1. IntroductionWelcome| 00:00 | >>Hi. I'm Jeff Van West, and thanks for
your interest in Adobe Illustrator CS2.
| | 00:06 | Illustrator is an amazing application capable of taking images
from your mind's eye and bringing them to life on the page
| | 00:13 | or on the screen, but it is also huge.
| | 00:16 | We couldn't cover every single feature
in depth, in even a dozen hour's of movies.
| | 00:21 | So instead, what we'll do is we'll look at every major feature, how
it operates, and make sure you understand both the how and the why.
| | 00:30 | With that logic in hand, you can then go on to
figure out quite a few of the details on your own,
| | 00:36 | or with the help of other Illustrator professionals
in the incredible Adobe Illustrator online community-
| | 00:42 | definitely a resource worth checking out.
| | 00:45 | A couple tidbits to help you get the most out of these movies as you're
viewing them and working with them- they are individual movies,
| | 00:51 | so you can skip around and go directly to a movie that
has the content you're interested in, but be aware,
| | 00:56 | they do build concepts from the beginning of the chapter towards the end.
| | 01:01 | So if there's something that's unclear, go back
and see whether it was covered in an earlier movie.
| | 01:07 | If you do choose to work with the exercise files, they are divided into
chapters as well, but some of the files are used in subsequent movies.
| | 01:16 | So you may start a movie and see something on the screen that
doesn't match exactly what you have in your exercise file.
| | 01:23 | It might have happened in an earlier movie.
| | 01:25 | To help with the exercise files, there are labels at
the beginning of each movie, telling you the directory,
| | 01:31 | the path to where that exercise file is found.
| | 01:35 | It is possible that some of those files won't have
exactly the same file name that you see in the movie.
| | 01:41 | If you follow the label, though, you should do just
fine, and then finally, remember that they're movies.
| | 01:46 | So if you want to, you can stop, pause, rewind, and play it
again any time something isn't clear right off the bat.
| | 01:55 | Go back, listen to it a second time at your
own pace, and it'll probably make sense.
| | 02:00 | All right, that's enough preamble.
| | 02:02 | Let's get going and see what's new in Illustrator CS2.
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| What's New in CS2| 00:00 | >>For those of you who are familiar with Illustrator CS, and
you want just a quick overview of what's new in CS2, here we go.
| | 00:09 | Illustrator CS2 looks a lot like CS, except for right at the top of the
screen, something new and long overdue, a Control palette for Illustrator.
| | 00:19 | The Control palette stretches across the top just like this, Although
if you want to, you can, via a little control at the far right,
| | 00:28 | dock it at the top, dock it at the bottom, or if you prefer, you can
even grab it, pull it out, and move it wherever you want, like so.
| | 00:37 | You can also just put it back up where it was.
| | 00:39 | The Control palette is what you call a "context-sensitive" palette.
| | 00:43 | So when I'm drawing with something, let's say I have an object, I
get options to fill it with colors, changes its stroke, and so on.
| | 00:54 | Pretty cool.
| | 00:57 | We'll get rid of that rectangle.
| | 00:58 | The Control palette also changes if you have different types of objects.
| | 01:03 | So if I had some type, like this, and I type in here,
| | 01:07 | now I have options on the Control palette for type.
| | 01:15 | How cool is that?
| | 01:16 | The whole idea of the Control palette is that it gives you
a way of not having so many palettes open on the screen,
| | 01:23 | because you have one place that changes depending on your needs.
| | 01:27 | So that's pretty cool, and that's new.
| | 01:29 | Another thing, you can see I've got this picture.
| | 01:32 | This is a photograph of a flower taken at home, a lily.
| | 01:36 | There's something new called Live Trace, which is a far more advanced
way of tracing raster images and turning them into vector artwork.
| | 01:46 | So I'm going to do a Live Trace on this,
and I have lots of different ways to do it.
| | 01:50 | I'll do a photo, low-fidelity, just so you can see...
| | 01:56 | and now if you take a close look at the object, here, you
can see, it's actually been changed into Illustrator artwork.
| | 02:05 | This is all done with vector art now.
| | 02:08 | Now, I can actually play with it quite a bit.
| | 02:10 | We'll talk about Live Trace later.
| | 02:12 | I'll go ahead and expand it so you can see.
| | 02:14 | Here are all the points.
| | 02:16 | Good heavens, it's busy.
| | 02:17 | Just to show you that it really is separate objects, so I click right here.
| | 02:22 | You can see here, there's one path, and I can
go ahead, and I could change the color of that.
| | 02:27 | I could change its fill.
| | 02:29 | Illustrator artwork.
| | 02:31 | The sort of corollary to a Live Trace is something called
Live Paint. Let me just grab a brush here, for a second,
| | 02:40 | and I'll go to default colors, go to my Pencil, and
I'll just sort of quickly draw a rough kind of shape.
| | 02:48 | Maybe we're drawing a caterpillar, here, with
some antennae, and maybe he's got some eyes...
| | 02:55 | and another one...
| | 02:57 | and give him a little mouth, like that. Let's see, maybe he's
got a line going right down the front, and sort of a collar like that,
| | 03:08 | and maybe we got another one going over here.
| | 03:11 | OK, there we go.
| | 03:14 | Put a line right through.
| | 03:16 | So now I've got my little shape here.
| | 03:17 | I'm going to go ahead and select the whole thing,
and I've got a brand new paint bucket.
| | 03:24 | As I bring it over, click to make- and we'll make it
so you can see that- click to make a Live Paint group.
| | 03:31 | All right?
| | 03:31 | I've made it into a Live Paint group. Now, if I
want to do some color, I want to fill this part in red?
| | 03:38 | Sure, just go ahead and click it, and it's red,
and he's going to have kind of psychedelic.
| | 03:42 | He's going to be purple over here.
| | 03:43 | Hey, no problem.
| | 03:44 | He's has kind of a weird little helmet on, and I want green in this area.
| | 03:49 | Boom, green in that area! And so forth.
| | 03:51 | I can even paint strokes in particular colors, make his
antennae gray... You can see, I have drawn something quickly,
| | 04:03 | and then I'm able to fill it in.
| | 04:05 | If you remember how I drew this before, I had a line going down,
and one going up, and then I crossed it through the middle.
| | 04:12 | Live Paint divided them up into sections.
| | 04:14 | So that's a kind of new intuitive way of painting.
| | 04:18 | The other last thing that I should point
out is something called workspaces.
| | 04:22 | So I have the standard arrangement of my palettes over here
on the right, and my Tool palette over here on the left.
| | 04:30 | Let's suppose I'm working with type a lot.
| | 04:32 | Well, I can go to Window, Workspace, and in one click, I have my
palettes arranged for type with all my Type palettes available.
| | 04:40 | I want to go back to my default.
| | 04:44 | Here's the way things are by default.
| | 04:46 | So I can create what are known as workspaces, and if
you're used to Photoshop, you're familiar with these.
| | 04:50 | Custom arrangement of palettes for my different needs,
again, a real movement forward in palette management.
| | 04:57 | So if you want to find out more about any of those features, you
can go right ahead to those parts of these Illustrator movies.
| | 05:03 | There's one other new feature that we're not going
to talk about, particularly, in these movies,
| | 05:07 | but I would expect to see it with upcoming movies
on Version Cue, and that's Adobe Bridge.
| | 05:13 | Click on Bridge. Up in the upper right there's an icon for it.
| | 05:15 | It's actually going to launch an entirely new program. And
here we are at the Adobe Bridge. Let me just show you some
| | 05:23 | of the things that are in there.
| | 05:24 | It's where you'll find the sample files for Illustrator that ship with it.
| | 05:29 | You can also find a bunch of stock photography that
Adobe's now offering, so that you could search through.
| | 05:35 | So if I wanted a beach vacation...
| | 05:37 | if I could spell it right...
| | 05:39 | and it's going to search out on the web and give me a whole bunch
of potential photographs I could use, and I'd have to pay for,
| | 05:51 | for working at the beach.
| | 05:53 | It's also a good central point for working with Version
Cue, and it's also a place that allows you to work
| | 05:58 | between the various creative suite programs all at once, so
that they actually work more in conjunction as a creative suite.
| | 06:06 | So look for movies on the Bridge, and probably
Version Cue together, coming up from lynda.com.
| | 06:12 | Now that you've had a glimpse of what's new, let's actually
get into Illustrator CS2 and find out how to use it.
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| Using Help| 00:00 | >>Just a quick movie on one last new feature in
Illustrator that everybody should take a look at.
| | 00:06 | Help has always been really, really well
done with Illustrator and highly recommended.
| | 00:12 | It has been reborn in Illustrator CS2, so that when you go
to the Help menu, you actually can go to Illustrator Help,
| | 00:20 | and you'll get the Adobe Help Center.
| | 00:23 | This is totally new.
| | 00:25 | Illustrator Help is basically the same deal, in that they
have a really good searchable, HTML-based help, but this time,
| | 00:33 | it has its own program that it runs through.
| | 00:35 | Here are all the topics on the side.
| | 00:38 | You can see they've got little tutorials,
and that sort of thing, how to go through.
| | 00:42 | There are wonderful images that they use right along with it.
| | 00:46 | You can go down.
| | 00:48 | It gives you good examples.
| | 00:49 | It's all cross-referenced.
| | 00:52 | So I want to see about optimizing and saving web graphics.
| | 00:55 | Here's Optimizing and Saving Web Graphics.
| | 00:57 | I want to do a search on type styles.
| | 01:06 | Here's all sorts of stuff on type styles, and graphic styles,
and those kinds of things, about fonts, changing the color
| | 01:16 | and appearance of characters.
| | 01:17 | Anything that I might have been interested in along
those lines, and I can kind of zoom in on it as need be.
| | 01:25 | The other thing that's cool about this is they have built-in systems for
bookmarking, Current Help, so you can get back to it at a later date.
| | 01:35 | They also have built into this, where if you have paid for
expert support, you can do it right through the Help Center,
| | 01:43 | and then I'll click on the More Resources.
| | 01:46 | These forums are highly, highly recommended.
| | 01:49 | These are Adobe's online forums, so that you can talk
with a bunch of other people about your Adobe product,
| | 01:56 | and it's amazing what kinds of information you have out there.
| | 01:59 | So anyway, just want to really promote, if you
run into trouble, go ahead and use the Help.
| | 02:04 | It's really, really well done in Illustrator.
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| Vectors vs. Rasters| 00:01 | >>The fundamental difference between something like Illustrator and
something like Photoshop is the use of vectors to define a graphic,
| | 00:08 | so you may be more familiar with something
like Photoshop than you are with Illustrator.
| | 00:12 | If so, this is the movie for you.
| | 00:14 | Here is the heart of how Illustrator works, and it's really
critical you understand this in order to understand how
| | 00:21 | to use Illustrator in the future.
| | 00:23 | I have two bees here, and one is in Photoshop, and that's the one
over here on the right. When I click on it, you can see,
| | 00:31 | now it says "Photoshop" in the upper left.
I also have a bee over in Illustrator.
| | 00:37 | Actually, I didn't create this bee. It was somebody else's bee, a
symbol that comes with Illustrator, but we started in Illustrator,
| | 00:43 | and then we imported it into Photoshop, so it's now a
Photoshop file as well, and they look pretty much the same.
| | 00:51 | The difference comes if you zoom in.
| | 00:55 | So let's go ahead and go over to Photoshop.
| | 00:57 | I'll grab my Zoom tool, and we'll zoom in on the eye of the bee,
and you can see, as I zoom in here, here's 400 percent, or 4 times,
| | 01:07 | as we get close to the eye, you can see the individual
pixels, the particular dots of color that define the shape
| | 01:14 | of the eye, that define the bee.
| | 01:17 | Now I'm going to go over to Illustrator, and we'll take my Zoom tool,
we'll zoom in on the same eye, and here we are, actually, at 500 percent,
| | 01:27 | so we're zoomed in even closer.
| | 01:30 | We'll zoom out just a little bit, just so we're at
even comparison, and if you look, in Illustrator,
| | 01:37 | the bee's eye seems as clear as it ever was, and watch this.
| | 01:41 | I'll zoom in some more in Photoshop.
| | 01:43 | We're now at 700, 800...
| | 01:46 | There's 1,200 percent, or 12 times zoomed
in, and the pixels are very clear.
| | 01:53 | Do the same thing in Illustrator.
| | 01:55 | There's 600, 800, 1,200...
| | 01:58 | The lines are just as clear and sharp as they were before.
| | 02:01 | Now, it's not just zooming in where this becomes an issue.
| | 02:04 | Let's go back to original size in Illustrator,
and actually, I'll go to a view of 100 percent.
| | 02:12 | Let me zoom in a little bit.
| | 02:18 | We'll zoom out just a bit.
| | 02:21 | All right, there's 100 percent, and here we are over in Photoshop.
| | 02:26 | Go back out to 100 percent in Photoshop.
| | 02:28 | Now, suppose I take this bee in Photoshop and I want to re-size it.
Over here in Photoshop, I'll Select All, make it so I've have the bee,
| | 02:41 | and we'll do an Edit, Transform, Scale. And what I'm
going to do with this, I'll make a Precision Scale here.
| | 02:53 | We'll go down to 10 percent of its original size.
| | 02:56 | There we go, and I'll deselect it, I'll tap the Enter key,
and you can see, it still pretty much looks like a bee.
| | 03:04 | I'll go over to Illustrator and we'll do the same thing.
| | 03:10 | Select the whole object. We scale things a little differently in
Illustrator, but I'll go to Transform, Scale, and I'll make a Uniform Scale
| | 03:19 | to 10 percent, deselect it. Again,
the bees still look pretty much the same.
| | 03:26 | Let's zoom in in Photoshop.
| | 03:33 | As we zoom in now, you'll see that the
bee has lost a lot of its definition.
| | 03:40 | Why? Because Photoshop had to create new pixels to
generate as best it could the original shape of the bee,
| | 03:48 | but now we have something that's not much better than an icon.
| | 03:52 | As soon as we zoom in, it's almost indistinguishable
what it's supposed to be.
| | 03:56 | Sure, if I zoom out a little bit, I can see it for what it is.
| | 04:02 | It looks like a bee, but I've lost a lot of information.
| | 04:08 | We'll go back over to Illustrator and zoom in, and now I'm zooming in
on the bee, and even though I made it 10 percent its original size,
| | 04:20 | it is just as clear as it was originally.
| | 04:23 | Now I'll go over in Photoshop.
| | 04:26 | 1,200 percent.
| | 04:31 | Huge difference. The same thing would have happened, or
a similar thing, if I had made the bee much, much larger.
| | 04:37 | The Illustrator one would have maintained
exactly the same level of clarity it had.
| | 04:41 | The Photoshop one would have started to get fuzzy, because Photoshop would
have had to add pixels and estimate what they would have looked like.
| | 04:48 | How does this all work?
| | 04:51 | Well, if we look at the bee, and actually
select the bee, we see all these crazy blue lines.
| | 05:00 | These are the lines, or the paths, that make up the shape of the bee,
but it's hard when you're first learning to make sense of all that,
| | 05:08 | so we have another window where things
are just, well, a little bit simpler.
| | 05:13 | Here we go.
| | 05:15 | And, of course, very cheery.
| | 05:18 | Here are two basic, simple objects that I have created in
Illustrator, and they are Illustrator paths filled with paint,
| | 05:27 | and those two words are the fundamentals of understanding
how Illustrator's doing the magic that it does.
| | 05:33 | I'm going to go over and select this square, and just so we
can see things a little bit better, I'm going to go to View,
| | 05:41 | I'm going to hide something called the Bounding Box,
which we'll talk about later in the movie on Bounding Box,
| | 05:47 | and I'm also going to go to the Window Attributes. I'm going
to turn off a button that allows me to show the center of objects,
| | 05:57 | because all I want to show you is nothing but what makes up this shape.
| | 06:01 | This square is defined.
| | 06:04 | Instead of being a bunch of yellow pixels next to each other with
some black pixels around the outside, it's defined by four points,
| | 06:12 | and watch my cursor change as I roll over them.
| | 06:14 | I can tell that I'm right over a point.
| | 06:16 | One, two, three, four, and Illustrator has played a connect-the-dots
game with these four points, and connected them in a line, and a line,
| | 06:29 | and a line, and a line, to form a rectangle.
| | 06:33 | Those four points connected by the four segments make up
something called a path, and that path defines this shape.
| | 06:43 | Now, if I were to take the shape, and
I were resize it and make it larger...
| | 06:47 | Object, Transform, Scale, and I make it...
| | 06:53 | Let's make it 110 percent of its normal size.
| | 06:58 | You can see, it's still defined by four points.
| | 07:01 | I have just as much information as before.
| | 07:04 | Illustrator's taking the job of filling in the rest and making
the inside yellow, and a thin, black line around the outside.
| | 07:14 | That's how these kind of shapes work.
| | 07:16 | It's just four points put together, so it
doesn't matter how big or small I make them.
| | 07:21 | Every time, Illustrator figures out the best look
for the fill, what goes in on the inside of the path.
| | 07:29 | So how do I just see the path?
| | 07:31 | Well, over here on my Toolbox, you can see I've got this
yellow filled area and this black around the outside.
| | 07:37 | I'm going to take them away for a moment, and if look, now
nothing seems to appear, but if I select, there's the path.
| | 07:47 | It's still there.
| | 07:48 | This is the key concept I really want you to get.
| | 07:51 | The path, the defining area of the shape,
has nothing to do with what you actually see.
| | 07:58 | That path is filled up, or "followed," with color.
| | 08:04 | Path, when I add color to it...
| | 08:06 | Let's come over here and I'll add some yellow.
| | 08:08 | I filled it up with yellow.
| | 08:11 | Now there's yellow on the inside, but there's no black line on the outside.
| | 08:15 | I'll select it again.
| | 08:17 | I'll take a look at the stroke, and I'll put a black line on the outside.
| | 08:22 | The path gets filled up with paint.
| | 08:25 | The same path I can make have very different looks to it.
| | 08:28 | I could fill it with red.
| | 08:29 | Oops. I stroked it with red.
| | 08:31 | All right, well, I could put the path around the
outside with red, and I could fill it with purple.
| | 08:36 | No, I stroked it with purple.
| | 08:39 | Let's fill it with red, with a fill on
top, and I'll fill it up with purple.
| | 08:43 | See, I can do all sorts of things, and there will be no loss of
quality, except for the fact that it doesn't look very good now,
| | 08:50 | all because Illustrator's filling it up.
| | 08:52 | The analogy I like to give people is think of a bread pan.
| | 08:54 | If I fill it up with meat and bake it, I get meatloaf.
| | 08:57 | If I fill it up with batter and bake it, I get banana bread.
| | 09:00 | Same pan, same path, totally different final effect.
| | 09:06 | Now, how do I get some of these other things?
| | 09:08 | Well, first of all, let me take that yellow, and we'll get that outside.
| | 09:15 | We'll make it black again.
| | 09:17 | I can also have, like I showed you before...
| | 09:21 | The eyes are also a square, four-point path, filled
only, but there's no stroke around the outside.
| | 09:30 | Here I have a path of four points.
| | 09:32 | One, two, three, four.
| | 09:36 | There's nothing filling them, but I have a
wide, black line, a black stroke following them,
| | 09:42 | wider than the stroke that's around this side, all done with paths.
| | 09:46 | All right, now, how do you do a circle, then?
| | 09:50 | Are there a whole bunch of points that are connected?
| | 09:53 | Nope. A circle is made by only four points again.
| | 09:58 | I've got that little dot in the center.
| | 10:00 | Need to make that go away.
| | 10:03 | Attributes.
| | 10:04 | I'll make that go away.
| | 10:10 | Here are the four points.
| | 10:11 | One, two, three, four.
| | 10:14 | Exactly the same as the square.
| | 10:17 | Well, if it's four points for the square and
four points for the circle, why is one a circle?
| | 10:22 | Aha. Good question.
| | 10:24 | I'm going to show you by selecting something called the Direction Handles.
| | 10:32 | Now, in this case, instead of the lines going directly
between the points, Illustrator is following a curved path,
| | 10:40 | and it's doing so because of these handles.
| | 10:42 | Now, we'll talk about that when we get into basic shapes and
drawing circles and ellipses and how to do edit them, but for now,
| | 10:49 | just know that there's a way of saying either go directly in a straight
line between points, from here to here, or I can follow a curved line,
| | 10:59 | and it's bent out in the direction of the Direction Handles.
| | 11:04 | Same thing.
| | 11:06 | Here I had four points, one, two, three, four, following in a curve.
| | 11:14 | Here I have three points, one, two, three, and this again is the center
of the object I can make disappear, but I'll leave it for the moment,
| | 11:23 | and with those, I have the same kind of
Direction Handles, and there they are.
| | 11:31 | There's one little Direction Handle, and then the line bending
towards this point, and the line bending away from that point,
| | 11:37 | so that's the key difference between Illustrator artwork,
based on vectors, and something like Photoshop artwork,
| | 11:45 | which we'll call "raster graphics," based on pixels.
| | 11:48 | Now we'll get into Illustrator itself and show you how to actually
create these paths, and fill them up, and follow the lines or stroke them
| | 11:56 | with paint to get your artwork.
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2. Getting StartedCreating New Files| 00:00 | >>So it's time to launch Illustrator CS2. We're on a
Macintosh, so we'll go ahead and go to the Macintosh Hard Drive.
| | 00:07 | Double-click it.
| | 00:09 | Illustrator will have installed itself if we installed it into
Applications, and we'll look for Adobe Illustrator, and here is CS2.
| | 00:18 | Open it up, and here is Adobe Illustrator CS2.
| | 00:21 | Double-click it to open up.
| | 00:25 | It'll go ahead and launch... and we'll
get something called the Welcome screen.
| | 00:37 | The Welcome screen is the same thing that you may have
seen in Illustrator CS (it was new to that program)
| | 00:43 | and it gives you an option for creating a new document, creating a new
document from a template (which we'll talk about in the movie on Templates),
| | 00:50 | or opening an existing document.
| | 00:52 | The other thing that's interesting is that you can find out about all the
new features or go through a tutorial of some of the new features here
| | 01:00 | in Show Me What's New.
| | 01:02 | This option is only available if Illustrator is running.
| | 01:06 | The features that they'll talk about we actually do talk about in
the movies, so you don't need to go ahead and do it, necessarily,
| | 01:13 | but it gives you sort of a different perspective
on it, which is kind of a cool thing to do.
| | 01:17 | The other thing is Browse Cool Extras.
| | 01:19 | In Illustrator CS, this used to open a PDF file that
showed you some of the features that were in the program,
| | 01:27 | as well as examples of all the graphic styles, and a
whole bunch of other things that shipped with Illustrator.
| | 01:33 | What it's going to do now is it's going to
launch, and I'll click on it- Adobe Bridge.
| | 01:38 | That'll come up here in a second, and this is where
the cool extras that shipped with Illustrator...
| | 01:45 | Here are some templates you can use.
| | 01:47 | There are quite a few of them.
| | 01:48 | We'll talk about that in Templates, and some sample
files, here's sample art, and a whole bunch of art.
| | 01:54 | Some of this, actually, is the same stuff that shipped with Illustrator CS.
| | 01:57 | Some of it's new.
| | 01:59 | So there's some cool stuff in there to see how people do it.
| | 02:01 | This is not a photograph, by the way.
| | 02:03 | This was actually done with Illustrator.
| | 02:04 | It's pretty amazing to see how it was put together.
| | 02:07 | But that's what you'll find off the Welcome page.
| | 02:09 | I'm going to go ahead and quit the Bridge here for a moment.
| | 02:12 | We'll go back to Illustrator.
| | 02:14 | If you ever want to see that Welcome page again, you can
get it from the Help menu, Welcome Screen, and there it is.
| | 02:22 | If you are sick of seeing it and you never want to see it again
when Illustrator opens up, just uncheck the dialog "Show This Dialog
| | 02:29 | At Startup" and close it.
| | 02:31 | If you were to click New from the Welcome page, you would get a new screen.
| | 02:35 | Let me just get that out of the background there.
| | 02:39 | That's a lot more pleasing to the eye.
| | 02:41 | The other way to get a new page in Illustrator is
to go to File, New, and we'll open up a new file.
| | 02:50 | Now, if you're new to Illustrator, you may find this a
little bit different than things you're used to before.
| | 02:55 | The New Document dialog will open up.
| | 02:58 | In most programs, when you do New, you'll
get right to the page and start working.
| | 03:02 | In Illustrator, you have an opportunity to name your document right away.
| | 03:06 | So we could call it "New Document."
| | 03:12 | You also have the opportunity to set up what's known as the
Artboard, and this is Illustrator shorthand for your piece of paper
| | 03:18 | that you're working on.
| | 03:19 | You call it an artboard because in addition to a lot of the
really custom pieces of paper that you're used to working on.
| | 03:26 | You could be creating web graphics, in which case you want
something in pixels, 800 by 600 pixels, for 640 by 480,
| | 03:33 | or you could create your own sized document,
and this document can be very large.
| | 03:38 | Illustrator can actually handle a document that's
several feet across and consider it a single file.
| | 03:44 | It's up to you.
| | 03:45 | You also have the option of different units of measurement for each file.
| | 03:50 | Points is something we're going to use a lot if we're working
on the web, inches is something you're probably familiar with,
| | 03:56 | pixels is another thing...
| | 03:58 | Excuse me.
| | 03:58 | I said points would be on the web.
| | 04:00 | I take that back.
| | 04:00 | Pixels would be on the web.
| | 04:02 | Confusing my terminology.
| | 04:04 | Points, or points and picas, something that
you may be using quite a bit in publishing.
| | 04:10 | Inches you may be used to, metric, and then pixels for
the web, and you could type in any size document you want.
| | 04:16 | You can also quickly, here, switch between
landscape and portrait orientation,
| | 04:20 | and then the last thing that may be new is this concept of color mode.
| | 04:25 | If you go to the movies on color, we'll talk about that a little
bit more, but in general, cyan, magenta, yellow, and black color mode
| | 04:32 | are what we're going to use if we're
creating art that we're going to print.
| | 04:36 | RGB color mode is what we're going to use if we're creating
art that we'll view on the web or on screen somewhere.
| | 04:44 | Once you hit OK, like I just did, you'll
actually get your document and begin to work.
| | 04:50 | Something just to keep in mind about Illustrator, this black line
that you see around the outside, this is page itself, the document.
| | 05:00 | Now, I can zoom out, and I'm going to do (Command +
Minus) or [Ctrl + Minus] on my keyboard.
| | 05:07 | You can see, as I'm zooming out, there's my page.
| | 05:10 | Illustrator has this big space around it, and I'll zoom way out.
| | 05:13 | See this huge square.
| | 05:15 | That's a full-size piece of paper.
| | 05:17 | This is the largest potential Illustrator document you could make.
| | 05:21 | It's actually, like I said, several feet across.
| | 05:24 | It's also a big workspace for you.
| | 05:26 | You could scatter artwork and keep it there for storage.
| | 05:31 | The only things that print are the ones on the paper itself, so we'll zoom
back in, it would be (Command + Plus) or [Ctrl + Plus] and there's the page.
| | 05:44 | That concept of an Artboard, what you're working on, and a Scratch
Area, places to store your artwork temporarily but it can't print,
| | 05:52 | are sort of central to Illustrator.
| | 05:54 | One other thing I'm going to show you while you're
here is something called the Imageable Area.
| | 05:59 | That is, depending on the kind of printer I have, I may
not be able to print all the way to the edge of this page,
| | 06:06 | so something I like to turn on a lot...
| | 06:08 | I'll click the View menu, and I'll go down to Show Page
Tiling, and now what you'll see is this kind of dotted line.
| | 06:19 | This is for the printer that I'm printing on right
now. You can see, it's not even centered.
| | 06:25 | I can't print outside of this area, and it
happens to be a kind of Deskjet printer.
| | 06:30 | Just the way the paper loads, it's even off-center.
| | 06:33 | I can't print over here, but I can print anything inside this
box, so I often leave that on for myself when I'm working.
| | 06:40 | I'll leave it off for the movie so it's not distracting, but if you're
having a problem with something near the edge of the page not printing,
| | 06:47 | go ahead and set that Show Page Tiling.
| | 06:51 | It will show you how much of the page actually can print.
| | 06:55 | It's called "Page Tiling" because I could take a very large document
and print it across several pages, and Illustrator will print right
| | 07:02 | up to the edge of where the printable area is, and
then on a separate page, continue a very large picture.
| | 07:09 | Then I can cut them all out and tape them together and get it full-size.
| | 07:13 | One last thing for those of you who are working on Windows...
| | 07:17 | I'll just switch over to Windows here for a moment.
| | 07:20 | If you're on Windows, you can find Illustrator on your Start menu,
All Programs, and it would be up here, Adobe Illustrator CS2,
| | 07:31 | and that's where it'll install by default.
| | 07:33 | If you use it a lot on Windows, you can keep it right here in your Start
menu, and also pin it to your Start menu so that it's always there for you.
| | 07:42 | If you're on a Mac, Illustrator CS will be down here in the dock.
| | 07:48 | Illustrator CS2.
| | 07:50 | You can click on it, and, if you want, keep it
in the dock, and it'll always be there for you.
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| Opening Files| 00:00 | >>Now that you've got Illustrator up and running,
it's time just to look at, quickly, opening a file.
| | 00:05 | If you want to, you can open a file right off of the
Welcome screen by simply clicking the Open Document icon,
| | 00:13 | and you'll go to whatever the last folder was that you
used, and you can see, we've got some exercise files here.
| | 00:20 | "Fly To The Moon Complete" is actually what we'll open
up in a second, but there's several ways to open,
| | 00:25 | so I want to show you all of them, so I'll hit Cancel.
| | 00:28 | The same thing happens if you go from Open under the File menu.
| | 00:32 | File, Open.
| | 00:33 | You also have, under the File menu, Open Recent Files, so if you're
regularly working on something, you may discover that the file
| | 00:41 | that you've been working on is right there for you.
| | 00:43 | Again, there's "Fly To The Moon Complete".
| | 00:46 | And if you're on a Mac, there is yet one other way.
| | 00:50 | Let me make my dock a little bit bigger, to see if you can really see this.
| | 00:53 | Here's Illustrator CS2.
| | 00:54 | I'll click and hold on it.
| | 00:55 | You get a special popup, and there are recent files right
there, right off of the dock, so there's a nice way to do it.
| | 01:02 | This is available if the program's not
running but you have kept it in the dock.
| | 01:07 | You can both open a file and launch Illustrator all at once.
| | 01:11 | Let's go back to Illustrator for a moment here, and we'll do a File, Open.
| | 01:21 | This is the standard Macintosh dialog box.
| | 01:25 | Another thing that's new to Illustrator CS2 is Adobe's own dialog box, and
there'll be a button on the Mac, and the same thing is true on Windows.
| | 01:35 | There's a button that says "Use Adobe Dialog."
| | 01:37 | I can click it, and things will change.
| | 01:40 | You'll get a slightly different looking list of programs,
which gives you some access to Version Cue, if you use that,
| | 01:47 | and you'll have some additional options over here. This mostly has to
do with Version Cue in terms of how you are going to connect projects
| | 01:57 | to each other and keep track of them, and of course you have
the ability to do things via thumbnails, icons, and so forth.
| | 02:05 | So you have a different way of viewing the items on the screen.
Here's Thumbnails- it eventually would give me thumbnail pictures
| | 02:13 | of the Illustrator files.
| | 02:14 | I can do this any way I want.
| | 02:16 | I'm going to switch back to the standard Mac OS dialog by clicking on the
Use OS Dialog button, and I'll go ahead and open the file, double-click it,
| | 02:26 | and here we have our first file, and I'll go to the View
menu and do View, Fit In Window- it's also (Command + 0)-
| | 02:34 | and I get the whole file for me to look at.
| | 02:38 | The last thing when we're here, along those lines of view, View,
Fit In Window gave me the view at 107 percent magnification.
| | 02:46 | I could go to View Actual Size- that's also (Command + 1)-
and it will zip down to a slightly smaller size.
| | 02:54 | I also have a Zoom menu in the lower corner, the lower left
corner, that'll allow me to quickly jump to any size that I want.
| | 03:03 | I could zoom way, way, way in, 4,800 times
view, all the way out to 6,400 percent.
| | 03:12 | Not times.
| | 03:12 | Excuse me.
| | 03:13 | 48 times, 64 times view.
| | 03:16 | So I can get to over 6,000 percent magnification if I need to.
| | 03:20 | At any point, I can always go to Fit On Screen, or use those Command keys.
| | 03:24 | (Command + 0) and (Command + 1) on Windows would be [Ctrl + 0] and
[Ctrl + 1]. Once I have the file open, then I can work on it.
| | 03:33 | And of course, the reverse of opening a file is saving a file,
so suppose I want to save this file, and let's suppose...
| | 03:41 | OK, Jean-Paul.
| | 03:41 | I didn't like Jean-Paul as the name.
| | 03:43 | His name really was Buddy, so...
| | 03:48 | The swallows carried Buddy all the way to the moon, and I want to save it.
| | 03:54 | If I just go to File, Save, that's an option,
and that will write over my original file.
| | 04:00 | I'm going to do to Save As, which will allow me to get a
new name, and we'll call it "Fly To The Moon Complete Buddy".
| | 04:10 | I'm going to go ahead and save.
| | 04:16 | This is what I wanted to show you.
| | 04:18 | In the Options, you can see, I've got different versions that I can save
it as right now, and this is really helpful if you are working with people
| | 04:27 | who have older versions of Illustrator, particularly in terms of type.
| | 04:32 | There are errors that will appear if you run into working with
type, particularly between CS and Illustrator 10, 9, and earlier.
| | 04:42 | So one thing to keep in mind when you're working with Illustrator is,
if possible, don't work with projects at the same time that contain lots
| | 04:50 | of type between the Illustrator CSes, 1 or 2, and Illustrator 10.
| | 04:56 | You will often get an error moving between Illustrator
CS and CS2 with type, so that also can be a problem.
| | 05:04 | If you're working with somebody in an older version of Illustrator,
Illustrator CS2 recognizes this and lets you save as an earlier version
| | 05:11 | and just work with it as an earlier version.
| | 05:13 | We'll just save as Illustrator CS2.
| | 05:16 | This question, fonts, subsetting them...
| | 05:18 | Illustrator uses the Adobe PDF file format.
| | 05:21 | You can even see the checkbox for it down here by default,
so that you can actually open an Illustrator file as a PDF.
| | 05:28 | By that token, it embeds all the fonts that it can, and the subsetting of
fonts, basically, what that says is that it will only embed the characters,
| | 05:39 | T's, R's, umlaut's, whatever you want, that are in use in the file.
| | 05:44 | It helps keep your file size down, so there's no real need to change that.
| | 05:48 | Color Profiles we'll talk about a little bit in the color chapter.
| | 05:50 | Compression also helps keep the file size down.
| | 05:53 | This is a lossless compression, so it's not going to cause any kind of
loss of your file quality or anything like that, so for the most part,
| | 06:01 | when you go to save a file, you can just hit OK.
| | 06:03 | And "Fly To The Moon Complete Buddy" is saved.
| | 06:08 | I just want to mention the other things that are here for save.
| | 06:11 | Save As Copy.
| | 06:13 | This will allow me to create a version of the file, but unlike Save As...
| | 06:18 | See, I just saved it.
| | 06:19 | You can see Save is now grayed out, because
I've saved all the changes to date.
| | 06:24 | Save As saves it under a new name and I'm working on that new name.
| | 06:28 | Save As Copy saves a file under a new name but I
keep working on the original, which is kind of cool.
| | 06:35 | Save As Template we'll talk in the templates chapter.
| | 06:37 | Version is for Version Cue, so check out the movies on Version Cue for
that, and then Save For Web we'll talk about in the web graphics section.
| | 06:45 | Save For Microsoft Office and Export are
actually both version of exporting files.
| | 06:50 | What you should know there is that there are a whole bunch of file
formats I can choose, and I'll just go ahead and show you real quick,
| | 06:57 | all the way from bitmaps, through PNG files,
EMF files, JPEGs, and the list goes on and on.
| | 07:04 | From Illustrator, I can save as any of these file formats.
But the difference about export versus save?
| | 07:12 | Why would I use one or the other?
| | 07:14 | Whenever you save a file, you keep all
of the Illustrator editing capabilities alive.
| | 07:20 | When you export a file, it's a one-way ticket, so if I turn this into a
graphic, a bitmap file or JPEG file, I'm not going to be editing it easily
| | 07:30 | in Illustrator again, so there you go for both sides.
| | 07:33 | If you're working with the exercise files from the Movie Library or the
CD-ROM, I recommend that you copy them to a directory that you can work on
| | 07:42 | and you do a kind of Save As so that you don't mess up the originals.
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| Working with Palettes| 00:00 | >>One thing about working in Illustrator that is really helpful to be
able to do, or that you need to be able to do, is manage your palettes.
| | 00:10 | Illustrator lives and dies on these floating palettes, and you
can see them over here on the right, I can move this around,
| | 00:16 | see where I'm working with all my colors and strokes.
| | 00:19 | I have another palette over here that
has to do with the objects on the screen.
| | 00:24 | I have the Toolbox palette over which contains all of
my tools, and on the Toolbox palette. Here I get fly-out,
| | 00:32 | and it turns out there are actually several tools under
there, and let's suppose I wanted to work with these tools.
| | 00:40 | Well, these are the ones that draw various shapes.
| | 00:42 | I can actually tear them off, and I can have all those tools that
were hidden underneath as a separate palette over their own. Then,
| | 00:50 | in addition to the palettes you see here, under the Window
menu, these are all palettes, so here is my Info palette,
| | 01:00 | various information about the document, size of objects.
| | 01:02 | Here's my Align palette.
| | 01:04 | This allows me to align objects on the screen, and then I've got
| | 01:08 | Window, on the palette menu, there are even some sub-menus. So
now I've got my Character palette, and you can see, pretty soon
| | 01:13 | I can't even see my artwork anymore because I've
got so many floating palettes all over the place.
| | 01:19 | Part of the key to dealing with palettes is to get them quickly, find them
when you need them, and get rid of them when you want to get rid of them,
| | 01:28 | so tattoo these to the back of your hand.
| | 01:30 | Probably the most important key you'll be
using if you use Illustrator a lot, Tab key.
| | 01:35 | All the palettes disappear, and notice, even my Control palette, which
is also a palette, and the top of the screen here, also disappeared.
| | 01:44 | Very, very handy when I need to be able to see my artwork.
| | 01:48 | I can Tab again.
| | 01:49 | They all come back.
| | 01:50 | (Shift + Tab).
| | 01:52 | All the palettes went away except for the Toolbox palettes, including
the little floating tools, so that I just have my regular tools available
| | 02:01 | to me, and even though I'd torn those off...
| | 02:04 | Let me (Shift + Tab) again.
| | 02:05 | I got them back, as you can see.
| | 02:07 | (Shift + Tab).
| | 02:08 | I can still click and hold and get to whatever tools I want to.
| | 02:12 | Tab and (Shift + Tab).
| | 02:13 | They're the same on Mac and Windows.
| | 02:16 | I'll (Shift + Tab)again.
| | 02:18 | You can also just close out any palettes you don't want.
| | 02:22 | Just click them and they go away.
| | 02:24 | Click on the corner and they go away.
| | 02:27 | Same thing's true on Windows and Macintosh. There.
| | 02:30 | If you need them again, you can get to things from the Window menu.
| | 02:34 | Another thing about palettes is, to help save space, they're often
grouped, so you can see these tabs right here inside this palette.
| | 02:42 | This single palette that I'm dragging around is actually one, two...
| | 02:47 | I'll click on Brushes.
| | 02:48 | It comes forward.
| | 02:49 | Three, four, five, six, seven.
| | 02:53 | Seven palettes.
| | 02:54 | Transparency, Gradient, Stroke, Swatches, Brushes,
etcetera, and some of them are even collapsed a little bit.
| | 03:00 | You can actually expand them and show more that's in there.
| | 03:04 | Here's Swatches.
| | 03:05 | These are different kinds of colors, and you
can see there were some that were hidden.
| | 03:08 | Some have this double triangle.
| | 03:10 | It means if I click on the tab again, it'll expand and give me more
options or less options, so there are all sorts of things going on there.
| | 03:21 | One way to help you keep track is in the
Window menu, you can see the little checkboxes.
| | 03:27 | These are all the palettes you can see right now.
| | 03:30 | The Layers palette's available, the Appearance palette's available.
| | 03:33 | If I get rid of the menu, there's Appearance,
there's Layers right on top, right?
| | 03:40 | Let me move this palette over a little bit so you can see it.
| | 03:44 | It's a palette group, really.
| | 03:45 | Let's suppose I want to see my Gradients.
| | 03:48 | It doesn't look like a lot happened unless you noticed right over
here, the Gradient palette was out, but it was kind of hidden behind,
| | 03:57 | so you've got that available for you too.
| | 04:01 | The last thing you should know about palettes, as you're
working around, you can customize these any way you want to,
| | 04:07 | so let's suppose I want my Swatches, which are all
sorts of cool colors and patterns I'm working with.
| | 04:12 | I want them visible all the time.
| | 04:14 | I grab the tab and drag it, and now Swatches is just on its
own separate palette, where I can put it wherever I want to,
| | 04:22 | or maybe I like my Swatches palette being next to my Layers
palette, and I've got Swatches and Layers right next to each other,
| | 04:31 | and I can customize these any way I want.
| | 04:34 | New to Illustrator CS2, I can even save my customizations as workspaces, as
well as use the Workspace command to get back to the default palette setup.
| | 04:45 | We'll show you how to do this in the workspace movie.
