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[treehouse presents]

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[Exercise Your Creative]

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Have you ever had a great marketing idea for your favorite brand or product

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and never acted on it?

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Do you ever find yourself wishing you had more personalized work in your portfolio for clients?

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I'm Mat Helme, and in this episode of Exercise Your Creative,

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we're going to take a look at taking that great thought and putting it into action.

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[??] [The Idea]

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My favorite line of shoes are Vans Authentics.

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I've been wearing them for years.

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One day I realized how much the shoe is so similar to a blank canvas.

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I thought, wouldn't it be great to create an ad campaign

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incorporating the shoe in the ad as artwork?

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Then the tagline hit me: Always Authentic, Always Vans.

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I was so passionate about the idea, I knew I needed to put it into action.

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Before sketching, I wanted to check out some books,

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so I hit up the local bookstore in search for some old retro designs and skate books.

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I found a couple of books, such as books that had old stickers from the 1980s.

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As I continued searching, I kept coming across the name Jim Phillips.

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Then I found the book Surf, Skate & Rock Art of Jim Phillips.

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Most of this art from that era was from one guy, Jim Phillips.

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He basically set the standards for all of the art still used in the industry today.

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I then knew this was the book I needed,

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so I bought the book and started sifting through his amazing work.

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Come to find out, Jim was the creative director for Santa Cruz Skateboards back in the 1980s.

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One design in particular grabbed my attention.

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I actually remember seeing this particular skate deck when I was super young.

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I knew this was the direction I wanted to go in.

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Right below the design was a caption quoted directly from Jim Phillips.

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It read, "Powell, one of our biggest competitors, had everything with bones and skeletons."

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"To me, the only fun thing left was fleshy monsters..."

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[??] [The Process]

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Previously this year, I had been tampering with a style with these fuzzy characters in my fine art

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and knew this would work well with this project.

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For almost all my conceptual projects I create a creative environment.

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To do this, I use mood boards.

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I took the pictures I got from the books and did some searching online

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to get a good direction with the design that I wanted.

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I gathered about 100 images together in total.

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Now it's time for the sketching process.

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The tools I use for this are an assortment of pencils, sketch book, and some Sharpies.

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When I began sketching, I knew I wanted the eyes on the shoes

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and have the shoes coincide with the surface the shoes were going to be on.

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However, I didn't know what kind of eyes I wanted or the color,

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so I began drawing an assortment of eyes on the shoes.

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After a couple layouts, I then wanted to test the markers

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to see what kind of color scale I could get with saturation and blend.

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I knew stippling would help this out a bit.

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For those of you that aren't familiar with stippling,

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it's a drawing technique used to create grayscale and depth using dots.

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I really liked the green and purple layout, but it's the same as The Hulk's colors,

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so I didn't want to use that.

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However, I did like the eyes I used in the illustration.

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I also really liked the way the yellow color combo popped,

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so I started playing around with the yellow to orange scale.

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I felt the blend was too hard between the yellow and orange,

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so that gave me the idea of getting grayscale markers.

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I figured I could create the illustration in grayscale

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and then change the color in Photoshop, so I tried that and it worked really well

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but a little bit too well for this project.

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After that illustration session, I went home kind of frustrated.

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So I slept on it, knowing and thinking positive, eh, I'll figure it out.

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Then right before I went to sleep, it came to me.

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Why not put the colors and grayscale together?

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Let's just say it was kind of hard getting to sleep after that.

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So then the next day I hit up another illustration session starting with the color

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and then the grayscales, and it worked.

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At this point, my illustration and layout color combo was complete.

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I knew if I had these nailed down, I was ready for the shoes.

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Also, I knew if I just did graphics in the front panel of these shoes,

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they could actually be mass produced,

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reason being there isn't another panel to line it up to.

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[The Product] Who knows? Maybe Vans will like the design enough to run a couple of lines.

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When drawing the shoes, I used the following tools: masking tape, pencil,

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markers, and paint markers.

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Now it's time to start sketching on the shoes.

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My first step is to sketch with a pencil where the heavy, thick line would be.

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Next I ink the shoes with a black marker.

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Before even testing the markers, I knew the ink was going to bleed on the canvas material.

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It's super porous. 

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So I taped off the shoes with the masking tape

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to make sure it wouldn't bleed out onto the rubber sole.

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When coloring, you want to start off with light and then go dark,

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so I laid down the yellow and then the darker gold

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as well as the light purple to dark purple and the same for the blues, light to dark.

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After that, I laid down the grayscale to give the shadow effect.

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Then I added the black stippling where the shadows were deep.

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Lastly, the white stippling over the light areas.

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This really added a pristine texture to the shoe.

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The ink did bleed in the white area a little bit, but it's nothing I can't fix in Photoshop.

