, notice
how when it got tight, it squishes the
| | 02:16 | shape a little bit, so you want to be careful
about that or use a different type of brush.
| | 02:22 | If I apply the art brush to this,
it's going to stretch it out and do
| | 02:26 | something very strange.
| | 02:27 | Again, not a great shape for an
art brush, but a scatter brush would
| | 02:32 | work wonderfully here.
| | 02:33 | I can do sequins, but let me show you
the rhinestone scatter brush. The benefit
| | 02:39 | of a scatter brush is that it scatters.
| | 02:42 | So if I want a sprinkling of rhinestones
across my gown, all I need to do is
| | 02:47 | make one rhinestone and
define it as a scatter brush.
| | 02:50 | A scatter brush has settings so that
you can change the size of the image, you
| | 02:55 | can change the rotation of the image.
| | 02:57 | Notice these are all rotated in different directions;
| | 03:00 | you can change the placement of the
image and the spacing of the image, all
| | 03:04 | within the menu for the scatter brush.
| | 03:06 | Now that you know the brush is
available, it's a good idea to start making
| | 03:10 | your own brushes and using them,
because it really makes a huge difference
| | 03:14 | and speeds up your workflow.
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| Using and editing brushes| 00:00 | In this video, I'm going to show you
how to make a pattern brush and do some
| | 00:05 | basic brush editing like adjust the scale, spacing and color.
| | 00:07 | If you want more in-depth information
about brushes, you can watch Adobe
| | 00:11 | Illustrator CS6 One-on-One:
Advanced, here on lynda.com.
| | 00:15 | So let's make a basic pattern brush.
| | 00:17 | I have two different rhinestones
on my screen to work with.
| | 00:21 | First thing I want to do is
open up the Brushes panel.
| | 00:24 | It's right here on the right side
in the panel dock of your work space.
| | 00:28 | We'll break it off and take a little look at it.
| | 00:31 | Right now, it's filled with all the
brushes that I've created and that I
| | 00:35 | use when I'm working.
| | 00:36 | And you can see there are already
two rhinestone brushes here.
| | 00:38 | But I'm going to show you how to make one.
| | 00:41 | First, select the element that
you want to use for your brush.
| | 00:44 | Then click on the New Brush icon in
the brushes panel, and select the type of
| | 00:50 | brush you want to make.
| | 00:51 | We're going to make a Pattern Brush, click OK.
| | 00:55 | When the Pattern Brush options window open,
we're going to name the brush, so Rhinestone.
| | 01:00 | And since I already have a Rhinestone brush,
I'm going to call it Rhinestone 2, click OK.
| | 01:07 | Now if I draw a path and select the Rhinestone
brush you can see I now have a string of rhinestones.
| | 01:15 | But what if I wanted smaller rhinestones?
| | 01:17 | Well then we need to know how to edit
the brush, and it's a very simple process.
| | 01:21 | You double-click on the brush in the Brushes
panel to open up the Brush Pattern options.
| | 01:27 | And then in Options box I have the
choice of changing the scale and I also have
| | 01:33 | the option of changing the spacing if I
don't want them quite so close together.
| | 01:37 | If I make it a 100%, it will put a 100%
of the size of the rhinestone as space
| | 01:43 | in between the two rhinestones, but
that's a little much so, let's go with 50%.
| | 01:47 | The other things you can do in this
panel are flip which will be difficult to
| | 01:53 | see with the rhinestone.
| | 01:54 | Now the highlights on the bottom and
now the highlight is on the side, but
| | 01:59 | we're going to keep it the way
I originally had it, click OK.
| | 02:03 | It asks you if you want to
leave strokes or apply to strokes.
| | 02:05 | That means the strokes I have already
drawn using this brush, do I want the
| | 02:09 | changes to apply to those or not?
| | 02:11 | I'm going to say yes, apply the strokes.
And there is my new brush with a smaller
| | 02:15 | rhinestone in a little separation,
but what if I want it colored?
| | 02:19 | Well, since a brush is based on the
color of the stroke we need to change the
| | 02:24 | stroke color in order to
change the color of the brush.
| | 02:27 | So I'll double-click on the stroke
color, pick a color, how about a nice green
| | 02:32 | and click OK and nothing happened.
| | 02:34 | And that's because I didn't set up
the colorization method in the brushes.
| | 02:38 | So we'll double-click on the brush
again and we're going to look at that.
| | 02:42 | The bottom corner here says Colorization.
| | 02:44 | The Method is currently set to None.
| | 02:46 | We're going to change that to Tints
and click OK, apply to strokes and now my
| | 02:52 | rhinestones are green.
| | 02:54 | But what if I wanted the rhinestone filled with green?
| | 02:57 | Well, then I have to use the gray rhinestone brush.
| | 03:00 | If you want a brush to have a fill color,
you need to fill it with gray to start.
| | 03:04 | Watch what happens if I change to
this brush, now it's green inside but the
| | 03:09 | setting is a little bit different.
| | 03:11 | Instead of tints, which would have
done this, turn the whole thing green
| | 03:16 | including the outline or the stroke, I
selected Tints and Shades which leaves
| | 03:21 | the stroke black and only changes the grays to green.
| | 03:25 | One other brush you can play with is the Scatter Brush.
| | 03:29 | A Scatter Brushes are found all the
way on top, I'm just going to open the
| | 03:32 | rhinestone scatter brush that I already made.
| | 03:34 | You would make it the same way, only
select scatter brush instead of pattern brush.
| | 03:38 | The scatter brush has a few more options.
| | 03:41 | In order to adjust them you double-click
on it, open a similar brush options window.
| | 03:46 | But this one instead of just letting
you change the size and the spacing
| | 03:50 | also lets you change the scatter and the
rotation, which is how I made the brush do this.
| | 03:56 | It also had the colorization method. I
can change to tints and shades, click OK,
| | 04:01 | apply and green rhinestones on my dress.
| | 04:05 | One last thing about brushes; what if
you have this brush used in numerous
| | 04:10 | places on your page?
| | 04:11 | So let's delete this and I'm going to
draw a stroke and apply my pattern brush
| | 04:20 | and let's do another one.
| | 04:22 | We're going to duplicate a couple.
| | 04:24 | I'm going to select just this brush and
I want to edit this brush but I want all
| | 04:29 | the other ones to stay green.
| | 04:30 | Well, then it's important to edit a
single brush instance and you do that by
| | 04:35 | clicking on this icon here,
which is options of selected object.
| | 04:39 | Click on it and it opens the Options box for this brush.
| | 04:42 | I'm going to change the spacing to zero and
make these a little bit bigger. Click OK.
| | 04:49 | And I haven't changed any of the
other brushes, only that brush.
| | 04:53 | Last thing about brushes I want to share with you.
| | 04:56 | What if you done this and you realized you
don't want a brush you just want a regular path?
| | 05:01 | Well, very easy, this icon right here
removes the brush stroke. With one click
| | 05:05 | I'm back to a plane old green one point
stroke. And that's what you need to know
| | 05:10 | about brushes for fashion.
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| Creating a double-needle top stitch| 00:00 | In this video, I want to show you
how to make a double-needle topstitch.
| | 00:03 | It's the kind of stitch you might
want to use if you were drawing jeans.
| | 00:07 | You can also use it for the hem of the t-shirt.
| | 00:09 | Now you may be wondering why I
already know how to make a single stitch?
| | 00:13 | I can just duplicate the path.
| | 00:15 | That's true you can, but here is why it
works out better to do it with a brush.
| | 00:19 | If I copy and paste in front and move
this over, I can move this down so I get
| | 00:24 | my path evened out, but look at how the
stitches align. Actually they don't.
| | 00:29 | But look at how perfectly aligned
these are because I did these with a
| | 00:33 | double-needle topstitch brush.
So let me show you how to make one.
| | 00:37 | It's always a good idea to have a garment, a flat.
| | 00:40 | If you haven't drawn the flat yet at
least the template open before you make a
| | 00:43 | brush so you can make it to
the right scale and proportion.
| | 00:47 | It's a real pain to click on a brush
and then have to scale it every time.
| | 00:51 | So I keep all my brushes scaled
correctly to my flat templates.
| | 00:55 | We're going to use a tool
I haven't shown you before.
| | 00:58 | It is the Line Segment tool and its
right beneath the Pen tool in the toolbar.
| | 01:02 | Go ahead and click once on it
and now click once on your page.
| | 01:06 | It's going to bring up a Line Segment tool options.
| | 01:09 | The reason we're using this tool and
not the Pen tool is because I know I want
| | 01:13 | my stitch to be exactly two points.
| | 01:14 | If I use the pen tool I'm going to have
to guess at the size and that wouldn't
| | 01:19 | be a very effective way to work.
| | 01:21 | So I've type in two points, I want
to make sure that the angle is set to zero
| | 01:25 | and now click OK, and its just made a
very tiny little two point line segment for me.
| | 01:31 | Let's zoom in a little bit closer.
| | 01:34 | Make sure to change the line weight to 0.25,
which I already have set to, make round caps.
| | 01:42 | You want to make sure that dash line is
turned off so that we get a nice clean
| | 01:47 | two point line segment.
| | 01:48 | Now you can select it, copy it, paste
in front and use the arrow key in your
| | 01:53 | keyboard to move it down one click.
| | 01:55 | You can move it two clicks if you want,
wider spacing between your stitches but
| | 01:59 | one works nicely for me.
| | 02:01 | Now select the two stitches, move over to
your Brush panel and click on the New Brush icon.
| | 02:06 | It's going to open up the New Brush
window and this is going to be a Pattern
| | 02:10 | Bush, which is what most stitches are,
click on Pattern Brush and click OK.
| | 02:16 | The second window opens and
here we're going to name our brush.
| | 02:19 | So this one is called a
Double Needle Topstitch.
| | 02:23 | We need to adjust the Spacing.
| | 02:25 | If we just click OK it's going to put each
stitch right next to the stitch before it.
| | 02:30 | And when it prints out it's going to
blur and you're not going to see that it's
| | 02:34 | stitching it's going to read as a solid double line.
| | 02:36 | So let's change the Spacing to 50% so
that it will print nicely and click OK.
| | 02:43 | Now we can draw a path, make sure your
path is much longer than your two point
| | 02:48 | stitches, click on the brush and there
you have a double-needle topstitch, great
| | 02:54 | for jeans, which we will be doing in a later chapter.
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| Making a zigzag brush| 00:00 | Another brush that you'll find handy to
have around is a zigzag brush and we can
| | 00:04 | make it from the double-needle
topstitch we just made.
| | 00:07 | Remember always have a flat or a template
open while you're making brushes to
| | 00:11 | make sure the scale is correct. Let's zoom in.
| | 00:14 | Now we can make the zigzag brush
from the double-needle topstitch.
| | 00:17 | Go ahead and select it.d
We're going to rotate it 90 degrees.
| | 00:23 | So double-click on Rotate,
type in 90 degrees and click OK.
| | 00:28 | Now we need to turn it into a zigzag shape.
| | 00:31 | So we'll switch to the Direct Selection
tool and select only the top two anchor
| | 00:36 | points, right-click, Average, going to
select Both and click OK and now we have
| | 00:42 | the correct shape to make a brush.
| | 00:44 | So go back to the Selection tool,
reselect it to make sure you have the whole
| | 00:49 | thing because before we only had the
top two points selected and we're going to
| | 00:53 | go to our Brushes panel and click New.
| | 00:56 | Again, we'll be making a pattern brush,
so click on Pattern Brush and click OK.
| | 01:00 | We don't need any Spacing in a zigzag
brush, so all we need to do is name it
| | 01:05 | Zig Zag and click OK.
| | 01:09 | So now, let's select this path and apply
our brush and there is your zigzag brush.
| | 01:15 | With the same little zigzag element
you can make extended brushes or you can
| | 01:20 | make really tight zigzags.
We'll make an extended brush.
| | 01:23 | Click on New>Pattern Brush>OK, we'll
call this Zig Zag Wide, click OK and now we
| | 01:33 | can apply this one and have a very wide zigzag.
| | 01:38 | One other way you can change the size
of brushes is to select the path the
| | 01:42 | brush was applied to.
| | 01:43 | Go over to your Stroke panel and
change the weight of the stroke.
| | 01:46 | I can make this smaller by selecting a
smaller stroke weight or I can make it
| | 01:51 | very large as if it is embroidery
thread with a much bigger stroke weight, but
| | 01:56 | the main size at one point should be the
size that's correct to be using on your flat.
| | 02:02 | I realize there's not often a zigzag on
jeans but just to show you what it looks like.
| | 02:08 | We'll go ahead and apply it.
| | 02:10 | There is the extended version
and there is the tight version.
| | 02:13 | And that's how you make a zigzag brush.
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| Making an overlock brush| 00:01 | Another brush you'll find very useful is an
Overlock Stitch and here's what it will look like.
| | 00:08 | Remember you always want to draw
your brushes next to a flat to make sure
| | 00:11 | the scale is correct.
| | 00:12 | We're going to start with the
Line Segment tool just like the
| | 00:15 | double-needle topstitch.
| | 00:16 | Click on the page and again, this one is
going to be two points with a 0% angle.
| | 00:22 | Click OK and it's very tiny.
And it's over here so let's move it over here.
| | 00:27 | You want to make sure that the Line
Weight is set to 0.25, round Caps,
| | 00:32 | round Joins, and now let's zoom in a
little closer to take a look at what we're doing.
| | 00:38 | We're going to duplicate it, copy, paste in
front, and move it down with the arrow key.
| | 00:43 | Now we have to add the little loop
so here's how you're going to do it.
| | 00:47 | You're going to click once with the Pen
tool down towards the bottom line segment.
| | 00:52 | Now notice the little dash line.
| | 00:54 | That means I'm going to continue what I'm drawing.
| | 00:57 | If you hold the Shift key, it'll change to an asterisk.
| | 01:00 | Make sure not to click on the anchor point.
| | 01:02 | Watch for the asterisk.
| | 01:04 | With the Pen tool, you're going to
click once at the bottom corner of the
| | 01:08 | lower line segment.
| | 01:09 | But notice the icon next to my Pen tool, it's a little slash.
| | 01:13 | That's not what I want.
| | 01:14 | Hold your Shift key so that it changes to an asterisk.
Now click.
| | 01:19 | Notice I'm just inside from the end of the line segment.
| | 01:22 | Now you're going to move the Pen tool.
| | 01:25 | You can release your Shift key, up to
the top line segment and you're going to
| | 01:29 | click a little bit before the end of
that line segment to make a diagonal line,
| | 01:33 | but don't let go of your mouse.
| | 01:35 | While you're holding on to the mouse, drag
out handles so that it curves that first line.
| | 01:43 | Now all you have to do is click right
back where you started and you have a
| | 01:46 | little loop that looks like an overlock stitch.
| | 01:51 | So now you can select it.
| | 01:53 | We're going to go to the Brushes panel,
make a new brush pattern, click OK,
| | 01:57 | we're going to name this Overlock, and click OK.
| | 02:02 | We don't need any spacing for this brush.
| | 02:05 | Click OK and let's see what it looks like.
| | 02:08 | We'll draw a path and there is your overlock stitch.
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| Making a zipper brush| 00:00 | In this movie, I'm going to show
you how to make a zipper brush.
| | 00:03 | A zipper brush can be as elaborate as
this one or a simple zipper which is
| | 00:08 | closed here or a simple open zipper.
| | 00:10 | All you need to do is draw a path with
the Pen tool and then find your zipper
| | 00:16 | brush, click on it and there you
have it, a complete zipper with stop and
| | 00:22 | seams and stitching.
| | 00:23 | Let me show you how to make these two
simple zippers and as you play around with
| | 00:27 | the Illustrator and get more comfortable
with the program, you can build
| | 00:30 | yourself an elaborate one.
| | 00:32 | I'm going to close this layer and turn on this one.
| | 00:38 | I've got a jacket here that is in need of
a zipper so let's go ahead and make one.
| | 00:44 | The zipper size I need for this jacket, and it
should work for you too is very, very small.
| | 00:50 | We're going to start by making a
rectangle with the Rectangle tool.
| | 00:53 | So select it, let's get in this layer so it'll let us draw.
| | 00:57 | So I've got the Rectangle tool,
I'm going to click once on the page.
| | 01:01 | So we'll type in a Width of .75 and a
Height of 3 points, click OK and it's a
| | 01:09 | very tiny little rectangle.
| | 01:11 | We want to change the Stroke Width to .25
and make sure it has round corners and
| | 01:17 | caps and you can also do that
up here in the Control panel.
| | 01:21 | This is all we need for our open zipper.
| | 01:24 | We'll switch back to the Selection tool,
select it and make a brush, click on
| | 01:29 | New Brush, select Pattern Brush and click OK.
| | 01:33 | We'll name it Open Zipper
and we need to adjust the Spacing.
| | 01:39 | It'll need to be 100% so there's room
for the other half of the zipper to lock
| | 01:44 | in place with this one and click OK.
| | 01:46 | Now while we're here, let's make the
close zipper also and then I'll show you
| | 01:50 | how to use both of them.
| | 01:52 | To make the close zipper, you're going
to copy this zipper and just move it over
| | 01:56 | and down a little bit.
| | 01:57 | So you can do that by holding your Alt
or Option key, dragging the zipper over
| | 02:02 | and moving it down just a little bit.
So now I have my two close zipper teeth.
| | 02:07 | I'm going to select them, click on New
Brush, select Pattern Brush, OK and this
| | 02:13 | brush doesn't need any spacing so we'll just click OK.
| | 02:17 | I didn't name my zipper brush
so let's go back and do that.
| | 02:20 | We're going to double-click, type
in zipper, Z-I-P-P-E-R, and click OK.
| | 02:28 | In case you haven't noticed by now, I
just want to point out that all brushes in
| | 02:31 | Illustrator are created from left
to right, same way you would read.
| | 02:35 | It doesn't matter if you draw the line
from down to up or up and down or side to
| | 02:43 | side, the brush will follow the path that you draw.
| | 02:48 | But to create the brush, it's
really important that it's always created
| | 02:51 | from left to right.
| | 02:53 | So let's go ahead and zoom out and
apply the zipper brush to this jacket.
| | 03:03 | I'm going to select the path that I've
already drawn for the zipper, we'll go
| | 03:08 | down to our close Zipper brush, which is
the one with the two teeth and click on
| | 03:12 | it and there is the Zipper. But it's still
missing one thing and that's a zipper pull.
| | 03:16 | So I'm going to open my symbols and grab the zipper pull.
| | 03:21 | In the next movie, I will show you how
to make one of your own, but we're just
| | 03:25 | going to place it right here and now
my jacket has a zipper complete with a
| | 03:31 | zipper pull with one click of the brush.
| | 03:33 | Let me show you how to use the open zipper.
| | 03:36 | The open zipper can be used this way.
| | 03:39 | We'll click, click and then click straight down
and I'm going to apply the open zipper.
| | 03:44 | Let's go back to my brushes and
click on the open zipper brush.
| | 03:48 | I want to make sure it has no fill and
now I can select the zipper and reflect
| | 03:52 | it so double-click on Reflect, Vertical,
Copy, let me zoom in a bit, and now
| | 03:58 | with my arrow key, I'm going to nudge
this zipper over so it overlaps the first
| | 04:04 | set of teeth and then I'm going to
nudge it down one click so I get a closed
| | 04:08 | zipper with a little bit open at the top.
| | 04:11 | Now I can go back to my symbols, grab
my zipper pull and move it into place,
| | 04:16 | which is going to be a little bit lower
and now I have a partially open zipper.
| | 04:22 | I hope that you'll enjoy making brushes
and find them a huge time saver.
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| Saving and loading brushes| 00:00 | Now that you have the beginnings of
your own brush library, I think it would be
| | 00:03 | a good idea for me to show you
how to save them. So let's do that.
| | 00:07 | The first thing we want to do is remove
any Illustrator brushes that we don't need,
| | 00:11 | because they already exist in Illustrator
and it would be redundant to save them again.
| | 00:16 | To get rid of them, you click on one brush,
hold your Shift key and then click
| | 00:21 | on the last brush, click on the trash
can at the bottom of the Brushes panel.
| | 00:26 | It'll ask you if you want to delete the selection.
