1. Document Setup

Switch instantly to document size and unit preferences by using Command + Alt + P.

2. Paste in Back (Command + B).

This command is useful when you try to give a drop shadow effect to a text or an object. Generally we paste in front, and then send it back. Next time, use Command + B to paste in back directly; and assign a dark color for the shadow.

3. Quick Spell check

While working with the text objects, you can check the spelling instantly by pressing Command + I. This saves you time from opening a text editor and checking the text for spelling.

4. Hide/Unhide Objects

For messy artwork with lot of objects, hide unwanted objects by using Command + 3. Unhide all using Command + Alt + 3. This is similar to Lock/Unlock with invisibility.

5. Lock/Unlock

Avoid accidental dragging of objects by locking them using Command + 2. Unlock them all using Command + Alt + 2

6. Threaded Text

While creating brochures, manage the bulk of text in different blocks by using threaded text. It adjusts the text flow in all blocks/columns as you append or modify it. To achieve this, make the block shapes, select them all and go to Type > Threaded Text > Create. You can use the Area Type Tool to feed the text inside.

You can show/hide those messy text threads using Command + Shift + Y.

7. Change Case

This option is useful when you want the entire text in upper, lower, title or sentence case. Select the text and go to Type > Change Case. Assign the case you want.

8. Show Hidden Characters

This command shows the returns and spaces in a text block so that you know if you have placed multiple returns by mistake, and are not able to see due to uneven line height of the text block. Select the text body and go to Type > Show Hidden Characters (Alt + Command + I)

9. Hanging Punctuation

Use Roman Hanging Punctuation and Optical Margin Alignment for better appearance of text blocks with quotes and hyphens.
For Roman hanging Punctuation; Select the text lines or block and select Roman Hanging Punctuation from the Paragraph panel menu.

Optical Margin Alignment: This option hangs the edges of letters like A and W slightly outside the text block, so that they look more balanced and aligned. To apply this, select the text and go to Type > Optical Margin Alignment.

10. Show/Hide Bounding Box

When the objects are too small, say 2px size; it becomes annoying when you try to drag them with the selection tool; just because of the bounding box that forces you to scale or rotate the object. You can instantly hide the bounding box using Command + Shift + B and toggle using the same command.

11. Zoom for 3-D objects

While zooming in or out for 3D objects, it takes a lot of time if you do this operation with Command ++ or Command–. Instead, you can use the zoom level located at the lower-left corner of the main window. Say, you want to switch from 30% to 400% in one step. Here, the zoom level will really help instead of Command++ where you have to zoom 8 times to reach from 30% to 400%.

12. Toggle Between Stroke and Fill color

Use “X” to toggle between Stroke and Fill. Use Shift + X to swap the Stroke and Fill color.

13. Create Crop Marks

Crop marks helps you identify where you want the printed work to cut or trim. To apply, select the object and go to Filter > Create > Crop Marks.

14. Customize Smart Guides

Smart Guides help you snap, align, create and edit objects relative to other objects. Use Command + U to enable Smart Guides. You can customize the snapping angle of your choice using Edit > Preferences > Smart Guides & Slices. In the Custom Angle option, specify the angles of your choice. This option is revolutionary when you are working with perspective.

15. Managing Views

This is extremely helpful when you are creating a Map diagram of fairly large size. Say, we are illustrating a World Map and want to switch the view from Japan to South Africa instantly. Generally, we will drag the entire art work with hand tool until we reach our destination.

Instead, save these views with different names using View > New View option. So that, next time when you want to switch over to South Africa, just click View > South Africa. This works similar to a navigator.

16. Appearance of Black

We all are familiar with Rich Black and Normal Black. By default, Illustrator displays and outputs all black as rich Black. If you want to clearly differentiate Rich and Normal black for screen view and for printing, use Edit > Preferences > Appearance of Black. Select “Display all blacks accurately” from the dialog box. Next time, you will see Rich as Rich and Normal as Normal.

17. Replace Spine

You can tween blended objects on customized paths using Replace Spine option. To apply, select the blended result along with the spine path and go to Object > Blend > Replace Spine. The blended objects will tween along the spine locus.

18. Save Selection

This option is helpful when you want the objects to be moved together, but also need the freedom to modify them separately. For this, select the objects and got to Select > Save Selection. Next time, just click on Select > Selection_name and all your desired objects will be selected.

19. Support for Arabic Languages

Although, Illustrator has got Asian Language support, sometimes a US based Illustrator version might not display Arabic language correctly. For this, type the desired Arabic text in Inkscape and export the converted paths as .eps files to Illustrator.

20. Switching from Illustrator to Corel Draw

Sometimes Corel Draw doesn’t allow us to import .AI files due to some missing plug-ins. In such case, export your artwork as .WMF (Windows Meta file) from Illustrator. Before exporting a .WMF file, enlarge your artwork to almost 1200% larger size. After successful import in Corel, again resize it back to the original size.

This is done for a reason; the small objects with fine curves are treated as distorted polygonal shapes in the output. So, it will be good if the size of the objects is fairly large while exporting. The .WMF files containing gradients are rasterized while importing in Corel; so remove the gradients while exporting. You can re-color them in Corel Draw.

