}
Skip to main content

Drawing with Illustrator: Vector Graphics

Lesson 7 of 9

Creative Rhythm & Depth with Repetition & Scale

 

Drawing with Illustrator: Vector Graphics

Lesson 7 of 9

Creative Rhythm & Depth with Repetition & Scale

 

Lesson Info

Creative Rhythm & Depth with Repetition & Scale

So there is one of the first elements that we've got. And that was that was pretty easy, right? You know, that was just, like a simple shape. A few simple lanes bringing them together. No. What we can do is that we can start to just, like, arrange some of these elements on the page. So what I'm gonna do is I'm gonna I'm gonna copy Apple C. I'm gonna I can either a copy pieced Apple V, and it's gonna piece that somewhere else on the page, or I can Apple F. And what that does is pistes a copy directly on top of the one that was already there. And so now I can click that, hold the shift key and drag it across to create multiple copies. No, What I'm gonna do is I'm gonna start to plea with the scale of some of these, you know, like trees over the coming of a writer hates. So I'm gonna probably make, like, two or three different sizes. Okay. And what I'm gonna do is I'm actually gonna, like, take these. I'm going to copy and paste um, and drag him to the edge of the page. so No, these are, ...

like, live copies that I can just use and drag onto the page whenever I may need them. Okay, What else are we gonna are we gonna do? Okay, there's one tape, a tree. Let's maybe think about, like, another tape, a tree, which would be, you know, let me think. Okay, so I better like a little Hello, Bush, You know, So we're gonna draw circle called the shift key. Okay. Lets me to keep everything, like, beautifully circular and lined up. Okay, I'm gonna copy that. I'm gonna piece that and know you can start to see, Like, ho, simple elements can come together to create some little more complicated shapes. Okay, So what I'm gonna do is I'm gonna dropbox, which is gonna, um I'm gonna use toe like marriage, these mercies together. Okay. Okay. So what limit is I'm going to select all of these. We're gonna go to my past finger palette on the top of the ship moods. Here. I have your name. You can see the little previews will give you, um, real quick overview of what these air actually going to do if I clicked your name. That you can see brings us together. So that is no one shape that I can use independently. Okay, I'm going to do something similar to what I did before. I'm gonna, um I'm gonna draw trunk here, and I'm gonna draw just like a couple of brand cheese. I'm just gonna go from the center point every time, like de selecting away so we can start to, like, build and some of those elements using some different lands to, like, make a below, but suggestive off something that's organic. Obviously, the the branches of the bull tend to be a little bit thicker. And so then I can start to, like, play around with With who? These are lined up. No, I got a little bit. We'll see d But some of this stuff sometimes some usually like to be, like, perfectly perfectly a lamed weaken do that. We don't need to just do by I Okay, so here's a trick I wouldn't use my shift key on my group selection to I'm going to select a lose brand cheese. I'm gonna go into my Elaine Polly here unless I lose me, tell Lane and distribute the objects. And anyway, that I want. Okay. If I wanted them all lined during the horrors on to access, I could do that. Um, if I went to the mall, Elaine's across the vertical alignment. I could do that. Well, I want to do is I want to distribute these, like, nascent evenly. OK, so when I click this, you're gonna know us. The do is you see, it was just, like, realigned themselves to be nation evenly spaced. Oh, okay. Looking at perfect. There is another element. There's another right super simple. Two or three shapes brought together. I'm gonna group those together and again, I'm probably going to create, like, two or three different sizes of these. Maybe just two sizes for this. I'm gonna drag Lewis off to the age of the page, get rid of some startling build up some of these elements. Okay? No. What? I also know if we go back to the sketch. I know we've probably won some league bigger trees, which are going to be like that I use in the skull. It's kind of like looking over the tone, so there's probably need thought about a little bit differently, but they're gonna, um we're going to still use, like, the same, uh, the same tape, the same tape techniques. Essentially. So what we're gonna do here is we're gonna go back into our sheep, too. We're gonna create another circle. This time, we're gonna make it a little bit bigger. Okay? Andi, this time we're going to do something which is a little bit of a longer a longer brunch, doesn't we? Don't need to know exactly how long that has to be. We can. We can always lane up perfectly when we come in, um, to finish up the composition leader. Okay, So I know that I'm gonna have, like, a few branches here. No, we did this one we before where we just drew individual elements. Another way to do that. We'd be just did, like, copy and paste that apple Senior apple after Kobe in place. And we can hold the shift key and weaken. Drag that down. Okay, I'm gonna click the anchor on the end. I'm gonna drag that up a little bit, is going to keep it constrained at 45 degrees and that's gonna be looked a place nicely. They are okay again. I'm gonna use my reflect too. I'm gonna hold the okey assumes I get over that center access. I'm gonna click. I want to call pit. Okay. And then I'm gonna drag that day in a little bit. Give me some depth. Give me some dimension. Okay? Now, what I'm actually gonna do is I'm gonna select, um, all those branches and again go back into my distribute objects panel. Just make sure there was a link nicely. Like lane lined up. Okay, now, that looks a little bit balm heavy to me. So I'm just gonna drag them up slate a little bit, maybe, like, pull the trunk down a little bit more thing that starts the loop starts to look pretty good. No, the little weight speaks. And here on a warn, the when the viewer's eye to be drawn to these a little bit more. You know, I don't want them to like marriage into the background. Too much One. These are like the eyes they should be like, almost like the focus of the illustration with everything else going on around. So I want to make these, like, a little bit. Give them a little bit more visual. Wait Okay, um, but the moment this is like is quite late, and it's quite hearing on defy. Just had those end. They may end up getting lost, so we're going to do something which is gonna had a little bit more dimension to this. So what I'm gonna do is I'm going to select the I would say to the tree, and when it copia, I'm gonna piece that place. I'm gonna use my selection to Andi. What I'm gonna do here is if I hold my shift key and drag, you can see that's gonna keep it constrained if I hold my shift on my Okie. Well, that's going to do is it's gonna keep everything locked up. There's gonna go is gonna, um, good down on the center. Access on is gonna go down on the gonna go in the vertical and the horizontal axis. Okay, so I'm gonna drag that to a certain point, which is, like, pretty close. Here. Release that. Okay. There. I'm gonna use my blamed too, and click. And there that's gonna give me some concentric rings. And again I can come back in that I can select one of those, and I can make that bigger or smaller, and everything's gonna fall. You know, everything is locked up. Everything's, um everything's connected there. So everything's life, like nothing's well I actually want to do is probably make these a little bit smaller to give a little bit more space for the rings to breathe. You know, this is all about nothing needs to be perfect. The very first thing that goes in, you know, it's what I think I'm gonna do is I'm actually going to drag some of these elements a little bit higher up just a little bit more space for some of these elements to operate. Okay. No one's tried this dance lately. Perfect. That's good. I like me a little bit more space. Toe dragged and Okay. Looks good. No, this looks a little bit lonely. Pupfish against. If there's a words what I'm gonna do is I'm gonna expand this now. All of those are independent elements that can that can manipulate. What I'm gonna do is I'm gonna go round, and I'm gonna use the scissors to to break some of these up, you know? So when I click, um, Let's get rid of that when I click. That's gonna like No, only at an anchor point. But it's actually gonna break this lane apart than when I click again. You can see that this is completely separated this lane from that part. So I'm going to go around and I'm gonna click a few teams separate over some of those elements, and that's gonna loamy. I can just go in and I can delete some of these PC's. Okay, make sure that I guess probably like two or three sections going around, and then I'm just gonna repeat that process in a different spark, All right? And I get rid of peas, see the record weaken started your belt and a little bit of visual interest. No, I think this is starting to look pretty nice. Starting to look pretty interesting. We just want to make sure we cut enough teams a lowers to, uh oh, to take care of those sanctions and you see okay to stations percent each other. So I probably need, like, another cup. Great in there. Okay, Let's do one more Here. Were stunned to get a little bit tater here, so probably may want to meet these a little bit better, perhaps. All right, go. Let's get the section here. That looks good. All right. Take in the rote. All right. Great. And then I'm gonna do one more, which is written here, are probably gonna keep into, like, to two sections. Okay, so this is a way like, you know, that's just like cutting lanes will bring legs together. What that's done is it's actually made it like a little bit more organic looking. I'm gonna select. I'm gonna group it again. The smart groups are live, so it leads me to, like, select all these elements independently of each other. Um, but I think that starts to look like pretty interesting. What may just do is they had a couple of little branch ease at the bottom just to reinforce the fight. This it's a tree. Okay. No, we don't make sure all of those are grouped. Okay, so there's, like, one kind of like a guess is they gonna be the centerpiece? Okay, what may do at this point and start to think about these elements are gonna are gonna lay on the page who fought a part where they're going to be away from each other, um, so probably just wanted, like, drop in like another Gade done the center axis. So I'm just gonna draw box. I'm gonna drag, um, a ruler from the safe, and that's gonna lock on to the center. Point comes, there we go. So I could get rid of that, and I can see exactly who this is. This is gonna lee, OK, so never can actually start to like police. Some of these elements will make do is use my reflect too. Copy that across horizontal axis and we can start to see um, maybe take a tree, which are probably gonna use for like, um, for like, the noise, what's human and just like place, not a Ganley. None of these placements are fatal. We can tweak the stuff later. We can move them around. It's really just about. So I can already That's probably gonna be too, too far apart. So it's just, like move those a little bit further together, closer together. Um, copy. The was thing That looks like a pretty good for now.

