#how to make a clipping path in illustrator

[lisatgilliam]

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[theesteemedladydebourgh]

well, i started this for the great, wonderful @clare-with-no-i​’s birthday last year (and also as a combination of two prompt’s from @efkgirldetective​‘s summer of jily 2022!) and it is officially almost a year late...

let’s see if i can finish this extremely self-indulgent, illustrator-James, author-Lily who clings to self-control like a barnacle, high-powered best friends, co-worker duo buys a house in the countryside and then slowly implode from repressed feelings and heartbreak over the course of several years (also berry picking! and swimming in the ocean! and a cat named Eclair!) fic over the next week! (w caution set aside for unforeseen calamity ofc, but i’m optimistic)

little snippet below!

Spring

It’s an odd story, how Lily buys a house with her illustrator.

A hand brushes along the back of her head, warm and soft.

She jolts, then glances back. Feels the hand fall away.

James is standing there, chest still a bit sunburned from the beach. His fingers still hover slightly, before settling back at his side.

She stares up at him for a second, a silent question. Her instinct is to tense, to turn to stone, to demand recompense. She wouldn’t let just anyone touch her.

“Your clip was crooked,” he murmurs after a second.

Lily swallows. Sweat presses against the nape of her neck, but somehow not as warm as his touch was. She can still feel the salt and sand clinging to her toes, pressed against the warm stone of the garden path.

“I like it,” he adds, then shrugs. As if he’s guilty of something, but can’t be bothered to apologize for it.

Her eyes fall to his chest, stained pink.

“I don’t,” she remembers to say after far too long has passed. Her fingers curl around the armrest of the hot metal chair.

James tilts his head, then shrugs again. He steps backwards, towards the house. His shirt is untucked, sunburned chest slipping through like a violent sunset. “Then wear your hair down.”

Her laugh is crackly, dry, warm in her throat. The thought flashes through her head, lightning fast: So you can run your fingers through it?

It doesn’t make it past her lips.

[fatimahkhblog]

Week 07 | 07 Mar. 24

What was planned this week:

Submit midterm jury progress

Write 2 more articles.

Design subpages for the blog.

What actually happened:

I designed Instagram posts and reels.

I draw illustrations.

I finish the blog layout.

I started the mobile version.

I wrote two articles.

I modified the illustration for one of the previous articles.

Reflection:

It's been a long time since the last blog post. The pressure has been high as we need to almost finish half of the project. I've been trying to accomplish as much as possible in a short time and still enjoy my break. The project has changed somewhat from what it was before the mid-term break, for the better. The break started with a change in the illustration style. I needed more mature drawings that fit the identity. I felt that the current style suited the tone better, as it's more expressive and has a texture that conveys a kind of poetry, yet despite its many details, it's easy to look at. After that, I moved on to the website; I was satisfied with the initial release, so I continued on the same path. Finally, I started some Instagram posts and edited the clip I had started before. Although I had planned a lot, I overlooked some details to achieve the essentials and the most important.

During the jury, the arbitration jury members commented on the logo, indicating that it didn't quite match the identity's personality. I was already aware of this and tried to adjust it, but I didn't reach a suitable result yet. Therefore, after the jury, I started making adjustments to it. I also began working on the mobile version of the blog. The comments and suggestions during the jury were very helpful this time.

After these challenges and achievements, I feel like I understand more what I ultimately want to achieve and how I will accomplish the work accurately and what data I need.

.

[tedturneriscrazy]

The latest clip really illustrates the tone of voice Camila adopts when she's desparately trying (and, sadly, failing) to understand and connect over the things that Luz loves. Not to mention how this is obvious to Luz, who still believes that Camila wants her to give up the demon realm and is feigning interest to try and make her feel better.

I'm sure that this will be resolved, since the whole "Dana doesn't like happy endings" assertion is bullshit, but it's clear we're taking the classic Don Bluth approach in that the path to this resolution will be paved with quite a bit of pain.

[lookatmeallthetime]

Hey, wanna make some mountains? In honor of the launch of the music video I just finished, here’s a tutorial on how to build out 2D layers in 3D space in after effects.

Getting Started

First of all, build your vector layers. You can build them as shape layers directly in After Effects, but I prefer Illustrator. Here’s the file where I organized the vectors for each scene:

I highly recommend using Overlord for moving shape layers back and forth between illustrator and AE. It can preserve layer positions relative to each other or center vector shapes in comps, group and ungroup layers, all kinds of nice things. But also, Adobe software costs enough as is. Look up one of the many tutorials about pasting vectors into shape layers and get your vectors in there!

Wigglin

I wanted my vector layers to squirm a little. Originally it was to mimic the effect of paper cut animation, but once I moved away from that look it was to keep the background feeling alive and, sigh, like its own character. Everything except for very curvy layers (like the bridge in the first scene) has Wiggle Paths > Corners applied to it as a Shape Layer effect. This tutorial by Ben Marriott helped me get the wiggle paths + posterize time cutout effect I was looking for.

In order to keep the amount of wigglin’ consistent from scene to scene, I stored all my layer styles in their own precomp with a slider effect attached, applied Wiggle Paths to each vector, then connected the layer properties with the pickwhip. I ended up with an expression like

this = comp(“Wiggle control comp”).layer(“Wiggle parent”).effect(“Detail Slider”);

Apply it to the Detail attribute of your Wiggle Paths shape effect, and you can adjust the intensity of the look across multiple comps!

Parallax

I’m guessing you’re here for the parallax effect and notes on laying out out vector shapes and textures in 3D space. This tutorial from Camp Keyframe lays it out better than I could, but here’s the short version:

1. Set all your layers to 3D

2. Set your workspace to 2 views and select top view so you can see how your elements are positioned on the z-index

3. Make a null, set it to 3D, and make a camera.

4. Parent null to camera and adjust the position so its z-index matches the z of the camera.

5. Parent null to camera and use null for camera controls hereafter.

6. Parent all unparented layers to null, adjust the null’s scale property, and unparent your layers once they’re where you want them. What we’re doing here is scaling layers as we push them back in the frame, preserving the layout of our original vector comps while arranging them in 3D space. (Even shorter version - mountains are big but far away, rocks are small but close up.)

7. Once your layers are all unparented, move your null around to text the parallax view. Now you can move your camera to pan left and your layers will respond.

Two side notes:

1. If you want an element to follow the motion of the camera, leave it parented to the null and it will stay where you put it in the frame as the background moves.

2. You see that little pixelated line in your switches? That pre-rasterizes your layers. This makes render times way faster because it’s inserting your precomp as a 2D plane, but if you want to blend scenes, turn it off to use your precomps in 3D space.

