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Basic Pen Tool Tutorial (Adobe Illustrator CC 2017)

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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Illustrator Tutorials: Shaded Text Effect in Illustrator

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This is a great introductory tutorial

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Adobe Illustrator: Create a Star Wars Lightsaber

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For our sample project, we're designing a camera icon to use as a social media profile image, and for a button linking to a portfolio on a digital resume.

Launch Illustrator and click the Create new button, or press Control+N (Windows) or Command+N (macOS). Select the Web tab and enter a size on the right; we typed 400 px for Width and Height. Tip: It's helpful to work in a square format when creating icon designs.

Click Create.

First, you'll draw the camera body.

Select the Rectangle tool in the Tools panel. Click and drag a rectangle on the artboard.

Draw a second, smaller rectangle overlapping the top of the larger rectangle as shown.

You'll use Smart Guides to arrange the rectangles so their centers are aligned. Drag the center widget (circle in the center) of the smaller rectangle over the larger one until you see a vertical magenta guide.
Learn more about using Smart Guides in Illustrator.

Next, you'll add the flash.

Click and hold the Rectangle tool to access other shapes and select the Ellipse tool. Click and drag a circle until you see crosshair guides appear in the circle, indicating you are drawing a perfectly round circle. Release your cursor when it's a suitable size.

Tip: To resize the circle proportionally, press Shift and drag a corner widget.

If needed, drag the center widget to reposition the circle inside the larger rectangle.

Now, you'll create the lens shape.

With the Ellipse tool selected, hover over the larger rectangle until the word center appears. Press Alt (Windows) or Option (macOS) and drag a circle drawn from the center. Look for the crosshair guides and release your cursor when the circle is the right size.

Draw a smaller circle off to the side. Click in its center and drag it over the larger circle until you see the word intersect or center appear. Drop the smaller circle in place.

In this step, you'll merge the rectangle shapes.

Press V for the Selection tool. Click the large rectangle; then press Shift and click the small rectangle to select both. Select the Shape Builder tool and drag a line connecting both rectangles as shown.

Now, you'll apply a fill color and various stroke attributes to the shapes.

Press V to switch to the Selection tool. With the camera body selected, click the Fill Color swatch below Appearance in the Properties panel. Select the Swatches option on the right and click a color in the Swatches panel. Then, click the Stroke swatch and select None to remove the stroke.

Repeat for the flash circle: Apply a white fill and no stroke.

To color the lens, first select the outer circle; then press Shift and click the second circle to select it too. Apply no fill and a white stroke. Increase the Stroke weight to 5 pt.

You can round the shape corners to create a different look.

Select the camera body. Press A to switch to the Direct Selection tool, and drag a rounded corner widget to round all the corners at once.

If you need to resize your icon relative to the artboard, choose Select > All to select the entire icon. Press V to switch to the Selection tool. Press Alt+Shift (Windows) or Option+Shift (macOS) and drag a corner handle to resize it proportionally from the center. Finally, reposition the icon by dragging its center.

Choose File > Save. Give your project a unique name and save it in the Adobe Illustrator (AI) format. You can edit this file in Illustrator anytime.

To save a final version that's ready to post online, choose File > Export > Export for Screens. Choose a location and select the PNG format.

Tip: You can change the artboard size before exporting. Select Width or Height in the Scale drop-down menu and type a new size.

Click the gear icon and select Art Optimized (Supersampling) in the Anti-aliasing drop-down menu. Click Save Settings, and then click Export Artboard.

Hope you had fun. View Export assets for web and app design to learn more about saving artwork for the web.

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For our sample project, we're designing a camera icon to use as a social media profile image, and for a button linking to a portfolio on a digital resume. Launch Illustrator and click the Create new button, or press Control+N (Windows) or Command+N (macOS).

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Russian illustrator Zutto reveals how to make a balanced character composition and add shading using vectors

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Star wars - Low Poly Photoshop (Speed art)

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What You'll Be Creating

In this tutorial I will show you how to create a natural mountain landscape in flat design using the most basic shapes and tools of Adobe Illustrator.

If you would like to skip the tutorial, you can just purchase the result as a part of my Camping Travel Landscape package. Find more inspiration for Travel Designs on GraphicRiver.

Follow along with us over on our Envato Tuts+ YouTube channel:

1. How to Create a New Document

First we need to set up a New Document ( File > New or Control-N) with these settings:

From the Advanced Tab:

2. How to Set Up the Layers

It would be a good idea to organize our project using layers, since this way we can easily focus on each part of our landscape.

Bring up the Layers panel, and create five layers, renaming each of them as follows:

Lock all but the first "lake" layer. To Lock layers, click the Edit Column button (to the right of the eye icon) in the Layers panel for each layer you want to lock.

I prefer to do it the faster way by Alt-Clicking the Edit Column button in the Layers panel for the only layer I want to stay unlocked.

3. How to Create the Mountain Lake

Step 1

Start to build a mountain lake by creating a 900 x 58 px light blue #4bafe3 rectangle in the bottom part of the artboard with the help of the Rectangle Tool (M).

Make one more 580 x 40 px shape of the same color, placing it under the bottom edge of the first one closer to the left side.

Step 2

Using the Direct Selection Tool (A), select the corners of the large rectangle or just click inside the shape, holding down Shift. You can see the Live Corner Widget shown inside the corners. Make the shape's corners fully rounded by pulling the circle indicators to the center. You can also use Effect > Stylize > Round Corners.

Use the same method to round the corners of the smaller rectangle.

Select both objects and merge them into one object, using the Unite option of the Pathfinder panel.

Step 3

Select the blue shape and Copy it, using Control-C. Click Control-Bto get a Duplicate behind the main object. Move it a few pixels lower and change the color to #406e85.

Step 4

Select the top edge of the light blue figure with the Direct Selection Tool (A) and Copy it by clicking Control-C. Press Control-F to get a Duplicate of the top side line in front of the main shape. Change the Fill color of the line to None and Stroke color to black. Set the Stroke weight to 3-4 px, making the stripe stand out from the main shape.

Choose the line and go to Effect > Distort & Transform > Zig Zag. Change the Size value to 3 px, Absolute. And set Ridges per segment equal to 27. Select Smooth Points and click OK, getting the wavy line. Go to Object > Expand Appearance to apply the effect.

Step 5

Select both the left and the right side anchors of the wavy stripe with the Direct Selection Tool (A), and use Control-J to join the open path, getting a closed shape as a result.

Drag the resulting wavy shape right onto the top edge of the main blue figure and change its Fill color to #4bafe3 and Stroke color to None. Select the wavy shape together with the large blue form and merge them into one object, using the Unite option of the Pathfinder panel.

Step 6

Choose the main blue form and press Enter to open the Move window. Set the Horizontal Position value to 0 px and the Vertical position valueto -10 px, and click on the Copy button. Set the Fill color of the new shape to #73d0ff and place it to the back with the help of Shift-Control-[.

Repeat all the actions for the newly created figure to get another Duplicate behind it. Change the Fill of the second copy to #ace5f6.

Group all the shapes together with Control-G, aligning them to the middle of the artboard.

Step 7

Now we are going to add some details to the lake to make it more real.

Take the Ellipse tool (L) and create a 22 x 10 px ellipse, filling it with #ace5f6 color. Convert the left and right anchor points from smooth to sharp corners by clicking on them with the Anchor Point Tool (Shift-C), getting the leaf-like shape (1).

Draw a horizontal line across the middle of the figure which passes through both sharp anchors. Divide both shapes in Pathfinder (2), Ungroup (Control-Shift-G) them, and Delete the top half (3).

Use the Move option window to create two more copies at the same distance (4). Group (Control-G) all the shapes.

Spread the copies of our group over the lake, making the sun's glittering reflections (5), something like what we see on the water's surface on a sunny day.

Step 8

Make an 8.5 x 21 px ellipse of #fff75a color with the help of the Ellipse Tool (L). Click on the top anchor with the Anchor Point Tool (Shift-C), converting it to a sharp corner.

Select the left and right anchors of the ellipse with the Direct Selection Tool (A) and move them down by a few pixels, resulting in a drop-like shape.

Choose the yellow shape, take the Rotate Tool (R), and then Alt-click on the bottom anchor point of our figure. In the Rotate panel, set the Angle to 20° and click the Copy button. Press Control-D one more time to repeat the last action, getting two more copies. Select both copies and move them slightly to the bottom.

Step 9

Keeping the copies selected, choose the Reflect Tool (O). Holding the Alt key, click on the top anchor of the vertical yellow figure. In the Reflect option window, set the Axis to Vertical and press Copy, reflecting both shapes to the right side of the vertical form. Group (Control-G) the yellow shapes. It will be the blossom of the water lily.

Build a 62 x 6.5 rectangle, Filling it with #c1db35 and making the corners rounded with the help of the Live Widget feature.

Place the yellow blossom closer to the right side of the green figure, hiding its bottom part behind the rectangle.

Create a 13 x 13 px circle Filled with this #fff75acolor and send it backward with Object > Arrange > Send Backward. Then place the circle closer to the right side of the green rectangle, hiding its bottom edge behind the figure. Group (Control-G) all the parts together.

Step 10

Using the same methods as in the two previous steps, create a small fish of #ace5f6 color.

Spread the copies of fishes and water lilies over the lake surface as shown in the example below.

4. How to Create the Meadow and the Forest

Lock all the layers but the "main" layer.

Step 1

Let's start to create the bulrush by building a 1.7 x 55 px vertical rectangle, with #66801b for the color of the stalk.

Make one more 4.25 x 17 px rectangle, which we will color using#696354. Use the Live Corners feature to make the corners of the shape fully rounded.

Put the brown shape on the top of the green stalk, making its bottom part overlap the top of the stalk and aligning to its middle.

Using the Pen Tool (P), draw simple triangle-like shapes of #66801b color for the leaves on the bottom part of the stalk. Group (Control-G) all the bulrush parts together.

Step 2

Build an 82 x 78 px rectangle of #c1db35 color, making its top part fully rounded with the help of the Live Corners feature. Draw a vertical line which goes across the middle and the top anchor of the shape.

Divide both shapes in Pathfinder and Ungroup (Control-Shift-G) them. Color the left half with #79981f. Make a small circle of #99ba38 color on the right half of the large figure. Copy the circle and spread the copies over the right part, making it textured. Group (Control-G) all the parts together. This will be the bush.

Create a smaller Copy of the bush near the first one and drag both bushes to the left side of the lake, hiding their bottom parts behind the waves.

Make a few copies of the bulrush that we created previously, and place them on the right side of the lake, hiding the bottom part of the stalks behind the water line.

Step 3

Start to create the shore by building a 1075 x 57 px rectangle with a #a2c430 Fill color. Make if fully rounded and align it to the middle of the lake. Send it backward with Object > Arrange > Send to Back.

Select the green rectangle and Copy it with Control-C. Click Control-B to get a Duplicate behind the main object. Move it down by a few pixels and change the color to #406e85. Group (Control-G) the rectangles and place them behind the lake.

Step 4

Let's continue adding details to the shore by creating a 14 x 14 px rectangle with a #79981f Fill color. Choose the Add Anchor Point Tool (+) and click on the middle of the top edge of the rectangle, adding one more anchor point. Delete the left and right top anchors with the Delete Anchor Point Tool (-), getting the triangle shape (1).

Select the triangle with the Selection Tool (V) and press Enter to open the Move options window. Set the Horizontal Position value to 0 px and Vertical position valueto 14 px, and click on the Copy button. Press Control-D to repeat the action, and continue pressing Control-D to add 17 copies (2). Group (Control-G) them together. This will be the grass.

Create a 110 x 100 px circle with a #7a7462 Fill color. Draw a horizontal line which goes across the middle and side anchors of the shape. Select both figures and Divide them, using the Pathfinder panel (3). Ungroup (Control-Shift-G) the shapes and Delete the bottom part. This figure will act as a stone. Create a smaller stone of #8f8873 color (4).

Combine and copy stones and grass, spreading them behind the ground rectangle. Don't forget to use Object > Arrange > Send to Back for the objectsto place them behind the ground rectangle. Add one or more copies of the bush we created previously. You can use an example below as a reference (5), but feel free to make different combinations of grass, bushes, and stones.

Step 5

Now we are going to work on the forest background. Build a 1030 x 40 px rectangle with #d0f341 color, aligning it to the middle of the artboard. Round its corners, send it backward with Object > Arrange > Send to Back, and place it behind the larger green rectangle, making its bottom part overlap the top edge of the larger figure.

Step 6

To form the forest we will need two types of trees: fir trees shaped like a triangle, and leaf trees shaped like a circle.

Create a 140 x 235 px rectangle with a #d0f341 Fill color. Click on the middle of the top edge of the rectangle with the Add Anchor Point Tool (+), adding one more anchor point. Delete the left and right top anchors with the Delete Anchor Point Tool (-), getting the triangle shape.

Make a vertical line which goes across the middle and the top anchor of the shape. Divide both figures in Pathfinder and Ungroup (Control-Shift-G) them, coloring the left half into #a2c430. Create a small rectangle of #a2c430 color, Copy it, and spread the copies over the right part of the tree, making it textured. Group all parts and send the tree to back with Object > Arrange > Send to Back.

Step 7

Let's make the crown of the second tree by building a 165 x 165 circle which we will Fill with #d0f341 color.

Draw a vertical line across the middle and anchors of the shape.

Divide both shapes in Pathfinder and Ungroup (Control-Shift-G) them. Color the left half with #a2c430. Add a few small rounded rectangles of #a2c430 color to the right half for a textured effect. Add a trunk with a #7a7462 Fill color to the bottom of the crown.

Group (Control-G) all the parts and send them to the back with Object > Arrange > Send to Back.

Step 8

Let's place our trees in a row behind the back rounded rectangle shape, Duplicating some of them and varying the sizes to form a balanced composition. Add a few more of the brushes we've created already.

Leave a space in the middle of the forest for the hills and the mountains which we will be creating in the following steps. The result should look like this:

5. How to Create the Hills

Lock all the layers except the "hills" layer.

Step 1

With the help of the Pen Tool (P), create the wavy shape with a #8ead28 Fill color.

Select the figure, and then choose the Reflect Tool (O) and, holding the Alt key, click on the bottom right anchor. In the Reflect option window, set the Axis to Vertical and press Copy, reflecting the shape to the right side.

Merge both shapes into one with the Unite option of the Pathfinder panel, getting the hill.

Step 2

Put the hill behind the main scene, placing it closer to the right side. Make a smaller Copy of the darker green color (#79981f) on the left side of the landscape, hiding it behind the first shape. All the side and bottom parts of our hills should be hidden behind the trees, bushes, and the ground level.

Step 3

First, select the left hill that we created in the previous steps.

Right-click and choose Isolate Selected Group from the drop-down menu. The isolated hill appears in full color, while the rest of the artwork appears dimmed.

Take the Pen Tool (P) and build a vertical zig-zag line crossing the hill shape. Set the Fill of the line to None, the Stroke Weight to 9 px, and the Stroke Color to #66801b. Make the corners of the line rounded by choosing them with the Direct Selection Tool (A) and dragging the Live Corners markers.

Choose the line and go to Object > Expand. Check the Stroke option, and uncheck the Fill option, pressing OK. Our stroke will transform into a filled shape

Let's cut off the parts of the path that stand outside the hill. Select the overlapping path together with the hill shape, and use the Shape Builder Tool (Shift-M) by holding down the Alt key and clicking the unwanted pieces to Delete them.

Press OK and Escape to exit isolation mode or, using the Selection Tool (V), double-click outside of the isolated group.

Step 4

Unlock the "main" layer. Select one leaf and one fir tree and Copy them. Lock the "main" layer again and go back to the "hills" layer. Press Control-V or go to Edit > Paste, getting the copies of our trees on the "hills" layer.

Spread the trees over the hills, Duplicating some of them and varying the sizes to fill the empty space.

Step 5

Create silhouettes of the background hills by making Duplicates of the previously created hills, changing their Fill colors to #515c1b and making taller or shorter shapes with the help of the Selection Tool (V).

You should get something like this:

6. How to Create the Mountains

Lock all the layers but the "mountains" layer.

Step 1

Let's start to form the mountain shape by creating a 582 x 540 px rectangle, Filling it with #99927b color.

Take the Add Anchor Point Tool (+) and click on the middle of the top edge of the rectangle, adding one more anchor point. Delete the left and right top anchors with the Delete Anchor Point Tool (-), getting the triangle shape.

Step 2

With the help of the Line Segment Tool (/), build a 400 px Width black Stroke without Fill, positioning it under the top part of the rectangle, leaving a gap of about 200 px from the top anchor and aligning it to the middle of the rectangle.

Select the line and go to Effect > Distort & Transform > Zig Zag. Set the Size value to 10 px, Absolute. And set Ridges per segment equal to 9. Select Smooth Points and click OK. Go to Object > Expand Appearance to apply the effect.

Choose the triangle shape and Copy it, using Control-C. Click Control-F to get a Duplicate on top of the triangle. Select the duplicate and the line using the Divide option of the Pathfinder panel, dividing our triangle into two shapes. Ungroup them and remove the bottom part. Color the upper remaining figure with #e2f0e9, getting the snowy top of the mountain.

Step 3

Create a narrower Copy of the triangle in front of the first one and change its color to #99927b, forming slight shadows on the mountain. Build a narrower Duplicate of the shadow part in the front of it, coloring the new one with #87806c.

Now our mountain looks more detailed and interesting.

Step 4

Now that the basic view of the mountain is ready, let's add a flat-style shadow, covering one half of the rock.

Select the back triangle shape, Copy it and Paste in Front (Control-C > Control-F). Keeping the duplicate selected, go to Object > Arrange > Bring to Front, placing the copy in front of the mountain. Select the bottom right anchor of the triangle with the Direct Selection Tool (A) and drag it to the center, aligning to the middle anchor.

Change the Blending Mode of the resulting triangle to Multiply while lowering the Opacity levels to 40% in the Transparency panel, getting the shadow. Group (Control-G) all the mountain parts together.

Step 5

Put the mountain on the main scene, hiding its bottom part behind the hills. Create two smaller mountains to the left and to the right of the main rock, making them overlap the larger mountain and placing them in front of it.

Form two more triangle mountain silhouettes with a #659cad Fill color behind the main landscape, finishing the composition.

7. How to Create the Background

We are almost done with our mountain landscape. But we still need a background depicting sky, sun, and clouds.

Let's start by Locking all the layers except the "sky" layer.

Step 1

Build a 1200 x 1200 px square of #77b8cc, aligning it to the middle of the artboard.

Step 2

To fill the empty space and add depth to our landscape, create cloud-like shapes of #9accdb color behind the mountains with the help of the Pen Tool (P) or the Rectangle Tool (M), making the corners of the resulting figures rounded.

Step 3

Start to build the cloud by creating two overlapping circles with the Ellipse Tool (L), setting their Fill and Stroke to the default black and white colors. Switch to the Rectangle Tool (M) and place a narrow stripe at the bottom of the cloud, letting it down a little lower than the bottom edge of the large circle.

Unite all the shapes in the Pathfinder to make a single object. Change the Fill color to #e2f0e9 and stroke to None. Make a few more clouds of different sizes and spread them over the sky, leaving a space for the sun.

Step 4

Build a 105 x 105 px circle which we will color using #fff45a. Draw a vertical line across the middle of the circle, using the Line Segment Tool (\). Keeping the line and the circle selected, Divide them in the Pathfinder. Ungroup (Control-Shift-G) the shapes and color the left half with #fde23d.

Build one more 144 x 144 px circle of #fbcd30 color, placing it behind the first one, aligning to its center. Select the large circle and go to Effect > Distort & Transform > Zig Zag. Set the Size to 5 px, Absolute. And set Ridges per segment equal to 10. Select Smooth Points and click OK. Go to Object > Expand Appearance to apply the effect.

Group all the sun shapes together and place it on the main scene.

Unlock all the layers.

Our Mountain Landscape Is Ready!

Great job! Our flat-style mountain area scene is finished. You can use your imagination and continue playing around and adding details until you are fully satisfied with the result.

This mountain landscape illustration is just a part of my Camping Travel Landscape, and there are far more travel and adventure illustrations in my portfolio!

I hope you've discovered some new tips and tricks that you can use for creating wonderful illustrations in future. Feel free to share your results in the comments below.

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How to Create a Mountain Landscape in Flat Style in Adobe Illustrator

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In this tutorial I will show you how to create a natural mountain landscape in flat design using the most basic shapes and tools of Adobe Illustrator. If you would like to skip the tutorial, you can just purchase the result as a part of my Camping Travel Landscape package.

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How to Create a Mosaic Portrait from a Photograph.pdf

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How to Make 3D Lettering in Illustrator Using the Blend Tool | Adobe Creative Cloud

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You'll learn how to create volume in vector illustrations using a few colors per object. I'll be bringing a sketch of a beautiful tropical bird (macaw) to life using vectors and then start the coloring process.

Step 1

I start by placing my sketch onto the blank canvas going to File > Place. I've learned that by sketching, and being true to my sketch when vectoring, there's a greater chance to preserved my illustration style. Next I'll set my sketch image to a 20% Opacity, Lock it and Create New Layer on top where I'll actually be creating the vector objects.

Step 2

Using the Pen Tool (P) I start the vector drawing by building the object with a few corner anchor points (no curves yet). After laying the anchor points I switch to the Convert Anchor Point Tool (Shift + C), click and drag every anchor point to reveal its vector and start handling the curve's orientation. I follow this method in order to make sure there is only two anchor points per curve path and to keep my object with as few anchor points as possible.

After drawing the main objects (body, wings, beak, eyes) I start drawing the smaller objects like the wing and head's feathers.

Step 3

Once I'm done drawing every object, I'm ready to let go of my sketch and start filling the shapes with solid colors Since I'm going to be working with gradients to illustrate lights and shadows, I'm going to choose an average of those colors for the base.

Step 4

This is when the coloring process starts. I'll pick one color, in this case the red body of the bird, and I'll look for the dark and light versions of that color using the Color Picker window. You should look for the tone that is right for the subject. For example, a lighter red would result in pink, I wanted a warm color so I moved the handle towards the yellow.

Step 5

After adding my variations of red to my Swatches panel, I'll use them to create the gradient swatch for my bird's body. I'll start my gradient with the light color, then the base and finally the darker red tone at the end. I'll save this gradient swatch as well since I'll be using it for all the red objects in my drawing.

When I fill the body of the bird with the red gradient the default position of the gradient is limited by the bounding box of the object (which looks kind of weird). Using the Gradient Tool (G) you can move, enlarge and shrink the gradient's range. By doing this I'll place the dark side under the bird's wing representing the shadow of the wing against the bird's body. I'll let a hint of the light color show on the top of the bird's head to illustrate the light casting upon the subject.

Step 6

Using this same logic of placing the dark color of the gradients in areas that are beneath other objects, we can start managing the other red objects and its gradients position. Notice how I didn't use the dark red for the top of the wing, this is because nothing is on top and we don't need shadows here. You can see in the image that every object has a different gradient angle, you just have to play with it until you get the shadows and lights right where it needs to be.

Step 7

To give a more realistic look I'm going to be adding some hard shadows on some key places. Since the shadow will have the same shape of the top object I'm just going to duplicate the top and bottom objects, move the top object to where I want my shadow to be and Intersect them using the Pathfinder panel. Duplicated objects are marked with green strokes in the tutorial image. Next I'll fill the shadow with a gradient going from 100% to 0% Opacity dark red.

Repeat the process for the shadows in the head and tail

Step 8

There are little details that should be added like the peak's shadow and some feather's shadows on the chest. I'll use the Pen Tool (P) to draw the shapes and the Pathfinder > Intersect to keep the shadows going beyond the chest area.

Step 9

We are finally done with the red and can move on to the yellow feathers on the bird's wing. We are going to create a combination of dark, light and the base as well for this gradient. For the light color I've include a hint of green since this type of bird has some of this color spread randomly around the feathers. Using the same logic of placing shadows between overlapping objects, I fill my top yellow feathers and move the gradient to where my I want my shadow to be.

Step 10

For the underneath yellow feathers we are going to be a bit more playful with the lights, yellow and green, to convey the bird's mixtures of colors on the feathers. We are going to keep our principle of using the dark end of the gradient where objects overlap.

Step 11

Now it's the turn of the blue feathers. We are going to do something different here. Instead of using a dark color for the gradient, we are going to use green. What I want here is to blend a little the blue feathers with the top yellow feathers, so I chose a color that they have in common. I'll place my gradient direction in order for the green to follow the yellow feathers shape as much as possible.

Repeat the process for all the blue feathers.

Step 12

Next we'll give some volume to the bird's peak. We'll start by building our gradient with the three colors of this bird's characteristic peak: beige with brown and black at the tip. Once we are done with this gradient we'll draw a black arc on the top of the peak using the Pen Tool (P). And finally we'll draw the shine of the peak's surface by following the top curve of the peak. We've also added a little bit of light to the bottom of the peak by using a Radial Gradient from black to dark grey.

Step 13

Moving on to the feathers around the bird's eye, using the eye's circle as our epicenter we are going to create a slightly bigger circle around the eye using the Ellipse Tool (L) and then another circle that covers the whole gray area around the eye. Next we'll create the two circles in the middle by selecting both circles and going to Object > Blend > Make. By default the blend is made with a Smooth Color Spacing, we want to change that to Specified Steps by going to Object > Blend > Blend Options to reveal the Blend Options window. Select Specified Steps from the Spacing drop-down menu and write 2 in the text field next to the menu. We are going to be filling each circle individually so we need to break the blend by going to Object > Expand.

Finally we want to clip the circles inside the grey shape. To do this we select the gray area, we place our shape on top of the circles by going to Arrange > Bring to Front, and with both the circles and the grey shape selected we go to Object > Clipping Mask > Make.

Step 14

We are ready to give this feathers some love! Fill the three immediate circles behind the eye with a white to gray gradient. Move the radial gradient so the light and dark colors are opposite between circles.

For the last circle and clipping mask shape we are going to switch to a light to dark gray gradient. The reason is that this feathers are at the bottom and doesn't receive as much light as the feathers closer to the eye.

Step 15

Next we're going to bring some life into the eye. Fill the white area with a light yellow. Create a smaller circle inside with the Ellipse Tool (L) and fill it with green to create the iris. Now duplicate the yellow circle and move it a few spaces downward. Fill it with a linear gradient going from 100% to 0% Opacity gray. This would give the illusion of the eye shadow upon the feathers beneath it. Create a small white circle and place it in the upper right corner of the black pupil and we're done.

Step 16

Now we're going to be adding the hard shadows for the wing's feather to give the bird the final dimensional touches. I'm going to be using the same technique I used for the bird's red body. I'll duplicate the top object, will enlarge it a little and move it a bit downward. Then I'll duplicate the feather beneath the wing and intersect the two objects by going to the Pathfinder panel Window > Pathfinder and selecting the Intersect option. I'll finally fill the resulting shape with a dark yellow since it's the shadow for the yellow feather.

Step 17

The other yellow feathers in the wing will be a bit tricky. They have more than one object on top of them so we're going to have to combine the top objects first by selecting them and using the Unite option in the Pathfinder panel. After doing this we can continue using the same technique of intersecting the top and bottom object to create the each feather's shadow. Remember to darken the shadow's color a bit depending on the depth of the feather within the wing.

Step 18

The "multicolor" (yellow/blue) feathers at the wing's bottom need a shadow for each color We are going to duplicate the top object, enlarge, move downward and finally duplicate again as many times as yellow feathers are in need of shadow. Next we'll intersect the top object copy with each yellow feather.

At the end we should have all of the yellow feathers shadows. Do the same with the blue feathers.

Step 19

Done with the bird now the wood log looks kind of flat. I'm going to draw some lines win the Pen Tool (P) to create wood veins. Next I'll select all strokes and the main wood log shape so I can Divide the wood log into several objects using the Divide option in the Pathfinder panel. The strokes will split the log shapes into independent objects so I can apply a different fills to each one of them. I'm going to use the same gradient to fill all the objects but I'll change the gradient direction so the lights and darks of the gradients can contrast with each other and reveal the veins curves.

Step 20

Finally the chopped side of the wood log. Fill the ellipse with a radial gradient going from dark-light-dark brown (same used in the wood's veins gradient). Draw an irregular shape with the Pen Tool (P) in the middle of the ellipse. Next duplicate the ellipse, set its opacity to 0% in the Window > Transparency panel and fill both the ellipse and irregular shape with the dark brown color we use in the previous gradient. Now blend the two objects by going to Object > Blend > Make. Go into the Blend Options window to change the Spacing to "Specified Steps" and set the steps to 5.

Conclusion

Here we have our final macaw. I hope you've enjoyed this tutorial and look out for more from me in the future!

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How to Create a Colorful Parrot using Gradients in Adobe Illustrator

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You'll learn how to create volume in vector illustrations using a few colors per object. I'll be bringing a sketch of a beautiful tropical bird (macaw) to life using vectors and then start the coloring process. I start by placing my sketch onto the blank canvas going to File > Place.

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How to Create a Retro Inspired Badge in Illustrator [Time Lapse]

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How To Create a Cool Vector Yeti Character in Illustrator

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Follow this step by step Illustrator tutorial to create a cool vector Yeti character. We'll use as many basic shapes as possible to achieve that quirky style of illustration, then bring the character to life with a palette of cold colours. Despite the use of basic shapes this tutorial includes a good spread of intermediate [...]

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What You'll Be Creating

In today's tutorial, I'm going to show you how to create a monochrome portrait from a photograph. Today's subject is the inspiring Aydian Dowling, who has given us permission to use one of his photos for this tutorial.

If you're not aware who Aydian Dowling is, let me introduce you to him. He is a transgender vlogger and activist, who has documented his transition on his YouTube channel ALionsFears. He's the creator/owner of Point 5cc, a trans style clothing company which helps those going through their own transition.

Aydian had a successful year in 2015 when not only did his take on an iconic Adam Levine photo become viral, but he also became runner up in the Men's Health cover competition, becoming the first transgender man to be considered as a finalist, even winning the public vote in the process! He has been featured in many places and even interviewed by Ellen DeGeneres.

So let's get into creating Aydian in vector. Find incredible Adobe Illustrator Brushes for this portrait and more from Envato Market and Envato Elements.

1. How to Change Your Reference to Greyscale

Step 1

Aydian was kind enough to provide us with a high-resolution image of himself for this tutorial. He's been photographed by many people, but I have chosen a selfie he took of himself as I know for sure he will hold the copyright to the image.

I've picked a photo of him which I feel is a true likeness of him. We all know there are photos of ourselves from certain angles in which we don't look ourselves. So as I want people to recognize Aydian from the portrait, I needed a true likeness.

Step 2

I'm going to use Adobe Photoshop to greyscale the image. I do this by going to Image > Adjustments > Black and White.

Depending on the image you're using, find the most appropriate preset or modify from the selection you have. I've opted for the Maximum White preset and then clicked on OK.

2. How to Set Up Your File and Create the Bases

Step 1

Open up Adobe Illustrator and create a New Print Document.

I've used File > Place to place our reference image onto the artboard. Then I added a white fill Rectangle (M) set to 50% Opacity in a New Layer. Finally I created a layer for adding my base shapes.

Step 2

With the Pen Tool (P), I create bases for each one of the key areas-apart from the hair. I give each one a fill of the average mid-tone color from those areas.

3. How to Create the Skin Shading

Step 1

When I'm working on skin shading, I tend to work on the mid tones first. With the reference image in greyscale, it makes it easier to see these mid tones.

The shapes for the mid tones would be very time consuming to create, so what I do is draw the highlights on the face and then remove them using Pathfinder > Minus Front from a duplicate of the face base shape.

So with the Pen Tool (P), I draw the highlights of Aydian's face.

Then I select the shapes and create a Compound Path ( Control-8). This makes it easier to then select this single shape and a duplicate of the base to use Pathfinder > Minus Front.

Step 2

Using the first shape as a guide, I then repeat this process to create further shapes to render the skin. By setting the layer to outline mode, I can make sure that the boundaries of the new shapes are not exact duplicates of each other, and therefore create an even graduation in shadow.

Step 3

With the first four shading shapes created, I give them a grey Fill and set them to Blending Mode Multiply, Opacity 15%.

Step 4

Now that the mid-tone shadows are done, I begin drawing the darker shadows. Again I'll be using the Pen Tool, but this time I won't be using the Pathfinder method. I'll just be drawing the overall shapes.

You'll notice on the screenshot below, I've gone beyond the face base. Don't worry about this as it will be rectified later.

Step 5

As before, I add further shapes for the darker shadows.

Step 6

I then select the dark shadow shapes and apply Blending Mode Multiply, Opacity 15%. Here is our shading so far.

Step 7

The shading shapes are then Grouped together ( Control-G) and with a duplicate of the face base, I select both the group and the duplicate to create a Clipping Mask ( Control-7).

Step 8

Now I add further darker shapes. These will use a darker shade of grey and will be smaller shapes. They'll then be set to Blending Mode Multiply, Opacity 5%. They'll be grouped together and then added to the clipping mask.

Step 9

Add highlights to the skin. These are done with transparent Radial Gradients, using an off-white color. Gradients create a soft edge to the shapes, which make for a smoother transition in shadows and highlights.

These are set to Blending Mode Screen, Opacity 30%.

And this is how we're looking so far.

Step 10

I lay the shading and the reference image side by side and scour it for any obvious differences. Sometimes you may add too much shadow or too much highlight to areas, and by observing the original next to your shading, you can see where you need to make changes.

Of course this step only really applies if you're rendering someone you know or someone recognisable. This extra attention to detail can help push the likeness of your portrait closer to the photograph likeness.

4. How to Vector Hair

Step 1

The first thing I'm going to do is create the hair base. I do this by tracing the reference image with the Pen Tool. I create a zig-zag line along the hairline but I don't make it exact, as I'll put more detailing into this soon.

Step 2

To add detailing to the hair, I'm going to create a tapered Art Brush from a black Ellipse (L).

Step 3

Using the Paintbrush Tool (B), draw small strokes around the hairline with the tapered brush. This is to give a more detailed hairline.

Then select all of the strokes and go to Object > Expand. While the strokes are still selected, select the base as well and use Pathfinder > Unite to combine all shapes to create one base shape for the hair.

Step 4

Now I have a more detailed hairline, the rest of the base needs more detailing. Fine hairs will be coming away from the base. In order to render these, use the Pen Tool (so that the strokes are more controlled) with the tapered brush to draw these fly-away hairs. Then repeat the process of Object > Expand and Pathfinder > Unite.

Step 5

The style of rendering I'm working towards is less detailed than my previous portraits. More detailing will go into the base and the subtle shading than in adding hundreds and thousands of individual strokes.

To achieve this, you'll need to use the Appearance panel to add gradients to darken around the edges of the base shape.

Step 6

As the base is darkened and Aydian's hair is blond, I'm going to need to add strokes to the hair which use Blending Mode Screen to create a lighter shade. I begin using larger strokes ( 3 pt) and a low Opacity and then as I add more refined details, I reduce the Stroke Weight ( 1 pt) and use a higher Opacity.

The initial strokes will be done with the Pen Tool so I have more control over the curves... then as I progress, I use the Paintbrush Tool.

Step 7

To help the hairline blend more into the skin and to give less of a harsh edge, I add loads of strokes along the hairline with a low Opacity. This helps add definition to some of the more defined strokes in the hairline and it helps show more gaps on the scalp.

Step 8

I notice that the roots of the hair and the sides of the hair aren't as dark as I'd like them. So what I do is create shapes to cover these areas set to Blending Mode Multiply to darken them. I then Group them and use a duplicate of the hair base to create a Clipping Mask ( Control-7).

Step 9

Finally, I add brighter strokes to the hair to create the peak highlights.

5. How to Add Details to the Face

Step 1

When I create the skin, I also render the majority of the shading on the lips. I try not to render the lips separately from the skin as the lips are skin and I don't want them looking as if they're floating on top of the skin.

However, when I come to adding the finer details, I'll need to add smaller shapes to intensify the contrast in the lips. I recommend using the Blob Brush Tool ( Shift-B) to create these shapes.

Step 2

When adding the eyes, I use Ellipses within Clipping Masks of the shapes of the eyeballs. I use the Appearance panel with the help of Offset Path to create the effect needed for the pupil and iris.

Step 3

Again, I compare the portrait with the original image side by side so I can modify the shadows and highlights where required. When using such low opacities, it can sometimes be hard to balance the contrast correctly. So it's always best to check in with the original image and look at the key areas.

For instance, notice how there are dark shadows around the right eye. These shadows should be darker than the shadows on the nose and so on.

6. How to Refine the Hair

Step 1

Add darker strokes to the hair to help define it further. If you look at the original image, there are very definite strands and clumps of hair at the front of the hairline. This really needs to be replicated in the hair rendering in order to help make the portrait look more convincing.

Step 2

I then begin adding the facial hair and eyebrows. I start using Blending Mode Screen strokes with the tapered brush and Paintbrush Tool (B).

For the facial hair, I draw the strokes around the area first and then I fill in the strokes. This makes it quicker for me to render.

Step 3

I then use Blending Mode Multiply strokes to add shadowed strokes. I finish off by adding thinner Blending Mode Screen strokes to show some whiskers caught by the light.

Step 4

I finish off the portrait by adding eyelashes and highlights to the eyes. Everyone has eyelashes, although women may have more exaggerated lashes due to the use of mascara and cosmetics, so keep this in mind.

Awesome Work, You're Now Done!

I finished the portrait off by using a blue fill over the top to create a blue hue. I used Blending Mode Burn to help intensify the contrast.

Then, as a nod to Aydian walking 2015's LA Marco Marco show, I added dashes of bright yellow in the background.

Those who follow my portrait tutorials will know I like to add beauty spots to symbolise a narrative. Aydian doesn't have any... so I've added one near his mouth as he's an activist.

I hope you've enjoyed this tutorial as much as I've enjoyed creating it. A huge thank you to Aydian for granting us permission to use his image for this tutorial.

See you in my next tutorial!

Illustrator Brushes From Envato Elements

Create stunning vector portraits of your friends and family by browsing one of the amazing Adobe Illustrator Brush Packs available on Envato Elements.

Turn anyone into an illustrious vector portrait using this pack of pencil-inspired Illustrator brushes. This pack includes 50 hand drawn brushes created to simulate the look of real traditional drawings. Download this pack to get started today!

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How to Create a Greyscale Monochrome Vector Portrait in Adobe Illustrator

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In today's tutorial, I'm going to show you how to create a monochrome portrait from a photograph. Today's subject is the inspiring Aydian Dowling, who has given us permission to use one of his photos for this tutorial. If you're not aware who Aydian Dowling is, let me introduce you to him.

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Tracing a Vector Face From a Reference Photo.pdf

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Adobe Illustrator: Pen Tool Exercise #3 - R to P

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Creating letters based on isometric drawing principles is the perfect way to reflect structure in a display typeface, as I discovered with a recent commission for a magazine feature on contemporary architecture.

Taking the concept further, in this tutorial I'll guide you through the process of building a grid that will form the basis of your design and then show you how to draw, colour and light your letters to create a three-dimensional architectural scene. Once you understand the basics of this technique, you can use it to quickly and easily create stand-alone pieces or intricate repeating patterns.

Click here to download the support files (2.19MB)

01 Don't dive straight into Illustrator for this. Working on an isometric grid demands precision, but you'll get a better feel for what you want to achieve much faster by sketching a few ideas out onto paper with a pencil. When we reach the steps of making your own typeface on screen, I'll show the full process on one letter only, as it's much better to experiment and come up with your own type designs.

02 There are lots of ways to make your isometric grid, all of which have their own benefits. But for me, this is the simplest method: firstly, using the Line tool in Illustrator, draw a horizontal line across your page and duplicate it several times until you have a good number of lines. Now select all and double-click on the Shear icon in the Toolbox panel. Enter an angle of 30 degrees and click on the vertical axis.

03 Next, copy and paste a duplicate in front (Ctrl/Cmd+F) and select the Reflect tool. Hold Shift to constrain the result and then use your mouse to flip the sheared lines.

04 Now draw a set of vertical lines through each intersection until you end up with the pattern shown above. A quick way is to draw a line at either end and use the Blend tool to fill the steps in-between. Once you have your grid drawn in lines, select everything and convert all the lines to guides (Ctrl/Cmd+5) to create your finished grid.

