Skill Level Intermediate
- [Narrator] Welcome to Drawing Vector Graphics Laboratory. In this movie we're going to use some nice textured resources to shade our design. Now the process isn't hard it just requires attention to detail, so let's get started. Once again, it all starts with drawing, now in this case, this is a symmetric drawing, so I only had to draw a half of it, take it into Photoshop, and that's where I'll just clone one side, flip it over to create everything I need to build from, so that's how I created this little motif of this owl and so I'll just place it inside of Illustrator, set the opacity, lock the layer so it won't move, and then, on top of it, I start building.
Now the first thing I'll build on an image like this is the simplest shapes, the things I don't need to touch, the pen tool, such as the top of his head, all the shapes that make up the area around the eye and the eye itself, and other arches, like the top of his claws, right here are his feet, right down here. Now one other thing I want to bring up and I've showcased this a few other times in several other movies is a plugin for Illustrator that is absolutely free so there's no reason not to use this, it works so easy, and that's called SubScribe, is the name of the plugin, by Astute Graphics, so I'm going to demo how I use it on a project like this.
So let's go ahead and zoom in on the breast kind of the breast area of this bird, his chest, and how do I form those shapes? Well I'm going to go to a tool in SubScribe, this one right here, it's called circle by two or three points, you could tell an engineer named that, but, it works really, really well and once I understood how this works we're just going to create more shapes kind of like this one but we're going to use this tool instead of the ellipse tool because it's going to be so easy.
So let me show you how it works. So I want to create all these curves that make up the chest area of this bird. So what I'm going to do is click once to establish where it starts, click the next one, and this term, it'll be the tip of this feather right here, click and pull, and you can see how it just allows you to form whatever curve you need, and that's going to work, so we'll let go, like that, and then, I'll go off of this anchor point, because we have smart guides turned on, you can toggle those on and off by going Command + U, so we're going to make sure we start at this anchor point, click once, click here to where it comes to a point, and then, once again, pull out until we get that nice subtle curve, then I'll do the same thing here, click once.
Go to the apex, the center point of this shape, and we'll do that. Then, the next thing, all I need to do is select the first and second one we created, intersect it with Pathfinder, shown here, then, I'll take this shape, with the other shape selected, and I'll go ahead and fuse those two shapes together like this. This is where you can just pull this one out like this and so we have almost everything needed to make a shape. We're going to create one shape, center it on that guide like this, select the shape we made with SubScribe, intersect it to get everything we need here, clone this, Command + C, Command + F, or if you use keyboard shortcuts, F3, find the central anchor point using the reflect tool to reflect it over, select these two shapes, and, go ahead and combine those two shapes together using Pathfinder, and then, we'll, just to clean it up, just so it cleans up the top here, we'll just trim off the top with a throwaway shape like that and that's how fast it is to get that and I didn't even have to use the pen tool that's why I use this method a lot, it just makes the process faster.
I'm going to do the same thing with the overall shape of his body, as well. I'll just go ahead and find this point, it comes to a point, and this is the easy way to discern building, anywhere in your design motif that comes to a point, a corner, if you will, that's where it gets a point, so that's where we'll place our first point, and then this comes to a point here, so we'll go down here, just like this, and then I'll go ahead and bend this to exactly the right angle, that looks right to me, let go, I have what I need, I'll clone it, Command + C, Command + F, or F3 if you have keyboard shortcuts, go to the reflect tool, find the central anchor point, reflect that over, select both of these, and then intersect them with Pathfinder to get the body shape I need.
Now I don't need this whole football shape that's created I just need it up to a certain point and I think right about there is going to be good enough. And I'll select that shape, lop it off, and that's how quickly you can start building the base shapes. Now, I'll use that methodology I just showed to create his feet, the other area on his feet, and it just makes the whole process go faster. So let's go ahead and move to the next layer, here, and you can see how I've created that with the feet so I have the feet created, I've created the wing over here, and in this case, I didn't bother to actually flip it because you can just focus on building half of your design because the top of his head was a circle, I just lopped off the bottom part, and actually, the only two shapes in this entire motif that I actually used the pen tool on were his brow, I guess that's what you call it, the feathers above the eyes, I guess, we'll call that a brow, and, on his wings itself, those are the only areas that I used Bezier curves.