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| Workspaces| 00:00 | >>This is just a quick movie to talk about
workspaces, and just show you how it is done.
| | 00:06 | Workspaces are a way of dealing with the palette chaos
that can break out in Illustrator by allowing you
| | 00:12 | to create custom palette arrangements called workspaces.
| | 00:17 | The default workspace gives you what you see right now, the commonly
used palettes, the Swatches palette, the Color palette. A kind of compressed
| | 00:29 | Stroke palette is available.
| | 00:31 | Let's suppose you want to do things a little differently.
| | 00:34 | We'll expand the Color palette.
| | 00:35 | You like to see all your colors, and maybe you like
to see all of the Stroke palette available too.
| | 00:43 | We'll talk about what all these are in the
movies on Color and Stroke and so forth.
| | 00:48 | You can zip there right away.
| | 00:50 | If you can't wait, that's fine.
| | 00:52 | If I wanted to take this arrangement and save it as my preferred way of
doing things, I could simply go up to Window, Workspace, Save Workspace.
| | 01:03 | I could call it "Jeff's Favorite."
| | 01:13 | Now at any point, I could go to Workspace, I
can go back to the default, and it zips to it.
| | 01:19 | I start working, I want to work with Jeff's Favorite, there they all are.
| | 01:24 | I can create some much more radical workspaces if I want.
| | 01:27 | You saw one early on, where I just had the Color palette like
this, and I had Swatches, and Stroke, I didn't even care about.
| | 01:36 | It was all compressed.
| | 01:39 | This is a handy one, so I'll show you how to set it up.
| | 01:42 | When you're working with Type a lot, it's nice to set one
up that has Type, so Window menu, we'll go down to Type.
| | 01:49 | I did Character.
| | 01:51 | We'll go down to the Window menu.
| | 01:53 | There it is, Character Styles. I like to have them all set up just like
this, and we'll bring Appearance up a little bit, and I can save this one.
| | 02:04 | Workspace, Save Workspace, and I could call it "My Type Workspace."
| | 02:12 | I can write about Type, but I can't seem to type today, and now
whenever I work with Type, I could be in a workspace by default.
| | 02:23 | See how fast this zips through.
| | 02:25 | Well, it's time to work with Type.
| | 02:28 | There are all the palettes I like for Type.
| | 02:31 | The last thing you just need to know is here in Workspace, Manage Workspaces.
| | 02:35 | It's pretty simple.
| | 02:36 | All it is a list of the Workspaces you've created.
| | 02:39 | You can make some new ones down here,
or you can delete the ones that exist.
| | 02:44 | If you choose a particular one and hit
OK, it would switch to that Workspace.
| | 02:48 | Kind of a really handy way of managing palettes in Illustrator.
| | 02:51 | Definitely saves a lot of time.
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| Key Preferences| 00:00 | >>Here's a quick word on Preferences within Illustrator.
| | 00:04 | You can just launch right in with the default Preferences if you
want to, but there are a couple of things you might want to change
| | 00:09 | and you certainly know where they are so as you become more
experienced with Illustrator you can customize it to your needs.
| | 00:16 | On the Macintosh you'll find Preferences under Illustrator, Preferences.
| | 00:21 | On Windows you'll actually find it under the Edit
menu, and you'll find Preferences over there.
| | 00:29 | So, either way- once you open them, they're the same thing.
| | 00:32 | There's Illustrator, Preferences or Edit Menu, Preferences
and then there's several different possible preferences.
| | 00:38 | You can click any one of these. I started with General, you'll actually
get a Preference window where you can select the other ones as well,
| | 00:45 | so it doesn't matter how you get there.
| | 00:47 | Couple things, most of the Preferences are just what
you would want and we'll leave it just the way it is.
| | 00:55 | One thing I do like to change myself is called the keyboard Increment.
| | 00:59 | This is if I have an object selected on the screen, like maybe- move my
Preferences Window out of the way a little bit- maybe I selected this star
| | 01:07 | and I want to move it.
| | 01:08 | I can drag it around the screen all I want to.
| | 01:11 | But I can't drag it less than two points or about two
seventy-seconds of an inch. Actually, I guess that's one thirty-sixth of an inch.
| | 01:20 | If I try and move it less than that, it
will snap back to it's original position.
| | 01:25 | So if I want to move something just a small nudge, the
easy way to do it is with the arrow keys on the keyboard,
| | 01:30 | I'd select it and start using the arrow keys.
| | 01:33 | By default though, the keyboard increment is one point, which
is only half of what I can do just moving it with my mouse.
| | 01:42 | What I like to do is just put a decimal point there.
| | 01:45 | It is now point one (.1) point.
| | 01:48 | This allows me a very small motion with the
keyboard and I can make very precise nudges.
| | 01:54 | A little trick with Illustrator- if I hold down the Shift key (that's
Mac or Windows) and use the arrow key, it will go ten times the amount
| | 02:03 | of the keyboard increment, which is back to one point.
| | 02:07 | So there's really no great pain in making this a
tenth of a point instead of just one whole point.
| | 02:14 | It gives you a lot more fine tuning control, especially
if you're really picky about what the art looks like.
| | 02:19 | There are a bunch of other preferences on type and those kinds of things
that I tend to leave alone but you're welcome to zip through them
| | 02:27 | and see what is there.
| | 02:30 | Units, it's good to know where the units fall.
| | 02:34 | If you are working regularly with a a document that is in Picas,
for example, you can have your default unit go to something like Picas,
| | 02:42 | or if you're always working for the Web you can
make your default pixels. Whatever works for you.
| | 02:47 | If you have a super fast machine, you can slide this slider so that
you get full quality as you move your objects around the screen.
| | 02:57 | Or if your having trouble, it's taking a long time for things to redraw,
you can slide it back this way and the screen will update itself quicker.
| | 03:05 | We're going to zip ahead, actually, because most of
these are things you really don't need to change.
| | 03:10 | All the way to Scratch Disks, I want to make this clear.
| | 03:13 | Illustrator does read and write to the disk quite
a bit, not as much as PhotoShop, but it does.
| | 03:19 | If you have more than one drive (a physical
hard drive installed in your machine, I'm not talking
| | 03:25 | about a partition), you can change the Scratch Disk to that second
hard drive. You can see it says, "These changes won't become permanent
| | 03:34 | until your re-start Illustrator."
| | 03:36 | OK, fair enough.
| | 03:37 | Then I can have a secondary hard drive as maybe my main hard drive.
| | 03:42 | The advantage here is that Illustrator is able to read and write
data to one drive while maybe it is reading and writing files
| | 03:49 | and doing other things on the other drive.
| | 03:51 | I find this is particularly helpful in
Windows, even more so than on the Mac.
| | 03:56 | Once you've made the changes you can go ahead and hit OK.
| | 04:00 | The other thing that you should know about Preferences, just so that
you know where they are, is under the Edit Menu, keyboard Shortcuts.
| | 04:07 | It's under Edit for both Mac and Windows.
| | 04:09 | What that allows you to do is to find different
keys on the keyboard for different tools that you have,
| | 04:16 | and when we get to the Group Selection
tool you'll find out how handy it is.
| | 04:20 | Here, for my different tools, I can hit V on the
keyboard and I'd get my regular Selection tool.
| | 04:25 | I could hit A on the keyboard I get my Direct Selection tool, and for
my own habit, I'll take the key that's just above V on the keyboard
| | 04:34 | and I'll often make a Q, it says, "Already the Lasso
Tool, are you sure you want it be the Lasso Tool?"
| | 04:41 | Well, that's fine with me, I don't like to use the Lasso
Tool a lot, but I do use the Group Selection tool a lot.
| | 04:47 | So, what this is doing is it will allow me to just hit Q on my
keyboard, right above the A key, and get the Group Selection tool.
| | 04:55 | So just know that that's there and you can save
these as custom sets of keyboard shortcuts.
| | 05:01 | The more you use Illustrator the more you might want to customize it.
| | 05:04 | So I just give it to you that these are there.
| | 05:07 | I'm going to go ahead and save those, and I'll save them as "Jeff."
| | 05:14 | And so now I have the ability to change keys on my keyboard, I can go
to different tools and you can see I can get to the Group Selection tool
| | 05:22 | or I could get to any other tool I needed to, very easily.
| | Collapse this transcript |
|
|
3. Selecting and ArrangingSelecting Objects| 00:00 | >>So now it's time to actually get in and start building up some artwork
with Illustrator. I have an incomplete document here that we'll start
| | 00:09 | with and work with for the rest of this chapter called
"Fly to the Moon," a page from this children's book.
| | 00:16 | And, if you open it up from the exercise files, either off the CD
or off the website, you'll find it should look something like this.
| | 00:24 | If you are zoomed in to look at the whole document
but you can't see these objects off in the Scratch Area,
| | 00:32 | go ahead and zoom out using [Ctrl + Minus] or (Command + Minus) or
using the Zoom Menu down here in the lower left of the screen.
| | 00:40 | And to about sixty six percent magnification.
| | 00:43 | So we're zoomed out, you'll actually be able
to see the object we'll start working with.
| | 00:48 | First thing that you'll learn about Illustrator, one of the
fundamental concepts, is that Illustrator complex artwork is built
| | 00:56 | by stacking simple pieces of artwork on top of one another.
| | 01:00 | In order to select those pieces and move around you use your selection
tools, and the most common one is the regular plain old Selection tool.
| | 01:11 | It's the solid filled arrow over here on the Toolbox Selection tool.
| | 01:16 | You get it by V off the keyboard by default, so if you tapped V on your
keyboard you'd get the Selection tool, or you clicked it on the Toolbox.
| | 01:24 | What I want to do is I want to actually zoom in on just this
area right here above the artwork we're going to build a moon.
| | 01:33 | So let's do another tool, there's the
Zoom tool, it's also Z on your keyboard.
| | 01:37 | I'll do it by keyboard commands, because I like keyboard commands.
| | 01:41 | So I tapped Z. And now with the Zoom tool, I can drag an area
on the screen and Illustrator will zoom in on just that area.
| | 01:51 | If I click with the Zoom tool it will zoom in once more.
| | 01:55 | If you remember, earlier we talked about de-cluttering, getting rid
of palettes. [Shift + Tab] will get rid of all the palettes except my Toolbox.
| | 02:06 | Tap V on my keyboard again I get my Selection tool.
| | 02:09 | And now if I click and object, here it is, I've
clicked this-it's not quite a circle, it's an ellipse.
| | 02:16 | As soon as I click it and it's selected a bunch
of things happen, so let's talk about that.
| | 02:21 | There is a blue outline following the edge of the
object, this is the actual path around the object.
| | 02:30 | And it's showing me the line Illustrator is using.
| | 02:35 | Inside the path has been filled with this kind of dark blue color.
| | 02:39 | Around the path there's this square-ish shape (it's almost a square
because it's almost a circle but it's round) called the bounding box.
| | 02:47 | It's kind of a rectangle with eight handles.
| | 02:51 | We'll talk about the bounding box in the next
movie, so right now you can kind of ignore it.
| | 02:56 | If we click somewhere else and the object de-selects, the art is still
here but you can't see the path anymore and you can't see the bounding box.
| | 03:05 | Once you click an object you'll notice that the
curser changes when I go over the center of it.
| | 03:10 | The bottom part of the arrow disappears,
and that's Windows or Mac, doesn't matter.
| | 03:14 | If I click and hold and drag I can now drag
around, and watch what Illustrator is showing me.
| | 03:20 | The original object is still in it's place, but it's showing me the
outline of the path, and it's showing me how I can drag it somewhere else.
| | 03:28 | I'm going to move it over to this part of the moon and I'm
going to line it up as best I can and I'm going to release.
| | 03:35 | Now here's something interesting.
| | 03:37 | The object is appearing below the little bit of crescent moon.
| | 03:42 | This stacking order, order of objects, is very important in Illustrator.
| | 03:46 | I can actually show you where that appears.
| | 03:50 | What I need to do first is slide the moon over a little.
| | 03:54 | One way I can do that is on the bottom of the screen.
| | 03:56 | I can click the little arrows or just generically move the slider.
| | 04:01 | I can also use the Hand tool, over here.
| | 04:05 | Click the Hand tool (it's also H on your keyboard).
| | 04:08 | When I drag with the Hand tool it's like sliding the piece of paper I'm
working around underneath my view, so I can get things so I can see them.
| | 04:17 | So I can go back to the Selection tool by hitting V on my keyboard,
| | 04:23 | and you remember we talked about moving objects
once they're selected with the arrow keys.
| | 04:28 | You can see I'm not quite lined up over here.
| | 04:31 | I can try and drag a little bit with my mouse.
That's pretty good actually- or I can use my arrow keys
| | 04:38 | and I can move an object around like this.
| | 04:41 | I'm using my arrow keys, there's left
arrow, right arrow, up arrow, down arrow.
| | 04:46 | If I want it to make it move further I'll hold the
Shift key plus the arrow and make it move ten times as far.
| | 04:51 | So I can get something pretty close, and use
the arrows to get just the way I want to.
| | 04:57 | And if I really want to be precise I can take my Zoom
Tool, I can zoom in and now I'm looking at things up close.
| | 05:05 | I'll switch back to my Selection tool.
| | 05:06 | You can see I'm zoomed in up close so it's hard
to see what's selected, look for that blue line.
| | 05:13 | Boy, it's hard to see that against the blue here,
but you can kind of see it as a little jagged.
| | 05:16 | Here you can see it as blue.
| | 05:18 | This circle is selected.
| | 05:21 | And you can see on the Toolbox even the color of the
fill itself, and it has no stroke following the path,
| | 05:28 | it's just the inside of the path that's filled with color.
| | 05:31 | Now that I'm Zoomed in up close I can use
those arrow keys really to my advantage.
| | 05:36 | I can switch to the Hand tool, a cool handy trick if you want to switch
to the temporarily to the Hand tool, hold down the space bar and drag.
| | 05:45 | Now I can really up close, I can zip along here
and get to the bottom of the moon, zip over here.
| | 05:53 | Yeah, that lines up really really well.
| | 05:55 | Now back to the Zoom tool, I can do a Zoom tool right here.
| | 06:00 | You can see the plus sign. If I click now it's going to Zoom in.
| | 06:04 | So I'll hold the down the Alt key on Windows, the Option key
on a Mac and I can click and that will allow me to Zoom Out.
| | 06:11 | Or even easier I can go [Ctrl + Minus]
or (Command + Minus), and zoom out that way.
| | 06:17 | I'm showing you this because you get a feel for how often you're
going to be switching tools; Zoom tool, Selection tool, Hand tool.
| | 06:24 | The keyboard shortcuts are really handy for that.
| | 06:26 | Now I said I would show you about the order of things.
| | 06:30 | I'm going to do a (Shift + Tab), and that will give me my Layers palette back.
| | 06:34 | I can also get Layers through my Window menu, Layers.
| | 06:38 | Or I can just tap F7 on the keyboard, and it will come forward.
| | 06:42 | We'll talk about the Layers palette itself in detail a little bit later.
| | 06:47 | I'm just going to scroll down and just show
you something on the Layers palette, here.
| | 06:52 | Right here, there's the path, that's the moon and
it's selected, and there is a piece here above it.
| | 07:00 | That's the moon I just dragged it under.
| | 07:03 | This is the order that things are stacked on the screen in
Illustrator, and as I drag objects around they will appear over
| | 07:11 | or under the appropriate object as needed.
| | 07:16 | So I'll go ahead and make that disappear for a moment.
| | 07:19 | So here we are and I want to keep building my moon.
| | 07:21 | I have two additional craters that I want
to bring over onto the moon itself.
| | 07:27 | Now if I want to select them one at a time,
I could just click them and drag them over.
| | 07:31 | But if I want to select multiple objects, I could
drag with the Selection tool a box around them.
| | 07:37 | You can see here that both paths selected and
there's a bounding box around both of them.
| | 07:42 | Again, we'll talk about bounding boxes in the next exercise.
| | 07:46 | But now if I drag the two objects I've selected they will move together
as a unit, so it's a handy way to be able to do two things at once.
| | 07:56 | Let's put them wherever I want them on the moon, here.
| | 08:01 | Maybe something like that.
| | 08:02 | That doesn't look quite right.
| | 08:03 | Another way to select two objects, see now I've got two
objects, but if I where to try and drag a box around them,
| | 08:11 | I'll select everything because now they're on top of the moon.
| | 08:15 | Well, I don't want that.
| | 08:17 | So I'll de-Select by clicking out in the middle of no man's land.
| | 08:20 | Click one, then I'll hold down the Shift key and click a second one.
| | 08:26 | Now I have two of them selected and I can move them around some more.
| | 08:30 | Yeah, that looks much better.
| | 08:31 | OK, now we've got our moon kind of set up the way I want it set up.
| | 08:35 | And now I want to move the entire moon and
put it where it belongs in the picture.
| | 08:41 | So I will take a drag around the whole thing with my Selection tool.
| | 08:47 | I now have the whole thing selected.
| | 08:49 | I'm now going to zoom back out with Command or Cntrl + Minus.
| | 08:54 | Now I can see where it's going to go.
| | 08:57 | I'll drag the moon as a whole down.
| | 08:59 | I've assembled it out of pieces, now I'm
going to put it on top of my artwork.
| | 09:05 | There it is in place.
| | 09:07 | And now, if I want I can take a Zoom tool, by clicking
on the Zoom tool or Z on the keyboard, zoom in on it.
| | 09:14 | And just like before I can custom place it.
| | 09:17 | If I want I can just use my arrow keys to move it over a little bit.
| | 09:24 | Another handy short cut to know about, right now I have the Zoom tool,
if I temporarily want hat Selection tool, I can hold down Command
| | 09:31 | on a Macintosh or Ctrl on Windows and I get a
Selection tool, that I can drag the moon around with.
| | 09:38 | We get it right where I like it, right about there.
| | 09:41 | Perfect. Now I'm going to see the entire
screen with (Command + Zero) or [Ctrl + Zero].
| | 09:47 | Last thing to know about the Selection tool is it's
also a handy way to copy, so I select my Selection tool.
| | 09:53 | You can see how my cursor changes to this
bottomless arrow when I go inside a moon.
| | 09:59 | I'm going to go ahead and hold down the Alt key on Windows, or the
Option key on the Mac and when I do I get a double-headed arrow.
| | 10:07 | Now when I drag, instead of moving the
selected object, I copy the selected object.
| | 10:15 | So here I've gone and copied the whole object, and now I can have
another moon that eventually I'm going to put right over here.
| | 10:23 | But I'm going to have to shrink it down
and do some other things to it, too.
| | 10:26 | I'm not quite ready yet; we'll do that
in the next movie on the bounding box.
| | 10:30 | In the meantime, I don't want this moon right here,
two moons in the sky doesn't make sense for the Earth,
| | 10:36 | so I'll just hit the Delete key- it just goes away.
| | 10:39 | Anything you have selected when you hit Delete is gone.
| | Collapse this transcript |
| Grouping| 00:00 | >>So we have, from the previous movie, our moon all assembled and as with
any Illustrator artwork it is a complex piece built of many simple ones.
| | 00:09 | There's the black background, the yellow crescent,
and the four craters or pieces of craters.
| | 00:15 | With my Selection tool, I can select any of those objects.
| | 00:20 | Now this can be a problem in that I want this whole
moon and all of its pieces to act as a single unit now.
| | 00:26 | So I want to just be able to grab it and move it
and if I do it like that, oops, look what happened.
| | 00:31 | I grabbed the crescent but the black background
and two of the craters stayed behind.
| | 00:35 | I don't want to do that.
| | 00:36 | We can do a Command or Ctrl + Zero or- Edit, Undo.
| | 00:43 | What I want is to have the entire object act as one and
not have to select everything all at once like this.
| | 00:51 | So what I'll do is I'll select it all at once one time.
| | 00:55 | Incidentally, if you're wondering, this purple background and this
kind of golden road right here, these are Illustrator objects as well,
| | 01:03 | but I have them locked right now so they can't accidentally be
selected by me or by you when you're doing the exercise files.
| | 01:11 | If you want to find out more about locking
objects that's down in the chapter on layers.
| | 01:16 | So I'm going to select the whole thing.
| | 01:20 | And I dragged a box that went through or touched at least all the objects.
| | 01:25 | Now they are all selected.
| | 01:28 | Now I can go to Object, Group.
| | 01:32 | And what that will do is it will treat all these objects as one.
| | 01:36 | Now I can just grab the moon and drag and
it doesn't matter which part I select.
| | 01:42 | I can try doing it from one of the craters.
| | 01:45 | It's all being treated as if it were a solid object.
| | 01:50 | All the pieces together.
| | 01:53 | And if I want to actually see the individual parts.
| | 01:58 | I'm going to do a (Shift + Tab) to reveal my
Layers palette and all the hidden palettes.
| | 02:03 | I'm going to scroll down a little bit.
| | 02:06 | And what I will find on my Layers palette
is I have something that says "Group".
| | 02:14 | It has a little triangle and I'll unroll the triangle.
| | 02:18 | Just roll it down- oops!
| | 02:20 | Let's get back to it there.
| | 02:21 | And what you see inside this group are
one, two, three, four pads right now.
| | 02:30 | This is the dark background of the moon.
| | 02:33 | These are the two small craters that we moved into place.
| | 02:37 | And look there's another group.
| | 02:38 | I sneakily put in a group already just to
make sure there wasn't going to be a problem.
| | 02:44 | I have a group that is the two partial
craters and the crescent of the moon.
| | 02:51 | Let me zoom in on the moon itself so it's a little easier to see this.
| | 02:56 | We'll zoom in.
| | 02:59 | These are all the objects that make up the
moon and they are being treated as a group.
| | 03:07 | Now I'm going to go back to my Selection tool
and just click out in the middle of nowhere.
| | 03:11 | And again you can see, I can click on any one of the objects and it selects
everything that it's grouped with and I can move the entire object around.
| | 03:19 | I'm going to move it over a little bit, over to here.
| | 03:21 | Now it looks good.
| | 03:23 | I can also if need be, sometimes I want to move something within a group.
| | 03:28 | Well I have a couple options.
| | 03:30 | I could ungroup it.
| | 03:32 | So I could go to Object, Ungroup.
| | 03:35 | Or I could show you a shortcut.
| | 03:37 | You can right-click or on the Macintosh, Command + click.
| | 03:42 | Right-click on Windows.
| | 03:43 | And I have an Ungroup option right here.
| | 03:46 | Now it is ungrouped and I can separately select the background, the
crescent, and its two pieces because they were a group inside a group
| | 03:59 | and now the two individual craters as well.
| | 04:03 | And that's what I wanted to point out is that groups are nestable.
| | 04:07 | So I have a group inside a group.
| | 04:09 | I had ungrouped one level but the next level stayed intact.
| | 04:12 | I could click that one and also ungroup, and
now I can select the half crater individually.
| | 04:22 | Or just the whole background of the moon.
| | 04:24 | Slide it out of the way, leave all the craters behind.
| | 04:27 | I will (Command + Z) or [Ctrl + Z] to undo that.
| | 04:32 | So I have this option for how I want to treat these objects as a whole.
| | 04:37 | Let me go back and group them together.
| | 04:38 | I'll drag a marquee that goes around or at least touches all the objects.
| | 04:43 | And I'll right-click again.
| | 04:45 | Group is an option.
| | 04:47 | They're now all one group.
| | 04:50 | If I need to select an object within the group, but I don't necessarily
want to ungroup it, I do have another option and this is pretty slick.
| | 05:00 | What I have is something called the Group Selection tool.
| | 05:03 | I'll click outside.
| | 05:04 | The Group Selection tool is kind of cool. I can select
an individual object, let me do this crater, and I can move it.
| | 05:17 | But the whole group is still a group.
| | 05:19 | So if I go back to my regular Selection tool
and click, everything is still selected.
| | 05:25 | So the Group Selection tool allows me to
select just one object within a group.
| | 05:30 | It also is sensitive to the grouping of objects together.
| | 05:35 | So, let me say I am going to, I'm going to select the
half moon, and I can select another piece within it.
| | 05:43 | I'll hold down my Shift key and select that half moon.
| | 05:46 | I'll hold down my Shift key some more, and select.
| | 05:49 | I've now selected these three objects.
| | 05:52 | I'm going to go ahead and go Object, Group.
| | 05:57 | And now they're grouped inside the group.
| | 06:01 | This is back to the way we had it before.
| | 06:04 | There's the circular path.
| | 06:07 | There's the crescent moon and its two crescents.
| | 06:09 | And then there's the other two uh craters.
| | 06:15 | Click somewhere off the object with my Group Selection tool.
| | 06:18 | Now watch this.
| | 06:19 | I click once for this Group Selection tool, I select an object.
| | 06:24 | If I click on the same object again, I get the
objects that were grouped together at the first level.
| | 06:32 | So now this crater, the other crater,
and the background moon are all selected.
| | 06:37 | If I click again in the third place, I get the next higher level of group.
| | 06:43 | So now all the objects within the moon are selected.
| | 06:46 | It's a really slick trick for how to keep your objects organized so that
they move together and you don't mess up the your relative location.
| | 06:56 | But at the same time you can tweak an object inside
a group or just select it quickly if you need to.
| | 07:02 | Last thing, you can see that Group Selection tool is actually going
to be very handy and that's why in an earlier movie I went ahead
| | 07:10 | and gave it a keyboard shortcut.
| | 07:12 | I made it Q, which is right above the A key, which is uh one I'm used
to for a different kind of Selection tool, the Direct Selection tool.
| | 07:20 | And since I use it so often it allows me to
quickly toggle between the Group Selection tool
| | 07:26 | and the regular Selection tool just right off my keyboard.
| | 07:28 | V, A, V, A, V, A. Back and forth.
| | 07:31 | Sorry! V, Q, V, Q, V, Q... This makes real easy for me.
| | 07:35 | You can define it to any key that you like, but it's a handy tool to have.
| | 07:38 | I'm going to click off on no man's land again.
| | 07:42 | Just so you can see.
| | 07:43 | On the Control palette, by the way, it shows me what I have
selected and the same thing over here on the Appearance palette.
| | 07:50 | No selection.
| | 07:51 | I click once with the Group Selection tool.
| | 07:54 | You can see on the Appearance palette it shows
I've selected a path and up here it shows a path.
| | 08:01 | And in fact it even tells me that that path is sort
of filled with this beige color and has no stroke.
| | 08:08 | I'm going to click with, hold down my Shift key and click
on another object with the Group Selection tool, right here.
| | 08:15 | And you can see the same thing.
| | 08:17 | I have paths selected, just so it says path even though I have
two of them because they have the same fill in the same stroke.
| | 08:23 | But watch what happens when I click again.
| | 08:26 | I've clicked with the Group Selection tool
and now I have three objects selected.
| | 08:30 | And you can see it tells me I have a group selected.
| | 08:34 | An entire group.
| | 08:35 | And up here on the Control palette it also says a group has been selected.
| | 08:41 | Just something to keep in mind, we'll talk about it more with
the chapter on layers itself, but if you're having trouble
| | 08:47 | and you're not quite sure what is selected and what's going on.
| | 08:50 | You're not getting Illustrator to behave the way you expect it to.
| | 08:54 | Check on that Control palette and that Appearance palette so
it can help you out and show you what is actually selected.
| | Collapse this transcript |
| The Bounding Box| 00:00 | >>The bounding box is one of the cooler features in
Illustrator that came along a few versions ago.
| | 00:07 | It allows you to do a lot of rotations and resizes and other cool
stuff without having to change tools. It's really pretty slick.
| | 00:15 | So I've got the moon over here and I grouped it in an earlier exercise.
| | 00:18 | So I can just click anywhere in it and select, I get all the objects.
| | 00:22 | I'm going to hold down the Option key on the Macintosh, Alt on
Windows and drag. That's going to give me a copy of the moon.
| | 00:30 | And now what I want to do is I want to put it up
here, but I want to make it a much smaller moon.
| | 00:35 | So I'll go to he bounding box and you'll notice as I
bring my cursor to the middle I get the move cursor,
| | 00:41 | but up at the corner I get this double-headed arrow.
| | 00:45 | Now, if I want to, I can actually move that corner
and resize-and you can see I can squash down
| | 00:52 | or stretch out however I want- I can resize the moon to make it smaller.
| | 00:57 | If I want to make sure that I keep it perfectly symmetrical I can hold
down my Shift key, that will make a symmetrical moon getting smaller
| | 01:08 | and smaller and smaller.
| | 01:09 | Or larger and larger.
| | 01:10 | And if I let go, there's my smaller moon.
| | 01:13 | I can make even smaller if I need to.
| | 01:14 | I can also hold down the Alt key as I move it in and out, if I'm holding
down the Option key on a Macintosh, now I have (Shift + Option) or [Shift
| | 01:27 | + Alt] and not only is it moving symmetrically but
it's doing it from the center rather than from a corner.
| | 01:35 | You can see this is Shift without the Alt or Option key.
| | 01:38 | And there's from the center.
| | 01:40 | So I have a lot of options in terms of using this bounding box.
| | 01:44 | And there's my moon even smaller, I'll move
it over into place, needs to be even smaller.
| | 01:50 | You can see that it can get hard to see because the handles
of the bounding box don't change when you are using it.
| | 01:57 | Then you get really small, so I'll go
ahead and go to the Zoom tool and zoom in.
| | 02:02 | Now, the interesting thing you are seeing here- notice how the
bounding box disappeared until I went back and hit the Selection tool.
| | 02:10 | And there I go; now I got the smaller moon and
it's easy for me to resize it even in here.
| | 02:18 | Let's go back to the full screen. [Ctrl + Zero] or (Command + Zero).
| | 02:22 | Right now the bounding box is really in the way and it's kind
of obscuring my ability to move this moon around the screen.
| | 02:29 | What I can do is go to the View menu and
I have an option for Hide Bounding Box.
| | 02:36 | And now, it disappears. It's a little easier for me to see the outside of
the moon, even though there are a lot of objects still and drag it around
| | 02:44 | and see what I've actually got.
| | 02:46 | Another little trick about this, since going and hiding and then going
back and Show Bounding Box is kind of annoying, the quick way around it,
| | 02:55 | especially if you have a keyboard shortcut,
is to switch to your Group Selection tool.
| | 03:01 | So I'll switch to my Group Selection tool. You can see the bounding box
disappears but I still have a Selection tool that I can actually move it
| | 03:09 | around with and if I've got keyboard shortcuts I it allows me to quickly
switch back, I can switch to my Group Selection tool, move it around,
| | 03:17 | and it doesn't matter whether I actually have
a group or not as long as I don't de-select.
| | 03:22 | The Group Selection tool is a great stand
in for the regular Selection tool.
| | 03:27 | So it's a handy little trick you can have.
| | 03:30 | OK, so there's the bounding box in general.
| | 03:33 | Now let's look at some of the other things
you can do with the bounding box.
| | 03:36 | If I don't want to be quite so neat and clean about stuff
I can use the bounding box to do all sorts of fun things.
| | 03:42 | Here is a star, and I'm going to hold down
Alt or Option, and drag and get another star.
| | 03:47 | And now, in addition to resizing I can actually rotate.
| | 03:53 | And let me zoom in again, I'll go back to my
Zoom tool, zoom in on these two stars up close.
| | 04:00 | Go back to my Selection tool.
| | 04:02 | You can see that instead of on a handle, if I bring the
cursor near a handle I get this double headed bent arrow,
| | 04:13 | and that allows me to make rotations.
| | 04:16 | So if I decide to combine some motions, here I can do some
squeezes and some rotations, I get a different kind of shape.
| | 04:25 | And then I might do an Alt + drag again, and this star I'll stretch out.
| | 04:32 | And I'll make smaller.
| | 04:34 | And I'll rotate this way.
| | 04:38 | And then I'll hold down the Alt or Option key, I'll take a different
star, and I'll stretch it out and we'll do a little rotation there.
| | 04:49 | And maybe I'll hold down the Alt key again.
| | 04:52 | And if you want you can even take the bounding box and go right through
the zero point and you can get a reflection with the bounding box
| | 05:01 | and there's a star the other way.
| | 05:04 | So I've gotten in, just using the bounding box, I've
gotten in various sizes shapes and looks to my stars here.
| | 05:13 | If I where to continue to do that, let me go out, I could fill the whole
sky with stars off of this one shape without ever really changing tools.
| | 05:25 | It's really handy, and that is in fact how I've
done some of the other artwork in this chapter.
| | 05:31 | So, if you want to go through you can go ahead do that, you
get a whole bunch of stars going out in different shapes.
| | 05:38 | On last trick before we go, which has
to do with the bounding box and groups.
| | 05:42 | Now if I have a bunch of things selected, I'm going to drag
around all the stars, you see I get a bounding box for everything.
| | 05:48 | And now if I use the bounding box it will actually turn all the
objects in the group, or actually these aren't even grouped,
| | 05:56 | it'll just turn all the objects that I have selected and
I can drag them all around, whatever it happens to be.
| | 06:02 | If I Group them, let me go ahead and do Group.
| | 06:08 | Now if I select any one of them the bounding box
automatically appears around the whole group.
| | 06:14 | Hmm, but what if I want to select just one?
| | 06:16 | "Hey, I'll just use the Group Selection tool," you say, right?
| | 06:19 | I click with the Group Selection tool but no bounding box.
| | 06:22 | Ah, watch this.
| | 06:24 | If, while that single item is selected, I switch to the regular
Selection tool, I'll get a bounding box around the object I selected.
| | 06:33 | I can move it, click anywhere to De-Select.