05 If you haven't already, switch on Smart Guides (Ctrl/Cmd+U) and enable Snap to Point (Ctrl/ Cmd+Alt+") to help you get precise positioning. To create the letters, we'll construct a series of cubes along our 30-degree lines. Draw each side of a cube separately, working without fills.

06 Once you've drawn each side, put them together to build your first cube. Make sure you include the hidden faces, as you may want to reveal and use them later, depending on how you want your letters to look. At this point, it's worth adding some basic shading to define a light source. I've chosen to have my light source coming in from the bottom left-hand side so that my top plane is dark, the right plane has a medium gradient, and the left plane is fairly light.

07 Start to build your first letter by duplicating your cubes and repositioning them. This is where Smart Guides and Snap to Point will come in handy. You'll see that having a defined light source now helps in visualising the letters more clearly.

08 Once you're happy with the shape of the letter, start adding in some more advanced colour. As we're not looking for perfect realism here, you can break the rules a little for aesthetic effect. For example, I've kept a medium-to light gradient on each cube for interest, despite the fact that in reality there would only be one gradient on the whole face.

09 Now make the letters more building-like. Start by removing some of the front faces to reveal what's behind. Colour these back faces a slightly darker shade for more depth. You can also add a blue gradient and play with opacity in the Transparency palette to create windows, and add a green gradient on the bottom planes to create grassy areas. Feel free to experiment with colours and textures to create soil, paving, monoblocking and anything else you can think of. I stick with flat colour for my grass, but you could add some texture through Film Grain, for example.

10 Once you've finished your base letter, draw in some shadows along the 30-degree grid, to indicate height in the structures. When you draw shadows, use opacity to represent a fade rather than simply fading to white. You'll gain a more natural look as well as the ability to add background colours underneath without any problems. Also remember that shadows aren't black - they're darker shades of the colour they're cast on. So if you have a shadow casting on grass, for example, it should be dark green to clear instead of black to white.

11 To give the letters some scale, we need to add another recognisable element. In this case, since we're working with buildings, it makes sense to add people into the scene. Draw some rough silhouettes and matching shadows, again on the 30-degree grid lines.

12 Once you have a small selection of figures, begin adding them into your scene. Again, make sure your shadow colouring matches, and try to place the shadows in positions that will add interest, such as inside windows and in alcoves.

13 Carry on as you did before and start to draw the other letters. Look for interesting compositions and see if there are different ways of rendering the same letter for variation. You might also want to add a large lawn, for example, and as long as it doesn't hinder readability too much, go ahead and use it.

14 Once you've drawn all the letters you need, place source. I also add a light amount of Film Grain to help with the retro-futuristic feel. Then add the words you're going to illustrate and see how they look together. This is the point where you might spot that one of the letters doesn't quite work in the sequence, and is your chance to make any small improvements.

15 The final stage is to think about the composition you want in the image. In this instance, I want to carry on the isometric style, so I've arranged the letters along the 30-degree angles on my grid. This gives a cool false perspective to the piece. As before, you can experiment and arrange the words however you like - staggered, descending or straight. Play around and see what looks best. The last thing I've done is add a gradient in the background to ground the piece and accentuate my light source. I also add a light amount of Film Grain to help with the retro-futuristic feel.

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Create isometric grid-based 3D lettering

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Isometric-based letters are the perfect way to reflect structure in a display typeface, as I discovered with a recent commission for a magazine feature on contemporary architecture. Taking the concept further, in this tutorial I'll guide you through the process of building a grid that will form the basis of your design and then show you how to draw, colour and light your letters to create a three-dimensional architectural scene.

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Need to create a seamlessly repeating patterns in Illustrator CS6 or Illustrator CC 2014? Then you're in luck. Adobe has created a tool that will make the pattern creation process both fast and easy.

When creating patterns, you have a number of options. You can make use of the patterns installed with Illustrator, draw a pattern, select a pattern from a photo or scan one in.

Use a ready-made pattern

Set up your workspace by going to Window>Workspace>Painting. To access patterns, there are several options. One is to go to the Swatches panel and once there, click on the Swatch Libraries Menu icon at the lower left.

The Swatches panel at top-left, options below in the menu and the Swatch Libraries Menu panel. You can edit the patterns in Illustrator or create one from scratch.

Here is an example of the various patterns that come with Illustrator.

Create a pattern from scratch

To create your own patter, click on File>New. In the New Document dialog box select Profile>Custom and the Width and Height to 300 pixels. Click on OK to accept.

Click on the Rectangle tool ( M) to select it and click on the artboard. When the Rectangle dialog box comes up, click OK for the default of 100x100 pixels and draw four rectangles.

Choose any colour you wish for the stroke. Set the stroke to 2 and make sure the fill is turned off. Activate the Blend tool ( W) and double-click on the artboard.

This brings up the Blend Options dialog box. Set the spacing to Specified Steps and in the parameters box, enter 16. In the orientation, choose the first option and click on OK.

With the Blend tool active, click on the top line of the red rectangle then click on the top line of the green rectangle. You should get the following result:

Deselect the current rectangles and repeat the same process for the blue and orange rectangles. Deselect the current rectangles and repeat the same process for the blue and orange rectangles. Your rectangles should look like this:

You now have a simple design to use for making a seamless pattern in Illustrator. Before you go further, select all of the rectangles and click on Object>Group ( Ctrl+G) to group all the shapes together.

How to create a pattern

Now it's time to create a pattern. With the pattern group selected, click on Object>Pattern>Make.

When you do so, several things happen: Your design is automatically transformed into a pattern, the Pattern Options dialog box appears and the pattern has been added to the Swatches panel.

Note that any changes applied in Pattern Editing Mode will be applied to the Swatch upon exit. Click OK to accept.

Before going further, name the pattern. After that you can begin editing. (Looking at the result, there are a lot of lines which could be overwhelming. Fortunately there is an easy fix, which we will get to in a minute.)

When you look at the Pattern Options dialog box you will see many options. Directly below the pattern name is the Tile Type. Your options are: Grid, Brick by Row, Brick by Column, Hex by Column, and Hex by Row.

Directly below the Tile Type is the Brick Offset. To keep things simple, choosing Tile Type: Grid disables the Brick Offset.

As you can see, there are many options but they may not be to your liking. If that's the case, click on the Pattern Tile Tool at the top of the Pattern options dialog box.

This brings up a blue outline with handles around the main pattern. It might be hard to see, so we will drag out the shape, which will create separation between the other patterns and make the blue outline easier to see.

You can now see the blue outline and some space between the patterns.

Other settings

In the Pattern Options dialog box there are many more options. One of them is to size the spacing of the pattern numerically, for greater accuracy. To do so, click on the Maintain Width and Height Proportions button in the top section and enable Size Tile to Art. The copied patterns will snap back in line with the original pattern.

To create space, enter a value in the H Spacing and V Spacing parameters box. Note you can enable the Maintain Spacing Proportions button to the right of the parameters box - or not.

Here is the result:

Of the other options, the Copies popup offers many different settings, such as 5x5 (default), 7x7, 3x7, 3x3, etc. Below the Copies option is the heading>Dim Copies to. 70% is the default but you can change if the copies are close together. This will make it easier to see what is happening with the pattern.

When you are satisfied with your changes click on the Done heading at the top of your workspace. That's it.

In this tutorial we've barely scratched the surface of what you can do with patterns. There are endless possibilities, and you are only limited by your imagination. To go further, check out these tutorials:

Words: Nathan Segal

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How to create a repeating pattern in Illustrator

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Need to create a seamlessly repeating patterns in Illustrator CS6 or Illustrator CC 2014? Then you're in luck. Adobe has created a tool that will make the pattern creation process both fast and easy. When creating patterns, you have a number of options.

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In this tutorial we will learn how to draw a snail using tools such as the Pen Tool (P), Selection Tool (V), Direct Selection Tool (A), Ellipse Tool, and Gradient Tool (G). Some shapes will be created with the help of the Pathfinder panel. This artwork was created by my student Artur Chochaev.

Step 1

Take the Pen Tool (P) and create the body of a snail, and fill the resulting shape with a vertical linear gradient which consists of shades of orange color.

With the help of the Pen Tool (P) create a new shape with yellow fill as it is shown in the picture below.

Copy the body of a snail and paste it in front (Command + C then Command + F), select the shape of the body and the yellow shape, then click on the Intersect button from the Pathfinder panel.

By this action, we have removed part of the yellow shape that was beyond the boundaries of the body.

Step 2

With the help of the Pen Tool (P) create two shapes on the lower part of the snail, one filled with yellow and the other light brown.

Group up these shapes (Command + G). Move the group to the left, holding down the Option button. This action creates a copy of the group.

Now with the help of the Selection Tool (V) reduce the new group, as shown in the figure below.

Using this technique, create a few more of these kinds of groups, reducing their size when approaching closer to the tail of the snail.

Step 3

Create an ellipse filled with yellow color using the Ellipse Tool (L).

Create eight copies of this ellipse (Command + C then Command + F) and by changing their size and position, place the ellipses on the head of the snail, as shown in the picture below.

Step 4

Proceed to the creation of the mouth of the snail. With the help of the Pen Tool (P) create a path shown in the picture below.

Apply the suitable profile from the Stroke panel to this path.

This can only be done in Adobe Illustrator CS5, if you work in earlier versions, you will need to create a similar brush. Take the Ellipse Tool and create an ellipse. With the Direct Selection Tool (A) select points A and B and convert them from smooth into the corner.

Now drag this shape to the Brushes panel and save the new brush as an Art Brush.

Apply the brush to the mouth path.

Step 5

All of the following shapes are created with the help of the Pen Tool (P) and are below the mouth path. It is convenient to move the shapes relative to each other in the Layers panel. I'm only showing the sequence of their creation.

Step 6

Create eyes of the snail. Take the Pen Tool (P) and create the contour shown in the figure below.

Fill it with a linear gradient that consists of two shades of orange color. Copy and paste this path in front (Command + C then Command + F). With the help of the Pen Tool (P) create a new path shown in the figure below.

Select both objects and click on the Minus Front button from the Pathfinder palette, this will make the shape of a shadow.

Fill this shape with solid orange color.

Step 7

Take the Ellipse Tool (L) draw a circle, then slightly reduce it's shape vertically using the Direct Selection Tool (A) and fill it with a radial gradient consisting of light shades of gray color.

Create a new ellipse; fill it with a linear gradient which consists of shades of blue color.

Create a pupil, fill it with a radial gradient consisting of two shades of dark blue color.

With the help of the Ellipse Tool (L) create an ellipse and a circle, these will make the highlight on the eye. Fill the highlights with white color set to 70% opacity in the Transparency panel.

Group up all the elements of the eye Command + G. Copy and paste the group in front (Command + C then Command + F). Move the copy to the left and rotate it with the help of the Selection Tool (V).

Step 8

With the help of Pen Tool (P) create a shape of the shell and fill it with elliptical gradient consisting of the shades of light brown color.

Now create a spiral, and apply a triangular profile from the Stroke panel to it, or create a similar brush as described in step 4.

Step 9

With the help of the Pen Tool (P) create a shape of the edge of the shell filled with light-brown color.

Create two more shapes of the darker shades that will create the play of light on the edge of the shell.

Create a shadow of the shell on the snail body, and the gap between the shell and the body.

Step 10

With the help of the Pen Tool (P) create a shadow on the shell.

Step 11

Create a curved triangular profile, filled with brown color.

Copy it and paste it in front (Command + C then Command + F). Fill the copy with a lighter shade of brown color. Keeping the upper shape selected, take the Rotate Tool (R), set the center of rotation at point "A" and rotate the shape slightly.

Group up two shapes (Command + G).

Step 12

Now we need to make multiple copies of the group and place them along the spiral. Change the shape, position and size with the help of the Selection Tool (V) and the Direct Selection Tool (A).

Step 13

With the help of the Pen Tool (P) create a shape highlight on the shell. Fill it with a linear gradient which consists of two shades of light brown color, and reduce its transparency in the Transparency panel.

Using this technique, create other highlights on the shell.

Let's create another shape on top of the shell and fill it with radial gradient, as it is shown in the picture below.

Step 14

Now we just have to create a shadow of the snail. Create the shape shown in the picture below.

Copy the snail body shape and paste it in front (Command + C then Command + F) and move the shape in the layers panel so that it is higher than the shadow of the shape.

Select the body of the snail and shadow, and then click on the Minus Front button from the Pathfinder panel.

Fill the resulting shape with a linear gradient from black to gray, set Multiply Blending Mode and 60% opacity in the Transparency panel.

With this kind of a shadow, you can place the snail on any kind of background.

Conclusion

First of all I like this artwork because a lot of shapes are created only with the help of the Pen Tool (P). That's what makes it look unique and handmade. Your artwork will always be appreciated if you put in the time to create the shapes carefully. I hope you've enjoyed this tut.

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Quick Tip: How to Create a Cute Snail Using Adobe Illustrator

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In this tutorial we will learn how to draw a snail using tools such as the Pen Tool (P), Selection Tool (V), Direct Selection Tool (A), Ellipse Tool, and Gradient Tool (G). Some shapes will be created with the help of the Pathfinder panel. This artwork was created by my student Artur Chochaev.

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Time Lapse Adobe Illustrator : The fox an the moon vector painting illustration

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Software: Illustrator CS4 or later

Project time: 1-2 hours

Skills: Use the Pathfinder panel to knock out and combine shapes, Apply vector textures to shapes

Download the support file here

In this tutorial, I'll explain how to create a T-shirt design by creating some cool retro graphics just a few simple steps. Using Illustrator, we'll form some simple vector shapes with the Pen tool and then add textures for a retro aesthetic.

We'll also use the Pathfinder panel extensively, particularly the 'Add to shape area' and 'Subtract from shape area' commands. I'll then walk through how to add interest with a limited colour panel.

Step 01

First of all, open T-shirt.ai from the support files: this will act as the background for your design. Build some geometric hand shapes in Illustrator using the Ellipse and Rounded Rectangle tools. The fingers are rounded rectangles that have been cut in half using the 'Subtract from shape area' command on the Pathfinder panel. The top shape will always subtract from the one below. When you're happy, hit 'Add to shape area' on the Pathfinder panel to make the hand one big shape. Make sure that you select 'Make Compound Shape' after you subtract or add, and then hit Expand.

Step 02

Round off the areas where the digits join the hand by creating some curved shapes and hitting 'Subtract from shape area'. Next, duplicate the hand so that there's another one below. Rotate it 180deg to make a rectangle area: this is where we'll place the camera, as seen in the final image.

Step 03

Using the Pen, Rectangle and Ellipse tools, create a range of geometric shapes. Then combine them to build up the image of a camera (or whatever you like). When you're happy, fill in the shapes with colour. Notice how you can use the dark blue in the background as a third colour for some in-laid shapes.

Step 04

Let's add some detail to the eye using a dashed stroke. Select the Ellipse tool and create a circle just larger than the pupil. Click the dashed line option on the Stroke panel, and adjust the weight and dash values to form thin segments that go around the circle evenly. In the Stroke panel, change 'Align Stroke to Centre' to 'Align Stroke to Inside'. Next, select the shape and go to Object>Expand Appearance to change the selection from a dashed stroke to a shape. Use the 'Add to shape area' command to join it together. Do this again to make the 'click-wheel' shape at the top of the camera.

Step 05

Open the vector_textures.ai file. Copy and paste the woodgrain texture over your T-shirt file, and scale and position it so that it fits over the camera appropriately. Now select both the wood grain and the shape you wish to subtract from.

Step 06

Use the 'Subtract from shape area' command, select Make Compound Shape and hit Expand. Now we have a retro woodgrain panel on our camera. Head back to the vector_textures.ai file. Copy and paste the splatter shape over to your T-shirt file. Scale and position it over the camera, and select both the splatter and some of the circles that make up the lens shape. Go to 'Subtract from shape area', select Make Compound Shape and hit Expand to knock out some splatter. Go to Object>Arrange to keep the shapes in order once the splatter has been subtracted.

Step 07

Let's add some dimension to the camera without using a third colour, gradients or anything that will complicate the T-shirt printing process. Select the Pen tool and draw some shapes around the camera. Combine these using the 'Add to shape area' command (don't forget to select Make Compound Shape and hit Expand).

Step 08

Copy and paste the vector_textures.ai file over to your T-shirt and place it in the areas underneath the camera shape using Object>Arrange (paste it multiple times if needed). Combine your halftone shapes using the addition function. Now use the 'Intersect shape areas' command in the Pathfinder panel to cut what you want from the halftones. Select both the camera dimension shape and the halftone shape, hit 'Intersect shape areas', choose Make Compound Shape, then Expand. Make it the colour of the shirt.

Step 09

We need to add some texture to the hands. Combine both hands with the 'Add to shape area' command. Duplicate them and move the copies so that they offset the original hands. Paste and arrange the halftones so that they're under the offset hands. Combine the halftone shapes and use the subtract tool to knock out the halftones with the duplicated hands. Now copy and paste the original hands in place. Arrange them so that they're above the dots. Select the new hands and the remaining dots, and use the 'Intersect shape areas' command to reveal a shadow on the hands. Make the dots light blue.

Step 10

Draw some rectangles for 'arms' and arrange them so they're behind the camera. Now use the Pen tool to draw a shape that looks like a flash burst. Paste the halftone dots under the shape and use the 'Intersect shape areas' command to reveal a halftone flash burst. Lastly, delete some of the dots on the palm of the bottom hand and draw a rectangle to close the rounded parts of the hand. Use the 'Add to shape area' command to combine the hand and the rectangle. This hand now looks like the backside is facing forward. And you're done.
This tutorial first appeared in Computer Arts magazine.
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Software: Illustrator CS4 or later Project time: 1-2 hours Skills: Use the Pathfinder panel to knock out and combine shapes, Apply vector textures to shapes Download the support file here In this tutorial, I'll explain how to create a T-shirt design by creating some cool retro graphics just a few simple steps.

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What You'll Be Creating

In the following steps you will learn how to create a pencils text effect in Adobe Illustrator using a pretty detailed pattern brush.

For starters, you will learn how to set up a simple grid and how to create the body of your pencil using a bunch of rectangles. Using the Zig Zag, Warp and Roughen effects along with basic blending and vector shape building techniques, you will learn how to create the tip of the pencil.

Then, using the Rounded Corners effects and the Live Corners feature along with a bunch of rectangles and compound paths, you will learn how to create the remaining components of your pencil.

Moving on, you will learn how to make your work easier by using the Shape Builder Tool, how to save and name patterns, and how to create your own pattern brush. Using the Transform effect, you will learn how to easily multiply a path and how to perfectly align it to the pixel grid. Finally, you will learn how to create the text effect using your pattern brush and a simple piece of text as a reference.

For more inspiration on how to adjust or improve your final text effect, you can find plenty of resources on GraphicRiver.

1. How to Create a New Document and Set Up a Grid

Hit Control-N to create a new document. Select Pixels from the Units drop-down menu, enter 850 in the width box and 585 in the height box, and then click that More Settings button. Select RGB for the Color Mode, set the Raster Effects to Screen (72 ppi), and then click Create Document.

Enable the Grid ( View > Show Grid) and the Snap to Grid ( View > Snap to Grid). You will need a grid every 1 px, so simply go to Edit > Preferences > Guides > Grid, and enter 1 in the Gridline every box and 1 in the Subdivisions box. Try not to get discouraged by all that grid-it will make your work easier, and keep in mind that you can easily enable or disable it using the Control-" keyboard shortcut.

You can learn more about Illustrator's grid system in this tutorial by Andrei Stefan: Understanding Adobe Illustrator's Grid System.

2. How to Create the Body of the Pencil

Step 1

Return to your Toolbar and replace the existing fill color with R=207 G=154 B=104. Using the same tool, create two 10 x 6 px shapes and place them exactly as shown in the second image.

Step 2

3. How to Create the Tip of the Pencil

Step 1

Step 2

Step 3

Make sure that your red shape is still selected and make a copy in front ( Control-C > Control-F).

Step 4

Step 5

Select the remaining red and blue shapes and then click the Intersect button from the Pathfinder panel.

Step 6

Step 7

Pick the Rectangle Tool (M) and create a 3 x 2 px shape. Fill it with a random yellow and place it as shown in the first image.

Keep focusing on this new rectangle and switch to the Direct Selection Tool (A). Select the top-right anchor point and drag it to the tip of your pencil, as shown in the second image.

Duplicate your yellow shape, select this copy, rotate it 180 degrees, and then place it as shown in the third image.

Step 8

Pick the Rectangle Tool (M) and create a 24 x 3 px shape. Fill it with a random yellow and place it as shown in the first image.

Keep focusing on this new rectangle, switch to the Delete Anchor Point Tool (-), and simply click on the top-right anchor point to remove it.

Step 9

Step 10

Select your red shapes and replace the existing color with R=217 G=164 B=114. Select your blue shape and replace the existing color with R=236 G=192 B=145.

4. How to Create the Metallic Side of the Pencil

Step 1

Pick the Rectangle Tool (M), and create two 3 x 22 px shapes and one 5 x 22 px shape. Fill all three rectangles with R=171 G=175 B=184, place them as shown in the first image, and then go to Effect > Stylize > Rounded Corners. Enter a 1 px Radius, click that OK button, and then go to Object > Expand Appearance.

Make sure that the resulting shapes are selected and go to Object > Compound Path > Make ( Control-8) to turn them into a compound path.

Step 2

Step 3

Duplicate this new compound path ( Control-C > Control-V) and select the copy. Place it as shown in the second image and replace the existing color with R=208 G=212 B=215.

Step 4

Pick the Rectangle Tool (M), and create two 3 x 2 px shapes and one 5 x 2 px shape. Fill all three rectangles with black and place them as shown in the first image. Lower their Opacity to 30% and change the Blending Mode to Soft Light. Turn these new shapes into a compound path and then duplicate it ( Control-C > Control-V). Select the copy and place it as shown in the second image.

Step 5

Next, create two 1 x 2 px shapes, fill them with black, and place them as shown in the third image. Lower their Opacity to 20% and change the Blending Mode to Soft Light. Turn these two shapes into a compound path ( Control-8) and duplicate it ( Control-C > Control-V). Place the copy as shown in the fourth image and raise its Opacity to 30%.

5. How to Create the Eraser of the Pencil

Step 1

Step 2

Step 3

6. How to Create the Pattern Brush

Step 1

Make a copy of your group ( Control-C > Control-V) and place it about as shown in the third image.

Step 2

Select your top group and pick the Shape Builder Tool (Shift-M). Hold the Alt button on your keyboard and simply drag a somewhat vertical path from the top to the bottom edges of that red rectangle. This move will quickly remove that red rectangle along with all the shapes that lie behind it, and in the end things should look like in the second image.

Step 3

Switch to the Direct Selection Tool (A), select that red rectangle, and simply remove it using the Delete button on your keyboard.

Step 4

Using the Direct Selection Tool (A), select all the shapes highlighted in the first image and simply drag them inside the Swatches panel ( Window > Swatches) to save them as a pattern. Deselect the shapes from your artboard and select that pattern from the Swatches panel ( Window > Swatches). Open the fly-out menu from the Swatches panel and go to Swatch Options.... Rename your pattern " Start" and then click the OK button.

Select the shapes highlighted in the second image and save them as a second pattern. Select this new pattern and rename it " End".

Step 5

Simple open the Start Tile and add your " Start" pattern, and then open the End Tile and add your " End" pattern. Once you're done, click the OK button and your new pattern brush will show up in the Brushes panel.

7. How to Create the Background

Step 1

Step 2

Step 3

Make sure that your horizontal path is still selected, lower its Opacity to 20%, and then go to Effect > Distort & Transform > Transform. Drag the Move-Vertical slider to 0.5 px, click that OK button, and then go again to Effect > Distort & Transform > Transform. This time, drag that Move-Vertical slider to 15 px, enter 39 in the Copies box, and then click OK.

8. How to Create the Text Effect

Step 1

Pick the Type Tool (T) and open the Character panel ( Window > Type > Character). Select the Milkshake font, and set the size to 200 px and the tracking to 100.

Simply click on your artboard and add the " Draw" text. Make it black and lower its Opacity to about 30% from the Transparency panel ( Window > Transparency).

Using the Pen Tool (P) and the piece of text as a reference, draw some simple paths as shown in the second image.

Step 2

Step 3

Finally, add a simple scribble effect for the rest of the words.

Congratulations! You're Done!

Here is how it should look. I hope you've enjoyed this tutorial and can apply these techniques in your future projects.

Feel free to adjust the final design and make it your own. You can find some great sources of inspiration at GraphicRiver, with interesting solutions to improve your design.

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What You'll Be Creating

Today's tutorial is a special one, at least for me, since we're going to get the chance to create some of the most iconic spaceships from the Star Wars universe, using nothing more than the geometric shapes and tools that we work with on a daily basis.

Oh, and don't forget you can always expand the pack by checking out GraphicRiver, where you can find a great selection of vector spaceships just waiting to be clicked on.

That being said, put on those Chewbacca hats, and let's jump straight into it!

1. How to Set Up a New Project File

Since I'm sure that you already have Illustrator up and running in the background, bring it up and let's set up a New Document ( File > New or Control-N) using the following settings:

Number of Artboards: 1

And from the Advanced tab:

2. How to Set Up a Custom Grid

Since we're going to be creating the icons using a pixel-perfect workflow, we'll want to set up a nice little Grid so that we can have full control over our shapes.

Step 1

Go to the Edit > Preferences > Guides & Grid submenu, and adjust the following settings:

Quick tip: you can learn more about grids by reading this in-depth piece on How Illustrator's Grid System Works.

Step 2

Once we've set up our custom grid, all we need to do in order to make sure our shapes look crisp is enable the Snap to Grid and Snap to Pixel option found under the View menu, which will transform into Snap to Pixel each time you enter the Pixel Preview mode (if you're using an older version of the software).

Now, if you're new to the whole "pixel-perfect workflow", I strongly recommend you go through my How to Create Pixel-Perfect Artwork tutorial, which will help you widen your technical skills in no time.

3. How to Set Up the Layers

With the New Document created, it would be a good idea to structure our project using a couple of layers, since this way we can maintain a steady workflow by focusing on one icon at a time.

That being said, bring up the Layers panel, and create a total of four layers, which we will rename as follows:

4. How to Create the Reference Grids

The Reference Grids (or Base Grids) are a set of precisely delimited reference surfaces, which allow us to build our icons by focusing on size and consistency.

Usually, the size of the grids determines the size of the actual icons, and they should always be the first decision you make once you start a new project, since you'll always want to start from the smallest possible size and build on that.

Now, in our case, we're going to be creating the icon pack using just one size, more exactly 128 x 128 px, which is a fairly large one.

Step 1

Start by locking all but the "reference grids" layer, and then grab the Rectangle Tool (M) and create a 128 x 128 px orange (#F15A24) square, which will help define the overall size of our icons.

Step 2

Add a smaller 120 x 120 px one (#FFFFFF) which we will position on top of the previous shape, since it will act as our active drawing area, thus giving us an all-around 4 px padding to work with.

Step 3

Select and Group the two squares together using the Control-G keyboard shortcut, Center Aligning them to the underlying Artboard afterwards. Create the remaining grids using two side copies ( Control-C > Control-F) at a distance of 40 px from the original, Locking the current layer before moving on to the next section.

5. How to Create the TIE Fighter Icon

Assuming you've successfully managed to create the little reference grids, move on to the next layer (that would be the second one), and let's kick off the project by creating our first icon.

Step 1

Step 2

Give the shape that we've just created an outline by creating a Copy of it ( Control-C), which we will Paste in Front ( Control-F) and then adjust by first changing its color to #3A2E2A and then Flipping its Fill with its Stroke ( Shift-X). Set the resulting outline's Weight to 4 px, selecting and Grouping the two shapes together afterwards using the Control-G keyboard shortcut.

Step 3

Step 4

Step 5

Create the wing's thinner inner section using a 5 x 40 px rectangle (#7C6663) with a 4 px thick outline (#3A2E2A), which we will Group ( Control-G) and then position onto the right side of the taller shapes. Once you're done, select and Group ( Control-G) all three sections together before moving on to the next step.

Step 6

Start working on the wing's attachment pylon by creating an 8 x 20 px rectangle, which we will color using #5E4A49 and then position onto the right side of the shapes that we've just grouped.

Step 7

Adjust the shape that we've just created by individually selecting its right anchor points using the Direct Selection Tool (A), and then pushing them to the inside by a distance of 4 px using the Move tool ( right click > Transform > Move > Vertical > + / - 4 px depending on which side you start with).

Step 8

Give the resulting shape a 4 px thick outline (#3A2E2A) using the Stroke method, adding a 4 x 6 px rectangle (#3A2E2A) to the center of its left edge. Select and Group ( Control-G) all three shapes together, before moving on to the next step.

Step 9

Create the right section of the pylon, using a 6 x 12 px rectangle (#7C6663) followed by a slightly wider 14 x 12 px one (#7C6663), which we will position onto the right side of the previously grouped shapes. Once you have them in place, combine them into a single larger shape using Pathfinder's Unite Shape Mode.

Step 10

Adjust the resulting shape by individually selecting its far right anchor points using the Direct Selection Tool (A), and then pushing them to the outside by a distance of 6 px using the Move tool ( right click > Transform > Move > Vertical > + / - 6 px depending on which side you start with).

Step 11

Step 12

Add the little vertical divider using a 12 px tall 4 px thick Stroke line (#3A2E2A), which we will position where the two composing rectangles meet.

Step 13

Step 14

Add the little horizontal insertion lines using two 3 x 2 px rectangles (#3A2E2A), which we will vertically stack 2 px from one another, Grouping ( Control-G) and then Center Aligning them to the vertical divider line's right edge.

Step 15

Step 16

Finish off the attachment pylon by adding its top and bottom insertions using two 2 x 3 px rectangles (#3A2E2A) vertically stacked 8 px from one another, which we will Group ( Control-G) and then Center Align to the vertical divider, positioning them onto its right side at a distance of just 3 px. Once you're done, select and Group ( Control-G) all of the pylon's composing shapes, doing the same for the entire wing afterwards.

Step 17

Create the TIE Fighter's right wing, using a Copy ( Control-C > Control-F) of the one that we've just finished working on, which we will vertically reflect ( right click > Transform > Reflect > Vertical) and then align to the opposite edge of the underlying active drawing area.

Step 18

Create the fighter's rear end using a 20 x 10 px rectangle (#7C6663), which we will adjust by individually selecting and pushing its bottom anchor points to the inside by a distance of 4 px ( right click > Transform > Move > Horizontal > + / - 4 px depending on which side you start with). Give the resulting shape a 4 px thick outline (#3A2E2A), Grouping ( Control-G) and then Center Aligning them to the active drawing area, positioning them at a distance of 34 px from its bottom edge.

Step 19

Add a bottom insertion to the current section using a 6 x 3 px rectangle (#3A2E2A), which we will Center Align to the bottom edge of the larger shapes, selecting and Grouping ( Control-G) them together afterwards.

Step 20

Add the ion engines using two 4 x 6 px rectangles (#3A2E2A), which we will place at a horizontal distance of 24 px from one another, Grouping ( Control-G) and then Center Aligning them to the rear end's top edge.

Step 21

Step 22

Create the pod's cross section using two diagonal 4 px thick Stroke lines (#3A2E2A), which we will Group ( Control-G) and then Center Align to the pod's main body.

Step 23

Mask the cross section using a Copy ( Control-C) of the pod's fill shape, which we will Paste in Front ( Control-F), right clicking and then selecting Make Clipping Mask.

Step 24

Step 25

Since we want the viewport to remain constrained to the surface of the pod, we'll have to Cut it ( Control-X) and Paste it ( Control-F) inside the masked cross section.

Step 26

Step 27

Add some details to the hatch, by creating a 2 x 6 px rectangle (#3A2E2A) which we will center align to its bottom edge, and a 4 x 4 px square (#3A2E2A) which we will Center Align to its right edge. Once you're done, select and Group ( Control-G) all of the current section's shapes together before moving on to the next step.

Step 28

Step 29

Add the pod's final detail using a 1 x 2 px rectangle (#3A2E2A) followed by a 2 x 4 px one (#3A2E2A), which we will Group ( Control-G) and then Center Align to the hatch, positioning it onto its right side at a distance of 5 px. Once you're done, select and Group ( Control-G) all of the current section's shapes together, doing the same for the entire icon afterwards.

Step 30

6. How to Create the Millennium Falcon Icon

Assuming you've finished working on the first icon, lock its layer and then move on up to the next one (that would be the third one) where we will start working on the iconic Millennium Falcon.

Step 1

Start working on the Corellian light freighter's left mandible, by creating a 22 x 44 px rectangle which we will color using #B58E71 and then position at a distance of 2 px from the active drawing area's top edge and 26 px from its left one.

Step 2

Create a smaller 22 x 20 px rectangle (#B58E71), which we will position below the previous shape, selecting and combining them into a single larger shape using Pathfinder's Unite Shape Mode.

Step 3

Adjust the resulting shape by selecting its top-left anchor point with the help of the Direct Selection Tool (A) and then pushing it to the inside by a distance of 14 px using the Move Tool ( right click > Transform > Move > Horizontal > 14 px).

Step 4

Step 5

Create the little access holes using two 4 x 4 px circles (#3A2E2A) diagonally stacked 2 px from one another, which we will group ( Control-G) and then position at a distance of 10 px from the mandible's top edge and 2 px from its right one.

Step 6

Step 7

Create the right mandible using a Copy ( Control-C > Control-F) of the one that we've just finished working on, which we will position on the right side of the active drawing area, making sure to vertically reflect it. Once you're done, select and Group the two sections together using the Control-G keyboard shortcut.

Step 8

Create the Falcon's top half using an 82 x 82 px circle (#E0BFA0), which we will adjust by cutting out an 82 x 49 px rectangle (highlighted with red) from its bottom using Pathfinder's Minus Front Shape Mode, making sure to snap the side anchor points back to the Pixel Grid.

Step 9

Continue adjusting the shape by adding an 82 x 5 px rectangle (#E0BFA0) to its bottom, Uniting the two into a single larger shape using Pathfinder's Unite Shape Mode.

Step 10

Individually select and push the resulting shape's bottom anchor points to the inside by a distance of 8 px using the Move tool ( right click > Transform > Move > Horizontal > + / - 8 px depending on which side you start with).

Step 11

Step 12

Step 13

Step 14

Mask the shapes that we've just grouped using a Copy ( Control-C) of the underlying fill shape which we will Paste in Front ( Control-F), and then right click > Make Clipping Mask. Then, select the masked shapes and the ship's upper body and Group ( Control-G) those together as well.

Step 15

Create the concussion missile tubes using a 12 x 48 px rectangle (#C69F7F) with a 4 px thick outline (#3A2E2A), to the center of which we will add a group of two 2 x 40 px rectangles (#3A2E2A) at a horizontal distance of 2 px from one another. Once you're done, select and Group ( Control-G) all of the current section's composing shapes together, Center Aligning them to the bottom edge of the ship's upper body.

Step 16

Start working on the cockpit by creating a 12 x 10 px rectangle (#C69F7F), which we will position at a distance of 18 px from the active drawing area's top edge, and 20 px from its right edge.

Step 17

Add a smaller 12 x 8 px rectangle (#C69F7F) which we will position just below the one from the previous step.

Step 18

Create another 26 x 20 px rectangle (#C69F7F), which we will position below the two smaller rectangles, making sure to right align it. Once you have all three rectangles, select and then Combine them into a single larger shape using Pathfinder's Unite Shape Mode.

Step 19

Adjust the resulting shape by selecting and moving some of its anchor points as seen in the reference image. Take your time, and once you're done, move on to the next step.

Step 20

Add the cockpit's window section, using a 12 x 10 px rectangle (#7A655C), which we will Center Align to its top edge and then Mask using a Copy ( Control-C > Control-F) of the larger body as a Clipping Mask ( right click > Make Clipping Mask).

Step 21

Give the cockpit a 4 px thick outline (#3A2E2A) using the Stroke method, followed by the two section delimiters.

Step 22

Finish off the cockpit by adding a 4 x 6 px rectangle (#3A2E2A) to its front section, and then drawing a diagonal 2 px thick Stroke line (#3A2E2A) in its center. Take your time, and once you're done select and Group all of its composing shapes together using the Control-G keyboard shortcut.

Step 23

Create the Falcon's deflector shield protectors using two 4 x 10 px rectangles (#3A2E2A), which we will place at a horizontal distance of 32 px from one another, Grouping ( Control-G) and then positioning them 2 px from the bottom access holes.

Step 24

Create the sensor dish using a 4 x 4 px circle (#3A2E2A), on top of which we will add a 10 x 8 px ellipse (#3A2E2A), which we will cut in half by selecting and then removing its top anchor point by pressing Delete. Group ( Control-G) the two shapes, and then position them on the left side of the ship, at a distance of 4 px from the shield protector. Once you're done, select and Group ( Control-G) all of the upper body's composing sections together before moving on to the next step.

Step 25

Start working on the Falcon's center section by creating a 68 x 8 px rectangle (#B58E71), which we will position below its upper body.

Step 26

Create two smaller 8 x 8 px squares (#B58E71), and position one on each side of the center section's wider rectangle, uniting them into a single larger shape with the help of Pathfinder's Unite Shape Mode.

Step 27

Adjust the resulting shape by individually selecting and pushing its top and bottom outer anchor points to the inside by a distance of 1 px using the Move tool ( right click > Transform > Move > Vertical > + / - 1 px, depending on which side you start with). Give the resulting shape a 4 px thick outline (#3A2E2A), selecting and Grouping ( Control-G) both shapes afterwards.

Step 28

Add the vertical dividers using two 8 px tall 4 px thick Stroke lines (#3A2E2A), positioning them 4 px from the current section's edges.

Step 29

Create three 2 x 2 px circles (#3A2E2A), which we will Center Align to the underlying wider shapes, selecting and Grouping ( Control-G) all of the current section's composing shapes together afterwards.

Step 30

Create the ship's bottom body using a Copy ( Control-C > Control-F) of the one that we already have, which we will horizontally reflect ( right click > Transform > Reflect > Horizontal), and then position below its center section.

Step 31

Start working on the Falcon's drive units by creating a 68 x 22 px rectangle (#C69F7F), which we will adjust by individually selecting and pushing its top anchor points to the inside by a distance of 22 px using the Move Tool ( right click > Transform > Move > + / - 22 px depending on which side you start with). Once you're done, Center Align the resulting shape to the top edge of the ship's bottom body.

Step 32

Create another 68 x 8 px rectangle (#C69F7F), which we will position below the shape that we've just adjusted.

Step 33

Create the drive unit's circular section using a 96 x 96 px circle (#C69F7F), from the top of which we will cut out a 96 x 82 px rectangle (highlighted with red), making sure to snap the resulting shape's anchor points to the Pixel Grid. Once you're done, Center Align the shape to the underlying active drawing area, positioning it at a distance of 2 px from its bottom edge.

Step 34

Step 35

Start adding little details by creating two 4 x 4 px circles (#3A2E2A), which we will place at a horizontal distance of 20 px from one another, Grouping ( Control-G) and then Center Aligning them to the previously grouped shapes, positioning them 6 px from their upper edge.

Step 36

Step 37

Step 38

Step 39

Step 40

Step 41

Step 42

Step 43

Finish off the icon by drawing the little trails at the back of the Falcon using a couple of 2 px thick Stroke lines (#3A2E2A), making sure to Group ( Control-G) them afterwards. Once you're done, select both the trails and the ship and Group ( Control-G) those together as well.

7. How to Create the X-Wing Starfighter Icon

We are now down to our third and last icon, so assuming you've already moved on to the next layer, zoom in on the reference grid and let's finish this.

Step 1

Start working on the Rebel fighter's left wing by creating a 42 x 14 px rectangle (#AF9994), which we will position at a distance of 10 px from the active drawing area's left edge and 32 px from its bottom one.

Step 2

Create a smaller 42 x 8 px rectangle (#AF9994), which we will position below the previous one, Uniting the two into a single larger shape with the help of Pathfinder's Unite Shape Mode.

Step 3

Adjust the resulting shape by selecting its bottom-left anchor point, which we will reposition using the Move Tool ( right click > Transform > Move > Horizontal > 34 px > Vertical > 6 px), making sure to remove the center-right anchor point once you're done.

Step 4

Step 5

Add the wing's left insertion, using a 4 x 8 px rectangle (#3A2E2A), which we will adjust by individually selecting and pushing its right anchor points to the inside by a distance of 2 px ( right click > Transform > Move > Vertical > + / - 2 px depending on which side you start with).

