In this tutorial we will create a cute Welsh corgi using line art. While creating this illustration, you have two options: you can draw a line with the Pencil Tool, or by using the Arc Tool and then creating the desired curve from it. After that, we will color the illustration, and that’s actually it. You’ll learn how to move the anchor points and handles in order to achieve the result you want.
Create a new document, and let’s start to draw. Actually, we are going to draw just one half of the body, and then we’ll create a reflection to get the other half.
We are starting with the ear. Delete the fill color and set the stroke color to R=142, G=93, B=60. Go to the Stroke panel (Window > Stroke) and increase the stroke Weight to 3 pt. Make sure to check Round Cap while you’re there.
Take the Arc Tool and click on your artboard. In the new dialogue window (Arc Segment Tool Options), be sure to check Type: Open, Slope 30. The Fill Arc should be empty, and the Length and Base Along don’t matter. After you’ve checked everything you need, press OK.
Rotate the arc so it will lie horizontally. To rotate it evenly, hold the Shift button while rotating, as this key will help you rotate it exactly 45 degrees.
After that, while keeping the arc selected, go to Effect > Warp > Arc. In the new dialogue window, enter the options you see below and press OK. Expand this shape (Object > Expand Appearance).
Now we will continue to create the ear.
Rotate the shape you just created vertically. Using the Arc Tool, add one more arc so that the two arcs will be connected on top.
Make a copy of the two arcs, shrink it down, and place it under the previous one. Take the Pencil Tool (N) and add the funny fur on the puppy’s ear.
Zoom in and check if the arcs are connected.
Using the Arc Tool, add a new curve. Actually, you have two options here: you can use the Arc Tool as I described, or you can use the Pencil Tool (N) to draw all the lines.
I think that drawing with the Pencil Tool (N) could be more satisfying, but first let’s set things up to help you to draw smooth lines. So double-click on the Pencil Tool (N), and enter the options you see below. Notice in the Fidelity section that the closer your slider is to Smooth, the smoother your lines will look, even if your hand is shaky.
After you’ve added the first arc under the ear, let’s draw the fur.
Finally, add the second long line.
The Pencil Tool Options window:
Now let’s create the leg. Start by creating a curve. You can use the Arc Tool: create a simple curve and then stretch the handles and move the anchor points to achieve the result you want. In this case, your line should look like the one in the image below. Or you can use the Pencil Tool (N) and draw the line you want.
Then add another line like the one you see below, which is the paw of the hind leg.
Now we’re going to create the front leg. First, draw a line. Then add the fur. Draw a line again, going down. After that, draw the front paw. And finally, the line should be going up. The front leg is finished.
And the left part of the puppy is finished!
To finish off our Welsh corgi, we’ll create a reflection of the left part in order to get the right part. For your convenience, it is better to group the whole left part: right-click > Group.
While keeping it selected, hit the Reflect Tool (O) and press the Enter key on your keyboard. In the new dialogue window, enter Axis Vertical, Angle 90 degrees, and hit Copy. Move the reflection to the right.
You’ll have some gaps between the two parts. Add some lines and fur between them.
And lastly, the tail. Start with a curve that goes diagonally upwards, and then use the Pencil Tool (N) to add some scallops. And the body outline is finished!
2. How to Create the Face
On the Tools panel (Window > Tools), press the Swap Fill and Stroke (Shift-X) button, and the stroke color you had before will turn into the fill color. Using the Ellipse Tool (L) and while holding down the Shift button, create a circle. Add a tiny white circle as a highlight. You just created the first eye.
To get the second eye, press down two buttons at the same time (Shift and Alt) and move the first eye to the right. You’ll notice that you created a new eye that is perfectly aligned. That’s exactly what we need.
Make sure that you have the brown fill color, and hit the Rounded Rectangle Tool. Now, draw a small, horizontal rounded rectangle. Add a white ellipse for the highlight.
After that, create an even smaller brown rectangle under the first one, which should now be vertical.
Make sure you have the brown stroke color and no fill color. Create an ellipse, take the Scissors Tool (C), and click on the places marked below. By doing this, you’ll cut off the upper, unnecessary part. Now delete this upper part.
Then, create a vertical reflection of this curve using the Reflect Tool (O), just as we created the right part of the body outline.
Take these curves and place them under the puppy’s nose.
Now we need to create a very curvy arc. If you feel confident, go ahead and draw this shape using the Pencil Tool (N).
If not, then create an ellipse, and cut off the upper part just as we did before for the mouth.
Place this very curvy arc as shown below.
Create a copy of it behind (Control-C, Control-B), and move it down a little.
Finally, shrink it down vertically.
3. How to Color the Puppy
First, group the body outline of the puppy (right-click > Group). And separately group the face.
Then, delete the stroke color and set the fill color to R=255, G=249, B=222. Using the Rectangle Tool (M), draw a rectangle that covers the entire puppy. Place this rectangle under the dog (Control-X, Control-B).
Now be careful: select the grouped body outline and create a copy behind (Control-C, Control-B). Don’t take off the selection and go to Object > Expand…, OK. While making sure that the body outline is still selected, holding the Shift button, click on the light colored rectangle. Then, in the Pathfinder panel (Window > Pathfinder), press the Divide button. Still don’t take off the selection, but right-click > Ungroup. Delete this part of the light peach rectangle which lies over the dog, as we don’t need it anymore. Notice that your puppy has color now!
Select the puppy’s face and place it in front of everything (Control-X, Control-F).
The Welsh corgi breed has specific peach/orange spots on the fur, so let’s recreate them. For your convenience, or if you would like to, you can transfer the body outline to a higher layer. For this, create a new layer by pressing the Create New Layer button on the Layers panel (Window > Layers). Select the body outline as well as the face and cut it off (Control-X). Then select this higher layer and place the body outline there (Control-F). Lock the layer so you won’t move the body outline accidentally.
Go to the lower layer where we have the puppy’s color. Take the Blob Brush Tool (Shift-B) and set the fill color to R=249, G=191, B=140. Make a bigger zoom and start to make the spots that we were talking about. Draw them just on the left side of the puppy.
After you have finished, make a vertical reflection of the spots to get them on the right side of the puppy.
In order to make it look more like fur, decrease the Blob Brush Tool (Shift-B)Weight by pressing the [ button a few times. Then draw tiny pieces of fur as in the image below.
Finally, change the fill color to R=249, G=162, B=145 and color in the ears and mouth. What a cute puppy!
4. How to Create the Background
Take the Rectangle Tool (M) and click on your artboard. In the new dialogue window, enter Width and Height 850 px and press OK. A big square will appear on your artboard, which is going to be the background. Make sure the background stays behind the puppy but in the middle of your artboard and has fill color R=253, G=231, B=192.
