Illustrator – Go Media™ · Creativity at work! http://gomedia.com Cleveland Graphic Design, Website Design & Development, Thought Leadership & Inspiration Thu, 25 May 2017 13:43:48 +0000 en-US hourly 1 Tutorial: How to Use Vector Graphics to Create a Repeating Pattern in Illustrator http://gomedia.com/zine/tutorials/tutorial-how-to-use-vector-graphics-to-create-a-repeating-pattern-in-illustrator/ http://gomedia.com/zine/tutorials/tutorial-how-to-use-vector-graphics-to-create-a-repeating-pattern-in-illustrator/#comments Thu, 14 Apr 2016 12:42:08 +0000 http://gomedia.com/?p=60496 Hey Arsenal Fans! Today we’re going to show you how to use vector graphics in Illustrator to create this repeating pattern using Vector Set 25, just released on our Arsenal. Skill Level: Beginner Requirements: Any of our vector packs and… Continue Reading »

The post Tutorial: How to Use Vector Graphics to Create a Repeating Pattern in Illustrator appeared first on Go Media™ · Creativity at work!.

]]>
Hey Arsenal Fans! Today we’re going to show you how to use vector graphics in Illustrator to create this repeating pattern using Vector Set 25, just released on our Arsenal.

Skill Level: Beginner
Requirements: Any of our vector packs and Adobe Illustrator

Step One: Open up a new document in Adobe Illustrator.

We sized ours 1270 x 770, the size of the hero shot shown above. In addition, open the vector pack you’ll be using for the pattern. We are using Justin Will’s zombie vectors.

Step Two: Arrange your vectors into a layout that is random in nature. Lay them in different directions and scale them to different sizes to achieve this effect.

how to use vector graphics in illustrator

Step Three: Right click (or CTRL + G) to group your vectors together.

step-2

Step Four: Copy and Paste your set, starting to develop your pattern. If needed, add individual elements in order to fill in empty spots.

step-4

Step Five: Group this larger segment. (Right click > Group (or CTRL + G)) Copy it and as above, fill in any missing spots again.

step-5 step-6 step-6b

Step Six: Group and Copy / Paste until you have completed your full pattern!

step-7 step-8

Step Seven: Group your final design and you’re done!

step-9 final-image

Show us how you used your repeating patterns on a wallpaper, t-shirt, posters, etc. Leave a comment or tweet us @go_media!

how to use vector graphics in illustrator

The post Tutorial: How to Use Vector Graphics to Create a Repeating Pattern in Illustrator appeared first on Go Media™ · Creativity at work!.

]]>
http://gomedia.com/zine/tutorials/tutorial-how-to-use-vector-graphics-to-create-a-repeating-pattern-in-illustrator/feed/ 1
Tutorial: How to Create Watercolor Brushes in AI http://gomedia.com/zine/tutorials/tutorial-how-to-create-watercolor-brushes-in-ai/ http://gomedia.com/zine/tutorials/tutorial-how-to-create-watercolor-brushes-in-ai/#comments Tue, 22 Mar 2016 13:42:32 +0000 http://gomedia.com/?p=60179 How to Create Watercolor Brushes in AI If you’re like us, you’ve got art laying all around the studio just begging to be used in unique and wonderful ways. Today, we’ll show you how to transform that art – specifically… Continue Reading »

The post Tutorial: How to Create Watercolor Brushes in AI appeared first on Go Media™ · Creativity at work!.

]]>
How to Create Watercolor Brushes in AI

If you’re like us, you’ve got art laying all around the studio just begging to be used in unique and wonderful ways.

Today, we’ll show you how to transform that art – specifically our watercolors – into AI brushes. Follow along to create your own and make sure to pick up our brand new Watercolor Illustrator Brush Pack while you’re at it!

hero-image

Watercolor Vector Brushes for AI

What you’ll need:

  • Adobe Illustrator
  • watercolor, paint brush strokes or the like

And away we go!

Step 1

File > Place your watercolor into Adobe Illustrator

How to Make Watercolor Brushes in Illustrator

Step 2

Next, head to

Object > Live Trace > Tracing Options

How to Make Watercolor Brushes in Illustrator

Step 3

Under these options, choose Color 16 from the drop-down, then “Set Default”

How to Make Watercolor Brushes in Illustrator

Step 4

Ensuring your watercolor is selected, choose “Live Trace” from the top menu.

How to Make Watercolor Brushes in Illustrator

Step 5

Then, “Expand”

step-5

Step 6

Click on the white area surrounding your watercolor art.

step-5.5

Step 7

Next, Select > Same Fill and Stroke. Press Delete to delete this white area.

step-6

Step 8

Make sure your brushes palette is open.

step-7

Step 9

With your art selected, head to the small arrow to the right of the palette. From the drop-down, choose “New Brush.”

step-8

Step 10

Choose New Art Brush, OK

step-9

Step 11

Make sure the following are selected:

  • Scale Proportionately
  • –> Right Direction Arrow
  • Flip Along
  • Flip Across
step-10

Step 12

Repeat this process for all of your art until you’re finished with your pack.

Step 13

Once you’ve completed your pack, shift and select all of the brushes. From the drop-down, choose “Save Brush Library,” saving it where you’d like. (AI will automatically place your file in the Adobe Brush folder for convenience.)

step12

All done! To access your new brushes:

– Go to Window Brush Libraries Other Library and then locate the brush library you want to install.
– On your brush library panel go to the top right menu and check “Persistent,” and your brush library should be accessible every time you open Illustrator.

Congratulations! You’ve created your own vector art brushes. Make sure to share your results with us in the comments section below and purchase our Watercolor Vector Brush Set!

hero-image

Watercolor Vector Brushes for AI

The post Tutorial: How to Create Watercolor Brushes in AI appeared first on Go Media™ · Creativity at work!.

]]>
http://gomedia.com/zine/tutorials/tutorial-how-to-create-watercolor-brushes-in-ai/feed/ 2
Try this Opacity Mask Tip with your New Vector Brushes for a Tattered, Torn Effect http://gomedia.com/zine/tutorials/how-to-use-an-opacity-mask-in-illustrator/ Thu, 17 Dec 2015 14:00:46 +0000 http://gomedia.com/?p=58825 Hey Fans of Go Media's Arsenal, the best resources for designers on the planet. We're here for a quick guide to using your new Brink Design Co. Industrial Vector Brushes, just released a day ago! These 100 handmade vector brushes were created with an unparalleled level of detail, made using a variety of different mediums and techniques to give your work that dirty, grungy, industrial look so many of you, our loyal customers, have been requesting. Continue Reading »

The post Try this Opacity Mask Tip with your New Vector Brushes for a Tattered, Torn Effect appeared first on Go Media™ · Creativity at work!.

]]>
How to Use an Opacity Mask in Illustrator (A Newbie’s Guide)

Hey Fans of Go Media’s Arsenal, the best resources for designers on the planet. We’re here for a quick guide to using your new Brink Design Co. Industrial Vector Brushes, just released a day ago! These 100 handmade vector brushes were created with an unparalleled level of detail, made using a variety of different mediums and techniques to give your work that dirty, grungy, industrial look so many of you, our loyal customers, have been requesting.

Hop on this train, as the pack is 21% off through Monday, December 21st. And these vector brushes are exclusive to the Arsenal, so you won’t find this detailed work elsewhere

Learn More Now!

Or, if you love the Arsenal products in general, you could join our Membership and gain access to our huge product library ($10,500+ in products) for only $15 per month. No strings attached, cancel at anytime. And yes, we’re totally serious.

Membership Me

———-

Now, let’s get to the tip!

