Digitizing with Illustrator: Step 1 - iPhone Capture
Lesson 6 from: Digitizing Hand-Drawn ArtLaura Victore, James Victore
Digitizing with Illustrator: Step 1 - iPhone Capture
Lesson 6 from: Digitizing Hand-Drawn ArtLaura Victore, James Victore
Lesson Info
6. Digitizing with Illustrator: Step 1 - iPhone Capture
Lessons
Planning Your Strategy
06:34 2Digitizing with Photoshop: Step 1 - Scan
03:57 3Digitizing with Photoshop: Step 2 - Adjust/Edit
07:57 4Digitizing with Photoshop: Step 3 - Layer
17:24 5James Victore's Workhorse Fonts
22:22 6Digitizing with Illustrator: Step 1 - iPhone Capture
07:29 7Digitizing with Illustrator: Step 2 - Live Trace
08:58 8Digitizing with Illustrator: Step 3 - Overlay Vector
12:10Lesson Info
Digitizing with Illustrator: Step 1 - iPhone Capture
now? Yeah, we're gonna go right into digitizing your handmade work with illustrator really going to talking about vector files and why you would use illustrator. And actually, we've just talked a little bit about type typography putting type on your work. And, um, I like to work in illustrator when I'm working with type. So, um, it's harder for me to do it in photo shop. That's just me. Um, So, um and that's something that you couldn't actually, if you want to get your typeset perfectly in a certain way and you want to do it an illustrator, then, um and you want to bring it copy paste into your final Photoshopped file that we just did earlier. You could do that. Okay, um, but today we're gonna talk about step one capturing type with your IPhone and do this at all. Something that heads nodding. Yes. Cool. Yeah. Okay. And, you know, we understand that. I mean, we're showing you some very simple ways, and we know that there are advanced ways to everything, and we know there's an app for p...
retty near everything I think. I think we haven't. We just bought an app that's going to actually birth Laura's baby for us. 99 cents. That's a miracle. Sends a miracle up. Um, Okay, so, um, we're doing that. Yeah. We're going to take some handmade tape type. You may recognize this from an earlier class of James on creative lives. Um culled. What was your poster class called? Bold. Fearless. Posted design with James Territory. So we worked on some experimental type typography with all different tools. And this was one, um, marina, uh, work, Which is beautiful. Nellie Patch made in tape type. Okay, So what we're gonna do is we're gonna take a picture, take a photo of this with our IPhone so we can get into the computer. Yeah, darling, I think we should just concentrate on this area here to Yeah, this has got a lot of character. I don't think it's important to get the whole thing I'm not gonna do a whole lot of So this is the other thing. So this has actually a lot of beautiful detail in it. And for what? I'm gonna dio with it. I'm not going to take a whole lot of this detail, this beautiful folding if you want to do to capture that. I would probably suggest scanning it so you can get really, really a lot of learning it. Or possibly. What we might do is also we might We might tack it up on the wall and put it on the table. And we might get our 60 big, really, really photograph and then mess with the light because or even if it's on the scan bed and I wanted high rez, what we do is we might mess with the angles, put it down in different angles to see, because the light literally the light is coming from this angle and you might want different highlights. Different shadows. Yeah, I think about Yep. Yes, sir. Scanner like you did. Like a piece by piece and scanner. You can put you a piece by piece and piece of Put it together. You did like that in years. Started cropping and together again. It's a little clumsy, but you can do it. That's what we would usually dio does what you do sometimes. Yeah. Actually, you do. You just make it work, right? What? You can just piece it together. We do it. Um So if I could get that just a little bored here so I can have a white. A clean white background. Thank you so much. Um, just so I have a stark background on here. We're going to see how this works and wait. I found stuff. Yeah. Easy and pushing around the edges, but I'll get out of your light. Thank you. Yeah, you kind of just want to make sure that you don't have Ah, a lot of huge shadows going on, but at the same time, this is pretty, like, down and dirty. We don't need, um, a super well lit thing. You just want to make sure that there's white all around the edges that you got it pretty straight on and take a photo. You know, you're doing it over there, and I'm watching here, and I'm getting carsick. Are you? So you were just gonna open that up and I'm just gonna send it to myself on email? That's super simple. Hey, there's me, Okay? Nearly pot title to make sure that you know, we know where it is. Now, this is what's gonna happen is a little question is gonna come up, is going to say what do you want? Small, medium, large, actual size. Now, this will depend on what you're using it for. Um, since we're creating this, um, we're gonna use this and create it into a vector file. It doesn't matter so much that it's a huge file. Okay, So that so I'm just going to do, like, medium size just to be safe, because small might be a little small, so I'm just gonna do medium. It'll send it off. No, that's the sound, right? I was just being accurate. Okay, so we're done with that, and I'll come back over to my computer, check my email, and I've got a lot of mail here. James. No. Um, and there, James just sent me an image. So I am going to just control click on this image and save it. Save attachment to my desktop or whatever folder that you want it in, and, well, correctly label it, save it on there. We will go out of that. And here it is. It's on my If we can show the computer on here, then I can show you where it is. It's just on my deck desktop here. Okay. And then I'm just gonna open it up. Actually, you know, let's do I could probably do that. But we're just gonna open up, Illustrator. Okay, here we are, an illustrator. We're going to go to file new And what does it say? The sizes tabloid. That looks fine. It's landscape, so it's wide. That looks good. Let's do OK. Do we have a new blank sheet of paper?
