Snow covered landscapes, everywhere white fills the streets, and the sky. In the mean time; happiness and inspiration exist inside the human soul. Let’s look at a collection of vector, snowy worlds. This post is filled with both winter inspiration galore and resources to keep you busy during these winter months.

Inspiration

Winter Scape

Fall of Snow

Winter Solitude

Snow is so great

Frost

Winter wonderland: penguin

Naalia 03

Fall’in love with the moon

Winter Air

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There are many ways to create a marker in Adobe Illustrator, but this might be one of the quickest. It only takes three paths, some text for the imprint and a 3D effect to create a semi-realistic and freely rotatable marker. So let’s get started!

Final Image Preview

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Tutorial Details

• Program: Adobe Illustrator CS3
• Difficulty: Beginner
• Estimated Completion Time: 30 minutes

Below is the final image we will be working towards.

Step 1

Use the Pen Tool (P) to draw the following path. You will need it for the marker itself as well as for its cap. Set the Width to approximately 5 mm and the Height to approximately 12 mm.

Step 2

Use the Convert Anchor Point Tool (Shift + C) to round the two corners as seen below.

Step 3

Duplicate your path (drag it to the side while pressing the Alt key). Then use the Direct Selection Tool (A), select the two lower Anchor Points of the duplicated path and stretch the shape to a Length of approximately 70 mm.

Step 4

Use the Pen Tool (P) to draw the tip of the marker. The Height is approximately 20 mm. Select both elements of the marker and group them (Command + G).

Step 5

Select the cap (the first path), place it next to the tip of the marker and flip it horizontally (Object > Transform > Mirror).

Step 6

Select the Add Anchor Points Tool (+) and add two new Anchor Points to the path: one at the left side and one at the top. Then use the Direct Selection Tool (A) to move the upper-left Anchor Point as seen below.

Step 7

Remove all outlines and fill the shaft of your marker with a light gray (K=10) and the tip and cap with red.

Step 8

Use a black and bold Sans-serif font for the text of the imprint. You could even add additional elements like a barcode if you want. Placing it vertically and adjusting its size at this stage is useful.

Step 9

Group (Command + G) all elements of the imprint and drag and drop it into the Symbols Palette to create a new symbol.

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One of my favorite TV shows of all time is Twin Peaks and one of its most memorable lines is “The owls are not what they seem.” Inspired by that ominous truth I decided to create a little illustration. I chose a rather non-spooky scene set at dusk, with a curious owl sitting on a branch and some scenery in the background.

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Intermediate
• Estimated Completion Time: 1.5 hours

Take a look at what we’re aiming for, an inquisitive owl on a branch with dusk scenery in the background. I chose a soft, warm color palette to create a peaceful illustration.

Step 1

Open a new blank document. The size doesn’t matter for now. In the end we’ll crop the artboard to the illustration. Let’s start by creating the eyes of the owl. Draw an orange circle with the Ellipse Tool (L) (1a). Fill it with the gradient you see in image 1b, with colors ranging from light orange to dark red. Draw a dark brown pupil also (1c).

Step 2

The eye needs a couple of highlights. Draw a light orange ellipse in the top-right corner of the eye (2a) and set it to Screen, with 50% Opacity from the Transparency palette (2b). Add a secondary highlight in the bottom-left corner (2c), move it below the pupil and reduce its Opacity to 30% (2d).

Step 3

Let’s add an internal shadow. Copy the secondary highlight behind the first one and enlarge it (3a). Fill it with the same color as the pupil and set it to Multiply at 25% Opacity (3b). Go to Effect > Blur > Gaussian Blur and choose a Radius of 5 pixels (3c). We added a nice depth to the eye (3d).

Step 4

Select the main orange circle then go to Object > Path > Offset Path and and enter 5 pixels (4a). Make the new circle very dark (4b). The eye is finished so group all objects together and create the second eye. Place a guide right between them (4c).

