Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Beginner
• Estimated Completion Time: 1.5 hours

Step 1

Open up a new document and select the Rectangle Tool (M). Create a rectangle. This will be used for the cable. We will keep it simple, for now set it to the default white fill and black stroke.

Step 2

Duplicate the rectangle below the first (Alt-drag).

Step 3

Create another rectangle and set the height to the same as the two long rectangles together, as shown below.

Step 4

Duplicate the small rectangle five times. Either use Alt + drag and the Command + D or use the Blend Tool. Select all of them and align them along the vertical.

Step 5

With the shapes still selected, distribute them now horizontally .

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Step 6

Create another rectangle and repeat the Steps three to five times.

Step 7

We now have six smaller rectangles and seven slightly taller ones in between.

Step 8

Again, create another more square rectangle next to the smaller ones.

Step 9

Create yet another rectangle, but make it slightly bigger. Use the Direct Selection Tool (A) to select both right side points, then use the Scale Tool (E) to scale them up, while pressing Shift + Option.

Step 10

Create one more square looking rectangle.

Step 11

Add another one and make sure you keep the sizes oriented with the previous ones.

Step 12

We are now moving on to the thin part of the plug. Create another rectangle, which is the same height as the last one, but much thinner. Quick Tip: You could just duplicate the rectangles and scale them to the correct sizes.

Step 13

Make another rather long rectangle and align it to the vertical center of the rest of the shapes.

Step 14

Rinse and repeat!

Step 15

We need two small thin rectangles that will simulate the two small black rings on a headphone plug.

Step 16

Rinse and repeat.

Step 17

Copy the small rectangle from Step 15.

Step 18

Add another rectangle, but on the right side add one path point with the Pen Tool (P) in the middle of the path line and with the Direct Selection Tool (A). Repeat the scaling we did in Step 9. Now select the middle point and move it to the right. You can do this by hitting the right arrow key on your keyboard.

Step 19

This is the basic shape composition of the headphone plug.

Step 20

Select the small shapes we created earlier in Step 3-7 and group them (Command + G). Now go to Effect > Stylize > Rounded Corners and apply a radius of 2pt.

Step 21

Let’s move on to the colors. Create a linear gradient that goes from 100% black to 90% black to 100% black. Now drag it into the Swatch Palette.

Step 22

Setup another linear gradient with browns and beiges to simulate a golden color and drag it into the Swatch Palette.

Step 23

Now use the Selection Tool (V) to select the two rectangles that simulate the cable, then apply a dark gradient. Set the radius in the Gradient Palette to 90 degrees. Keep the Stroke.

Step 24

Apply the same gradient to the shapes with the rounded corners but set the radius to 0 degrees.

Step 25

Select all the other shapes and fill them with the golden gradient, radius 90 degrees. Just keep the two small rectangles filled with black.

Step 26

Select each golden shape separately, duplicate it on top (Command + C + F) and set the Layer Mode to Multiply.

Step 27

Select the next two shapes and repeat Step 26.

Step 28

Skip the next two shapes and select the following two rectangles. Repeat the duplicate and Layer Mode change.

Step 29

Select the two black shapes, duplicate them on top and increase the width with the Scale Tool (E), then fill them with the golden gradient and set the Layer Mode to Multiply.

Step 30

Last but not least, duplicate the tip shape on top and change the Layer Mode to Multiply.

Step 31

Select the cable shapes and make a duplicate. Then select the Warp Tool (Shift + R) and start pushing the cable shapes.

Step 32

Keep it simple and apply slight warping.

Step 33

This is what it could look like. Make sure you don’t warp to much so the shapes won’t separate.

Step 34

Connect the warped cables to the plug and voila, we have our little golden headphone plug. I applied small white squares which I duplicated and then grouped to simulate the rippled texture on a plug.

Conclusion

I grouped the shapes, reflected them and applied an Opacity Mask to simulate a reflective surface. You can easy change the colors or apply other gradients. Have fun!

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Final Image Preview

Below are two final SWF animations we will be working creating. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Intermediate
• Estimated Completion Time: 45 minutes

Video Tutorial

I’ve created this video tutorial to compliment this text + image tutorial.

Method I: Blend and Morph

For this type of animation, in which one shape transforms into another (and another and another, if you wish), we’ll use the Blend Tool to make the in-between shapes, then release each shape to its own layer, then export these as a sequence for the Flash file.

Step 1

Since this animation will be used on the Web, start with a new RGB document. Here I have four simple icons, representing the four seasons. Select all the shapes, then center-align them horizontally and vertically, using the Align panel (or the Control panel). Make sure that each shape is on the same layer.

Step 2

Double-click the Blend Tool in the tool palette to bring up its options. Choose Specified Steps in the Spacing pull-down menu, and type 8. That will give us a smooth transition between the shapes, but won’t make too many layers.

Step 3

With all the shapes selected, go to Object > Blend > Make.

Step 4

With the blended shapes still selected, go to Object > Expand. This will separate the blend into individual shapes. For this effect to work, the individual shapes must be disassociated from one another, so go to Object > Ungroup.

Step 5

The ungrouped shapes should still be all on one layer. In the Layers panel, make sure the layer is highlighted, click the flyout menu, and choose Release to Layers (Sequence). You’ll notice that each shape is now on its own layer, and each layer has a different color. If you don’t see this, go back and make sure you have ungrouped the expanded blend.

Step 6

Go to File > Export and choose Flash (SWF) as the file format (NOTE: Depending on the version of Illustrator and/or the version of Flash you have installed on your computer, the file format might be called Macromedia Flash). Choose AI Layers to SWF Frames as the Export method.

Now click the Advanced button to bring up more options. Choose Lossless as the Image Format. Click Looping, so that your animation will play over and over again. The default settings are fine for the rest of the SWF Options dialog box, but you may want to experiment with them in future projects.

