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(magical jingle)
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Well, hey everybody. Welcome into this Adobe Illustrator tutorial, brought
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to you, as always, by tutvid.com. Today, we're going to take a look at
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creating this really cool, glass planet illustration effect that was inspired
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by this really cool piece of artwork I saw over on Dribbble, I've got a link
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right down there in the bio. Go show the artist some love. It's a really, really
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work of art that he's created. I'm doing my best rip off of it, and covering
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some of the tips, and tricks, and techniques that I've come to use along
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the way. If you do enjoy this tutorial, think about hitting the subscribe
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button. Maybe wait a couple minutes, make sure you actually like the
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tutorial, right? and then just keep it there in the back of your mind as
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you're watching this video. If you think it's good, go ahead and hit the
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subscribe button, so you never miss any future Adobe Illustrator tutorials.
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Ladies and gentlemen, let's jump in and get this thing started. Alright, well,
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here we go in Adobe Illustrator. Let's get this thing kicked off by going
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File>New and create a new file and we're going to go with 2560x1440.
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I'm working in the RGB color mode, but you can work in CMYK if you
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want. I'm going to go ahead and create my document. The first thing
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we're going to do here, is create a background. So, I'm going to select
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my stroke. It's going to open the color panel. I don't really need that. I'm
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going to hit the little slash icon to get rid of the stroke. Then I'm going
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to click the fill, and I'm going to go with 06062b, which is a super dark
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purple/blue color. I'm going to grab my rectangle tool. Click a single
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time and say, hey, you know what? Our document is 2560x1440, so
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we're going to slap that background right in there, and very quickly
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we'll go Window and open up the align panel here real quick, and we'll
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just align this guy horizontally and vertically, and I'll probably name the
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layer something like "bg," for background. And before we lock it up,
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we're going to create a little glow for the center of this using the
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ellipse tool, click a single time. The height of our document is 1440,
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so I want a simple 1440x1440 ellipse, hit OK. Again - probably should
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have let the align panel open, right? - we're going to align this guy
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horizontally and vertically, as well. Now, we're going to fill this with
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a gradient. So, I'm going select my fill here in the properties panel.
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I'm going to go with the black to white gradient. I'm going to select
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gradient options which is going to pop open my gradient panel here.
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I'm going to swap this to radial gradient. I'm going to select the black
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color stop. In fact, I'm going to double click on it, and I'm going to
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slide all my RGB sliders all the way up to white, just like that. Then
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I'm going to select opacity and set it to zero. I can close up the
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gradient panel, and I'm going to select the word opacity here and
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I'm going to change the blend mode to overlay. You can see, we
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have this beautiful, little glow here in the middle of our background,
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just like that. We can now lock up that background layer and go
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ahead and create a new layer where we will create our artwork. So,
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I'll name the layer something like "artwork," that makes sense, right?
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And I'm going to grab my ellipse tool, and we're going to begin by
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creating the base of our planet, which is going to be a 580x580
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pixel ellipse, and hit OK. Now, for this particular shape, I'm going to
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hit the letter 'd,' which is going to reset my foreground - well, my
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fill and my stroke, I should say, I'm used to working in Photoshop.
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My fill and my stroke, and I want to get rid of the fill. In fact, I want
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this to be a white stroke. We're going to create as much of the line
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art as we can and then we'll go ahead and add all the colors and
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really make it look awesome. So, what I'll do, is I'll hit the little arrow
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to swap my fill and stroke, and then hit the little slash to get rid of the
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fill. Now, a one point stroke, a little difficult to see, so let's just bump
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it up to two points, just like that. And what I'll do, is I'll go Window>Align,
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maybe I'll leave the align panel open for a short while here. So, let's
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go ahead and align horizontally and vertically, and there we go. Of
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course, now that I have the align panel open, I'm sure not to need it
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for the rest of the tutorial. But, better safe than sorry. I'm going to
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go ahead and open up this layer, and you can see, I've got this ellipse.
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I want to duplicate it twice. So, I'm going to go Edit>Copy and then
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choose Edit>Paste in Front, and Edit>Paste in Front. That pastes it
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exactly in place, and I'm going to name the top one here "shine,"
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and I'm going to shut that layer off. We're going to come back to
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that later. I'm going to name the second one "base," and I'm also
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going to shut that off. We will, also, come back to that later. Now,
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we're going to select our visible ellipse here and we're going to
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offset this path. So, I'm going to go Object>Path>Offset Path. So,
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I'm going to say, look, bump this inward fifteen pixels. So, we're
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going to say -15 pixels on the offset path, and you can see, we've
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got a second path now. We're going to select that inner path, we're
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going to do that same Copy>Paste in Front game. And I'm going to
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name this something like "low yellow." We're going to use this later,
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as well. So, I'm going to shut that off. And we're going to need a
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second copy of that inner stroke, so I can just go Edit>Paste in Front
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because it's still copied to my clipboard. You can see, there it is. And
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I'm going to hit SHIFT+X, that's going to swap the stroke and the fill.
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So, what we're going to do, we're going to take this white circle. We're
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going to copy it, Edit>Copy and we're going to say, look, paste it right
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in front, and then up here in the transform section on my properties
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panel with the topmost path selected, I'm going to make a couple
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changes here. I'm going to say, look, 1280 pixels on the x is where
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this is sitting. I'm going to say, subtract 100 pixels from that. And you
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can see, it bumps it to the left 100 pixels. Then here for the y, I want
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to move it upwards, so I'm going to subtract maybe 50 from the y.
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Something like that. You can see, we now have these two overlapping
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circles. What I'll do, is I'll hold down SHIFT and select the other white
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filled circle, and you can see here in the properties panel, I've got
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some pathfinder options. I'm going to hit this subtract, or minus, front,
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as we can see it's called, the minus front, to reserve this nice crescent
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shape right there. And once I've done that, I'm going to swap fill and
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stroke. Again, SHIFT+X to make sure that I have a nice, little stroke.
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You can see, two point stroke, there we go. Next up, we're going to
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take the inner path, and we're going to offset this one more time.