Add a darker background ellipse (R=247, G=217, B=169) behind the Welsh corgi and in front of the background as the shadow.
And for the final touch: add a few tiny circles (fill color R=255, G=249, B=222) around the puppy. And our illustration is done!
Great job! I am so proud that you went through this tutorial with me. You’ve learned how to create an illustration using line art. I hope you enjoyed going through this tutorial and learned a bunch of new things. Feel free to share your final image in the comments section below. See you next time!
If you like to create animals in Adobe Illustrator, feel free to check my other tutorials about animals:
In the following steps you will learn how to create an isometric layered text effect in Adobe Illustrator.
For starters, you will learn how to create a simple piece of text and how to adjust its attributes. Taking full advantage of the Appearance panel, you will learn how to add multiple layers to the text. Using a simple 3D Rotate text effect, you will learn how to add an isometric look to the text.
Finally, you will learn how to add a simple background and a subtle texture to the final design.
For more inspiration on how to adjust or improve your final text effect, you can find plenty of resources at GraphicRiver.
What You’ll Need
You’ll need the following resource in order to complete this project:
1. How to Create the First Piece of Text
Hit Control-N to create a new document. Select Pixels from the Units drop-down menu, enter 850 in the width box and 540 in the height box, and then click that More Settings button. Select RGB for the Color Mode, set the Raster Effects to Screen (72 ppi), and then click Create Document.
Open the Info panel (Window > Info) for a live preview with the size and position of your selections. Don’t forget to set the unit of measurement to pixels from Edit > Preferences > Units. All these options will significantly increase your work speed.
Pick the Type Tool (T) and open the Character panel (Window > Type > Character). Select the Auro font and set the size to 200 px.
Click on the artboard and add your “Red” piece of text about as shown below. Make it black, for now.
Select your text, focus on the Swatches panel (Window > Swatches), and click that [None] swatch to remove the black text color.
Move to the Appearance panel (Window > Appearance) and add a new fill using the Add New Fill button. Select that new fill and set the color to R=242 G=242 B=248.
Make sure that your text stays selected, focus on the Appearance panel, and add a second fill using that same Add New Fill button.
Select this new fill, set the color to R=58 G=95 B=245, and go to Effect > Distort & Transform > Transform. Drag the Move-Horizontal slider to 0.8 px and the Move-Vertical slider to -0.8 px, enter 5 in the Copies box, and then click OK.
Make sure that your text stays selected and keep focusing on the Appearance panel. Add a third fill and move it in the bottom of the panel. Set its color to R=242 G=242 B=248 and go to Effect > Distort & Transform > Transform. Drag the Move-Horizontal slider to 0.8 px and the Move-Vertical slider to -0.8 px, enter 10 in the Copies box, and then click OK.
Return to the Appearance panel, select the blue fill, and duplicate it using the Duplicate Selected Item button. Drag this new fill to the bottom of the Appearance panel and open the Transform effect applied to it. Enter 15 in the Copies box and click OK.
Make sure that your text stays selected and keep focusing on the Appearance panel.
Continue to duplicate the bottom fills, varying the two colors, and with every new fill increase the value in the Copies box by 5. Stop at the 20th fill. In the end, things should look like in the following image.
2. How to Create the Second Piece of Text
Duplicate your piece of text. Select the copy and simply replace the “Red” with “Blue”.
Select your “Blue” piece of text and focus on the Appearance panel. Select all the blue fills and simply replace that color with R=235 G=47 B=38.
Make sure that your “Blue” piece of text is still selected and keep focusing on the Appearance panel. One by one, open the Transform effects applied to the 19 fills and drag the Move-Horizontal sliders to -0.8 px.
3. How to Apply the 3D Isometric Effect
Select your “Blue” piece of text and focus on the Appearance panel. Make sure that the entire piece of text is selected (simply click the “Type” piece of text from the top of the panel) and go to Effect > 3D > Rotate. Enter the attributes shown below and click OK.
Select your “Red” text and focus on the Appearance panel. Make sure that the entire piece of text is selected and go to Effect > 3D > Rotate. Enter the attributes shown below and click OK.
Bring your “Red” piece of text to front (Shift-Control-]) and place it as shown below.
4. How to Create the Text Shadow
Pick the Type Tool (T) and add a second “Red” piece of text. Use the same font attributes and set its color to R=58 G=95 B=245.
Make sure that your blue piece of text stays selected and go to Effect > Distort & Transform > Transform. Enter the attributes shown below, click OK, and go to Effect > 3D > Rotate. Enter the settings shown below and click OK.
Pick the Type Tool (T) and add a second “Blue” piece of text. Use the same font attributes and set its color to R=235 G=47 B=38.
Make sure that your red piece of text stays selected and go to Effect > 3D > Rotate. Enter the attributes shown below, click OK, and go to Effect > Distort & Transform > Transform. Enter the settings shown below and click OK.
5. How to Create the Background
Pick the Rectangle Tool (M) and create an 870 x 560 px shape. Fill this new shape with R=242 G=242 B=248, send it to back (Shift-Control-[), and make sure that it covers your entire artboard.
Select your rectangle, add a copy in front (Control-C > Control-F), and bring it to front (Shift-Control-]).
Make sure that this new shape stays selected and focus on the Appearance panel. First, replace the flat color with the radial gradient shown below. Use the Gradient Tool (G) to stretch your gradient about as shown below. Lower its Opacity to 5% and change the Blending Mode to Multiply, and then go to Effect > Artistic > Film Grain. Enter the attributes shown below and click OK.
Congratulations! You’re Done!
Here is how it should look. I hope you’ve enjoyed this tutorial and can apply these techniques in your future projects. Don’t hesitate to share your final result in the comments section.
Feel free to adjust the final design and make it your own. You can find some great sources of inspiration at GraphicRiver, with interesting solutions to improve your design.
Designing your first item of packaging can seem like a daunting endeavour, but taking your 2D designs into 3D territory needn’t be scary. This is your ultimate quick-start guide to packaging design, from which software to use to knowing about different packaging shapes and styles. You’ll also learn how to prepare your 2D artwork for printing, and we’ll look at some of the different print finishes you can apply to your designs.
Otherwise, if you’re ready to start designing your own beautiful packaging designs, let’s dive in…
1. Choose the Best Software for the Job
Before you start designing your packaging, you need to carefully consider which program is best for tackling the job. Most packaging designers will send their 2D artwork to the manufacturer in a vector format. Vector files are scalable, and it’s easy to create dieline templates using the line and shape tools in vector programs like Adobe Illustrator or Inkscape.
