Overview
Daniel Scott
Founder of Bring Your Own Laptop & Chief Instructor
instructorI discovered the world of design as an art student when I stumbled upon a lab full of green & blue iMac G3’s. My initial curiosity around using the computer to create ‘art’ developed into a full-blown passion, eventually leading me to become a digital designer and founder of Bring Your Own Laptop.
Sharing and teaching are a huge part of who I am. As a certified Adobe instructor, I've had the honor of winning multiple Adobe teaching awards at their annual MAX conference. I see Bring Your Own Laptop as the supportive community I wished for when I was first starting out and intimidated by design. Through teaching, I hope to bring others along for the ride and empower my students to bring their stories, labors of love, and art into the world.
True to my Kiwi roots, I've lived in many places, and currently, I reside in Ireland with my wife and kids.
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Use fewer points and let the handles do more of the work. The real speed boost comes from combining the Pen Tool with a handful of keyboard shortcuts so you can break handles, reposition points, and refine curves without constantly changing tools.
The Pen Tool is one of those Illustrator tools that feels awkward right up until the moment it clicks. Once it does, it becomes the tool you keep coming back to for almost everything.
If you already know the basics, the next step is not learning ten new tools. It is learning how to stay on the Pen Tool longer, use fewer anchor points, and rely on a few smart shortcuts to shape cleaner paths faster.
That is where these advanced Pen Tool tips come in.
Before drawing anything, it helps to make Illustrator a little less fussy.
A simple practice setup is to create a document at any size you like, then place in a sketch or reference image and set it as a template. That puts the image on a locked background layer and fades it back a bit, which makes tracing much easier.
Using a locked template sketch gives you something to trace without getting in your way.
There are also two small changes that make a big difference:
Turn Smart Guides off when they start snapping to things you do not want. On Mac, that is Command U. On PC, Control U.
Increase anchor point and handle display size in Illustrator settings so the points are easier to grab, especially on higher resolution screens.
If anchor points feel tiny and fiddly, do not fight that. Make them bigger. It is a practical fix, not cheating.
Bigger anchor points and handles can make precise Pen Tool work far less annoying.
A very common beginner habit is to build every curve with extra points.
You click once for a corner, drag for a curve, click again, drag again, and before long one smooth edge is being controlled by three or four anchors. It works, but the line tends to get lumpy. The more points you add, the more chances you have to introduce little kinks.
The cleaner approach is to use fewer anchor points and longer handles.
Instead of placing an anchor in the middle of a curve, place one at each end of that curve whenever possible. Then drag out the direction handles so they shape the line between those two points.
That is the big mindset shift. Do not ask, “Where does the line bend?” Ask, “Where can I place the fewest anchors and let the handles do the work?”
A smooth belly curve is much easier to control when two endpoints do most of the heavy lifting.
The shortcut that really starts to unlock the Pen Tool is Option on Mac or Alt on PC.
When you hold that key while working with the Pen Tool, Illustrator temporarily switches to the Convert Anchor Point tool. That lets you break one handle away from the other so the path can change direction cleanly.
This is essential whenever you go from one curve into another curve that should not flow as a perfect mirror image.
For example:
Click and drag to create a curved anchor point.
Hold Option or Alt.
Drag one handle independently so the next segment heads off in a different direction.
This is how you get elegant corners and controlled transitions without abandoning the Pen Tool.
At first it feels like guesswork because you are learning how each handle pulls the path. That part really does come with repetition. But once you start reading the direction of a line, the shortcut becomes second nature.
Breaking a handle lets one anchor point steer two neighbouring curves in different ways.
There is an even quicker variation.
Normally, you might drag out a handle, release the mouse, then hold Option or Alt and adjust the handle to break it.
You can skip that extra step.
While you are still dragging the handle out, hold Option or Alt before you release the mouse. Illustrator breaks the handle in the same move.
It sounds like a tiny difference, but this is exactly the sort of thing that speeds you up over time. Small efficiencies are what make the Pen Tool feel fluid instead of clunky.
Using fewer anchor points is the goal, but it is not a rule you have to force onto every shape.
Some sections simply contain too many direction changes. If a line bends one way, then another, then another again, trying to control all of that with just two points becomes more trouble than it is worth.
In those cases, add the extra point.
The aim is not to use the absolute fewest anchors in every situation. The aim is to avoid unnecessary ones. If a third point helps you describe the shape cleanly, use it.
Then tidy it up afterwards.
This is one of the most useful shortcuts in the whole workflow.
Hold Command on Mac or Control on PC while the Pen Tool is active, and Illustrator temporarily gives you the Direct Selection tool. That means you can grab anchor points or handles and reposition them without switching tools.
That is huge.
Instead of drawing a rough path, leaving the Pen Tool, fixing things, then coming back, you can refine the shape in the middle of the process.
