In this tutorial we will learn how to create a seamless pattern, combining tools of the Phantasm CS plugin with the new Pattern creation feature in Adobe Illustrator CS6. Using these wonderful tools, you can create amazing genuine textile patterns prints.

Step 1

In this tutorial I’ll use the photograph Red Rose (credit to deviantART user ~ Melissa-tm). Paste this image into the current document (File > Place…)

To create the textile print effect, we will use Phantasm CS‘ vector Halftone function. Go to Effect > Phantasm CS > Halftone… and set the parameters shown in the picture below.

Step 2

Copy the Linked Image and paste it in front (Cmd / Ctrl + C; Cmd / Ctrl + F). Open the Appearance panel (Window > Appearance panel) and click on the effect’s entry.

Change the parameters of the Phantasm CS Halftone effect, as it is shown in the picture below.

Apply to the upper Linked Image the Darken blending mode in the Transparency panel.

Group up both Linked Images (Cmd / Ctrl + G).

Step 3

For recoloring the objects we will be using a different tool within Phantasm CS. Duplicate the new group, and then, keeping the new group selected, go to Effect > Phantasm CS > Hue / Saturation…. Now tick “Colorize” in the Phantasm CS Hue / Saturation dialog box and through the controlling sliders, recolor the group with a yellow tone.

Duplicate the group with a red rose again. This time, recolor it with blue tone using Phantasm CS Hue / Saturation effect.

Step 4

Let’s proceed to the creation of the seamless pattern. Select all the created groups, then go to Object > Pattern > Make. We are in the Pattern Creation mode.

This is a new feature of Adobe Illustrator CS6, which allows you to create seamless patterns with the help of the Pattern Options panel. I would like to draw your attention to the fact that the Linked Images were automatically converted into regular vector objects after the Pattern Creation Mode changeover.

Step 5

Choose the Tile Type: Brick by Row and Brick Offset: 1/2 in the Pattern Options panel.

You can also change the size of roses and their position with the help of the Selection Tool (V), thus your seamless pattern will change dynamically.

Step 6

Duplicate groups with flowers, then reduce their transparency in the Transparency panel and increase their size with the help of the Selection Tool (V).

The seamless pattern is ready.

Step 7

Click Done on the top bar. This action will exit us from the Pattern Creation Mode. Now we can create any object and apply the established pattern that was automatically added to the Swatches panel.

Our tutorial is over. If you are wondering how it may be applied to clothing or interior design, I will try to help visualise one example…

Download the Rose Pattern artwork

Click here for Illustrator CS6 and above (also PDF compatible)…

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.

In this tutorial we will learn how to create a “24 Hours a Day” Icon with the help of the 3D modeling within Illustrator. Objects created by 3D modeling require additional and often time-consuming subsequent re-work. Throughout all the stages of creating the icon, we will be using tools within VectorScribe and DrawScribe plugins that greatly simplify and speed up drawing tasks. If you are a professional or going to become one, then I think the simplicity of creation and time savings are very important to you…

Step 1

Create a rectangle with rounded corners. Usually I use the Dynamic Shapes Tool (VectorScribe Studio plugin) for these purposes. The advantage of this tool over the native Rounded Rectangle Tool is obvious to me, since we have an opportunity to control the parameters of the object after its creation. This allows for the refinement of the result, without making several attempts from scratch.

With the help of the Dynamic Shapes Tool, create a triangle and place it as shown in the following picture.

Step 2

Select the created shapes and combine them by clicking on Unite in the Pathfinder panel.

This results in the ubiquitous speech bubble shape. Take the Type Tool (T) and create the text “24 h”. I think a sans serif font fits best here.

Step 3

Take the InkScribe Tool (part of DrawScribe) or Pen Tool (P) and create a path that consists of straight-line segments.

Set the desired width for the path and choose Arrowhead in the Stroke panel.

Step 4

To round the corners of an arrow, I use the Dynamic Corners Tool (VectorScribe Studio plugin), which allows me to control the radius of rounding via the Dynamic Corners panel or by click-dragging the annotation points.

To be fair, I would like to mention that you can round off the corners of the arrow with the help of the Round Corners effect (Effect > Stylize > Round Corners…):

…but this effect only gives the correct result if rounding is applied to right angles and straight line segments (a huge restriction!). Also, using this effect, you will not be able to apply different radii to the different corners on the same path .

Step 5

Select the arrow and text, and then save them as a new symbol in the Symbols panel.

Now you can delete these objects. Select the shape of the speech bubble and go to Effect > 3D > Extrude & Bevel…, then set the parameters of the effect shown in the picture below.

Step 6

Click on the Map Art… in the dialog box, then select the first surface in the Map Art window and apply to it the symbol created in the previous step, click on OK.

Select the type of surface “No Shading”, it will allow you to work with a smaller number of subjects in the future.

Step 7

Select the 3D object and go to Object > Expand Appearance…. As a result of these actions 3D object became a group of vector objects. Besides the necessary objects, this group may also contain unnecessary objects with no fill and stroke and Clipping Masks. We can delete all the unnecessary objects, without investigating the Layers panel. To do this, go to Object > Clipping Mask > Release, then go to Object > Path > Clean Up… .

Step 8

Unfortunately, vector objects resulting from 3D modeling usually have a lot of extra points.

This fact makes it difficult to edit, and increases the size of the resource file, since each point is a bit of information. If you are using the products of Astute Graphics, you can easily remove extra points. Smart Remove Point in PathScribe Tool (VectorScribe plugin) and InkScribe Tool (DrawScribe plugin) features are designed for that.

Step 9

Objects resulted from 3D modeling can contain open paths.

To close them, use the Close Paths feature that is present in the PathScribe Tool and InkScribe Tool.

Step 10

With the help of the Unite in the Pathfinder panel, combine all the objects that correspond to the same surface.

Now we can start coloring our icon.

Step 11

To create a gloss of the metal surfaces I’m using linear gradients that should contain very dark (almost black) and very light (almost white) shades of gray.

To create reflections on the metal surfaces, create objects filled with black and white linear gradients and apply the Multiply blending mode to them and lower the opacity in the Transparency panel.

Step 12

Select the upper surface of the icon, then go to Object > Path > Offset Path… and set the offset value.

Fill the new object with an arbitrary color.

