Skill Level Intermediate
- [Instructor] Welcome to Drawing Vector Graphics Laboratory. In this movie, I want to show you how you can achieve a very realistic, hand-painted quality to a design project. It's simple, fun, and a very adaptive workflow for any type of client, so let's jump into this and get started. Now, I'm inspired by a lot of different things. When it comes to music, I have a very eclectic taste in music. Everything from jazz, blues, Gregorian chants, I even like listening to those at times, but I also like classical, and classical is what inspired this DVG Lab movie.
So I was listening to it and it gave me an idea to take a bass violin and create a graphic using it, and then I thought, oh, it'd be nice if we could use the Painterly brushes we used in my DVG painting with vectors course, and so that's what we're going to do here. Now, I don't know much about instruments, and you're going to see this, 'cause I don't know what certain parts are called. I probably should have researched this a little bit. But that's okay, I'm just creating the aesthetic of what a bass violin looks like, and to get that vibe, to understand the reference, I have to look those up.
Everybody goes to the same place, Google, do to some reference researching, to look at what the real thing looks like in order to draw from it, and that's what I did here. I created what I would call a gesture drawing here. Now, a gesture drawing is nothing more than capturing the essence of motion and emotion in a piece. Now, this is an inanimate object, so I gave it some curve and gave it a little motion with some art and flair of the lines, how they're curved, how they bend around, in order to be more artistic with this gesture drawing.
But this is the basis on which we're going to build our vector artwork. Now, before we do that, before we start applying brushes, I want to quickly review how to create a brush. Now, when you create a brush, I create mine by taking simple black acrylic paint, paint it out with, actually, a really bad brush, in terms of a cheap brush, go down to a paint store and by their cheapest small brush and use that, because the bristles are going to flare and it's going to look really lousy to paint, like, a wall, but it's going to work great for brushes, 'cause it creates textures like this.
Now, I scanned these in at an insanely high resolution, 1200 dpi, and then I image trace them. And I'm more concerned about authenticity than I am about optimization. These do have a lot of anchor points. We're talking about 40,000 anchor points in this one vector shape right here, so they're not small, but that's okay because we don't have to deliver our art in an editable format with these intact, we can rasterize it in order to produce the final art.
So as long as we can create it, we can do everything we need to do. So to create a brush, I'll size it down to a size I want to use it at, and this would be this one. We'll open up the brushes palette here, I'll tuck this over here. And I'm simply going to take this brush, drag it into the brushes palette, it'll give me an option of what type of brush I want to create, I'll select Pattern, I'm sorry, I'll select Art Brush, not Pattern Brush. And I'll click OK, and then it'll give me this, and I'm going to call this one Painterly10.
We'll leave everything else default except the colorization method we'll change to Tint. This will allow us to change colors, and we'll click OK. So that's as easy as it is to create a vector-based, in this case, a Painterly-style brush. Now, if you have a vector path already in place, this one's colored pink, but let's go ahead and color this blue and then click the brush and it'll apply the brush to our path. That's how it works. Now, we can always select this and change the color, maybe we change it to green, and maybe we want it larger, so we'll double it to two points.
To control size, you control the size of the stroke, controls the size of the brush. The color of the stroke controls the color of the brush, and every other type of setting, such as transparency, and blend modes, et cetera. So we can go ahead and delete that. I'm going to go back to this blue, I kind of like that, and I'm going to grab the paintbrush tool. And with this brush selected, we have blue loaded, think analog here, you have paint loaded into your brush, and we can simply paint out whatever it is using that brush.
That one's kind of wonky, let's try it again. Do one a little more elegant, that's a little better. And we can also change the color on the fly with these selected, so we'll change it, let's go to a more gold color. And I'm going to go the opposite way here, and I'll go over the top of this like this, and when I do that I can also select Multiply and you get some cool effects here. So you can have Multiply loaded before you even paint it and it'll load that blend mode as you paint it.
So that's the very basics at creating your own vector brush and utilizing your own brush. So I encourage you to try creating your own, they're a lot of fun. And once again, if you want to know more about using these type of brushes, definitely watch my Painting with Vectors course, because I dive into it really deep. We're going to go back to our vector art here, which once again is based off of our refined sketch. Now, this is the type of vector art that anybody watching this movie can create.
Actually, I would argue that anybody watching this movie can draw this, this is not hard to draw. Gesture drawing is just that, a gesture of the real thing. So practice it. The more the practice, the better you get, and then build it. This is the simplest of all vector building, just simple strokes. We're going to select all of these strokes, we're going to colorize them black, so now they're black strokes. And now we're going to go ahead and apply brushes to them. We'll start off with the neck here.
I think that's what they call it. By the way, I'm going to use terms that may not be true of what the instrument is, but we'll go ahead and apply this brush to it. Once again, you can control the size by controlling the size of the stroke. This is way too big, I'm going to knock it down to .3. I like working in points and thinking in points, it tends to work better for me. If you need to zoom in to see if you're picking a brush that's going to work well, you can zoom in, select your path, and on this one, maybe we go with this, that's way too big.