One more thing!

Even if two elements on screen aren’t touching, you’ll still get nasty collision renders if they’re on the same z-index. Select everything and press P to show your element’s position, and make sure the z is different for each of them.

Final step: textures!

Let me start by saying I did this step incorrectly on this project. If I could do it again, I’d export my shape layers to Procreate, use them as clipping masks, and scribble on them real nice and export them as transparent 2x pngs.

What I did instead was try to get spray and scribble and brush textures in Illustrator. Illustrator does not want to do this, it doesn’t like doing this, and it didn’t like me much by the end of the process. The one benefit was it was easy to name them the same as their corresponding shape layer, which made compositing easier.

Once you’ve imported them as layers, not a png series), it’s just a matter of copying and pasting the scale data (you can copy all dimensions at once if you select the attribute name rather than any one value) and position data. Make sure to set your texture layers to 3D and watch for z-index collisions!

Closing thoughts

I wrote this up in order to be useful to the community and find other folks who are at or near where I am as I learn After Effects. If this was useful to you or there’s something you think would be interesting, please comment or share your work!

[justgallifreyanthings]

Hi I love your designs. Do you have any tips for beginners, workflows or tutorials you'd recommend?

I have the alphabet down and have been trying to move to PS but it is a nightmare. I've been trying with doing each word on a layer but I end up with a million vectors.

Thank you!

Hi, thank you so much!

Nailing down a digital workflow definitely takes a bit of trial and error. It took me a good 2 years to figure out how to work in Photoshop, especially since I was learning from scratch, and another year or so to figure out a workflow when I moved to a tablet.

In terms of tools, I use Photoshop Elements 2011, Illustrator (though I've used Inkscape before), and Autodesk Sketchbook on my tablet. Other Gallifreyan writers use GIMP and AutoCAD (yeah idk how that last one works either). In general, I think the same tips work across platforms, both raster and vector, though of course YMMV.

Ultimately, the massive number of layers is somewhat unavoidable. This piece had 31 layers in Photoshop; this simple one had 10 layers in Illustrator. But here are some tips for getting from hundreds down to less than 50! I'm gonna move the rest of this under a readmore to avoid clogging dashboards.

First, you probably don't need to put each word on its own layer. I tend to group structural elements together. So for each sentence, I'll do the sentence circles on one layer, all word circles on 1-2 layers, and then consonants, vowels, line decorators, dot decorators, and punctuation all on individual layers. With both raster and vector software, you can move individual elements within a layer - with vectors you just pick up the whole path, and with raster you can use the lasso or magic wand to select all pixels within a certain area on a layer. With raster, the main thing you need to watch out for is overlapped shapes - so when I work in Photoshop, I'll have 2-3 layers for word circles and for consonants, so I can switch between the various layers when things overlap.

Second, clipping masks and groups are your friend!! Clipping masks help you get clean, sharp edges without having to zoom in to erase individual pixels. Grouping helps consolidate the various elements of a word or sentence; especially when you're happy with how something looks, group all the individual parts of it so you're only working with one object instead of 15.

Third, I find it really helpful to sketch out my designs physically before making them digitally - sometimes I do this in my sketchbook, sometimes I draw things on my tablet. But sketching the design out helps me get a sense of how all the pieces are fitting together, which in turn gives me a sense of how to tackle them. For example, when working in Photoshop, I draw word circles for words without divots before drawing word circles that have divots, so that I can use the nondivot-circles to inform divot positioning. But in order to do this, I have to know upfront which words are going to have divots and how everything is fitting together.

Finally, you may want to take a look at Sirkles' youtube explanations. She makes these to explain how to read her translations, but on occasion, she'll go into her GIMP file to fix something, and that might help explain the behind-the-scenes process. Annnd you can check out these 2 Twitch VODs of mine from back when I had pipe dreams of a Patreon where I offered Twitch VODs as a patron benefit: VOD 1 || VOD 2. Both are for pieces I did in Photoshop. I apologize in advance for the garbage sound quality.

I hope you're able to find something useful in this wall of text. Unfortunately I think it really does just take practice, and a lot of trial and error, so I wish you the best of lucky and a speedy learning curve!

[poojagurung]

Unlock Your Creativity with a 2D Animation Course

In a world where storytelling and visuals rule, 2D animation stands out as one of the most captivating ways to share ideas and bring characters to life. Whether you’ve dreamed of creating your own animated series, designing fun and quirky characters, or even working in film or game design, a 2D animation course could be just the right path to turn your imagination into reality.

What is 2D Animation, and Why is it So Popular?

2D animation is all about creating movement in a flat, two-dimensional space. Think of your favorite cartoons or simple, engaging animated clips you see on social media—those are examples of 2D animation. Unlike 3D, which involves depth and life-like realism, 2D is more about bringing vibrant, drawn characters to life with personality and style. This makes it perfect for storytelling in cartoons, explainer videos, or even animated ads.

What You'll Learn in a 2D Animation Course

Signing up for a 2D animation course means you’ll cover everything from the basics to more advanced techniques. Here are some of the key skills you'll develop:

Animation Foundations

You’ll start with the essentials: principles like "squash and stretch" (for giving life to characters), anticipation, and timing. These techniques are the building blocks of movement and make your animations look realistic and engaging.

Character Design and Drawing Basics

Ever wondered how characters get their unique look and feel? You’ll learn how to create characters from scratch, diving into sketching, proportions, and adding unique traits that make them stand out.

Storyboarding Skills

Storyboarding is like the blueprint of your animation. It’s where you map out scenes, plan the flow of action, and ensure the story is clear. It’s a crucial step in bringing your ideas to life and keeping your animation organized.

Mastering Digital Animation Software

You’ll get hands-on experience with popular software like Adobe Animate or Toon Boom Harmony, which make the animation process smoother and more fun. These tools help you add effects, refine movements, and build high-quality animations.

Audio and Syncing Techniques

Animation isn’t just visual—audio plays a big part! You’ll learn to sync sound effects, voices, and music with your animations, giving them a more polished and professional feel.

Building a Portfolio

Toward the end of the course, you’ll have the chance to create a project or short animated film. This is a fantastic way to showcase your skills and build a portfolio, which is essential for finding jobs or freelance work.

Where Can 2D Animation Take You? Career Opportunities

Completing a 2D animation course opens up a wide range of creative career options, such as:

Animator

Storyboard Artist

Character Designer

Illustrator

Motion Graphics Artist

Freelance Animator

Many of these roles are in industries like film, video games, advertising, and even online education. Animation is everywhere!

