Note: Because this is an ongoing series, viewers will not receive a certificate of completion.
Skill Level Intermediate
(gears shifting) - [Instructor] Welcome to drawing vector graphics laboratory. Recently I was watching all kinds of YouTube videos, one right after another, and something in the sidebar of the YouTube site caught my eye. A character in one of the video thumbnails, and it had a unique makeup job on and it intrigued me, so I clicked on it. It turned out to be a Kabuki theater video and even though I couldn't really understand what they were saying since I don't speak Japanese, the style of the makeup and the attire they were wearing really fascinated me. So in this movie, we're going to illustrate a Kabuki style character. This is going to be a fun one, so let's get started. On a project like this, especially something I'm not super familiar with, I like to do research. Looking at images and photographs of the real thing, so I can figure how to approach this, how to stylize it, what really makes that style Kabuki what it is and that's what some of the images that I found are shown here. And one thing that prevails in my mind with the style is black, red, and white. Those are fundamental characters in almost every Kabuki aspect I looked at, and so that's why I have a lot of those kind of images shown here, because I definitely want to play off of those colors, attributes, about how the hair is colored, you can see how the hair cuts down into the top forehead here and here and on this one, and on this one, the top right. So that's something I'm definitely going to work into my artwork, my motif. I like the styling of the hair in this one. I'm probably going to pick up that same kind of styling 'cause I know how I'd handle the detailing immediately looking at that. And also, when it came to the attire itself, I loved the colors in this one, so we're going to play off some of these colors and attributes within this attire that this actor's wearing and carry it through into our final design. It all starts after I'm looking and taking in and kind of getting into the whole vibe of what is Kabuki, that's when I start drawing. That's when I look at reference, and I start working out how exactly am I going to create those shapes on the face and what form are they going to take? And there's a lot of overlap between this and doing tribal tattoo style. Some of the same attributes are apparent in both and so that was kind of fun, as I was drawing it, I realized that, you can see I drew one of the ponytails. I guess that's what they call. It's like a man bun. That's kind of what's going to be at the top of my characters head and then on the sides it will just kind of flare out. So this was kind of fun, drawing in this way. It's all about drawing symmetrically, so here's me drawing it out with more detail. You can see I'm exploring teeth up here, because I decided on some of the masks, they have these really cool, I don't even know if you call them fangs, but they kind of look like fangs but they bend out. So I decided adding some of those in. This is the one I liked the best, so we're going to scan it in as is and then I'm going to test this mouth and see if I like it and if I ultimately move forward with it, but this is how I draw it out symmetrically using a mechanical pencil. I'm working on top of my light pad, which is a very thin, half of a inch tall, and you can see my LCD light reflected in the top up here. I like to have it very bright when I'm working, so I can see what I'm doing. So the original sketch that I created based off of that looks like this and I didn't mind it, but I almost thought he looked too, almost like grumpy instead of somewhat aggressive because his mouth was just (grunting). Like, "No!" You know, like? And so I thought I could improve upon just kind of that area and so that's where I worked in the mouth that I created with the teeth, and I like this but I didn't like the bottom teeth. I liked the top teeth, but not the bottom, so no mouth, mouth. So, decided no, I don't think I'm going to go with that and ultimately, I refined it further and I just removed, removed the bottom part of the mouth altogether. I also added, or simplified, the top part of the graphic by removing the little tie they usually have up there that binds everything together, just to simplify it. It drew too much attention. So ultimately, this is the direction I'm going to go with. This is the teeth I'm going to use with the character. I think it's fun, I think it'll work pretty good, so we're going to go ahead and set this to 15% and I'm going to lock the layer. You can see I have a guide dropped down the middle, since we're going to build symmetrically, and usually where I start on a symmetric, if it has a face, I usually start with the head. So let's go ahead and zoom in here a little bit and you can see the primary piece that I design first would be this side of the head, so just creating the front forward facing shape that's going to make up the head and this was all done with the pen tool, very easy if you take your time and analog, then it's no guesswork when it comes to building. You know how to build this shape just using the pen tool to easily craft