Creating clean artwork - Illustrator Tutorial

(whooshing) (gear sounds) - [Instructor] Welcome to drawing vector graphics laboratory In this movie we're going to address building clean artwork. Clean vector art that is. A viewer had shared a file one of their employees had provided as final art and they discovered that it wasn't built in a clean manner which meant it could lead to problems down the line when used in the real world. This subject matter is easier shown than explained so in this movie we're going to take a close look at building artwork that is production ready. Or maybe a better term is built clean. So let's jump into it. Now the theme for the design I'm going to create is a branding for a company called Bare Code and I drew out this bear, worked out what I was going to build before I go to build it. That is the whole premise behind drawing vector graphics. Meaning you kind of work out the shape and form of what you need to build in vector form in analog through drawing. This is a simple, iconic image of a bear and we're going to take this sketch I placed here and I'm going to go ahead an just set the opacity to about 15 and I locked the layer and I simply start building on top of it. So that's the whole premise behind building vector graphics. So you can see as I build, I build in shapes. I isolate shapes. I don't try to build everything with one continuous shape even thous this creates almost the whole motif but it's going to work better if I build the front leg, or the back leg on the front, on a separate shape. The whole reason I'm doing that is I'm going to take this shape now and I'm going to go up to Object and I'm going to go to Path and Offset Path here and we're going to do this, Let's preview 12. Nope, I think 10 is what we want, so we'll go back to 10, let's see, 10 might work, let's preview 12. and on this one, I always want to make sure Nope I think 10 is what we want. when I'm working on a style like this I do rounding. So we'll go back to 10 and on this one Not always, but on this one we're going to do rounding, I almost want to make sure when I'm workin' on a style like this I do rounding. and we'll click okay. Now that I have this shape, Not always, but on this one if I fill it in gray, and I'm going to bring it to the front, we're going to do rounding and we'll click okay. Now that I have this shape, if I fill it in gray and I have an F-key keyboard shortcut set up to bring that to the front, and I'm going to bring it to the front and with that selected I'm going to select the front leg now, and I have an F key, keyboard shortcut set up, and we're simply going to minus front or trim that shape to bring that to the front and with that selected I'm going to select the front leg now with the shape on top, and we're simply going to minus front or trim and this creates a continuity of the negative space, that shape with the shape on top. or the gap in this brand-mark, and so it matches the same styling And this creates a continuity of the negative space on the gap I have in back, or the gap in this brand mark and so it matches and that's how I create something like this, because I want it to be precise. the same styling on the gap I have in back. If I tried to create this curve by just using the pin tool, And that's how I create something like this it'd never be exact, so that's why I build it that way. because I want it to be precise. If I tried to create this curve by just using the pin tool Now that we have this, we're going to take this shape, and this is a throwaway shape. it'd never be exact so that's why I build it that way. I'm going to use this just to trim off and level Now that we have this, we're going to take this shape the footing of this character. and this is a throwaway shape. This is just one shape. I'm going to use this just to trim off We're going to clone it, Command + C, Command + F, and level the footing of this character. once again, I have a keyboard shortcut of F3 I just hit, This is just one shape. We're going to clone it, Command C, Command F, and that's what this does. once again I have keyboard shortcut of F3 I just hit I don't have to go up to the menus. With that selected, we'll select the front, and that's what this does. we'll go intersect on Pathfinder, I don't have to go up to the menus. select the remaining box, With that selected we'll select the front, and the remaining shape of the bear, and intersect that, we'll go Intersect on Pathfinder. Select the remaining box and the remaining shape and now we have our graphic almost completely done. of the bear and intersect that From this point, it's very easy. and now we have our graphic almost completely done. We're just going to use a rounding tool From this point it's very easy. that's part of VectorScribe plugin. If you want to use the built-in native rounding corner widget We're just going to use a rounding tool that's part of Vector Scribe plugin. in Illustrator, that's fine. If you want to use the built in, native I just don't use it, but you'll be able to do the exact same thing. rounding corner widget in Illustrator, that's fine. So I'll take a rounding tool here, I just don't use it but you'll and I just want to approach the head, be able to do the exact same thing. and I want to round this off. So I'll take a rounding tool here I don't want it to come to a point. and I just want to approach the head I don't want it to be like too far, and I want to round this off. so we'll go about right there, I don't want it to come to a point. I don't want it to be like too far, and you can see it shows me the analytics. so we'll go about That's because I have smart guides turned on. If I hover over, smart guides is Command + U, right there and you can see it shows me the analytics. so if I hover over an anchor point, That's because I have the Smart Guides turned on. If I hover over, Smart Guides is Command U, make sure, there we go, it'll tell me I'm over