Skill Level: Newbie
Tools Needed: Cool Illustration, Brink Design Co. Industrial Pack and Adobe Illustrator

1. Install your Brink Design Co. Industrial Pack Vector Brushes (or, as I like to call, 100 handmade brushes from the heavens)
Instructions are included with the pack.

what's-included

2. Open your illustration in Adobe Illustrator. We chose this cute little monster guy.

Untitled-1

3. Start going crazy with some brush strokes. This is the fun part. Soak it all in.

Untitled-2

4. Group your brush strokes all together. Ensure that your monster is left out of the mix.

Untitled-3

5. Object > Expand Appearance

Untitled-4

6. Using your Pathfinder Tool (Window > Pathfinder), select the first option – Merge

Untitled-5

7. “Control C” to copy this element. Next, go into your Transparency Window. From the drop-down, select “Make Opacity Mask”

Untitled-6

8. Click on the small black box within the window.

Untitled-7

9. Click “Invert Mask” and BOOM.

Untitled8

10. Click on the masked area if you’d like change where your mask is placed.

Untitled9

11. You’re done! We hope you’ve enjoyed this tip. Make sure to pick up the Brink Design Co. Industrial Pack and create something great everyday.

Shop Brink Design Co. Industrial Pack

The post Try this Opacity Mask Tip with your New Vector Brushes for a Tattered, Torn Effect appeared first on Go Media™ · Creativity at work!.

]]>
Print Poster Tutorial – Bringing Doodles and Sketches into Your Illustrator Workflow http://gomedia.com/zine/tutorials/print-poster-tutorial-bringing-doodles-and-sketches-into-your-illustrator-workflow/ Tue, 24 Nov 2015 13:30:23 +0000 http://gomedia.com/?p=58433 Follow along as we create a print poster tutorial in Illustrator! Continue Reading »

The post Print Poster Tutorial – Bringing Doodles and Sketches into Your Illustrator Workflow appeared first on Go Media™ · Creativity at work!.

]]>
Time taken: 1 hour 10 mins

Difficulty: Beginner to mid-level

Resources used: Blobs font

Screen Shot_1_header

The assigned project was to create cool and fun gig poster prints for a student union nightclub event – a big campus shindig before the kids go back for the holidays. Out of ideas and inspiration, I thought I’d raid my sketchbook for inspiration – something that I often do when faced with designer’s block. I happened upon a couple of doodles and sketches that I figured would be ideal for a winter, holiday design with a bit of an edge to it.

Print Poster Tutorial

A few character sketches that I figured would make fine subject matter –

go_media_sketch_2

The doodle that gave me the main idea for the piece –

Screen Shot_2

After scanning the sketched page, I brought the first sketch into Photoshop .

Screen Shot_3

I cropped the scan, selecting the character I wanted to use.

Screen Shot_4

I painted out the unwanted areas, cleaning up any loose pixels. Using the (⌘M, Ctrl M) curve function, I created contrast and more consistent blacks, while whitening the negative space.

Screen Shot_5

I opened up the doodle sketch in Photoshop and repeated the curve clean up of the scanned image (⌘M, Ctrl M). I then created a new work path (path menu, new path) and pathed out with the pen tool (Option-click + P, Alt-click + P) the specific area I wanted to use.

Screen Shot_6

After selecting the chosen path layer (path menu, make selection, “0” feathering) I cut and pasted this path into my original scanned layer.

Screen Shot_7

After joining the two sketches into one file, I applied a darken mode (layers menu) on my overlapping layer. I then used the eraser tool to notch out some of the pixels to join the two sketches together.

Screen Shot_8

To prepare the sketch for Illustrator, it was important to close off any open pixels.

Screen Shot_9

Choosing the brush tool, I meticulously closed off any open areas. Once this was completed, I merged all layers (⌘E, Ctrl E)

Screen Shot_10

The next step was to bring the cleaned-up file into Illustrator. After creating a new file in Illustrator, I pasted the sketch image into my workspace and using the live trace function (choose “image trace” in head menu) I chose the “3 colors” setting. I chose this because although it picks up the odd gray areas in a black and white image, it recognizes details that default tracing often ignores. In this sketch that was highly–contrasted, it generated a pretty even and solid image result and it wasn’t difficult to tidy up the odd grey path at a later stage anyway.

(It should be noted, that the live trace feature doesn’t work with all sketches and it’s sometimes better to path out the sketch, this particular sketch happened to be pretty “loose” and “sketchy” in appearance anyway, so it lends itself to live tracing, plus I made sure that it was correctly prepped for live trace in Photoshop.)

Screen Shot_11

Once the sketch had finished tracing, I expanded the object and fill (object, expand, expand appearance).

Screen Shot_12

Once the file had been expanded, I went into the image with my Direct Selection Tool (A) and deleted the background white and inner-white areas (for the purposes of this tutorial, I have illustrated this using a grey background).

Screen Shot_13

After taking out all unwanted white areas, the sketch was ready for more detailed clean-up. The image actually required little clean-up. There were a couple of paths that needed closing and merging but no need for anything super-accurate due to the sketchy nature of the artwork. To clean up the missing line-work on this sketch, I used my favorite brush the “blob brush” to replace any incomplete and broken lines with clean black lines.

Screen Shot_14

With all paths closed, it was easy to select areas with the Direct Selection Tool (A) and fill with a specific Pantone color (swatches, open swatch library, color books, Pantone + CMYK Coated).

Screen Shot_15

Upon completion of the character coloring process, I created a new layer and drew a rectangle (M).

Screen Shot_17

Using the eraser tool (Shift+E) and choosing a rounded shape, I notched out the rectangle to give it a “snowy” look.

Screen Shot_18

This is a very easy trick to do and creates a nice illustrative effect.

Screen Shot_20_1

To add some snowdrops to the design, I selected my blob brush with a left- angled brush.

Screen Shot_20_2

After adding some snowflakes, I went into the blob brush again, and selected the opposite brush angle and added the rest of the snowflake effect.

Screen Shot_21

Getting to this stage of the design gave me a better idea of how I could integrate the copy. I think in design there’s often a “natural order” when it comes to composition and by trying things out, opportunities for copy placement often arise naturally and without meticulous planning.

go_media_sketch_3

Having seen the design evolve, I also saw an opportunity to add some dynamic copy without having to resort to simply picking a font from a hat! So, I went back to the drawing board and sketched out some copy elements to place into the design.

Screen Shot_22

After scanning the design into Photoshop, I repeated the curve adjustment process to prep them for bringing into Illustrator.

Screen Shot_23

I brought the copy sections into Illustrator and live-traced each one, expanding and removing the white areas.

Screen Shot_26

I added color to the copy-shape paths and roughly re-sized it to fit the space, then repeated this process with the other copy elements

Screen Shot_27

I planned this design to include copy in the central area of the composition. After discovering the perfect font online called “Blobs”, I drew a simple curve shape with my pen tool (P) to add copy along the path.

Screen Shot_28

Using the “type on a path” tool in the pen tool sub-menu, I added copy to the path.

Screen Shot_29

After laying the central copy down, I used the pen tool to draw simple triangle shapes as word-dividers.

Screen Shot_30

The copy was working out well, but I wanted the copy to fit the design shape better.

Screen Shot_32

Using the free distort tool in the head menu (effect, distort and transform, free distort) I added distortion to the copy segments – expanding the appearance after each distortion (object, expand, expand appearance).

Screen Shot_35

I repeated this process with other copy areas.

Screen Shot_36

Once the main copy areas were finished, one of the final design touches was to add footer copy with social media info.

Screen Shot_37

After creating the footer copy in white, using the Blob font, I copied and pasted the green rectangle shape I created earlier, transforming the scale and shape.

Screen Shot_38

With the design almost complete, I just needed to add the club’s logo to my design.

Screen Shot_38

The design was complete.

Screen Shot_40

A quick checklist I always make sure I do before taking the illustrator file to large format print:

  • Ensure that my artwork/artboard is cropped specifically sized for my poster requirements with plenty of bleed clearance around the edges between edge and artwork
  • Convert all font elements into shapes (object, expand, expand/fill)
  • Ensure all paths I want spot-colored are attributed a specific Pantone color (swatches, open swatch library, color books, choose swatch color specific to your printers requirements)
ben_poster

How the finished and printed poster design, printed for Roland DGA, looked.