I'll click again- it's still part of the Group.
| | 06:40 | So a slick little trick if you need to use a bounding box on part of a
group, use your Group Selection tool, switch quickly to the Selection tool
| | 06:49 | and you'll get a bounding box only around what you had selected.
| | 06:54 | And the last bit, if you have one object
that you've been messing with quite a bit.
| | 07:00 | So let's suppose it's this one, and I've got a bounding box around it.
| | 07:05 | I select in the wrong spot. We'll click again, we'll go back to the
Selection tool and I do all sorts of weird stuff to it. I stretch the star
| | 07:16 | and I scrunch it in and I twist it some more and
I get my bounding box at some really weird angle.
| | 07:22 | I can always go up to Object, Transform, and there's
Reset Bounding Box. It will not move the object
| | 07:30 | but it will square off the bounding box around it again.
| | 07:33 | Why it's not under the View menu, I'm not so sure.
| | 07:36 | Maybe it's because they figure if you're going to transform it that much
with the bounding box, you ought to use the Transform tools themselves.
| | 07:43 | And we'll talk about those in the transform chapter.
| | 07:45 | So go ahead and have some fun with the stars and fill the sky
with stars just using rotations and copies with the bounding box.
| | Collapse this transcript |
| Rulers and Guides| 00:00 | >>So there are times when you are working with Illustrator where
you are going to want precision placement of particular objects,
| | 00:06 | and there are a couple of ways you can do it.
| | 00:08 | One of the things you may be familiar with from other
programs is the ability to have rulers on the screen,
| | 00:14 | and to create some guides based on those rulers.
| | 00:17 | You can do that in Illustrator too, with View, Show Rulers.
| | 00:21 | It is also Command or Ctrl + R, and the rulers appear.
| | 00:26 | Now, the rulers give you a position of your cursor, and you can even see
as I move my cursor around up here near the top of the screen now right
| | 00:34 | above the cursor, you can see the position of the cursor.
| | 00:37 | I am at four and a half inches on the
page, five inches to the right on the page.
| | 00:44 | And if you look over on the left side of the screen,
you can see there is the position right there as well.
| | 00:51 | And if I were to take an object, let us say I click
this object, you can see the position of that object,
| | 00:59 | but it is really the position of the cursor.
| | 01:02 | So right now, that is about the center of the object.
| | 01:04 | If I grab from the corner, see now the position is
again the cursor, it is up by the corner of the object.
| | 01:10 | So it is not really helpful when you are
dragging something around to place it.
| | 01:13 | What is much more helpful there is to use a guide.
| | 01:17 | So, we want to take this text down here, and we want to put
it in just the right place in the lower corner of our page.
| | 01:25 | We will do that with some guides.
| | 01:26 | We will come over to the ruler, and if you click and
drag from the ruler, you will see this vertical line come out,
| | 01:35 | and it stretches all the way up and down the page.
| | 01:38 | I can position the line exactly where I want to.
| | 01:41 | Let us suppose I want to put it in about three
quarters of an inch from the end of the page.
| | 01:46 | Then I release.
| | 01:48 | And now I get this blue line, and you
will find, you cannot select it by default.
| | 01:54 | So there is no risk of me moving this guide around.
| | 01:57 | I can do the same thing from the ruler at the top of the
screen, and drag downward, and I will get another guide.
| | 02:05 | Here is the bottom of the page, so if I want to come up, there is
three quarters of an inch from the bottom of the page.
| | 02:13 | I will line it right up and place.
| | 02:15 | Now I have a crossing point.
| | 02:19 | I want to take this text and bring it down so that
it places right on the guide in the right spot.
| | 02:26 | So I will click the text, and I will drag down.
| | 02:29 | Now you will see an interesting thing
happen. Watch my cursor as I am dragging.
| | 02:33 | When it crosses the guide, the cursor changes to a hollowed-out pointer.
| | 02:38 | And now I know that my text is sitting right on the guide.
| | 02:42 | I can now slide it over, and now you can see it
changed again, it even jumped that last little bit.
| | 02:49 | I will explain why in a second.
| | 02:51 | It changed again to a cursor with this plus sign in the middle of it.
| | 02:56 | Now I know that the cursor and the point I was dragging from, right
here, have reached where the two guides cross, and I can release.
| | 03:05 | Now the reason the cursor jumped into position (this is helpful when
you are doing precision dragging) is this View, Snap to Point setting.
| | 03:15 | This means that if I get my cursor within two
pixels of a point, it will jump right to that point.
| | 03:21 | It is a great way to line things up as
you are moving them around on the screen.
| | 03:25 | Now I am going to zoom in up close here,
just to show you something in detail.
| | 03:31 | If you look closely, you will actually
see, I will go back to my Selection tool.
| | 03:35 | Actually, I mean, de-select.
| | 03:37 | The edge of the T is sticking off past the guide, here.
| | 03:40 | When you are lining things up, it is a good idea to make sure
you are getting what you lined up with what you want lined up.
| | 03:47 | When I selected this text, and I dragged it around, and drag
off, if you look right here, this is the beginning of the line
| | 03:55 | that the text is sitting on.
| | 03:57 | This is a little point that is sort of the
anchor; it is like a pinpoint, of the text.
| | 04:03 | And the T actually extends a little bit beyond that.
| | 04:06 | So if I wanted the edge of the T...
| | 04:08 | Boy, it is really close. It's hard to see.
| | 04:09 | If I wanted to, once I had snapped something
into position, I could use my arrow keys,
| | 04:15 | and I could slide this text to wherever I needed it exactly to be.
| | 04:20 | So, you still have that fine-tuning control.
| | 04:22 | If you go to (Command + Zero), or
[Ctrl + Zero], you can see the whole page now.
| | 04:27 | Perfect, just the way I want it.
| | 04:28 | If I don't want to see the guides, I can go to
View, Guides, Hide Guides, and they will disappear.
| | 04:35 | But they are still there for me to use, if need be.
| | 04:38 | And I will click off so that my text is de-selected.
| | 04:42 | If I want them again, View, Guides, Show Guides, and there they are again.
| | 04:48 | If I want to get rid of them, View, Guides, Clear Guides.
| | 04:54 | But before I do that, see this Lock Guides.
| | 04:58 | If I want to move the guides, I would Unlock
them. Now, look at the cursor.
| | 05:04 | See how it got that little black box beneath it?
| | 05:07 | Now I can drag this guide wherever I want.
| | 05:09 | That might be handy if there were other
objects I wanted to line up on the screen.
| | 05:13 | Then when I was done with them, Guides, View Guides and Clear Guides.
| | 05:20 | And they are all gone.
| | 05:23 | Now, just so that there is no confusion, there is another
thing that you will see on here, which is View, Smart Guides.
| | 05:30 | Smart Guides has nothing to do with guides.
| | 05:32 | Smart Guides can be handy. But as I move around,
you can see Illustrator is telling me I am over a path.
| | 05:41 | I am over a path, I am over an anchor right there, which is one
of these points, and we will talk about that with the Pen tool.
| | 05:51 | I just wanted to point it out here, because you may wonder, "Hey, what
about those Smart Guides, or those guides that are even smarter?"
| | 05:56 | Smart Guides is a way of telling you what your cursor
is over at any given point, and all sorts of other fun things
| | 06:03 | when you are doing rotations and stuff, as
to how many degrees and so forth and so on.
| | 06:07 | I actually find it kind of annoying, because it looks like someone
is looking over my shoulder, telling me what is going on.
| | 06:12 | But I mention it here because if you were trying to line something up
and I was dragging this one around, I can get it right from the point,
| | 06:22 | and now you can see I can drag it up and I am on a forty-five degree angle.
| | 06:27 | Or I am on a ninety-degree angle, if I
wanted to slide straight up and down.
| | 06:33 | I am on a ninety-degree angle going this way.
| | 06:39 | Or I can get it lined up exactly to the
anchor point, a point on the edge of a star.
| | 06:45 | So it is another way of figuring out where you are.
| | 06:48 | I will bring it right back to where it was.
| | 06:50 | But it is a little bit more free form if you will.
| | 06:54 | So if you like them, feel free to play
around with them and see what is going on.
| | 06:57 | If not, you can just go back up to the View menu,
and Turn Off Smart Guides, and do it by yourself.
| | Collapse this transcript |
| Arranging and Distributing| 00:00 | >>Now that you have selection down, let us take a look at arranging objects
a little bit, and how you might do that using some of the different tools.
| | 00:08 | We have a whole bunch of stars, a little person, and the
Earth and moon on the right side of the page, here.
| | 00:15 | I actually want to make them into a cool, clean straight
line, rather than this scattered look that is right now...
| | 00:23 | looks pretty neat, but I am going to be using this as part
of telling a story, sort of where we are in the story.
| | 00:29 | I have some tools that I can do this.
| | 00:31 | What I am going to do is take my Selection tool, and
drag around all of the objects, so they are all selected.
| | 00:37 | They are not part of a group, and I know it is not part of a
group, because it says Mixed Objects right now, rather than Group,
| | 00:44 | a single group, selected.
| | 00:45 | So I have a bunch of different objects with
a bunch of different fills, and so forth.
| | 00:49 | You can even tell that they all have different fills, right here, by
the fact that there is a question mark on the Control palette, in Fill.
| | 00:56 | Now, because the Control palette is context sensitive, and is trying
to anticipate my every need, you can see that it has given me a bunch
| | 01:04 | of buttons for alignment.
| | 01:06 | If you do not see all of these buttons on your Control palette,
it is because there is not enough screen space to show them.
| | 01:13 | Use the Control palette Options, in the upper right of the
palette, to remove some of the items from the Control palette,
| | 01:18 | and then you will be able to see all of the alignment buttons.
| | 01:21 | Here I have a button for Horizontally Align Center.
| | 01:25 | So let us suppose I want to horizontally align the center of these objects.
| | 01:29 | Cool. Well that would give them in a straight line, up and down.
| | 01:32 | So I will click on that, and you can see that all
of the objects have aligned into a nice, clean row.
| | 01:39 | I actually can align them several different ways.
| | 01:41 | I could align their left edges.
| | 01:44 | And you can see now the stars have lined up next to the moon.
| | 01:47 | I will even zoom in with my Zoom tool, here,
just so you can see that a little bit better.
| | 01:52 | I can go back to my Selection tool, and I could align them on the right.
| | 01:59 | I can even do some fancy things, I could vertically align the tops of
all of them, and they will all jump together into this little group,
| | 02:05 | because they are all stacked on top of
one another, with their tops all aligned.
| | 02:09 | But that is not really what I want to do.
| | 02:11 | So we will do an Edit, Undo Align.
| | 02:14 | What I really want is their centers.
| | 02:16 | So, we will do a Horizontally Align Center.
| | 02:19 | They are now aligned along a vertical line.
| | 02:22 | And let me go back out so we can see the whole page again.
| | 02:25 | And maybe we will zoom in, just a little bit.
| | 02:28 | I did a (Command + Minus) or [Ctrl + Minus] to zoom out.
| | 02:31 | We will do a (Ctrl + Plus) to zoom in a little bit.
| | 02:35 | And we are just holding down the space bar...
| | 02:38 | Hold down the space bar to give me a Hand
Tool temporarily, drag, and I get it in place.
| | 02:44 | Now you can see I have all the objects selected, but they are
not really evenly distributed between the moon at the top,
| | 02:54 | we will have to zoom up just a little bit, here.
| | 02:57 | Now let me do this, let me take my Zoom tool
and get exactly the area I want on the screen.
| | 03:03 | There we go.
| | 03:04 | Back to my Selection tool.
| | 03:09 | So, I have all of these objects.
| | 03:13 | They are all selected.
| | 03:14 | But I want to distribute them fairly evenly.
| | 03:16 | Well, there are a bunch of other buttons
here that allow me to distribute the objects.
| | 03:22 | So, I want to, here is Vertically Distribute
Center, and here is Horizontally Distribute Center.
| | 03:29 | Gosh, which is it going to be?
| | 03:30 | Let us try Vertically Distribute Center.
| | 03:32 | There we go.
| | 03:33 | It can be a little confusing as to which,
the terminology, at least I get confused...
| | 03:39 | horizontal, vertical, which way things are going to go.
| | 03:42 | If you look at the little icons, it is actually a lot easier.
| | 03:45 | You can see now my stars are distributed, and I will click
off on the side, and I have got almost the effect that I want.
| | 03:52 | The moon and the stars are aligned, but there are a couple of problems.
| | 03:59 | One, they are a little too close to the person, right here.
| | 04:03 | Two, the Earth was not all the way at the bottom
of the page, which is really where I wanted it.
| | 04:10 | When I distributed them, Align moved them all into alignment,
Distribute distributed them between the furthest two objects,
| | 04:19 | the top and the bottom object.
| | 04:21 | And so, let us suppose I want to redistribute them over a large area.
| | 04:26 | I am going to take the Earth and move it down,
and make sure it is near the bottom of that line.
| | 04:31 | The moon is pretty good near the top, I will move it over a little bit.
| | 04:36 | And we will back up a little bit.
| | 04:39 | And now, we will select all of the objects again.
| | 04:42 | I am trying to get it so we can see the whole thing.
| | 04:49 | There we go, that is pretty close.
| | 04:51 | We will go up just a little bit.
| | 04:54 | And now I will do a Vertical Distribute Center again, and you can
see they stretched out a little bit, to distribute between the top
| | 05:02 | and the bottom object.
| | 05:03 | But now the alignment is a little off.
| | 05:05 | I can do Align again, and they are pretty good.
| | 05:08 | But that is still not quite what I wanted, because
the stars are still a little too close to the person.
| | 05:13 | This is where the limitations to the Control palette show
up, and where you might want to use a different palette.
| | 05:19 | So, I am going to go to Window, and there is an actual Align palette.
| | 05:26 | And lo and behold, the Align palette has the same kind
of buttons that you saw up on the Control palette.
| | 05:31 | In fact, let me select all of the objects again.
| | 05:36 | Same set of buttons.
| | 05:37 | And in fact, that is how the Control palette works.
| | 05:39 | What it does is it grabs buttons, some of them but
not all of them, from the commonly used palettes.
| | 05:45 | I say not all of them because actually- see the double
headed arrow, I click on it- there are two more buttons.
| | 05:51 | Distribute Spacing.
| | 05:53 | Well that is what I really want to do, I want to have
the same amount of space between the objects vertically.
| | 05:59 | So I will click this button.
| | 06:00 | And you can see they all shifted again, and
it is clear when I click off to the side.
| | 06:05 | Now you can see that the amount of space between them all is the
same, and it is almost as if the person has replaced one of the stars,
| | 06:13 | as I go through my story, on each subsequent page he might be
a little bit higher in his little journey towards the moon.
| | 06:19 | Kind of a cool effect on the side pages of the book.
| | 06:23 | Now I do want to show you one more key thing, and I use the word
sort of tongue in cheek, with the align both in the Control palette
| | 06:32 | and the Align palette itself.
| | 06:33 | I am going to take the palette a little off to the
side over the white area, it is a little easier to see.
| | 06:38 | All right.
| | 06:38 | Let us suppose I have all these objects...
| | 06:43 | all right.
| | 06:45 | And I want, I am going to zoom out just a little tiny bit.
| | 06:49 | We will use...Minus.
| | 06:52 | Here is Ctrl or Command + Minus to zoom me out.
| | 06:55 | All right, let us suppose I have all my objects, I got them all
aligned, but I realize oh, they are too far over to the right over here.
| | 07:04 | What I want is to move the moon, and now I want
to align all of these objects in the center.
| | 07:08 | But I want them to align to a particular object, to the moon.
| | 07:12 | And so, I am going to select them all.
| | 07:15 | Before I click the Horizontal Align Center,
I am just going to click once on the moon.
| | 07:24 | Now I hit Align Center, and notice they all moved over to the moon.
| | 07:31 | Perfect, just what I needed.
| | 07:33 | Now, let us go ahead and we will Distribute Space again, because
this is what I would have done, and I am going to end up with a mess.
| | 07:42 | Whoa, what happened?
| | 07:43 | Last time, they all distributed space just perfectly,
and this time, they all got lumped together.
| | 07:49 | In fact, you can see there is no space between them at all.
| | 07:52 | Ah, that is not what I wanted!
| | 07:55 | Let me do a (Command + Z) or a [Ctrl + Z} to undo.
| | 07:58 | Not only that, had I done this same thing and now I
tried to vertically distribute, I will get an error.
| | 08:08 | key Object, Selected Object, Spacing Auto, what is going on?
| | 08:12 | I am going to go back a few steps; I want
you to watch what is happening here.
| | 08:16 | All right.
| | 08:17 | Here we are.
| | 08:18 | This is where we started, and I wanted to align everything to the moon.
| | 08:23 | If you were watching closely, you will notice
that this setting actually changed on the palette.
| | 08:28 | I am going to make it change again.
| | 08:30 | Select everything, select a key object, that
is one object I want everything to align to.
| | 08:37 | And there you go, you watched this change to zero points.
| | 08:43 | When it comes to distributing objects, I have
to decide how much space I am going to use.
| | 08:49 | By default, Illustrator uses the furthest most objects, top and bottom.
| | 08:54 | And that means auto spacing, right over here on the palette.
| | 08:59 | So if I have auto spacing selected, I can
get it to distribute objects however I want.
| | 09:06 | I can also tell it evenly distribute a specific amount of space.
| | 09:12 | Like, let us say I only want three points of space between all my objects.
| | 09:18 | I need to give it a key object, too.
| | 09:21 | And I want you to start at this one, because otherwise
it does not know where I want things to end up.
| | 09:26 | There we go; now there is exactly three
points between every single one of these.
| | 09:32 | Got it? That is how it works.
| | 09:34 | It is kind of a cool thing.
| | 09:35 | But it is a good example of how, in a specific palette, there
are additional options that you might not have on the Control palette,
| | 09:43 | but the Control palette gives you the most common ones.
| | 09:46 | Just to set everything back to right here, I will just (Command +
Z). Because that is the kind of effect that I wanted on the page.
| | Collapse this transcript |
| Stacking and Arranging| 00:01 | >>So another kind of arrangement that you
have is the stacking order of objects.
| | 00:05 | That is, how they sit on top of one another.
| | 00:08 | We already saw that a little bit when we were building the
moon, over here, and the various pieces that make it up.
| | 00:13 | I am going to grab the Zoom tool, Z on the keyboard, or just
over on the Toolbox, and zoom in on the swallows in flight.
| | 00:21 | They have these sort of golden threads that our little
character is hanging onto, in order to fly up to the moon.
| | 00:27 | But I actually want them behind the swallows, not in front of them.
| | 00:31 | OK, no problem, you say.
| | 00:32 | I go to my Selection tool, and I can click on any one of these, you see.
| | 00:36 | As soon as the cursor comes over the path, it gets this solid,
filled in box that helps me select just the right thing.
| | 00:44 | So here I have, I have clicked on it, I have
selected it, and now I can go to Object Arrange.
| | 00:52 | This is easy.
| | 00:53 | What we will do, we will just send it backward, right.
| | 00:55 | OK, so we have sent it backward, we click
off, and it did not go behind the bird.
| | 01:00 | Oh gosh, why not?
| | 01:02 | Maybe... maybe we should send it further back.
| | 01:05 | Well, I am kind of an impatient guy.
| | 01:07 | I am going to send it to the very back.
| | 01:09 | And we will click off, perfect.
| | 01:12 | Now it is gone, completely gone.
| | 01:15 | What is going on?
| | 01:16 | I will (Command + Z). What is going on is that every single object
in Illustrator is treated separately, unless it is grouped.
| | 01:27 | And this can create a problem when you are trying to
organize or stack objects, because here is the deal...
| | 01:34 | we will go to F7.
| | 01:35 | That is also the same as Window, Layers, if you want to see the Layers
palette, could have also done a (Shift + Tab) so that I could show it.
| | 01:45 | Here are all these objects, and now if I select any
one of these golden threads, here is where it is.
| | 01:53 | You can see each thread, and I will select a different
one, so you can see, that one is way down there.
| | 01:58 | This one is down here.
| | 02:00 | Each thread is separate, and if I take this thread and I
do an Object Arrange, Send Backward, it sends it backward,
| | 02:10 | but it is going to have to go back one, two, three,
four, five, six, seven, etcetera, etcetera...
| | 02:15 | many, many, many, many objects, until it
gets way down here, underneath the birds.
| | 02:22 | And it will take all day.
| | 02:23 | So I send it all the way to the back. Rather
than Send Backward, I did Send to Back.
| | 02:29 | Well, you know what that did.
| | 02:30 | That put it all the way behind the moonbeam, which I do not want it behind.
| | 02:35 | And in fact, behind the background blue that I have called "Space".
| | 02:39 | So that does not work either.
| | 02:41 | Handy trick: if you want an object to be in front of other
objects, or you want an object to be behind other objects,
| | 02:49 | take the one that you want to be in front.
| | 02:52 | Object Arrange, Send Forward, or Bring to Front.
| | 03:02 | Now, it just came in front of all the objects.
| | 03:06 | It is now at the very top of the stack.
| | 03:07 | If I look over here on my Layers palette, which you can think of
just like cut and paste, here, these are a whole bunch of things laying
| | 03:15 | on my art board, all stacked on top of one another.
| | 03:19 | One of those birds just came all the way to the very top of the stack.
| | 03:25 | And so that is a handy way to get things to the front.
| | 03:28 | Another way of dealing with it is to take a bunch of
objects that you know you want behind some other object.
| | 03:35 | I am going to select, and this is kind of
a clever little selection here, watch this.
| | 03:40 | I am going to select across, and you have to make a box, I am going to
select across all the threads, by just making sure all of them get crossed.
| | 03:49 | Now I will go to Object Group...
| | 03:53 | now they are all grouped.
| | 03:54 | Now that I have that group, I can also easily
move it behind whatever I want to move it behind.
| | 04:04 | So I could take it, and I could do...
| | 04:06 | I am going to do it a different way, here.
| | 04:08 | Let me right-click on it for you...
| | 04:10 | Right-click.
| | 04:12 | There is another, there is a range.
| | 04:14 | Now if I want, I could send it backward,
and you can see it is going backward.
| | 04:19 | But even so, it has got to go pretty far back to get behind the birds.
| | 04:24 | Since I am moving all of them at once, it is not too bad.
| | 04:28 | I can go Arrange, Send to Back.
| | 04:35 | Now it is hidden, but they are still selected.
| | 04:38 | And now I could also do an Arrange, and I could bring it forward.
| | 04:45 | Arrange, Bring it Forward again.
| | 04:47 | And there they all are, under the birds.
| | 04:51 | Another option would have been to select all of the birds,
with single select, and then hold down my Shift key and Select,
| | 05:00 | and I could click on all of them.
| | 05:02 | I could put them into a group, and I could have taken that
entire group, and done a right-click, Arrange, Bring to Front.
| | 05:13 | And that would have taken all of the birds,
and pulled them up in front of everything.
| | 05:17 | So you have a bunch of options, it is another combination of how you would
use things together in Illustrator to get just the effect that you wanted.
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| Outline View| 00:00 | >>Up until this point, we have been working in something called
"preview mode", and it even said so up in here in the title bar.
| | 00:06 | Viewing in one hundred and seven percent,
in CMYK color mode, and Preview, right here.
| | 00:12 | What that means is I am seeing all of the fill and stroke, all
of the paint that is making my art appear as complete artwork.
| | 00:22 | I am not seeing the paths that define
the artwork, unless I click on them.
| | 00:27 | Like, if I go to my Selection tool, and I click on the moon, I can
now see all of the paths that make up the moon, outlined in blue.
| | 00:35 | What it also means is that sometimes there are paths that are hidden,
and I cannot see them, because they are underneath other paths.
| | 00:43 | For example, the moonbeam here is actually going underneath the
Earth, but I cannot see it, because the Earth is in the way.
| | 00:51 | If I want, I can switch to View, Outline Mode.
| | 00:55 | Now I am actually seeing the paths themselves, and none of the paint.
| | 01:00 | So I can see here is the line of the moonbeam,
and where it actually goes, underneath the Earth.
| | 01:06 | This can be really helpful, when you have some very complex
artwork, and you want to be able to get at some of the pieces
| | 01:13 | that lie behind other pieces.
| | 01:15 | It is also helpful if you have something that
is taking a long time to render on the screen.
| | 01:19 | Especially if you are on an older computer, and it is
having trouble dealing with something, a complex image.
| | 01:24 | You can switch to Outline View and all of that paint
goes away and everything reappears much quicker.
| | 01:29 | The last thing about Outline View-
| | 01:32 | I am going to zoom in on the birds, here.
| | 01:34 | It makes it kind of easy.
| | 01:36 | And I will zoom in even a little further here.
| | 01:40 | OK. Now here, I have these birds, and if I switch back to View,
Preview Mode, you can see how the threads go underneath the bird.
| | 01:51 | If I click on the bird, and actually I am going to use my Group
Selection tool, because these are grouped, and I just want to select one.
| | 01:58 | I click on the bird, and it does not matter
where I click in the bird, I get the bird.
| | 02:02 | If I click on the path behind it, I get the path,
even though you can see it is going under the bird.
| | 02:07 | And I will go to View, Outline.
| | 02:11 | Now, if I click in the middle of the bird, nothing.
| | 02:14 | I am not selecting it.
| | 02:15 | I have to get right on the path to click it, because
there is no fill inside, it is just the path.
| | 02:23 | What that means is, now I am clicking within the
constraints of the bird, but it is a little hard to see...
| | 02:29 | I am selecting the thread, the path behind it.
| | 02:34 | And, if I wanted to, I could take that path and move it around.
| | 02:41 | Even though it was behind the bird when I clicked on it.
| | 02:45 | Now I just clicked on the edge of the bird, and it moved the bird.
| | 02:49 | And I can click on the path, and move the path.
| | 02:53 | That is one of the advantages of the preview mode.
I have to click on the actual path in order to select it.
| | 03:00 | It gives me a lot of options for getting at things that are
behind other things, pretty quickly, and adjusting them.
| | 03:07 | You can, if you want, make Illustrator behave
this way all the time, even in preview mode.
| | 03:12 | We will switch back to preview.
| | 03:15 | If you want to do that, it would be under Preferences, which is under
the Illustrator menu on the Mac, or under the Edit menu on Windows.
| | 03:22 | Go to General, and Object Selection by Path Only.
| | 03:27 | If you check this checkbox, then you will have to click
right on the edge of a path in order to select it.
| | 03:34 | So I am clicking on the center of a bird...
| | 03:35 | nothing. I click right on the edge, and I get the path.
| | 03:40 | So there you go.
| | 03:41 | Be sure to go back and un-check this setting if
you want Illustrator to use the default behavior.
| | 03:47 | Just a little detail about Illustrator.
| | 03:50 | Illustrator Preview Mode and Selection by Path.
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|
|
4. Basic ShapesRectangles| 00:00 | I want to thank you for your patience so far in going through setting
up Illustrator, opening files, opening preferences as well as selecting
| | 00:11 | and arranging objects.
| | 00:12 | Now it's time to actually start drawing some objects.
| | 00:16 | So what I have is a file called Tooty, that I, so here's Tooty over here.
| | 00:20 | He looks like he's in the midst of doing something, but
there's nothing around him yet that he's actually doing.
| | 00:25 | It's time to add a little artwork.
| | 00:28 | What we're going to look at now, are the drawing tools.
| | 00:32 | We're specifically going to look at the shape tools, so if
you come up over here to the Toolbox, there's the Rectangle tool.
| | 00:39 | It's also M on your keyboard.
| | 00:41 | If you click on it, you'll get the Rectangle tool which
allows you to draw rectangles all sorts of shapes.
| | 00:46 | But you can see that there's a small black
triangle, just to the lower right of the tool.
| | 00:53 | If you click and hold on the Rectangle tool, you
get a fly out menu with a number of shape tools.
| | 00:59 | Come all the way to the end, there's a little arrow that says tear off.
| | 01:03 | Release the mouse there, and we'll get a small palette with all
of the shape tools available, so go ahead and tear that off,
| | 01:10 | and we'll keep that open for the rest of the chapter, so
you can see all these tools and how they work in unison.
| | 01:16 | The default tool is the Rectangle tool, and that's the one we'll start with.
| | 01:19 | And it works, well, pretty much like you expect one of these tools to work.
| | 01:24 | It gives you a crosshair cursor, and where you want
to start drawing your rectangle, you begin to drag.
| | 01:31 | As you drag, you'll see a preview of the rectangle
shape, as it will appear as you release the mouse.
| | 01:37 | You can make a long skinny rectangle,
or a tall fat rectangle, whatever you want.
| | 01:42 | I'm going to make a long skinny one here, and I'll release the mouse.
| | 01:47 | What you'll see now, are the points now that make up the rectangle,
connected by path segments, and this goes back to the idea
| | 01:54 | of Illustrator drawing everything in terms of points and paths.
| | 01:58 | So you created, using this tool four points and here they are.
| | 02:04 | One, two, three, and four and then Illustrator has connected these
points, connect the dots style, into four, with four path segments
| | 02:15 | and we made a closed path.
| | 02:17 | It has also taken whatever paint settings, that is, whatever fill and
stroke over here on the toolbar, whatever the fill and stroke were
| | 02:27 | when you created the rectangle, were immediately applied to that rectangle.
| | 02:31 | Now, I'm going to switch to the Selection tool right up
here, or V on your keyboard, and click anywhere to de-select.
| | 02:40 | It's hard to tell this has a fill and a stroke, even though
it's de-selected, since it's a black stroke with a white fill
| | 02:47 | on a white background.
| | 02:49 | So let's go to the View menu, and we'll
turn on the grid, so View, Show Grid.
| | 02:54 | This now gives me a kind of a graph paper background,
and it is much easier to see the fill on objects.
| | 03:00 | So now you can see this object is filled with
white, and it's obscuring the grid behind it.
| | 03:07 | If I want to make another rectangle, I'll chose the Rectangle tool on my
keyboard, and I can drag another rectangle, and I'll drag from right here,
| | 03:15 | and we'll give it a little tail for effect.
| | 03:20 | You saw how I started in one corner, and wherever I begin to
drag, that is how the rectangle fills and again I'll switch back
| | 03:28 | to my Selection tool... de-select... and you can here's the other rectangle.
| | 03:33 | Now even though I selected what looked to me to be right on the bottom
of the rectangle, you can see it's showing up a little bit in front
| | 03:42 | of the one I drew before.
| | 03:43 | If I were to draw another rectangle, and
I'll go ahead and do that like so...
| | 03:53 | It would show up on top of the last one.
| | 03:55 | So, as I make these rectangles, they appear
one on top of the other on top of the other.
| | 04:01 | Each new object is drawn on top of the stack, unless you tell
Illustrator to do otherwise, which we'll do in the chapter on layers.
| | 04:09 | So I want them arranged differently.
| | 04:12 | I'll go back to one of the skills I had before in arranging.
| | 04:15 | I'll switch to my Selection tool, I can hold down the Command key
on Macintosh, or the Ctrl key on Windows to do it temporarily.
| | 04:23 | Click on the object I want on top, do a right-click or
a (Control + Click), and there's Arrange, Bring to Front,
| | 04:32 | and then whatever object I wanted will draw on top of the other selections.
| | 04:39 | Now, if I draw something I don't like and I want to get
rid of it, hey, no problem. Switch to my Selection tool
| | 04:44 | and I can delete whatever objects I want and I can go ahead and try again.
| | 04:51 | So let me switch back to my Rectangle tool.
| | 04:53 | I didn't like those table legs, so I'm going to
make some new ones so there's one right there.
| | 05:01 | And I don't want that on the top, I want it on the bottom perhaps.
| | 05:06 | I can do Arrange, Bring to Front, to bring the
first thing I drew on top of the other ones.
| | 05:17 | Now a couple other things about the Rectangle
Tool. I've drawn this table leg.
| | 05:22 | Suppose I want an identical one to put over here? Well,
the Rectangle tool remembers the last rectangle I drew,
| | 05:30 | and if I just click, I will get a window that pops up,
showing the width and height of a rectangle I wish to draw.
| | 05:39 | This is the exact size of the last rectangle I drew, and it's
measured in points right now, and I go ahead and click and there it is.
| | 05:47 | It started from wherever I clicked, and then drew
from there but it's identical to the last one.
| | 05:52 | That's the same kind of effect I could get.
| | 05:55 | The other way I could do it, is to select the rectangle I wanted and hold
how the Alt key or the Option key, and drag and I get another rectangle.
| | 06:09 | The difference between the two techniques?
| | 06:12 | Well take a look real quick at what's happened here...
| | 06:15 | When I copied an object, it put it immediately
on top of the object that came before.
| | 06:22 | I'll move it over so you can see.
| | 06:25 | And see how this rectangle, let me zoon in it'll be easier to see
with my Zoom tool, the rectangle that I had by copying is on top
| | 06:36 | of the first leg I drew, but it's underneath
the table top because I did it by copying.
| | 06:43 | The rectangle that I did by click was a new
object and so it appeared on top of the table,
| | 06:49 | that is it appeared on top of everything else I had drawn.
| | 06:52 | So you can really use either technique
that you want to get the desired effect.
| | 06:58 | So I can actually do a couple of things here.
| | 07:00 | So what I'll do is arrange a little bit, and there's the table leg
that I want and if I were to just click with the Rectangle tool again,
| | 07:09 | I'll get the exact same thing.
| | 07:13 | Switch back to the Selection tool (there's a lot this switching back and forth)
and maybe I'll need to bring the table to the front, so I (Command + Click),
| | 07:22 | or right-click on it, Arrange, Bring to Front
and I want this one in front of that one.
| | 07:30 | You do a lot of this kind of creation and arrangement all at the same time.
| | 07:37 | You can also see how the grid here is helpful for lining up objects.
| | 07:43 | We also talk about alignment in the chapter on selecting and arranging.
| | 07:47 | So here you go, I've got a couple options for my table, and of course
I need to fill in my table top here if I really want the 3D effect,
| | 07:54 | so maybe I'll just get rid of those back legs for a moment.
| | 07:56 | I'll select one, hold down my Shift key,
select the other one and hit Delete.
| | 08:03 | There we go.
| | 08:04 | Just a plain old, two-dimensional table.
| | 08:06 | So that's the Rectangle tool for drawing rectangles.
| | 08:10 | What if I want to draw a square?
| | 08:12 | Let me zoom out a little bit with Command or Ctrl + Minus, hold
down my space bar and that'll give me a temporary Hand tool.
| | 08:22 | Let's drag the table and go back to my Rectangle tool.
| | 08:27 | If I wanted to draw a square, I constrain the Rectangle tool by
holding down the Shift key, and now you can see that no matter
| | 08:33 | which direction I move my mouse as I drag, it's always creating the
rectangle as if I was up in the upper corner, and as soon as I let go,
| | 08:44 | now I have a perfect square.
| | 08:46 | The same thing would happen if I wanted to create a square by clicking,
I click and you can see that's the exact size that I had before.
| | 08:54 | Incidentally, you could change these.
| | 08:56 | Let's say I didn't want a 63, I wanted 65 point or much
bigger, 100 point, and I wanted this to be 100 point.
| | 09:07 | And there it is.
| | 09:09 | There's a 100 point square.
| | 09:10 | But I don't want this square, so I delete it.
| | 09:14 | So there's a square.
| | 09:15 | And if I wanted another one, maybe on top
of this, I could create yet another one.
| | 09:23 | What if I wanted to draw an object you've seen me from
the corner, what if I want to draw it from the center?
| | 09:31 | Well, if I want to draw an object from the center, that's easy too.
| | 09:34 | I'll hold down the Alt key.
| | 09:36 | You can see I get one from the center, in fact, let me
zoom in again to see if you can see this up a little bit close,
| | 09:49 | go back to my Selection tool.
| | 09:51 | There's the center of the object, just marked with a center point.
| | 09:54 | I'll go back to the Rectangle tool, or M on the keyboard.
| | 09:59 | Get where I want it to be right on the center, and when I hold down the
Alt key on Windows, the Option key on a Mac, you can see my curser changes
| | 10:05 | to a draw form center curser.
| | 10:08 | Now as I drag, it draws it right from the center.
| | 10:13 | If I wanted to draw from center AND be a square instead
of a rectangle, I'd hold down Option or Alt AND shift,
| | 10:22 | and now it draws from the center and it's constrained.
| | 10:27 | So you can combine these keys however you want.
| | 10:30 | Incidentally, and this is a good place to point it out.
| | 10:33 | The same is true with the bounding box on the same tools
in terms of constraining things, especially with shift.
| | 10:40 | I've selected by dragging my Selection tool on both these
objects, I've selected them and moved them over just to here,
| | 10:48 | kind of balanced on the edged.
| | 10:50 | And now, you can see I can turn an object maybe I want
it sort of precariously balanced like it's going to fall,
| | 10:57 | I can do that with the Bounding Box Rotation Tool, but if
I have an object and I want to rotate it and constrain it,
| | 11:09 | just as I did with holding down the Shift key so that I got a
rectangle became only a square, holding down the Shift key as I try
| | 11:19 | and turn an object with the bounding box, you see it's
constrained it'll keep snapping to forty five degree increments,
| | 11:25 | where if I let go of the Shift key, I can turn it to anything I want.
| | 11:29 | And this is all on the fly too, so if I'm turning
and I say Hey I want to have constrained 45 degrees.
| | 11:37 | There it is it's forced to 45 degrees.
| | 11:39 | You can probably hear me in the background
there, releasing and the Shift key.
| | 11:43 | The same thing is true with drawing.
| | 11:45 | I could be drawing a crazy rectangle however I want, and then
I hold down the Shift key, and it suddenly becomes a rectangle,
| | 11:52 | or I hold down the Alt key and the Shift
key and it suddenly draws from center.
| | 11:56 | Or I let go of the Shift and let go of the Alt and it draws from
center and it is any rectangle that I want.
| | 12:05 | So you've got a lot of options on the fly.
| | 12:08 | You could even realize halfway through your draw, I
don't want a rectangle here. Hold down the space bar
| | 12:15 | and you could move your half-drawn rectangle somewhere else if you want to.
| | 12:23 | Release the spacebar and start drawing again, and
then when you let go, that's where it appears.
| | 12:27 | I could even make this one on top like it's going to fall over as well.
| | 12:36 | So I've got all sorts of precariously balanced objects.
| | 12:39 | And that's the gist of the Rectangle tool.
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| Ellipses and Rounded Rectangles| 00:00 | >>Now that you've gotten some work with rectangles,
let's take a look at rounded rectangles and ellipses.
| | 00:07 | They're actually related, so we'll take them both at the same time.
| | 00:11 | This is the Tooty file again, and if you still have a bunch of
rectangles and squares on yours, you can select them and delete them,
| | 00:19 | or you can just go up to the File menu here, and do File, Revert.
| | 00:24 | File, Revert gives you a warning like this:
"Do you want to revert to the Saved Version?"
| | 00:28 | You can hit Revert, and it will flop for a moment,
and you'll go right back to the last unsaved version.
| | 00:35 | So you can see what's happening if you'd like, you can also turn
back on Show Grid, and that will give you a background of kind
| | 00:44 | of graph paper to work from.
| | 00:46 | Now Tooty is here, he needs to be juggling some things.
| | 00:49 | S what we'll do, I'm going to take my Zoom tool, or Z on your keyboard, I'm
going to click on the Toolbox, and zoom in on our juggler and the area just
| | 00:59 | above him. So that fills the screen, there we go.
| | 01:01 | Start with the Rectangle tool like we did before,
and go ahead and draw a rectangle-just like so.
| | 01:10 | And there we've got a rectangle.
| | 01:13 | Now I'm going to switch to the EEllipse tool.
| | 01:16 | I'm going to jump over the Rounded Rectangle tool for just a moment,
and go to Ellipse. The rounded rectangle is kind
| | 01:23 | of a combination of the two, the Rectangle and the Ellipse tool.
| | 01:27 | So if you've have the ellipse and the rectangle
down, the rounded rectangle makes a lot more sense.
| | 01:32 | So here we go.
| | 01:33 | I want to draw a kind of juggling club for my friend here, so what
I'll do is, I'll take my curser, I'll switch to the Ellipse tool,
| | 01:43 | it looks like a little squashed circle, it's also L on your keyboard.
| | 01:46 | I'm going to draw another ellipse right over the first one.
| | 01:53 | I'm sorry- right over the rectangle.
| | 01:55 | You can see as I drag, it's the rounded shape.
| | 02:00 | It'll go to any shape that I want, and if
I can get it into position and release.
| | 02:10 | There we go, now we've got an ellipse.
| | 02:11 | And I can go back to my Selection tool, and I can move it
around, and then just like anything else I can resize it,
| | 02:17 | I can move it into position, however I want.
| | 02:22 | You can see they're not lined up particularly well, and the same modifier
keys that exist with the Rectangle tool, work with the Ellipse tool.
| | 02:30 | Just going to take my ellipse and delete it.
| | 02:34 | Switch back to my Ellipse tool, and now I'm going to go, I'm
going to go right over the center and above the object I want.
| | 02:42 | I'm going to hold down my Alt key,
| | 02:43 | which will give me a draw from center,
just like I did with the Rectangle tool.
| | 02:50 | I can get a shape that I want and release,
and you can see that one is a lot closer.
| | 02:54 | I can also make a precision alignment, we'll bring it over with
my keyboard, with my arrow keys, I can use the Align palette.
| | 03:03 | I'm going to select two of these.
| | 03:05 | You'll notice the Control palette up here
gives me some options from my Align palette.
| | 03:09 | So I can Align Center, and so forth.
| | 03:12 | I get the shape that I want, this juggling club, and I can select both
of them by dragging over them with my Selection tool, I can move it around.
| | 03:21 | I can use my bounding box, and I can rotate and there you
go. I've got kind of a juggling club there for my friend.
| | 03:30 | Now, if I want to give him a ball too, that's easy with the Ellipse tool.
Here's a ball, and if I want it to be slightly squashed in one direction
| | 03:40 | or another, I can make it with the Ellipse
Tool, so that it looks like that.
| | 03:44 | Or if I want to make it a perfect circle, I hold
down my Shift key, and there's your perfect circle.
| | 03:53 | So we have a couple different kinds of possibilities
for various objects that are being juggled.
| | 03:57 | And the same thing if I want to start drawing, and I realize OOH!
| | 04:01 | Wait! I want to move that somewhere else.
| | 04:05 | Well, that's certainly do-able as well.
| | 04:07 | I hold down my space bar, and now I can take the half-drawn circle,
move it wherever I want, release the space bar and keep going.
| | 04:13 | I can also just click and I will get the same exact same ellipse I had
before, the last one I drew, or I could make it a little bit smaller,
| | 04:25 | make it say 15 points by 15 points.
| | 04:29 | Just another cool tidbit since we're here, let's suppose for
whatever reason this is measured in points, but I want my circle in inches,
| | 04:37 | I can make it 15 points by 2.5 "IN" inches, and Illustrator will
go ahead, and you saw it briefly when I hit the return there.
| | 04:49 | It switched my inches into points.
| | 04:51 | It did the conversion on the fly for me.
| | 04:54 | And so I end up with my circle.
| | 04:56 | So that's kind of cool.
| | 04:57 | I've got various objects my friend is juggling, one of them is
a little bit out of place, so maybe I'll take my Selection tool
| | 05:04 | and move them up like this.
| | 05:05 | Looks like he's got a couple balls, a
melon, an egg and a juggling club there.
| | 05:12 | The Rounded Rectangle tool, kind of in-between the ellipse
and the Rectangle tool, is kind of a combination thereof.
| | 05:21 | So here's a rounded rectangle.
| | 05:23 | Now, let me hold down my space bar and move it over a little bit.
| | 05:27 | We drag out a rounded rectangle, and you can see I'm getting a rectangle
in general, with rounded edges, and when I release here are the edges.
| | 05:38 | Now I want to move away from Tooty for a second,
and just compare these different objects.
| | 05:45 | The rounded rectangle, the rectangle and the ellipse, because
they are all very similar and if you can understand that,
| | 05:52 | then it will really help with drawing in
general, and customizing objects later on.
| | 05:56 | Ok, so here's a rounded rectangle.
| | 05:59 | Now I'll take a rectangle and then I'm going to go to just about
the same corner and draw my rectangle and I'm going to drag
| | 06:08 | and you can see I'm dragging over the same area and what I'll
do is, I'll take my Selection tool, and just lift it up above.
| | 06:18 | I'm going to go to my Ellipse tool, go to the same
corner, and I'm dragging and I'm dragging an ellipse.
| | 06:27 | We can see how it's filling the same kind of space. In fact,
speaking of space, I'll just hold down the spaceb ar and drag it down
| | 06:34 | and then release my mouse, and then release
the space bar, and it ends up down here.
| | 06:39 | I'm going to switch to the Group Selection tool for a moment here, just
because it's easier to see what's going on-there'll be no bounding box
| | 06:48 | as I do some selections.
| | 06:50 | Here's the ellipse.
| | 06:51 | It's selected and there are one, two, three, four points that make up
this ellipse, just as with the square, or well, that's almost a square.
| | 07:02 | There are one, two, three, four points that make up the square.
| | 07:08 | The difference between the square and the circle, is that we have direction
handles here that are bending the path as it goes between these two points.
| | 07:17 | If you need to see them, you can always
do select object, direction handles.
| | 07:22 | And now we can see the direction handles that bend out this shape.
| | 07:27 | If I try the same thing on the square.
| | 07:30 | Select Object Direction Handles, No Direction Handles.
| | 07:35 | A little bit later in this chapter, I'll actually talk about
adjusting the direction handles so you can make some changes.
| | 07:42 | Now, if I select the rounded rectangle, you can see the
points: one, two, three, four, five, six, seven, eight.
| | 07:51 | Eight points on the rounded rectangle. If I go ahead and do
Select Object Direction Handles, they're very tiny, right there.
| | 08:02 | I'll zoom in on one so you can see it.
| | 08:05 | There we go.
| | 08:06 | Super zoomed-in.
| | 08:07 | Little, tiny direction handles and they're only going out in one direction.