Step 13

Copy and paste the gray shape in front two times (Cmd / Ctrl + C; Cmd / Ctrl + F two times). Move the upper shape a few pixels down (for clarity, I filled the middle shape with red)

Now select the upper gray shape and middle red shape, then click on the Minus Front in the Pathfinder panel.

Step 14

Select the red shape obtained by the actions of the previous step, and the gray shape. Take the Knife Tool and cut the selected shapes as shown in the following picture.

In order to ensure the Knife Tool cuts along a straight line hold the Opt/ Alt while using it (this tool can only be applied to closed paths, not open ones). Fill the resulting objects with radial gradients that contain shades of red and blue colors.

Fill the Objects at the edges with linear gradients which contain darker shades of the corresponding surfaces.

Step 15

Fill the text and arrow with barely visible linear gradient from white to gray.

I prefer to apply gradient fills to all the objects. This allows you to give the impression of extra volume.

Step 16

Create a circle with the help of the Ellipse Tool (L) and fill it with a radial gradient from gray to white. Apply the Multiply blending mode to this object and place below all the created objects. Transform the circle into an ellipse with the help of the Direct Selection Tool (V). Thus, we have created a general shadow of our icon.

Step 17

Now let’s create a more contrasting shadow under the icon. For these purposes, I have created two objects. The lower, bigger one has a light gray fill and 0% opacity. The upper object has dark gray fill and 100% opacity. Select both objects and go to Object > Blend > Make.

Do not expect that you will immediately get the desired result. Most likely, you will need to edit the shapes inside the blend object. You can move points of the objects and even redraw their shapes using the Pencil Tool (N) or Dynamic Sketch Tool (DrawScribe plugin). I prefer using the Dynamic Sketch Tool, because this tool allows me to adjust the accuracy and smoothness dynamically after adjusting the path. The amount of points of the shape included into the blend-object has a significant impact on the quality and smoothness of the result.

Well, that is going to be all now. Follow Astute Graphics on Facebook and Twitter if you want to be the first to find out about the news related to our products, read the best Illustrator tutorials, interviews with famous designers and articles about design.

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.

In this tutorial we will learn how to create a seamless pattern using Pattern Creation feature in Adobe Illustrator CS6, Width Gradient Tool and Width Selector Tool. With these tools, the creation of patterns has become much easier. Have you tried yet? If not, download WidthScribe’s 14 day free trial now!

Step 1

We begin our tutorial by creating a base of the seamless pattern. Using the InkScribe Tool (DrawScribe) I created ten curved segments that represent uniform stroke paths.

Select the created paths, then go to Object > Pattern > Make, which leads to a transition into the Pattern Creation mode. Choose the Tile Type: Brick by Row, then take Pattern Tile Tool in the Pattern Options panel.

Pattern Tile Tool allows us to change the size of the tiles — adjusting the distance between the elements of the pattern.

Step 2

Continue creating the base of our floral pattern while staying in the Pattern Creation mode. Create new curved segments using the InkScribe Tool or Pen Tool (P). The Pattern Creation mode allows us to create new elements that will not overlap with the existing ones, as we see the adjacent tiles.

Continue filling in the gaps between the elements of the pattern.

Step 3

Now transform the uniform paths into variable width paths. The Width Gradient and Width Selector Tools, which are present in WidthScribe, will help us with this.

So, take the Width Gradient Tool and open its panel (Window > Width Scribe > Width Gradient panel). Now choose a V-shaped graph type for the width distribution via the panel’s fly-out menu.

Choose the Liner mode and set the absolute values for the minimum and maximum width of the path.

Now select the path shown in the picture below, and apply gradient to it by clicking and dragging.

Step 4

This resulted in a variable width path, with which we will continue to work using the Width Selector Tool. After selecting this tool, we can see all the width markers that this path has.

Here I would like to note that the number of width markers produced is controlled by the optimization level in the Width Gradient panel. The greater the optimisation, the less markers that will result. A reduced optimisation level will deliver more markers and technically greater accuracy in the resultant variable stroke width profile(s).

Select the top width marker of the selected path using the Width Selector Tool, then open the panel of the tool (Window > Width Scribe > Width Selector panel).

Press the Taper Stroke button in this panel, which will lead to the sharpening (tapering) of the upper part of the variable width path.

Step 5

With the help of the Width Selector Tool, you can select any marker and change its width by setting the desired value in the numeric field of the Specify Width. This is much more convenient than using standard Width Tool’s (W) dialog box which is accessed by individually clicking on each width marker.

You can also delete any selected marker, except for the first and last marker by pressing the Delete width markers button.

Step 6

Apply the Liner Width Gradient to the other selected path, this time with a linear distribution of width.

To round off the end of the path, choose the Round Cap option in the Stroke panel.

Step 7

To quickly select all the width markers of the path, select one of its markers, then click on “Select all markers on path”.

You can also use the marquee selection in this tool for the same purpose.

Now we are able to simultaneously adjust the width of all selected width markers by percentage. To do this, enter the necessary amount into the numeric field of the Change Width, then increase or decrease the width of the path by clicking on the buttons “+” or “-”.

Step 8

Create the shape of another leaf of our floral pattern. This time I was using Liner Width Gradient with ^-shaped width distribution from the first to the last point of the gradient.

Take the Width Selector Tool, then click the Enter/Return button to open the Width Selector Preferences dialog box. Now tick “Shift Stroke From Side to Side”.

Select the center width marker with the help of the Width Selector Tool, then press the “]” key to offset the stroke at the around the selected marker to the right.

Step 9

Using all the above mentioned techniques, I shaped all the uniform paths.

In order for the pattern to not look too heavy, I created the variable width path of white color using the Width Gradient Tool and Width Selector Tool.

Finally, with the help of the Ellipse Tool (L) I created a few white circles as ornaments for the petals.

Step 10

Now that the seamless pattern is ready, click Done at the top of the Pattern Creation mode window. This action will exit the mode and save the pattern to the Swatches panel.

Now you can apply the seamless pattern to objects of any shape.

To view the all features of the WidthScribe plug-in, watch the Instructional Product Movies.

Download the original Floral Seamless Pattern artwork

Click here for Illustrator CS6 and above (also PDF compatible)…

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.

In this tutorial we will create an abstract background with a dancer’s body using the Phantasm CS and VectorScribe Studio. The combination of the Dynamic Sketch Tool (DrawScribe) with a new feature of gradient on stoke in Adobe Illustrator CS6 can really improve your creative potential. Learn about it after the jump.

