>>2167250> I tried Ctrl + Y, and it hid the original art too, only showing the outline for the piece I was doing, i.e., everything turned white and only the outline of what I was working on appeared. I did notice that you have a different icon instead of the normal eye on your original art in the layers window; is that why it didn't disappear for you?You need to set the layer that the original art is in as a Template. Double click the layer where the original art is in and it should bring up a popup window. In that window check the "Template" option. Deselect the "Dim Image" if you want, all it does is makes the original art fade to white.
> So is knowing when to do a single shape or multiple shapes just like from experience or something?Yup. It also depends on how the original art is. If I see a line cross over another, then i will spit them up.
> Also, as you've seen from my first vector, my lines are pretty thick. Is it better practice to keep your lines thin, or is it just a matter of consistency in thickness?Generally, consistency in thickness of an area or a type of line is the most important thing to watch out for.
For example, have the hair maintain a certain relative thickness (lets say A), for body lines, you can make those slightly thicker (thickness B), and small details, like frills or accent lines a slightly thinner size (thickness C).
Pic related is the vector I'm currently working on. Notice how I have multiple thicknesses throughout, but they are consistent within their areas (Hair has its relative thickness, clothes has another, the legs are thick since they are closer to the screen and are the main focal point of the image, accent lines all throughout are the thinnest, but not thin enough to not be tasteful, etc...).
You can also see how i did the hand. In this one, all the fingers are their own shape, and even then I still split them up like on the fingernails or the bends of the joints.
Complex lines video will be coming soon.