So the path is coming in perfectly straight with no direction handles,
| | 08:15 | then it takes a little bit of a bend between two points, that are shaped
by direction handles, then it takes off perfectly straight again heading
| | 08:22 | for the next point and so on.
| | 08:25 | We'll zoom out with (Command + Minus) or [Ctrl + Minus] on Windows, hold
down my space bar for the temporary Hand tool. Drag up one more, zoom out,
| | 08:37 | and again you can see all the, the direction handles.
| | 08:41 | So that's what a rounded rectangle is.
| | 08:43 | It's kind of a combination of the ellipse and the rectangle,
and because of that you can do some cool things with it.
| | 08:50 | It does go by the same rules, so if you're dragging
out and you hold down the Alt key, it will draw from center.
| | 08:57 | If you hold down the Shift key, it will be forced
to a square, and if you're holding down Alt
| | 09:02 | AND Sshift, which I'm doing right now, it will be
both drawn from the center and forced to a square.
| | 09:07 | The other thing that's cool about it, is I can shift
between a rounded rectangle and a regular rectangle,
| | 09:17 | with my left and right arrow keys.
| | 09:22 | But there's a rectangle, there's a rounded rectangle,
rectangle, rounded rectangle, all off the keyboard.
| | 09:28 | So on the fly, I can do either one.
| | 09:31 | There's the Rectangle tool, you can see I'm hitting, or you can
probably hear I'm hitting my left and right arrow keys.
| | 09:40 | So in a sense, you can draw all your rectangles
if you want, with your rounded Rectangle tool.
| | 09:45 | Let me get rid of that one, and I'll go to temporary Selection
Tool, here with Command or Ctrl, and get rid of this one.
| | 09:52 | Here's the Rounded Rectangle tool and you can see Illustrator's
remember last time I drew one, I was drawing a regular rectangle.
| | 10:02 | The other thing is the up and down arrow
keys change how rounded the corner is.
| | 10:09 | What they call the "corner radius".
| | 10:11 | And I could reduce that, I held it down all the way out all the
way out to a regular rectangle, or I could bend it in like so,
| | 10:19 | and I could go all the way until I get kind of a sort-of
vitamin pill or a race track shape, and then let go.
| | 10:29 | You can see that's gotten to the point where I
have one, two, three, four, five, six points.
| | 10:36 | That is, I have half of a circle, or half an ellipse, a segment
of a rectangle, a half of an ellipse and a segment of a rectangle.
| | 10:44 | So they are all related.
| | 10:46 | All of these tools are still drawing points and halves.
| | 10:50 | They're just doing it quickly for you, so you don't have to actually
tell it where to put the direction handles and where to put the points.
| | 10:58 | Then lastly, the space bar will move
it around just like every other one.
| | 11:03 | If I click, I'll get a window giving me options
for width and height and then corner radius.
| | 11:14 | The corner radius is this distance, right here, and the smaller the radius,
right now it's 56 points, I'll being it down to 10 points and click.
| | 11:26 | You'll see the smaller the corner radius, the
less the curvature on the corner of the object.
| | 11:32 | And that is the Rounded Rectangle tool, and the Ellipse tool.
| | Collapse this transcript |
| Polygons and Stars| 00:01 | >>Here I am back with my juggling friend again and this
time I'm just giving him some balls to juggle because he looks
| | 00:06 | so lonely just not juggling anything at the beginning of every exercises.
| | 00:10 | Right now we are going to move away from rectangles
and circles and go on to some of the other tools here.
| | 00:17 | We got the Polygon tool and the Star Tool.
| | 00:21 | This is the Polygon tool.
| | 00:22 | They are very similar in what they do and
how they operate, so let's take a look.
| | 00:27 | The Polygon tool, if I click on it, allows
me to draw some kind of polygon shape.
| | 00:33 | Let's put some polygons on our friend's clothing here.
| | 00:37 | So we will zoom it on him.
| | 00:38 | He has a kind of boring frock.
| | 00:44 | So if I want to draw a polygon I will start drawing by
clicking and dragging and you can see that it's kind of hard
| | 00:52 | on the blue background. There, you can see the shape of the polygon appears
and I kind of rotate it and resize it, but its drawing from the center,
| | 01:02 | and I let go and I got the final shape.
| | 01:05 | I can click off here.
| | 01:08 | And you can see there is a polygon shape.
| | 01:10 | Let's move that off our friend for a little bit.
| | 01:13 | If I want to draw another polygon, I can draw and resize.
| | 01:18 | If I hold down the Shift key, you can see no matter where I
move my mouse, a flat side of the polygon go towards the bottom.
| | 01:27 | Also, it draws a little hexagon by default, if I want to I can use
my up arrow keys and get more vertices, for more complicated polygons,
| | 01:38 | or I can use my down arrow keys and get a
simpler polygon, all the way down to a triangle.
| | 01:44 | Now, if I hold down the Shift key you really see how there is a flat
side towards the bottom and a pointy side to the vertex towards the top.
| | 01:53 | So there is a triangle I can draw.
| | 01:55 | Maybe I'll take that triangle and
I'll move it over onto our friend here.
| | 01:59 | Now he's got a little triangle on his clothing.
| | 02:05 | And then with the tool I can do whatever kind
of rotations and other types of things I want to do.
| | 02:12 | Maybe I want to give him another triangle over here, I
go back to the Polygon tool and put another triangle.
| | 02:20 | You can see again it always draws from the center, and sometime
you wind up with the trouble of- it's not quite where I wanted it.
| | 02:26 | Well, the Spacebar Tool is really handy here then. You hold down the space
bar while you're drawing, get to the new place where you wanted it to be,
| | 02:34 | and let go, and you got some triangle shape boxes.
| | 02:37 | Now the Star Tool is a little bit different.
| | 02:42 | But it works the similar way.
| | 02:44 | A quick click on the Star Tool over here.
| | 02:45 | And evidently you can see the Star Tool when it change tools on the
File menu here, it changes over here on the main Toolbox.
| | 02:56 | Click here, on the File menu from the Toolbox, and it changes on
the one it was torn off, so you can go back and forth between the two.
| | 03:03 | If I want to draw a star, it works the same way; it's going to drag
always from the center I can rotate the star in any direction I want,
| | 03:12 | and when I get let I get the final star shape.
| | 03:16 | So maybe that is what I want on my friend, instead of triangles.
| | 03:19 | So take these triangles. Hold down the Shift key just like
the second one, and just move it to the side for a moment.
| | 03:28 | I will take a Star Tool and draw some stars. Yeah,
that's cool. I can make them any size I want, in any direction,
| | 03:38 | and put a little one up here, and so there are the basic stars.
| | 03:48 | I can also with the Star Tool make stars that
are different than the sort of standard stars.
| | 03:56 | Maybe I want to have some stars with a lot of vertices on them.
| | 04:00 | Let me draw a star here, and I'll start using
my up arrow key and I'll add vertices to the star.
| | 04:09 | And if I want I could drag a star, I could use my
down arrow key, and it would take vertices off.
| | 04:15 | So there is a six pointed star, and you
see could it's not quite a level star.
| | 04:19 | So it's kind of getting started there, but I can go all the way down to
this fore shape, and if I keep going I will end up with a triangle again.
| | 04:28 | And I can go back to whatever star I want using the arrow keys.
| | 04:34 | Now a little bit of details to what is actually happening
inside these stars, I will go ahead and zoom out,
| | 04:44 | use my space bar to get a temporary Hand tool.. Transfer over
| | 04:47 | and get rid some of these extra stars by selecting them and deleting.
| | 04:54 | Now I go back to the Star Tool. Actually, let
me go to the Polygon tool first, and drag the polygon
| | 05:03 | and we'll make it a hexagon shape. Great, there we go.
| | 05:09 | And then I'll click right next to it, then you remember from
the other tools, when you click you'll get the last shape
| | 05:17 | that you drew with that tool.
| | 05:19 | So this is a polygon, 51 points, and it has six sizes. Well, I can
control it from here, I could make it let say 5 sides and click
| | 05:30 | and I'll get a pentagon with the same distance from the center to
a vertex, that's the radius and then however many points I wanted.
| | 05:38 | I go to the Star Tool, and drag, there's a star, and I'll click, and
we'll get a similar kind of window with the two radio distances now,
| | 05:57 | instead of just one, you remember with the polygon we just have
one radio from the center to the vertex and how many points
| | 06:05 | of vertex, vertices there were.
| | 06:07 | Now I have two radio distances and it's pretty easy to see when
we are in point here that is one is twice as big as the other,
| | 06:14 | radius 1 is the distance from the center to these
points, radius 2 is the distance to these closer points.
| | 06:22 | And then the number of points 5 are how many of each.
| | 06:27 | So really, a star, this 5-pointed star, is made out of 10 points.
| | 06:31 | One. Two. Three.
| | 06:33 | Four. Five.
| | 06:34 | Six. Seven.
| | 06:35 | Eight. Nine.
| | 06:37 | Ten. Five at 66 points from the center, five at 33 points from the center.
| | 06:43 | Click and there is the star.
| | 06:45 | Now If I want to draw a kind of funny shape star, let
me bring this down to maybe just 15 points and click,
| | 06:55 | you can see now I brought in the inner radius quite a little bit.
| | 06:59 | But the outer radius still sticks much further out.
| | 07:02 | The cool thing is next time I drag a star, I
get my normal default from two to one.
| | 07:09 | Let me delete that for a moment.
| | 07:11 | Now there is something you can do if you mean to, but I say it
with a word of caution, if while I'm dragging a star, like so,
| | 07:21 | I decide to hold down the Command key on Macintosh, or the Ctrl key on
Windows and continue to drag, I now only going to drag the outer radius,
| | 07:33 | so I can make whatever kind of star I want.
| | 07:37 | There it is.
| | 07:40 | The issue now though is the next time I drag a star, it remembers
the funny shape star that I had before and not my two to one.
| | 07:51 | Uh oh. And if I just click and I try to make it two to one...
| | 07:57 | 66. 33. Uh whew.
| | 08:01 | Two to one star.
| | 08:03 | Drag. And it is still the messed up star.
| | 08:07 | The only way to reset this is to change
the drag-in selection under my tool.
| | 08:15 | There are some of these stars by selecting them and delete,
and go back to my Star Tool, and here is what you have to do.
| | 08:27 | I started my star right on a gridline here, and what I am
going to do is get inner radius right up to the gridline,
| | 08:38 | now I am going to hold down that Command key and started dragging my
outer radius and I'll get it right to you can see I am now two gridlines
| | 08:50 | up from where I started.
| | 08:53 | This is the closest I can, and let go.
| | 08:56 | Now I've gotten back just to my normal stars, and if I really want to be
precise, I could zoom in or do a Snap To Grid, so my cursor is forced
| | 09:09 | to do these gride lines, I can get it back exactly the way I wanted it.
| | 09:12 | I just say word of caution, if you do use that Command or Ctrl
shortcut to change the relationship between inner radius of the star
| | 09:22 | or outer radius, you have to get it back manually.
| | 09:25 | But nonetheless, it is a very cool tool.
| | 09:28 | It works the same way as the Star Tool and the Polygon tool
| | Collapse this transcript |
| Editing Points| 00:00 | >>So, we've gone through the basic shape tools on the Shape Tool palette
up here: rectangles, rounded rectangles, ellipses, polygons and stars.
| | 00:08 | There is also another tool called the Flare Tool which
I'm actually not going to talk about particularly.
| | 00:13 | It is for drawing lens flares and it's kind of a
tool in and of itself for a very specific task.
| | 00:20 | It draws a whole bunch of shapes and points, sort of a more advanced
tool that works with photographs, and we may take a look at later
| | 00:27 | when we're looking at effects and raster images, but the basic shape tools
that are up here, are ones where Illustrator is drawing the points for you
| | 00:39 | that create a shape that you want to draw.
| | 00:43 | Now if you want to actually go back and custom edit those points,
you're going to need to use a combination of the Shape tools
| | 00:50 | and the Direct Selection tool.
| | 00:52 | That's what we'll do now.
| | 00:54 | Go back to my Rectangle tool.
| | 00:56 | I'm going to go back and create a table for our friend here again.
| | 00:59 | I'm just dragging out a rectangle for the top of the table, and I
need to drag out a rectangle for the leg of the table, and there we go.
| | 01:12 | That rectangle for the leg I want behind the other rectangles,
so I'll hold down my Command key or Ctrl key in Windows,
| | 01:21 | gives me a temporary Selection tool, I'll
click on the thing I want to change.
| | 01:26 | I can do a right-click for Arrange, Bring to
Front, there we go, it's in front where I want it to be.
| | 01:33 | I'll switch back to my Selection tool, select the table leg, and
I can hold down the Alt key or the Option key on the Mac and drag
| | 01:43 | and I'll get another table leg.
| | 01:45 | I can hold down the Shift key, select two table legs, once I clicked
on, had one selected, held down Shift and clicked on another.
| | 01:53 | I'll hold down the Alt key again, or the Option
key and drag and now I have the other table legs.
| | 02:04 | OK, so I've got these table legs that's kind
of a little 3D-ish, but the tabletop is 2-D.
| | 02:10 | So, I want a tabletop that I'm actually able to see.
| | 02:14 | Go back to my Rectangle tool, and I'm going to go approximately to the
corner of the table and I'm going to drag a rectangle. I'm not going
| | 02:24 | to worry about its size particularly.
| | 02:26 | I'm going to drag it like so.
| | 02:30 | Alright, so here's my table top and it's sticking
way up in the air and that's not what I need at all.
| | 02:34 | Well, now I'm going over to the Toolbox and
choose the Direct Selection tool, right here.
| | 02:41 | The Direct Selection tool looks like the regular
Selection tool, except it is hollow on the inside.
| | 02:47 | It's also A on your keyboard, which is a really handy thing to have
because you can quickly switch between the regular Selection tool
| | 02:53 | (which would select an entire object) and move it around just
like so. Or you can hit A and get the Direct Selection tool.
| | 03:01 | You'll notice the bounding box disappeared, and the
Direct Selection tool is a little bit different.
| | 03:07 | If I click in the center of an object with the Direct Selection tool, it'll
move the whole object so long as there's a fill so its pretty much the same
| | 03:14 | as the Selection tool that way, but I'm going to
click off in space to de-select, watch the cursor.
| | 03:20 | See how the Direct Selection tool has a solid dot next to it.
| | 03:24 | That means I'm going to select the whole object
or at least multiple points of the object.
| | 03:29 | I come right here where I'm going to select part of the
object, I have a solid dot again, but I'm on the path segment,
| | 03:37 | that is I'm on the edge of the object.
| | 03:40 | Now, if I click and drag, I'm only moving that segment of the path.
| | 03:47 | And, you can see how Illustrator is actually
creating a different shape as I drag it.
| | 03:57 | Let me zoom in so you can really see this up close because of my Zoom
Tool, or Z on the keyboard, drag around and go back to the Selection tool.
| | 04:05 | I can click off anywhere to de-select, click to select again, and
drag, and I'm dragging the segment between these two end points.
| | 04:18 | And, in a sense what I'm really doing in Illustrator
is I'm really moving the two end points themselves
| | 04:26 | and Illustrator's redrawing the shape between them.
| | 04:30 | Now, I can also select a different path segment and bring it over closer.
| | 04:36 | And, if I want to, I could select just a point.
| | 04:39 | Now, watch the cursor change again.
| | 04:41 | Again, with the Direct Selection tool it's helpful sometimes to
click off to the side, and you'll get that cue of the cursor again.
| | 04:48 | This would select the path segment and it looks like I
lifted it up a little bit, so I want to bring it down.
| | 04:57 | But, I can also select and see the open
cursor right next to the head there.
| | 05:02 | Take a look.
| | 05:02 | This point is now selected.
| | 05:04 | See how it's a solid dot whereas this one, this
one, and this one, the other three are not selected.
| | 05:12 | If I drag just the selected point, I move only that point.
| | 05:19 | And, so I can make the shape anything I want and Illustrator will again
redraw as necessary to make it look the way I want to finally look.
| | 05:29 | Same thing if I want to do kind of the corner of the
table over here, I could drag out a rectangle like so,
| | 05:36 | switch back to my Direct Selection tool, need to de-select and then click
to select, drag up and now I'm moving a path segment, and there we go.
| | 05:51 | Now I could be very precise and clean this up a little bit.
| | 05:57 | Or, I could use the arrow keys on my keyboard
and get some precision motion that way as well.
| | 06:03 | I can move this point in or out or down
using the arrow keys on the keyboard.
| | 06:15 | So. I have lots of options for moving these points around.
| | 06:18 | And, that allows me to create any kind of custom shape I want
and then I can do some fine-tuning on the table legs, perhaps,
| | 06:26 | so that I get a perspective similar to the one I just created, like so.
| | 06:36 | And, that's still not quite right.
| | 06:40 | Table leg needs to be much more in the corner, and this one, too.
| | 06:51 | That's a little closer, works for our kid's book here.
| | 06:56 | I'm going to hold down the space bar and drag down the table a little
bit just so that you can this in a slightly more radical fashion.
| | 07:03 | Here is the Star Tool I've chosen.
| | 07:06 | Let's get a star here that's going to stand on the table and make
him pretty big, hold down my space bar because I want to move him up.
| | 07:14 | And our star will stand right there.
| | 07:18 | Now, there's the basic star.
| | 07:20 | If I want to change that star a little bit.
| | 07:21 | I can go to the Selection tool and again, watch the cursor, it's your
most important cue here, I can now choose one point and move it around
| | 07:33 | and really change the shape of this star, like so.
| | 07:41 | I can also, with my Selection tool, I
could drag around more than one point.
| | 07:48 | You see I dragged a marquee, this little
rectangle, and I selected two points.
| | 07:53 | Now, I'm going to move them and you can
see Illustrator is changing the two points.
| | 08:00 | It's moving them together, but keeping all the other points still.
| | 08:06 | So, I could move that one up.
| | 08:07 | I could take the center of the star here, single point, move it up.
| | 08:14 | I could also, if I need to, select a number of points and move
them at once, I can select a point and let's suppose I want,
| | 08:22 | let's suppose I want to make the star a little narrower.
| | 08:25 | I'll select this point, and I'll hold down my Shift key,
select a second, third, fourth, and we'll leave that point be.
| | 08:35 | I can now slide and I've made the whole thing narrower.
| | 08:43 | I can also, if I have kind of a weird series of points I want to
select, use the Lasso Tool, which is kind of like a funky version
| | 08:53 | of the Direct Selection tool, and I can
select around a series of points, like so.
| | 09:01 | Now, I'm just going to watch what happens here.
| | 09:05 | You see I selected all of these points, but I
also crossed the path segment on this table.
| | 09:14 | So, watch what happens when I go to my Selection tool and begin to move.
| | 09:19 | I'm now moving a bunch of points, but I'm also moving a path segment below.
| | 09:25 | Uh oh. That's not quite what I had in mind.
| | 09:27 | If you do run into trouble you can always [Ctrl +
Z] or (Command + Z). I still have those points selected.
| | 09:34 | Remember I can still hold down the Shift key with my Direct
Selection tool and click on something and de-select it from the group.
| | 09:41 | Now I can go back and I can move points
around exactly the way I want them to.
| | 09:50 | And, I can tweak and fine-tune my shape however I want.
| | 09:55 | I want to do one other thing for you.
| | 09:58 | Let's suppose that I was trying to move this top point and I missed
and I selected right on, let's see, deselect it, there we go.
| | 10:06 | I wanted to hit this point, I missed, and I hit the whole triangle.
| | 10:10 | I tried to move - and I'm getting a path segment, that's not uncommon.
| | 10:15 | Just go ahead and undo it. Because I don't have a point
selected I can get away with just selecting the point-
| | 10:23 | I was trying to get a second one and I missed,
and I caught the whole shape, there you go.
| | 10:29 | The easiest thing to do is to de-select, go back, select the points
that you're actually trying to move, and move them, like so.
| | 10:39 | And, so that's the Direct Selection tool.
| | 10:42 | This little star waving at us needs some eyes and a mouth, I think, and
we'll go ahead and look at that with the Direct Selection tool and editing,
| | 10:52 | not just points but direction handles, in the next movie.
| | Collapse this transcript |
| Editing Direction Handles| 00:00 | We are picking up from where we were last time.
| | 00:02 | We did some editing of points, created a table quickly with a
little more depth that we could tweak and make better if we wanted,
| | 00:09 | and also we took a standard star and moved some points
around and now have a star that's beginning to wave.
| | 00:16 | But waving stars are sort of hard to tell --
you can just sort of see that because I said so.
| | 00:21 | We need to give him a little bit of a face.
| | 00:23 | In order to do that we're going have to not only edit some
points, but we'll actually have to edit some direction handles.
| | 00:28 | So I'm going to start by choosing my Selection tool and I'll select
the star and make him a little bit bigger here -- there we go --
| | 00:37 | and we'll move him a little bit more to the center
of the table and maybe even rotate him down a little.
| | 00:44 | There, that's kind of what I needed.
| | 00:46 | Now I'll take the Zoom tool -- Z on the keyboard
or the magnifying glass -- and zoom in on the star.
| | 00:51 | And let's start with some basic ellipses.
| | 00:55 | I choose the Ellipse tool and right about here on the star -- it's
hard to tell when you drag from a corner where you want a shape to be.
| | 01:03 | Here's a good example -- I want the center of the eye to be right
about here, so I'll hold down my Alt or Option key and start dragging
| | 01:11 | and drag out roughly the shape I want.
| | 01:15 | And, in fact I'm going to zoom in even further.
| | 01:20 | You can really see this up close - good.
| | 01:22 | And, my Direct Selection tool, click off to the side, click in the center
and I can drag this object around and get it fine-tuned the way I like.
| | 01:32 | Now, if you remember from before, when I wanted to get direction
handles, I was able to go to Select, Object, Direction Handles
| | 01:42 | and now I can see all the direction handles on the object.
| | 01:45 | You can also see now that the points associated with
the direction handles in the center are not selected.
| | 01:53 | They're hollow.
| | 01:53 | They're empty.
| | 01:55 | That is just a perfect opportunity for me to jump up and select one.
| | 01:59 | So I did. I selected a single point.
| | 02:01 | Interesting thing has happened.
| | 02:03 | I had this point selected and you can see
the two direction handles off of the point.
| | 02:08 | Illustrator is also showing me the relevant direction handles
if you will -- the handles coming from other points --
| | 02:15 | they're not selected, but as I move my selected
point, the paths are going to change --
| | 02:22 | the shape's going to change and these handles will influence that path.
| | 02:26 | So, Illustrator is showing me so I can see it.
| | 02:29 | So I drag this up now, I get kind of a egg shape
to the eye here and I can take this other point,
| | 02:41 | I can select it and you can see the selected handles have changed.
| | 02:44 | I can maybe drag it down over to the side and so
now I've gotten a very different kind of shape.
| | 02:51 | Now if I want another shape - a similar one on the other side for an
eye - I can go ahead and drag and, there, I dragged from the center
| | 03:03 | but I forgot to hold down my Alt key so I
ended up in a different place - no worries.
| | 03:07 | I'll just hold down my space bar, move the eye up and I can go back to the
Direct Selection tool now that the object is still selected. So if I were
| | 03:18 | to select any of these points -- see I'm not getting my
direction handles because the whole object is selected.
| | 03:24 | Easiest way around that is to click off the object somewhere, come back
and click on it, and now you can see that I've selected a path segment
| | 03:31 | and there are the two points, but neither one is selected now.
| | 03:37 | I want to move a whole point -- can move like so -- in
or out, could move down, and I could move this one up,
| | 03:50 | and I could do all sorts of other interesting things.
| | 03:54 | Now if I move a path segment with a curve, just want you to watch the
direction handles are changing to match where I'm trying to pull this curve
| | 04:11 | so I can actually change the whole shape of the curve.
| | 04:13 | Then, of course, if I get something that's a little too big or a little
too small, I can switch to my Selection tool -- I get a bounding box --
| | 04:23 | and I can resize it however I want to go.
| | 04:28 | Switch back to my Direct Selection tool,
I can go right back to editing curves.
| | 04:37 | So that's kind of roughly the shape I want.
| | 04:39 | Maybe I want to bring this one down a little bit -- that's a little too
much -- now if I want to, I can also move the direction handles themselves
| | 04:50 | and you can see both sides are moving and
I can change the whole shape of the curve.
| | 04:59 | I can click here and I could take a direction handle --
I could pull it out -- make kind of a really demonic eye.
| | 05:09 | I can pull it back.
| | 05:10 | I can twist in really weird directions - like so --
anything I want to do to change the shape of the curve.
| | 05:23 | That's kind of idea that I had in mind there for the two eyes.
| | 05:27 | I think what we need to do is give it some center.
| | 05:32 | So there's where the, where the pupil will be.
| | 05:34 | I'm going to play a little trick over here on the Tool palette.
| | 05:39 | Here is the Swap, Stroke and Fill and I'll
quickly put black in the center for the fill.
| | 05:45 | There's still a white stroke around the outside.
| | 05:48 | I want to get rid of that stroke around the outside.
| | 05:50 | I can click the stroke over here - bring it to
the Forward and click None and make it go away.
| | 05:56 | I can also see that it brought up my Color palette,
wondering if I wanted to add lots of colors to that.
| | 06:01 | We'll look at in color chapter.
| | 06:03 | We'll do a (Shift + Tab) and (Shift + Tab) again (we talked
about that earlier) to hide a bunch of Tool palettes.
| | 06:10 | Go back to my Selection tool.
| | 06:11 | I've got that eyeball selected.
| | 06:13 | I'll hold down my Alt or Option key, I'll drag, copy, click out and
now I've got two little eyes and they're a little bit different.
| | 06:20 | They started as ellipses and I have moved some of the points
around and changed where the handles are to change the shape.
| | 06:28 | Let's look at that a little more radically.
| | 06:31 | Choose my Ellipse tool, my fly-out disappeared when I did my (Shift + Tab).
| | 06:36 | If I want to get it back, I can click and
hold, try to get tear-off, and there we go.
| | 06:43 | Let's go ahead and give it a mouth here.
| | 06:45 | I'll hold down Alt or Option, and now, and this is
something I wanted to show you too, you can see it drew
| | 06:54 | but it drew differently then it did before.
| | 06:55 | I had a no stroke, black fill selected.
| | 07:00 | Up until this point, we've been using kind of a
default -- white fill with a single black stroke.
| | 07:06 | I had something different selected and so it went
ahead and used those setting to use the mouth.
| | 07:14 | That's kind of cool and I actually think I'm going to keep it.
| | 07:17 | I go back to my Direct Selection tool, click off somewhere, but
this is not quite -- he looks a little too worried for my taste.
| | 07:26 | So I'm going to go ahead and click on the top here
in the selected point at the top and drag down.
| | 07:37 | And, I can click in the center, drag the whole thing up if I wanted to and
now you can see that as I dragged downward and keep these points selected,
| | 07:47 | now I have still the same four points.
| | 07:49 | This was an ellipse, but the path is going -- click here so you
can see the direction handle - in fact, I'm going to select Object,
| | 07:58 | Direction Handles -- so you can see all of them.
| | 08:00 | I haven't moved any direction handles, I just
moved the path down, so watch what's happening.
| | 08:05 | It's being bent down by this direction handle.
| | 08:08 | There's coming into this point another
direction handle so it follows the curve.
| | 08:12 | It's now leaving this point and being pulled and up and outward by
this handle, which is making it try and make the rest of the ellipse,
| | 08:21 | but the point is way down here, so it's going up and then turning around --
| | 08:27 | the path's coming down following the imports of this handle though the
point being bent back, out, up, up because this handle's saying go up
| | 08:39 | and then making a sharp turn to come back through the point
down in a normal curve and back towards where it started.
| | 08:45 | So what happens is the end of the mouth over here, I want a
nice sharp corner, and I'm getting this weird bent corner.
| | 08:52 | This is a good time to go ahead and take a direction handle itself and
start sliding it down, and I'm going to bring it down until it's gone.
| | 09:04 | If you being a direction handle all the way into a point, it will
disappear and I now have only a single direction handle for this point.
| | 09:14 | There is none for the other side, but the curve still exists
because of this handle of our slide, this one all the way in,
| | 09:23 | it would become a straight line between these two points.
| | 09:26 | I can do the same thing over here.
| | 09:28 | I can select a point, drag the handle down, and go right into the point.
| | 09:34 | Now if I click off, I've got a much happier sort of shape.
| | 09:37 | I can also select one point, hold down my Shift key, select a
second point -- I've now have two of them selected -- and drag up.
| | 09:49 | And I have an even happier shape.
| | 09:52 | Click off to the side so you can see what's going on.
| | 09:56 | So, now I have changed the direction handles, and the points, and
completely changed the shape to a combination of smooth curves
| | 10:06 | and these sharp corner points or corner curves.
| | 10:10 | Last thing I want to show you is, if I select the point right
here, and I hit my Backspace or Delete key, the point goes away.
| | 10:23 | I now have a shape with a curve, and there is no point
in here, and if you look closely there is no blue line.
| | 10:34 | Interestingly, it's still filled.
| | 10:37 | This is now an open shape because I've deleted a point: one,
two, three points and they're filled almost like a bowl filled
| | 10:45 | up with this black paint center that is filling the path and giving me
a sharp line across the top even though there is no actual path there.
| | 10:55 | Illustrator is just filling in the gaps, if you will. Saying, "Well,
I'm going to make a straight line from this end point to this end point
| | 11:03 | because you decided to fill the shape."
| | 11:05 | If I wanted it to just be kind of a smirk of a smile, what
I want is the paint to follow the path, not fill the path.
| | 11:12 | I'm going to up my little Swap box here -- Swap, Stoke and Fill -- or
(Shift + X) on your keyboard (another handy shortcut) and I'll click it.
| | 11:20 | Now there is no fill, but there's a black stroke and you can
see the paint is just following the curve that I created.
| | 11:31 | I had deleted a point that deleted the two path segments, but it
left the unselected points intact and they ended up with that shape.
| | 11:41 | Then if I need to do any final adjustment on this sort
of thing, I can drag around and selected the whole star.
| | 11:49 | You know, I want to do that with my Selection
Tool, not my Direct Selection tool.
| | 11:53 | It's actually the handy thing about the bounding
box -- you can see it, it's just over here --
| | 11:57 | it tells you if you got the right thing selected or not.
| | 11:59 | I also have the star selected, because I dragged around
everything - and hold down my Shift key, turn off the star --
| | 12:04 | there's the bounding box just around the
eyes, so I know I can move the eyes.
| | 12:08 | I can click off to de-select and I can do a (Command + 0) or a
[Ctrl + 0], and there's a little star on the table waving.
| | 12:15 | So, there you have it -- selecting the actual
direction handles and moving them around.
| | 12:21 | We'll talk about that more when we talk about
the Pen tool and the Convert Anchor Point tool.
| | 12:26 | So if you want some more information, you're welcome
to jump ahead and take a look at those movies as well.
| | Collapse this transcript |
| Lines and Arcs| 00:00 | OK, now you've seen the Shape tools which create filled
or closed, I should say, not filled, but closed, paths.
| | 00:08 | Those would be these tools right here: Rectangle,
Rounded Rectangle, Ellipse and so forth.
| | 00:13 | Let's take a look now at the line segment tools that create open paths.
| | 00:19 | In this case, the points are going to describe a path, but the ending
point and the beginning point are going to be in different places.
| | 00:27 | And, there are a bunch of those tools, too.
| | 00:28 | We'll go ahead and click and hold on the Line tool
in the Toolbox and tear-off the whole palette.
| | 00:34 | We can see we've got a Line tool and Arc Tool. We'll look a those right now
and then some of the other tools for drawing spirals and grids we'll look
| | 00:41 | at in the next few movies.
| | 00:44 | The Line tool is one of the simplest Illustrator tools there is.
| | 00:47 | It creates two points and they're connected by a path segment.
| | 00:50 | So, you click, you drag, you let go.
| | 00:54 | There it is.
| | 00:55 | Point One and Point Two or Point One and the second one's Point Two.
| | 00:59 | It creates that line, connects them with a path and there you have it.
| | 01:03 | You want to do it again, I could just click --
I should get the exact same distance and angle.
| | 01:09 | And, you can see here there's this thing about fill line.
| | 01:12 | For the most part we don't bother filling lines because
you're not going to see a fill on a 2-point line like this.
| | 01:20 | It's not 2 points wide, but just made from two points because there
has to be some curvature in the path in order for fill to even show up.
| | 01:28 | Or there has to be three points or four points or
five points, more than two for that fill to appear.
| | 01:34 | You can fill a line and if you later edit it
to bend, then your fill will suddenly appear.
| | 01:40 | I usually just leave it blank.
| | 01:42 | We hit OK and we can see we've got the same basic line over here.
| | 01:45 | Now, if I want to, I can actually kind of
sketch really quickly with the Line tool.
| | 01:51 | I can do some drawing -- and that's a little too close to the edge for me.
| | 01:56 | So, I can go ahead.
| | 01:57 | I can move the lines around just like so -- could click --
they're just objects like any other object in Illustrator.
| | 02:05 | I can kind of drag and move around.
| | 02:06 | And, go back to my Line tool and drag again
right here, and maybe I'll drag again right here.
| | 02:16 | I can drag down. I'm just going to quickly sketch a little table
and something that's kind of cool with Line tool, if you release
| | 02:24 | and then click again right where you were before.
| | 02:26 | You pretty much start drawing a line right where your other line left off.
| | 02:30 | Now, this looks like it might be sort of a filled shape in here.
| | 02:35 | It's not. I can't fill this area with
color using the standard Illustrator tools.
| | 02:41 | However, the Live Paint Tool which we'll see in a later movie, can fill
these kind of shapes and gives you a whole new ability with sketching
| | 02:49 | with things like even the Line tool.
| | 02:51 | So, hang on for a little bit or skip ahead and you'll see that section.
| | 02:55 | Maybe go ahead and quickly just sort of finish off this little
retro-table here. Bring a line down like that and we'll sketch
| | 03:03 | up a little bit -- like so.
| | 03:08 | Give it some sort of interesting lights and back.
| | 03:10 | And, I want to point out just like with other
shapes, the Line tool is creating just simple paths
| | 03:21 | so with my Direct Selection tool I can edit its
points -- just like I could with other tools.
| | 03:28 | I want to select this point here and I want to move it in.
| | 03:32 | Sure, I want take a whole path segment and move it.
| | 03:35 | No problem.
| | 03:35 | It's just another kind of path.
| | 03:38 | It's created for you with the Line tool.
| | 03:41 | OK, so there's the Line tool.
| | 03:42 | Pretty straightforward.
| | 03:44 | Let's switch over to the Arc Tool.
| | 03:46 | The Arc Tool's also going to create a 2-point object.
| | 03:51 | Again, not two points wide but just made from two points.
| | 03:54 | It works a lot like the Line tool.
| | 03:57 | So, when I click and drag kind of in a straight line, but now you can
see the path going between these two points has a bit of a curve to it.
| | 04:06 | If your arc is drawing in the opposite direction than mine,
tap your down arrow key and reverse the direction of the curve
| | 04:13 | until it looks like what you see on the screen.
| | 04:15 | The default is a convex curve, but if anyone used Illustrator
on your computer, the setting may have been changed.
| | 04:23 | I'll release -- there it is.
| | 04:26 | If I drag on the other side, I'll get a curve going the other direction.
| | 04:30 | See how I can, I can reverse the direction of the curve.
| | 04:33 | And, it's all based on where I start dragging and where I go to.
| | 04:38 | So, there's the other side.
| | 04:39 | I kind of come up here into open space,
so you can see this a little bit more.
| | 04:44 | Here is the curve that I'm creating.
| | 04:47 | The curve goes 90 degrees depending on where I start.
| | 04:53 | You can see I started up at the top point and the curve begins to make
it's turn right away because I'm going straight down with my point.
| | 05:03 | If I were to go out for quite a bit first, then the
curve would be very subtle until I got to this point.
| | 05:08 | If I go out about a 45 degree angle from where I
started, the curve will be directly in the center.
| | 05:15 | I can also change that curve by using my arrow keys.
| | 05:19 | I can down arrow and make the curve much more acute in the corner,
or I can spread it up over the distance between the two points.
| | 05:28 | I can keep going with my arrow keys and
actually reverse the direction of the curve.
| | 05:33 | So, now I'm curving in the other direction.
| | 05:36 | Just like all the other tools, I can go to my space bar, and
while I'm drawing, kind of move it to a new position which allows me
| | 05:42 | to adjust even more on the fly -- and get
just the kind of curve I'm looking for.
| | 05:48 | I can release, and I can drag a second curve
-- that's a little off from where I wanted it to be.
| | 05:56 | So, I'll use my space bar and move over,
and there's the curve I want there.
| | 06:03 | I could start another curve right here.
| | 06:06 | These are all arcs, I should say.
| | 06:09 | Again, I can adjust with my arrow keys and get just what I want.
| | 06:14 | But there's no way, you'll know, that I can create
something that's more than a 90 degree turn.
| | 06:21 | Like here -- I kind of want something that
looks a little more than a 90 degree turn.
| | 06:26 | I'd have to draw one arc, and then draw the other one, and I can
reverse my curve again to give me the other side of the turn --
| | 06:38 | and maybe something like that.
| | 06:43 | So now I've got these four objects and I can select all of them
together, but you'll see that they are four separate objects.
| | 06:52 | And, they were all four separate arcs, but I could take them all together.
| | 06:56 | I could move them around.
| | 06:57 | I could resize them as a group.
| | 07:00 | I could, in fact if I wanted to, also group them --
Object, Group -- or I could right-click and do a Group.
| | 07:18 | And, in this way, I've created this kind of sketched out fan blade and now
if I really wanted to, for fun, I could hold down my Alt, or Option key --
| | 07:31 | there we go -- got to get the corner.
| | 07:35 | Now, I've made a copy.
| | 07:36 | I could rotate it holding down the Shift key, and we'll just do that again
here, rotate holding down the Shift key, and we'll drag it over,
| | 07:55 | position, and take one more. Alt, rotate holding down the
Shift key so it's 90 degrees, and I'll put it right here.
| | 08:05 | I did this just to show these again have no fill in them.
| | 08:09 | This fan blade is not blocking out the stem
of the fan, so I have just sketched something out --
| | 08:18 | I haven't filled it and gotten the shape quite the way I wanted to.
| | 08:22 | But it gives me the rough of what I'd like. Hey, just to finish
it off, I can go with my Ellipse tool and go in the center of the fan,
| | 08:30 | hold down Shift, and hold down Alt, and draw
from center, and there's the center of the fan.
| | 08:39 | Now, this shape is a closed shape.
| | 08:43 | It's capable of taking a fill.
| | 08:45 | So, we'll go ahead and fill it.
| | 08:48 | And there you go - you've got a basic fan.
| | 08:51 | Now there are ways to finish off these kinds of shapes and fill
them, but it is something you'll see when we get down to Live Paint
| | 09:00 | and editing shapes as well as fills.
| | 09:04 | One more thing before we leave this movie. If you take the Arc
Tool and just click it, you'll get a whole bunch of options for it.
| | 09:14 | There is a possibility to make a closed arc as well
as the different sizes the arc where the starting point is.
| | 09:25 | So where the number one point is that you're dragging from, this
slope of the arc, whether it's a concave or convex arc,
| | 09:31 | this is what I was actually changing when I used my arrow keys.
