In this Tuts+ Premium tutorial, you will learn how to illustrate a unicorn using a stock reference of a horse as a base. The final illustration has a painted style to aim to break away from the cell shaded look.

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In this Quick Tip, learn how to create a glossy style iOS icon with a fitness theme. You will learn how to use Gradients, the Pathfinder Panel and an Opacity Mask to create this great looking glossy icon.

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Today I want you to create a flaming torch. You’ll learn some excellent vector illustration techniques in this tutorial, as well as use powerful Illustrator tools, such as: 3D tools, Bristle brushes, and Meshes. Follow along, while creating your own impressive artwork, let’s get started!

Step 1

Take the Pen Tool (P) and illustrate a lateral contour of a torch as shown in the image below where the vertical line is a guide line.

Go to Effect > 3D > Revolve and specify the following options…

…in order to receive the next image of our 3D torch. Copy it then and Paste in Front (Command + C then Command + F). Save the copy of the 3D object for further using it this tutorial.

Step 2

After this go to the Appearance palette, and click there the "3D Revolve" link, and change the rendering style to No shading. Perhaps you know that this simple operation will decrease the quantity of paths after expanding.

And go to Object > Expand Appearance.

Delete the unnecessary parts and unite the necessary ones by using the Pathfinder palette or the Shape Builder Tool (Shift + M). You need to achieve the following result.

Generally speaking, you could lock your 3D object in the Layers palette, and outline it by using the Pen Tool (P) as it is shown in the image below. Choose the convenient way for you.

Step 3

Fill the received paths with different colors and you will receive the main geometry sketch of the torch.

Before painting the paths I advise you to create a background using the Rectangle Tool (M), and fill it with a vertical gradient because you need to achieve a harmonious color combination between torch and background. Follow your feeling of beauty.

Step 4

After that it is interesting to rotate the torch by going to Object > Transform > Rotate.

Select the orange ellipse which represents a torch’s cup and fill it with an angled linear gradient.

Step 5

The lateral yellow paths should be filled with angled linear gradients too.

Step 6

Now let’s look at how to paint the violet path. What will we receive if we use a usual gradient filling?

We see here that it is a poor decision, because we need to form a cup shape with color distribution. But what if we use meshes? Let’s make an attempt. Take the Rectangle Tool (M) and illustrate the following semitransparent path over the violet one.

Go to Object > Create Gradient Mesh and set there the values that you see in the diagram below.

Step 7

Take the Mesh Tool (U) and add a horizontal mesh line as shown. This mesh line must intersect the violet path in the narrow part.

Add another mesh line close to this one. You need to do this in order to edit the received mesh accurately because the violet path becomes wider after the narrow part again.

Then change the opacity of the mesh to 100%.

Step 8

Grab the Lasso Tool (Q) and select the central mesh nodes shown in the image below.

Go then to Object > Transform > Scale and set there such values which allow you to move the mesh nodes to each other in order to represent a cup shape. Do the same with the other mesh nodes. See the helpful diagram below where the orange path represents the borders of the violet one and shown for your convenience only.

Step 9

Take the Lasso Tool (Q) again and select the mesh nodes from the right to the left, and change the colors of them.

You should receive something like the following.

Step 10

Select the violet path. Bring it to front by going to Object > Arrange. Then select both: the violet path and the mesh and go to Object > Clipping Mask > Make (Command + 7).

Step 11

Take the Ellipse Tool (L) and draw an elongated, horizontal, elliptical path filled with black. See the helpful diagram below, where the olive background is made for your convenience only, and not important for this tutorial.

Go to Object > Transform > Scale, and set the values shown in the diagram below. Then click the Copy button.

You will receive the next image

Change the opacity of the biggest ellipse to 0.

Go to Object > Blend > Blend Options. Set the Spacing to Specified Steps, and the quantity of steps to about 75.

Select both ellipses and go to Object > Blend > Make (Command + Alt + B).

Step 12

Drag and drop this blend into the Brushes palette. Select the Art Brush option in the dialog box.

Set the items for the brush as shown in the diagram below, and name the brush as “Black brush.”

Pay attention at the colorization method of the brush indicated with red in the image above. This way of using the colorization will allow you to use only one Art brush for different colors. By using this simple way you could achieve the possibility to change the brush color by changing the corresponding Stroke color in the Control panel.

Step 13

Illustrate the shown path, and apply the “Black brush” to it. Crop it with a corresponding clipping mask.

Change the Stroke color, the Stroke weight and the opacity of this path in order to receive the shade from the bounds of the cup.