It becomes a little trickier when you want to visualise your design as a 3D product, because most vector software is designed for producing 2D images, but you can find plugins or different programs to help out at this stage. Esko is a software plugin for Illustrator that allows you to fold dielines and render the design in a 3D format. You can also rotate the packaging, allowing you to view the design from different angles. Some packaging designers also like Cinema 4D, which renders your flat designs into a 3D format.
Many packaging designers will skip Esko or Cinema 4D in favor of mocking up photorealistic designs in Adobe Photoshop instead, which we’ll take a more in-depth look at a little later in this guide.
2. Create a Dieline
A dieline is the flat template for the package. This is usually put together by the packaging designer in a vector program, like Illustrator, using simple lines and shapes.
The dieline should indicate where the packaging template should be cut and where it should be perforated (an impression is made by a machine, ready for folding). As these are two separate pieces of information for the printer, the cutting (trim) lines and perforation (fold) lines should be placed on separate layers and as spot colors, which means the cutting and trimming will be performed at different stages.
It’s also advisable to rename the dieline layers in your Illustrator document to ‘DO NOT PRINT’, which is a clear note to the manufacturer that these layers are intended for post-print processing.
Creating your own dielines from scratch can be fiddly at first, but it gets easier with practice. A good way to practise is to find a box that closely matches the dimensions you’d like for your own packaging design, take it apart, and measure it. Use these measurements as a basis for creating your own dieline.
In this tutorial, you’ll learn how to create a dieline for a pillow box in Illustrator with an on-trend marbled effect:
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3. Home Truth No. 1: A Box Isn’t Simply a Box
Thought a box was just a box? Think again! Take a look around your house or office and find some examples of packaging—you’ll notice that almost all of them will be some kind of box, but they may vary in size, depth, and shape, and they might have flaps which are integrated with the design, or even a separate lid.
Although boxes may appear in many forms, for technical purposes all you need to know is that boxes come in two production formats: setup boxes and folding cartons. Setup boxes are more expensive to produce and are used for high-end products, like retail packaging, special confectionery, and gift boxes. They are often made up of two parts, a top and bottom tray, which are printed onto rigid card. Setup boxes are a good choice if you want to produce something particularly special and don’t mind spending more to manufacture it.
Folding cartons are used for a huge range of products, from food products to household goods. The cereal box is one of the classic examples of a folding carton format. Folding cartons often consist of just a single template, which is created as a fold-out 2D design, before being sent to the packaging manufacturer to be printed onto card and then laminated, folded, cut, and glued.
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You should choose a box format which suits both the product and the retail price point. There’s no point packaging biscuits in an expensive setup box if the retail price is relatively low, but you might want to opt for a setup box if you’re packaging something more expensive and aspirational, like jewellery or shoes.
4. Home Truth No. 2: There Are Tons of Box Closure Types
Yup, just when you’d got your head around box formats, you discover that there are also loads of different ways that you can close the box. Much like sailors’ knots, there are seemingly dozens of closure types. Many of these are designed to function as a sturdy seal for your box, as well as being easy to open when required. Some of the more common types of closure are:
Standard Tuck End
Reverse Tuck End
Full Overlap Seal End
Dissect some of the boxes hanging around your home—can you identify which type of closure each box has? No type of closure is right or wrong, but some are easier to design than others, and some more complex closures work well without needing to be glued, which can save time and money at the production stage.
There are also some specific styles of box which have industry-standard formats and closure types. Just a few of the most commonly used are:
Pillow box: a simple curved box shape, with curved closures to match, which usually packages candy or cosmetics.
Display box: for displaying point-of-purchase items on counters and shelves.
Edge-locked sleeve: this is the card covering over ready meal and other food items.
Book style box: with a book-like shape and a hinged lid, this is often used to package custom software, medical or cosmetic items, often as limited-edition or sample products.
5. Open Your Mind to Other Types of Packaging
Packaging isn’t only restricted to boxes—there’s a huge range of types of package to suit different purposes. While a box shape might be relatively easy to design as a 2D template, designs for less angular items, like tubes, pouches, and wraparound bottles, might be a little trickier. This is where accurate measuring and 3D modelling come in handy, allowing you to judge exactly how the design will look, even on curved surfaces.
Some types of packaging are actually even simpler to produce than boxes, which makes them a great choice if you’re a complete beginner to packaging design. Labels are completely 2D from start to finish, requiring nothing more than length and width dimensions.
Bag designs are also simple to create, and often only require a logo design that can be repeated across a solid-color bag.
6. Make Your Design Awesome!
OK, so making something ‘awesome’ is no easy feat, but you can be well on your way to creating an amazing design with just a few choice tips.
The first thing you need to consider is making the purpose and brand of the product crystal clear. You can do this by prioritising the logo, product name and product description on the front-facing side of the package. This is without a doubt the most important thing you can do in your design—if what the packaging actually contains isn’t clear, the consumer will skim over it and buy something that’s more obvious.
You also need to make sure you are designing for the target consumer. Many designers get swept up in designing packaging that they would likely buy, which no doubt makes for a pretty result, but this could end up alienating your target market. Talk to the client to pick up some of their knowledge about the target consumer, and do some market research into packaging in the same sector to get a sense of the colors, graphics and typefaces that feel appropriate for the product’s market.
Another great tip is to design your packaging from an emotional perspective. We interact with dozens of packaged products every day; because we are saturated with visual information, it takes something with a real emotional pull for us to pay attention to it and ultimately purchase it. Emotional design can take many forms, targeting feelings of aspiration, nostalgia, joy, or even physical attraction. Keep the emotion at the forefront of your design and you’ll find that consumers are more naturally drawn to the product.
Discover even more great tips for packaging design from pro designers right here:
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7. Allow for Extras: Promo Stickers, Barcodes, & Symbols
Once you’ve created a dieline and started designed your packaging with graphics, color, and typography, you need to make sure you allow space for a few essential items of information.
Firstly, leave a bit of white space on the front-facing side of your design. White space doesn’t need to be actually white—this is simply a clutter-free area of the design that doesn’t have any major graphics or text. Many retailers will do sales and promotions, and they’ll produce their own stickers advertising cut-price offers. Leave at least one corner of the front of your package free of clutter, to allow the store to attach the sticker without blocking any key information.
The second thing you need to allow for is a barcode. The client will probably have already registered for a barcode number, but you may need to use that number to generate an image of the barcode using an online barcode generator. This will generate an EPS image, ready for you to place onto your design. Barcodes are usually placed on the reverse or side of the package, and to conform to international standards the barcode should be 16 mm in height.