Step 7

To see your animation in action, do one of two things: Click the Web Preview button in the SWF Options dialog box, which will launch your default Web browser and play the animation. Or, save the SWF file, then drag it onto a blank browser window to play it.

Options

1. When working with a Blend to create an animation, you may have noticed the Animate Blends checkbox in the Advanced SWF Options dialog. This does what it says: it uses the blend for the animation and separates each expanded shape in the process. So you really don’t have to do Steps 4 and 5, but it helps to understand how Illustrator creates the animation.

2. If you prefer, the Illustrator file can be exported to Photoshop, then opened in ImageReady to create animations there. Follow Steps 1 through 5 above, then export as a Photoshop (PSD) file. The key here is to check both Write Layers and Maximum Editability in the Export Options dialog box. When you open the file in Photoshop, you’ll see each layer (in this case, all 29 of them) is preserved. You can then jump to ImageReady and edit the animation frame by frame.

Now that you understand the basic concept, you can experiment will all sorts of blends and morphs. For some really trippy animations, try using 3D objects or gradient-filled shapes.

Method II: The Appearance Panel

Step 1

Again, start with an RGB file. I’m using this simple zombie silhouette, with a fill of black and a stroke of none. I’m going to add a series of strokes to the outside of the shape, so that when animated, the strokes will radiate out from the shape.

Select the shape, go to the Appearance panel and choose Add New Stroke from the flyout menu. In CS4, all the modifications to this new stroke can be made directly in the Appearance panel. Going from left to right, first click the word Stroke to bring up the Stroke options. Click the third icon next to Align Stroke to align it to the outside of the shape. Next, click the color swatch to apply the color (I started with black), and then finally choose the stroke weight in the third field.

Step 2

To add the remaining strokes, you could repeat step one over and over, changing the options, color and weight each time. But to save a bit of time, simply click the Duplicate Select Item icon at the bottom of the stroke panel to make a copy of the stroke. Now choose the copy (it should be the one UNDER the original), and change its color to a very dark blue (or whatever you want), and the weight to 2 points.

Repeat this procedure several times, adding a lighter and thicker stroke each time. The end result should look something like the image below. You’ll see each additional stroke in the Appearance panel.

Step 3

Go to Object > Expand Appearance. This will expand and separate the strokes.

Step 4

Ungroup the expanded strokes, and just like you did in Part I, select the layer in the Layers panel and choose Release to Layers (Sequence) from the flyout menu (for this method, you really have to do this step).

Step 5

Export the file to Flash, as in Step 6 above. For this image, I am going to change the background color to black, but the other settings remain the same.

Step 6

To see your animation in action, do one of two things: Click the Web Preview button in the SWF Options dialog box, which will launch your default Web browser and play the animation. Or, save the SWF file, then drag it onto a blank browser window to play it.

Conclusion

As before, preview the file in your Web browser. Try dragging the browser window bigger and smaller. Since this is a vector-based file, the quality is great at any size. Happy animating!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS3
• Difficulty: Beginner to Intermediate
• Estimated Completion Time: 30 minutes

Introduction

I decided to create a stained glass effect when I saw one very beautiful Tiffany lamp. And, although it might be easy to create a mosaic with Illustrator raster effects, I thought it would be better to make it a different way. The simple method I describe in this tutorial involves only a few tools. Also, you’ll get better results with a reference image – whether it’s your own sketch, a photo, or any other image you like.

Step 1

Let’s open Adobe Illustrator and create a new document. Make it default A4 paper size (210×297 mm horizontal), but your image may be created in any size. I set it to RGB color mode, but you can choose CMYK if you prefer.

Now we’ll need a reference image, and you need to know something about it. Resolution and quality doesn’t matter, it can be a small photo. For a stained glass effect it’s better not to choose high-frequency images, which means images with many small details, or with very distant objects.

It’ll be rather hard to reproduce tiny areas with so many glass pieces (you’ll have to create each of them). Thus, city landscapes or detailed portraits are not the best choice. Choose a low-frequency image like a still life, flowers, or a landscape. See the examples below.

Step 2

Okay, when the reference image is chosen, place it in your document (File > Place). I used a great photo “Spring bouquet” that the Russian photographer Nattalia Shloma kindly allowed me to use in this tutorial. She has some amazing flower compositions that are perfect for stained glass effects.

Position and scale the placed image to your liking, so that the main object is in the center. Then click twice on the layer in the Layers panel (F7) and rename it to “photo.” Check the “template” option, also enter 100% in the Dim To field. This way the image will be visible even in outline mode.

I left some blank space to fill it with glasswork later, and I also decided to crop it with a clipping mask. Simply create a rectangle the same size as your document, select both the rectangle shape and the image, and then press Command + 7.

Step 3

Now create a new layer and name it “Glasswork.” Choose the Line Tool (\) and make sure your bottom layer with a reference image is locked, so you don’t accidentally select it. Colors do not matter now, you’ll change them later, so you can choose a vivid stroke color to work with.

Now it’s time to create the basic shape of the glasswork. This is the most time-consuming part of tutorial and requires some patience. Draw the rough draft of the glasswork, so that the lines are the borders between glass pieces.

Start creating lines that follow the main objects in your image. Make sure that every line touches either another line or the image border with its endpoints. You are making future glass pieces, keep it in mind – so the idea is to break the surface down into separate objects. Avoid open line ends, it’s very important, so overlapping is the key!

Turn on smart guides (Command + U) for help. This way you’ll see where the lines intersect. You don’t have to copy the reference image exactly. I decided to make the table flat and clean, dropped the fallen tulip, and change the vase shape.

Step 4

The flat areas like the wall or table will consist of larger glass pieces, while smaller objects (flowers and leaves) need more detailed work. Try to draw lines that roughly follow the borders of every object. Remember: It’s better to create smaller glass pieces where we do not actually need them, than to create one huge piece where we need more detail.

