The Importance of Layers
by Mike Sellers - vectormike

Layers can be a big help in keeping your files organized and your work flow moving along. Plus, the benefit of being able to go back and edit a file quickly is huge when a deadline is looming over your shoulder.

Naming layers in an illustration is a key step in the right direction. I am sure any professional involved with IllustratorWorld could tell you some horror story about a client needing changes well after they thought the project was done. For this tutorial I'm going to use the same technique I used while working on the NBA images in my gallery. We're going to be using the following features and tools: layers, pen tool, masks, gradients, blends, template files and a few keyboard shortcuts.

This is how my desktop looks in the beginning of the project. Just 2 layers so far

  file setup

Open a new document, File/New. I'm going to be working on this file in CMYK at 11" x17".

Next, import the reference image you'll be working from. In this case, mine is a royalty-free image of a businesswomen for a job I'm currently working on, but it could be a pencil sketch, too. Whatever floats your boat. Under the file menu chose place. Locate your file and place it into your AI file. I don't normally link my reference images for my illustration work. I hate to have to track down the files if the link is broken. I'm working on a MAC G4 with a lot of RAM so I'm not as concerned about the file size. Most of the time the file isn't more then 10 megs anyway. I prefer to use either a jpeg (for photos) or grayscale tiff (for pencil drawings) for my template files.

Okay, next we're going to double-click on the template layer and turn off the Dim Image button. I find it easier to draw out the shapes if you're looking at the reference without a tint. Also, make sure you keep the template layer locked—you don't want it to shift while you are working.

Now this part is very important --naming your layers. When you're done with a vector illustration, you could easily have hundreds of paths/shapes drawn. I like to break the layers down into major body parts for an illustration with a figure in it, head, feet, left leg, shirt and so on. (See screen shot.) A client might ask for changes or you might decide to make some yourself. Keeping your layers organized is a big help if you do.

 pen tool– boring, but important

With the layers setup and all of your naming in place, it's time to start drawing those paths.

In this stage I don't really try to draw super-clean paths. I just want to get the basic shapes down. I'll go in later and clean up the paths with the other pen tools after the grunt work is done.

Pick the pen tool and set the fill to nothing and the stroke to a nice, bright color, something that will pop off the image you're working on. In addition, set the stroke weight to about 0.5pt. This makes it easier to see the reference art on the template layer. (See screen shot.)

Use a bright contrasting color for the line work. Your eyes will thank you.

I am going to start with the pants layer. I'll begin by drawing the main shape around both legs, then start drawing the other shapes I see that I think should fall into the pants layer. You'll notice I'm drawing outside the main path I drew when I first started. That's okay. Later, after we clean up some of the paths, we'll make a mask out of the main shape to hide all of those loose paths...so don't worry about it. Just jump in there and have some fun. (See screen shot.)

Its a little loose right now but we'll clean it up soon.

After you finish blocking out a layer, it's a good idea to lock that layer before you go on to the next one. This way you don't select the wrong layer or path by accident. Sometimes it helps to hide the layer above or below your active working layer. This makes it easier to see what you're working on.

Tip: When you're working on an image that requires you to draw a lot of paths, its a good idea to tear off the pen palette from the main tool bar. Click and hold on the pen tool in the tool bar. A menu pops out with all of the pen tools in it. Drag your mouse across the palette when you get to the little tab at the end. Let go of your mouse and the pen tool menu tears off and sits out on your desktop. Now you can move it anywhere on your desktop that you need.

Now that all of the paths are drawn, it's time to start cleaning up the shapes. First thing I'll do is work on the main path that will be the mask for all of the shapes and the fill shape as well. I'll work my way around the layer and clean up what I feel needs to be sharper. Remember, the mask is going to hide a lot of junk so don't drive yourself nuts trying to make every single path a work of art. This part of the job is like an underpainting before you start glazing color. (See screen shot.)

All of the paths are drawn. Now it's time to start cleaning up your illustration.

I'd have to say my second favorite tool in the pen tool palette has to be the Convert-Anchor-Point Tool. The Pen Tool is my favorite, of course. Since I draw my paths kind of loose in the layout stage, this tool comes in very handy when I'm cleaning up an illustration.

My basic technique for cleaning up an illustration goes like this. First, select the Direct Selection Tool in the tool bar. Then pick the Convert-Anchor-Point Tool. By doing this you can now use the cmd key to switch back and forth from the Direct Selection Tool and the Convert-Anchor-Point Tool. Simply hold down the cmd key and you can select path points and move them if you need to. Pretty cool, huh? This is the same technique I use when making clipping paths in Photoshop.

After you have the paths to a state that you're happy with, you'll want to drag a copy of the main path/sub-layer to the top of the main layer. First, double-click the sub-layer and name it "fill". On the right hand side of the sub-layer name, click and hold onto the layer to select the "fill" layer and only the "fill" layer. Now hold down the option key, drag the "fill" layer up to the top of the main layer and let go of your mouse. This will place a copy at the top of the pant's layer. You'll know it's working if you see a + sign by the little hand icon as you drag the layer up. Once the layer copy is made at the top, double-click on it and rename it "mask". (See screen shot.)