Share your designs with us on our Flickr Pool Showcase and as always, feel free to leave any comments and questions below!

The post Print Poster Tutorial – Bringing Doodles and Sketches into Your Illustrator Workflow appeared first on Go Media™ · Creativity at work!.

]]>
Tutorial: How to Create a Halloween Icon Pack Using Adobe Illustrator (Resources Included) http://gomedia.com/zine/tutorials/how-to-create-an-icon-pack-using-adobe-illustrator/ http://gomedia.com/zine/tutorials/how-to-create-an-icon-pack-using-adobe-illustrator/#comments Thu, 22 Oct 2015 11:00:09 +0000 http://gomedia.com/?p=57996 Since Halloween is just around the corner, we thought we should give you an early treat this year, in the form of a little icon tutorial. The idea was to show you guys how to create a cute set of three icons from scratch, using some of Illustrator’s basic tools such as the Shapes Tool, combined with the power of the Pen Tool and Pathfinder panel.

In terms of difficulty this course is aimed at those who have a basic knowledge of how Illustrator works, but that doesn’t mean beginners can’t give it a go, since every step is presented as explicit as possible.

So, assuming you have Illustrator up and running, let’s jump in and start creating! Continue Reading »

The post Tutorial: How to Create a Halloween Icon Pack Using Adobe Illustrator (Resources Included) appeared first on Go Media™ · Creativity at work!.

]]>
How to Create an Icon Pack using Adobe Illustrator

Since Halloween is just around the corner, we thought we should give you an early treat this year, in the form of a little icon tutorial. The idea was to show you guys how to create a cute set of three icons from scratch, using some of Illustrator’s basic tools such as the Shapes Tool, combined with the power of the Pen Tool and Pathfinder panel.

In terms of difficulty this course is aimed at those who have a basic knowledge of how Illustrator works, but that doesn’t mean beginners can’t give it a go, since every step is presented as explicitly as possible.

So, assuming you have Illustrator up and running, let’s jump in and start creating!

Download the: How to Create a Halloween Icon Pack Resources (AI + EPS Files)

1. Setting Up Our Document

The first thing you should always do, no matter the project, is make sure that you start off on the right foot by setting up a proper document.
So, go to File > New (or use the Control-N shortcut), and let’s go through some of the settings that need adjusting:

  • Number of Artboards: 1 – since we will be creating a small pack, one Artboard will suffice
  • Width: 800 px – which is the overall width of our Artboard
  • Height: 600 px – which is the overall height of our Artboard
  • Units: Pixels – this setting is really important since we will be creating for the digital medium, so screens and other display devices, which are pixel based.

And from the Advanced tab (which can be made visible by clicking on the little right facing arrow):

  • Color Mode: RGB – which is the color mode for the digital medium
  • Raster Effects: Screen (72 ppi) – this option controls the way drop shadows, textures and other effects are displayed on different media. If you’re creating for the screen 72 ppi will suffice, but if you’re designing with the intent of printing the final artwork on paper, then you should go with one of the higher values
  • Align New Objects to Pixel Grid: checked – as we want everything to correctly snap to the Pixel Grid
how to create an icon pack using adobe illustrator

2. Setting Up Our Layers

Once we’ve properly set up the document, we should take our time and think about the project itself in terms of layers.
Usually when I create detailed artwork, I find it useful to separate the different sections from one another using layers. This way I can easily work on a specific part of the design, without worrying that I’ll accidentally misarrange or affect my other shapes.
Since in our case the project is composed out of 3 assets (icons), it would be a good idea to create a layer for each one, so that we can better manage and edit them along the way.
So, assuming you know how the Layers panel works, let’s create 4 layers and name them so that they’ll be easier to identify:

1. grids – which will house the simple custom grids, that we will be using in order to create a cohesive pack
2. pumpkin
3. gravestone
4. eyeball

how to create an icon pack using adobe illustrator

3. Setting Up a Custom Grid

For those new to the Grid, well you shouldn’t worry since it’s not that hard to master. At its core, the Grid is a system of vertical and horizontal lines that allow you to compose and position you artwork with a high level of precision. It is usually used in UI design, where the process of creating a balanced composition requires the designer to put a lot of consideration into the relation established between the different visual components.

But as with most of Illustrator’s tools, this too gives you the ability to do so much more with, one particular one being that of creating pixel crisp artwork.

Since I’m a strong believer in creating with Pixel Perfection, I always set up my Grid to the lowest values since this will assure me that my shapes are as crisp as possible.
Illustrator itself comes preconfigured with a default set of values, which we will have to adjust in order to be on the same track, by going to Edit > Preferences > Guides & Grid.

Here, a new popup window should appear giving us the option to adjust the following settings to the values indicated below:

  • Gridline every: 1 px
  • Subdivisions: 1 px

Once you’ve entered the indicated values, you need to make sure that the Grid snapping is actually active by going to the View menu and clicking on the Snap to Grid option.
At this point, we’re pretty much done with the adjustment process, which means we can now move on to building the custom icon grids.

how to create an icon pack using adobe illustrator

4. Defining Our Icon Grid System

If you’ve ever created icons before, then you should know that the first step one needs to take when creating a new icon pack, is figuring out the size of the assets. There are a dozen of available options depending on where the icons themselves will be used, options that range from just 16 x 16 px all away to 256 x 256 px and even beyond that.
Now, for our current project, I’ve decided to go with something relatively large, more exactly 96 x 96 px, which means that our icons will be big enough so that we can put a considerable amount of details inside of them.

Once you’ve decided on your size, which we did, you will have to create a custom icon grid, which will allow you to build within that size boundary, which in the end will give you the ability to create an all-around cohesive icon set.
The grid itself is usually a square, since this shape allows you to push your pixels all the way to the limits of the confined space.
Yes you could add a bunch of horizontal, vertical and diagonal guides, for a deeper level of consistency, but in our case, a simple square will do the trick.

Step 1

So assuming you’re on the “grids” layer, lock all the other ones and create a 96 x 96 px square using the Rectangle Tool (M). Position the shape to the center of your Artboard by selecting it and then using the Horizontal and Vertical Align Center options found under the Align panel, making sure that the alignment is done to the Artboard and not to a Key Object or Selection.
Once you have the guide in place, change its color to a light grey (#e6e6e6) so that it will be easily visible without drawing too much attention.

Quick tip: in case your Align panel isn’t showing the Distribute Spacing and Align to options, that’s because you didn’t told Illustrator to do that. To change this, simply click on the right corner down facing arrow and then enable the Show options feature and you should be good to go.

graphic 4

Step 2

Now, since I usually like to give my icons some inner padding, I tend to add a relatively smaller square to the one I already have.

If you’re wondering why, well let’s just say I like to fool proof my designs so that when exported, I can be sure that none of the sides of the icons gets accidentally chopped off. This would result in a flawed file.

So, using the Rectangle Tool (M), let’s create a smaller 92 x 92 px one, which we will position over the one we already had, giving it a slightly lighter shade (#f2f2f2).

graphic 5

Step 3

Since we will need a pair of grids for each of our icons, we will have to group the first one that we’ve just created using the Control-G shortcut, and then create two copies which we will distance at 60 px from the original using the Horizontal Distribute Spacing option.

graphic 6

At this point we’re done setting up the icon grids which means we can move on to creating our first icon, the creepy little pumpkin head.

5. Creating the Pumpkin Head Icon

Assuming you’ve locked the “grids” layer, and moved up onto the “pumpkin” one, we can start working on our first icon from the set.
Since all of our icons will have a fill/inner section and an outline, we will follow a pretty straightforward process of creating the inner section first and then applying a 4 px outline to it using the Offset Path effect.