that so if I hover over an anchor point, make sure, there we go, or over a path, and that's why I like using smart guides. So I'll round that, it'll tell me I'm over that or over a path and if I select the rounding tool again you can see we have a round on this one. and that's why I like using Smart Guides. So I'll round that and if I select the rounding tool again I'm going to do the foot, because I don't want it to come to a point here. you can see we have a round on this one. Their bear claws are kind of big, But I'm going to do the foot because so we'll go and round this off a little bit. I don't want it to come to a point here. We'll do about that, looks fine, Their bear claws are kind of big and we'll just match it on the front-end of these so we'll go and round this off a little bit. We'll do about, that looks fine. using the exact same radius. And we'll just match it on the front end of these That's one reason I love this tool. I only have to pull out one that I want, using the exact same radius. so here, we'll do it right about there. That's one reason I love this tool. Then once I have one established, I only have to pull out one that I want. if I want to repeat it it remembers the last one, So here we'll do it right about there and I can just click to apply it. then once I have one established, if I want to repeat it it remembers the last one There we go. That's why I use this plugin. I love it. and I can just click to apply it. It works super easy, and it's pretty quick There we go. That's why I use this plugin. I love it. to go from basic shapes like this, It works super easy and it's pretty quick to go from, select this, and then get a nice, in this case, you know basic shapes like this, select this, we're going to be coloring this guy a blue color like that, and then get a nice, in this case and now I have a nice bear icon, we're going to be coloring this guy a blue color like that. so this is going to work well. But the exact motif that I create with this looks like this. And now I have a nice bear icon. So this is going to work well. So I'm going to incorporate this graphic. But the exact motif that I create with this, looks like this Now, this looks great. It looks precise, So I'm going to incorporate this graphic. because vector artwork is resolution-independent. Now this looks great, it looks precise I could blow this up two stories tall because vector artwork is resolution independent. and it's going to work great, but this is what I would call a comp build, I could blow this up two stories tall and the reason why I'm calling it that and it's going to work great but is because these are actually just vector lines. this is what I would call a comp build. They're masked into this shape of the B. And the reason why I'm calling it that is because these are actually just vector line. If I go to keyline view, you can see all the lines that are in here. They're masked in to this shape of the B. Visually, aesthetically, in a visual sense, it looks fine. If I go to Q line view, you can see all the lines that are in here. It captures the essence of what I want to create, Visually, aesthetically, in a visual sense it looks fine. but this would be comp art. Let me show you what clean-building this design It captures the essence of what I want to create. But this would be comp art. would look like. I'll turn on the layer now, Let me show you what clean building and you don't see any difference. That's because, aesthetically speaking, this design would look like. I'll turn on the layer now and you don't see any difference. visually speaking, they're identical. There is no difference. That's because aesthetically speaking, The only difference is, if I turn off the comp layer now visually speaking they're identical. and we go to keyline view again, this one is built clean. There is no difference. The only difference is, if I turn off the comp layer now Notice there are no strokes, there are no masks, and we go to Q line view again, this one is built clean. it's just simply shapes. Notice there are no strokes, there are no masks, It's just fills, no strokes, and this is what I mean by clean art. it's just simply shapes. This is what you want It's just fills, not strokes, when you're delivering final art assets. and this is what I mean by clean art. So what I want to do is I want to deconstruct This is what you want when what the comp art was. you're delivering final art assets. Now, comp art is perfectly fine So what I want to do is I want to deconstruct in context of showcasing direction to a client. what the comp art was. Now comp art is perfectly fine in context It doesn't have to be in the final production aspects of the graphic to do that. of showcasing direction to a client. It doesn't have to be in the final production So comp art is fine if you keep it in a edible format like this, aspects of the graphic to do that. nondestructive, if you like using that term, So comp art is fine if you keep it but all this one is, in an edible format like this, if I select this one and cut contents from this mask, non-destructive if you like using that term, but all this one is, if I select this one you can see I have all of these strokes that are copied, and cut contents from this mask, and then on this one, let's see. you can see I have all of these strokes that are copied Do I have my graphic styles? There we go, and I'll colorize that mask. and then on this one, let's see. So you can see I just have this B shape Do I have my graphics styles? There we go. that these shapes are masked in, And I'll colorize that mask so you can see and then I have the same thing going on down here, I just have this B shape that these shapes are masked in. but it's just a shape sittin' on top of the bear And then I have the same thing going on down here with white lines masked in it. Now, there's reasons why I would never want to use this but it's just a shape sitting on top of the