Step 6

Step 7

Step 8

Step 9

Step 10

Step 11

Start working on the cannon's front section by creating an 8 x 6 px rectangle (#3A2E2A), which we will adjust by individually selecting and pushing its top anchor points to the inside by a distance of 2 px ( right click > Transform > Move > Horizontal > + / - 2 px depending on which side you start with). Position the resulting shape on top of the cannon's upper body, making sure to Center Align the two.

Step 12

Step 13

Finish off the laser by vertically stacking a 6 x 2 px rectangle (#3A2E2A) followed by a 2 x 2 px square (#3A2E2A) and another larger 4 x 4 px one (#3A2E2A), to the tip of which we will add a 2 x 8 px rectangle (#3A2E2A). Select and Group ( Control-G) all of the arm's composing shapes together, doing the same for the entire laser afterwards.

Step 14

Start working on the ship's engine by creating a 12 x 10 px rectangle (#5E4A49) with a 4 px thick outline (#3A2E2A), to the top of which we will add a 12 px wide 2 px thick Stroke line (#3A2E2A). Select and Group ( Control-G) all three shapes together, positioning them at a distance of 2 px from the wing's left side.

Step 15

Create the engine's center section using a 12 x 12 px square (#DDC0BA) with a 4 px thick outline (#3A2E2A), to the center of which we will add a 2 px thick detail line (#3A2E2A). Group ( Control-G) all three shapes together, and then position them below the previous section.

Step 16

Add the connecting segment using an 8 x 6 px rectangle (#3A2E2A), which we will position below the previous section.

Step 17

Start working on the engine's rear end by creating an 8 x 8 px square (#7C6663) with a 4 px thick outline (#3A2E2A), on top of which we will add a smaller 4 x 2 px rectangle (#3A2E2A), which we will Center Align to the square's right edge. Group ( Control-G) all three shapes together, positioning them underneath the connecting segment.

Step 18

Add the engine's back section using an 8 x 14 px rectangle (#DDC0BA) with a 4 px thick outline (#3A2E2A), to the bottom of which we will add a 2 x 3 px rectangular insertion (#3A2E2A), followed by a 4 x 4 px one (#3A2E2A) positioned on its left edge. Group ( Control-G) and then position all of the current section's shapes below the smaller engine part.

Step 19

Finish off the engine, and with it the wing itself, by adding the top cone section which we will create using a 12 x 6 px rectangle (#3A2E2A), which we will adjust by individually selecting and pushing its top anchor points to the inside by a distance of 2 px ( right click > Transform > Move > Horizontal > + / - 2 px depending on which side you start with). Position the resulting shape on top of the engine, selecting and Grouping ( Control-G) all of its composing shapes together, doing the same for the entire wing afterwards.

Step 20

Create the ship's right wing using a Copy ( Control-C > Control-F) of the one that we've just finished working on, which we will position on the opposite side of the active drawing area, making sure to vertically reflect it afterwards ( right click > Transform > Reflect > Vertical).

Step 21

Start working on the X-wing's nose by creating an 8 x 10 px rectangle (#7C6663), to the bottom of which we will add a smaller 8 x 2 px rectangle (#7C6663), which we will combine into a single larger shape using Pathfinder's Unite Shape Mode. Center Align the resulting shape to the underlying active drawing area, positioning it 2 px from its top edge.

Step 22

Adjust the shape by individually selecting and pushing its top anchor points to the inside by a distance of 2 px ( right click > Transform > Move > Horizontal > + / - 2 px depending on which side you start with). Give the resulting shape a 4 px thick outline (#3A2E2A), followed by a 2 x 6 px rectangle (#3A2E2A) to the center of its top edge, making sure to select and Group ( Control-G) all its current shapes together afterwards.

Step 23

Create the fighter's main body using a 16 x 46 px rectangle (#DDC0BA), followed by a smaller 16 x 44 px one (#DDC0BA), to the bottom of which we will add an even smaller 16 x 6 px rectangle (#DDC0BA). Select and Unite all three rectangles into a single larger shape, positioning it below the ship's nose.

Step 24

Adjust the shape of the ship's body by pushing its top anchor points to the inside by a distance of 4 px ( right click > Transform > Move > Horizontal > + / - 4 px depending on which side you start with), and its bottom ones by just 2 px ( right click > Transform > Move > Horizontal > + / - 2 px depending on which side you start with). Once you're done, give the resulting shape a 4 px thick outline (#3A2E2A), selecting and Grouping ( Control-G) the two together.

Step 25

Add the bottom horizontal divider using a 16 px wide 4 px thick Stroke line (#3A2E2A), followed by a 6 x 4 px rectangle (#3A2E2A) positioned in the center of its bottom edge.

Step 26

Create another 12 px wide 4 px thick divider line (#3A2E2A), which we will position at a distance of 18 px from the body's top edge.

Step 27

Step 28

Step 29

Step 30

Adjust the resulting shape, by individually selecting and pushing its top and bottom anchor points to the inside by a distance of 2 px using the Move tool ( right click > Transform > Move > Horizontal > + / - 2 px depending on which side you start with).

Step 31

Add the little windows using two 2 px wide rectangles ( 2 x 4 px; 2 x 1 px > #7C6663) vertically stacked at 2 px from one another, which we will Group ( Control-G) and then position at a distance of 3 px from the cockpit's bottom edge. Once you have them in place, select and Group all three shapes together using the Control-G keyboard shortcut.

Step 32

Create the main shape for the deflector shield generator using a 6 x 26 px rectangle (#6B5451), which we will adjust by setting the Radius of its top corners to 3 px from within the Transform panel's Rectangle Properties. Give the resulting shape a 4 px thick outline (#3A2E2A), Grouping ( Control-G) and then positioning them below the cockpit, at a distance of just 4 px.

Step 33

Take a couple of moments and add some details to the current section using a couple of rectangles (#3A2E2A). Once you're done, select and Group ( Control-G) all of its composing shapes before moving on to the next step.

Step 34

Add the little droid using a 6 x 6 px circle (#ABBDCE) with a 4 px thick outline (#3A2E2A), which we will group ( Control-G) and then Center Align to the top of the deflector shield. Once you're done, select and Group ( Control-G) all of the main body's composing shapes together, doing the same for the entire ship afterwards.

Step 35

Finish off the icon by adding the little trail lines using a couple of 2 px thick Stroke lines (#3A2E2A), making sure to Group ( Control-G) them once you have them in place. Take your time, and once you're done, select and Group all of the icon's composing sections using the Control-G keyboard shortcut.

May the Force Be With You!

Our journey has finally come to an end, young Padawans, and worth it it was.

I hope you started out the tutorial as excited as I was when I first created these iconic spacecraft, and ended it on the same note, maybe even learning something new and useful along the way.

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How to Create a Star Wars Themed Icon Pack in Adobe Illustrator

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Today's tutorial is a special one, at least for me, since we're going to get the chance to create some of the most iconic spaceships from the Star Wars universe, using nothing more than the geometric shapes and tools that we work with on a daily basis.

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What You'll Be Creating

Ever wanted to illustrate a kid's book or learn to design cute cartoon characters? This tutorial might be interesting for you! We'll go through a fun and easy process of creating a cute Siamese kitten in Adobe Illustrator, using simple shapes, Warp Effects and the Pencil Tool with a bit of freehand drawing. Ready to begin?

By the end of this tutorial, you'll have discovered new tips and tricks that you can apply to your future works, creating more characters like these Cute Cartoon Animals from GraphicRiver.

1. How to Draw the Cat's Head

Step 1

Let's start by creating a New Document of 600 x 600 px size and RGB Color Mode. Use the Rectangle Tool (M) to make a rectangle of the same size and Fill it with a light blue color for the background.

Step 2

We'll start with the base of the head. Use the Ellipse Tool (L) to make a 285 x 215 px light beige oval. Selects its side anchor points with the Direct Selection Tool (A) and drag them a few pixels down, making the bottom of the shape somewhat flatter. You can move them by holding down Shift and either clicking and dragging with your mouse or by using the Down Arrow key of your keyboard.

Copy (Control-C) the shape and Paste in Place (Shift-Control-V). Hold down Alt-Shift and make the copy smaller. Change its color to pale grey.

Step 3

Let's attach a couple of ears to the kitten's head. Firstly, take the Polygon Tool (it is located in the same drop-down menu as the Rectangle Tool (M)) and single click anywhere on the Artboard to open the Options menu.

Set the Sides value to 3 and create a triangle of the same pale grey shape as we have for the face. You can use the Eyedropper Tool (I) to pick and apply the color if it isn't selected in the Colors panel.

Now let's transform the shape to make it look more like an ear. Keeping it selected, go to Effect > Warp > Bulge and set the Vertical Bend value to 40%; Horizontal Distortion to -10%. In this way, we're bulging our shape and bending it to the left.

Object > Expand Appearance to apply the effect. Select its top anchor point with the Direct Selection Tool (A) and drag the circle marker of the Live Corners down, making the top of the shape rounded. We can also adjust the Corner Radius from the control panel on top, if needed.

Step 4

Keeping the shape selected, go to Object > Path > Offset Path and set the Offset value to -15 px, leaving all other options as Default. Click OK to create a smaller triangle and Fill it with rose pink color, thus creating the inner part of the ear.

Make the top of the pink shape rounded as well, using the Direct Selection Tool (A) and the Live Corners feature.

Step 5

Group (Control-G) both elements of the ear and attach them to the head, Rotating and resizing the ear to make it fit the head.

Double-click the Reflect Tool (O), select the Vertical Axis and click Copy to make a mirrored copy of the ear. Attach it to the opposite part of the head.

Step 6

Let's go on and draw the face of our character. Use the Ellipse Tool (L) to make a 65 x 55 px white ellipse for the eyeball. Use the Direct Selection Tool (A) to shorten the right handle of the top anchor point and the top handle of the right anchor point, making the right edge of the eye more slanted.

Now add a 50 x 60 px light blue oval for the iris and a 30 x 37 px dark blue ellipse for the pupil. Place the shapes as shown in the screenshot below, covering the right half of the eyeball.

Step 7

Add a tiny white ellipse for the highlight, and let's see how we can hide the unneeded parts of the iris.

Copy (Control-C) the white eyeball, Paste in Front (Control-F) and Bring to Front (Shift-Control-]). Now select all the elements of the eye, click the right mouse button, and Make Clipping Mask, thus placing everything inside the top copy, which serves as an imaginary container. All the shapes inside this container are still editable. You can find the Clip Group in the Layers panel, unfold it, and move, edit and rearrange the objects.

Step 8

Use the Reflect Tool (O) to Flip the eye over the Vertical Axis and make a Copy. Move the iris and its elements inside the Clipping Mask to fix the kitten's gaze.

Step 9

Now let's draw the nose. Make a 25 x 15 px light pink ellipse and reshape it a bit with the Direct Selection Tool (A), moving its top and bottom anchor points down to make it look more like a rounded upside-down triangle.

Make another ellipse of 13 x 12 px for the brow, Fill it with light grey color, and reshape it slightly. Rotate the brow and use the Reflect Tool (O) to add a second one.

Step 10

Let's move on and depict a mouth. Use the Line Segment Tool (\) while holding down Shift to draw a straight horizontal line. Apply a dark gray Stroke color from the Color panel. Adjust the thickness of the line either from the control panel on top or from the Stroke panel (Window > Stroke) by setting the Weight to 3 pt and Cap to Round Cap.

Go to Effect > Distort & Transform > Zig Zag. From here, set the Size to 4 px, Ridges per segment to 3, and Points to Smooth. Adjust the Ridges per segment value if your result differs from the one presented in the image below.

Step 11

Object > Expand Appearance to apply the effect. Now we can edit the tips of the line using the Direct Selection Tool (A). Rotate the anchor handles down to make the corners of the mouth rounded.

Step 12

Let's draw the whiskers using the Ellipse Tool (L). Make a 40 x 3 px dark-grey circle, select its side anchor points with the Direct Selection Tool (A), and Convert selected anchor points to corner from the control panel on top, making the tips of the ellipse sharp.

Duplicate (Control-C > Control-F) the shape a few times, making the copies smaller and Rotating them to add more whiskers.

Step 13

Finish off the kitten's head by adding a funny tuft of hair on top, using the Pencil Tool (N). You can adjust the tool's settings by double-clicking it to open the Pencil Tool Options window. From here, move the Fidelity slider further right if you want to make the lines smoother or further left if you're using a graphic tablet and have a firm hand.

2. How to Draw the Kitten's Body With the Pencil Tool

Step 1

Let's start making the body with an ellipse. Create a 160 x 210 px ellipse of dark beige color. Use the Direct Selection Tool (A) to select both side anchor points and drag them down, making the shape look more like an egg.

Send the ellipse to Back (Shift-Control-[), beneath the head.

Step 2

Now grab the Pencil Tool (N) and let's practice our hand drawing a bit. Draw a front right paw and attach it to the body, as shown below.

Let's apply a simple Linear Gradient to the paw, making the kitten look more like a Siamese one. Use the Gradient panel (Window > Gradient) to apply a dark-grey color to the left slider and the Gradient Tool (G) to adjust the direction of the gradient, so that it blends nicely with the body.

Duplicate the paw and place the copy as shown in the screenshot below.

Step 3

Now let's add the back paws. Use the Pencil Tool (N) to draw the desired shape of the paw, Send to Back (Shift-Control-[), and make it slightly darker than the body in order to separate the elements from each other. You can either apply the same gradient to this paw or not, because it will be hidden behind the bottle. In case you want to animate your character or change some of its details later, make sure you've applied the same gradient to all the paws. Just select the paws and use the Eyedropper Tool (I) to pick and apply the appearance.

Finish up with the body parts by adding a funny curled tail using the Pencil Tool (N), and Fill it with the same Linear Gradient.

Great! Looks like our kitten is ready! Let's add a final detail to it.

3. How to Draw a Bottle of Milk

Step 1

As you might already know, cats are actually lactose intolerant and, hence, indifferent to milk. However, as we're creating a kid's illustration with an imaginary character, we can draw anything we want, whether it's a milkshake or a green smoothie or a can of soda, depending on the purpose of the image. In our case, let's make our kitten a milkshake lover!

So let's start building our bottle from a 90 x 150 px light blue rectangle. Add a 40 x 65 px rectangle and place it over the top of the first one, forming a bottleneck.

You can Align both shapes either to the Artboard or to the Key Object, using the Align panel (Window > Align). Select both shapes and click Horizontal Align Center to Align to Artboard. If you want to align to one of the objects, click both shapes and click one of them once again. You will see a thicker selection around it, indicating that this is the Key Object.

Once you're happy with the result, select both shapes and Unite them in the Pathfinder panel, merging them into one silhouette.

Step 2

Let's select the corners of the bottle with the Direct Selection Tool (A) and make them rounded by pulling the circle marker of the Live Corners. Select the inner corners between the body of the bottle and the bottleneck, and smooth them out as well. You can adjust the Corner Radius from the control panel on top if you like round numbers, or you may leave it as it is if it looks good.

Grab the Curvature Tool (Shift-') and make the bottom of the bottle slightly rounded by bending its edge down.

Step 3

Go to Object > Path > Offset Path and set the Offset value to -5 px, creating a smaller silhouette inside. Fill it with the lighter blue color to make the glass edges of the bottle thick. Duplicate (Control-C > Control-F) the new shape and Fill the copy with white for the milk.

Step 4

Let's make the bottle half-empty! Create an ellipse, Rotate it, and resize it, making it fit the inner part of the bottle. Select both the ellipse and the milk shape. Now grab the Shape Builder Tool (Shift-M), hold down Alt and, as soon as you see a tiny minus sign next to your mouse cursor, hover it over the top half of the milk shape. Once it becomes gray, single click it in order to Delete this piece. Great! Half of the milk is gone!

Step 5

Let's form the top of the bottleneck. Make a 60 x 20 px ellipse and Fill it with a blue color slightly lighter than the body of the bottle. Create a smaller ellipse inside the first one to form a hole, either making it manually or using the Offset Path function.

Step 6

Now that the bottle is finished, let's Group (Control-G) all of its elements and place it in the kitty's paws. We can do it by positioning the bottle in the desired place and then either Sending it Backward (Control-[) a few times or dragging it down manually in the Layers panel.

Step 7

Let's add a straw, making the image more detailed. Use the Pen Tool (P) to draw a polyline. Apply pink color for the Stroke in the Colors panel. Then open the Stroke panel and set the Weight to 4 pt, making the straw thicker.

As with geometric shapes, we can use the Live Corners function for the polylines. Just select the corner anchor point with the Direct Selection Tool (A) and make it slightly rounded.

Once you're happy with how it looks, Object > Expand the line to turn it into a shape.

Step 8

Since the bottom part of the straw is located inside the bottle, its color should differ from the top part, as it is dimmed behind the glass.

Let's see how we can achieve this effect. Select the straw and the inner ellipse of the bottleneck. Take the Shape Builder Tool (Shift-M) and single-click the bottom part of the straw once it becomes gray. Notice that this time we're not holding down Alt or any other key because we want to divide the shape, slicing the straw into two parts.

Fill the bottom part with lighter pink color and Send Backward (Control-[) a few times, partially hiding it beneath the bottleneck.

Step 9

This is how it looks now all together. Don't forget to Bring the mouth shape to Front (Shift-Control-]), covering the tip of the straw.

Step 10

Let's finish our illustration by adding any minor details to our liking. For example, here I've speckled a group of dark blue ellipses, placing a shadow beneath the kitten.

Meow! Our Cute Kitten Illustration Is Finished!

And there we have it! Great job!

If you want the check out the source file to see all the details, or if you need the whole set of fancy characters for your designs, you can grab these Cute Cartoon Animals on GraphicRiver.

I hope you enjoyed following this tutorial and learned some simple tips and tricks that will help you speed up your work to create more fancy cartoon character illustrations!

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How to Create a Cute Cartoon Kitten in Adobe Illustrator

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Ever wanted to illustrate a kid's book or learn to design cute cartoon characters? This tutorial might be interesting for you! We'll go through a fun and easy process of creating a cute Siamese kitten in Adobe Illustrator, using simple shapes, Warp Effects and the Pencil Tool with a bit of freehand drawing.

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Graphic Design Illustration, Speed Vector Art Tutorial In Adobe Illustrator

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In this tutorial we're going to talk about how to create an illustrated self-portrait in a geometric style. We'll be using a photograph of ourselves as the base of the illustration, drawing a sketch from that, and then creating the final piece. Let's get started!

Since posting this tutorial, readers have been inspired to create their own self portraits in this style. Check out what they've achieved over on a special edition of Tuts+ Workshop: Created by You.

You can also find some inspiration by searching on Envato Market. Check out this set of geometric portraits, for example. Or if you're not confident in your own skills, get an expert designer to create a vector portrait for you.

Step 1

First, we take or select a photo. Because we're going for a symmetrical look, make sure you get a close up shot of your entire face and shoulders. In this case I'm going to take a picture with my webcam. It's not necessary for it to be a perfect shot as this is just the base of our illustration.

Step 2

Now, create a New Document (cmd+N or ctrl+N) in Adobe Illustrator with an artboard size of 600 x 480px.

We are going to organize the layers as follows:

The top layer is named "Draw". This is were we'll do our illustration.

Below the "Draw" layer is the "Sketch" layer.

Below that is the "Photo" where we are going place the photo we just took.

Finally the "Background" layer. In this layer draw a square the same size as the artboard (600 x 480px) and fill it in with a grey color, this in case you have to draw things in white or light colors.

Step 3

Lock the "Background" and "Photo" layers.
In the "Sketch" layer, using the Blob Brush Tool (Shift + B), we draw our sketch using the photo as a guide. Try to do the lines straight and simplify as many details as you can. For example the hair, or in this case the glasses are like octagons, as geometry is the base of this style.

Step 4

Now you can delete the "Photo" layer. Don't worry if your sketch is a little messy, this is just our guide for the self portrait.

Step 5

Change the Opacity of the sketch to 30% and lock the "Sketch" layer.

Now, start drawing from back to front using the Pen Tool (P). With a 1pt Black Stroke Weight, start tracing the hair, using only straight lines.

Step 6

For the t-shirt, just draw one half of it, then Copy (Cmd + C) and Paste in front (Cmd + F).

Use the Reflect Tool (O) and flip the path.

Select both paths and use the Pathfinder > Unite option. Almost everything in the illustration can be done this way: copying, reflecting and Unite.

Step 7

Now, draw the neck of the shirt. This can be done with the Polygon Tool.

Then place the shapes at the base of the neck.

Step 8

Use the same process with the head shape. Draw an octagon and then select the top nodes. Move them with the arrow keys and/or adjust with the Scale Tool.

The same shape can be duplicated and used for the face. Then use Pathfinder > Minus Front on another duplicate to trim the neck shape as shown below.

Step 9

To add detail, you can use the shape you've already created. For instance, in the example below, to add detail to the neck you can duplicate the shape for the face and enlarge it. Then duplicate again the base shape of the neck and use Pathfinder > Intersect.

Step 10

Add a little more detail to the illustration with the Pen Tool (P) and Shape Tools. Remember to take advantage of the shapes you have created previously and duplicate them to use with Pathfinder.
We're going to leave the face until the end of the drawing process.

Step 11

Press D, and your illustration should look something like the below. Rearrange the shapes if required.

I've needed to rearrange the shapes of the head and the front of my hair.

Step 12

Now we'll approach the face. Here we're going to apply all the techniques we've already used-like the use of the Pathfinder, Scale Tool, Reflect Tool, etc.
Let's begin.

To create the lips, we can start with a hexagon. Pull the side nodes and use the Scale Tool to modify the shape. Then draw a triangle and align it to the center.
Use Pathfinder > Minus Front to remove the triangle from the top of the lip.
Then Copy and Paste in Front the lips and scale the shape to the middle to create the parting in the lips. Modify the nodes at the top sides of the lips with the Direct Selection Tool (A).

Step 13

For the eyes, we begin with an octagon. Using the Eraser Tool (Shift + E), remove the lower section of the shape.
Then, Copy by moving the path with Shift + Alt keys to Copy the object while moving it downwards.
Duplicate the basic form and apply Minus Front in the Pathfinder. This is the shadow of the eye. Duplicate it further to create the eyelash.
To add more details, draw a little octagon for the iris and duplicate the basic form and transform it to make the lower eyelid.
Finally, add some details-and it's done!
Since the eyes are looking in the same direction, we can just duplicate one, move it over, and be done.

Step 14

For the nose, we start with an octagon again.
First, modify some nodes and add some anchor points to get the base shape of the nose. Then draw some octagons and other simple shapes to add volume and detail. Remember to use the Pathfinder and Align to keep symmetry in the drawing.

Step 15

The glasses are very simple. Just an octagon slightly modified, then Copy and Paste in Front and Scale to form detail. Then apply Minus Front with Pathfinder.
Finally duplicate and add detail to finish the glasses.

At this point, our illustration should look something like this.

Step 16

We're now going to generate our color palette.
First select your colors for light and shadows. Draw squares with fills of the colors you're going to use for the different parts of the portrait. I've picked six colors, three are for the highlights and three are for shadows.

Step 17

With the Blend Tool (W), first click on the light color and then on the darker color. The result will be a smooth blend between the two.

Go to Object > Blend > Blend Options and change the option to Specified Steps. Input the value "5" and click on OK.

Step 18

Now select the blend and go to Object > Expand. Now you can use the colors and add them to the Swatch panel by selecting them and clicking on the New Color Group button.

You can also add a name and save the palette for future illustrations.

This is our color palette, for the eyes and details we just change the option of the Blend to Specific Steps of 2 instead of 5.

Step 19

Now, we are going to draw a line down the center of our illustration. We select the hair and lock it with Cmd + 2. Then select the line and go to Object > Path > Divide Objects Below. This is going to cut all the paths that are behind that line.

With all the objects divided we can Unlock the hair by pressing Cmd + Alt + 2 and start to apply our colors!

Step 20

I suggest placing your colors on the canvas, close to your art, so you can apply them with the Eyedropper Tool (I). Click to grab the color and then hold Alt and Click on the object to which you want to apply that color.

There's a side of highlights and a side of shadows. Try to play with the colors to give the illustration life. For example, in the skin in the side of highlights, you can use the first 3 colors for the base skin but in the nose, lips and eyes from the 3 to the 6 color.
In the shadow from 2 to 4 to the base color and 4 to 7 for the nose (the same goes for the clothes and hair).

Step 21

To draw the beard and moustache, draw a small rectangle with the Rectangle Tool (M). Alt+Drag to copy the path and then press Cmd + D to repeat the last action. Group all and Align in to the center of the face shape.
Our self portrait is almost done.

Step 22

To finish the illustration, you can add some details such as more shadows or little ears by adjusting some nodes, etc.

Conclusion

Our final illustration! I hope you have enjoyed this tutorial. If you do follow this tutorial and create your own self portrait, please post it in the comments so we can see your result. Saludos amigos!

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How to Create a Self-Portrait in a Geometric Style

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In this tutorial we're going to talk about how to create an illustrated self-portrait in a geometric style. We'll be using a photograph of ourselves as the base of the illustration, drawing a sketch from that, and then creating the final piece. Let's get started!

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Halloween is almost here, and I'm sure some of you need to do some last minute graphics for a client project or maybe so graphics for your Halloween party. So in this intermediate tutorial you will learn how to create a zombie illustration with a pen tablet from a photo. Have fun utilizing the Blob Brush and Eraser tool in recreating this tutorial or apply these techniques to other ghoulish illustrations!

Final Image

Below is the final zombie illustration we will be working towards.

Tutorial Details

Program : Adobe Illustrator CS4 (This tutorial use the Blob Brush, a tool specific to CS4. If you have an earlier version of Illustrator, refer to the Alternate Tutorial Methods step at the end of this post.)

Hardware Needed: Pen Tablet (I used a Wacom Intous4 for the tutorial. If you don't have a pen tablet, refer to the Alternate Tutorial Methods step at the end of the tutorial for other methods for creating the tutorial.)

Difficulty: Intermediate

Estimated Completion Time: 1 hour - 1.5 hours

Step 1

First, you need to find a scary or angry portrait to trace. I purchased a image from iStockphoto.com. You can do the same or take a picture of yourself. The resolution of the image is not hugely important, just make sure you can make out some of the face details in the portrait.

Step 2

Create a new document in Illustrator, go File > Place, navigate to the folder with your image, and click the Place button.

Step 3

Once placed, use the Selection tool (V) and scale the image to your desired size. From the Layers panel, click the Lock icon on the placed image layer. To keep better organization of the layers, double-click on the image layer and rename it to "Image Template". Next, press the Create New Layer button and rename it to "Outline". We are going to do most of our tracing in the "Outline" layer.

Step 4

For tracing the image. We are going to use the Blob Brush (Shift + B). This is a new tool in Illustrator CS4, but if you have a version below, you can still use a Calligraphy brush (Refer to the Alternate Tutorial Methods step at the bottom of the post). The Blob Brush (Shift +B) settings are set using a pen tablet's pressure sensitivity. For this tutorial, I am using a Intuos4 Medium sized tablet. If you don't have a pen tablet refer to the same Optional Methods step as noted previously.

To set up the Blob Brush (Shift + B) to use the pressure sensitivity of you pen tablet, double-click on the Blob Brush (Shift + B) in the Tools panel to open the Blob Brush Tool Options. In the dialog, uncheck Keep Selected, check Selection Limits Merge, Change your Fidelity to 2, Smoothness to 0, Brush Size to 5 pt, select Pressure from the Size drop-down menu, Variation to 5 pt, Angle to 0, and Roundness to 100%. These Blob Brush settings will create a stroke that can be varied by the pressure of the pen tablet.

Step 5

Now that we have our Blob Brush (Shift + B) settings, we can start tracing the image. In the "Outline" layer, start tracing the predominate lines in the image. When tracing with the Blob Brush, vary the thickness of the stroke by applying less presses for thin parts of the stroke and more pressure for the thick parts of the stroke.

Step 6

When tracing the image I keep the Eraser Tool (Shift + E) handy for erasing mistakes and subtracting from the traced elements. You can set up the Eraser tool (Shift + E) to work like a subtractive Blob Brush (Shift + B). To set the Eraser tool (Shift + E) up, double click on it in the Tools panel. In the Eraser Tool Options dialog change the Angle to 0, the Roundness to 100%, the Diameter to 5 pt, select Pressure from the Diameter drop-down menu, and change the Variation to 5 pt. Now you can use the Eraser Tool (Shift + E) just like the Blob Brush (Shift + B) to correct mistakes and subtract from your tracing stokes. For example, I used the Eraser Tool (Shift + E) to subtract a highlight from the eye.

Step 7

Continue tracing and erasing the predominate lines in the image with the Blob Brush (Shift + B) and Eraser tool (Shift + E) until you have traced them all. You can exclude lines as you feel is necessary. For example, in the image I chose, I'm not tracing the beard on the man's face. You can also toggle the visibility of the "Image Template" layer to see how the outline is going by pressing the Visibility icon of the "Image Template" layer from the Layers panel.

Step 8

Now that we have the predominate lines, go through and add extra lines around the current ones, embellishing the features like eye sockets, cheek bones, mouth, and so on.

Step 9

Our zombie is starting to look pretty grisly, but let add some more horror with the Blob Brush (Shift + B) to the teeth and around the face. Add extra strokes to the teeth to make them look old and worn. Also, add more strokes around the face where the skin has ripped off. You can even use the Eraser tool (Shift + E) and erase sections of the head and ears where the skin has ripped off.

Step 10

Now that the outline is done, we can add some color. First, create a light green grey color from your Color panel and save it as a swatch in the Swatch panel. Next, select all the outlines and choose the Live Paint Bucket (K) tool from the Tools panel. Hover over the area you want to fill with the Live Paint Bucket (K), cycle through your swatches with the arrow keys until you find you light green color, and click to fill the area. Illustrator will then convert the strokes to a Live Paint Group. Continue filling in the area with the Live Paint Bucket until you have filled in the zombie. You might notice that it is hard to get every little area, but don't worry, we will fill these areas in the next steps.

Step 11

Select the Live Paint group and go Object > Live Paint > Expand. With the Magic Wand tool (Y) select only the green color. Once selected, Cut (Command + X) the green objects. In the Layers panel, create a new layer, label it "Color", drag the layer below the "Outlines" layer, and Paste in Front (Command + F) the green colored shapes.

Step 12

In the new "Color" layer, use the Blob Brush (Shift +B) to add shadows with a green grey color darker than your first green color.

Step 13

Use the Blob Brush (Shift + B) to create white highlights around the zombie's face.

Step 14

Now we can start adding some other color to the teeth and exposed skull areas. Use varying shades of a dingy yellow color to color these shapes, and like the last couple of steps, use the Blob Brush (Shift + B).

Step 15

Add some more color to the illustration in the eyes and add some blood around the illustration.

Step 16

Create a new layer from the Layers panel, name it "Background", drag it below the "Color" layer, and create a grey filled rectangle with the Rectangle tool (M) filling the artboard. Next, with the Blob Brush (Shift + B) create some light grey highlights on the top of the shirt.

Step 17

To add a little extra fun, place some type over the shirt. I used the font Feast of Flesh from Dafont and filled it with the same zombie green color in the face. Also, I shifted all the elements, except the background color, up. All done! Hope you have fun with this grisly zombie!

Final Image

Again below is zombie illustration all done.

Alternate Tutorial Methods

Calligraphic Brush

If you don't have CS4 yet but you do have a pen tablet you can use a Calligraphic brush instead of a Blob Brush (Shift +B) for the outlines of the zombie. If you have CS3 you can use the Live Paint technique or you can just create shapes of color with the Pen tool (P), Pencil tool (N), or another tool of your choice. To set up a Calligraphic brush with the same settings as the Blob Brush settings in this tutorials, click the New Brush Icon in the Brush panel. When the New Brush dialog opens, choose New Calligraphic Brush. In the Calligraphic Brush Options, change the Angle to 0, the Roundness to 100%, the Diameter to 5 pt, select Pressure from the Size drop-down menu, and change the Variation to 5 pt. Now you can outline the image with the same pressure sensitivity as the Blob Brush.

Art Brushes

If you don't have a pen tablet, you can always use an Art brush for the outline instead of the Blob Brush (Shift +B) . Art brushes are still very versatile, but they will not use you pen tablets pressure sensitivity. Still, you can find a brush that has similar tapered lines. This technique is similar to the tutorial I wrote for Vectortuts called Illustrate a Grunge Style Talking Skull in Vector, so check it out to learn more. My previous article Create Sketchy-Style Vectors will help if finding and creating Art brushes.

These icons link to social bookmarking sites where readers can share and discover new web pages.

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Create A Grisly Zombie Illustration With A Pen Tablet - Vectips

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Halloween is almost here, and I'm sure some of you need to do some last minute graphics for a client project or maybe so graphics for your Halloween party. So in this intermediate tutorial you will learn how to create a zombie illustration with a pen tablet from a photo.

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Adobe Illustrator: Pen Tool Exercise #2 - The word VECTOR

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What You'll Be Creating

In the following steps you will learn how to create a grunge, vintage text effect in Adobe Illustrator. For starters, you will learn how to set up a simple grid and how to create a pretty basic pattern. Next, you'll learn how to create a subtly textured background using a built-in pattern, the Film Grain effect, and some blending techniques. Finally, you'll learn how to create the fully editable text effect using the Appearance panel and multiple fills and effects, along with your saved pattern and a built-in art brush.

For more inspiration on how to adjust or improve your final text effect, you can find plenty of resources at GraphicRiver.

Tutorial Assets

The following assets were used in the production of this tutorial:

1. How to Create a New Document and Set Up a Grid

Hit Control-N to create a New Document. Select Pixels from the Units drop-down menu, enter 850 in the Width and Height boxes, and then click that Advanced button. Select RGB for the Color Mode, set the Raster Effects to Screen (72 ppi), and then click Create Document.

Enable the Grid ( View > Show Grid) and the Snap to Grid ( View > Snap to Grid). You will need a grid every 1 px, so simply go to Edit > Preferences > Guides > Grid, and enter 1 in the Gridline every box and 1 in the Subdivisions box. Try not to get discouraged by all that grid-it will make your work easier, and keep in mind that you can easily enable or disable it using the Control-" keyboard shortcut.

You can learn more about Illustrator's grid system in this short tutorial from Andrei Stefan: Understanding Adobe Illustrator's Grid System.

You should also open the Info panel ( Window > Info) for a live preview with the size and position of your shapes. Don't forget to set the units of measurement to pixels from Edit > Preferences > Units. All these options will significantly increase your work speed.

2. How to Create and Save a Pattern

Step 1

Move to your artboard and simply create a 15 px square-the grid and the Snap to Grid feature should make this easier.

Step 2

Return to your toolbar, remove the Fill color, and then select the Stroke and set its color to R=47 G=47 B=47. Pick the Pen Tool (P), create a 25 px horizontal path, and place it exactly as shown in the first image.

Step 3

Make sure that your black path is still selected and go to Effect > Distort & Transform > Transform. Drag that Move-Vertical slider to 5 px, enter 5 in the Copies box and then click OK.

Step 4

Select your blue square and add a Copy in the same place ( Control-C > Control-F). Select this fresh copy along with the black compound path, open the Pathfinder panel ( Window > Pathfinder), and click the Intersect button.

Step 5

3. How to Create the Background

Step 1

Step 2

Select this new Fill and be sure that the color is set to black. Lower its Opacity to 5%, change the Blending Mode to Multiply, and then go to Effect > Artistic > Film Grain. Enter the attributes shown in the following image and then click OK.

Step 3

Select this new Fill and add the Diagonal Lines pattern from that set. Lower its Opacity to 30% and then go to Effect > Artistic > Film Grain. Enter the attributes shown in the following image and then click that OK button.

4. How to Create the Text Effect

Step 1

Pick the Type Tool (T) and open the Character panel ( Window > Type > Character). Select the American Captain font and set the size to 150 px. Increase the Leading to 180 px and the Tracking to 150 px and then click on your artboard. Add your text and make it white.

Step 2

Make sure that your text stays selected. First, go to the Swatches panel and simply remove that white from the Fill. This will make your text invisible.

Step 3

Make sure that your text stays selected and keep focusing on the Appearance panel. Add a second Fill and drag it below that other fill.

Select this new Fill, set its color to R=47 G=47 B=47, and go to Effect > Stylize > Rounded Corners. Enter a 2 px Radius, click that OK button and then go to Effect > Distort & Transform > Transform. Drag both Move sliders to 8 px and then click that OK button.

Step 4

Make sure that your text stays selected and keep focusing on the Appearance panel.

Select the top Fill and go to Effect > Stylize > Rounded Corners. Enter a 2 px Radius, click that OK button, and then go to Effect > Distort & Transform > Transform. Drag both Move sliders to 5 px and then click that OK button.

Step 5

Make sure that your text stays selected and keep focusing on the Appearance panel. Add a third Fill and drag it below the other two fills.

Select this new Fill, add your pattern from the Swatches panel, and go to Effect > Stylize > Rounded Corners. Enter a 2 px Radius, click OK, and then go to Effect > Distort & Transform > Transform. Drag both Move sliders to 13 px and then click OK.

Step 6

Make sure that your piece of text stays selected and keep focusing on the Appearance panel. Add a fourth Fill and drag it above the other fills.

Select this new Fill and set the color to R=117 G=177 B=169. Lower its Opacity to 15% and then go to Effect > Path > Offset Path. Enter a -8 px Offset, set the Joins to Round, and click that OK button.

Next, go to Effect > Stylize > Rounded Corners. Enter a 2 px Radius, click OK, and then go to Effect > Distort & Transform > Transform. Drag both Move sliders to 2 px, click OK, and then go to Effect > Blur > Gaussian Blur. Enter a 4 px Radius and then click OK.

Step 7

Finally, you'll need one of those built-in art brushes. Go to the Brushes panel ( Window > Brushes), open the fly-out menu, and go to Open Brush Library > Artistic > Artistic_ChalkCharcoalPencil.

Reselect your text and focus on the Appearance panel. Select the stroke and set its color to R=17 G=17 B=17. Add the Pencil - Thin art brush and then go to Effect > Stylize > Rounded Corners. Enter a 2 px Radius and then click OK.

Congratulations! You're Done!

Here is how it should look. I hope you've enjoyed this tutorial and can apply these techniques in your future projects.

Feel free to adjust the final design and make it your own. You can find some great sources of inspiration at GraphicRiver, with interesting solutions to improve your design.

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How to Create a Grunge, Vintage Text Effect in Adobe Illustrator

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In the following steps you will learn how to create a grunge, vintage text effect in Adobe Illustrator. For starters, you will learn how to set up a simple grid and how to create a pretty basic pattern. Next, you'll learn how to create a subtly textured background using a built-in pattern, the Film Grain effect, and some blending techniques.

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Illustration: Fill up Your Vectors with Patterns (beginner) | Freepik

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What You'll Be Creating

In this tutorial we will get to know one of the most useful Adobe Illustrator features - the Appearance panel - and draw a fabulous colorful peacock with the help of various effects.

The Appearance panel helps us to add as many fills and strokes as we need, applying various effects and arranging them in the necessary order, all applied to one object. Let's start!

1. Draw a Vivid Eye

Step 1

We'll start from scratch by creating a New Document of 600 x 800px size and File > Place our doodle on the Artboard. Set the Blending Mode of your image to Multiply in order to make the lower objects visible under your sketch.

Double-click on your sketch layer and check the Template box, thus locking the layer and making the sketch more transparent for your convenience.

Start by forming the basic eye shape, using the Pen Tool (P) and filling it with a three-colored linear gradient to make in more dimensional.Create the iris base above the eyeball with the help of the Ellipse Tool (L).

Fill the iris with a chocolate brown color and Add New Fill in the Appearance panel (Window > Appearance). Create a Radial Gradient from brown on one side, yellow in the middle and transparent orange on the other side, as shown on the screenshot, in order to form a pupil in the center of the iris.

Move on and Add New Stroke of 2px Weight, Align Stroke to Inside inthe Appearance panel. Fill it with a two-colored Linear Gradient from dark-brown to bright orange.

Add another Stroke, setting it's size to 0.5px, filling it with solid brown color and Align Stroke to Inside. Edit the iris fill, adding new gradient with Blending Mode Screen, making the eye brighter.