You also need to make room for a range of symbols on the back and bottom of your package, which indicate the materials used to make the package, whether the packaging conforms to national and/or international recycling and waste standards, whether the product meets any association standards, and also the ingredients of the product inside. If you’re designing a package for a client, they will probably tell you what information needs to be put on the design, but you need to know what the packaging will be printed on before you can confirm everything.
You can download a vector set of back of pack symbols, which includes a use by symbol (to indicate the time after opening that the product must be used), Mobius loops (recycling symbols) and a bin symbol which indicates that the product shouldn’t be disposed of in a conventional household waste bin.
Jumping rabbit—indicates that the product hasn’t been tested on animals.
Soil Association—this society sets environmental standards for products that cover a range of industries.
Vegetarian Society—indicates that the product is suitable for vegetarians.
All of these marks need to be visible and legible on the product, but they can be discreetly placed at small scale so as not to distract from the main design of the package.
8. Create a Mockup
Creating a 3D mockup of your packaging artwork is an essential part of the design process, allowing you and your client to see exactly how the packaging design would appear in real life. There are two ways you can create a mockup, and these have different purposes.
A digital mockup, whereby the design is grafted onto a photorealistic image, is a great way of showing a client how the design would appear. This is purely a visualisation aid, allowing you and the client to see how the design might appear when on the shelves. You can create product mockup images from scratch in Photoshop (for a photorealistic appearance) or Illustrator (for a more cartoon-like appearance), or simply buy a ready-to-use template. You can feed your 2D design into the template, and the action or smart object will then generate a 3D result. You can find a huge range of realistic-looking templates over on Envato Elements.
The second method of creating a 3D mockup has a more practical, technical purpose, intended to help you work out whether your design is sized correctly. This involves printing a physical copy of your template and assembling it.
This mockup can be as basic as you like—simply print it out on standard printer paper and don’t worry too much about the quality of the print. This exercise is purely to allow you to assess how the product folds and stays together, and you can also judge which parts of the design will be most visible to the consumer when it sits on the shelf. This is also an essential process for judging the size of type on your design. It’s amazing how text can look way too small when printed in hard copy.
Tweak your digital design if you need to, and print out and assemble a final mockup. Once you’re happy with the result, you can take this along to the printers as a tool for explaining exactly how you would like the package to be assembled.
9. Understand Your Print Finish Options
You’ve created your dieline, added design elements and symbols to your template, and produced a mockup—now you’re ready to move on to the printing stage. For many budding packaging designers, printing can be the scariest part of the design process. Handing over your beloved designs to another party to be produced can feel a little unnerving, but there are ways you can make sure your finished package is going to be the very best it can be.
Once you’ve tracked down a potential printer, you should pay them a visit and take your mockup with you. It’s much easier to explain exactly how you would like your template to appear with a prop in hand, and your printer will appreciate the extra clarification too. Ask for their advice about suitable print stock (the material on which your package will be printed), which takes into account the required sturdiness of the package (consider the weight of the product inside) and the final print result that can be achieved on different paper coatings (matte or gloss) and weights (a heavier paper weight, measured in GSM, results in a stronger, sturdier stock).
The printer will also be able to advise you on what print finishes might be suitable for your design. These finishes are applied after the template is printed and can add an extra textural and visual dimension to your package. Some of the most popular finishes for packaging designs are below:
Spot Varnish—creates a high-gloss effect on part of your design, such as a logo or brand name.
Die Cutting—cuts out part of the package to create a window effect.
Lamination—adds extra coatings to the package’s surface to add gloss or provide protective qualities.
Hot or Cold Stamping—adds a metallic or special colored effect to part of the package.
Embossing or Debossing—creates a raised or depressed area on the packaging to add texture and a 3D quality to flat graphics.
Find out more about print finishes for packaging in Simona Pfreundner’s comprehensive course on preparing packaging designs for print:
Once you’ve discussed your printing requirements and come up with some stock choices and print finish options, you should get a quote from the printer for the job. The expense will vary depending on the print materials, the time to trim and fold each package, the number and type of print finishes to be added afterwards, and the size of the print run. Larger print runs are normally better value than small runs, so it’s a wise idea to get a quote for several different quantities—you may well find that you can produce twice as many packages for very little extra money.
The printer will require your file in a press-ready PDF format, and it may be a good idea to provide the native files too (the original artwork files, prepared in, for example, Illustrator). This means the printer can re-export your artwork if the PDF file hasn’t been set up quite right.
Make sure your exported artwork uses high-quality 300 DPI images, and make sure to convert any RGB graphics, text or color to a CMYK colorspace. When exporting your artwork, choose the PDF/X-4 preset from the menu of PDF options. This preset preserves the layers in your artwork, allowing the printer to set up different print runs easily, for CMYK, spot colors, and print finish layers.
When the printer has finished your packaging and the packages have been trimmed, folded and glued, you should be vigilant in checking the quality of all the packages in the batch that’s delivered. Sometimes, individual packages are misprinted or the colors look different—if this is the case, you should ask the printer to replace the faulty items.
Conclusion: Your Finished Package
Awesome work! Your package design is finished and printed, and it’s ready for the retail shelves. There’s nothing more satisfactory than seeing your very own packaging design sitting on a store display—make sure to get some photos of the packaging in situ to use in your portfolio.
In this article, we’ve covered the fundamentals of the whole packaging design process from A to Z. Let’s briefly recap the main stages of the process for future reference:
Choose the best software for creating a 2D template and rendering 3D mockups.
Create a dieline using vector software.
Know your box types.
Know your closure types.
Understand a little about other types of packaging.
Get designing and make your artwork awesome—aim for legibility, clarity, and emotional appeal.
Allow for extras on your design, such as symbols, barcodes, and promo stickers.
Create a mockup to see how your design will appear and function in 3D form.
Understand your print finish options.
Prepare your digital artwork for printing and send it off to be manufactured.
Looking for even more packaging design help and ideas? This course takes you through the whole process of producing packaging designs for print in detail:
In this tutorial, we will learn to create three different glitch techniques using Adobe Illustrator. We will work with vectors, allowing us to resize the elements as much or as little as we want without losing the quality.
What You Will Need
You will need the following resources in order to complete this project:
Download the image and install the font, and you are ready to start!
1. How to Create a Vector Glitch Pattern
For this tutorial, we will start with one Illustrator file. We will create separate artboards as we work through the tutorial.
In Illustrator, go to File > New. Name the document Vector Glitches. Set the Unit to Pixels and the Width to 600 px and Height to 600 px. Set the Color Mode to RGB and the Resolution to 72 Pixels/Inch. Click OK.
