(curious, ethereal intro music)
- How are you guys doing today?
Good? (crowd whistling)
That's some good energy over there.
I like it.
Thanks so much for joining me.
My name is Paul Trani, I'm going be diving
into new features, pro tips and timesavers.
All the fun stuff in Illustrator, right?
So, that is the plan, I'm so thankful that you are here.
I am livestreaming a lot when I am home,
so if you follow me on social media,
feel free to take a picture of that.
That would be great.
Yeah, it's usually on the Illustrator Facebook page
is where I do a lot of work.
So, happy to interact with you beyond today.
So, this is kind of intermediate, advanced.
Skip a lot of the fundamentals, the basics.
Might cover some of the fundamentals,
but we're gonna stick to the basics.
This is kind of everything we agreed to, you know?
As a team.
But it includes pretty much everything.
I tried to organize it in a way that's easy to consume.
So we're gonna make an illustration, is the idea.
Yeah, kind of go from there.
This is just the basics, in case you wanna know the basics.
It's like a cheat sheet, how to use the various tools.
You know, roughly the fundamentals.
So, that's available to download,
and also this next one, as I change the slide...
Just talk amongst yourselves.
Don't mind me.
There we go.
Have an issue, but nonetheless,
that's where I've actually recorded this whole session
in five different categories,
and you can watch this later on at your perusal.
Because I know these conferences,
a lot gets thrown at you.
This is gonna be all about new approaches, new concepts.
Best practices, case studies, advanced skills.
All that fun stuff.
New Adobe products.
Like, I know you guys saw Illustrator on the iPad on Monday.
That was pretty cool, yeah! (audience applauding)
So, I might dive into that at the end.
Just don't tell my boss, all right?
And this is kind of how I broke it down.
We'll talk about setting up Illustrator.
We'll draw, we'll create shapes,
we'll dive into colors, typography,
getting into effects, transforming and manipulating shapes,
that sort of thing, to create cool...
Cool designs, I guess, at the end of the day.
And then managing and outputting artwork is the plan.
But let's talk about optimizing Illustrator.
(coughs) Excuse me.
That's what I wanna do right now, you know?
Optimize it for my setup.
And let me just...
This is going to be the end of the slides, okay?
I'm gonna be doing all of this.
So, let's just hide that.
Here I am in Illustrator.
You do know that, and this was released in the last version,
the fact that I can change the toolbar?
Just by clicking right down here,
I can come in here and I can change that.
In fact, I can just reset it back to the way it was.
This might be how it looks.
One reason you might do that is,
you'll be clicking around, looking for a tool
and you accidentally click on that one.
Did you ever do that?
Like, oh, great, this perspe...
Wait, just go away!
That's not what I wanted, just go away.
And then you go online and you have to do
some research and find, okay, where is it?
Hide Grid, okay, thank you, go away.
Right, but at this point, all we need to do
is come over here.
I love you, Perspective Grid, but...
Most of the time you can be tucked away.
So, just pulled that off, and I can always bring that back.
And you can always orient these any way you want.
If you really wanted to mess with somebody,
you could flip these two, the direct selection?
The selection tool?
"Man, I thought I clicked the white arrow,
"the black arrow, I don't understand at this point."
Mess with people.
Remove a tool.
Don't do that.
Or do it, I don't know.
Maybe, for April Fool's.
So, let's dive into this now.
We have that set up.
Optimize it the way you want.
I usually just remove that one tool,
get it set up the way I want.
And oftentimes, typically when you start a new file,
you don't have as many fun colors and settings
as I do over here.
So, if I went to just a typical document,
I might open this up, and this is looking kind of sparse.
It doesn't have all the cool gradients
that we're used to using today.
And so I find myself making gradients
over and over and over, like, the same ones.
And I just got tired of it.
We can have a swatches panel.
Yeah, we can save out that swatches panel
and load it up, but what you can do is,
you can have your own swatches panel
with all these gradients and all these patterns
to be used at any point in time.
Have all your brushes as well.
Load those up and have fun with those.
You do that once.
You can have various symbols, graphic styles...
Everything in Illustrator.
Like, you just stack this document, is what I do.
And then it's just a matter of
saving it in the right location
so I can literally take this...
And actually, I have it right here.
Let me show you this file.
Just to visually show you everything that you can save to
your startup Illustrator file.
So you never have to go searching
for that gradient or that graphic style again.
But a total of over 22 things.
And all you need to do is just save it
to this New Document Profiles, is where I put it.
New Document Profiles.
Illustrator 23, maybe?
We will check in a second.
Save this, New Document Profiles.
In fact, let's just save this to my desktop
and we can go there together.
There's my file, we will save that.
Okay, Adobe Illustrator 24.
So, if you did update as of Monday, here it is.
New Document Profiles, that's where it goes.
You can actually already see that I have one.
I call it SuperDuperPowers.
Call it whatever you want.
Drag that file in there, and that will be there
next time I launch Illustrator.
So, set that up once and you're good to go.
So, let's move on.
We got that good.
We can begin, so, File, New.
And it's gonna be under Print...
I can see my SuperDuperPowers right there.
So I can select that and launch it.
So, I know this does talk about new features,
and I almost want to kind of apologize.
Be like, hey, I wish there was all these cool new features!
I think Illustrator can already do a lot,
and honestly, it's hard on marketing.
We're like, "Oh, it'd be cool if
"we had this cool new feature we can talk about."
When really, sometimes what we need to do
is just optimize Illustrator, make it work fast,
and solve any problems anybody has in Illustrator.
So, that really is the goal
of this version of Illustrator going forward.
It's not exciting from marketing's perspective,
but it's much needed.
And as I dive into more advanced graphics,
you'll just see Illustrator performing really well.
Speaking of which, we can take a look at this.
Kind of dive into it.
I have various tools.
We don't need to get into these different tools.
We understand the fundamentals.
We understand how to create shapes.
There's some additional features you might have in here.
You have the star.
You can hold down the ALT key and get a true star.
I can add points by pressing the up arrow, the down arrow.
You get the idea.
I can hold down the Command key,
and I can make more of a shallow pointed star,
just like that.
Now we have something more like a badge.
That might look pretty good.
Maybe select the direct selection tool and round that.
Now I, again, have a nice seal, all based on the star.
Just showing you what you can do
with those various alternative keys.
Option, Command, Control.
This is one thing that annoys me,
and maybe this happens to you.
You set something up, and something's skewed like that.
You're like, no, no, no!
I just want this to be flush, 90 degrees.
That's how you're gonna line it up with everything else.
Well, that's right up here, under Objects.
Transform, right down here.
You can just reset that bounding box,
for all you perfectionists out there.
You're like, "Okay, that makes me feel much better.
"This makes me feel good, thank you."
I think one issue with this is
it's unlike the...
Ultimately what I want with a seal
or some sort of badge is
I want to be able to manipulate it later on.
I kind of want it to be a live shape
like we do with circles.
I can go ahead and take that notch out,
and it's like a live shape that I can manipulate later on.