Step 5

Continue adding details to the eye. Create a 30-sides shape with the Polygon Tool and apply Effect > Distort & Transform > Pucker & Bloat to it, turning our polygon into the sun-like shape. Fill the shape with a Linear Gradient from black to orange and switch it to Blending Mode Screen.

Step 6

We need to add some reflections to the eye, making it more watered and realistic. Draw a curvy shape with the Pencil Tool (N) and cut off the unneeded part with the help of Shape Builder Tool (Shift-M).

Add a half-moon shape in the bottom of the eye by duplicating the basic circle shape and moving the copy a few pixels up. Delete the unneeded part and use the Screen Blending Mode to make the reflections half-transparent.

Step 7

When satisfied with all the details and reflections, group all the iris parts. Duplicate the basic eyeball shape and place the copy above all other objects (Shift-Control-]). Make a Clipping Mask to hide the iris in the eyeball shape.

Step 8

Now let's add a shadow from the eyelid. We can make it right inside the clipping mask. Duplicate the basic eyeball shape and move one of the copies as shown on the screenshot. Use the Minus Front function in the Pathfinder panel to form an arched shadow shape. Fill the newly created shape with a Linear Gradient from brown to white and switch it to Blending Mode Multiply.

Step 9

Change the color of the eyeball to make it mysteriously dark and add the eyelid by forming a new shape under the eyeball. Fill it with dark skin-color and apply a default texture from the Swatches panel. You can find it in Swatches Libraries menu > Patterns > Basic Graphics > Basic Graphics_textures.

Change the size of the texture with the help of the Scale Tool (S) by checking the Transform Pattern box in the options and setting the Uniform Scale value to 40%.

Step 10

Add more details to the eyelids by creating simple sharp shapes with the Pencil Tool (N) and using the Blending Mode Multiply in order to blend them nicely with the body.

2. Render a Realistic Beak

Step 1

Outline your sketch with the help of the Pen Tool (P) and form a basic beak shape.

Step 2

Make a simple nostril by forming an ellipse and converting one of its anchor points to angle. Fill the new shape with a Radial Gradient.

Step 3

Add several shapes for shadows and highlights to sculpt the natural parts of the beak, making it more dimensional and true-to-life.

Step 4

Apply a gentle Linear Gradient to the basic beak shape, making its tip slightly lighter. Use the Blob Brush Tool (Shift-B) to separate the beak into the upper and the lower "jaw" parts. Continue adding shadows, making the lower part darker. Finally, put a light spot on the upper side of the beak, making in more smooth and glossy, as if it reflects the light.

3. Create the Peacock's Head & Body

Step 1

Start tracing your sketch from the peacock's head and move further to form the basic body-shape. Fill it with a vibrant Linear Gradient from sky-blue on the top to violet in the bottom. Use the Appearance panel to add another fill with a Radial Gradient and put a bright lilac spot on peacock's chest.

Step 2

Start adding the distinctive features on the peacock's head - white plumage around the eye and tiny feathers running from its beak to the inner corner of the eye. Draw each feather group with a simple freehand shape using the Pencil Tool (N) and fill it with Linear Gradient from violet to sparkling blue.

Step 3

At this step we start adding the feather groups gradually on the peacock's body. Draw each shape one above the other, imitating the feather layers.

For more clarity, I've filled them with various colors on the screenshot in order to separate the layers from each other.

Step 4

Select the basic body shape and drag it to the Graphic Styles panel. Now you can apply the same appearance to any object! Group all the feather layers and duplicate them. Select both the feather group copy and the basic body shape and Unite them in Pathfinder. If the color has changed, just restore it from the Graphic Styles. Start coloring the feather layers one by one, filling them with a Linear Gradient from blue to black and switching to Blending Mode Screen.

Step 5

Our peacock lacks details now, so let's add more feathers to make it fluffier! Copy each feather shape and move it by holding the Alt key and dragging it down with the left mouse button. Arrange the feather shapes so that they fit nicely onto the peacock's neck.

Step 6

Add a few shiny details to the plumage to make the character more radiant and whimsy.

Step 7

To make the body more solid, let's add another fill to the feathers with a radial gradient from shiny blue in the middle to transparent violet at the edge. I've also modified the body color slightly, adding a blue "cap" on the peacock's head with the help of the Radial Gradient and the Appearance panel.

Step 8

Decorate the peacock's head with several layers of feathers, just as we did with its body.

Step 9

This is how our peacock looks like fully feathered! As you can see, we have some transparent feathers left on both sides of the body. But don't worry about that - just duplicate those layers and Unite them in Pathfinder, as we previously did with the very first feather group.

4. Make the Vibrant Tail Plumage

The distinctive feature of every male peacock - is its fantastic festive plumage. We'll start forming the tail from the smallest group of feathers.

Step 1

First of all, let's make a single shape and then just use its Graphic Style for all other elements.

Create a circle using the Ellipse Tool (L) and apply a gradient Fill and brown Stroke to it in the Appearance panel. Set theStroke Weight to 3px and choose 1pt. Oval brush in the Brushes panel to make our stroke more natural.

Add New Fill of same color as the stroke. Select the Fill and go to FX > Path > Offset Path in the Appearance panel. Set the Offset Value to -10px and move to FX > Distort & Transform > Roughen to give our feather a nice "hairy" effect. Set the Size to 26% and the Detail value to 100 in the Roughen Options menu. At this step, the shape looks quite torn and messy. To make it more neat and detailed, apply the FX > Distort & Transform > Pucker & Bloat effect to the same fill, setting the bloat value to 85%.

Step 2

The convenience of the Appearance panel is hard to underestimate as it saves a huge amount of time, while you are still working with one and the only object and can easily change colors and effects of any fill or stroke you use.

Here I've switched the color of the "hairy" part to dark-green and added a new fill with radial gradient from green to white, setting the Blending Mode to Multiply. I've squashed the gradient using the Gradient Tool (G) to make it look like the cat's eye.

Finally, add one more fill and make it slightly smaller with the help of the Offset Path effect. Apply a Linear Gradient from dark-orange to black and switch it to Blending Mode Screen in order to form a glossy highlight effect above our feather.

Step 3

Extrude the shape to make it move oval and check all the details in the Appearance panel. You can easily edit them if some of the effects deform after reshaping the feather.

Step 4

Now we need to form a tail. Place the created shape near the lower part of the peacock's body. Put the second feather of a smaller size at some distance from the fist one, as shown on the screenshot.

Finally, select both elements and go to Object > Blend > Make. Use the Blend Options to set the Spacing to Specified Steps, value equals 7.

Now we need to make our tail nicely curved. Draw an arched line with the Pen Tool (P). Go to Object > Blend > Replace Spine so that the elements will align to the selected arc.

Step 6

Reflect the tail part over the vertical axis and continue adding new parts, making the tail more detailed.

Step 7

You can still change the Spacing value in the Blend Options and Rearrange any feather elements in the blend group, making the overall view more fancy and neat.

Step 8

Let's move on and create the famous peacock's "eye"-feather!

Start by forming and egg-shape out of the ellipse by moving its side anchor points down a bit. Fill the created shape with a gentle Linear Gradient from lighter orange on top to the darker orange in the bottom.

Use the Appearance panel to Add New Fill and apply the Offset Path effect, making it slightly larger than the basic shape. Take the Ellipse Tool (L) and form a new shape above, filling it with Linear Gradient of lighter and darker blue. Reshape the object, squashing it a bit, as show on the screenshot.

Put another circle on top, filling it with night blue. Use the Direct Selection Tool (A) for moving its anchor points and reshaping the circle into a new shape, reminding a hoof print.

Step 10

Go to Object > Expand Appearance in order to break the feather into separate elements. Select the green shape and convert its lower anchor point to corner, making it more pointed.

Apply a Radial Gradient to the yellow shape, making it shiny and golden. Add a glossy green spot above the dark blue shape and switch it to Blending Mode Screen.

Finally, make the object more detailed and whimsy by adding a few shadows and highlights at the edges of our feather.

Now grab the Blob Brush Tool (Shift-B) and start drawing out long hairlines around the feather. Apply a vivid green-blue gradient to the strokes. Put the hairlines behind our basic feather shape.

5. Render a Detailed Feather Filled Background

Step 1

Now we can use the created feathers to make our picture more ornate. Put the biggest feathers above our peacock so that they cover the lower part of its body. Use the Effect > Distort & Transform > Free Distort function in order to change the perspective of some feathers, so that they fit into the composition nicely.

Step 2

Continue filling up the picture, this time using the "eye"-feather base and putting its copies behind the green tail-feathers, making the tail more rich and decorated.

Step 3

Another distinctive peacock's feature is a bunch of cute small feathers at the back of his head. Draw a few simple shapes using the Pencil Tool (N) and fill them with Linear Gradient from blue to lilac. Place one copy below the main shape and Add New Fill in the Appearance panel. Apply a Linear Gradient from lilac to white in the Blending Mode Screen in order to darken the shape and separate it from the upper element. Make more copies in order to create a fancy hairdo for our peacock.

Step 4

Make the feathers more shiny and fancy by putting an ellipse on each feather, filled with Linear Gradient from black to blue and to red. Switch the ellipses to Blending Mode Screen and delete the unneeded parts using the Shape Builder tool (Shift-M).

Step 6

Put the created bunch of feathers on the peacock's head and start filling the background with details.

Add long feather shafts using the Blob Brush Tool (Shift-B).

Step 8

Let's deepen the composition by selecting some of the feathers and applying the following effect: Effect > Blur > Gaussian Blur. Now it seems the blurred feathers are at farther distance from the viewer.

Step 9

Draw a nice curved line with the Blob Brush Tool (Shift-B) and use the Blend Tool (W) to create a smooth feather. Use a gentle Linear Gradient from green to blue in order to fit the feathers into the overall color palette.

Step 10

Copy the created Blend group and place it on each feather shaft.

Step 11

Apply a Gaussian Blur effect and Blending Mode Screen to the created hairlines in order to make them more soft and transparent.

6. Add Minor Details to the Peacock and Background

Step 1

Now we need to add some shadows in order to emphasize the main object and to separate it from the background. Select all of the peacock's parts and group them.

Step 2

Duplicate the selected group and Unite the objects in Pathfinder. Fill the newly created shape with Linear Gradient from dark-blue to white and switch it to Blending Mode Multiply in order to create a shadow from the peacock's body.

Step 3

It's time to add some vivid color to the background! Create a rectangle of a size of our Artboard using the Rectangle Tool (M) and fill it with soft Radial Gradient from pale-lilac in the middle to dark violet at the edge. Use another fill to add a deep night-blue color in the bottom of the picture.

Step 4

Select the blurred feathers and make them more transparent.

Step 5

Let's add some finishing touches to our peacock and make him more dimensional. Draw a free shape that partly covers the bird's chest. Delete the unneeded part with the Shape Builder Tool (Shift-M). Turn the newly created object into a shadow in order to smooth out the edge of the peacock's body.

Use the same method to create a shadow on the opposite side of the body.

Step 6

Draw another curved drop-like shape in the center of the peacock's body and fill it with Linear Gradient from black to greyish yellow.

Step 7

Switch the Blending Mode of the created object to Screen in order to make a bright highlight on the peacock's feathers.

Step 8

Finally, observe the whole picture and add a few details here and there if you like. At this step I just add one more fill to the background - a radial gradient from blue on the edges to white in the center, switching it to Blending Mode Multiply, in order to make a nice vignette in the corners of the background.

Step 9

When satisfied with the result, go to File > Save for Web (Alt-Shift-Control-S) and export your artwork. Don't forget to check the Clip to Artboard box, so that the unneeded elements outside your Artboard won't be included into the composition.

Voila! You've Finished Portraying the Glorious Peacock!

Good work! I hope you've assured in the convenience and advantages of the Appearance panel and found some useful tips and tricks in this tutorial! Have fun and never stop creating!

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Create a Vibrant Peacock in Adobe Illustrator

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In this tutorial we will get to know one of the most useful Adobe Illustrator features - the Appearance panel - and draw a fabulous colorful peacock with the help of various effects. The Appearance panel helps us to add as many fills and strokes as we need, applying various effects and arranging them in the necessary order, all applied to one object.

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This tutorial focuses on creating a vibrant, poppy portrait in Adobe Illustrator. Using bright colors, transparent gradients, and a sense of whimsy, you'll be constructing facial features and candy hair in no time.

Step 1

Get your sketch ready.
Either fire up Photoshop or some other drawing program, or scan in some pencils. Your sketch can inform you of anything from a simple idea to your full color profile.

Step 2

Using the Pen Tool (P), either trace the contour of the face you've drawn, or build it anew with a simple circle and some angled lines to create the jaw.

Technically, if you want to create a full head, that circle should be much higher up. This face will be edited a bit as we go along.

Here's how my Layers panel currently looks, with my two shapes for the head and a solid filled Rectangle (M) as the background.

Step 3

Ears, neck, hair, and simple background elements. Your focus is to color block the main components in your composition. It's in this stage that you find balance in your piece or making any changes to the contour of the shapes.

Group like shapes together for easier layer management (Ctrl + G).

Step 4

One major component of bright, colorful artwork is deciding if you're using black or not. In this case, all darker colors are purples, pinks, and reds.

Start the eyes by outlining their basic shape with the Pen Tool (P).

Create a second shape inside of your newly drawn eye cavity. This will be key in creating the perfect outline of the eye.

Select both shapes and hit Exclude in the Pathfinder panel (first option from the right).

Fill in the rest of the eye (shape for the white of the eye, rounded shape for the iris, etc).

Step 5

Trace the mouth with a light pink. For such a cute pout, you can trace half of the mouth space, Copy and Paste, and flip it horizontally. In order to easily flip your shape, left click to select, right click for options. Hover over Transform and choose Reflect. Choose Vertical axis.

Use the Pathfinder tool to Unite both shapes once properly aligned (first option from the left).

For now, draw a simple shape with the Pen Tool (P) for the inside of the mouth (make it purple), and add a circle of lighter and transparent pink over top for the bubble.

Step 6

Create a shape for the shadow under the nose (or at the end) with the Pen (P) or Pencil Tool (N). Select the Gradient panel for this shape. You'll want it to go from the main skin color to a darker shade (-90 degrees if you're following this example). Reduce the transparency to your liking. You'll follow the same steps to create gradient shapes for shading/rendering in this piece.

Create a shape that follows the contour of the top plane of the nose. Choose your gradient colors based on the main skin tone and something lighter (in this case it's a bit creamier in tone).

Step 7

For the nostrils, the two shapes are the same (Copy and Paste, flipped over a vertical axis), but with a radial gradient. The transparency on the gradient colors themselves are reduced heavily so the change from the base color to the highlight color happens gradually.
You can push the nose further with more transparent gradient shapes, allowing it to pop out from the face.

Group your nose shapes when done (Ctrl + G).

Step 8

Select the white of the eyes.

Make it a linear gradient going from a dark purple-gray to white and back to the dark purple-gray again. Move the gradient tabs to your liking so the shadows of the whites of the eyes are closer to the edges, but have a smooth transition to the bright center. Create some shapes of a dark purple (lower the Opacity) for shadows within the eye cavity.

Arrange these shadows under the eye outline, but above the eye white, iris, and pink eye bits.

Step 9

In case you like your eyes to pop with cutesy color, this step is right up your alley. I used a dark purple for the pupil and outlined it with a light lavender circle (no color fill, Stroke Weight set to 0.5pt).

To add more interest to the eye, I added some more transparent gradients around the iris and created a pink flower shape to go between the purple iris and the shadow shapes.

For the highlight, I used a light yellow gradient to pink, both with varying transparencies.

If applicable to your face shape, you can Copy and Paste the eye details and such to the other eye. Or draw them anew for a more dynamic image.

Step 10

Start with a shape that begins beneath the hair and ends slightly below the eyes.

This will be a gradient similar to those on the nose, going from the base skin color to a darker skin tone (in this case, it has pink and brown tones).

Step 11

For the sides of the face, Copy, Paste, and Align the base face shape with itself. Then create a shape similar to the one shown: something that defines the bottom of the chin, sides of the cheeks, and temples. The linear gradient will go from shadow color to transparent base color back to shadow. Adjust as you see fit.

Step 12

Select the duplicate face base and the shadow shape, open Pathfinder and hit the third button from the left to delete the extra pieces of the shape.

You will now have a shadow shape that fits the face perfectly. Place above the base face shape in your Layers panel.

Step 12

Add whatever other shadows you feel fit your piece. In this case, one under the hair that mimics the contour lets the candy-colored hair pop off the face.

Eyelids and forehead were also tended to in order to make the face less flat.

Step 13

Even though the bubblegum will overshadow the mouth, I still find it important to take time to render it properly.
The top lip is darker than the bottom.

The inside of the mouth has depth. Transparent shapes work well to define the shadows between the upper and lower lips. Define shadows, cracks, and highlights on the mouth in the same manner the eyes and nose were rendered. Stick to reds, pinks, and creamy yellows.

Step 14

The eyebrows were changed to a darker purple. The eyes got a bit of liner as well (see the purple below the lashes). Same goes for the nostrils. also rendered slightly were the ears. Note that detail shapes on the eyes and nose are shades of dark pink versus the purple being used for the eyes or dark, dark shadows.

Step 15

The key to hair is to think of it in sections versus in strands. In this case, we have two pigtails, bangs, and two sections over the head. Starting with the right section over the head I chose a redder version of the bubblegum pink to define the part in the hair and the space around the puffy bangs.

I'll also use this color to define the contour of the bangs. They'll mimic cotton candy, clouds, or wads of gum.

Continue this process through out.

Step 16

We've got some rounded pigtail shapes to shade.

Much like the lips, the hair has some shiny bits which are transparent gradients that go pink to creamy yellow.

Using a darker gradient, define their edges along with overlapping hair shapes.

Step 17

Dark mauve serves as a good color to define the hair part as well as the edge of the bangs from the face.

Step 18

This whole time I've had the bubble shape set as invisible. Make it visible once more, Copy and Paste the shape twice.

See the picture for how to align the shapes over the base bubble so we can have a perfectly fitting shadow.

Follow the same steps from rendering the face.

Set this new shape as a darker, transparent gradient.

Step 19

Follow the same steps as those from outlining the eye cavity (smaller shape inside larger shape, Pathfinder to delete so only an outline is left).

Use a light peach for this step and reduce the transparency.

Add some light, creamy circles of various transparencies for hot spots on the bubble (make sure you don't obscure the mouth too much).

Step 20

Fill in whatever you need in the background to make the portrait pop forward. In this case, I used a radial gradient (dark blue to light blue), added some clouds, and set a radial gradient of pink to white to purple on the rainbows to give them a ribbon-like effect.

Conclusion

Here's our final portrait. A candy-colored bubblegum girl infused with blindingly bright colors. May all your work be just as bright and happy!

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How to Create a Colorful Stylized Portrait in Adobe Illustrator

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This tutorial focuses on creating a vibrant, poppy portrait in Adobe Illustrator. Using bright colors, transparent gradients, and a sense of whimsy, you'll be constructing facial features and candy hair in no time. Get your sketch ready. Either fire up Photoshop or some other drawing program, or scan in some pencils.

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Preview

Resources

Portrait by Lillian Bertram (Creative Commons Share Alike - used here with permission)

Step 1: Set up your Illustrator document

Start with a print document of 8.5 x 11″. Make sure to change the color space to RGB.

Step 2: Import the reference photo

Import the photo you will be using as a reference (File > Place). In this tutorial, I used this portrait by Lillian Bertram.

Size it up or down as necessary-try to size it up to the artboard.

Don't sweat the resolution or pixelation of the image since the reference photo is only a guide. However, the better the quality of the image, the more detail you have to work from.

Since the artwork will be imported into the first layer, name it " Photo Reference " using the Layers panel.

Your work area should look like this:

Step 3: Set up your work area

You are going to want to go to the Layers panel and create two more layers. Name them " Outlines" and " Fill Lines ".

Go ahead and select the reference photo on your canvas.

With the photo selected, go to the Transparency panel (Window > Transparency) and lower the transparency of the photo between 50% and 70% -just enough for you to still see the features, but not enough to obstruct your tracing workflow.

Now go over to the Layers panel and lock the reference photo layer so that you don't accidentally move it.

It may also help to select a Workspace preset for Painting (Window > Workspace > Painting) to set up an initial workspace and panels placement that's suitable for what you will be doing.

Step 4: Setting up your brush

Before you get started, go to the Appearance panel (Window > Appearance) to show the Appearance panel.

Click on the settings (upper left) and in the drop down menu that comes up, be sure that New Art Has basic Appearance is deselected.

Then, you can close out the Appearance panel.

Now double-click on the Paintbrush Tool (B) in the toolbar to pull up the options dialog box for the brush.

Be sure to have Keep Selected and Edit Selected Paths unchecked as they can inhibit a natural drawing process. Adjust your Smoothness to a lower number if you have confidence in your drawing strokes, or a higher number if you feel you have a shaky hand or want straighter and smoother lines. I usually keep the Fidelity option around a 4 or 5 as well.

Go to the Brushes panel, select a 1pt stroke, and double-click the 2 pt. Oval default brush. (If you wish, you may rename the brush to make it your own.)

You can adjust the options so as to respond to the pressure and tilt of your tablet, as well as make it more of a flat-tipped, calligraphy style marker.

If you don't have a tablet-don't worry-you can still make adjustments to the head of the brush and add some randomness to the variability in the stroke. These adjustments will make for a more realistic marker look.

Be sure to doodle a bit on a blank area of your canvas on the "Outlines" layer until your brush looks as you wish.

Step 5: Initial tracing

With the Paintbrush Tool (B) selected, go to the color selection area of the toolbar. Make sure that there is no fill on the brush and choose black that has a little gray to it for the stroke-you don't want to use a 100% black if you want a more natural look.

Zoom in on the area of the canvas where you want to begin working. Personally, I like to work from the eyes outwards, but also find it just as helpful to work with a quick outline around the whole face and work inwards. What you want to do is use short brush spurts of lines in a similar direction. You want to define the darkest areas of the photo, or the areas with the most contrast. Use the pressure of the tablet for thicker areas of definition. You will want to shade with cross-hatched or diagonal lines to denote areas that are midtones.

This is your chance to experiment and play around stylistically. You can change how your brush displays by going back to the Brushes panel and modifying the settings you created earlier. You will have the ability to apply your changes to all your strokes, so long as you modify the same brush you used to make all of your previous marks.

Periodically hide the "Photo Reference" layer to see how your composition stands on its own.

At some point, you want to break away from using the reference entirely once you have enough key features and focus on stylizing the portrait with your own marks and aesthetic.

Step 6: Add contrast

With your base outlines close to order, you will now add fill lines to the piece for greater contrast and to pull the piece together visually.

Select the "Fill Lines" layer. Go to your Stroke panel and choose a stroke between 3pt and 4pt.

You will now go over the outer edges and any areas where you want to make a bold distinction of contrast. This will also give it a more urban/graffiti/marker look.

Step 7: Tweaking the piece

You can also make use of the Eraser Tool (Shift + E) to organically remove unwanted marks.

Remember that all of your strokes are just paths so you can always pull and adjust curves using the Pen Tool (P) and Convert Anchor Point Tool (Shift + C) to make adjustments.

Also, you can use the Group Selection Tool (white arrow with a "plus" symbol) to select and edit areas of lines by scaling, moving or rotating as you see fit.

Step 8: Before you begin coloring

Since you want to achieve a softer and layered look with the colors, you will be using layered Pencil Tool (N) fills with a lowered transparency. To begin, create a new layer to sit below your "Fill" and "Outline" layers. Name it " Color " and lock all other layers but this layer. Also, be sure to hide the "Photo Reference" layer.

Step 9: Set up the Pencil Tool

Double-click the Pencil tool Icon in the toolbar and adjust the settings as follows:

Go to the color selection area of the toolbar and swap the stroke color with the fill color so that there is no stroke color.

Double-click the fill color and choose a skin tone color that is on the lighter end of a yellow to red hue.

Next, go to Window > Transparency to select between a 15% to 20% opacity for your fills.

Test out your color and transparency by drawing some overlapping circles and see how the color fills build up. If the new fills aren't showing up as transparent-or with the correct color-check your settings and also be sure that your Appearance panel has the New Art Has Basic Appearance option deselected.

Step 10: Coloring in your portrait

Begin with the skin tones of the face. Draw overlapping shapes that contour and compliment your lines with the Pencil Tool (N).

Over the darker and shaded areas, be sure to build up the color. Also select darker shades within the same hue to add more contrast and shadow.

For the skin: I tend to work with yellows, oranges, and reds. Use a gradient for larger areas with a light to dark fade, and build on top of them. Be sure that your highlights are basically just areas with less color.

If you need to enhance highlights, draw transparent white shapes over these areas. Keep a light hand, and draw fast layered shapes with lower opacities-this helps keep the watercolor and layered feel to the illustration.

Also draw a bit outside of the lines-with this process, imperfection is our friend.

Since you will be drawing irregular shapes with the Pencil Tool (N), you may notice sharp edges and unclosed paths. To close paths, hold down the Option/Alt key right after you begin drawing your path and just before you finish it. This will complete any shape you are drawing. It's okay to have irregular shapes and sharp edges; you can always edit them at any point with the Eraser Tool or the point-editing tools.

Color in the rest of the portrait using colors that you find works best. It is a good idea to use the Eyedropper Tool (I) and choose a color palette from another photo you may find aesthetically-pleasing for user experience.

I also encourage the use of contrasting colors to add a bit of interest, like circle shapes of bluish hue shadows on yellow and orange areas of skin or small drops of deeper reds on blue or green tones. They add a bit of complexity and depth.

Step 11: Finalizing the portrait

At this point, you should be close to finished with the portrait. Improvise, add flourishes, text, and deviate towards using your own technique and style to enhance your illustration.

You may also bring your illustration into Adobe Photoshop for added effects, color management, and texture.

Conclusion

This tutorial shared with you some techniques for using Adobe Illustrator's powerful set of painting and illustration tools. We also covered ways to set up your workspace to achieve the watercolor and marker style illustration. I hope you enjoyed my tutorial and have taken away something useful for web design by reading it. Here is the final piece. Show us your work in the Flickr group pool.

Download Source Files

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Make Watercolor and Marker Style Portraits with Illustrator

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With this tutorial, we are going to work through ways of creating digital portrait illustrations that have a unique and somewhat tactile feel of marker and watercolor. This tutorial will focus on using a drawing tablet and Adobe Illustrator.

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Welcome to our Illustrator in 60 Seconds series, in which you can learn an Illustrator skill, feature, or technique in just a minute!

Illustrator in 60 Seconds: The Pathfinder Panel

Having trouble figuring out how to use the different Shape Modes found under the Pathfinder panel? Well, worry no more, since in this short video you'll learn exactly how to use them!

Use this tool to create amazing vector graphics, icons, and more. And check out our Vector Graphics available on Envato Elements and Envato Market.

How to Use the Pathfinder Tool

To display the Pathfinder you will have to go to Window > Pathfinder to make it visible.

The first Shape Mode is Unite, which will combine all the selected objects into a single larger shape.

The second Shape Mode is Minus Front, and it allows you to use any top object to create a cutout from the one underneath.

The third option is Intersect,which will create a new shape by using the overlapping sections of the selected objects.

Last but not least, we have Exclude, which instead of removing any of the non-overlapping sections does the exact opposite and gets rid of the intersecting surfaces of the objects.

Want to see this in action? Check out the video above to see this lesson at work!

A Bit More Detail

Want to learn more about the vast tools and settings in Adobe Illustrator? Check out these tutorials below:

Vector Graphics From Envato Elements

Great for beginners to Adobe Illustrator, an Envato Elements subscription gives you unlimited access to thousands of design resources for one monthly fee! Start your subscription today to get inspired!

Complete your next project with this awesome set of ribbon banners. This pack includes 22 vector ribbons of various styles and sizes. There are two main colors and seven additional color variations for more incredible options.

60 Seconds?!

This is part of a new series of quick video tutorials on Envato Tuts+. We're aiming to introduce a range of subjects, all in 60 seconds-just enough to whet your appetite. Let us know in the comments what you thought of this video and what else you'd like to see explained in 60 seconds!

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Illustrator in 60 Seconds: How to Use the Pathfinder Tool

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Welcome to our Illustrator in 60 Seconds series, in which you can learn an Illustrator skill, feature, or technique in just a minute! Having trouble figuring out how to use the different Shape Modes found under the Pathfinder panel? Well, worry no more, since in this short video you'll learn exactly how to use them!

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How To Create Texture Gradients - Illustrator Tutorial

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Creating a Monogram

Monograms are an interesting way to go about making an identity. By nature they can be straight forward or extremely ornamental and illustrative. In this tutorial I'm going to walk you through the steps I (Chris Comella, designer at Go Media, hi!) took to making Go Media's own Heather Mariano (formerly Heather Tropp) a monogram for her business card.

What follows is a series of animated GIFs. Each show the steps I took toward executing my concept. They all loop, so if you miss something the first time, don't sweat it. It'll be back in a few seconds. Also, below each animation you'll see the corresponding notes.

Step 1: Creating the H

I start off making the general form of the H with basic shapes. Then I add in the negative I'll be using as guides to 'carve' away any excess form. After I draw out the shape, using the pathfinder I unite all the white shapes together to create one solid piece I can use to subtract from the black base. To polish off the H I add a swirl at the stem and carve out a point on the leg.

Step 2: Creating the T

We start off again by creating a basic shape from which to work with. I basically create two circles with a square joining the middle to create an elongated circle. Merge the three pieces and start on the negatives. The two white circles again act as my guide for carving out an unwanted form. Once I'm done drawing out the shape on one side, I duplicate and rotate the piece to fit the other side to keep it symmetrical. Lastly, combine all the white shapes and subtract it from the black base.

Once I have that initial piece (the Arm) done, I end up squashing it a bit as you can see. I finish off the T by using two circles to create a a curved stem and adjust the angle a bit with a third shape. I merge those together along with the arm, and the T is set.

Step 3: Rendering the type

So now that we have the foundation of the monogram set, we can start thinking about how to render it. I wanted it to feel a bit more tactile, so what I did was create some contours that help define the shape spatially. I set the standard in my mind with the first line you see made above...following that precedent I just go ahead do the same around the letters. Next, I decided to take another look at the letters themselves. I end up adding in some open lines to two of the primary curves in the pair, giving it a more decorative, floral vibe. Also, you can see I added a horizontal line connecting the two letters.. here was something I kind of stumbled upon and decided to elaborate. What came to mind at this point was adding another aspect to the piece, I wanted it to appear 'juicy.'

So in that vain, I decided to add in some water droplets. I liked this because it was in line with the piece's theme and created some more visual appeal. Following the contour lines I layed down previously, I used those as a jumping off point for the droplets. Drawing them with those curves in mind, I rendered an initial droplet and then elaborated further by adding a couple more throughout the type.

Next up is the color. This step turned out to be very important, because not only is it making the leap from black & white, but it also defined the unique shapes of the letters themselves. What I did here, similarly to the contour lines, was set a precedent with the first piece and moved forward from there...essentially, winging it, but with a sort of mental guideline.

Step 4: Complimentary imagery

To emphasize the monogram's theme, and to help round out the composition, I decided to make a flower to pair with the type. I started with the petal and finished by drawing the body out. This needed to be simple as it's purpose is to fit in with the type.

Step 5: Putting it together

I pasted in the flower behind both the letters and trimmed it down to size (erasing any unwanted parts). Next I drew in a highlight and filled the flower with the same gradient from the type highlights. Taking it one step further, I decided to add in some (what I believe are called) Pistils... aka, antennae things. Finally I duplicate the flower and add it in at the bottom of the T to balance it out. From here I simply tightened the piece up, making any minor revisions or tweaks that were left. I decided to add a stroke on the T, a simple gradient to the water droplets, and create a small lightning bug riffing on Heather's passion of photography (I always thought of lightning bugs as nature's paparazzi). And there you have it!

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Creating an Illustrative Monogram - Go Media™ · Creativity at work!

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Creating a Monogram Monograms are an interesting way to go about making an identity. By nature they can be straight forward or extremely ornamental and illustrative. In this tutorial I'm going to walk you through the steps I (Chris Comella,...

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When I started this blog, way back in 2006, I had no clue how long it would last. I actually had no idea I could even write about something for more than a couple of days. It is funny how things go.

Once I read in a book that the secret of happiness was low expectations. That explains why, for over a decade, I have been running this site. It also explains why you might end up on this page. Not lost, you knew what you wanted. For some reason, one day, we might have had what you were looking for. Well, not anymore. That content, if one day even existed, seized to be, vanished. It might be because of complaints, images that got lost and stopped loading, copyright claims, who knows. Life is like that, when you fall, you learned to pick yourself up and you move along.

So do me a favor, click on the abdz. logo and enjoy the new content.

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When I started this blog, way back in 2006, I had no clue how long it would last. I actually had no idea I could even write about something for more than a couple of days. It is funny how things go.

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What You'll Be Creating

Recently I saw an old romantic movie called "Roman Holiday" for the hundredth time, and a great idea came to my mind. After that, I decided to create a modern illustration of a boy on a scooter. Then I browsed many scooter images on GraphicRiver to remind myself (actually to learn) how this form of transportation looks. After adapting the illustration to a beginner's level, I came up with this idea.

In this tutorial, you will learn how to create a boy on his scooter using basic shapes and warp effects.

Let's have a look and get started.

1. How to Create the Scooter

After opening Adobe Illustrator, create a New Document with 850 x 850 px Width and Height. Using the Ellipse Tool (L), draw an oval. In the image below, you can see which Fill color you need. Behind the oval, create the same colored rounded rectangle by using the Rounded Rectangle Tool.

To align these two shapes, open the Align panel ( Window > Align). Set Align To: Align to Selection (open the fly-out menu and go to Show Options if you don't see the Align To: section shown here), make sure that your shapes are selected, and click the Horizontal Align Center and Vertical Align Center buttons. In the end, your rounded rectangle should be in the middle of the oval.

For the handles, create a pink rectangle with the Rectangle Tool (M) and place it in front of the grey rectangle on the left side. Create a Copy of this rectangle: select it and while holding the Shift and Alt keys, drag it to the right. This way, you'll create a second copy of this rectangle which will be horizontally aligned. Group the two handles ( right-click > Group) and Align all the shapes by pressing the Horizontal Align Center and Vertical Align Center buttons.

Finally, add a grey oval in the middle of the dark yellow one.

This may seem like a lot of text, but it's not too hard to do if you read it carefully.

Let's add the front wheel. First, create a small dark grey rectangle. In the first image you can see the zoomed in shape. In the middle of the top and bottom sides of the rectangle, add two new anchor points. To do this, select the Pen Tool (P) and simply click on the middle of each side of the rectangle.

Create a grey rounded rectangle and place the V-shape on top of it.

Now we need to cut off the unnecessary parts of the V-shapes, which are out of the boundaries of the rounded rectangle. Make a Copy of this rounded rectangle in front ( Control-C, Control-F), cut it off ( Control-X), and place it in front of everything ( Control-F).

Here is a short explanation of such manipulations: when you create a copy in front of the rounded rectangle, this copy will appear just in front of the original. Keep in mind that it's not in front of the V-shapes we already created. Then we need to cut off the copy and place it in front of everything so that it now appears in front of the original rounded rectangle and V-shapes.

Now we will add a cover above the front wheel. For this purpose we will need a rounded rectangle, which will have exactly the same shape as the wheel, but slightly larger in its size. If we simply enlarge it, the rounded corners will be not proportional. Therefore we will use the Offset Path.

Place the wheel in front of the scooter. Then we will add one more detail. Using the Rectangle Tool (M), create a thin dark yellow rectangle and place it in front of the scooter as shown in the image below. Make a Copy of this rectangle (drag it down while holding the Shift and Alt keys) and use the Control-D buttons to repeat copying this shape three more times.

And now for the final detail for our scooter-the mirror. For the mirror holder, we will use a thin grey rectangle, slightly inclined to the left and attached to the left handle of the scooter. Attach the mirror (yellow ellipse) slightly rotated clockwise.

To make a Copy of this mirror select the mirror with its holder, right-click your mouse and select Transform > Reflect. Once you get a dialogue box, select Axis Vertical, Angle 90 degrees, and press Copy. Move the newly created mirror to the right.

Our cool scooter is ready to ride!

2. How to Create the Boy's Head

Using the Ellipse Tool (L), create a small ellipse and Rotate it to the left. This is the left ear, so we'll put it on the left side of the head. While it's selected, take the Reflect Tool (O), hold down the Alt key, and click the forehead in the center of the face. In the new dialogue window, select Vertical, Angle 90 degrees and press Copy. Voila! We have two ears now.

This way you can also create a woman with a girlish hairstyle.

Make a vertical reflection of this shape. Then add an arc using the Arc Tool between the two glasses as a bridge.

Create a vertical reflection of the left temple to get the right temple. The sunglasses are ready!

Then place the sunglasses on.

3. How to Create the Boy's Body

Using the Rounded Rectangle Tool, create a pink rounded rectangle and attach it to his head. Place it behind the image of the scooter.

To create the arms, we will start with an arc. First, Delete the Fill color and set the Stroke color the same as the body color ( Shift-X). Check the Round Cap on the Stroke panel and make the Weight of this stroke very thick (around 30-40 px).

To add the boy's fingers, Delete the Stroke color and set the same Fill color as the face (use the Eye Dropper Tool (I)). Draw a rounded rectangle which will be multiplied with the Shift and Alt keys as well as the Control-D button. We just created the fingers for his right hand.

Let's create the boy's legs. Here we will use the Line Segment Tool (\). Draw a grey horizontal line. To get it straight, hold down the Shift key as you draw the line. Remember to Delete the Fill color and choose a Stroke color similar to the one shown in the image below. Before drawing, be sure to check the Round Cap button on the Stroke panel and adjust the appropriate Weight of the stroke.

The next thing we'll do is bend this line. While keeping it selected, go to Effect > Warp > Arc. In the new dialogue window, adjust the options you see in the second image below. Place it behind the scooter.

4. How to Create the Background

Awesome Work, You're Done!

Great job, you're done! I hope you had fun creating this illustration of a boy who's hurrying somewhere in a good mood. I also hope you learned some new tricks for creating your own illustration. Let's see what you can create!

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How to Create an Illustration of a Boy on a Scooter in Adobe Illustrator

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Recently I saw an old romantic movie called "Roman Holiday" for the hundredth time, and a great idea came to my mind. After that, I decided to create a modern illustration of a boy on a scooter. Then I browsed many scooter images on GraphicRiver to remind myself (actually to learn) how this form of transportation looks.

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This is an advanced tutorial using Illustrator and Photoshop

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Master dynamic gradients in Adobe Illustrator

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Create soft gradients to add depth and beauty to your vector artworks.

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Adobe Illustrator Creative Cloud - The Type Tool - Episode #20

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This tutorial is based in CS6, but works for CC as well.

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Adobe Illustrator CS6 Tutorial | Creating Custom Illustrator Brushes | InfiniteSkills

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What You'll Be Creating

In the following steps, you will learn how to design a vintage postcard in Adobe Illustrator. Harken back to an era when postcards were all the rage with this friendly type style. The tutorial will delve into clipping masks, using bitmap images, working with layers, effects, and blends.

What You'll Learn in This Illustrator Tutorial

How to create 3D text in Illustrator

How to warp text in Illustrator

How to design a postcard

How to incorporate photos in a vintage postcard template

For more inspiration on how to adjust or improve your final postcard template designs, you can find plenty of resources at Envato Elements.

Follow along with us over on our Envato Tuts+ YouTube channel:

What You Will Need

You will need the following resources in order to complete this vintage postcard template:

1. How to Add 3D Text in a Postcard Design

Step 1

Hit Control-N to create a new document. Select Pixels from the Units drop-down menu, enter 850 in the width box and 570 in the height box, and then click that More Settings button. Select RGB for the Color Mode, set the Raster Effects to Screen (72 ppi), and then click Create Document. Now let's learn how to design a postcard.

Step 2

Simply click on your artboard to type in "HOME" and change the color of this text to R=147 G=149 B=152.

Step 3

Make sure that your text stays selected and go to Effect > Warp > Rise. Check the Horizontal box and move the Bend slider to 14%, and then click OK.

Step 4

With your text still selected, go to Effect > 3D > Extrude & Bevel. Enter all the settings shown in the following image and click OK.

Step 5

Make sure that your text is selected and go to Object > Expand Appearance to turn your 3D text into a group of vector paths.

Step 6

Keep focusing on the Layers panel to lock your compound path, and then select the rest of the shapes that make up your 3D text.