Yes, and now your brushes are gone.
| | 00:31 | The only one that cannot be deleted is the Basic Brush.
| | 00:34 | We'll also delete this top row of calligraphy
brushes by clicking on the trash can.
| | 00:41 | Now that we've cleaned house a little bit, we
can go ahead and save this set of brushes.
| | 00:45 | The good news is that brushes save
with the file you're working in.
| | 00:50 | So to save the brush, all you need to do
is save the file. File>Save As.
| | 00:55 | Now I like to put all my brushes in the
same place so I know where to find them.
| | 01:00 | I usually set up a little brush folder
and that's where I save everything.
| | 01:04 | We'll call this Basic Set and click Save
and now all of our brushes are safely saved in that folder.
| | 01:11 | So if we want to load them, you click
in the Brush Libraries menu, you click on
| | 01:16 | Other Library, navigate to brushes file and load.
| | 01:21 | I'm going to ahead and load this Lace
and Trim set I have and you'll notice it
| | 01:26 | opens in a new window.
| | 01:28 | So what you need to do to put these
into the file that you're currently
| | 01:32 | working on is select them.
| | 01:35 | So hold your Shift key to make a
complete selection of all the brushes and then
| | 01:39 | just drag them right in.
| | 01:41 | Now another way you can do it is just
to individually click on each brush and
| | 01:45 | you'll notice it pops in as well.
| | 01:48 | If you don't want all of them, obviously
you could have just selected individual
| | 01:51 | brushes, close this out and now all the brushes are here.
| | 01:56 | You'll notice that when you open a
new file in Illustrator, it restores the
| | 02:00 | default brushes, so all of those brushes
I just loaded are not available in this
| | 02:05 | document, but it's very easy to move
brushes from one document to another.
| | 02:09 | Let me show you how to do that.
| | 02:11 | We'll click back into the other document.
| | 02:14 | All you need to do is draw a path
or a shape and apply the brush to it.
| | 02:19 | So let's grab a few different brushes here.
| | 02:21 | I'm just going to go ahead and duplicate
this a few times so I can grab some brushes.
| | 02:26 | So we'll take our double-needle
topstitch, our zigzag, our wide zigzag, the
| | 02:32 | cover stitch, the zipper brush, the close
zipper brush and a bias binding brush I have.
| | 02:40 | All you need to do is select and copy them.
| | 02:43 | Go to the other document, paste them,
it's very tiny because those brushes
| | 02:47 | were to scale and I was zoomed in on
the other file, but there they are and
| | 02:52 | without doing anything, they pop
themselves into the Brush panel so I can
| | 02:56 | actually delete them.
| | 02:57 | They don't need to stay on the page,
but they showed up in the brush panel.
| | 03:01 | So now if I want to use them in
this file, all I have to do is click on
| | 03:05 | the brush to apply it.
| | 03:08 | That's the way the brushes work.
| | 03:10 | Now I want to show you some other
brushes that you might want to consider in
| | 03:14 | making in the future.
| | 03:15 | You can make assorted laces, trims,
bias binding, the fancy zipper brush,
| | 03:20 | elastic and a casing, all kinds of gathers in
different sizes, different types of ruffles.
| | 03:27 | We can even do things like sequins,
feathers, one of my favorites, fur and even
| | 03:36 | shoe laces complete with eyelet and aglet.
| | 03:39 | So now that you know how to make basic
brushes, I hope showing you some of these
| | 03:43 | fancy brushes have inspired you
and you can go back and experiment.
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|
|
7. Creating Custom SymbolsThe benefits of using symbols| 00:01 | This movie is all about symbols.
| | 00:03 | You can find the symbols on the
right side here in the panel dock.
| | 00:07 | Just click on the little club icon to
open the Symbol panel and it's a lot like
| | 00:12 | the Swatches panel and Brushes panel and
all the other panels we've been playing with.
| | 00:16 | Why use Symbols, you may ask, because
it's an extra step to make a symbol?
| | 00:20 | It is but it's not difficult and let me
show you why it's worth the time, it takes.
| | 00:25 | Here's a line sheet.
| | 00:26 | Each of these shirts has dyed-to-match buttons.
| | 00:29 | But I was just informed that we're
no longer using dyed-to-match buttons.
| | 00:32 | We're changing the buttons on all shirts to gold.
| | 00:35 | Now it took me a while to align and
distribute all these buttons and get them
| | 00:39 | properly spaced on the shirts and I have a date tonight.
| | 00:42 | I don't want to be at work late, changing out buttons.
| | 00:46 | But I was smart and I prepared my file using Symbols.
| | 00:49 | So I'm going to be able to do this in
no time at all, and let me show you how.
| | 00:54 | Since my shirts are already grouped together,
I'm going to make my
| | 00:57 | selections using the Group Selection tool,
which is the white arrow with the little plus sign.
| | 01:01 | This will allow me to select one object
within a group without ungrouping the
| | 01:05 | object or going into Isolation mode.
| | 01:08 | All I need to do is select one instance of the button.
| | 01:11 | I'm going to go up here to Select
and choose Same>Symbol Instance.
| | 01:16 | And you'll notice up here now,
I have the option to replace.
| | 01:20 | So I'm going to replace this symbol
with my gold buttons, and they've
| | 01:25 | all changed to gold.
| | 01:26 | I can do this with each shirt just by selecting
Select>Same>Symbol Instance, and
| | 01:33 | switch to the gold button.
| | 01:35 | Select>Same>Symbol Instance and
replace it with the gold button and
| | 01:42 | Select>Same>Symbol Instance and
replace it with the gold button.
| | 01:50 | And it's that fast. Now I can go.
| | 01:52 | That is why Symbols are so handy to have.
| | 01:57 | You can make Symbol Libraries
with anything you might need.
| | 02:00 | This is my colored buttons assortment
here for shirts, but I have numerous
| | 02:04 | other Symbol Libraries with things like
zipper pulls, button holes, bar tacks,
| | 02:07 | pockets, collars, cuffs, plackets, anything
you can think of could be made into a symbol.
| | 02:14 | And it really speeds up your workflow in a pinch.
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| Creating rivet and eyelet symbols| 00:00 | In this video, I'm going to show you
how to make a rivet and an eyelet so you
| | 00:04 | can start building your own symbol library.
| | 00:06 | I'm starting on a page that already
has some flats drawn on it, so I can make
| | 00:10 | sure that my scale is appropriate.
| | 00:12 | Let's start with a rivet.
| | 00:13 | We're going to need to use the Ellipse tool.
| | 00:16 | So select the Ellipse tool, click once
on the page and we're going to make a
| | 00:21 | circle that's four points in diameter.
| | 00:23 | So you'll need to type in four points
for width and four points for height and
| | 00:27 | click OK, and there's our tiny little circle.
| | 00:30 | We'll change the Stroke Weight to .25
and we'll zoom in really close so we can
| | 00:34 | see what we're doing.
| | 00:35 | We need to fill this with the gradient
so make sure it's selected and we'll move
| | 00:39 | over to the Gradient tool, which is
this icon right here that looks like it's
| | 00:43 | filled with a gradient.
| | 00:45 | Click on it and it's going to open up the Gradient panel.
| | 00:48 | What we need to do is click on the dropdown,
and select Radial and it just
| | 00:53 | filled with a Radial Gradient.
| | 00:54 | Now I'm not thrilled with the blend here,
I actually want it to have more white
| | 00:58 | in the center and less of these dark colors.
| | 01:01 | In order to do that, I can take this
little diamond slider on top of the
| | 01:05 | gradient and slide it towards the black area
in order to get more white in the blend.
| | 01:11 | Now we need to duplicate this and make a smaller circle.
| | 01:16 | We can do that all at once by using the Scale tool.
| | 01:19 | The Scale tool is over in the toolbar right next to Rotate.
| | 01:23 | Go ahead and double-click on it.
We'll type in 50% under uniform, we're going
| | 01:28 | to check scale strokes and effects by
doing this when it makes a smaller circle
| | 01:33 | it'll also have a smaller stroke and we're going to
click Copy because we want a second circle.
| | 01:40 | There it is, our smaller circle.
| | 01:41 | Now the one last thing I want to do
is change the color of the Stroke.
| | 01:46 | It's a little dark as black so I would like
to change it to a charcoal gray instead
| | 01:51 | and now I can release this and we have a rivet.
| | 01:56 | Let's make a symbol out of it.
| | 01:58 | It's a very simple process.
| | 02:00 | Select the rivet, open the Symbol panel
and click on the New Icon.
| | 02:05 | We're going to name this Rivet and click OK and that's it.
| | 02:11 | Now anytime you need to use a rivet,
all you need to do is drag it right out
| | 02:16 | of the Symbol panel.
| | 02:18 | Let's make an eyelet next.
| | 02:19 | We can turn one of these rivets into an
eyelet very easily but as long as it's a
| | 02:24 | symbol, that's a problem.
| | 02:25 | Symbols can be scaled but if I edit it,
I'm going to edit every instance of this
| | 02:30 | symbol so I need to break my link to
the symbol first; and you can do that by
| | 02:35 | clicking on the Break Link button in
the Control panel or you can right-click
| | 02:39 | and select Break Link to Symbol.
| | 02:42 | Now that it's no longer a symbol, I'm
going to open Pathfinder and exclude
| | 02:47 | so I can punch the hole out
from the center of the circle.
| | 02:50 | So Window>Pathfinder and I'm going to
click on Pathfinder>Exclude, which is
| | 02:58 | this one here; and now I have an eyelet, but I
think I want to restore my Stroke back to black.
| | 03:04 | So while it's selected, I'm just going to go
up here to the Control panel and select black.
| | 03:09 | Let's make a symbol out of it.
| | 03:11 | While it's selected, click on New, we'll call it Eyelet.
| | 03:17 | Before we click OK, I just want to
point out some of these other choices here.
| | 03:22 | Most of these have to do with exporting
to flash, so you don't have to worry
| | 03:27 | about it, all you need to do
is name the symbol and click OK.
| | 03:30 | So now you have your first two
symbols, an Eyelet and a Rivet.
| | 03:34 | Let's move on and make some buttons.
| | Collapse this transcript |
| Creating a basic button symbol| 00:00 | In this movie I'm going to show
you how to make a basic button.
| | 00:03 | It's important to start with a flat
to make sure your scale is correct.
| | 00:07 | We're going to start with a basic two-hole
button that would be appropriate for
| | 00:10 | a buttoned down shirt.
| | 00:12 | Start by selecting the Ellipse tool,
click once on the page and we're going to
| | 00:17 | make this button five points in diameter.
| | 00:20 | So a Width of five points
and a Height of five points, click OK.
| | 00:24 | Now I've done this before so I know the size.
| | 00:26 | But you can make buttons in whatever size you need.
| | 00:29 | Go ahead and change the Stroke Weight
to 0.25, and I'm going to zoom in so we
| | 00:34 | can take a closer look at this button.
| | 00:36 | Now we need to make the holes inside the button.
| | 00:39 | So again, with the Ellipse tool, click once
on the page and this time we're
| | 00:42 | going to make a circle that's 0.5,
super, super tiny, click OK.
| | 00:48 | We're going to switch the Fill to Black
and the Stroke to None, so it appears even smaller.
| | 00:54 | Now we need to make a copy of it.
| | 00:56 | So make sure it's selected, copy it, paste
in front, and with your arrow key move it over.
| | 01:03 | Select both circles and group them.
| | 01:06 | Grouping them is important, otherwise
when we align them in the next step, they
| | 01:10 | will both end up in the very center
right on top of each other.
| | 01:14 | Select both your button and your button holes.
| | 01:17 | We're going to align them center, center
and there is your two-hole button.
| | 01:22 | Let's go ahead and make a symbol out of it.
| | 01:25 | Make sure it's selected, go to the Symbols panel
and click on the New Symbol icon.
| | 01:29 | Let's call it, 2 hole button and click OK.
| | 01:35 | So there is your first button.
| | 01:37 | Let's make a four-hole button.
| | 01:38 | In order to do that we're going to need
to break the link to the symbol because
| | 01:43 | we can work from this one.
| | 01:44 | So we'll break link to symbol, let's
take these holes, copy them, paste in
| | 01:48 | front and arrow them up.
| | 01:51 | Select both sets of holes, group
them together again and now we can
| | 01:55 | select everything and go back to aligning
them center, center, and now we
| | 02:01 | have a four-hole button.
| | 02:02 | So go ahead and select it, click on the New
Symbol icon, and let's call it 4 hole button.
| | 02:12 | Now you can certainly make them in any color you like.
| | 02:15 | You can change the size, change the shape as
you need for whatever project. Let's do one more.
| | 02:21 | You can make them a little bit fancier
by adding additional circles inside so it
| | 02:26 | gives the appearance of being engraved.
| | 02:28 | We'll break link to the symbol, we'll
go ahead and take the button and let's
| | 02:33 | add a gradient to it.
| | 02:34 | Click on the gradient icon, and we're
going to add a gradient, but this time
| | 02:38 | we're going to go with a linear gradient.
| | 02:40 | We're going to do something a little
bit different, and I'm going to play with
| | 02:44 | this slider again, I want a little more
white in here, so it's not too dark of a button.
| | 02:49 | Now go over to the Scale tool and double-click on it.
| | 02:52 | We're going to make a copy of this button at 70%.
| | 02:54 | So go ahead and type in 70%, make sure
Scale Strokes & Effects is checked and click Copy.
| | 03:01 | We now have a second circle;
| | 03:03 | it doesn't look all that interesting yet,
but watch the magic.
| | 03:06 | Double-click on Reflect and we're
going to go ahead and reflect this.
| | 03:11 | We don't need to make a copy, we just need to
make sure it's set to Vertical and click, OK.
| | 03:16 | And voila!
| | 03:17 | Let's remove this stroke.
| | 03:19 | We'll change it to None.
| | 03:21 | And now we have a very fancy
button that's concave in the center.
| | 03:25 | You can also take the outer stroke
that's already 0.25, but we can type in an
| | 03:31 | even smaller number, so how about
0.15 just to make it a little bit more delicate
| | 03:36 | or another option is to change the color
of the Stroke from black to a charcoal gray.
| | 03:43 | Now we'll take this button,
click on our Symbols, New Symbol.
| | 03:47 | Let's call this one Fancy button.
| | 03:52 | Click OK, and now you have three more
buttons to add to your Symbols library.
| | Collapse this transcript |
| Creating a zipper pull symbol| 00:00 | In this movie, we're going to make a
zipper pull to go with your zipper brush.
| | 00:04 | It looks a lot more difficult than it actually is.
| | 00:06 | The zipper pull is made up of three pieces;
| | 00:10 | the slide, which is this upper portion,
the pull, which is the lower portion and
| | 00:15 | this little middle piece that holds it
altogether that as far as I know has no
| | 00:19 | name, so we'll call him Fred.
| | 00:21 | Let's go ahead and make one.
| | 00:23 | The one difference between this symbol
and the others we've made so far is that
| | 00:27 | we're going to make at a larger size
than we need it and then reduce it when
| | 00:31 | we're done, because if we make it tiny,
it makes it very difficult to use the
| | 00:35 | arrow keys on the keyboard.
| | 00:37 | So we're going to start with the slide.
| | 00:39 | Go ahead and grab the Rounded Rectangle
tool, click once on the page and we're
| | 00:43 | going to make a rounded rectangle
that's 16 points by 16 points, with a corner
| | 00:49 | radius of three points and click OK.
| | 00:52 | And you'll notice the bounding box fits the square.
| | 00:56 | We're going to rotate it 45 degrees.
| | 00:59 | So double-click on the Rotate tool,
type in 45 degrees and click OK.
| | 01:04 | So now, it shaped more like a diamond.
| | 01:07 | We're going to go ahead and reset the
bounding box to make the next step a little easier.
| | 01:11 | To do that, go up to Object>Transform,
and the last choice is Reset Bounding Box,
| | 01:17 | go ahead and click on that one.
| | 01:19 | And nothing is happening because I don't have it selected.
| | 01:22 | Let's go back to my Selection tool, select it,
Object>Transform>Reset Bounding Box.
| | 01:30 | There we go.
| | 01:31 | Now we can switch to the Direct Selection tool,
select just the bottom two
| | 01:35 | anchor points, so you can marquee select those.
| | 01:38 | And with your arrow key, nudge
them down three or four clicks.
| | 01:42 | I just did four, maybe five.
| | 01:45 | Now we can draw the pull.
| | 01:46 | We're going to make a rectangle
that's 12 points by 39 points.
| | 01:51 | This time we're going to use a
Regular Rectangle not the Rounded.
| | 01:54 | So click once on the page and we
want the Width to be 12 points and the
| | 01:59 | Height to be 39 points. Click OK.
| | 02:04 | Now we're going to edit this just a little bit.
| | 02:07 | With the Direct Selection tool, select one
of the corners and move it one
| | 02:11 | click towards the center.
| | 02:12 | Select the other corner and do the same thing.
| | 02:16 | Now we need to make the little hole inside.
| | 02:19 | So we'll go ahead and grab the Round
Rectangle tool again, click once on the page,
| | 02:23 | the size of this hole is going to be
5 points by 15 points, so five wide,
| | 02:30 | tab, 15 tall, again, a three point radius and click OK.
| | 02:34 | That piece is going to be placed on top of the zipper pull.
| | 02:38 | And you can visually place it about
where you want, but we're going to go back
| | 02:43 | and select both pieces, go up to
Align and align them to make sure that
| | 02:47 | they're nicely centered.
| | 02:49 | Now we can take them and use Pathfinder
to exclude and punch out this hole.
| | 02:53 | So Pathfinder>Exclude and now the hole
is punched out and I'll give it a color
| | 03:00 | so you can see that, there you go.
| | 03:02 | One last piece, we just need Fred.
| | 03:05 | So let's go back to the Rounded
Rectangle tool, click once on the page.
| | 03:10 | Fred is going to be 3.5 x 12
with a Corner Radius of 3 points.
| | 03:18 | We'll click OK, and now, it's just a
matter of assembling all the pieces.
| | 03:23 | Take the pull and move it on top of the slide,
take Fred and move him on top of
| | 03:30 | both pieces so he's half on the slide and half on the pull.
| | 03:34 | Select the whole group and let's
align everything so that they all line up
| | 03:39 | together very nicely.
| | 03:41 | And now we can group it together.
| | 03:43 | And as I mentioned earlier, we need to
scale it down because right now it's too
| | 03:47 | big for anything that we might want to add a zipper to.
| | 03:50 | Let's go ahead and go to the Scale tool and
we're going to scale this down to 25% in Uniform.
| | 03:57 | Make sure that Scale Strokes & Effects
is checked and click OK.
| | 04:03 | It looks awfully tiny, but that's the size we need.
| | 04:06 | So let's go ahead, I'm going to zoom in.
| | 04:09 | Select our tiny zipper pull, open the Symbols,
click on New Symbol, let's give it a name.
| | 04:17 | We'll call it Zipper Pull, click OK.
| | 04:21 | And now it's officially a Zipper Pull symbol.
| | 04:24 | So let's go back to the Brushes
and grab the zipper we made earlier.
| | 04:28 | I'm going to draw a path, apply the Zipper brush,
and now you can see my Zipper Pull is the perfect size.
| | 04:36 | I'm just going to bring it to front
since I drew it before I drew the Zipper and
| | 04:41 | put it in front of the zipper, and
now I've got a Zipper and a Zipper Pull
| | 04:46 | combination to use on my flats.
| | 04:47 | So you'll add this to your collection of symbols.
| | 04:51 | Now zipper pulls don't all have to look the same.
| | 04:54 | There are a lot of different styles
and here are a few other types of zipper
| | 04:58 | pulls that you might want to
consider making in the future.
| | 05:02 | There are invisible zipper pulls,
decorative zipper pulls and these little
| | 05:06 | leather zipper pulls that you can
use on hand bags and jackets too.
| | 05:11 | When you get comfortable with this,
go ahead and play around.
| | 05:14 | This one is the basic zipper pull, filled
with a gradient the same way we did the button.