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So, I'm going to go Object>Path>Offset Path, and we're going to
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offset this to -40. So, if we preview that, you can see, it bumps it in a
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relatively decent amount. I'm going to hit OK; and I'm going to zoom
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in here, and what I want to do, I just want to save two little pieces
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of it somewhere up here, because I'm going to create a sort of
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highlight on my planet later. So, we will use the scissors tool
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right here, located under the eraser tool. Note the hotkey, the letter
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'c,' and we're going to go ahead and snip out the bits we're trying
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to save. So, I'll say, snip it there. Maybe right up there, as well. Then
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down over here, we'll say, let's go ahead and snip it right there.
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Alright, now it doesn't look like I did much. But what I can do now
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is select this whole remaining part of the circle, delete it, and then
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there's a little piece here in the middle that I should be able to
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delete. Let me zoom in on this. Not quite. Let's take the scissors.
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Let's cut it again. Let's cut it right there. Great. Select that little
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piece in the middle, there we go. Now we just have these two little
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pieces left and I know that looks kind of like, what are we doing here?
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But let me give you a little peek into the future. We're going to end
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up coming in here and setting this to something like a 10 or 15
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point stroke with rounded corners, and it's going to give us this
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nice highlight. Now, for the sake of keeping the artwork simple,
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we're going to leave it as artwork. Next, let's go ahead and create
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a couple new ellipses. So, I'm going to grab the ellipse tool, I'm
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going to click a single time. We're going to begin creating the rings
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that wrap around our planet. So, that's going to begin with a
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1050x240 ellipse. See, more of an oval than anything, right? And
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I will take this.. I'm going to drag it down here, because we're going
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to work on this for a quick second. We're going to go Edit>Copy, and
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we're going to paste this bad boy right in front. I'm going to change
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the width here to 990, the oval shrinks inward a little bit and I'm
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going to change the height here to 200. Now, if your oval is doing
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weird things and changing different sizes, try checking and
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unchecking the maintain proportions little icon there. It should have
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the slash through it, and you should be able to work with width
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and height independently. But go ahead and toggle it on and off if
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it's giving you any issues. Once we have that, we have our rings, but
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we need to tilt them on axis. So, select both rings and here in the
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angle, I'm going to angle it 35 degrees. This is the tilt that I'm going
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to go with for my little planet. Now, let's go ahead and create a
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couple moons. We're going to put a moon up in the sky over here
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to the top left, and a moon down here to the bottom right. So, let's
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grab our ellipse tool, click a single time. We're going to begin with
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the top left moon, and that's going to be an 80x80 pixel ellipse. I'm
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going to move it over to where I think it should go. Maybe somewhere
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right about there. Then we're going to go Object, we're going to offset
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this path, Path>Offset Path, because we're eventually going to have
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some light energy rings emanating from this little planet. I'm going
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to offset it by 12 pixels. I'm going to do this two more times. Path>
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Offset Path. Notice the outer path is selected, so it's going to keep
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making it larger and larger. Object>Path and one more Offset Path
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for this guy, there we go. So, that's our top left moon. It looks weird.
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It's going to look great once color is in it, don't worry. We're going
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to click again here, and I'm going to go with a 50x50 ellipse for our
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lower left planet, and this is probably about where it should be.
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Somewhere around there is going to work. Then nothing has to
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be exactly perfect here. We're going to go Path>Offset Path. Again,
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12 pixels and we're going to do one more ring for the planet down
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here. So, this one is going to have two rings down on the bottom
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right. The larger planet on the top left will have three rings. Then
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the next thing we'll do, is we'll create this overlaying disk/moon,
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whatever it is, that's going to be a very flat shape down here on the
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bottom of our planet. I'm going to click a single time. This one,
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we're going to go 225x225 pixels; and again, it's going to look a
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weird here when I put it in place. But once it's colored and we've
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got some blend mode action happening, you're going to see, it's
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going to work nicely for us. It's going to look pretty cool. Then we're
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going to go with a couple more, smaller moons. I'm going to go with
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a 40x40 pixel ellipse, and I'm going to drag this one. By the way, do
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you see how we got these transform handles, and it's almost like I
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can't grab the shape without grabbing a transform handle? You can
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go View and say hide bounding box. That can be really helpful. We
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know what shape we want. We can create the shape we want. I just
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want it to be easy to move around. That moon is going to overlap
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up there. I'm going to hold down ALT/OPT. I'm going to duplicate
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this and maybe put one of them over here, as well. So something
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like that. We'll have two moons that are in orbit around the star
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field, asteroid belt, whatever, ring around our planet. Then we'll create
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two even smaller moons. Actually, we'll probably make four of them.
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So I'm going to go with a 20x20 pixel shape. Let's pop one of them out
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here. Let's maybe drop another one somewhere over. Then I'm going
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to put two of them overlapping my planets. Something out here. Maybe
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I'll exactly adjust them a little bit later. Something like that. It's going to
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all contribute to a very subtle effect. So, now we're going to create a
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couple twinkling stars that are in space around our planet. I'm going
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to use the star tool here. One of the cool things about the star tool,
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is as you drag out, you can use the up or down arrow keys to add
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arms to your star, or reduce arms from your star. I want to reduce
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down to more of a diamond shape. But you can see, the arms of the
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star aren't quite long enough. So, you can hold down the CMD/CTRL
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key. And if you pull out, it's going to lengthen those arms just like that.
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So, I'm going ot create a little star. Maybe something about that size.
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I'm going to zoom in on this a bit here, because what I want to do, is
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grab my regular select tool, hold down CMD/CTRL; and you see how
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all these dots appear? I'm going to use these dots to round the edges
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of my star. Something like that. So, I think that's pretty good. If the star's
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a little big - eh, that's about the right size. That's probably close enough
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to working for us. I'm going to take... let's make four of these stars in
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total. So, I'll put another big star over here. Let's take and put a small
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star up here. So, I'm going to size this down a little bit. I'll lock
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proportions and let's say, make this 25x25, something like that. Then
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we'll duplicate this and make another small star down there. And before
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we get to the big wavy, sloshy stuff in the middle of our planet, let's
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create a couple bits of hail. And we're going to do that with the ellipse
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tool. I'm going to zoom in a little here for this. I'm going to create a
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small ellipse. Let's go with, maybe 15x15. Something really small.
