I mentioned yesterday that this piece was somehow done with the variable width tool in Illustrator again. Here's a peek at how that happened and a look at how powerful it can be to get your bezier handles parallel.
With a script like this at least, all the handles, with the exception of end points (and the occasional supporting points in the middle of a "S" curve like the swash on the 'l' in 'always', for example), should really be either parallel to each other, or occasionally perpendicular.
Of course there are sporadic exceptions to this, as there are with any rule—but not many.
There's a bigger shot attached for a closer look.
3 months ago
I love seeing how other people work, thanks for sharing. How do you get all those lines parallel on an angle? Do you set it in the smart guide preferences? Love your work.
That is fantastic. Thanks for sharing the details.
Thank you! This is an amazing contribution to the community and a beautiful work of art.
so many points!
beautiful work. well done.
@Jude Landry - Thanks, Jude! I actually rotate my sketch most times so that my slant angle becomes completely vertical. Then I can just shift-lock them into place. :)
@Sean Glass @Hustler Squad Grafficks @JUSTIN MILLER - Thanks, guys!
@Michael J. Morgan - Yet not a single point too many. :) Thanks, man.
Saw this on TypeEverything and thought it was beautiful! Thank goodness for the variable width tool or else you'd be dealing with at least double the vector points.
@Ryan Hamrick Precisely, just enough points.
Thank you for sharing this!
I hate that i didn't know this already... so much time and effort out the window. haha. Thanks for the share again man!
Edit* How do you go about keeping all of the widths the same if you don't mind me asking?
Exquisite piece of art
thanks for sharing how you work!!
@Ryan Hamrick by the way, what kind of brush are you using here? A custom calligraphic one, I assume?
I really like this Ryan. I've tried to note some things down that I see but it's all subjective, please ignore me if you wish. I think the v in even is very wide, and the spacing between the n-g in going is quite tight, as is the width in comparison to the other n's. One other thing that looks tight is w-a in always. The width of the w in 'when' seems nicer than the one in always. The curve on the swash leading into the dot on the i of 'is' gets a bit flat, it could be fuller?
Those perfect curves.
Legit. Great work Ryan.
Wow.. what a skill! impressive
@Dallas Barnes Thanks! That's how I did it until very recently. :)
@Nathan Godding @Prashant @Christelle Mozzati @Ged Palmer @Vincent Tantardini - Thanks, guys!
@Mike Greenwell Thanks, dude! I actually go through and eyeball them first. With the width tool, you can actually double-click a width point and type in values precisely. So I go back and do that with the thickest points and set them all the same.
@Santiago Villalba - Thanks! It's actually just a basic stroke and then a lot of work with the variable width tool. :)
@Dave Foster Well, I know who I'm going to for feedback on client projects from now on, lol.
I agree with absolutely everything you said. This guy was kind of hurried and a plate has already been ordered for the workshop, but I'm thinking of making it into a larger print for sale, and I'll definitely be doing some nudging before then. :)
Thanks for the very thoughtful feedback, brother!
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