bear with white lines masked in it. as the final art, and that's what I want to go over Now there's reasons why I would never and show you specifically why that is. want to use this as the final art So let's go ahead and jump to the next layer here. and that's what I want to go over and show you specifically why that is. So let's say you're taking the final design. So let's go ahead and jump to the next layer here. You can see the design down here. If I select it, you can see it's ready to start using, So let's say you're taking the final design, you can see the design down here, and I want to place it on a header graphic if I select it you can see it's ready to start using. that's going to go in a newsletter like this. And I want to place it on a header graphic Now, one thing that a lot of people don't realize, in Illustrator, if we go to Illustrator that's going to go in a newsletter like this. and we go to preferences and general, Now one thing that a lot of people by default, scale and stroke effects are not checked on, don't realize in Illustrator, if we go to Illustrator and we go to Preferences and General, by default, scale and stroke effects are not checked on. meaning they won't scale the strokes, and so a lot of people, by default, Meaning they won't scale the strokes when they set up Illustrator, this isn't checked, and I'm going to show you why that's a concern. and so a lot of people, by default, Because if you build in a manner like this, when they set up Illustrator, this isn't checked once again, if I hover over these and I'm going to show you why that's a concern. you can see this is the comp image with the strokes in it, Because if you build in a manner like this, once again, if I hover over these, and then down here we have the same thing, but even larger strokes. you can see this is the comp image with the strokes in it And this kind of mimics the problem and then down here we have the same thing that was showcased in the file the lady sent me. but even larger strokes. This isn't the artwork obviously, And this kind of mimics the problem that was showcased but it replicates the problem she was running into, in the file the lady sent me. This isn't the artwork obviously. and one of those problems is a scaling problem, But it replicates the problem she was running into so let's say we want to take this graphic and one of those problems is a scaling problem. and we want to bring it up here, so we'll go ahead and hover over this anchor point, So let's say we want to take this graphic snap it to the top of this insect graphic, and we want to bring it up here so we'll go ahead select this banner at the top, and hover over this anchor point, snap it to the top and all we're going to do is align left, of this inset graphic, select this banner at the top, so we position it where it should go, and then what we're going to do and all we're going to do is align left is we're going to scale it down to fit our design layout, like this, so we position it where it should go and then what we're going to do is we're going to scale it down and look what happens to those lines. to fit our design layout like this. to fit our design layout like this. You can't see those lines because those lines are still the exact same size And look what happens to those lines. And look what happens to those lines. You can't see those line because You can't see those line because when they are bigger. It didn't scale the lines in your mask, those lines are still the exact same size when were bigger. those lines are still the exact same size when were bigger. and that's why it's a problem. So if I undo what we did in terms of scaling, It didn't scale the lines in your mask It didn't scale the lines in your mask and that's why it's a problem. and that's why it's a problem. let's go back to the preferences, and general, So if I undo what we did in terms of scaling, So if I undo what we did in terms of scaling, and we're going to lick on scale, lets go back to the Preferences and General and now, if we scale this, it'll scale everything proportionately and we're going to click on Scale and we're going to click on Scale and retain those strokes. and now if we scale this, it'll scale everything and now if we scale this, it'll scale everything But that's one problem you could run into if you send this logo file, proportionately and retain those strokes. proportionately and retain those strokes. if you consider this final art and send it to a vendor, But that's one problem you could run into But that's one problem you could run into if you send this logo file. they might scale it and it messes it up, if you send this logo file. If you consider this final art and send it to a vendor, but they don't know to pay attention to that because they didn't create the graphic, for example. they might scale it and it messes it up they might scale it and it messes it up I've actually see illustrations run in magazines but they don't know to pay attention to that but they don't know to pay attention to that because they didn't create the graphic for example. because they didn't create the graphic for example. and I'm lookin' at it going, why'd they make the stoke like, why is that so big? I've actually seen illustrations run in magazines I've actually seen illustrations run in magazines and I'm lookin' at goin', and I'm lookin' at goin', and then I realize, oh, why'd they make the stroke like, why is that so big? why'd they make the stroke like, why is that so big? it's because they have that preference isn't clicked on, And then I realize, oh it's because they have, And then I realize, oh it's because they have, so that's one problem you can run into. But let me show you another issue that preference isn't clicked on. of why you wouldn't want to build this way So that's one problem you can run into. or deliver final art this way. But let me show you another issue So above is what I consider clean