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Smaller than anything else we have thus far. I'm going to grab my
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direct selection tool. It's the white arrow, right there. And I'm going to
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select the little anchor on the top of this little ellipse. I'm going to hold
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down SHIFT and nudge upward with my arrow key a couple times. Just
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until it looks about right. What is right? Whatever looks right to you.
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Then I'm going to click and hold on my pen tool, and I'm going to select
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the anchor point tool. And I'm going to click this anchor point, bam!
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once. You can see what that does. We've got this really cool teardrop
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shape that we're working with. I'm going to tilt this bad boy to 45 degrees.
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45 degrees. Eh. Maybe the other 45 degrees. Let's go -45, that's more
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like what I was thinking. Something like that. And we're going to duplicate
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and place a bunch of these around our planet. I'm going to begin with
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a couple big ones. Let's go one, two. Maybe we'll put a big one over
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here. Then another big one there. Let's duplicate this out. And I'm going
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to half size this. So, I'm going to say, maybe make it 25x25. So, really
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tiny little. Hail storm looking thing. Something like that. That's great.
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Then maybe one over there. Something like that I think is cool. Maybe
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we should take this one and put it up over here. Something like that
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I think is neat. I'll move this one. No, that one should stay right about
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there. This small guy should move down here. Something like that. So,
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we're beginning to add some of the atmosphere that's going to be
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there around the planet. And again, we're going to fill all of this. We're
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going to make it look great. We're creating line art, getting all that
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knocked out right now. Let's zoom in here. And what I want to do, is
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create the sloshy artwork. If I go and look at the finished stuff, you can
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see, it's got this cool colored fill to it. What I want to do, is I'm going
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to create the big, blue shape first. Then I'll worry about the pink and
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the inner part of it. Once we create the base, we'll know what we're
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working with. So, the idea behind this is, we want - and I'm going to
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turn the bounding box back on - we want our s curve to cross the
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middle of the planet. That's what I've found works and looks the best.
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So, if I know that, I know that I can enter right around here. Swoop
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down, swoop up, and exit right around that halfway point. So, I'm
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going to use the curvature pen tool, because it's a little easier.
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Especially if you're new to Illustrator. Go ahead and grab the curvature
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pen tool, and here's what we're going to do. We're going to click
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right out over here, and we are going to click at the bottom most
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point of our first slosh. So, the first down-swing, if you will. So, I'm
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going to click right there, and then we're going to come right over,
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and we're going to click at the topmost area of the up-swing. Then
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we're going to choose where we exit our ellipse. Something right around
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there. Now, here's a cool, little trick, if you hold down ALT/OPT and you
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click that point, you can then just lock that point in, so you're not
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affecting the rest of your path. Then quickly draw some sort of path
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out around the rest of the document, like this. Now, you can see, when
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I go to join it, it's doing that weird, funky thing. If you hold down ALT/OPT
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and you join, it's not going to affect it at all. So, you lock that shape in,
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and the whole goal here is to create a nice, swooping shape. Then
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envelop the whole bottom half of our planet. So, just like that is what
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we want. We've got a great shape there. Now, to get the second wavy
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shape, we're going to duplicate the shape. So, hold down ALT/OPT, I'm
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going to pull this shape straight down. Maybe something like that. Maybe
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what I'll do is push it inward a little bit. Maybe I'll push it in from the other
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side, as well. You can play with it a little bit. Maybe I'll tilt it just a little.
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You don't want it to be radically different, but just different enough that
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when we fill it with a different color it's going to look good. It's going to
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look the part. I think that's going to work. So, we've got our first two
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swish shapes, and now we need to create a wave shape up here. So,
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you can see, if I look at the finished piece, you can see, it goes up and
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then back in and meets the hillside, if you will, right there. So, let's go
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ahead and try creating this. So, I'm going to go... I'm going to begin
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right out around - ugh, where should I begin? Maybe somewhere right
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around there. And you can see, the ring, if I click here, you can see
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how it selects the ring. So, I'm going to undo a couple times here.
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What I'll do is I'll select both of those rings and - let me collapse my
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properties panel for a second - I'm going to scroll down. There the
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two rings are in my layers panel. I'm going to shut them off for just
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a quick second, and we're going to get back to them in a second. So,
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let's grab our curvature pen tool here. Let's begin right around here.
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Let's go up to our high point, right about there. And the low point is
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going to be right around here. Then we're going to curve it back
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around. Oh, maybe I should come out. Maybe something more like
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that. Hold down ALT/OPT, let's lock that in. Then we'll bring this guy
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around. Something like that. Make sure you don't click on any other
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paths, and then ALT/OPT and join the path off. Now, that looks a little
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too radical. So, the cool thing about this is, we can go ahead and say,
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let's stretch it out a little bit then. Let's smooth and flatten that path
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out. Maybe we want it tilted a little. Maybe I want to grab my direct
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selection tool and select that point and nudge it to one side or the
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other a little bit. Maybe nudge it down a little bit. That look goods. Let
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me grab the whole path. I'm going to rotate it a little bit more. There
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we go. Something like that. I'm going to bump it over, bump it over.
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Ugh, maybe I should go - I just want to make the wave a little bit bigger.
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And I think I'm going to compress it a little bit more. Something like
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that. Again, I'm probably obsessing over it a little bit too much. But,
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obsessions can be good, right? So, there we go. This little teardrop
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looking shape, that's the only part of this we're really interested in. And
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you're going to see how we're going to save all of that stuff in a second.