Class Description

Artwork created in Adobe Illustrator has a sought-after and distinct style – the vector files Illustrator generates are small, clean, and look polished. In Drawing with Illustrator: Vector Graphics, Stewart Scott-Curran will teach you how to create graphics using Illustrator, from start to finish.

Stewart is the art director at CNN digital and organizer and host of Creative Mornings in San Francisco. In this class, he will take you step-by-step through the process of using Illustrator to create original artwork. 

You’ll learn how to:

  • Set up a workspace and develop a workflow
  • Use strokes and custom brushes
  • Work with the Pen tool
  • Source reference material to inform image-making
  • Use shapes and the Pathfinder tool

Making graphics in Illustrator is the building block for designing logos and creating icons. In this beginner-friendly class, you’ll learn everything you need to know to get started.


Software Used: Adobe Illustrator CC 2014 (18.1)

Reviews

Anita
 

What an absolutely amazing class! I saw Stewart's artwork and it immediately connected with me so I knew I had to register for this class! I LOVE how he guides the student through his creative process from beginning to end...his description of the poem he used for his inspiration absolutely captivated me! Aside from the expert guidance with all the Illustrator tools and working through his composition, his methodology for developing the brief and conceptualizing the artwork from beginning to end held my attention! His second course (Color and Texture) is absolutely essential as well! He inspired me to experiment with Illustrator and get over my fear of it! Thank you Stewart! I hope you'll return to CreativeLive and teach more courses!

Mary Thomas
 

I purchased a companion class to this one by Scott and I was very pleased with the content, so I purchased this one as well. Both classes were very well presented and did not duplicate what was given in the other. I have now purchased seven classes by CreativeLive and am very happy with all of them. I have watched others as well on the free days with equally as favorable results.

user 2b0aa5
 

Great class. Well presented and fun project. Signed up for his second class.