And to be honest with you, you can't really do that
with the star that I just created.
It's not necessarily a live shape.
So, I want to kind of answer that question
of what if you wanted to change this later.
What I typically do there is create a circle,
go to Effect, then down here, we can go into
Distort & Transform, Zig Zag.
Zig Zag, there we have...
It starts adding these various ridges per segment.
There's actually four segments here
that I can start to crank up and now
it starts to look like that star, that badge.
And as we take a look, we take it to smooth,
and take that down, and we can add more ridges as well.
But what's nice about this is that
this can be changed later.
I have this different badge,
and over here in my Properties panel,
Zig Zag's right there and I can change it later.
Super easy to do.
Properties panel being a first class citizen now.
Most of the settings that I deal with,
and things I want to change is in my Properties panel.
If I wanted to align these two, I could select 'em.
I don't have to go to the Align panel.
Properties panel like, "No, let me serve up what you need."
And here you can see it aligning how I want.
So, I like to have that Properties panel up,
and I can continue working with...
Let's get a fun shape.
Let's take this down, something like that.
Maybe change the gradient and dive into...
I mean, Illustrator's been around 30 years.
It has tools.
It has things that you may or may not be using,
or that you've also forgotten about for sure, if you ask me.
If you start to take a look, even as you click...
Yeah, do we need another tool?
Look, there's too many!
Look at all these, there's so many!
But I do want to point some of these out, like Warp Tool.
When would you use that?
Any time you wanna manipulate something as if it's liquid.
I'll go ahead and select that, come over here,
and we'll just pull this down
and make it kind of look like it's melting.
It's a little large, the current brush size that I have.
But for a lot of these tools, as I click on the Warp Tool,
I have all of these other settings.
So, maybe you did try a tool at one point.
You're like, "Eh, that didn't really work for me."
Chances are, you have the ability to change that fun stuff.
Let's increase the intensity.
Make it super strong, click OK.
And also what it says in there,
you can also use the Option key to change the size.
We'll just kind of jump in here and...
I'm just trying to make a cool hipster triangle.
Is that okay?
Like an album cover, melted.
You've gotta have a triangle, right?
If it's gonna be a cool hipster thing.
Gonna spend the rest of the time on this.
Easy enough, that looks good.
I'm working on my album cover art,
it's gonna be awesome for my new band.
It's gonna be fantastic.
I'm gonna get into more of this,
because it's like your tools have tools.
You double click on them, they have little surprises inside.
I'm gonna get into some more of that as well.
Covered most of this.
I'm gonna move on, I'm gonna get into some of this.
Let's turn that off.
Nice face right in here, just to keep this simple
as we take a look at just doing
some really straightforward drawing, in this case.
So in this case, we'll just have a nice black line,
and we could use just the pen tool.
I can come in here and click.
We all get how this works.
As I click around, you guys don't need
to really see a lot of this.
But even as you're clicking,
we understand how these curves go,
but I also wanna be able to modify this as I'm drawing.
As I click, that looks pretty good.
Oh, I clicked too far out there, obviously.
I'm gonna make her look ridiculous
if I give her this big of a chin.
I can hold the space bar down
and you can pick up that point.
So, before I let up on the mouse,
I can press the space bar.
It's like, okay, let's adjust that back up
and add that curve the way I want
as I start to move it on in.
Even right here, I could probably
change that to something else.
So I can still draw, and I'm thinking, you know what?
That line, as I'm drawing,
I can hold on the Option key and then
modify this portion of the line,
and then continue drawing with the pen tool.
So, you don't need to switch to these different tools.
A lot of times, if you just press that Option key,
that is a new tool, and I'll get into more of that.
And again, you can obviously see here
I messed up on her nose.
What is that?
Kind of ridiculous.
But ultimately I would fill this in.
We'll fill it in with a little black
and ignore that line as I start to create this face.
Here, let's add some highlights.
It's looking pretty good so far, just using the pen tool.
I'm sure a lot of you use it.
You probably maybe don't use something like the pencil tool,
because it can be a little unwieldy.
As I jump in here, and I might work on her hair,
and I'll draw out her hair,
and as I draw you can see, yeah.
I don't know if she needs to shampoo or conditioner or what,
but let's work on that.
Essentially what's happening there,
if we double-click on the pencil tool,
the fidelity's set up way too high.
So, this is way too accurate for your own good,
especially if you're using a mouse.
We can take that to smooth, and then again,
we get all these additional options as well.
So, that's what I'll typically do.
By the way, if I wanna redraw this line...
let me change that line color so that everybody can see it.
Right, we get a couple different options.
So, right now, my pencil has this little star, says,
"Hey, I'm gonna make a new line!"
That's what it's saying.
As I roll down here, it says,
"Hey, I will continue this line."
And it will continue it this way, if I want to.
But now if I roll over any part of that segment,
it's actually gonna modify that line,
and that's ultimately what I wanna do.
Just rolling over this and then drawing.
Even with my bad drawing skills with a mouse,
it creates these nice smooth lines.
So, we change that fidelity to smooth.
We can always redraw over a previous line.
Just roll over it and say, you know what?
Let me redraw that.
It's not select, delete, go back to the tool,
select, delete, until you get it right.
Another thing I'm noticing as I take a look at this.
Since I'm making her hair.
I like that.
That curve looks good.
I might change the width profile
so it's kind of pointy on one side.
As I flip this as well, there we go.
So, we have that nice point on the end.
That's how it should look.
I'm like, okay, that's perfect hair strand,
congratulations, it took me a minute to make one hair.
And then I'll go in and I'll start adding some more.
It's like, ugh, I got this right.
Ah, come on.
Why you defaulting back to the old line?
I gotta go back in here.
I gotta go in and change it.
I gotta go over here and change this one,
or try to select them all and then change it
when really I just want the last used line
every time I draw.
That's ultimately what I want.
So, I keep it this way.
So, I'll delete these others.
Again, I want this one, as you can tell, any time I draw.
That's kind of hidden, and I'm gonna show you this.
I think this is...
I don't know why they made it confusing (laughs).
I think they made it a little confusing
so it doesn't screw you up later on.
You've got to be very deliberate when you check this box.
But it's basically saying, hey.
New art has basic appearance.
New art is always gonna be a solid line.
That's it, it's always gonna be a solid line.
Doesn't matter what you selected last.
In this case, I don't want that.
I'm like, use the last used appearance.
So, uncheck that, and that's gonna be
my last used appearance.
And again, let me flip this.
There it is, that's what I want.
And I can make this a little thicker
just so everybody can see it a little better.
As I draw, it has that same thick line that I can work with.
So, if you are doing a lot of something,
jump in there, change that,
and then start drawing and having fun.
You don't have to worry about changing those settings later.
I don't know, she needs Frizz Ease or something.
Look at all these flyaways. (audience laughing)
Is that Frizz Ease?
But even now, I'm drawing all these lines.
It's still gonna take me a while to make this look good.
I'm drawing a line for each hair.
It's gonna take forever, right?
There are faster ways to do things.