We want to cut that back by half at least. We'll go to .4, that looks good, select this guy, and this one, we'll go down, we'll do that. Once again, way too big, and so we'll do this by a fourth, that looks really good. We'll go down here, we'll select this one, and okay, I like the brush, once again, too big. We'll knock down the size, and we'll do this one.
This one. Nah, I think I'll, ooh, I like that, but once again, it's too big, so. This is all aesthetics, this is all your personal preference, your creative prerogative to figure out which one you think works best. So there is no right or wrong here, it's just whatever you think is looking and feeling the way you want it to. Actually, I think that's a little big, let's go a little smaller. That looks good.
Select this, and let's see. I'll try that, and adjust the value. So this doesn't go super fast, but it's not going to take you long to figure out, and you don't want to rush it. Just take your time, figure out what's going to work best, size it so it looks natural. You don't want something this big. The continuity of all the brush work isn't going to look right if one is huge and all the other ones are small, so you need to pay attention as you do this, but it's not distinctly hard.
This is something anybody can do, and once you have brushes collected, it's easy to apply them like this. Now, I could've tried to paint this out with the paintbrush tool I showed you, but I really wanted to define my form and shape of the, let's call it a spine, on these brushstrokes. So it retained that exact form of the bass violin. That's why I'm doing it that way. Some of you might have thought, well, why doesn't he just paint it? Well, because I have a little more control doing it this way and I know exactly the look and feel I want, and this is going to help me get it.
And then these little crossbars, I don't know, crossbars, is that what they call them? I'm not sure. Bridges? That sounds familiar, maybe that's what it's called, I don't remember. We'll go, a crown? Maybe it's a crown. I don't know, I'm using all these metaphors thinking I know what I'm talking about, and I really don't, 'cause I don't know anything about musical instruments. And all I know is these are holes in the top. I have no idea what they are, but we're going to use a different kind of brush here.
We're going to use a line width brush up here, and these are simpler and finer, so when we size these down, we'll do it by half, I think that's, okay, that looks really nice. We'll select this one, and on this one, we'll do the same one, and I'll go ahead and size this one as well. That's looking good. We'll do this one, don't want to use the same one. Let's try two, and we'll go .3, and that looks pretty good.
So you can see how quickly that goes, and if we zoom in on any of these parts, we're going to have a very authentic-looking design, and you can see we're at an insane ratio of 1500%. We could even go further, push it up to 4000%, and it still looks very, very authentic, because we're not caring about over-optimizing the brushes. We want the aesthetic to be authentic.
We want authenticity over optimization. And I know that may be a little crazy, but in my opinion, in an age where hard drive space is next to nothing and RAM isn't as expensive as it used to be, why not, go for it. So now we're just going to use a tonal family we've established to go ahead and colorize this, so let's go ahead and zoom in just a little bit on this and we'll go ahead and colorize this. All the ones on the right, I want it to be this purple, and all the ones on the left, I want it to be this kind of teal color here.
I want this stroke on the left to be teal, but I want the value to be knocked down, so we'll do 50, this one will be purple as well, but the value needs to match the other side, so we'll do 50 like that. And then the other ones, we're just going to balance out the colors throughout, so on these, I think, both of these, I will make these teal. This one, I think I'll make orange, make this one orange, and the footer, pedestal, whatever you call it, I'll make all these orange.
I want this one, probably the gold, let's try that. Yeah, that looks good. I'll select this line and maybe this one to be the orange too. And then this one is going to be this pinkish, kind of reddish color. Now, I think this is looking really artistic and really fun and really authentic. Now, on something like this, you could select a shape, you could go to a transparency palette and select multiply, and what you're going to end up with is even more kind of transparency effects.
That one's pretty subtle, let's go ahead and undo that one. We'll select this one, and I'll show you on this, 'cause this one will be a little more obvious. You can see how you can get some great effects if you do that. Now, on this specific design, because of the way I'm going to use it, I'm not going to do that. But we now have the base artwork that I can move forward and create a compelling graphic design using a very artistic illustrated image, and that's exactly what I did here, and this is a poster or a banner that could hang from a ceiling utilizing this Painterly graphic of a bass violin, and if we zoom in on this, you can see I've even added a nice little drop shadow of it and it overruns this color up here and it looks really, really nice.
Now, I chose to use this kind of base paint color, but maybe it wasn't the best color choice, so, oops, I shifted that around. What you can always do is select it, and it's really easy to mess with an illustration in a composition like this, so I might change these colors and just select a color palette that's more traditional for, in this case, it's the Seattle Symphony, so the Seattle area is called the Evergreen State, so I think if we changed everything, in this case, that is this paint color to a green, I think it's going to work really, really well, and you can see how that turns out there.
So using Painterly vector brushes like this is just a lot of fun. So take the brushes included in this file and try them yourself. Better yet, I challenge you to create your own brushes as well. For more exhaustive information, once again, check out my Painting with Vectors course, that's going to help you a lot more in-depth on even creating your own brushes and utilizing your brushes. So thank you for watching DVG Lab. As always, 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.