| | 09:35 | But let me just do a closed one for a
moment so you can see the difference.
| | 09:39 | There's a closed arc and this one was closed on this
side, so it could be filled with the shape if I wanted to.
| | 09:53 | I filled with a color.
| | 09:54 | I wanted to switch it and let's swing this
along in this direction -- there we go.
| | 10:03 | Now I change the concavity of the arc to being the other direction.
| | 10:08 | I now have a filled shape again because Illustrator took the
arc that I drew and then added this third point right in here,
| | 10:16 | so it's just another way that you could create arcs.
| | 10:20 | So, there you have it -- the basic Line tool and the Arc Tool.
| | Collapse this transcript |
| Spirals| 00:01 | A tool that you have in your Illustrator Toolbox that
you don't need all that often, but when you need it boy,
| | 00:07 | it's just the thing, is the Spiral Tool.
| | 00:11 | The Spiral Tool is over here near the Arc Tool. We can click on it.
| | 00:16 | And what the Spiral Tool does is it draws, well, a spiral.
| | 00:19 | And what happens if I click and drag, it starts the spiral right
at the center, and as I drag out, Illustrator's creating a path
| | 00:29 | that goes spiraling outward to wherever I release the mouse.
| | 00:33 | You can see it's creating points basically every ninety degrees
of curvature of the spiral and the appropriate direction handles,
| | 00:41 | but they're getting less and less of a curve each time as it goes outward.
| | 00:47 | Now the spiral itself can also be filled
with a color, or it could just be empty.
| | 00:53 | Right now I had the black stroke and no fill selected.
| | 00:58 | I can go ahead and give it a white fill but that's not really telling.
| | 01:01 | So I'll click for a moment over here, and let's go with
a night blue fill. No, we'll go with periwinkle, there we go.
| | 01:09 | So you can see over here, the Spiral Tool - (Shift + Tab) a couple
of times, make that go away - the fill on it fills this inner space,
| | 01:21 | and now this is an open shape that's kind of a weird one.
| | 01:24 | The fill will run all the way up to the
last point, and then Illustrator will go back,
| | 01:31 | connecting to the first point in the shape in here.
| | 01:35 | So there's the line that doesn't really exist, but that's how far the fill
will go between those two points, so you can have a filled spiral as well.
| | 01:43 | Let me delete that for a moment, I don't really want it.
| | 01:46 | I'm going to go back to my Spiral Tool, clicking on the Toolbox,
and you can see it was the last Line Type tool I had selected,
| | 01:52 | so it's sitting on top in the Toolbox. I can also get
to it by clicking and holding and choosing Spiral Tool.
| | 01:58 | I'm going to make it no fill, and since it starts at the beginning of the
center of the spiral, I'm going to go right to the center of the fan here
| | 02:07 | and drag outward, and now I'll get a spiral on the fan.
| | 02:13 | But let me zoom in a little bit with my Zoom tool.
| | 02:17 | Up close, we can see this up close, and you can see I didn't get it
quite exactly centered, and it may not be exactly the spiral I want.
| | 02:26 | See there's like an extra little tidbit here
and maybe it's took close in the center.
| | 02:30 | I'm going to delete it again, go back to my Spiral
Tool and look at some of the options I have.
| | 02:35 | As I drag my spiral outward, you can see it keeps
adding turns toward the center of the shape.
| | 02:44 | I can hold down my space bar and move it as I could with other tools.
| | 02:48 | I can also use my arrow keys to change the number of turns
in the spiral, up arrow more turns, down arrow less turns.
| | 03:00 | So maybe I only want about that many turns on the spiral, there we go.
| | 03:05 | Now I have a slightly different spiral.
| | 03:08 | And then there are all sorts of wild things that you can do with a spiral.
| | 03:12 | This spiral started at the center and was turning outward.
| | 03:15 | Maybe I want - let's a little (Command + Minus) to go out a little
bit to the side here- let's just look at some of my options.
| | 03:24 | Here's the spiral as I started it, maybe I want a spiral that goes not from
the center outward spiraling like this, but something totally different.
| | 03:36 | I'm going to drag out, now I'm going to
hold down my Command key, and you watch.
| | 03:42 | Now - and this would be the Ctrl key on Windows - now I can change
what they call the decay on the spiral or how fast it's going from a circle
| | 03:52 | to more of a line shape. See how it's stretching out here?
| | 03:55 | And back in, because I'm holding down the Command key as I drag.
| | 03:59 | Then I could combine the two, Command key and the arrow key, now
I'm making lots more turns. Up arrow, up arrow, up arrow, up arrow,
| | 04:10 | and now I've got this kind of a spiral.
| | 04:12 | And if I drag again, it remembers the settings I had last time.
| | 04:18 | Well I'm going to take out of these
turns here, and you'll see why in a moment.
| | 04:24 | This is what they call the decay - how fast the spiral's changing.
| | 04:28 | I'm going to hold down the Command key and I'm going to go
right to the center, and you can see as I cross sort of the line
| | 04:34 | where it becomes a circle, now my spiral is
starting from the center and it's going outward.
| | 04:39 | And now I can get this really kind of wild effect here.
| | 04:43 | So this is a decay where the spiral is getting
larger and larger and larger with each turn.
| | 04:50 | So that's a whole another option that I have with the spiral
tool, and I can get some real psychedelic effects out of all that.
| | 04:56 | I'm going to select all those spirals and Delete.
| | 05:00 | There's one thing I can't do with any keyboard modifier. Click
back to the Spiral Tool, and let me spiral back in again.
| | 05:12 | There we go.
| | 05:14 | The one thing I can't - I can't even seem to get back to my regular
spiral here, and I can't make a spiral that goes in the other direction.
| | 05:26 | I can fix all of these things by just clicking with the Spiral Tool.
| | 05:31 | All right, here's how a spiral works.
| | 05:34 | It's defined by a radius, and then the decay
is how big the next turn is going to be.
| | 05:42 | If the decay was 100%, I would make a circle.
| | 05:45 | If it's greater than 100%, then I make a spiral that
gets bigger and bigger and bigger and bigger each time.
| | 05:51 | If it's less than 100%, it's smaller and
smaller and smaller, and the default was 80.
| | 05:57 | Let me also make this about 12 turns, and right here, this is
the only way that you can reverse the direction of the spiral,
| | 06:07 | by clicking and changing right there.
| | 06:09 | Now it's going to make a new spiral for me, and now you
can see I'm back to the kinds of spirals I had before.
| | 06:14 | I can even connect them and make a cool kind of S shape.
| | 06:18 | But if you look at the spiral that I first made, and the
new spiral, look how it's going in the opposite direction.
| | 06:26 | Again, the only way I can switch this is by reflecting it with a
Reflect Tool, and you'll see that in the chapter on transformations,
| | 06:34 | or by clicking, choosing the spiral in the other direction, getting
one, and now all the spirals I draw will be in the other direction.
| | 06:41 | So there you go, the Spiral Tool, kind of a cool nautilus shape,
and might be just the thing to add a little motion here on our fan.
| | Collapse this transcript |
| Grids| 00:00 | >>The Grid Tools - the Rectangular Grid Tool and the Polar Grid
Tool are again tools that you won't use all that often necessarily,
| | 00:09 | but when you do they're just the thing.
| | 00:11 | They're found under the Line tool over in the
Toolbox and right next to the Spiral Tool.
| | 00:16 | Take the Rectangular Grid Tool to begin with.
| | 00:20 | When you drag with the Grid Tool, you'll get
a basic grid. It looks like this.
| | 00:25 | If your grid as it appears onscreen has more
or fewer sections than mine, don't fret.
| | 00:31 | It's just a matter of how the last grid was
made, and it doesn't really matter right now.
| | 00:36 | You'll see how to change the number of grid lines in the moment.
| | 00:39 | I'll go ahead and release so you can see what we're looking at.
| | 00:43 | What Illustrator just did was rather than create a single
path as we have with our tools so far, it's created a group,
| | 00:52 | and you can see that group up on the control
palette because the object I've selected is a group.
| | 00:57 | I'll go to my Group Selection tool - that's the arrow with the little plus
sign next to it, and if you look, and I select any one of these gridlines,
| | 01:08 | I'm actually selecting a path and it's
a single line going through the grid.
| | 01:14 | Illustrator made an entire group and then it bound them
on the outside with a rectangle, which was also a path.
| | 01:21 | Then it applied a stroke to all of them and
no fill as you can see over on the Toolbox.
| | 01:26 | You can find out a little bit more about what's going on with the
Grid Tool if we select the Grid Tool and just do a single click.
| | 01:33 | Like all the other drawing tools that we've had we get the options for it.
| | 01:36 | You can see the corner it's going to draw from and its size,
how many dividers in horizontal or the vertical direction.
| | 01:44 | Here is the reason we got a frame on the outside, we'll
uncheck that for the moment so you can see what happens.
| | 01:50 | And we do have an option to fill the grid, this is really only going to
come into play if you have a rectangle frame on the outside because that's
| | 01:58 | where the fill is going to go.
| | 02:00 | You can fill the grid and just have lines, but if you do that
you're not going to see the fill unless you bend some of those lines
| | 02:08 | because they're open paths.
| | 02:10 | So there we go, we've got another grid.
| | 02:13 | And if I go to my Group Selection tool, you can see
this time the outside was not a frame, but it was individual paths.
| | 02:25 | Now if you were expecting something like a tic-tac-toe
board with no frame around the outside, well you can
| | 02:29 | get rid of that because you can always edit the outside paths.
| | 02:33 | See- I can select one and then hit Delete and I can make it go away.
| | 02:37 | So this group that I've created with the Grid Tool is editable, and
I can do whatever kinds of interesting things I might want with it.
| | 02:45 | There you go, it's more open.
| | 02:47 | I can also do a lot of changes on the fly, get
rid of these grids, selecting them and getting rid of them.
| | 02:55 | We'll go back to the Grid Tool and I'll
go down here, I'll just do it this way.
| | 03:00 | I can size my grid, and just like the other tools, I can hold down
the space bar and drag it over to get it just where I want it to be.
| | 03:13 | I can also use my arrow keys now. Vertical arrow key up and
down. There's down. They will change the number of vertical gridlines.
| | 03:21 | The horizontal arrow key I can use to add or remove
lines in the horizontal direction, there we go.
| | 03:32 | So I can have a sort of 4x4 little window here.
| | 03:36 | I also have the option to skew. That's the F and the V key.
| | 03:42 | I can - there's V - skew it in one direction
or centered or the other direction.
| | 03:49 | I also can use the X and the C keys - this is X, this is C - to skew the
grid in another direction at the same time - the horizontal direction.
| | 04:00 | So it's totally up to me. Then when I release
I get the picture - the rough shape that I wanted.
| | 04:06 | And then if I want to make it a little bit prettier,
I had these waiting in the file fanandwindow.ai,
| | 04:11 | I can just kind of put these over the window there in the
back, right-click, Arrange, Bring to Front, and there we go.
| | 04:21 | Looks like I've got to fix a little bit of the fill on this
shape, but nonetheless I now have some transparent curtains.
| | 04:29 | I could fill them out as well and get the shape I
needed for the final effect of maybe a window here.
| | 04:38 | Now that's the Rectangular Grid Tool, and I'm
going to go back and clean that up right now.
| | 04:45 | But if I want to do a polar grid - let me go
ahead and we'll zoom in on the fan, there we go.
| | 04:59 | The Polar Grid Tool creates a grid as well. I'll make
one right next to the fan here so you can see the same thing.
| | 05:05 | I have the same ability to hold down the space bar
and move it around. The Shift key will constrain it
| | 05:11 | and make it a perfect circle on the outside.
| | 05:15 | The other thing I can do is with my up and down arrows I can
change the number of rings on the grid, and with my right
| | 05:23 | and left arrows I can change the number of radial lines as well.
| | 05:29 | So I get it just the way I want it to be and then release.
| | 05:33 | The same thing is true, I'll go to my Selection tool here,
what I have really created is a series of circles or ellipses,
| | 05:42 | and you can see just from the radius outward I've created lines.
| | 05:47 | And if I select the whole thing - there we go, it's a group.
| | 05:54 | So it's a group of simpler shapes that you've created.
| | 05:57 | And again I'll delete that and go back to the Grid Tool. If I wanted
to draw from center say, I can hold down my Alt key and I can hold
| | 06:07 | down my Shift key to make it draw from center and get just the size I want.
| | 06:14 | Now here's a little interesting thing. If you go and try and change
the number of grid lines - see I'm trying to push arrow keys here-
| | 06:22 | every time I push while I'm holding down my
Shift key it's not really doing what I want.
| | 06:29 | So I have to let go of the Shift key and get roughly the number of
lines that I want. I want fewer so arrow in that direction, here we go.
| | 06:41 | Now I can hold Alt or Option and Shift and then draw from
the center again, get it just where I want it, and let go,
| | 06:50 | and instantly I've got a cage around my fan.
| | 06:54 | So there you go, you've got the Rectangular
Grid Tool and the Polar Grid Tool.
| | Collapse this transcript |
|
|
5. Color, Fills, and StrokesAdding Color| 00:00 | >>Illustrator has roughly eight gazillion ways
that you could add color to your document.
| | 00:06 | They have kind of grown organically over time.
| | 00:10 | The very first generations of Illustrator were just for
drawing in black and white, and then color was added,
| | 00:15 | and then further color control was added, and then more palettes
were added, and with Illustrator CS2 we have yet one more place
| | 00:23 | that you can control the color of objects in your art work.
| | 00:27 | What's interesting is the new addition which is up here in the
Control palette is in many ways the easiest to use and supplies you
| | 00:35 | with really useful information.
| | 00:37 | So we'll start there when we look at adding color.
| | 00:40 | I'm going to go to my Selection tool over here, and I have a file
open called littlejet.ai. It's a black and white image right now,
| | 00:48 | it's kind of boring, so we want to add some color to it.
| | 00:52 | OK, easy way to add color, first you have to decide
where you want the color to go, so we'll select an object.
| | 00:58 | And in this case we've got the background of the
sky and some other objects because they're grouped.
| | 01:04 | So if you're working with this file, we'll choose the
Group Selection tool instead of the regular Selection tool,
| | 01:10 | click out in the middle of nowhere, and maybe
I'll even zoom in a little bit on this object.
| | 01:17 | There, we can see things a little better.
| | 01:19 | Take the Group Selection tool so we can
select individual objects right now.
| | 01:24 | OK, we have a single object, and it is filled
with white and stroked with black at the moment.
| | 01:35 | So we'll keep the black stroke, but we want to
change the fill color to some kind of nice sky blue.
| | 01:42 | So here's one right over here. What I did was I went up to the
Control palette, and with the object selected I just clicked on fill.
| | 01:50 | It gave me all of these samples to choose from,
and hey, look at that, it's even called sky blue.
| | 01:55 | And ta-da, that's it, we've filled it with sky blue.
| | 01:59 | If I wanted to change the stroke I could click on the
stroke here and change it to a different color too,
| | 02:04 | so maybe I want kind of a dark blue stroke.
| | 02:07 | And you can see right there, there's the
stroke color for the object I selected.
| | 02:12 | Maybe I want to select this square here, so at the very back of
all the stacks of the objects I want that to be kind of a green.
| | 02:19 | All right, we'll select it, Christmas green, that's kind of intense.
| | 02:24 | Pine green, let's go with that.
| | 02:27 | That's not quite what I want, how about over here,
Springfield green, oh yeah, there's a nice green.
| | 02:33 | So there I've selected and I've gotten a green color.
| | 02:37 | Now one of the things I want to point out when we've got this stuff
selected, is how many places the information about color appears.
| | 02:45 | Up on the Control palette where I changed the
color, I've got the fill and the stroke, green and black.
| | 02:53 | Over here on the Toolbox, I also have green and black.
| | 02:58 | And over here you can see the stroke is kind of on top of the fill,
and I can click the fill and now the fill is on top of the stroke.
| | 03:08 | Hold that thought, we'll come back to it.
| | 03:10 | Other places you'll see the green, over here this is the Swatches palette.
| | 03:16 | It's a little hard to see because it's bundled in with
Brushes and Symbols, and the Stroke palette's right below it,
| | 03:21 | and the Appearance palette right below that.
| | 03:23 | Kind of zoom in, here is the Swatches palette, and you'll see that
Springfield green is here on the Swatches palette, it's selected.
| | 03:32 | Over here on the Appearance palette I have a path selected,
and it's filled with green with a black one point stroke.
| | 03:40 | If I switch back and click this object, you can see the fill and
stroke have changed up here, they've changed over here on the Toolbox,
| | 03:49 | we've got a different swatch selected over here, and we've got compound
path is a different kind of path, we'll talk about it in the chapter
| | 03:57 | on compound paths, but it also has a fill and a stroke.
| | 04:01 | There's even one more place where color is hiding from
you, we'll just double-click, click there, there we go.
| | 04:09 | And what we have now is the Color palette fully extended so you can
see both the spectrum bar for selecting colors
| | 04:17 | (we'll get to that in a moment) as well as the actual inks that are
being used to generate this color in the CMYK color model.
| | 04:27 | OK, that was a lot of color information, so let's
break it down and see what's really going on here.
| | 04:32 | When we went up to the Swatches palette - to the Control palette, excuse
me, and clicked on Fill, we got a whole bunch of colors over here.
| | 04:41 | What we really got was the Swatches palette.
| | 04:45 | If you look, you can see the same colors, bisque, black,
bubble gum pink, here we have bisque, black, bubble gum pink.
| | 04:55 | We are actually seeing on the Control palette the Swatches palette.
| | 05:00 | And should we choose to apply a color from the Swatches
palette - like right now we have the background selected.
| | 05:07 | If I were to hit Saint Petersburg blue, it'll change to blue.
| | 05:12 | I could make it blazing va-- va-- va-- va voom red, I
could make it yellow, I could do all sorts of things.
| | 05:19 | I could make it white again, or I can go back to sky blue.
| | 05:22 | So right here from the Swatches palette, I can select the color.
It's the same thing as doing it from fill up on the Control palette,
| | 05:30 | this is just a shortcut for clicking something on the Swatches palette.
| | 05:34 | The same thing is true with stroke.
| | 05:36 | If you look, we have swatches again.
| | 05:38 | Some of them appear to be missing if you look over here,
because some of these are gradients, you couldn't apply those to a stroke
| | 05:48 | so they don't appear, but it's basically the same set of colors.
| | 05:51 | I could go black, and I would outline it with black.
| | 05:56 | I could go to bubble gum pink and it's kind
of hard to see but it is bubble gum pink.
| | 06:01 | Here, I'll click off for a second so you can see,
sure enough it's covered with bubble gum pink, OK.
| | 06:06 | Well let's go back to Saint Petersburg blue - all right.
| | 06:10 | So I'm going to take the Saint Petersburg blue,
we'll drag it in, and oops! It didn't work.
| | 06:14 | Well, why not?
| | 06:16 | When we chose colors up here in the Control palette, we were automatically
by which menu we pulled out able to choose whether we wanted to change fill
| | 06:25 | or stroke, and this is a huge interface
benefit of using the Control palette.
| | 06:30 | If you want to just do swatches, like a click for a particular
color, you have to be careful as to which of these chips are on top.
| | 06:41 | If I want to change the stroke, the stroke chip must be
on top, then when I click I'll change the stroke color.
| | 06:47 | You can see I can do it from down here on the Toolbox, or
I can do it from up on the Color palette. Either one will work.
| | 06:54 | But when you're using the Color palette, or you're clicking directly
on swatches, you can only change the fill or the stroke color at once,
| | 07:02 | you can't switch real easily between them.
| | 07:04 | There are some shortcuts that you can do.
Oops! See, if you just click on it, it just changes.
| | 07:13 | You can take it and you can see how I changed it to bubble gum
pink. I took bubble gum pink and I slid up and I actually forced it
| | 07:22 | to go onto the stroke area.
| | 07:25 | That brought the stroke chip forward and applied the color.
| | 07:29 | So there's a little shortcut you can do.
| | 07:32 | You can also - and this is a handy one- use X on your keyboard to
swap between the two. So you can easily say, "Oh, I want stroke," click,
| | 07:41 | there it is, hit X on the keyboard and
choose a fill to be this color and so forth.
| | 07:46 | Another thing you can do is - with the Swatches palette, just
to be aware of - right now I don't have anything selected,
| | 07:53 | in fact you can see no selection here on the Control palette.
| | 07:57 | I can still take a color off the Swatches palette, drag it into my art work
and drop it, but again I have to be careful which of these chips is on top,
| | 08:06 | because that is what the color will be applied to.
| | 08:10 | So if I want to apply some color to my jet here,
I can just drag it right in and fill the jet.
| | 08:16 | I can take that color now, I've got it and it's applied to the
jet. I'm looking at it and I say, "Hmm, well that's pretty good
| | 08:25 | but it's not quite the color I had in mind."
| | 08:28 | Well, all right, I'll go right up and change the fill, but in
order to do it - let me try and before I click, there we go.
| | 08:35 | Hold the Shift key down to bring up the Alternate Color user
interface. I'll (Shift + Click), and you see what I've got now is a set
| | 08:44 | of the sliders in the spectrum bar.
| | 08:46 | If this looks familiar to you, well, sure enough, it's
the same things that are over here on the Color palette.
| | 08:52 | And that's the whole idea.
| | 08:53 | I could do almost all of my manipulations in my art work with
this palette hidden, and not clogging up the view, not in the way.
| | 09:02 | I can make it disappear, do a (Shift + Tab) on
it, I'm going to click off for a second.
| | 09:07 | (Shift + Tab) and hold down the Shift key, and
without the Color palette visible blocking my art work,
| | 09:16 | I can still change the color that I'm working with.
| | 09:18 | If I bring down the amount of
yellow- yikes. I forgot to select the object.
| | 09:24 | We'll select it again, there we go.
| | 09:26 | (Shift + Click). Ah, that looks better.
| | 09:29 | Now I can bring down the amount of yellow and make it much paler.
| | 09:33 | If you look on the sliders, you see a preview of what
the color would be if you moved the slider in that direction.
| | 09:41 | So if I wanted a fiery, kind of almost pink-orange
airplane, I'd slide up to that color and there I'd have it.
| | 09:51 | I could also just sample a color if I want from
somewhere in here on what they call the Spectrum Bar.
| | 09:59 | It's very sensitive as it moves around, but
I can get pretty close to the color I want.
| | 10:03 | And then again I could adjust with my inks, come
up with a slightly different color, there we go.
| | 10:13 | And let's suppose that's the color I want for the airplane.
| | 10:18 | Well if I want to apply this in other places, this is now a custom
color that I've made, I can always just grab the color and drag it
| | 10:25 | and put it wherever I want.
| | 10:29 | Now if you'll look on the regular fill it's not there any more.
| | 10:33 | Right. Because I'd have to hold down the
Shift key, get to the color, and so forth.
| | 10:40 | I can do the same dragging thing from right over here
on the Toolbox, because as long as I have the color selected,
| | 10:46 | it's going to show up on the Toolbox. Apply it to a wing... I can
drag it over and apply it to an engine, and I can drag it and apply it
| | 10:54 | to the tail- except I missed.
| | 10:57 | There we go.
| | 11:01 | I can even apply it to the gear legs
underneath the airplane here, just like so.
| | 11:09 | I can also adjust colors - two of them at once.
| | 11:13 | So let's see hold down the Shift key, I selected one gear leg,
and, holding down the Shift key, select them both.
| | 11:20 | Again, I'm still using the Group Selection tool for all of these
because I want to select individual objects within the group.
| | 11:29 | Now if I come over, hold down Shift, and let's suppose I just want
these to be a little darker, I'll add a little K, a little bit of black,
| | 11:37 | and that'll bring them into kind of a shade like so.
| | 11:43 | I'm going to call back up the regular Color palette here with my
Shift + tab, just to bring up some of the other options that you have.
| | 11:51 | Let's suppose I have these windows here, and I'm going to hold
down the Shift key and I'm going to select all of my windows,
| | 11:58 | and I want them to be similar to the sky blue color, but
I want them to have a little bit of a difference to them
| | 12:08 | so it doesn't look like they're going straight through.
| | 12:10 | I want there to be kind of the illusion of a window.
| | 12:12 | Now I could play around with my different inks - and I should
talk about here, this color is being represented by how much
| | 12:23 | of four different inks would be necessary to print
this color on paper using a four color process.
| | 12:31 | So it's almost 50 percent cyan ink, a little touch of
magenta, no yellow ink, and no black give me this color.
| | 12:38 | Right now you're looking at this color on the screen, well that's not
being done with ink, that's being done with light - pixels of light.
| | 12:45 | And the basic primary colors for pixels of light are red, green, and blue.
| | 12:49 | So I'll go over and click on the fly-out menu for the options for this
palette, and I can choose an RGB - a red, green, blue color model,
| | 12:59 | and now I can see the relative colors in red, green, and blue.
| | 13:03 | Same color on the screen, however, I have
it represented in a different way.
| | 13:09 | Another color model that can be very handy to you
is this HSB, and you may be less familiar with this.
| | 13:14 | This is the hue, saturation, and brightness model.
| | 13:17 | Hue is sort of a 360 degree color wheel of all the
possible colors, and this color is sitting at 198.1 degrees
| | 13:27 | around the wheel. I have a blue color.
| | 13:29 | Saturation says how intense this color is, and
brightness is how bright or black the color is.
| | 13:38 | I can take any color and bring its saturation down to
zero, and I will have something between white and black,
| | 13:46 | essentially I have gray because I have none of the color itself in there.
| | 13:51 | I can change the brightness, and at 50 percent this is 50 percent
gray, and that would be completely black or completely white.
| | 14:03 | If I bring back up the saturation, I'm slowly adding
color back in, but it's still between this dark and light.
| | 14:10 | Now the color, I haven't changed the color of the fill here,
it's the same as the sky, it's just how intense that color is,
| | 14:19 | and how bright or dark the color is.
| | 14:22 | What that means is that I can take a color
that I have for the background, and I can de-saturate it.
| | 14:30 | I'm going to take out a little bit of
the color, I'm moving it towards white.
| | 14:34 | And you can see that it gives me kind of this effect of a slight
difference between the inside and outside, or if I'm looking through glass.
| | 14:41 | And I can also darken it a little bit if I wanted to, to represent a
little darkness inside the airplane, that's not quite what I really want,
| | 14:48 | so we'll leave it at bright and desaturate it a little bit.
| | 14:51 | Again it's a really handy model for if you're doing things - the same thing
if I wanted these gear legs in shade, I could have added a little black
| | 14:58 | or I could play with hue, saturation, and
brightness, and change their effect as well.
| | 15:03 | Last thing that you want to know that you can be able to do,
and I'll just select one right in here - the jet engine intake,
| | 15:12 | and we'll go back to CMYK.
| | 15:15 | Right now it's filled with white, I can just enter a
color by hand, I can just say make it 50 percent black.
| | 15:22 | And now I've got the intake of the jet engine at 50 percent
black, or maybe I want to add a little bit of color to it,
| | 15:29 | kind of make it a super black a little bit.
| | 15:32 | Let's say I want 25 percent of each of the regular inks, and
maybe I want it to just be kind of a reddish black a little bit,
| | 15:43 | so I'll bring up the magenta, and I could increase - I can make a very
warm black if I wanted to by bringing up black plus kind of a reddish ink,
| | 15:54 | and I can even bring these down.
| | 15:56 | But again I can do it by the slider, or I could just say no,
I want precisely because I know this color, 10, 80, 10, 80,
| | 16:04 | kind of a super warm black.
| | 16:08 | So there you have it, different options for how
you might want to add color to particular objects.
| | 16:14 | Last thing before we go, I don't really like this black type, and we'll
talk about color on type, it's a special case, but you can if you need to,
| | 16:23 | select type and change its color the same way.
| | 16:27 | The key is that for the most part type will have only a fill
color and it will have no stroke color, so we'll just go ahead
| | 16:35 | and we'll switch it to white.
| | 16:39 | Perfect, I like it.
| | 16:41 | There you have basic techniques for adding color to objects.
| | 16:46 | Now we'll go on and look at some of the more advanced things you
could do with color as well as how you would use the Swatches Library
| | 16:53 | to save yourself time and trouble in the future.
| | Collapse this transcript |
| Color Picker| 00:01 | >>I wanted to take a moment to look at the Color
Picker, which is actually over here on the Toolbox.
| | 00:08 | We are going to select objects. I am using the Group
Selection tool again, so that I can select individual objects
| | 00:15 | without selecting everything that they are grouped with.
| | 00:17 | I select the hat of the Captain here and I am going
to hold on my Shift key and click and get on her uniform as well.
| | 00:25 | Then we go over and double-click on the fill.
| | 00:28 | And what you see, I get something called the Color Picker.
| | 00:32 | It is similar to the Spectrum Bar up here for choosing colors.
| | 00:37 | With an important difference.
| | 00:39 | The Color Picker is a way of seeing a wide spectrum of
color, and you can see different axes of color, all at once.
| | 00:50 | And you can use either the hue saturation
brightness model, or the red-green-blue color model.
| | 00:55 | But here is why it is so cool.
| | 00:57 | There are three axis to color, and each saturation brightness.
| | 01:02 | We can move this over a little bit.
| | 01:05 | And here is the hue, or the color itself, and you watch
as I slide along, I am getting a really wide range.
| | 01:14 | I have got a particular color in here now, this
is hue 303, 303 degrees around the color wheel.
| | 01:20 | You can see this far up corner, this would be zero
percent saturation, but one hundred percent brightness.
| | 01:27 | That is what you actually see over here, zero
percent saturation, one hundred percent brightness.
| | 01:32 | I click down here, I can get all the way down to
zero percent saturation, zero percent brightness.
| | 01:38 | Here I have got one hundred percent saturation,
the color is there, but the brightness is zero.
| | 01:43 | And then all the way up here, one hundred percent
saturation, one hundred percent brightness.
| | 01:48 | The nice thing about the Color Picker is that I have got this really wide
range to just let my eye ramble around and find the color that it wants.
| | 01:56 | I do not want her uniform to be lavender, though,
it just does not seem quite professional enough.
| | 02:02 | So we will go for something in the blues, and see, I can kind of
lean towards a purple-y blue, or I can lean towards a greenish blue,
| | 02:09 | or try and get right in between like that.
| | 02:11 | That blue, right in there.
| | 02:14 | And now I can select within that, whatever blue color I want.
| | 02:19 | Now, suppose I want this really intense blue.
| | 02:23 | If I were to hit OK, this would become the color of
her hat and her uniform, the objects I had selected.
| | 02:29 | Now, what is interesting is that I am using a color model here,
HSB that may or may not be able to be printed using CMYK color,
| | 02:42 | which was what I am printing.
| | 02:43 | And right now, Illustrator is warning me, "Your color is out of gamut".
| | 02:48 | That means, this color cannot print.
| | 02:51 | Illustrator is offering an Alternative, if I were
to click this color, this color is pretty close.
| | 02:56 | Illustrator says that color will print, it is representable by inks.
| | 03:01 | Well, it is still not the color I want for her uniform.
| | 03:04 | So what I can do is kind of a cool thing with the Color
Picker. I really have a lot of room to really kind of hunt
| | 03:13 | and see how close I can come to getting the color
I want without getting that Out of Gamut warning.
| | 03:19 | And sometimes, just by changing the angle a
little bit, the hue, I can get a little further.
| | 03:26 | See I am getting a little bit further in the direction I wanted to go.
| | 03:32 | More saturated, see I come a little bit
further before I get my Out of Gamut warning.
| | 03:36 | I can really hunt, trying to find the color I want.
| | 03:40 | I think that one will do just fine.
| | 03:42 | I can also, before I leave here, choose red-green-blue or I can choose a
different item to put on the slider. So if I put Saturation on the slider,
| | 03:53 | now you can see, here is fully saturated, here is not fully saturated.
| | 03:58 | And now Hue is in one direction, and Brightness is in another.
| | 04:03 | I can put Brightness on the slider, and have
Saturation in one direction, and have Hue on the other.
| | 04:10 | Or I can put red-green-blue, here is red on the slider, and green and
blue mapped out X and Y. So it gives me a really wide range of ability
| | 04:20 | to choose different colors.
| | 04:22 | I can also call up color swatches, and these
are the same swatches, they had the swatches
| | 04:28 | but that is not nearly as much fun as
the Color Picker, and I tend to leave it on Hue.
| | 04:32 | So we will go and hit OK, and there is
the color. Then of course if I say
| | 04:37 | no, that's not quite what I want, I can always
go back and adjust it, just like any other color.
| | 04:44 | A little more blue, a little more cyan...
| | 04:47 | a little less magenta.
| | 04:49 | And since I am using the CMYK model, you will notice
there is nothing I can do to get an Out of Gamut warning,
| | 04:57 | because I cannot apply inks that could not be printed.
| | 05:00 | However, if I were in the HSB model, I certainly could come up with inks
that could not be printed, and so I could switch back to an In Gamut color.
| | 05:12 | I tend not to like the colors that Illustrator comes up
with, so I will just go ahead and (Command + Z), or [Ctrl + Z],
| | 05:19 | and I will really go back to a color I liked for her uniform.
| | Collapse this transcript |
| Using Swatches| 00:00 | >>So I have my jet, and I have created some custom
colors, particularly in the Captain's uniform, here.
| | 00:05 | I want to save these colors, so I have them in
my Swatches Library to use at a future time.
| | 00:12 | You remember, when we had a color that was in the Swatches
Library, like the background sky here, the swatch came up highlighted.
| | 00:21 | But if I select the Captain's uniform, no swatch is highlighted.
| | 00:26 | Actually, you cannot even see all the swatches
because there are so many in there right now.
| | 00:30 | So, we will just pull down on the tab at the bottom
of the palette, and that will give us some more room.
| | 00:35 | If I want to add a color to the Swatches palette, it is incredibly easy.
| | 00:39 | All I have to do is drag the color into the palette, and there it is.
| | 00:42 | And we will see if we can give it a name: New Color Swatch One.
| | 00:46 | If I double-click on it, it will open up and
I can change the name to whatever I want.
| | 00:51 | I can change it to: Uniform.
| | 00:55 | It is telling me what kind of color it is, whether it is a process
color that is coming from CMYK, or whether it is a spot color,
| | 01:03 | a particular ink that I have specified.
| | 01:06 | Check out the movie on spot colors for more information.
| | 01:10 | I can also change the color mode for this color, same
modes you have seen before, change what the color is.
| | 01:20 | And I can make it a global color so that if I make any changes
here, it will actually go throughout the document every place
| | 01:28 | that this swatch is being used, then the color will change.
| | 01:32 | And I will hit OK.
| | 01:35 | And so now I have that color.
| | 01:39 | This guy right here wants the same color as the Captain.
| | 01:44 | There you go.
| | 01:45 | You have got the same color shirt as the Captain is wearing, right there.
| | 01:48 | Now there are a whole bunch of swatches on the palette,
and it can really get in the way, seeing them all.
| | 01:55 | Right now I am seeing all the kinds of swatches there
are, down at the bottom, I can click and filter my view
| | 02:01 | so that it shows only the color swatches.
| | 02:03 | Or, for gradients, only the gradient, or for pattern, only the pattern.
| | 02:08 | Check out the movies on gradients and
patterns, in this chapter, to see more.
| | 02:13 | Or I can show all of them.
| | 02:14 | But one thing that can be really helpful is, I can go to the Fly-Out
| | 02:20 | menu, the options for swatches, and you can see there is
quite a few options on here, on how things are shown, and so forth.
| | 02:27 | But right here I have Select All Unused, and you can see
all of these swatches that I have highlighted are ones
| | 02:34 | that are not used any more in the document.
| | 02:36 | Then I can take them and I can drag them to the little trashcan.
| | 02:41 | And now I have quite a few less.
| | 02:43 | Now, some of these colors do not appear to be being used.
| | 02:47 | On my picture, they are not.
| | 02:49 | They are actually being used in other places, in other palettes,
such as perhaps the Symbols palette, or they are being used,
| | 02:57 | and you can see all those symbols in there with different colors.
| | 03:00 | So there are some swatches that seem like they do not disappear.
| | 03:04 | You can go ahead and delete them, that is just fine.
| | 03:06 | It is not a big deal.
| | 03:07 | They are also potentially used in the Graphic Styles palette.
| | 03:10 | I cannot even see that palette because it is not there...
| | 03:12 | there it is.
| | 03:14 | Down here, the Graphic Styles palette.
| | 03:15 | Now, you can see in later chapters on graphic styles
that some of these colors may be being used as well.
| | 03:23 | So do not be surprised if they do not all disappear at once.
| | 03:26 | But nonetheless, the swatches will stay as a way for you to keep
particular colors, so like I had this custom color for the airplane.
| | 03:34 | I have it selected, another way I can just do new
swatch, and there it appears, New Color Swatch Two.
| | 03:39 | And I can go ahead and I can call it...
| | 03:43 | oops, I can hit the Return key too early.
| | 03:45 | I can call it "Airplane".
| | 03:49 | Now when I hover over it, it says Airplane.
| | 03:53 | So I have it saved.
| | 03:54 | The cool thing about swatches is that when I save my document,
all the swatches are saved as part of the document itself.
| | 04:03 | So they will travel around and follow the document, and be available to
me or anyone else who is using this piece of artwork One more cool thing
| | 04:10 | about swatches, which is called Swatch Libraries.
| | 04:15 | So let us go and open a Swatch Library.
| | 04:18 | Swatch Libraries ship with Illustrator, and
these are all sets of colors that you could use.
| | 04:26 | Quite a few of them are particular colors, such as these
Pantone colors that are part of the printing process.
| | 04:34 | If you know Pantone colors, you are going
to recognize all of these right away.
| | 04:38 | If you do not know Pantone colors, you do not
really have to worry about this right now.
| | 04:42 | But just to give you a more manageable example, and one that
you can put to immediate use, let me go ahead and go to
| | 04:52 | skin tones.
| | 04:52 | We will click, and what we get is a whole series of skin tones
that have been used and developed by Adobe and shipped with Illustrator
| | 05:05 | for your use in your artwork.
| | 05:08 | So, I can take any of these tones, and I can take,
say this relatively pinkish one, and we could give
| | 05:19 | her hair. I was not really shooting for her
hair there, I was shooting more for her face.
| | 05:24 | There we go.
| | 05:24 | But the hair, let us shift it back to white right now.
| | 05:30 | I could change, for his color, give him something more like this.
| | 05:37 | And we have some other skin tones in here.
| | 05:40 | Oops... have to be careful what you have selected.
| | 05:42 | Here is a good example of having one thing
selected and accidentally clicking on a swatch.
| | 05:47 | And we will do one more here.
| | 05:55 | That way, everybody has got some kind of skin tone.
| | 05:59 | And so I can quickly come up with these colors that I like, for different
things, and actually I have a whole bunch of potential swatch libraries.
| | 06:09 | We can go ahead and get
| | 06:13 | various jewel tones, and we can add that to people's clothing.
| | 06:17 | So maybe he has got
| | 06:19 | a red shirt on.
| | 06:21 | And she is wearing green.
| | 06:24 | And then I can go and make whatever other colors I really want to
do for the artwork, and add it to the various places as needed.
| | 06:34 | So there you go, and then I can take the colors that I have used here.
| | 06:38 | One thing that is important, suppose I want this
color for her shirt to be part of the Swatch Library.
| | 06:45 | I actually have to go ahead and make it part of the Library, just because
I opened it up and the Swatch Library called Jewel Tones is not going
| | 06:55 | to stay necessarily as part of the document,
unless I drag it into Swatches.
| | Collapse this transcript |
| Spot Colors| 00:00 | >>In addition to defining colors by their RBG values or their CMYK
values, there is another way you can define colors in Illustrator
| | 00:09 | or pretty much any printing program.
| | 00:11 | And that is when they use spot colors.
| | 00:14 | Now, here is the difference.
| | 00:15 | If you are printing something, and this
is really where spot colors would apply...
| | 00:20 | if you are printing something on a four color press, then you
can get a whole range of colors by mixing the values of cyan,
| | 00:29 | magenta, yellow and black.