Open the Pathfinder panel ( Window > Pathfinder) and click the Unite button, and then turn the resulting shapes into a compound path ( Control-8). Change the color of this new compound path to R=223 G=147 B=85.

Step 7

Download the 2048 by 1863 px version of this Philadelphia from Pennsylvania Building photo and drag it inside your postcard design.

Step 8

Select your photo along with the text compound path and go to Object > Clipping Mask > Make ( Control-7).

Step 9

Select the stroke and set the color to R=18 G=21 B=22, and then click that "Stroke" text to open the Stroke fly-out panel. Increase the Weight to 2 px, and don't forget to check the Round Join button.

Select that other compound path and add the same stroke.

Step 10

Select your clip group along with the compound path and Group them ( Control-G). Make sure that this group stays selected and focus on the control panel.

2. How to Add Warped Text in a Vintage Postcard Design

Step 1

Add the "Welcome" piece of text and change its color to R=147 G=149 B=152.

Step 2

Step 3

Make sure that your new compound path is still selected and focus on the Appearance panel.

Once you're done, place this compound path roughly as shown in the second image.

Step 4

Add the "South Haven, MI" text and change its color to R=238 G=222 B=196.

Step 5

Once you're done, place this text roughly as shown in the second image.

3. How to Add a Background to a Vintage Postcard Design

Step 1

Download the 4280 by 2736 px version of this Cannon Beach on the Oregon Coast photo and drag it inside your postcard design.

Pick the Rectangle Tool (M) to create a rectangle the size of your artboard. Click on your artboard to open the Rectangle window, set the Width to 850 px and the Height to 570 px, and then click OK. Use the align buttons from the control panel to perfectly fit this rectangle on the artboard.

Step 2

Use the rectangle made in the previous step to clip that photo. Select both objects and go to Object > Clipping Mask > Make ( Control-7).

Step 3

Finally, let's use some basic blending techniques to emphasize the vintage look of this postcard design.

Pick the Rectangle Tool (M) to create a new rectangle the size of your artboard. Center it using the align buttons from the control panel and set the fill color to R=255 G=242 B=0. Lower the Opacity to 20%, and change the Blending Mode to Soft Light.

Congratulations! Your Vintage Postcard Is Complete!

Here is how your vintage postcard template should look. I hope you've enjoyed this tutorial and can apply these techniques in your future projects. Don't hesitate to share your final result in the comments section.

Feel free to adjust this postcard design template and make it your own. You can find some great sources of inspiration at GraphicRiver, with interesting solutions to improve your postcard template.

Want to Learn More?

We have loads of tutorials on Envato Tuts+, from beginner to intermediate level. Take a look!

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In the following steps, you will learn how to design a vintage postcard in Adobe Illustrator. Harken back to an era when postcards were all the rage with this friendly type style. The tutorial will delve into clipping masks, using bitmap images, working with layers, effects, and blends.

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Adobe Illustrator CC - Line Art Tutorial April 2017 - Tips, Tricks & Shortcuts

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There are hundreds, if not thousands, of ways to draw each letter of the hundreds of different written languages and the shape of that letterform can dictate the entire tenor of its parent word or phrase. In this article, you will cover how to manipulate the glyphs from a font to create a unique, appropriate letterform style. Learn how to slice and dice shapes to create a logo design that is simple yet recognisable and, most importantly, ready for print. This tutorial will only skim the surface of possibilities but these foundational methods can unlock infinite potential in the world of logo creation.

01. Start with the word

Start with the word you'd like to design around. I'll be using the make-believe word "AQUIO," which, in our case, is a hydro-electric energy company. Grab a sketchpad and draw some shapes that remind you of the word. These shapes will be starting points for what will "house" our type. Try and push the boundaries, you never know what pieces might make it into your final design.

02. Brainstorm

Open up Illustrator and explore several different typeface options. If you don't have many fonts, I suggest heading over to losttype.com and picking up a few. Here you can see some options that I've made for myself. After looking over what I've got, I think I like the third one on the right, although I think it's a little tall. Let's make some adjustments!

03. Create outlines

I'm using Mensch by Morgan Knutson but for what I've got in mind, I think that the letters are a bit tall and I don't like the "A" in this scenario. Increase your text size, then create outlines by selecting it and hitting ⌘+shift+O or by Type > Create Outlines.

04. Customise the lettering

Delete the "A" and highlight the anchor points on the top half of the text with your direct selection tool. This font works well because it's got vertically straight sides. I'm a nudger, so I use shift+down arrow to make the text a little less condensed but you could drag the points down with your mouse - just make sure you hold the shift key to keep them vertically in line.

05. Create new letterforms

Duplicate the "U" and move it to the left of the "Q"; this will be our new "A". Object > Transform > Reflect it horizontally - if you have it selected, you can also right-click on it and quickly access the Transform > Rotate palette. Because we want to be consistent with the typeface, duplicate the "I", rotate it 90° and bring it over to the new "A" to create a crossbar.

06. Learn to kern

Squish your new crossbar in so that it fits inside the stems of the "A". Find a suitable height for the crossbar and group ( ⌘+G) or Pathfinder > Unite the two shapes that create your new "A." Position it amongst the other letters until your kerning feels appropriate.

07. Begin making the shape

Now, let's look back at our sketches and choose a shape to build. Normally, I'd do two or three for a client but for our purposes, just creating the droplet shape will do. When making a logo, it's best to start with black and white, using negative space to build a shape that can work with just one colour. Let's start with a circle - press L to quickly access your ellipse tool and hold shift while drawing it to make it perfectly round.

08. Make a droplet

Select the top anchor point with your direct select tool and move it up. Switch to your pen tool (P) and hold option - this quickly accesses the convert to anchor point tool. Click the point you just moved to remove the bezier points.

09. Clean up the shape

The shape is a little imperfect, so grab the top handle of the rightmost point and move it up. Place a guide by dragging down from your ruler (turn it on with ⌘+R) and line it up with that top handle - reason being, we want the other side to be perfectly symmetrical. Move the left anchor point's handle up to the guide. Apply a thick white, outside stroke to your new droplet shape.

10. Frame your lettering

Now draw a black rectangle around your letters (I've also spaced mine out a bit more). Select your letters and change their fill colour to white, then move them in front of your black rectangle with ⌘+X then ⌘+F. Apply the same white, outside stroke (from the droplet) to the rectangle, and move it, along with your letterforms, on top of the droplet. If it looks like it's behind the droplet, move it above the droplet in the layers palette or use ⌘+X then ⌘+F. Once everything feels good, duplicate your black rectangle and move it straight up and out of the way (it's going to be our "ribbon" shape later on).

11. Begin creating the ribbon

Select your rectangle behind your letters and Object > Path > Outline Stroke. Then group it with your letters by selecting both and pressing ⌘+G. With your new group selected, Effect > Warp > Arc about 15°. With both still selected, Object > Expand Appearance and then ungroup them with ⌘+shift+G. Return to the black rectangle you moved out of the way earlier and make it a little wider via the bounding box. Add anchor points to the middle of each side (smart guides will help you align them perfectly) and nudge each one towards the middle of the shape to create a "ribbon".

12. Begin setting up your completely flat shape

Turn off the stroke on your "ribbon" shape and apply the same arc effect by pressing ⌘+shift+E (or Effect > Apply Effect). Move it behind your droplet shape and Object > Expand Appearance. Select your droplet, Object > Path > Outline Stroke, and then duplicate it ( ⌘+C then ⌘+F). With the new droplet still selected, Pathfinder > Unite (this should give you an all white droplet on top of your other one). Select both the white droplet and your "ribbon" and Pathfinder > Minus Front.

13. Slice and dice your shapes

Select the original black banner (not the text) and its white stroke and ⌘+C, then ⌘+F, then Pathfinder > Unite. Select this white banner and the droplet behind it and Pathfinder > Minus Front. Direct select the white stroke around the banner and delete it with the delete key.

14. Clean up the details

Zoom into your rightmost "ribbon" piece and create a new anchor point along its left side with the pen tool. Move this anchor point next to the bottom right corner of the main banner shape. Remove the handles from the new anchor point as well as the one to its bottom left (in the same shape) by clicking each point with the pen tool while holding option. Direct select both the newly created anchor point and then the bottom right anchor point of the main banner shape (in this order!) and horizontally and vertically align the anchor points using the Align palette. Repeat this process on the left side.

15. Merge your shapes

Select the three banner pieces and Pathfinder > Unite. If for some reason, you can't see your text, just move this new shape below the text in your layers palette. You should now have only three shapes - the text, the banner, the droplet.

16. Finish up with colours

We now have a fully flat logo that is ready for any printer and can be easily manipulated for a one-colour or multi-colour version. Try out some different color combinations and find something you like.

This is only the beginning of what the logo could look like but, in general, simple is best!
Chandler Van De Water is a designer out of Greenville, SC. He loves Jesus, great typography, and well-crafted beer. When he's not designing type-heavy art, he's designing hop-heavy home brews. He is nothing without his beard or his wife.
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Knowledge needed: Basic Illustrator knowledge Requires: Adobe Illustrator CS5 Project Time: 1-3 hours Support file There are hundreds, if not thousands, of ways to draw each letter of the hundreds of different written languages and the shape of that letterform can dictate the entire tenor of its parent word or phrase.

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When I started this blog, way back in 2006, I had no clue how long it would last. I actually had no idea I could even write about something for more than a couple of days. It is funny how things go.

Once I read in a book that the secret of happiness was low expectations. That explains why, for over a decade, I have been running this site. It also explains why you might end up on this page. Not lost, you knew what you wanted. For some reason, one day, we might have had what you were looking for. Well, not anymore. That content, if one day even existed, seized to be, vanished. It might be because of complaints, images that got lost and stopped loading, copyright claims, who knows. Life is like that, when you fall, you learned to pick yourself up and you move along.

So do me a favor, click on the abdz. logo and enjoy the new content.

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When I started this blog, way back in 2006, I had no clue how long it would last. I actually had no idea I could even write about something for more than a couple of days. It is funny how things go.

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What You'll Be Creating

In this tutorial, you will learn how to make a 3D isometric text in Illustrator.

For starters, you will learn how to create the isometric letters using the 3D Extrude & Bevel effect. Next, you will learn how to quickly select a bunch of shapes with similar attributes and how to turn them into compound paths.

Finally, you'll learn how to stylize and organize your isometric letters, how to create a simple background, and how to add a subtle shadow to your isometric text in Illustrator.

If you don't have the time to learn how to make text isometric in Illustrator, you can always try Envato Elements, where you can find plenty of 3D isometric Illustrator assets. A good example is this isometric text in Illustrator. The pack comes with the entire alphabet, which means that all you have to do is to put together the isometric letters and build your own text.

What You'll Learn in This Illustrator Tutorial

How to make text isometric in Illustrator

How to stylize isometric letters

Follow along with this tutorial over on our Envato Tuts+ YouTube channel:

Want to learn more about text effects in Illustrator? You can try our free course on making an awesome isometric text effect in Illustrator. Learn at your own pace with Dan White as you go through the techniques that will take you to the final isometric text in Illustrator.

What You Will Need

You will need the following resource to create your own 3D isometric text in Illustrator:

1. How to Create a New Document & Add the Text

Hit Control-N to create a new document. Select Pixels from the Units drop-down menu, enter 850 in the width box and 600 in the height box and then click that Advanced button. Select RGB for the Color Mode, set the Raster Effects to Screen (72 ppi), and then click that Create Document button.

Go to Edit > Preferences > Units, and make sure that the three units of measurement are all set to pixels.

Step 2

Pick the Type Tool (T) and focus on the Character panel ( Window > Type > Character). Select the Silkscreen Expanded font and set the Size to 200 px.

Move to your artboard and click on it. Add your piece of text and set its color to R=251 G=137 B=100.

2. How to Make Text Isometric in Illustrator

Step 1

Make sure that your text is still selected and go to Effect > 3D > Extrude & Bevel. Click the More Options button, enter all the attributes shown below, and then click that OK button. In the end, things should look like in the following image.

Step 2

With your isometric letters still selected, simply go to Object > Expand Appearance. Make sure that the resulting group of shapes stays selected and hit the Shift-Control-G keyboard shortcut three times to get rid of all those groups and subgroups.

Move to the Layers panel ( Window > Layers), expand the existing layer, and you should have a bunch of shapes, as shown in the following image.

3. Color & Organize the Top and Bottom Sides of Your Isometric Letters

Step 1

Pick the Selection Tool (V) and select all the shapes that make up the top side of your isometric letters. Simply go to Object > Compound Path > Make or use the Control-8 keyboard shortcut to turn your selected shapes into one compound path.

Make sure that your compound path stays selected, bring it to the front using the Shift-Control-] keyboard shortcut, and then focus on the Appearance panel ( Window > Appearance). First, replace the existing Fill color with R=255 G=200 B=0 and then select the Stroke. Set its color to R=46 G=58 B=58 and then click that " Stroke" piece of text to open the Stroke fly-out panel. Increase the Weight to 4 px, and don't forget to check that Round Join button.

Step 2

Focus on the Layers panel, open the existing layer, and the compound path made in the previous step should lie at the top. Simply rename it " Top" and then uncheck that eye icon to make it invisible for now.

Now, you need to select all the shapes that make up the base of your 3D text. Using the Selection Tool (V), select only one of those shapes and go to Select > Same > Appearance. This will basically select all the shapes with similar Appearance attributes from your document. Once you have all those shapes selected, turn them into a new compound path ( Control-8). Make sure that this new compound path stays selected, replace the existing Fill color with black ( R=0 G=0 B=0), and send it to the back using the Shift-Control-[ keyboard shortcut.

Return to the Layers panel and scroll to the bottom of the panel to get to the compound path made in this step. Rename it " Base" and then lock it to be sure that you won't select or move it by accident.

Step 3

Feel free to skip this step as the following moves will not change the look of your final design. Only follow it if you like to have your Layers panel clean and well organized.

Basically, you need to remove all the lateral sides of your 3D text that would end up hidden once you turn back on the visibility for that " Top" compound path. Move from one letter to another, select the undesired shapes, and simply remove them using the Delete key. In the end, things should look like in the fifth image.

4. Color & Organize the Lateral Sides of Your Isometric Letters

Step 1

Select one of those light brown shapes and go to Select > Same > Fill Color to select the rest of the shapes with a similar Fill color. Make sure that all these shapes remain selected and focus on the Appearance panel.

Replace the existing Fill color with R=0 G=173 B=236 and then select the Stroke. Set its color to R=46 G=58 B=58 and then open that Stroke fly-out panel. Increase the Weight to 4 px and don't forget to check that Round Join button.

Step 2

Select one of the remaining brown shapes and go again to Select > Same > Fill Color. Make sure that all these shapes remain selected and return to the Appearance panel.

Replace the existing Fill color with R=252 G=130 B=119 and then select the Stroke. Set its color to R=46 G=58 B=58 and then open that Stroke fly-out panel. Increase the Weight to 4 px and don't forget to check that Round Join button.

5. Add a Background and a Simple Shadow

Step 1

Using the Rectangle Tool (M), create an 850 x 600 px shape, make sure that it covers your entire artboard, and set the Fill color to R=0 G=173 B=236.

Step 2

Go to the Layers panel and unlock that " Base" compound path. Select it and move to the Appearance panel.

Change the Blending Mode to Soft Light and then go to Effect > Path > Offset Path. Enter a 2 px Offset and set the Joins to Round. Click that OK button and go to Effect > Distort & Transform > Transform. Drag the Move-Horizontal slider to 0.2 px, enter 100 in that Copies box, click OK, and your design is complete.

Congratulations! You're Done!

Here is how it should look. I hope you've enjoyed this tutorial and can apply these techniques if you choose to create your own 3D isometric text in Illustrator.

Feel free to adjust the final isometric letters and make the design your own.

Popular Isometric Assets From Envato Elements

Envato Elements is an excellent resource for 3D isometric Illustrator and Photoshop assets. Here's a short list of some of the most popular assets that you can find.

Using this Photoshop action, you can create isometric text in Photoshop with a simple click. Just select the text that you want to transform, play the action, and you will get your isometric text in Photoshop.

Using these isometric alphabet tiles, you can create fun designs with minimum effort. These could be perfect for greeting cards, posters, and more. Try them out in your next project!

Besides text effects, at Envato Elements you can find a large collection of isometric illustrations. This isometric text illustration is just one example.

Using this isometric iPhone mockup, you can showcase your app design and give it a realistic look. Just open the smart object to place your design on the screen.

Isometric icons are another asset that can be really useful when you are trying to make your design stand out. Using this isometric map with logistics icons, you can easily create a powerful infographic.

Want to Learn More?

We have loads of tutorials on Envato Tuts+, from beginner to intermediate level. Take a look!

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How to Create an Isometric Text Effect in Adobe Illustrator

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In this tutorial, you will learn how to make a 3D isometric text in Illustrator. For starters, you will learn how to create the isometric letters using the 3D Extrude & Bevel effect. Next, you will learn how to quickly select a bunch of shapes with similar attributes and how to turn them into compound paths.

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Adobe Illustrator CC - Line Art Tutorial 2016

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Live Mirroring technique

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Creating a Wolverine Logo: Live Mirroring in Ai

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What You'll Be Creating

By following this tutorial you'll learn how to create a cute fox illustration in Adobe Illustrator. Using basic shapes, stylish colors and the Warp Effect tool, you can create a charming cartoon character in a retro style. This is a great project for beginners! Let's get started.

1. Creating the Head and Face

Step 1

First we are going to create the head. Take the Polygon Tool and click on your workspace. A new dialogue window will ask you how many corners and what radius you want. Make 3 corners and any radius you want. Then click OK. Once you have a triangle, fill with color R=212, G=88, B=42. Now we need to adjust the Warp options ( Effect > Warp > Arc Upper) as shown in the image below.

Step 2

Step 3

You should have the following base shape for the head:

Step 4

Keep the same fill color. Using the Ellipse Tool (L), draw an oval. Pick the Convert Anchor Point Tool (Shift-C) and simply click on the left anchor point of the oval and then the right anchor point. After that, adjust the Warp options ( Effect > Warp > Arc) as shown in the image below.

Step 5

Place the shape you've just created behind ( Control-X, Control-B) the shape created in Step 3.

Step 6

Now, we will create the eyes and the nose. Using the Ellipse Tool (L), create small circle and set the color to R=70 G=62 B=55. To make nice round circle, hold the Shift key while you're creating the circle. Using copy-paste, make three circles. Place them accordingly like the image below.

Step 7

Now, the ears. First, we will create the right ear. Using the Polygon Tool, create a triangle and set the color to R=212 G=88 B=42. Adjust the Warp options ( Effect > Warp > Bulge) as shown in the image below.

Create a copy of this triangle with the same Warp options. This will be the inner part of the ear, so you need to make it smaller and darker (color R=178 G=66 B=31).

Step 8

Now, the left ear. Use the image below to get an idea of how the left ear should look.

The smaller part of the left ear:

Step 9

Put the ears together and then place them on the head of the fox. Send them to the back ( Control-X, Control-B) so that they sit behind the head.

2. Create the Body

Step 1

Now we are going to create a white fur neck under the head of the fox. Draw a triangle with fill color R=224 G=204 B=169. Adjust the Warp options ( Effect > Warp > Bulge).

Step 2

Create a triangle (color R=42 G=148 B=68) with Bulge. This will be the body.

Step 3

Put all the parts together. Don't forget to place the head in the front of the body.

3. Creating the Legs and Paws

Step 1

We'll start by creating the fox's leg. Make an oval with fill color R=212 G=88 B=42. Select Arc in the Warp Options window. After that, expand this figure ( Object > Expand Appearance).

Step 2

Step 3

Select the shape that was created in the previous step and put it on the tip of the arm to create the paw. After that, make one more copy of the paw ( Control-C, Control-F). Holding the Shift key, select the dark gray shape and the new copy of the paw together. Go to Pathfinder panel and press the Intersect button.

Now right-click your mouse and select Transform > Reflect. In the window that appears, check Vertical axis of reflection, make sure that it is set to 90 degrees and press Copy. Now you've got the second arm.

4. Putting All the Parts Together

Step 1

Simply place everything together, as shown in the image below. Your fox is really coming together!

Step 1

Step 2

Step 3

Place the tail behind the body. Look how cute it is!

6. Decorations

Step 1

We will be using circles and pointy ovals to create flowers. The color of the petals on the first flower is R=229 G=211 B=182. The color of the middle circle is R=235 G=212 B=103. The color of the leaves is R=97 G=108 B=67. The color of the petals on the second flower is R=60 G=94 B=76. The color of the middle circle is R=88 G=52 B=56. The color of the leaves is same as the first flower.The color of the petals on the third flower is R=73 G=117 B=95. The color of the middle circle is the same as the second flower.Group every flower with leaves ( Right-Click > Group).

Step 2

7. Background

Step 1

Behind the fox create a large circle ( R=114 G=147 B=118). Place the flowers and strawberries on the edge of the circle to create a frame.

8. Final Touches

Step 1

Draw a square with the fill color R=166, G=191, B=170 and size 600px both width and height. Place it behind everything.

Step 2

Look at the Appearance panel. Click on the tiny triangle in the top right corner and in the pop-up menu select Add New Fill. Now open a new Swatches panel ( Swatches > Patterns > Basic Graphics > Basic Graphics_Dots) and select the 10DPI 20% pattern for this new fill. Set the Opacity to Soft Light.

Conclusion

Congratulations, your fox illustration is done! You see, it's not difficult. I hope you found some useful tricks and have enjoyed this tutorial!

If you're looking for illustrations like this to use in other projects, head over to Mixkit and discover the beautiful collection of free downloadable art that you can use for any purpose you like, without paying a cent. Enjoy!

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How to Create a Retro Fox Illustration in Adobe Illustrator

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By following this tutorial you'll learn how to create a cute fox illustration in Adobe Illustrator. Using basic shapes, stylish colors and the Warp Effect tool, you can create a charming cartoon character in a retro style. This is a great project for beginners! Let's get started.

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I Show My 11yr. Old How To Draw Vector Logo Using Ai (Adobe Illustrator)

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Create Vector GEOMETRIC Background Illustrator Tutorial

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How to Work with Live Paint | Adobe Illustrator

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You probably don't need us to tell you that Illustrator CC is a brilliant graphic design tool. Whether you want to create typographic layouts, stunning illustrations or objects and elements destined for the web, it's the ideal tool. It fits into Creative Cloud perfectly, with maximum compatibility with other apps and, of course, the brilliant ability to upload directly to Behance from the File menu, sync with Kuler and share files across multiple machines.

With the new Touch Type tool you can bring a new fluidity to your graphics work. Here I'll show you how to use it to edit and manipulate live text on the fly.

01. First, find it

Roughly style up some text in Illustrator CC. Open the Touch Type tool, in the Tools panel under the Type tool or via the Character panel (Window>Type). With the tool selected, click on a character in your text frame and a bounding box will appear around that character. All of the corners will have a handle and there is an additional handle above the box, each of which has a different function for editing the character.

02. Moving and rotating

The bottom left handle is the move function. You can also move the character by clicking inside the bounding box. The character's new position will be shown in blue with the original visible behind. Centrally above the bounding box is the rotate handle. Hover over this and a rotation icon will appear. Click and drag to rotate the character. Remember as you move one character it will affect the position of the next.

03. Scaling

The top left handle controls the proportional scaling of your character. After you've dragged the handle and scaled your character have a look in the Character panel. The percentage increase or decrease will be shown in the vertical and horizontal scale fields of the panel and will be displayed by your cursor. The final two handles control the vertical top left and horizontal (bottom right) scaling.

04. Quick character changes

The Touch Type tool doesn't enable you to make changes to multiple letters in one go, but that's not a problem as you can easily use the Eyedropper tool to duplicate styles. Alternatively, you can cut and paste letters and the applied formatting will remain - then, because the text is live you can simply change the character. Another option is to create a character style that you can then apply to individual characters.

05. Selecting characters

You will find at times certain characters can be difficult to select with the Touch Type tool - especially when you have characters stacked or a mixture of different sized characters. A really simple way around this is to change the size of your text frame so you're focusing just on the characters you need to work on at any one time. Alternatively, adding a soft return might create the space you need.

06. On a path...

Finally, you can use the Touch Type tool with type on a path. Draw a path with the Pen tool and add your text to it using the Type on a Path tool found under the Type tool in the Tools panel. To refine the look of the type open the type on the Path Options panel found under Type Type on a Path Type on a Path Options. Here you will find a number of different effects options and positions for aligning your text.

Words: Jo Gulliver
This article originally appeared in Computer Arts issue 224.

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Make the most of Illustrator CC's Touch Type tool

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You probably don't need us to tell you that Illustrator CC is a brilliant graphic design tool. Whether you want to create typographic layouts, stunning illustrations or objects and elements destined for the web, it's the ideal tool.

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What You'll Be Creating

In the following steps you will learn how to create a bold, cartoonish text effect in Adobe Illustrator.

For starters you will learn how to set up a simple grid and how to create a pretty simple background for your text effect. Using the Type Tool and a nice, free font, you'll learn how to the starting text. Taking full advantage of the Appearance panel, you'll learn how to create the actual text effect. Finally, you'll learn how to add some final touches for your text effect using a bunch of simple circles.

For more inspiration on how to adjust or improve your final text effect, you can find plenty of resources at GraphicRiver.

1. How to Create a New Document & Set Up a Grid

Hit Control-N to create a new document. Select Pixels from the Units drop-down menu, enter 850 in the width and height boxes, and then click that Advanced button. Select RGB for the Color Mode, set the Raster Effects to Screen (72 ppi), and then click that Create Document button.

Enable the Grid ( View > Show Grid) and the Snap to Grid ( View > Snap to Grid). You will need a grid every 5 px, so simply go to Edit > Preferences > Guides > Grid, and enter 5 in the Gridline every box and 1 in the Subdivisions box. Try not to get discouraged by all that grid-it will make your work easier, and keep in mind that you can easily enable or disable it using the Control-" keyboard shortcut.

You can learn more about Illustrator's grid system in this short tutorial from Andrei Stefan: Understanding Adobe Illustrator's Grid System.

2. How to Create the Background

Step 1

Pick the Rectangle Tool (M) and focus on your Toolbar. Remove the color from the stroke and then select the fill and set its color to R=137 G=147 B=150.

Simply create an 860 px square and make sure that it covers your entire artboard. The grid and the Snap to Grid feature should help.

Step 2

3. How to Create the Main Text Pieces

Step 1

Pick the Type Tool (T) and open the Character panel ( Window > Type > Character). Select the Comical Cartoon font and then set the size to 40 px and the leading to 150 px. Simply click on your artboard, add your column of text, and make it white.

Step 2

Using the same tool and font attributes, add the first row from your text again. Make it red and place it right above the white one. Do the same for the other three rows of text, as shown in the following images. Once you're done, you can remove that white text from your document.

4. How to Create the Front Side of Your Text Effect

Step 1

Select one of your pieces of text, focus on the Appearance panel, and add a new fill using that same Add New Fill button. Set its color to R=247 G=139 B=30 and make sure that it lies above that " Characters" piece of text. Placing it above the " Characters" text will simply cover that red.

Step 2

Make sure that your orange text is still selected and keep focusing on the Appearance panel. Add a second fill and drag it below the existing one.

Make sure that your new fill is selected, replace the existing color with the linear gradient shown below, and then go to Effect > Path > Offset Path. Enter a 2 px Offset, set the Joins to Round, and then click that OK button.

Step 3

Step 4

Step 5

Step 6

Make sure that your orange text is still selected and keep focusing on the Appearance panel. Add a third fill and place it above the existing ones.

Select this new fill, set its color to R=254 G=183 B=21, and go to Effect > Path > Offset Path. Enter a -4 px Offset, set the Joins to Round, click that OK button, and then go to Effect > Distort & Transform > Transform. Enter the attributes shown in the following image and then click that OK button.

Step 7

For this step you'll need of those built-in patterns from Illustrator. Open the fly-out menu from the Swatches panel ( Window > Swatches) and go to Open Swatch Library > Patterns > Basic Graphics > Basic Graphics_Lines. Keep this window opened, make sure that your orange text is selected, and return to the Appearance panel.

Select the top fill and duplicate using the Duplicate Selected Item button. Select the newly added fill and simply replace the existing color with the " 10 pli 50%" pattern from that set.

Step 8

Step 9

Make sure that your orange text is still selected and keep focusing on the Appearance panel.

Select that stroke, set the color to R=255 G=200 B=28 and the size to 4 px, and then go to Effect > Path > Offset Path. Enter a -2 px Offset, set the Joins to Round, and then click that OK button.

5. How to Create the Back Side of Your Text Effect

Step 1

Make sure that your orange text is still selected and keep focusing on the Appearance panel. Add a fifth fill and place it below the existing ones.

Select this new fill and set its color to black ( R=0 G=0 B=0). Lower its Opacity to 50% and change the Blending Mode to Soft Light, and then go to Effect > Path > Offset Path. Enter a 2 px Offset, set the Joins to Round, click that OK button, and then go to Effect > Distort & Transform > Transform. Enter the attributes shown in the left window (in the following image), click that OK button, and then go again to Effect > Distort & Transform > Transform. This time, enter the attributes shown in the right window and then click that OK button.

Step 2

Make sure that your orange text is still selected and keep focusing on the Appearance panel.

Step 3

Make sure that your orange text is still selected and keep focusing on the Appearance panel. Add a new fill and place it below the existing ones.

Select this new fill, set its color to R=190 G=31 B=46, and then go to Effect > Path > Offset Path. Enter a 20 px Offset, set the Joins to Round, click that OK button, and then go to Effect > Distort & Transform > Transform. Enter the attributes shown in the following image and then click that OK button.

Step 4

Make sure that your orange text is still selected and keep focusing on the Appearance panel. Add a new fill and place it right above the bottom one.

Select this new fill, set its color to R=160 G=1 B=16, and then go to Effect > Path > Offset Path. Enter a 5 px Offset, set the Joins to Round, click that OK button, and then go to Effect > Distort & Transform > Transform. Enter the attributes shown in the following image and then click that OK button.

Step 5

Make sure that your orange text is still selected and keep focusing on the Appearance panel. Add a new fill and place it below the existing ones.

Select this new fill, set its color to R=160 G=1 B=16, and then go to Effect > Path > Offset Path. Enter a 20 px Offset, set the Joins to Round, click that OK button, and then go to Effect > Distort & Transform > Transform. Enter the attributes shown in the left window, click that OK button, and then go again to Effect > Distort & Transform > Transform. This time enter the attributes shown in the right window and then click that OK button.

Step 6

Step 7

Make sure that your orange text is still selected and keep focusing on the Appearance panel. Using the Add New Stroke button, add a second stroke for your text, and place it below all those fills.

Select this new stroke, set its color to R=190 G=31 B=46 and then go to Effect > Path > Offset Path. Enter a 20 px Offset, set the Joins to Round, click that OK button, and then go to Effect > Pathfinder > Add. Return to the Appearance panel and click that " Stroke" piece of text to open the Stroke fly-out panel. Set the Weight to 8 px, check the Round Cap and Round Join buttons, and then check that Dashed Line box. Enter 0 px in the first dash box and 8 px in the first gap box, and your stroke should end up looking about as shown in the following image.

Step 8

6. How to Copy and Adjust Appearance Attributes

Step 1

Hold the Alt button from your keyboard, click the target icon that stands for your orange piece of text, and drag it above the target icon that stands for one of those red pieces of text.

Step 2

Repeat the technique mentioned in the previous step to copy the Appearance attributes. Once you're done, select one or more of those pieces of text, focus on the Appearance panel, and replace the existing colors with the ones indicated in the following image.

7. How to Add Several Circles/Stars and Spread Them Around the Text

Step 1

Using the Ellipse Tool (L), create a 20 px circle. Make sure that there's no fill color set for this shape and set the stroke color to R=190 G=31 B=46. Open the Stroke fly-out panel, increase the Weight to 6 px, and check that Align to Inside button.

Duplicate these three circles ( Control-C > Control-V), select the copies, and simply replace the red with R=159 G=31 B=99.

Step 2

Simply multiply your red and purple circles ( Control-C > Control-V) and then spread the copies as shown in the following image.

Alternatively, you can replace those circles with simple star shapes that can be easily made using the Star Tool.

Congratulations! You're Done!

Here is how it should look. I hope you've enjoyed this tutorial and can apply these techniques in your future projects.

Feel free to adjust the final design and make it your own. You can find some great sources of inspiration at GraphicRiver with interesting solutions to improve your design.

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How to Create a Bold, Cartoonish Text Effect in Adobe Illustrator

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In the following steps you will learn how to create a bold, cartoonish text effect in Adobe Illustrator. For starters you will learn how to set up a simple grid and how to create a pretty simple background for your text effect. Using the Type Tool and a nice, free font, you'll learn how to the starting text.

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Blending Vector Art - Adobe Illustrator/Photoshop

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What You'll Be Creating

In this tutorial, we'll create six different animal portraits from one and the same circle! Let's have fun making a set of trendy flat elements using basic shapes, the Shape Builder Tool, the Pathfinder panel, and some other useful functions of Adobe Illustrator!

What You'll Learn in This Adobe Illustrator Tutorial

How to move and alter points to manipulate shapes

How to use the Shape Builder Tool in Adobe Illustrator

How to combine and layer shapes

How to copy and reflect shapes

This tutorial was inspired by the many animal icons on Envato Market and Envato Elements.

If you're looking for a set in no time at all, head on over to Envato Elements where you can purchase my whole Flat Animal Icons Set.

You can also find a great selection of free SVG icons on Reshot.

1. How to Create an Elegant Siamese Cat

Step 1

Start forming the cat's face from an even circle of 60 x 60 px size, made with the Ellipse Tool (L). Fill the circle with a sandy beige color.

Step 2

Select both side anchor points with the Direct Selection Tool (A) and drag them down, changing the shape of the face.

Step 3

Now let's form the cat's ear. Take the Polygon Tool and make a three-sided shape of about 17 x 15 px size. Go to Effect > Warp > Bulge and set the Vertical Bend value to 40%.

Step 4

Copy the shape and Paste it in Front (Control-C > Control-F). Make the copy smaller and fill it with chocolate-brown color. Rotate the ear and place it on the left side of the head, Sending it to Back (Control-Shift-[), beneath the head shape. Use the Reflect Tool (O) by double-clicking its icon in the Tools panel to flip the ear over the Vertical Axis and to create a copy, placing it on the opposite side of the head.

Step 5

Let's make the top part of the head flat. Select the head shape, take the Eraser Tool (Shift-E) and draw a narrow stripe across the head by holding down the Alt key. Now we've sliced the shape into two parts. Select the unneeded piece and delete it.

Step 6

Step 7

Make another ellipse and place it inside the face, so that it touches the lower point of the nose. Align the ellipse to the nose, using the nose as a Key Object. To do so, select both shapes and click the nose while holding down Alt. You will see a thick stroke around the nose, indicating the Key Object. Head to the Align panel and click Horizontal Align Center.

Then take the Anchor Point Tool (Shift-C) and move the anchor handles of the bottom anchor point down to about 45 degrees. Use the Guides to move the handles to the equal distance (you can add the Guide line by dragging it down to your Artboard from the Rulers (Control-R)).

Fill the face "mask" with the same brown color as we have on the ears, picking the color with the Eyedropper Tool (I). Add a smaller, lighter-brown ellipse beneath the mask, depicting the lower jaw.

Step 8

Now let's add the eyes! Make an ellipse, select its right anchor point and convert it to a sharp corner from the Convert menu in the control panel above. Fill the ellipse with a bright blue color and add another ellipse above for the iris.

Here we need to delete the piece of the iris that overlaps the edge of the eye. Select both ellipses, and use the Shape Builder Tool (Shift-M) to erase the upper part of the iris by holding down the Alt key and clicking the unwanted piece.

Rotate the eye a bit and create a mirrored copy using the Reflect Tool (O).

Step 9

Make two light-brown ellipses for the brows of our cat, and add two tiny white circles in the eyes for the highlights.

Create a lighter-pink ellipse, placing it above the upper part of the nose, and use the Shape Builder Tool (Shift-M) holding down Alt to delete the unneeded part, thus making the nose more detailed.

Step 10

And let's create a trendy flat shadow, covering one half of the cat's head. Group (Control-G) all parts of the cat together, Copy the group and Paste it in Front (Control-C > Control-F). Keeping the copy selected, Unite its parts in the Pathfinder panel, merging them into a single shape. Switch the Blending Mode of the silhouette to Multiply, making it semi-transparent.

Finally, select the silhouette, take the Eraser Tool (Shift-E) and, holding down Alt, drag your mouse over the left half of the cat's head, covering it with a white rectangular selection. Release the mouse button to delete the covered piece.

And here we have it! Our flat cat is ready. Let's move on to the next element.

2. How to Draw a Cheerful Puppy

Step 1

As previously, we start forming a portrait from a 60 x 60 px circle. Move the side anchor points down a bit, making the shape bulgy, and erase its top part with the Eraser Tool (Shift-E).

Select the left anchor point with the Direct Selection Tool (A) and press Enter to open the Move options window. Set the Horizontal Position value to -5 px and the Vertical value to 0 px and click OK, thus moving the anchor point 5 pixels to the left.

Step 2

Select both side anchor points and Convert them to sharp corners. Adjust the position of the anchor handles using the Anchor Point Tool (Shift-C) and move them up, making a smooth curve of the face line.

Step 3

Let's form the ear from a 40 x 35 px triangle, using the Polygon Tool. Take the Curvature Tool (Control-`) and make the sides of the triangle more rounded and bulging. If you're using earlier versions of Adobe Illustrator, which don't contain this tool, feel free to use Effect > Warp > Bulge, as we did previously.

Step 4

Rotate the ear and place it at the left side of the head. Use the Reflect Tool (O) to create a mirrored copy on the opposite side.

Step 5

Form a dark-grey nose from a squashed ellipse, dragging its lower anchor point down a bit. Make two overlapping light-grey ellipses beneath the nose, group them and Align with the face horizontally, using the face shape as the Key Object.

Step 6

Now let's make a funny tongue sticking out! Create a light-pink rectangle using the Rectangle Tool (M), and place it under the light-grey ellipses. Select both lower anchor points and pull the Live Corners markers up to their maximum, making the bottom of the shape rounded. Take the Line Segment Tool (\) and draw a vertical stroke, while holding down Shift. You can make the tips of the line rounded in the Stroke panel.

Step 7

Let's move to the eyes. Make a dark-blue ellipse and cover its lower part with another ellipse or any color. Select both shapes and use the Shape Builder Tool (Shift-M) to delete the lower ellipse together with the bottom part of the eye, which was covered. This way we're making a playful look. Add a darker iris and a tiny white highlight to the eye.

Rotate the eye a bit and create a second one, placing it on the other side of the face.

Step 8

Create two even light-grey circles, covering the eyes. Then add two bigger circles, overlapping and covering the lower part of the face, as shown in the screenshot below. Select the lower circles and use the Shape Builder Tool (Shift-M) to delete those parts outside the face.

Step 9

Make two tiny rectangles with rounded corners for the brows, making the dog look kind and cheerful, and finish up by creating a subtle shadow on the right half of the face.

3. How to Make a Fancy Raccoon

Step 1

Copy the ears from our cat, recolor them according to the color of the raccoon's head, and place them on both sides of the head.

Step 2

Make a nose from an 18 x 10 px dark-grey ellipse, dragging its top anchor point up a bit. Create another ellipse with a dark-grey Stroke color, setting the Fill color to None in the Color panel. Take the Scissors Tool (C) and click the left and right anchor points, splitting the shape horizontally into two equal halves. Delete the lower half, making our raccoon smile.

Step 3

Copy the face shape and make the copy much smaller, filling it with white color and placing it beneath the nose area. Add two tiny black eyes with white highlights, group them and align to the face horizontally in the Align panel, making the face a Key Object.

Copy the face shape once again, making the copy a bit smaller, fill it with dark-blue color and place it in the bottom part of the face, forming a mask.

Step 4

Finally, add a flat shadow to the right part of the face. Now we can move on!

4. How to Make a Kind Panda

Step 1

Make a fluffy face shape from a 60 x 60 px light-beige circle, moving its side anchor points down.

Step 2

Choose the Scissors Tool (C) and click the side anchor points of the outlined shape, splitting it apart. Delete the upper half, forming a kind smile for our panda.