Step 1

We begin our tutorial by creating an abstract background which will represent the dance floor lighting. Please note that we will be working in RGB color mode (File > Document Color Mode > RGB color). With the help of the Rectangle Tool (M) create a rectangle filled with black color.

Keeping the rectangle selected, go to Object > Create Gradient Mesh… and set the number of columns and rows in the dialog box.

Select the central mesh points with the help of the Direct Selection Tool (A) and color them with dark shades of blue, purple and yellow.

Step 2

In this step create a few circles with the Ellipse Tool (L) that will have different fills and blend modes. This process is shown in the pictures below.

Step 3

Create a star that has 46 rays using the Dynamic Shapes Tool (VectorScribe Studio). I prefer to use this tool as it allows to dynamically change all the parameters of the shape using the panel (Window > VectorScribe > Dynamic Shapes Panel).

Fill the object with a linear gradient that contains a blue, two black and one yellow slider, then apply the Color Dodge blending mode in the Transparency panel.

Create another similar object, fill it with a linear gradient from black to a dark red color, apply the Color Dodge blending mode and reduce opacity in the Transparency panel.

Step 4

Create a circle, fill it with a radial gradient from black to dark green color, then apply the Screen blending mode to it.

Copy this circle and paste it in front (Command / Ctrl + C, Command / Ctrl + F). Apply the Normal blending mode to it and fill it with vertical linear gradient from white to black.

Select both circles created in this step, then click on the Make Mask button in the Transparency panel.

This is how we create an Opacity Mask. Duplicate the created object, reduce its size, rotate and place it in the left side of the background. Folks, we are creating an abstract composition, and of course, you can use other objects and place them in a different manner. I’m simply describing the process of creating my artwork.

Step 5

Using Adobe Illustrator CS6, we are able to apply gradients to the stroke. For smooth transition of color in the rectangular stroke, I have used a linear gradient across the stroke with one transparent slider.

To darken the part of the background, create an ellipse filled with an elliptical gradient with one transparent slider and apply the Multiply blending mode.

Use the Screen blending mode for bleaching.

Step 6

Create a rectangle filled with a radial gradient containing two shades of gray color, which will completely cover the background.

To obtain a lot of luminous objects, use the Phantasm CS vector Halftone effect. Keeping the rectangle selected, go to Effect > Phantasm CS > Halftone… and set the parameters shown in the following picture.

Apply the Color Dodge blending mode to the rectangle.

Step 7

At this point the background creation task is complete. Hide parts of the objects that go beyond the background. Create a rectangle of the same size as the lower gradient mesh.

Select all the created objects, then use Command / Ctrl + 7 shortcut to create a Clipping Mask.

Step 8

Proceed to the creation of the dancer’s body. For this purpose, I used a stock art vector silhouette.

You can find similar silhouettes onlines at all-silhouettes.com. To create the dancer’s outline, we will be using the Dynamic Sketch Tool (DrawScribe). Open the panel of this tool (Window > DrawScribe > Dynamic Sketch Panel), choose the option to “Edit or continue existing paths” and create an outline based on the vector silhouette.

Choose Accuracy and Smoothness levels parameters in the process of work. These parameters influence how detailed the resultant outline will be. In addition, the paths that we created with the Dynamic Sketch Tool are dynamic — that means that their settings can be changed after the creation of the outline. Make sure that the dancer’s outline was closed. Ignoring this will make it impossible to execute steps 11 – 13. After creating the outline, the original silhouette object may be deleted.

Step 9

Now create glares of light on the dancer’s body. Combining the Dynamic Sketch Tool with the feature of the Gradient on stroke in Adobe Illustrator CS6, we can achieve the effect of drawing with a brush with soft edges. Let’s set up the tool for the following work. Set the relationship between the Stroke width and the pressure on the stylus in the Dynamic Sketch panel (in the future work we will be using a graphic tablet such as a Wacom Intuos).

Now open the Dynamic Sketch Preferences dialog box (to open it, just click on the Enter/Return key when the Dynamic Sketch Tool is selected) and turn off the New Paths Have Basic Appearance option.

This is to done ensure that all the newly created paths have the parameters that we set before work. Select the Round Cap in the Stroke panel option so that the ends of the paths are rounded.

Finally, set the gradient for the stroke. It should be a linear gradient, which consists of two gradient markers of the same color, one of which has 0% opacity. You also need to choose the “Gradient across stroke” option in the Gradient panel.

With the settings done, let’s create a test path using the Dynamic Sketch Tool.

As you can see, one side of the stroke is blurred. And it is 100% vector object! Think about the drawing potentials that are open for you!

Step 10

Using all of the above and the Dynamic Sketch Tool, I created glares on the dancer’s body.

It is better if these are colored glares matching the colors of the dance floor. I would like to mention that you can control the stroke width using the Width Tool (Shift + W). For more advanced variable stroke width control, please take a look at WidthScribe Designer.

This will allow you to create the strokes of the desired shape.

Step 11

Now we need to hide extra parts of the glare. Select the white outline, then go to Object > Expand Appearance. Combine the outline into a single object by clicking the Unite in the Pathfinder panel. As a result we got a Compound path.

Select the path, then go to Object > Path > Offset path… and set the amount of the offset.

Step 12

Keeping the new path selected, go to Object > Compound Path > Release.

Remove the white object between the head and hand of the dancer and the bottommost object.

We will use the rest of the objects as Clipping Paths.

Step 13

Select the glares that are on the dancer’s trousers (“pants” for all our American cousins!) and a white object inside their outline, then go to Object > Clipping Mask > Make or use Command / Ctrl + 7 shortcut.

Apply this technique to the rest of the dancer’s objects.

Using the techniques described in this tutorial, I also created a light wave.

Hopefully, you have learned something new and learn how to combine Dynamic Sketch Tool with gradient on stroke feature. This combination is only limited by your imagination!

Download the Dancer vector artwork

Click here for Illustrator CS6 and above (also PDF compatible)…

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.

Creating a pattern brush, even by experienced Illustrator users, causes some difficulties. In today’s tutorial I will tell you how to create such a brush. To create ornamental elements, we will be using the InkScribe Tool (DrawScribe plugin) that will help us work at our best.