Why a 2D Animation Course is Worth It

Express Yourself Creatively

Animation is a powerful art form. You get to express emotions, tell stories, and connect with audiences in a fun and visually impactful way.

Growing Demand for Animation

Animated content is huge right now! From social media marketing to online learning, companies and creators are using animation more than ever. 2D animation skills are highly marketable and can open doors across industries.

Build a Portfolio and Grow Professionally

A formal course gives you the chance to create a polished portfolio, which is crucial in standing out when applying for jobs or pitching clients as a freelancer.

Learn in a Structured Way

Courses offer a structured learning path with expert guidance. You’ll gain skills quickly and be able to build a strong foundation in animation techniques that might take a lot longer if you try to learn on your own.

Choosing the Right 2D Animation Course

When looking for a course, think about factors like the curriculum, the software covered, and hands-on projects. And remember, it’s always great to look at student reviews to get an idea of what the course experience will be like.

A 2D animation course is a fantastic way to dive into a world of creativity and storytelling. Whether you’re starting fresh or building on existing skills, this course can help you turn your imagination into reality and set you on a path to a rewarding, fun-filled career. Ready to bring your drawings to life? Start your 2D animation journey today!

[babupixc]

clipping path

A clipping path is a technique used in graphic design and photo editing to create a vector path that defines which parts of an image should be visible and which should be hidden. Here’s a detailed overview of clipping paths:

What is a Clipping Path?

Definition: A clipping path is a vector shape that acts as a mask, allowing only the areas inside the path to be visible while hiding everything outside.

Usage: Commonly used in image editing software like Adobe Photoshop and Illustrator.

Applications

Product Photography: Useful for e-commerce to isolate products from backgrounds, making them stand out.

Graphic Design: Helps in creating collages, banners, and advertisements by layering images.

Web Design: For creating transparent images that fit seamlessly into various backgrounds.

How to Create a Clipping Path

Select the Tool: Use the Pen Tool in Photoshop or Illustrator.

Draw the Path: Click to create anchor points around the subject you want to isolate. Use curves for more complex shapes.

Close the Path: Ensure the path is closed to form a complete shape.

Create the Clipping Mask: In Photoshop, select the path and apply it as a mask. In Illustrator, you can use the “Make Clipping Mask” option.

Tips for Effective Clipping Paths

Precision: Take your time to create a clean, precise path, especially around intricate details.

Zoom In: Work at a zoomed-in level for better accuracy.

Refine Edges: Use feathering or smoothing options if necessary to soften the edges of the clipping path.

Alternatives

Layer Masks: In Photoshop, layer masks provide similar functionality and allow for non-destructive editing.

Quick Selection Tool: For simpler images, this tool can help create selections quickly, though it may lack the precision of a clipping path.

Conclusion

Clipping paths are essential for anyone working with images in design and marketing. They enhance the visual appeal of images and are crucial for professional-quality graphics. If you have any specific questions about creating or using clipping paths, let me know!

[travelpostblog]

How Can You Make the Most of Your Travel Post Blog?

Creating a successful travel post blog that attracts readers, drives engagement, and ultimately grows your online presence takes a combination of strategy, creativity, and thoughtful planning. To stand out among the plethora of travel blogs, you’ll need more than just appealing destinations or stunning visuals. Here, we’ll dive into actionable steps on how you can make the most of your travel post blog. Whether you’re starting a new blog or improving an existing one, these tips will help you capture the interest of your readers and keep them coming back.

1. Define Your Blog’s Niche and Unique Voice

One of the first steps to making your travel post blog successful is to define its niche. Ask yourself, “What unique perspective or area of travel can I offer?” A blog about general travel can be difficult to stand out, as many people cover similar topics. Instead, consider focusing on a specific angle that aligns with your passion and expertise. This could be luxury travel, solo travel for women, eco-tourism, adventure travel, food-focused travel, or any other niche that you’re passionate about.

Tips to Define Your Niche:

Reflect on your travel style. Are you drawn to off-the-beaten-path destinations, family-friendly spots, or cultural experiences?

Consider your target audience. What kind of travelers would relate to your experiences and insights?

Be consistent in your voice. Whether it’s humorous, informative, or inspiring, keep your tone consistent to build a recognizable brand.

2. Create Engaging and Informative Content

Content is the heart of any travel post blog, and your success hinges on providing valuable, interesting content that readers can relate to or learn from. When writing posts, keep your audience’s preferences in mind. Each blog post should have a clear purpose, whether it’s to entertain, inform, inspire, or all three.

Ideas for Engaging Content:

Itinerary Guides: Share detailed itineraries with practical information, tips on places to stay, and recommended activities.

Top Attractions and Hidden Gems: Describe popular attractions along with lesser-known spots for readers looking for unique experiences.

How-To Guides: Cover practical travel topics like budgeting, travel photography, and packing tips for specific destinations.

Travel Stories: Personal anecdotes or challenges you’ve faced can make your blog relatable and memorable.

3. Use High-Quality Visuals to Tell Your Story

Stunning visuals are a non-negotiable for a travel post blog. They captivate readers, illustrate your travel experiences, and inspire readers to explore. Invest in a good camera or smartphone with a high-quality lens, or learn basic photography and photo-editing techniques to ensure your images are engaging.

Visual Tips for a Travel Post Blog:

Choose High-Resolution Photos: Blurry or poorly composed photos can detract from your blog’s appeal.

Capture Unique Angles: Experiment with different perspectives to add depth to your photos.

Use Videos: Short clips or reels are popular with readers and work well on social media platforms like Instagram and TikTok.

Create Photo Galleries: Provide a gallery for destination guides or specific events so readers can enjoy a comprehensive visual experience.

4. Optimize for SEO and Use Relevant Keywords

Search engine optimization (SEO) is essential to help your travel post blog reach a broader audience. By optimizing your blog content for search engines, you can increase organic traffic from readers looking for travel information.

SEO Tips for a Travel Post Blog:

Use Targeted Keywords: Keywords like “travel post blog,” “top travel destinations,” or “best travel tips” should be naturally integrated into your posts.

Optimize Meta Descriptions and Titles: Make sure each blog post has an appealing title and meta description that incorporates relevant keywords.

Use Headers and Subheadings: Not only does this improve readability, but it also helps search engines understand your content structure.

Include Alt Text for Images: Descriptive alt text can help your images rank on search engines and improve accessibility.

5. Engage Your Audience with Interactive Features

Audience engagement is crucial for the success of any blog. If readers feel they’re part of the conversation, they’re more likely to return. Make your travel post blog interactive by encouraging comments, using polls, and creating shareable content.