We will create smaller patterns that we will combine later to create a bigger composition.
On the toolbar, select the Rectangle Tool (M). Click on the artboard to bring up the Rectangle Options Window. Activate Constrain Width and Height Proportions, andset the Width and Height to 15 px. Click OK.
Create a checkered pattern by multiplying the square. Press Option-Shift and drag the square diagonally. Select both shapes and multiply them by pressing Option-Shift and dragging them vertically. Select all the shapes, press Option-Shift, and drag horizontally.
By pressing Option, we are multiplying the shape. By combining Option-Shift, we are multiplying and maintaining the vertical/horizontal alignment.
Group the pattern by selecting all the shapes and pressing Command-G.
Multiply the pattern by pressing Command-Shift and dragging. Resize the vector by stretching the patterns horizontally and shortening it.
For the patterns on the right side, duplicate the pattern by pressing Command-Shift and dragging. Double click on the multiplied pattern to enter Isolated Mode. Using the Selection Tool (V), select some of the elements and delete them.
Feel free to create your own pattern within these parameters.
Let’s create the vertical and horizontal lines. On the toolbar, select the Rectangle Tool (M). Click on the artboard for the Rectangle Options Window. Deactivate Constrain Width and Height Proportions, and set the Width to 7 px and the Height to 35 px. Click OK.
Duplicate the element by pressing Command-Shift and dragging horizontally once. You can decide on the distance between these two elements. Once you’ve duplicated the shape, press Command-D to repeat the action multiple times. With this trick, you can duplicate the shape as many times as you wish.
Group the pattern by selecting all the shapes and pressing Command-G.
Now that the pattern is grouped, duplicate it by pressing Command-Shift and dragging. Edit the patterns by stretching the elements in different directions. See the image below for an example:
For the last pattern, create rectangles of different sizes and stack them. On the toolbar, select the Rectangle Tool (M). Click and drag to draw on the artboard. I created a set of four patterns of different shapes by only using rectangles. Feel free to add more rectangles to the stack.
Group the shapes by selecting the elements and pressing Command-G.
Now that we have all the shapes, let’s create the final composition. Duplicate the board with the patterns by pressing Shift-O and dragging the board. Remember, you can hold Shift to maintain the vertical/horizontal alignment.
Let’s work on this like putting together a puzzle. There is no right or wrong. Feel free to resize and stretch the grouped elements as you need. The key is to cover the board with the elements to create a non-repetitive pattern.
Now that we have the final composition done, let’s add a few more details for contrast.
Select the elements on the current active board by pressing Option-Command-A, followed by Command-2 to lock the elements.
On the toolbar, select the Rectangle Tool (M). Create three rectangles of any size. Select one rectangle and double-click on the Fill color. In the Color Picker window option, set the color value to #FF0000. Click OK. Set the color of the other two rectangles to #00FF00 and #0000FF.
Duplicate the rectangles, and arrange them vertically and horizontally like the image below. This will allow us to use the elements together and separately.
Select the new elements. Send the elements to the back of the main composition by pressing Shift-Command-[. Multiply the elements by pressing Option and dragging. Distribute the rectangles behind any of the previous patterns we created. Feel free to resize them.
Great job! Remember that you can create many iterations of this pattern—there is no right or wrong as long you follow these simple parameters:
Create simple pattern groups and arrange them by balancing black and white pockets.
Work on the composition like a puzzle. The only difference is that here, there’s no right or wrong!
Use a limited number of colors.
2. How to Create a Glitched Text Effect
Create a new board by pressing Shift-O. Head over to the Control bar, activate the Create New Board button, and click in the window. If you don’t have the Control bar open, head over to Window > Control to activate it.
On the toolbar, select the Rectangle Tool (M). Click on the artboard to bring up the Rectangle Options Window. Activate the Constrain Width and Height Proportions, and set the Width and Height to 600 px. Click OK.
Double-click on the Fill color and set the color to #000000. Lock the square shape by selecting it and pressing Command-2.
On the toolbar, select the Text Tool (T) and click on the board to type GLITCH. Head over to the Control bar and set the font to The Hustle and the Size to 300 pt. Press Shift-Command-O to convert the text into outlines.
Head over to Window > Align to bring up the Align panel. Select the text frame. On the Align panel, click on the Align To: button and select Align to Board. Under Align Objects, select Horizontal Align Center and Vertical Align Center.
On the toolbar, select the Rectangle Tool (M). Create rectangular lines over the text. Try to have a variety of thicknesses and spacing between the rectangles.
We need to use the Pathfinder options. If you don’t have this panel, head over to Window > Pathfinder to bring it up.
Using the Selection Tool (V), select the rectangular lines and the word. Head over to the Pathfinder panel and click on the Divide button. Press Shift-Command-G to Ungroup the elements.
Use the Direct Selection Tool (V) to delete the elements outside the letters. Follow the image below. Press Command-G to Group the elements again.
To create an offset glitch, we need to duplicate the word and color it to create a 3D effect.
While selecting the word, press Shift-Option and click and drag the element to multiply. Drag the first duplicate slightly to the right. Double click on the fill color and use the following color code: #FF0000. Send the element back by pressing Command-[.
Duplicate the word again, press Shift-Option, and click and drag, but this time to the left side. Double click on the fill color and use the following color code: #00FFFF. Send the element to the back by pressing Command-[.
Select all of the elements and press Shift-Command-G to Ungroup. Let’s change to Outline View by pressing Command-Y. This way it will be easier to see where the slices are placed.
Using the Selection Tool (V), select the first rectangular division across the word. Hold down Shift, and move the slices by using the Left/Right arrow on your keyboard. Remember you can switch out of Outline View at any moment by pressing Command-Y. Continue to do this for the rest of the partitions.
Awesome! You’ve successfully created a typographic glitch effect. This simple effect can create a big impact on any text. Make sure you remember to:
Use limited amounts of color but feel free to customise!
Vary the size of rectangles to create a random glitch. Remember, glitches are beautiful imperfections!
3. How to Apply a Glitch Effect on an Illustration
Press Command-O and click on the image to create an artboard that is the same size as the image. While selecting the illustration, head over to the Control barand click on the Embed button.
On the toolbar, select the Rectangle Tool (M). Click and drag to draw a rectangle outside the perimeter of the JPEG image.
Head over to Object > Create Gradient Mesh. On the Gradient Mesh window option, set the Rows to 25, Columns to 1, and Appearance to Flat. Click OK.
Select both elements, the mesh and the illustration. Head over to Object > Envelope Distort > With Top Object.