Step 14

Select the crimson path. Go to Object > Create Gradient Mesh and produce a usual mathematical figure which is named as "Ellipsoid of revolution." Then do the same with the green path. See the helpful diagrams below and do it by yourself without assistance.

The lowest brown path is filled with an angled linear gradient.

Step 15

Take the Pen Tool (P) and illustrate the following patterned path. Make every effort to place this path in the corresponding guide lines shown in the figure below.

Copy this path and Paste it in Front (Command + C then Command + F). Move it to the right. Join both paths together by going to Object > Path > Join (Command + J). Repeat these manipulations as many times as you desire. You should receive the next image as a result of these actions.

Drag and drop this path into the Symbols palette.

Step 16

Do you remember that we saved 3D object in the first step? It is the very moment to use it. First, take the Scissors Tool (C) and click in the indicated point with it. Why should you do this? Because it will allow you to decrease the parts of 3D object and map the art fast.

Delete the superfluous top 3D part.

Step 17

Go to the Appearance palette, click the "3D Revolve" link and click the Map Art button in the dialog box.

Apply the created symbol to the surface of 3D object,…

…and place the symbol in the top part of the object as shown.

Step 18

Then go to Object > Expand Appearance, and go to Object > Ungroup as many times as it needs. Delete after that the unnecessary parts of 3D object, and unite all the necessary parts of the patterned symbol. Leave only this symbol undeleted.

Rotate it to the coincidence with the torch.

Step 19

Change the color of this path, change the Blending Mode of it to Multiply in the Transparency palette, change the opacity too. You should receive the soft color distribution over this object after these actions. See the image below.

You have received the next image after all those doings.

Step 20

How to illustrate flame? There are several different ways. For example, you can use blends. Or you can use meshes for this purpose. But what if to use the Bristle brushes? Let’s try! Open the Brushes palette, and click there the New Brush button. Select the Bristle brush in the dialog box.

Specify the shown options for the "Bristle brush 1." Pay attention at the Paint opacity.

Produce the "Bristle brush 2" the same way…

…and the "Bristle brush 3."

Step 21

Set fire to the torch now. Draw a vertical line and apply the "Bristle brush 1" to it. Change the color of the Stroke to brownish red.

Copy it and Paste in Front (Command + C then Command + F). Decrease the length of the line segment, and apply the "Bristle brush 2" to it. Change the color of the Stroke to orange.

Copy it again and Paste in Front (Command + C then Command + F). Decrease again the length of the line segment, and apply the "Bristle brush 3" now to it. Change the color of the Stroke to yellow.

Step 22

Change now the Stroke weights of the paths. I have used 9px for the red path, 6px for the orange path, and 1px for the yellow one.

Select now the orange path and go to Effect > Distort & Transform > Roughen. Set there the acceptable values.

Do the same with the other paths.

Place the received paths in the right positions.

Step 23

In order to create the light distribution softer, copy the orange path and paste it in back (Command + C then Command + B). Apply the "Bristle brush 1" (which is more transparent) to it. Then increase the Stroke weight (from 6px to 7px in my own artwork). Move the copy of the path to the right position. See the image below.

Do the same with the yellow path. Apply the "Bristle brush 1" to the back copy of it, and increase the Stroke weight (from 1px to 3px in my own artwork). Move it too.

Step 24

We need now to make softer the left area of the flame shown with red in the image above. Select the red path and go to Object > Expand Appearance.

Then double click the Warp Tool and change the corresponding options as shown.

Take the Warp tool (Shift + R), and move this brush over the left side of the flame slightly. After that crop the flame with a clipping mask. And send it under the torch. You should receive something as the following.

Step 25

Produce a blend which will represent light from the fire. Do it by yourself. Up to this point in the tutorial you already know how to achieve this without assistance. The helpful image is below.

Illustrate a light spot from the flame on the cup. Use the "Black brush" for this.

And add the color saturation to the borders of the cup by using the "Black brush" as shown in the figures below. And your artwork will be completed.

Conclusion

Here’s the finished illustration. I hope you’ve enjoyed this tut!

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Adobe Illustrator CS5 has a new option within the Stroke window known as "Width Profile". This tutorial shows how you can create brushes and use them in any version of Adobe Illustrator CS. You will also learn how to create, save and use your new brushes!

July of 2010

Introduction

Adobe Illustrator CS5 has a new feature included in the Stroke options known as Profiles. This is towards the bottom of the window.

When you Select a line and then use the drop down menu to choose and select your Width Profile, it applies a style to the line with one of the Width Profiles.