Here I replaced the mimosa with more simple leaves to avoid too much small detail. You can switch to outline mode (Command + Y) if the line color disturbs you. That’s what I have for now.

It’s easy to know you’re ready for the next step: just turn off visibility of the bottom layer, and you’ll see if the lines look recognizable. Make sure every important object of your reference photo has the appropriate glass piece bounded by lines on the top layer.

Check twice that the lines touch each other or the image border. Correct gaps and any points that are bit over the border – just move them into place with the Direct Selection Tool (A). You’ll be able to correct it later though.

Step 5

Once the lines’ draft looks OK, select all the lines you created (you can simply click the circle beside the layer name in the Layers panel). Now choose the Warp Tool (Shift + R) and start deforming lines to make them wavy – begin with large glass pieces using the default tool size. When you come to working on smaller pieces, change the tool settings to a handle more subtle areas – click Enter and adjust intensity, simplicity, and size.

You can also change the Warp Tool size quickly by holding Alt and dragging inwards or outwards (to constrain proportions also hold Shift). Make the line work repeat the shape of image objects. You have to end up with something similar to the image shown below (I made the bottom layer invisible).

Step 6

Well, the last thing to do before adding color is to create a rectangle that will be the image border. Make sure it has no fill and it touches the lines so there are no gaps. Now, select the whole layer (lines and rectangle together), group these objects (Command + G) and give this group a 3pt stroke of light brown color (#BC8B0F).

Now you should make a copy of this group, we’ll use it later: press Command + C and Command + F. The copy appears above the original group. Hide it for now by pressing Command + 3 or clicking the eye icon beside the group copy in the layers panel. Below shows what it looks like with the bottom image turned off.

Step 7

Now we’ll add some color to our artwork: select the original group of line work and go to Object > Live Paint > Create (Alt + Command + X). This turns the group into a Live Paint Group – the bounding box around it might change a little. Now you can recolor the space between lines with the Live Paint Tool (K).

To choose swatches I suggest that you go to Window > Swatches Libraries and select the combination you like (I used the “Food” and “Nature” libraries). Simply click the color swatch as a fill color and bring the tool cursor to the area you want to paint, it will be indicated with a wide selection. Start painting the entire image with colors you like (don’t change the stroke color though).

Step 8

You may face some problems when painting your glasswork. If some areas appear as a single one due to gaps between lines, select the line endpoint with the Direct Selection Tool (A) and move it to close the gap.

If you feel that some lines are missing, draw new lines and deform it with the Warp Tool, then select both the new lines and the Live Color group and go to Object > Live Paint > Merge. The lines will be added to the group.

Keep painting your image – you can change the color of any piece in this group if you like with the same Live Paint Tool. Switch the bottom layer’s visibility off to check the fill of glasswork. Below is what I have so far.

Step 9

To complete the basic shape of glasswork, unhide the backup group you duplicated in Step 6 (press Alt + Command + 3). Select the duplicate and change its stroke to 2 pt and dark yellow color (#EAA00C). Now copy the group in front again (Command + C and Command + F) and give this one a 1 pt stroke and light yellow color (#FCD515). This way the glass borders look as if they are made with copper foil.

Finally, let’s crop the image. Draw the rectangle above the glasswork so that it covers the entire canvas (or you can copy one from the bottom layer). Make the layer a clipping mask (select the “Glasswork” layer in Layers panel and choose Make Clipping Mask in the fly-out menu). You can lock the “Glasswork” layer now, as the basic work is done.

Step 10

Create a new layer and name it “Realism” (as we’ll add some realistic details now). Create a rectangle that covers the whole canvas again (or copy the clipping path from the layer below). Duplicate it twice and hide the copies for a moment (Command + C and Command + F). Select the first one and make it’s fill 50% black with no stroke. Now go to Effects > Artistic > Sponge, enter these values:

• Brush size: 2
• Definition: 12
• Smoothness: 5

You can go to the Opacity panel now (Shift + Command + F10) and change the rectangle’s blending mode to Overlay. Now, with it still selected, again go to Effects > Sketch > Plastic Warp, and enter the following:

• Highlight strength: 9
• Detail: 5
• Smoothness: 11

It will create a nice glass texture. You can reduce it’s opacity for a more subtle effect. Also, if your document has different dimensions, you may want to change the effects’ settings a little bit.

Step 11

Unhide the first rectangle copy and fill it with a white to black radial gradient. Move the gradient’s center point with the Gradient Tool (G) wherever you want to imitate the light outside the glass window. Now change the rectangle’s blending mode to Soft Light.

Step 12

The image looks good already, but if you want to add extra lighting, select the third rectangle above two others, fill it with a gray color and turn it into a gradient mesh (Object > Create Gradient Mesh), enter 4 for rows and 6 for columns. Now change some point color to white, selecting them with the white arrow (A), and move some points and handles to create the shapes of the color transitions.

Now, again change the mesh mode to Soft Light and adjust the opacity if you want. This object imitates additional light sources outside a glass window. At this point I also changed the colors of the Light Paint group slightly. That’s it, below is my result.

Conclusion

In this tutorial we made a stained glass effect with simple method using several Illustrator tools. You can use most images for reference to create this effect, but try to avoid high-frequency pictures.

This method produces good results when created from scratch, as you can randomly make a line work and paint it as you like. Moreover, even the simplest ornament with this effect applied looks nice – look at the image below. Hope you’ve found something useful for yourself in this technique.

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Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Intermediate
• Estimated Completion Time: 1.5 hours

Step 1

I went over to stock.xchng and picked a nice photograph of an eagle. We’ll use this image and trace our eagle head out of it. Open a new document in Illustrator and place the image on its own layer and lock it.

Step 2

There is no real shortcut for this kind of thing, just plain and simple tracing. Select the Pen Tool (P) and start tracing the outline of the eagle head. Fill the shape with white and set the Stroke to none.