| | 05:18 | So have fun experimenting.
| | 05:20 | If you're not sure what they should
look like, go online, download pictures of
| | 05:23 | zipper pulls and use them for reference.
| | Collapse this transcript |
| Creating buttonhole symbols| 00:00 | In this movie, I'm going to show you how to
make a button hole using the zigzag effect.
| | 00:05 | We need to start by pulling out one of
the buttons we made in a previous video.
| | 00:09 | So go ahead to your Symbol panel and grab one
of your buttons and drag it out onto the page.
| | 00:14 | Let's zoom in really close so we can see it.
| | 00:17 | The button hole needs to be the right
size for your button, which is why we need
| | 00:21 | to start with the button.
| | 00:22 | Button hole is made using the Rectangle tool.
| | 00:25 | So go ahead and grab the Rectangle
tool and draw a rectangle that's just a
| | 00:29 | little bit larger than your button.
| | 00:31 | We're going to change the point size to 0.25
and make sure that we have round caps and round joins.
| | 00:37 | Up in the menu bar you'll find a button that says Effect.
| | 00:41 | Go ahead and click on Effect, dropdown to
Distort & Transform and click on Zig Zag.
| | 00:48 | It's going to open this window here,
click on the Preview button, and it looks
| | 00:53 | terrible, but that's okay, we're
going to make some adjustments.
| | 00:56 | The first thing we need to do is
change the Size to Relative and change the
| | 01:00 | Percent from 10 to 4. That will help.
| | 01:04 | Now we need to add Ridges per segment.
| | 01:07 | Right now, there are just not enough Ridges here.
| | 01:10 | So you're going to take the Ridges per
segment slider and slide it until you're
| | 01:14 | happy with the look of the button hole.
| | 01:17 | The only thing that you need to worry
about is that you stop at an odd number so
| | 01:21 | that the corners are all consistent.
| | 01:24 | Click OK, and you have a button hole.
| | 01:26 | All you need to do now is go to the Symbols panel,
click on New, name it, and click OK.
| | 01:36 | We'll right-click, Arrange, Send to Back
so we can put it behind our button, and
| | 01:40 | that's how you make a button hole.
| | 01:42 | Now there are a couple of other styles
of button hole we can make as well.
| | 01:46 | There are two different styles of keyhole button hole.
| | 01:48 | So let me show you how to make those.
| | 01:51 | We'll start with the Pen tool.
| | 01:52 | Click, go to the other end of the button hole,
click while you're holding the
| | 01:56 | mouse, drag straight down.
| | 01:59 | And then click back where you started to close.
| | 02:01 | So we've just made kind of a tear drop shape on its side.
| | 02:05 | And now, we're going to apply the
Zig Zag effect again. Effect>Distort &
| | 02:09 | Transform>Zig Zag, turn on the Preview
button, click on Relative, we're going to
| | 02:16 | go back again to 4%, and now slide the
Ridges per segment slider until you have
| | 02:22 | a dense enough amount of zigzags to look correct.
| | 02:26 | It should look about like that, click
OK and now we can save this as well.
| | 02:31 | But I think my loop is a little bit big,
so I'm going to switch to my Selection
| | 02:34 | tool and just squish it a little bit
so it's a little bit narrower.
| | 02:39 | Click on the New Symbol icon, we'll
call it Button hole 2 and click OK.
| | 02:46 | The last type of button hole is the
kind of button hole you might want to put
| | 02:50 | on an expensive coat.
| | 02:52 | It's another keyhole style and it's
made up of a rectangle and a circle.
| | 02:57 | So I'm drawing one rectangle, and now
I'm holding my Shift key and drawing a
| | 03:03 | perfect circle and I can probably make
that circle just a little bit bigger.
| | 03:11 | And again, the length of this whole
piece is going to be the length of my
| | 03:16 | other button holes.
| | 03:17 | Select both pieces, open Pathfinder,
and we're going to unite them together.
| | 03:24 | There is the shape for the keyhole buttonhole.
| | 03:26 | All I need to do now is go back up to
Effect>Distort and Transform>Zig Zag,
| | 03:32 | turn on the Preview, check the Relative button,
go with 4% and adjust my Ridges per segment.
| | 03:40 | There it is, my third style of buttonhole.
| | 03:43 | So we'll add that to the Symbols>New,
Button hole 3, click OK.
| | 03:49 | Let's move this down a little bit.
| | 03:52 | So now, you have buttonholes to go with all your buttons.
| | Collapse this transcript |
| Creating bar tack symbols| 00:00 | While we're on the subject of the zigzag effect,
why don't we go ahead and make a bar tack.
| | 00:06 | A bar tack is used as a reinforcement
on stress areas of garments and it's a
| | 00:10 | very simple thing to make.
| | 00:11 | We're going to draw a line segment.
| | 00:14 | So grab the Line Segment tool.
| | 00:16 | We're going to make a five point
line segment and the Angle should be
| | 00:19 | zero degrees, click OK.
| | 00:21 | Now make sure that that line segment
has a Line Weight of 0.25 with round
| | 00:28 | caps and round corners.
| | 00:30 | And now we can go up to Effect>Distort
& Transform> Zig Zag, turn on Preview,
| | 00:37 | Relative, 4%, and then go ahead and
drag the Ridges per segment slider until
| | 00:43 | you're happy with the look, click OK.
| | 00:46 | And now we can define it as a symbol.
| | 00:48 | Click on the New Symbol icon,
we'll call it Bar Tack and click OK.
| | 00:56 | And that's all there is to it.
| | Collapse this transcript |
| Creating symbols for drawstrings and lacing| 00:00 | In this movie, I'm going to show you
how to create draw strings like this.
| | 00:04 | These kinds of details are one of my
favorite things to do, because they look so
| | 00:08 | elegant and professional on a project.
| | 00:10 | They also look like they took hours
to make when I really only spent a
| | 00:14 | few minutes on them.
| | 00:15 | So let me show you some of my techniques.
| | 00:17 | We're going to start by using the Pencil tool.
| | 00:19 | So go ahead and grab the pencil, and it
works just like a pencil, just click and drag.
| | 00:25 | And what we're doing is drawing the draw string.
| | 00:28 | And I'm going to make another one for the
other side, and I think we'll do ours with a bow.
| | 00:34 | I'm going to go ahead and draw a couple of bow pieces.
| | 00:38 | I don't like this little one so I'm going to
select it and delete it and make another one.
| | 00:46 | While we're at it, we need a couple
of pieces to make up the knot.
| | 00:50 | So let's zoom in a little bit closer
and again with the Pencil tool, I am just
| | 00:55 | going to going to make a couple of
little crescent pieces that kind of look like
| | 00:59 | pieces of elbow macaroni or little commas,
and we're going to use those in a bit.
| | 01:05 | This one is a little bit long though so
I'm going to make it a really short and
| | 01:09 | stubby piece of macaroni.
| | 01:11 | We'll select all of these pieces and
we're going to make sure that they have
| | 01:15 | round caps and joins and the Line Weight
in this case, we're going to make two points.
| | 01:21 | Make sure they have no fill and we're
going to change this from strokes to objects.
| | 01:28 | So go up to Object and select Expand.
| | 01:32 | Now we have a couple of choices.
| | 01:34 | We want to expand the stroke, but not the fill.
| | 01:37 | So you're going to turn off fill,
leave stroke selected and click OK.
| | 01:43 | Now we've got objects instead of paths.
| | 01:46 | We're going to switch the Fill to White,
the Stroke to Black, and change the
| | 01:52 | point size of the stroke to 0.5,
so they're more delicate.
| | 01:56 | Now we can take the different pieces and combine them.
| | 02:00 | They all want to meet at the center
where the knot would be, and let's go ahead.
| | 02:05 | I'm going to rotate one of these a little bit,
so they are not completely on top of each other.
| | 02:11 | And I also like to take one of
the strings and move it on top.
| | 02:15 | So I'm going to select it, right-click,
Arrange>Bring to Front.
| | 02:19 | So now, they have all these pieces on
top like so, all we need is the knot and
| | 02:25 | the knot is just these two little pieces.
| | 02:27 | Let's see, we'll put that like that,
I'm going to select them, group them
| | 02:33 | together and put them right on top, but
we need to bring them Arrange>Bring to
| | 02:39 | Front so they're on top of everything.
| | 02:41 | Let's turn that around a little bit.
| | 02:45 | I'm not loving my knot today.
| | 02:48 | I actually liked it better I think
when this was is in the front.
| | 02:53 | You can rotate the knot to find a better
place for it to sit, but I'm not really
| | 02:58 | in love with this one.
| | 02:59 | I actually think it only needs one
of these pieces to make it look good.
| | 03:03 | So I'm going to select one of them and place
it here and actually I think that works better.
| | 03:09 | So adjust the knot, you may need to
move a couple of pieces around to get it
| | 03:12 | situated the way you like it.
| | 03:14 | This looks like it will work for me, so I'll
select it and let's make a symbol out of it.
| | 03:19 | Click on New Symbol, we'll name it
Draw String and click OK.
| | 03:28 | Now there are a few other things you can do with this.
| | 03:31 | I'm going to break the link to the symbol,
and I'm going to pull out my two
| | 03:35 | little loops and save this as a draw string without a bow.
| | 03:39 | So New>Symbol, we'll call this Draw String 2,
click OK and now I have a version
| | 03:48 | with a bow and without.
| | 03:51 | We can get rid of these pieces now.
| | 03:53 | Now there are lots of other things
you can do with this technique.
| | 03:57 | We've already done our eyelets, so let's
incorporate the eyelets into the draw string.
| | 04:03 | I'm going to drag out one of my
eyelet symbols that I made earlier.
| | 04:07 | Make a copy of it and drag it over a bit.
| | 04:10 | We're going to use the same size
that we used for the draw string.
| | 04:13 | So I'm going to take my Pen tool and I'm
going to draw a path that goes straight
| | 04:17 | across from one eyelet to the other.
| | 04:19 | Change the Stroke Weight to two points,
which is what we did and round caps and
| | 04:25 | round joins, no fill.
| | 04:27 | We're going to go up to Object, Expand,
again only the Stroke not the Fill.
| | 04:32 | Click OK, change the Fill to White, the Stroke to Black, 0.5.
| | 04:37 | Let's nudge this up just a tiny bit, so it's in place, perfect!
| | 04:46 | And now, I'm going to group this together
and go ahead and define this as a
| | 04:50 | symbol as well, eyelet with, click OK.
| | 04:58 | Now let's finish up this pair of pants
I have down here, because what they were
| | 05:03 | definitely missing was a draw string.
| | 05:05 | And if you made all these symbols, you're ready to go.
| | 05:08 | I'm going to delete this, so here I have
these sweat pants that need a draw string.
| | 05:14 | All I need to do is grab this piece, my
eyelets with string, and grab either the
| | 05:21 | knot with the bow or the one without and I'm all set.
| | 05:26 | There are a few other things you can do
with these pieces now that you've made them.
| | 05:31 | You can also create lacing.
| | 05:33 | You can take this piece, duplicate it or drag out more.
| | 05:37 | But if you duplicate it, you can keep it aligned better.
| | 05:41 | And then of course pull out one of
the draw strings and move it into place
| | 05:47 | and you've got lacing.
| | 05:49 | You can also take a piece, and I'm
going to rotate it 45 degrees, click OK.
| | 05:58 | Now I'm going to reflect it, vertical
copy, and now I've got lacing like this.
| | 06:04 | So we'll take it and we'll make a new symbol.
| | 06:08 | I'm not going to take the time to label
it right now because I want to show you
| | 06:12 | as much as I can, but drag it down and duplicate also.
| | 06:15 | So there's another style of lacing
you can do with this technique.
| | 06:19 | There's so much you can do now that
you know how to make the pieces.
| | 06:23 | So have fun with it.
| | Collapse this transcript |
| Using the Blob Brush to create drawstrings and lacing| 00:00 | Now if you don't want to drawstrings
but you're looking for a ribbon sort of tie,
| | 00:05 | there's a way to do that as well.
| | 00:08 | Start with the Pencil tool and
go ahead and draw your ribbons.
| | 00:11 | I'm going to slide this over a little bit.
So here's my ribbons, and now I can
| | 00:16 | go ahead and select them and
I'm going to go grab a brush.
| | 00:20 | The brush I'm going to use is one of
these calligraphy brushes and now I have
| | 00:24 | ribbons instead of drawstrings.
| | 00:25 | We're going to do the same process.
| | 00:27 | Make sure there's no Fill, Object>Expand
Appearance, and in this case, it just
| | 00:33 | says Expand Appearance when you're
using a brush, there's no need to select
| | 00:37 | Stroke or Fill because it's a brush; it
understands that it's Stroke, but we do
| | 00:42 | need to change the color back to white,
the stroke to black, and change the
| | 00:47 | point size of the stroke back to 0.5.
And now you've got ribbon ties.
| | 00:52 | And truthfully, because they're wider
on top now, I would probably turn them
| | 00:56 | upside down and use this part for
tying the bow and let these dangle.
| | 01:01 | You can make a knot the same way.
| | 01:03 | Go ahead and draw a couple of
little pieces with the Pencil tool.
| | 01:08 | Notice how when I drew one right next
to the other, the first one disappeared,
| | 01:12 | that is because the Pencil tool
is set to Edit Selected Paths.
| | 01:16 | There's a very easy way to fix that.
| | 01:18 | Double-click on the Pencil tool and
turn off Edit Selected Paths, just uncheck
| | 01:24 | that box and click OK.
| | 01:26 | Now if I click multiple paths right
next to each other, we won't have the
| | 01:29 | problem of them redrawing themselves.
| | 01:33 | So I think I'll grab these two, we'll get
rid of these and move these part a little bit.
| | 01:40 | We'll apply the calligraphy brush and in
this direction it doesn't do a whole lot for us.
| | 01:45 | So let's try one of the other brushes.
| | 01:47 | That might be better for the knot.
| | 01:49 | So we'll do the same thing.
| | 01:51 | Make sure it has no Fill, Object>Expand
Appearance, and instead of going back
| | 01:56 | and changing the Stroke and the Fill up
here, I could just grab the Eyedropper
| | 02:00 | and with one click, copy the Stroke and
Fill from another object, just like we
| | 02:04 | copied the stitches earlier.
| | 02:06 | So we'll put this together to make then knot.
| | 02:10 | Arrange, Send Backward, we'll put
that one in front, and we'll go ahead and
| | 02:15 | group these together, put them on top.
That is how you can make a ribbon tie
| | 02:21 | instead of a drawstring.
| | 02:22 | If you want you can also go
ahead and add a loop, we'll add two.
| | 02:29 | I'm just doing them the way we did the
teardrops before for the button holes.
| | 02:33 | Select both pieces, and again, the
Calligraphy brush, make sure they have no
| | 02:38 | Fill, Object>Expand Appearance, and
we'll take the Eyedropper then copy again.
| | 02:44 | And then just assemble everything.
Move the knot out of the way of the moment,
| | 02:49 | put this down, maybe let them turn
out to the side just a little bit.
| | 02:55 | This one can rotate slightly like this,
and put the knot back on top.
| | 03:02 | Arrange>Bring to Front.
| | 03:04 | And then I can go ahead and select this, I want symbols.
| | 03:07 | We'll make a new symbol; we can call it Bow,
click OK, and now, we've got the
| | 03:14 | option of a ribbon bow whenever we want that.
| | 03:17 | So it's a lot of fun to play around with these techniques.
| | 03:20 | I've one more to share with you though,
that it's kind of a shortcut.
| | 03:23 | Instead of doing the Object>Expand thing,
which you have to do have to do for
| | 03:28 | the ribbon, but you don't have to do it for the drawstring.
| | 03:31 | There's actually a brush in Illustrator
called the Blob Brush that draws
| | 03:36 | shapes instead of paths.
| | 03:38 | Let me show you how it works.
| | 03:40 | It's called the Blob Brush and it is
right here next to this Eraser tool.
| | 03:44 | If you click on the Blob Brush, and move
over your page, it will show you a circle.
| | 03:48 | That's the size that the brush is
going to paint with, but it didn't paint a
| | 03:52 | stroke, it actually painted an object.
| | 03:55 | If I select it and turn my default colors back,
it's actually an outlined object.
| | 04:01 | We can make use of this brush to make drawstrings.
| | 04:04 | So I'll delete that, grab the Blob Brush again,
but you notice it's much too fat.
| | 04:09 | My drawstrings are delicate, you can
change the size of the Blob Brush by using
| | 04:14 | the by using the Bracket keys on your keyboard.
| | 04:16 | Those are to two keys right next to the
letter P. The left bracket will make the
| | 04:20 | brush size smaller, and the right
bracket makes the brush size larger.
| | 04:24 | So I can go ahead and size my
Blob Brush to the size I would like my
| | 04:28 | drawstrings to be, and now, all I have
to do is draw my strings, and draw my bows,
| | 04:38 | and couple of pieces for knot. That's a big knot.
| | 04:42 | Let's grab that Blob Brush again, and
make a smaller piece there, much better.
| | 04:47 | And now, we can select all of thise.
| | 04:49 | Grab the eyedropper tool, copy the Stroke and Fill.
| | 04:53 | Let's make the stroke size though at 5
point so it matches everything else and
| | 04:58 | now we can go ahead and assemble it.
| | 05:00 | We'll put these pieces together.
| | 05:04 | Maybe rotate this a little bit.
| | 05:09 | Move one of these to the front.
| | 05:11 | Arrange, Bring to Front and let's
put these pieces in place.
| | 05:16 | Sometimes one little piece works,
sometimes you need more.
| | 05:20 | That looks pretty good to me.
| | 05:21 | I want to show you one other thing.
| | 05:23 | I'm going to take this little knot,
and save it separately. Click OK.
| | 05:30 | We'll let's call it, Knot and click OK.
| | 05:36 | And now, I can take the knot, put it on here,
go ahead and take this whole thing
| | 05:42 | and make a Symbol out of it, call it Tie.
| | 05:45 | But if I want to change it up a little bit,
I can grab my knot, drag it out,
| | 05:51 | and tie the bottom of my drawstrings in knots.
| | 05:54 | I'm not really very happy with this knot.
| | 05:57 | Let's fix it up a little bit.
| | 05:59 | We'll break the length to the Symbol and
maybe just move things around. There we go.
| | 06:11 | That is a better knot.
| | 06:17 | Sometimes, they're just difficult
and don't do what you want them to do.
| | 06:22 | I can get really crazy about this stuff.
| | 06:26 | Move things around and really make it look like a knot.
| | 06:31 | The truth is when it prints out it's
so tiny and nobody will see it, but it's
| | 06:36 | fun to get into the detail of it.
| | 06:37 | It's one of the things that I really love about doing this.
| | 06:40 | Playing around with the detail elements
and making it absolutely perfect.
| | 06:45 | I'm liking that a lot more now.
| | 06:51 | Let's just curve this piece around here.
| | 06:53 | There we go, that's a knot to me.
| | 06:55 | So we'll select this and we will
make a new Symbol out of it.
| | 07:02 | We'll call it End Knot, click OK.
| | 07:06 | And now, whenever we want, we can
just grab it and stick it on any piece
| | 07:13 | of cording that we decide needs a knot.
| | 07:15 | These are just some of the other options
and things you can play with to make
| | 07:19 | drawstrings, ribbons, bows, and any
other little detail elements that you
| | 07:23 | might find you need. Have fun with it. I do.
| | Collapse this transcript |
| Saving and loading symbols| 00:00 | Now that you've got a good start on your
symbol library, let's talk about saving.
| | 00:04 | It's very important to save your
library files in an organized manner.
| | 00:08 | It will keep you from spending hours hunting from them.
| | 00:11 | If you can't find something quickly when you need it,
then what's the point of keeping the library?
| | 00:15 | You might as well just draw it over again.
| | 00:17 | So let's talk about using your library.
| | 00:20 | Let's take the Symbols panel and move
it over to make it a little bit easier.
| | 00:24 | Sometimes it's hard to select
the Symbol based on the thumbnails.
| | 00:27 | The thumbnails are very tiny and it's very
difficult to distinguish one symbol from another.
| | 00:32 | I just want to show you how to change the
view to make your selections a little bit easier.
| | 00:36 | If you click on the fly-off menu here,
there's an option to change the view.
| | 00:41 | We're currently looking at the Thumbnail View
but we can easily change it to Small List or Large List.
| | 00:47 | Let's go with Large List.
| | 00:49 | And now we have a list that has the
Thumbnail and the name next to it.
| | 00:53 | So if I need to locate a particular symbol,
I can find it by name instead of
| | 00:57 | trying to look at the tiny images on my screen.
| | 01:00 | So let's talk about saving them now.
| | 01:02 | Symbols save with your file just like brushes.
| | 01:05 | All you need to do to save these symbols is save the file.
| | 01:08 | And just like brushes, if I want to
just any of these in another file, all I
| | 01:13 | need to do is copy them, move to a new file, and paste.
| | 01:18 | Just the act of pasting it puts them in the Symbols panel.
| | 01:22 | There's my Drawstring, Eyelet, and eyelet
with cord which are the symbols that
| | 01:26 | make up the piece I just placed.
| | 01:28 | And that's how you use Symbols.
| | 01:30 | So it's a good idea to save all of your symbols
and brushes to a portable hard drive
| | 01:34 | and keep them with you at all times.
| | 01:36 | You never know when you might need to
sit down at a computer and make some buttons.
| | Collapse this transcript |
|
|
8. Drawing PantsDrawing trousers| 00:00 | In this video I'm going to show
you how to draw a pair of pants.
| | 00:04 | Drawing pants is sort of a combination
of the way we drew a front blazer
| | 00:08 | because we're going to do two halves instead
of an entire piece like we did with the shirt.
| | 00:13 | As we did with the other pieces
we've drawn so far, I opened a new file
| | 00:17 | and placed a template.
| | 00:18 | So now we can start drawing.
| | 00:19 | I'll zoom in to the area that we're
going to work on, grab my Pen tool
| | 00:24 | and I'm going to use the low waist here.