On the toolbar, select the Direct Selection Tool (A). You will notice that the mesh has nodes on the left and right sides. With the Direct Selection Tool (A), select a node on the left and the respective node on the right. Hold Shift and drag both points to the right. This is how we will create the glitch.
Continue shifting the other nodes to the left and right. It is not necessary to do all of them, but a few will go a long way.
Resize the image to fit over the artboard. Remember that you can do this only if the image is a vector or if the JPEG image is not at 100% of its size.
On the toolbar, select the Rectangle Tool (M). Create a rectangle the size of the artboard. Select both, the new rectangle and the meshed image. To create a Clipping Mask, press Command-7. If you need to adjust it, double click on the composition to isolate the elements and resize the image.
Great job! You’ve successfully created a glitched JPEG image. This is a very easy technique that can be applied to any image or vectors. Keep in mind that ‘less is more’ for this technique as you still want the image to be recognisable. Creating something more complicated can compromise the image.
4. Exporting a JPEG File
To export the image, press Shift-O to check the artboard number. Head over to File > Export, and in the Export window option, insert the name of the file. Set the Format to JPEG, or PNG if you want to save a transparent file. Check the Use Artboards option, select the Range option, and insert the number of the artboard. Click Export.
In the JPEG window option, select the Color Mode. RGB is for screen and CMYK for printing; I am selecting RGB for my file. Set the Resolution to the resolution you need. In this case, I am choosing 72 dpi as I am using this image for screen only. Click OK.
Congratulations! You’ve Finished This Tutorial
In this tutorial, we’ve covered three techniques for creating vector glitches. This is very useful if you are looking to resize your artwork without losing the quality. This tutorial will provide different results for everyone. Be sure to post yours in the comments below!
Today, we’ve learned to:
Use basic shapes to create complex patterns.
Use essential Adobe Illustrator tools, such as the Pathfinder tool, the Gradient Mesh tool, and Clipping Masks.
Use three different glitch techniques to yield different results.
This tutorial is quick and not hard. It’s adapted for beginners, so you’ll be able to finish it and get a result easily. If you still have questions, feel free to ask them in the comments below and I’ll help you. You don’t need to buy or download anything additional to create this illustration as we’ll make it from scratch. That’s why I recommend my tutorials, because all you need to have is Adobe Illustrator!
After you’ve opened your Adobe Illustrator and created a new document with 850 px Width and Height, let’s start. First, delete the stroke color and set the fill color to R=247, G=163, B=40. We’ll create the beak. Hit the Ellipse Tool (L) and draw a small vertical ellipse.
Hit the Direct Selection Tool (A), select its left anchor point, and move it to the left using the Left Arrow on your keyboard. Keep moving it until it starts to look like the beak of a pelican.
Again, using the Direct Selection Tool (A), select its right anchor point and move it to the right using the Right Arrow on your keyboard. But make sure to move it not too far. Set it aside as it’s the first upper part of the beak.
Let’s create the second, bottom part of the beak. Using the Ellipse Tool (L), create a long horizontal ellipse with the fill color R=224, G=139, B=25.
While keeping it selected, go to Effect > Warp > Arc Lower and enter the options shown below in the new dialogue window that will pop up.
Horizontal Distortion: 0%
Vertical Distortion: 0%
Then, press OK. Very important: expand the shape (Object > Expand Appearance). If you don’t, and you decide to rotate the shape, it will turn into a weird, unexpected shape.
Put the two beak parts together: the first one over the second.
To add the head, create an ellipse (R=247, G=228, B=203) using the Ellipse Tool (L). Make sure the head stays behind the first part of the beak and in front of the second.
Finally, add the eye. As the eye has to be an even circle, hold the Shift key while creating the ellipse. The fill color for the eye is R=124, G=71, B=50, and now we need the stroke color at R=247, G=228, B=203.
Now we are going to create the neck. Delete the fill color and set the stroke color to the same fill color as you had for the eye. Then, go to the Stroke panel (Window > Stroke) and increase the stroke Weight. It depends on the size of your pelican, so you need to adjust it by yourself. Be sure to check Round Cap.
Grab the Line Segment Tool (/) and draw a long line that comes from the head of the pelican. Notice that the line is rotated a bit to the right, so you need to drag it a little bit diagonally.
While keeping the neck selected, go to Effect > Distort & Transform > Twist. Set the Twist Angle to 70°. Press OK. Expand the shape (Object > Expand Appearance).
Let’s create the body for our pelican. First, draw a horizontal ellipse using the same fill color as the head. To take the fill color from the head, use the Eyedropper Tool (I): simply select the ellipse you created for the body and then, using the Eyedropper Tool (I), click on the head.
While keeping the body selected, go to Effect > Warp > Arc Upper. Enter the options you see below:
Horizontal Distortion: 40%
Vertical Distortion: 0%
The last thing we need to create for the pelican is his tail. Draw a tiny ellipse, and using the Anchor Point Tool (Shift-C), click on its right anchor point, which will become sharp.
While keeping the body selected, go to Effect > Warp > Arc. Enter the options you see below. Then expand the shape.
Place the tail where it should be.
Create a copy of the tail and place it close to the first one. The pelican is ready!
2. How to Create the Background
Grab the Rectangle Tool (M) and click on your artboard. In the new dialogue window, enter 850 px Width and Height, and press OK. Change the fill color to R=51, G=65, B=84. This will be our background.
Place the pelican on the background. It is better to group the pelican (right-click > Group) in order to move it more easily.
Change the fill color to R=31, G=45, B=61 and draw a circle. Remember to hold the Shift button while creating it.
In this step, we are going to create the waves. Delete the fill color and set the stroke color to something light—it doesn’t matter.Make sure that Round Cap is checked on the Stroke panel.
Take the Arc Tool and draw an arc while holding the Shift button in order to have an even arc.
Again, while holding the Shift button, rotate the arc 45 degrees. The Shift button helps to rotate it by exactly 45 degrees.
Now comes the very precise work. Zoom in on your arc and, while holding the Shift and Alt keys, move this arc to the right. While moving, you will see that the Alt key created a copy of the arc, and the Shift key helps to move it straight. Be sure you moved the new copy close so the two arcs are connected. If you see that the arcs are not connected, you shouldn’t adjust the copy by trying to connect two arcs—just delete the copy and create a new one. I’ll explain why later on.
So now you have two arcs connected to each other. After that, press Control-D a few times until you have a line of arcs. As the Control-D combination repeats your last movement, your last movement should be creating a copy of the arc and not adjusting this copy trying to connect them.