And I would actually look to brushes.
And I think we typically think of brushes,
by the way, right over here,
as being these very extravagant things.
You can use them for very simple approaches.
'Cos what I have, actually...
Let's roll up here.
You know, something like this.
Bunch of shapes, just some hair.
More than one, taking all of those,
dropping that in there.
Let's make it an art brush.
Okay, making it an art brush,
it's just going to stretch it that direction, right?
And you can see I've done this a number of times.
But as I draw, there's the hair.
So, let's get this just right.
Kind of make it a little thinner.
But now, at least, when I draw,
I actually have multiple hairs that kinda weave in and out.
So, this is a way to really
add lots of lines, even though
I'm doing very few strokes at the end of the day.
That's typically what I do.
I need help with this.
Good thing I already added some work.
This is why I don't do any hairstyling whatsoever.
That's why I did not go into that field.
This is looking crazy.
It's looking crazy.
Let's go beyond that, by the way,
'cos we can do some more advanced things, as you know.
Here I have, it's like a snake.
So, I can take this part of the body,
drop it in there, and I can turn this into
something like a pattern brush.
And any time you use a pattern brush,
you can define the corners, like I'm doing right now.
Maybe auto-center them.
And then you can define the tail and the head.
Right down here, tail.
I hope that works out okay.
It might not.
And then the head.
Let's see what happens!
Let's see together.
There's my crazy...
Oh, yeah, that's not quite what I wanted.
'Cos that's my swatch right up here.
That's what I did.
I just dragged it in there
and I did not change this particular pattern.
I think that size is off,
but luckily, I actually have one right here.
We can see I have just these individual components.
Here's a new pattern that just has that portion of the tail,
and that's actually what I used for this design.
So, here's the head, here's the tail.
What you do is you usually take that graphic, by the way,
and you drop it right into the Swatches panel,
and that makes the pattern.
I screwed it up earlier, and that's definitely my fault,
but I could fix it right now if I want to.
Drop those two in there.
The issue comes into play that
I did not name that, but here is my...
That was the first one.
Let's make a second one really fast.
Boom, boom, boom.
Change this, and then pick those new ones.
And that's just a matter of scrolling down through
all these fun patterns and finding it.
There we are.
It's the tail, there's the head.
You get the idea.
But the nice thing is, literally,
I've set this up once and I could use this
as many times as I want, which is why I have
all these various elements in here that I can use.
Get rid of that.
Use that one,
and there we have our fun snake.
We can kind of go and work on our album art.
Do this and just draw a snake that I can fully control.
And this is, of course, why I love Illustrator.
It's the fact that, you know what?
Other apps don't let me manipulate this line after the fact.
So, that's what I have right there.
Let's go ahead and turn that on.
As well, some other things I actually wanna show you.
What I have going on here with these...
Even these midtones.
You already understand brushes,
but I do wanna show you even for this shading,
I made that a brush.
Because initially, it was just flat,
and I said, hey, let's make a brush
that's gonna add to that gradient
and just have this nice gradient
from that light to that dark.
And I can change that pattern at any time as well,
and that's what all these are.
We can see them off to the side.
I can select this one, you can see that's a dark one.
And again, I can change that pattern
as I start to narrow that down,
as well, to something smaller.
So, again, that's what I used for this face,
just to do the shading, I can change that any time.
Let's see what the rest of this looks like.
So far so good.
There's the rest of the tail, something like that.
This burst right here might be a star that I used.
Another little fun pro tip, as I take a look at that.
Any time I want a cool burst,
I'll take just a simple circle,
and let's do this with just a little different color
so everybody can see it right here.
There it is, that's pretty straightforward.
Properties panel, changing the stroke.
Let's make it a dashed line.
That looks pretty good.
You know what we could do?
We could start to crank up the dashed line size,
so we can change that weight to 100,
and make this as large as we want.
Let's go, like, 500.
But you get the idea.
I have that fun sunburst,
and that's all made with a dashed line
that I can actually control the thickness of
any time I want to.
Right, go in here, you get the idea.
Perfectly symmetrical, nice and neat.
Looks great for this new emo band or something
that I'm gonna be a part of, I guess.
All right, easy enough.
We understand drawing, brushes...
I'm totally happy with the pencil tool.
I can't wait to show you Illustrator on the iPad,
'cos I think that makes creating lines even easier.
We have these optimized lines as well.
I know they showed this yesterday,
but even when you do happen to create
something that is a horrible line, we actually optimize...
This line that you see right here.
Let's go ahead and get rid of all that craziness.
But all these points?
We've optimized the fundamentals, which is Simplify.
We want to Simplify.
It doesn't change the shape, but you can see
there's, what, six points there?
And the same shape.
It automatically configures that,
and you can get in and tweak that all you want.
So, it's taking a look at some of these tools
and saying, "You know what?
"We can make them work better."
And that's what we're doing at this point, which is nice.
Right, that's done, let's move on.
We've got more things to talk about.
We can get into colors right now.
So, I have my illustration.
I did throw some color on it, and some various things
to make it look pretty good.
Kind of see it right there.
We can talk about color, which is super important.
How many colors do you think are here?
You don't have to start counting.
But how would you know how many colors are here?
There is a sneaky way to tell.
Some of you might know this, but
if you go into Edit, Edit Colors, and Recolor Artwork
you can see right here it says,
"Hey, there's 28 colors in this selection."
And if I had the whole file selected,
tell me how many colors are in here.
Do I need this many?
I wanna show you guys something else really cool,
'cos I need to do this a lot.
Illustrator's so good with exactness.
It's almost not good with randomness,
and sometime, in this case, I want maybe
a spattering of five colors placed randomly, or something.
How would you do that?
And this is where I typically use...
I don't use a lot of scripts.
I have a lot loaded, but I love this one.
So, I get to determine the colors.
I'm gonna pick the colors, the swatches,
and randomly fill them in the objects that I select.
So that's what I'm gonna do.
I'm gonna go over here, say, okay.
(coughing) Excuse me.
We'll go just from the reds to the greens,
selecting all those.
Go down to Scripts, RandomSwatchesFill,
and it goes from the reds to the greens.
And I can do this a number of times.
Makes my life easy, which is fantastic.
So I might try that, at least give me a place to start with
since I'm working with some random colors.
But then I'm like, oh.
I would really like to tweak this a little more,
and that's when I go into Edit Colors,
and recoloring this artwork, right?
And again, we can see that we have eight colors.
That's not too bad.
We could always pare that down,
and I encourage you to do this,
especially if you want a five-color print job,
you can change that to five,
and it starts to group those together.
And I'm thinking, okay, it added this green to the yellow.
Maybe I don't want that.
I can just click and drag that, say okay.
That's more of an equal spread
of all these colors, as you can see them right there.
We could take a look at where those colors are being used,
as I select those, those, those, those.
So, we have a lot of control here.
Typically, what people show in Illustrator is
editing the colors in Recolor Artwork.
But I typically take this down to five,
because it'll give you
five different color stops to work with
that you can then lock down and then tweak accordingly,
like I'm doing right now.