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It looks a little bit like a mess. We'll make these shapes one at a time,
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just to keep things simple for you. So, I'm going to shut off the two
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newest bits and we're going to go with the big wavy shape. In fact, I
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should probably shut off those rings again, for the sake of keeping it
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simple. Again, I want this to be - not only do I want you to see what I'm
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doing. It's nice if you understand what's going on. So, we're going to
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select this wavy shape here. But to have something to work with, I want
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to select the innermost shape. This is the shape that I want this wavy
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shape to be cut within. We're going to copy it. So, we're going to go Edit>
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Copy, and I'm going to say, Edit>Paste in Front. Paste this sucker in front,
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I'm going to hold down SHIFT and select the wavy shape. And it's pretty
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easy from here. We're going to open up our properties panel, and I'm
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going to choose the click to intersect option. Boom! and you can see,
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our little wavy shape is perfectly cut within our ellipse. We've got our
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first wavy shape. Very, very cool. I'm going to turn on that bottom most
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shape. Now, remember that inner ellipse is still copied to the clipboard,
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so I can go Edit>Paste in Front one more time, and then SHIFT click our
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bottom shape, and once again, click to intersect. Voila. And then, last but
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not least, I'll turn on the little teardrop shape. We're going to go Edit>
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Paste in Front, and I'm going to SHIFT click that, as well. And I'm going
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to intersect that, as well. Now, we have some other problems here,
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because there's this whole overlapping nonsense, and this bit sticking
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out. Now, I am going to select both of those shapes. So, the wavy and
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the teardrop shape, and we're going to hit the little triple dot, and we're
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going to say, yeah, we're going to use the divide path finder. Then we
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need to ungroup this. So, we'll go Object>Ungroup, and now what I can
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do is select the bits I don't want. I don't want that shape. So, I'm going to
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select it and delete it. This little bit in here, I want, because that's actually
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a big chunk of my little wavy thing. I do, still, also want this, but this little
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shape here, if I drag it out, you can see, it's a teardrop now, that really
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should be a part of this shape here. How do we do that? Well, we select
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both of those shapes, and we can say, look, join them together. At this
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point, ladies and gentlemen, we are ready to begin colorizing and bringing
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some life to this project. Adding color to this is where I have a little bit of
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a goody for you. You can use a link down in the description to this video,
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and you can download the exact color scheme that I'm using, and it's going
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to be this .ai file, don't be fooled. Planet artwork color palette tutvid. Now,
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here's how you actually get these colors into Illustrator. You can do it through
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the swatches panel. In fact, let's do it through the swatches panel to keep
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it simple for everybody. Window>Swatches, and with your swatches panel
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open, we're going to hit the little flyout menu in the top corner and say,
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open swatch library, other library and navigate to where on your hard drive
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that file is. Select it, choose open, and you can see, you're going to have this
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whole mess open up. Now, the only important part of it is this little folder
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down here. The cool thing about this is, you click on the folder, and boom!
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it brings it in to your main swatches panel. This is everything we need for
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this. I can close out that original thing. In fact, I can close this out, because
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if I select a piece of artwork and I go to fill, all those swatches are now here
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in my fill panel within the appearance section of the new properties panel.
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So, let's start easy. Let's go with the moon up here in the top corner.
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Add some color to this bad boy. So, let's select it, we're going to go fill,
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and I want this to be a gradient that runs yellow to green using these first
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two colors. So, what I'm going to do, is I'm going to say, look, fill us with
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a gradient, number one. Then we'll choose gradient options, of course it's
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going to open our gradient panel. Then I can come over and open my
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swatches panel, and I can say, yeah go ahead and swap the white with
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yellow, and the black with green. Notice it's not fully updating. If I click the
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shape, boom, there we go. We've got an update. Then what I'll go ahead
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and do is change the angle. Let's try 90 degrees. I wanted to go green to
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yellow, so I could either say -90 degrees or you can use the little reverse
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gradient button, and there you go. It does exactly what we want it to do.
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I'm going to close out the gradient panel for a second. I'm going to select
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stroke, and we'll select this slash to get rid of the stroke. Now, once we've
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done that, we can select all of the rings for this, and grab our eyedropper
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tool, and sample that center gradient. Now, this isn't rotating the gradient
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upright, the 90 degrees that we want. But we can go right in here to our
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gradient options and right out of the gate, we know we reversed the
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gradient. So, we can go 90 degrees, there we go. Now, it doesn't look very
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good. It looks difficult to see the rings. That's fine. We're going to come
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over here to opacity, and we're going to set each of the rings' opacity to
-
15%. And you can see, we've got this really cool effect now of this moon
-
floating, and almost like a colored glow emanating from it. We haven't
-
used any effects. It's just a gradient layered on, and reduced opacity is
-
giving us that effect. So, let's come down here a little bit faster and do
-
this lower moon. So, with this guy down here, we're going to go Fill. We're
-
going to fill this with a gradient, as well. So, let's go black to white gradient.
-
I'm going to open gradient options. I'll move the gradient panel over and
-
we're going to go with a pink to orange gradient here. So, I'll drag the pink
-
in to replace white. Drag the orange in to replace black. Then I'll click the
-
gradient out here. We get an update. And here I know I want the pinkish
-
color on the bottom. So, we're going to go 90 degrees, there we have it.
-
I'll close out the gradient dialogue box. I'll select stroke once, get rid of
-
the stroke. We'll select both of our outer rings, easy. And grab the
-
eyedropper tool. Sample that inner color. Once more, we've got to go back
-
and rotate those guys upward, as well, to 90 degrees. I'll close that out,
-
and set these rings both to 15% opacity, as well. And just like that, we've
-
colorized both of the little planets that will go on either side of our large
-
planet. So, next up, let's tackle the large moon that's going to float in front
-
of the planet here; and we'll do the same little routine. In fact, I'll
-
preemptively get rid of the stroke. We know we're not going to need it. We'll
-
go to fill, let's give it a gradient. Here, we're going to use the next colors in
-
line. That's that blueish/purplish color and the pink for our gradient. So, I'll
-
go gradient options. Bring the gradient panel down here, so I can see all of
-
what I'm doing. And let's drag the blue in to replace the white. And drag the
-
pink in over on this side. Let's set the angle to 135, I want this to be on a bit
-
of an angle like that. Where it's beginning from the top left and running to
-
the bottom right, sort of like that. That looks good. I can close out the gradient
-
panel. I'm going to open up my opacity panel, because we're going to make
-
some changes to this. We're going to set this to color dodge. It's going to give
-
us this extreme color effect, and it's going to change as we add colors to
-
our planet underneath. In fact, we may come back to this later and decide
-
to reduce opacity a little bit. Maybe change that blend mode. But for now,
-
we're going to live with color dodge at this 135 degree gradient angle. Let's
-
go ahead and select our frontmost wave shapes. This is the wave shape at
-
the bottom. Again, we'll dump the stroke. I'm going to go to fill, I'm going
-
to fill it with the black to white gradient. Open up the gradients panel.
-
We're now going to drag a light pink and a darker pink in. So, the next two
-
colors in line. Let's go ahead with that. Drag the light pink in, and drag
-
the darker pink. Just like so. And for this, I'm going to change the angle.