Step 1

Let’s begin our tutorial creating the elements of an ornament pattern of the vintage frame. To create an ornament, I prefer to use the InkScribe Tool (DrawScribe plugin), because this tool allows us to work more quickly and accurately than the good old Pen Tool (P). You will see this in the course of our work. So, take the InkScribe Tool and create a path, which consists of four straight-line segments.

As you can see, the segments have Ghost Handles. These are simple handles that a Bezier curve features, that are not active due to the handle be retracted to the associated point (typically creating a straight segment when the opposing handle is also retracted). Create a shape of a leaf and make it symmetrical. Now we will do a trick that will help you to create dynamic symmetric shapes. Select the created path, then go to Effect > Transform & Distort > Transform… and set the parameters shown in the picture below.

Step 2

Now, if we activate one of the Ghost Handles with the help of the InkScribe Tool, we will see that our shape changes symmetrically. Even though this trick has its limitations, it allows us to properly assess the symmetrical shape as a whole while we modify it.

By manipulating the curve’s handles and the point’s positions, modify the shape to the profile shown in the following picture.

Step 3

As you know, we only have one path. The left half of the shape is just his reflection acheived with the help of the live effect. For our future work, we will need to make it editable. Go to Object > Expand Appearance.

Ungroup the resultant objects twice, then select the upper tangency points of the paths and unite them (Command / Ctrl + J). Perform the same actions with the lower tangency points of the paths.

Now the leaf shape is one closed path.

Step 4

Create a vertical line in the center of the leaf and apply a triangular profile to it in the Stroke panel.

Now create two curved segments and apply the same stroke profile to them.

Step 5

Select these three paths, then go to Object > Expand Appearance

Combine the achieved objects with the help of the Unite in the Pathfinder panel.

Now select all the created objects, then click the Minus Front in the Pathfinder panel.

As you can see, the inner part of the leaf has a lot of extra points. You can delete them with the help of the InkScribe Tool. To do this, click on the point that you consider to be unnecessary while holding Option / Alt key.

In this case path trajectory does not change. This feature is called Smart Remove Point. For these purposes, you can also use the InkScribe panel or Annotation system where the corresponding buttons are.

To delete a few points simply select them and click on the Smart Remove Point button. After a few seconds all the surplus points are deleted.

Step 6

Create two circles with the help of the Ellipse Tool (L), and then connect their centers with a vertical line.

Group up all the created objects (Command / Ctrl + G).

Step 7

Select the group, take the Rotate Tool (R) and holding down Option / Alt key, click at the center of the bottom circle. Set the angle of 90° in the open dialog box, then click on Copy.

Use the Command / Ctrl + D shortcuts twice, to repeat the previous step.

Step 8

Select all of the objects, then go to Object > Transform > Rotate… and set the angle of 45°.

Create a circle with no fill and black stroke.

Select and group up all the created objects.

Step 9

Drag the group to the right, holding down the Shift and Option / Alt, which will lead to its duplication.

Remove one of the leaves of the new group and part of the central element as it is shown in the following picture.

Step 10

Take the Scissors Tool (C) and cut the right circle at point A.

Displace the lowest point in the section to the right.

Unite the points A and B with the help of the InkScribe Tool. “Draw a curved segment” and “Smooth point” options are selected in the Ink Scribe panel. These options allow us to create a smooth transition from the curved segment to a straight one at the point B.

By manipulating the handles of the points of the curved-line segment AB, make it into the shape shown in the following picture.

Step 11

Create two more curved-line segments with the InkScribe Tool.

Using the Spiral Tool, create two spirals and place them as shown in the picture below.

Create two ellipses and place them at the ends of the spirals.

Step 12

Create two ellipses.

Select them, then click on the Minus Front in the Pathfinder panel.

We have now created the shape of one more leaf. Sometimes these shapes are more convenient to create in this way.

Step 13

Group up all the objects of the second element of the ornament. Now select it and go to Object > Transform > Reflect…, choose the Horizontal Axis in the dialog box and click on the Copy button.

Move the new ornament element horizontally, to the right.

Step 14

Select the third element of the ornament, then go to Object > Transform > Rotate…, and set the angle of -90°, then click on the Copy button.

Place the fourth element below the first one. For the right positioning, use the vertical guide.

Step 15

Create horizontal and vertical guides, which should pass through the center of the angular ornament.

Select a vertical guide, then go to Object > Transform > Move… and set the amount of the horizontal offset to the right, click on the Copy button.

The horizontal guide must be offset by the same amount up.

Step 16

Using the InkScribe or Pen Tool (P) create a path, which consists of two straight-line segments. The points of this path must lie exactly on the right and upper guide.

Using this technique, create two more paths as shown in the picture below.

Now the guides can be removed.

Step 17

Now that all the elements of our vector vintage frame are ready, let’s start creating a pattern brush. We need to determine the main elements of the brush. The area of the corner tile is highlighted in red in the picture below.

Change the length of the straight-line paths so that their end points lie exactly on the edges of the corner tile.

Step 18

The area of the side tile is highlighted in blue in the picture below.

We need to limit the area of the tile with real vector objects. These should be rectangles with no fill or stroke.

At the same time the height of these rectangles should be the same and adjacent points should coincide. Furthermore the rectangles with no fill and stroke have to be located below all the elements of the tile.

Step 19

The side tile is missing three straight-line paths. Create these.

Select all the elements of the side tile (including the rectangle with no fill and stroke, which corresponds to its size), and transfer to the Swatches panel.

Do the same actions with the elements of the side tile (do not forget to select the rectangle with no fill or stroke in this case as well).

Step 20

Open the Brushes panel (Window > Brushes) and choose the New Brush in the fly-out menu.

In the open dialog box, select the Pattern Brush.

Apply the “pattern swatches” created in the previous step to the side and corner tile. In order to ensure the color of the brush matches the stroke color, choose Colorization method: Tint.

Click OK. Create a rectangle of any size and apply the created brush to it.

Now you can change the stroke color and thickness of the stroke as you wish.

Do not get discouraged if at first you do not succeed to attach the elements of the ornament. I must admit that it is a very hard work and I did not get it right the first time. For a better elements connection you can examine them in the Outline preview mode (Command / Ctrl + Y).

Download the Vintage Frame Pattern Brush artwork

Click here for Illustrator CS4 and above (also PDF compatible)…

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.