Ratings and Reviews
Melville McLean
It is a mixed report. There should be a thumb neither up or down rating. James Victore is a talented, with a big, as in New York metropolitan area big, bold, self-promoting personality who presents a persona that defies conventions and hates rules. That is all fine although I have never worked with or met a designer who has his attitude towards fonts before. Let me warn others studying design that you might not like that attitude. But everything in his world sounds passionate, impulsive and experimental. I think it is a good thing to be introduced to someone who seeks out working outside the box and embracing the counter intuitive. In short he is an artist who relies on the exciting and chaotic flux of inspiration to happens to design for a living. His left, hand-drawn letters are an expression of that, making words into art. He says he primarily wants emotional responses and people to react like they would to poetry. If you are a little more familiar with New Yorkers and the business you will also recognize all of this as his pitch. It is entertaining. And this course is a performance. His wife Laura is his muse. But this approach will not suit a lot of students here. We are not potential customers hearing a pitch. We are here for educational reasons, mostly practical reasons although he is definitely an inspirational force. And IMO, there are limits to teaching when the instructor is incapable of taking a step back and being objective too. Moreover, he and his wife offer the least of any teachers on CreativeLive that I have seen in terms of sharing in-depth skills and knowledge. In fact, some members of this class knew more than they did and it was the class that answered many questions that the instructors did not know. Laura in particular who was using the software shared with us that she "is not a Photoshop professional." That is an understatement. It can be tedious watching their trial and error approach. Moreover, neither one could explain the difference or use between JPEG, PDF and PSD files. Yikes and double yikes! They send them out to clients in what sounded like an arbitrarily arrived decision. The class was surprised to also discover that neither knew the distinction between kerning and tracking. Worse is that questions like this, the most simple, fundamental ones seemed to catch them both off guard so they were not prepared with an answer--which astonished me. Furthermore, any discussion of resolution was incoherent. They knew bigger was better so they let others decide for them later. Right. Well maybe they can take a few classes here to learn all of these simple fundamentals before teaching their next class because this was unfair to those who turned in as well as those who bought the class. Incredibly, they were ill prepared to teach this course. The class was very loosely organized, often somewhat chaotic and disappointing a lot of the time. I read that James has taught for 30 years. It makes little sense to me. And not everyone will appreciate his novel approach which apparently has not been sufficient to give his wife what she needs to use, let alone teach Photoshop. If you are here to learn specifics to augment your skills and knowledge, this is probably not the best choice you can make. You might prefer Erica Gamet and Jason Hoppe for Illustrator and anyone else you can find on CreativeLive for Photoshop If you want to see two folks make numerous errors, rely upon heuristics, demonstrate they do not understand or seem to even have any curiosity about what is behind their technical decisions and yet still manage to pul off a a fine looking finished product in the end, then this is for you. You also might be inspired by their passion, enthusiasm and maverick approach seen here. What they share is their process, warts and all but they are creative dynamic duo. I liked them but accept that this is a different kind of course than you usually se here. It all depends upon what you are looking for.
michael mcquilkin
I love that you as a designer, use the no rules apply to you work. Also, I love the fact that you appreciate the art of screen printing you posters. The heart would work great as a distress overlay.