that shape and form so it's exactly what you need, and then the eye as well, of course, the inner part of the eye, simple, elliptical shapes that use the ellipse tool to create. Now, as it moves forward, and I'm going to create the hair, this is the way I decided to style the hair and this was a very simple thing to create, but as I'm creating one piece, I use other pieces such as the face element. I'm going to clone this, we'll fill it so you can see where it is, and we're going to move this on top and I'm just going to make sure to clone the shape one more time, command+c, command+f, so we have two here and then I'll use that with pathfinder to kind of trim those shapes using minus front, like that. And then this one will be behind this shape, so I can just go ahead and send that to back, which is set up as a keyboard shortcut of F4. As we keep moving forward, here's some of my shapes that are going to be on the face that make up the nose area, elements on the cheek, his mouth, and the bottom part of his chin, and once again, we're going to use this shape, and I'm going to clone it. Command+c, command+f. We'll move this up here, and let's go ahead and just turn these layers off just so we can focus on this and we're going to make multiple copies of this, so I'm just going to hit my F3 key, which does command+c, command+f, and we're going to do that just, oh, probably three or four times. We might have an extra one in there. That way I can select, take this shape, intersect. Select, take this shape, intersect, and it's trimming the artwork as I do this, and I'll do it here as well. We'll take this one, the bottom one, intersect. See if we have another, yep, we have another copy. Select this one and intersect. So that's why I make a clone command, 'cause I'm able to then use it for something like this and it just goes a lot faster, rather than going, than selecting a shape, going up here and going copy, then going back here and pull down to paste in front. I can do it with just keyboard shortcuts. It goes a lot faster. This element that makes up the top part of the mouth, if we fill that with a shape, and we bring to front, you can see that it should be in front of the teeth, and if we take all these teeth, we're going to unite those so they're, right now they're a group, we'll turn them into a compound path, and then this shape is on top of that and we're just going to trim those teeth like that. Oh! We forgot to make a copy, so let's make a clone of this, command+c, command+f, select the teeth and trim those teeth and now, the mouth we can get rid of the fill. So this is how I go about, as I build each stage, I'm trying to build it as clean as possible. Sometimes I don't, sometimes I do this after I have everything built, but in this case it's such a complex illustration that I'm trying to do it as I go along to make the process easier. Now, as I create more of these elements on the face, more of the shapes, here's one shape, and I'm coloring this blue just so you can see this a little easier, so let's zoom in on here, and this is what I would call a rough build, meaning once I have the anchor points in the right locations, that's all I care about at this point. Then, I'm going to go back and I'm going to go ahead and finesse these paths and you can use the anchor point tool up here, which allows you to grab a path and move it like this, and you can finesse those shapes. If you want to use that tool, that's great. It'll work just like it's showing, it's just you don't have any flexibility of controlling how sensitive it is and that's why I tend not to use that. I like using a plugin called Vector Scribe and specifically a tool in that plugin called path scribe, and it does the same thing. It actually existed before Adobe created their version, and it does the same thing, but the nice thing is is at times you'll break an anchor point. This should be smooth, but it's a corner anchor point and if you use this, it'll fix them, an s will appear saying it's now smooth, and so that's one reason why I like it. It just makes the process go a little faster. Ultimately, if you master the anchor tool, you can build precise artwork, it's just going to take you longer. I also like the feature, it puts dots on the line. These are the handles. So I can just grab this and pull out a handle, I don't have to do anything else. I don't have to touch the path. I can do that on this side, like that, and of course, you can always grab a path and it will reveal the handles as you're working, as well, which is pretty normal. So, this is all I'm doing, is just finessing this shape, and that's what I do for all the shapes. Here, actually, we have one more section down here, and you might be wondering, at the bottom, on the left, why is it like this? Well, this shape is going to go behind these shapes, so you're never going to see it in that respect, so ultimately we don't have to worry about it. It's going to go behind this shape. Let's go ahead and color that one with a fill. It's going to go behind that shape. It'll go behind the eye shape, so on and so forth. You can do it that way, or, you can take, this one's going to go behind that shape as well, or you can take all those shapes