-
Let's go with 90 degrees. You can see, the light pink is on the bottom. We
-
don't want that. We'll just reverse the gradient real quick. And basically,
-
you want to play with this gradient slider until you get the amount of
-
almost glow that you want. In fact, we may want this to be on a slight
-
tilt. We could try 80 degrees. 80 degrees is not the right direction. Let's
-
go 100 degrees. Something like that. That looks pretty good. And we can
-
compress the lightened edge up to the actual edge. Something like
-
that. So, about 100 degrees for the gradient. And I just slid and filled
-
a lot more of heavy pink into the bottom. Now, you can see that our
-
moon here on the bottom is not looking so good. That's because it's
-
being covered by this wave. What we're going to do, is we're going to
-
be restacking a lot of this artwork as we create it so it all looks right.
-
In the case of this, you would need to bring this to the front. So, I
-
would right click and choose arrange and we could choose bring to the
-
front. Really what you should do is bring it forward. As forward as it
-
needs to be. But, for the sake of getting it done, we can just bring it forward.
-
And you can see the effect that we're getting here. It's a very interesting
-
little effect, and as we build out the shapes around it, this gradient moon
-
shape is going to interact with the colors in our planet. But at this point,
-
that's neither here nor there. So, let's select the large wave shape and
-
once more, we'll dump the stroke. I'm going to say, give me a fill. Let's go
-
with a gradient. We already have our gradient panel open, and I'm going
-
to drag the light cyan and blueish color out and drop them in place. So,
-
let's go light cyan for white, and the more heavy, thick blue for black. Then
-
we'll come down here and once more, let's try setting this - maybe we will
-
go 100 degrees and we'll reverse the gradient. I think 100 degrees works
-
well for this wave that we've created. It might be slightly for whatever
-
wave you create, but you know, work with it. Finesse it until it looks right.
-
Now, obviously this doesn't look good because we're covering up the
-
pink. If we go to Object>Arrange which is the same as right clicking on the
-
artwork and going arrange. It's really helpful to know these two, little
-
hotkeys here in Illustrator. CMD/CTRL and the left or right bracket keys,
-
they will allow you to swing your artwork around. So, I'm going to begin
-
using CMD/CTRL and the left or right bracket keys and I'm going to start
-
syncing artwork, or bringing artwork up to the fore, depending on what
-
I'm doing. As I was moving that path down, I had to move it quite a ways
-
down, and the reason that was was because we had a lot of extra little
-
bits of path, residual junk left behind from when we created our path
-
finders to create these wave shapes. So, let's real quick shut off these
-
wave shapes and what I'm going to do to address those shapes, I can't
-
even really see what they are because right now we're using white
-
stroke, and we have white thumbnails in our layers panel. So, I can't see, for
-
instance, if this is a little, tiny piece of path which, well, I can see it is once I
-
select it. But I don't know beforehand. So, in order to combat that, I am
-
going to select all of the white strokes using the magic wand tool. Let's
-
go ahead and select all of the white strokes and I'm going to change the
-
white color to, I don't know, maybe yellow or something that I can still
-
see above this background. When I do that, you can see in my layers
-
panel, I'm going to collapse properties for a quick second. This is just
-
the most boring housekeeping junk you've ever seen, right? All these
-
little nibs of path. So, what I can do, is I can hold down SHIFT and select
-
all these guys, and delete them wholesale. We don't need these. There
-
you have it. It's all good, we can turn these shapes back on. Is it annoying?
-
Yeah. But it sometimes part of working in Illustrator. At least it is for me.
-
Let's go ahead and grab our little teardrop shape here, because I can see
-
where that is now that we've cleaned up the excess of layers, and honestly,
-
because everything is colored yellow, I'll drag this up to the top, and we're
-
going to fill this using that same gradient. So, it's as simple as grabbing the
-
eyedropper tool and selecting that gradient and there we have it. Not quite
-
what we want, because that looks pretty bad. So, I'll select the shape, and
-
you can see, our gradient panel isn't updating. Well, that's because we have
-
the stroke forward, and right now, there's no stroke. See, it's saying, should
-
I add the gradient to the stroke? No, no, no. We want to work on the fill. So,
-
I'm going to select the fill. The first thing I want, is I really want the dark blue,
-
the shadow, if you will, to be against our current wave. So, I can use the
-
gradient tool and I can try drawing the gradient, see how that works. I drew
-
it the wrong direction, of course, because you always draw it the wrong
-
direction! There we go. Something like that. Then I could adjust, and say,
-
no, bring more of that teal color in. Then I could, more specifically, adjust
-
over here, and use my up or down arrow keys with the gradient angle.
-
Something like so. And I could really play with this and decide, do I want
-
more blue there for the shadow? Do I want to bring back, and force the
-
shadow to only live along that ridgeline, something like that? I think that
-
looks pretty good. That gives our little shape a bit of dimension. In fact,
-
I may select the big, blue wave shape and increase the amount of blue
-
coming up from the bottom. Just to help it match with our wave a little
-
bit. Then I would select the wave and say, you know what? Retract some
-
of that blue a little. Just to help the shadows line up and make it look like
-
it all belongs together. Now, this moon with the color dodge is not being
-
shown any love, because you see it's behind all these colors. So, we could
-
drag it up. But let's use that hotkey that we just learned, CMD and the
-
left bracket key, and boom! We've bumped that way up to the top right
-
above everything. Looking good. Let's hide the gradient for a quick second
-
here. Let's work with some other colors. We're going to take our little
-
crescent overlay, and we're going to make this a white shine. So, I'm
-
going to hit SHIFT+X to swap foreground and background, and right
-
away, it's a shine, it needs to be on top of everything. So, let's bring it
-
all the way up to the top. You can't even see this in our layers panel.
-
So, this is going to be a candidate for going arrange, and bring this bad
-
boy right to the front. There it is now at the top of our layer stack. Of
-
course, we want to fill it with white. So, we'll select fill and just select
-
the white, right there, and what I'm going to do is click on opacity. We're
-
going to set this to overlay and set this blend mode to - let's go 20%.