Typical use cases:
Pull a handle back because it is overshooting the curve
Nudge an anchor point into better position
Rebalance a segment before placing the next point
This is one of the main reasons experienced Illustrator users seem so fast. They are not bouncing around the toolbar all the time.
Refining a point as you go is much quicker than finishing the whole path and repairing it later.
Once you combine the Pen Tool with those temporary shortcut swaps, you can do most of your work without officially changing tools.
That usually means:
Pen Tool for placing points and dragging curves
Option or Alt for converting and breaking handles
Command or Control for direct selection and adjustment
That combination carries you a long way.
It also helps you avoid over-editing. When you are constantly switching tools, it is easy to get distracted and start patching shapes with extra points. Staying in one flow keeps the path cleaner.
Another excellent shortcut is the Spacebar.
Say you click and drag a point, but you realise the anchor itself is in the wrong place. Before releasing the mouse, hold the Spacebar. That lets you reposition the anchor point itself. Then release the Spacebar and continue dragging the handles.
The important part is that it all happens in one continuous motion. Your mouse button needs to stay down while you do it.
It is perfect for those moments when you know the curve shape is fine, but the actual point landed slightly off target.
The Spacebar move saves you from cancelling and starting a point again when the placement is slightly off.
Here is a more advanced variation of the Command or Control trick.
While dragging out a curve handle, hold Command or Control before letting go. That allows you to adjust the handle relationship while the point is still active.
This can be useful when one side of the anchor needs a shorter handle than the other. It is not something you will use constantly, but for awkward curves it gives you more control.
Think of it as a bonus move for those times when the default symmetrical drag is not doing what you need.
Smart Guides are useful, but they can also be over-helpful.
Sometimes you want to start close to another path without accidentally snapping to it. If Smart Guides keep grabbing things too early, the fix is often not a different setting. It is simply to zoom in more.
When you zoom in, you get more room on screen to place points precisely. That makes it much easier to get near a line without joining it or snapping to it by mistake.
So if Illustrator feels twitchy, zoom closer before assuming the Pen Tool is the problem.
Sometimes you do not just want two paths to look aligned. You want their anchor points to be mathematically in the same place.
That is where Object > Path > Average comes in.
This is especially handy when you have two path ends that should meet neatly, but you do not want to move the rest of either shape.
Here is the process:
Switch to Outline mode with Command Y on Mac or Control Y on PC.
Choose the Direct Selection tool with the A key.
Select only the anchor points you want to line up.
Go to Object > Path > Average.
Illustrator will move those selected points into alignment while leaving the rest of the paths alone.
If the Average command is greyed out, the usual reason is simple: you have not selected the actual anchor points first.
Average is the neat fix when two path ends need to meet exactly without shifting the whole shape.
The easiest way to build confidence is to trace simple hand-drawn shapes.
A sketch with basic organic curves, like a whale or a leaf, is ideal because it forces you to make decisions about:
where to place anchor points
when to use long handles
when to break a handle
when an extra point is actually justified
how to refine paths without changing tools
Do not worry about perfection on the first pass. Even experienced users draw the shape roughly, then tidy anchor points and handles afterwards. That is a normal part of the process, not a sign that you are doing it wrong.
If you only keep a few things from all of this, make it these:
P for the Pen Tool
Option or Alt to convert or break handles
Command or Control to temporarily access Direct Selection
Spacebar to reposition an anchor while placing it
Command U or Control U to toggle Smart Guides
Command Y or Control Y to switch to Outline mode
A for the Direct Selection tool
Those shortcuts cover a surprising amount of real-world Pen Tool work.
Illustrator has plenty of clever tools, but the Pen Tool is still at the centre of a lot of design and illustration work. It gives you direct control, it rewards practice, and once the shortcuts become muscle memory, it is often faster than hunting for a more specialised tool.
The main thing is not to try to master everything at once.
Pick one or two shortcuts first. Get comfortable with those. Then layer in the next one. Over time, the whole workflow starts to feel much more natural.
And once that happens, you stop fighting the Pen Tool and start using it properly.
The usual cause is too many anchor points. Smoother paths typically come from using fewer points and shaping the line with handles instead of placing a new anchor at every little bend.
It temporarily switches to the Convert Anchor Point function. That lets you break handles, change a smooth point into a directional one, and control how the next curve leaves that anchor.
Keep the mouse button held down and press the Spacebar. You can reposition the anchor point, then release the Spacebar and continue dragging the handles.
Hold Command on Mac or Control on PC while the Pen Tool is active. That temporarily gives you Direct Selection so you can adjust points and handles mid-drawing.
Turn them off when snapping keeps interfering with precise point placement. If you still need precision near existing paths, zoom in closer rather than fighting the snapping behaviour.
Average aligns selected anchor points to the same position based on the chosen axis or both axes. It is useful when you want specific path ends to line up exactly without moving the rest of the artwork.