Step 3

Start adding another shape by loosely tracing it following the out line of the first shape. Fill it with 10% black.

Step 4

Add another shape. Just keep looking at the reference image, trace it, and fill it with 20% black. You can let your imagination run. It doesn’t have to have the exact shape of the eagle head.

Step 5

We pretty much keep adding shapes and filling them with gradients and colors similar to the photo.

Step 6

All these shapes will make up the head and feathers. The most important thing is to distinguish the shapes from each other by placing them underneath or above each other and give them slightly different colors or gradients. Try to orient yourself on the colors of the photo.

Step 7

Let’s move on to the eye. Create a small circle with the Ellipse Tool (L) and fill it with a white/orange radial gradient.

Step 8

Then create two circles filled with orange. Make one circle smaller that the other. Fill the bigger one with a slightly darker orange and then select both and apply a blend (Command + Alt + B). Set the Blend option to Specified Steps of 10.

Step 9

Create another circle on top and fill it with black.

Step 10

For the eye detail, create a triangle shape with the Pen Tool (P) and fill it with a radial gradient.

Step 11

Select the Rotate Tool (R), and with the object selected, click on the bottom tip of the triangle shape. Then hold Alt and drag the shape to the right (clockwise). This will duplicate it. Then press Command + D over and over again until you have a full circle of shapes. Now group them together.

Step 12

Place the grouped shapes over the black circle.

Step 13

Create another smaller black circle on top. This will act as a pupil.

Step 14

Last but not least, place two different shaped white circles as highlights on top of the black circle.

Step 15

Let’s move on to the beak. Create a small sickle shape with the Pen Tool (P) along the beak in the image and fill it with an orange color.

Step 16

Keep looking at the image and create shapes to build up the bird beak.

Step 17

Pay attention to the different shades of orange. The top beak shape should be lighter than the bottom half.

Step 18

Create a small ellipse as the nose.

Step 19

Copy the nose ellipse (Command + C + F) on top and scale it down a bit. (E). Then add a linear gradient.

Step 20

Create a wiggly line with the Pencil Tool (N) and choose an orange color.

Step 21

Add more detail to the beak. Have a look at the photo to orient yourself. Sometimes it just takes a small detail to make all the difference.

Step 22

In case you need to change the shape of small detail objects, grab the Direct Selection Tool (A) and transform it.

Step 23

This is the eagle illustration. As you can see, we really didn’t need all that many shapes. The important thing to remember is that it all comes down to shading and highlights.

Step 24

We want to make this into a sticker. Select all of the shapes and make a copy. Then apply the Unite option in the Pathfinder Palette.

Step 25

Select the shape again and apply an Offset Path of 7pt. Make sure you choose the "Round" option for the joins.

Step 26

In case there are shapes not added, select them with the Direct Selection Tool (A) and delete them.

Step 27

Select the Offset shape (you might want to ungroup everything) and fill it with black. As you can see, this shape acts like a rounded stroke around the eagle head.

Step 28

I added a start burst and placed it behind the eagle head. To make it fit into the sticker shape, copy the united shape from Step 25 and place it on top of the star burst. Then select the start burst and the shape and apply a Clipping Mask (Command + 7).

Final

I transformed the sticker shape a little. You can create any sticker you’d like, round rectangle, following the eagle head shape or an ellipse. It’s all up to you. I hope you enjoyed this tutorial!

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Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS3 (MAC OS, German Version)
• Difficulty Intermediate
• Estimated Completion Time: 30-60 minutes

Step 1

Use the Pen Tool (P) to create a 2-point-path. The handle of the lower anchor point has to be horizontal and the handle of the upper anchor point 45°. Activating the Magnetic Guidelines (Command + U) will help you during this tutorial. The length of the handles affects the look of the rope and can be varied.

Step 2

Duplicate the path, rotate it 180°, and move it until the two paths connect. Use the Direct Selection Tool (A), select the two overlapping anchor points, and join them (Command + J).

Step 3

Duplicate the complete path again, but this time it has to be mirrored (either horizontally or vertically). Connect the two paths and join the overlapping anchor points as you did in Step 2.

Step 4

Duplicate the complete path again to extend your rope even more. Connect and join the anchor points. This curve will be the basic element for the climbing rope.

Step 5

Duplicate the complete path again, but this time the two paths have to overlap 50%. These two paths will be essential for the correct distribution and alignment in Step 6.

Step 6

Paste the basic path several times in-between the two existing ones. Don’t worry about the horizontal alignment. The number of curves will affect the look of the climbing rope and more curves will make it look thicker. I used a total of 13 curves in this tutorial.

Step 7

Select All and distribute horizontally centered. It almost looks like a rope now!

Step 8

Convert all the outlines to filled objects (Object > Path > Outline Stroke), create one shape from it (Pathfinder – Add to Shape Area), and release the compound path (Object > Compound Path > Release or press Alt + Shift + Command + 8). You might use the Outline View (Command + Y) to check the result.

Step 9

Remove the outline and everything but 2 rows. Now it’s time to connect certain squares to get the typical look of a climbing rope.

Step 10

Use the Outline View (Command + Y) to remove certain parts of the squares.

Step 11

Reconnect the squares as seen below by selecting and joining the equivalent anchor points (Command + J).

Step 12

Duplicate all and move it to the right. Use the Magnetic Guidelines (Command + U) for the perfect distance. To do so the movement has to be performed in two smaller steps. Now it’s time to choose the colors of the rope.

Step 13

Extend the rope even more and group everything (Command + G).

Step 14

Duplicate the group and paste it in the background (Command + B) for the new outline. Choose a black outline with rounded corners and convert the outline to a filled object (Object > Path > Outline Stroke).

Step 15

Select all and group it (Command + G). Draw a rectangle and make sure that the left and right side lock at equivalent anchor points of the climbing rope.