Step 3

Copy the eyes from our raccoon, and let's form big, dark-grey spots around the eyes. Make a squashed ellipse and rotate it a bit to the left. Use the Reflect Tool (O) to make a copy and flip it horizontally to the other side of the face. Fill the eyeballs with white color, so that they are visible above the dark spots.

Keeping the eyeballs selected, go to Object > Path > Offset Path and create tiny pupils inside the eyes.

Step 4

Add round, dark-grey ears to the panda's head, and finish up by forming a semi-transparent shadow over the right side of its face.

Great work! Let's move on!

5. How to Create a Wise Bear

Step 1

Start making a bear's face from a 60 x 60 px circle. Move both side anchor points down and drag the top anchor point up, making the head look like an egg.

Make the top of the head flat with the Eraser Tool (Shift-E). And make the corners of the shape slightly rounded.

Step 2

Add two circle ears to the top of the head, group them and Align them horizontally, using the head as a Key Object. Use the Offset Path function with -3 px Offset value to form the dark inner part of the ears.

Step 3

Make the corners of the rectangle rounded. Using the Live Corners function, you can vary the level of the roundness of each separate corner of the shape. For example, you can select only the upper anchor points and thus make the upper corners 100% rounded by pulling the markers down to their maximum.

Step 4

Add a small ellipse beneath the bottom of the nose-bridge, forming the lower jaw. Add the eyes to the bear's face and, if you feel that the bear's face is too dark, make the brown parts a bit lighter.

Finally, add the shadow to the bear's face.

Awesome! We have the last character left!

6. How to Make a Cunning Fox

Step 1

Step 2

Take the ears from our raccoon and position them at both sides of the fox's head, adjusting the colors. Put a black ellipse over the bottom part of the face, covering the nose area. Use the Shape Builder Tool (Shift-M) to get rid of the piece outside the face, forming a pointed black nose.

Step 3

Create an ellipse, overlapping the left side of the fox's face, as shown in the screenshot below. Use the Reflect Tool (O) to make a flipped copy on the opposite side. Select both ellipses and delete those parts outside the face with the Shape Builder Tool (Shift-M). Fill the shapes with light-beige color, forming the cheeks. Add two tiny, shiny eyes to our fox.

Step 4

Make the tip of the nose a bit rounded with the help of the Live Corners function. And let's add some more details to our fox!

Make a small squashed ellipse of a lighter-orange color, and place it at the left side of the nose-bridge. Select the shape, hold Alt-Shift and drag the ellipse to the right, making a copy. Press Control-D twice to form two more copies. Make two more rows of ellipses, placing them in a crisscrossed position. This way we depict a stylized fur on the fox's nose.

Don't forget to add a gentle highlight to the nose by forming a smaller and lighter shape on top of the nose.

Step 5

Add a gentle shadow to the right side of our cunning foxie.

7. How to Create Icons With Long Shadows

Step 1

Now that we have six flat-style animal portraits, let's place them on a set of colorful circles, creating icons.

Make a turquoise circle of 106 x 106 px size for the icon's base, and put the raccoon's head in the center.

Step 2

Switch the Blending Mode of the square to Multiply, making it semi-transparent, and place the shape above the raccoon. Make the shape a bit narrower, if needed, and move it around, finding the two spots where the shape overlaps the head. In our case, it is the tip of the right ear and the left side of the face. Add two anchor points at these spots using the Add Anchor Point Tool (+), and then switch to the Delete Anchor Point Tool (-) and delete those unneeded anchor points at the top of the rectangle, hiding the top of the shape beneath the raccoon's head.

Place the shadow under the head, delete the unneeded piece outside the icon with the Shape Builder Tool (Shift-M) and-voila!-our fancy icon with a trendy flat shadow is finished! Create the circle icons for all the rest of the animals using the same simple techniques.

Great Job! Our Set of Flat Animal Icons Is Completed!

This was fun, wasn't it? I hope you've enjoyed creating these cute flat animals from one and the same shape and learned some new tips and tricks, playing around with ellipses, the Pathfinder panel and the Shape Builder Tool! Stay tuned for new tutorials, and don't forget to show your result in the comment below!

If you want to learn more about how to use Adobe Illustrator, take our free three-hour beginner's course. Start by mastering the Illustrator basics, and then learn to create effects, patterns, and more-all with clear video instruction from an Adobe-certified Illustrator expert.

If you're looking for a set in no time at all, head on over to Envato Elements where you can purchase my whole Flat Animal Icons Set.

Animal Icons From Envato Elements

Want more choices? Then head on over to Envato Elements where you can subscribe to unlimited access to dozens of animal icons and so much more. Check out some of our favorites below!

These adorable animal icons might just be the perfect addition to your website or app! This pack contains 15 minimalist vector icons that are all fully editable and resizable. Enjoy two convenient file formats, great for any designer who loves working in Adobe Illustrator.

Check out these adorable, vector animal icons. This is just a sample of the included 100 icons; that's 100 different animal icons, all in one download, that you can mix, match, and customize in Adobe Illustrator.

Looking for more detailed vector illustrations? Check out this collection of vector animal illustrations. They not only come with AI and EPS files, for use in Adobe Illustrator, but with PNG and JPG files, too, for your convenience.

Love a blocky, isometric aesthetic? Then check out this collection of fun, cute isometric animals. There are 20 cute animals to choose from, and you can customize them all in Adobe Illustrator.

Aren't these rounded animal illustrations cute? This is just a sample of the 40 cute animal illustrations included in this vector icon set. Download them today and use them in your next cute, animal-themed project.

Create More Cute Vector Art Today!

Love Illustrator? Take a look at these other free vector art tutorials from Envato Tuts+. Check them out for more illustration walkthroughs and inspiration:

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How to Create a Set of Flat Animal Icons in Adobe Illustrator

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In this tutorial, we'll create six different animal portraits from one and the same circle! Let's have fun making a set of trendy flat elements using basic shapes, the Shape Builder Tool, the Pathfinder panel, and some other useful functions of Adobe Illustrator!

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What You'll Be Creating

In this tutorial you will learn how to create an adorable sloth illustration in Adobe Illustrator.

We will be using simple shapes and different tools and effects such as the Warp Tool, Width Tool, Smooth Tool, and Warp Effects to create it. This tutorial is actually a collaboration with Monika Zagrobelna, where she teaches how to draw a sloth step by step. So check her tutorial out!

If you want to find more sloth inspiration, make sure to check out PhotoDune.

Let's get started!

1. How to Create the Sloth's Body

Create a new document with 800 px Width and Height.

First, we will start to create our sloth's body. For the body we will use an ellipse, which will be further modified. First, delete the stroke color and set the fill color as in the image below. Then hit the Ellipse Tool (L) and draw an ellipse. While keeping it selected, go to Effect > Warp > Arc and enter the options you see below. Don't forget to expand this shape: Object > Expand Appearance.

Add a small circle on the left side of the warped ellipse; this will be the head. To make an even circle, use the Ellipse Tool (L) while holding down the Shift key.

Let's make a smooth transition from the head to the body. Select the two shapes and press Unite in Pathfinder panel ( Window > Pathfinder). Keep the new shape selected, and hit the Smooth Tool (click and hold the Pencil Tool (N), and you will see the Smooth Tool) and move it over the outlines to smooth it out. At the end, you will have something like a reclining letter C. Now we have the body!

2. How to Create the Sloth's Arm

Now, delete the fill color and set the same stroke color as you used for the fill: click on the Swap Fill and Stroke button on the Tools panel ( Shift-X). Check Round Cap and make a very thick stroke on the Stroke panel. Using the Arc Tool, draw an arc.

To make it more arm-like, let's make one end thicker. For this, take the Width Tool (Shift-W) and stretch this end of the arc we just created.

To create a claw, we will use the same operations as for the arm. Draw a light brown arc with the necessary Weight (should be thinner than the arm) and with Round Cap selected. Next, change the thickness on both sides of this arc. Just select the Width Tool (Shift-W) and move the handles to make the upper part of the claw thinner and the bottom a bit thicker.

Place the claw behind the arm. To do so, select the claw and hit Control-X, Control-B. To show the separation of the claws, make a copy of the first one behind ( Control-C, Control-B), shift it just a little bit to the right, and make it darker.

Next, make a copy of them behind (the claw and the darker copy) and shift them to the right.

And finally, create the third claw as you did with the previous one.

Attach the arm to the body.

3. How to Create the Branch

For the branch, we will use a light brown rectangle, which you should create using the Rectangle Tool (M). Now, using the Bulge effect, we will slightly deform this rectangle. Select the rectangle and go to Effect > Warp > Bulge. In the new window, adjust the presented options. Expand this shape ( Object > Expand Appearance).

Now slightly rotate the branch and place it behind ( Control-X, Control-B) the sloth's arm as shown below.

To make the branch look more realistic and not so perfectly straight, we will roughen its surface with the Warp Tool. Double-click on the Warp Tool (Shift-R) and enter the options as in the image below. It is very important to select the object before you use the Warp Tool (Shift-R), otherwise you will affect other objects surrounding it. Move your mouse over the branch to roughen its shape.

To avoid drawing on top of the sloth's arm, you can move the branch away from the sloth and add all the lines. Once you finish, group the whole branch with the lines ( right-click > Group) and place the branch behind the arm again.

4. How to Create the Sloth's Second Arm

Step 1

For the second arm, we will use a copy of the first one, which we created earlier in this tutorial. Make a copy of it. Take the Direct Selection Tool (A) and move the handles of the anchor points to achieve the result you see in the image below.

To create the claws of the second arm, make a reflected copy of the claw with the shading from the first arm. To do so, select it, right-click your mouse and select Transform > Reflect. In the dialogue box that appears, select Axis Vertical, Angle 90 degrees, and hit Copy. Place this claw on top of the second arm, as shown in the image. And finally, make two more copies of it behind each other.

Step 2

Place the second arm behind the sloth's body and behind the tree.

5. How to Create the Sloth's Legs

Step 1

For the first leg, make a copy of the first arm. Place it where the leg should be.

Step 2

Expand the first leg: select the part of the leg without claws, and hit Object > Expand. Next, while keeping the expanded part of the leg and body selected, unite them by pressing the Unite button on the Pathfinder panel ( Window > Pathfinder).

Let's smooth out the transition between the leg and the body. While keeping these two parts selected, hit the Smooth Tool and move it over the outlines to smooth it out.

Step 3

For the second leg, create a copy of the second arm and place it behind the body and the tree.

6. How to Create the Face of a Sloth

Step 1

Let's create that funny, smiley sloth's face. Using the Ellipse Tool (L), draw a light brown oval. Create a copy of this oval: while holding the Alt and Shift buttons, move the oval to the right. This action will create a copy of the original oval, horizontally aligned.

Step 2

Step 3

For the eye, create an even circle: use the Ellipse Tool (L) while holding down the Shift key. Then add a smaller, darker circle ( Control-C, Control-F) inside the first circle. Add a tiny white circle to brighten the eye. For your convenience, group the eye elements together ( right-click > Group). Place the eye in its place.

While holding the Shift and Alt keys, move this eye to the right. You will get another copy of the eye to complete the eyes.

Step 4

Step 5

Place the new shape behind the left eye.

To complete the look, make a copy of this shape: right-click your mouse and select Transform > Reflect. Once you get a dialogue box, choose Axis Vertical, Angle 90 degrees, and press Copy. Move the newly created shape to the right and place it behind the right eye.

Step 6

For the nose, let's start by creating another light brown ellipse. Using the Direct Selection Tool (A), select the left and right anchor points of the ellipse, and move them down. Place this shape in the middle of the face, as shown below. To place it exactly in the middle of the face, check View > Smart Guides (Control-U).

Continue to make the nose. In front of this shape, add a small, brown rounded rectangle. To get a rounded rectangle with very round corners, create a small rounded rectangle first, and then make it larger. For later versions of Illustrator, you can also go to View > Show Corner Widget and modify the corners by dragging them inside.

Finally, add two small dark circles ( Ellipse Tool (L) + Shift key) and place them in front of the rounded rectangle.

Step 7

Expand ( Object > Expand Appearance) and unite ( Unite in Pathfinder) both shapes.

Make sure you have checked View > Show Corner Widget, and select the sharp corners by dragging them out to make them smooth.

Step 8

Place the newly created shape in its place on the sloth's face, behind the nose.

Now our sloth needs a smile! Make it using a dark brown arc with thin Weight, and select Round Cap on the Stroke panel. Optionally, you can add a smaller light arc for the chin.

To finalize this part, place this happy face on the sloth's head.

7. How to Create the Sloth's Fur

Step 1

To add the fur, use the Pencil Tool (N) with no fill color, and with the stroke color presented below, and check Round Cap. Draw short lines and curves over the whole body, except the left arm and leg.

Step 2

For the fur of the left arm and leg, use a different color of stroke. As they are behind, the fur color should be a little darker.

8. How to Create the Background

Step 1

Step 2

It will be nice to add some leaves to our illustration. The leaves presented below can be easily created by following a few steps from my previous tutorial. Once you've created the leaves, place them behind the sloth and the branch.

Our sloth is done!

Awesome Work, You're Done!

And we are done! I hope you've enjoyed this tutorial and learned some useful ways to create your future illustrations. I am looking forward to seeing your results. If you have any questions or comments, please join the discussion below!

Here is Monika's result:

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How to Create a Sloth Illustration in Adobe Illustrator

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In this tutorial you will learn how to create an adorable sloth illustration in Adobe Illustrator. We will be using simple shapes and different tools and effects such as the Warp Tool, Width Tool, Smooth Tool, and Warp Effects to create it.

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Harness the POWER of Illustrator to Create a Beautiful 3D Icon

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How to use the Live paint bucket in Adobe Illustrator CC

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Quick summary ↬ Office applications are getting very advanced these days offering all sorts of fancy features for data visualization. Graph generation is a standard feature in desktop applications like Microsoft Excel or OpenOffice.org Calc, but it can also be achieved in non-spreadsheet applications like Adobe Illustrator. If you're unfamiliar with the process of creating graphs in Adobe Illustrator, this article will help in giving you some insight into the work-flow. It might also help you decide whether Illustrator is the right tool for this kind of assignment. Adobe Illustrator offers 9 graph types to visualize data. You can choose from the following graphs: column, stacked column, bar, stacked bar, line, area, scatter, pie and radar.

Office applications are getting very advanced these days offering all sorts of fancy features for data visualization. Graph generation is a standard feature in desktop applications like Microsoft Excel or OpenOffice.org Calc, but it can also be achieved in non-spreadsheet applications like Adobe Illustrator.

If you're unfamiliar with the process of creating graphs in Illustrator, this article will help in giving you some insight into the work-flow. It might also help you decide whether Illustrator is the right tool for this kind of assignment.

Further Reading on SmashingMag:

What Type of Graphs Can You Create in Illustrator?

Adobe Illustrator offers 9 graph types to visualize data. You can choose from the following:

More after jump! Continue reading below ↓

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Column Graph

Stacked Column Graph

Bar Graph

Stacked Bar Graph

Line Graph

Area Graph

Scatter Graph

Pie Graph

Radar Graph

There is also the possibility for making combinations from the existing graph types to achieve greater diversity. The only graph type that can't be combined is the scatter graph.

Creating graphs in Illustrator is as simple as selecting the Graph Tool (from the Tools panel), clicking on your Artboard and dragging and thus forming the area size of the graph. It is also possible to type in the width and height of the graph, which is useful if you want to create graphs with specific dimensions. If you decide to type in the dimensions of the graph, you should bear in mind that those dimensions are applied to the whole graph object (including labels, legend and x, y values), not just the graph chart.

Once you create this graph size and shape you will see that it's available as a single element (layer) in the Layers panel, usually with the name <Graph>. This might seem confusing at first but you'll get used to it very quickly.

The Two Faces of Illustrator Graph Functionality

Creating graphs in Adobe Illustrator is generally a straightforward task but once you get into advanced techniques of graph design, functionality can get quite annoying. You'll be surprised to discover that basic tasks like scaling and aligning are not instantly applicable on graphs.

Face 1 (Graphs as Objects)

The reason for the initial exceptional lack of functionality of the graph objects in Illustrator is that they are quite simply, 'objects'. That is to say, they are special groups of sub-elements that have a limited number of attributes the user can control. Graph objects are less flexible than usual Illustrator layers, layer elements and groups of layer elements.

Here are most of the limitations of Adobe Illustrator's graph creation functionality that are instantly noticeable:

Transform panel is not available for graph objects.

No transform controls are available for selected graph objects, thus no instant scaling or rotation is possible.

Graph objects cannot be aligned to other objects nor can other objects be aligned to them.

Two or more graph objects cannot be grouped.

It's not possible to create a clipping mask from a graph object.

A graph object cannot be transformed into a symbol.

Maybe it's not really wise to initially dig for limitations, as you may get the impression that you're left with very few things that you can actually do to graphs in Illustrator. Of course, that's the wrong impression. As noted, creating graphs in Adobe Illustrator is generally a straightforward task.

But through knowing the limitations of your tool can actually help you plan early and work smarter.

Face 2 (working with sub-elements of the Graph Object)

Illustrator Graphs have sub-elements. The sub-elements are the brightest aspect of the graph creation process in Adobe Illustrator. They are flexible and you can do all sorts of modifications to them. From repositioning, scaling, mirroring, adjusting opacity and offsetting paths to applying special effects like brush strokes, glowing edges, pixelation etc. Sub-elements are your true friends as long as you don't make further changes in the graph data!

The appearance of the following sub-elements can be modified:

However, if you make a change in the graph data, you instantly loose the control over the sub-elements' appearance and reset it to the bare minimum - fill + stroke. Actually, you reset the appearance of sub-elements with any action that causes the graph object to regenerate. That's why, as even Adobe advises, the sub-elements in graphs should always be styled as the final design process of a graph.

What about ungrouping Illustrator graphs?

Is it possible? Absolutely. As long as you're aware that ungrouping graphs removes the possibility of further changes in the graph data. Having this firmly in mind, it is only useful to ungroup a graph object once you're sure that you won't have to revisit its "Graph Data", "Graph Type" or "Graph Design" windows.

Graph ungrouping means simultaneously an increase AND a decrease in flexibility.

Ungrouping the Graph Object means an increase in flexibility because it makes all graph sub-elements behave like usual Illustrator layers, thus unleashing the full power of layer editing in Illustrator.

It is at the same time a decrease in flexibility because it's a one-way road. After the ungrouping, the graph object turns into a group of layer elements (as funny as this sounds), and looses its touch with the special graph creation functionalities.

So, it's wise to use Adobe Illustrator for designing graphs one step at a time. First prepare graph data, than design the graph. This might seem too obvious, but it's very, very easy to get carried away in the creative process, forgetting about the two faces (before and after ungrouping) of the graph object. I know, as I have made this mistake several times.

What if you want to modify several graphs at once?

That's a very legitimate question and it deserves a decent answer.

You most certainly can select several graph objects at once, and apply various effects and transformations to them. With the help of the Group Selection tool, you can even select sub-elements from different graph objects and style them as you wish. Besides other things, you can also change the Graph Type of multiple graph objects at once.

Unfortunately, what you can't do is change graph data on more than one graph object at once. It's impossible and it's a shame. Instead of being able to change the data of 50 various graphs in an instance, you will need to do 50 separate changes ( and waste valuable time).

How do Graphs Perform in Legacy Illustrator Formats?

Every incremental release of Adobe Illustrator offers options for saving working files in legacy formats. This way you can ensure that your designs will work in older versions of Adobe Illustrator.

However, even though the possibility is there, the practical value of this Illustrator feature, for graphs, is minimal.

A personal example

While preparing the final release of " The Graphs² ", saving to legacy formats added extra "features" to my designs. For example, while working on a legacy AI file, after editing the graph data on a randomly chosen graph object, the graph object repositioned itself to false coordinates, and made the design appear to be broken. After testing this on other graph objects, I figured that it was a rule and not an exception. I wasn't able to get rid of this "feature" until I decided to minimize the backwards compatibility of my designs and save into Illustrator CS4 format.

Adobe does warn about the consequences of saving in legacy formats, but this is certainly a feature for Illustrator Graphs that could be improved.

What Could Adobe Improve in its Illustrator Graphs Functionality?

It would be really nice not to have to worry about loosing touch with the graph data after graph ungrouping. Why do graph objects have to be limited? In fact, why do graphs need to be generated in the form of objects? Why not serve them in the usual way - as a group of separate layers?

Perhaps Adobe should spend more time modularizing the graph creation functionality and serve them throughout the whole Creative Suite. Data visualization is important and shouldn't be treated as a gray zone, as a pending process in the development of the Creative Suite, especially not in the development of Adobe Illustrator.

Some 'would be nice to have' stuff for Illustrator graphs

In terms of flexibility and accessibility, Adobe Illustrator's graph creation functionalities are not polished at all. The main features are very obvious, but a lot of small pieces are missing for a rock solid graph creation module.

Axes: Though it might be illogical for some, why isn't there an option for generating graphs without value axes? Hiding them manually takes additional time and it's specially annoying if you need to use the "Show All" option for hidden layers, while trying to exclude the value axes from reappearing. An extra option that will allow hiding and showing of value axes is needed in the "Graph Type" window.

Shadows: Why would you implement a shadow sub-element for graph objects if you don't provide proper options to control its appearance? And, who needs rough shadows these days when ray-tracing has spoiled us like children? We need realistic shadows for graph objects in Illustrator. We need to be able to control the light angle, the dens and the opacity of the shadow, the level of softness. We need all things that you normally get when applying a "Drop Shadow" layer style on a Photoshop layer. While saying this, there are manual ways of getting smooth graph shadows, like applying "Drop Shadow" effect on sub-elements or applying "Feather" effect on the default graph shadow sub-element.

Inter-object styling: What's the point of providing styling options for graph sub-elements, when there's no freedom in choosing when to apply them. The appearance reset for graph sub-elements has to go away! Data has to be separated from presentation. We need to be able to make unlimited changes to graph data regardless of the appearance of the graph object or its sub-elements. We need to be able to change things whenever we feel like we want to, not necessarily last.

Summary of Illustrator Graph Features

Here is a summary of the most important features of graphs in Adobe Illustrator.

Graphs are special groups of sub-elements and have a limited number of attributes you can control.

You can create 9 main types of graphs in Adobe Illustrator.

You can import graph data from external files.

You can copy and paste data from spreadsheet applications into graphs in Illustrator. You need to paste the data into Object → Graph → Data window for this to work.

If you ungroup a graph you cannot make changes to its data.

You can apply all sorts of effects to the sub-elements of a graph and not so much to the graph object itself.

Graphs and symbols do not get along quite well. A graph object cannot be converted into a symbol. However, there is an option for importing symbols into graph designs.

It is possible to create graphs with custom designs (by including images and symbols), but we won't explore this in detail in this feature. Maybe you can write a great article on this topic?

You can copy and paste charts from Microsoft Excel or OpenOffice.org Calc into Illustrator.

Illustrator offers excellent support for exporting graphs in SVG file format. Graph data remains editable in Illustrator, for SVG files created with Illustrator.

If you require advanced graph creation features, make friends with spreadsheet applications in famous Office suites.

Save some time along the way!

Here are a few quick tips (shortcuts) that might come in handy for beginners or may act as a reminder for advanced Illustrator users. These are all obvious things that will help you from wandering aimlessly around Illustrator menus and the workspace.

Instead of going to Object → Graphs → Data..., anytime you need to access the data of a specific graph, select the graph object and double click the Column Graph Tool icon from the Tools panel. Or, you can achieve the same by selecting the graph object, choosing "J" from the keyboard and then pressing the "Enter" key.

Right click a graph and you will find another quick way to access specific options for graph objects, including:

Type...

Data...

Design...

Column...

Marker...

Instead of selecting graph sub-elements within isolation mode, use the Group Selection Tool to select them without isolating your view in the workspace.

Click and drag a graph while holding the "Alt" key on the keyboard, to quickly duplicate it.

Delete graph objects with "Backspace" or "Delete" from the keyboard.

If you want to create Line graphs with curved lines apply "Round Corners..." effects (Effect → Illustrator Effects - Stylize → Round Corners...) to line sub-elements.

If you want to create a Pie Graph with empty space in between pieces, apply an "Offset Path..." effect (Effect → Illustrator Effects - Path → Offset Path...) to the graph object, and a miracle happens!

If you want to create a 3D graph, apply an "Extrude & Bevel..." effect (Effect → Illustrator Effects - 3D → Extrude & Bevel...) to the graph object. If you don't want to transform the whole graph object, apply "Extrude & Bevel..." effects to specific sub-elements you want visualized in 3D.

If you want to use "Offset Path..." effect together with "Extrude & Bevel..." on a single graph object or a single sub-element, make sure you place the offset effect below the Extrude & Bevel in the Appearance panel and you'll be fine. Otherwise you'll get the offset plane extruded also.

Don't forget to use the "Drop Shadow..." effect (Effect → Illustrator Effects - Stylize → Drop Shadow...) as a replacement to the poor shadow feature that's served by default for some graph objects.

Draw your conclusion

I used Adobe Illustrator to create " The Graps " and I can say it was an interesting experience. It wasn't as delightful as I would have liked it to be but it sure was challenging.

After reading the above article you may feel discouraged in using Illustrator for graph design. What I would certainly recommend is at least trying Illustrator for creating graphs. It's the only way of getting in touch with the work-flow and making a personal judgment of whether Adobe Illustrator is mature enough for your graph creation needs.

At the end of the day, keep in mind that with Adobe Illustrator you're creating vector art. Vector art can be re-sized infinitely, without any consequences in terms of graphics quality, thus can be fitted in almost any type of medium.

Further reading

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How To Create Graphs In Illustrator - Smashing Magazine

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Office applications are getting very advanced these days offering all sorts of fancy features for **data visualization**. Graph generation is a standard feature in desktop applications like Microsoft Excel or OpenOffice.org Calc, but it can also be achieved in non-spreadsheet applications like Adobe Illustrator.

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What You'll Be Creating

This tutorial was originally published in October 2009 as a Tuts+ Premium tutorial. It is now available free to view. Although this tutorial does not use the latest version of Adobe Illustrator, its techniques and process are still relevant.

During this tutorial, I'll show you the process for creating one of my illustrated type posters. I love to work type into all of my illustrations for the balance and rhythm it provides to a layout, but I especially love creating images out of type itself... the graphic designer inside me compels me to do it!

For more incredible resources, check out our amazing selection of Vector Robots available through GraphicRiver. Or enlist the help of a design professional from Envato Studio for custom robot design.

1. How to Prepare Your Sketch and Document

Step 1

I have a passion for robots, sci-fi, and typography, so what better chance would I have to create a poster that merges all three? After gathering some robot references and paging through a few Will Eisner issues of "The Spirit" (look him up...a comic artist who was a master at illustrated type), I began by getting a very rough layout for my faux movie poster down on paper.

My vision was to create a large robot (that also serves as the type for the movie's title) roaming menacingly through a war-torn city.

Step 2

With the initial idea out of my brain and into my sketchbook, I moved into Adobe Illustrator. The next task was to set up my document. I created an 11" by 14" artboard and, once open, optimized my workspace by opening and organizing frequently used panels and toolbars. My must-have panels include Character, Pathfinder, Align, Layers, Swatches, Color, Transparency, Gradient, and Stroke.

2. How to Add the Initial Elements

Step 1

I tend to use a lot of layers in my illustrations, and this one was no exception. The first layer that I always create is a white "frame." I set it as my topmost layer, and it acts as a mask for all of the artwork underneath it. That way, I can extend images on layers out past the artboard, but not worry about seeing them.

I started with a rectangle the size of the artboard, and then created a larger one that I placed behind it, selected them both, and used the Minus Front option in the Pathfinder panel. I locked this layer and left it that way for the rest of the project.

Step 2

After adding a few new layers in the Layers panel, I began to mix some custom colors. I always throw out all of the generic Illustrator colors and mix my own simple, limited scheme in CMYK.

It's also very helpful, when mixing your own colors in the Color panel, to set them as "Spot Color". This allows you to double-click that color in the Swatches panel at any time, adjust the CMYK mix, and have those changes automatically applied to any instance of that color in your document.

I envisioned a warm palette for this illustration, and I created a red, a brown, and a few tans to get me started.

Step 3

After adding a solid rectangle of color to the background layer, I dropped a scan of the sketch into the scan layer ( File > Place), resized it to fit the page, and set the Blending Mode to Multiply using the Transparency panel. This drops all of the white out of a placed image and allows you to work on layers underneath it by seeing through it.

I also added a second frame layer that would serve as a foreground element that the robot would be walking through (you'll see later on that I abandoned this element for the final piece).

3. How to Add the Text

Step 1

Next, I began to rough out the body of the robot. Starting with straight type, I designed a flat type composition that would eventually become the torso of the robot. Note the name changed from "Robot Earth 57" to "Robot Earth 3009." I thought 3009 would serve as a better basis for robot hips.

Step 2

I dragged the flat type-body on top of the rough scan and with it still selected, chose the Free Transform Tool.

Step 3

This tool is a great addition to Illustrator, if a bit tricky to use. It allows you to scale an object in perspective, which is just what the doctor ordered for this image. I began by moving the cursor over one of the open white boxes in the corner of the selected group and moved it ever so slightly until the white boxes disappeared. While still holding the mouse down, I then pressed Command-Alt-Shift.

This forces the art to skew back into space with perspective. Releasing any one of that combination of keystrokes, while still holding the selection with the mouse, releases one constraint, so you can get some pretty sophisticated effects. My best advice is to experiment liberally to get the hang of it.

Step 4

With the desired perspective achieved, I deselected the art and turned off the layer with the scanned sketch in it.

Step 5

Finally, I broke the type down into separate layers: "robot," "earth," "3009", and the two shoulder blocks. This allowed for greater control when working on each section.

4. How to Add Depth to the Text

Step 1

Never one to leave the fun parts for last, I jumped in and started work on the robot head. I wanted it to have the effect of an array of machinery covered by a transparent glass dome. Starting with a half-pill-capsule shape, I copied ( Command-C) and pasted in front ( Command-F) and stroked the copy. Then I converted that path to outlines ( Object > Path > Outline Stroke).

Next, I copied the original dome shape and pasted it in front to make sure it was perfectly lined up. With that still selected, I selected the new outlined stroke, went into the Pathfinder panel, and pressed Intersect. I was left with a shape perfectly contoured to the dome shape that would serve as a lit edge for the clear glass dome. Next, I added the brains of the robot by adding simple shapes together.

I sent them behind the dome shape, which I set to Multiply in the Transparency panel. Finally, I copied the original dome shape and pasted it all the way in back and set the color to white. This allowed me to place the head assembly on any color background without that background showing through the multiplied glass piece.

Step 2

Once the perspective was finished, I began to add dimension to each of the characters in the body type. I created an angled box that served as a side of the letters and then copied, repeated, and adjusted it over and over until the letters appeared to have volume.

For some more visual interest, I slid the word "earth" backwards a bit to create the illusion that it was a shorter depth than the word "robot". To clean up my dimension work, I created temporary guides using locked white strokes (which I later threw away). These ensured that the perspective of the dimension boxes remained consistent with that of the original letters.

With the dimension finished, I dropped in the head that I created earlier to see how my robot was shaping up.

5. How to Add Limbs and Final Detailing

Step 1

Next up on the agenda was to create some legs for the robot. Always making sure the perspective visually matched the rest of the body, I intentionally made his lower legs out of large, flat surfaces to accommodate the bits of type that I had envisioned for them.

Step 2

Not content with the look of my hard-edged border, I thought the robot would look way cooler striding through clouds of dust created by the destruction he had just inflicted upon the city.

I printed a small copy of the file and laid a piece of tracing paper over that image. Then I drew my clouds on the tracing paper, scanned them in and dropped the image in a scan layer behind the robot. This way, I had a nice template to make the final vector art from.

Step 3

I was finally ready to start adding in all of my supporting type. I began by selecting and skewing the robot's left shoulder block so that it appeared to be swinging in mid stride.

Step 4

Next, I created the "Is This The End For Humankind?" type lockup as a flat graphic and, using the Skew and Scale Tools, mapped it onto the side of the shoulder.

Step 5

Finally, I did the same for the actors, producer and director credits on the leg, and added a fictitious studio cred above the right shoulder. You can also see that I began to render the dust clouds that I talked about in the previous step.

Step 6

The robot's claw began as a simple circle shape with the center punched out of it ( Pathfinder > Minus Front). I then copied the shape, pasted it in back, and colored the new shape a lighter green.

Next, I created a concentric circle and added the movie premier date and "Destroying Theaters" with the Type on a Path Tool. Finally, I drew in the connecting dimension between the two circles, added some detail to the wrist joint, and skewed the type with the Scale and Skew Tools until I got the desired effect.

Step 7

My next task was to create a ribbed metallic effect on the robot's arms. I could have created a section and copied and repeated it along the length of the arm manually, but to get even spacing just by eyesight would take an eternity. Fortunately, there's a much better way.

I began by creating one section of the tubular arm, which consisted of the divider for each section, the shadows, and the highlights. Then I dragged that grouped section into the Brushes palette and selected Pattern Brush from the available options in the dialog box that popped up. I then hit OK in the following brush dialog box.

Step 8

Next, I made a Copy of the green stroke that serves as the base of the arm and pasted that in front (it's shown here to the left of the original stroke for tutorial purposes). I applied the newly made pattern brush to that stroke and... voila! The tubing section that I created repeats along the length of the path. Some experimentation may be necessary to achieve the proper effect, but Pattern Brushes are a great way to get great looking, evenly spaced effects along a path.

Step 9

Heading into the home stretch, I turned my attention to the cityscape in the background. I had created buildings for an earlier illustration (recycling works!), but they weren't destroyed, as I intended them to appear here.

A simple mask with a jagged edge over the original building achieved the crumbling look that I was going for, and the addition of an uneven-edged grid pattern behind the building stood in for exposed I-beams. Finally, a tilt added to each building sewed up the just-destroyed-by-a-100-foot-robot look that I was going for.

Step 10

With all of the elements of the illustration created, I just had to add some depth by using multiply shadows. For any surface that I thought could use a shadow, I simply Copied and Pasted in Front, set up that new copy as a linear gradient in the Gradient panel, set it to Multiply, and aimed the direction of the shadow with the Gradient Tool.

I went on to add many more multiplied shapes throughout the piece for a uniformly shaded look.

Step 11

For one final menacing touch, I added eye beams coming out of the robot's eyes. White shapes set to an Opacity of 50% achieved this effect.

Awesome Work! You're Now Done!

Illustrated typography is a passion of mine, so I hope you've enjoyed my tour of one of the fiercest type-based-robot-designs you've ever laid your eyes upon! The final image is below. You can view the large version here.

Fun Vector Robots From GraphicRiver

Can't get enough vector robots? Check out our amazing selection of Vector Robots from GraphicRiver for more incredible design assets. Enjoy one of our favorites listed below!

This colorful set of vector robots is ready to take over the world! Complete with modern flat designs and gorgeous color schemes, these robots are sure to charm the socks off any intruder. Create an Envato account today to download these helpful resources.

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Making of Robot Earth 3009 Typographic Illustration

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This tutorial was originally published in October 2009 as a Tuts+ Premium tutorial. It is now available free to view. Although this tutorial does not use the latest version of Adobe Illustrator, its techniques and process are still relevant. During this tutorial, I'll show you the process for creating one of my illustrated type posters.

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Software: Illustrator CS5 or later

Project time: 2 hours

Skills: Use the Gradient Mesh tool, Make opacity masks, Work with colours and transparency

Although a lot of Illustrator tools are fairly simple to grasp, using them with finesse and perfecting the finer details can take further practice. In this tutorial we'll look at a selection of transparency and gradient tools that aren't always used as subtly and beautifully as they can be. We'll create a lifelike but contemporary animal study here, but the techniques covered can be applied to any subject matter that requires a striking dynamic look or an elegant subtle shine, from branding to character design.

In my opinion, technical tricks should be secondary to the subject matter: there is no need to overemphasise a glow or a gradient when the natural form of your subject can stand up for itself. In this tutorial you'll learn subtler tricks that, in the end, will result in higher-quality artwork.
Discover the designer's guide to Giclée printing at Creative Bloq.
Step 01

Start with a pencil drawing: you can produce this freehand or using a photo for reference. However you create your line drawing, keep the shapes as simple as possible while still achieving the look of your chosen subject matter. It's just shape-making: there's no need for sketchy lines or shading.

Step 02

Trace your artwork using the Pen tool. remember that every shape you create is going to be semi-transparent, so even if it's behind another shape it'll still be visible - every line of every shape has to be perfect and fit with the overall flow of the illustration.

Step 03

Change your shapes to block colours without outlines (losing the outlines makes for a more realistic look). Next, select all your shapes and, in the Transparency panel, change the opacity to 65%. Feel free to play with this value.

Step 04

Colours work very differently when they're semi-transparent. If you look at the highlighted block, which is where two shapes overlap, on the black background it appears lighter than its neighbouring blocks, whereas on the white background it's darker. Experiment with how light and dark colours change once they're semi-transparent and layered.

Step 05

To create a glow on a shape, select the shape then choose the Gradient Mesh tool. Tap the Gradient Mesh cursor on an outline: you'll see that it slices your shape and starts to make a 3D form. Tap on any line and it will split in half, forming more gradient lines.

Step 06

Continue creating a mesh. The more mesh lines you create, the more form your shape will have. Hold down Opt/Alt to delete a mesh line. To add a gradient, use the Direct Selection tool to pick all the points you want colour added to, then choose a colour from the palette.

Step 07

The colours will vary depending on whether they're layered over dark or light colours. To add more dynamism, try a circular opacity mask. First, create a circle and duplicate it in the Layers panel. Next, using the Gradient panel, add a radial gradient from white in the centre out to black.

Step 08

With both circles selected, choose Make Opacity Mask from the Transparency panel menu, and select a colour. Everything that was white in the radial gradient will take that colour; everything that was black will now be 100% transparent. Experiment with placing this circle, in various colours, behind your artwork.

Step 09

Here's one final technique that adds a simple but effective fluid fluorescence. Select various shapes, then, holding down the Shift and Opt/Alt keys, hit an arrow key. Your shape will be duplicated and offset. As we're working with semi-transparent shapes, you'll start to create a nice movement effect.

Step 10

Even with simple illustrated shapes you'll find that it really is worth taking your time with transparencies. The smallest alteration can make a big difference, and subtle gradients and transparencies can really bring an unbeatable finesse to your illustration work.

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Bring a fluorescent transparency to life in Illustrator

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Software: Illustrator CS5 or later Project time: 2 hours Skills: Use the Gradient Mesh tool, Make opacity masks, Work with colours and transparency Although a lot of Illustrator tools are fairly simple to grasp, using them with finesse and perfecting the finer details can take further practice.

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What You'll Be Creating

Let's celebrate International Women's Day by making a dedication! Follow this tutorial and let's learn together how to design fancy women avatars.

I'll show you how to use and transform simple geometric shapes in order to create a variety of portraits, making them as diverse as possible! We'll be using various warp effects, the Shaper Tool, the Pathfinder panel, and other tools and functions to vary the age, nationality, complexion and style of the characters.

By the end of this tutorial, you'll be able to create hundreds of fancy avatars by simply mixing and combining the elements of the characters that we'll be creating here. Want to see how it works? Check out this Flat Women Avatar Constructor and try it yourself-it's really fun!

Apart from that, you can apply these techniques to create any other type of flat avatars, vary the appearance of the character, and try out various styles of flat portraits. For example, check out these profession avatars at GraphicRiver. Feel inspired? Let's get started!

1. How to Create a Woman With Cornrows

Step 1

Let's start off by creating a face from a rounded rectangle. You can use either the Rounded Rectangle Tool or the Rectangle Tool (M) to make an 80 x 110 px dark-brown shape with 30 px Corner Radius.

You can find the Corners option panel in the control toolbar on top while the shape is selected with the Direct Selection Tool (A). Another way to adjust the Corners value is either to set it in the Transform panel (Window > Transform) or to do it manually by pulling the circle markers of the Live Corners of the shape with the Direct Selection Tool (A).

Step 2

Take the Ellipse Tool (L) and make a 13 x 13 px dark-brown circle for the eye. Select its bottom anchor point with the Direct Selection Tool (A) and delete it by pressing the Delete key (or Backspace if you're on Mac). Now we have this cheerful look!

Select the eye, hold down Alt-Shift, and drag it to the opposite side of the face, thus creating a copy of the second one.