Ways to Boost Engagement:

Enable Comments: Encourage readers to share their own travel experiences or ask questions about the post.

Create Polls or Quizzes: Readers love interactive content like polls on favorite destinations or quizzes about travel styles.

Use Call-to-Action Prompts: At the end of each post, ask readers to leave their thoughts or follow you on social media.

Respond to Comments: Replying to comments shows readers that you value their input and fosters a community atmosphere.

6. Leverage Social Media to Promote Your Blog

Social media is a powerful tool for sharing your blog posts and expanding your audience. Platforms like Instagram, Pinterest, and Facebook are especially popular for travel content and can drive significant traffic to your blog.

Social Media Strategies for Your Travel Post Blog:

Create a Consistent Posting Schedule: Frequent updates keep your followers engaged and attract new readers.

Use Hashtags Effectively: Hashtags like #TravelPostBlog or #TravelInspiration can increase the visibility of your posts.

Share Behind-the-Scenes Content: Offering glimpses into your travel planning or the reality of travel helps humanize your brand.

Run Giveaways or Contests: Contests encourage followers to engage with your posts and can help you gain new followers.

7. Build a Strong Email List

An email list allows you to communicate directly with your readers and is a powerful way to bring them back to your blog. By regularly updating subscribers about new posts, travel tips, or exclusive content, you can build a loyal reader base.

Tips to Build and Maintain an Email List:

Use a Sign-Up Form: Include a prominent sign-up form on your blog to capture interested readers.

Offer Incentives: Consider offering a free travel guide or checklist as an incentive for signing up.

Send Regular Newsletters: Keep your readers updated on new blog posts, travel insights, or even curated content from other travel blogs.

Keep Your Emails Personalized: Use personalized greetings and tailor your content to subscriber interests to improve open rates.

8. Collaborate with Other Bloggers and Brands

Collaborating with other travel bloggers or brands can expand your reach and introduce your blog to new audiences. Partnerships can include anything from guest posts to social media takeovers, or co-hosted events.

Collaborative Ideas for a Travel Post Blog:

Guest Posts: Exchange guest posts with another travel blogger for mutual exposure.

Joint Giveaways: Partner with brands or bloggers to host giveaways that attract both your audiences.

Link Exchanges and Shoutouts: Build backlinks by sharing each other’s content and tagging on social media.

Attend Blogger Meetups or Conferences: Networking in person with other bloggers can lead to valuable partnerships and collaborations.

9. Monetize Your Travel Post Blog

Once your travel post blog gains traction, you may want to explore ways to monetize it. Earning from your blog can enable you to travel more often, invest in better equipment, or hire assistance for content creation.

Ways to Monetize a Travel Post Blog:

Affiliate Marketing: Share affiliate links to products you recommend, such as travel gear, hotels, or flights, and earn a commission on any sales made through your links.

Sponsored Content: Collaborate with travel brands that align with your blog’s niche for paid partnerships.

Sell Digital Products: Consider creating travel guides, itineraries, or e-books that your readers can purchase.

Google AdSense or Banner Ads: Display ads on your blog to generate revenue based on impressions and clicks.

10. Track Your Performance and Adjust Your Strategy

Finally, use analytics to monitor your blog’s performance and learn what’s working or where you need to improve. Understanding which posts resonate the most and which keywords bring traffic allows you to refine your strategy over time.

Tools to Track Your Travel Post Blog’s Success:

Google Analytics: Monitor your blog traffic, top-performing posts, and reader demographics.

Social Media Insights: Analyze which posts get the most engagement and clicks.

SEO Tools: Use tools like Ahrefs or SEMrush to check keyword rankings, backlinks, and other SEO metrics.

Analyzing Your Data:

Identify Patterns: Are certain types of posts (e.g., “Top 10” lists) more popular? Use this insight to create similar content.

Understand Audience Behavior: Track what devices or locations your audience is coming from to tailor content accordingly.

Adapt Your Content Strategy: Adjust your posting frequency, focus topics, and marketing channels based on your insights.

In conclusion, making the most of your travel post blog requires both creativity and a strategic approach. By defining a niche, producing valuable content, leveraging SEO, engaging with readers, and promoting on social media, you can build a blog that readers enjoy and trust. Tracking your blog’s performance and collaborating with others will help you continually improve your blog and ensure long-term success. With these tips, your travel post blog will be well on its way to inspiring and guiding travelers worldwide.

[bradfoe]

Vampires at Universal, 1930

Last weekend (this is an article from 2015), the actress Lupita Tovar passed away at the age of 106, more than eighty years removed from her starring role as the female lead in Drácula. This distinction had made her one of the last surviving links to the early days of Universal Pictures, when its founder Carl Laemmle oversaw the transition to the new era of talkies. Universal was then earning a reputation for its horror movies and the worldwide success of Phantom of the Opera in 1925 only added to its growing association with Victorian monsters.

Universal had an inadvertent role, though an inciting one, in the birth of sound cartoons. Through the actions of independent producer Charles Mintz, to whom the studio had given a contract, Walt Disney was dismissed from the Oswald series just prior to the revolution he helped to unleash with Steamboat Willie. After that, Universal was quite slow to respond, trying some half-measures to keep up with its more technically savvy competitors.

In a sense, the jig was up. The studio had to respond with versions that had dialogue in those languages. And mind you, the art of dubbing had not yet taken hold. So, on October 10, 1930, filming began on a movie that perfectly illustrated a short-lived Hollywood solution. In most ways, it was exactly the same movie as the classic Dracula starring Bela Lugosi with his sweeping cape and leering glare. However, this alternate version had a Spanish-speaking cast and was titled Drácula. It made use of the same sets and a translated shooting script.

Lupita Tovar

The role played by Helen Chandler was performed instead by Tovar, who was recently signed on contract from Mexico to be a “Universal player.” In fact, the entire Spanish version of Dracula was shot at night, 7pm to 7am, after the English-speaking cast and crew were finished with a day’s work. They did not cross paths, working on opposite shifts. Tovar said she never once even met Lugosi. All of her scenes were filmed with a caped Carlos Villarías as the famous blood-sucking Count.

The existence of this nearly shot-for-shot counterpart, a sort of movie doppelgänger, has spawned a fairly lively internet debate about which is better, with a lot of momentum pressing toward the lesser known “Spanish Dracula” on account of a crew that, it is rumored, was competing to make a superior version at night. A century later with side-by-side comparisons online, the debate has hit high gear, but the famous performance of the undead Lugosi does not lie down easily and so the argument continues.