Step 16

Select all and create a Clipping Mask (Object > Clipping Mask > Make or press Command + 7). Then use the Pathfinder to remove the hidden parts (Pathfinder > Trim).

Step 17

Select all and create a Pattern Brush (Brushes > New Brush > New Pattern Brush). Use the settings shown below.

Conclusion

Now you can use the Brush Tool (B) or Pen Tool (P) with your created Pattern Brush. Add a drop shadow (Effects > Stylize > Drop Shadow) for a more realistic look. Repeat the tutorial and experiment with the parameters (shape of the 2-point-path, number of paths, colors, outline thickness, etc.) for additional climbing ropes. Have fun creating your own versions!

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Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Intermediate
• Estimated Completion Time: 3-5 hours

Introduction

This is wide tutorial in which I am going to teach you how to use the mesh tool (U) to create nice simple gradients the way you would want to. This tool is a great one for creating photorealistic effects in vector format. You don’t need any stock photography for this tutorial except the one use for creating the screen content. This one you will need is provided from my collection and is completely free for usage without any restriction.

You should know at least how to deal with Illustrator Pen Tool (P) to complete this tutorial. If you are not familiar with using it, then get stared with this tutorial: Illustrator’s Pen Tool: The Comprehensive Guide.

Step 1

We start our tutorial with creating new artboard. Name the new document “iMac” and set the dimensions to 1024pt for width and 768pt for height. As this design is meant to be used for printed media we set the Color Mode to CMYK and the resolution to 300dpi.

Step 2

Start modeling with the display. The first thing to create is the side of the iMac’s display. Create a simple shape with the Rounded Rectangle Tool (my dimensions are 545pt by 440pt), color it to #807F83, and reshape with the Direct Selection Tool (A). Pay special attention to the corners.

Step 3

Now we use Illustrator’s Mesh Tool (U). Select the tool and create the anchor point on the borderline of the shape near the bottom-right corner. Be sure to create the point on the borderline.

Step 4

It’s time for practice and your creativity. Just play with the Mesh Tool (U) and try to create something similar to the image below. You can see more detailed image of the corners in further steps, or for Vector Plus Members just look into the AI source file for this tutorial.

Step 5

Here you can see a detailed image of the mesh corner. Use the Direct Selection Tool (A) and #D8D9DA, #807F83 colors to create this curved gradient. Just select a particular section of the mesh and apply color on it until you have the effect shown below.

Step 6

In this step just continue with the same colors in the top-right corner. The upper arrow shows the section for the darker one and the lower arrow shows the section for the lighter one. This is all for the side part as shown. In the next few steps we are going to create the display.

Step 7

Create another Rounded Rectangle (537pt by 441pt) and color it with #A1A1A4. If necessary, bring it forward and adjust the position to the side shape, which creates an extruded shape illusion.

Step 8

Use the Mesh Tool (U) with the colors #EFE9E5 and #A1A1A4, to create a gradient, as shown below.

Step 9

Duplicate the layer from the Step 8. Click on it with the Selection Tool (V) and change the color to #261C02. Then create two Rectangle Shapes (M) and deform them by moving their anchor points with the Direct Selection Tool (A). And now we are ready to substract them to create a black display frame. Now select the #1 rectangle and go to Object > Path > Divide Objects Below. Do the same with the #2 shape.

Step 10

Now we are going to use the spider photo. Just put it on the artboard and scale it to the necessary dimensions, just to have the upper-right corner near the upper right corner of the frame and do the same with the lower-left corner.

In the control panel, click on Mask and correct the shape with the Direct Selection Tool (A). The last thing with the photo is to put it backward with the Arrange Menu (Control > Arrange) to hide the borders behind the black frame.

Step 11

Now use the Pen Tool (P) for creating “the Apple,” or add your own creative branding. Bear in mind that it should be a little bit deformed according to perspective rules.

Step 12

With the Pen Tool (P) create the shape for a reflection gradient. You can create a completely new shape, or just duplicate the first layer of the display, and edit it with subtractions and Convert Anchor Point Tool (Shift + C). Then apply a semi-transparent gradient on it. The gradient is created with #fff color with 0% Opacity, #000 color with 100% Opacity and the angle is set to 81,82 degrees.

Step 13

And the last thing to create for the iMac is its leg. Create the shape below with Pen Tool (P) and apply #D8D9DA to it.

Step 14

Create a new rectangle (my dimensions are 102pt by 79pt) and use the Mesh Tool (U) to create two vertical lines. Be sure to click on the border lines not into the shape.

Step 15

Continue with the Mesh Tool (U) and create one more vertical line and then 8 horizontal lines. Again, be sure to click on the border lines.

Step 16

Use the Direct Selection Tool (A), Mesh Tool (U) and Anchor Point Tool (Shift+ C) to transform your shape into the one in the image below.

Step 17

So we are almost done with the iMac. Just use the Direct Selection Tool (A) to select the particular areas of mesh and #807F83, #C2CDC5, #EFE9E5, #A1A1A4 colors to create the shadows and reflections. Pay your attention to the areas indicated by arrows below, as they are particularly important.

Step 18

And the last step is to adjust the position of the shapes of the iMac’s leg and also to arrange it back behind the display. And voilá, we have a photorealistic vector of Apple’s iMac.

Step 19

I also prepared the Magic Mouse to practice the skills you have learned. The next steps which describe the creation process are more brief to let you see how much you understand the steps during creation of the iMac. If you are lost you can roll back and check the previous steps again or just play with the source AI file.

Step 20

Use the Pen Tool (P), Direct Selection Tool (A), Anchor Point Tool (Shift + C) and Mesh Tool (U) to create the base mesh shape for the Magic Mouse.