In this tutorial you will learn how you can recreate the Width Profiles, by creating new brushes in any version of Illustrator. I’ll go through each shape, step by step and show you how to create a new brush to use in your illustrations. The names of the Profiles are below for reference throughout the tutorial

You wont need to create the first Profile "Uniform", as this is simply a basic line without any styles applied to it.

Width Profile 1

"Width Profile 1" is a useful style to use. It gives an impression of stimulated pressure, like you’re using a graphic tablet.

Step 1

You’re going to create a New document (Control + N) and using the "Basic CMYK" New Document Profile.

Step 2

You will need your Fill color to be Black (C=0, M=0, Y=0, K=0) and your Stroke color to be null. Using the Ellipse Tool (L), click once on the canvas. This will give you a dialog box. Input a 12 pt Width and 3 pt Height and click on OK. This will give you a flat circle on the canvas. Zoomed in at 1600% it should look like the second image below.

Step 3

Hold down Shift + C to get the Convert Anchor Point Tool and click once on the anchor points on the sides of the circle.

Step 4

Before you save the brush, you want to delete all the brushes you already have within the Brush palette. You do this by selecting a brush in the palette and clicking the Delete Brush button as shown below. Do this until all brushes have been removed.

Another way you can do this is by clicking on the drill down menu at the top right of the palette, then go to "Select All Unused". This will highlight all the brushes you’ve not used, which in this case as it’s a new document, all of them. Then click the Delete Brush button. The reason you are doing this is because when you go to access the brushes later on, all you will see in the palette are the brushes you have created.

Step 5

Now that you have created your first shape and have removed all the brushes from the brushes palette, you can begin the process of saving your brush. Select your shape and click on the button at the bottom of the Brush palette which says "New Brush". Select New Art Brush and then click on OK.

Step 6

You will be presented with a window with several options.

Change the width to 30% – this will make it a similar size as the Width Profile in AI CS5. Change the Method to "Tints". This will mean that the style will take on the same color you have selected as the Stroke color. Click on OK. Below is a screen shot of the brush you should have and "Width Profile 1" from CS5 to show you how very similar they are.

Width Profile 2

"Width Profile 2" is similar to the first one you created. It gives an impression of stimulated pressure, as if you you’re using a graphic pen tablet, with the pressure being applied on more than one occasion in the line.

Step 1

You should still the shape used for Width Profile 1 on your canvas. If you select it and Copy (Control + C) and Paste (Control + V). In your layer palette, hide one of the shapes, you’re going to use that later. Your layer palette should now look like this.

Step 2

With your Fill color as black (C=0, M=0, Y=0, K=0) and the Stroke color as null, using the Ellipse Tool (L), click once on the canvas and put in the following numbers:

Click on OK and what you should have is a longer ellipse you had compared to before.

Step 3

Hold down Shift + C to get the Convert Anchor Point Tool and click once on the anchor points on the sides of the circle. You should then be left with the shape below.

Step 4

Hold down on Control and move your new shape to overlap the original slightly, like so.

Step 5

To make sure it is aligned properly, press Control + A to select both object on your canvas. Along your toolbar, go to Windows > Align and you will get the Align options window. Press the "Vertical Align Top" option.

Along your toolbar, go to Windows > Pathfinder and you will get the Pathfinder options window. Press the "Unite" option.

You will now be left with one shape.

Step 6

Using the Pen Tool (P) now, you’re going to start adding and removing some points. You want to round off the two pointed edges. To do this, add hover over the line towards the end of the shape. You want to add an anchor point above and below the corner in equal places as shown below:

Still using the Pen Tool (P), you’re going to mouse over the point in between the two new anchors you’ve created. You will notice your Pen Tool (P) cursor will now have a "-" minus sign. Now click the point away and you should be left with a shape like the one below.

Repeat this on both ends so you have the shape below.

Using this exact same process, you’re going to use the Pen Tool (P) to create a smooth curve where the two shapes overlap. Below I will show you where to put the new anchor points and then when the middle point is removed to show a smooth curve.

You should now be left with the following shape.

Step 7

It’s now time to add your new brush. Select your shape and click on the button at the bottom of the Brush palette which says "New Brush". Select New Art Brush and then click on OK.

Step 8

You will be presented with a window with several options.
Change the width to 30% – this will make it a similar size as the Width Profile in AI CS5. Change the Method to "Tints". This will mean that the style will take on the same color you have selected as the Stroke color. Click on OK.

Below is a screen shot of the brush you should have and Width Profile 2 from CS5 to show you how similar they are.