So, if you can see that,
we can get some different options.
You do have a lot of control in here.
I think what people usually do is
they just click on the different color groups
and watch it change, which is totally awesome.
But this gives you so much control on the specifics.
We can go for something bright,
even if we wanted to make everything maybe a little darker,
we can make it a little bit more muted as well.
So, full control over each one of those colors.
Maybe cranking it up more.
It's a bright, sunny day,
so I'm gonna go with this color palette.
Oh, and by the way.
In making these colors, when you add a color, boop!
Just make sure it's a global color.
This is checked by default.
In previous versions, it wasn't.
Says, "Hey, you know what?
"You're gonna just be your own color."
But this makes it a global color,
and you guys know what happens there.
It's like, okay, boom.
That's gonna give it this little notch.
Says, "Hey, I'm a global color."
As I click on it, I can see that color there.
I can select it here.
I can select the same fill color,
and that's how you find out where it is.
But use global colors to define your colors.
RandomSwatchesFill with more control using Recolor Artwork.
But we can get into gradients now as well.
You get it.
Radial, linear, yeah.
You know how that works.
Let's get into this one right over here.
Let's pull out this gradient panel.
(singing) For this last one right here.
We introduced this in our last version.
Yeah, again, linear, radial,
and then we have freeform gradient.
Usually if it's some sort of rectangle,
it's gonna give you these color stops.
Take that and move that around.
But I'm really into this.
I'm gonna take this, I'm gonna cover this whole
space with it.
And you can see, I have
these different color stops right in here.
So, taking this one, let's click on that one.
Let's change the color of it.
I want, actually, kind of a nature scene,
so maybe we will change this to a green.
Have this be a yellow.
Maybe I want an orange in the middle.
I can add that right in here,
and you get these new color looks
that you just didn't have before.
And look how they're blending.
If I change this to red, we start to get
these fun purples and stuff.
Like, you just couldn't get this before!
You'd have to use Photoshop or something.
But again, this is still vector.
I can manipulate this like all I want.
I'll change this back to a green,
because I'm kind of doing a nice scene.
A nature scene, with a fun little toucan.
Here's my toucan.
Dive into the shape.
You have more control.
You can do your color splashes, make things super easy.
Do the same thing here, as I open up the Gradient panel
and start to work with it.
Let's do this.
Easy to work with, just drop in some color.
But I wanna get into another feature,
because this is what I do here.
I want, actually, a more specific shape.
I really want to take this...
And I'm already into this.
This is super cool.
We will make this green, boom.
And that might be down there.
But I might want a cool highlight up in the top,
right up here.
So, I can actually have a line as well.
So, hopefully you see that.
Change that to line, fantastic.
And we can have a curve.
And usually I'll pick the color first,
so if we want it to be a very light color like that...
Because again, I want it to be kind of the same color
but I can build that arch.
As I select that color...
You get it, I'm just curving that out.
And again, I could add
all the shading and curves that I want.
And think about this, because you can...
If you're making something like smoke or steam or something,
these color stops can also be transparent.
So you can have white fade to transparency.
So, you can use this freeform gradient
to basically draw with those lines, which is super fun.
Let's move on, absolutely love that.
That's looking pretty good.
There's my final, that's much better.
Spent more time on it.
You can see that arc right there, adding that highlight.
Super cool, let's move on.
We've got more to talk about.
Talk about John Mulaney.
Anybody go to Sneaks last night?
Yeah! (audience applauding)
Wasn't that fun?
You guys had a good time?
I had a blast.
John is the man, he was hilarious.
But one thing John won't stand for is this.
That kind of...
He is too good.
He's too professional to let this happen.
So, what do you typically do in this case?
You take that, you outline it,
and then you group it together.
You'd basically do a pathfinder,
united that all together as one shape,
and then do a fill, and all that stuff.
But you don't have to do that!
Basically what you do is,
you take the Appearance panel.
You're like, okay, let's just add a new fill,
and that new fill will have the color that I want.
So, that's what we do there, super simple.
It keeps this text, as you'd guess,
editable in case it was spelled Jon.
But it's not.
So, we got that right.
We could start to layer that stuff,
so you could have a lot of fun with this Appearance panel.
In fact, most of these graphic styles that you see
are done with this Appearance panel.
Layering on, fills and strokes.
You wanna have multiple gradients?
You see people like, "Oh, I wanna have
"a highlight gradient up here and then
"a darker gradient making the shadow going up,
"and you want these different highlights."
It's gonna mean adding that new fill
with that new gradient going to transparent.
Don't create a new shape and put a new fill on it.
And just kind of show you some of that,
we can take this.
I already have some made.
We can take a look at them.
Let's click on this one.
Bam, there it is!
Oh, so sparkly!
Sparkly MAX Sneaks.
That's what we want, and you can see this Appearance panel
get loaded up with strokes and fills as well.
You're also seeing these cool sparkles.
Those are pretty awesome, yeah?
Those little highlights?
Like, where does that come from?
That's the Scatter brush.
Literally one little burst that you would draw,
you drag that into the Brushes panel
and then you just adjust the scatter.
In fact, we could take a look at it if you want,
just to give you an idea.
Here it is.
Again, if I had that shape, you drag it in here.
It's gonna scatter randomly from 2% to 11%.
The spacing is also gonna be random as well,
and the rotation.
And you apply that.
That's a brush that's being applied to the line.
Pretty cool, though, right?
"Yeah, Paul, it's pretty cool!"
(man wolf whistling) Thank you!
That's all, just looking for a little affirmation.
Into it, I like this.
This is what I'm going for.
And still having the control,
knowing that this is editable text
that I can change at any time, which is awesome.
All right, so let's move on.
Since I was working with typography,
let's continue to talk about typography,
and working with typography, as I even take a look at this.
Let's click in here.
You do have this default, by the way,
which you may or may not like.
We could see, Myriad Pro.
I don't know we ended up with
Myriad Pro as being the default.
It's cool, sure, if you're into it.
You could be working in
whatever corporate environment you're in
and you want that just a default,
a Helvetica New, or a Futura, or Papyrus.
Do that on somebody else's machine.
Oh, my goodness.
Now I have to show it to you.
Character Styles, so that's right here.
If it's in brackets, it means it's gonna be the default.
So, I double click on that.
You can see this is Myriad Pro.
This is where I would typically change it
to something else.
I already hit OK.
Papyrus, (sighing) how dare you.
That's what I did.
Yeah, that's right.
Change the size, you get the idea.
Oh, man, just in your face.
Hello to your new default!
This is why I'm glad we have designers at Adobe, by the way,
because we know to not set the defaults
to something like this.
This was not a good idea.
But feel free to mess with people, by the way.
That's in brackets.
So, when I made that first setup file,
that's what was going on in here.
My default is Acumin Variable Concept currently,
because it has a thousand versions.
I can adjust the weight and width and height,
and all of that fun stuff.
So, that will be the default there every single time.
It's gonna be exactly what I expect as I start to create.