Step 21

Add two shapes (Pen Tool(P)) for reflections. #1 is #FFF color with 0% Opacity to #bfbfbf color with 50% Opacity, and angle set to -93,74 degrees. #2 is #FFF color with 0% Opacity, #DDD color with 100% Opacity, #bfbfbf color with 10% Opacity, and angle set to 175,71 degrees.

Step 22

Create a shape for the sideline of the Magic Mouse. Fill it with a gradient using the colors, angle, and positions as shown. The only exception is the 0% Opacity of the #ABABAB color in the middle of the gradient.

Step 23

The last image shows you the shape for the brand’s shadow. Apple is the top layer and is filled with #a1a1a5 color. The shadow as expected is the back layer filled with #162732 color.

Conclusion

Now you can put the iMac and the Magic Mouse together and we are finished. Thank you for your attention and I hope that this tutorial was useful for you.

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]]> http://vector.tutsplus.com/tutorials/icon-design/how-to-create-a-photorealistic-imac-and-magic-mouse/feed/ 33 http://vector.tutsplus.com/tutorials/illustration/working-with-client-changes-while-illustrating-a-hippie-bus/ http://vector.tutsplus.com/tutorials/illustration/working-with-client-changes-while-illustrating-a-hippie-bus/#comments Tue, 03 Nov 2009 14:41:44 +0000 Jesse Hora Dot Com http://vector.tutsplus.com/?p=3241 ]]> Changes, changes, changes! As any designer/illustrator can attest to, changes from a client can be a huge headache and can cause major issues in the progress of the project. In this tutorial I will show you how I approach reworking an illustration after the client has change requests, without having to start over and re-draw every step of the illustration.

For the sake of fun and simplicity, I will be supplying a simple drawing of a hippie bus as a starting point. Simple enough, till the client comes back with CHANGES!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS3
• Difficulty: Intermediate
• Estimated Completion Time: 30 minutes

Introduction

The client wants to incorporate a paint job on the van so that it says “Awesome.” After showing them a initial sketch proof image, they come back with totally different feedback. Now they want the bus to have “Be Free” on the side and they want a bird and a bird cage on the roof.

Instead of re-drawing the image with the new lettering, scanning, cropping, cleaning it up in Photoshop and then finally creating a new proof image for the client to view, I will simply just sketch-in the requested changes in illustrator. This allows you to show the client the requested changes quickly, without having the clutter and headache of creating new drawings. Since there are often numerous rounds of changes, I can quickly and efficiently create a visual for them by simply doing it in Illustrator.

Step 1

We’ll start with an existing illustration that has been drawn, scanned, cleaned up in Ps, vectorized, colored and shown to the client. The colors are grouped and you think you’re close to finishing up the project. But hold it right there…

Step 2

The client comes back with changes! Dang! You were so close, you even stared prepping the file for print. They want lettering on the bus that reads “Awesome.” Using the Pen Tool in AI sketch in the lettering.

Step 3a

You’ll need to create a clipping mask around the lettering, so it’s clear for the client. To do this you will need the outside shape of the van. A quick trick that I use to select this outside shape from a complicated drawing like this is to use the Direct Selection Tool (A); chose one point from the outside of the blue outline. Then copy and paste the point.

Step 3b

Next, hit undo (Command + Z) and the entire outside of the shape will be selected. Simple copy (Command + C), deselect everything (Shift + Command + A) and paste in front (Command + F). Viola, you have the nice blue outside shape.

Step 3c

Next select the outside blue shape and the “Awesome” lettering, Control-click and select Make Clipping Mask.

Step 3d

Double-click to enter the clipping mask, and change the lettering from a stroke to a fill (color = #EC7892).

Step 3e

Simply move the “awesome” lettering below the linework/window shapes and you can save out a JPG, then send along to the clients for approval.

Step 4a

Shoot! The client has come back with more changes. Now they want the paint job to be more psychedelic and read “Be Free.” Additionally, they want a bird with a bird cage sitting on top of the bus. No problem, simply start sketch out the lettering using the Pen Tool.

Step 4b

Disregard the “awesome” lettering, but don’t delete it, as they may want it back later. Sketch in the new lettering with the Pen Tool. You can sketch directly inside the clipping mask. To get the psychedelic feel add a few motion shape/lines.

Step 4c

Sketch in the bird cage and bird. Since this in not completely integrated in the drawing, you really just need a guide line for the top of the bus.

Step 4d

This back and forth with the client could go on forever, but with a simple set-up, you can make it just a little easier on yourself.

Step 5

Once the client has signed off and approves the sketch, it is super simple to render out the final image. Simply change the shapes/lines you drew to a .25 line and print it out.

Step 6

Using these guidelines redraw the line-work for the illustration. Scan in the drawing.

Step 7

Bring the scan into Photoshop. Go to Image > Adjustments > Threshold to make the image strictly black and white. Clean up and dust/dots with the eraser or just by painting it white. Also, to save a headache later on, separate the birdcage from the bus outline. Save as a flattened PSD.

Step 8

Open the PSD file in Illustrator and using Live Trace to vectorize the black and white drawing. The settings that I use work like a charm.

Step 9a

Copy and paste the new vector drawn line-work into of the original illustration file.

Step 9b

Align the new drawing so that it matches up with the sketch lines/shapes.

Step 9c

Delete any access shapes, like the inside of the letters, and separate out the bird cage part of the drawing to its own group.

Step 10a

Now its time to bring it all together by combing the changes line-work with the original illustration. Using the large shape from the sketch clipping mask, simply create a clipping mask of the new line-work and color as is in the sketch. Delete (or just hide it to be safe) the sketch line-work/shapes.

Step 10b

Move the sketch to the correct position, just above the neon green and below all of the other shapes. Color the new line-work and shapes according to the sketch and move the bird cage into position. Hopefully the client wont come back with more changes!

Final Image

This is a simple look-in on how, in certain cases, I handle the feedback/changes process of a project. Obviously, this process will differ depending on how an individual works and as well as their illustration style.