Width Profile 3

"Width Profile 3" is a more angular looking line style than Width Profile 1. It has a slight stimulated pressure appearance and less organic looking. It could be useful for more technical and uniform illustrations.

Step 1

Hide the last shape you created for Width Profile 2. Your Layer palette should look like the one below.

With the Fill color set as black (C=0, M=0, Y=0, K=0) and the Stroke color as null, using the Rectangle Tool (M), click once on the canvas and use the following numbers. Click on OK and you should have a long black rectangle on your canvas as below.

Step 2

You’re going to use a similar method to the one used for Width Profile 2 by using the Pen Tool (P) to add and remove points. You first want to add the following points to the shape.

Step 3

You now want to remove the corner points with the Pen Tool (P). You should be left with the following shape.

Step 4

It’s now time to add your new brush. Select your shape and click on the button at the bottom of the Brush palette which says "New Brush". Select New Art Brush and then click on OK.

Step 5

You will be presented with a window with several options. Change the width to 30% – this will make it a similar size as the Width Profile in AI CS5. Change the Method to "Tints". This will mean that the style will take on the same color you have selected as the Stroke color. Click on OK.

Below is a screen shot of the brush you should have and Width Profile 3 from CS5 to show you how similar they are.

Width Profile 4

"Width Profile 4" is another angular style which is good for uniform technical illustrations. This one is especially good if you have a line which is forked from another and want it tailing off.

Step 1

Hide the last shape you created for Width Profile 3, your Layer palette should look like the image below.

The first step to this style is very similar to the last. With the Fill color set as black (C=0, M=0, Y=0, K=0) and the Stroke color as null, using the Rectangle Tool (M), click once on the canvas and use the numbers below.

Click on OK, you should have a long black rectangle on your canvas as below.

Step 2

You’re going to use a similar method to the one used for Width Profile 3 with using the Pen Tool (P) to add and remove points. You want to add a point on one of the side edges right in the middle, like below.

Step 3

You now want to remove the corner points with the Pen Tool (P) so you should be left with the following shape.

Step 4

It’s now time to add your new brush. Select your shape and click on the button at the bottom of the Brush palette which says "New Brush". Select New Art Brush and then click on OK.

Step 5

You will be presented with a window with several options. Change the width to 30% – this will make it a similar size as the Width Profile in AI CS5. Change the Method to "Tints". This will mean that the style will take on the same color you have selected as the Stroke color. Click on OK. Below is a screen shot of the brush you should have and Width Profile 4 from CS5 to show you how very similar they are.

Width Profile 5

"Width Profile 5" is another brush which mimics stimulated pressure. It’s style is a slow build up of pressure then a sharp decline in pressure. This could be a good brush for drawing folds in fabric and finer details.

Step 1

Hide the last shape you created for Width Profile 4 so your Layer palette looks like the image below.

This is going to start the same as Width Profile 1, with the Fill color set as black (C=0, M=0, Y=0, K=0) and the Stroke color as null, using the Ellipse Tool (L), click once on the canvas and use the below numbers.

This will give you a flat circle on the canvas. Zoomed in at 1600% it should look like this.

Step 2

Hold down Shift + C to get the Convert Anchor Point Tool and click once on the anchor points on the sides of the circle. You should then be left with the shape below.

Step 3

You’re going to use the Direct Selection Tool (A) and click once on one of the corners. Note, when you do this the handle bars change on the top and bottom.

You’re going to move this corner out to the side and you can do this by going to Object > Transform > Move or use Shift + Control + M on your keyboard. You’re going to move this point to the left. Do this by entering the following details and then click on OK.

Tip: To help remember what is positive and what is negative.

If you remember in Mathematics, specifically in graphs you may have heard the phrase "Right along the corridor and up the stairs", this is in reference to the X and Y axis of a graph. The X axis (Right along the corridor) is in a positive direction heading to the right. The Y axis (Up the stairs) is in a positive Upward direction. So if it’s not to the Right or heading Up, it will be a negative number.

Step 4

You’re going to use the Pen Tool (P) now to add points and take them away to create a smooth corner like you’ve done in previous steps. So first add points either side of the hard corners as shown below.

Now you’re going to remove those corners using the Pen Tool (P), hover over the corners until you see a minus sign and click once. You should be left with the following shape.

Step 5

It’s now time to add your new brush. Select your shape and click on the button at the bottom of the Brush palette which says "New Brush". Select New Art Brush and then click on OK.