Step 1

That being said, let’s grab the Rounded Rectangle Tool and create an 84 x 70 px shape with a 35 px Corner Radius which we will color using a dark orange (#bf7355) and then position over the first set of grids, so that we have an even gap of 4 px between it’s left, right and bottom sides and the larger grid itself.

graphic 7

Quick tip: I recommend you turn on the Pixel Preview mode by going over to View > Pixel Preview, since most of the steps from this tutorial will rely on using this mode. I will also be giving you some pretty precise details when it comes to positioning the composing shapes.

graphic 8

Step 2
Once we have our inner section of the pumpkin, we can give it an outline by selecting it, and then going to Object > Path > Offset Path and giving it an Offset of 4 px.

graphic 9

This will create a larger shape just under the selected one, which we will have to color using a dark color (#392a16).

graphic 10

Step 3

As soon as we have our outline, we can add the all-around inner ring highlight by first creating a duplicate of the orange fill (Control-C > Control-F) and then adding a smaller 80 x 66 px rounded rectangle with a Corner Radius of 33 px to the center of the fill shape.

This smaller shape will help us create a cutout, which we will do by selecting both it and the shape underneath, and then using Pathfinder’s Minus Front option.

graphic 11

Step 4
Since the resulting shape isn’t quite there, we will have to change its color to white (#FFFFFF) and then set its Blending Mode to Overlay while lowering its Opacity level to 20%.

graphic 12

Step 5
Add a little texture to the surface of the pumpkin, by drawing a bunch of 4 x 4 px rectangles which we will color using a darker shade of orange (#9e5943). Then make sure to have them positioned underneath the highlight that we’ve just created, by sending the highlight to the front using the Arrange > Bring to Front option.

Don’t forget to select all the composing elements of the texture, and group them together using the Control-G shortcut, since you wouldn’t want the elements getting misplaced by accident.

graphic 13

Step 6
Next, we will start working on the vertical delimiting lines, which will give the pumpkin its nice curved look. To do this, we will first create a 44 x 70 px ellipse to which we will apply an Offset Path effect of 4 px.

Now, with both shapes selected, use Pathfinder’s Minus Front option to create a cutout from the larger ellipse, which will result in ring like shape that we will adjust by cutting it in half by removing its right section, and then changing its color to #392a16.

Position the resulting shape towards the left side of the pumpkin fill section, leaving a gap of 8 px between it and the larger outline.

graphic 14

Step 7
Create a copy of the curved line and position it towards the right side of the pumpkin, making sure to reflect it vertically (right click > Transform > Reflect > Vertical).

graphic 15

Step 8
Add a secondary pair of vertical rings by creating a slightly narrower 28 x 70 px ellipse, to which we will apply Offset of just 2 px. Repeat the same process of removing the inner shape from the created offset, and then cutting the resulting ring in half, making sure to position a copy on both sides of the pumpkin at about 10 px from the thicker rings.

graphic 16

Step 9
Next, let’s add a couple of highlights and shadows to the rings, in order to give it more depth.

First let’s add the highlights by creating a copy after the rings and moving them slightly towards the inside of the pumpkin. Make sure to change their color to white (#FFFFFF) and set their Blending Mode to Overlay lowering the Opacity to just 20%.

graphic 17

Step 10
Add the shadow by repeating the same process – only this time, position the shapes towards the outside of the pumpkin, setting their color to black (#000000) while changing their Blending Mode to Darken and lowering their Opacity to 30%.

graphic 18

Step 11
As you can see, the highlights and shadows go over the actual outlines and highlight of our pumpkin which is something that we don’t want them to do. To fix this, we will have to create and apply a clipping mask in order to hide the parts of the details that we don’t want overlapping.
First, we will have to create the mask itself by creating a copy of the ring outline, and then separating its inner path from the outer one by right clicking > Release Compound Path. Once the path is released, we will have to select and delete the larger shape since we will be using the smaller one.

graphic 19

Step 12
With the resulting shape from step 11 and both the highlights and shadows selected, right click > Make Clipping Mask.

graphic 20

Step 13
Since some parts of the details still go over the outlines, we will have to select all the vertical rings and bring them to the front (right click > Arrange > Bring to Front).

graphic 21

Step 14
Before we start adding the face features, let’s add one more vertical ring highlight towards the right side of the pumpkin, positioning it a little towards the middle.

Follow the same process as before, only make sure that you’re creating the shape inside the actual clipping mask by double clicking on one of the composing elements, or by right clicking > Isolate Selected Clipping Mask.

Once you’re done simply exit the Isolation mode by pressing Esc.

graphic 22

Step 15
Up until this point we’ve followed a pretty strict do-this-then-that workflow, so I thought it’s time I gave you a little creative freedom and let you “carve” your pumpkin by your own, so that in the end you will have something special to show off with.

The only thing that you will have to keep in mind is that no matter the expression, you will have to keep the detailing process consistent by adding a 4 px outline to each of the created shapes. Also, for the fill colors you could use lighter or darker shades of orange, I for example, have gone with something darker (#634133) but you don’t necessary have to use the same tint if you don’t feel like it.

That being said, take your time and once you’re done move on to the next step.

Quick tip: there might be situations where the Offset Path trick will produce irregular outlines, so for those cases try and use a 4 px stroke instead.

graphic 23

Step 16
Assuming you’re carved an awesome scary look, let’s start adding the finishing touches, by working on the pumpkin’s top side that houses the vine.

First, grab the Ellipse Tool (L) and create a 20 x 6 px shape, which we will color using a dirty light green (#87826f) and then position towards the top section of our pumpkin, making sure to position it underneath.

Oh, and as always don’t forget to give it that 4 px outline!

graphic 24

Step 17
Add a highlight to the vine’s base by creating a duplicate of the green shape, and then cutting out a smaller 18 x 4 px ellipse out of it. Color the resulting shape using white (#FFFFFF) and then change its Blending Mode to Overlay while lowering the Opacity level to 40%.

graphic 25

Step 18
Finish off the vine by adding a 4 x 4 px square towards its top, which will act as the tip. Then change its color to a darker green (#757061) and give it an outline, only this time make sure to set the Joins option to Round.

Finally add a couple of highlights to the top and right side and a vertical divider towards the center, making sure to send all the tip’s elements to the back (right click > Arrange > Send to Back). You should also group the elements together (Control-G) so that things won’t end up being misplaced.

graphic 26

Step 19
Add some “hair” to our little old pumpkin, by drawing a couple of curved paths using the Pen Tool (P), keeping the stroke Weight set to 1 px and the Cap to Round.

graphic 27

Step 20
Finish off the icon by adding three diamond like highlights towards its middle right section, which will have their Blending Modes set to Overlay and their Opacity levels to 60%.

graphic 28

6. Creating the Gravestone Icon

As soon as you’re done creating the pumpkin icon, you can lock its layer, and move on to the “gravestone” one and start working on it.

Step 1
Let’s start with the base of the grave by creating a 66 x 12 px rounded rectangle with a 4 px Corner Radius, which we will color using #a09793, and then position towards the middle of the smaller inner grid so that it touches its bottom side.

graphic 29

Step 2
Next, we have to make some adjustments to the shape by selecting its bottom-center anchor points using the Direct Selection Tool (A), and then deleting them by pressing Delete.

As soon as you get rid of the anchors, use the Control-J keyboard shortcut in order to close the path.