Let's work on the eyes a bit more. Use the Rectangle Tool (M) to make a 5 x 2 px shape for the eyelashes. Place it by the outer corner of the eye and align both shapes to the bottom edge. Do the same for the opposite eye.

Step 3

Let's make another ellipse for the mouth. Create a 25 x 12 px shape and use the Scissors Tool (C) to click the left and right anchor points and split the shape apart.

Step 4

Use the Anchor Point Tool (Shift-C) to move the anchor handles, forming the upper lip.

Step 6

Hold Alt-Shift and drag the shape to the left, creating a copy. Move the new cornrow a few pixels down.

Step 7

Create more cornrows on the left side of the head, placing each new one a bit lower than the previous one.

Now select all the cornrows (except the very first one) and double-click the Reflect Tool (O) to open its options window. Flip the cornrows over the Vertical Axis and click the Copy button. Hold down Shift and move them to the opposite side of the head.

Step 8

Let's move on and make a 22 x 38 px rounded rectangle for the neck. Don't forget to vary the brightness of the elements in order to visually separate one part of the body from another as we're working with solid colors without shadows and highlights. Pick the dark-brown color from the ears using the Eyedropper Tool (I).

Create an 85 x 105 px bright-green rectangle for the body. Make the corners rounded enough (about 37 pt) to form the shoulders.

Step 9

We can also make the cornrows longer by adding some more rounded rectangles of 5 x 55 px size and placing them at the back of the head (Shift-Control-[).

Now Group (Control-G) everything together and let's finish off our first avatar!

Step 10

Make a 195 x 195 px blue circle for the icon base and Send to Back (Shift-Control-[). Align the character and the icon base to Horizontal Align Center, and let's see how we can put the character inside the circle, as if inside a container.

Copy the circle and Paste in Front (Control-C > Control-F). Bring to Front (Shift-Control-]), placing the copy on top of everything. In the image below you can see a copy as a circle with black Stroke and no Fill.

Select everything, click the right mouse button, and Make Clipping Mask. There you go! Our first icon is ready. Let's move on to the next one!

2. How to Create a Woman With Buns

Step 1

Let's copy the character from our first avatar and modify it to create the second lady! Let's change her skin color. Use the Select Similar Objects feature from the control panel on top to select the elements filled with the same color faster.

Step 2

Now select the bottom anchor point with the Direct Selection Tool (A) and make the chin pointed by Converting selected anchor points to corner from the control panel on top. Adjust the shape of the jaw by moving both side anchor points down.

Step 3

Change the shape of the nose, by making it narrower ( 11 x 22 px) and more rounded. And recolor it so that it fits the overall color scheme of the face.

Step 4

Use the Ellipse Tool (L) to create a 10 x 10 px black circle and add a 12 x 4 px rounded rectangle for the eyelash to give the impression of a single-fold eyelid. Select both shapes and click the eye once again to make it a Key Object. Use the Align panel to Vertical Align Top, combining the edges of the shape.

Step 5

Let's add some lipstick there! Make a 15 x 12 px rose-pink ellipse and delete its bottom anchor point to form the upper lip. Keeping the shape selected, double-click the Reflect Tool (O), flip the shape over the Horizontal Axis, and click Copy to create the lower lip. Make the copy slightly larger and make its Fill color lighter.

Add a horizontal stripe between the lips using the Rectangle Tool (M) and make the corners of the mouth by adding a couple of tiny circles there.

Step 6

Now let's make a stylish haircut. Duplicate (Control-C > Control-F) the head shape and change the color of the copy to black. Keeping the shape selected, double-click the Scale Tool (S) and set the Uniform Scale value to 105% and click OK to make the copy a bit larger.

Now grab the Eraser Tool (Shift-E), hold Alt and erase the bottom part of the shape, leaving only a straight-cut fringe.

Step 7

Let's use the Shaper Tool (Shift-N) to create a small triangle in the center of the forehead. Just draw a freehand triangle silhouette and it will automatically transform into a real vector shape.

Step 8

Let's add some buns! Use the Rounded Rectangle Tool to make a 20 x 7 px lilac shape for the hair band.

Place a 26 x 26 px black circle on top of the band and Send to Back (Shift-Control-[).

Group the parts of the bun and rotate it about 45 degrees, attaching the bun to the head.

Use the Reflect Tool (O) to flip and copy the bun and attach it to the opposite side of the head.

Step 9

Now let's change the color of the shirt to the same color as we have for the face and duplicate it (Control-C > Control-F). Change the color of the top copy to pink.

Create a 50 x 65 px rounded rectangle of any color on top of the body and place it as shown in the image below. Select both the new rectangle and the pink shape beneath it and use the Shaper Tool (Shift-N) to scribble above the shape that we want to cut out in order to create the neck of the shirt.

Step 10

This is how the new shirt looks!

Step 11

Let's copy the icon base from our previous icon and place our fancy woman with buns inside. I've tweaked the colors a bit to make them match, changing the color of the circle to pink and the woman's shift to lilac.

Great work! Let's move on and create our third avatar!

3. How to Design a Cheerful Young Woman Avatar

Step 1

Let's use the copy of our first character and change its appearance. First of all, delete the elements of the mouth and create a 35 x 25 px ellipse with dark-brown stroke and no fill. Use the Scissors Tool (C) to click both side anchor points and split the shape apart. Open the Stroke panel (Window > Stroke), and set the Weight to 3 pt, Cap to Round Cap.

Step 2

Replace the eyes with circles and add the eyelashes by creating a small rounded rectangle and rotating it 45 degrees.

Step 3

Let's rotate the eyebrows as well, creating a cheerful and slightly surprised facial expression. Select the brow and double-click the Rotate Tool (R) to open the options panel. Set the Angle to 30 degrees and click OK.

Do the same for the opposite brow, rotating it -30 degrees.

Make the skin color lighter and add a bindi to the forehead with the Ellipse Tool (L).

Use the Live Corners function to make the face more rounded.

Step 4

How about adding some more accessories? Create a 9 x 9 px ellipse with yellow Stroke and no Fill, depicting a golden ring. Attach it to the right side of the nose and place it behind the nose by dragging the shape down in the Layers panel.

Step 5

Now we'll draw the hair. Copy the face shape and Paste in Back (Control-C > Control-B). Fill the bottom copy with dark-brown color for the hair.

Drag the top copy (which is for the face) down a bit, making the top part of the hair visible.

Now that the chin is too low, select both copies and use the Shaper Tool (Shift-N) to scribble above the bottom part of the face in order to delete it.

And there we have it, some nice slick hair! Let's add details to the hairdo.

Step 6

Use the Rectangle Tool (M) to add a narrow part in the center of the hair shape. Select both the hair shape and the rectangle part and scratch out the unneeded piece. Change the color of the rectangle to the same skin color as we have for the face.

Step 7

Let's zoom out and take a look at our character. Everything looks fine at this stage; however, I've decided to make the parting a bit narrower. The shape is still easily editable and accessible from the Layers panel.

Step 8

Now we can Send the ponytail to Back (Shift-Control-[) and position it as we need.

Step 9

Let's also change the dress of our character. Copy (Control-C) and Paste in Place (Shift-Control-V) the body shape. Change the color of the copies to skin color.

Step 10

While both shapes are still selected, use the Shaper Tool (Shift-N) and scribble over the triangle to cut it out.

Now we can change the color of the top copy to bright orange for the dress.

Step 11

Use the copy of the circle icon base from our previous icon to replace the character inside the Clipping Mask. Change the color of the icon to green-and there we have it!

Our fashionable young woman avatar is ready!

Just a few more words before we finish...

Step 12

So, let's take a look at all the variety of facial shapes and forms that we can create using just a rectangle. We can make the face wide and angular if we round the corners just a bit. Otherwise, we can make the face fully rounded by setting the Corner Radius to its maximum.

We can also vary the shape of the chin by making it less or more pointed. Moreover, we can change the shape of the jaw by changing the position of the side anchor points of the shape.

We can also edit the top and bottom parts of the face separately from each other, making the head shape look even more interesting. If we take a look at the bottom example, the forehead is far more rounded than the jaw.

And this is just a small part of all the variations that we can build from one shape. There are round faces, oval faces, square, triangular... Use your imagination and photo references, or look at the people around you to see how really different they are!

Step 13

The last but not the least thing I want to mention here is the age of the characters. We can easily depict women of different generations by just adding such minor details as wrinkles.

Use the Arc Tool (or the Pen Tool (P) or the Pencil Tool (N) if you find it more comfortable to work with) to make some tiny arched lines for the eyes, the corners of the mouth and the chin. Vary the Weight in the Stroke panel to make the wrinkles thicker or thinner and apply them to the face, making the person look older.

Don't forget the change the facial expressions to make our characters more diverse. Change the position of the lips, the angle of the brows and the eyes to make the person look cheerful or grumpy.

Congratulations! Our Flat Women Avatars Are All Done!

Great job! Our fancy avatars are finished!

I hope you've discovered some new interesting tips and tricks while following this tutorial that will help you with your future illustrations.

Try to draw as many different flat portraits as you can come up with!

Don't forget that you can get a Flat Women Avatar Constructor with premade elements that will help you to get hundreds of combinations just in a few clicks. Apart from that, you'll get the whole pack of fancy avatars that were demonstrated in this tutorial.

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How to Create Diverse Women Avatars in Adobe Illustrator

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Let's celebrate International Women's Day by making a dedication! Follow this tutorial and let's learn together how to design fancy women avatars. I'll show you how to use and transform simple geometric shapes in order to create a variety of portraits, making them as diverse as possible!

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What You'll Be Creating

In this tutorial we'll be creating a colorful character of a mermaid, imitating a watercolor painting technique in Adobe Illustrator. One of the most beautiful and touching characters from the fairytale The Little Mermaid will serve as an inspiration to us.

Find more great Mermaid Design inspiration on GraphicRiver. You can also find out how to make your watercolor illustrations easier by creating your own Illustrator brush here:

Let's start!

1. How to Make a Sketch

Let's begin by drawing a sketch. To draw our character, we need to use her recognizable features. In the fairytale, the Little Mermaid is a daughter of the Sea King: "The youngest was the prettiest of them all; her skin was as clear and delicate as a rose-leaf, and her eyes as blue as the deepest sea; but, like all the others, she had no feet, and her body ended in a fish's tail", "She was a strange child, quiet and thoughtful", "she cared for nothing but her pretty red flowers, like the sun."

Let's draw a rough sketch using the silhouette and some attributes inherent to mermaids. For more inspiration, you can use references from looking at mermaids on Envato Market.

I create my sketch directly in Adobe Illustrator using my graphics tablet. Select the Paintbrush Tool (B) and use the Oval Calligraphic Brush with 2 pt diameter, 20% Opacity to begin sketching your mermaid. You can choose any brush from the default Brushes panel you like.

2. How to Create a Brush for the Contour

Step 1

Create a New Layer for the lines. We'll draw all the lines on this layer, because the color of all the lines will be the same.

Open the Paintbrush Tool Options by double-clicking on the Paintbrush Tool (B) icon. Use the settings below and press OK.

Step 2

Now we need to create a New Calligraphic Brush. This brush is one of my favorites, and I use it in practically all my artwork.

Press the New Brush icon on the Brushes panel, and choose the Calligraphic Brush type. Then press OK, and the window with brush options will appear. Use the settings shown below.

Step 3

Choose our new brush from the Brushes panel, and make a few trial lines. The thickness of the line depends on the pressing force of the stylus. Try to sense the lines.

We'll use the advantages of this brush to achieve some volume for our drawing even at the line art stage.

3. How to Draw the Contours of the Character

Step 1

It's time to apply our skills in practice. Let's begin to create the line art of the character.

First, Group (Control-G) your sketch. Lower the Opacity of the sketch to 50%, making it semi-transparent.

Step 2

Now let's take the Paintbrush Tool (B) and select the newly created brush from the Brushes panel.

Start drawing the face. Draw lines as smoothly as you like. If you feel the lines are thicker or thinner than you would like them, you can change their Weight in the Stroke panel.

Also, you can fix crooked lines using the Direct Selection Tool (A).

Draw smooth and "live" lines, making transitions from thin to thick, and vice versa.

Step 3

Next, draw the hairstyle and head wreath. Make just the main lines, following the sketch. We'll add more details and volume created with color shapes later.

Cut unnecessary pieces using the Scissors Tool (C), select the segment and press Delete.

Here's how the hairstyle looks now.

Step 4

Next, let's draw the hands and her naked back. Make the lines smoother and discontinuous.

Step 5

Now draw the bodice, tail and fins of our mermaid. Draw this way, making the lines thicker on the shadowy area.

The membranes on the fins will be semi-transparent, so make the inner lines thinner and almost imperceptible.

Step 6

Make the "sketch" layer invisible and admire the result of the line art.

4. How to Create the Main Shapes

Step 1

First, let's select all lines and go to Object > Expand Appearance. Open the Pathfinder panel and click Unite, holding the Alt button. Then press OK to create one solid object.

Step 2

Create a New Layer for the background and drag it under the "sketch" layer. Don't forget to Lock the "sketch" layer and make the "lines" layer invisible.

Step 3

Start by creating an 860 x 1210 px rectangle using the Rectangle Tool (M), and Fill it with a Linear Gradient from light-pink to light-blue.

Open the Align panel and choose Align to Artboard, and then Align Objects: Horizontal and Vertical.

Step 4

This way, draw more detailed shapes of the pattern inside the main form. It's difficult to draw the entire shape using the Pencil Tool (N), so we'll create a few smaller shapes and then unite them. Open the Pathfinder panel and click Unite. Fill this shape with a light blue color, 25% Opacity.

Add some purple and yellow shapes with 10% Opacity.

Make the "sketch" layer invisible. We don't need this anymore.

Step 5

Well, it's time to draw the main shapes of the character.

First, let's change the contour color of our mermaid. Select the lines shape and Fill it with maroon color.

Step 6

Now we need to create the swatch of the basic colors. I chose the soft and pure tones of pink, yellow, and blue.

Step 7

Draw the body, makeup and hands on the separate layers, and organize them as shown below.

Step 8

Add a New Layer for the hairstyle above the "makeup" layer. Draw the hair shape and Fill it with a Linear Gradient using yellow, pink and blue colors.

Step 9

Use the light pink for the bodice, yellow for the jewelry, and pink for flowers.

Step 10

Use a Linear Gradient from skin tone to blue for the mermaid's tail. Draw it on the "body" layer.

Step 11

Apply the same gradient as on the hairstyle with 80% Opacity for the tail's fins.

Step 12

For a convenient work process, we'll create separate layers for each part of the character. Organize them as shown in the screenshot below.

5. How to Add Shadows and Highlights

Step 1

First, change the color of the eyes' lines to make them more expressive. Select the shape of the lines, and Duplicate by pressing Control-C and Control-F. Draw some shapes on the area of the eyeliner and pupil, nostril and middle line of the lips. Unite them using the Pathfinder panel.

After you're done cleaning this new shape of unnecessary details, fill it with a darker color. Add some white glare to the pupils.

Step 2

Let's add some volume to the face. We'll work on the "body" layer. Draw the blush first. Take the Ellipse Tool (L) and form some shapes: two bigger shapes on cheeks, and a smaller one on the nose. Fill them with a pink Radial Gradient, reducing the Opacity to 0% on the outer slider. Then select all blush shapes and change the Opacity to 30%.

This way, add some blushes to the neck and back. Also add some blushes to the elbows and wrists on the "hands" layer.

Step 3

Choose the Light Wash-Thick Brush and a violet-red color for the Stroke. Change the Blending Mode to Multiply and Opacity to 50% on the Transparency panel. Change the Weight of the Stroke to 0.4 pt.

Draw basic shapes on the shadowy area. Lay them one on top of the other until you get the desired result.

The same way, add some volume to the back, hands and tail. Change the Opacity and stroke Weight in the process. We may need this on narrow sections like the fingers, for example.

Step 4

Draw the shadows under eyes, lips, hair, on the right side of her face, on the neck and hands. Also draw some fish scales on the tail.

Step 5

This way, let's add some highlights to the lightened area. Pick the white color, change the Blending Mode to Soft Light, and reduce the Opacity to 50%. Draw separate strokes to make them expressive.

Step 6

Change the Opacity to 100% and Blending Mode to Normal. Using the Pencil Tool (N), add some bright highlights and twinkles.

Step 7

Step 8

Next, draw a pink strip on the eyelid margin, and add some highlights to it.

Now select the iris of the eye, and Fill it with Linear Gradient from dark blue to light blue. Add some cyan twinkles.

Draw eyeshadow using a purple color with 20% Opacity, and then add some bright blue shapes for highlights.

Now draw a deep pink shape on the left side of the upper lip. Add the dark violet red color with 25% Opacity between the lips. In the end, draw bright twinkles on the right side of the lips.

To make the skin more natural, add some freckles. They shouldn't be perfectly round, so draw them randomly on the nose and cheeks.

Step 9

Now choose the Watercolor-Wet Brush from the Brush Library, and draw smooth lines on top of the stripes. Change the Blending Mode to Multiply, and reduce the Opacity to 50%.

This way, add some yellow lines between the stripes.

Using the Pencil Tool (N), draw some scales on the lightest area. Unite these shapes using the Pathfinder panel to make one solid object. Fill it with a Linear Gradient from cyan and yellow to pink. Reduce the Opacity to 55%.

The same way, draw some new scales, Unite them, and Fill them with a cyan Gradient, as shown below.

Now let's add some final twinkles to the scales. Use the pink, cyan and white colors with 100% Opacity.

Step 10

It's time to add some volume to the bodice. We'll use the watercolor brush here too. It's very easy to get painting effects and an imitation of watercolor.

Choose the Watercolor-Wet brush with 1 pt Weight, and draw some pink textured shapes of the shadows. Reduce the Opacity to 50% and change the Blending Mode to Multiply. These strokes may extend beyond the basic shape, so we'll fix it with Clipping Masks later.

This way, draw some blue shades using the cyan brush strokes.

Now add some yellow spots, reducing the Opacity to 30%.

Now Duplicate the lower basic shape of the bodice, pressing Control-C and Control-F. Move the copy up, sending it to Front (Control-Shift-]). Select all objects of the bodice, Right-click, and the following window will appear. Then press Make Clipping Mask.

Step 11

Let's add highlights and shadows to the accessories. We're still drawing on the "bodice/flowers" layer.

Start with the golden diadem and bracelets. Choose the Watercolor-Wet brush with 0.5 pt Weight, and draw some red spots for the shadows and some cyan reflections. Reduce the Opacity to 70%, and keep the Blending Mode as Multiply. Then make a Clipping Mask, as we did it before on the bodice.

In the end, add some yellow and white shapes of gloss using the Pencil Tool (N).

Step 12

We'll draw flowers using the same principles.

First, Fill the flowers and leaves shapes with a Linear Gradient from pink to light pink and from blue to light blue, respectively.

Play around with the Watercolor Brush to make the drawing more decorative and picturesque. Use the pink, yellow and cyan colors.

In the end, add some shadows and gloss with the Pencil Tool (N). Choose the maroon color from the lines for the shadows and white color for the gloss.

Step 13

Let's start forming the hairstyle.

First Duplicate the shape of the hair, Fill it with white color, and move it down. Select the upper gradient shape and reduce the Opacity to 70%.

Choose a new Watercolor-Thick Brush from the Brush Library, and draw some pink strokes randomly, creating beautiful artistic spots. You can see all the brush settings in the screenshot below. Then apply the Clipping Mask, as we did earlier.

This way, draw some blue brush strokes. Feel free to place them in whatever manner you find best.

Add some yellow and cyan spots too.

Now draw the shapes of the shadows. Select them and press Unite on the Pathfinder panel. Fill this shape with a blue Radial Gradient, reduce the Opacity to 40%.

Next draw shapes of the highlights, unite them too. Fill this solid shape with a yellow Radial Gradient, reducing the Opacity to 75%.

In the end, add some bright highlights to the left side of the hairstyle.

Step 14

We have a few steps left. And it's time to draw the mermaid's fins.

Add some strokes using the same principles as we used on the hairstyle. Choose the Watercolor-Wet brush with blue, pink, yellow and cyan colors for it.

Take the Pencil Tool (N) and form a beautiful pattern on the fins. Fill it with a blue Linear Gradient with 40% Opacity, as shown below.

The same way, draw another shape of pattern and Fill it with a yellow Radial Gradient, 75% Opacity.

In the end, add some blue dots and white gloss.

Step 15

It's time for the final touches. Let's add some necessary details.

Create a New Layer under "lines" for the reflections from the background. Draw some cyan shapes on the right side of the character.

In the end, let's change the color of the lines slightly, adding some blue. Select the lines shape and Fill it with a Linear Gradient, as shown below.

Finally our character is ready!

6. How to Create an Abstract Background

Step 1

We already have the basic substrate with main colors for the background. It will serve us as a reference point in adding brush strokes and details.

Let's make the first brush strokes, using a new Watercolor Stroke 3 Brush, varying the Weight from 2 pt to 4 pt. Use a light-blue color, Multiply Blending Mode and 15% Opacity for them.

This way, use the Watercolor-Wet Brush to add some yellow and cyan spots, applying the Multiply Blending Mode again.

Step 3

Let's add some splashes to the background. First, go to Open Brush Library > Artistic > Artistic_Ink and choose two new brushes: Fire Ash and Galaxy. Use them to add some random light-blue and white splashes. Change their Size and Opacity, moving them as you wish.

In the end, decorate the upper part of your illustration with bright yellow spots. Draw them with the Pencil Tool (N), Duplicate them, and place them around your character.

Wow! We're Finished!

I like this bright colorful mermaid and this softly colored pastel background. It was a time-consuming and complicated process, but at the same time, it's creative and interesting.

Thank you for creating this really beautiful mermaid character with me. Enjoy and share your result!

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How to Create a Watercolor Mermaid Illustration in Adobe Illustrator

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In this tutorial we'll be creating a colorful character of a mermaid, imitating a watercolor painting technique in Adobe Illustrator. One of the most beautiful and touching characters from the fairytale The Little Mermaid will serve as an inspiration to us. Find more great Mermaid Design inspiration on GraphicRiver.

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(Speed art) Make Badass Line Art in Adobe Illustrator

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How to use the BLEND TOOL - Adobe Illustrator Tutorial

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How to Use Type on a Path to Create a Badge in Illustrator

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How to Create Vector Floral Typography in Adobe Illustrator

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Follow this inspirational tutorial and learn to create an elegant floral typography composition in Adobe Illustrator! We’ll be working with text, creating custom vectors brushes and using various...

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What You'll Be Creating

According to Wikipedia, the Paisley pattern is a design using the buta or boteh, a droplet-shaped vegetable motif of Persian origin. In the modern world you can find this shape in the patterns of bandanas (check out these interesting bandana patterns on GraphicRiver).

According to paisleypower.com:

Ancient Babylon in present day Iraq is claimed to be one place of origin of the paisley form, possibly dating back to 1700BCE. Another opinion, expressed by Sam Willis in the 2016 BBC TV series The Silk Road, is that the symbol originated from the city of Yazd in Iran. In Yazd originates the weaving of the traditional fabric called a termeh, a cloth made of silk and wool which often included the paisley (boteh) form. Another common theory is that it originated in Persia 200-650 AD during the rule of the Sassanians who created an empire whose armies kept the Romans at bay for centuries.

In this tutorial you will learn how to create a paisley pattern. You can even use this as a coloring page! If you enjoy coloring, please check out my first coloring book!

Our pattern won't be seamless, as I am afraid to make this tutorial very long and have you get bored. If you want to create a seamless pattern, please check this tutorial to learn how to create one. Just keep in mind to use your paisley pattern instead of the flowers.

Let's get started!

1. How to Create the Main Shape for the Pattern

First, create a new document ( File > New) with the following dimensions: 850 px Height and 850 px Width.

Now we will start by drawing the main shape of the pattern. Using the Ellipse Tool (L), draw an ellipse. Set a white fill color and a dark grey or black stroke color for this shape. Next, using the Convert Anchor Point Tool (Shift-C),make a sharp top anchor point on the ellipse: while keeping the ellipse selected, click on the top anchor point-this point should be sharp now.

After this, we will modify this shape using the Warp Effect. Go to Effect > Warp > Arc and adjust the necessary options. Be sure to check Preview, so you can see what's going on with this shape after adjusting the options.

As we will use this shape later in this tutorial, make a copy of it and set it aside.

Let's continue to modify this shape. Select it and go to Effect > Warp > Arc. In the new Warp Options window, adjust the options presented below. Finally, expand this shape ( Object > Expand Appearance).

Make another copy of the created shape, which will be a reflection of the original one. For this, select the shape, right-click your mouse and select Transform > Reflect. Once you get a dialogue box, select Axis Vertical, Angle 90 degrees, and press Copy. Move the newly created shape to the right and make it much smaller. Attach the smaller copy to the top corner of the larger shape as shown in the image below. Now, keeping these two objects selected, unite them by pressing the Unite button on the Pathfinder panel ( Window > Pathfinder).

To make a smoother and wider transition between these shapes, select them, select the Smooth Tool, and smooth out the lines around the connection. You will see that this action will smoothly transform the connection. We just created the main shape of the paisley!

2. How to Create the Flower for the Pattern

Draw a circle with white fill color and dark grey (or black, if you wish) stroke color. To make an even circle, use the Ellipse Tool (L) while holding down the Shift key. Create a copy of this circle in front ( Control-C, Control-F), make it smaller, and place it exactly in the middle of the original one. For this, while keeping the created copy selected, hold down the Alt and Shift keys as you drag this circle inside. For the smaller circle, check Dashed Line on the Stroke panel.

Make a third copy of the circle, but this time larger than the original one ( Control-C, Control-B, then holding the Alt and Shift keys make it bigger). Select this circle and go to Object > Path > Add Anchor Points. This action will add four new anchor points. Repeat these commands as many times as you need for the number of petals you want to create later.

Let's transform the largest circle into petals. While keeping the largest circle selected, go to Effect > Distort & Transform > Pucker & Bloat. Select the Preview button and adjust the necessary value on the Pucker & Bloat effect to get a flower, close to the one presented below. Do not forget to expand this shape ( Object > Expand Appearance). Now make a larger copy of the created shape with petals behind the original one ( Control-C, Control-B).

After this, create a large copy of the dashed circle ( Control-C, Control-V), and place it behind all shapes ( Control-X, Control-B).

Finally, create the largest circle behind all the shapes.

Step 3

Now we need to create a new brush. Create a circle ( Ellipse Tool (L) while holding down the Shift key). Using the Rectangle Tool (M), create a rectangle and cover the bottom half of the circle. We will use it as a cutter; therefore, the color of this rectangle is not important. Select both shapes and press the Minus Front button on the Pathfinder panel. This action leaves us with the semicircle shape.

Select the newly created semicircle and move it to the Brush panel. A new window will appear. Choose New Pattern Brush and press OK. In the second window that pops up, apply the options shown below. Please notice Colorization Method has to be None. Then press OK. Our brush is ready for use.

Now choose the new brush and create a new circle behind everything. You will get petals around the circle. Expand this shape. Finally, make a larger copy of this expanded shape, and place it behind ( Control-X, Control-B). Our flower for the pattern is ready!

3. How to Decorate the Main Shape

Make two copies of the flower shape and place them inside the main shape of the paisley. Feel free to resize the flower shape. Just keep in mind to hold the Shift button to resize it evenly.

Now we will make a smaller copy of the main shape, but placed exactly in the middle. How to make it? While keeping the shape selected, go to Object > Path > Offset Path, and enter a negative number (between -4 and -10). You will get a smaller copy of the shape in front of the original one.

Next create another, smaller copy of this shape. Select the second copy and again, go to Object > Path > Offset Path, and enter a negative number. Change the line type of this smallest shape to Dashed Line.

And finally, make an even smaller copy of the main shape inside. For the smallest copy, delete the stroke color and set a dark grey fill color, as shown below. We are almost ready!

Let's add some white circles on the dark grey shape.

In this step we will create another brush, which will be used for further modification of the main paisley shape. First we will create a shape, which will be used for this brush. Take a copy of the droplet-like shape created in the very first step. Be sure it is expanded.

Now we will cut away a part of this shape. For the cutter, create a rectangle with any fill and stroke color you want. Make the rectangle overlap with the droplet-like shape. While keeping these two shapes selected, press the Minus Front button on the Pathfinder panel. We will end up with the top part of the shape.

Remove the stroke color of this shape and add a dark grey fill color. Next, make a copy of this shape in front ( Control-C, Control-F) and change the fill color of the front copy to white. Now, holding the Shift key, shrink it down from the top. Finally, make a new copy of the smaller white shape in front ( Control-C, Control-F), and change its fill color to dark grey. Shrink it down from the top. You will end up with the shapes shown below.

Select this shape and move it to the Brush panel. In a new window, select New Pattern Brush and press OK. In the window that appears, apply the options shown below and hit OK. Now we have another brush!

Apply the new brush to the largest shape. For this, you want to select the necessary shape and choose the brush you've created on the Brush panel.

4. How to Design the Paisley Pattern

Group the main paisley shape ( right-click > Group) and create many copies of it. Spread the copies over the entire artboard. Feel free to resize the paisley.

Some empty spaces can be filled with copies of flowers, which are used inside the main shape.

Also, you can make another type of flowers. Just take two details from the flowers you used in the pattern and add a fill color for the petals.

Spread these flowers on the pattern.

To finalize our pattern, create a square with no fill and no stroke color on top of the whole pattern. For this, hit the Rectangle Tool (M) and click on your artboard. Once the dialogue window pops up, enter 850 px Width and Height, and then click OK.

To make the square exactly in the middle of the artboard, look at the Align panel ( Window > Align), and make sure that in the pop-up menu, Align To: Align to Artboard is checked. Select the square and press the Horizontal Align Center and Vertical Align Center buttons on the Align panel. Next, select the whole pattern together with the top square ( Control-A) and go to Object > Clipping Mask > Make (Control-7). This action will hide all parts of the pattern that are beyond the square.

Now our pattern has a transparent background. Just create a square with a white fill color ( 850 × 850 px), align it to the artboard, and place it behind the pattern ( Control-X, Control-B). You're done!

A Piece of the Soul

Congratulations! Now you know how to create the famous paisley pattern in Adobe Illustrator. I hope you learned some new things that you can use for more patterns. I would be happy to see your version of paisley patterns. Just don't hesitate to use your creativity and imagination.

If you like coloring books, please have a look at my first creation:

If you would like to purchase it, you can do it on Amazon. Good luck, and I would be happy to see you again!

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How to Create a Paisley Pattern in Adobe Illustrator

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According to Wikipedia, the Paisley pattern is a design using the buta or boteh, a droplet-shaped vegetable motif of Persian origin. In the modern world you can find this shape in the patterns of bandanas (check out these interesting bandana patterns on GraphicRiver).

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What You'll Be Creating

In today's tutorial we're going to approach a somewhat different theme and learn how to create some social media icons, using some simple shapes such as the Rounded Rectangle Tool and Ellipse in combination with the power of the Align and Stroke panels.

Oh, and don't forget you can always expand the project by heading over to GraphicRiver, where you'll find tons of awesome social media icon packs, just waiting to be used.

Looking for the right social media icon pack? Check out our recommendations in this article:

1. How to Set Up a New Document

And from the Advanced tab:

Quick tip: some of you might have noticed that the Align New Objects to Pixel Grid option is missing. That's because I'm running the new CC 2017 version of the software, where great changes have been made to the way Illustrator handles the way shapes snap to the underlying Pixel Grid.

2. How to Set Up a Custom Grid

Since we're going to be creating the icons using a pixel-perfect workflow, we'll want to set up a nice little Grid so that we can have full control over our shapes-that is if we're running the older version of the software.

Step 1

Go to the Edit > Preferences > Guides & Grid submenu, and adjust the following settings:

Quick tip: you can learn more about grids by reading this in-depth piece on how Illustrator's Grid System works.

Step 2

Once we've set up our custom grid, all we need to do in order to make sure our shapes look crisp is enable the Snap to Grid option found under the View menu, which will transform into Snap to Pixel each time you enter Pixel Preview mode.

Now, if you're new to the whole "pixel-perfect workflow", I strongly recommend you go through my how to create pixel-perfect artwork tutorial, which will help you widen your technical skills in no time.

3. How to Set Up the Layers

With the new document created, it would be a good idea to structure our project using a couple of layers, since this way we can maintain a steady workflow by focusing on one icon at a time.

That being said, bring up the Layers panel, and create a total of five layers, which we will rename as follows:

layer 1: reference grids

layer 2: snapchat

layer 3: instagram

layer 4: youtube

layer 5: facebook

4. How to Create the Reference Grids

The Reference Grids (or Base Grids) are a set of precisely delimited reference surfaces, which allow us to build our icons by focusing on size and consistency.

Usually, the size of the grids determines the size of the actual icons, and they should always be the first decision you make when you start a new project, since you'll always want to start from the smallest possible size and build on that.

Now, in our case, we're going to be creating the icon pack using just one size, more exactly 128 x 128 px, which is a fairly large one.

Step 1

Start by locking all but the reference grid layer, and then grab the Rectangle Tool (M) and create a 128 x 128 px orange (#F15A24) square, which will help define the overall size of our icons.

Step 2

Step 3

Once you're done, lock the current layer and move on to the next one, where we'll start working on our first icon.

5. How to Create the Snapchat Icon

We're going to kick off the project by creating an icon for Snapchat's newest addition, the Spectacles, which are an extension of the service that has been recently made public.

That being said, make sure you're on the right layer (that would be the second one) and then zoom in on the first reference grid so that we can get started.

Step 1

Step 2

Give the shape a ring-like highlight, by creating a copy of it ( Control-C > Control-F) which we will adjust by flipping its Fill with its Stroke ( Shift-X), and then setting its color to white (#FFFFFF) and its Weight to 8 px, making sure to align it to the inside afterwards.

Step 3

Since we'll want the highlight to be a little bit more subtle, we'll need to select it and then lower its Opacity to about 30%.

Step 4

Once we've finished adjusting the highlight, we can add the icon's main outline by creating another copy of its main shape ( Control-C), which we will paste in front ( Control-F), flipping its fill ( Shift-X) with an 8 px thick Stroke, with the color set to #3A2121.

At this point, you can also select and group ( Control-G) all of the icon's composing shapes since it will make it easier to handle them if you ever need to.

Step 5

Start working on the little eye by creating its main shape using a 56 x 56 px circle, which we will color white (#FFFFFF) and then center align to the underlying yellow shape.

Step 6

Add the pupil using a 32 x 32 px circle, which we will color using #3A2121 and then center align to the white shape that we created in the previous step.

Step 7

Step 8

Give the eye a subtle inner shadow by creating a copy ( Control-C) of its white circle, which we will paste in front ( Control-F) and then adjust by flipping its fill ( Shift-X) with an 8 px thick Stroke (#3A2121), making sure to set the alignment to the inside and lowering its Opacity to 20% afterwards.

Step 9

Once you're done, do the same for the entire icon.

Step 10

Finish off the icon by adding an 88 x 10 px ellipse, which we will color using #3A2121 and then center align to the bottom edge of the underlying active drawing area.

Step 11

6. How to Create the Instagram Icon

Assuming you've managed to finish the first icon, lock its layer and move on up to the next one (that would be the third one) and let's start working on the second one, the Instagram icon.

Step 1

Step 2

Create the body's upper darker section using a 96 x 40 px rectangle (#B76F58), which we will center align to the upper edge of the underlying shape and then adjust by setting the Radius of its top corners to 26 px.

Step 3

As we did with the Snapchat icon, add the ring-like highlight by creating a copy ( Control-C) of the larger shape and pasting it in front ( Control-F), flipping its fill ( Shift-X) with an 8 px inner facing Stroke, with the color set to white (#FFFFFF) and the Opacity to 30%.

Step 4

With the highlight in place, create the icon's main outline using another copy ( Control-C) of its main shape, which we will paste in front ( Control-F) and then adjust by flipping its fill with an 8 px thick Stroke with the color set to #3A2121.

Step 5

Using the Pen Tool (P), draw in the horizontal divider line separating the icon's two sections, using an 8 px thick Stroke with the color set to #3A2121.

Step 6

With the Pen Tool (P) still selected, draw the subtle highlight from underneath the divider line, using a 4 px thick Stroke with the color set to white (#FFFFFF) and the Opacity to 30%.

Step 7

Once you're done, select and group all the shapes that we have so far using the Control-G keyboard shortcut.

Step 8

Start working on the lens by creating a 44 x 44 px ellipse, which we will color using #564141 and then center align to the icon's main body.

Step 9

Create the inner darker section of the lens using a smaller 16 x 16 px circle, which we will color using #3A2121 and then center align to the underlying larger shape.

Step 10

Give the lens a subtle inner reflection, by creating a copy ( Control-C) of its larger circle which we will paste in front ( Control-F) and then adjust by flipping its Fill ( Shift-X) with an 8 px thick inner-facing Stroke, with the color set to white (#FFFFFF) and the Opacity to 20%.

Step 11

Add another smaller reflection to the top-right corner of the lens, by creating a 6 x 6 px circle with the color set to white (#FFFFFF) and the Opacity to 20%, positioning it over the darker center so that it goes outside of it by 2 px on each side.

Step 12

Once you're done, do the same for the entire icon, by selecting and grouping ( Control-G) all its composing sections as well.

Step 13

Finish off the icon by adding the subtle shadow, which we will create using an 88 x 10 px ellipse, with the color set to #3A2121 and the Opacity to 20%.

As always, don't forget to select and group ( Control-G) all the icon's composing sections before moving on to the next one.

7. How to Create the YouTube Icon

Assuming you've already moved on up to the next layer (that would be the fourth one), zoom in on the third reference grid and let's get started.

Step 1

Step 2

Add the inner-facing highlight as we did with all the other icons, by creating a copy ( Control-C) of its main shape which we will paste in front ( Control-F) and then adjust by flipping its Fill ( Shift-X) with an 8 px thick Stroke with the color set to white (#FFFFFF) and the Opacity to 30%.

Step 3

Step 4

Step 5

Step 6

Give the arrow an outline by creating a copy of it ( Control-C > Control-F), which we will adjust by setting its color to #3A2121 and then flipping its Fill with an 8 px thick Stroke with the Corners set to Round Join.

Once you're done, select and group the two together using the Control-G keyboard shortcut, and then do the same for the icon's composing sections as well.

Step 7

Finish off the icon by adding the little subtle shadow, which we will create using an 88 x 10 px ellipse, which we will color using #3A2121, center aligning it to the active drawing area's bottom edge, making sure to lower its Opacity to 20%.

Once you're done, don't forget to select and group ( Control-G) all of the icon's composing sections together.

8. How to Create the Facebook Icon

We are now down to our fourth and last icon, so make sure you position yourself onto the last layer, and then zoom in on its reference grid so that we can wrap things up.

Step 1

Step 2

Give the shape an inner facing highlight by creating a copy of it ( Control-C > Control-F), which we will adjust by flipping its Fill ( Shift-X) with an 8 px Stroke, setting the color to white (#FFFFFF) and then lowering its Opacity to 30%.

Step 3

Create the icon's main outline using another copy ( Control-C) of its body, which we will paste in front ( Control-F) and then adjust by setting its color to #3A2121, and then flipping its Fill ( Shift-X) with an 8 px thick Stroke.

Once you're done, select and group all three shapes together using the Control-G keyboard shortcut.

Step 4

Step 5

Create a smaller 16 x 14 px rectangle (#FFFFFF) and position it onto the top right side of the shape from the previous step.

Step 6

Step 7

Select all of the letter's sections and combine them into a single larger shape using Pathfinder's Unite Shape Mode, removing one of the extra Anchor Points created during the process using the Delete Anchor Point Tool (-).

Step 8

Double click on the resulting shape to enter Isolation Mode, and then start adjusting it by selecting its top left corner and setting its Radius to 16 px using the Live Corners feature from the top bar.

Step 9

Next, select the corner from above the letter's crossbar, and adjust that as well by setting its Radius to 6 px.

Step 10

Step 11

Finish off the icon by adding the subtle shadow, which we will create using the same 88 x 10 px ellipse (#3A2121) with a 20% Opacity, which we will center align to the bottom edge of the active drawing area.

Once you're done, select all the icon's composing sections and group them together using the Control-G keyboard shortcut.

It's a Wrap!

There you have it: a super easy tutorial on how to create your very own social media icon pack using nothing more than some simple shapes and tools that you probably already work with on a daily basis. I hope you've managed to follow each and every step, and as always learned something new and helpful along the way.