Step 5

Let’s draw the beak now. Activate Smart Guides with Command + U then draw the right half of the beak using the Pen Tool (P), while snapping to the guide (5a). Make sure the first and last points have horizontal handles (5b). Create the left half by copying and flipping horizontally the one you just drew.

Grab the Direct Selection Tool (A) and use it to select the top points. Hit Command + J to join them: from the pop up dialog choose the Smooth option (5c). Do the same for the bottom points. We now have a single shape for the beak and because we kept the handles of the endpoints horizontal the joints don’t have any kinks (5d).

Step 6

The beak is definitely out of scale and proportion with the eyes so let’s adjust it (6a). Go to Object > Create Gradient Mesh and choose 3 rows and 4 columns (6b). Take a look at the instructions in image 6c to color the mesh properly. The result (6d) shows the finished beak: notice the frontal highlight and the shadows at the seams.

Step 7

To create the nostril draw a small brown ellipse at the top-right corner (7a). Fill it with a gradient to give it some depth (7b) then mirror it to complete the pair (7c).

Step 8

Let’s draw the head now. Create two overlapping circles around the eyes and join them into a single object: the spectacles (8a). Create the head with a brown ellipse (8b) and fill it with a gradient (8c) to imply light coming from the top (8d).

Step 9

Select the beak (not the nostrils) and go to Effect > Stylize > Drop Shadow and enter the settings shown in image 9a. Add a drop shadow to the eyes too (9b) and see the result (9c).

Step 10

Create the egg-shaped body (10a) and fill it with the same gradient as the head. Duplicate the head, move the copy behind it and below it (10b). Add a Gaussian Blur effect (10c) and set it to Multiply with 50% Opacity (10d). The values used for the effects may be different for you, depending on the size of your document and the raster effect settings. Just try to obtain similar results.

You can see that the head’s shadow appears on the background too. We need to crop it to the body. Make a copy of the body and move it above the shadow. Select both this copy and the shadow and hit Command + 7 to create a clipping mask (10e). Now the shadow is cast only onto the body (10f).

Step 11

Let’s finish the head by adding a wedge of lighter plumes. Using the guide as reference draw the right half of the wedge and make it bigger than the head. Don’t worry about the weird shape, we’ll crop it to the head with a clipping mask later (11a).

Mirror the other half and join into a single object like we did earlier with the beak (11b). Use a copy of the head to create a clipping mask (11c) so the wedge is perfectly cropped (11d). Make it less conspicuous by switching to Soft Light mode with 70% Opacity (11e).

Step 12

Let’s add a patch of lighter plumes on the belly. Duplicate and stretch the body and set it to Screen mode (12a). Go to Effect > Distort > Zig Zag and use the settings in image 12b to add variation to the outline (12c). Now go to Effect > Warp > Fisheye and use the settings shown in image 12d. See how the outline is a bit more dynamic now (12e).

Step 13

Use a clipping mask to crop the belly to the body. You know the method by now because we’ve used it twice already (13a). With the belly selected create a new style in the Graphic Styles palette by clicking on the appropriate icon at the bottom. Apply the style to the spectacles and the wedge (13b). You might need to manually adjust the settings of the individual styles to make up for the objects having different shapes and sizes.

Step 14

Draw the left wing with the Pen Tool (P) on its separate layer above the body and below the head (14a). Fill it with a two-tone brown gradient so the wing becomes darker as it recedes from view (14b).

Step 15

Take a copy of the wing and move it below it. Rotate it counterclockwise around the top edge (15a) and set it to Multiply mode (15b). Now it’s darker (15c). Add a Gaussian Blur effect (15d) so it looks like a real shadow. Use a clipping mask to crop it to the body (15e). Mirror the other wing (15f).

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Will another vector drawing tutorial that uses tracing techniques change the world? I hope yes, since tracing improves your way of conceiving the world graphically and representing it. The more you trace, the more you find the important visual clues to capture the world in your art.