The final image is below. You can view the large version here.

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]]> http://vector.tutsplus.com/tutorials/illustration/working-with-client-changes-while-illustrating-a-hippie-bus/feed/ 28 http://vector.tutsplus.com/tutorials/illustration/how-to-create-a-3d-floorplan-in-illustrator/ http://vector.tutsplus.com/tutorials/illustration/how-to-create-a-3d-floorplan-in-illustrator/#comments Thu, 29 Oct 2009 10:39:32 +0000 Niels Voogt http://vector.tutsplus.com/?p=3200 ]]> In this tutorial I’ll show you the process I use for creating a 3D floorplan from scratch, in 6 easy steps. This technique can be applied to infographics, such as escape-plans or to show the layout of a building that you normally wouldn’t be able to see. Let’s get started!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS3/4
• Difficulty: Beginner
• Estimated Completion Time: 30-45 minutes

Step 1: Creating the Blueprint

Draw a blueprint of the building that you would like to create, using the Pen Tool or Line Segment Tool (holding Shift for straight lines). Don’t mind the doors or windows yet, we’re just looking for the basic layout. When the blueprint looks the way it should, thicken the weight of the strokes depending on the scale you’re working at.

Step 2: Expanding and Clean-Up

Select all the lines, and hit Object > Expand to expand the lines. Keep all the lines selected, and use Unite (in the Pathfinder palette) to combine the lines into one solid shape (remember to keep a copy of the original blueprint, just in case). You’ll notice that some lines may not be perfect, as seen below. Correction is needed in some places, use the Pen Tool to clean up your blueprint.

Step 3: Windows and Doors

Now it’s time to place our windows and doors. Using simple square shapes, position them on the places where the doors or windows should be located. I used two different colors to avoid confusion, blue for windows and red for doors.

Step 4: The 3 Different Blueprints

Select all and make three copy’s of the blueprint, complete with the shapes that represent doors and windows. These three are going to be our blueprints for the 3D. Using the Divide function of the Pathfinder tools, cut out the doors and windows on “blueprint 1.” Cut out the doors only on “blueprint 2″ and leave “blueprint 3″ as door and windowless.

Step 5: Applying the 3D

On your first copy, apply Effect > 3D > Extrude and Bevel, using the preview function to achieve a nice result or the perspective you desire (I used -40°, -25° and 16°). Give it an Extrude Depth of 15pt. Take note of your rotation parameters, and apply the same with copy 2 and 3, only changing the Extrude Depth. Copy 2 should be extruded 20 to 23pt, and the 3rd copy 15pt.

Step 6: Stacking and Final Steps

Now place them on top of each other in a stacking manner. Change the color of your 3 building layers to a desired shade (I used #fddfd9). Your end result should look like that shown below.

Your building’s basic structure is done, but looks quite dull. This can be changed through selecting the whole building, and then hitting Object > Expand Appearance. You can now put in a floor (#fff0d9) and windows. You can also give the top of your wall a dark color (#606161). After this you could go crazy on detail, or leave it like as is.

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]]> http://vector.tutsplus.com/tutorials/illustration/how-to-create-a-3d-floorplan-in-illustrator/feed/ 23 http://vector.tutsplus.com/tutorials/icon-design/how-to-create-a-recycling-paper-bag-icon/ http://vector.tutsplus.com/tutorials/icon-design/how-to-create-a-recycling-paper-bag-icon/#comments Tue, 27 Oct 2009 11:29:31 +0000 Simona Pfreundner http://vector.tutsplus.com/?p=3202 ]]> In this tutorial, we’ll explain how to create an eco-friendly paper icon with simple shapes and gradients. This tutorial is great for beginners to get started with icon design, as this is a fairly simple icon to create. Let’s dive in!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Beginner
• Estimated Completion Time: 1 hour

 

Step 1

Open up a new document and select the Rectangle Tool (M). Create a rectangle. We don’t care yet about color and stroke.

Step 2

Select the Shear Tool. This tool can be found under the Transform Tool.

Step 3

Click on the bottom-right corner once with the Shear Tool and start moving the mouse cursor. You will see how the rectangle gets transformed. Try to achieve a similar shape as you see below.

Step 4

Create another rectangle and transform it as well with the Shear Tool, but this time in the other direction so it aligns perpendicular with the first shape.

Step 5

Select both shapes and fill them with a beige-brown and set the stroke to none.

Step 6

Select the Pen Tool (P) and add path points to the upper line of the rectangles. We’ll manipulate them slightly as shown. This is to to create a worn look on the top of the paper bag. If you need some practice with then Pen Tool, then review the tutorial Illustrator’s Pen Tool: The Comprehensive Guide, as we’ll be using the Pen Tool throughout this tutorial.

To do this, select the points with the Direct Selection Tool (A) and move the added points around. Start giving the shapes a tailored look and fill them with a brown to beige gradient. Place the gradient highlight towards the top.

Step 7

Add more anchor points if necessary.

Step 8

With the Pen Tool, create another shape that is placed on top of the left shape. Try to follow the shape, but keep it half the size. Fill it with a darker gradient. This will simulate a glued paper bag side.

Step 9

Create another shape similar to the one in the image for the right side and place it behind the front shape. Fill it again with a gradient, but try to place the gradient highlight towards the back.

Step 10

Add a small triangle to the left side on the bottom of the bag. Fill it with a darker color or gradient.

Step 11

Create an outer shape with the Pen Tool (P) around the paper bag. The shape is totally up to you. Just make sure that the shape overlaps with the other shapes.

Step 12

Create a copy of all shapes, then select them all and go to the Pathfinder Palette. There, select the Unite shape mode.

Step 13

This is what you should have after uniting all shapes. Just make sure that you still have all the other shapes. If not, undo (Command + Z).