build, of why you wouldn't want to build this way these are just shapes. or deliver final art this way. You can see that when I select it, So above is what I consider clean build. So above is what I consider clean build. the bounding box snaps to the very outer edge on all four sides, the same with the horizontal version, These are just shapes. These are just shapes. You can see when I select it, You can see when I select it, the bounding box snaps to the very outer edge the bounding box snaps to the very outer edge and below is what is a comp build, on all four sides, the same with the horizontal version. on all four sides, the same with the horizontal version. so if we select the top one it'll snap to all four sides And below is what is a comp build. And below is what is a comp build. and it looks like it's the same type of graphic So if we select the top one, it'll snap to all four sides So if we select the top one, it'll snap to all four sides as the one above, but lo and behold, it isn't. and it looks like it's the same type of graphic and it looks like it's the same type of graphic If we hover over these, you can see these. as the one above, but lo and behold, it isn't. as the one above, but lo and behold, it isn't. So it'll behave like a regular one, but it really isn't. If we hover over these, you can see these. If we hover over these, you can see these. It's a comp build, and the same down here. So it'll behave like a regular one but it really isn't. So it'll behave like a regular one but it really isn't. It'll behave like a regular one, but if we hover over these, It's a comp build, and the same down here. It's a comp build, and the same down here. you can see these lines coming up. It'll behave like a regular one, but if we hover over these, It'll behave like a regular one, but if we hover over these, Now, I'm going to bring up the asset export panel, so we're going to go into here and open that up, you can see these lines coming up. Now I'm going to bring up the asset export panel. and I'm going to just bring this right over, So we're going to go under here and open that up. So we're going to go under here and open that up. let's see, we'll just place it right about there, And I'm just going to bring this right over, And I'm just going to bring this right over, and you can see I've already dragged let's see, we'll just place it right about there, my clean-build one in here. let's see, we'll just place it right about there, That's what makes up clean one. and you can see I've already dragged and you can see I've already dragged I've druggen over my clean-build two here, my clean build one in here. my clean build one in here. I've taken the comp one down to here and drug it over, That's what makes up clean one. That's what makes up clean one. I've drug in over my clean build two here. and now we're just going to do the same thing I've drug in over my clean build two here. for the second comp one, I've taken the comp one down here and drug it over and we'll name this comp two, like that. and now we're just going to do the same thing and now we're just going to do the same thing for the second comp one and we'll name this comp two. for the second comp one and we'll name this comp two. And now, my settings on this, I'd want these high-res, Like that. so we'd do 350 PPI. And now my settings on this, I'd want these high res, None is fine. We don't need that, and we want the highest quality JPEG, JPEG 100. so we'd do 350 PPI, none is fine, we don't need that Now, when I export these images, what am I going to get? and we want the highest quality JPEG, JPEG 100. Well, let's take a look at the clean export. Now when I export these images what am I going to get? Here's the actual, physical images exported at these settings, Well, let's take a look at the clean export. and you can see it still snaps to those edge Here's the actually physical images just like the vector art does, exported at these settings and you can see and the horizontal version still snaps to the edges it still snaps to those edge, just like the vector art does. just like the source vector art does for that as well. And the horizontal version still snaps to the edges But if I turn on the comp export just like and I click on this one, the source vector art does for that as well. notice how it takes into account the hidden-mask items. But if I turn on the comp export and I click on this one, notice how This is one problem with trying to use a comp build as final art. it takes into account the hidden mask items. You're going to run into problems like this, This is one problem with trying and it's even worse when it comes to the horizontal, to use a comp build as final art. because as you get to the far right of these masks, You're going to run into problems like this. And it's even worse when it comes to the horizontal you can see how far it extends to the right and bottom of this graphic, because as you get to the far right, so what you end up here on the right-hand side these masks, you can see how far it extends is a lot of dead space that's floating around this graphic. to the right and bottom of this graphic. So what you end up here, on the right hand side, And there's no way around it. is a lot of dead space that's floating around this graphic. Hopefully, at some point, the engineers at Adobe will improve asset-export And there's no way around it. Hopefully at some point the engineers at Adobe so it ignores unseen mask items, but right now it doesn't. will improve asset exports so it ignores And actually, if you just copied this image or this image unseen mask items but right now, it doesn't. into Photoshop to create it that way And actually if you just copied this image or this image before asset export even existed, you'd run into the same problem. into Photoshop to create it that way So that's another reason why you don't want to build that way. before asset export even existed, you'd run into