Today we will take a close look at the features of the unique WidthScribe plug-in in the example of creating a technical illustration of a car that was produced for the tool’s advert WidthScribe Introduction. In this tutorial you will learn how to use the Width Gradient and Width Selector Tools in practice, as well as how to optimise the finished vector artwork.

Create outline of car using Astute Graphics plug-ins

My objective was to create a technical illustration of a car based on a still frame from the movie. I inserted the bitmap image that was given to me into a new document of Adobe Illustrator (File > Place…) and locked it in the Layers panel.

Recreate all the elements of the car by using only paths of the same uniform thickness.

Let’s take a quick look at the tools I used to create the outline of the car. To create curved segments, I always use InkScribe Tool (DrawScribe plug-in). This allows me to create and edit paths with a single tool. In addition, Smart Remove Points, Ghost Handles and alternating between corner and smooth points by double-clicking on points or Bezier handles allows you to speed your work two-fold comparing to the Pen Tool (P).

To round the corners I certainly use the Dynamic Corners Tool (VectorScribe plug-in). Now I cannot even imagine working without this tool. I would have probably spent a few hours on rounding corners in this illustration alone. Now simply click, click and click.

Some curved segments are parts of the ellipses. To create these paths I use the Dynamic Shapes Tool (VectorScribe plug-in). This tool allows you to immediately draw ellipses, located at the right angles.

Work on the illustration using the Width Gradient Tool

Thus, all elements of the car are created.

Of course, you would agree that such a technical illustration does not look very impressive. In order to improve the result, we can make some lines thicker to separate the basic elements from the minor ones, and even apply the effect of linear perspective to the entire artwork. Let’s see how the WidthScribe can help us with that.

Firstly, I think we should emphasize the outer outline of the vehicle. For these purposes, we will be using the Width Gradient Tool (WidthScribe plug-in). To manage the options of this tool, open its panel (Window > WidthScribe > Width Gradient panel).

Choose the type of gradient in this panel – Linear mode and Relative Adjustment (this means that changing the width of the paths will be determined as a percentage), then set the range of width variation.

In accordance with the rule of linear perspective, objects that are closer to the viewer should look thicker than the distant ones. The picture below shows how the width of the outline should be distributed from the maximum to the minimum values

According to this, select the part of the outer outline of the vehicle and apply the Width Gradient by click-dragging.

As we have chosen the Relative Adjustment mode, the repeated use of the gradient to the selected path or paths will lead to the cumulative effect.

You can also use the Absolute Adjustment mode. In this case, the range of width variation will have absolute values, such as points for example.

After applying the Width Gradient, the Reapply Gradient button becomes active in the Width Gradient panel.

This allows you to change the values of width variation range and apply the Width Gradient again. As you can see, Relative Adjustment and Absolute Adjustment modes give us the opportunity to experiment. Pick the desired thickness.

We are also able to set a non-linear distribution of thickness along the direction of the Width Gradient — the panel’s graph area is intended for this purpose. You can add new points, change their position and control the curvature of the graph.

You can also specify a Radial Width Gradient; to do this, choose the Radial mode in the Width Gradient panel. I have used this type of gradient on the headlights and front wheel of the car.

As you can see, a Width Gradient can be applied to a group of paths, achieving a perspective or light effect.

Use the Optimization level to control the accuracy of the application of the Width Gradient. The smaller its value, the more accurate the effect, but the greater the number of width markers.

Here I want to note that the amount of width markers affects the size of the vector file and the speed of Adobe Illustrator. We will return to the optimization question at the end of this tutorial.

Using the Width Selector Tool

The Width Selector Tool is intended for targeted control of width markers. To open its panel, go to Window > WidthScribe > Width Selector panel.

Let’s see how to use this tool in the process of creating an illustration of a car. Take the Width Selector Tool (after selecting this tool, all the existing width markers become visible) and select markers on the headlights.

Click on the Taper Stroke button in the Width Selector panel, which will lead to the sharpening (tapering) of the ends of the selected paths.

Pressing Taper Stroke button again will lead to an accumulative effect.

With the help of the Width Selector Tool you can also change the width of the selected markers, by setting the absolute value in the numeric field of the Specify Width or percentage value in the Change Width numeric field.

Delete width markers button is intended to delete the selected markers.

If, after applying the Width Gradient Tool, you need to edit the result, the Width Selector Tool is an ideal tool for these purposes. According to my conception of linear perspective, I received the results shown in the following picture.

My first job was as a design engineer, and believe me I know full well what a technical illustration is. In the process of creating perspective in a drawing, I could not even dream about this before WidthScribe!

Optimising the amount of width markers

If we take the Width Selector Tool, we will see the number of width markers that our illustration has.

As already mentioned above, an excessive amount increases the file size, and also slows down Illustrator. Fortunately, WidthScribe allows you to optimise the amount of width makers. Let’s see how it’s done…

Select the entire image with the Selection Tool (V), then go to Object > Path > Optimise Width Markers…. Increasing the Optimisation Amount parameter, we can reduce the amount of markers, watching the changes in illustration quality. In my case, the amount of markers was reduced by 133.

I would like to note that to create variable width strokes in this illustration only the Width Gradient and Width Selector Tools were used alongside the optimization function. If using the Dynamic Sketch Tool (DrawScribe) or Width Brush Tool (WidthScribe), then marker optimisation may well prove to be much more dramatic.

Conclusion

Due to the strict deadlines of the filming process, I had very little time to create this illustration. Would I be able to meet the deadline? This question crept to my mind several times. But I should not have been worried as using the VectorScribe, DrawScribe and their logical extension, WidthScribe, I did not just simply finish the work on time, but also supplied it nicely ahead of schedule, which was a big, yet pleasant surprise for Astute Graphics!

Download the VW vector artwork

This original artwork is supplied as one of the great examples alongside the WidthScribe download (which also provides a full 14 day trial).

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.

In this tutorial we will take a look at all the processes of creating a realistic vector feather, starting from a deigital sketch and finishing with a detailed result. Throughout the tutorial, we’ll be using DrawScribe’sDynamic Sketch and InkScribe Tools, which will speed up the process of creating of complex shapes. We will also learn how to manage shadows with the help of the Phantasm CS Publisher.

