(gear grinding)– [Instructor] Welcome to Drawing VectorGraphics Laboratory.The following method is oneI’d learned from another illustratorby the name of Andi Butlerand I featured her and her artwork in previous coursesI’ve developed and I thought her methodologywas a great way to bring a natural feel to vector artworkwhich tends, at time, to looka little cold and a little too predictable.
So let me show you what she does to texturize her artworkand I just want to thank her personally for allowing meto showcase this methodology.Not all illustrators and creatives are open withtheir creative process, but she’s definitely one of themand she does fabulous work.Make sure to check out her website, AndiButler.comand I think you’re going to enjoy it.So it all starts with drawing for me.This is just a rough sketch.This is just a composite of some plants and some flowersand I take this and I refine it.
So I did the general gist of the idea,but then I go in and I really work out those shapes.Once again, the more you can figure out exactlywhat you need to build before you tryto build it in vector form, the easier it’s going to be.It might be a hassle to try to work that wayimmediately, but over time, you just won’t think about it.You’ll know what you need to create and you’ll draw it outand then you’ll create it and it’ll just go faster.It’s really nice.It’s a great habit to develop and drawing is a skillyou’ll be able to leverage for a lifetime.
So it’s design’s best friend.I’ve said that for many years,but I really do believe that so take that to heart.So this is the refined sketch that we’re going to build upon.Let’s begin.I’m not guessing about anything.This isn’t hard building.This is pretty simple building.Some of it is simple geometric shapes.The ellipse tool to create the little orbsyou see floating around the top of the blossomof this flower and one thing I want to point outis not everything needs to be basedwith the pen tool per se.
You can pull off content you need using simple strokesso if I go to my graphic style and I apply this styleto this stroke, all this is isturning these into giant strokes,18.835 points and by the way,I should point out when I build my art,I don’t use arbitrary numbers.It’s just when I set up these files to demonstrate stuff,I scale it to look as good as possible on screen for you,the viewer, so it changes the numbers.This was probably around 12 pointswhen I built it, whatever, but I set it up like thisso I can simply go to path and then I goto outline stroke and it turns it into shapes.
That’s easy.Anybody can do this and then I’ll go backand I’ll go to pathfinder and I’ll go unite.You want to make sure, look under appearance,if it’s a group, turn it to a compound.I have it F7 assigned to my keyboard shortcutsto run a compound path.So it makes it faster than having to go up here,pull down to compound and go make.I can just go F7.So get in the habit of using keyboard shortcuts.With that created, I’ll select the base of the leafand I’m going to minus front.
I like to say punch because minus frontreally doesn’t make sense.They should’ve called it cookie cutter.Whatever.You get a nice shape like that.So this seems like a complex shape,but if you can think of how to build it without gettingtoo detailed, all I did was create a few strokesand added the rounding to the tip of the strokeand it made the whole process really quick.I’ll select these here.I want more volume to them, but instead of tryingto build it with the pen tool,I’ll just make them thicker strokes.
Once again go to paths, outline strokes.Now I have the shapes that I need like that.So not hard.It’s just about thinking about things the correct way.We’ll select this leaf and make a clone of it.Command + C, Command + F.By the way I don’t even do Command + C, Command + F.Let me delete that.I just select it and I hit F3.F3 does Command + C, Command + F for meso I don’t have to do two key boards and then I’ll selectthis shape and intersect it and by the way,in my keyboard shortcuts movie I created for DVG Lab,I go over setting up all those key commandsso make sure to check that out and there’s evena chart you can get from the exercise filesthat has everything listed out and what it does.
So I’ll take shapes like this.It’s easier to build independent shapesthan try to build one wholeand unite them all together into one.I’ll select these shapes right hereand do the same thing and unite them together.So it’s just the way you think about stuff as you buildthat’s going to make the process go quicker.So we’ll go ahead and turn on the background hereand the base colors for all our vector artworkand now it just comes down to doing some of the detail.The first thing I want to do is I have this shape hereand if I go to a line and align it with the background,this is just going to be white, not blackand I’ll adjust the tonal valueto 30% to create that and that looks really nice.
Now this is where textures come into play.We’re going to start creating some of the texturesto really kind of create a more immersive experience here.So the textures we’re going to use are these two texturesthat Andi Butler had made and I believethese are water colors, just black painted out on the paperand she scanned them in, but this is going to givea nice immersive feel to our texture.So the first one we’re going to use would be this one hereand we’ll go ahead and just slide this one over into place.
We have the mask already on top of it,but we need to colorize itso that’s what we’re going to do first.We’ll color it this blue color and I don’t want it to be100% value so we’ll knock this back to like 70%and I want it to interact with all the colors underneaththat it’s going to be sitting on topof so I’ll select multiply to do that.We’ll select the mask and once again, for this mask,I have the F key setup so I can just F1 with both selectedand it creates the mask.