Regardless of which version is better, a certain respect arises from knowing that the Spanish-language shooting schedule enforced a vampire lifestyle on all its cast and crew. There is a ‘Method acting’ purity to this version: everyone involved slept during the day and then went to work at night. Just knowing that makes it seem intrinsically more authentic. Here is an edited clip from Drácula, released in 1931:https://www.youtube.com/embed/MoO_QWF7q8Q

Perhaps less well known is that Walter Lantz, who inherited the responsibility for producing the Oswald the Lucky Rabbit cartoons, might also have been up late some of those nights while Conde Drácula, played by Villarías, was readying for his closeup on the legendary Stage 28 at Universal. This revelation comes to us from a 1978 interview with Manuel Moreno, in which he disclosed that the Oswald production schedules were so challenging to maintain that Lantz would work at night even after a tough day at the studio.

“Lantz used to come at night, and he’d stay there all day Saturday,” said Moreno. It is easy to get the impression that Walter, lacking a precise production discipline, may have brought the cartoons across the finish line by fusing the elements together himself, working alone in the editing room. Considering how loose and improvised we know these early Universal cartoons were—recollections exist of animators stating how nonspecific their scene directions could be—it would make sense that Lantz used the quiet of his nighttime work to assemble his vision from among the individual parts.

Manuel Moreno, a leading animator at Universal, seen here reflected in a mirror at his desk.

In a way, the knock on Lantz has always been that he delegated creative vision for his cartoons to his directors for most of his career. However, the situation would have been different in a year like 1930, when he was a new producer charged with keeping Oswald relevant in light of innovative new sound cartoons coming from Disney. The technical challenge was paramount and Lantz had actually proven himself quite a whiz with hybrid cinema techniques on his prior Dinky Doodle films for Bray, so he was versatile and up for the task.

In 1930 he was still actively a director in addition to being a producer. He was young and hungry and he was the force moving the Universal Cartoon Dept. into the sound era. However, Lantz was not hard-charging and uncompromising like Disney, so maybe some of the magic of his process only manifested as something special if he could bring it all together with the final edit and post-synch. The orderly sophistication of the Disney method was challenged at Universal by a more slapdash approach. And because of the tight budgets Lantz was given, his pragmatism was always a factor in the making of his cartoons.

Bill Nolan was the other producer-director working alongside him, but Nolan was chiefly there for his prodigious ‘pencil mileage’—as one of the fastest animators in the industry—and not necessarily for his management skills. Eventually, as Lantz became the undisputed boss, Nolan moved on and Moreno unofficially became the manager of the animation staff, basically a surrogate who was taking on directing responsibilities. According to Moreno:

“The sound recording was always supervised by Lantz. I had nothing to do with the recording because I couldn’t afford the time, and there wasn’t much that I could do, with Lantz there as supervisor. He knew exactly what the story was about, because he had been with it all through its construction. And the sound effects were no problem: a lot of times [story man] Vic McLeod would record the sound effects or [Pinto] Colvig would… Lantz did all the editing and patching the sound together, synchronizing the tracks”.

It seems that Lantz developed a business practice of being involved in the initial story meetings and then supervising the recording sessions at the end. For the middle of the process he appeared to be mostly hands-off. There were no “sweatbox” reviews of the pencil animation to ensure quality and continuity, as with Disney. That would have been too costly and, in any case, Moreno felt that “we were practically always behind schedule.” The animators really only had one shot at any sequence.

Lantz felt the stress of his situation, especially because his Universal budgets decreased year to year, but he was remarkably easygoing in spite of it and he negotiated the setbacks quite capably, keeping Oswald in production for nearly a decade. It is interesting to think of Lantz returning to Universal at night, editing and completing the cartoons. Lantz was technically adept and perhaps he liked the solace of quietly working alone without distractions.

Walter Lantz at the Movieola

I suspect he developed this nocturnal habit by 1930, growing his proficiency with the finer art of comedic synch-sound. Since this was a paradigm shift that shook the industry, failure to adapt was not an option. Musical director Jimmie Dietrich helped him with this process during regular hours, but it may have been at night that Lantz honed his craft, running the strips of film elements back and forth. Although Lupita Tovar never met Bela Lugosi, it is possible she crossed paths with Lantz. It is fun to speculate about such a thing, though we will never know.

A connection we do know is that Manuel Moreno and his brother George were amateur film enthusiasts and, during the early 1930s, they shot a home movie of the Universal animators clowning around on Stage 28, the legendary ‘Phantom of the Opera’ set that was repurposed for many classic monster movies. Judging from a copy of this home movie that I own, “The Gang at Universal” — as they are referred to on the title card — had a blast using the opera house façade for their filmed gags.

As an animated homage to this famous stage of horror, the 1930 Lantz cartoon Spooks is an outright spoof of Phantom of the Opera, possibly even made to be shown in front of the featured “international sound version” released that same year. Oswald meets the phantom in the cartoon and then vanquishes him by answering a riddle (“Ouch!”) that was the punchline to a popular American joke at the time. Enjoy watching this cartoon. And imagine Walter Lantz working the vampire shift.https://www.youtube.com/embed/oR067Tv7-SI

Manuel Moreno was interviewed by Milton Gray in January 1978, in Santa Ana, California. Excerpts above are from this interview, a copy of which exists in the Manuel Moreno collection archived at Stanford University. The frames of Walter Lantz and Manuel Moreno are taken from a “Going Places with Lowell Thomas” short titled Cartoonland Mysteries (1936) from an HD transfer by Steve Stanchfield. For the top image, I stitched together Bela Lugosi and Lupita Tovar, day for night, forever linked and yet never to have met.

[clippingpathassociatesblog]

Clipping Path: Mastering the Art of Image Perfection

In the world of digital imagery, the term clipping path is often mentioned, but what does it really mean? For those involved in graphic design, photography, and online retail, understanding this concept is crucial. This article delves into the intricacies of clipping paths, their applications, and how to select a reliable clipping path service provider to ensure your images stand out.

Understanding Clipping Path

A clipping path is a vector path used to isolate objects from their background. By doing so, you can create a clean, professional look for your images, which is essential for e-commerce, advertisements, and various other digital presentations.

The Importance of Clipping Paths in Digital Imagery

The significance of a clipping path cannot be overstated. Whether you're a photographer looking to enhance your portfolio or a business owner wanting to showcase your products, the clarity and precision provided by a clipping path are indispensable. By removing distracting backgrounds, you allow your subject to shine, making your images more appealing and engaging.

How Clipping Path Services Elevate Your Visual Content

While it's possible to create clipping paths manually using software like Adobe Photoshop, the process can be time-consuming and requires a keen eye for detail. This is where a professional clipping path service provider comes into play.