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Now that we've completed the shoes, it's time for the photo shoot.

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For this, I used an iPhone and a large piece of white paper.

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Then I took some photos and sent them to my email at actual size.

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Next I cut the shoes out and touched them up a bit in Photoshop,

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deepening the contrast and brightness of colors,

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really giving it a blown-out retro look.

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Lastly, I printed the shoes out.

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Now that my shoes are complete, it's now time to design the surface of the ad

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as well as the content.

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Like I said before, I wanted to use the tagline Always Authentic, Always Vans,

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so I started to play around with the idea of making a brain out of the laces.

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It seemed like a great idea, but it just didn't work,

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so I made a couple of different mouth layouts and ended up reverting back to the fine art style

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from my previous paintings and illustrations--furry and fun.

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I then grabbed a typeface called Lavanderia by James T. Edmondson

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and used it as a template for my lettering.

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With tracing paper and a pencil I illustrated the interlocking laces reading Always Authentic.

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At that point I was ready to take some images with my iPhone and bring them into Illustrator.

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Before I jump into the process, let's take a look at the techniques I used with Adobe Illustrator

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in this episode's Technique Breakdown. 

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[??] [Technique Breakdown]

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We're going to go over 4 techniques in this Technique Breakdown.

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The first technique, we're going to create a custom calligraphic brush.

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Second, we're going to create a custom art brush.

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Third, we're going to create a custom pattern.

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And fourth, we're going to use multiply and overlay over a color.

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For the first 2 examples, we're going to be using a Wacom Intuos4 tablet.

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This tablet will allow us to draw using a pen with the tablet,

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and it will allow us to apply pressure to the brush,

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allowing us to create a thick to thin line technique.

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Let's scroll down and let's create a custom calligraphic brush.

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To do this, we are going to grab the Paintbrush tool and head up to Brush Definition,

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select New Brush.

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With Calligraphic Brush selected, select OK,

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and let's name this A.

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For angle and roundness let's just leave those at default,

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and for size let's make this a 5 point, change Fixed to Pressure, and Variation of 5.

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This variation of 5 basically says the lighter we press, the smaller the line.

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It will vary with 5 point, so it will go 0 to 5 or 1 pixel to 5.

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Again, the lighter we press, the thinner the line.

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Then select OK and then with this A brush selected and our Paintbrush tool selected,

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make sure we have a solid color fill. Okay.

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You can see if I start off really light with the pen, it's really thin.

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The harder I press, the thicker it gets. You can lighten up.

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This works great for shadowing.

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Say if I were to create a nose, underneath the nose there would be a deeper shadow

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because the light would be coming down from the top.

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That's how you create a custom calligraphic brush.

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Next let's create an art brush.

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To create a custom art brush, grab the Ellipse tool

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and change this stroke color to the fill color, and let's just create an oval.

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Head over to the Swatches palette, select Brushes.

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Let's drag that oval into the Brushes panel, select Art Brush, select OK.

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Now let's name this B.

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For width let's change this to Pressure and drop down to 1% and leave that at 100%.

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Keep the Stretch to Fit Stroke Length selected,

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and where it says Colorization, Method, we want to change this to Tints and Shades.

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Select OK.

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Let's go ahead and delete that oval and select our brush.

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You can see we have our B brush that we just made, our art brush.

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What this does is it stretches the oval across the whole brush.

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So if this were really short, you can see it's the oval.

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Let's change this color to make it a little bit darker.

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[??]

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There's the red, and we're on Tints and Shades, so to draw it just a little bit in opacity.

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This also works with pressure too, so if I start off really hard and then go down soft,

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it lightens up there a little bit.

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[??]

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This works great when coloring.

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You can get a great buildup with the multiply and overlay,

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and I'll show you how to do that when we get to technique number 4.

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But next let's create a custom pattern.

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To do this, let's grab the Star tool.

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With the Star tool I'm going to create a bunch of little stars,

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and we're going to create a little star pattern.

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[??]

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Okay. Let's select all of them, go to Object, Pattern, Make.

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Now by default it sets it up as the Tile Type to Grid.

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We can change this to Brick by Row. It's on a 1 to 2 offset.

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We'll just push it over every other. We can change that to 1/3, 1/4 and so forth.

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Let's just leave that at 1/4 for right now, let's leave it at Grid,

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and we can also add spacing around it by Size Tile to Art

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and then change the H and V Spacing and 30. It adds space around it.

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For the Copies let's do it in 5 x 5 right now, and Dim Copies is at 100%,

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which is the patterns around it.

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Show Tile Edge, that's this box right here.

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Say if we got the spacing down to 0. Everything is lined up.

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Back on the pattern, say we grab the Star tool shape.

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Right now we have a fill of this red color.