Creating a sketch with the help of the Dynamic Sketch Tool

Step 1

Begin our tutorial with a creation of a sketch. Rarely designers create a sketch in Adobe Illustrator, preferring to rely on Photoshop, Sketchbook Pro or similar pixel-based packages. I think it’s just a matter of habit – one that can be broken. We can create a sketch directly in Illustrator. To do this, we will be using Dynamic Sketch Tool, one of the tools within the DrawScribe plugin, and aptly named!

Choose this tool, then open its panel (Window > DrawScribe > Dynamic Sketch Panel). Turn on the “edit or continue existing paths” function in this panel. Set the amount of Accuracy and Smoothness levels. The higher the amount of Accuracy, the more precise the created path will follow the sketch input. The higher the Smoothness level is, the smoother the path. These amounts depend on the size of your sketch, and you can manage them during the drawing process. In addition, all the paths created with the help of the Dynamic Sketch Tool are dynamic, that means that their parameters can be changed at any time. You can set the relationship between the width of the contour and the selected parameter, for example, the pressure on the (Wacom) stylus or cursor speed.

I chose “None”, that means the path will have a constant width. So, draw a feather and shape of a drop shadow.

To configure the tool, you can also use the Dynamic Sketch Preferences dialog window. To open it, double-click on the tool icon in the Toolbar or press Enter/Return if already in the tool.

Creating vector shapes with the help of the InkScribe Tool

Step 2

For the next stage, we need to create vector objects that we will fill with color. A feather shape is a fairly a complex one, so we’ll be using the InkScribe Tool (DrawScribe plugin). This tool is more flexible than the Pen Tool (P), which we’ll now prove. Group up all the elements of the sketch and lock them in the Layers panel. Take the InkScribe Tool, then open its panel (Window > DrawScribe > InkScribe Panel).

Since the shape will contain a lot of corner points, select this corner type in the InkScribe panel or annotation. Create the first curved segment. As you can see, its endpoint is a corner point. The InkScribe Tool tells us the type of point when you hover the cursor over it.

To control the handles of the point we do not need to change to the Direct Selection Tool (A) as all the manipulations are done with the InkScribe Tool.

If you have a need to change the type of the point, then click on the appropriate option in the InkScribe panel/annotation or simply double-click on the point or its handle.

This allows us to create a complex shape without switching between the tools and using the shortcuts. This, as you know, saves time and does not irritate as much!

Creating the feather’s stem and detailing the shape using the Dynamic Sketch Tool

Step 3

To create a stem of feather, take the Dynamic Sketch Tool and set the relationship between the width of the path and the pressure on the stylus. You also need to set the minimum and maximum amount of path width. Now, create the path, as shown in the following picture.

Since we’ll be filling the shape of the stem with different fills, convert it into a closed path. To do this, go to Object > Path > Outline Stroke.

Step 4

Create a few curved paths using the Dynamic Sketch Tool, as shown in the following picture.

Select all the paths and go to Object > Path > Outline Stroke, then go to Object > Compound Path > Make (Cmd / Ctrl + 8).

Select the shape of the feather and the Compound Path, and then click on the Minus Front in the Pathfinder panel.

If you want to make the path more “pure” by reducing the number of points, then use InkScribe for the Smart Point Removal function. To do this, select the function’s button in the tool’s panel. Alternatively, just click on the points that you wish to smart remove holding down the Opt / Alt key at the same time.

Coloring the feather

Step 5

Fill the shape of the feather with a linear gradient, which consists of three shades of brown color.

In order to change the distribution of light reproduced by this fill, we need to convert it into a gradient mesh. To do this, keeping the object selected, go to Object > Expand…, then tick Gradient Mesh in the dialog window.

As a result we get a Gradient Mesh, which is limited with the help of the Clipping Mask. Lock the Clipping path in the Layers panel for convenience. Now you can easily manipulate the nodes of the gradient mesh, achieving the desired effect.

Step 6

Create a circle with the help of the Ellipse Tool (L) and fill it with a radial gradient, which consists of yellow and two blue gradient markers. To the far right, an additional blue gradient marker should be specified with 0% Opacity.

Now go to Object > Expand …, then tick Gradient Mesh in the dialog window.

Go to Object > Clipping Mask > Release, then to Object > Path > Clean Up….

As a result we got a gradient mesh without clipping path.

Step 7

Take the Warp Tool (Shift + R) and “blur” the gradient mesh on the surface of the feather.

You can add new lines to the gradient mesh and recolor its nodes using the Direct Selection Tool (A) and Eyedropper Tool (I).

Step 8

Copy the shape of the feather and paste it above the gradient mesh. Fill this shape with white color.

Select the white shape and gradient mesh, then choose Make Opacity Mask in the fly-out menu in the Transparency panel.

This action will hide the part of the gradient mesh that extends beyond the profile of the feather.

Fill the stem of the feather with radial gradients which represent its color.

Step 9

Create a circle with a radial gradient fill from red to black.

Set the Screen blending mode in the Transparency panel for this circle.

Transform the circle into an ellipse with the help of the Selection Tool (V), then rotate and place it on the top of the stem of the feather.

Thus, we have created a highlight.

Creating feather barbs

Step 10

Using the InkScribe Tool, create curved segments on one of the parts of the feather. Apply the first elliptical default profile in the Stroke panel to these paths.

Select the paths and go to Object > Blend > Make, then to Object > Blend > Blend Options… and set the required number of steps.

Set the Screen blending mode for the blend object in the Transparency panel.

Step 11

Now go to Object > Blend > Expand. So we end up with a group of curved segments.

Take the Scissors Tool (C) and cut the paths at the points of their intersection with the contour of the feather. Parts going beyond it should be removed.

Using this technique, create barbs along the remainder of the feather.

Step 12

In order for the barbs to look more natural, apply a “Pencil – Thin Art Brush” brush, which you can find in the Brushes Library.

After that, you need to apply again the Width Profile 1 in the Stroke panel, in order to restore the shape of barbs.

Creating fuzz

Step 13

Take the Polar Grid Tool and create the group of paths shown in the picture below.

The parameters of this tool are not really important. Now go to Object > Path > Outline Stroke.

Take the Scallop Tool and move horizontally over the group of objects from left to right, holding down the mouse button.

Repeat this action several times, in order to get something similar to the shown below.

Step 14

Place the fuzz below all the objects and fill it with radial gradient from brown to white color. White will soften the ends of the fuzz.