So I'm going to put my first point there.
| | 00:29 | I'm going to click at the hip, down to
the ankle, hold my Shift key so that I go
| | 00:35 | straight across and have a perfectly
horizontal line, back up to the crotch,
| | 00:41 | again, hold my Shift key so I have a
perfectly vertical line, click on the
| | 00:46 | waist, and then click to close.
| | 00:49 | So now I have a closed path that
is one leg of my pair of pants.
| | 00:53 | We're going to take the Convert Anchor
Point tool and curve this point at the
| | 00:57 | hip so we have a nicer shape, and that's one path leg.
| | 01:01 | Now we need to divide the waistband.
| | 01:03 | So with the Pen tool, I'm going to go
ahead and draw a line, also holding the
| | 01:07 | Shift key so it stays constrained horizontal,
and now I can select both that
| | 01:12 | line and the trouser leg, open
Pathfinder, Window>Pathfinder, Divide,
| | 01:18 | right-click Ungroup, and I've just created my waist band.
| | 01:23 | The next thing I need on this pair of pants is going to be a pocket.
| | 01:26 | So I'm going to draw my pocket.
| | 01:28 | It's going to be a line that goes from here, to here.
| | 01:31 | I'm going to make sure it has no fill,
select the pocket and the pant leg and
| | 01:36 | I'm going to do Pathfinder, Divide, right-click Ungroup.
| | 01:40 | Now I've got half of my trouser complete.
| | 01:42 | All I need to do is select it, click once
on Reflect, Alt+click on the center line,
| | 01:48 | select Vertical, Copy, and there's the rest of them.
| | 01:52 | We're only missing two things now,
a button and a crotch break.
| | 01:57 | The button is easy.
We made it in the previous video.
| | 01:59 | All you need to do is drag out the
button hole and the button from your symbols.
| | 02:04 | Let's zoom in so I can place these better.
| | 02:07 | So there's my button hole and my button all ready to go.
| | 02:12 | And we just need to add a crotch break.
| | 02:14 | All a crotch break is, is a small
tick mark made with the Pen tool.
| | 02:18 | It's a little diagonal, click, click, and
we'll switch the profile to this one right here.
| | 02:26 | Let's zoom out and take a look.
| | 02:33 | Turn off the template, and that is
how you draw a pair of pants.
| | Collapse this transcript |
| Adding cuffs to pants| 00:00 | Let's take this pants we've just drawn
and turn them into a pair of creased
| | 00:04 | trousers with cuffs.
| | 00:05 | We're going to do that by first
changing the leg shape a little bit.
| | 00:09 | So with the Direct Selection tool, I'm
going to click on the outer hem of the leg,
| | 00:14 | and nudge it out a little bit to
make a wider more flared leg.
| | 00:19 | I'm going to click to release.
| | 00:21 | Click once more on the outer edge of the leg,
switch to the Reshape tool and I'm
| | 00:27 | going to go ahead and pull it in and
give it a little bit of flare, make it more
| | 00:31 | of a flared leg, than just a straight wide leg pant.
| | 00:34 | And I can do the same thing on the other side.
| | 00:37 | Select this line segment, switch to
the Reshape tool, and pull it in a little
| | 00:42 | bit at the knee so we have
more of a flared look to my pants.
| | 00:46 | The next thing I want to do is
add an anchor point on the hem line.
| | 00:50 | So right in the center of the hem,
we're going to add an anchor point and nudge
| | 00:54 | it down a little bit, and this is for the crease.
| | 00:59 | Then we can draw the crease.
| | 01:00 | The crease is simply a straight line.
| | 01:03 | You're going to take the Pen tool,
start in the crotch area, or parallel to the
| | 01:08 | crotch, give one click, and the second click
is straight down right at the
| | 01:14 | center of the hem line.
| | 01:16 | It looks very nice if you add a profile to it.
| | 01:18 | The one I like is the triangle.
| | 01:20 | You just want to make sure that the wide
section is at the bottom, which it isn't
| | 01:24 | right now, so we'll select it, and
click on this little Flip Along icon so that
| | 01:30 | it swaps it and the wide parts to the
bottom and it tapers off towards the top.
| | 01:35 | Now let's go ahead and add the cuff.
| | 01:37 | I'll zoom in a bit so we can get a closer look.
| | 01:43 | For the cuff, we're going to go ahead
and select the bottom hem line of the pant,
| | 01:48 | and then select this anchor point right in the center.
| | 01:52 | It's easier to select the bottom of the hem
line before you click on the anchor point.
| | 01:56 | Otherwise, you run the risk of clicking
on the anchor point for the crease, which
| | 02:00 | is not the one we're going for.
| | 02:02 | Click and select the anchor point.
| | 02:04 | We're going to copy it, we're going to
paste in front, and then we're going to
| | 02:08 | move it up until we get the width
we're looking for, for our cuff.
| | 02:13 | Now since we tapered the leg, we don't
want to make this line any larger because
| | 02:17 | it's already overlapping on its own.
| | 02:19 | We'll get rid of the fill and now, I'm
going to select this line that we just
| | 02:24 | copied and the silhouette of the
leg but I'm going to avoid the crease.
| | 02:28 | So select those two pieces,
Pathfinder, Divide, right-click, Ungroup.
| | 02:32 | So now we've got the division for the cuff,
but it's still not quite right.
| | 02:38 | The cuff would fold over the fabric on the pant.
| | 02:41 | So it has to be a little bit bigger.
| | 02:43 | So I'm going to select the cuff, hold
the Alt key and drag the handle to the
| | 02:48 | right just a little bit.
| | 02:50 | Just enough so that the cuff is slightly larger
than the pant leg, and you'll
| | 02:55 | notice it has sharp corners.
| | 02:56 | So if we turn to round joins and round
corners, it looks more like fabric,
| | 03:02 | which is what we're going for.
| | 03:03 | So now, we have one beautiful trouser leg
and one very straight kind of boring leg.
| | 03:09 | We can remedy that by deleting the
boring leg, selecting the nice tapered
| | 03:14 | trouser, and reflecting it to the other side.
| | 03:18 | So I'll Alt+click on the center line,
copy -- and sometimes when you click like this,
| | 03:24 | I think I've mentioned it before --
you might miss just a little bit.
| | 03:28 | So I'm going to go ahead, make sure I have
this entire leg selected, and with my
| | 03:37 | arrow key I'm just going to nudge it back into place.
| | 03:40 | I'm also going to right-click, Arrange>Send to Back,
to make sure I can see the full crotch break.
| | 03:47 | And there you have a pair of trousers
with a crease and a cuff.
| | Collapse this transcript |
| Drawing the back view of trousers| 00:00 | Now that we've completed the front of the
trousers, let me show you how to do the back view.
| | 00:04 | We'll take these trousers and group them,
and drag a copy, and now we'll turn
| | 00:12 | this pair into the back.
We'll double-click to enter Isolation mode.
| | 00:16 | First thing we want to do is remove
anything that shouldn't be on the back.
| | 00:21 | In this case, that means the
button and the button hole.
| | 00:23 | We don't need a center seam in the
back of the waist band, so we can select
| | 00:27 | the two waistband pieces and unite them
together with Pathfinder to make a solid waistband.
| | 00:32 | We also don't need these pockets in the back.
| | 00:35 | So we can go ahead and get rid of them.
| | 00:37 | But unfortunately, if I were just to
delete this pocket, I'd end up with a cut
| | 00:42 | out pair of pants, which might be sexy
on somebody but not what I'm going for.
| | 00:46 | So let me undo that.
| | 00:47 | Instead, we're going to use Pathfinder
to unite that pocket piece back with
| | 00:51 | the rest of the leg, like so, and the
same on the other side the pocket and the
| | 00:56 | leg, Pathfinder, Unite.
| | 00:58 | And that is pretty much what we
have to do for the back of the pants.
| | 01:03 | We will want to make the
crotch break a little bit longer.
| | 01:05 | So all you need to do is select it, hold
down your Alt or Option key and drag it
| | 01:10 | a bit wider for the back, and I
think I want to do one more thing.
| | 01:14 | Let's go ahead and add a welt
pocket to the back of these trousers.
| | 01:18 | A welt pocket is actually really simple to draw.
| | 01:21 | It's just a rectangle, like so.
| | 01:25 | And it's got a line going through it, like that.
| | 01:27 | I'm just going to select both of these
pieces, hold the Shift key then, make
| | 01:35 | sure that they're aligned properly
and then, group them together.
| | 01:41 | And maybe to make this a little bit
more interesting, we'll add a button to it.
| | 01:45 | So let's add a tab button to this welt pocket.
| | 01:48 | I'm going to move it over and work on
it over here, so that I don't mess up my
| | 01:53 | pants and then, we'll move it
back into place when I'm done.
| | 01:56 | The tab button is very simple.
It's a lot like drawing the placket for the shirt.
| | 02:00 | We're going to draw a little rectangle,
we're going to add an anchor point on
| | 02:04 | the center bottom, and nudge it down a little bit.
| | 02:07 | And then, we're going to go up to
Object>Path>Offset Path, and again, we want
| | 02:16 | it on the inside so we're going to use a
negative number and we also want it very close.
| | 02:21 | So we're going to go with -1
but let me turn on preview first.
| | 02:24 | We're going to change this to -1, and now
we have a nice line on the inside, click OK.
| | 02:31 | Let's change that to stitching, 0.25, round caps,
dash line of 2 point, 2 point, with this button pushed.
| | 02:43 | Not too bad, and now we're going to
need a button hole and a button for that.
| | 02:49 | So let's open up our Symbols, grab a
button hole, and we're going to rotate it,
| | 02:53 | because we need it to go vertically.
| | 02:57 | We'll put that in place and we'll grab
the button, and move that in place, and
| | 03:07 | I'm going to select everything here,
and open the Align panel and align it
| | 03:11 | vertically, to make sure that everything is centered nicely.
| | 03:16 | I can go ahead and group it together.
| | 03:18 | And since I've just gone through the
trouble to make this, I might as well save
| | 03:21 | it as a Symbol for future use.
| | 03:23 | So I'll click on the New Symbol icon,
we'll name it Welt Pocket, click OK, and
| | 03:32 | now let's move it into place.
| | 03:34 | It's going to sit right here, and maybe
we'll angle it just a little bit so I'll
| | 03:39 | grab the Rotate tool, give it a click,
click and drag a little bit, just to put
| | 03:44 | it on a bit of an angle, maybe a
little bit less, that looks good to me.
| | 03:49 | And now, we'll move it over a tiny bit,
and reflect it to the other side.
| | 03:54 | So once on Reflect, Alt+click on the
center line, Vertical, Copy and now we
| | 04:00 | have the pocket on the other side as well.
| | 04:03 | Let's zoom out and take a look.
| | 04:07 | We can escape Isolation mode
by double-clicking on the page.
| | 04:11 | And now we have a pair of trousers,
front, and back with welt pockets.
| | Collapse this transcript |
| Drawing jeans| 00:00 | In this video I'm going to show
you how to draw a pair of jeans.
| | 00:03 | As you can see I've already opened
a new file and placed my template.
| | 00:08 | Select the Pen tool and get started.
| | 00:10 | We're going to click at the waist, the hip, the hemline.
| | 00:15 | Hold the Shift key to keep the line constrained
and click the other side of the hemline.
| | 00:20 | Let go of the Shift key, click at the
crotch, hold the Shift key again and
| | 00:25 | click at the center waist line and now
click to close the path, very important
| | 00:31 | that the path be closed.
| | 00:32 | You're going to convert the anchor point
at the hip, give it a nice curve and
| | 00:37 | that takes care of the pant leg.
| | 00:39 | Now we need to do the waistband.
| | 00:41 | So we'll draw the waistband,
click, hold the Shift key, click.
| | 00:45 | Make sure you're happy with
the proportion of the waistband.
| | 00:49 | If so, go ahead and select the waistband
and the leg, Pathfinder, Divide, right-click, Ungroup.
| | 00:55 | All right, now for the pocket, Pen tool,
we're going to click up here, click, click.
| | 01:02 | Kind of like doing the armhole with
the Convert Anchor Point tool, curve the
| | 01:06 | pocket to the shape that you like and
this is your opportunity to use the Direct
| | 01:10 | Selection tool to move that anchor point
around and make sure that you're truly
| | 01:14 | happy with the shape of the pocket.
| | 01:16 | Once you have it where you want it,
go ahead and remove the fill; this is
| | 01:21 | important because we're going to divide it.
| | 01:23 | Select that pocket line and the pant
leg, but not the waistband, Pathfinder,
| | 01:29 | Divide, right-click, Ungroup.
And now you've got your pocket.
| | 01:32 | Let's add some stitches to the pocket.
| | 01:34 | With the Direct Selection tool, you
want to click this anchor point in the
| | 01:38 | center of the pocket, copy, paste in
front, change the line weight to four
| | 01:44 | points, because we're going to
do this a little bit differently.
| | 01:47 | Make sure the fill is removed so you
only have a stroke, a four-point stroke.
| | 01:52 | And we're going to expand it just like we did
when we were doing Symbols, Object>Expand.
| | 01:58 | We only want to expand the stroke so
uncheck the Fill button and click OK.
| | 02:03 | Now we can swap the Stroke and the Fill
so that we have a Stroke but no Fill.
| | 02:09 | Go ahead with the Direct Selection tool
and delete the inside part, click to
| | 02:15 | release and delete this anchor point at this end.
| | 02:19 | Again, click to release and select
and delete the anchor point at the top.
| | 02:24 | Now the line we have here, that's
perfectly parallel to our pocket,
| | 02:29 | we're going to turn into stitching.
| | 02:30 | Now you're going to need to load the
brushes you made in the previous chapter
| | 02:34 | so that we can put them to use.
| | 02:36 | We're going to open up our brushes and
click on that double-needle top stitch we
| | 02:40 | made earlier and it's done.
| | 02:43 | We also need a rivet up here for the
stress point and we made one earlier.
| | 02:47 | So open you're Symbols, grab
that rivet and put it into place.
| | 02:53 | Getting closer. Let's zoom out a
little bit and see how we're doing so far.
| | 03:00 | I think we're ready to reflect the pant leg.
| | 03:03 | So let's select the whole leg with the
pocket and the waistband and reflect it
| | 03:10 | so that we have the other side of the pants or the jeans.
| | 03:15 | We need to add our crotch break, so
we'll go ahead and do that, click, click,
| | 03:20 | and change the Profile to this first one here.
| | 03:24 | Now it's important to add the crotch break
because we're going to need it for
| | 03:28 | adding some other stitching.
| | 03:30 | For these jeans, they actually have a
double-needle top stitch on the inseam and
| | 03:35 | it's hard to find where to end that
unless you have a crotch break in place.
| | 03:40 | Now that I do, I can select the inseam,
copy, paste in front, move it over a
| | 03:46 | couple of clicks, and apply my top stitch brush.
| | 03:50 | I can do the same on the other side;
copy, paste in front, move it over and
| | 03:55 | apply my top stitch brush.
| | 03:57 | So now I have got my stitching on the inseam.
| | 04:02 | I need to add stitching at the hem.
I'll do the same thing;
| | 04:06 | copy this, hold my Shift key, select
the hemline on the other side. I'm doing
| | 04:10 | this with the Direct Selection tool;
copy, paste in front, arrow up, make sure
| | 04:16 | there is no Fill and click on my stitches.
| | 04:19 | How is that? I killed two birds with one stone.
| | 04:23 | Now we'll move back up to the top and
we need to add a couple of more things.
| | 04:27 | We need a buttonhole and a button,
so let's grab that out of our Symbols.
| | 04:32 | Here is the button hole and here's the button.
| | 04:38 | Let's take those and align them
to make sure they are together.
| | 04:42 | We can even group them, move them into
place and then, we need our j-stitch.
| | 04:49 | And the way this is going to work with
the Pen tool; click, click, holding the
| | 04:55 | Shift key to make a straight line and
then sort of on a 45-degree angle, you're
| | 05:00 | going to click down at the center seam.
| | 05:03 | Take the Convert Anchor Point tool
and go ahead and drag straight down and
| | 05:07 | you'll have a lovely line for your j-stitches.
| | 05:11 | Go back to your brushes and grab that
double-needle top stitch brush again.
| | 05:16 | It's a very handy brush.
| | 05:18 | Now we can go ahead and add a little bit more stitching.
| | 05:21 | We're going to take the Pen tool and
add a line of stitching that goes straight
| | 05:26 | down from the very top of the waistband
all the way to the crotch break and
| | 05:32 | we're going to add an anchor point
here right where the j-stitching hits.
| | 05:38 | This is to break up the line,
it's just an easy way to do it.
| | 05:40 | Now with the Direct Selection tool,
select the piece that's below the
| | 05:44 | j-stitching and cut, Ctrl+X for cut,
paste in front, Ctrl+F. So we just broke
| | 05:51 | it and put it right back where it
was and we can go ahead and apply the
| | 05:54 | double-needle stitch to that little
space, but the top part of it is just going
| | 05:59 | to be a single-needle stitch.
| | 06:00 | So we can select that top piece now
and change it to 0.25, round caps, Dashed
| | 06:08 | Line at 2 points and now we have a
single stitch on the top selection.
| | 06:13 | Let's add some stitching to the waistband.
| | 06:15 | We can do that by copying, pasting,
move down, and with the eyedropper, we'll
| | 06:23 | copy the stitches and we can do that on this
side, too, copy, paste, move down, copy stitches.
| | 06:35 | Now in this case, because we already
divided, if I copy I'm going to get it in
| | 06:40 | two separate pieces, so I think what
I'll do instead is just take the Pen tool
| | 06:44 | and go ahead and draw a line
straight across and select that.
| | 06:51 | Now we need belt loops, and belt
loops are actually very simple to make.
| | 06:56 | Similar to the way we made the plackets
and the way we made the welt pocket tabs.
| | 07:01 | We're going to take a rectangle and
draw the belt loop and we're going to
| | 07:04 | determine the size visually by looking
at our pants. It's going to be about
| | 07:09 | that size and let's hit default to
go back to the right stroke weight.
| | 07:14 | Okay, let's move it over so we can
work on it and not mess up our jeans.
| | 07:19 | We need to add a line of stitches on either side.
| | 07:23 | We'll click on one side, copy, paste
in front, arrow it over, Eyedropper,
| | 07:28 | copy the stitches; and on the other
side we'll do the same thing or we can
| | 07:33 | just take the stitches we currently have and
just Alt+drag them into place on the other side.
| | 07:38 | That works very nicely as well.
| | 07:40 | The other thing we need here is a bar tack
and we just happen to have made one earlier.
| | 07:46 | So open the Symbols, grab your bar tack,
put one on the top, grab another one,
| | 07:51 | put it on the bottom and that's your belt loop.
| | 07:54 | We're going to select it.
| | 07:56 | We're going to go ahead and make sure
we've got round caps and we can group the
| | 08:00 | whole thing together. Since we went
through the trouble to make it, it might
| | 08:04 | not be a bad idea to save it
as a symbol at this point.
| | 08:08 | Now we have another symbol
that we can add to our Library.
| | 08:11 | Let's zoom back out and add
the belt loop to the jeans.
| | 08:15 | We'll put one over here and we'll reflect it
to the other side to make sure the
| | 08:20 | placement is consistent and there are the belt loops.
| | 08:26 | Last thing, we need on the front of
the jean is the little coin pocket and
| | 08:31 | that's pretty easy to do.
| | 08:33 | We're going to take a Rectangle tool
and draw a rectangle that goes from the
| | 08:37 | edge of the pant making sure to overlap the pocket.
| | 08:40 | Make sure we're back in Default mode.