that it's going to go behind, which will be all of these, and we're just going to clone this really quick, command+c, command+f, and let's fill it with a color we're not using, which is this kind of muted green. And then we're going to unite them, hit it twice, by the way if you ever run into this, just hit unite again and most of the time it'll fix it. Sometimes there's overlapping anchors, meaning one anchor is right on top another anchor and it's impossible to tell visually. This is another reason why I like plugins, because if I go over to this plugin palette for Path Scribe, you see this? This is telling me there's overlapping or redundant points in this image. I can just, with that selected, click this, and it removes them, so they're no longer there. So once I have a shape like this, I can go ahead and select the shape we just built and minus front to create the clean version of that shape. I'd also do it down here, where I'd select the outline of the eye, detailing, clone it, command+c, command+f. We're going to have to move it to the right layer up here. We'll color it inside yellow. It's on top of this shape, and we'll minus front to do the same type of clean building. I always check, notice there's redundant points. I'll click it to remove it, and then on this one, if we move that, that's this shape. Actually, this has redundant points. We'll remove it from there. So I use that quite a bit and this is how I'll initially build this detailing, but notice it goes off over here, so once again we'll use the shape of the face, we'll clone this, command+c, command+f. I'm going to move this to the layer, select this, and we're going to go intersect, and now it aligns with the underlying drawing. Just so everything kind of looks harmonious, we will colorize all of it the same. So once again, this is how I just build from one stage to the next stage, and on the face here, oh, that's right. I thought I did that. I thought I mighta copied that twice. When you use keyboard shortcuts, if you hit the button twice, it'll do it twice, and that's what I did. And then, if we keep on building here, here's another shape that's associated with the shape I just built. So all I have to do now, because this one's a clean build, ready to just be colored, I'm going to clone this, command+c, command+f, bring it to the layer above it, select this art, and we'll intersect it, and now we have that shape all ready to go. So, as you build one shape, it can assist in building other shapes. So this is how I would go about building all the detail in here and let's go ahead and click on this, this is all the hair detailing. So what we're going to do is, let's go ahead and simplify this just for the sake of clarity. We'll leave the hair base shapes on, and we're just going to focus on building the hair right now, and so when I create the highlight on this, this is all it is, sitting on top of here, so I'll select the hair shape and I'll clone it, and I'll select this shape that'll be the highlight on that, and I'll go intersect, like that. Do the same thing here, command+c, command+f, select the highlight, or what will be the highlight, intersect to get what I need there. Up here, I've created this base shape. If I pull it out here, and then I have this shape sitting on top of it, right here, which is going to be the top part, the top surface of, I don't even know what you'd call that. It's not a bang but the bundle of hair up at the top, for lack of a better term. We'll select this, I'll clone it, select this, intersect it and that makes it form fitting to the shape underneath. We'll take that original base shape. I'm going to go ahead and command+c, command+f, I'm going to fill this with yellow because we're going to edit this shape, you can see how it goes underneath, we're just going to trim it with the shape we just cloned like that. So all I'm doing is I'm form fitting all my art so that it's ready to, in this case, reflect and fuse those areas that need to be reflected and fused together, and it also prepares artwork to be colored as well. You can see, let's go ahead and zoom in, 'cause this is a little far out. This part, it goes past this, well this is the top edge of the hair, so we're going to clone this shape, select this shape, sect it, oops, looks like this is probably a group if I had to guess. Yep. So sometimes this happens when you use pathfinder. You ungroup and just deselect, and you can see it had a little chunk piece, so we'll get rid of that. Now with this piece, clone, we'll select that shape and intersect it and now it'll work. So if you ever get that error, just check for that. That's usually what causes that. The circular shape is actually the top part, but it's going to stop right at this point right here, so I have a shape just to edit the hair and it's just a rectangle that I'm going to drag over, select that and intersect it and that gives us the top part of the hair on this one. So, this is literally how I'll go through everything to build the artwork. Now, when I was considering the hair and how to approach building it, I did originally try this, so let's zoom in here, 'cause sometimes it didn't really work out the way I liked it on this one. I'll make two