| | 00:32 | And that is what you have up here, on the slider, so that you can see it.
| | 00:40 | I will put it up, there we go.
| | 00:45 | OK. Now you can see the different values of the colors,
and that is what I would use to get this pink, right here.
| | 00:52 | It is seven percent cyan, about fifty-four percent
magenta, about eleven percent yellow, and no black.
| | 00:59 | All right.
| | 00:59 | So that is one way to define a color.
| | 01:01 | Another way to define a color is by saying, on this press,
I actually want you to put in a specific color of ink.
| | 01:08 | And that is what you have when you see this
little chip on the side of a particular swatch.
| | 01:19 | This is a spot color, and it is defined via an international convention
of color, and I could tell a printer if I wanted to print this,
| | 01:27 | I want you to print the blue as Pantone 742062M.
| | 01:32 | My dyslexia is starting to show there.
| | 01:34 | And what I have in the picture, it may look
like I actually have several colors in here.
| | 01:40 | This picture is defined with only two colors, really.
| | 01:44 | It is defined with black, and various shades of black, and
it is defined with that one blue and various shades of blue.
| | 01:53 | Here I have Duncan's shirt, and the fill is filled with one
hundred percent, or full ink, of that Pantone color blue.
| | 02:04 | Right over here, next to it, this one is showing up in
CMYK but let me show you what is actually happening.
| | 02:12 | His shirt, over here, is filled with blue, one hundred percent blue,
and then it is also filled with black, one hundred percent black,
| | 02:23 | at twenty-two percent opacity.
| | 02:26 | So it has been shaded with a little bit of black, and
when this prints, these two layers will get mixed,
| | 02:35 | so that I will have the blue plus black ink, and I will have a shaded blue.
| | 02:41 | Let us look over here.
| | 02:43 | I need my Group Selection tool to select
this one, and get just the top of the flower.
| | 02:47 | This is a tint of the same color, that is, I am printing the same
blue, but I am only printing it at about nine percent concentration.
| | 02:57 | So I get a very light blue.
| | 02:59 | What is going on down here?
| | 03:00 | There is about fifty-six percent concentration.
| | 03:02 | What is going on over here?
| | 03:04 | It looks kind of dark.
| | 03:06 | Well, if you look on the Appearance palette, I have one hundred
percent of the blue ink, plus I have another fill on top of it
| | 03:17 | of thirty-three percent opacity black.
| | 03:21 | So you will get a gray printed over on top of the blue.
| | 03:25 | It is a cool way to save some money on printing, because four color
press can cost extra money, and you can actually generate a whole bunch
| | 03:33 | of colors using only one or two colored inks.
| | 03:37 | So there you have it.
| | 03:38 | Just the basic four spot colors.
| | 03:40 | Before I leave, though, where do you get
these swatches, these fancy swatches?
| | 03:46 | I almost forgot.
| | 03:47 | They are going to be in your Swatch Library.
| | 03:50 | So, on the Swatches palette, you can click the flyout menu, go down
to Open Swatch Library, and Illustrator ships with a whole bunch
| | 03:58 | of fun colors just mixed up by the folks at Adobe for you to play with.
| | 04:02 | We talked about those.
| | 04:04 | If you go down here, here are a whole set of Pantone colors.
| | 04:08 | And if we look in Pantone Solid Mac Colors, and I will open those
up in their own little window, what you see are a whole set of inks
| | 04:20 | for you to choose from.
| | 04:21 | And it is huge, I mean, there is a massive number, and there are books
published with you to see what these actually look like on paper.
| | 04:29 | And then you can match them up, that is the other advantage of
a Pantone color, a spot color, is I can look in my Pantone book
| | 04:37 | and see what Pantone Warm Red M looks like on real paper.
| | 04:41 | I can specify it in my document and no matter what it looks like on screen,
when I get it printed, I know what it is going to look like on the paper.
| | 04:50 | So if you need to work with spot colors and are wondering what the
little chip on the side of some of these swatches are, now you know.
| | Collapse this transcript |
| Strokes| 00:00 | >>So let's talk a little bit about strokes.
| | 00:01 | Strokes following a path.
| | 00:02 | There are a couple of things to look at.
| | 00:04 | One is when you would want a stroke, and when you would not.
| | 00:08 | So take the Zoom tool here, and zoom in
on the folks on the back of the airplane.
| | 00:13 | And their eyes are looking a little bit big, I do not know.
| | 00:15 | Maybe all of them are afraid of flying or something like that.
| | 00:17 | Or perhaps there is something the matter with stroke and fill.
| | 00:21 | Take my Group Selection tool, and I will select one of the sets
of eyes, and I can see already part of the problem I have here.
| | 00:28 | This object has a fill of white and a stroke of black, and I
can see it up here too, a fill of white and a stroke of black.
| | 00:35 | What I really want is for them to be filled
with black, with no stroke whatsoever.
| | 00:41 | So a couple of ways I can do that: I could do a stroke of none.
| | 00:46 | There we go.
| | 00:47 | And we could do a fade fill of black.
| | 00:51 | There we go.
| | 00:52 | That looks a little better.
| | 00:54 | All right.
| | 00:57 | We could, with this eye, I could just use the X key on my keyboard and
that would bring a stroke or fill forward, or I could do shift plus X
| | 01:06 | and that would swap them.
| | 01:09 | Now, it's filled with black, but the stroke is white.
| | 01:12 | I could then do slash on the keyboard, with stroke on top.
| | 01:17 | That would turn the stroke to none.
| | 01:20 | Perfect. And that gave me a fill and stroke the way I want it.
| | 01:25 | The last thing I could do, I could select the object right
here, and same problem, I have got the fill and stroke.
| | 01:33 | And they are in the wrong directions.
| | 01:36 | I could come over and choose, on my Appearance palette, I could say stroke.
| | 01:43 | I don't want a stroke.
| | 01:44 | And you could see that it is just a stroke of none.
| | 01:48 | And then I could either take the fill here, select
it, and select the colour that I wanted and...
| | 02:00 | there we go.
| | 02:01 | Their eyes are looking much better now.
| | 02:03 | Much simpler.
| | 02:04 | When we hit Command or Control + Zero, I can see the whole picture again.
| | 02:09 | And then I will Command or Control Plus to zoom in again.
| | 02:12 | I have got the same problem with the Captain.
| | 02:14 | We will fix her eyes too.
| | 02:17 | So, black stroke of none.
| | 02:21 | That is looking much better.
| | 02:23 | So that is one of the things I could do with fill and stroke.
| | 02:27 | Another is, say down here on the tires, I want the
centres to be white, and the exterior to be black.
| | 02:33 | Well, there are a couple of things again.
| | 02:35 | I could just do a fill of black, and now click off the tires somewhere.
| | 02:39 | And that looks just fine.
| | 02:41 | The only thing is, I kind of have a hidden
stroke around some of these objects.
| | 02:46 | Like right here, this inside part of the tire.
| | 02:49 | You cannot really see it, when I don't have it selected.
| | 02:53 | But it has a stroke around it of black, and what ends up happening
invariably if you are not careful about this sort of thing...
| | 03:01 | let me take this tire and I will make its fill black, and a stroke of none.
| | 03:08 | This is kind of what I would normally intend.
| | 03:12 | If you look, the tires appear to be different sizes.
| | 03:16 | They are not different sizes, it is just that this one is filled.
| | 03:20 | So the black one is right up to the very
edge of the path, but not beyond it.
| | 03:25 | And this one is filled.
| | 03:26 | And then there is also a stroke that is one point
wide, half a point on either side of the path.
| | 03:33 | And so that kind of thing gets in the way, and will drive you
nuts when something looks just a little bit wrong in your artwork.
| | 03:39 | So you want to try to be consistent about
which has fill and which has stroke.
| | 03:44 | I can also select several things at once.
| | 03:47 | And I could say take the stroke off of these, by making
it none, and now the centres appear a little wider.
| | 03:56 | Again, the path has not changed, it is just that it is
filled in white all the way up to the inside of the path,
| | 04:02 | and then there is no stroke on top of that.
| | 04:06 | So, there are some options with fill and stroke.
| | 04:08 | A couple of other things you could do.
| | 04:11 | These windows around the airplane here...
| | 04:14 | and what I will do is I will just click out and have everything selected.
| | 04:20 | So let's do a select and de-select, and nothing is selected.
| | 04:24 | I could take one of these windows and I could make its stroke a
little bit heavier, and I can do that from the stroke palette,
| | 04:34 | or I can do that right up here on the Control palette.
| | 04:36 | I could make its weight two point, and then I can
see it has got a little heavier stroke around it.
| | 04:42 | I could also select...
| | 04:45 | let's click out here...
| | 04:47 | select that window, and I will hold down my Shift key if we
want all of the windows to have a slightly heavier stroke.
| | 04:56 | And I will do it from over here.
| | 04:59 | I could do two point that way.
| | 05:02 | And now all of the windows have that heavier stroke applied to them.
| | 05:07 | I can even...
| | 05:08 | suppose the people, the stroke looks a
little too heavy, like on their hair...
| | 05:15 | or on their faces...
| | 05:16 | I could go to my stroke palette, and I could make a lighter stroke.
| | 05:22 | Point five.
| | 05:23 | And now the face is a little bit lighter.
| | 05:27 | And I could do the same thing with all of them.
| | 05:29 | Hold down the Shift key.
| | 05:31 | I could make them all half a point wide.
| | 05:35 | Now one thing about making a light stroke like that, once you
get down to like half a point or even a quarter of a point,
| | 05:42 | could be called sort of a hairline: it may or may not print really well.
| | 05:46 | It depends on the resolution of your printer, and very thin strokes
definitely do not look good if you are outputting something for the web.
| | 05:53 | So just something to be aware of, there.
| | 05:55 | So that is part of the stroke palette.
| | 05:57 | There is a little bit more that it can do.
| | 05:59 | And I will click on it to expand and show you the rest of the palette.
| | 06:04 | And then I am going to change artwork here, and am going
to go from Little Jet, and go over to one called Neon Java.
| | 06:10 | And this should also be in the exercise files.
| | 06:14 | And I will take my Zoom tool, and zoom in a little bit.
| | 06:20 | All right.
| | 06:22 | And again I can take my Group Selection
tool, easy to select single objects.
| | 06:26 | Here is Neon Java, and it is kind of a cool sign.
| | 06:30 | Now, let's look at some of the other objects
that exist with the stroke palette.
| | 06:35 | Here is one of the bits of steam coming up from the
coffee, and you can see that it is just an open path.
| | 06:42 | Right. With a white stroke on it, in front of a black background.
| | 06:46 | But you can see the same path over here,
it is cut off very sharply at the end.
| | 06:50 | That is called the cap.
| | 06:52 | Right now it has basically a butt cap, or no cap.
| | 06:56 | If I want it to be rounded, I can click Round Cap.
| | 07:00 | Now, I am going to de-select by clicking
it here, and look at the difference.
| | 07:04 | And I will zoom in so you can really see it.
| | 07:05 | Hold down my space bar, slide it over.
| | 07:10 | And I will go ahead and select both of them.
| | 07:13 | There is one, and then the Shift key.
| | 07:15 | There we go.
| | 07:18 | Having a little trouble hitting it right on the mark today.
| | 07:24 | There we go.
| | 07:26 | OK. You can see how I have got the stroke comes
to just an abrupt hAlt, and here it is rounded.
| | 07:33 | I also could make it end square, but stick out,
and here I had both selected, so they both changed.
| | 07:39 | But what I really want, I want that rounded
kind of look to make my Neon Sign work, here.
| | 07:45 | So we will zoom back out.
| | 07:48 | And I probably want it for pretty much everything.
| | 07:55 | So I will drag around all of them, bring it back to centre, and I
will click, and now I will get a round cap on all of the objects.
| | 08:06 | And you can see the end of the J is rounded.
| | 08:10 | [ ??: 8:16].
| | 08:11 | It all rounded off, and I got much more of the effect that I want.
| | 08:16 | But I also have these sharp corners in,
say, the A and the V, and I have got...
| | 08:23 | not quite so sharp here, in the sign.
| | 08:28 | Now the question is: what is going on in
the sign that is different between here...
| | 08:32 | and here. Because I really do not want that
sharp corner, it does not look very Neon-like.
| | 08:37 | And that is over here in the join.
| | 08:40 | By default, you have what is known as a
mitre join, which means a nice, sharp joint.
| | 08:46 | I can also round off the join.
| | 08:50 | Now if you look at the two As, this one is rounded, that one is sharp.
| | 08:55 | How about that.
| | 08:56 | I can also kind of cut off the join, so
that it is just flat at the top, like that.
| | 09:03 | I will go back and I think I want pretty much
everything, certainly in Java there, to be a rounded join.
| | 09:13 | And then the last thing: here is a join right here.
| | 09:17 | And I am going to make it mitre again, so that it is really sharp.
| | 09:24 | Now there is something called the mitre limit, and the mitre
limit says at what point do I make this a rounded join.
| | 09:32 | Excuse me, a bevelled join, right here, or a mitre join.
| | 09:39 | And you can see when I get to three times, four times, this is how sharp
a curve Illustrator is willing to take, and still put a sharp corner.
| | 09:50 | The tighter the corner that the path tries to make, the less likely,
or the less good it is going to look to have this point sticking out.
| | 09:57 | I will show you why.
| | 09:58 | We will have to zoom in to really see it.
| | 10:03 | And, let us centre on that.
| | 10:09 | OK. Kind of hard to see...
| | 10:14 | because of the colour of the layer.
| | 10:18 | I double-click on layer here, for a second, and go from light blue to red.
| | 10:24 | There we go.
| | 10:25 | Now you can see the path much more clearly, and
you can see the width of the path as one point.
| | 10:30 | So it is half a point between the line, here, the path, and the edge.
| | 10:35 | At the corner, that gets really exaggerated, and the
mitre, right here, says I will keep a sharp corner
| | 10:46 | until this distance is four times the
halfway or the half point length of the line.
| | 10:55 | So until this visual point is four times the distance
of the normal distance, I will keep it being a mitre.
| | 11:03 | Here it is, I will say, at three times
the distance, just cut it off as a bevel.
| | 11:10 | If I make it rounded, like so, you will notice the mitre limit goes away.
| | 11:14 | Then there is no issue at all.
| | 11:16 | And the Command + Zero shows me the whole
screen, and we zoom back in on Neon Java, here.
| | 11:25 | The last thing is a dotted line.
| | 11:32 | What might I want to do with a dotted line.
| | 11:34 | Well, let us go ahead and take our neon sign here.
| | 11:39 | We will take these steaming steamers at the top, and
I am going to go ahead and make theem dashed, like so.
| | 11:48 | Right now, just by checking them, I have a dash that is twelve points long.
| | 11:53 | And I can change that.
| | 11:55 | Let us make it only six points.
| | 11:58 | And you will see the dash became six points,
and the space between is six points.
| | 12:04 | Now, I could go up to the side and you
could kind of see what is going on here.
| | 12:07 | But that looks really broken up, it is
not quite the effect that I was going for.
| | 12:11 | What I really want, is I want a dash that is six points,
that is fine, but I want the gap to be much smaller.
| | 12:18 | Maybe only like one point.
| | 12:20 | Let us see.
| | 12:22 | That is sort of OK, but it looks sort of like sausages now.
| | 12:24 | Not quite what I had in mind.
| | 12:31 | I think we will make the gap two points.
| | 12:35 | There, that is looking a lot better.
| | 12:37 | And you can see, and I will zoom in so you can really see well...
| | 12:43 | you can see that each dash is also rounded on the end, there.
| | 12:50 | Now when we turn off rounding and watch what happens to
the gaps, that is projected, and there is just the regular,
| | 12:58 | what they call the butt cap, or flush end.
| | 13:01 | The distance here to here is two points.
| | 13:06 | And so when I turn on the rounding, it kind of disappears partially,
that is why I had to add that extra space that I was not expecting.
| | 13:13 | I thought two points would be enough.
| | 13:15 | Well, I thought one point would be enough.
| | 13:18 | But I needed an extra point to account
for the rounded end of the dashed line.
| | 13:23 | And I can have kind of uneven dashes, I can have a six point, and then
a two point gap, and then a five point line, and then three point,
| | 13:30 | and do all sorts of interesting things
as well with the dash line going around.
| | 13:35 | Last, but not least, and this is new to
Illustrator CS, I am going to go about a bit.
| | 13:42 | Command Minus.
| | 13:48 | If I have a closed path, like this circle that is going around
the outside, or an ellipse that is going around the outside,
| | 13:55 | I have a new option for how I want to align the stroke.
| | 14:00 | By default, a stroke is half the distance
of the stroke on either side of the path.
| | 14:05 | So this is a one point sort of purplish stroke over here,
and half a point on either side, I can change the alignment
| | 14:13 | and put it on the inside of the path.
| | 14:15 | Or I can put it on the outside of the path as
well, so the fill runs right up to the path.
| | 14:21 | And then the stroke begins and kind of goes beyond that.
| | 14:23 | It is a cool little adjustment feature that has been on the request
list for a long time, but has finally made it into Illustrator proper.
| | Collapse this transcript |
| Patterns| 00:01 | >>In addition to filling Illustrator objects with
solid colors you can fill them with patterns.
| | 00:06 | Patterns are very cool.
| | 00:08 | There are really two things to know about patterns.
| | 00:10 | One is that you can use the ones that come with Illustrator or
create your own and second you need to be able to know how to rotate
| | 00:17 | and resize patterns within an object.
| | 00:20 | Rotating and resizing is really part of transformations
so we'll just talk about using and creating patterns here.
| | 00:27 | The first thing I want you to do is go over to the Swatches palette
and go ahead and click the button for Show Pattern Swatches;
| | 00:34 | then we'll just have only the pattern swatches available on the palette.
| | 00:38 | Then you can take one of those patterns that already exist
shipped with Illustrator and just drag it right on to our artwork.
| | 00:45 | We can go for the full kind of sixties retro look here.
| | 00:49 | I can fill these two objects with patterns.
| | 00:52 | Lets undo that last one for a moment.
| | 00:54 | Here is the pattern filling the object and you can see it is a shape and it
is just repeating again and again, actually it is being "tiled" as they say
| | 01:04 | to the fill of the object.
| | 01:05 | If I have patterns on two objects next to each other like I just did
here then what Illustrator will do is it will match up the patterns
| | 01:13 | and it will tile them right across both objects.
| | 01:16 | So, the only real differentiation is if
there is any kind of stroke between them.
| | 01:20 | You may want that, you may not want that.
| | 01:23 | If you wanted it to appear a little differently in the two objects
then you need to look at the section on Transforming Patterns.
| | 01:30 | For right now we can go for the full sixties retro look.
| | 01:34 | Why not drag some leopard skin on there and whoo hoo that looks
only about ninety percent as bad as I thought it was gong to.
| | 01:42 | It is kind of a little to garish for the illustration
we are working on so lets make our own pattern.
| | 01:50 | Over here in the lower corner of Dancing.IA I have these objects.
| | 01:55 | They are just simple objects actually.
| | 01:57 | It is a path.
| | 01:58 | It will show up as a group.
| | 01:59 | It is just a couple of paths put together making these leaves.
| | 02:03 | I select the whole thing and I drag it
right up here to the Swatches palette.
| | 02:10 | A new pattern swatch is going to be created and I can
take that pattern swatch now and I can put it on an object
| | 02:18 | and I can fill the object with a pattern.
| | 02:20 | Same thing over here.
| | 02:25 | Now notice that the pattern is exactly the
same size here as it was in its original.
| | 02:31 | If I were to resize it smaller in the original and then drag that
up and hold down the Shift key while resizing the bounding box
| | 02:40 | to keep it all proportional, the pattern looks the
same here as the pattern in the Swatches palette.
| | 02:46 | But when I drag it onto an object you can see it is
reflecting the size that the pattern was when it was created.
| | 02:56 | So they look the same over here on the Swatches
palette but they are actually very different patterns.
| | 03:03 | So there is an easy pattern.
| | 03:05 | What if I want to make something that is a little more complex like
down here say I want to do something with some curved lines in it.
| | 03:15 | Well there are a couple of things you want to do if you want to make
your own pattern just to make sure the tiling is going to work out.
| | 03:21 | What we'll do is zoom in using my Zoom tool and then I will go to "View,
show Rulers" so I can see the Rulers and then I will take a guide from one
| | 03:33 | of the Rulers and I can just drag across and give myself a couple
of Verticals and Horizontals just to help me line up my work.
| | 03:46 | So I am just dragging down from the Ruler to there.
| | 03:56 | Now, what else do I want to do?
| | 04:01 | I know that I have a shape here that is not really a rectangle.
| | 04:05 | Excuse me, it is a rectangle.
| | 04:06 | It is not really a square.
| | 04:08 | Patterns all have to be squares.
| | 04:11 | So I could try and resize this into a square or I could simply take my
Rectangle tool and now what I'm going to do is "Default, Stroke and Fill"
| | 04:22 | and then empty out the Fill so I just have Stroke and take this
and I am just going to drag a Square holding down the Shift key
| | 04:33 | so I get definitely a square.
| | 04:37 | There we go.
| | 04:38 | So there is the Square area that is going to make the actual pattern.
| | 04:45 | Now let's have some fun.
| | 04:46 | I am going to take my Arc tool and let's pick a color.
| | 04:53 | I'm going to pick kind of a cool purple.
| | 04:57 | There we go and I have my Square selected and I didn't want to do that.
| | 05:05 | I still have that purple color there which is cool.
| | 05:08 | I am going to "hold down my Command key or Control on
Windows" and that will let me de-select for a second.
| | 05:15 | Put the Stroke in front, let's get that purple back.
| | 05:19 | There we go.
| | 05:20 | Now I have an Arc tool.
| | 05:22 | I am going to draw some purple with no fill.
| | 05:23 | I am going to start where one of my guides crossed my square.
| | 05:28 | I can also see my Arc tool still is drawing closed arcs.
| | 05:36 | I don't want that.
| | 05:38 | "Delete" and go ahead and just reverse the Arc here with
my Arrow keys like so and we will reverse the arc again.
| | 05:57 | I am just playing around here.
| | 05:59 | My goal no matter what I do with this shape is that I
want to exit on the opposite side in the same place.
| | 06:12 | When I make this pattern these ends are going
to tile and they are going to try and match up.
| | 06:19 | I'll do the same thing over here.
| | 06:21 | Here is arc number one and we'll do arc
number two and I'll do arc number three.
| | 06:35 | I am also thinking about the direction that these
arcs are going to match up as they come and meet.
| | 06:43 | I'm just going to let this one go right off the edge.
| | 06:47 | You see this arc is kind of going off this angle and it is
going to meet up with this one coming in the other direction
| | 06:53 | so that will probably look pretty good.
| | 06:55 | I can even start off the object if I want to as long as
the two sides match up when they get to the other side.
| | 07:08 | I'll just go like this.
| | 07:15 | There we go.
| | 07:16 | I'll do one more from here.
| | 07:19 | I can use my Arrow keys again to switch directions in my curve.
| | 07:32 | I'm looking at that other side and I kind
of want them to match up at least roughly.
| | 07:40 | OK, so now I just made a random pattern on there.
| | 07:43 | I don't need those Guides any more so I'll do a "View, Guides,
Clear Guides" and now here are the two moves that are the key trick.
| | 07:51 | First before I even show you let's take this whole thing and
make a pattern out of it and drag it up to the Swatches palette.
| | 07:59 | There we go, ready, it's a pattern while I zoom out with a
Command Minus, drag over, take this pattern and apply it.
| | 08:11 | Oops, one interesting thing, you can apply a pattern
to a stroke but that is not what I like to do.
| | 08:18 | "Command + Z. Deselect, click in the center"
and make sure we have the fill up front.
| | 08:26 | All right, drag the pattern over and it's terrible!
| | 08:29 | We've got these big white spaces, a gap
is appearing, it is not tiling well.
| | 08:34 | That is because the pattern has to be square and this is not nearly square.
| | 08:38 | What we need to do is go back to our pattern and now those two key moves.
| | 08:44 | First, take the Square that we used to define where you wanted the edge
of the pattern to be; it is sort of a cookie cutter for the pattern.
| | 08:53 | Make sure it has no Stroke and no Fill.
| | 08:56 | Second, take that Square and do "Object, Arrange, Send to Back".
| | 09:02 | Make sure it is at the very back of all the
objects that you want as part of your pattern.
| | 09:07 | Now that you have gotten those out of the way Select the objects in
the Square, the invisible square that is all the way at the back,
| | 09:15 | no Stroke, no Fill is in there.
| | 09:18 | Zoom out a bit.
| | 09:25 | Take that pattern and drag it to the palette and look we have got a Square.
| | Collapse this transcript |
| Linear Gradients| 00:00 | >>Another thing you can fill objects with in Illustrator is a
Gradient; that is you start with one color on one part of the object
| | 00:08 | and it blends smoothly into another color in another
part of the object or potentially multiple colors.
| | 00:13 | So how do you do this?
| | 00:14 | Well it is pretty simple.
| | 00:16 | You select the object you want and I have a file Sunset.AI here.
| | 00:19 | I'll select the background and I want to take this sort of
nighttime picture and turn it into a dusk sunset picture.
| | 00:27 | So here I am, I've got my object selected and over here on
the Tool Bar on the Toolbox there is this Gradient button.
| | 00:36 | I am just going to go ahead and click it if I want
to and it will fill my object with a Gradient.
| | 00:41 | It will also bring the Gradient palette
forward which is how I control Gradients.
| | 00:47 | This isn't exactly the Gradient I wanted;
there are a couple of things wrong with it.
| | 00:51 | For starters it is black and white and it also
is pointing in kind of the wrong direction.
| | 00:56 | I want the sun to be setting over here and it seems
like the sun is heading off the left side of the page.
| | 01:02 | So, a couple of things to do to fix it.
| | 01:04 | First of all I'll take my Gradient tool that is over here on the Toolbox.
| | 01:09 | It is also "G" on your keyboard and that sets the angle for my
Gradient so I can drag a line across the object and you'll see
| | 01:20 | that the Gradient now changes so that its starting
point White is at the place I started dragging.
| | 01:26 | Its ending point Black is over at the other side where I stopped dragging.
| | 01:32 | I actually can drag over a very short distance and you can see pure
white starts where I started dragging and pure black where I stopped.
| | 01:39 | It's pretty wild, "close encounters of some kind", I'm not sure what.
| | 01:45 | I can go well past my object and get a much more subtle Gradient so white
is actually starting somewhere off the page and it's blending towards black
| | 01:55 | and it is not even going to get there before it runs out of object.
| | 01:58 | So I really have a lot of control as to exactly how I want this to look.
| | 02:04 | I can go a little bit further wherever it happens to be.
| | 02:08 | So that is one key feature and if you have been noticing over here on the
Gradient Palette the Angle has been changing every time I have done this.
| | 02:17 | So if I go straight up and down there is essentially ninety degrees.
| | 02:22 | If I go straight the other direction it would be
about minus ninety or two seventy degrees either way.
| | 02:29 | Back up, you get the idea.
| | 02:33 | I also can change the location if I click for the Gradient.
| | 02:38 | It helps if I select it.
| | 02:40 | What that is doing is it is changing where
the fifty percent point is along the path.
| | 02:46 | So the further I put it towards White the further
down the fifty percent point is going to be.
| | 02:51 | It is still going to be a smooth transition but it is going to go kind
of rapidly to fifty percent and then slowly out to one hundred percent
| | 02:59 | as it goes in the far direction.
| | 03:02 | So I have that option as well.
| | 03:03 | I can also if I want, slide the position
where White starts or Black begins.
| | 03:12 | That is kind of the same thing as dragging a shorter
distance with my Gradient tool so they have the same affect.
| | 03:19 | All right, well that is kind of what I want.
| | 03:21 | Well, I don't want Black and White.
| | 03:23 | I want different colors.
| | 03:25 | If you just have Black and White it wouldn't be much of a Gradient Tool.
| | 03:27 | If you can't see these swatches on your Swatches palette click
the "Show All Swatches" icon on the lower left of the palette
| | 03:35 | as you see on my screen.
| | 03:36 | So lets find that original color that I had for the sky.
| | 03:40 | Something like this and I'm going to go ahead and make that the dark color.
| | 03:47 | There we go.
| | 03:49 | I have another color here, a lighter color and I'm
going to go ahead and drag that over the light color.
| | 03:57 | Now I've got this sky that is going from light to
dark but it is all in the blue colors that I wanted.
| | 04:06 | Now I'll just add a little bit of an angle with my
Gradient tool and maybe I slide the mid-point not the end,
| | 04:14 | down a little bit so it is particularly white down close to the horizon.
| | 04:23 | There we go.
| | 04:23 | No, a little bit more.
| | 04:28 | Now I will use my Space Bar to get a Hand tool and
lift up and now I have the effect that I wanted.
| | 04:35 | Light near the horizon and dark up here.
| | 04:39 | Now I have also got these gray clouds.
| | 04:40 | I can just leave them as gray clouds or I could apply my Gradient to them.
| | 04:46 | Now that I have worked so hard to get this Gradient I want to save it.
| | 04:49 | I will drag my Gradient up to my Swatches palette and I
now have a Gradient that I can just apply to other objects.
| | 04:58 | I can just drag and drop them on there.
| | 05:00 | You'll notice it gets exactly the Gradient
that I had but not the direction.
| | 05:07 | For that I can take my Gradient tool and first of all
"Hold down Command key or Control key on Windows".
| | 05:15 | That will allow me to select an object, drag my Gradient tool across
it and now I can have darker on one side and lighter on the other.
| | 05:28 | Sort of like the cloud there.
| | 05:30 | I like that better.
| | 05:32 | It gives me the clouds sort of lit up from below.
| | 05:34 | Now they are the same Gradient, the same range of
colors but since they are starting in a different place
| | 05:40 | and ending in a different place they are actually
showing up standing out against the sky there.
| | 05:45 | There we go, that is kind of what I wanted.
| | 05:50 | We'll do the same thing down here.
| | 05:53 | This one I can make a little lighter because
it is against a lighter background.
| | 05:56 | I will "De-Select" and now I have got my clouds
with the same sorts of colors against the sky.
| | 06:06 | I can also apply a different color to them if I wanted to.
| | 06:10 | Lets go ahead.
| | 06:12 | We'll keep the angle and everything the same
but will apply a different color to the cloud.
| | 06:16 | I'll take this color and make that the dark side and
maybe we'll take this purple and make it the lighter side
| | 06:25 | and now I've got these cool purple clouds on the sky.
| | 06:31 | If I "Select" it, I can take that Gradient,
I need to adjust it a little bit.
| | 06:37 | It needs to be a little more on the lines
of purple and kind of dark right on the top.
| | 06:44 | There we go.
| | 06:46 | In this case I've move the slider so the cloud is almost
entirely purple but at the top that is where it is dark.
| | 06:56 | I can take that Gradient and copy it to the palette.
| | 06:59 | Very cool.
| | 07:01 | Now I can do the same thing dragging my Gradient and putting it
on the appropriate clouds and then I can use my Gradient tool
| | 07:11 | and adjust how each one is looking.
| | 07:15 | Of course I have to select it first.
| | 07:17 | You can see depending on which direction I
go I change the way the Gradient looks to.
| | 07:23 | I've got the wrong cloud selected again.
| | 07:28 | This just goes to show you need to be careful what you have selected.
| | 07:34 | The Gradient tool is very sensitive.
| | 07:36 | There we go.
| | 07:37 | We'll select this cloud, Gradient on it, my selection
tool "De-Select" and now I have my clouds in the sky.
| | 07:47 | I could do the same thing; maybe apply that same Gradient to these hills.
| | 07:51 | I have two of them selected at once, switch to
a Gradient tool or maybe just change the angle.
| | 08:01 | Make it ninety and for the hills we'll adjust it
so it is just glowing a little bit in the horizon.
| | 08:12 | Dark, dark, dark near the top.
| | 08:14 | I can do the same thing with the landscape.
| | 08:19 | Now here is an interesting thing.
| | 08:20 | Lets suppose I want the landscape to be kind
of bright in the middle but not near the edge.
| | 08:26 | I'm going to make it it's own Gradient.
| | 08:29 | We've got the background selected and it looks kind of weird because it
actually goes up behind the sky here but it is not going to show through.
| | Collapse this transcript |
| Radial Gradients| 00:00 | >>Radial Gradients.
| | 00:02 | It's similar to the Linear Gradient, except it's going to start in
one place on the object and expand out equally in all directions.
| | 00:10 | So I've got a ball here.
| | 00:11 | The file's in fact called BALL.AI, and I want to give it kind
of a 3D look, so what I'm going to do is select the ball.
| | 00:19 | There we go.
| | 00:19 | And we'll go ahead and we'll give it a Radial Gradient.
| | 00:24 | There we go.
| | 00:25 | I just went over the Gradient palette, selected
Radial, and it looks terrible, but hey, it's a start.
| | 00:31 | Now, what's happening here?
| | 00:32 | I've got white for the color of the ball, and...
| | 00:36 | White for one part of the gradient, rather, and it's going to black,
it's got a 50%, and it's starting right at the center of the ball,
| | 00:45 | and it does kind of give a 3D-ish image, in
that it's moving evenly in all directions.
| | 00:53 | Let's make it a little better by going and choosing the Gradient tool
over on the toolbar, and I'm going to start where I want the light
| | 01:00 | to hit the ball, right about here, and drag down in the
direction where I want the shadow to be, right about there,
| | 01:07 | and now I've got something a lot more like what I'm
looking for, but again, the colors are kind of wrong,
| | 01:15 | so I want to change this black color right
here, and I want to make it a different color.
| | 01:22 | Another way to change colors on a gradient, I can hold down the Alt key in
Windows, Option on the Macintosh, and click, and that will take the swatch
| | 01:32 | that I'm clicking and replace whichever swatch I had selected.
| | 01:35 | So I had selected there...
| | 01:37 | Hold down Alt and click, and there's kind of a deep blue ball.
| | 01:41 | Let's switch back to the bright blue.
| | 01:45 | Now I've got almost the color that I want, but I need it to
be a little bit darker down here, at the bottom of the ball.
| | 01:52 | I really want shade, so what I'm going to do is take
the main color of the ball and slide it up a little bit.
| | 01:57 | You can see, as I do that, the highlight
of the white is getting more concentrated.
| | 02:03 | Why is that?
| | 02:03 | Because the 50% point is sliding closer as I slide the
gradient in closer, and I could even slide it further closer,
| | 02:11 | and that white point would get more and more concentrated.
| | 02:15 | I'll let it spread out a little bit, like so.
| | 02:19 | Now I have...
| | 02:21 | It's blue all the way to the end.
| | 02:22 | I'm going to take black, and put it down there?
| | 02:26 | I could do that, or I could just take the same blue, drag it
and put it on, click it, and now I'll go to my HSB sliders here,
| | 02:42 | and now I'll just start adding black to that color, and really,
I want it to only switch to dark at the very edge in the shade,
| | 02:52 | so I'm now taking the 50% point and sliding it out a little bit.
| | 02:58 | I'll choose just this color.
| | 03:00 | That's the one at the very end.
| | 03:02 | Start making it more and more black, and now I've really
got a shade at the bottom of the ball, and I can continue,
| | 03:14 | really concentrate it just at the bottom,
or I can spread it out a little bit.
| | 03:19 | There you go.
| | 03:20 | And now I'll click Deselect.
| | 03:23 | I've got a much more 3D look to the ball, as I've
got a shade at the bottom and a highlight at the top.
| | 03:31 | Now, because I have these stars on the ball, it's not quite exactly what I
had in mind, but it's pretty close, and we'll tell you how to get past some
| | 03:39 | of that when we look at basic Transparency.
| | Collapse this transcript |
| Transparency| 00:00 | >>Another thing you can you do to add some life
to your artwork is to work with transparency.
| | 00:06 | Transparency has a lot of different levels at which
you can deal with it, but just at its basic level,
| | 00:12 | it really defines how much you can see an object underneath another object.
| | 00:18 | So I've got my ball here with its gradient,
and I'm going to choose the Ellipse tool.
| | 00:23 | I'm going to make a Default Stoke and Fill and
create a little ellipse right on the ball here.
| | 00:33 | Sort of like that.
| | 00:34 | Then I'm going to take my Selection tool.
| | 00:38 | That gives me a bounding box, and I'll rotate the ellipse a
bit, put it over where the highlight area would be on the ball,
| | 00:45 | and I'll probably spread it out a little bit, like that.
| | 00:49 | So I've got an ellipse sort of like this.
| | 00:52 | Now I'm going to go and get rid of the Stroke.
| | 00:55 | I'm going to go and get my Direct Selection tool.
| | 00:58 | I clicked once to deselect, because I just want to get...
| | 01:03 | And I'm watching the cursor.
| | 01:04 | See the hollow dot next to the cursor there.
| | 01:06 | I just want to get this corner.
| | 01:08 | I'll pull it up a little bit, like that.
| | 01:12 | I'm going to go back to my Regular Selection tool, give me
a bounding box to help me stretch this out a little bit,
| | 01:22 | and I might have gone a little too far.
| | 01:24 | Back to my Regular Selection tool.
| | 01:26 | Yeah, it was a little too far.
| | 01:28 | Pull it back a bit, and I might even pull this side out a little bit.
| | 01:32 | So basically, I've created a highlight on the ball, following
the curve of the ball, and I need to move it a little, too.
| | 01:41 | Now, that's about the highlight I want, and
it's in approximately the correct place.
| | 01:45 | I could sit here and tweak it a little bit
more, I suppose, but I got it pretty close.
| | 01:50 | When it's filled white like this, it's much too strong a highlight,
so I can select it, and then on the Transparency palette over here,
| | 01:59 | I can choose a different level of opacity.
| | 02:02 | Now, it seems like it's kind of a backwards thing.
| | 02:04 | It's the Transparency palette, you're choosing opacity.
| | 02:07 | 100% opacity, you can't see through the object.
| | 02:10 | If you choose a lower number, then you can.
| | 02:13 | I also have it up here on the new Control palette
as well, which is really easy to work with.
| | 02:18 | So I'm going to about 75% opacity, and click off to the side.
| | 02:22 | Here we go, and now you can see it looks much more like a highlight,
because it's shining, or it looks like it's shining, on the ball,
| | 02:29 | but I can see the star that's below it coming
through, so that's basic transparency right there.
| | 02:36 | Now, if you want to look at something a little bit more
intense, what we can do is we'll go to a different file.
| | 02:46 | This is REFLECTION.AI, and here I've got somebody looking in a window,
maybe a little mournfully, and a nice cup of hot, steaming java,
| | 02:55 | and what I want to do is I want to make her a reflection on the
window, rather than being nearly so visible, so what I'll do,
| | 03:06 | I'll take my Selection tool.
| | 03:08 | All of these objects are grouped, so that's a solid group.
| | 03:12 | Again, right up on the Control palette, I have an
option for opacity, and I'll start to bring it down.
| | 03:17 | Let's go to that 75% that we had for a
highlight on the ball, and click off.
| | 03:23 | Now it just kind of appears as a duller shape, because
the black from behind is beginning to bleed through.
| | 03:31 | Let's keep going down.
| | 03:33 | I can actually select, if I want, and type in...
| | 03:37 | We can try 50%.
| | 03:38 | Click off, and now you can see, even duller, more of the
black coming through, and more of a sense of a reflection.
| | 03:46 | I can actually take this way down.
| | 03:48 | Let me go down to 8%.
| | 03:52 | Now you can see, I've got this almost ghostly image on
the picture, and if I added text about a reflection,
| | 04:00 | then it would probably come through pretty
clearly as somebody reflected in the window.
| | 04:05 | One thing I want to point here...
| | 04:07 | Let me bring this up maybe 10% or so.
| | 04:13 | There we go.
| | 04:13 | One thing I want to point is that opacity and
transparency is not a simple relationship.
| | 04:22 | In other words, it's not like the color
just bleeds through perfectly on its on.
| | 04:26 | The two colors are actually interacting with each other, and...
| | 04:28 | There we go.
| | 04:29 | We've got Normal on that.
| | 04:32 | What I want to do is take this color that I have in the background.
| | 04:38 | It appears that it has some opacity on it already.
| | 04:41 | I'm going to go ahead and switch that to Normal.
| | 04:47 | That's what I wanted.
| | 04:49 | I'm not quite sure...
| | 04:49 | I was playing around with this earlier.
| | 04:51 | I think I left it there, but on your exercise file, this will say Normal,
and now that I have that background color, let me bring that Fill forward,
| | 05:02 | and you can see that it is 100% black.
| | 05:04 | What I'm going to do is I'm going to make it a kind of super black.
| | 05:08 | That is, I'm going to add some extra ink to
it, and I want you to watch what happens.
| | 05:14 | You see how, where it's black, it's showing up as black, and it will
print as kind of a warm black, because it's the super black, extra ink,
| | 05:24 | but where the opacity of another object sits over it, the warmth, the red
is really coming through, and so this would give a feel of a warm color
| | 05:39 | in the picture, or a warmth in the image.
| | 05:42 | I can do the same thing with cyan, but
I'm going to get the opposite effect.
| | 05:46 | Things are going to start getting very cold.
| | 05:48 | It's the same level of transparency in my object, or opacity, 10%, and it's
technically black on the background, but because the two are interacting
| | 05:58 | with each other, I'm playing with the color of the background without
changing the relative colors in my top object, and I can keep working back
| | 06:10 | and forth with the color of the background and the opacity
of the foreground until I get exactly the look that I want.