I'm going to select the rectangle
| | 08:45 | I just drew, hold my Shift key and select the pocket.
| | 08:48 | We're going to go ahead and do
Pathfinder, Divide, right-click, Ungroup.
| | 08:55 | Select the part that's sticking
out beyond my pocket and delete it.
| | 08:58 | I don't need it, and there is my little coin pocket.
| | 09:02 | We'll add some stitches to it and since
they're straight lines, it's really easy
| | 09:07 | to just go ahead and draw it this way;
grab my brush and add a top stitch and
| | 09:14 | we'll draw one in this direction,
add the top stitch with the brush.
| | 09:20 | The last thing we need here is a rivet.
because it's another stress point.
| | 09:24 | So we'll grab a rivet from the Symbols,
move it into place.
| | 09:31 | And that is how you draw a pair of jeans.
| | 09:34 | In the next video, I will show you
how to do the back view.
| | Collapse this transcript |
| Drawing the back view of jeans| 00:00 | All right, let's do the back view of the jeans now.
| | 00:03 | We'll select the jeans we've completed,
group them together and drag off a copy,
| | 00:09 | so we can work on the back.
| | 00:12 | We're going to, as usual, start by
going into Isolation mode.
| | 00:16 | So we'll double-click on the jeans.
| | 00:18 | We need to remove anything that
doesn't want to be on the back
| | 00:22 | and we'll start with stitches.
| | 00:23 | We don't need to see these stitches.
We don't need to see these stitches.
| | 00:28 | We don't need to see the stitches inside
the coin pocket, and we don't need the rivets.
| | 00:34 | Let's zoom in a little closer so
I can select the right things.
| | 00:40 | We don't need the rivets.
| | 00:42 | We're probably going to want to keep
the belt loops in the back, so we'll go
| | 00:46 | ahead and leave them there.
| | 00:47 | We don't need the button or the buttonhole.
| | 00:49 | We don't need the j-stitching in the back.
| | 00:52 | We are going to need the center seam
and we are going to need the crotch break
| | 00:56 | but it should be a little larger so
we'll select it, hold the Alt key and drag
| | 01:00 | it just a little bit larger.
| | 01:02 | As far as the pockets go, just like
with the trousers, we can't just delete them
| | 01:06 | because we'll be leaving a hole.
| | 01:08 | So instead we're going to unite them
back together with the leg of the pants
| | 01:11 | and we'll do the same on the other side.
| | 01:14 | We're including the coin pocket this time.
| | 01:16 | You'll notice that we don't see the
belt loop anymore and we don't see the
| | 01:22 | other half of the crotch break and again,
that's just the whole issue of front and back.
| | 01:26 | We'll right-click, Arrange, Send to
Back, and we ended up with a bunch of
| | 01:32 | artifacts, which also is not a problem.
| | 01:34 | Go ahead and grab the Lasso tool, lasso
all those artifacts that aren't supposed
| | 01:39 | to be there and delete them.
| | 01:44 | That's all there is to it.
| | 01:45 | Now as far as the back goes, I don't
think we want to leave them playing like this.
| | 01:50 | I'm inclined myself to add pockets.
| | 01:53 | Also, I think I want to change this row of
stitches from single to double all the way down.
| | 01:59 | So I can take this line right here and
just extend it all the way up to the waistband.
| | 02:05 | We don't need the stitching in the back
because the top stitching was viewed in
| | 02:10 | the front so we wouldn't see it back here.
| | 02:13 | Now the last thing we need to do is add pockets.
| | 02:15 | Pockets, just like the belt loops and some
of the other things we've been drawing,
| | 02:21 | are really very simple.
| | 02:23 | They all start with a rectangle.
| | 02:25 | So we'll go ahead and draw a rectangle,
get a rough size for our pocket and
| | 02:29 | then we'll move it over and work on it over here.
| | 02:35 | For these pockets we'll add an anchor point
at the center bottom and use our
| | 02:39 | Arrow key to nudge it down a little bit.
| | 02:42 | Also, I think I want my pockets to
be wider on top than on the bottom.
| | 02:46 | So with the Direct Selection tool,
I'll click this upper anchor point and with
| | 02:51 | my Arrow key, nudge it over a couple
of times, do the same thing on the left side,
| | 02:57 | nudge it over a couple of times with my Arrow key.
| | 03:00 | So now I've got the rough shape of my pocket.
| | 03:02 | Let's go ahead and add the stitches.
| | 03:05 | We'll do that the same way we added the
stitches to the pocket on the front of the jeans.
| | 03:09 | I'm going to select with the Direct Selection tool,
the whole bottom section of
| | 03:13 | this pocket, making sure not to
select the two upper anchor points.
| | 03:17 | I'm going to copy, paste in front,
and make sure there's no Fill.
| | 03:22 | We'll make this a wider point size.
| | 03:24 | Let's go with four points again,
and this time we're going to select
| | 03:29 | Object>Expand, and again, not the
Fill, just the Stroke, click OK.
| | 03:36 | We'll swap it so we have the Stroke
and not a Fill, and now with the Direct
| | 03:41 | Selection tool, we can delete this
outer section here that we don't need.
| | 03:51 | I'll get rid of that point and we can
select this, go to our Brushes and apply
| | 03:57 | that double-needle top stitch.
| | 03:59 | Now we've got stitching along the inside of our pocket.
| | 04:02 | We're going to need a row of stitching along
the top as well and that's just a straight line.
| | 04:06 | So we'll click, hold the Shift key,
click and apply the stitches to that as well.
| | 04:11 | We're also going to want to add a
couple of rivets, so off to our Symbols and
| | 04:17 | we'll put one in each corner.
| | 04:20 | Let's align them to make sure that they are
aligned properly and it appears that they are.
| | 04:26 | At this point if there's any sort of
decorative stitching that you want to put
| | 04:31 | on your back pocket, you can go ahead and do that.
| | 04:34 | So maybe we'll do click, click, click,
and go ahead and apply a brush to that
| | 04:43 | to give a little decorative stitching on the pocket.
| | 04:47 | Now we can select this whole pocket
and save it as a Symbol.
| | 04:54 | Pocket, click OK and let's go back
to our jeans and move it into place.
| | 05:03 | We can angle it just a little bit, place
it where we want it; and then to put it
| | 05:08 | on the other side, you would select it
and Reflect it, Copy. And there is my
| | 05:14 | pocket on the other side.
| | 05:16 | The last thing I need to draw here is a yoke,
since most jeans have a yoke on them.
| | 05:21 | So we'll just click from outside to the center line.
| | 05:26 | We're going to Reflect that to make sure
that we've got the same shape on both sides.
| | 05:33 | We'll select both those pieces, right-click,
Join, and now I can select that,
| | 05:40 | the right leg of my pant, the left leg of pant.
| | 05:42 | I'm holding the Shift key to make
the multiple selection, go to
| | 05:45 | Pathfinder>Divide, right-click, Ungroup
and right-click, Arrange>Send to Back to
| | 05:53 | bring back all my detail.
| | 05:55 | Last but not least, I'm going to want
to put some top stitching here and since
| | 05:59 | it's just a straight line it's really easy
to just go ahead and draw it.
| | 06:04 | So we'll do that, make sure there's no Fill,
go to my Brushes and add the top stitch.
| | 06:12 | Let's zoom out and have a look. One
last thing, I need to get rid of the top
| | 06:18 | stitching on the inseam because we
can see it in the front so we don't need
| | 06:21 | to see it in the back.
| | 06:23 | Let's double-click to exit Isolation mode.
| | 06:26 | Go to my layers, turn off the Template.
And there you have a pair of jeans made
| | 06:31 | from many of the symbols and brushes
that we already had in our Brush Library
| | 06:35 | from an earlier video.
| | 06:36 | It definitely speeds up the process and that's
the whole point of working on the computer.
| | Collapse this transcript |
|
|
9. Drawing CroquisTracing a croquis with the Pen tool| 00:00 | In this video I'm going to show you how
to use the Pen tool in a more effective way
| | 00:04 | so that you can speed up your drawing time.
| | 00:07 | So far we've been using the Pen tool
like we've been playing connect the dots;
| | 00:11 | click, click, click and then go back to
the Convert Anchor Point tool and use it
| | 00:16 | to convert the corner points into curves.
| | 00:18 | Now this is a perfectly good way of working
but it's a little bit slow.
| | 00:22 | There is a much faster way we can use the Pen tool.
| | 00:25 | Let me show you how to do it.
| | 00:27 | We'll start with the Pen tool and you can
click and click to make a straight line.
| | 00:33 | If you want to make a curve, you
click and drag out the handle while you're
| | 00:37 | drawing instead of going back and
grabbing the Convert Anchor Point tool.
| | 00:41 | Click and drag to create a curve.
| | 00:44 | The only thing you need to be aware of is
if you want to change direction, you
| | 00:48 | need to click on the anchor point to release
the handle and now we can turn and
| | 00:53 | go in the other direction.
| | 00:55 | So let me show you how you use this tracing a croquis.
| | 00:59 | I'm going to go change my color back to black.
I've already gone ahead and sketched out a croquis.
| | 01:07 | I scanned it into Photoshop and I
placed the file in Illustrator the same way
| | 01:12 | we've placed our other templates.
| | 01:14 | I want to show you how this is going to work.
| | 01:17 | It's locked, I've got a new layer to draw on,
we'll zoom in and I'm going to start with the leg.
| | 01:24 | What often confuses people about the Pen tool
is where exactly to click the next point.
| | 01:29 | You watch people demonstrating it and
they just draw and it just looks so easy,
| | 01:34 | but the question is how did they know
where to place the next point in the series.
| | 01:38 | I'm going to give you my little secret.
| | 01:41 | You place the next point right
after the line starts to curve.
| | 01:45 | So this line is heading in the same direction
and as we follow it down to the
| | 01:49 | ankle it starts to make a curve out.
| | 01:52 | That's where we're going to place the next point.
While you're still holding the Mouse key,
| | 01:56 | drag out the handle until the line
lines up with the line I'm drawing.
| | 02:02 | Now you can always go back and edit as you're working.
| | 02:05 | You'll notice it's not perfectly aligned
on the calf, so I'm going to switch to
| | 02:09 | the Direct Selection tool and go ahead
and pull this handle out a little more
| | 02:13 | just to get the placement of that line
to be absolutely perfect.
| | 02:17 | Now I can switch back to my Pen tool and continue.
| | 02:19 | You'll notice now that I want to continue
around the ankle but the handle is
| | 02:25 | breaking my path, it's actually in my way.
| | 02:28 | So I'm going to click on the anchor
point to release the handle and now I can
| | 02:32 | click after the next curve and drag to create the ankle.
| | 02:36 | The handle is now cutting the
direction I want it to go again.
| | 02:40 | So we'll click to release it and we move to
just after the next curve, click and drag.
| | 02:47 | You're always going to drag the
handle in the direction you're heading.
| | 02:50 | Since this time the handle is facing
the way I'm going, all I need to do click
| | 02:53 | right after the next curve and drag my handle.
| | 02:57 | My handle is pointing in the direction
I'm going, so I'm going to click after
| | 03:00 | the next curve and drag.
| | 03:03 | It's still pointing in the right direction
so I can click up to the ankle.
| | 03:07 | Now it didn't make a handle and
that's because I didn't click and drag.
| | 03:11 | All I needed to do was click to get
the line to hit in the right place.
| | 03:14 | I'm going to click here and drag, I need to
click on the anchor point to get rid of the handle.
| | 03:21 | Now this one is not quite as clear
but you see the line is going up and just
| | 03:25 | about here is where it starts to curve out for the calf.
| | 03:28 | So I'll click and drag.
| | 03:30 | The handle is roughly pointing in the
direction I want to go, so I should be
| | 03:34 | okay to click and drag, click and
now I'm going to close the path.
| | 03:39 | Now you'll notice I drew the path following
the leg but I stopped under the skirt.
| | 03:44 | That's all of the leg we're going to
see because the dress will be covering it.
| | 03:47 | So there's no need to draw anything else.
| | 03:49 | But what I do need to do is separate
the shoe now from the leg.
| | 03:53 | So I'm going to click with
the Pen tool and draw the shoe.
| | 03:57 | I need to get rid of this handle,
click around the curve and drag, handle is
| | 04:02 | pointing in the right direction so I
can just click, oops, undo that, click up
| | 04:07 | here and now I'm going to select both
these paths and open Pathfinder>Divide.
| | 04:12 | So Window>Pathfinder>Divide, right
click, Ungroup and now I can fill the leg
| | 04:18 | and the shoe with different colors.
| | 04:21 | For now, don't worry about pieces
like this, these little detail elements,
| | 04:24 | we're going to do those last and we're
going to put them on top, kind of like stitches.
| | 04:29 | So when you draw you only want to
draw around the perimeter of the shape and
| | 04:33 | not worry about those little details.
We're going to add them in later.
| | 04:37 | So when you look at a croquis like this
you want to think a little bit
| | 04:41 | methodically about what order to draw
things in; and I've already traced this
| | 04:45 | out, so let me show you what I did and how I did it.
| | 04:48 | I started with the hair since that's in the farthest back.
| | 04:52 | The next thing I did was the top
section of the body, and you'll notice I drew
| | 04:56 | around the perimeter of the hand but I
didn't draw in the fingers, and I didn't
| | 05:00 | bother with any other parts of the body that aren't seen.
| | 05:03 | The next piece I did were the legs, and
again, I stopped just above the dress,
| | 05:06 | there are the shoes that I divided from the legs.
| | 05:10 | Next was the dress that goes on top
and covers up everything else.
| | 05:14 | The bow sits on top of the dress.
| | 05:18 | The face sits on top of the hair and the neck.
| | 05:21 | In this layer I also have the hand.
| | 05:23 | So when I turn the face on
notice how the hand came back.
| | 05:27 | Because the dress covered the hand, I
went ahead and divided that top part of
| | 05:32 | the body to make another piece of hand
that I could put back on top of the
| | 05:36 | dress to take care of that layer issue and
then the layer on top is all of the details.
| | 05:44 | You'll notice that once I drew the details
I went back and used the profiles in
| | 05:49 | the Stroke panel to give them a little bit of flare.
| | 05:53 | The lines are tapered now and
they look a little more hand-drawn.
| | 05:56 | So when I go back and turn off the template
and we'll zoom out to full screen
| | 06:00 | which is Ctrl+0 or Cmd+0.
| | 06:03 | Now I've got a traced croquis.
| | 06:04 | All my pieces are closed paths
and I can go ahead and fill them.
| | 06:09 | And we'll do that in the next movie.
| | Collapse this transcript |
| Filling and rendering a croquis| 00:00 | Now that we have the croquis traced,
let's go ahead and add some color.
| | 00:04 | I'm going to start with adding the skin color.
Skin color tends to be a
| | 00:08 | little difficult to mix when you're
working in a digital format, but Illustrator
| | 00:13 | has some built-in libraries that we can take advantage of.
| | 00:16 | If you go over to the Swatches panel
and click on this Libraries icon in the
| | 00:20 | bottom left-hand corner, you'll see an
assortment of libraries with different
| | 00:24 | color groups that we can use.
| | 00:25 | There is Earthtones, there is one
called Kids Stuff, there is one called Food
| | 00:30 | and conveniently there's one called Skintones.
| | 00:34 | If we click and open it you'll find an assortment
of skin tones premixed and ready to use.
| | 00:40 | So I'm going to go ahead and click on
this one and it would be helpful if I had
| | 00:45 | it set to my Fill instead of my Stroke.
| | 00:47 | So let's change that and I'm going to
go ahead and select the rest of the skin
| | 00:53 | and fill it with the flesh tone.
| | 00:55 | You'll notice the hand didn't fill
because I put it on a separate layer in order
| | 00:59 | to bring it in front of the skirt, so
we'll select that as well and fill it.
| | 01:04 | Now one thing I've learned, is it tends
to look a little bit harsh if you leave
| | 01:09 | a black outline on the skin, but it
looks a little bit unfinished if you have no
| | 01:13 | outline on the skin.
| | 01:14 | So instead, I'm going to select all of
these pieces again, and actually I don't
| | 01:19 | even have to do it that way.
| | 01:21 | There's a faster way to do it.
| | 01:23 | I can go over here and grab this Magic
Wand tool, which is exactly like the one
| | 01:27 | in Photoshop if you're familiar with that.
| | 01:30 | Click on the face and it will select
everything that's filled with the same color.
| | 01:35 | I'm going to ahead and change the Stroke
color to a darker shade of a skin tone,
| | 01:40 | so there is a softer feel to it.
We'll take that one and release everything.
| | 01:45 | Now it looks finished but it's softer.
| | 01:47 | We'll get back and do these other
little detail lines a little bit later.
| | 01:52 | Let's fill the hair with a color.
| | 01:54 | We'll use this nice -- and I did it again,
I filled the Stroke instead of the Fill.
| | 01:58 | So we'll swap those and no color on the hair.
| | 02:02 | Now we need to color the dress and
I've got a pattern setup for that.
| | 02:06 | So we'll select the dress; so I have
the pattern setup in my swatches that I
| | 02:11 | created in Photoshop and I brought into
Illustrator and then I dragged it into
| | 02:16 | the Swatches panel to make it a pattern in Illustrator.
| | 02:19 | I did make sure in Photoshop that
it was a clean repeat so I don't get
| | 02:23 | strange edges and half pieces of leaves and flowers.
| | 02:26 | Now this is a little bit large for the
scale I had intended on this particular
| | 02:30 | dress, so we need to scale it.
| | 02:32 | We can do that using the Scale tool.
| | 02:34 | I'll double-click on the Scale tool
and I want to change this to 50%.
| | 02:39 | Here is the important part, in the
Options section we have an option to
| | 02:43 | Transform Objects and Transform Patterns.
| | 02:46 | Now generally the Transform Objects
is the default, but when you do that it's
| | 02:50 | going to make the dress a little bit too small.
| | 02:53 | So we want to make sure that we don't
check Transform Objects and we do check
| | 02:57 | Transform Patterns and then it
will only scale the patterns.
| | 03:01 | We'll click OK and now the
pattern is the scale that I wanted it.
| | 03:05 | To go ahead and fill the rest of the
dress with the same pattern, I can just
| | 03:08 | select the other pieces of the dress
and I can take advantage of the Eyedropper
| | 03:13 | tool to copy the pattern in the scale
I've got it to the rest of the dress.
| | 03:18 | Now let's fill the bow.
| | 03:23 | I will select the pieces of the bow
and I'm going to fill this with a
| | 03:29 | coordinating fabric, a little
stripe that I made in Illustrator, but
| | 03:33 | unfortunately, the way it's filled looks very awkward.
| | 03:36 | The stripes are all going in the same
direction and they happen to be going in
| | 03:39 | the wrong direction.