In this tutorial, I’ll show you how to achieve a 1920’s folk art deco look, seen in the works of artists such as, Transylvanian architectural illustrator and researcher László Debreceni. I recommend you use a graphic tablet for this one, as we’ll be taking full advantage of pressure sensitivity. The techniques shown here work best on buildings and structures.

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS and Up
• Difficulty: Beginner
• Estimated Completion Time: 1 hour

Step 1 – Find the Right Image

The best is to go on site and take your photos, but if you are using stock footage try to find a picture on which the mass of your building is centered and there’s no other building or foliage obstructing the view. The photo used here is taken by me.

Step 2 – Set Up the Workspace

Use File > Place to import your image. Place the image on the center of the artboard. Double-click on its layer and set the Dim Images value to 70%.

I usually use A4 sized artboard and if the resolution of the image permits, I size it so that the mass of the building fills about 80% of the artboard.

Step 3 – Set Up Your Brush

Most of the time I use Adobe Illustrator’s default brushes. Set the fidelity so the program corrects your small mistakes. Pressure sensitivity is also very important to achieve dynamic lines. Set that to have about 3 points of variation. Experiment and find the settings that fit your vision of graphically appealing lines considering your skills.

Step 4 – Start Tracing

It’s a good practice to start with repetitive textures like tiles, fences and such, since this is the most tedious part and people tend to have more enthusiasm at the beginning of a project.

Step 5 – Parallel Lines and the Trick of Lines

Lots of parallel lines give the feeling of detail so it’s good to use them to avoid dullness. For me it’s quite hard to draw straight lines so I developed my technique of doing this (Disclaimer: it’s highly possible, that this wasn’t developed by me, but it’s how I do this).

So the trick is to look in front of your cursor and not on the cursor. You want to see what you will draw and not what you have drawn. Tick number two: start drawing the line and when you feel that it is getting off course do a small hop, a small crease or wrinkle by quickly moving your pencil up and down a bit.

This way your eyes will find the right line again and your lines will get a really nice texture. And voila! The overall feeling of the lines, despite the hops, is straight not to mention the added visually movement.

Step 6 – Draw the Rest of the Building

That’s easier to say than to do, you would think. The question is, “Where should I draw my lines?” My way of deciding on that is to look for dark areas. Sometimes a well drawn shadow can represent greatly, without making the drawing too busy or heavy.

Don’t go too much into the details, it will kill a lot of time and won’t be visible on the finished drawing. Use thin, not continuous lines, just like clues to represent the edges.

Find good instrumental music and drink green tea instead of coffee if you are into a tracing project, and find the peace in monotony. Your reward will be a killer looking architectural illustration!

Here is some advice to improve your work methods:

• Don’t believe your eyes just follow the lines.
• Don’t worry about jagged lines, even if not all the lines are straight or correct the original perspective of the photo will save the day.
• Command + Z is your friend. It isn’t for correcting the mistakes but to improve quality.
• Let Illustrator and pressure sensitiveness do their magic to achieve interesting lines.
• Don’t trace edges on blocks with repetitive texture like roofs. It will give a light feeling to your illustration.

Here are our results so far.

Step 7 – Shadows

Soft shadows are not common in these type of illustrations since they were reproduced with linocuts. Blocks of full black shadows will balance the design and give a strong feeling of depth.

So it is very important to find the right borderline between shadows and the rest of the image. My way of finding the border of shadows is to decide on the darkest point, and everything that is about 40% lighter in shade than my reference point, will be represented as shadow. Find what works for your illustration, as it may differ.

Once you identified your shadow areas pick the Pencil Tool, set your fill to black or any dark color you prefer and start to trace the shadows.