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| Blending Modes| 00:00 | >>I want to talk a little bit about Blending Modes now.
| | 00:03 | We talked about Transparency but we were using the Blending Mode of
"Normal" which is basically telling you that the color on top is just going
| | 00:12 | to be partially opaque and the color on
the bottom is going to show through.
| | 00:17 | Technically there will be no interaction between the two but as you saw in
that movie there actually ends up being an effective interaction as some
| | 00:24 | of the colors bleed through and mix.
| | 00:27 | They do seem to interact with each other.
| | 00:28 | You can make it be a little more active if you want to.
| | 00:32 | The way you do that is by adjusting the Blending Mode.
| | 00:35 | Now I have Blending.AI open and here's the main picture.
| | 00:39 | I'm going to "Pull down my Space Bar and Drag a little to the right" where
I have a close up of some of these stars against the Gradient of sky.
| | 00:48 | I'm actually even going to zoom in even tighter on those.
| | 00:53 | The reason I have them is the star is half on the sky and half off the sky.
| | 00:57 | I going to "Select it" and play a little bit with Blending Modes.
| | 01:03 | Now this is one hundred percent opacity so I'll de-select for a second.
| | 01:07 | Even though it looks like the color of the star is changing here that
is just because of the relative position to the color next to it.
| | 01:14 | Even that in of itself is sort of interesting that the darker color makes
the star look lighter; the lighter color makes the star look darker.
| | 01:22 | They are all as you can see when they are selected; the same color.
| | 01:26 | They are all one hundred percent opaque so
you can't see the bottom color through them.
| | 01:31 | Now I am going to switch the Blending Mode.
| | 01:33 | You can see that they are grouped by these little
separators and that helps you understand what they all do.
| | 01:39 | We'll go to the Darken Blending Mode.
| | 01:42 | What is happening now is that the colors are interacting with
each other and the color underneath is changing the color on top.
| | 01:51 | The first group which I'll call the Darken Group; they will make the color
appear the same or darker depending on which one of these you have selected
| | 02:01 | and depending on which one you have selected will
change the affect and the alga rhythm it uses.
| | 02:07 | You can see how the colors hues have changed or I should say the
saturation has really changed but the colors are all getting darker
| | 02:15 | where there is a color underneath.
| | 02:17 | If there is no color underneath then the top color does not change.
| | 02:22 | Now here is the Lighten Group.
| | 02:24 | You're going to see if effect most substantially down at the bottom.
| | 02:27 | The Lighten Group will make objects appear the same or
lighter depending on what the color is beneath them.
| | 02:36 | When you have a Gradient like this you get a Gradient affect.
| | 02:39 | You can just look at the difference between the two halves of the star
and really see how the Lighten Group has made this star almost invisible
| | 02:46 | and barely change this one.
| | 02:49 | Again Screen and Color Dodge will do similar
things, slightly different alga rhythm.
| | 02:53 | Not the place in these movies to really go into details
and it is not actually my real field of expertise either.
| | 02:59 | I'll be the first to admit that but I do like playing around with them.
| | 03:03 | The Lighting Group right here does different things to stimulate the
effects of spotlight or sunset effect or light moving through your artwork.
| | 03:14 | You can see how it has affected the stars too.
| | 03:18 | Then down here these last two groups all have to do with various things
about changing one aspect or several aspects of the color itself.
| | 03:29 | I'm going to skip over "Difference in
Exclusion" and just look at "Hue" for a moment.
| | 03:36 | Here I am changing the "Hue" of the top color based on the bottom
color and then I can do similar things with the saturation of colors,
| | 03:50 | the luminosity or brightness of the bottom color
depending on the brightness of the top color.
| | 03:58 | So I have a whole bunch of different things that I can do.
| | 04:02 | Let's take a look at Lighten for a moment because it is giving me this
effect that I kind of like where the star is blending in at the bottom
| | 04:11 | and showing up more at the top.
| | 04:12 | I'm going to just tweak that a little bit while
I'm here and bring down the Saturation just a tad.
| | 04:19 | You can see as I do that the star on the
bottom has virtually disappeared now.
| | 04:26 | The star on the top is still quite visible.
| | 04:28 | So now I've got a color with about thirty percent saturation.
| | 04:31 | Let me go back to my artwork.
| | 04:33 | "Command 0, Control 0 on Windows".
| | 04:36 | select all those stars and switch to about thirty percent
saturation and let's make sure I've got a Lighten Blending Mode.
| | 04:46 | It says "Normal" here; go ahead and switch it to "Lighten" and "Click".
| | 04:50 | I'll get a similar affect to the Gradient is a little further down here.
| | 04:57 | It extends a little further down so I'm not getting
as steep effect on the stars but I can adjust
| | 05:03 | that because Blending Mode remember is the bottom and the top combined.
| | 05:08 | I'll take my Gradient tool and I'll adjust my Gradient a little bit.
| | 05:14 | Now you can see the stars on the bottom are blending in a little bit more.
| | 05:18 | If I really want to be precise, take the Gradient select it.
| | 05:22 | "Go to Gradient" and now I can adjust the Slider.
| | 05:25 | I can really make the stars on the bottom perhaps
disappear some more and I can move the middle point
| | 05:33 | down so I have really bleached them out at the bottom.
| | 05:38 | Partially because of the color but partially
because of the Lighten Blending Mode.
| | 05:43 | I also want to play around with these clouds.
| | 05:46 | This is a really cool effect.
| | 05:48 | I'm going to select all the clouds here.
| | 05:50 | We'll go from a "Normal", again let's try Lighten and see what happens.
| | 05:56 | Now my clouds have virtually; in fact the one down
here almost completely if I can find it; there it is.
| | 06:03 | It has virtually disappeared because of
how it is blending with the background.
| | 06:08 | Not quite the effect I wanted.
| | 06:10 | I said that these have to do with light inside your artwork.
| | 06:15 | Lets switch to "Soft Light" and see what happens.
| | 06:18 | That's kind of cool.
| | 06:21 | Now I have a star kind of showing through one of my clouds too but the
light in the image is sort of effecting and blending in with the clouds
| | 06:31 | and giving me these cool clouds against the background.
| | 06:34 | I can even try a little bit if I wanted to come really dark or
maybe I want the one down low to be much lighter, "Soft Light".
| | 06:46 | Maybe I want the one up top to be kind of darker.
| | 06:49 | I can play around with the different colors.
| | 06:55 | I can even play around with how the saturation
of a color shows up and so now the color below,
| | 07:03 | the color in the Gradient rather is saturated differently
based on the color below so I get another cool effect.
| | 07:10 | Any way, my main point is that you can play around with these
different, let's go back to "Soft Light" I kind of liked that.
| | 07:19 | Go back to "Soft Light" for all of them.
| | 07:21 | My main point is that you can play around with these
different "Blending Modes and work with how the color.
| | Collapse this transcript |
| Multiple Strokes and Fills| 00:00 | >>In cool feature of Illustrator in the last few versions is the ability
to put more than one Fill and more than one Stroke on a particular Path.
| | 00:10 | Now you may ask yourself why in the world would I want more than
one Fill and more than one Stroke because when you stack them on top
| | 00:17 | of each other they start to obscure each other.
| | 00:19 | Well you have already seen about Transparency and you can imagine
how I might be able to Blend a couple of different Fills all
| | 00:26 | in different Gradients in different directions to come up with
some really interesting maybe multi directional Gradients.
| | 00:33 | Like one Gradient going left to right
across the screen and one going up and down.
| | 00:37 | I'll let you experiment with that on your own.
| | 00:39 | It is a fun thing to play with.
| | 00:41 | I will show you something slightly different
that has to do with Strokes and multiple Strokes.
| | 00:46 | Kind of a cool effect that you can get.
| | 00:48 | I have Multi-Stroke.AI open and I'm going to
go and zoom in on Java down here at the bottom.
| | 00:59 | I'll take my Selection tool and "Select that J" right there Now over on
the Appearance palette we have a Path selected and one Stroke, no Fill.
| | 01:11 | I'm going to go ahead and from the Fly Out Menu or the Option
Menu you can see if have Add New Fill and Add New Stroke.
| | 01:19 | I'm going to add another Stroke.
| | 01:21 | Now if I "Click off the De-Select" nothing has apparently happened.
| | 01:25 | Why? Because I have one, one point Stroke sitting
on top of another one point Stroke so who cares.
| | 01:32 | They look the same, they are the same color,
they are the same width and everything.
| | 01:35 | I can select objects from the Appearance
palette as well as the object itself.
| | 01:43 | So I can Select and I need to select a Path here as well.
| | 01:47 | I can select an object that is on that Path and target only that object.
| | 01:54 | So here is the object; now what I'm going to do is go to my Saturation
Brightness model and I'm going to de-saturate and brighten that color.
| | 02:12 | That is more of a pinkish color.
| | 02:14 | You can see it has changed the color of the J. But then at the same
time I am going to go to the Stroke palette and I am going to bring
| | 02:22 | down the Stroke to one half a point.
| | 02:25 | That is a little too much.
| | 02:26 | Point seven five point.
| | 02:29 | Now I can actually start to see the Stroke that is underneath.
| | 02:34 | I think I actually have the points good.
| | 02:36 | I'll go to half a point.
| | 02:39 | So now this J has two strokes on it.
| | 02:43 | Let's go ahead and "Select It".
| | 02:45 | We will go to the Appearance palette.
| | 02:46 | I'll add another Stroke.
| | 02:49 | Now I'm going to take the bottom one and make it a little bit darker.
| | 02:56 | I'll also bring up its saturation a little bit.
| | 03:01 | There we go.
| | 03:03 | I'll take that Stroke and make it say two points.
| | 03:11 | Now you see that I have three Strokes sitting on top of one another.
| | 03:15 | I'll "Zoom In" on the J. Oops, I will "Zoom Out" a little bit.
| | 03:20 | I zoomed in too far.
| | 03:22 | Zoomed in on the J and now you can really see the affect here.
| | 03:26 | I can tweak this as much as I want.
| | 03:28 | I might want this to be not one point; I want it to be one point five.
| | 03:35 | Now there is the red.
| | 03:36 | The final effect is this neon glow especially if I "Zoom Out" I can really
get a glowing affect in the artwork itself and I tweak it however I want
| | 03:51 | to make it more or less noticeable.
| | 03:54 | It is sort of a combination of how wide the Strokes are
and how bright the Strokes are relative to each other.
| | 04:02 | I can do this to the blue as well and all the other letters and
so forth and get this neon look to all the objects on the page.
| | 04:13 | Before I leave here I want to point out that this object with
three Strokes and Fills on it is somewhat more complicated.
| | 04:22 | It's an appearance and if I want to Copy that; here's the object
in my Layers palette, we'll talk about more of this in layers.
| | 04:34 | This object has a filled in, sort of grayed circle right here.
| | 04:41 | This is the appearance of the object.
| | 04:44 | This one has a simple appearance, no more than one Stroke and one Fill.
| | 04:48 | As soon as I started adding Strokes and Fill
it is going to change here on the palette.
| | 04:53 | However what is cool, I can take that appearance, "Hold down my Alt key
or Options key" on Macintosh, Alt on Windows and drag and I can copy
| | 05:06 | that appearance to all these objects.
| | 05:18 | There you go.
| | 05:19 | I have it all the way across Java.
| | 05:22 | Now before we leave; one little problem right here.
| | 05:27 | You can see that the appearance, the Stroke and Fill are now
making it really clear that this is a line on top of another one.
| | 05:37 | Maybe that is not what I want.
| | 05:39 | Maybe I want it to look more like the lines cross right in the middle.
| | 05:44 | This can be done but it takes a special trick.
| | 05:47 | I'm going to select this lower line.
| | 05:51 | Actually I need my Group Selection tool here.
| | 05:53 | select this line and "Hold Down the Shift key and Select this one".
| | 05:58 | Now I'm going to "right-click" and group them.
| | 06:02 | I now have a group.
| | 06:05 | Now watch carefully.
| | 06:08 | The group has no appearance on it.
| | 06:12 | The two objects inside it individually have multiple Fills and Strokes.
| | 06:18 | The two objects individually have the multiple Fill and Stroke.
| | 06:22 | What I'm going to do is go over and "Select the Group".
| | 06:28 | Here's the contents.
| | 06:30 | I'm going to "double-click Contents" underneath the group.
| | 06:33 | Now this is in the Appearance palette.
| | 06:35 | You can see Group: No Appearance on the group.
| | 06:39 | If I "double-click" group I'm back up and have the group selected now.
| | 06:43 | "double-click" I have the two objects inside selected together.
| | 06:49 | They have an Appearance on them.
| | 06:52 | I can with the button on the Appearance palette clear them if you will.
| | 06:56 | Reduce them to a basic appearance so now it has just no more than
one Stroke and Fill or I can completely remove the appearance.
| | 07:05 | The A is still there but there is no Paint, no Stroke, no Fill on it.
| | 07:11 | If I were to "Click" out in the middle
of no where the A seems to disappear.
| | 07:14 | Oh dear, how do I get it back.
| | 07:17 | Well I can go right over to my Layers palette.
| | 07:21 | I can click on this group that has no appearance on it.
| | 07:26 | Now watch this.
| | 07:29 | I am going to take the appearance from the J.
| | Collapse this transcript |
| Live Paint| 00:00 | >>One cool new tool in Illustrator CS is the Live Paint Bucket tool.
| | 00:05 | It is over here on the Toolbox and it replaces the old Paint
Bucket tool, which is no more and is part of the Eyedropper tool,
| | 00:13 | which actually makes a little more sense.
| | 00:14 | This is a blank document created from "New" under the File menu.
| | 00:19 | The Live Paint Bucket is actually a totally new concept for Illustrator.
| | 00:24 | I'm going to quickly sketch something out.
| | 00:26 | I'll sketch out the fan what we used in
an earlier exercise just very quickly.
| | 00:31 | You can see I am just drawing it with some
shapes that are similar to what we did last time.
| | 00:40 | Here is another part of the base of the fan.
| | 00:45 | Then I had those fan blades so I'm going to make some of those.
| | 00:49 | "Click" There is kind of a cool side to
the fan blade and I'll make one over here.
| | 00:58 | There we go.
| | 01:04 | Now just as an example, here we have three separate Arcs.
| | 01:10 | If I wanted to Fill this shape I would have to "Assemble"
these three pieces and connect them into a single object.
| | 01:20 | You can see that on the Chapter on Combining Paths.
| | 01:23 | If I didn't do that and just tried to fill
it; suppose I just tried to fill it with Gray.
| | 01:28 | You can see now the Arcs are being filled individually, each Arc is getting
a Fill between its two end points and in fact this arc which we want filled
| | 01:39 | on the curved side; on sort of the convex
side is filling in on its concave side.
| | 01:45 | That is not what we wanted at all.
| | 01:46 | There is nothing in the Standard Illustrator that you could use
other than connecting these Paths and that would take some time.
| | 01:53 | However, Live Paint changes everything.
| | 01:56 | Take these Blades and actually let me resize them a little bit smaller.
| | 02:00 | I'm going to go ahead and "Hold down my Alt key" "Drag to
Copy" "Shift" key and now I have two sets of fan blades.
| | 02:10 | Hold down my "Shift" key again and I've got both of them selected.
| | 02:19 | "Hold down Option or Alt" and that gave me a copy when I drugged the thing.
| | 02:26 | We'll spin this fan blade around this one.
| | 02:28 | I'm sort of quickly sketching things out here.
| | 02:34 | I'm going to go ahead and make an Ellipse in the center and "Hold Down
Alt or Option and Shift" and it will let me draw from center really easily
| | 02:44 | and there is my fan blade.
| | 02:46 | So I have that sketched out and actually just for fun we will add to it
with a Pen tool so I can see the Pen tool can work in this picture as well.
| | 02:57 | I'll quickly make an electric cord for it.
| | 03:02 | I drew a curve with the Pen tool and I'm going to copy it with the Alt
key and we'll just resize it a little bit here just to make it work.
| | 03:19 | There we go.
| | 03:23 | We'll put a quick plug on the end.
| | 03:26 | Slide this over and oops I'm going to switch back to my Selection tool.
| | 03:41 | "Alt, drag" select all these objects.
| | 03:46 | Bring them down, rotate and slide them up into place.
| | 04:01 | All right, so a very quickly done fan.
| | 04:04 | Now if I wanted to Fill this shape and I wanted
to use Live Paint I'd select all of them.
| | 04:12 | "Select All, Command A" or "Control A" or just "Drag up".
| | 04:15 | Selection tool around everything.
| | 04:17 | Go over to the Live Paint Bucket and "Select It".
| | 04:21 | As I come over the object you'll see I get a prompt
asking me if I want this to be a Live Paint group.
| | 04:27 | All I have to do is "Click" so I will.
| | 04:31 | Now something very interesting has happened.
| | 04:34 | Up here on the Control palette is Live Paint Group.
| | 04:37 | On the Appearance palette, Live Paint Group, on the Layers palette
Live Paint Group and it contains all the Paths that made this group.
| | 04:48 | In fact if I had had several subgroups all those subgroups
would have disappeared and I would just have a set of Paths.
| | 04:55 | Now if I want to Fill this object with a color I can simply select
the color and I can go over back to the object and "Click" on any area;
| | 05:12 | even areas that are intersecting.
| | 05:14 | Look at this.
| | 05:14 | I "Click" right here, this was the fan, the neck of the
fan going up this way but it was made just from two arcs.
| | 05:25 | Illustrator has looked at the overlap where the two arcs crossed
other shapes and defined that into an area that I could Fill.
| | 05:34 | Very, very cool, it is kind of a slick feature.
| | 05:37 | Any of those colors like I have this color
right here, I can adjust if I want to.
| | 05:45 | So I can go just like anything else and go to the Color
Picker and maybe I'll just make it a little bit darker there.
| | 05:54 | Now I can fill it with a darker color.
| | 05:57 | I can select and "Fill" the plug with black.
| | 06:05 | I could take the Gradient if I wanted to and fill a fan blade with it.
| | 06:12 | Same thing over here.
| | 06:16 | If I wanted to sample one color and put it somewhere else I could
"Hold down the Alt key" there it is and I could sample this color.
| | 06:30 | You see it got sucked up into the sampler there.
| | 06:35 | Then I could go somewhere else and apply that color.
| | 06:38 | I could apply it on the plug.
| | 06:41 | This allows me to very quickly fill in a
particular shape with a particular color.
| | 06:48 | I'll do another sample there and we can sample if we want the Gradient
too and Fill and we could sample "New" and make it a little lighter.
| | 07:09 | I can also; see each one of these kind of
has their own separate little Fill color.
| | 07:19 | If I want to I can drag the Live Paint Bucket
across several shapes and fill them all.
| | 07:29 | I can take this color and fill there and we have a quickly painted in fan.
| | 07:35 | Now if I want to adjust any of the things
within the fan I've got to switch tools.
| | 07:41 | This is the Live Paint Selection tool.
| | 07:46 | Now I could say, select and I just single selected this fan blade.
| | 07:51 | I now have access to all my normal tools and I could
change say the Gradient as it appears on that fan blade.
| | 08:03 | Then I could select a different object and then I could switch
back to my Gradient tool and do the same thing over here.
| | 08:08 | Maybe I want this a little bit longer.
| | 08:15 | Now I can switch back again.
| | 08:22 | There we go.
| | 08:24 | You can see after I de-select it I can see
much better what is happening on each blade.
| | 08:34 | Then I could go back to Live Paint and keep painting.
| | 08:40 | Now there is another thing that is going on here in Live Paint.
| | 08:43 | Illustrator doesn't know whether I want this part of the object
to be on top or below; whether I want to see these lines or not.
| | 08:53 | Again the answer is the Live Paint Selection tool, which allows me to
select not just whole objects, but if you look I have selected that path.
| | 09:04 | Once it is selected, or that segment of a path
I can just delete it with my "Delete" key.
| | 09:11 | So then I can clean up any sort of lines that are in my object and
I can "Shift" "Click" even if I want and select several of them.
| | 09:25 | There they are.
| | 09:26 | Same thing with this line in the back.
| | 09:28 | I don't want that one.
| | 09:29 | I want it to come out and so forth.
| | 09:32 | So it allows me to do all sorts of cool adjustments on objects as well.
| | 09:37 | I can if I want to, take my "Direct Selection" tool and I can still
select objects within the Live Paint group and adjust them if I want to.
| | 09:50 | Live Paint will flow as needed around those objects.
| | 09:54 | I can make other cool adjustments like I realized
I needed a curve right here inside Live Paint.
| | 10:03 | It will let me go ahead and draw from
center and kind of fill that in right there.
| | 10:12 | Now I've got a Path.
| | 10:13 | I take the Path and drop it into the Live Paint group
and it should become part of Live Paint and now it is.
| | 10:23 | Now I could sample from here and drag right across the whole objects.
| | 10:31 | If you look closely there are these little bits on the side.
| | 10:34 | I don't want those.
| | 10:36 | I'll go back to Live Paint Selection tool,
select that area and "Delete" it.
| | 10:46 | That took out the center and I can take out
the path and Live Paint fills it in nicely.
| | 10:52 | "Path Gone" This path is gone.
| | 10:57 | Now I do have this sort of interesting issue.
| | 11:00 | Let me "Zoom In" on it.
| | 11:01 | I just added to the group but now I'm missing part of the Path.
| | 11:08 | Well can I paint Paths in Live Paint?
| | 11:10 | Sure can. By default the bucket isn't showing me that Path.
| | 11:16 | However if I "Hold down my Shift key" I now have access to the path
and it will paint with whatever color I have on the Stroke over here.
| | 11:25 | The same thing there I can fill it in.
| | 11:28 | You can change the options for Live Paint and I'll "double-click" the tool.
| | 11:34 | You can check Paint Strokes.
| | 11:37 | This will give you the effect that no matter
what you do as you move the Live Paint Bucket
| | 11:42 | around it will highlight all the individual Strokes as well.
| | 11:47 | Its up to you.
| | 11:48 | You can use the "Shift key" for it or you can do it by yourself.
| | 11:52 | I'll "Zoom" back out to show the whole object.
| | 11:57 | One other interesting thing about Live Paint; let me go ahead and select.
| | 12:00 | Remember these are all separate Paths here.
| | 12:02 | Let me go ahead and make a little gap.
| | 12:06 | You can see how Live Paint is actually filling in that gap.
| | 12:12 | If I make the gap too big, Live Paint doesn't fill in.
| | 12:16 | What's going on right there is that Illustrator has to decide at
what point were you just kind of making an open object intentionally
| | 12:25 | or maybe being a bit sloppy and at what point is it a separate object.
| | 12:29 | You control this in fact with the Live Paint Gap Options.
| | 12:33 | That is up here on the Control palette
or you can get to it through Objects.
| | 12:41 | There is nothing new on the Object menu Live Paint Gap Options.
| | 12:45 | Same thing.
| | 12:45 | We can go ahead and go to Gap Options and it shows you how
big a gap at which point do you want the paint to stop.
| | 12:55 | By default it is usually small gaps.
| | 12:57 | Now you can see that went clear on me.
| | 13:00 | It will also tell you how many gaps there are right there in the document.
| | 13:04 | You can see there is a gap there and a gap there.
| | 13:08 | This isn't showing up as a gap because it is
too big to count as a gap that it will paint.
| | 13:15 | The ones that are red are the ones that Live Paint is choosing to ignore.
| | Collapse this transcript |
| Live Paint Tips| 00:00 | >>Just a couple of quick tips before we leave Live Paint.
| | 00:04 | Number one: There are some live commands that are sort
of hidden unless you know where to go looking for them.
| | 00:09 | For example I have the Live Paint Selection tool and I
can say, select this area of Live Paint to paint in.
| | 00:19 | Now I could drag kind of across several areas.
| | 00:22 | No, that doesn't work to select Although it gave me the Paths.
| | 00:25 | If I wanted to select a whole group of
adjoining areas I would click twice.
| | 00:32 | Now I've got adjoining areas of the same Stroke
and Fill so I can treat them as a single area.
| | 00:37 | I can also triple click and now I have all the areas inside
this Live Paint group that have the same Stroke and Fill.
| | 00:47 | There are a whole bunch of these commands and if you want to see
them what you want to do is go to Illustrator Help and go ahead
| | 00:58 | and type in Live Paint.
| | 01:00 | We can even be more specific and type in keys and you'll get this window.
| | 01:07 | These are all the built in short cuts for Live Paint and they
can save you a lot of switching back and forth between tools.
| | 01:15 | The other thing about Live Paint and I'll switch back over, is
that Live Paint does not support brushes as well as a number
| | 01:25 | of other things inside Live Paint Groups.
| | 01:27 | You can't do a lot of effect and so forth.
| | 01:30 | There is a way to get around the brushes
issue though and it is kind of cool.
| | 01:34 | What you can do, you can't say select part of a
Path in Live Paint and then try and apply a brush.
| | 01:42 | Let's say I want this kind of charcoal look.
| | 01:45 | I can select the entire Live Paint Group and
I've done it over here on the Layers palette.
| | 01:52 | I could also just take my Selection tool and click the group.
| | 01:56 | Then use the technique for adding a new
Fill or Stroke so you can add a new Stroke.
| | 02:03 | This Stroke is not on any of the objects inside Live Paint.
| | 02:08 | The objects inside Live Paint don't support Affect.
| | 02:11 | The Live Paint Group as a whole does.
| | 02:15 | So now I can go ahead and apply that charcoal quick and
I have this charcoal look for the whole Live Paint Group.
| | 02:26 | Now when it does that you can see it painted
over all the little Paths as well.
| | 02:33 | That is one of the problems you might run into but you can still go
in to Live Paint and you can still delete those Paths one at a time
| | 02:44 | and clean them up and get the affect that you want.
| | 02:49 | I'm using the Live Paint Selection tool and cleaning up the Paths.
| | 02:52 | Once I get rid of them they are gone from the Live Paint Group
and so the extra Stroke isn't going to show up on them either.
| | 03:01 | It is a little bit limited but it is a cool way and applies
something and not have to expand Live Paint Group as a whole.
| | 03:08 | You can do other things.
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|
|
6. Layers and GroupsLayers and Groups| 00:00 | >>Layers and the Layer palette are very powerful organizational
features for Illustrator, and if you're going to be making any kind
| | 00:07 | of complex artwork, you need to know how to work with layers.
| | 00:11 | It will save you a huge amount of time and headache.
| | 00:14 | I have "fly to the moon" complete-- complete
version of this "fly to the moon" page open--
| | 00:20 | and what I'm going to do is close this group of palettes
that contains color swatches, stroke and gradient, so forth.
| | 00:27 | That will allow me to have more room for the Appearance
and Layers palette, and they're grouped together--
| | 00:34 | and they're grouped together for a good reason because they
do work well together, and they give you a lot of information.
| | 00:38 | I'm going to expand layer number one here, and
it shows you all the objects in my artwork.
| | 00:46 | This is a way of organizing it, and I've gone ahead and I've given
the various groups and objects names so they're easier for me to see
| | 00:56 | when I have a whole bunch of things.
| | 00:57 | And you can imagine on a complex piece
of artwork, this could go down endlessly.
| | 01:02 | First of all, let's look at the layer itself.
| | 01:05 | Every object in Illustrator is contained within some kind of layer,
and this object just has a single, main layer that everything's on and,
| | 01:14 | when you start new artwork, it will all show up on layer number one.
| | 01:18 | And then you can add as many layers as you want.
| | 01:22 | Then within the layer, I have various objects, and
I can actually select them from the Layers palette.
| | 01:28 | See, here's the type and here are the
stars and planets that go up the side.
| | 01:36 | And you can see there's an arrow.
| | 01:37 | That means I can expand that.
| | 01:39 | Here are all the objects' separate paths within this object.
| | 01:44 | This is a group.
| | 01:45 | When a group appears on the Layers palette, it shows up
with this little triangle, but its background is white.
| | 01:53 | You can see the layer itself.
| | 01:55 | If you look right here, the background is kind of grayed out
and exactly what color it is depends on your operating system
| | 02:01 | and how you have your preferences set up.
| | 02:04 | But the Layers palette shows me all the objects in that group.
| | 02:09 | And then, in fact, inside that group are two more sub-groups.
| | 02:13 | There's the little moon and the little earth down at the bottom.
| | 02:17 | And I can select anything within a particular group, like now I'm selecting
just part of-- I don't even know what country it is-- on the earth.
| | 02:28 | Here, maybe I'll get the polar ice cap there.
| | 02:30 | I have the little polar ice cap selected
on the little earth so it's one path.
| | 02:37 | And you can tell it's selected because it has this box over here.
| | 02:41 | It's inside a group, little earth, and you can see this small box saying
that there is an object at least one, possibly more, selected inside here.
| | 02:51 | And then that group is inside.
| | 02:57 | Stars and planets, another group, which has a little box selected.
| | 03:01 | There's something down in there.
| | 03:02 | And then up here, there is something selected on this layer.
| | 03:08 | And you can see, like, if I click the
stars and planets, they're all selected.
| | 03:12 | They're all lit up, but the layer still has a partial box.
| | 03:17 | The other thing that's nice about layers is I'm able to
name these various things so that I can find them quickly.
| | 03:24 | Where's that vertical rule?
| | 03:25 | Oh, there it is.
| | 03:26 | There's Jean-Paul flying along, and he's
actually a group of two separate things as well.
| | 03:34 | Now, you can, in addition to having groups-- and we talked
about groups in an earlier exercise-- you can have sub-layers.
| | 03:42 | And that's what we have right here-- stars.
| | 03:45 | So let's look at what the difference is.
| | 03:46 | Here are all the birds, say, or here is Jean-Paul with
his two paths-- basically his arm is one of the paths,
| | 03:55 | and the rest of his body is a different path.
| | 03:58 | And here are all the stars, and they kind of look just like a group does.
| | 04:02 | So what's the difference?
| | 04:04 | Well, if I go and select, and I'll do
the birds because it'll be easier to see.
| | 04:09 | If I go inside and select one of these birds, I select the entire
group, and I would need the Group Selection tool to select a single one.
| | 04:19 | If I try and select one of these stars, I can select them individually.
| | 04:24 | Why? Even though they are organized in a layer,
that layer, each object is selected separately.
| | 04:35 | So that's the main thing.
| | 04:36 | There are a bunch of other small things about layers and groups just in
terms of how you can paint them and apply effects to them and those kinds
| | 04:46 | of things, but the main gist of whether you would want to
group something or whether you would want to collect it
| | 04:51 | in a layer is whether you want the ability
to easily take the object and move it around.
| | 04:58 | The other thing that is an advantage of layers versus groups
is when I have a group-- let me go up here for a moment.
| | 05:08 | Suppose I built all these birds, and I wanted
to group them, and I grouped them into birds...
| | 05:13 | When I first named them-- in fact, let me go and do it.
| | 05:17 | I'll select all the birds.
| | 05:18 | I'll do Object, Ungroup.
| | 05:21 | So now they're just a long bunch of paths and it's a big sort of mess
here in my Layers palette to scroll all the way down through to find them.
| | 05:30 | I'll go to Object, Group, and they group,
and the default name is just "group".
| | 05:36 | Well, if I double-click, I can change the name.
| | 05:41 | I'm going to call them "birds".
| | 05:45 | And now they're much easier to find.
| | 05:48 | Well, the stars have the same kind of issue, but when I collected them into
a sub-layer, or created them on a sub-layer-- let me double-click now--
| | 05:58 | I have a whole bunch of options.
| | 06:01 | And actually, they're selected right now.
| | 06:04 | Let me deselect for a second.
| | 06:06 | Here we go.
| | 06:09 | I can change the color of that layer.
| | 06:13 | So maybe I want everything, when it shows
up, to be yellow when I select it.
| | 06:20 | So I'll go and hit OK.
| | 06:22 | And now I can select each one yellow.
| | 06:25 | This can be really handy if the color of the object
against the background isn't showing up really well.
| | 06:32 | For a group, I don't have that option.
| | 06:34 | We'll go ahead again here.
| | 06:37 | I can do things like change whether a layer is printable
or doesn't print, and I can leave it in the middle,
| | 06:45 | which just says that it follows the path above it.
| | 06:48 | I can switch a layer so that the layer itself is an outline view,
so only it shows up in an outline rather than in preview view.
| | 07:01 | Of a whole bunch of options that I can choose that are specific just
to layers and not to groups, there is a new tool in Illustrator,
| | 07:12 | which actually gets around some of the disadvantages of groups, called
Isolate Selected Group, and we'll look at that in the next exercise.
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| Isolating Groups| 00:00 | >>Isolate Group is a new feature in Illustrator CS that's
kind of a handy Alternative to the Group Selection tool.
| | 00:09 | Remember that the Group Selection tool over here on the Toolbox-- open
arrow with the plus sign-- allows me to select an object within a group,
| | 00:17 | say, Greenland here on the earth, and move it around individually.
| | 00:21 | I can also click a second time and get the next higher level of grouping
within that object, and I can cycle my way up through successively higher
| | 00:31 | and higher groups, or levels, within a subgroup.
| | 00:36 | Now, if I have the Selection tool all ready, and I try and
select something within a group, I'll get the whole group.
| | 00:43 | It can be kind of annoying to be switching back and forth between tools.
| | 00:48 | It's also possible that when you have groups
next to groups, you keep trying to select one
| | 00:54 | and you end up accidentally selecting the other one and so forth.
| | 00:57 | There is a new feature called Isolate Selected Group, and I can do
a right-click on a group I selected, get Isolate Selected Group,
| | 01:08 | and now I'll get this new kind of marquee around the outside.
| | 01:13 | Now my Selection tool can select the individual objects
within the group automatically, and I can move them around.
| | 01:21 | It's as if they are ungrouped, and it
doesn't matter how many layers deep I go.
| | 01:26 | I can move these objects around.
| | 01:29 | It's a cool, slick way.
| | 01:30 | There-- actually, I just go the circle of the background of the earth.
| | 01:34 | It's a cool way to do things and, if I want to get out of it, I
can just, as you saw, select one of the objects outside the group
| | 01:43 | or there's Isolate Selected Group.
| | 01:45 | Again, if I'm done, I can just exit Isolate Selected Group by doing a
right-click again, or Control + Click, and Exit Isolate Selected Group.
| | 01:54 | So just another option.
| | 01:55 | The key is you'll see that Isolate Selected Group come up
sometimes with Live Paint because that is a kind of isolated group,
| | 02:03 | and sometimes it comes up and you don't want it to.
| | 02:06 | If it does, all you've got to do is exit that group, and
there's even-- I'll go back to Isolated Selected Group again.
| | 02:13 | You'll even see this icon appear up on the Control palette.
| | 02:17 | If you see that, you can just give it a click,
and you'll be out of the isolated group.
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| Hiding and Locking| 00:01 | >>One more advantage of working with the Layers palette is the ability
to hide and lock specific objects as you're working with other objects.
| | 00:09 | For example, let's suppose I want to select some of these stars here.
| | 00:14 | Now, I can just drag my marquee around them and-- there,
I selected three stars, and I can move them around.
| | 00:20 | Notice that I wasn't able to select in the
blue, or sort of purplish, background of space.
| | 00:25 | That's because it was locked.
| | 00:28 | If I unlock it, then I can go over to my Layers palette
and click the space next to the Visibility icon.
| | 00:35 | That toggles the lock on and off.
| | 00:37 | Now if I try and do that drag, as soon
as I try and drag, look what happened.
| | 00:43 | The moment I click to drag around the stars, I dragged
the background color that I didn't want to move at all.
| | 00:49 | So I'll Command + Z, or Control + Z, to get around that.
| | 00:52 | There's the advantage of locking it.
| | 00:54 | Another thing I can do is if I want to work with one object but I don't
want to even see or work with the object behind it, I could just hide it.
| | 01:06 | If you like, there's the moonbeam.
| | 01:08 | I can just turn it off if I want to.
| | 01:11 | In doing that, I can't select it.
| | 01:15 | So I was able to drag, say, around the swallows and Jean-Paul
here and I can move him around, put him to a different place...
| | 01:23 | But the moonbeam, just by the fact that it's not visible, allows me to
move objects around over without having to worry about selecting it.
| | 01:33 | That can also be handy just when you have objects
that don't show up really well against each other.
| | 01:39 | You can hide them or you can lock them into place.