Benefits of Using a Clipping Path Service Provider

Time Efficiency: By outsourcing to a clipping path service provider, you free up your schedule to focus on other important tasks.

Professional Quality: These providers have the expertise to deliver high-quality results that might be challenging to achieve on your own.

Cost-Effective: In the long run, using a clipping path service provider can be more cost-effective, especially when considering the time and effort saved.

For example, companies like Clipping Path Associate specialize in delivering top-notch clipping path services tailored to your needs.

Choosing the Right Clipping Path Service Provider

Selecting the right clipping path service provider is critical to ensure you get the best results. Here are some key factors to consider:

Experience and Expertise

Look for a provider with a proven track record. Experienced providers are more likely to understand your needs and deliver superior results. They are also well-versed in handling various complexities associated with clipping paths.

Turnaround Time

In the fast-paced digital world, quick turnaround times are essential. A reliable clipping path service provider should be able to deliver your images within the agreed timeframe without compromising on quality.

Quality Assurance

Quality is paramount when it comes to clipping paths. Ensure that the provider you choose has a robust quality assurance process in place. This might include multiple reviews and revisions to ensure the final product meets your expectations.

For more insights on choosing the best clipping path service provider, you can refer to this comprehensive guide.

The Process of Creating a Clipping Path

Understanding the process behind creating a clipping path can help you appreciate the skill involved. Here’s a step-by-step breakdown:

Step 1: Image Selection

Select the image you want to edit. High-resolution images work best as they allow for more precise clipping paths.

Step 2: Choosing the Right Tool

Tools like Adobe Photoshop and Illustrator are commonly used for creating clipping paths. The Pen Tool in Photoshop is particularly popular due to its precision.

Step 3: Drawing the Path

Using the Pen Tool, carefully trace around the object you want to isolate. This step requires a steady hand and an eye for detail to ensure the path is accurate.

Step 4: Applying the Path

Once the path is complete, apply it to isolate the object from its background. You can then replace the background or keep it transparent, depending on your needs.

Step 5: Final Adjustments

Make any necessary adjustments to ensure the clipping path looks natural. This might include refining edges or adjusting the contrast and brightness of the object.

Applications of Clipping Paths

Clipping paths have a wide range of applications across different industries. Here are some of the most common uses:

E-Commerce

In e-commerce, product images are everything. High-quality, background-free images can significantly enhance the appeal of your products, leading to increased sales. A well-executed clipping path ensures that your products stand out against any background.

Advertising and Marketing

In advertising, the visual impact of your images can make or break a campaign. Clipping paths allow you to create clean, professional images that grab attention and convey your message effectively.

Photography

Photographers use clipping paths to enhance their images, whether it's for a portfolio, a client, or personal projects. By isolating the subject, photographers can experiment with different backgrounds and effects to create stunning visuals.

Graphic Design

Graphic designers rely on clipping paths to create versatile and visually appealing designs. Whether it’s for print media, web design, or digital art, clipping paths provide the flexibility needed to bring creative visions to life.

Why DIY Clipping Paths May Not Be Ideal

While the idea of creating your own clipping paths might be tempting, it’s often not the best approach, especially if you require a high volume of images or complex paths.

The Time Factor

Creating clipping paths is a meticulous process that can be extremely time-consuming. If you’re handling a large number of images, the time required can quickly add up, taking you away from other important tasks.

Skill Level

Achieving professional-quality clipping paths requires a certain level of skill and experience. Without the right expertise, the results may not meet your expectations, potentially impacting the overall quality of your images.

Consistency

Maintaining consistency across multiple images can be challenging, particularly if you’re not using professional tools and techniques. A clipping path service provider ensures uniformity and precision in every image.

Conclusion: The Value of Professional Clipping Path Services

In conclusion, the clipping path is a vital tool in the realm of digital imagery. It enhances the visual appeal of your images by providing clean, background-free visuals that captivate viewers. While it’s possible to create clipping paths manually, the advantages of using a professional clipping path service provider are undeniable. From saving time to ensuring professional-quality results, these services are invaluable for anyone looking to elevate their visual content.

Remember, the quality of your images can significantly impact your brand’s perception. By investing in a reliable clipping path service provider, you ensure that your images always look their best, helping you stand out in a crowded digital landscape.

For more information on clipping path services and how to choose the best provider, visit Clipping Path Associate. If you’re interested in a detailed guide on selecting the right service provider, check out this helpful article.

Elevate your imagery with professional clipping path services and make a lasting impression on your audience.

[plexailperfect]

Enhancing Visual Appeal: The Importance of Clipping Path Services

In today's digital age, visual content plays a crucial role in capturing attention, conveying messages, and engaging audiences. Whether it's for e-commerce product images, advertising campaigns, or graphic design projects, high-quality visuals are essential for making a lasting impression. Clipping path services are a valuable tool in the digital editing toolkit, helping to enhance visual appeal and create polished, professional-looking images. Let's explore what clipping path services are and how they can help elevate your visual content.

What is Clipping Path Service?

Clipping path is a digital image editing technique used to isolate objects or subjects from their background. It involves creating a precise outline or path around the desired element within an image, effectively separating it from the rest of the picture. This process allows for seamless removal, replacement, or manipulation of the background while preserving the integrity and quality of the subject.

How Does it Help?

Background Removal: One of the primary uses of clipping path services is to remove the background from an image. Whether it's to create a clean, transparent background for product photos or to replace a distracting background with a more suitable one, clipping path allows for precise and accurate background removal, resulting in a polished and professional-looking image.

Product Photography: Clipping path services are invaluable for e-commerce businesses looking to showcase their products effectively. By isolating products from their background, clipping path allows for consistent and uniform product images that highlight the details and features of the items, ultimately enhancing the overall shopping experience for customers.

Image Manipulation: Clipping path services also enable image manipulation and enhancement, allowing for creative edits and transformations. Whether it's resizing, reshaping, or repositioning elements within an image, clipping path provides the flexibility and control needed to achieve the desired outcome while maintaining image quality and integrity.

Graphic Design: In graphic design projects, clipping path services are used to create custom shapes and elements, adding depth, dimension, and visual interest to designs. Whether it's creating custom illustrations, icons, or logos, clipping path allows designers to precisely control the shape and composition of elements within their designs.

Clipping path services are a valuable tool for enhancing visual appeal and creating professional-looking images. Whether it's for background removal, product photography, image manipulation, or graphic design, clipping path allows for precise and accurate editing, resulting in polished and impactful visuals that captivate audiences and elevate the overall quality of visual content. With clipping path services, businesses and creatives can unlock endless possibilities for creating stunning, visually compelling imagery that leaves a lasting impression.