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In this tutorial we create an entire winter landscape and fill it using numerous techniques, like blended blizzards, sprayed snowflakes, and more. The techniques we use to create this illustration are fairly basic, but we cover alot of ground here, and therefore the level of detail of the tutorial will appeal to an intermediate level audience. This is a great way to get in the holiday spirit!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS3
• Difficulty: Intermediate
• Estimated Completion Time: 1.5 hours

Step 1

Let’s create a new document that is 600 pixels by 600 pixels. Now we’ll start to build our fir tree branches. Select the Polygon Tool, then click on the document, and print sides: 3 in a dialogue window. Select the created triangle out, apply Object > Transform > Reflect and then choose Axis > Horizontal > Copy. Move the top triangle down. The object will appear as it is in the image below.

Select both objects and click Add to Shape Area in the palette Pathfinder and then Expand. Grab the Direct Selection Tool (A), and click the points shown below, while holding Shift. Now delete the selection points.

Step 2

Fill the shape over with the color C=13, M=1, Y=0, and K=0 without a stroke. Select the shape out, copy (Command + C), and paste in front (Command + F), then move the new shape down, while holding Shift. Fill it over using the color C=80, M=42, Y=0, and K=0, without a stroke.

We’ll use Blend for this this step. Select both shapes, set Object > Blend > Options with Specified steps 12 > OK, then apply Object > Blend > Make.

Work with all objects. Select all of them, then apply Object > Blend > Expand, then Object > Ungroup. Beginning with the second one on top, turn the shapes around by rotating 11 degrees. The second one 11 degrees, the third one – 22, the fourth – 33, by going to Object > Transform > Rotate.

The ultimate result is shown below. Group all the shapes of the fir tree branch.

Step 3

Let’s begin designing the fir tree. Create a new layer. Take the Pen Tool (P), draw a triangle, these are the fir tree shapes. Blockade the layer. Later, this layer will be deleted.

Create a new layer above all. Now duplicate our branches, setting and turning them in a way we like most in order to get a fir tree. Work with Alt-dragging shapes for duplicate and Command + Shift + Right Bracket Key (Bring to Front). For Further work create the black background under the layer of the fir tree. We’ll review the creation of the background in later steps.

Step 4

Let’s create the star on the fir tree and make the luminescence. Create the first circle using the Ellipse Tool (hold Shift to constrain), then Fill with white and no stroke. Create the second circle, then go to Object > Transform > Scale a copy to 10%. For the first circle, set the palette Opacity to 0%.

Select both objects and make a Blend. First set the Object > Blend > Blend Options to Specified Steps of 40, then go to Object > Blend > Make.

Create the third circle with a diameter bigger than the first one. Create a few triangles above the third circle using the Pen Tool (P) with the tops in the center of the circle.

Select the triangles and circle out and use the Subtract from Shape Area, and then Expand from the Pathfinder palette.

Move the designed object to Blend, click the right button of a mouse along the shape of the object (Control-click on a Mac), and choose Make Clipping Mask from the Menu.

Put the resulting luminescence on top of the fir-tree. Create a five point star using the Star Tool, place it over the luminescence as shown.

Step 5

Let’s create the background. Fill the black rectangle with a radial gradient. Place the center of the gradient into the center of the star using the Gradient Tool.

Step 6

Now we’ll work on the snow storm. Create a new layer above the background. With the help of the Pen Tool (P), draw three curves using the color: C=71, M=20, Y=28, and K=0.

Set the Opacity to 0% for the upper curve in the Transparency palette. Select the upper and middle curves and create a Blend. To do so, first go to Object > Blend Options and set Specified Steps to 100, then go to Object > Blend > Make.

Now go to Object > Blend > Expand. Ungroup the curves by going to Object > Ungroup (Command + Shift + Y).

Set the Opacity to 0% for the bottom curve in the Transparency palette. Select the bottom and middle curves using and create a Blend. To do so, first go to Object > Blend > Blend Options and set Specified Steps to 100, then go to Object > Blend > Make. Now apply Object > Blend > Expand. Select all the curves and apply Object > Expand.