Once you’ve adjusted the shape, give it a 4 px outline using the Offset Path (right click > Object > Path > Object Path) which you will color using the same color that we’ve applied to all our outlines (#392a16).

graphic 30

Step 3
Since I feel that the bottom corners of the outline are a bit too hard, I thought we should adjust them by selecting their anchor points using the Direct Selection Tool (A) and giving them a 2 px Corner Radius.

graphic 31

Step 4
Using a similar process to the pumpkin icon, start adding a couple of highlights and a shadow to give the shape some depth.

graphic 32

Step 5
Once you’ve added the highlights and shadows, add a 66 x 1 px rectangle just above the shadow coloring it using the same color as the rest of the outlines (#392a16).

graphic 33

Step 6
Add a bunch of cracks to the piece using the Pen Tool (P) and give them some highlights where you feel it’s necessary. Then select all the shapes and group them together using the Control-J keyboard shortcut.

graphic 34

Step 7
Let’s move on to the upper section of the icon, and start working on the stone itself by creating a 52 x 98 px rounded rectangle with a Corner Radius of 26 px. Color the shape using #66605e, and then adjust it by removing its bottom center anchor points using the Direct Selection Tool (A) and finally positioning it above the bottom section making sure to vertical align the two.

graphic 35

Step 8
Give the stone an outline, and then add a highlight and a 4 px tall shadow where its bottom sections meets the base of the gravestone.

Quick tip: Where the workflow is similar to the previous steps I won’t be repeating the entire process since it will be weird, but I will give you indications where things need to be done a little bit different. In the present case since we already went over the process of creating the highlights and shadows, I trust that you should be able to apply what you’ve learned in the previous steps.

graphic 38

Step 9
Now, let’s give the stone a texture similar to the one used for the pumpkin by creating a couple of 4 x 4 px squares, which we will color using #514a48. It would be a good idea to group the texture’s elements since you’ll want to be able to keep them in place.

graphic 39

Step 10
Once we’ve added the texture, we can continue the detailing process by adding a couple of cracks and some highlights underneath each of them using the Pen Tool (M).

graphic 40

Step 11
Add two vertical highlights, by drawing a wider 2 x 72 px rectangle and a narrower 1 x 72 px one to its right side at a distance of 1 px. Color the shapes using white (#FFFFFF) and then set their Blending Modes to Overlay as we did with the previous ones, while lowering their Opacity levels to 20%.

Position the highlights to the right side of the gravestone so that their bottom sides touch the stone’s shadow.

graphic 41

Step 12
Now as you’ve probably already noticed, the top side of the highlights overlaps the highlight of the stone itself, which we will need to correct by adding a clipping mask.
To do that, simply create a copy of the stone’s highlight, and then using the Direct Selection Tool (A) remove its outer anchor points, and then close the resulting path by pressing Control-J.
Then simply select the new shape and the two vertical highlights and right click > Make Clipping Mask.

Quick tip: in case you’re wondering why I prefer using clipping masks instead of Pathfinder, well the answer is really simple, while Pathfinder could achieve the same result, it won’t allow me to adjust my shapes later on if I find that I need too, which for me is a deal breaker.

graphic 42

Step 13
We’re almost there, but something seems like missing? Oh, right, the cross.

Let’s grab the Rectangle Tool (M) and create a 16 x 6 px shape which will act as the horizontal line and another 6 x 22 px one, which will act as the vertical one.

Position the horizontal line towards the top section of the secondary line so that you have a gap of 6 px between the two. Then, color the shapes using #392a16, group them (Control-G) and then position them towards the top side of the stone, aligning the cross to the middle.

graphic 43

Step 14
Using the Rectangle Tool (M) create a 20 x 8 px shape, and then color it using a dark grey (# a09793). Since this will act as the name plate, we will have to stylize its corners by creating four 4 x 4 px circles which we will use in combination with Pathfinder’s Minus Front option to create those nice looking inner cutouts.

Now, since the Offset Path effect won’t be able to create an accurate outline, we will have to create it manually by drawing a 28 x 16 px rectangle which will follow the same stylizing process as before, only this time we will use four 8 x 8 px circles.

Once you have the outline shape, simply color it using #392a16, and then make sure to position it underneath the plate itself.

graphic 44

Step 15
Add some highlights to the plate and then using the Rectangle Tool (M) draw two horizontal lines, one thinner and one thicker which will represent the name.

Finally add two 2 x 2 px circles to each side of the plate, which will act as a pair of little screws holding the plate, and a shadow underneath its outline to give it more depth.

graphic 45

Step 16
Add the three little diamond shaped highlights towards the top right corner, by creating a copy (Control-C > Control-F) of the ones from the pumpkin icon.

graphic 46

Step 17
Since at this point we’re pretty much done with the gravestone itself, it’s time to start working on the little skull.

First, create a 14 x 14 px circle and color it using a light grey (#d3c6c1). Then, add a 10 x 6 px rounded rectangle with a 1 px Corner Radius just above it, coloring it using the same color.

Now, with both shapes selected, give them an Offset of 4 px making sure to group them together (Control-G) and then position them towards the lower left corner of the stone, so that the jaw’s outline touches the outline of the grave.

graphic 47

Step 18
Add a pair of eyes to our little skull, by creating two 4 x 4 px circles (#392a16) which we will distance at 2 px from one another, and then position towards the middle lower section of the skull.

Then add a little nose and two teeth insertions to make the object look like an actual skull.

graphic 48

Step 19
Finish off the skull by adding a nice all-around highlight, and two overlapping elliptical ones towards the top section of the skull.

graphic 50

Step 20
Lastly, let’s add the little blood drips from underneath the skull.

First, select the Rounded Rectangle Tool and create a 2 x 9 px shape, which we will color using a dark red (#c95b55), and then adjust by removing its top center anchor points in order to give it a flat edge. Then create a copy and adjust it by shortening its height to just 4 px, and position it on the original’s right side leaving a gap of 2 px between the two.

With both shapes selected, give them a 2 px outline using the Offset Path, and then position them towards the left side, underneath the skull, so that the red fills touch the top side of the grave’s grey fill.

graphic 51

Step 21
Since we want the two drip lines to be connected, we will add a 2 x 2 px square in between them, which we will adjust by cutting out a 2 x 2 px circle from its lower half.

graphic 52

Step 22
Finish off the gravestone icon by adding a couple of highlights to the blood drips, using the same Overlay Blending Mode but a slightly higher 50% Opacity level.

graphic 53

7. Creating the Eyeball Icon

We are now down to our final icon, the eyeball one. As usual this means we will be locking the “gravestone” layer and move on up to the next and final one.

Step 1
Using the Ellipse Tool (L) let’s create the base fill for our eye, by drawing a 64 x 64 px circle, which we will color using a dirty grey (#d3c6c1), and then position it towards the bottom side of the third grid set leaving a gap of 7 px between it and the smaller inner grid.

As always, don’t forget to give it that 4 px outline.

graphic 54

Step 2
Give the inner fill a ring highlight with the Blending Mode set to Overlay and the Opacity to 50%.

graphic 55

Step 3
Since the eyeball itself is slightly rotated so that its iris will be looking up, we will have to add a second circle over the inner fill that we already have, and position that towards the top, so that the current fill will act as a bottom shadow section.

First, select the fill, and create a copy after it (Control-C > Control-F), which we will position towards the top at a distance of 6 px from the original. Then change the shape’s color to something brighter (#e5ddda), making sure to mask it so that it will remain confined to the boundaries of the underlying circle.

Also, since the ring highlight needs to sit on top, we will have to select it and bring it to the front by right clicking > Arrange > Bring to Front.

graphic 56

Step 4
Now, let’s add that texture that we’ve used for all the previous icons, only this times mix it up a little by drawing both 2 x 2 px squares and a couple of 1 x 1 px ones, which we will color using a darker shade of grey (#bdb1ac).

Leave the center of the eye free of any details since they won’t be visible once we add the inner iris section.

graphic 57

Step 5
Start working on the iris, by drawing a 30 x 30 px circle, which we will color using a swamp green (#6a6e48), and then position towards the top section of the main eye fill, at about 13 px from its top side.