Select the line from arc and go to Object > Path > Joint. All your arcs should be connected now.
We have still not completed the waves, as the line of arcs will be used as a cutter later on.
Select the dark blue circle behind the pelican, and create a copy in front (Control-C, Control-F). Cut the copy off (Control-X) and place it in front of the pelican (Control-F). Change the fill color of the circle to R=97, G=182, B=219.
Put the line made of arcs on the light blue circle. Be sure the arcs are behind the boundaries of the circle on both ends.
While keeping the light blue circle and the arcs selected, press the Divide button on the Pathfinder panel (Window > Pathfinder). Your line should disappear, but the light blue circle should now include two parts. Ungroup the light blue circle (right-click > Ungroup) and delete the upper part. The bottom part of it is the water. And that’s actually it!
Awesome Work, You’re Done!
I hope you enjoyed going through this tutorial with me. Make sure to leave your results in the comments section below as it is interesting for me to see your creations. See you next time!
And if you are here because you like birds, please check these tutorials that show you how to create birds:
In the Middle East, Al Sadu weaving is a traditional embroidery form of weaving that is hand woven by Bedouin women.Sadu is commonly seen on fabric used in tents or majlis floor pillows, carpets, and mats.
It is a beautiful symmetrical art form, made using traditional die-colored yarn with basic colors of black, white, beige, and red. The traditional pattern is based on particular narrow bands of geometric designs, and includes shapes like triangles, zigzag, diamonds, and dotted markings. These fabric woven designs have visual messages of the desert and nomadic lifestyle. They may include images of “horse’s teeth” which are stripes like a comb, or earrings (diamond shapes), tents (triangles), water (ripple diamond shapes), and sometimes camel forms.
In today’s tutorial, we are going to revive this traditional design by recreating this ethnic technique using simple tools and techniques found in Adobe Illustrator.
For inspiration, research the various Al Sadu patterns online, and if you want something quick, visit GraphicRiver to purchase any of the huge selection of patterns they have available.
Let’s start weaving!
1. How to Set Up a New Document
First, set up a New Document (File > New or Control/Command-N) with the following settings:
Number of Artboards: 1
From the Advanced tab:
Color Mode: CMYK
Raster Effects: High (300 ppi)
Preview Mode: Default
2. How to Create the Al Sadu Weave Pattern Form
Let’s start simple by creating a rectangle with null Fill and black Stroke.
Take the Rectangle Tool (M), click once on the artboard to open the Rectangle dialog box, enter the dimensions 32 x 52 px, and click OK.
We need to transform the rectangle into a diamond-like shape.
With the shape selected, Object > Path > Add Anchor Points, to add evenly spaced anchors along the rectangle path.
Then from the Tools panel, select Delete Anchor Point tool (–) to remove the corner anchors to create our diamond-like shape.
Next, we need to round the corners of the diamond-like shape to create a yarn-like shape.
Take the Direct Selection Tool (A) and select all the top and bottom anchor points. This will enable the Live Corners widget to appear next to each corner point.
Select the Corners link from Control Panel. From Control Panel, you can then set the Corner style to Round, Radius to 2 px, and the type of Rounding to Absolute.
Now we need to curve the side edges.
Use the Direct Selection Tool (A), and select the left and right anchor points.
Then, from the Corners link in Control Panel, set the Corner style to Round, Radius to 21 px, and the type of Rounding to Absolute.
Our new shape will act as the main weave thread form.
Take the Selection Tool (V), and from the Tools panel select Swap Fill & Stroke (Shift-X).
Turn on the Smart Guides (Command-U or View > Smart Guides), and position the weave-thread shape on the edge of the artboard as shown.
With the weave-thread shape selected, Copy (Command-C) and Paste in Front (Command-F), to create the same shape on top of the original.
Object > Transform > Move (Shift-Command-M) to open the Move dialog box, and position as follows:
Horizontal: 14.625 px
Vertical: 28.125 px
Distance: 31.7003 px
Using the Direct Selection Tool (A), select both weave-thread shapes, hold down the Shift–Alt keys to constrain movement and duplicate the selection, and then drag horizontally till the edges of the shapes meet.
Transform Again by using the Command-D shortcut to repeat the move, and continue to click Command-D until the shapes reach the edge of the artboard, as shown.
Select All (Command-A), to select all the horizontal rows.
Hold down the Shift–Alt keys to constrain movement and duplicate the selection, and drag vertically till the edges touch at the side as shown.
Use the Command-D shortcut to Transform Again and duplicate. Repeat till you reach the base of the artboard.
3. How to Color the Weave Pattern
Now that our weave is formed, let’s color our structure. You can generate interesting color palettes from photos, using sites such as Coolors.co, Colormind.io, or Canva.com.
Open the Swatches panel (Windows > Swatches).
Elsewhere on the artboard, draw a series of square shapes to form the colour palette of your design. The traditional colours of Al Sadu fabric are black, white, brown, beige plus red and sometimes may include blue, green or orange.
I used these hex colors:
Burnt Red #70150e
Burnt Orange #d54d15
Pumpkin Orange #db6811
Eggplant Purple #382b3f
Purple Grey #aa9ea6
Rose Red #e51145
Dark Aubergine #320d16
Dark Red #320d16
Dark Grey Aubergine #382b3f
Yellow Grey #aa9ea6
Light Grey #ebeae5
Once you’ve made your color selection for the design, use the Selection Tool (V) and select all the square shapes that form your palette. Click the New Color Group icon in the Swatches panel to create the color swatches.
Name the color group Sadu, select Selected Artworkand Include Swatches for Tints, and clickOK.
Afterwards, you can Delete all the color squares and keep five so we can create our gradients.
Next, let’s create our gradients, so our fabric can have a realistic appearance.
Open the Gradient panel (Window > Gradient). Use the Gradient panel to create the following gradients:
Red gradient: Burnt Red #70150e + Rose Red #e51145 + Burnt Brown #471011
Dark Red gradient: Dark Red #6c1227 + Red #a91927 + Dark Red #320d16
Blackish gradient: Blackish #070707 + Black #010101 + Dark Grey Aubergine #382b3f
Orangish gradient: Burnt Orange #d54d15 + Pumpkin Orange #db6811 + later added a Yolk Yellow of #fab216
Drag the gradient fills from the Fill box in the Tools panel to the Swatches panel in order to add the gradient.
Delete the squares afterwards—we no longer need them.
Note: I set the Gradient Angle to 90°, to preview the gradient blend properly.
Now let’s color in our weave.
Take the Selection Tool (V) and select the first three columns. Apply a Linear type, Dark Red gradient from the Gradient panel and set Angle: 90°.