So let's fix that.
| | 03:42 | I'm going to click on this piece and rotate the stripe.
| | 03:46 | I can do that by selecting the Rotate tool.
| | 03:48 | We'll double-click on it to open the
Rotate dialog box and this is where you
| | 03:53 | would type in an angle.
| | 03:55 | Unfortunately, I don't know what the correct angle is.
| | 03:59 | So we have another option.
| | 04:01 | You can take this little slider here
and slide it around as long you have
| | 04:05 | preview checked until you get the
angle to go in the direction that you want
| | 04:10 | it and then click OK.
| | 04:11 | And again, you want to make sure
that Transform Objects is turned off and
| | 04:16 | Transform Patterns is turned on.
| | 04:18 | Otherwise, you'll rotate the entire
object along with the pattern, which is
| | 04:23 | not what I had in mind. Let's click OK.
| | 04:26 | I'm going to do the same thing to this one,
but I want to show you another way to do it.
| | 04:31 | We can click once on Rotate and then
we can use the Tilde (~) key instead of
| | 04:36 | going into the Rotate palette.
| | 04:38 | The Tilde (~) key is that little swashy-looking
key in the upper left-hand of
| | 04:42 | your keyboard right next to the number one.
| | 04:45 | If you hold down the Tilde key, you
can just click and drag on your page to
| | 04:49 | rotate the pattern into place and
it's a very handy little command.
| | 04:55 | We'll do the same thing to this piece,
click once on Rotate, hold down the Tilde
| | 04:59 | key, and rotate the pattern.
| | 05:03 | For this piece I think instead of
the stripe, let's give it a solid fill.
| | 05:08 | So we'll double-click here and maybe a plummy
color to contrast these stripes. That works.
| | 05:14 | Now there's another tool I want to
show you and that's the Move tool.
| | 05:17 | I'm not very happy with the placement
of the stripes and I'd like to move them
| | 05:22 | so that I don't see so much white but
a little more of these other colors.
| | 05:25 | So I'll go ahead and select the piece
that's filled, make sure I'm in the Move
| | 05:30 | tool and we can use that little Tilde (~) key trick again.
| | 05:33 | Once you've selected the black arrow you
can hold down the Tilde key to move the
| | 05:37 | position of your pattern within the shape.
| | 05:39 | So I'm going to hold down the Tilde key
and drag until I get the section of
| | 05:45 | stripe that I would prefer to see.
| | 05:48 | I'm going to do the same for this one.
| | 05:49 | Drag the stripes over so I get more purple.
| | 05:53 | We'll do the same for this one and
we'll even move this one just a little bit.
| | 05:59 | I think we need to rotate the stripes
on that one also. We'll do that this way.
| | 06:04 | Maybe they're going to go like that, click OK,
and now I've rotated and scaled my patterns.
| | 06:12 | The last thing I need to do is change
out these little details in the detail
| | 06:16 | layer to the correct color.
| | 06:18 | So let's zoom back out and because I
did these all in separate layers, I can go
| | 06:23 | to my detail layer in the Layers panel,
click on the little target right next to
| | 06:28 | the layer and it selects all of the detail in that layer.
| | 06:31 | Now all I need to do is change
the color to match everything else.
| | 06:36 | But you'll notice it also changed
the detail in the skirt and in the bow.
| | 06:42 | So we need to fix that and we're
going to select it using a new tool.
| | 06:47 | We're going to use the Group Selection tool.
| | 06:49 | You can find it with the Direct Selection tool
but it's the White Arrow with the
| | 06:53 | little plus sign next to it.
| | 06:55 | Select that tool and this selects one item
within a group or the entire group.
| | 07:00 | So one click selects the first item in a group.
| | 07:03 | The second click selects the rest of the group.
| | 07:06 | So now I can take that and change it back to black.
| | 07:10 | I need to do the same up here. Oops!
I meant to use to Zoom tool.
| | 07:15 | I need to do the same up here.
| | 07:16 | Let's release this, select the Group
Selection tool, click on one piece, click
| | 07:23 | again and here's where I screwed up.
I didn't group these.
| | 07:27 | So now I'm forced to hold down my
Shift key and select them all individually,
| | 07:31 | which as you can see is a lot more time
consuming; and grouping little elements
| | 07:35 | like this is a much better way to work.
| | 07:38 | So I'm going to go ahead and change
these back to black and Ctrl+0 or Cmd+0
| | 07:44 | to zoom out to full screen. Now I
have everything done but the shoes.
| | 07:50 | We'll select the shoes and I know
dyed-to-match isn't really in right now,
| | 07:55 | but I'm going to go with it anyway.
| | 07:57 | Let's just copy the purple that I used here
in the bow, the solid purple, not the stripe.
| | 08:04 | We'll zoom in so I can get a better
look at it; the Eyedropper tool, click the
| | 08:08 | purple in the bow and we'll zoom
back out and now her shoes are colored.
| | 08:14 | Now that we filled with flat color and pattern,
we can go back and finesse it a little bit more.
| | 08:19 | We're going to add the face
and do a little bit of shading
| | 08:22 | and then we'll talk about layouts.
| | Collapse this transcript |
| Drawing eyes| 00:00 | In this movie I'm going to show you
how to draw eyes to put on your croqui.
| | 00:04 | A lot of people avoid drawing eyes
because they appear very difficult.
| | 00:07 | But the level of detail is really
not as bad as it seems.
| | 00:11 | Let me show you the pieces
that make up this particular eye.
| | 00:14 | Once you've drawn the basic shape of
the eye, all you need to do is copy and
| | 00:19 | paste the upper edge and apply different brushes.
| | 00:22 | I've got a light-gray brush.
| | 00:24 | I've got a couple of chalk charcoal brushes,
an eyelash brush that I'm going to
| | 00:28 | show you how to make in this video,
and another chalk charcoal brush.
| | 00:32 | On the bottom, two chalk charcoal brushes,
couple of eyelash brushes.
| | 00:37 | It's just the same shape repeated over and over.
| | 00:39 | As far as the iris goes, it's a circle with a gradient.
| | 00:43 | This level of detail is not really necessary,
and the pupil is a black circle.
| | 00:48 | Detail is really not necessary for
drawing a croqui since the face is going to be
| | 00:53 | all of an inch tall and the eye might be an eighth of an inch.
| | 00:57 | So we're going to draw a simplified version of this.
| | 00:59 | We're going to draw something that
looks more like this and it will look great
| | 01:04 | reduced on your croqui.
| | 01:05 | So let me show you how to get started.
| | 01:07 | If you're not comfortable drawing the
shape of an eye, all you need to do is
| | 01:11 | find an image online and go ahead and
place it as a template, just like we've
| | 01:16 | placed all the other templates in Illustrator
and you won't have to struggle.
| | 01:20 | So let's get a new layer, start with the pen tool
and I will show you how to draw an eye.
| | 01:26 | The first thing you want to do is trace the eye shape.
| | 01:29 | And it helps if you turn on the layer
so that the pen tool will work.
| | 01:33 | Now that you know how to use the pen tool,
we'll start here at the corner of the eye.
| | 01:37 | What I usually do is one stroke.
| | 01:39 | I click in the middle top of the eye
and drag to make the first curve.
| | 01:44 | And then I click at the end of
the eye and drag a little bit.
| | 01:48 | And that's my top part of the shape.
| | 01:50 | I'm going to get rid of the fill.
| | 01:52 | Now I'll lose the handle, go ahead and click
in the center-bottom of the eye and drag to curve.
| | 01:58 | Click up here, I don't know what this
piece is called, and drag to curve a little bit.
| | 02:03 | And then, just click and drag to close,
and there's the eye shape.
| | 02:08 | Now before we fill it in, it's a good idea
to draw the pupil, so that we can
| | 02:12 | gauge the size from the image.
| | 02:15 | Let's draw the iris.
| | 02:16 | All it is is a circle.
| | 02:18 | So go ahead and grab the Ellipse tool.
| | 02:20 | Hold down the Alt+Shift or Opt+Shift key.
| | 02:23 | Start in the center, click and drag to form the iris.
| | 02:28 | Do the same for the pupil.
| | 02:29 | Now we'll fill the pupil with black,
and we'll fill the iris with a gradient.
| | 02:36 | You can find the gradient on the panel
dock on the right side of your screen
| | 02:40 | and it looks like this.
| | 02:42 | Click to open and I'm actually going to drag
it away so that we can play with the colors.
| | 02:48 | The gradient we want to use is a Radial Gradient.
| | 02:50 | In the Type dropdown and click on Radial.
| | 02:53 | I don't want a black and white eye, I want a green eye.
| | 02:57 | So I'm going to open the Swatches panel
and to change to color, I'll find the
| | 03:01 | green I want and drag it right on top
of the little white square, changing
| | 03:05 | the white to green.
| | 03:06 | I'll grab a dark-green and drag it on
top of the black square, changing the
| | 03:10 | black to dark-green.
| | 03:11 | That's not enough contrast for me.
| | 03:13 | So I'm going to double-click on this square
to open the color mixer and I'm
| | 03:19 | going to go ahead and darken this green
just a little bit, well, maybe a lot, to
| | 03:23 | get some more contrast. I like that a lot better.
| | 03:26 | The other thing I want to do is adjust the blend.
I want to see more of the
| | 03:30 | light-green and I can do that by
clicking on this little Gradient slider, the
| | 03:35 | little diamond on top of the Gradient,
and I'm going to drag it to the right so
| | 03:39 | that I see more of the light green around the pupil.
| | 03:43 | It'll give the eye a little bit of a glow.
| | 03:45 | And that's all I need with the Gradient for now.
| | 03:47 | So we'll minimize that and just move it out of the way.
| | 03:51 | Now I have the problem of my iris sticking out
beyond the shape of my eye. And that's okay;
| | 03:56 | we can use a clipping mask to fix that.
| | 03:59 | So first thing I want to do is change
the outline of the iris.
| | 04:02 | I'm not particularly happy with black,
so let's change it to a green and now
| | 04:07 | we'll take the iris and the
pupil and group them together.
| | 04:10 | Now that they're grouped together, we
need to send them behind the eye shape.
| | 04:15 | So right-click, Arrange, and Send to Back.
| | 04:19 | And now we can make a clipping mask.
| | 04:21 | The clipping mask is going to allow me
to take this iris and pupil and place it
| | 04:25 | inside the boundary of the eye that I've drawn.
| | 04:29 | So we'll select both pieces, right-click,
Make Clipping Mask and watch what happens.
| | 04:35 | The eye is now inside the shape, but the
shape has disappeared, it's easy to fix.
| | 04:40 | Go back to the Direct Selection tool and
click on the outside of the shape. There it is.
| | 04:47 | And all we need to is restore the stroke.
| | 04:49 | So you can go to your Stroke panel
and change the stroke back to 1 point.
| | 04:53 | While we're here, we might as well
make sure we have round caps and round joins.
| | 04:58 | Black would be a preferable color, so
we'll go ahead and change the color to black.
| | 05:03 | And we also need a fill.
| | 05:06 | Instead of making it white, go ahead
and make it the very lightest gray here.
| | 05:12 | Using the very light gray, instead of white,
gives us a place to go if we want
| | 05:16 | to add highlights later.
| | 05:18 | Now for the eyelashes, we're going to make
an eyelash brush, which is really kind of cool.
| | 05:23 | Instead of drawing a bunch of individual
eyelashes, we can do it with one click.
| | 05:28 | But we need to make the brush first.
| | 05:30 | With the pen tool, we're going to draw an eyelash.
| | 05:33 | And to do that, click and then click up
and slightly to the right and drag
| | 05:39 | straight up to give it a bit of a curve.
| | 05:42 | And that's the shape of your eyelash.
| | 05:44 | We're going to remove the white fill, and from
the Stroke panel, we're going to add a Profile.
| | 05:50 | And the one I like for this is this one
that's sort of teardrop shaped.
| | 05:55 | Click on it, now I've got it going in
the opposite direction, so we'll click the
| | 05:59 | little flip icon so that it's wider
on the bottom and narrower on the top.
| | 06:04 | And that's what the shape looks like,
there's one eyelash.
| | 06:08 | You want to make sure you like the
eyelash shape for the eye, not bad, maybe a
| | 06:12 | little short, so I'll go ahead and
make this just a little bit bigger.
| | 06:16 | We'll make the eyes dramatic.
| | 06:17 | Now I can make a brush out of this.
| | 06:20 | Go to your little Brushes panel, click New;
this time instead of a Pattern Brush,
| | 06:25 | we're going to make a Scatter Brush and click OK.
| | 06:30 | Now we can't adjust any of the settings
yet, we need to apply the brush first,
| | 06:34 | but let's label it Eyelash and click OK.
| | 06:39 | Now to apply the brush; with the Pen tool,
you're going to draw an arc that
| | 06:45 | mirrors the arc of the eye, but you're
going to start in a little bit further
| | 06:49 | since the eyelashes don't go all the way to the edge.
| | 06:52 | So I'll start by clicking here,
and click and drag to make the curve.
| | 06:57 | So it's just two clicks and one drag.
| | 07:00 | Now you can apply the eyelash brush.
| | 07:02 | You can see I have one I made earlier
with a little bit more curl to it, but
| | 07:07 | we're going to apply the one we
just made and it looks terrible.
| | 07:10 | But that's okay, we need to adjust it.
| | 07:12 | I'm going to move my page over so we can have
the Options box fully visible while I show you this.
| | 07:17 | So we'll double-click, and now
we're going to make a few changes.
| | 07:20 | The first thing we want to do is adjust the Spacing.
| | 07:23 | Make sure the Preview button is checked
and we're going to click on the Spacing
| | 07:27 | slider and drag it to the left so
that the lashes are much closer together.
| | 07:32 | The next thing we're going to do is
adjust the Rotation, because they look a
| | 07:36 | little strange right now.
| | 07:37 | So the Rotation slider on the bottom,
we're going to rotate these to the left
| | 07:42 | until you like the angle of the lashes.
| | 07:45 | And when you're happy with it,
click OK, Apply the Strokes.
| | 07:49 | We can switch to the Selection tool,
select the lashes and nudge them up a
| | 07:54 | little bit and rotate them just a
little bit to maneuver them into place.
| | 07:59 | And that is how you put eyelashes on your eye.
| | 08:02 | Now the bottom of the eyelid doesn't
really require lashes, they start to look
| | 08:07 | like big black blobs when they're reduced.
| | 08:09 | All you need to do for the bottom is
either leave it the way it is or if you
| | 08:13 | want it a little bit darker, you can go
ahead and again, draw a line from about
| | 08:18 | this point to the end, and we'll make the
Line Weight just a little bit heavier, 2 points.
| | 08:23 | And we can go ahead and apply one of the Profiles.
| | 08:28 | Again, this one should work nicely.
| | 08:30 | So it makes it just a little thicker and
you get that kind of diva look to your eye.
| | 08:35 | Two more things and then we're done.
| | 08:36 | We need to draw the crease; and you can
see it here, all you need to do is follow
| | 08:41 | the existing crease on the image, so
it's one click at the beginning, one click
| | 08:46 | at the end and drag to make the curve.
| | 08:49 | I'm going to apply this profile, instead of black.
| | 08:52 | I usually like to make the crease in
a more neutral shade of flesh color.
| | 08:57 | So let's go back and open those flesh colors.
| | 09:01 | There are the skin tones again.
| | 09:02 | And I'm going to use this darker color
that I used to outline everything.
| | 09:06 | I'll make sure I'm in Stroke and click on this color.
| | 09:11 | Right-click, Arrange, Send to Back,
so it's behind the lashes.
| | 09:15 | The very last thing we need to draw is the eyebrow.
| | 09:18 | So I'm going to click at the beginning
of the eyebrow, click maybe three
| | 09:22 | quarters of the way into the eyebrow
and drag and then click the end.
| | 09:27 | Now for this, the chalk charcoal
brushes work very, very nicely.
| | 09:31 | I do want to use a darker color than this,
so I'm going to go ahead and pick a
| | 09:36 | darker color, and now back to brushes.
| | 09:38 | Open the Brush Library, which is this left-hand corner.
| | 09:42 | We're going to scroll down to
Artistic, Chalk Charcoal Pencil.
| | 09:46 | The brush that I like for eyebrows is this one right here.
| | 09:50 | It's called Charcoal Smooth, and it looks like this.
| | 09:53 | Now if it's a little bit too thick for you,
you want more of a plucked eyebrow,
| | 09:57 | you can go to your Stroke panel and
change the Line Weight to something a little
| | 10:01 | bit smaller, like 0.75 or even 0.5 if you want a
very, very plucked kind of look. I prefer 0.75.
| | 10:09 | Now there are couple of other Chalk
Charcoal Brushes that work nicely too.
| | 10:13 | This one makes a nice eyebrow, a little bit
rougher looking, but it works very nicely.
| | 10:18 | I think I'm going to go with this one for now.
| | 10:20 | So we have one more step in completing the eye.
| | 10:24 | We're going to select the whole thing
and we're going to make a symbol out of it.
| | 10:28 | New, and we'll call it Eye and click OK.
| | 10:32 | So there's the first eye.
| | 10:34 | We need to make the second eye, which is super easy.
We're just going to reflect the first one.
| | 10:39 | So click on Reflect, I'll click on the Center,
Vertical, Copy and now we have two eyes.
| | 10:45 | I think I'll nudge this one over a tiny bit
and all we have left to do is add
| | 10:49 | highlights, which are simply a tiny little circle.
| | 10:53 | So we'll draw a little circle.
| | 10:56 | Fill it with white, remove the stroke,
and move it into place.
| | 11:02 | The highlight needs to be in the same
place on both eyes, which is why we didn't
| | 11:06 | do it yet, because if we had done it
before reflected the eye, we get a
| | 11:10 | crossed-eyed appearance.
| | 11:11 | So I'm going to click and drag this one
over to this eye and I'm holding the
| | 11:16 | Shift key while I do it, so they stay on the same level.
| | 11:20 | And now I have a completed pair of eyes.
| | 11:22 | Let's select both of these and save them
as a symbol as well, so the next time I
| | 11:27 | need eyes, I can pull out one pair with one click.
| | 11:30 | So they're saved and now all I need to do,
when I need a pair of eyes is open my
| | 11:39 | Symbols panel, grab them and drag them on to the page.
| | 11:43 | In the next movie, I will show you how to draw the lips.
| | Collapse this transcript |
| Drawing a mouth| 00:00 | In this movie, I'm going to show you
how to draw the mouth.
| | 00:03 | Now just like drawing the eyes, it's a
lot easier if you place an image as a
| | 00:08 | template first, and then you
don't have to struggle with the shape.
| | 00:11 | I'll zoom in and we're going to change the colors
back to default, but I'm going get rid of the fill.
| | 00:18 | We don't need the fill for this.
| | 00:19 | We'll start with the Pen tool, and
here's how I like to draw the mouth.
| | 00:23 | I start in the center and click and
drag a little bit to the right, so that I
| | 00:28 | end up with a little bit of a curve there
instead of a sharp point.
| | 00:32 | Click just above the upper point and
drag to shape that and then you can click
| | 00:39 | straight to the corner of the mouth.
| | 00:40 | And now, I'm going to click in the center-bottom
and drag until I get the curve that I want.
| | 00:48 | That's it. Now I can select it and reflect it,
make a copy, select both halves and join, join.
| | 00:57 | So there's the mouth shape.
| | 01:00 | Now before I color it in, I'm going to
draw some of the other parts in the mouth.
| | 01:04 | And I think we'll take this and
just nudge it over a tiny bit.
| | 01:08 | With the Pen tool again, I'm going to go
ahead and draw this line dividing the two lips.
| | 01:14 | And just follow the path here as best you can.
| | 01:18 | It's sort of a loose shape.
| | 01:21 | And I'm going to go ahead and open
my Profiles and select this profile.
| | 01:25 | And if you want, you can even
make it just a little bit wider.
| | 01:29 | The last thing I need to do for the
lips is put in a little bit of a highlight.
| | 01:34 | So again, with the pen tool, I'm going
to follow the path of this highlight, so
| | 01:38 | it's one click, second click, and drag.
| | 01:40 | I'm going to make the Line Weight
much fatter, and again, I'm going to use
| | 01:46 | one of these Profiles.
| | 01:48 | I kind of like this one but I think it should
be thick on the other side, so I'll reverse it.
| | 01:53 | Now we can adjust the colors.
| | 01:55 | The highlight needs to be white or very light pink.
| | 01:58 | So I'm going to go back to the Skin Tones panel,
make sure my Stroke is in front
| | 02:03 | and I'm going to make this very
light pink color my highlight color.
| | 02:07 | I'm going to select the lips
and change the fill to this color.
| | 02:12 | I want to make the Stroke just a little
bit darker shade than the color of the lips.
| | 02:17 | The lips are selected, we'll select
this color for the stroke and then
| | 02:21 | double-click on the stroke color and
make it just a little bit darker so we have
| | 02:26 | some contrast but not too much.
| | 02:28 | We can also add a Profile to this stroke
as well and that's the one that I'll go
| | 02:35 | with, but I think I'm going to reverse it.