Duplicate the fuzz and place the copy above all the objects created. Fill this group with a radial gradient, which contains white, light brown and dark brown color with 0% opacity.

Add a few more hairs with the help of the Dynamic Sketch Tool.

Creating the Drop Shadow

Step 15

Fill the shape of the shadow (created at the start of this tutorial) with a light-blue color, then go to Effect > Blur > Gaussian Blur… and set the blurring radius in the dialog window.

To control the blur, use the Phantasm CS Publisher. So, go to Effect > Phantasm CS > Curves…, select the Alpha Image Channel and change the shape of the curve, watching the resultant changes.

You can move the blur deeper into the object.

Or move the blur beyond it.

And even get a glowing effect around the edges of the shadow.

In other words, with the help of the Phantasm CS Publisher you achieve complete control over the shadow.

Time to sign off with this tutorial! I hope you found some helpful tips along the way.

Download the feather artwork

Click here for Illustrator CS4 and above (also PDF compatible)…

Click here for Illustrator CS6 and above (also PDF compatible)…

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.

To celebrate the new AG Blog design being officially launched (watch this space for the remainder of the AG website), we are about to commence a two week AG Blog-fest!

With great, new material produced by our fantastic regular contributor Iaroslav Lazunov (of vectorboom.com fame) over the past few months, we will be publishing eight extensive and exclusive tutorials and articles this week and next week.

Each article will be published at 3pm GMT (London time) to span both Europe and much of the USA.

Enjoy

Schedule

Tuesday, 19 March

Astute Graphics Free Webinar recording #3: PLUG-INS COLLUDING TOGETHER

Wednesday, 20 March

How to Create a Realistic Vector Feather Using DrawScribe and Phantasm CS

Thursday, 21 March

Shortcuts for WidthScribe

Friday, 22 March

How to Enhance a Technical Illustration with WidthScribe and Adobe Illustrator

Monday, 25 March

How to Create a Vintage Frame Using the Pattern Brush in Illustrator

Tuesday, 26 March

How to Create a Dancer Using Illustrator CS6, Phantasm CS, VectorScribe and DrawScribe

Wednesday, 27 March

How to Create a Floral Seamless Pattern with Adobe Illustrator CS6 and WidthScribe

Thursday, 28 March

How to Create 24 Hours a Day Icon in Adobe Illustrator

Friday, 29 March

How to Create a Seamless Pattern Using Phantasm CS and Illustrator CS6

In this tutorial we will learn how to create the effect of linear perspective using the Width Gradient Tool, which is one of the tools of the new WidthScribe plugin. In addition, for the coloring of variable width paths, we will use the Gradient on a Path feature in Adobe Illustrator CS6. Thus, today, we are using two new techniques of vector graphics. Read on to work more creatively and efficiently!

Step 1

As a reference image I will use an International Business Centre from Shutterstock.

With the help of the Pen Tool (P) create basic shapes of buildings.

Step 2

Let’s simply limit the space of our composition. Create a rectangle using the Rectangle Tool (M) and fill it with a radial gradient that includes two shades of blue color. Place the rectangle below all the created objects.

Step 3

With the help of the Line Segment Tool (\) create a set of lines, which correspond to the position of window frames. These are uniform paths 1px thick.

The distance between them is determined by the shape of the building and the perspective. In this work I referred to the reference image. To create curved segments, use the Pen Tool (P) or InkScribe Tool (DrawScribe plugin).

Thus, I created windows on all the buildings.

Step 4

Hide the parts of paths that go beyond the buildings. Group up the paths (Command / Ctrl + G), which correspond to the front of the skyscraper located on the left.

Copy and paste in front (Cmd / Ctrl + C; Cmd / Ctrl + F) the front side of this skyscraper, and then place a new shape above all the created objects (Shift + Cmd / Ctrl +]).

Select the group that you created in this step and the upper shape of the skyscraper, then create a Clipping Mask, using Cmd / Ctrl + 7 shortcut.

Apply this technique to the rest of the skyscrapers.

Step 5

Copy the shape of the background and paste it in front, and then place a new shape above all the created objects.

Select all the created objects (Cmd / Ctrl + A) and apply a Clipping Mask again (Cmd / Ctrl + 7).

Step 6

Now to apply the effect of linear perspective to uniform strokes, transforming them into variable width paths that narrow at the top of the skyscrapers (towards the direction of the vanishing point). For these purposes, we will use the Width Gradient Tool, which is one of the tools of the WidthScribe plugin. To open its panel, go to Window > WidthScribe > Gradient Width Panel.

Choose a linear gradient and set the starting and ending width of the paths.

Step 7

In the Layers panel, locate and select paths’ group to which we will apply the Width Gradient.

Take Width Gradient Tool and drag a gradient in the right direction.

During the application of the gradient we are able to see the preview of the Width Gradient Tool impact. While the mouse button is held down, we can change the direction and length of the gradient.

To move the starting point of the gradient, hold down the Space bar.

I will mention a few shortcuts, which will also help you manage the Width Gradient:

• Up Arrow increases start width;
• Down Arrow decreases start width;
• Right Arrow increases end width;
• Left Arrow decreases end width.

As you can see, Width Gradient Tool is a very flexible and easily manageable tool that will help you achieve the desired result. Having applied the Width Gradient to the paths’ groups of all the skyscrapers, I got the results shown in the following picture.

Step 8

Apply regular linear gradients to the surfaces of skyscrapers in order to reproduce the distribution of light on them (visibility of variable width paths is off for visual purposes).

I applied fills with solid colors to the skyscraper on the right.

Step 9

We now apply a linear gradient to variable width paths. I would like to mention that the Gradient on a Path feature is only available in Adobe Illustrator CS6 and above.

I think this is a good example of a combination of two new techniques of vector graphics; the Width Gradient and Gradient on a Path.

Step 10

Copy the selected paths, and then paste them back (Cmd / Ctrl + C; Cmd / Ctrl + B). Shift new paths slightly to the right, fill them with a solid gray color and apply the Multiply blending mode.

Thus, we have created the shadow of the window frames on the windows of skyscrapers. Using this technique, paint the whole variable width paths to skyscrapers.

The Width Gradient Tool can also be applied to create different decorative effects — as well as in engineering drawings — easily changing the thickness of the paths’ group and controlling the position of vanishing points. This will be demonstrated further in forthcoming tutorials due to be published on the AG Blog!