shapes, I'll select both of them. I'll go to the blend tool, click on one anchor point, and another corresponding anchor point on the other one. If you click into this and you go to steps, specific steps, let's try 45, okay that's too much. Let's go back in, we'll go 28 maybe. That's pretty close, let's try 24, that'll probably look a little better. Oh. Yeah. Something like that. I could have done it like that, and then I could have gone to expand like this and then united, but oops, looks like I didn't have enough overlap, so let's do that one more time. Let's go in, we'll do 26. There. Is that overlapping? Let's play it safe. You know what, let's go with 28 like what we had, there you go. And now, let's see if this works. We'll go expand, okay, and then we'll go overlap. So you can see some of them still aren't overlapping and it's too mechanical, that's why I didn't use this method. It's too perfect and if you don't have enough overlap, you'd have to go back and try it again to get it to work, so I thought it might save me some time but ultimately it didn't. But it was just easier building it from scratch, so, just keep that in mind. Sometimes you might think something's going to work and it doesn't, but shape building I've used many times for other things and it works great, but in this case, it wasn't organic enough to feel like real hair. It looked too perfect, so that's why I ultimately didn't use it. When it was all said and done, here's all the face shapes. I have the hair shapes. Now obviously, the face, let's go ahead and zoom in a little bit. The face here is just all its own shapes and its only one side, so I can clone this, command+c, command+f, go to the reflect tool, find a central anchor point with smart guides, command+u turned on, reflect it, and that's how I get the whole other side. Now, I would have to go in and start fusing these together, but right now I'm not going to do that. I'm just telling you, I show that in other DVG labs, so you can check those out, and of course, I built the base artwork is shown here, like this, with the attire styled off of that reference that I found and I think all this is looking cool. I think this is going to work pretty well, and so now, I want to move forward with coloring and how I handle that, so let's go ahead and turn on this background. We're going to go to coloring here, and I'm going to use the tonal family I created, which is this right here, and we're going to start figuring this out. So let's go ahead and zoom in here and all I'm going to do here is I'm just going to select areas, like all of this, we'll use the eyedropper, this will all be red, like this. We'll select all these areas, this will be black. We're going to select this area, this is going to be white with no outline, like that. We'll select this and this, those will be black. We'll select these two areas here, we'll make those white as well. This area right here we're going to make this the yellow. This area will be black as well. The teeth are going to be kind of a off-white, if you will, so we'll choose this color. And then the last bit will be behind the eyes, this will be red as well. And we got a couple of shapes up here. These will be black. And let's go ahead and zoom in a little bit. The face itself, obviously, it's almost like pancake makeup, is going to be white. We'll select the top areas here. These are going to go ahead and be white as well, and then the bottom areas, we'll go up to our tonal family, and I think I'll make those a gray-ish color, since they're not so hot. So I think that looks pretty good. Definitely looking Kabuki-like. And next thing we're going to do is I'm going to turn on this and just show you a few things I did on the hair. So you saw how I built the detailing on the hair, now I'm just going to color a few of the things and the base of this top part of the hair, if I click on the gradient tool, you can see it goes from a black to a darker gray, or a tint of that black. So we're going to select the top part of the hair here and we're going to color this the black color and so you can see how it immediately gives it depth, kind of gives it dimension, since this was on this layer, we'll go ahead and color this red and this will become this nice gold color. The top highlight on the man bun is going to be this color, but, since it's a global color, we're going to go in and adjust the tint, in this case I want it about 75, like that. That looks good. We're going to select this, this is going to be this color, and we'll take this one and we'll go black, and once again, we'll go here and adjust to 80%, so I want it a little different hue value than that, and then we can just eyedropper the other side since it's going to match it. So that's how I go about colorizing or composing the tonal values on all of these shapes. I think this is looking really cool. We have a few more things to go over and one thing that's going to be a lot of fun. Now, when it was all said and done, if I turn this layer on, I just want to show a comparison. I added some minor detailing after I got this part composed, and I thought this improved the artwork and helped set some of the depth, so that's one thing I do is I'll do a