And, on this one, you can see, it was pretty simple, I just put one point here, one point here, and just adjust the Beziers to get that nice, subtle, elegant curve, but that's how I created it. All we're going to do now is we're just going to select the shapes that we can reflect and that'll be all of these, plus, all of the eye shapes, and his beak, and now, with all these selected, we're going to clone this, so Command + C, Command + F, then we're going to go to the reflect tool, find a central anchor point, top of the head is perfect, and reflect all of those over, and now we have all the shapes necessary.
So all it takes now is just combining them together, fusing them together using the Pathfinder and add to shape function here, and we'll go ahead and do that with the chest now, and what we can do at this point, is, I'm always... By the way, I should point out, that, as I'm building like this, when I get to certain points, specifically like this one, I want to keep this shape because I might come back to it later and use it for other purposes such as creating my detailing on the inside of the wing which I will be doing, and so in that respect, I want to jump up here on the layers and just talk through some, let's go ahead and turn this layer off really quick.
I have this layer called X, and that's where I keep things, as I build, I'll move copies of those shapes up here and I do that so I can go back here and harvest stuff whenever I need it, and you can see I've done this as I've built out this project so I could go back and get these isolated shapes are going to help me create the interior of the wing so I just wanted to point that out because that is how I work progressively as I move forward but once I have all these shapes together I can select its main body, its wings, these can all fuse together, kind of like that, and then I can get rid of anchor points I don't need by using the remove anchor point feature right there and you can see how I can get pretty much everything I need.
I'll go in here, and select the brows, and use Pathfinder to create one cohesive shape there and then this is also where I'll take shapes such as the eyes, and the chest, I'll fuse those together to start creating my final base art. Now I'd want to clone the brow, here, we'll Command + C, Command + F, and then go in, and start editing on the eyes, you know, just to get the essence of the shapes needed to start colorizing that, and like a good cooking show, I kind of have all that set up, so here is just that, all the essential shapes ready to start coloring, ready to start working out how the color's going to apply to this and I have a tonal family set up here to do just that.
So let's go ahead and just zoom in on the areas we're going to focus on which is his body, and all the details, we're going to select this, he's going to be kind of this base blue color, and these are all the base colors on top, this blue, this lighter blue, this gold, and white, here, and so we're going to just start coloring him, his breast or chest area is going to be this blue and I've also... I've taken this shape of his chest, sized it down, lopped off the top, and created this area, which is going to end up being part of the detailing on more feathers on his chest, so it wasn't just big, flat area.
And so that's how I created that shape, we'll color that blue, we'll go ahead and color his beak gold. This is going to be the same blue and this will be the same blue as the body. This will be the same color as the beak. Inside of his eyes, black, and of course, these will be white with no stroke and his tail will be the same blue color. Now, you notice, I built all these pieces separately but once we color it, they all kind of fuse together, and that's where adding some textured shading is going to kind of separate these segments or separate these areas out and improve the overall communication of the image and add a really nice aesthetic to it.
Now before we do this, when I create vector art, you can notice, like, on his brow area, here, the feathers that make up his head, when they come to a point, vectors can get really sharp, and so what I like to do, is I like to go in with the rounding tool, I like to use dynamic corners from Astute Graphics, if you want to use the widget corner tool in Illustrator, you can do the exact same thing, I just find it easier to use this tool.
And I'll just go in and I'll just round off these corners just so it's not... It's more approachable, it's more human, and I'll do that on any points that come to a really sharp point, I'll just go in here and round these, even on his wings, just because, overall, it's going to improve the aesthetics, so that's what I've done here, we have all of these nice rounds added to the vector art and I think it looks a lot better, specifically, if we zoom in on his beak, you can see how I've added around here, and around on the base of where his brow comes down as well.
So I think that's going to improve the overall aesthetic. Now, here's the fun part, this is what we've been leading up to and that's using these textured resources, and all this is, is let me go ahead and zoom in, is this is just a grainy looking texture, this is all vector based, and, the one thing about it, is if I select this and clone it, Command + C, Command + F, and I slide it over, and snap it to the other side, notice it seamlessly repeats.