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How to Create a Social Media Icon Pack in Adobe Illustrator

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In today's tutorial we're going to approach a somewhat different theme and learn how to create some social media icons, using some simple shapes such as the Rounded Rectangle Tool and Ellipse in combination with the power of the Align and Stroke panels.

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What You'll Be Creating

Did you know that July 29th is International Tiger Day? According to Days of the Year, Tiger Day aims to protect and expand tigers' habitats and raise awareness of the need for conservation.

In this tutorial, you will learn how to create a cute tiger illustration. I'm sure by now, all my followers can probably predict which tools and methods we'll use in today's tutorial. This means that you've become more professional, and maybe one day you'll also become a tutorial instructor! So... getting back on track-yes, we will use basic shapes and warp effects. As always, in the end, you will get a very sweet and cute illustration.

And feel free to browse GraphicRiver to get more Tiger ideas and inspiration.

Once you're ready, let's get started!

1. How to Create the Tiger's Head

Step 2

Step 3

For the ears, let's start by drawing another ellipse. The Fill color is the same as the head. To use the same color, select the oval, then select the Eyedropper Tool (I) and click on the tiger's head. The color of the selected object will change to the one you clicked with the Eyedropper Tool (I).

Step 4

Place the ear on the left side of the head. Rotate it a bit to the left. Take the Reflect Tool (O) and while holding down the Alt key, click the forehead. In the new dialogue window, select Vertical, Angle 90 degrees and press Copy. You should now have two ears on the tiger's head.

Step 5

For the eye, first, create a brown circle. To make an even circle, use the Ellipse Tool (L) while holding down the Shift key. Then create a white oval behind the brown circle and rotate it slightly to the left.

In the image below, this white oval has a black stroke for the tutorial purpose only (for better visibility), so you don't need this stroke. Make a Copy of the oval in the back, slightly enlarge it, shift it up, and change the color to brown ( the same fill color as the pupil).

Step 6

Step 7

Step 8

For the nose, create a dark brown ellipse (the same fill color as the pupil) and make a sharp base using the Convert Anchor Point Tool (Shift-C) by clicking on the bottom anchor point.

For the snout, create a beige ellipse behind the nose. Make another Copy of this oval and place it as shown in the image below. Now make the shadow of these beige ellipses: create a slightly larger Copy of these ellipses behind ( Control-C, Control-B), make them darker, and move down a little bit. Finally, add another large light brown ellipse below.

Step 9

Place the snout on the head of our tiger.

2. How to Create the Tiger's Body

Step 1

Let's create the chest. Using the Ellipse Tool (L), draw an oval. Take the Direct Selection Tool (A) and move the handles of the anchor points to create an upside-down pear-like shape. Place the chest under the head ( Control-X, Control-B).

Let's continue creating the body with another orange oval. Deform this oval shape by using the Direct Selection Tool (A). Place the orange shape behind the chest.

Step 3

Step 4

Step 5

Give this leg to the tiger. Then make three more copies and give these to him as well. To divide the body from the paws, make a Copy of the body behind and shift it down. Finally, change the Fill color to a darker orange ( take the same fill color as the inside part of the ear).

Step 6

For the tail, we will use the Arc Tool again. Do not forget to remove the Fill color, set the orange Stroke color, and check Round Cap on the Stroke panel. Draw a line and deform its shape by adjusting handles. Attach the tail to our predator.

3. How to Create the Tiger's Stripes

In this next step, we will add stripes to the tiger's body.

Draw a thin vertical oval. While keeping it selected, hold down the Alt and Shift keys and move the oval to the right. You will see that you just created a copy of the original oval. Then press Control-D a few times to repeat your last action. Group all the stripes together ( right-click > Group) and go to Effect > Warp > Arc. Enter the options you see in the image below.

After this, apply another effect to this group of stripes: go to Effect > Warp > Arc Lower and enter the presented options. Expand the stripes ( Object > Expand Appearance). You can make a few copies of this set of stripes, as we will use them later for the body, tail, legs and head as well. Group all the stripes ( right-click > Group).

Step 2

A little explanation here: when you create a copy in front of the orange body, this copy will appear just in front of the original shape, not in front of the stripes which we created. Then we need to cut off the copy and place it in front of everything, now in front of the orange shape and stripes. Keeping this copy and the stripes selected, press Crop in the Pathfinder panel ( Window > Pathfinder).

Step 3

Now we will place stripes on the tail. Just repeat the same actions as you did for the body. Place the stripes on the tail. Make a Copy of the tail in front of everything ( Control-C, Control-F and Control-X, Control-F). Keeping the stripes selected and the copy of the tail in front, hit Crop in the Pathfinder panel ( Window > Pathfinder).

Step 4

Similarly, place the stripes on all four legs.

Step 5

Step 6

Let's continue to give more stripes to our tiger. Take another three stripes and adjust their sizes and position them as shown in the image below.

Place these stripes on the forehead. Our tiger is ready!

4. How to Create the Background

Step 1

Step 2

Let's add some leaves from the jungle's forest. First, add an oval with a color darker than the background. To transform this oval to a leaf, we will use the Eraser Tool (Shift-E). To set the Eraser Tool options, double-click on the Eraser Tool and enter Angle 0 degrees, Roundness 100%, Size 10 pt, and then hit OK.

Step 3

Conclusion

Now our predator is ready to hunt! You did a great job! Do you think you can transform this tiger into a lion? Or even a cat? Why not try it out? Have fun with it!!

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How to Create a Cute Cartoon Tiger Illustration in Adobe Illustrator | Envato Tuts+

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Did you know that July 29th is International Tiger Day? According to Days of the Year, Tiger Day aims to protect and expand tigers' habitats and raise awareness of the need for conservation. In ...

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How To Use the Mesh Tool in Adobe Illustrator | Part 1 - Basic Shapes

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MASTER Gradients Illustrator Tutorial + Free Download

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What You'll Be Creating

This tutorial was originally published in August 2013 as a Tuts+ Premium tutorial. It is now available free to view. Although this tutorial does not use the latest version of Adobe Illustrator, its techniques and process are still relevant.

In the following steps you will learn how to create a detailed copper pipe text effect in Adobe Illustrator.

For starters you will learn how to create the letters paths, taking full advantage of the Snap to Grid option. Next, using a basic blend and some simple rectangles, you will learn how to create a pretty simple pattern brush.

Moving on, using that same blend along with some basic blending and vector shape building techniques, you will learn how to create the pipe corners, the pipe connectors and the pipes support.

Once you have the pipes, you will learn how to add some subtle shading and highlights. Using the Zig Zag effect, simple shapes, some other effects, and taking full advantage of the Appearance panel, you will learn how create the taps and the water counters.

Finally, you'll learn how to create a textured background using the Appearance panel, two raster effects, a built-in pattern, and some basic blending techniques.

Need a faster design solution? Browse our incredible selection of Adobe Illustrator Layer Styles from GraphicRiver to create instant metal text effects. Or enlist the help of a design professional from Envato Studio to help with your typography needs.

1. How to Setup Your Document

You should also open the Info panel ( Window > Info) for a live preview with the size and position of your shapes. Do not forget to set the unit of measurement to pixels from Edit > Preferences > Units > General. All these options will significantly increase your work speed.

2. How to Create the Letter Paths

Step 1

Pick the Type Tool (T) and focus on your Toolbar. Remove the color from the stroke, and then select the Fill and set its color to black. Focus on your Artboard and simply add the black " VECTOR" piece of text. Use the Retro Stereo Thin font with the size set at 72 pt, and lower its Opacity to 30%. Move to the Layers panel and simply lock this piece of text to make sure that you don't accidentally select/move it. We will only use it as a guide.

Step 2

Enable the Snap to Grid ( View > Snap to Grid). Focus on the " V", pick the Pen Tool (P) and draw a simple path as shown in the first image. Fill it with none, but add a 6 pt stroke and set its color to black. Make sure that this little path is still selected and go to Effect > Stylize > Rounder Corners. Enter a 10 px Radius and click OK.

Step 3

Make sure that the Pen Tool (P) is still active and create the " E" path as shown in the first image. Add the same 6 pt black Stroke and go to Effect > Stylize > Rounded Corners. Enter a 6 px Radius and click OK.

Step 4

Switch to the Direct Selection Tool (A), select both anchor points highlighted in the second image, and simply hit the Delete key from your keyboard. In the end things should look like in the third image.

Step 5

Reselect the Pen Tool (P) and create the " T" path as shown in the first image. Add the same 6 pt black Stroke and go to Effect > Stylize > Rounded Corners. Enter a 6 px Radius and click OK.

Step 6

Step 7

Focus on the resulting shape, switch to the Direct Selection Tool (A), and simply click and drag across the bottom left side and hit the Delete key from your keyboard. In the end things should look like in the third image. Keep focusing on this path, grab the Pen Tool (P) and add a vertical path as shown in the fourth image.

Step 8

Step 9

Step 10

Step 11

Step 12

Focus on the top side of your " V" shape and you will notice that there's a small gap between the " V" shape and the paths that go around the text. You can easily solve this small problem by adjusting the positioning of the anchor points.

Grab the Direct Selection Tool (A), select the left anchor point highlighted in the first image and drag it 1 px to the right. Then select the right anchor point highlighted in the first image and drag it 1 px to the left. Once you have finished, select all these black paths and Group them ( Control-G). Move to the Layers panel, double-click on this new group and name it " pipes". When you're done you can remove that piece of text.

3. How to Create a Simple Pattern Brush

Step 1

Reselect both rectangles made in this step and simply hit Alt-Control-B (or go to Object > Blend > Make). In the end things should look like in the fourth image.

Step 2

Using the Rectangle Tool (M), create two 3 x 1 px shapes and place them as shown in the first image.

Step 3

Select your " pipes" group and simply replace the existing black strokes with your pattern brush. In the end things should look like in the following image.

4. How to Create the Pipe Corners

Step 1

Step 2

Select the resulting shape along with the other shape made in this step and click the Minus Front button from the Pathfinder panel.

Step 3

Select the dark brown shape and make a copy in front ( Control-C > Control-F). Using the Rectangle Tool (M), create an 18 px square and place it as shown in the second image. Fill it with none, but add a 2 pt Stroke. Align it to inside, set the color to R=173 G=101 B=89 and go to Effect > Stylize > Rounded Corners. Enter a 6 px Radius, click OK, and go to Object > Path > Outline Stroke.

Select the resulting compound path along with the copy made in the beginning of the step and click the Intersect button from the Pathfinder panel. Select the resulting path along with the remaining dark brown shape and hit Alt-Control-B.

Step 4

Focus on the Layers panel, open the newest blend, select the bottom shape and make a copy in front ( Control-C > Control-F). Select this copy, drag it outside the blend and bring it to front ( Shift-Control-]).

Step 5

Step 6

Focus on the Layers panel and reopen that blend. Duplicate ( Control-C > Control-F) the bottom shape, select the copy and drag it outside the blend. Using the Rectangle Tool (M), create a 6 px square, fill it with R=103 G=31 B=19, place it as shown in the third image and go to Effect > Stylize > Rounded Corners. Enter a 1 px radius, click OK and go to Object > Expand Appearance. Select the resulting rounded rectangle along with the copy made in the beginning of the step and click the Intersect button from the Pathfinder panel.

Step 7

Using the Ellipse Tool (L), create a 2 x 3 px shape and fill it with white. Rotate this squeezed circle 45 Degrees, place it as shown in the second image, lower its Opacity to 15% and change the Blending Mode to Overlay.

Remove the color from the fill and add a 1 pt Stroke. Set its color to white, lower its Opacity to 25%, change the Blending Mode to Overlay and go to Effect > Path > Offset Path. Enter a -2 px Offset and click OK. Finally, select all the shapes that make up this pipe corner and Group them ( Control-G). Move to the Layers panel and simply name this new group " corner".

Step 8

Step 9

Take a closer look at the top left corner and you will notice that the pipe and the pipe corner do not match. Here's a quick thing that you can do to fix it.

Get back to the top left corner, select the piece of pipe that goes into that corner and simply replace the existing pattern brush with the new one. Focus on the rest of the corner pipes and make sure that things match.

5. How to Create the Pipe Connectors

Step 1

Reselect both rectangles made in this step and simply hit Alt-Control-B (or go to Object > Blend > Make). In the end things should look like in the fourth image.

Step 2

Step 3

Using the Rectangle Tool (M), create an 8 x 4 px shape and Fill it with R=113 G=41 B=29. Continue with the Rectangle Tool (M), create a 2 x 4 px shape, Fi ll it with R=173 G=101 B=89 and place it as shown in the second image.

Reselect both rectangles made in this step and simply hit Alt-Control-B (or go to Object > Blend > Make). In the end things should look like in the fourth image.

Step 4

Step 5

Enter a -2 px Offset and click OK. Finally, select all the shapes that make up this pipe connector and Group them ( Control-G). Move to the Layers panel and simply name this new group " connector".

Step 6

6. How to Add Shading and Highlights

Step 1

Fill the resulting compound path with black, focus on the top side of the "V" shape and you will notice some small gaps. Grab the Delete Anchor Point Tool (-) and simply click on those undesirable anchor points to remove them.

Step 2

Move to the Layers panel, double-click on this compound path and simply name it " shadow".

Step 3

Select the top back compound path and focus on the Appearance panel. Remove the color from the fill, but add a 1 pt white stroke. Align it to inside, lower the Opacity to 50%, change the Blending Mode to Overlay and go to Effect > Path > Offset Path. Enter a -1.5 px Offset and click OK. Move to the Layers panel, double-click on this compound path and simply name it " highlights".

7. How to Create the Pipe Supports

Step 1

Enable the Snap to Grid ( View > Snap to Grid). Using the Rectangle Tool (M), create an 8 x 7 px shape, Fill it with the Linear Gradient shown below and go to Effect > Stylize > Rounded Corners. Enter a 1 px Radius, click OK and go to Effect > Warp > Bulge. Enter the properties shown in the following image, click OK and go to Object > Expand Appearance.

Step 2

Step 3

Reselect both rectangles made in this step along with the three shapes made in the previous step and Group them ( Control-G). Move to the Layers panel and name this new group " supportFront".

Step 4

Step 5

Reselect that 20 x 5 px rounded rectangle and make a copy in front ( Control-C > Control-F). Focus on the Layers panel and open that " supportFront" group. Select the bottom shape and go to Object > Path > Offset Path. Enter a 1 px Offset and click OK.

Step 6

Step 7

Reselect that 20 x 5 px rounded rectangle and add the four Drop Shadow effects shown in the following image.

Step 8

Enable the Snap to Grid ( View > Snap to Grid). Using the Ellipse Tool (L), create two 1 px circles. Fill both shapes with R=77 G=75 B=88 and place them as shown in the first image. Select these tiny circles along with the 20 x 5 px rounded rectangle and the subtle black and white shapes and Group them ( Control-G). Focus on the Layers panel, send this new group to back ( Shift-Control-[) and name it " supportBack".

Step 9

Step 10

Step 11

Select the " highlights" compound path, make a copy in front ( Control-C > Control-F) and bring it to front ( Shift-Control-]). Make sure that this copy stays selected and focus on the Appearance panel. Remove the color from the stroke and add a black fill. Select it, lower the Opacity to 8%, change the Blending Mode to Multiply and go to Effect > Artistic > Film Grain. Enter the properties shown in the following image and click OK.

8. How to Create the Round Taps

Step 1

Using the Ellipse Tool (L), create a 6 px circle, fill it with black and focus on the Appearance panel. Add a 2 pt Stroke, set its color to black, align it to inside and go to Effect > Path > Offset Path. Enter a 4 px Radius, click OK and go to Effect > Distort & Transform > Zig Zag. Enter the properties shown in the following image and click OK.

Step 2

Step 3

Step 4

Reselect both copies and click the Minus Front button from the Pathfinder panel. Turn the resulting group of shapes into a Compound Path ( Control-8 or Object > Compound Path > Make). Fill it with white, lower its Opacity to 80% and change the Blending Mode to Overlay.

Step 5

Step 6

Step 7

Select all the shapes that make up this round tap and Group them ( Control-G). Select this new group, name it " roundTap" and add the four Drop Shadow effects shown in the following image. Duplicate this group ( Control-C > Control-F), and then place these two taps as shown in the second image.

9. How to Create the Bib Taps

Step 1

Using the Rectangle Tool (M), create a 6 x 30 px shape, Fill it with the Linear Gradient shown below and add a 1 pt Stroke. Align it to inside, set the color to R=170 G=10 B=25, and then go to Effect > Stylize > Rounded Corners. Enter a 3 px Radius and click OK.

Step 2

Step 3

Reselect that tiny circle along with the red rounded rectangle and Group them ( Control-G). Name this new group " bibTap" and add the three Drop Shadow effects shown in the following image. Duplicate this Group ( Control-C > Control-F), and then place these new taps as shown in the second image.

10. How to Create the Water Counters

Step 1

Step 2

Step 3

Step 4

Step 5

Step 6

Step 7

Select all the shapes that make up the water counter and Group them ( Control-G). Move to the Layers panel and name this new group " waterCounter". Duplicate it ( Control-C > Control-F) and place these water counters as shown in the second image.

11. How to Add a Patterned Background

Step 1

Step 2

Congratulations! You're Done!

Here is how it should look. I hope you've enjoyed this tutorial and can apply these techniques in your future projects.

Metal Layer Styles From GraphicRiver

Can't get enough text effects? Save yourself the time and hassle of creating them from scratch by downloading one of our amazing Adobe Illustrator Layer Styles from GraphicRiver. Use them in your designs and check out one of our favorites below!

Create amazing metal effects with this incredible set of Illustrator layer styles. Use this one-click effect to make your designs stand out fast and easily. And because they're vector, you can resize these designs without any loss of detail. So download this great set today!

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Create a Copper Pipe Text Effect in Adobe Illustrator

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This tutorial was originally published in August 2013 as a Tuts+ Premium tutorial. It is now available free to view. Although this tutorial does not use the latest version of Adobe Illustrator, its techniques and process are still relevant. In the following steps you will learn how to create a detailed copper pipe text effect in Adobe Illustrator.

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What You'll Be Creating

Summer is the perfect time for the most vivid and colorful designs! Tropical patterns are one of the hottest summer trends this year, and all these mixes of fruits, leaves and flowers look really great on fabric, apparel, and print media.

Join me in this tutorial and let's learn to create a stylish seamless pattern using simple shapes and various Warp Effects to create tropical elements, making them look hand-drawn. We will finish up by combining our elements into a balanced texture, using the Pattern Tool.

By the end of this tutorial, you'll learn to create unique trendy patterns ready for print or fabric, clothes, and banners. And, what is more, they can be used as a background for your website, online shop, or blog.

Check out this collection of tropical patterns on GraphicRiver to find out what other elements you can depict to make your texture look different.

Let's begin!

1. How to Draw a Banana

Step 1

Take the Ellipse Tool (L) and let's start creating the banana! Make a 230 x 50 px yellow oval.

Go to Effect > Warp > Arch and set the:

Click OK and Object > Expand Appearance to apply the effect.

Click OK and Object > Expand Appearance to apply the effect.

Step 3

Resize the shape, making it slightly smaller. Duplicate (Control-C > Control-F) it and attach the rectangles to both tips of the banana, as shown below. Select all three elements and use the Unite function of the Pathfinder to merge them into a single shape.

Step 4

Let's create a rough, textured effect, thus adding a gentle hand-drawn touch to our shape. Go to Effect > Distort & Transform > Roughen and set the:

Click OK.

Step 5

Object > Expand Appearance to apply the effect.

Step 6

Now grab the Pencil Tool (N) and let's add those simple details that make our banana look more realistic! Double-click the Pencil Tool (N) icon in the Tools panel and make sure that the Fidelity slider is set to the center or closer to Accurate. You can also see all the other options in the screenshot below; all the boxes are checked.

Set the Fill color to None and the Stroke color to brown in the Color panel. Then open the Stroke panel (Window > Stroke) and set the Weight to 1.2 pt and Cap to Round Cap.

Draw a small oval at the right tip of the banana and a bigger rounded shape on the opposite side.

Step 7

Continue adding details at the ends of the banana by making short strokes. Draw a larger arched stroke along the whole shape.

Step 8

Add more of those strokes and finish off the banana by drawing two rounded shapes on the tips, this time setting the Fill color to brown.

Yay! The banana is ready! Let's move on to the next element of our pattern!

2. How to Make an Orange Slice

Step 1

Let's start with the rectangle. Use the Rectangle Tool (M) to make a 90 x 45 px yellow shape and select its bottom anchor points with the Direct Selection Tool (A). Drag the circle marker to the center, making the corners rounded with the help of the Live Corners feature. You can also adjust the Corner value from the control panel on top, setting the exact value if needed.

Step 2

Select the shape and go to Object > Path > Offset Path, set the Offset value to 8 px and leave all other options as default. Click OK and Fill the new shape with an orange color.

Select both shapes, grab the Eraser Tool (Shift-E), hold down Alt, and erase the top part of the shapes, so that the elements are perfectly aligned to the top of each other.

Step 3

Make the yellow shape slightly smaller, so that there is a gap between the shapes.

Step 4

Apply the Effect > Distort & Transform > Roughen filter with the same settings as previously to add a scribble effect along the edges.

Take the Line Segment Tool (\) or the Pen Tool (P) and add a group of white strokes to slice the yellow shape into segments.

Step 5

Keeping the strokes selected, go to the Brushes panel (Window > Brushes) and open the Brush Libraries Menu at the bottom of the panel. From here, go to Artistic > Artistic_ChalkCharcoalPencil and find a Charcoal - Pencil brush (or any other brush to your liking, but it should be thick enough and have a grunge texture). Click it to apply to the strokes. Increase the Width of the strokes if they look too thin.

Step 6

Select all the strokes and Object > Expand Appearance and Unite them in the Pathfinder. Finally, Object > Compound Path > Make (Control-8) to merge any separate pieces of the grungy texture together.

Select the created white shape together with the yellow half-circle and apply Minus Front to cut out the shape, creating separate yellow segments.

Step 7

Finish the orange slice by adding a few short strokes here and there, using the Pencil Tool (N).

3. How to Draw Dragon Fruit

Step 1

Start by making a 105 x 115 px pink ellipse and use the Direct Selection Tool (A) to modify the shape a bit by moving the anchor handles.

Step 2

Use the Rectangle Tool (M) and the Bulge Warp Effect to create a small trapezium, just as we did for the banana.

Select the fruit and apply Effect >Distort & Transform > Roughen to make the edges rough.

Step 3

Place the seed on the fruit and start multiplying it by holding down the Alt key and moving the seed. Rotate the copies and vary the size of the seeds a bit.

And there we have it! Add a few dark strokes on top of the fruit and let's move on!

4. How to Create Tropical Leaves and Plants

Step 1

And now my favorite part! I really love drawing tropical leaves and elements because they always look unique, and the process itself is very calming and entertaining with a lot of creativity!

First of all, we need to create our own brush to speed up the process of drawing leaves.

Use the Ellipse Tool (L) to make a squashed ellipse of 100 x 5 px.

Select its side anchor points with the Direct Selection Tool (A) and Convert selected anchor points to corner from the control panel on top.

I haven't changed anything in the Art Brush Options, leaving all the settings as default. However, we can always change these settings later by double-clicking our brush in the Brushes panel-for example, if we need to change the Width of the brush or its Colorization Method.

Step 2

Draw a dark-green stem of our future leaf using the Pencil Tool (N).

Now take the Paintbrush Tool (B) and start making perpendicular strokes along the stem, drawing those small parts of the leaf. Make some of them shorter, others longer, and make some of them overlap so that the leaf looks more true to life.

Make the strokes smaller and smaller as you move closer to the top of the leaf.

Create another leaf, of a slightly different shape, covering it with longer strokes.

Step 3

Now let's draw a leaf of a monstera plant. These monstera leaves always help to achieve a proper look for any tropical design.

Use the Pencil Tool (N) to draw a leaf silhouette. Its elliptical shape shouldn't be perfect, so make it wobbly and non-symmetrical. Remember to make the top of the leaf pointed and its bottom rounded like an upside-down heart shape.

Switch the Fill color to black (or any other color) and draw freehand elliptical shapes over the top of the leaves, marking future holes. Select all the black shapes and Make Compound Path (Control-8).

Select the black shape together with the leaf silhouette and use the Minus Front function of the Pathfinder to cut out the black elements.

Finally, apply the Roughen effect to make the leaf grungy.

Step 4

Let's draw a leaf in the shape of a hand-fan. Use the Pencil Tool (N) to draw its silhouette in a freehand manner.

Apply the Roughen effect and finish off the leaf by adding dark-green strokes with the help of the Pencil Tool (N).

Step 5

Now let's move on to the next tropical leaf. This time I used an 85 x 230 px oval as a base. Take the Direct Selection Tool (A) and move the anchor points and their handles around, changing the shape.

Apply the Roughen effect and finish up with the leaf by adding the stem and the veins with the help of the Pencil Tool (N).

Step 6

Let's create another brush for the next plant. Make a 12 x 12 px circle and drag its left anchor point further left. Convert selected point to corner from the control panel on top.

Drag and drop the created shape in the Brushes panel. Create a new Art Brush, leave its Options as default, and try it out by making a few strokes. Adjust the Width, if needed, making the plant look nice and proportional.

Step 7

Now that all the leaves are ready, I've decided to play with the colors, making them look more natural and diverse. We can recolor objects either manually or using the Recolor Artwork tool from the control panel on top or from Edit > Edit Colors > Adjust Color Balance.

I'm using the third option, adjusting the colors of each leaf, trying different tints of green.

And there we have it! All our elements are ready! Let's move on and create a trendy pattern!

5. How to Design a Tropical Seamless Pattern with the Pattern Tool

Step 1

Select all the elements that we've created and go to Object > Pattern > Make.

Step 2

From here, head to the Pattern Options panel and set the following options:

Now we can see semi-transparent copies of our objects around the tile box, which helps us to visualize our future pattern clearly, making it look balanced and eliminating any gaps.

Start spreading fruits and leaves inside of the tile square, resizing and rotating them, making the elements overlap. Use the Control-[ and Control-] keyboard shortcuts to move the elements backward or forward.

Step 3

Start adding copies of the objects to fill the whole tile. Use the Reflect Tool (O) by double-clicking it to flip the shapes over the Horizontal or Vertical Axis and click Copy to make mirrored copies.

Step 4

Finish up by adding more leaves and make sure that everything looks balanced and harmonious.

Step 5

Now we can find our pattern in the Swatches panel (Window > Swatches). Create any shape to your liking, for example, a square and apply our pattern by clicking it in the Swatches panel. We can always return to the Pattern Mode by clicking the Edit Pattern button and move the elements if something doesn't seem to look good.

Step 6

Let's see how it looks on a dark background! Create an 800 x 600 px rectangle and Fill it with a deep dark-green color.

There we have it!

Tropical Vibes! Our Trendy Seamless Pattern Is Finished!

Great job! I hope you've enjoyed following this tutorial and learned some new techniques about creating brushes and applying effects. Feel free to use these tips and tricks in your future projects, and don't forget to share the results with the world!

If you want to learn how to create a seamless tropical pattern in Photoshop, we also have the tutorial for you.

Summer heat in a tropical paradise! What could be better? In this tutorial we'll create our own tropical pattern, making it seamless and discovering several...

Happy designing!

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How to Create a Tropical Pattern in Adobe Illustrator

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Summer is the perfect time for the most vivid and colorful designs! Tropical patterns are one of the hottest summer trends this year, and all these mixes of fruits, leaves and flowers look really great on fabric, apparel, and print media.

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What You'll Be Creating

In this tutorial you will learn how to create a cupcake icon in Adobe Illustrator, and starting from the first one, you'll create other delicious variations just by making a few changes.

Let's take advantage of the overhead view of these icons and be as creative as possible with the decorations. The four flavors that I've chosen are vanilla confetti, red velvet, chocolate almond, and blueberry cream. Let's begin!

If you are hungry for more food icons or vector icons in general, then Envato Market has you covered, with plenty of designs to choose from.

1. Start a New Project

Edit > Preferences > General Keyboard Increment , and while there, go to to make sure they are set as in the following image. I usually work with these settings, and they will help you throughout the drawing process.

2. Create the Paper Cup

Start by drawing a 190 x 190 px circle on your artboard with the Ellipse Tool (L). With the shape still selected, go to Effect > Distort & Transform > Zig Zag and apply the settings shown.

With the circle still selected, choose Expand Appearance from the Object menu and Ungroup (Shift-Control-G) if necessary. Fill the resulting shape with the linear gradient shown at a-45 degrees Angle. Let's name this shape " paper exterior ".

While " paper exterior" stays selected, go to Object > Path > Offset Path and apply a -3 px Offset. Fill the smaller shape with the radial gradient shown and name it " paper interior ".

Group (Control-G) these two shapes and name the group " paper cup ".

3. Create the Cupcake

Use Ellipse Tool (L) to draw a 170 x 170 px circle and arrange it in the center. Fill it with the radial gradient shown and name the shape " cupcake ".

While " cupcake" stays selected, take a look at the Appearance panel. Add a New Fill above the first and keep the same gradient. Go to Effect > Texture > Texturizer, apply the settings shown, and hit OK. Reduce the Opacity to 33%.

4. Create the Vanilla Icing

Grab the Pen Tool (P) or the Pencil Tool (N) and draw a spiral in the center (1). Stroke it with the Charcoal - Rough Art Brush from the Brush Libraries Menu > Artistic > Artistic_ChalkCharcoalPencil. Select yellow as the stroke color and set the Weight to 2 pt (2). Next, go to Effect > Stylize > Feather and apply a Radius of 5 px (3).

5. Decorate With Confetti Sprinkles and Cherry

To create the confetti, just take the Ellipse Tool (L) and draw as many small circles as you like. Fill them with various colors, and after that Group (Control-G) all of them. With the group still selected, go to Effect > Stylize > Drop Shadow and apply the settings shown.

Group (Control-G) all the shapes that compose the cherry and move them onto the icing. Draw a new circle about the size of the cherry, fill it with the radial gradient shown, and then set to Blending Mode Multiply. This shape will act as the shadow and should be behind the cherry.

At this point, the Vanilla Confetti Cupcake is ready.

6. Create the Red Velvet Cupcake

Now, we are going to transform the vanilla cupcake into a red velvet cupcake. First, make a copy of the vanilla cupcake, but delete the confetti and the cherry because you don't need them.

For visual purposes and to focus better on the changes that you need to make, I've hidden the icing group, but you don't have to.

First, select " paper exterior" and change the fill gradient, and after that change the fill color for " paper interior ".

Select " cupcake", and in the Appearance panel, change the two existing gradients to the one shown below. Increase the Opacity to 44%.

Change the fill colors of the three shapes that compose the icing, and after that change the stroke colors of the three spirals. The rest of the settings remain the same.

Use the Pen Tool (P) to draw a random but very small shape and fill it with red. Don't draw a circle because in the end, the red crumbs on the icing will look too perfect and regular. Drag this shape into the Brushes panel and choose New Scatter Brush.

At this point, the Red Velvet Cupcake is ready.

7. Create the Chocolate and Almonds Cupcake

Now, let's transform the red velvet cupcake into a chocolate cupcake. First, make a copy of the red velvet cupcake, but delete the red crumbs.

The paper cup remains the same. Select " cupcake" and change the two gradients in the Appearance panel.

Change the fill colors of the three shapes that compose the icing, and after that, change the stroke colors of the three spirals as indicated. I also made a copy of the smaller spiral and moved it to the top.

At this point, the Chocolate and Almonds Cupcake is ready.

8. Create the Blueberry and Cream Cupcake

Now, let's transform the vanilla cupcake into a blueberry cupcake. First, make a copy of the vanilla cupcake, but delete the confetti and the cherry.

The paper cup and the cupcake remain the same. Change the fill colors of the three shapes that compose the icing, and after that, change the stroke colors of the three spirals.

Move the blueberry on the icing. Draw a new circle about the size of the blueberry and fill it with the radial gradient shown. Set the Blending Mode to Multiply. This shape will act as the shadow and should be behind the blueberry.

At this point, the Blueberry Cream Cupcake is ready.

9. Add the Shadows

Select the " paper cup" group, go to Effect > Stylize > Drop Shadow, and apply the settings shown.

Repeat the previous step for the other three cupcakes. Apply the Drop Shadow effect to each " paper cup ".

Congratulations, You're Done!

Challenge your creativity and use these cupcakes as a starting point to create other delicious flavors, or decorate them in a different way. If you do, don't forget to share your re-creations with us. I would love to eat them.... oops! I mean, to see them!

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How to Create Delicious Cupcake Icons in Adobe Illustrator

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In this tutorial you will learn how to create a cupcake icon in Adobe Illustrator, and starting from the first one, you'll create other delicious variations just by making a few changes. Let's take advantage of the overhead view of these icons and be as creative as possible with the decorations.

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How to Create a Boston Terrier Illustration in Adobe Illustrator

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Some time ago, one of our readers asked me to teach her how to draw a Boston Terrier. I decided to create a tutorial to show everybody how to create it. Besides the fact that I had to create not...

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4 Adobe Illustrator Tools You Probably Don’t Use | Illustrator Shear Tool | Satori Graphics

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How to Design a Retro Poster in Adobe Illustrator

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Can’t live without your coffee
fix? This cheerful, retro-style art would make the perfect addition to any
kitchen—a visual companion to your morning brew. In this tutorial, we’ll be using
a...

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What You'll Be Creating

Vectoring hair in portraits can be a time-consuming process and is sometimes difficult to master in a short space of time. A few years back, I wanted to help solve this issue by creating a set of brushes in Adobe Illustrator. Since then, they have become the third best-selling AI brush on GraphicRiver!

In this tutorial, I'm going to show you how to create one set of brushes (four individual brushes) and then how to create a free-flowing, detailed hairstyle with them. You can easily adapt this process to create further brushes and hairstyles. Alternatively, you can purchase the full set of vector Hair Brushes on GraphicRiver.

Follow along with us over on our Envato Tuts+ YouTube channel:

1. How to Create a Tapered Art Brush

Let's start by creating a basic tapered brush. This is the base shape for this set of brushes but also a handy brush for drawing individual hairs.

Step 1

Using the Ellipse Tool (L), click once on your canvas, and in the popup, set the Width to 30 px and the Height to 2 px. Click on OK. Make sure your ellipse is filled black.

Step 2

Using the Direct Selection Tool (A), select the rightmost point on the shape. Then click on the Convert selected anchor points to corner button to turn the curve into a point. This will give you one tapered point.

Repeat this with the leftmost point. This will complete your tapered shape.

Step 3

With the shape selected, in the Brushes panel click on the button Create New Brush. Select Art Brush from the popup, and you'll be presented with the Art Brush Options window.

The key setting you'll need to change is the Colorization Method to Tints. As your shape is black, it means it will take on the 100% saturation of the colour you select. Therefore, whatever your stroke colour will be, your brush will take on this colour.

I've named this brush Tapered Brush and then I click on OK.

2. How to Create a Hairline Brush

The hairline of any portrait is often neglected and often missing in vector portraits. This is mainly because it's time-consuming and difficult to perfect. However, by creating a scatter brush, you can create a near-realistic hairline effect. So instead of drawing one stroke per hair, you're only creating one stroke for the entire hairline!

Step 1

You should still have your tapered shape. So for now, Copy and Paste it and hide the original.

Select your duplicate and go to Object > Transform > Rotate. Let's rotate the shape by 90 degrees and click on OK.

Step 2

With the shape still selected, in the Brushes panel, click on Create New Brush and then select Scatter Brush.

The settings I want you to change are:

The Spacing to 5%. This is so the brush will overlap on itself.

The Scatter to Random and then 25%/0%. This is so the brush alters its placement above and below where the line is placed.

The Rotation relative to: Path as I want the brush to stay perpendicular to the direction of the path you're drawing.

Finally, good old Colorization Method to Tints.

Then click on OK.

3. How to Create a Hair Shine Brush

The hair shine brush can be used for multiple things, depending on how you tailor the brush. This specific version will help you create a textured shine on the hair. When layered at different Opacities, it can give a realistic touch to a silhouette design.

Step 1

You should still have your vertical tapered shape. Copy and Paste this and, using the Selection Tool (V), move it to the side of the first. Repeat this until you've got five to eight shapes as shown below.

Step 2

With the shapes selected, let's create a New Art Brush. The main settings to pay attention to are:

Direction is vertical (up/down or down/up doesn't matter with this one).

Colorization Method: Tints.

Click on OK once you're done.

4. How to Create a Hair Piece Brush

This particular brush is useful for drawing multiple clumps of strands in one stroke. This is a great time-saving brush and can be useful for long or short styles of hair.

Step 1

First, remove your vertical tapered shape, and let's go back to the original horizontal shape.

Using the Rectangle Tool (M), draw over half of the shape. With Smart Guides ( Control-U) enabled, you'll be able to find the midpoint of the tapered shape more easily.

Select both shapes, and with the Pathfinder panel, select Minus Front. You'll be left with half of the tapered shape.

Step 2

Let's start by Copying the tapered shape. Using the Direct Selection Tool (A), click on the rightmost point and drag it out.

Paste in Front ( Control-F), and then drag out the rightmost point again but this time pulling it to the side.

Paste in Front, drag out the rightmost point again, and place it in a new location. Continue doing this until you've got a fanned-out collection of tapered shapes, with the two vertical points at the left remaining in place.

Step 3

Select all of the fanned-out, tapered points, and create a New Art Brush. The settings to pay attention to are the Direction to be left to right (so your starting point is the root of the clump of hair) and the Colorization Method to Tints. Then click on OK.

5. How to Use Vector Hair Brushes

Let's look at the four brushes you've created. These are all the same Stroke Weight, apart from the clump of hair, which is 3 pt. They've been applied to a straight horizontal line.

For this exercise, I'm going to be using a blank head shape which is included in the Easy Hair Brushes pack so you can practice. However, you can apply these to any head base you wish!

Step 1

This hairstyle is going to be in silhouette, with some added shine in greyscale. With the Pen Tool (P), draw a line which traces along the hairline. Don't bring this completely to the bottom of the sideburns on a feminine face. You can, however, do this on a more masculine face to create trendy, 70s-style sideburns.

Step 2

Using the tapered brush and the Paintbrush Tool (B), add some hairs to merge the sideburns into the hairline.

Step 3

With the Pen Tool (P), draw an arched shape with a black fill for the mass of hair which covers the rest of the head. This completed hairstyle is an overall great base to practice further hairstyles on. So if you're not keen on the free-flowing style that's coming, you can go back to this point and start again.

Step 4

Create a New Layer behind your portrait to add hair with the Hair Piece Brush with the Paintbrush Tool. The smaller the Stroke Weight, the more detailed the hair strokes will be.

My advice is to start with a larger stroke (such as 8 pt) to create the main structure of the hair, and then come down gradually to a 1 pt to add finer strands for a more realistic look.

Step 5

With the original Tapered Brush, you can add smaller individual hairs which flow away from clumps of hair. This helps to break any patterns you may have created with the Hair Piece Brush.

It's also great to have individual hairs overlapping onto the face or shoulder as that adds effortless detail.

Step 6

With the Hair Shine Brush, draw long and short strokes within the mass of hair set to Blending Mode Normal, Opacity 10%, and with a white stroke.

Make the strokes overlap to create more intense shine effects in the hair.

Step 7

Finally, with the tapered brush by adding white strokes to add further realistic shines. Set these to Opacity 20% to stand out.

Awesome Work, You're Done!

You'd be surprised how quickly you can create hairstyles with these brushes and how realistic you can make them. With practice, it will take you minutes rather than hours!

By creating several different brushes to fit different hair length, textures and styles, you can create many different looks.

If you're interested in purchasing the whole Easy Hair Brushes for Adobe Illustrator set, they're available only on GraphicRiver.

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How to Vector Hair With Brushes in Adobe Illustrator

# data[].attributes.attachment_link.description
Vectoring hair in portraits can be a time-consuming process and is sometimes difficult to master in a short space of time. A few years back, I wanted to help solve this issue by creating a set of brushes in Adobe Illustrator. Since then, they have become the third best-selling AI brush on GraphicRiver!

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How to Create a Set of X-Men Avatars in Adobe Illustrator

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Are you waiting for the new X-Men:
Apocalypse movie as much as I am? Let’s get ready together and follow this
tutorial to create flat, faceless X-Men avatars! We’ll discover some useful...