It looks kind of painted or just modeled lookinginstead of just being a flat based color.We’ll select this one, we’ll slide this one over into place.This one will also go ahead and color the same blueand on the same settings, we’ll knock it down 70%and set to multiply, select the mask and mask it into shape.That’s all we’re doing here.That’s the methodology for all of this.We’ll move onto the second one.
Once again, all of these, since they’re falling on top ofgreen colors, we’re going to select all of these,and by the way, I should point out,notice how I’m using these textures large, small, rotated?This one’s stretched.That’s textures.It doesn’t matter.It’s very forgiving.It doesn’t matter so don’t freak outif it’s not the exact same size you scanned it in at.Nobody’s going to know but youso don’t freak out about that.We’re going to color these green and on these ones,I want to knock the value back almost by half, 55.
Like this and then we’ll go ahead and multiplythis as well and then we’re going to select the maskand mask all those into place like that.And then this one, we’re going to bring this guy down hereand we’ll put him into place as welland oh you know what?I shouldn’t have masked this guy.
So let’s undo that.There we go.So basically I tried to mask everything into this maskand it’s only meant for these two shapes so I goofed up.But that’s okay, I do that in real life anyway.So we’ll go ahead and mask those and then I’ll selectthis mask for this specific shape and mask that into place.And then on this one, we’ll go ahead and bring him over.This is for the big leaf here like thisand then we’ll go ahead and use the same settings, 55.
Multiply, select the mask.Mask it this shape and I think that’s looking really cool.So we’ll do a couple more of these, but they’re alreadykind of pre-baked so we have this maskand you can see how it adds modeling to that lighter greenand then we have this mask and texturesjust to interact with the other flat colorsto really breathe life into it and then on the gold itselfjust to add detail in there so I think that’s workingreally well so that’s all it takes to mask colors.
I think we’re going to utilizesome more textures overall in this compositionso I’m going to go ahead and turn off all these layersand we’ll go ahead and go up hereand I’m going to turn on this layer.Our final design with all the masks in place.We’ve locked it up with some nice typographyand now we’re going to do a few more detailing thingsto the overall composition.The background for this promotion,I didn’t want that flat as well.
I wanted to model that as well so we’re just going to simplygo over here and you can see thisreal world surface texture I have here.We’ll go to align, align it with our artboardand this was based off of all things,the old concrete wall that I took a photograph ofand created this texture and we’re going to use thisto kind of give more interest to the background.We’ll color it white.We’ll go to transparency paletteand knock down the value to 20and I think that’s going to work really well.
We’re going to add some surface textures to this nowand the first surface texture will be this speckling.The speckling is white and we’re going to go aheadand color this speckling, that is.Let’s see.Do we want to do this white?Maybe we don’t.Nah, I’ll try white.That’s fine.We just want to knock it down so we’ll make it subtle.Like that.We just want it so when you look at this up close,you see these artifacts running through the art.
That’s kind of what we want.We don’t want it pristine.It’ll look more authentic.Here’s another one.We’re going to take more speckles,but we want to isolate these speckles only within elementsof the plants themselves and so these specklesare going to be a little different in that we wantthe speckling not to be white,but in this case, we want to use the same blue we usedelsewhere, but we want to knock the value back.So we’re going to knock the value back on this like to 40%and we’ll go to multiply and before we mask it,we’re going to check it out and make sure it works like this.
Let’s go ahead and deselect it.Actually I think that’s a little too denseso maybe just 20% and we’ll look at that.You know, maybe even more.Let’s just try 10.Maybe it’s very subtle.Yeah, I think that’ll work.Then I’ll select the mask and actually, you know what?I did like it a little darker.It’s not going over the white.It’s just going over the other elementsso we’ll leave it at 20 and we have this mask here.
So we’ll select that mask and that will mask it into shapeand then I’ll go ahead and zoom back outand you can see what the final design looks like.Let’s go ahead and zoom in on that.There, I think that looks really nicewith all those textures in placewith the speckling texture added in and even thoughmost of this is going to be used in the background,this kind of design is going to work really wellon a white background as well.So it just depends on what you’re doingand what context you’re going to be using it in.
I encourage you to give this methodology a tryand see how you can mess textureswithin your vector artwork.The process is simple and a lot of fun,especially if you create your own textures to use as well.For more information regardingthe use of textures and design,make sure to watch my courseCreating and Using Textures for Design.It goes over how to go shoot your own photographs,how to manipulate them in Photoshop and createsome really cool textures and the nice thing about textures,they never go out of style because they’re all basedon the second law of thermal dynamics, the law of entropyso that’s a really cool thing.
Thank you for watching DVG Lab.Until next time, never stop drawing.