This is actually a texture brush that I created for doing shading, and we're going to... But I wanted to point that out because we're not going to actually use it that way for most of the shading we're going to do it by hand because sometimes it's just easier to handle it that way but I will show you how to set up a brush and create a brush, so we're going to do that now, because it's super easy, you can see I have a couple built already, but we're going to take this brush, specifically, drag it over, and let go, this window's going to pop up, we're going to select pattern brush, we're going to click OK.
Illustrator tries to create art for you through a default, making a corner, we don't want that, so we're going to turn that off. All we're going to focus on is this straight one. We're going to change method to tints, this will allow us to colorize it and stretch to fit's fine, all the other defaults are fine, you just have to give it an original name so I'll call this one texture shading shape or brush, actually, brush.
There we go, and we'll click OK, like that. So now you can see we have that brush showing up here and we're going to come back to that later because now we're going to focus on just using the assets as they are. We're going to turn on this layer which is a masking layer and remember when I said, "I like to save shapes as I go along"? Well this is why. We're going to go ahead and select a few of these resources, I'm going to select this one, and just drag it over, and then I'm going to zoom in on this right area, we can go and zoom in a little more on this right wing of this owl we're going to bring this texture up and I like to make a copy of it so I can go back to the original orientation whenever and all I'm going to do is I'm just going to rotate this.
And, using my... This is going to be a mask, so using this mask as a guide, I'm just going to align my texture to create a nice little rim shading to define this edge that the mask is revealing right there and that looks pretty good, so I'll take this one, clone it, Command + C, Command + F, and I'll just rotate this, and I'm paying attention between the highlight of the shape I have selected, and this kind of body shape line going down here, and I'm doing that because I'm going to now position the shading down here, and, that, you know what? That looks pretty good, maybe rotate a little, now, when you rotate, if we go over here, click on rotate, see this little kind of registration mark in the middle? That's orientation, that's where it's going to rotate the shape from.
Now if you hold option down, and wherever you click, you can change where the rotation goes from, we're going to click here, and you can see how it changes that. And now, with that changed, I'm going to go ahead and rotate this based off of that location, and I just want to taper it just a little so it gets a little thinner as it gets down like that and I think that looks pretty good. So, at this point, I'm going to select this shape, I'm going to select this shape, and I'm going to unite them together into one shape like this and notice when you do this, if you go to the appearance panel, it's a group, in order to edit it the way we want to, we're going to have to turn this into a compound.
Now I have that set up is as F7 so I could hit F7 right now and you'd see this change to a compound path but if you don't have that set up you just go to compound, make, notice how I have F7, and click that, now it's a compound, and now, all I have to do is select this shape that I used to align that texture shading, select that, and I'm going to go ahead and select this shape now, and I'm going to intersect it, and that reveals...
It'll go back to a group, so I'll hit F7, to create a compound again. Now on this one, what I'm going to do, is I'm going to go back to layers, and I want to turn on my tonal family. We're going to colorize this the same dark colors so we have the base color, this can be a dark color, so I'll go ahead and select that, and you can see how we've created that nice interior detailing for the inside part of the wing. Now I'm going to repeat that in other areas of his wing and so that's why I shave additional shapes to do just that as we move forward.
But I'm going to do a couple more of these but this is the process we'll use for everything with the exception of one thing, which I want to show you, and that is how to use a brush to get certain curves because not all of these curves of these resource textures, these are pretty subtle curves, and we might want to create one, we'll go ahead and do the one down on the bottom by the tail. I want to get a curve down here and none of these are that tight so what I'm going to do is I'm going to go over to shape, select elliptical shape, and go ahead, and select a central anchor point and I'm going to draw a path kind of like this, we'll go ahead and change it so it's just a...
Just a path like that, and now, I'm going to go over to brushes, I'm going to select this, oops, select that, and I'm going to apply one of our brushes and you can see how it puts... This is going in the direction where the texture's on the outside, I've also set it up where I have one where the texture's on the inside. Now, all a pattern brush is doing is taking vector art and distorting it around a path so you can break it, you can size it in such a way that just doesn't look that great.
And the way you can control the size is by controlling the weight. If you go up in size of the path that texturing is going to go up, we won't want to do that, we want to keep all this kind of the same sizing, and on this one, I think doing it a sizing like .85 is going to actually look better and then we're going to colorize this that same dark color we've used up here, like this. And we're positioning it behind this body color because it's just to be the shading on the bottom of the tail.