Give it a 4 px outline, and then add a smaller 14 x 14 px circle to its center which will represent the pupil.

graphic 58

Step 6
Give the iris a ring like highlight, making sure to set the Blending Mode to Overlay and the Opacity to 20%.

graphic 59

Step 7
Start adding a bunch of scattered 1 x 1 px squares (#392a16) which will give it a nice looking texture.

graphic 60

Step 8
Next, start adding a bunch of circle like reflections to the top right and bottom left corners of the iris, using the same Blending Mode and Opacity level as before.

graphic 61

Step 9
Give the eye a visual pop by adding a overlaying highlight over the top half of the iris, making sure to mask it using the green shape from underneath.

Use Overlay as the Blending Mode and crank up the Opacity to 30%.

graphic 62

Step 10
Add a subtle shadow underneath the iris’s outline, by creating a copy of the later, and moving it towards the bottom by 2 px.

Change its color to #d3c6c1, and make sure to position it underneath the outline and not the other way around.

graphic 63

Step 11
Grab a copy of the diamond shaped highlights from one of the previous icons, and position it towards the right side, and then add two more circular reflections to its left to really make it shine.

graphic 64

Step 12
As with the pumpkin icon, I’m going to give you the ability to get creative and draw your own version of this cute little eye stabbed icon.

As always, keep it consistent, use as much details as you can, and don’t forget to keep those outlines at 4 px.

graphic 65

Huurraay we’re finally done guys!

graphic 66

I really hope you’ve enjoyed the tutorial and most importantly learned something new during the process. That being said, I’m looking forwards to seeing your final designs, and if you have any questions just leave them in the comments section and I’ll get back to you in a jiffy.

And for more resources like these, join our Arsenal Mailing List!

The post Tutorial: How to Create a Halloween Icon Pack Using Adobe Illustrator (Resources Included) appeared first on Go Media™ · Creativity at work!.

]]>
http://gomedia.com/zine/tutorials/how-to-create-an-icon-pack-using-adobe-illustrator/feed/ 1
Positive and Negative Space in Illustrator| Design Tip of the Week http://gomedia.com/zine/tutorials/positive-and-negative-space-in-illustrator-design-tip-of-the-week/ Mon, 24 Aug 2015 13:00:52 +0000 http://gomedia.com/?p=57212 Positive and Negative Space in Illustrator We all know that Illustrator is great for creating dynamic linework and wonderful shapes, but what about creating lines WITH shapes? You know, positive and negative space? Get what I’m saying? Picking up what… Continue Reading »

The post Positive and Negative Space in Illustrator| Design Tip of the Week appeared first on Go Media™ · Creativity at work!.

]]>
Positive and Negative Space in Illustrator

We all know that Illustrator is great for creating dynamic linework and wonderful shapes, but what about creating lines WITH shapes? You know, positive and negative space? Get what I’m saying? Picking up what I’m putting down? Smelling what I’m stepping in? If you’re still unsure, no problem.  I’ll walk you through it, and by the end you will have another method to illustration in your repertoire.

DTOTW_8-24-15_Article_Image_1

Does this little guy look familiar?

DTOTW_8-24-15_Article_Image_2

Yep! He’s the mini version of the cosmic robot Buddha illustration I did for Weapons of Mass Creation Fest 6. This little dude also was featured on the WMC Fest 6 kid’s shirt.

Anyways, let’s get into it.

DTOTW_8-24-15_Article_Image_3

Pasted in the Illustrator artboard is the original sketch for my illustration. From this I outlined and created silhouetted shapes…

DTOTW_8-24-15_Article_Image_4

This layer is named “Positive 1” (as it says in the Layers Palette).

DTOTW_8-24-15_Article_Image_5

Next, a new layer was created (Negative 1). In this layer, I created the white (negative) shapes by using my original sketch as reference. It is at this point that the linework becomes defined.

DTOTW_8-24-15_Article_Image_6

My third layer (“Positive 2”) contains the last set of positive (black) shapes that sit on the white (in Negative 1 layer*).

*In my opinion, Negative 1 layer should actually only be named “Negative,” since there is not a “Negative 2” layer. 

DTOTW_8-24-15_Article_Image_7

First making sure that my layers are unlocked and visible, I then select all my shapes, then copy and paste it all into a new layer (“Grouped”).

DTOTW_8-24-15_Article_Image_8

With everything selected, I use Pathfinder > Divide. This breaks down everything into separate shapes according to the intersecting edges.

DTOTW_8-24-15_Article_Image_9

By first ungrouping my illustration, I can now use the magic wand to select all the positive (black) shapes. I copy that, delete my all of my previous work, then do a Paste in Place, leaving only the positive shapes.

DTOTW_8-24-15_Article_Image_10

Your Fill will indicate that this has been done correctly if everything that is selected has black fill. No white (negative) shapes remain.

DTOTW_8-24-15_Article_Image_11

So why bother with this approach?
Honestly, it’s just matter of preference. For some illustrations, I’d rather just do the linework, yet there are some instances where it is easier for me to break it down (and build it up) through positive and negative space. I have also found that this approach enables me to translate my original line weights. The point is there are many ways to skin a cat. (Man…that’s a horrible expression. Skin a cat? Who does that? I don’t even…) Anyways, this is just another method of creating linework in Illustrator. In fact, I used this method a lot in creating the Iconic Cleveland Vector Pack.

Well that is all for now. If you want more tips on Illustration, check out the Arsenal, which has TONS  of tutorials! (I would strongly recommend the Halftone Triple Technique Tutorial.)

Thanks for reading, everyone! Now go out and draw some cool shit.

Cheers!

8 -24 -15

The post Positive and Negative Space in Illustrator| Design Tip of the Week appeared first on Go Media™ · Creativity at work!.

]]>
Tutorial: How to Make a GIF from an Illustration http://gomedia.com/zine/tutorials/tutorial-how-to-make-a-gif-from-an-illustration/ Thu, 06 Aug 2015 13:00:15 +0000 http://gomedia.com/?p=56587 How to Make a GIF from an Illustration Alright, so after reading my last GIF tutorial on how to make an animated GIF from a video using Photoshop, you’re probably thinking, I am a GIF master. However, that is not the… Continue Reading »

The post Tutorial: How to Make a GIF from an Illustration appeared first on Go Media™ · Creativity at work!.

]]>
How to Make a GIF from an Illustration

Alright, so after reading my last GIF tutorial on how to make an animated GIF from a video using Photoshop, you’re probably thinking, I am a GIF master. However, that is not the case. Yet.

It’s time to evolve and became a true master! In this tutorial, I will be walking you through how to make a GIF from an illustration in Photoshop. I recommend that before you tackle this tutorial though, try out my previous one on creating video GIFs. Many of the steps are similar, however, this process is slightly more complex.

When you’re creating a GIF out of a video, you’re taking frames that are already made (frames that come from the video) and you are editing them down to make a GIF. However, for an illustration, you start with 0 frames, which means you need to create your own. This can get a bit tricky, but if you stay organized, and follow my steps, you’ll get through it in a breeze!

Step 1: Create/obtain vector illustration
For this tutorial, I will be using this cute little warrior character I created awhile ago.
Warrior
Also, before you start the next step, it’s good to have a plan of action. For this tutorial, I will only be moving my warrior’s arms and eyebrows, making her slice the air with her sword.

Step 2: Separate your artwork layers
My illustration was created in Adobe Illustrator. To create a GIF out of an illustration, however, you’ll need to copy the artwork into Photoshop. But you will NOT want to import it.

  • Open Illustrator file containing vector illustration
  • Determine which layers you want to animate, and which layers you don’t
  • Merge all of the layers together that you do NOT want to animate and copy them into your Photoshop document first.
  • Paste them in as a Smart Object (a window should pop up asking how you would like to place them)
  • Then, go back and paste in the layers that you DO want to animate
    IMPORTANT: Copy these layers in SEPARATELY. For example, I want my warrior’s left arm to move for this tutorial, but I don’t want her right arm to move. This means that I need to copy each arm in separately, so I can move them individually.