general flat coloring, go back, figure out anything that would be minor coloring, or minor detailing that is, and do that. And then I can proceed later to figure out if I need to do more shading or other detailing to really add dimension to it. In this case, I do think that and ultimately I am going to do that, but I wanted to walk through that really quickly. So, right now, I think this is looking pretty good and if I turn on the torso part, I think this is looking really nice, but check out the transformation when I add shading. Now, if I zoom in on the head here, like this. This looks nice and if I turn back on my drawing over the top of it, you can see where I've drawn out areas to shade such as the nose, under the eyes, part of the forehead by the hair, down below underneath his bottom lip, and underneath his nose itself. These are areas I want to add shading. So that's where I go back and I add this shading, just watch how it brings it to life. Once I did one of these elements, I'm going, "Oh yeah, that looks nice." And these are just sitting over the top of the other colors, multiplied, and definitely check out the exercise files where you can deconstruct this, see the exact settings for these, but you can see how much it brings it to life. If I scroll down here to the torso section as well, just watch how it comes to life when I turn on the shading under here. Boom. Check that out. It's cool. I love the dimensionality added just to these shapes down here. All this is is just white tint of approximately 20% sitting on top of the gold, but look at how it just gives it depth and dimension and just bring a lot of interest into it. So I think that's kind of a cool way to handle that. Now, we got several other things we're going to go over that's going to just kind of push it over the top and one of them is, this is material they're using here, and so as I was thinking about this, I was wondering, "What could I do to really bring that to life?" Well, I'm going to show you something, and that is, I took material and I scanned it in, and then I brought it into Photoshop as a gray-scale and just blew it out. If I zoom into this, you can see, this is what it ultimately looks like, but look at that subtle kind of wavy fabric looking texture it is now. And this is a bitmap tiff I have placed into illustrator here, and I'm just going to drag it over and I want it to overlap the right-hand side where the red and the other color is, and all we're going to do is, let's go ahead and zoom in on this, make sure it's underneath. Oh you know what, it's on top of the mask, so we're going to copy it and I'm going to select the mask I have, and paste behind it, because we want to colorize this first and then mask it. So the color we're going to use is going to be this color right here, this kind of a muted gray, like that. We're going to go to transparency, we're going to go to multiply, and I want to set the value to about 45%, so it's somewhat subtle but still apparent. Select the mask and mask it into that shape and let's zoom in so you can see what's going on now. It just looks like, kind of material now, and I did the same thing on the left side, and we're going to do the same thing on the top of the head, where I go up to the band, 'cause this is material as well. So if we go back up here, we have this layer, and we can turn that on and that's the fabric texturing that's within that area as well. So I think this is all looking pretty cool and working really great but as I was looking at this, I'm thinking, "You know, what would push it over the top? "What would really bring everything together?" I definitely think we need a background of some sorts, but even before I thought that, I was thinking about what else is distinctive of this kind of attire and that's when I decided to go back and look at some more reference and I found this reference image of another Kabuki and the thing about this that's kind of intrigued me is that on their fabric, they have patterns, and if you look at this pattern it has hexagonal pattern, so I decided, we need to replicate that. We need to pull off that same effect in vector form for our artwork, so we're going to create a pattern and because this was a hexagram, I decided that's exactly what I'm going to do, I'm going to do a hexagram. I created this motif here, and all we need to do is drag this into the swatches palette and it will create what is called a pattern swatch. All you have to do is double click on the pattern swatch and it will bring you into the pattern tool. We're going to name it first, we'll call this beta test. And then we're going to make some decisions on setting it. Here is the pattern tool. This just gives you a control here. But for the tile type, we don't want grid. We want to use brick to row, and we want to make sure that brick offset is half, that means it's going to offset this tile half of the design each time, and that's key to what we're going to pull off here. You can control the dim of it showing you the pattern you're creating here. I usually go about 25%, just so it's not too obtuse. We're going to zoom in here, 'cause we need to see what we're doing, and we'll reselect that, and all we're going to do that