-
While we're adding shines and stuff, let's go all the way down. Let's
-
select that low yellow shape, right? Let's turn that bad boy on. Select
-
him and we're going to go Object>Arrange and bring this on all the
-
way up to the front. Alright, there it is. Low yellow. We're going to fill
-
this with a gradient, as well. So, I'm going to dump the stroke, and let's
-
go fill. Let's fill it with a black to white gradient. It's going to cover
-
everything up. No worries. We're going to go gradient options here.
-
We want to drag in these yellow color swatches here. So, we're going
-
to go with light yellow, and say, yup, drop that where the white is.
-
Then a darker yellow right there where the black is. Then I think I'm
-
going to set this to 135 degrees. I think we want to the lighter yellow
-
up there on the top. So, we'll go ahead and reverse this gradient.
-
What I'm going to do, is I'm going to select the light yellow color stop.
-
And we're going to set the opacity to zero percent. So, you can see
-
what we're getting. We're getting this almost faded, hazy effect. I'm
-
going to try to kick this up a couple notches by going to the opacity,
-
and let's try setting this to hard light, and maybe drop the opacity to
-
80%, something like that. Then we really need to rein this yellow in.
-
There's way too much yellow. It may need to be a little bit of a steeper
-
angle. Let's go - not 150 degrees, a little bit of a less steep angle -
-
about 115, that looks good. Then I want to really compress the yellow
-
back in. I just want to there to be a bit of a yellow glow, sort of along
-
the bottom. See how the yellow is still hazing up there? So, we'll maybe
-
set this to 105, see if that helps swing it around a bit more. Something
-
like that. We'll bring that transparency back in even more to really
-
contain it down there on the bottom of our planet. Something like -
-
you know, somewhere right around there. I could probably bring it back
-
to about 110 or so. Yeah, that looks about right. We're building that nice,
-
subtle glowing edge. The success is in the details. There we go. Something
-
like that, I think is going to work for us. And next, what we want to do, is
-
move down and select that base shape. I'm going to turn it on. Select it,
-
and I want to bring it to the front, so we can really get a look at it. I'm going
-
to go Object>Arrange, just bring it all the way up to the front. We are
-
going to have to send it back in a little bit. But let's work with it here. I'm
-
going to get rid of the stroke. We are also going to give this a gradient,
-
as if that's not expected at this point, and I'm going to use a couple of
-
these light pink colors here. So, let's go with these two right here. And
-
drag the light pink down. Replace white. Drag the pink down and replace
-
black, and I think what I'll do here, is swing this around. I want this pale
-
pink to be in the bottom corner. So, let's go ahead and try setting this to
-
135, and that's probably about perfect. We might be able to push it a little
-
bit in either direction, but 135 is looking good for us. I'm going to select the pale
-
pink and we're going to knock the opacity down to zero percent. But I'm
-
going to go ahead and open up opacity, and set this to hard light and then
-
reduce the opacity to 55 percent. Now, we're starting to cook with some fire.
-
You're starting to see how this shape is building out the way we want it to
-
be built out. Now, this is not the shine. This is the base. So, we want to take
-
this and drag it beneath all our waviness. So, we can do that manually, or
-
we can send it down using our hotkey. Something like that. I want to bring
-
it way down though. So, I might send this all the way to the back by going
-
Object>Arrange>Send to Back, there's really nothing that's going to need to
-
be behind it. After all, it is our base. Next, what we'll do, is we will select the
-
bit that's going to make up the outer ring of the planet. Not the big ring
-
that wraps the planet. Just this little guy in here. In fact, I might be able to
-
go down and select both of these ellipses, just like that. And I'm going to
-
swap the fill and the stroke real quick, so we can really get an idea of what's
-
about to happen. You can see, it doesn't look quite so natural. We're going to
-
use the pathfinder and minus front them, and punch a hole in the middle,
-
leaving us with this nice border. I'm going to open up the fill. We don't
-
actually need a gradient here. Shockingly. We'll go ahead and give this a
-
nice, pale pink color. Like that. We'll go to our opacity option here. Set this
-
to overlay. We can always reduce the opacity a little bit if we think it's a
-
little bit to strong up here. Something like that. I can select the compound
-
path here. I can reduce opacity. Let's knock it down to 50%. See what that
-
looks like. We can always come back later, bump it up a little if it needs to
-
be spruced up and made a little more poppy. While we're down here at the
-
bottom of the layers panel, let's grab our shine option. Select that, bring
-
it all the way to the front. We'll go Arrange>Bring to Front. Once more,
-
we'll swap the fill and the stroke, again, to illustrate what we're doing
-
here. We're going to go with a simple white to white gradient. So, we'll
-
say, give me a black to white gradient. We'll double click here on black,
-
and make this white. I will come down here and reduce the opacity to
-
zero percent of one of the color stops. Then I'm going to set it to the
-
135 angle. You can see, angled the wrong way, no problem. Just
-
reverse that gradient. Let's set this to the blend mode of overlay and
-
we'll reduce this opacity down to 40-45%. I'm going with 40%, that
-
looks good. And let's select both of these. The little moons that are
-
going to be on top of our ring here. But with these selected, I am going
-
to use my eyedropper tool, and I'm going to sample the gradient off of
-
this color dodge moon, just like that. You can see, it's this bizarre pink
-
and blue. But what we want, is we want the pink to be at the bottom.
-
So, let's go ahead - I believe this would be -90. There we go. You can see,
-
set that pink right down there to the bottom. The key with these little moons,
-
is we almost want them to fade off into nothingness. So, we're going to
-
select the blue color stop. I still have both moons selected, and we're going
-
to set the opacity of the blue to 10%. It's going to give us more of a planet-like
-
effect. You can see it's a really cool, little thing. We're not even using blend
-
modes. But it's just a nice, little thing. Right there, where I said we're not
-
using blend modes to get this effect, but I still think I am going to, in the end,
-
use a blend mode. We would probably set this to something like screen.
-
Again, because we're going to be working on our ring here in a minute and
-
we do want to interact with the ring a little bit. Both of the moons, we want
-
to interact with that ring. So, we can select both pieces of the ring. Again,
-
like we did for the outer ring of the planet, let's just swap the fill and the
-
stroke to really see what we've got going on here. Maybe what we'll do,
-
is we'll go Object>Arrange>Bring to Front, just so we can really see it all.