After you have all of your layers pasted in, and your illustration looks just as you want it, be sure to have your Animation Window open in Photoshop.
(Open it by clicking Window > Animation)

3
Copying all of the un-animated layers from my Illustrator file.

4
Pasting them into my Photoshop document as a Smart Object. (Also, see Animation Window at the bottom)

6
6.5
My document after pasting in all of my artwork. You can see that I have all of my layers named and organized. This will be extremely helpful in moving forward. My “Warrior” layer contains all of the artwork that I do not intend to move. I also have locked that layer, as well as the “right arm” layer because only her left arm will move.

Step 3: Prepare Photoshop document and layers
Now that you have your illustration ready to go in Photoshop, you’ll want to prepare your document before you start animating.

In your Animation window, you’ll see that you currently only have 1 frame. Each time you create a new frame, you will need a whole new set of layers for that specific frame. So to prepare, take all the layers you currently have and put them in a Group/Folder and name it Frame_1. Each time you make a new frame, you will need to duplicate the previous frame group and rename it.

  • Before creating your new second frame, change the frame rate to .08 seconds.
  • Duplicate Frame_1 Folder
  • Rename Duplicated Folder, Frame_2
  • IMPORTANT: Each frame should only have its respected Frame Folder visible. When I have Frame 1 clicked, the Frame 2 folder needs to be invisible. When Frame 2 is clicked, the Frame 1 folder needs to be invisible (and so on as you create more frames)

8
Frame 1 highlighted, Frame_1 Folder Visible

9
Frame 2 highlighted, Frame_2 Folder Visible

Step 4:  Animate patiently
Now that you have your document set up, you can begin moving your illustration! Like I said previously, I want my warrior to slice her right arm through the air. So for frame 2, I am going to select the “right arm” layer and the “sword” layer, and slightly move them down and at an angle.
IMPORTANT: Only move your illustration a small amount. To create my arm swinging motion, I am going to use around 5 frames to make the motion. The more frames you have, the more smooth your animation will be.

10

Here is what I have so far if I exported my GIF right now:
GIF1
Obviously it’s too choppy and fast. But hey, it moves right? We are on our way.
(If you don’t know how to export a GIF, check out my previous tutorial)

Step 5:  Continue last step until satisfied
After you animate your second frame, you will be doing the same motions until you get the full animation you want. Continue creating new frames, duplicating your folders, making sure each folder is only visible to its respective frame, etc.

IMPORTANT: Be sure to do these steps in the correct order, or you may accidentally get things disorganized. After you finish a frame:

  • Close Frame Folder/Group
  • Hit New Frame
  • Duplicate LATEST Frame Folder/Group
  • Make sure all other Frame Folders/Groups are invisible
  • Edit artwork

11
My document while moving on to Frame 3

12
My document after completing my full down-swing arm motion (5 frames total)
(After creating the down-swing, I duplicated frames 2-4 and reversed them so that my warrior would bring her sword back up. I go over reversing frames in my Video GIF tutorial)

This is what I currently have after this step:

GIF2
Nice, right?

Step 6: (Optional) Edit keyframe rates
So after you complete Step 5, you’ll have a GIF that’s ready to go! However, maybe you want a little more detail and variation in your GIF. Right now, my warrior’s arms are moving at a consistent speed. But maybe I want her down-swing to be faster and more aggressive than her upswing.

This is where keyframe speed comes into play, and it allows you to give additional personality to your little illustration. Below you’ll see where I adjusted my speed.

13a
14a
At frame 5, my warrior’s sword reaches its lowest point. So I took frames 1-4 and made the speed considerably faster than the others at .02 seconds. Since frame 5 is the lowest point, I want my warrior to pause longer there to create a finishing motion. Then as my warrior brings her sword back up in frames 6-8, I’ll keep them at a consistent .08 seconds.

My final GIF:
GIF4

And there you have it! You are now a GIF master, with an arsenal full of Video GIFs and illustration GIFs that you can show off to your friends, family, coworkers and random strangers on the internet.

I should also note that there are many different ways to create animations in Photoshop. You can check out another one of our GIF tutorials that shows you how to use the Tween Animation Frames button in Photoshop.

Additionally, if you are looking to do heavy animation work, I would absolutely recommend trying out Adobe AfterEffects. The best advice I can give is to experiment! Try different things, mess up, start over and see what works best for you. Good luck!

The post Tutorial: How to Make a GIF from an Illustration appeared first on Go Media™ · Creativity at work!.

]]>
Line Variation in Illustrator | Tutorial http://gomedia.com/zine/tutorials/line-variation-in-illustrator-tutorial/ Thu, 16 Jul 2015 13:00:05 +0000 http://gomedia.com/?p=56661 Line Variation in Illustrator Tutorial In a previous Design Tip of the Week, we mentioned the increasing trend of icons and simplistic, geometric illustration. While their minimal, clean aesthetic is perfect for some situations, there are other times when an illustration… Continue Reading »

The post Line Variation in Illustrator | Tutorial appeared first on Go Media™ · Creativity at work!.

]]>
Line Variation in Illustrator Tutorial

In a previous Design Tip of the Week, we mentioned the increasing trend of icons and simplistic, geometric illustration. While their minimal, clean aesthetic is perfect for some situations, there are other times when an illustration needs to have more personality and be more dynamic. Line variation can add that extra flavor.

Line Variation Example-01

In this tutorial, I’ll show you how I personally add line variation in Illustrator (there are, however, many different approaches and methods). Let’s begin!

Line_Variation_Tutorial_Article_Image_1

We’re going to use this guy for our first example. (He may look familiar, but he is in fact a different blob-person than the one I previously introduced in an other tutorial.)

Line_Variation_Tutorial_Article_Image_2

Take a look at the Stroke Panel, you’ll notice that the (line) profile is uniform – consistent all the way through. (Also the line weight is 3 pt. – this will come into play later.) We want to change that. After all, our friend here has some lovely curves that need to be accentuated. With a monotonous line weight, no wonder his expression is rather plain.

Line_Variation_Tutorial_Article_Image_3

Illustrator offers an array of line treatments.

Line Profiles-01

We’re going to select one that has more variety.

Alright! Now we have something going on. However, I am not so sure if I want the line to be as thin as it is where it tapers.

Line_Variation_Tutorial_Article_Image_5

This is a crucial part in fixing line weights that are too thin. You’ll want to…

1. Click on the original line
2. Copy it
3. Paste IN PLACE (Shift+Command+V or Shif+Ctrl+V).
4. Set the newly pasted line weight to a lower value (than your original, dynamic line). Our original line was at 3 pt., so I’ll make this one’s line weight set to 1.5 pt.
5. Change its Profile to Uniform

Line_Variation_Tutorial_Article_Image_6

Ta-da! Just by those simple changes, our blob friend now has more personality. He even now has a charming mustache!

Now let’s take a look at an example that is a more complex illustration. And what better imagery than a pig with a jet booster strapped to its back!

Jet_Booster_Pig_Comparison-03 Jet_Booster_Pig_Detail

As you can see, the illustration on the right has more complexity and character with its linework than the version on the left. The varying thick-to-thin lines play off the curves of the rounded forms and the angular lines of the more streamlined shapes.

Now give it a shot! Go transform those boring vectors into lively illustrations! In addition to this one, we have TONS of tutorials on illustration in the Arsenal. Check ’em out and start creating masterpieces!

Thanks for reading!

The post Line Variation in Illustrator | Tutorial appeared first on Go Media™ · Creativity at work!.