Step 7

Now let’s create the snowflakes. We’ll create the new “snowflake 1″ layer above the “blizzard” layer. Create two 3px by 3px circles, set the color files to: C=71, M=20, Y=28, and K=0 for one and white for the other. Drag the circles into the Symbols palette. Splash snowflakes over the snow storm with the help of the Symbol Sprayer Tool (Shift + S).

Now we’ll create the big snowflakes. Create two circles 20px by 20px and 3px by 3px with the colors C=71, M=20, Y=28, and K=0. Align them vertically and horizontally on top of each other with the help of the Align palette. Set the opacity to 0% for the bigger circle. Select both circles and create a Blend. Then we create a few similar snow-flakes.

The result is taken to the Symbols palette. Splash these snowflakes using the Symbol Slayer Tool (Shift + S).

Now we’ll create a classic shaped snowflake. Create the form using the Pen Tool (P) and work to achieve a result similar to the image below.

Use Object > Expand and Add to Shape Area from the Pathfinder palette. Then Object > Transform > Reflect and choose Horizontal and hit Copy. Move the new form down while holding Shift. Again, Add to Shape Area from the Pathfinder palette.

Now go to Object > Rotate and enter 60. Use Command + D (repeat the operation) twice. Create a circle and set it in the center of the snowflake. Select the whole snowflake and Add to Shape Area, then Expand from the Pathfinder palette.

Now we’ll make this new series of snowflakes using Effect > Blur > Gaussian Blur with a Radius of 6px for the blue snow-flakes.

Set the snowflake above the snow storm by duplicating and changing the size and transparency.

Step 8

Let’s work on the foreground of the snow storm next. Create a new layer named “snowflake2,” where we’ll be place the white snowflakes as shown.

Step 9

Let’s design our snow hills next. A new layer of snow is put under the “bg” layer. Now draw two forms here with the Pen Tool (P). One form is filled over with a linear gradient and the other by a solid color.

Step 10

We’ll create the shadow under the tree next. Draw two ellipses – one within another. Fill them over with the color: C=75, M=39, Y=0, and K=0. The outer ellipse will have an Opacity of 0%. Select the two circles and create a Blend.

Select the outer ellipse with Direction Selection Tool (A) and use the Wrinkle Tool to achieve an effect shown below.

Step 11

Now we’ll create the texture of the snow. Make a circle 1px by 1 px with the help of Ellipse Tool (L). Fill the it with a white color and move it into the Symbols palette. Using the Symbol Slayer Tool (Shift + S), spray the snowflakes we just created about.

Step 12

Now we’ll design a house in the background. Create a house above the the “Snow” layer. Make the rectangle and fill it with the color C=60, M=0, Y=0, and K=80. Then go to Effect > 3D > Extrude Bevel and hit OK (don’t change the default parameters). Now apply Object > Expend Appearance.

Change the color of the right side to C=60, M=0, Y=0, K=60. Also, add an anchor point to the upper rib and pull it to the top.

Draw snow on the roof of the house using the Pen Tool (P). Use the Rectangle Tool (M) to drawing a chimney and a window for our house.

Group all the elements of a the window and apply a radial gradient to them.

Step 13

And the last step is the design smoke coming from the chimney. Draw two curves, the color is C=40, M=0, Y=0, and K=0. The bottom curve is set to Opacity of 50%, the upper one is set to Opacity of 0%. Then apply Object > Blend > Make.

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Fitting for these tough financial times, learn step by step how to create this turbulent vector illustrations. Numerous Illustrator tools are used to create this illustration. We’ll use Symbols to add texture to the land are, the Mesh Tool for the sky, 3D effect to compose the skyscrapers, the Twirl Tool for the tornado, and Warp effect for the dollars. We’ll cover alot of ground in this tutorial, faster than a businessman escaping to the bahamans!

Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Intermediate
• Estimated Completion Time: 60 minutes

Step 1

First let’s create a new “Land” layer. Create a new shape of the Earth, and fill it with the linear gradient.

Create a “BG” layer under the “land” layer. Let’s work on that background (layer “BG”). Create a rectangle 800px by 600px in the “BG” layer using the Rectangle Tool. Create it at a size of 400px wide by 300px height, and fill it with a blue color. Close the “BG” layer.

Now we’ll create the soil texture on the land layer. Select Artistic Textures > Stipple from the Symbols library and pour it over the soil surface. Then apply Object > Expand. Apply a linear gradient to the soil shapes.

Copy the form of the surface of the soil and set it above the texture. Select the upper figure and texture, use Crop from the palette Pathfinder, cutting the texture out of the outlining figure as shown.

Step 2

Now we’ll design and color the background sky. Use the Mesh Tool to create a mesh and then color a sector as shown below.

Let’s create the clouds next. First make new “cloud” layer, which goes above the “BG” layer. On this new layer, create ellipses, setting them one above another in order to compose a cloud. Now Select All, Add to Shape Area, and click Expand in the Pathfinder palette.

Place these clouds over the gradient sky, change the transparency so some look a bit off in the distance. Place them one above another as your imagination sees fit. We won’t fill in the center because the whirlwind will be set there.

Step 3

Now let’s design the skyscrapers. First create, a new “Skyscraper” layer, set above the “cloud” layer. Create a rectangle 50px by 200px, then apply Effect > 3D > Extrude & Bevel, and the settings are shown below.

Make a few more rectangles in the same way and set one above the other.

Let’s make the windows of the front of a house. Create the square 5px by 5px, duplicating it we create a row of windows. Select and group the windows. Use Effect > 3D > Rotate.

The same action will be done with the windows of the second façade of a skyscraper. The picture of facades on the edges of a shape can be set in another way. Create a façade with the same size as the edge of the 3D shape your working with, move a façade into the Symbols palette, select a 3D shape and then click 3D Extrude & Bevel in the Appearance palette. Then select Map Art in the open dialogue window, find the needed side and add the symbol.

Select all the objects of a skyscraper and go to Object > Expand > Appearance. Now we’ll create the effect of a sagging skyscraper under the wind of a tornado. Group all the elements of a skyscraper, and apply Effect > Warp > Arc, with the parameters shown in the picture below.

Now move a skyscraper clockwise a bit. Ungroup the objects of a skyscraper and fill the windows with a linear gradient.

Create and place the skyscrapers so that the street area is formed.

Now the effect of a house trembling will be created. Duplicate the house and move it around its bearing point of the foundation a bit and then change the Opacity to 25%.

Step 4

Now we’ll create a tornado. First, make a new “tornado” layer and set it under the “land” layer. Create a five pointed star in the upper are of the illustration. Now pour over it with a radial gradient. Now turn the star into a twister with the Twirl Tool.

Duplicate it, turn it, change the scale, transparency, direction and colors to create the tornado.

Monkeys, chimps, apes, or any kind of knuckle dragging animal, as a group, are a fun illustration subject. There are numerous styles of primates on display here, from cute little baby monkeys, to personified overbearing macho apes, and all sorts of small and large monkey inspired vector art. Grab a zoo-full of monkey lovin’ vector illustrations from across the web!

Supremo, java, cup of joe, espresso, macchiato, fresh ground, and more flavors of vector coffee illustrations than you’ll know what to do with. This collection is sure to get your eyes open and your morning going!

Some may prefer tea, or another hot beverage, but loads of artists find fresh brewed inspiration in a cup of the hot brown stuff. Take a look at a huge variety of coffee inspired illustrations and then take your shot at creating your own vector coffee design. There’s nothing like waking up to some caffeine enriched vector goodness! Let’s drink it down!