-
I'm going to go minus front down here in the pathfinder, it's going to
-
punch that hole in the middle and give us an actual ring shape and what
-
we need to do here is create another gradient. So, we're going to go Fill,
-
let's say black to white gradient. And I'm going to use the gray and the
-
pink. Or, that almost blueish gray. Slate gray. Whatever you want to call
-
it - and pink. I'm going to drag the slate gray over the white stop and the
-
pinky/salmon color over the darker stop and then we're going to set this,
-
let's try setting this to 135. It's the wrong orientation, so let's swap the
-
gradient. 135 isn't quite right. So, let's try adjusting it a little bit. It's very
-
close. Maybe we'll go with 130? I think 130 might be more perfect. Let's
-
increase the amount of pink in our gradient, something like that. When
-
we come over here to opacity and choose a blend mode, something like
-
color dodge is almost entirely going to drop that color out. We really
-
don't want the ring that's supposed to be behind the planet, and we'll
-
mask that out in a second. We really don't want that stealing the show,
-
so to speak. We want the ring almost to appear as though it fades off as
-
it heads back there. Let's deselect this. We need to go ahead and create a
-
nice mask that's going to knock away a bunch of where the ring goes
-
behind the planet. So, here's where we will select maybe the base, let's
-
just select our base shape. We want a nice, big ellipse like that and copy it.
-
CMD/CTRL+C, or you can go Edit>Copy. We're going to select our ring
-
again, and here, if we select opacity, we have this open slot, which if we
-
double click, it's going to add a mask. Well, I want to unclip the mask,
-
because I want to use my pasted in mask that I'm about to paste in to hide
-
only one part of this. So, I'm to go Edit>Paste in Front. We're now in clipping
-
mask mode, by the way, if you saw that change happen. You can see, there's
-
our opacity mask, it's not really doing anything, because we want to fill it
-
with solid black. So, I'm going to go ahead and say, give me the solid color.
-
I can close my color panel, I don't need that. Just double click to get my
-
color picker, and say, yeah, give me a nice, solid black there. Now, one of
-
the things you're seeing on the opacity mask is that it's not black. It's
-
actually a medium gray. The reason that's happening is because we had
-
reduced the opacity of the base, and that opacity is carrying through. So,
-
it is black, but black at 55% opacity. So, we want to bump that back up
-
to 100. Now, this is great except for the fact that, the ring in front of the
-
planet is also gone. How do we change that? Well, we can do a couple
-
things. Probably the fastest thing, is to grab the pen tool and create a
-
really quick path over the front side of the shape. And what we would
-
do is just select both of these shapes. Once we have both of them
-
selected, it's both of the mask shapes, we would use the pathfinder here
-
and just subtract, or minus, the front. So, we now only have this back
-
half of the planet covered with the mask. Therefore, allowing the front
-
ring to be revealed as it swings across the face of the planet. Now,
-
remember, the planet is a glass planet, so this mask actually probably
-
shouldn't be at an opacity of 100%. We should be able to see the
-
faintest, little bit of ring behind it. So, let's go ahead and set the
-
opacity to something more like 80. See that? We get a nice, subtle
-
ring behind the planet. That's great. And I'm going to go Window and
-
pop open the transparency panel and get back to my normal editing
-
mode by clicking on the artwork. You can see, all of our layers are
-
restored, I can close out transparency and we have the makings of a
-
nice ring that will be swinging around our planet. Very, very cool. I think
-
I want to intensify the ring so we can select it and I'm going to duplicate
-
it by going Edit>Copy and then a simple Edit>Paste in Front. I think
-
that's going to be too much. You can see, that's really intense. What I
-
think I'm going to do is select this layer and I'm going to edit the
-
gradient. So, maybe we'll make this even darker, because it's a global
-
color it's going to allow us to work with tint. But I think I would want to
-
go to a much darker color, much closer to black. Something like that.
-
And if I go to my color editor, I can make it solid black, which means it
-
won't really appear much back there. And I can more heavily influence
-
the ring. So, really, this pink is only intensifying the front third, if you
-
will, of the ring. If I shut that off, you can see, we don't even really
-
need to worry about the pink ever getting back and influencing the
-
back side of the ring, because remember, we have this layer set to
-
color dodge, so it's dropping out a lot of those really dark colors. So,
-
this gradient works well for us for something like that. We could even
-
try changing it maybe to something like screen. The screen blend mode,
-
see what that does for us. That's actually cool. I think I dig that. And
-
one last thing, not to obsess over this too much, we could try reducing
-
the opacity, also, back there. Maybe drop it all the way to zero and we
-
can see, yeah, that actually might be the best of the best. Just doing
-
something like that looks pretty good. Let's go ahead and create a
-
little shadow for our ring, that would be cast on our glass orb here. So,
-
I'm going to select the compound path that we just created. Remember,
-
we got this crazy gradient and opacity blend mode nonsense going on
-
here. I'm going to ignore that for a second. We're going to go Edit>Copy,
-
and we're going to paste this in front, and I'm going to nudge it downwards.
-
So, let's use our arrow keys and nudge it down. Something that you think
-
is about right. Then what we'll do, we'll come back real quick. We're going
-
to set this to a normal blend mode. I want to move into the mask, because
-
we actually only, obviously, want this to be the bottom of the planet here
-
to be masked, because we want to get rid of the double ring everywhere
-
else, right? So let's go back into the mask and what I'll do, is I'll select that
-
mask. We don't need it. I can just delete it. And I'm going to open up my
-
transparency panel again to make it a little easier to move back and forth
-
between our mask mode and regular artwork editing mode. And I think
-
I'm going to clip this within the inner circle. So, maybe I'll grab our shine,
-
because that's - our shine's the whole thing. Lower yellow is the inner
-
circle, I'll select that. I'll copy it, CMD/CTRL+C, and let's enter back into
-
our mask. Select the mask there, and I'm going to paste it in place,
-
by going Edit>Paste in Front and we have this weird gradient and the
-
opacity is messed up. So, let's set the opacity back to 100. Let's set it
-
to a normal blend mode, and let's set the fill to white. Let's set it to
-
white; and, of course, this doesn't do us much good, because the
-
whole mask is white. So, we need to check on clip and it's going to
-
clip on everything around the selection we have. So, now we have
-
this nice bit of pink showing through, that's great. And I can select
-
my normal artwork thumbnail to get back to regular editing mode.