Note: the original Illustrator vector artwork used in this tutorial is supplied with the WidthScribe 14 day trial download!

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.

Today I am introducing the first tutorial devoted to work with WidthScribe. This new plugin has a number of unique features that vector editors ever never previously offered. Now we are able to change the width of a selection of paths, applying the Width Gradient Tool to them or affect one or more paths locally using the Width Brush Tool. WidthScribe has a number of useful features for work with variable width strokes, and we will learn about some of them in this tutorial.

Step 1

Begin our tutorial by creating a silhouette of the mountain. Create its shape out of straight-line segments using the InkScribe Tool (DrawScribe plugin) or Pen Tool (P).

Now give the silhouette a more realistic look. To do this, edit the path with the help of the Dynamic Sketch Tool (DrawScribe plugin) while having the editing paths mode on.

Step 2

Choose black color for the fill of a newly created object.

Start creating the illuminated areas of the mountain that will add volume to it. Highlights will be represented by hatching, like in any engraving. The easiest way to create it in Adobe Illustrator is when you use the Blend Tool (W). Let’s see how this can be done. Create two curved segments at a certain distance one from each other.

Select them and go to Object > Blend > Make or use the shortcut Cmd / Ctrl + Opt / Alt + B.

Double click on the Blend Tool icon on the toolbar that will open the Blend Options dialog box. Select the “Specified Distance” and pick the amount in order to achieve the desired density.

Step 3

To achieve the desired effect, you can also change the position of curved segments and their points using the Direct Selection Tool (A), change the width of paths and apply the appropriate profile in the Stroke panel.

Convert the blend object into the group of paths. To do this, go to Object > Blend > Expand. Choose white color for the stroke.

Step 4

Now we need to limit the shape of the light spot. To do this, create a closed path, the shape of which will correspond with the shape of the light spot.

To represent the light spot better, select the group with the strokes and the closed path, then go to Object > Clipping Mask > Make (Cmd / Ctrl + 7).

Now, nothing prevents us from fine-tuning its profile. If you need to edit it, simply move a point in the Clipping Path with the Direct Selection Tool (A). You can also add new points to it, for example, using the Pen Tool (P).

Step 5

Once we achieve the desired result, go to Object > Clipping Mask > Release. Set an arbitrary color for a closed path that served as a Clipping path in the previous step, and lock it in the Layers panel.

Take the Scissors Tool (C) and cut the hatching lines at the point of its intersection with the shape of the light spot. Alternatively, a very quick way of achieving this is to use the Dynamic Sketch tool’s gesture trimming function (click here to see it in action). In DrawScribe v1.1 or higher, simply hold down Shift whilst in the Dynamic Sketch tool and strike through the parts of the path you wish to trim back.

Select and delete the parts of the hatching that extend beyond the red outline. Now delete the shape of the outline of the light spot, it is no longer needed.

Step 6

Light distribution created with the help of the strokes looks too uniform. To create a more artistic effect, use the Width Gradient Tool, which is one of the tools found in the new WidthScribe plugin. To open its panel, go to Window > WidthScribe > Width Gradient panel.

Now we are able to apply a linear or radial gradient to the selected group of paths. This gradient does not change colors of the paths, but changes their widths. This unique single-operation technique has appeared for the first time in the history of Adobe Illustrator and all other vector editors. Let’s see how it works…

Select the type of the gradient (1), the range of the change of the path width (2) in the Width Gradient panel.

Select a group of paths, take the Width Gradient Tool and apply a radial gradient to the lines using a Click and Drag method.

Until you release the mouse button, you have the opportunity to watch how the width of the paths is changing while applying the gradient.

Step 7

You can move the starting point of the gradient, to do this, hold the Space key.

In addition, you can set the non-linear distribution of the width along the line of the gradient application, changing the shape of the graph in the Width Gradient panel.

These wonderful options allow you to achieve any conceived effect in seconds.

Step 8

Using the technique of creating hatching and the Width Gradient Tool, I created a light spot on the entire surface of the mountain.

The farther strokes are from the light source, the darker they are supposed to be.

This consistency will allow you to increase the sense of depth and volume.

Step 9

Create the shape of waves smiting at the bottom of the mountain. This complex shape is created by combining simple ellipses and objects created with the Pen Tool (P). Objects were combined with help of the Unite command in the Pathfinder panel.

Step 10

To create the wave crests, use the technique of creating a group of strokes, which was described at the beginning of this tutorial.

Now it’s time for us to learn about the following tool of the WidthScribe plug-in, named the Width Brush Tool. To open the dialog box with its configurations double click on its icon on the toolbox or press the Enter key if the tool is already selected.

In the Width Brush Tool Options dialog box you can set the size of the brush and its hardness. As with any brush, you can determine the resultant effect from a number of parameters, such as pressure on the stylus of the graphic tablet, and the brush hardness value.

Please note that the “Adjust Width by…” values can be applied both positively and negatively — the latter possible when holding down the Shift key when brushing. When positive (default), the impact of the Width Brush Tool is to increase the width of the paths; negative ones will reduce the width of the paths.

Step 11

The image below shows the trajectory of the brush and the impact that it had on the group of paths.

To change brush diameter, use keys “]” – to increase and “[” – to decrease.

Step 12

The WidthScribe plugin has commands that allow you to dynamically change the appearance of all the selected variable width strokes. Let’s see how it works on the example of creating the sea spray foam. I created a few uniform paths with the help of the Dynamic Sketch Tool, as shown in the image below.

Now select all the paths and go to Object > Path > Vary Width Markers….

By controlling the sliders in the dialog box, I quickly got the desired effect.

Step 13

To create smaller foam artefacts, I used Dotted patterns, which can be found in the library of patterns. Go to Open Swatches Library > Patterns > Basic Graphics > Basic Graphics Textures in fly-out menu of the Swatches panel.

Finally, to create splashes, you can create a Scatter Brush out of an object of arbitrary shape and assign random value to it.

Please note that only a selection of the tools, functions and possible applications within WidthScribe are described in this tutorial. In the next tutorial you will learn about other tools and new features of this unique plugin.

About the author

My name is Iaroslav Lazunov, I am a graphic designer from Zhytomyr, Ukraine. I am glad that I finally found the job in my life that I can share my knowledge and experiments with you in my tutorials.

Follow me on Twitter, Facebook or visit my blog Vectorboom.