Contact us to book our service.

[chaya-mga2022mi6021]

Looking at Other Animated Films with Similar Concepts

I started off by looking for movies that show one's life unfolding on a static piece of paper, tattoos, cloth, etc. The first that came to my mind was the movie Moana. In the movie, Moana discovers a cave filled with boats and ancient drawings that show the voyages of their ancestors. And the drawings come to life at the end of the scene, showing the adventures of Moana's ancestors.

Taking inspiration from Moana, maybe I could rewrite the narrative in my story to depict an old man taking his grandson to a place where the tapestries of all their ancestors are stored in. The old man could take the child through each tapestry that belonged to their past kings and queens, etc, and in the hands of the child would be a blank tapestry that is his own. At the end of the animation, I could show the child looking down at his tapestry on his own hands with fascination as he now realizes the amount of potential it holds and that the future awaiting him lies in his own hands.

Maui's tattoos in Moana were also an aspect of the movie that really inspired me for my own animation. Maui has tattoos covering his entire body that showcase significant events and achievements in his life. The tattoos come to life to animate his life stories at points in the movie, making it a more engaging way for the audience to learn more about his past. Therefore, taking inspiration from this, maybe I could also illustrate significant events in people's lives on tapestries and animate it for the audience in a similar way to how Maui's tattoos work.

Another movie that I realized I could get inspiration from was, 'Brave'. There's also a tapestry in Brave that is involved in a key scene in the movie. Merida's mother, Queen Elinor, gets into an argument with Merida trying to remind her of the responsibilities that she's expected to follow. During the argument, the tapestry was seen to be in one side of the room, illustrating a beautiful image of their family. Yet it is also a visual representation of the predetermined path set by the parents for Merida's future. And Merida frustrated with this, tears the tapestry during the argument in anger.

From there onwards, Merida's fate completely changes and everything seems to go south, making her actions with the tapestry a central point of the story. And the torn tapestry becomes a metaphor for breaking free from societal expectations and developing one's own path.

.

Other animated short films with similar concepts:

In the movie "The Princess and the Frog" (2009), the witch doctor uses a magical tarot card set that has a main role in the story. And the tarot cards come to life at points in the story, and show movement and personality, illustrating the futures of specific people. I also found this quite inspiring as it made me think of giving a different personality to each tapestry in the film.

In "Brother Bear" (2003), there are 'spirit lights' similar to northern lights, that illustrate important moments from the protagonist's life in the sky that help guide him in his journey.

Another movie I got inspired by was "The Hunchback of Notre Dame" (1996). In parts of the movie, the stained glass windows within the cathedral come to life through animated sequences. And they unfold like living artworks, illustrating key moments and themes in the storyline. The movie has used the architectural elements in the story with a narrative purpose, technically making them another character in the story, which I found to be inspiring.

[spacenutspod]

Members of the DSOC team react to the first high-definition streaming video to be sent via laser from deep space on Dec. 11 at NASA’s Jet Propulsion Laboratory. Sent by the DSOC transceiver aboard the Psyche spacecraft, nearly 19 million miles from Earth, the video features a cat named Taters.NASA/JPL-Caltech A computer screen in the mission support area shows Taters the cat in a still from the first high-definition streaming video to be sent via laser from deep space, as well as the incoming data stream delivering the frames from the video.NASA/JPL-Caltech The video, featuring a cat named Taters, was sent back from nearly 19 million miles away by NASA’s laser communications demonstration, marking a historic milestone. NASA’s Deep Space Optical Communications experiment beamed an ultra-high definition streaming video on Dec. 11 from a record-setting 19 million miles away (31 million kilometers, or about 80 times the Earth-Moon distance). The milestone is part of a NASA technology demonstration aimed at streaming very high-bandwidth video and other data from deep space – enabling future human missions beyond Earth orbit. “This accomplishment underscores our commitment to advancing optical communications as a key element to meeting our future data transmission needs,” said NASA Deputy Administrator Pam Melroy. “Increasing our bandwidth is essential to achieving our future exploration and science goals, and we look forward to the continued advancement of this technology and the transformation of how we communicate during future interplanetary missions.” The demo transmitted the 15-second test video via a cutting-edge instrument called a flight laser transceiver. The video signal took 101 seconds to reach Earth, sent at the system’s maximum bit rate of 267 megabits per second (Mbps). Capable of sending and receiving near-infrared signals, the instrument beamed an encoded near-infrared laser to the Hale Telescope at Caltech’s Palomar Observatory in San Diego County, California, where it was downloaded. Each frame from the looping video was then sent “live” to NASA’s Jet Propulsion Laboratory in Southern California, where the video was played in real time. This 15-second clip shows the first ultra-high-definition video sent via laser from deep space, featuring a cat named Taters chasing a laser with test graphics overlayed. To see a “cheat sheet” explaining the components of the video, click here. Credit: NASA/JPL-Caltech The laser communications demo, which launched with NASA’s Psyche mission on Oct. 13, is designed to transmit data from deep space at rates 10 to 100 times greater than the state-of-the-art radio frequency systems used by deep space missions today. As Psyche travels to the main asteroid belt between Mars and Jupiter, the technology demonstration will send high-data-rate signals as far out as the Red Planet’s greatest distance from Earth. In doing so, it paves the way for higher-data-rate communications capable of sending complex scientific information, high-definition imagery, and video in support of humanity’s next giant leap: sending humans to Mars. “One of the goals is to demonstrate the ability to transmit broadband video across millions of miles. Nothing on Psyche generates video data, so we usually send packets of randomly generated test data,” said Bill Klipstein, the tech demo’s project manager at JPL. “But to make this significant event more memorable, we decided to work with designers at JPL to create a fun video, which captures the essence of the demo as part of the Psyche mission.” Feline Frequency Uploaded before launch, the short ultra-high definition video features an orange tabby cat named Taters, the pet of a JPL employee, chasing a laser pointer, with overlayed graphics. The graphics illustrate several features from the tech demo, such as Psyche’s orbital path, Palomar’s telescope dome, and technical information about the laser and its data bit rate. Tater’s heart rate, color, and breed are also on display. Members of the JPL team pose after the first streamed ultra-HD video was received from deep space. Remote team members (including Taters the cat) appear on the meeting screen. Standing, from left, are: Dan Goods, Abi Biswas, Ryan Rogalin, Meera Srinivasan, Bill Klipstein, Oliver Lay, and Christine Chen.NASA/JPL-Caltech “Despite transmitting from millions of miles away, it was able to send the video faster than most broadband internet connections,” said Ryan Rogalin, the project’s receiver electronics lead at JPL. “In fact, after receiving the video at Palomar, it was sent to JPL over the internet, and that connection was slower than the signal coming from deep space. JPL’s DesignLab did an amazing job helping us showcase this technology – everyone loves Taters.” There’s also a historical link: Beginning in 1928, a small statue of the popular cartoon character Felix the Cat was featured in television test broadcast transmissions. Today, cat videos and memes are some of the most popular content online. Milestone After Milestone This latest milestone comes after “first light” was achieved on Nov. 14. Since then, the system has demonstrated faster data downlink speeds and increased pointing accuracy during its weekly checkouts. On the night of Dec. 4, the project demonstrated downlink bit rates of 62.5 Mbps, 100 Mbps, and 267 Mbps, which is comparable to broadband internet download speeds. The team was able to download a total of 1.3 terabits of data during that time. As a comparison, NASA’s Magellan mission to Venus downlinked 1.2 terabits during its entire mission from 1990 to 1994. “When we achieved first light, we were excited, but also cautious. This is a new technology, and we are experimenting with how it works,” said Ken Andrews, project flight operations lead at JPL. “But now, with the help of our Psyche colleagues, we are getting used to working with the system and can lock onto the spacecraft and ground terminals for longer than we could previously. We are learning something new during each checkout.” More About the Mission The Deep Space Optical Communications demonstration is the latest in a series of optical communication demonstrations funded by the Technology Demonstration Missions (TDM) program under NASA’s Space Technology Mission Directorate and supported by NASA’s SCaN (Space Communications and Navigation) program within the agency’s Space Operations Mission Directorate. The Psyche mission is led by Arizona State University. JPL is responsible for the mission’s overall management, system engineering, integration and test, and mission operations. Psyche is the 14th mission selected as part of NASA’s Discovery Program under the Science Mission Directorate, managed by the agency’s Marshall Space Flight Center in Huntsville, Alabama. NASA’s Launch Services Program, based at the agency’s Kennedy Space Center in Florida, managed the launch service. Maxar Technologies in Palo Alto, California, provided the high-power solar electric propulsion spacecraft chassis For more information about the laser communications demo, visit: https://www.jpl.nasa.gov/missions/dsoc Media reel for DSOC ultra-HD video transmission News Media Contact Ian J. O’NeillJet Propulsion Laboratory, Pasadena, Calif.818-354-2649ian.j.oneill@jpl.nasa.gov 2023-184 Share Details Last Updated Dec 18, 2023 Related TermsDeep Space Optical Communications (DSOC)Jet Propulsion LaboratoryPsyche MissionSpace Communications & Navigation ProgramSpace Operations Mission DirectorateSpace Technology Mission DirectorateTech Demo Missions Explore More 4 min read Armstrong Flight Research Center: A Year in Review Article 4 days ago 6 min read NASA’s NEOWISE Celebrates 10 Years, Plans End of Mission Article 5 days ago 4 min read NASA Provides Update on Venture-Class Launch Services Article 5 days ago