-
Close my transparency panel, and here what I'll do, is I'll probably
-
change the blend mode of the artwork. Let's try setting to multiply,
-
and to make it even more subtle, let's drop the opacity to 25%. Just
-
a super, super subtle, little shadow there. Maybe 25% is even too
-
much. Let's go 15%. Something like that. We're going to close the
-
gradient panel for a quick second here. I'm going to select both of
-
these little highlights. Now, you can see, we're just selecting the shine,
-
because that's what's on top. Here they are, way down by the bottom,
-
I can select them both and let's immediately move them to the front.
-
Great. So now, they're all the way up here in front. We will set the
-
stroke to white. We do want it to be white, and I want the stroke itself
-
to be, I don't know, 20 points. That looks pretty good. And I'm going
-
to click on the word "stroke," let's give these a round cap. Remember,
-
we went over this before. Then I'll knock the opacity down to 85%.
-
Next what we'll do is we'll select all of the star and raindrop shapes.
-
So, not the little circles, just the stars and raindrops. I'm holding down
-
SHIFT as I drag these selections. And voila, there we go, something like
-
that. Whoop! I don't want to select that bottom most ring. And flip the
-
fill and stroke color, just like that. And you could go with either a very
-
cyan blue or white. I think I'm going to go with a cyan color and I'm
-
going to set the blend mode here to - let's try overlay, and see what
-
that looks like. I do want these to be pretty subtle. Now, what we'll do
-
is, we'll select our little moons left and the easiest way to do that,
-
because you can see those two are probably underneath some shines
-
and things. Just use the magic wand tool and select them. But notice
-
when we do that that it selects the stroke that we have as our little
-
highlight. Check this out. You can double click on the magic wand and
-
specify what else it selects. So, we can say, look, I just want to select
-
stuff, not that has the same fill color, I don't care about fill. Give me the
-
stuff that has the same stroke color. Boom! And we just got those four
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little moons. Great. I am going to sample the green/yellow gradient
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from the top planet here. Just like that. And I'm going to zoom in so we
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can really get a good look at these. I'm going to select fill. We're going to
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open up our gradient options again. We're going to -90 this, and I'm
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overthinking it. It should be a regular 90. We'll select the yellow color
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stop. Change the opacity to zero percent, and I can close out that
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gradient panel for a quick second. I'm going to open up opacity and
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I'm going to try setting this to color dodge. You can see, it's going
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to take that greenish color and it's going to work with it really
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interestingly over the background. It looks blue but then there's a
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slight hazy, green/yellow color that it fades to. And then over our
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little moon, planetary object, it's different than that. So, that's pretty
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neat. Now, the last thing we want to do, before we wrap this up.
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We'll zoom right in. I want to grab this moon right here and we're
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going to use this to add texture to the wavy areas. We're going to
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do it by duplicating a bunch of them. So, I'm going to ALT/OPT drag
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it over the wavy area. But you can see, we can't see it because it's
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buried way down the layer order. So, we'll go Object>Arrange and
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bring this guy to the front. But, before I go duplicating this a hundred
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times, I'm going to go opacity, and I'm going to change this from color
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dodge to screen. There we go. Something like that. It's an important
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step for what we're about to do. Now, I'm simply going to ALT/OPT
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drag a bunch of this little circle out. You could convert this to symbol
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and use simple sprayers and resizers, and all kinds of stuff. Honestly,
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I've always found that process really wonky and a pain in the neck.
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Alright, so now we need to select all of these shapes. How do we do
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that? Well, we can use the magic wand, as well. But the problem is, this
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fill is the same as the fill of all the other moons that we just created. So,
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we can double click again on the magic wand and say, look, select not
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only stuff that has the same fill - we don't care about the stroke color
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right now - but stuff that has the same blending mode. Remember, all
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of these have the same screen blend mode, whereas the four moons
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outside of this, have the color dodge blend mode. So, I can say, yup, give
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me that. I'm simply going to ALT/OPT drag a copy of this over. I'm going
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to go view and make sure I turn my bounding box back on. I'm going to
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make this quite a bit smaller. So, now we've got all these little tiny dots
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and I'm going to begin selecting these, and just drag them around. Move
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them wherever they have to move so they're not overlapping or looking
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funky, or anything like that. And last, but not least, I'll select a couple more
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of them. Maybe something like that, and I'll ALT/OPT drag these over, and
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I'm going to make these a bit bigger. And let's move this, so it's kind of like
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that, and what I'll do, is I'll just select and move these into place. And it
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looks a little over the top and maybe it is. I might have created a few
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too many of them. Once more here, I want to use the magic wand.
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I want to select all these bad boys and I'm going to go Object>Group,
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just to group them up, so we don't have a thousand of these layers
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creating this effect, right? And I'm simply going to reduce the opacity to
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15%. So, there's a lot of them, but it's a very subtle texture. In fact, 15
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might be a little too low. Let's try 25%, something like that. There we go.
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So, we have a nice, bubbly texture for the fill that we've placed within
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that planet, as well. And that's really it. We've created this planet right
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here in Adobe Illustrator. And well, there you have it, ladies and gentlemen,
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that is how you create that glass illustration effect in Adobe Illustrator.
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Now, before you go, if you did create it, I would love to see it. The best
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way to share it with me, is to upload it to Instagram, and tag me in the
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actual image. I don't need some elaborate, crazy shoutout. If you want
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to put it there, fine. It's great. I love it. But if you tag me in the photo, it
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ensures that it goes to my tagged photos section. So, even if I see it a
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week or two weeks from now, it doesn't get lost in my notifications.
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That's what I'm trying to say. It's the best way for me to be able to
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check it out, and I try to like and comment on everything that people
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make and tag me in over on Instagram. So, I would absolutely love to see it.
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My Instagram handle is @tutvid. I'd love to see it over there. And for all
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of the super cool techniques. Masking, blend modes, you name it, that
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we covered in this Adobe Illustrator tutorial, ladies and gentlemen, that's it!
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Get it? Got it? Good!
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Nathaniel Dodson, tutvid.com, I'll catch you in the next one.