is we're going to take this, oops not that. We're going to take this line and we can move it down. I'm going to go until it snaps to the corner here, and boom. So you can see, that's all it takes to do a nice pattern. We can select this shape, which is the outline, and we used this so we could do this snapping, so however thick that was, it's going to double on the pattern, so if you want to try this method on something else, just keep that in mind, but you don't need it on the final pattern, so we'll get rid of it, and you can see what you get pattern-wise. It looks like this. Now to get back to the art board, you just double click the background, and you're back in the art board. You now have this pattern in place, so you can select any fill, here's a fill, and you can fill it with that pattern. Look how cool that looks. Let's now put it to use in our artwork. So we're going to turn this back on and we're going to access our artwork and now we're going to select this shape and if you go to appearance, think of appearance as like layers on steroids, if you will. It's like, just super charged layers because you can have a fill on this layer, but in this case we want to add another fill, so we're going to go to the option menu and click add new fill, and that puts a fill on top. We're going to select the pattern and you can see how it fills that with the pattern, but underneath is that original color we have set up here so that's showing through. That's what we want, as if it's printed on top of that, and now to control the pattern fill, if we go to scale and double click it, you want to make sure transform objects is off and just transform pattern is on. Because right now it's at 100%. We want to knock this down, let's say 70%, and watch the pattern, what it does to the pattern within this fill when we click preview. It shrinks it within that shape, so this is how you control the sizing. Let's say that's what we want, we'll click okay, and then maybe we don't want it that angle, you want to change the angle. So go to rotate, double click on it, much like you did with the scale tool, make sure transform objects is off and transform patterns is on, and once again, we can go like this and you can see how it adjusts the pattern based off of what we're adjusting in here and it's alive so you can see how that is and if that's the way you like it, click okay. Now, that's how you could use a pattern, but look how cool that looks. Although, I don't really like that, I just did it really quickly to show you in general how to do it. We're going to delete that because over here, I have it already set up, I'm just going to turn it on, and I have it set up here, and I spent a lot of time paying attention to how this shape interacts with the edge of the garment. So once you have one built, specifically if you're working symmetrically, we'll just clone this and then I'm going to go to the reflect tool again, find a central anchor point, maybe it's the nose, reflect it over, cut it and then paste it behind that so we get the nice drop shadow on top and boom, we have that. How else can we use this pattern? Well, we need a background. So let's add a really cool background to our artwork, and we'll do that by turning on the background color, but what if we used the pattern in another way? Let's click on this shape, that is, and let's go to the appearance panel, and lo and behold, we have a pattern we created. Does that not look cool? But it gets even cooler. We're going to apply a Gaussian Blur to it, so we'll turn that on. That gives it depth of field. It pushes it back. And we're going to adjust the opacity, it wouldn't be that intense being further back from our main object, or our main character, that is, so we're going to apply an opacity of 60%. That looks awesome, adds a lot of depth. We'll go back to layers. We're going to turn on this white fade, 'cause that's going to add a lot to our artwork as well, and I think this is looking really cool. Now one thing when you use a gradient like this to do a fade, this is going from full white to an opacity of zero, so it has no opacity to it, but it's white. I found if you use the base color, which we're blending to, which is this yellow, and you have it fade to that, watch how it changes. It looks more authentic if you fade to the base color, even if it has an opacity of zero. So just a little tip that I've kind of learned over the years and it works really well. I love how this artwork came out. This was such a fun project to work on, so I love the diversity of art you can discover all around the world and I believe if you removed art in all of its various forms from any society, you risk killing its culture, whether it's painting, design, illustration, writing, music, singing, theater, et cetera. They're all vehicles that people use to share their inspiration, life experience, dreams, in order to communicate at a more meaningful level personally and professionally. If you'd like to see something specific in a future DVG lab movie, then please email me your suggestion or ask me a question via email@example.com. As always, thank you for watching DVG lab, and until next time, 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.