Not a huge fan.
Again, I would make it Acumen.
Something like that.
Let's dive into this.
By the way, I don't know if you've...
We have so much to talk about.
So, taking this, let's take this text.
Let's just, T-H-I...
Do something like this.
There we go.
There we go, there we go.
So, variable concept fonts, super fun.
We have this, says thin.
There's pseudo-bolds and all that stuff,
but we wanna use the bold, of course,
that the type foundry already created,
and that's what I can do right over here.
Any time you see a variable,
it's gonna say variable in there.
That means there's gonna be this little icon.
I can say, okay, let's change this weight.
Let's make it really thick right there.
Let's take this next one on down the line.
And what it's actually doing,
it's actually shuffling through all those fonts.
And I can show you them.
If I twirled this down, there's so many in here
that it's rifling through,
and it's basically different weights of this same font
that were made.
So, we have weight, we have width, we have slant.
You kind of get it.
We can make something fun.
And ER, you know, and make it thinner and thinner
as I go through this.
But let's go beyond that,
because I think some foundries have done some things
that are really fun as well.
Let's take that, let's move it over.
Because I wanna introduce you to this fun one.
We have that one.
That's kind of a cool idea for a logo.
What if we wanna do something a little more fun?
So, we'll think of the word 'disco',
and I will show you the font is called Cheee, C-H-E-E.
Sorry, I don't know the foundry offhand.
Cheee Variable font.
Let me actually modify it up here at the top
so we can see this all happen at once.
There we go.
'Cos again, we have that same setting
right up here in our options bar.
Here, they have something called yeast.
You have yeast, gravity and temperature.
So, let's add some yeast to this.
You can see, you left it out
on the counter way too long.
That's the yeast that you're adding.
Which is so cool!
After you eat all that bread,
that's what it feels like.
And then there's temperature where it's melting. (laughing)
So, anyways, those are some fun things that you do
with these variable fonts.
These are the foundries making individual...
They're actually making individual versions of this font
at that different size.
So, they're doing all the different variables for you.
What you might have saw last night was...
I don't know what it's called.
Awesome Fonts, or Text Magic?
I don't know, Text Awesomizer?
I don't know what we landed on with that.
What that was is,
we have deep control over these vectors.
So he was programmatically manipulating all that stuff,
and turning those controls over to you
so you could start bending all those vectors,
and that's what that Sneak was about last night.
And making him dance and controlling it
with the brightness of your device, and all the things.
But anyways, variable concept fonts.
Super cool, keep an eye on those.
Obviously they're giving you
that flexibility that you want and even more.
Going back to something pretty straightforward,
our whole goal is to keep things editable.
Even when I was applying whatever colors and all that stuff,
keep stuff editable.
If I wanted to have some fun with this,
this is kind of boring straight across.
I might wanna add some randomness to this,
'cos it's a scary movie,
and I wanna have that randomness.
You don't have to go in here and Create Outlines
and break it apart and all that stuff,
and start moving it around.
Just jump in here and just use the Touch Type Tool,
which is actually made for touch screens,
like Windows Touch devices.
But we can use that, obviously, anywhere.
Touch Type Tool.
Selecting this, we can kind of move this down.
We'll take this, we'll move it up.
We'll just have some fun with this text
as we stagger it and come up with
an interesting composition
while keeping these characters
not only controlling the spacing,
the width, the height, the spacing,
but also the rotation.
So, we can take this, we could rotate it.
We could make it smaller.
So, if you want to control those basic transforms,
you could do that with text.
And, by the way, the great thing is,
this is all one line, boom boom boom.
'Cos chances are I misspelled this, and I don't know it
until somebody looks over my shoulder like,
(laughing) "Yeah, you didn't even spell that right."
I can correct that right away, because it's still text,
and that's all using the Touch Type tool.
And it just makes it fun and easy to work with,
to be honest with you.
It makes it also easy if I even wanted
to change this font altogether.
As I start to play with this,
let's get this into position.
Something like that's kind of nice.
Sure, why not?
All right, it looks like the Itching Hour (laughing).
Who's been there? (all laughing)
Ah, it's the Itching Hour (laughing)!
Anyway, multicolor fonts.
Again, super fun to work with, multicolor fonts.
I wanna show you a practical use for it,
but also a fun use.
We can make all these fun ones.
Abelone, ahh! (groaning)
Can't remember her name.
Did I write it down?
Oh, thank you!
See, I know myself well enough to know I'm gonna forget it.
Maria Grunland made this font.
I think it's fantastic.
It was animated last night in Sneaks,
all those different colors and everything.
But these are all these fantastic fonts
that people have made
that you can go ahead and use.
Multicolor fonts that you could actually make as well.
So, we can dive into that.
Even as we take a look.
We'd use a control world like 'adhesion'.
We create all these letters,
and we're gonna have most of the alphabet.
And from there, we'd start working on this.
Typically what I would do is
maybe use one as a guide and then just
start doing all your drawing over it.
So, adding your own shapes, making your own alphabet.
Luckily, I've already done that.
You don't need to watch me make 26 letters.
I'll just turn this on.
So, some abstract shapes.
If I twirl this down by the way, you can see,
I actually grouped everything together.
So, the A is right over here.
It's grouped, B is grouped, C, D, you get the idea.
Everything's looking good.
These guys are here as well, by the way.
If I go into Extensions, Fontself.
It's for Illustrator and Photoshop.
Loading it up.
This might already have a font in here.
Let's go with New.
Drag and drop letters, it's literally that easy.
I could take one letter, drop it in here,
and this will be my A.
It knows it's an A because
I've already prelabeled everything,
but you can do that after the fact.
Drop it in there.
But really, since this is all kind of squared away,
I can take all these letters, grab them,
drop them in here, and then it starts
naming the same thing I named those layers.
So, yeah, it's probably the only time I name layers.
Unless I'm working with other people.
But there it is, there's the font.
For the second one, I would do that
for maybe the uppercase, but also the lower case,
I inverted those colors.
Any time I want to inverse those colors,
that's the lowercase letter, and we're good to go.
I don't have to break it apart or anything,
but give myself options for future me.
So, future me will thank me for that.
We'll call this COOL FONT PAUL.
Save it to my desktop, OTF fonts.
Save, there we are, let's open that saved font.
There it is, install font.
It's not even supported in the fonts app,
but there it is, and as we take a look...
Give it a second, I'll close this.
It should be available, but we're gonna find out together.
Let's have fun.
Got a lot going on here, let's close that and grab those.
You know what's gonna happen.
I'm gonna get in to just check it.
Cool, COOL FONT PAUL, boom.
There it is.
I mean, was that easy or was that easy?
(audience applauding) So, those are
the only two answers you get.
It looks like I didn't make a lower...
I don't know if the lower case is set up,
but nonetheless, you get the idea.
So that's fun to work with.
We can go beyond that as well.
I said, okay, what's something more practical
that we use this for?
We could use it for anything.
Like, if you're working in a agency
or any element that you find yourself using
over and over again can be a font
that you can insert places.