Step 6

You will be presented with a window with several options. Change the width to 30% – this will make it a similar size as the Width Profile in AI CS5. Change the Method to "Tints". This will mean that the style will take on the same color you have selected as the Stroke color. Click on OK.

Below is a screen shot of the brush you should have and Width Profile 5 from CS5 to show you how very similar they are.

Width Profile 6

Our final brush is "Width Profile 6", this brush is a bold stimulated pressure brush with shorter tails on either end. This might be good for drawing stronger lines on an illustration and deeper shadows/creases in areas.

Step 1

Hide the last shape you created for Width Profile 5, your Layer palette should look like the image below.

With the Fill color set as black (C=0, M=0, Y=0, K=0) and the Stroke color as null, using the Ellipse Tool (L), click once on the canvas and use the numbers below.

This will give you a larger flat circle on the canvas. Zoomed in at 1600% it should look like this.

Step 2

Using the Direct Selection Tool (A), click once on the bottom point and you should have the below:

Press "Delete" on your keyboard and this will remove the point.

Step 3

As you can see, at the center of the shape there is a dot. You’re going to use this as a guide. Using the Pen Tool (P) you want to add points on either side of this dot, on the line of the object. Don’t worry if you’ve got it parallel as this will add to the shapes style.

Step 4

Using the Direct Selection Tool (A), you want to select a point at the edge by clicking on it once and then press "Delete" to remove it.

Do the same on the other side and then you want to join these two end points together, so go to Object > Path > Join or use Control + J. You should now have the following shape.

Step 5

Using the Pen Tool (P) you’re going to repeat a familiar process by rounding those two points off. You do so by adding a point either side of the corners like so.

Remove the middle points to give the round edges by hovering over the point and clicking when you see the minus sign on your Pen Tool (P). You should be left with the following.

Step 6

It’s now time to add your new brush. Select your shape and click on the button at the bottom of the Brush palette which says "New Brush". Select New Art Brush and then click on OK.

Step 7

You will be presented with a window with several options. Change the width to 30% – this will make it a similar size as the Width Profile in AI CS5. Change the Method to "Tints". This will mean that the style will take on the same color you have selected as the Stroke color. Click on OK.

Below is a screen shot of the brush you should have and Width Profile 6 from CS5 to show you how very similar they are.

Saving and Using your Brushes

Step 1

You now have 6 new brushes in your brush palette.

You now want to save these brushes so they are accessible any time you wish. So go to File > Save As (Shift + Control + S) and name it "Width Profile.ai" You want to save it in C drive > Program Files > Adobe > Adobe Illustrator > Presets > Your language folder (for me it’s en_GB) > Brushes > Click on the icon for "Create New Folder" and name it "Width Profile" and save it in that folder.

You’ll get an options window once doing this. For ease of use in other version of Adobe Illustrator, I tend to save it under the "Adobe Illustrator CS" version. Then un-tick "Create PDF Compatible File" as this reduces the size of the file.

Step 2

Now it’s time to use your new brushes without the need of AI CS5. Open a file you’ve been previously working on or start a new document. In this case I’m going to start a new document by going to File > New and selecting Basic CMYK

You want to open the brushes so you can use them when required. So in the Brush palette click on the drill down button at the top right hand corner.

Go to Open Brush Library > Width Profile > Width Profile and it should open a window with your 6 brushes.

By clicking on each one of the brushes in the Width Profile window, it will add them to your Brush palette and by hovering over a brush in either palette, you’ll get a tool tip of the name of the brush. Close the Width Profile palette so you just have your Brush palette.

Conclusion

To use the brushes you can select a line which has already been drawn by either Control + clicking the line and then selecting the brush you wish to use from the palette. Or, try using the Paintbrush Tool (B) and start drawing your lines! This latter version I find more organic for when you use your pen tablet. Remember, when you use your new brushes, you can always adjust the weight of stroke as shown below by changing the amount in the drop down menu or adding a number yourself. I hope you enjoy your new brush collection and create some fantastic vector illustrations with them.

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We publish a wide variety of tutorials and tips on Vectortuts, but it’s not often we get to see the the other side of our tutorials. In our latest workshop we shine a spotlight on the fantastic work created by the students of Vectortuts+ and give you the opportunity to take part in round 2. Find out how you can join in on the next installment after the jump!

Introduction

From time to time, we have readers show us what they’ve been able to create by using our tutorials or what’s been inspired by one of our tutorials. Often seeing what others have made inspires others to give it a go. This is what our new Tuts+ Workshop is all about… sharing with our readers what you’ve created!