Step 14

Take the united shape and place it behind all the other shapes. Make sure you delete the extra outline shape, since we don’t need it anymore.

Step 15

Create a black filled funky shape and place it under all shapes. This will be the shadow, which is falling towards the back, since we want to simulate that the light source comes form the front.

Step 16

Select the shadow shape. Then apply a Gaussian Blur effect of 10 pixels.

Step 17

Set the Transparency Opacity to 14%

Step 18

Let’s make the recycle icon next. Create a Polygon with the Rectangle Tool (M). Click once on the Artboard, and in the pop-up window, set the radius to 50pt and the sides to 3 . Then click OK. Fill the triangle with a brown color.

Step 19

With the triangle selected, go to Effect > Stylize > Round Corners and apply them.

Step 20

With the triangle selected, expand the appearance (Object > Expand Appearance). Now go to Object > Path > Offset Path and apply a 10pt offset as shown.

Step 21

Select both shapes and click on the Exclude button in the Pathfinder Palette.

Step 22

Create more triangles just like we did in Step 18. Place them in the middle of each triangle side as shown.

Step 23

Click the Divide button in the Pathfinder palette, which will break these into individual shapes as shown.

Step 24

With the Direct Selection Tool (A), select the highlighted part in the image below and apply the Unite Pathfinder button. Repeat this as needed to make each arrow attach to a curve as shown..

Step 25

Ungroup the shapes if necessary and move them slightly apart from each other, which creates a gap between each arrow and curve.

Step 26

Skew the recycle icon using the Shear Tool as shown. Place the it on the front of the bag as shown.

Step 27

To make it a bit more interesting, create a copy of the side and fill it with undulated fine dots (a pattern you can find under Window > Swatches > Patterns). Set the Opacity to 27%.

Step 28

Repeat Step 27 for the front. Set the Opacity to 27%.

Step 29

Create a copy of the back shape behind itself (Command + C + B) and make it slightly bigger. Change the direction of the gradient so the top part is lighter.

Conclusion

Have a look, the eco-friendly paper bag icon is ready. I hope you enjoyed this entry level tutorial.

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]]> http://vector.tutsplus.com/tutorials/icon-design/how-to-create-a-recycling-paper-bag-icon/feed/ 20 http://vector.tutsplus.com/tutorials/text-effects/how-to-create-smoky-brushes-and-type-in-illustrator-cs4/ http://vector.tutsplus.com/tutorials/text-effects/how-to-create-smoky-brushes-and-type-in-illustrator-cs4/#comments Mon, 26 Oct 2009 10:09:42 +0000 Mathias M. Stav http://vector.tutsplus.com/?p=3226 ]]> I’ve always been fascinated by smoke, and have experimented a lot with it. So in this tutorial, I explain how to create realistic smoke, make it into a brush and use it for type. Let’s light up our vector cigarettes and get started smokin’!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Illustrator Version: CS4 (but it should also work in earlier versions)
• Difficulty: Intermediate
• Estimated Completion Time: 30 min

Step 1

Create a new document (Command + N) for print in A3 (297mm by 420mm).

Step 2

Make a rectangle with the Rectangle Tool (M) that covers the whole artboard and make it black. While the rectangle is selected go to Object > Lock > Selection (Command + 2), which will lock the object so that you can’t select it.

Take your Pen Tool (P) and make a vertical stroke (click to make a start point, then click somewhere over or under the start point while holding Shift to make a vertical stroke). Make the stroke white and the fill blank. Set the weight of the stroke to 0,05mm.

If your units are set to something else, like points or inches, make sure that you type in “mm” behind 0,05, or hit Command + K. Choose units and display performance from the drop-down menu and change the units to millimeters.

Step 3

While your stroke is selected grab the Selection Tool (V), then hit enter and type in 0,05mm for horizontal and 0 for vertical. Click copy and hold Command + D (Object > Transform > Transform Again) for around 20sec, which will perform the Tranform Again command multiple times.

Step 4

While all of your strokes are selected, set the blend mode to Screen and Opacity to 8. Then group it (Command + G).

Step 5

Take your Pen Tool (P) and draw a shape that looks something like that shown below.

Step 6

Now for the magical step! Make sure that the shape you just made is on the top and click it, then hit Command + Shift + Right Bracket key (Object > Arrange > Bring to Front). Select the path and the strokes and go to Object > Envelope Distort > Make With Top Object (Command + Alt + C). Check that the Blend Fidelity is set to 100 (Object > Envelope Distort > Envelope Options, there you should set the Fidelity to 100).

Now that’s pretty cool, but if you take a closer look, you will see that the strokes are pretty clear. If you do not intend to make a stroke out of this you can fix it by clicking Effect > Blur > Gaussian Blur… and type in 7.0px, but since we are going to make a stroke out of it, we’ll do that later (shapes you want to turn into strokes can’t have effects like this one added).

Step 7

Now drag your smoke into the brushes panel. If you can’t see it then hit F5. Check the New Art Brush and hit OK.

Step 8

Name your brush whatever you want to, set the Direction to Up, and Method to Tints and Shades, then hit OK.

Step 9

Now you have your brush, but do you have something to use it for? If yes, remember to chose Effect > Blur > Gaussian Blur… and type in 0.7px when you have assembled your brush. If no, continue reading.

Take you Pencil Tool (N) and draw some letters, one letter at a time. Group them, add the stroke and set the stroke weight to 0,5pt.

Step 10

Copy your smoky letters (Command + C) and paste them behind (Command + B). Set the stroke weight to 3 pt. Now go to Effect > Blur > Gaussian Blur… and type in 7 px.

Yes, this is a Photoshop effect, so it will rasterize, but if you hit Command + K and check the Scale Strokes and Effects, then you’ll be fine when you want to scale it.

Final Image

I hope you learned something new, and that it will come in use sometime, if it does, I would love to see what you make out of it.

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