Conclusion

The tips discussed in this tutorial are a brief round up of the Illustrator menu commands which can really boost up our performance with respect to time and quality. Hope you enjoyed them!

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Introduction

First, let’s look at some concepts that will help you to create characters with dynamic and interesting poses. Then we’ll break down the basic process of creating a character from sketching through to the final vector file. Whether you’re interested in creating vector mascots for branding design, or making interesting characters to use in your animations, you’ll find these techniques helpful.

Some Working References

To be able to implement rhythm and flow into design, it is extremely useful to observe how it has been approached and applied to already existing and successful designs. For example, Dreamworks Animation’s Kung Fu Panda is an immensely rich source of reference. The stylization of the film’s design depends upon strong lines of action and secondary rhythm lines.

Modern animated cinema is full of amazing sources of inspiration, mastered by the likes of Pixar, Disney, Dreamworks, Blue Sky studios and countless others. It’s worth taking the time to study this professional work.

The Line of Action

This is essential in defining an element’s direction and position within space. The broader the direction of the line is, the more powerful the essence of movement and life is. I’ve outlined the line of action in the image below.

It’s most obvious in organic forms, though inorganic forms can still be deconstructed enough to have a line of action, or thrust. You can consider this line to be the spine of a form, and everything moves along its axis. As a rule, it’s the longest rhythm line.

Secondary Rhythm Lines

Secondary lines of action are used as a tool to complement the line of action. In the breakdown below, the line of action is outlined in pink, while the secondary lines are outlined in green.

There are almost an infinite number of lines you can find within poses, and the more obvious they are, the more dynamic the form becomes. These lines often converge, or diverge away from the line of action several times, drawing the eye along the shapes.

The key to develop visually interesting poses and shapes is the composition of the shapes and directions. If you can pull the eye towards the most important information and maintain a visual hierarchy, the rest of the piece will hold itself together solidly.

Secondary rhythm lines are also helpful to define the contour silhouette form. To further accentuate this (as seen in the example below), ‘seams’ are created within fur shapes using harsh changes in color, which allows the pattern’s direction to more obviously follow the flow.

Choosing Your Tools

Now that you have an insight into the workings and functionality of rhythm and flow, it’s time to sharpen those vector tools, and get down and dirty. You can use any vector illustration package. I prefer Flash as an Animator, for it’s simplicity and malleability, but you could use Illustrator, Corel Draw, or even Freehand as well. If you are unfamiliar with the Flash drawing tools (which I will be using), be sure to check out my crash course on that topic.

Now, before you even start working in vector, wherever possible, work in raster or traditionally (yes, that means pencil and paper). What you really want to do is flesh out the volumes and rhythms before taking it into a final vectored piece.

Unfortunately, there is no quick and easy way to learn to draw; it’s just lots of observation and practice. Don’t let that get to you though, it’s all about having fun and getting a feel for drawing!

Fleshing It Out

You can rough a loose drawing out on paper, or in Photoshop, but I must stress how valuable it is to work loosely in a non vector medium before taking it into something cleaner.

As you work with your drawing, be sure to feel a general flow and direction, while remaining loose with your line. You will have plenty of time to finesse later on.

Vector Time

Now it’s time to pull lines though your drawing and get some flowing shapes happening! When working in a vector package, it helps to get the longest lines in place first (look for the line of action). Then build the smaller details in. Make sure the transition from convex to concave is fluid, and don’t be afraid to use sharp corners to allow shapes to punch. Keep working until you’ve created all your basic shapes.

Coloring Solids

It works best to lay down solid colors that contrast and describe the shapes. If you’re ever get stuck for color inspiration, check out color resources from photographs and design. It’s all about making the colors fit together as a whole.

Highlights and Shadows

Highlights and shadows really help to define where a form is in space, and how it relates to others. Think about cast shade and light, as well as where ambient light may be hitting.

Temperature of light should also be considered. Rather than just increasing and decreasing a color’s value, it’s always good to think about a color of the light that can then tint the highlights and shadows. Mix it up and experiment with different variations.

Keep in mind that the shadows and highlights can also be very handy tools to define contour. When you add these to an illustration, think about how the line would travel around the form, and use the line to describe how it turns.

Line Work

Line work helps wrap everything together. There are a lot of possibilities with line. Does there need to be line in some places? Thick and thin? Fat outline? Colored lines? Rim Lit? It’s all up to you. I like a combination of colored lines, thick outlines, and sometimes no line at all! If your shape definition is strong enough, you can style your line however you like. If they are helpful to defining rhythm in composition; it’s a good idea to preserve them.

Where to Now?

Hopefully you’ll create something fun that is dynamic and spontaneous in your next character design. It does require a lot of practice, but by reading this you’ll have gained an insight into some practical approaches to developing a working piece.

Never think of this or anything as formulaic because that removes life and spontaneity. Think of it as some inspiration to get ideas onto paper, and then onto screen! Now get out there and make some fun artwork!