[jorjawdesign]

Week 3

Making a Penguin

The goal of this lesson was to show how the pen tool and everything we’ve learnt about it so far can be used to create illustrations like a penguin! We were also shown other tools and methods that can make this process easier such as; the join command (Ctrl/Cmd + J), the reflect tool, adding/removing anchor points, stroke properties, filled shapes, compound paths, pathfinder tool, layers, gradients, colour swatches, global colours, group/ungroup (Ctrl/Cmd + G/Shift + G), colour tool and shape and opacity.  

I believe I did pretty good with making a penguin and liked how it wasn’t something that you have to do perfectly and can be easily changed to how you want it, and I found this whole activity really fun as a whole. The parts I found difficult was the tail, feet and the darker fur/shading,

I believe I found these parts difficult because they were more finicky and required more effort/time to make it look how I wanted, the feet and darker fur also used tools that I were new to me. I think what could be improved with my penguin is the tail, if I spent more time making it look sharper and more like a penguin’s tail or Toby’s example it would make the penguin look better but I am very happy with how it looks.  

I enjoyed making the penguin as a whole but I think my favourite parts was making the eyes, shading/darker fur and adding the colours.

The eyes were very intriguing as I never really use gradients, or the gradient tool and I think this was such a cool way to make them and I will definitely use the method again. I enjoyed adding the colours and creating the shading/darker fur because these parts really brought the whole vector together and I could see the penguin forming and I was able to add my own things to my penguin like stars to the fur and the eyes. Overall, this was a great activity to do, and I would like to do more like it, there are also many tools and methods that we used that I will most likely use again in my other classes, especially in Graphic Design and Illustration where tools like pathfinder and clipping masks will be great for making my poster and editorial illustrations. I also have a better understanding of these different tools and methods which I was unsure of and usually avoided them. 

[smitmb1]

week 8 part 1

today was just a day to spend more time on our own and creating two images on illustrator. we were instructed to document the process of every step.

we learnt a quicker way to take screenshots. (select, object, direct selection). also to get rid of points when points won't join together. (select, object, stray points).

I started off with this drawing of a plant in a pot. I got an image of Pinterest and used a portion of the image. once I had the drawing on procreate I drew up where I would need to put all the handles. this was all an estimate and I was not 100% sure so I will see how it goes in illustrator.

this was my first attempt. as you can see it is not at all like t˙e handles I drew. I think I will try this again but only draw half of the pot and then use the reflect tool to make both sides symmetrical.

this was my second attempt. although it does not line up as well I like this shape and will continue with the drawing. it worked so much better using the reflect tool because I was able to make both sides exactly the same.

to make the leaves and the stem I ended up using a new tool. I used the width tool on a stroke to make the one appear thicker in certain points. then once I made a shape like a stem I make the stroke into the outline path with the tool under the heading object. from there I used the clipping mask wth the leaf and the stem then with the direct selection tool on I was able to make the stem flow into the leaf by creating more rounded corners.

when I looked at the hands and anchor points it began to look a bit hectic. this was because of the tool I used. but if those points were al there it would look more similar to my original sketch. you can see what I mean below...

overall I am happy with my first drawing but I think I can definitely choose something more challenging for myself. I learnt new skills today more specific to what I was drawing to make things easier.

these are the tools I used...

reflect tool (for the pot to make both sides even)

width tool (to make the thickness and range of thickness in the stem)

object outline tool (to turn the stroke into a shape)

colour dropper tool (for making all leaves and stems the same colour.

clipping mask (to join a stem to a leaf to the go ahead and make them seamlessly fit together)

along with these tools I also used the basic pen too to create all my shapes in this image.