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Handle color changes and variations with ease by following this intermediate level tutorial. This is a special tutorial sponsored by Astute Graphics that incorporates the use of their high-quality Phantasm CS range Illustrator Pugins. We’ll work with Phantasm’s color shifting tools: Hue/Saturation and and Shift to Color, while we learn to contrast shapes when composing natural, vector scenes!

Final Image Preview

Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4 and Phantasm CS range (Designer, Studio or Publisher) Plugin
• Difficulty: Intermediate
• Estimated Completion Time: 1 Hour

Here is the illustration I’ll be creating. Click here to see the larger version. And keep in mind, while I’m using Phantasm CS Studio in this tutorial, the options we’ll be covering are available in any version of Phantasm CS.

Step 1

Using the Pen Tool (P), draw straight lines to create the basic shape of a tree.

Step 2

Draw other tree shapes that are even more simplified and varied.

Step 3

An important concept to keep in mind when creating the first dominant shapes in your illustration is that these shapes will create the foundation and overall flow for the illustration. So, pay attention that the layout is looking good from the start.

Step 4

I can make branches that extend from the trees using triangles. To make a triangle select the Star Tool (found under the Rectangle Tool). With the Star Tool selected, click and hold down on your artboard, then press the down arrow until your shape has three points. In addition, and after your shape has three points, you can press and hold the Shift key to make the triangle sit perfectly flat. Release the mouse then release the keystroke you’re holding.

Step 5

Using the Selection Tool (V) squish the triangle so it’s much pointier. Place the triangles throughout the trees sparingly.

Step 6

We’ll now use the Ellipse Tool (L) to create the leaves on the trees. Start with a simple circle.

Step 7

Grab the Convert Anchor Point Tool (Shift + C), then click the top and bottom points that make up the circle. This will immediately convert them into angles. After that, use the Selection Tool to squish the shape into that of a leaf.

Step 8

Place the leaves throughout the trees and on the branches.

Step 9

I’ll use the Polygon Tool to make the foundation of the flowers. Using the same technique that I used for creating the triangle, this time pressing the up key to give my polygon more sides.

Step 10

Select the polygon and go to Effect > Distort & Transform > Pucker & Bloat. Give the shape a Bloat of about 20.

Step 11

Place the flowers throughout the trees.

Step 12

I’ll add a little more interest to the trees by giving them some subtle texture. I use a series of triangles to accomplish this. I adjust their transparency so they don’t stand out too much.

Step 13

Now that I have a bit of the foreground in place I can move on to adding some background elements to get a better idea of the landscape. Using the Pen Tool, draw a pleasing curved shape that will become the mountains.

Be patient and ensure you have a visually pleasing flow for the mountains. The curve of the mountains contrasted by the very angular shape of the trees complement each other. This complementary effect is in play throughout the entire illustration.

Step 14

Finish drawing the shape of the mountain.

Step 15

Give the mountain a tenuous blue to bluish-green gradient.

Step 16

There is no real process for creating the background elements. My shapes are more random than calculated. As long as you’re maintaining a nice harmony and flow for the elements then you’re good to go.

Step 17

Add a blue box to the background to create the sky and send it to the back by going to Object > Transform > Send to Back.

Step 18

The shrubs have been created using the base shape of the flower. To create a slight sense of volume, copy and paste the shape on top of itself. Scale the shape down slightly, set the Transparency to Multiply and bring the Opacity down to approximately 45.

TIP: Copy the shape and press Command +F to paste it directly on top of where it was copied from.

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The Envato community is filled with top notch talent, and Creattica has been built around the premise of showcasing that talent. Recently, Creattica added a whole bunch of new categories, including a few with outstanding vector work inside. Here’s a rundown of some of the best vector poster work submitted so far!

1. JAT – Branded by nature

2. Conserve Rain Water

3. Eagle in your mind

4. Chemtrail

5. Beauty is in the eye of the beholder

6. Globale 09

7. Every color of your summer

8. John Petrucci BFR

9. Future Imperfect

10. Firs

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