Like right down here.
Okay, I could have this signature, this footer, this F.
What is F defined as?
Well, for me, I defined it as the Facebook icon.
And then T for Twitter, V for Vimeo, on down the line.
So, all I need to do is switch to that font.
I think I called it the...
See if I see that appearing, I-C-O-N.
There it is, icons, boop.
There's the F.
Like I said, I wanted...
Oh, hold on, hold on.
Let's just select both of those.
Maybe I did...
Wait, oh, I have the caps lock on.
I'm sorry, that was the problem.
I don't use Vimeo. (audience laughing)
That's the problem!
There we go, T for Twitter.
I didn't go clear down to T in the alphabet.
I'm sorry. (audience applauding)
It's all a ruse (laughing).
No, no, right here, it's perfect.
I might use Instagram.
Instagram's in there.
You get the idea.
I could probably hit some more letters,
but I don't know all the ones that I set up.
There we go, Behance, perfect.
I put in the social media platforms that I want,
and that's good to go, that's my footer.
You get the idea.
All right, that's typography.
We went through all of this.
Touch Type tool, multicolor fonts, making your own.
Go say hi to the guys at Fontself.
Let's get into transforming as well.
I didn't know what to use here.
I don't know what to use here.
I have these files (laughing).
But I wanna get into transforming,
and effects and different things.
This is just a fun example,
but think of a technical illustration,
and you have all these lines.
Some of the lines are thick, some of 'em are thinner,
and the client comes back and says,
"I want everything, all the lines, 50% thicker.
"'Cos it's just a little thin."
And you have all these thick and thin lines.
How can you do that in one fell swoop?
Like, right now, you'd have to go through
and select each one, change it.
Same thing with these illustrations.
Whether it's John or me,
this'll be just my Control.
I wanna make these lines maybe 50% thicker.
So, in order to do that, you can go to
And the first thing I want to do
is to not scale strokes and effects.
It's gonna be kind of confusing.
I'm basically saying hey, keep those lines really thick!
Even though you shrink it down,
keep those lines really thick.
So, it should get really thick and chunky.
We want Aaron Draplin style.
Click OK, take that.
It's not gonna scale them down.
Smaller I scale it, the thicker those lines are.
You can see them really thick as well, compared to that one.
Then all you need to do is go into Preferences, General.
Go back in here and turn that on,
'cos now, now that you have these thick, chunky lines,
doesn't matter what size,
I could scale that back up full size
and now they're all twice as thick,
assuming I scaled it down 50%.
Does that make sense?
Hopefully it does.
I don't know if I could explain it any simpler
without breaking my brain.
And this is an extreme example,
but I got the look that I want, which is awesome.
One fell swoop, everything is 50%...
Or, excuse me, 200% thicker, or 50% what it was before.
And all it is is a matter of unchecking that box,
shrinking it and then checking it,
and scaling it back up, and then if that didn't work,
you do the opposite,
and then you have exactly what you want.
All right, clear as mud.
Let's move on.
Let's talk about some more transforms and distortions
that we could do as well.
A lot of times, we are manipulating text
to really bend them to our will.
And we had a lot of these settings.
I could select this and we can
come up here and Make with Mesh or something,
or Make with Warp and bend it like a banner.
But I want a lot of control,
maybe to even fill it inside of a shape,
which I really like this.
So, I'm just gonna grab this shape.
I have this text, I can select both of those.
I can go into Envelope Distort, and I like this one.
Going beyond those first two, 'cos you know how they work.
I really wanna bend this into
the shape that I want for this design.
So, Make with Top Object, which happens to be that shape.
It bends it into that top object.
Super cool, super easy to work with.
I love it, thank you very much, it's editable.
'Cos chances are, I misspelled the Spanish words.
Going back, we can do that again.
All I want with these other shapes that I happen to have.
So, let's take this one right here.
Maybe those two.
It's the same process, as I do this really fast.
It is a solid filled shape, is really the only trick.
I encourage you to make these paths as simple as possible,
and your results will be better.
I'll take these.
All three of those, except for that one.
Move it over.
If I can grab them all...
Kind of like that.
You get the idea, I turn on that background,
get the shading in there and all that fun stuff.
And the great thing is, this is...
It kind of creates a 3D effect,
but this text is also still editable
like I mentioned earlier.
So, we're bending text.
We can bend vectors all day long.
Bending vectors doesn't mean going in
and using your Direct Selection tool
and tweaking this point, like,
"Oh, it's great that you can simplify this path,
"but I still gotta bend all this stuff."
No, don't do that.
You could do this also with text,
but just select that particular object and
So, we have Puppet Warp controls.
I didn't even have to add any pins these days.
It automatically adds those pins
'cos I wanna make this look a little bit more dangerous
and a little bit more bold.
Taking that out, something like that,
and also rotating it any way I want.
And I didn't have to manipulate vectors.
It's not about pushing and pulling points
as I start to bend this into place.
Super easy, and the great thing is,
it doesn't wrap it into an effect.
If I wanna go back and start to tweak these vectors,
I can do that, no harm done.
I can move on starting to work with this particular file.
Oh, let me show you something else fun,
and I'm gonna move through this pretty quick.
I have this shape, uh...
Okay, good, I think I have time.
Let's do this.
I'm doing a Day of the Dead design, essentially.
I need to add some life to this.
I'm gonna add some fun leaves.
What do I do?
Come in here, maybe add this width profile.
We also have the ability to adjust this width
with the Width tool.
Wait for it, wait for it, wait for it.
Width tool, there we go.
And I can obviously control the width right here
on either side, or even hold down the Option key
and kind of drag that in.
So, I can do that all day long.
I can also still use my Appearance panel,
maybe add another stroke
that happens to have a gradient on it of some sort,
and change the Width tool.
So, basically, I'm trying to create one nice little...
Let's pull this out so you guys can see it.
There it is.
And let's just add one more.
There we go, okay.
It's just a matter of grabbing this one side.
I see it there.
And removing this one...
There we go.
Okay, wait for it.
And let me change this gradient really fast.
'Cos I basically put two gradients on that.
I have a gradient on the top of that,
and I have a gradient now on the bottom.
And at this point, I would flip those two,
but this is gonna take me a little too long.
Let me just turn on...
I think I might have the final somewhere.
And I don't.
But actually, I did it back here.
Let me show you, let me just click to this other one.
Really fast, if you don't mind.
It would be right in here
when I was working on these gradients.
So, this is that same line.
How's it done?
It's done with a couple strokes, doing a shadow,
and then a highlight on the other side.
So now I can go ahead and draw out
all the leaves that I want,
and I just use the Width tool.
Put one on one side and one on the other side,
and that's what I would use.
Cool, that's done, that's squared away.
Got a little messy right there.
But I can start adding those in here.
All right, so let's move on from there.
I was also gonna add some flowers to this as well,
so a lot of people might draw out a circle in this case.
Let me show you this really fast.
Let's just get this set up right.
Okay, so right over here we have the Rotation tool.
