We could make the word ‘Chocolate’ simply by setting the text on a path – but this would look ugly. Here, I’ve replaced all the sharp terminal points to blobs for a friendlier feel. Now that the path has been reduced to a manageable number of points, it’s easy to redraw them with the Pencil or the Pen tools to get exactly the curves you want. Of course this will reshape the outlines to some extent, but in most cases that’s no bad thing. You can use Object > Path > Simplify to reduce the number of anchor points. This would be a nightmare to try to edit. This will leave the inner stroke forming the interior, which can be recolored as you like.ĭrawing strokes with Adobe Draw’s brush tools work fine – but when you import them into Illustrator, you can see that they contain far too many anchor points.
To make the fill for the banner, first duplicate the banner and then use the Direct Selection tool to select and delete the outer stroke. The bust of Liszt is easily recolored to a chocolate brown. Shapes such as the banner will all have been drawn as separate outlined objects, so you’ll need to use the Pathfinder panel to unite them and then the Pencil tool to reshape the awkward overlapping corners. When the artwork opens in Illustrator you’ll find all the layers intact – so you can hide the template layer straight away. In a moment, the artwork will open on your desktop. But moving the artwork from here to Illustrator, as long as you have a Creative Cloud account, is straightforward: just tap the Export button and choose Send to Illustrator CC. There’s no point attempting the small lettering in Draw, since it can’t place text on curves. The basic shapes here are OK, but they’ll need some tidying up later.
If you make a mistake you can erase elements or simply Undo and redo them. I wanted a hand lettering style for the word Liszt, so I used a paintbrush with a variable stroke to sketch out the letters. It’s worth creating a new layer first, so you can erase the parts you don’t want – such as the elements that stick into the banner – without affecting the other artwork. Once you place an image, its color changes from translucent red to black. Use the same technique as with the French Curves to size and move it, then tap on it to place it in the artwork. Save it to one of your CC libraries.īack in Adobe Draw, you can open the image from the library and it will appear in your artwork. Drag over them to remove them (they’ll change from black to gray), then click the Next button to have Adobe Create turn the image into a smooth, vector shape. Once you’ve captured your image, you’ll probably find extraneous objects selected as well. Drag the slider to increase the amount of dark in the resulting image – shown in the preview in green.
#After drawing vs before drawing adobe sketch ipad pro free#
Fortunately I have a bust of Liszt on my mantlepiece, so all I had to do was open the free app Adobe Capture and grab a photo. Drag over any section of the curve and the pen will follow it, producing a perfectly smooth stroke. You can, however, pinch on the drawing to make it smaller, which has the same end effect. You can use pinch gestures to make the curve larger and smaller, but you can’t make it larger than the screen. Drag on a red circle to move the shape, and drag both circles to rotate it. Unlike traditional French Curves, those in Adobe Draw can be resized at will. The app comes with many built-in shapes, including squares, circles and architectural elements – but they also include French Curves, a replication of the analogue tools designers have been using for decades. Don’t forget to make a new layer on which to draw the finished artwork. It’s easy to convert the sketch to a template: just open the Layers control, and reduce the opacity by dragging the slider. It shows the placement of the text and graphic elements, and it will serve as a good starting point. Here’s a sketch for a logo for a brand of chocolates named after the composer Franz Liszt, created in the free mobile app Adobe Draw. Fortunately, as we’ll see, Adobe makes the process simple through its tight Creative Cloud integration between all its apps. But to bring a serious piece of artwork to conclusion, you’ll most likely need to open it on a desktop application as well. It’s certainly possible to start artwork on a mobile device, and even to create and incorporate elements that will form part of the finished work. But can they be more than that? Is it possible to use them to create real artwork, rather than just roughs? The answer is both yes and no. Adobe’s mobile applications are great tools for sketching out ideas while on the move.
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