With the Selection Tool (V), select the next seven columns.
Apply a Linear type, Blackish gradient from the Gradient panel and set Angle: 90°.
Then select the following three columns and apply a Linear type, Dark Red gradient set to Angle: 90°.
Continue with the same color approach with each Gradient Angle set at 90°.
5 columns Blackish gradient
3 columns Red gradient
2 columns Orangish gradient
1 column Whitish gradient
9 columns Blackish gradient
1 column Whitish gradient
3 columns Orangish gradient
10 columns Red gradient
2 columns Whitish gradient
11 columns Blackish gradient
2 columns Whitish gradient
3 columns DarkRed gradient
7 columns Blackish gradient
Let’s apply a background for the weave, by creating our background shape.
Select the Rectangle Tool (M), and click once on the artboard to open the Rectangle dialog box.
Set Width and Height to 1200 x 1200px, and click OK.
Open the Align panel (Window > Align) and select:
Align to: Align to Artboard
Align Objects: Horizontal Align Center &Vertical Align Center
Move on to the Gradient panel, and apply the following gradient to the square:
Dark Red #320d16 + Brick Red #6c1227 + Black #010101 + Rose Red #7b132c + Dark Red #320d16
With the shape selected, Object > Arrange > Send to Back(Shift-Command-[).
4. How to Design & Create the Pattern
Let’s add some design onto our weave.
Use the Selection Tool (V) and select the thread shapes you want to form a design pattern with. To help you out, refer to Sadu fabric references available online.
The process is easy. Just select the thread shapes you want to apply similar gradients to, and then use the Eyedropper Tool (I) from the Tools panel, and click on a gradient selection used on an adjacent form.
Once you have figured out the design, select the artwork: Select All (Command-A).
Go to Object > Pattern > Make. This will pop up the Pattern Options window, where
you will need to adjust the settings:
Name: Sadu Pattern
Tile Type: Grid
Width: 1200 px
Height: 1185 px
Set the Overlap to Left in Front and Bottom in Front.
Hit Done tosave all our
In the Swatches panel, you will notice that the Sadu Pattern has been quickly added.
So now if you select the Rectangle Tool (M) and draw a random shape with the Sadu PatternFill, you will see a seamless pattern created.
After that, you can safely delete your pattern elements because the pattern is already stored in the memory of the file.
Awesome Weave Work!
I really hope you liked this tutorial and enjoyed creating this amazing seamless
you can see, it is not that hard to create amazing patterns in Adobe
If you have any
questions, please feel free to post them in the comments section below, and I will get back
to you as soon as I can.
Try out these other great Middle Eastern tutorials in the links below.
Let’s start off by drawing the first boot with Gradient Mesh.
Create an orange rectangle—the color is #CB492C.
Next, grab the Mesh Tool (U). Click to create nodes, which in turn create a Mesh Grid.
When you have a thick enough mesh grid, grab the edges of the
rectangle and move them to make the shape rounder. It should resemble
the shape of a boot.
Once you’re done with the shaping, select
the nodes on the left side of the shoe (they are already colored differently in the
screenshot) and color them with #F7997F.
Next, select the nodes on the edges of the object (they’re selected below) and proceed to change their color to #A73013. Add some darker red tones in the fourth step with #BA391D, and then add more highlights with #DD6B4E and #D0593C.
Always make sure to select the nodes that are selected in each screenshot below and apply the corresponding color to them!
Draw an object in the shape of a sole for the boot, coloring it with #1A1C24. Attach it to our mesh shape, and then create a smaller copy of both objects.
Modify the smaller copy with mesh. You will need these colors:
Add some shadows by cloning an ellipse filled with a #C4A78B to white Radial Gradient. Set them to Multiply.
2. How to Draw the Umbrella
Begin drawing the umbrella with mesh.
Draw a handle by filling a narrow rectangle with a Linear Gradient. It should contain these colors: #C6BDB3 – #4A4138 – #BAAFA4 – #14120F.
Draw the final part by applying a Gradient to the Stroke of a drawn path. It should contain these colors: #1B0D03 – #C39983 – #1B0D03.
Expand the path.
Assemble the umbrella, adding some shadows underneath.
3. How to Draw the Background and the Floor
Begin by drawing the backdrop with mesh.
To add the wooden floor, first consult Section 4 of this tutorial:
Learn how to draw a vector theatre stage with curtains, lights and seats using the Mesh Tool and Transparency settings in Adobe Illustrator!
Next, bend it with Effect > Distort & Transform > Free Distort as shown below.
Expand Appearance of the result.
Draw an outline over the highlighted section of the floor, and then Make a Clipping Mask.
Place a #533D18 backdrop behind the planks.
Create a rectangle, filled with a Gradient from #F5BB59 to #75441B.
Set it to Overlay and 80% Opacity, and place it on top of the floor.
Create a little rim using a Radial, #42210B to #F5BB59gradient on a Stroke.
4. How to Add the Leaves and Bokeh
Learn how to make the orange leaf in this tutorial:
Today you will learn how to create a vector autumn retro background with wooden planks, old paper and leaves using the Mesh Tool in Adobe Illustrator!
Next, bend it with Effect > Warp > Arc, using these settings:
Expand Appearance of the result.
Add a copy of the bent leaf and make it yellow with Edit > Edit Colors > Adjust Colors.
Take the original leaf once more, bending it with Effect > Warp > Arc.
Take a copy of this one as well, making it lighter with the Edit > Edit Colors > Saturate function.
Press the Download Attachment button on the right sidebar of this page, and open leaf.jpg in your working file in Adobe Illustrator.
Use Image Trace to isolate a Black and White outline.
Fill the outline you get with #D09739. Add an actual leaf, filling it with #EAC02C and using 20% Opacity.
Add one more leaf, this time filled with #E09736. Also use 20% Opacity.
Arrange the leaves, adding shadows under the ones on the bottom.
Create an Opacity Mask out of a #FF1200 circle and a circle filled with a Radial Gradient. Set the Transparency mode to Screen, with 70% Opacity.
If you’d like to add bokeh lights, learn how to do it here:
Learn how to create a vector sunflower using the Mesh Tool and Warp Effects in Adobe Illustrator!
Create a background.
Assemble all the elements!
Congratulations, You’re Now Done!
Thank you for following along, and please
feel welcome to post your result in the comments. I’ll be looking
forward to seeing it!
In this tutorial, you learned how to
create an autumn background using the Mesh Tool. I
hope you’ve enjoyed it and learned how to use Gradient Mesh for the future! Check out some of my other vector tutorials on my instructor profile.