Changing the names of layers and sub-layers works the same way.

By leaving a copy of the shape at the bottom of the layer set, you now have a mask layer for the body part of the illustration you're working on and a layer with a shape you can fill with a base color or gradient. Since you named it "fill" already, you'll easily be able to find it when you need to.

You'll want to continue this process until you have all of the parts or layers of your illustration drawn and cleaned up.

  cmd+7 = mask

As strange as it might seem, that's about it in a nutshell. However, there are a couple more steps, but only a couple.

You've made a copy of the "mask" sub-layer and have it positioned at the top in the layer order. Now click on the main layer (pants), just right of the little circle. This will select every path and sub-layer in the main layer. Hold down the cmd key and press the number 7 key. That's it – everything is now grouped inside of the mask layer. All of those loose paths are neatly tucked away and it's time to move on to the next phase of this project. (See screen shot.)

building the outline shape

I like to throw what I call an "Ink Line" around some of my images. It helps pop the art off the page. This probably comes from being a fan of comic book art and having worked in the comic book biz, inking comics. Some habits die hard I guess.

It's pretty easy to do. Create a new layer by clicking on the new layer button at the bottom of the layers palette. Now we are going to grab and drag copies of all the mask layers into this new layer, which you should name "outline". Click on a mask layer form any of the layers in the file and hold down the option key as you drag, then move your cursor to the "outline" layer. Once you're on the layer, let go of the option key and the mouse button. Repeat this process until you have a copy of each mask in the "outline" layer. Once you do, select everything in that layer and use the pathfinder tool to unite the shape. Make sure you hit the expand button to get rid of any unwanted points in the shape. (See screen shot.)

I think I saw this movie, "The Brown Blob That Ate The Vector Illo".

After that is done, make a copy and paste it behind the first outline shape, first press cmd+C key, then cmd+B key. Next, I'll use the arrow keys to tap the top shape up and to the left, one tap. Then do the same to the bottom shape but down and to the right one tap. If I think it needs it, I'll add a stroke to the shape, too.

  time to paint

The paths are drawn, the image is cleaned up and the outline shape is made. It's time to bring this illustration on home. We're going to start adding in the color. We'll be using flat colors and gradients and maybe a few blends, too.

I will often use flat colors when I begin to add color to an illustration. I do this to block out the color. Then I'll go back and start changing them to gradients. By the time I'm done, most of the color will be done using gradients. With some flat colors for highlights or used with some blended shapes.

I have a custom start-up palette that I created for working in CMYK. I made it so I have colors and gradients that I like to work with always available. By the time I'm done, though, I'll have a bunch of new additions to my swatch palette. I try to save any new gradients I build in my swatch palette for easy access. (See screen shot.)

This is easy to do. After you've created a new color or gradient, make sure your swatch palette is sitting on its own or docked in with another set of palettes. (See screen shot.) Next, click on the color/gradient and hold the mouse down, drag it to the swatch palette, and let go of the cursor. You should now see a new gradient or color sitting in the swatch palette.

Tip: As you add color the image will really start to come together and you'll notice paths or things that are just a little off. This is fine. It's to be expected Really. So as you find yourself drawing additional shapes and editing paths as you place the color, remember to tuck away those additional paths in the appropriate masks. Order is still key!

You can work with the stock color palette or from the other color libraries built into AI, but make sure you convert the colors you pick to your work space. If you don't, you'll more then likely have some color shifting issues or art that won't print correctly. To do this, select the color in the color palette. In the upper right corner of the color palette, you'll notice a black arrow in a circle. If you click and hold down on this button, a pop-up menu will appear that has an option for the color you have selected. Its current color setting will have a check mark next to it. If this doesn't match the color system you're working in, just change it to the one you need. (See screen shot.)

The way I prefer to work with gradients is the "drag and shot" method. I use the gradient tool from the tool bar, clicking and dragging that little sucker around until I get what I'm looking for. Once I get close to something I like, I'll go in and use the gradient palette and tweak the option settings to fine-tune the selection I'm working on.

Sometimes you might need to change the colors in a gradient. To do this, select a path with a gradient in it or a gradient from the swatch palette. Next, click on the gradient palette, you'll notice the color stops on the gradient bar if you have a selection active. In order to change the color, click on a color stop. If you look at the color palette now, you'll see the same color that's in the color stop. Grab a color in the swatch palette and drag it to the square in the color palette and let go. That's it! If you need to, you can adjust the color by using the sliders in the color palette. (See screen shot.)

Now that you're in the final stages of coloring your illustration don't be afraid to go back and edit some of the paths you've already finished. Sometimes as you finish one part of an image, other sections might not hold up as well. There is always a lot of give-and-take when doing an illustration. Don't fall in love with that little detail if it doesn't help the whole illustration. I truly believe that one of the main differences between a professional and a student artist, besides the money issue, is the ability to self-edit.

It's also a very good idea to get away from your computer every now and again. Take a break–you'll come back with a fresher perspective.

  let's wrap this puppy up