Does that make a difference? Not really.
| | 02:39 | I'd rather see it wide on the bottom.
| | 02:41 | So what I'm going to do to adjust this
is take my Direct Selection tool, select
| | 02:46 | the Anchor Point at the bottom of the lips
and I'm going to cut it, Ctrl+X or
| | 02:52 | Cmd+X. And then I'm going to paste
in front, Ctrl+F or Cmd+F. The color
| | 02:57 | is back, but now they are two separate pieces.
| | 03:00 | So with the Profile added, look what happens.
| | 03:03 | I get a wider piece on the bottom that
thins out towards the corner, and a wider
| | 03:07 | piece on top that also thins out
towards the corner, works very nicely.
| | 03:12 | Now the highlights are a little bit harsh, so I'm
going to select it and lower the Opacity of it.
| | 03:17 | And I can do that by going to my panel
dock on the right-hand side, clicking on
| | 03:23 | this little double ring icon for Transparency
and lower the Opacity, maybe to
| | 03:29 | 70% just to soften that a little bit.
| | 03:32 | The last thing I'll need to do is select
the stroke that's between the lips
| | 03:38 | and change that color.
| | 03:39 | And I can probably get away with one
of these sort of taupy colors here in
| | 03:43 | the skin tones panel.
| | 03:45 | And that does it for my lip.
| | 03:47 | I'm going to select it, go over to
my Symbols and make a new symbol.
| | 03:51 | We'll call this Pink Lips. While
I'm here with the lips, it might not be a
| | 03:58 | bad idea to make another color option.
| | 04:00 | So I'll go ahead and select them,
but I can't do anything with them
| | 04:04 | because they're symbol.
| | 04:05 | So we'll right-click and Break Link to Symbol.
| | 04:08 | Now I can go ahead and edit them.
| | 04:10 | I notice I don't have round caps here,
so I'm going to go ahead and adjust that.
| | 04:14 | Although when it's reduced, you
probably won't notice the difference.
| | 04:17 | Let's make these a nice pair of red lips.
| | 04:20 | So we'll select the lips, I'm going
to change the color to a nice rich red.
| | 04:25 | And I'll change the stroke to a darker shade of red.
| | 04:28 | See how that looks.
| | 04:30 | We'll change the highlight color to a
brighter red or maybe an orange and we'll
| | 04:37 | change this to a nice -- actually
this color might work very well for that.
| | 04:44 | And now I have a pair of red lips.
| | 04:46 | I'm not in love with the orange;
| | 04:48 | I think we'll go back to maybe a very hot
white highlight, so they look really glossy.
| | 04:53 | We'll put the Opacity back up to 100.
| | 04:57 | And we can select these and also define
these as a symbol, and now we have red
| | 05:03 | lips to go with our pink lips.
| | 05:07 | And we're getting much closer to
being able to complete the face.
| | 05:10 | Let me zoom out and you can
see what we've done so far.
| | 05:15 | The last thing we have left to do is the nose,
| | 05:17 | and I will show you how to draw
that in the next movie.
| | Collapse this transcript |
| Adding a nose| 00:00 | In this movie I'm going to
show you how to draw the nose.
| | 00:03 | Now the nose doesn't need to
be drawn in a lot of detail.
| | 00:06 | Just indicating it is enough.
| | 00:08 | The croqui is going to be very small so
we don't need a lot of detail, and the
| | 00:13 | more you draw, the more it
starts looking a little bit creepy.
| | 00:16 | So we're going to go with
just a few simple lines.
| | 00:18 | Start with the pen tool and draw a
line from near the eyebrow, following the
| | 00:24 | shape of the nose down to about there.
| | 00:27 | That's the first line we're going to draw.
| | 00:29 | Let's change it to black
first just so we can see it.
| | 00:32 | My strokes are gone up there.
| | 00:34 | Let's change it to just a dark
color so you can see what I'm drawing.
| | 00:37 | I'm going to release it.
| | 00:39 | The other thing that I like to draw is
just a tiny little shape right here, a
| | 00:44 | little curve, and possibly one on this side.
| | 00:47 | We may or may not use both of them, but
let's have them there and see how it looks.
| | 00:52 | The other thing we want to draw are
the nostrils, and we want to keep those
| | 00:56 | pretty small, so I'm going to do click,
click, curve, click to release the point
| | 01:02 | and then click on the other point and
drag just a little bit, so there's a
| | 01:05 | little curve to the bottom of it.
| | 01:08 | And I'll do the same thing on the other
side or I could just reflect this one,
| | 01:13 | but then it's a little too symmetrical
sometimes and not natural looking.
| | 01:17 | So I'm going to click, click-drag to
get the curve, click to release the handle
| | 01:24 | and then click back where I started
and drag a little bit to curve it.
| | 01:28 | Now we can select the two nostrils,
and we're just going to swap the black
| | 01:32 | fill with no stroke.
| | 01:33 | So now we just have little black nostrils.
| | 01:36 | And if the black is too harsh,
you can change the color.
| | 01:39 | Let's click on this to more of a gray or
brownish color, so it's a little bit softer.
| | 01:45 | Now for the rest of these pieces, the
two pieces on either side of the nose,
| | 01:50 | we're going to go to the Stroke panel
and we're going to change the Profile to
| | 01:53 | this one on top to make them a little more delicate.
| | 01:56 | We can also make the Line Weight just
a little smaller so we'll go to 0.75.
| | 02:04 | We'll change the color to match what we
did for the crease in the eye, which was
| | 02:09 | this color, except it needs to be
on the stroke, not the fill.
| | 02:13 | You got to be really careful to make sure
which one is in front or you're going
| | 02:18 | to be switching back and forth all the time.
| | 02:20 | You can actually use the X key on your
keyboard to swap them back and forth,
| | 02:24 | instead of moving your cursor all the way over here.
| | 02:27 | The last piece is this one on the side of the nose.
| | 02:30 | We're going to make it thicker,
so probably 4 points or so.
| | 02:35 | We're going to also change the Profile
and I'm going to do this one so it gets
| | 02:40 | just a little bit thicker, but
I want it thicker near the top.
| | 02:44 | Again, I'm going to change the stroke color
so I'll swap them, I can use my X key and select this.
| | 02:51 | And that's really all you need to do for the nose.
| | 02:53 | Anymore detail than that, it just
doesn't work on such a small format.
| | 02:57 | There's one little thing that we
can do in CS6 that's kind of cool.
| | 03:02 | You can put a gradient on a stroke now.
| | 03:05 | So I can actually take this stroke, open my Gradients,
here's the gradient, let's move it over here.
| | 03:12 | And I'm going to change the color of the gradient.
| | 03:14 | I'm going to make the dark edge of the gradient
the color that I chose here.
| | 03:19 | I'm making sure the gradient this time is set on linear.
| | 03:23 | And notice that I have the Stroke in Front
this time because I want the gradient to be on the Stroke.
| | 03:28 | If I wanted a gradient fill, I would have
this one in front and it would be on the fill.
| | 03:33 | But we want to stroke.
| | 03:35 | Now for the lighter color, I want the color
that I used for her skin, which was
| | 03:40 | this one right here. So I'll drag it there.
| | 03:42 | Now there are three different types
of Stroke Gradient you can use.
| | 03:46 | The one that I want to use for this is the third one.
| | 03:49 | So that the stroke -- I mean release
this so you can see it better -- is dark on
| | 03:53 | one side and light on the other, except
I wanted to go in the other direction,
| | 03:58 | so I'm going to go ahead and Reverse using
this little gradient icon here to reverse the gradient.
| | 04:05 | Again, I want to see this a little bit better.
| | 04:07 | I can have a little bit more dark in there I think.
| | 04:10 | So we'll select it and move the slider
so I get just a little more of the dark.
| | 04:15 | And that's it for the gradient.
| | 04:16 | Let's close that and move it out of the way.
| | 04:20 | So now we can select the nose and
save it as a symbol just like the others.
| | 04:25 | Save>Nose, click OK.
| | 04:29 | Now we have all the elements for the face
complete and we're ready to move them
| | 04:33 | on top of the croqui.
| | 04:35 | So let's select them all and they're currently all symbols.
| | 04:40 | I think I want to bring the neutral lips
into the other file as well.
| | 04:43 | So I'll just drag them onto the page
and select everything all at once.
| | 04:48 | Copy it, go back to the croqui file
that I rendered and paste.
| | 04:53 | Now you'll notice the shapes are
much too big for the croqui, and that's
| | 04:56 | because we drew them on top of an image
from the Internet that was obviously
| | 05:00 | much larger than the croqui.
But that's not a problem.
| | 05:03 | It's really easy to scale a symbol.
| | 05:07 | So we're going to scale the symbol down
to the right size and then we're going
| | 05:10 | to re-save them so that we have them
the right size the next time we use them.
| | 05:15 | So just having these next to the croqui,
I'm going to go ahead and click on my
| | 05:20 | Shift and Alt key and scale them down,
until they look to be about the right size
| | 05:25 | and I can move them on top of the
face to double-check. Still, very big.
| | 05:30 | Let's bring those to the front;
| | 05:32 | actually it's a layer issue.
Let's bring those to the top layer.
| | 05:36 | Let's make them smaller. Oops!
I have something else in this layer.
| | 05:41 | Let's make a new layer.
| | 05:47 | Make a New layer, there we go.
| | 05:51 | Select these pieces, and bring
these to that layer, turn this off.
| | 05:57 | Holding the Shift and the Alt key, we'll
drag till we get them to be the right size.
| | 06:04 | That looks pretty good.
| | 06:05 | I'm going to go ahead and Break Link to Symbol
and then Save it again, so I know
| | 06:13 | it's the right size, and then I can
delete this and I'm going to delete the
| | 06:17 | symbol that's too big.
| | 06:19 | And now that I have the face the right size,
I can go ahead and save it all
| | 06:24 | together in one piece and it'll
save me the trouble of dragging out
| | 06:27 | individual pieces next time.
| | 06:29 | So again, I'm going to Break Link to Symbol
and then I'm going to save this as the face.
| | 06:37 | Now I have the face to scale in my
Symbols and here it is on the croqui.
| | 06:44 | You can go ahead and adjust the placement
a little bit and that's how you do it.
| | 06:57 | So that's how you make a face and add it to your croqui.
| | 07:00 | Now that I'm looking at it on the
croqui though, I think the lips are a little
| | 07:03 | bit large for this particular face.
| | 07:05 | So I'm going to Break the Link to the Symbol.
| | 07:08 | I'm going to go ahead and reduce the lips
just a little bit and I'm going to
| | 07:12 | hold the Shift and Alt key so it stays in place.
| | 07:15 | I think I like the proportion of that better.
| | 07:17 | But I think that the eyes could be a little bit bigger.
| | 07:21 | So we'll go ahead and select the eyes
and nose, and again, Alt+Shift, make them
| | 07:28 | just a little bit bigger and move them down a tiny bit.
| | 07:32 | Sometimes bigger eyes on the croqui is more
attractive than small ones, it draws you in.
| | 07:38 | And that's all there is to it.
| | 07:39 | It's a really good idea to make yourself
what I call a Mr. Potato Head file.
| | 07:44 | I have assorted eyes, noses and mouths that I
can apply whenever I need to do a croqui quickly.
| | 07:50 | I also have a three quarter view and a
profile view and one that's looking up a bit.
| | 07:55 | So whatever position my croqui is in,
I always have the appropriate face handy.
| | 08:00 | You can always go back and change the
eye color and lip color very easily, so
| | 08:04 | it's a really handy thing to do.
| | 08:07 | And now that I'm looking at this, I see
one more thing that might be nice to do
| | 08:11 | and that is change the profile on the face.
| | 08:14 | I really like playing with profiles,
they add a hand drawn quality to the work
| | 08:19 | and they make it look a little
bit less computer generated.
| | 08:22 | In the next video, I'll show you how to
add some more details and shading to the croqui,
| | 08:27 | to again, take it away from that computer generated look.
| | Collapse this transcript |
| Adding highlights and shading| 00:00 | So now that we have all the basic
color-blocked in, we've got our patterns
| | 00:04 | filled, scaled, rotated.
| | 00:06 | It's time to add some shading
to this and really make it pop.
| | 00:10 | I'm going to start with adding some blush.
| | 00:13 | Now I've gone ahead and created a color
group here with all the colors that I'm
| | 00:18 | going to be using for this particular job.
I want to show you how add a color
| | 00:22 | to this Swatches panel.
| | 00:23 | I've selected a pink here that I'm going
to use for blush and all you need to do
| | 00:27 | is click on the New Swatch icon, go
ahead and name the color, call it blush and
| | 00:33 | click OK, and I've just added this pink to my swatches.
| | 00:38 | Now I'd like to put the pink in the
color group with the rest of the colors I'm
| | 00:41 | using for this particular project, so
I can click and just drag that into the
| | 00:46 | color group, it's that simple.
| | 00:47 | So let's go ahead and zoom
in and add some blush to her.
| | 00:50 | We'll zoom into the face, open my layers
and I'm going to go ahead and lock all
| | 00:56 | of my layers so that nothing that
I've already done gets damaged or moved.
| | 01:00 | Make a new layer and this one is going
to have my shading on it so I'll call
| | 01:05 | this shading. I'll go ahead and
do a lot of the shading in this layer.
| | 01:10 | So for the blush I've set my stroke
color to a nice pink. I'm going to grab the
| | 01:15 | Blob Brush and I'm going to go
ahead and paint in some blush.
| | 01:21 | It's lovely, isn't it?
| | 01:24 | Well, we're going to fix it, I'm going to select
the blush and we're going to add an effect to it.
| | 01:29 | We'll go up to Effect, down to Blur,
and select Gaussian Blur.
| | 01:34 | We're going to select this to 7 or so
for this and we can turn on Preview and
| | 01:40 | see what it looks like and click OK.
| | 01:43 | Now I've soften the edges, so I
have a nice soft color on her cheeks.
| | 01:47 | Now it's still a little brazen, so
we're going to go up here to the Opacity
| | 01:52 | and lower it to about 30% so we just have
a nice soft glow on her cheeks, much nicer.
| | 01:59 | The next thing we're going to do is add
a shadow by duplicating an existing line
| | 02:03 | and since it's the Face I'm going
to need to go ahead and unlock that.
| | 02:07 | So I'll go to the Face layer and unlock it.
| | 02:09 | With the Direct Selection tool, I'm
going to select the chin part of the face.
| | 02:14 | I'll copy it, Paste in Back this time,
Ctrl+B for back, make the Line Weight
| | 02:20 | thicker, maybe at 4 points.
| | 02:23 | We're going to keep the Profile and
we're going to keep the same color.
| | 02:28 | With the arrow key I'm going to nudge
it over, maybe one or two clicks and now
| | 02:33 | I can go up to Effect>Blur>Gaussian Blur,
and this time we're going to set the Blur to 5.
| | 02:41 | Now how do I know this?
| | 02:42 | Because I experimented before I recorded this.
| | 02:45 | You'll have to play around when
you're doing your own project and decide
| | 02:48 | what blur works best for you, but if you
turn on Preview you'll get a pretty good idea.
| | 02:53 | Click OK and now I have some shading under the chin.
| | 02:56 | Let's move down a little bit lower
and work on something else.
| | 02:59 | If you want to add highlights and
shadows, you can do it this way.
| | 03:04 | Let's get so that we can see the full arm
and I'm going to go ahead and add some
| | 03:08 | highlight and shadows to her arm.
| | 03:10 | I'm going to change the Fill to None
and I'm going to change the Stroke to
| | 03:14 | Black just so you can see what I'm doing and
then we'll pick the correct color when I'm finished.
| | 03:19 | With the Pen tool I'm going to go ahead
and draw a path where I want to place
| | 03:24 | the highlight, so we'll put a highlight on her arm.
| | 03:26 | We'll hit Enter or Return to release the path;
maybe another highlight down
| | 03:31 | here, Enter and possibly a bit of a
highlight on her shoulder and hit Enter.
| | 03:37 | Now I can select everything, since
everything is locked I can just marquee
| | 03:42 | select it and we'll switch to the highlight color,
which I have set here, it's going to be this one.
| | 03:47 | We'll make the Stroke thicker, let's try 6.