We can distort the path, and it will distort the texture, but usually it's pretty forgiving and I think that looks pretty good. So what we're going to do is we'll go to object, and we go expand appearance. And we're going to go to... Where are we at? We're going to go to Pathfinder and we're going to go to unite. And that makes sure it cleans up the image 'cause sometimes, if I Command + Z, you'll see how...
Where these brushes hit each other on the edge, as soon as you unite, you can get rid of most of that, most of the time, sometimes, not all the time. And, on... The next thing we want to do is go to appearance, it's a group, so we're going to change that to a compound path, and then all I'm going to do now, is I'm going to select the tail shapes, select this shading shape I created, intersect it. Once again, make sure it's a compound, then, I'll take this body shape, and I'll take the shading shape I created, and I'll trim that off so all we're left with is this nice bottom area with the shading.
Now this is actually too dark so I want to adjust the shading. I don't want it to be this dark so I'd select these, and I go multiply, but the value I'd change, to like, about, 40. So it's there, but it's not quite as obtuse as having it as dark as we want. Now this methodology is going to work the same for doing highlights, as well, so let's do one more, and we'll bring this one over here.
And I'll select the brow. And we'll go ahead and align this centrally, we'll move this down. And you can see this isn't working that great for the brow, either, so why don't we do this. Instead of doing it via the shape we'll do it via the pattern brush we created, and that looks pretty good. Let's see, we'll go to graphic styles, like that, I'm just trying to get that same curve that we have in the brow, right there, now we're going to go to our brushes, apply that.
There we go, that's the correct one. We're going to size this down just to make it look better and sometimes, just to make it easier to align, I'll pull it out, then I'll pull it back in. And in this case, I think we do want to re-color it so we can see how it's aligning with the shape. That looks pretty good. So, probably pull this in like that. That looks good, and now, go to object, expand appearance.
And then, we'll go to Pathfinder, unite. Correct the compound path. This is actually going to turn white, it's not going to remain this color, we'll take the brow, select this shape, intersect it, make sure compound is intact, get rid of the stroke, color it white, and, in this case, we are going to adjust the transparency because I don't want the value 100% white obviously.
We'll do 30, and that's how we create a highlight there. So that's the methodology I'm going to use here to create all the detailing, and what's really going to help, though, is using the different masks to create the different detailing so when I'd want to create more detailing for underneath the eye, or underneath the brow, or on the interior of the wing, the other shapes, I'll go to these masked shapes that I've created and they'll guide me to help do the same type of detailing on the other areas, now, when it's all said and done, you can get some pretty amazing detailing going using these textured resources.
So here's all the textures applied, if I zoom in, you can see how I pulled off the interior, the masking, shapes, and the texturing to create all the detail on the inside of the wings, on his chest, on his feet, on each side, and by the way, all you have to do is create one side, flip it, and create the other side. Now the one... A few things that might not be clearly apparent here, so I'm going to kind of pull this apart, is I have this shape, and I just wanted to show you how I created that, is I just created one textured circle using the brush and punched it out of a copy of the background shape.
Now the reason why I did this, let me put it back in context, is because it gives volume to the overall body, and I kind of did the same type of thing on the inside of his chest, where if I pull this out, all this is, is a white shape, sitting on his chest, so the detailing on these feathers is just the same color, but because it's sitting on a tint of white it acts as a different hue, so, lots of flexibility and forgiveness with this style, and, with this one, I locked it up with some nice type, I even used some of that same detailing on the type itself just to pull the two together and make 'em marry together well.
And now the very last thing I want to kind of turn on here is the thing that brings a design like this to life and I initially, if you look at my original sketch, it wasn't in my original sketch, but it really does help just to add what I call the dots of life and that is the reflection on the eyes, that pulls everything together, so, a fun project, a fun resource to use in your own illustration and design. This type of texture shading works well even in an iconic format when used sparingly, so, give these resources a try for yourself, and see if you like the look and feel you can achieve.
Remember, if you have a question you'd like to see me address in a DVG Lab movie, then email me at question@DVGlab.com. Thank you for watching DVG Lab, and remember, never stop drawing.
Q: Why can't I earn a Certificate of Completion for this course?
A: We publish a new tutorial or tutorials for this course on a regular basis. We are unable to offer a Certificate of Completion because it is an ever-evolving course that is not designed to be completed. Check back often for new movies.