Tuts+ Workshop: Created by You, Round One

Check out these great vector pieces by our readers in this first installment and then find out how you can join in on this Tuts+ Workshop. There is more to come so if you don’t see your vector here, keep your eyes open for the next one.

Duc Su

“Hello. My name is Duc Su. I am not a graphic designer by trade more of just a hobby passing the time. The selection of software I chose was Adobe Illustrator for learning vector artwork. I knew nothing of this software other then how to open it. My first attempt on using Illustrator was a total disaster, naturally.
What better way to learn the in’s and out’s of AI than to search VectorTuts+ tutorial section. After following a couple of simple examples, I felt more comfortable using the software and at the same time learned some few tips and tricks from the experts.”
Duc’s website.

Duc used the tutorial “Create a Detailed Vector Chalkboard Icon” to create his spin on this great tutorial by Andrei Marius.

Anne Elster

“My name is Anne Elster from Hamburg, Germany. I am a Web Designer and Community Volunteer for deviantaART. I love Vector Art and Typography, especially as they are both so closely related!”
Anne’s deviantART account. Anne has also written several great typography tutorials for us!

Anne used the tutorial “How to Create Multi-tone Vector Noise” to add a subtle texture to the background, written by yours truly, Sharon Milne.

Azhar Setiawan

“My name is Azhar Setiawan. I’m a Freelance Designer from Indonesia. I love vector, typography and papercraft too. I’m 23 years old. I specialize in creating and re-design logo and web sites. I use CorelDraw and Adobe Illustrator.”
Azhar’s deviantART account.

Azhar used the tutorial “Create a Stylized Semi Realistic Wine Glass” by Simona Pfreundner for this illustration.

Jason Tran

“My name is Jason Tran and I’m currently a high school student and an aspiring photographer. I’m very inspired by simplistic, classy pieces of art. Traveling tends to help inspire ideas for my photography and design work. Hopefully, I can live out the dream of being a traveling photographer and explore the exotic and wondrous places to further sustain my passion.”
Jason’s website.

Jason used the tutorial “How to Turn Glasses into a Great Geek Icon” for his version of this reader favourite by Jonathan Patterson.

Daniel Isberg

“My name is Daniel Isberg (pronounced “iceberg” in English) and I live in Sweden. I am currently 19 years old and I have been using computers and Adobe programs since I was about 6-8 years old. Simply any vector will inspire me.”
Daniel’s deviantART account.

Daniel followed the tutorial “Create a Burning Vector Match using Gradient Mesh” for his illustration. A popular tutorial written by Iaroslav Lazunov.

One Skill Wonder

“I commonly know as Violet, currently a graphic design student in Australia. I think I’m bit of a typophile, because my loving interest in typography. I think the beauty of type relies on small details that might looks very simple to create but actually very hard to master therefore it inspires me to be observant whether on typeface or type artwork. My favourite illustrator shows the best typography include Sergio Moctezuma and Oscar Wilson.
I like to use minimum yet bold colours to express the simplicity of my work, sometimes added with little bit of humour so I look a lot into retro or vintage illustration to pop art. Also I like to play with juxtaposition so some of my pixar film posters are trying to get that point across.”
One Skill Wonder’s deviantART account.

One Skill Wonder used the tutorial “Getting Carried Away with Balloon Lettering” as inspiration for her typography piece. A fun and easy tutorial written by Jesse Hora.

How to Get Involved!

Would you like to show off what you’ve been able to create by following our tutorials? Are you proud of what you have achieved? Join the VectorTuts+ Facebook page and post what you’ve created by using a VectorTuts+ tutorial.

Guidelines:

• Artwork must have a visible similarity to one of the tutorials on the website, so readers can see what they could possibly achieve! It doesn’t have to be perfect, nor does it have to look exactly like the end tutorial result, just similar.
• We have readers checking out the VectorTuts+ Facebook page, so please link to the tutorial you used so others can check it out also.
• You may submit more than one design, however we may spread the pieces over different articles to give other people a chance to shine as well.
• When you publish your work on Facebook, please include one or two paragraphs about yourself and/or your work and a link to your website/online portfolio. We love knowing more about our readers, especially when we see how much creativity and talent they have!
• Have fun! All submissions are welcome – regardless of whether you’ve been vectoring one month or ten years!

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I have to be honest, I have a really bad sweet tooth. So when I showed you how to create a tasty cupcake icon in Adobe Illustrator last month it inspired me to show you how to create another cake icon in the same style.

Introduction

I have to be honest, I have a really bad sweet tooth. So when I showed you how to create a tasty cupcake icon in Adobe Illustrator last month it inspired me to show you how to create another cake icon in the same style.