]]>
Making Perfect Curves in Illustrator | Design Tip of the Week http://gomedia.com/zine/tutorials/making-perfect-curves-in-illustrator/ Sun, 05 Jul 2015 13:00:06 +0000 http://gomedia.com/?p=56450 Making Perfect Curves in Illustrator Hello, hello! Last week, I gave some tips on designing faster in Illustrator, but this week, we’re going to focus more so on quality. In Illustrator (as you all know,) you have super-tight control over line weights, shapes, etc.… Continue Reading »

The post Making Perfect Curves in Illustrator | Design Tip of the Week appeared first on Go Media™ · Creativity at work!.

]]>
Making Perfect Curves in Illustrator

Hello, hello! Last week, I gave some tips on designing faster in Illustrator, but this week, we’re going to focus more so on quality. In Illustrator (as you all know,) you have super-tight control over line weights, shapes, etc. and can produce incredibly crisp visuals. The best creatives who make the most stunning vectors are those with a sharp eye for detail. Having a hawk’s eye (both the animal and the Marvel character) that can pick up on subtle changes in line work and curves of a shape is pretty crucial for creating awesome illustrations. For this Design Tip of the Week, we’re going to focus on curves.

Here is our example:

DTOTW_7-5-15_Article_Image_1

As you can see, this little blob dude is not happy. He feels insecure of his imperfectly smooth form*. Let’s help him out.

*Note: you do not need to have a perfectly smooth form to be a strong, independent, beautiful blob thing. 

If you can already see where some touch-ups need to be made, then you, my friend have a good eye! For those that haven’t picked up on the areas that need working, hey, no sweat! That’s why I’m here, to help and walk you through it.

DTOTW_7-5-15_Article_Image_2Okay, first problem. As you can see, there’s a bit of a point where the two curves are not aligned perfectly. This is very common and can easily be overlooked. Let’s smooth that out.

DTOTW_7-5-15_Article_Image_3

There we go. Take advantage of those curve handles, they will indicate the direction and sharpness of the curve. When the handles are aligned and create a perfectly straight line, you’re curve is good to go. Remember to always zoom in and out to see how your changes affect the overall shape.

DTOTW_7-5-15_Article_Image_4

Hmm…something is still off.

DTOTW_7-5-15_Article_Image_5 DTOTW_7-5-15_Article_Image_6

There it is. Cases of super, super subtle misalignment are what you really have to watch for. Be relentless in going through your illustration and checking for any places that need refined.

DTOTW_7-5-15_Article_Image_7

Awe, he looks so much happier. Getting into the habit of really examining your illustration, finding the places that need some polishing and making those improvements will only result in your work becoming better and better. So, roll up them sleeves, zoom in at 6400% and make that shit flawless.

Just to let you know, we actually have tons of tutorials on Illustration that you should definitely check out!

Until next time!

7 - 5 - 15

The post Making Perfect Curves in Illustrator | Design Tip of the Week appeared first on Go Media™ · Creativity at work!.

]]>
Tutorial – Lines & Dots: How to Make Quick and Easy Patterns in Illustrator http://gomedia.com/zine/tutorials/how-to-make-patterns-in-illustrator/ http://gomedia.com/zine/tutorials/how-to-make-patterns-in-illustrator/#comments Tue, 09 Jun 2015 11:00:48 +0000 http://gomedia.com/?p=55700 How to make patterns in Illustrator: Lines and Dots Patterns can be a wonderful visual element. They can create form and show depth in an illustration, or add more visual interest to a large color field of a graphic. Below are step-by-step… Continue Reading »

The post Tutorial – Lines & Dots: How to Make Quick and Easy Patterns in Illustrator appeared first on Go Media™ · Creativity at work!.

]]>
How to make patterns in Illustrator: Lines and Dots Mouse-Pen-01
X-acto Ouch-01
Logo_vs_Branding_Artcle_Cube-01

Patterns can be a wonderful visual element. They can create form and show depth in an illustration, or add more visual interest to a large color field of a graphic. Below are step-by-step instructions on how to easily create two patterns in Adobe Illustrator: line and dot.

Line Pattern

Step 1: Create a rectangle and diagonal line going through the center. Begin and end the line from the top-left corner anchor to the bottom-right anchor, then select and scale it up proportionally.

Line_Pattern_Article_Image_1

Turn off the fill in the rectangle and set it and the line at 1 pt. stroke weight. The crucial part of this is that the line must be aligned perfectly in the center, shooting diagonally from the top-left corner to the bottom-right. Smart Guides (View > Smart Guides) is a huge help.

Step 2: Duplicate the objects (the rectangle and line), aligning the one copy at the top-right corner and the other at the bottom-left corner.

Line_Pattern_Article_Image_2 Line_Pattern_Article_Image_3

Again, Smart Guides will make life easier. Make sure things are perfectly aligned: the corners of the original rectangle are touching the centers of the duplicates.

Step 3: Delete the two duplicate rectangles and the line of the original rectangle. Turn off the stroke of the original rectangle.

Line_Pattern_Article_Image_4

Step 4: Select the two lines and in Blending Options (Object >Blend > Blending Options), set the Spacing to Specified Steps along with an desired increment, which MUST BE AN ODD NUMBER*.Then click Okay.

*This number will determine how many lines are repeated in your pattern.

Line_Pattern_Article_Image_5 Line_Pattern_Article_Image_6

Step 5: Go to the Blend option again and select Make.

Line_Pattern_Article_Image_7 Line_Pattern_Article_Image_8

Step 6: Select the two lines that are forming the pattern AND the rectangle in the center. Drag these to the Swatch Palette, resulting in a newly created swatch.

Line_Pattern_Article_Image_9

Step 7: Select the lines and rectangle and drag it outside the artboard.* Test the pattern by creating a new shape and setting its fill to the new swatch.

Line_Pattern_Article_Image_10

*Keep these original objects off to the side in case the pattern needs to be edited: the color of the lines, stroke weight, increasing or decreasing the repetition. If changes are made, a new swatch must be created ( objects again dragged to the Swatch Palette) in order to use the new pattern.

The reason behind testing the swatch pattern in a shape is to ensure the elements are lining up correctly. However, there are times when the pattern looks misaligned or distorted. Zoom in and out to double-check, it could just be the monitor depicting the pattern in a funky manner.

Dot Pattern

Step 1: Make a square (with a 1 pt. stroke) and dot. Align them at their centers.

Dot_Pattern_Article_Image_1

This is the spacing between each dot in the pattern.

Dot_Pattern_Article_Image_2

Step 2: Turn the stroke off on the square. With that and the circle selected, drag it to the Swatch Palette.

Dot_Pattern_Article_Image_3

Step 3: Create a shape and then select the newly created swatch pattern for the fill.

Dot_Pattern_Article_Image_4

The amount of dots is dependent on the size (and spacing) of the original dot. If the pattern needs to have more dots, simply shrink down the original dot (with its square) and create a new swatch pattern.

Things to consider

Because patterns add another level of visual interest, it is often easy to throw them on everything. Like any element, they don’t work ALL the time. Take the time to really consider if something needs a pattern or not. Also, in regards to Illustration, consider the form that is being depicted. A line pattern would make more sense on straight-edge surfaces, where a dot pattern may best fit with an organic, rounded form. Patterns are super cool, no doubt, but use them deliberately to elevate your illustrations and designs.

We love Patterns!

Check out these Arsenal Products that will add patterns to any project with ease!

Circle Pattern Vector Pack

gma_vector_set06_radial_prv_all-1256x770

Halftone Pattern Vector Pack

gma_vector_set12_tilinghalftones_prv_all

Op Art Vector Pack

gma_vector_set15_op-art_prv_all

Textile Patterns Vector Pack

gma_vector_set14_textile-patterns_prv_all

Propaganda Patterns Vector Pack

gma_vector_set18_propaganda_prv_all

The post Tutorial – Lines & Dots: How to Make Quick and Easy Patterns in Illustrator appeared first on Go Media™ · Creativity at work!.

]]>
http://gomedia.com/zine/tutorials/how-to-make-patterns-in-illustrator/feed/ 2