So, I'm gonna make a flower.
Couple different ways we could do this.
You typically would impress people in the past
by using the Rotate tool, by the way,
and you'll come in here and you'll do this fancy trick,
which was actually in Illustrator version, like, 88.
Which I actually happen to have.
So, the same demo that I was just about to do,
I can actually do right now in Illustrator 88.
Sorry about that.
Let's drag this over.
Come on, Illustrator disc!
I have a couple of 'em.
This is an emulator.
There's Illustrator 88, opening this up.
Back in the day, you used to have to
trace something to vectorize it.
You ever want to print something really big,
you take a photo and you vectorize it by tracing over it.
That's why it's actually asking for a template file.
I'll just say none, but right in here,
I can come in and say okay, let's draw that cool--
Let's use that Rotate tool.
Let's come down here,
let's click, holding down the Option key,
and I can say hey, rotate it 45 degrees,
but actually make a copy of it.
Oh, and guess what?
They'd be like, "Hey, check out this."
Boom, duplicate, duplicate, duplicate!
Look at this, it's amazing!
You just made a flower, that's so awesome!
Which we could do today.
Is anybody tripping out over this, by the way?
'Cos I can literally...
You couldn't even see.
You would have to open up a new window,
and for this new window,
this is where you would preview the artwork.
So you'd say, okay, preview the illustration over here.
Oh, so you're not even working...
You're like, "I hope it looks good.
"Let's check this preview window."
And that's what you do.
Just draw something out.
Okay, that's what it looks like.
Let's draw the center of the flower, which I can't even see.
I want it to be yellow, but this isn't even a color monitor.
Like, literally, I'd have to go into Paint.
You'd have to say Process Color, change this to 100%, click.
Ah, yeah, there we go!
That's that yellow.
(audience laughing) I like that yellow.
Yeah, so we've come a long way.
And so I'll see people do that today
with the Duplicate key.
Bam, bam, bam, bam.
I can do that right here, easily.
But actually what I'd rather do
is go into an Effect, Distort & Transform, Transform.
Transform this particular...
Let me just do this really fast,
just to make sure this is a nice clean shape.
Let's do this.
Probably throw a gradient on it, but I will stop.
Throw a Transform on it.
Do this rotation.
Anything you wanna create can be done.
A lot of things can be done with this transform effect.
So, we're gonna preview it.
We're gonna rotate it from this bottom point right here,
and we can do, what, 180?
360, sorry, 360.
How many copies?
What am I doing wrong?
I don't think I have something selected.
Is my math off?
It could actually be rotating it on top of this object.
So, let's just make a new one.
Let's try this one more time.
Effect, Distort & Transform, Transform it.
I think I actually had
the fill selected in the Appearance panel.
I think that's what was going on.
360's all the way round.
Is there a teacher here? (all laughing)
Oh, sorry, 36.
Is it too many?
Is it 180?
It's... (woman laughing)
It doesn't matter 'cos it's not working.
There we go! (audience cheering)
Well, there's randomness.
Yay, let's clap for our failure!
No, just... (audience applauding)
Trust me, it works.
Let me just open up this other one that I did.
I think it's actually transforming the fill inside.
Let's turn this on really fast.
You can see, again, how these are done.
It's really one shape that I can still modify,
but if we take a look at this one in this case,
there it is.
Window, wait for it...
Yeah, that's how these are basically done.
It's one shape and
it's just being repeated all the way around.
Sorry I couldn't get that quite to work,
but you can see it actually does work,
and then we can just move on,
'cos I wanted to show you this other thing really fast
as you just forget all about that.
Diving into some 3D as well!
Which, again, gets kind of overlooked in general.
Let's turn this on.
We can take any text.
We can use 3D and do some isometric views with it,
and all that fun stuff.
A lot of times you'll see...
And actually, I won't turn on the final just yet,
but I can go into 3D Extrude & Bevel for this.
I can do an isometric view, isometric left.
Let's preview it.
Let's stretch it out some more.
And again, this can easily be a vector.
Right now, it's easily changeable.
We can go ahead and change the lighting, as we know.
But I like mapping art to it.
So right in here I can say, hey, take the front of that
and throw some flowers on it, for instance.
We get that.
As you see that red, it's highlighting.
So it's highlighting this side.
I can say hey, you know what?
Throw some flowers right there.
I can start going around all those different sides.
I don't really have to do the underside.
So, I just really want to do a couple more surfaces
just to make this fast, like the top one there.
Add flowers there.
And that's what you do going through that process.
And by the way, you could always take that and rotate it,
and you have full control over that.
As I turn on this final one.
Here we have this text, stretched out.
And, by the way, you can always ungroup that
and manipulate those specific vectors like I've done there.
And it's also what I've done over here.
Any time you see those isometric shapes,
how are these done?
It's literally like...
You could just take a rectangle, draw it out.
And what do I happen to have?
I happen to have all these as symbols.
So it's really just taking this Effect, 3D, Extrude & Bevel.
Let's do an isometric view,
which is what we're working with.
We'll preview it.
We see that's looking pretty good.
Stretch it out some more,
and just start mapping those windows
on all those different sides.
Just mapping that art and taking those windows,
like for that building.
Let's scale to fit, and we can see
we just have those windows there.
That's still a vector file that I could work with,
and have all the fun with it that I want,
and that's what this is.
All of those just being...
An isometric 3D object.
Even this ground plane, as I select it,
it's actually a flattened version of a land mass
that's extruded and mapped colors
on the side as well.
Same thing with these.
What did we do?
Made it super simple, it's still vector.
Hopefully that inspires you.
You can have even more fun with this.
This is the last one I'll do here.
I wanna get into some of the iPad stuff.
Let's just take this, let's delete that.
Let's make this white.
Just give it a nice white stroke.
Okay, and as we're diving into 3D,
let's revolve this.
So, it's gonna be similar.
Let's preview this.
I'm revolving it off of that left edge,
so it makes that perfect sphere.
I can rotate it, you can see what it makes,
and we can map art to it.
In this case, I'm gonna map this art right down here.
I don't know if you can see it right here, boom.
This little thing.
So, I'm kind of making an AT&T logo.
Those logos that you see.
And what this is is, I used color halftone.
It's a gradient that I added a color halftone to,
and that's what gives it those little dots.
And I'm saying hey, now that I have those dots,
let's go ahead and use that on this 3D revolved object
by mapping that art to it.
And it's just a matter of finding that out.
There's only two sides.
One that's this one, and then we can
find that fun little burst that's in here somewhere.
I should've made it a symbol.
There's an older one, actually, that I was working on.
I can scale it or I could actually just
rotate that into view.
And again, that's an older one.
It does have plastic shading.
I can say, hey, you know what?
Don't give it any shading, and rotate that into place
like that, click OK, and there you have
roughly those bended, warped logos
that you see based on that pattern.
Okay, so let's move on.
I don't have a lot of time.
Let's get into some managing and exporting.
Let me show you this really fast.
This is gonna save your day someday,
so if there's anything you remember,
it's gonna be this one.