We want to change the Profile to 1
| | 03:56 | and we're going to apply the Blur
again, but this time we don't have to go
| | 04:00 | through as much trouble.
| | 04:01 | We click on Effect, and because the
last effect we used was the Gaussian
| | 04:06 | Blur, we can just click right on this top one
here and apply the same blur we used before.
| | 04:11 | So there is the highlight.
| | 04:12 | Now for the shadow we can draw a path or we
can use the same technique we used for the chin.
| | 04:18 | You can click on the arm and copy, but
to do that I need to unlock it first, so
| | 04:23 | I could just click on this line segment here,
copy, Paste in Front, move it over
| | 04:27 | a couple of clicks, change the points
size to something a little bit larger and
| | 04:32 | let's use this particular Profile.
| | 04:35 | Now you'll notice you only see a little
piece of it and that's because remember
| | 04:39 | earlier we drew the hand separately?
| | 04:41 | So I need to select this and just put it
on top of the hand layer to make sure
| | 04:46 | that we can see the whole bit of shading.
| | 04:48 | So we'll click on this and drag it up to the hand layer.
| | 04:53 | It's being difficult because it was locked.
| | 04:55 | Let's try that again, click and drag it up
to the hand layer; much better when it's unlocked.
| | 05:00 | We can go back up to Effect and apply
the Blur; and if it's too dark, which it
| | 05:07 | is a bit, we'll select it and lower the Opacity
to about 50% to get a nice soft shadow.
| | 05:14 | If you find the highlights are too dark,
you can do the same thing.
| | 05:17 | Now as I look at this I notice something else.
| | 05:20 | I think because we used this very soft
color to outline the body that the black
| | 05:25 | outline on the dress is looking a little bit harsh.
| | 05:27 | So let's go ahead and fix it.
| | 05:29 | I'm going to unlock the dress and the
bow layer, I'll select the dress and
| | 05:33 | instead of black I'm going to go ahead and
use this dark green, I like that much better.
| | 05:38 | Now I need to select all of these little detail pieces,
which are probably in my Detail layer.
| | 05:45 | So let's grab those, there we go, and I can
change those to green as well, much nicer.
| | 05:51 | Now let's change the bow pieces to a different color.
| | 05:55 | I'm thinking a nice plum would work
very well for the Stroke on that one and
| | 05:59 | we'll need to change these pieces as well.
| | 06:02 | That looks much softer.
| | 06:04 | Let's work our way a little bit further down the croqui.
| | 06:06 | We need to add some shading to the skirt
and I want to show you two different
| | 06:11 | techniques you can use.
| | 06:12 | One is to use a Gradient Fill, and
the other is to use a Gradient Stroke.
| | 06:17 | So let's start with the Gradient Fill,
I'm going to go ahead and lock the dress
| | 06:21 | again so it doesn't move on me, and
we'll move to the shading layer and draw the
| | 06:26 | shading on the skirt.
| | 06:27 | Let's start with the Pen tool. I'm
going to draw a shape that's following
| | 06:31 | this fullness line, it actually selected
that line, which is not what I wanted to do.
| | 06:35 | So I'm going to go ahead and lock the detail layer,
so I don't run into that problem again.
| | 06:41 | I'm going to draw with the Pen tool,
starting at the top of this line, click
| | 06:45 | down at the hemline, click the width
that I want the shade to be and curve that
| | 06:51 | a little bit so it matches the hemline
of the skirt, click to release the handle
| | 06:56 | and click back up to close.
| | 06:57 | So I have a shape that looks like this.
| | 06:59 | I'm going to ahead and draw one on this
side, too, so you can get the full effect.
| | 07:04 | So click, click and drag, click to
remove the handle, and click to close.
| | 07:09 | Now I want to fill these shapes
with a gradient, so let's select the two
| | 07:13 | shapes, we're going to get rid of the stroke
and we're going to fill it with a gradient.
| | 07:19 | So opening my gradient, we need to
select a Linear Gradient and now we have a
| | 07:23 | black and white linear gradient, which
is absolutely not what we're looking for.
| | 07:27 | We're going to change the color.
| | 07:29 | So let's open the colors and I'm going
to detach the Swatches panel from the
| | 07:34 | dock so that I can access the colors for the gradient.
| | 07:37 | In order to change the gradient color,
we're going to click on the color we want
| | 07:41 | and drag it on top of the little color icon on the gradient.
| | 07:45 | So now I have a gradient that goes
from green to white; closer but still not
| | 07:50 | what we're looking for.
| | 07:51 | There's a really neat option here in gradient
where you can change the opacity of a color.
| | 07:56 | So I'm going to take this white over here
and change the Opacity to 0.
| | 08:01 | So it's completely transparent.
| | 08:03 | Now I have a blend that goes from
green to nothing, so we can see the fabric
| | 08:08 | through the shading.
| | 08:09 | I can even lower the transparency a
bit on the green by clicking on it.
| | 08:13 | I can lower this to 80, so we see a
little more of the pattern through it and I
| | 08:18 | can move the Gradient slider a little
bit so we get a little bit more green in
| | 08:22 | the mix before it fades out.
| | 08:24 | Now this one is obviously backwards,
so we're going to need to change the
| | 08:28 | direction of the gradient; and we can
do that with the Gradient tool that's
| | 08:32 | found in the toolbar.
| | 08:34 | Click on the Gradient tool and then
click and drag across the gradient.
| | 08:39 | Now I've done that backwards, which I
tend to do a lot, I never remember which
| | 08:42 | direction to drag the gradient, so
we're going to do it in the other direction
| | 08:46 | now, click and drag and now I have a
gradient that fades to transparent.
| | 08:53 | This one is a little bit dark, so I
think what I'll do is go up to -- well,
| | 08:57 | let's select it -- go up to Opacity and
lower it to about 80% and now I've got
| | 09:02 | some shading on the skirt.
| | 09:04 | Let me show you one other way
that you can do some shading.
| | 09:06 | Let's add a highlight, with the Pen tool,
I'm going to go ahead and draw a
| | 09:11 | highlight, and let's put it right here
next to the shadow, so we can get
| | 09:15 | some nice contrast.
| | 09:16 | We'll get rid of the gradient and we'll
change the stroke to the highlight color
| | 09:20 | I've setup, which is going to be this little lime green here.
| | 09:23 | We need to make the stroke much thicker,
so we'll go ahead and do that, maybe 5
| | 09:29 | points. Let's make it even thicker, let's
make it, how about 16; we'll really go all out.
| | 09:37 | I'm going to take this and move it over
a little bit and I could stand to rotate
| | 09:42 | it a bit too so it's going along the line of the skirt here.
| | 09:44 | All right, that looks pretty horrible at the
moment, but we're going to take care of it.
| | 09:49 | We're going to change the stroke to a Gradient Stroke.
| | 09:53 | So open the gradient again, and you
want to make sure that the stroke is
| | 09:57 | active, now instead of the fill and I'm
going to go ahead and change the color.
| | 10:01 | I want a linear stroke again and of
course it goes back to the gradient color
| | 10:05 | that I was just using.
| | 10:07 | Now I may want to use this gradient
color again later, so rather than switch
| | 10:11 | colors right now, I think it might be
a better idea to go ahead and save this
| | 10:15 | gradient and then I can change colors for the highlight.
| | 10:17 | So we'll click on New and we'll call
this Skirt Shadow, click OK, and now the
| | 10:25 | gradient is up here in our Swatches.
| | 10:27 | I would love to drag it down into
the group but unfortunately you can't
| | 10:31 | put swatches or patterns into color groups,
at least not in this version of Illustrator.
| | 10:35 | Now let's change this gradient to a highlight.
| | 10:38 | I'm going to drag the light green on
top of my dark green and change the
| | 10:43 | color, but this time I want the gradient to
go from transparent, to green, to transparent.
| | 10:50 | So we need to change this around a little bit.
| | 10:52 | I'm going to drag this green slider into
the center so I get green in the center.
| | 10:57 | I'm going to hold my Alt or Option key and
drag this into the center to make a copy of it.
| | 11:03 | So now I have green in the center and green on the end.
| | 11:05 | I'm going to take the end green and
change Opacity to 0, and just make sure my
| | 11:11 | white is still set to 0.
| | 11:12 | So now I've got green in the center that's
going to fade to transparent on either side.
| | 11:18 | I need to make sure that I have this selected when I do it.
| | 11:22 | So let's try that again.
| | 11:23 | I'm going to hold down my Alt or Opt key
and drag a copy of this green color
| | 11:27 | into the center, click on the end icon
and make sure the Opacity is set to 0 and
| | 11:33 | now I've got green in the center
and transparent on either side.
| | 11:37 | We need to make sure we've
chosen the correct setting as well.
| | 11:40 | We want this setting for the Gradient Stroke.
| | 11:43 | They all do slightly different things and I encourage
you to play around with them and experiment.
| | 11:48 | Right now, the one I want is this one
and you can see how the color is in the
| | 11:52 | center and it fades to transparent on
either side, so you get a nice soft edge.
| | 11:58 | Now one last thing I want to do to
this is change the Profile, as usual, so that
| | 12:08 | the edges are nice and soft and not a hard edge.
| | 12:12 | So I'm going to go ahead and put this back,
and now that I look at it with the
| | 12:17 | gradient, I can probably make it a little bit fatter.
| | 12:20 | So I'll go up to here and change the point size,
maybe to 20. I'm not loving this Profile.
| | 12:27 | I think this might be a better choice. That works.
| | 12:30 | Now that you know how to add highlights
and shadows, and blush by using the
| | 12:36 | Blur tool, let me show you what
the finished product can look like.
| | 12:39 | So here is a croqui completely rendered
with highlights and shadows using the
| | 12:43 | techniques I've just demonstrated.
| | 12:45 | I want to encourage you to play around
with some of these techniques and come up
| | 12:49 | with some tricks of your own.
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| Drawing hair| 00:00 | The last thing we need to do to this Croquis to
really finish it off right is to add some hair.
| | 00:07 | We're just going to draw the hair with the Pen tool.
| | 00:10 | And just so you know, I'm using a mouse,
not a tablet to do this. So it can be done.
| | 00:15 | I made three layers already in my layers File.
| | 00:18 | I've already created three layers and
labeled them Hair Back, Hair Mid, and Hair Front.
| | 00:23 | The Hair Back layer is right on top of the solid hair.
| | 00:27 | The Hair Mid layer is on top of the body,
but behind the face and the Hair Top
| | 00:32 | layer is in front of everything.
| | 00:35 | This is going to give me more depth when I draw the hair.
| | 00:37 | Also, you'll notice on my Layers panel,
I've changed the color of all my hair
| | 00:41 | layers to a pink to make them easier to find.
| | 00:45 | You can do that very easily by double-
clicking on the layer, dropping down in
| | 00:48 | the color, and just picking a different color.
| | 00:51 | I chose magenta for these just so I can find them easily.
| | 00:54 | Let's start with the Hair Back layer.
| | 00:57 | I'm going to grab the Pen tool and I'm going
to draw some strands of hair with the Pen tool.
| | 01:02 | So I'll just click and drag some nicely curved strands of hair.
| | 01:06 | And I don't have to worry about drawing
on top of the face or the body because
| | 01:12 | I'm in a layer behind everything, which is really helpful.
| | 01:16 | So I'm drawing a few strands.
| | 01:19 | I need to hit Enter after each strand
I draw to release the Pen tool.
| | 01:23 | So there we go, a few strands.
| | 01:25 | I don't know why these didn't go all the way down.
I dragged, but I didn't end. So let's fix that.
| | 01:32 | And we'll draw a couple on this side
and one more going this way.
| | 01:42 | I know that doesn't look very good right now, but it will.
| | 01:45 | I'm going to select all of those strands -- whoops,
and that's why you need to lock the other layers.
| | 01:51 | So I'm going to go ahead and
lock everything, but my hair layers.
| | 01:57 | There we go! So now I can select all of those strands,
change the point size to something a
| | 02:03 | little larger, maybe three points.
| | 02:05 | Of course, change the profile,
and now I need to change the color.
| | 02:10 | We'll make sure Stroke is active.
| | 02:12 | Go to my Swatches and I've picked this
slightly lighter color than my background color.
| | 02:17 | So we're going to do that.
| | 02:19 | Now on the next layer which is my Hair Mid,
I'm going to repeat the same process.
| | 02:24 | But I'm going to lock the Hair Back layer
so it doesn't get in my way.
| | 02:28 | And with the Pen tool, I can go ahead
and draw some more strands in the Hair Mid
| | 02:33 | layer. So maybe one going like this and
a couple more up here, just to get some
| | 02:41 | more variation happening in the color of the hair.
| | 02:47 | And we'll do these.
| | 02:55 | That looks pretty good, and we'll go ahead
and select them, and do the same thing.
| | 02:59 | Change the stroke to three points, change the
profile, and I've already got the right color.
| | 03:05 | And I'm going to go ahead and lock that
layer and move to the Hair Front layer,
| | 03:09 | which is the top layer of the hair.
| | 03:11 | And as I look at it, I notice I've
got this layer set up below the Features
| | 03:15 | layer which isn't really going to work.
| | 03:17 | So let's move it above the Features,
so her hair can cover her eyes instead of
| | 03:22 | being behind her eyes; back to the Pen
tool, and we'll draw a little bit more.
| | 03:28 | This time, we can draw some hair that
comes down over her face a little bit, and
| | 03:34 | I think I've made that a little bit too wavy.
So let's just soften that a little.
| | 03:39 | And the strands don't have to come all the way down.
She can have a few short hairs in the front.
| | 03:45 | So we'll do that, and have a little bit of
this hair come down on her shoulders, like so.
| | 03:57 | We'll select this, and we'll make it not
quite as thick as the others, maybe two
| | 04:02 | points and turn on the profile.
| | 04:05 | And now, I'm going to select it all,
group it, and copy it, paste in front, move
| | 04:10 | it over just a tiny bit, change the
Point Size to one point, and I'm going to
| | 04:17 | change the Stroke Color to something
really light so I can give it a couple of
| | 04:21 | highlights and really pull it out.
| | 04:23 | Now maybe I'll add one or two more
strands of this lighter color, maybe one
| | 04:27 | coming down like this; and let's do
a couple more over here just to get a
| | 04:38 | little bit of highlight on the top of
her head. We'll select them, and of
| | 04:42 | course change the profile. And that is one
way that you can illustrate hair in Illustrator.
| | 04:54 | Let me show you a finished Croquis
that I've done just a little bit more on.
| | 04:59 | And there's what the finish one is going to look like.
| | 05:01 | When you're drawing in Illustrator, the result
tends to be a little more graphic than photo-realistic.
| | 05:06 | If you want the hair to be a little
more photorealist, you can experiment with
| | 05:10 | some of the art brushes that are available in Illustrator.
| | 05:14 | The couple I recommend are the artistic
scroll pen brushes, and the artistic ink brushes.
| | 05:19 | So open them up and experiment a little bit.
| | 05:22 | See what you can come up with,
and then email me your tricks.
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10. Presenting and Sharing Your FlatsPresentation and layout styles| 00:00 | Now that we finish rendering the Croquis and
have all of our flats, we can talk about layout.
| | 00:05 | In this movie, I want to show you a couple of
options for layouts and how to execute them.
| | 00:10 | First of all, you notice I have
multiple art boards opened right now.
| | 00:13 | You can do that when you open a new
file by clicking on File>New, and then
| | 00:18 | increasing the number of art boards
before you open the file. Or, if you forget
| | 00:23 | to do that, you can always open the Art
Board panel and click on the New icon to
| | 00:27 | add an additional art board.
| | 00:29 | If you don't want that art board,
you can just throw it in the trash.
| | 00:34 | Another great little trick, and let me
zoom out so you can see this better, oops!
| | 00:40 | I need to zoom out more than that.
| | 00:46 | Another great timesaver is being able to paste
something in the same place on every art board.
| | 00:51 | So if I click on my title, I can cut,
Ctrl+X, and I can go up to Edit>Paste on
| | 00:58 | All Art Boards, and I've got my title
in the same place on each art board.
| | 01:03 | I can do the same thing with my signature;
| | 01:05 | cut, Ctrl+X and Edit>Paste on All Art Boards.
It's a big time saver.
| | 01:11 | Let's talk a little bit about background options.
| | 01:14 | There's always the option of using a solid color.
| | 01:17 | So let's open layers.
| | 01:19 | I think it's a little bit more interesting.
| | 01:21 | Instead of making the entire background
a solid color, what about using a
| | 01:25 | smaller panel of the solid color?
| | 01:27 | It makes use of negative space, and it
just brightens up the image a little bit.
| | 01:32 | Another option is to fill the small panel
with a gradient instead of a solid color.
| | 01:37 | This is one of my favorites.
| | 01:39 | It adds a little bit of movement to the page,
and I always place the Croquis
| | 01:43 | on the light side of the page where the gradient
fades out into the background of my page.
| | 01:50 | Here is another option with a
small panel in just a lighter color.
| | 01:57 | And here's a layout with a small vertical
panel that leaves room on the side to
| | 02:01 | either place your color story or your fabric swatches.
| | 02:04 | One other option for a layout is
to use a photographic background.
| | 02:08 | I've noticed this quite a bit in forecasting books.
| | 02:11 | I'm not a big fan of it because I think
it distracts from all of the hard work
| | 02:15 | we've done to draw this.
| | 02:16 | I want people to focus on my work,
not on a very busy background.
| | 02:20 | But sometimes you get really attached to a
background and you've got to use it no matter what.
| | 02:25 | Well, I have a couple of tricks.
| | 02:27 | The first option, as most people try, is to
select the background, and lower the opacity.
| | 02:32 | I'm not a fan of this approach.
| | 02:34 | All it does is wash out the background,
and now, we don't get the benefit of the
| | 02:39 | image and we don't get the benefit
of a nice background either.
| | 02:42 | It's just a washed out mess.
| | 02:44 | So I'm going to restore that to 100%. Here is my trick.
| | 02:49 | I draw a rectangle on top of the layer
that's got the image, and I fill it with a color.
| | 02:55 | Now of course that blocks the complete image,
but we're going to change the
| | 02:59 | blend mode in order to bring the image back.
| | 03:02 | Click on the Transparency panel, and
we're going to change the Blending mode
| | 03:07 | from Normal to Color, which is down here on the bottom.
| | 03:12 | It helps if you have the panel selected.
| | 03:14 | We'll select it, and change the Blending mode
from Normal to Color, and it will
| | 03:21 | recolor the background, neutralizing it,
making it more useful.
| | 03:26 | You can use any color you like.
| | 03:28 | Of course, you want to pick one that sets off your work.
| | 03:31 | You can also use a gradient overlay, and even patterns.
| | 03:37 | Although this might not be the best choice
for this particular layout, I prefer the Neutrals.
| | 03:42 | There is one other thing you can do,
and that is with the Color Overlay.
| | 03:46 | Now lower the opacity of the image.
| | 03:49 | This actually gives you a nice looking background.
| | 03:52 | So that's the option for the image.
| | 03:54 | In this case, too, I would change the
color of the text to be something a
| | 03:58 | little bit brighter because it's not showing
up on the background, maybe white in this case.
| | 04:03 | Those are a few options you have for doing layouts.
| | 04:06 | There is one more option I'd like to show you,
and it's just clean and simple.
| | 04:13 | Sometimes the white background works,
and you don't want to mess with it, but we
| | 04:18 | need to make it look a little more polished.
| | 04:20 | In those situations, I turn off the
Gradient, and I add a small pinstripe.
| | 04:26 | Then I'll take the text, and I'll move
it down so that it sort of overlaps the
| | 04:31 | pinstripe, which of course makes it difficult to read.
| | 04:34 | So I'm going to click on my stroke,
switch to the Add Anchor Point tool, and
| | 04:39 | I'm going to add an anchor point
on either side of my text.
| | 04:44 | Now I'll grab the Direct Selection tool,
click on that line segment, and delete it.
| | 04:51 | Now we have a nice little pinstripe
border with the text incorporated into it
| | 04:55 | and it makes a very professional presentation.
| | 04:58 | I hope you found these suggestions helpful
and I encourage you to experiment and
| | 05:02 | come up with some of your own.
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| Saving for print and email| 00:00 | Now that everything is laid out, the
last thing we need to do is save the files
| | 00:04 | for print or for email.
| | 00:06 | So let me show you how to do that.
| | 00:08 | You're going to go up to File>Save As
and you're going to name your file.
| | 00:12 | So we'll call this Final Layout.
| | 00:18 | Now you want to save it for yourself
as an Adobe Illustrator file so that you
| | 00:22 | can go back, and edit it.
| | 00:23 | But when you're sending it to somebody else,
you want to dropdown, and select Adobe PDF.
| | 00:30 | Now anybody can open it in Adobe Acrobat.
| | 00:32 | I'm going to click Save.
| | 00:35 | And when this window opens,
here's what you need to be aware of.
| | 00:39 | If you leave this button checked,
Preserve Illustrator Editing Capabilities,
| | 00:43 | then you can open the file in Illustrator, and edit the file.
| | 00:46 | But it also means other people can edit the file as well.
| | 00:50 | So whenever I'm sending my file to a
print bureau, or to a client, I uncheck
| | 00:55 | Preserve Editing Capabilities
so that nobody can mess with it.
| | 00:59 | I want to make sure that they see
it the way I intended it to be seen.
| | 01:03 | So you can go ahead and click Save PDF,
and it will let you know that saving
| | 01:08 | the document with Preserve Illustrator Editing
Capabilities unchecked may disable the editing features.
| | 01:14 | Yes! I'm aware of that.
That's exactly why I checked it.
| | 01:17 | So I usually check Don't Show Again, so I don't
get this message on a regular basis, and click OK.
| | 01:24 | That's all there is to it.
It's going to save my file.
| | 01:28 | It's now open in Adobe Reader where
anyone without Illustrator or with
| | 01:34 | Illustrator can open the file.
Each page is saved as a separate page,
| | 01:39 | so you can scroll through the pages
and look at each one individually.
| | 01:46 | And now you can share all your creations
with your clients or put together a
| | 01:50 | portfolio to get a great job.
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ConclusionNext steps| 00:00 | If you'd like more information on using
Adobe Illustrator for fashion design,
| | 00:04 | you can visit my website at adobeforfashion.com
and pick up a copy of my book.
| | 00:09 | There are also some other lynda.com
tutorials that are great for additional
| | 00:13 | information using Adobe Illustrator.
| | 00:16 | Illustrator CS6 Essential Training will
give you well-rounded information about
| | 00:21 | using Illustrator software.
| | 00:23 | And one of my favorite artists, Bert Monroy,
offers great courses on using Photoshop for rendering;
| | 00:29 | very inspirational.
| | 00:31 | And also, you can visit my
Adobe for Fashion page on Facebook.
| | 00:35 | I post little tips and tricks from time to time
and I'd love to see some of your work.
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