the same problem. Specifically for final art, So that's another reason why you don't want to build that way. you want to build clean and deliver clean, not the comp. Specifically for final art. The comp's fine to present to a client You want to build clean and deliver clean, not the comp. to get approval, to get sign-off, that's perfectly acceptable. The comp's fine to present to a client But final art should always be built clean. to get approval, to get sign off. So that's asset-export problem, That's perfectly acceptable. I just wanted to show you that. But the final art should always be built clean. So let's go ahead and take a loot So that's asset export problem. at the comp build again, I just wanted to show you that. and once again, this is going to work fine for comps, So let's go ahead and take a look at the comp build again. but you'll want to build this out clean, And once again, this is going to work fine for comps and it's not hard to do, by the way, but you'll want to build this out clean. so actually, let me just show you how I would build a part of this out clean. And it's not hard to do by the way. I'm not going to do the whole one. So, actually, let me just show you how We're just going to drill down to this B, right here, I would build part of this out clean. that has these in it, I'm not going to do the whole one. and we'll go ahead and cut contents like we did originally, We're just going to drill down to this B right here deselect that, we'll go to, that has these in it and we'll go ahead and cut contents like we did originally, de-select that. let's go to graphic styles, color that mask shape, We'll go to, and what we're going to do is we're going to select these, let's go to Graphic Styles, color that mash shape, go up to object, and we're going to go down to expand. and what we're going to do is we're going to select these, That'll bring this up, and we're turning these into shapes. go up to Object, and we're going to go down to Expand. Now, if we go to the appearance panel, they're just a group, That'll bring this up and we're turning these into shapes. so we'll want to go down to Pathfinder and unite these. Now if we go to the Appearance panel, And if we go here it's still going to be a group, they're just a group so we'll want to go down to Pathfinder and unite these. so we'll want to change it into a compound shape, like this. And if we go up here it's still going to be a group Once we have that, then we can select the B, so we'll want to change it into a compound shape, like this. and this shape, and then we'll go back down to Pathfinder Once we have that, then we can select the B. and we'll go, intersect. And this shape and then we'll go back down to Pathfinder Once again, it's going to revert back to a group, so we'll want to change that to a compound, and then we'll go Intersect. Once again it's going to revert back to a group and get rid of the outline, color it black, so we'll want to change that to a compound and that's how you'd build it clean. And you'd want to do that for the other areas, and get rid of that one, color it black, like the white lines and that's how you would build it clean. and in this rectangular shape down here. And you'd want to do that for the other areas You'd want to use the same methodology to build that out. like the white lines and in this rectangular shape down here So what you end up with is clean artwork like this You'd want to use the same methodology to build that out that has everything built out as independent shapes. so what you end up with is clean artwork like this, There are no strokes, there are no masks. that has everything built out as independent shapes. This is ready now for pre-press. This is ready to hand off to a vendor, There are no strokes, there are no masks. and you're guaranteed This is ready now for pre-press. to get the reproduction quality you should expect This is ready to hand off to a vendor when delivering final art. and you're guaranteed to get the reproduction quality It should always be clean builds you should expect when delivering final art. when you're delivering final art. And on a graphic like this, building it clean means It should always be clean builds it's a lot easier to use it in other ways, when you're delivering final art. And on a graphic like this, building it clean means such as placing it on a colored or dark background. it's a lot easier to use it in other ways It'd be a lot harder to do that such as placing it on a colored or dark background. and to do it well with the comp build. So hopefully this helps you It'd be a lot harder to do that as you move forward on your own projects, and to do it well with the comp build and when creating comps, so hopefully this helps you as you remember, to get something visually approved, move forward on your own projects a file can be somewhat messy and when creating comps, as long as it communicates the intended design for approval. remember to get something visually approved a file can be somewhat messy as long as it But once approved, the designer should spend the necessary time communicates the intended design for approval. producing clean artwork that is production ready But once approved, a designer should spend so it's guaranteed to reproduce accurately the necessary time producing clean artwork in the real world. that is production ready so it's guaranteed So I encourage you to deliver clean art to your clients and vendors. to reproduce accurately in the real world. They'll appreciate your attention to detail So I encourage you to deliver clean art and you'll run into less hassles to your clients and vendors. regarding your delivered art files. They'll appreciate your attention to detail Thank you for watching DVG Lab, and you'll run into less hassles and as always, remember, never stop drawing. regarding your delivered art files. Thank you for watching, DVG Lab and as always, remember, never stop drawing.