Basically, taking a file.
Maybe you've created a logo.
You've used this logo for this company
for all their materials.
You have it everywhere.
And then you need to go back
and you need to make that one change.
So in this case, it's this logo.
Oh, it's being used everywhere
in all these different instances.
And they wanna update it.
Maybe it's gonna be a subtle update.
Maybe it's gonna be more of a drastic change
to something new.
But I didn't make this a symbol or anything like that.
Well, Illustrator knows.
All I did is group this, but Illustrator knows
that this shape is being used everywhere.
So as I select it, check this out.
Right over here in the Properties panel.
Says hey, you know what?
Start Global Edit.
You wanna change 'em all?
Start Global Edit, what does it do?
Oh, it highlights everywhere
where that logo is being used, which is fantastic.
I could take that...
And again, I can change the color, for instance,
to something else, just to show you that it is working.
Changing that color, what happens?
It changes it everywhere.
But that's awesome, yeah?
I could even take this a step further.
I wanna do a visual search and replace, with visuals.
Let's take this, let's copy it,
let's select this one, let's do a Start Global Edit.
Paste this inside, drop it right there.
Get rid of the old one.
And I went and just replaced
all of those old logos with the new one.
That's pretty impressive, right?
(audience applauding) Thank you.
Just so you know what's going on under the hood...
Look, it actually made this this symbol.
It made one behind the scenes.
It might say ungrouped symbol,
or unnamed symbol or something.
But trust me, it was not a symbol beforehand.
So, global search and replace, I can work from there.
There's more things I can do.
And again, it could be any shape.
I've done this with this lime, added more to it.
And again, all I did was group it
and then I changed it accordingly.
I can get into exporting and all that fun stuff.
You would do that with art boards.
I can show you a pretty advanced example of that
in this case, using all these...
All these various art boards, all these things.
Over 100 characters.
Here's the social media manager of Illustrator.
The Illustrator PM, his boss, John Mulaney.
All these people, all on these various art boards.
There's, like, 100 art boards, which takes management.
Well, we get to jump in,
and we start to edit these art boards.
And we can actually rearrange these art boards,
'cos they're all staggered all over the place,
and if you're a neat freak like me,
you wanna go ahead and organize those.
Ugh, go back!
Unlock that background, sorry.
There we go, just needed to make sure that was unlocked.
Rearrange, put them all 20 pixels apart.
Make it nice and neat.
I can export out all these art boards.
Export for screens.
You get that.
But I'd rather export out these individual people.
We can see them right in here,
and using the Assets panel.
So, there's Assets panel.
I just take them, I drop them in there,
I name them whatever I want.
When I'm ready to export them, I select them all.
They're all named, nice and neat.
Pat, Jasmine, Billy, Harry, whatever.
Png, Export, that's what I want.
And by the way, I can continue to work on them
and then export them at my leisure.
It's already set up.
So as I change these characters,
I export them out and it's good to go.
All right, let's switch over as I switch over to iPad...
Let's switch over to iPad really fast now.
So, that's exporting, by the way.
We're already on the iPad.
Trust me, all those png files got exported.
You don't need to see png file, that's boring.
Let's look at Illustrator on iPad.
You can see it here.
I can actually load up an Illustrator file.
Anything that I created, I can open it up here
and dive into editing or drawing, creating something new.
And you saw some of this yesterday,
but since it got such a good response ,
I thought it'd be good to include it here.
So, you can do a sketch.
You can capture what you want as well.
We could see how that's done, easy enough.
Capture just the sketch that I did horribly.
Typically you'll use the pen tool,
and you can come in and do all that stuff.
That works pretty well.
Which I, again, love it.
But I might jump in and just use the pencil,
'cos I think the pencil is actually pretty smooth
for the most part.
'Cos I just wanna quickly sketch this out,
let's go ahead and create that beak and the body.
Maybe that part.
It all needs a little work right in here as I jump in.
You could see it created four points for this one part,
and I can edit these.
There's no need for an add anchor point tool,
or remove anchor point.
So, I wanna add anchor point or add a point in here,
all I need to do is just click right there and add it.
I wanna delete it, I can just delete it.
So I don't need those tools to add.
You don't need all these tools.
You just need your tools
to essentially work smarter in this case.
Kind of round that out, we'll have some fun.
Draw up in here.
Add an eye, why not?
I could tweak this some more.
I'm gonna turn off that background.
And again, play with this all I want.
That's looking pretty good.
I do feel like adding some color,
and I actually have on object control,
so I don't need to even go to the...
My first intention, idea,
was to come over here and change the color.
Why do I wanna travel all that way?
It's like, literally, as I select the object,
you have these on object controls
that I can come in and select what I want.
Boom, done, let's move on.
Come down here, I want to add a tail.
Yeah, why not?
Maybe for something new I'll add that
and draw that out like that.
I wanna mirror this.
We have symmetry.
Boom, right, you guessed it.
Symmetry, kind of line that up.
Maybe even draw another feather, like that.
I think that looks pretty good.
Nest that up, stretch that out.
Something kind of like that, as I make this toucan.
Let's do something more interesting,
'cos I'm thinking okay, I wanna really decorate this
with these feathers.
And you did see yesterday, yeah.
It's cool that I can go ahead and duplicate
and move it and duplicate
if I want this to span around the toucan.
But as you saw on Monday, I can come over here
and I can select Radial Repeat.
So in here, Radial Repeat.
Yeah, let's center that, maybe stretch it out like so.
Maybe add more, brr!
As many as we want.
And then just play with this all I want as well
to get some interesting shapes
that I think are cool for this particular logo.
Even for this, maybe I don't want it
cutting into the tail.
Let's do something like that.
Let's rotate it.
Just giving me that control that I want.
I wanna edit that object as well.
I can jump in and edit that object,
those individual shapes and all that fun stuff.
And that's Radial Repeat.
Is there more we can do?
Pattern Repeat, you saw that yesterday.
You get how that works.
I think people were mostly excited about Radial Repeat,
and would like to see it, probably,
in Photoshop on the desktop.
From here, everything as you'd expect.
You can go ahead and pick the font that you want.
These are all the Adobe fonts that you can roll through
and pick the one that you like
as everybody quietly judges me,
all right, for the font I picked.
So, that's Illustrator on the iPad.
That's kind of exciting.
Like, brand new, we're working on it now.
Do you guys like that? (audience applauding)
Yeah, I think it's fun.
And that is all I have for you.
He just came and said that I'm down to my last minute,
and I guess I just want to thank you guys,
and change this last slide before you switch to my desktop
for my outro screen.
And I might be around a little bit,
you guys have a questions.
But you can see, obvious...
If we can switch to my laptop.
There we are, that's just the closing screen.
Don't forget to fill out the evals and forget my screw-ups.
Just forget about those as you fill out the evals.
But thanks so much.
I wanna be respectful of your time and let you go.
Take a picture of that, all of the videos are there.
Thanks so much for coming! (audience cheering)
(ethereal outro music)