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Drawing with Illustrator: Color and Texture

Lesson 8 of 8

Compound Paths in Illustrator

 

Drawing with Illustrator: Color and Texture

Lesson 8 of 8

Compound Paths in Illustrator

 

Lesson Info

Compound Paths in Illustrator

Now, there's one more thing that I want to do here on one Mawr. Like, really interesting to, um, that I want to talk about which I'm going to use on on the see. No. Have we come down here and we look at who? We've used this as a life paint grip. We have all of these, like, individual, like waive sanctions. I can show you like we could color these up individually. We could have him all the same color. That would look really nice. But I think what I want to do is, like have, um, have these, like a sole ingredient. So who do we do that? Well, the first thing we're gonna do is we're gonna just, like, click and select all of these little fell sections. Can all of the stations of water set in between the lanes, pulls all together and then make sure we collect the little half sanctions that setting the ball again. I'm using my shift key to meet multiple selections. And the first thing I'm gonna do what I get that when I get that done. That was a little bit of work to go through. Insulated to ...

lose I'm gonna give that just like a completely different color while you. Because that means if I accidentally, like un selected all, I wouldn't need to go through insulate all of these again. I could just click on the red, going to select same fell color. And if I know that there's no other read off this value on the page, I know that I can easily select all of those at the same time, and that allows me to change it. So what I'm gonna do is with a C selection, make sure that we have all selected slight seem full color. Um, and we're gonna pull out one of these one of these ingredients, okay? No, you notice when I go back and change us to 90 degrees, it gives me this cane off. Uh, you know, all of these love, Like like an individual. Greedy INTs that set within each section. Right. So it goes from doctor late on each of these. We've sections I doing necessarily one that I mean that could that could look pretty cool when it's on, but for me, it doesn't necessarily fit with her. We've used credence. It was weird on the piece. So there's a trick that I can use, uh, to bring these all together, and it's called making a competent path, and this is something that's really useful to use. Okay, so, um, I have all of those stations selected. I go into object, I'm going to complain paths, and I go to make okay, and you see what happens. That leak brings all of those past together. So even though their individual caused paths and individual shapes, when I create component pass, it treats that path as just one. Okay. And now I can you notice that when I click away, when I just click on one, it selects all of those right? So click once. I don't have to go through select those individual sections. I can just click on any color, or I can use my eye dropper and pick your ingredient. And so that means that I can just, just, like, frees up the work floor a little bit. It's just, I'm know, going to be quite relying on clicking on each of those individual sections. So there we have it. I think we've gone through, and we've we've we've colored up most of those sections. We have some nice, like, contrast. And now I really just want to take, like, a quick overview off where we are and other. Is there anything that really needs that may need adjusted on first pass? I think it looks pretty good. I may want to rethink, like, some of the values on the When the mountains here, I think invest one that maybe looks a little bit green. Eso may want to just, like, plea with, like, the the color gate to help me select something that fits within the range. And I can also see that these these trees with the with the orange are maybe Blendon into the into the background of this of this hell a little bit. So may want to come back and, like, you know, rethink about like what color value they have. So is that they may be pop a little bit. Um, but there we have it. If you think about where we came from, um, on the on the star. Ah, you know, we had, um we had a liner. We had, like, a simple vector illustration. I know we've gone on wheat and we've added some color, which which was great on gun work when it's a one. But I think with Adan either in the color it really brings it a little bit more dimension, you know, really brings a little bit more visual interest. And aloes lose shapes that we want to highlight. Like the face and skull in the middle lows them to pop a little bit more and become a little bit more obvious. So that's how we had color. That's what we had. Color and Tayshaun and depth elevator illustration t give it a little bit more life. Thank you so much for falling along. Hope you enjoyed it. Can't wait to see, Like what All you guys do for your own projects. Uh, would love to see him. Thank you.

Class Description

Good color choices are crucial for polishing off your designs – learn how to make the right choice in Drawing with Illustrator: Color and Texture with Stewart Scott-Curran.

Stewart is an experienced art director, graphic designer, and illustrator. In this class, he’ll share his expertise and teach you how to effectively use color in your digital illustrations while working in Adobe Illustrator. 

You’ll learn about:

  • Choosing colors and creating palettes
  • Applying color principles to you work
  • Online resources for color
  • Adding dimension and depth using color

A strong understanding of the application of color in your digital work is an essential design skill. Learn all about it in the beginner-friendly, Drawing with Illustrator: Color and Texture with Stewart Scott-Curran.


Software Used: Adobe Illustrator CC 2014 (18.1)

Reviews

Anita
 

This is one of my favorite classes ever! I watched Stewart's first class on Drawing with Illustrator and loved this second part on working with color and texture. As soon as I saw the artwork he created for his classes, I knew I had to take them...his artwork resonated so strongly with me, I HAD to learn how he did it...I learned so much from this course...I work mostly in Photoshop, and work with gradients more than half the time, and had no idea I could do so much more with gradients in Illustrator. Stewart did a wonderful job of explaining each tool and setting he used, and I loved how he explained his creative process as he worked through each step...I'm excited to put to use all that I've learned...I highly recommend this course!

Robert Mathas
 

This is my first real project in Illustrator, having taken a different Creative Live bootcamp and then Stewart's classes. Yes, as some commented, some of it is slow and repetitive. However, I liked the the idea that it was a simple enough drawing that I could customize and eventually finish. I learned most from the mistakes I made, not exactly following Stewart's directions, and having to figure out how to fix them. I was pretty happy with my final result. Interesting enough, watching a lot of TV during Covid, I actually saw a commercial (can't remember what...maybe medical center or health group) of a white outline city and rounded trees and clouds so I was able to see this technique in the real world. :)

EKerger
 

This was such an amazing class! The instructor did not move too fast and was very specific and clear throughout. I learned so much and would recommend it to anyone.