In today’s tutorial, I’m going to show you how to create a slice of cake icon in Illustrator. It’s going to take on a previously determined style to help become part of a baked goods icon set. So let’s get started.

Step 1

To start off, it’s times to do some research. As I’m wanting to use a previously established style, I’m going to need to look what elements could possibly be used in this project. From looking at the tutorial you can assume the following:

• The icon is based on using a 3D model to achieve a fixed angle and perspective. It uses a cross section and uses 3D Revolve to produce a model which is at -20 degrees on the X axis. All other values are set to 0 degrees including the perspective.
• It’s created using line art, with 3pt Stroke Weights to define the overall area and 0.75pt Stroke Weights to define the smaller details.
• Shading is created by using the Appearance panel with duplicates of Align Inside Strokes from 1pt to 5pt set to Blending Mode Multiply. Highlights are creating using an art brush made from a Blend which is set to Blending Mode Screen.
• It takes advantage of the Width Profiles for more defined highlights and shadows – such as on a cherry or creases in a cupcake casing.

These factors can be applied to anything if I wanted to replicate the style. They are generic details for things like the line art, the shading, the angle/perspective.

Step 2

To start with, I’m going to need to construct my 3D model. The initial thought for me was to create a curved triangle and use this, however we need a cross section of the cake slice, not an over head view of the cake.

I’m going to use the Rounded Rectangle Tool to create a long shape and then duplicate it and use my arrow keys to nudge it downwards. We’ll be able to create our own jelly/jam inside the cake slice, so we won’t need a guide for this. Use different colors for the rectangles as this will be easier to trace from when it comes to creating the line art. Once done, Group your two shapes (Ctrl + G).

Step 3

With your group selected go to Effects > 3D > Revolve. I’ve applied the settings used for the cupcake onto our group and we’re left with what looks like a whole cake. This is because the Revolve Angle is set to 360 degrees. We’re just wanting a slice!

So I’ve changed the Revolve Angle to 45 degrees. I’ve also altered the Y Axis angle to -15 degrees. As long as the X and Z Axis are fixed at -20 and 0 respectively, it’s fine to rotate the slice on the Y Axis.

Step 4

I’m going to create a cherry which is fixed in cream for on top of our slice of cake. To create the shapes required, I’m going to use the Ellipse Tool (L) to first draw the cherry and then draw a Rounded Rectangle for the cream. I’ve then used a plain Rectangle (M) and Pathfinder > Minus Front to remove the left half of the cherry and cream. To finish off, I’ve Grouped the shapes (Ctrl+ G).

Step 5

Once you’ve created your cherry and cream, you can go ahead and apply the 3D Revolve Effect. I’ve then placed it on top of the slice of cake.

Step 6

Now that you’ve got your slice of cake and decoration in 3D you can now Object > Expand it. This will change it from basic shapes which have an Effect applied to it, to a selection of complex shapes. I’m doing this as I’m going to take full advantage of Smart Guides (Ctrl + U) as it will help keep my line art as close to the guide as possible. I’ve then placed a white fill Rectangle (M) at to 50% Opacity over the top of the guides so the colors aren’t as strong and I can see my line art clearer.

Step 7

So let’s start drawing the line art. I’m going to start simple and draw the cherry. I’m going to draw an even circle with the Ellipse Tool (L) and then use the Direct Selection Tool (A) to bring the bottom point upwards a notch and then pull the handle bars on the side points down slightly to get the shape as shown below.

I’ve then drawn a rounded shape underneath with the Pen Tool (P). Now as these shapes are their own elements, they’ll have a Stroke Weight of 3pt.

Step 8

For the actual cake, I’ve first drawn around the entire wedge with the Pen Tool (P) and then roughly drawn a bumpy shape for the jelly/jam center.

As the jelly/jam filling is a smaller detail of the entire cake, I’ve changed the Stroke Weight to 0.75pt and also added a line for the edge of the cake. As the filling overlaps the edges of the overall shape of the cake, I’ve drawn two extra lines either side with a 3pt Stroke Weight to compensate.

Step 9

The plan is to use Live Paint to color the sections of the cake and then use options in the Appearance panel to produce the inner glow effect shading. With this in mind, I’m going to need to split the top and bottom pieces of cake with a line so they are treated as two shapes and not one. This line will be covered by the jelly/jam filling as shown below.

Step 10

For color inspiration, I’ve went looking into the Swatch libraries ready available in Illustrator. Go into the drill down menu in the Swatch panel > Open Swatch Library > Food > Ice Cream and I’ve used the Banana Split swatch. Click on the folder to the left of it to add it to your Swatch panel.

