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Drawing with Illustrator: Color and Texture

Lesson 3 of 8

Efficiency of Workflow & Prepping for Live Painting


Drawing with Illustrator: Color and Texture

Lesson 3 of 8

Efficiency of Workflow & Prepping for Live Painting


Lesson Info

Efficiency of Workflow & Prepping for Live Painting

How do we go through on Actually prep this area for life painting. What we want to do is we want to think about the areas that are gonna get blocks of color. Okay? No, the individual lanes and the clothes. They're not gonna be a saint. A color value. Okay, So what we're gonna do is we're actually gonna select those elements, and we're gonna Haytham Okay, So how do we do that? We can go into the object menu, and we can, and we can hate those. We can hate the selection. Or we can just go apple three right again hating those areas that we're not gonna wanna have felled and Apple three. Okay, there. This is good. And be a little bit labor intensive. Okay, But well, I think is that the cleaner you can get your life paint group the cleaner? You can get the illustration. The easier is gonna be. We could fill these sections. What would happen is that we would have little gaps behind all of those lanes, and then we would we would have to repercussions from that. The 1st 1 would be that would be...

super complicated. It would give us a much larger fail size. The second thing is that, uh, it wouldn't Hello is the flexibility to move some of these lanes and elements around. Should we want to do that later? I think one of the things with one of the real benefits off vector illustration is that weaken with with the vector being live and no pixelated. We always have the opportunity to change things around, to scale things differently to change the composition afterwards. And so we want toe. Can I have many options as possible when it comes to, uh, maybe wanting to make some changes after the fact. Okay, so what I'm doing is that I'm just going through and I'm hating all of the lanes that I'm not gonna warn as part of the Phil. Okay, so it's just gonna, individually, highly in these hating them again when I have larger It is I can just drag over the horse election, and that allows you to hate some or at the same time. If I said them, we select, um, something that I'm not supposed to. I can always go in and like, apples. He and I couldn't do that. Okay, so I'm going in and I'm getting rid of all of these glow elegance. Oh, sometimes it helps just to, like, zoom in a little bit using my eyes, Um too. And then also the hand to know that's pretty valuable when you're zoomed in to, like, move around to the illustration and have, like, a really easy shortcut to get to that, too. When I click the space bar, if I click and hold this base bar, I can move around the illustration. Okay, so, no, there's a fear, a few branches in here but is really worth way over. Just taking a little bit tame until I get all of these hidden. Okay, that's really gonna help us when it comes. Taint Teoh color illustration And a little bit of time span at the front end here is really gonna give us a lot more flexibility when it comes time to choose a color pilot, spend a little bit tame exploded into his color options. Um, inevitably, when when we pick a color pilot, there's a little bit of trial in it, are involved, and so having the option to, um, select everything quickly is gonna be really helpful for us. So the work put into the prep here is hopefully gonna pay off later. Okay? No, start to so just hating these up with three up for three, Okay? So I'm probably not gonna go through, get every single one of these done. But you get the idea that we're hated most over get most of them the way the other thing that that you can do. Of course, t speed up a little bit is too, um, dry. Go. And the cancellation. And then just, like, hold your shift key and de select the parks that you want to keep on an econ apple three. And hate all those. Right? So that's another way that you can you can speed up, speed the process up a little bit. Okay? So again, I'll probably get rid of all of these, like level stations or grass on the trees again. It is good to get rid of most of the stuff that we're not gonna We're not gonna end up using bomb. No, get out. It doesn't really, Maher, if I'm gonna miss one or two of them, okay? So you can start to see ho. We're simplifying this a little bit or simplifying these these elements. No, I'm gonna do this this part a little bit quicker, so I'm gonna drive over the horse elation. I'm just gonna leave de select the elements that I know I want to keep right. So these holes are gonna be filled. Cool again. I can like Zuman anytime. And I'm making sure that the holes and outlines of the trees on also the center branches of these trees because I think what would be nice would be if when say, did the tree was one color. The other side of the tree was another color. And we can start to build and start to play with light and shade and tone. And when we do that, we can have, like, a darker color on one side and a later color in there and not while I was to build and just like a little bit more dimensionality. So making sure that it's the lanes, the ab selecting Hayden, I'm leaving. Um, I'm getting read off leave and or sections which as a little bit more detail, purposefully leaving a couple of these selected. So is that I can come back and like. Sure. You like how we deal with low. It is the inevitably we may mess. Um, because guaranteed there's always gonna be one or two, but we're gonna be able to deal with him on, like, an individual basis. It's not gonna be It's not gonna be anything to Okay, get rid of some of the words. We're going to really simplify this section in the middle. Okay, We're gonna get rid of some of this stuff, okay? Now what we're going into here's we want to get rid of these local branch ease, and I just diesel ect on that note, Sade's again holding the shift key. And in Apple, three to Hayes. Right. Okay, Now, let's zoom in a little bit and look. See who that's maybe see how that started to fuel. Really simplified. You know, I'm gonna leave most of the detail down on these hoses. The reason for that is that I probably one to build in a little bit contrast. Um, with the window frames on west, the the chimneys and the riffs probably wanna have the was defamed. Okay, so I'm probably gonna leave the was, uh as they are. I'm just gonna go in and make sure the fail parts of these trees or are hidden, And then we're going to get 12 until life pain. No. One important thing is we've done quail or work on this, right? And there we doing? Necessarily. When I feigned ourselves clicking something wrong, famed in our state was back on back at the start. Okay, So what I'm actually going to do is I'm gonna see vote a virgin, which is ready for ready for life pain. And if we make a mistake, any point, we can always go back.

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)



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. :)


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.