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Our new pattern is in our Swatches panel.

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So as you can see, with the star shape no matter how big we make it,

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it keeps multiplying that pattern inside of it.

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If we double click on it, we can edit it and add 10 pixels, go back.

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You can see it adds 10 pixels here.

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That's how you create your own custom pattern.

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For our fourth technique using multiply and overlay,

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select the Ellipse tool.

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Let's give this a color of blue.

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What we want to do is have this sphere appear 3D.

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So let's grab the Brush tool and let's select that brush that we made, B. That's the one.

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Let's select the Transparency panel right here and select Opacity and put that at 50.

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For the Blending mode, let's put that at Multiply.

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Let's make this black.

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You can see when we build up here, you get this darker color.

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When we apply this over a color, you can see we get this nice shadowing.

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And with this buildup the harder we press, the wider it gets.

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Say if the sun was hitting this way, from this direction this would be lighter,

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causing this to be darker.

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When we kick up the stroke, you can really see we can get a nice buildup here.

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So this will be all shadowed out.

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We can make all of these a darker blue,

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and it blends a little bit nicer.

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Now, if we want to use the overlay technique,

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again grab the same brush and select white,

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and then you're going to want to go back to your Transparency,

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switch Multiply to Overlay, and now when you paint over the sphere,

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you can see it gets lighter.

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For this you're probably going to want to drop your opacity down to 30.

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You can see we can get a nice buildup here.

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Now when we change the color from blue to green,

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instead of using a light green here and then a darker green,

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we're able to just simply change the background color to any color we want,

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then the multiply and overlay changes.

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[??]

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And that's it for our Technique Breakdown.

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[??] [The Build]

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When starting, I knew I needed to illustrate the face and worry about the content later.

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Also, I wanted to create closed eyes under the shoes

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in case it was ever used as an installation piece or in motion graphics.

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I realized the brain idea wasn't going to work,

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so I thought to myself, where is the tagline going to go?

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I then went for the next best thing.

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Why don't I just make him eating the laces

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and then having the laces coming out saying Always Authentic.

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Perfect.

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Next I tried using the stippling effect in Illustrator but ended up not using it in the end.

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I found that a custom pattern looked a bit better,

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and it was much easier on a processing rendering speed.

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Just like the Sharpies on the shoes, I laid down the colors light to dark.

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Instead of doing a darker color, I used the multiply and overlay effect for 2 reasons.

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One, in case I wanted to change the color.

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By doing it this way, it's much easier.

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Second, you get a very similar effect to the markers.

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I also used the custom brush to create a multiply and overlay stippling effect on the laces

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and on the facial features.

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From there I spent a good amount of time fine-tweaking the colors and shading

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until I was satisfied.

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Like I said before, when you design for something you're really passionate about,

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you tend to develop some sort of OCD, and you need to know when to stop.

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With the piece final and several thousand Illustrator paths drawn,

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it's now time to lay out the ads. [Final Layout]

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I have 3 types of media to place this on, 2 print and 1 digital.

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So I treated this ad as if this line of shoe were to hit the shelves on November 9th, my birthday.

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The main purpose of the ad is to push the viewer to a splash page

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to see the product and to pre-order.

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I completed the layouts from large to small.

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I first laid out the poster, then the magazine ad, and then the digital ads.

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For the digital ads I wanted to use the basic 300 x 250, 160 x 600,

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then 728 x 90 pixel layout.

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These are typical banner ad sizes.

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When you lay out, make sure you use them in this order:

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the 300 x 250, 160 x 600, and 728 x 90.

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It's easier to manipulate the graphics this way.

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You'll save so much time.

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Also note you can't always use the same content for all of the ads

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since you are limited digital real estate.

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Simply make sure you ask yourself this question:

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What do I want the user to see?

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The shoes, of course.

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Don't forget to make sure your files for print are CMYK

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and your digital ads are RGB.

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CMYK for print and RGB for digital.

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It's time to show it off.

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Post it to your portfolio, let your friends know about it,

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maybe get some feedback and make some revisions.

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You can do this on Dribbble, Behance, or Forrst.

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Also, send your design to your favorite brand and let them know what you have made.

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Show of your skills and design that you worked so hard on.

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You might be thinking to yourself, I'm not an illustrator, I'm a web developer.

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I build web applications. How does this apply?

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This exercise is perfect for creating just about anything that you're passionate about.

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Maybe you could redesign a website for your favorite brand.

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We all know big industries are a bit behind when it comes to cutting edge.

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Perhaps you could design a mobile app for them, maybe something game

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or multimedia related.

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The only wrong action is inaction.

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Create and share.

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People don't know what they want until you show them.

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As always, have fun and exercise your creative.

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[Exercise Your Creative]