I’ve then used the Live Paint Bucket (K) on the actual cake slice and then filled in the rest of it manually.

Step 11

I want to access the shapes of the cake slice, so select the Live Paint Group and go to Object > Expand and untick the option “Stroke”. We want to keep the strokes intact. Click on Ok once done.

When you drill down into the group which was the Live Paint group, you’ll notice that there will be two groups within… one which is just your line art, the other the fills. It’s the fills we want to modify.

Step 12

Select the two rectangles for the inside of the cake and give them five strokes which are Aligned Inside. Set the Stroke Weights from 1pt to 5pt and set them to Blending Mode Multiply, Opacity 100%. They’ll need to have the same stroke color as the fill color to keep the style of the cupcake.

I’ve added a variation to the cake to give it more detailing. I’ve first applied a new fill with the pattern “USGS 22 Gravel Beach” which you can access via Open Swatch Library > Patterns > Basic Graphics > Basic Graphics_Textures. This is set to Blending Mode Multiply, Opacity 30%.

I’ve then used colors from our Banana Split swatch to create a linear gradient and applied that at 90 degrees. This is set to Blending Mode Multiply, Opacity 50%.

Step 13

For the topping of the cake, I’m going to repeat the same process of using the Align Stroke Inside and this time using the pattern “Waves Smooth” set to Blending Mode Screen, Opacity 50%.

For the cherry and frosting, I’ve just used a slightly darker stroke but still using the same process as before.

Step 14

For the jelly/jam, I’ve started as usual with the Align Stroke Inside.

However I’ve added a fill underneath the shading with a gradient to make the filling look as if it’s catching the light. I’ve stuck to the colors from the “Banana Split” palette, so I’m keeping consistent.

Step 15

The cherry on the cupcake had a shine which used the Profile “Width Profile 4″ so I’ve kept this. It’s got a cream pink stroke color (C=0, M=50, Y=20, K=0) and 14pt Stroke Weight. I’ve then set it to Blending Mode Screen, Opacity 50%.

Step 16

Although I’m not going to be using a blend brush for highlights, however I am going to use it to create variations in the texture of the cake. So using the golden shade in the “Banana Split” swatch, I’m going to add some short 1pt strokes set to Blending Mode Screen, Opacity 50%.

Step 17

I’m going to finish off the cake by adding some depth to the fondant icing on top by adding a thin shape along the top. I’ve added an effect to the fill called Offset Path and set the value to -1.

Step 18

I’ve modified the line art for around the bottom of the cake to reflect the golden shades of the inside of the cake. I’ve done this by selecting the line art at the bottom of the overall wedges shape using the Direct Selection Tool (A)…

… and then Copy (Ctrl + C) and Paste in Front (Ctrl + F) and giving it a golden shade. For the jelly/jam filling, you’ll need to go into the Appearance panel settings to modify the Stroke color. Remember, you’ll also need to change the color of the Strokes of the two lines either side of the jelly/jam filling shape!

Candle Variation

Step 1

As a different decoration, I’m going to add a candle to the frosting. I’m going to use a half Rounded Rectangle and Rectangle (M) as the base for a guide. Remembering to use the same 3D Revolve settings.

I’ve then placed it on top of the cake and Object > Expanded it.

Step 2

I’ve used the expanded guide to create shapes for the candle using the Rounded Rectangle, Ellipse Tool (L) and the Pen Tool (P). Keeping consistent to use 3pt Stroke Weight around the main element and 0.75pt Stroke Weight for the detailing.

Step 3

I’m going to take advantage of the Appearance panel settings already set for the fondant topping and the jelly/jam filling. Using the Direct Selection Tool (A) select the fondant topping. Go into the Graphic Styles tab and click on New Graphic Style.

I’ve applied the fondant topping to the base of the candle and hidden the pattern and for the candle, I’ve applied the jelly/jam filling and switched the direction of the gradient.

Step 4

The wick of the candle is just a 2pt Stroke Weight brown line with Round Caps, drawn with the Pen Tool (P).

Step 5

For the flame I’ve used the Align Stroke Inside method with oranges and yellows as shown below.

And then finished it off by placing an orange to yellow transparent radial gradient within an Ellipse (L) behind the flame.

Conclusion

I hope you’ve enjoyed today’s tutorial on creating a cake slice icon. Keep your eyes open for a premium pack full of bakery themed icons in the same style!

Read Full Tutorial Here