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| Organizing Layers| 00:00 | >>As I said earlier, layers are the center of your organization for your
Illustrator artwork, and there are a couple of things just to keep in mind
| | 00:08 | as you're organizing layers.
| | 00:10 | Number one is that the stacking order of objects is
still crucial in whenever you're working with layers.
| | 00:19 | What you're looking at is a bottom-to-top view of your artwork, and
anything on the bottom here can be obscured by objects that are higher up.
| | 00:32 | For example, the stars are beneath the moonbeam right now.
| | 00:36 | So if I were to select one of those stars and I were to slide it right
here under the moonbeam and click-- just deselect-- it's missing.
| | 00:45 | You can't get to it underneath there.
| | 00:48 | So if you want to get underneath the moonbeam--
well, you can't get to that star.
| | 00:53 | It is kind of handy, though, that you can select stars like this.
| | 00:58 | See, there are all the stars.
| | 01:00 | There's the one that's underneath.
| | 01:02 | I can do things like drag across both.
| | 01:05 | There's the star-- Shift + click to deselect the moonbeam.
| | 01:09 | OK, get it out.
| | 01:11 | How do I deal with that?
| | 01:13 | Well, I could lock the moonbeam.
| | 01:15 | Select and get my star out if I wanted to.
| | 01:19 | That would be one way.
| | 01:20 | So just keep in mind that how you move
things around are definitely going to matter.
| | 01:26 | That becomes kind of an issue when you start to
do some organization through the Layers palette.
| | 01:32 | For example-- let me move my moonbeam back.
| | 01:35 | It got a little out of kilter there.
| | 01:39 | There we go.
| | 01:40 | Let's suppose I wanted to put all the objects that
are in the background here together in one group.
| | 01:49 | So, what I'm going to do-- let's suppose
I want a star that was over the moonbeam.
| | 01:54 | I'm going to go ahead and take moonbeam, and
now I can drag around in the Layers palette.
| | 02:00 | Now the moonbeam is actually behind the stars.
| | 02:03 | And I'll go ahead, and I can put a star right on top of the moonbeam.
| | 02:07 | Let's suppose that was the way I wanted it to look.
| | 02:09 | Perfect. Then I decide, you know, what I need-- I
need to take these stars and space and the text,
| | 02:20 | and I'm going to put all that together into a sub-layer.
| | 02:25 | Just organizationally, it's going to be kind of the background of my page.
| | 02:29 | Well, how would I do that?
| | 02:30 | Well, that's pretty easy.
| | 02:32 | There's two kinds of selections, and this is an
important subtlety of Illustrator, if you will.
| | 02:37 | When I select, say, the moonbeam either
here in my artwork-- there it is, selected--
| | 02:43 | or over on the Layers palette, I can select
objects over here as well by clicking.
| | 02:48 | The object in the artwork is selected, but
the object on the Layers palette is not.
| | 02:56 | Right now, space is selected.
| | 02:57 | See how it's highlighted.
| | 02:59 | So I'm going to start using the terms "highlighted"
versus "selected" just to make it clear what I'm doing.
| | 03:04 | And you'll see the difference in a moment.
| | 03:06 | I have space highlighted.
| | 03:08 | I'm going to hold down my Shift key and highlight stars, and
you can see that that will highlight everything together,
| | 03:17 | and so I have all three of these.
| | 03:18 | Anything that I do to them is going to
happen to all three-- not quite what I want.
| | 03:22 | So I'm just going to click off somewhere.
| | 03:25 | There's space.
| | 03:26 | This time I'll hold down the Command key on
Macintosh-- Control key, Windows-- stars.
| | 03:32 | And maybe I want the text "swallows".
| | 03:36 | Now you can...
| | 03:37 | In the artwork, the moonbeam is still selected, but on the
Layers palette-- one, two-- these three things are highlighted.
| | 03:45 | The highlighted objects are going to be affected by whatever I do on
this Layers palette Flyout menu, which is what I'm clicking right now.
| | 03:53 | I have-- for the objects themselves, I can collect them in a new layer.
| | 04:01 | And so I'll go ahead and do that.
| | 04:04 | I've collected them in a new layer right here-- layer 3.
| | 04:08 | Now, wild stuff has happened.
| | 04:13 | If you look, my artwork-- I still have the moonbeam selected--
it looks like the earth and moon and moonbeam have all gone away.
| | 04:23 | They've disappeared.
| | 04:24 | Well, what happened?
| | 04:25 | The last object that I selected-- the highest
one-- was the swallows, was the last one I clicked.
| | 04:31 | And so everything came together and was now sitting.
| | 04:36 | It's stacked space...
| | 04:37 | that was the back.
| | 04:38 | It's stacked on top of all these other objects.
| | 04:43 | If I want to fix that, I wanted this to be at the very back
of everything, I'll just drag it down to the very bottom.
| | 04:53 | And now it's behind everything.
| | 04:55 | However, the star that I want in front
of my moonbeam is behind the moonbeam.
| | 05:01 | Why? Because it's a part of this stars
group, and there's no way around that.
| | 05:05 | The objects are stacked in a linear order.
| | 05:07 | I can't have a star that's part of a group down
here but really sitting on top of something up here.
| | 05:13 | So that's just a sheer limitation of the way the software works.
| | 05:18 | You may have noticed that as I dragged this around, I
actually could move it to a couple of different places.
| | 05:23 | I could move it out as well.
| | 05:26 | I just moved it out to the main level.
| | 05:28 | I now have two layers, and they are sort of root-level layers, if you will.
| | 05:34 | This layer is no longer a sub-layer of layer one.
| | 05:38 | I've clapped them both.
| | 05:40 | You can see them next to each other, and that may be
important in terms of what I want to show and hide.
| | 05:44 | Like, I could turn off everything that's on this
main layer, but I can still see what's below.
| | 05:51 | If I want to move it up inside-- well, I can do that.
| | 05:54 | It went to the top again.
| | 05:56 | I can slide down to the bottom.
| | 05:58 | Now it's a sub-layer.
| | 06:00 | Now if I turn off a layer, everything disappears.
| | 06:02 | And if I wanted to just see this bottom layer, I'd have
to go and turn off all of these objects in themselves.
| | 06:10 | So you kind of got to decide for yourself what layers
and sub-layers you want for your own organization.
| | 06:17 | A couple of other handy features, especially when you're dealing
with a lot of different things-- there, I clicked on this object.
| | 06:23 | It's buried somewhere down in this layer.
| | 06:27 | I can Locate Object off the Flyout menu, and Illustrator will open all of
the layers in groups as necessary to find that object and, if necessary,
| | 06:37 | it would have scrolled down the path as well
to find me one if there was one way down here.
| | 06:43 | Now, let me do one of those so I can show you.
| | 06:45 | There's one that's way down there.
| | 06:47 | I'll close everything up.
| | 06:49 | If I do Locate Object...
| | 06:50 | And there it is, down here, and there's the object.
| | 06:57 | One last thing before I leave this section,
a just handy trick that you can have.
| | 07:03 | Let's suppose I wanted to work on this earth
here, but I didn't want to mess up my original.
| | 07:10 | Well, if I highlight big earth there, I can do a Duplicate big earth,
and I now have two identical objects right on top of one another.
| | 07:21 | I can then turn off the bottom one.
| | 07:24 | Now I can go ahead and do whatever I wanted to to this earth.
| | 07:30 | What I mean, I could, you know, squash it, move
it around, and, you know, I could rotate it...
| | 07:37 | There we go.
| | 07:38 | Rotate it like so and make it a bouncing ball over
here, and decide that, you know what, that was terrible.
| | 07:45 | I won't want to have to go Undo, Undo, Undo,
Undo, Undo to get rid of that whole thing.
| | 07:50 | I'll just take the one I was experimenting with.
| | 07:54 | Notice I've highlighted it, and I can either drag it to the trash or,
when it's highlighted, I can just click the icon for trash, and it's gone.
| | 08:02 | I can then turn back on the one that was
duplicated, and I have my original in tact.
| | 08:08 | It's a great way to experiment with something in your artwork
without actually messing it up, or even losing its location.
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| Merging and Flattening| 00:01 | >>Two other functions on the Layer palette that you
might need at different times are Merge and Flatten,
| | 00:06 | and they're pretty straightforward on what they do.
| | 00:09 | Let's start with Flatten, which is the simplest of all.
| | 00:14 | Flatten is just a way of getting rid of any sub-layers--
any extraneous layers-- that you have in your work.
| | 00:23 | So it doesn't matter what is highlighted over on the Layers palette.
| | 00:27 | If I had a layer highlighted, I could have one of these.
| | 00:29 | I could have something selected.
| | 00:32 | It doesn't really matter.
| | 00:33 | If you've got something selected, you can see, like, the earth there.
| | 00:37 | No matter what it is, I can come over to the Flyout window, and I can
choose Flatten Artwork, and I realize I should show you-- look closely.
| | 00:45 | I have one sub-layer here-- stars.
| | 00:48 | It's the only thing that's going to change when I hit Flatten.
| | 00:51 | My sub-layer got turned into a group, and I know
that because I can go in and select something.
| | 00:58 | There we go.
| | 00:59 | And when I select it-- there we go, the whole group--
the objects are all going to be selected as a group,
| | 01:08 | whereas before they were individual objects on
a sub-layer, so they didn't show up that way.
| | 01:15 | It's just a way of organizing things, and sometimes it's nice
to have had the ability to move things around individually
| | 01:21 | and now you want them to be a group.
| | 01:23 | Well, Flatten Artwork will get rid of
all those sub-layers for you in one shot.
| | 01:28 | The other thing that you have is Merge, and it's a way
of collecting a bunch of groups into a single group,
| | 01:36 | but I want to show you what happens when you do that.
| | 01:40 | Let's suppose I want to get-- I'm going to move this-- use
my Hand tool-- move over a little bit so you can see these.
| | 01:47 | I have all these objects moving down the side
of the page, and they're grouped together.
| | 01:51 | And, in fact, they contain some sub-groups.
| | 01:54 | There's a group within a group.
| | 01:55 | See, here's "little moon".
| | 01:57 | It's a group in and of itself, and it's inside another group.
| | 02:01 | That's going to be an important feature in a moment.
| | 02:04 | But the little person and the stars are all individual paths.
| | 02:08 | All right.
| | 02:10 | Watch this.
| | 02:11 | I'm going to highlight the stars and planets.
| | 02:14 | I'm going to highlight-- let's see-- hold down the Command key
on Mac, or the Control key on Windows-- the text down here.
| | 02:23 | Let's do the Vertical Rule, and the last one I'll click is Space.
| | 02:27 | And now I will do a Merge, Select it off the Flyout menu.
| | 02:33 | And they all merged.
| | 02:35 | A couple of things happened.
| | 02:37 | They ended up at the top of my stack, and I really
need them to be behind everything else in my artwork.
| | 02:43 | So I'll slide them down, drag them down to the back.
| | 02:45 | You can see that they are a group right now.
| | 02:49 | Now, the sub-layer-- because they would have
this shaded line if they were a sub-layer--
| | 02:55 | and now when I open them up, remember that
this object right here was part of a group?
| | 03:02 | This was all part of a group, and when I clicked
on the moon-- see how I got the whole group there?
| | 03:07 | Now when I click on the moon, I'm getting the new group, which is
the vertical line, the background, the text, all these objects...
| | 03:18 | All of the sub-grouping has gone away at the first level.
| | 03:25 | The groups that were buried-- "little moon" was a group inside a group--
now it's containing group, if you will, one of them has disappeared.
| | 03:36 | All of the individual stars running down
the side are now part of this larger group.
| | 03:42 | Now, you can play it back and it might
be necessary for a follow what happened.
| | 03:47 | But basically, when you do that Merge, you're going to lose
that first level of grouping and make one new big group.
| | 03:54 | Any sub-groups-- those will stay around as sub-groups.
| | 03:58 | So some of the organization goes away, and some of it doesn't.
| | 04:02 | But it's a cool way if you have a whole bunch of separate pieces
that, now, you're perfectly happy to have them function as a whole.
| | 04:09 | You can get them all together into a larger
group or, if you need to, a larger sub-layer.
| | Collapse this transcript |
| Pasting between Layers| 00:00 | >>While we're talking about layers and
organization, let's talk about pasting between layers.
| | 00:07 | Here I have something that you might recognize from my
earlier Illustrator title, a nice '51 Chevy 5 window.
| | 00:14 | And I want to take it from this piece of artwork and see if I
can put it into another piece of artwork, just for the fun of it.
| | 00:21 | So what I have-- and I want to point this out-- there's the
truck, and it's on its own layer, and there are two sub-layers.
| | 00:27 | One is the tailgate for the truck and has its own objects within it.
| | 00:33 | And then there's the main truck body, and then there
are a whole bunch of groups within truck body as well.
| | 00:40 | Now, if I want to move this to another
piece of artwork, I could just select it.
| | 00:44 | And there I selected the main truck body.
| | 00:47 | If I want to select everything, I could just do a drag around, or I
could just select here in the Layers palette, or I could do a Command A,
| | 00:58 | or a Control A-- select all.
| | 01:00 | Any of those will work.
| | 01:01 | And then I'll go ahead and I'll do an Edit, Copy-- or Command
C or Control + C. Then I'll switch over, ...my Window menu.
| | 01:09 | I've got "fly to the moon" complete.
| | 01:11 | If you've been working on this in this chapter, and yours doesn't
look quite like mine, you could always go ahead and do a File, Revert,
| | 01:19 | and it would be highlighted if you had made
changes, and that will revert to the saved version.
| | 01:25 | And now I say, what happens if I take out Jean-Paul here
and I want to select all the birds and everything here?
| | 01:35 | I drag around them all, and then I'll Shift
Click to get rid of the moonbeam I selected.
| | 01:41 | And I'm just going to delete them for a moment.
| | 01:46 | All right.
| | 01:46 | They're gone.
| | 01:47 | Now I'm going to put the truck on the moonbeam.
| | 01:49 | Let's see what happens if I do an Edit, Paste.
| | 01:56 | OK, there's the truck.
| | 01:57 | It's in place, but look what happened over here on the Layers palette.
| | 02:01 | All of my organization, all of my layers, disappeared.
| | 02:06 | They're gone.
| | 02:08 | And now I have all these kind of truck parts rambling around.
| | 02:12 | Now I could go back here and highlight on the Layers palette all the
things I had for the trucks since they're all selected, and I could go back
| | 02:26 | and collect them in a new layer or I could merge them.
| | 02:30 | And that would give me some organization as well.
| | 02:32 | Let me delete it for a moment.
| | 02:36 | Another option that I have is Paste Remembers Layers.
| | 02:40 | It's on the Flyout menu for the Layers palette, and if
you click on it, you'll see now it has a checkmark by it.
| | 02:47 | Now I'm going to go back and do the same-- Edit, Paste.
| | 02:53 | And now what's happened is truck has become its own layer
and, in fact, it's on top of the main layer of my document.
| | 03:03 | So now I can take the truck and I can-- well, let's just resize it...
| | 03:08 | Kind of put it into place here.
| | 03:10 | Resize it a little smaller, and maybe we'll...
| | 03:15 | We'll twist it a little bit.
| | 03:19 | I'm going over and select it again on the
Layers palette, give it a little bit of a bend.
| | 03:25 | There it is, driving off to the moon.
| | 03:27 | I think I need to lift it up a little higher on the moon.
| | 03:34 | Cruising on its way right up to the moon.
| | 03:36 | I can now take all my original organization--
my sub-layers, all of my groups.
| | 03:42 | Everything is in tact.
| | 03:43 | And I could even take that layer and make it a sub-layer of layer one.
| | 03:48 | I can move it around.
| | 03:49 | I can do whatever it is I want to do.
| | 03:53 | That's a really cool little trick to keep in mind.
| | 03:57 | The thing is, you might not want it on
all the time, because-- hey, it's so cool.
| | 04:01 | Why not have it on all the time?
| | 04:02 | Well, imagine if you were copying and pasting within a document, like I
was maybe copying stars, and I don't want it to remember layers normally.
| | 04:12 | I don't want it to suddenly jump back to the
layer it came from and so forth and so on.
| | 04:19 | So for the most part, by default, the Paste to Remember Layers
is off, but you can go ahead and remember that it's there,
| | 04:27 | especially when you're combining objects between two documents.
| | 04:32 | When you're pasting, one thing you may have seen
on the Edit menu-- and I'll just point it out--
| | 04:38 | Illustrator has this handy Paste, but it also has Paste in Front and Paste
in Back, which will allow you to target where you want that paste to go.
| | 04:46 | So just a little handy tidbit on pasting between two
documents or pasting and keeping all your layers.
| | Collapse this transcript |
| Eyedropper and Appearances| 00:01 | >>Appearances is one of those concepts in Illustrator that you can get
by without for a long time, but every once in a while, you come back,
| | 00:08 | and it bites you right on the bottom if you
don't know what's going on with Appearances.
| | 00:13 | So it's important to understand that it can
actually be very helpful and timesaving as well.
| | 00:18 | Let's take the Zoom tool, and I've got a file-- appearances dot ai.
| | 00:22 | I'm going to zoom in on the word "java" so I can see them up close.
| | 00:27 | And what you will find-- take the Group Selection tool and select,
say, this "J"-- it has something called a complex appearance.
| | 00:35 | That is, it has either multiple strokes and fills, some
transparency, or some kind of special effects added to it.
| | 00:42 | In this case, it's multiple strokes and fills.
| | 00:45 | If I look at it on the Layers palette,
I can see it somewhere in this layer.
| | 00:49 | I use the Flyout menu from the Layers palette and do Locate Object.
| | 00:53 | The "J" has a shaded appearance button, telling
it has a complex appearance of some kind.
| | 01:00 | Part of the "A" right next to it has an unshaded button.
| | 01:02 | It has a basic, or simple, appearance to it.
| | 01:06 | If I want to take the complex appearance from the "J" and copy it to the
"A", I can simply hold down my Alt or Option key and drag that button
| | 01:15 | from one place to another.
| | 01:17 | In fact, I could do this from path to
path to path to path, and you'll watch.
| | 01:22 | The whole thing of "java" will now have this complex appearance.
| | 01:26 | I've copied it from the J to all the other characters.
| | 01:29 | If I ever want to take it off of that character, I could, say, drag
that appearance to the trash, but I'm not left with what I started with.
| | 01:40 | I have a basic appearance now, but it's just a 4-point stroke.
| | 01:45 | That is, I lost 2 strokes.
| | 01:47 | Everything down to just no more than one stroke and
one fill, but it wasn't the same ones I started with.
| | 01:53 | So it's just something to be aware of if you try and drag away an
appearance, or you select an object from the Layers-Appearance palette,
| | 02:02 | you can reduce it to a basic appearance.
| | 02:04 | I'll end up with one of the strokes, but
not necessarily the one I started with.
| | 02:10 | Same thing if I completely clear an appearance--
I'll end up with no fill and stroke.
| | 02:17 | But if I want to put a fill and stroke on it, I can always Alt + drag
an appearance onto it, and I'll get all the fills and all the strokes
| | 02:25 | and all the various other things that may be
associated with that appearance copied to my object.
| | 02:30 | And just for finality here, I'll fix the "A" so that they're all set.
| | 02:36 | Let's scroll up a little bit and zoom out with Command + Minus.
| | 02:41 | Another way to copy appearances is with the
Eyedropper tool, but it's not quite so simple.
| | 02:47 | You see, there was in Illustrator 9, when Appearances first came
about, people started getting very frustrated with the Eyedropper tool
| | 02:55 | because it automatically copied entire appearances, which was great
if that's what you wanted, but if you just wanted to sample a color
| | 03:02 | from one place or just a transparency, then it was very frustrating.
| | 03:06 | So what happened?
| | 03:08 | Well, the Eyedropper tool has come a long way.
| | 03:09 | In CS2, it's got a couple of new twists and now actually works in a
really wonderful way as long as you know how to use the modifier keys.
| | 03:18 | So let's start with the object.
| | 03:20 | I want to copy this appearance on the blue
cup to this blue line, part of the cup.
| | 03:28 | I'm going to select the place I want the appearance to go.
| | 03:31 | I'm going to select my Eyedropper tool.
| | 03:33 | Now, this is not going to work, but the way
it's not going to work is rather illuminating.
| | 03:37 | And I'm going to take the Eyedropper tool, and I'm going to
sample from the place I wanted to copy the appearance from.
| | 03:45 | And what you see is that I have stroked this path with blue and,
in fact, it copied the fact that it was a 4-point blue line,
| | 03:55 | but it really copied the basic appearance associated with this object.
| | 04:01 | Why? Let's go over to the Eyedropper tool-- we'll
double-click it, and here's what the Eyedropper picks up.
| | 04:08 | It would have copied transparency.
| | 04:11 | The focal fill-- in this case, it's what was
the basic fill or stroke-- there was no fill.
| | 04:17 | There was a stroke of 4 points on the bottom.
| | 04:21 | And it copied everything about that stroke, but it didn't
copy any of the extra ones, and it wouldn't have copied any
| | 04:28 | of the special effects that were applied.
| | 04:31 | It would have copied transparency if necessary, because it was up there.
| | 04:34 | If there were any character or paragraph
styles, it would have copied those as well.
| | 04:38 | I can customize what the Eyedropper picks up and leaves
behind by checking and un-checking the appropriate boxes.
| | 04:45 | If I want, I can check the Appearance
box and make sure that everything copies.
| | 04:50 | However, I lose my fine-tuned control, as you can see.
| | 04:53 | Let me go ahead and hit OK and do the exact same thing I did
before, which was to sample from this complex appearance,
| | 05:01 | but now that the Eyedropper is picking up
appearances, I get the final effect that I wanted.
| | 05:07 | Now I can override this if I want to, just
temporarily, with, say, the Shift key.
| | 05:14 | So here I've got the red and neon "java".
| | 05:17 | I'm going to hold down my Shift key, and I'm going to sample.
| | 05:20 | And if you see what happened, I copied the red-- I was holding down
my Shift key-- and it replaced the basic, or the focal or the bottom,
| | 05:30 | stroke color and left the other ones in tact.
| | 05:33 | It's sort of a wild thing to do.
| | 05:35 | It's really sampling just the color.
| | 05:36 | In fact, if I put the fill chip on top.
| | 05:39 | Let me go up here.
| | 05:41 | I'll go over to this one.
| | 05:42 | This one's got something complex, but I'm
going to hold down my Shift key and click.
| | 05:45 | You can see it filled.
| | 05:47 | It actually grabbed the color from the
steam and added it to the fill of this path.
| | 05:53 | So the Shift key makes a super simple
Eyedropper tool, where all it senses is color.
| | 05:59 | That will also work, actually, with the Eyedropper tool
taking colors out of raster images, like a photograph.
| | 06:06 | It's a cool way to sample a color is with that Shift key.
| | 06:09 | I'm going to Command + Z a few times to get back to where I was.
| | 06:13 | One of things is sometimes you want to be able to copy
appearances and sometimes you don't, so here's a little tip.
| | 06:19 | This is what I do.
| | 06:20 | Eyedropper picks up-- I'll leave unchecked-- not appearance.
| | 06:24 | Eyedropper applies-- I'll go ahead and check appearance.
| | 06:28 | And what is that?
| | 06:29 | Well, let me bring the Eyedropper over some white space so you can see it.
| | 06:32 | Here's the normal Eyedropper.
| | 06:33 | I'll hold down my Alt or Option key, and you watch
it shift to the other direction and fill black.
| | 06:38 | This is the Eyedropper applying.
| | 06:41 | So I have something selected.
| | 06:43 | I can then go over, and I can apply that selected sample by
clicking and the Eyedropper is going to go ahead and apply right
| | 06:56 | onto the objects that I want.
| | 06:58 | I could, if I want to, also take that Eyedropper tool and--
let me go to my Group Selection tool-- select one, select two.
| | 07:09 | If I were to sample again, you can see how
it's filling with the basic appearance.
| | 07:14 | I don't want to do that.
| | 07:15 | There's the one that's selected.
| | 07:17 | I'm going to go ahead and select this fill and now,
with my Eyedropper tool, hold down the Alt key.
| | 07:24 | I'll just go ahead and do it this way.
| | 07:28 | And fill with the appearance or stroke with the
appearance-- Command + Zero to show the whole path.
| | 07:35 | And I deselect.
| | 07:36 | So there you go.
| | 07:37 | Appearances-- very, very handy and useful to have and useful
to understand in how they interact with the Eyedropper tool.
| | Collapse this transcript |
| Magic Wand and Appearances| 00:01 | >>The magic wand tool is a Selection tool in Illustrator that allows you
to click on one object and select it as well as a bunch of other objects
| | 00:10 | that have similar attributes.
| | 00:11 | So how does it work?
| | 00:13 | Well, that's pretty easy.
| | 00:14 | You take the Magic Wand tool, you click on it, you find the object that
you want that has similar objects that you want to select, and you click.
| | 00:23 | This has selected this yellow star, and
it's selected nothing else, so why not?
| | 00:28 | Let's take a look.
| | 00:29 | We'll double-click the Wand tool, and
that'll give us our Magic Wand palette.
| | 00:33 | You can also get it from Window menu, down to Magic Wand.
| | 00:39 | There it is.
| | 00:40 | What the Magic Wand palette does is it sets the parameters by
which Illustrator is going to say, "Should this be selected
| | 00:48 | or should this not be selected?"
| | 00:50 | So I clicked on the yellow star, and I will get everything with a fill
color identical to or within a tolerance of 32 of the yellow star.
| | 01:02 | "32-- 32 what?"
| | 01:04 | you may be asking.
| | 01:05 | Well, the answer's over here on the Color palette.
| | 01:07 | We'll expand the Color palette.
| | 01:09 | If you don't see the RGB values on the Color palette,
select them from the Flyout menu on that Color palette.
| | 01:16 | See this 0 to 255 here?
| | 01:19 | It's an RGB document, so the Magic Wand
is showing you the units in RGB values.
| | 01:27 | I will get everything that is within 32 units of the
RGB of this star, which is 255-- 255 zero right now.
| | 01:37 | Watch what happens when I click on a different star.
| | 01:39 | I've clicked on this one.
| | 01:41 | These two are actually the same fill color.
| | 01:44 | It's just that one of them has a greater transparency to it.
| | 01:47 | I know they're the same fill color because I can see the
swatch over here on the Toolbox and, up on the Color palette,
| | 01:54 | it's showing the same fill color.
| | 01:55 | So the cool thing about the Magic Wand is even with
transparency, it's looking at the color before the effect.
| | 02:01 | Now you'll notice that this color, which
appears to be the same, has not appeared.
| | 02:06 | We'll get back to that in a moment.
| | 02:07 | Let's play with this tolerance here.
| | 02:09 | I'll start cranking it up, maybe to 100.
| | 02:11 | We click on that star again.
| | 02:13 | Now you can see that I've gotten both of these stars as well.
| | 02:18 | Now I have different fills selected, but it's taken
this color-- this is the un-transparent color.
| | 02:23 | It's a little feathered at the edges, but the center is solid--
and it's found anything within a tolerance of 100 in any direction.
| | 02:31 | Interestingly, if I click on the red star, and we
click off to the side-- I'll do that again for you.
| | 02:36 | Click on the red star.
| | 02:37 | Now, this color, the orange, is within a tolerance
of 100 of red, but the yellow is too far out.
| | 02:45 | And the reverse will happen over here.
| | 02:46 | If I click on yellow, orange is within a
tolerance of 100, but red is too far away.
| | 02:51 | I would have to increase the tolerance even further to get the red.
| | 02:55 | Now, I have other options I can use for the Magic Wand.
| | 02:59 | I can go by the stroke.
| | 03:02 | So maybe I want everything with the same stroke color.
| | 03:05 | Let me go and click here, and I'll click up here.
| | 03:09 | Let's actually click off to the side so we can get what we want.
| | 03:12 | There we go.
| | 03:13 | You can see that this is giving me things
that meet the criteria of both here.
| | 03:19 | The same stroke color and the fill color within the tolerance.
| | 03:23 | Let's suppose I just want stroke color.
| | 03:25 | Now I click it, and look I got several more
objects, because I'm just basing on stroke color.
| | 03:31 | These all, in fact, have a stroke color of black.
| | 03:33 | I can also do it by stroke weight, by unselecting
stroke color and selecting stroke weight.
| | 03:40 | Within a tolerance of point 07, these all have the same stroke weights.
| | 03:44 | But I could bring that number down to, say, zero and
get just the things that have a certain stroke weight.
| | 03:50 | This one's point 75 point.
| | 03:53 | This one was 1 point.
| | 03:56 | This one looks like was point 7-- it's kind of a weird stroke weight.
| | 04:01 | 1 point 4-- this object has been resized.
| | 04:04 | One thing you may be noticing is that when I select
it by, say, fill color or stroke, no matter what,
| | 04:10 | my text over here is not getting shown up as selected.
| | 04:14 | And if I select on the text, which is filled with
black, my object over here is not being selected.
| | 04:21 | Illustrator knows the difference when selected with
the Magic Wand tool between artwork paths and text,
| | 04:28 | and it's not going to cross over between the two.
| | 04:30 | I just want to show you as well there are the transparency
options, so I could select by just the transparency of an object.
| | 04:39 | And here it is.
| | 04:41 | This one is 33 percent.
| | 04:44 | This one that I clicked on, I got all of the objects.
| | 04:47 | In this case, we're looking at opacity,
so we're not worrying about fill color.
| | 04:52 | Notice that all the objects were selected
that had no transparency basically.
| | 04:58 | I could select this one, which is kind of in between.
| | 05:01 | This one has about 66 percent transparency.
| | 05:04 | And now I could change this.
| | 05:06 | I'll bring this up with a tolerance of about 50 percent.
| | 05:10 | Click again-- I'll get everything because this one's 66 percent.
| | 05:14 | Well, within 50 percent, that goes all the way up to
100 percent transparent, or opaque, and zero percent.
| | 05:18 | So I'm going to get everything when that happens.
| | 05:20 | But if I select over here, this is 100 percent.
| | 05:24 | This one's all the way down at 30 percent
opaque, so it's not in the selection.
| | 05:27 | So there you go.
| | 05:29 | The last tidbit is why when I was doing Fill Color-- let me
do this one right here-- why is this circle not coming up?
| | 05:39 | When I do a Fill Color here, why isn't this text showing up?
| | 05:43 | Well, remember that different artwork has
different ways in which it is filled with paint.
| | 05:51 | I'm going to go to my Appearance palette over here.
| | 05:54 | This is a path.
| | 05:57 | This is type, and the type has no fill color.
| | 06:02 | It's the characters inside that have fill,
and that's why they're not showing up.
| | 06:07 | The other thing that's happening is over here--
let me select this object-- there's the type.
| | 06:15 | That circle, if you look, now that I have
it selected, I can't seem to select it.
| | 06:19 | It's because that circle is being generated
as-- I'm on the Appearance palette.
| | 06:25 | Let's open that fill.
| | 06:26 | It is a live effect of generating an ellipse, and it's filled
with a color, but that effect is immune to the Magic Wand--
| | 06:36 | so just something to be aware of.
| | 06:38 | The Magic Wand will get most of the objects you're
looking for, but in case of some special effects--
| | 06:44 | and see the "F" right over here on the Appearance
palette, effect-- you may not get everything you want.
| | Collapse this transcript |
| Template Layers| 00:01 | >>Template Layers are a special kind of layer in Illustrator that exists so
that you can use a photograph or a scanned image as a source for artwork,
| | 00:10 | and you can draw over it, trace it, make it
part of your artwork - whatever you want.
| | 00:14 | But it's mostly there for drawing over or tracing.
| | 00:17 | Now, part of this has become obsolete, if you will, with Live
Trace, but only to a certain extent, so here is how they work.
| | 00:26 | You take your basic layer, and I've got a layer
over here in the Layers palette with one image on it,
| | 00:31 | and then Double-Click the Highlighted Layer Row on the
Layers palette, and then there's a checkbox for Template.
| | 00:38 | Now, there are other things about the layer that we think we've
talked about before - whether or not the layer is visible,
| | 00:44 | whether or not it's in preview or outline mode, whether or not this layer
will print, you can dim images on a layer, or whether the layer is locked.
| | 00:52 | As soon as I check Template, four of those six things go away.
| | 00:56 | It will be shown, it will be in preview mode, it will be locked,
which means I can't move it, and it will not print automatically.
| | 01:03 | The other thing that happens is images are automatically dimmed,
Although I can turn that off if I wish, and they're dimmed to 50 percent.
| | 01:12 | So, I'll go and hit OK.
| | 01:14 | The image is dimmed out, and now you can see I've got my No Draw Icon.
| | 01:18 | I can't write on this layer.
| | 01:20 | Well that means I'm going to have to make a new layer,
so I'm going to Fly-out Menu of the Layers palette.
| | 01:24 | I check New Layer, and it's got Standard Layer Properties.
| | 01:28 | It's not locked, the images are not dimmed,
and it will print, show and be in preview mode.
| | 01:34 | And now I can take my Pencil tool, say, and draw over this lily.
| | 01:39 | So let me go ahead and go to the Default Stroke
and Fill to just kind of see what happens.
| | 01:44 | I take my Pencil tool, and the mouse I'm using here isn't super accurate,
so this is not going to be the most accurate tracing in the world,
| | 01:54 | but you'll get the idea.
| | 01:57 | Come around and down, and there is my drawing, and if I
were to fill it, now I can't see at all the object beneath,
| | 02:09 | so I pretty much have to trace in just outlines.
| | 02:13 | There we go.
| | 02:16 | So that's something that is a bit of a
problem, if you will with Template Layers.
| | 02:20 | I'm going to show you an Alternative, or if
you will a little tweak on Template Layers.
| | 02:25 | Instead of drawing just on top of the regular template layer, what I like
to do is, I'll take the Template Layer, and I'll Double-Click the Row
| | 02:34 | in the Layers palette, and I won't dim the images.
| | 02:37 | I'll leave them full rich, or this one's actually a
very saturated image, so it's kind of hard on the eyes.
| | 02:45 | I'm going to dim it a little bit - not
50 percent, maybe more like 75 percent.
| | 02:52 | Yeah, there we go, just to kind of take the glare off.
| | 02:55 | The next thing I'm going to do is I'm going to take the layer I'm
drawing on, and I'm going to change the opacity of the transparency,
| | 03:04 | and I'm going to bring that down to about 50 percent.
| | 03:09 | Now, why would I do that?
| | 03:11 | OK, now if I go back and fill my lily leaf here, I can see through
what I'm drawing on, and I'll zoom in so you can really see this better.
| | 03:24 | So now if I take my pencil and I draw,
maybe I'm drawing this lower one here.
| | 03:34 | Got to go around, go up and through, go over
here, and come back where I started, and it fills.
| | 03:52 | Now I can see the image beneath, and I can see the artwork that I just
created, and so if I were to take, say, the Smooth tool and smooth out some
| | 04:04 | of these lines here, and move things around, I can adjust
and draw, and still see all of my original image below.
| | 04:13 | At any point I can turn it off, and I can turn it back on, just by toggling
on and off, and everything I draw on this layer will have this opacity.
| | 04:27 | When I'm all done, since the opacity was only at the layer, not on any of
the paths underneath it, then all I have to do to get rid of it is drag
| | 04:39 | that appearance into the Trash, and I'll
have my complete artwork all ready to go.
| | 04:45 | So I give you that as a little Alternative
to just using a basic Template Layer.
| | 04:51 | Try using it in conjunction with transparency
on the layer you're using for tracing.
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|
|
7. TransformationsRotating and Scaling| 00:01 | >>So you've already seen how the Bounding Box is a quick way to do
rotations and scaling, and in fact, you can even do reflections,
| | 00:09 | but a lot of manipulations or transformations of your artwork.
| | 00:14 | There are specific tools to also do the same job, and they give
you a few more options, and I want to show you how the Rotate
| | 00:21 | and Scale Tools might make your work a little bit easier and quicker.
| | 00:26 | So what I have is a file, "Compass.ai" here, and I want to build a
compass rose that's going to look something like this red compass rose
| | 00:33 | down in the lower right, but I'm going to build
it out of the objects that you see right here.
| | 00:38 | And this is one of the cool things just about a Vector Graphic Program
in general, like Illustrator, is that you can do Rotations to Objects
| | 00:47 | and Rescaling of Objects, and have virtually
no loss of final output quality.
| | 00:54 | If I was trying to build an object like this in
Photoshop, after all the rotations and rescalings,
| | 00:59 | by the time we're done this is going pretty weird.
| | 01:02 | Well, I'd not say weird, but it's going to look pretty, well, grainy.
| | 01:05 | OK, so let's start out.
| | 01:07 | We've got our two objects right here, the two parts of the compass
rose, and if I were to select one, you already know that I could go
| | 01:16 | up to the Bounding Box and I could begin to rotate it, and if I wanted to
do exactly 90 degrees, I could hold down my Shift key so that it rotated,
| | 01:25 | and I could put it right in position just where I wanted it, like so.
| | 01:30 | Hey, that's just fine and dandy, but the disadvantage I have is that
I can't necessarily get the object to rotate from a specific point.
| | 01:43 | What if I want it to rotate instead of from the middle,
which is what happened, I want to rotate it from the end?
| | 01:49 | Like, for example, let's suppose I want to rotate this
next one down, and I want to rotate it from right here.
| | 01:58 | Well, for that I would want to use the Rotate Tool.
| | 02:01 | So what we're going to do is zoom in right here on the object,
and I'm going to go ahead, and I'll take my Selection tool -
| | 02:13 | just so you know I have it selected, you can see the Bounding Box.
| | 02:17 | I'm going to show you a little trick with Copy and Paste.
| | 02:20 | There's Copy, and I copy the object, and now I'm going to do a Paste in
Front, and what that's done is that it's pasted another object right on top
| | 02:30 | of the first one that I just made, and in fact you
can see them over here - they're grouped right now.
| | 02:37 | The object itself is the group, so here's the one that
I just pasted, here's the one that it's right on top of.
| | 02:44 | In fact, let me delete that, and show you that
again, just to make sure there's no confusion.
| | 02:49 | I'll do Paste in Front, and you watched
another group just appear right there.
| | 02:54 | That's this one.
| | 02:56 | OK, over on the Toolbar there is the
Rotate Tool - that's R on your keyboard.
| | 03:02 | When you first select the tool, something really interesting happens.
| | 03:06 | The object right here gets-
| | 03:09 | and it's kind of hard to see because it's also cyan-
| | 03:11 | this little bar right in the center.
| | 03:13 | That says where the default center of rotation is.
| | 03:17 | Now I can choose to rotate this object from
anywhere simply by clicking on that point.
| | 03:24 | If I do, then my cursor changes to this Selected Cursor, and now
when I rotate, it's rotating from a specific point on the object,
| | 03:37 | and interestingly, the closer my cursor
is, sort of the faster it rotates around.
| | 03:43 | The further away my cursor gets - oops, that's a little too far
away, scroll back up a bit - the further away my cursor gets,
| | 03:53 | the finer my control is.
| | 03:55 | Just kind of through geometry, I'm further away from the object.
| | 03:58 | My Constrain keys still work: I can hold down my Shift key and only go
45 degrees as well, but it's rotating from the point that I selected,
| | 04:07 | not from somewhere else on the object.
| | 04:11 | Now, if I want to apply that same trick again, let's do an Edit, Paste
in Front - there you can see it - I can also, instead of dragging around,
| | 04:24 | with the Rotate Tool selected, over here on the Toolbox, I can do an Alt +
click, or an Option + click on the Mac, and I will get the Rotate Dialogue.
| | 04:35 | Now I can actually enter a numeric value for my
rotation, and this one I want to go 180 degrees,
| | 04:41 | and I can get a preview of what that's going to look like.
| | 04:45 | What if I want 188 degrees, not a thousand and
such, well that's the direction it would go.
| | 04:51 | And I can play around with these all I want until
I get them just the way I like, and then hit OK.
| | 05:02 | Now, you may have noticed something else in there with the Rotation Tool.
| | 05:07 | Let's suppose I want-
| | 05:10 | I'm going to zoom out for a second here-
| | 05:12 | . . it's a little hard to see.
| | 05:13 | I have all my objects.
| | 05:14 | I'm going to select them all, move them a little bit, to here.
| | 05:18 | This time I want to rotate all of them to make the next part
of the compass rose that's sticking out at a slight angle.
| | 05:25 | All right.
| | 05:25 | I'll take my Rotation Tool, I'll do my Alt Click right in the center,
and now I want to rotate them, not 180 degrees; I have all four selected,
| | 05:37 | and rotate 30 degrees.
| | 05:39 | And you can see it rotated at 30 degrees.
| | 05:43 | But instead of rotating the main object, I want to rotate a copy.
| | 05:49 | And see I clicked that Copy Button, and what it
did was it gave me a rotation and it copied it.
| | 05:56 | So now I have two of them.
| | 05:58 | Pretty slick trick.
| | 06:00 | Now another thing I can do here is I want to
make this object a little bit smaller, right?
| | 06:06 | So, hey, no problem there.
| | 06:08 | I can go to my Scale Tool.
| | 06:11 | And the Scale Tool works, well, the same way.
| | 06:14 | You can do a Click right in the center, and the
Scale Tool will scale right from the center.
| | 06:23 | So now I can scale this object, and you can
see I can kind of squash it as I scale it.
| | 06:30 | I could click it again, squash and scale.
| | 06:33 | Flip it the other way, so I can do all sorts of
bizarre things, but this is all scaling the object.
| | 06:39 | And this is different than - let me Command + Z here back out, or
Control + Z - if I was using the Bounding Box to rescale this object,
| | 06:50 | I would be stuck by doing it from a corner.
| | 06:54 | See, I can't get it to rescale right to the center of the object.
| | 06:59 | That, again, is the advantage of using a Scale Tool like this one.
| | 07:04 | And, of course, I can hold down my Shift key
and get a symmetrical scale, get it down .
| | 07:12 | . . well let's not do that, it's not quite small enough .
| | 07:16 | . . I'm going to click in the center, I'm going
to hold my Shift key, and I'll make it smaller.
| | 07:22 | There we go.
| | 07:27 | Now I could do a rotation and copy on this one, and be just
about done, but I'm going to show you another trick here.
| | 07:33 | I'll go back and select these four objects.
| | 07:40 | We'll go back to the Rotate Tool.
| | 07:43 | We'll Alt + click, or Option + click, in the center, and
it remembered the last rotation I did - 30 degrees.
| | 07:50 | This time we'll do 60 degrees, and we'll make a copy.
| | 07:55 | Zip. OK, so there's the one that rotated 60 degrees and made a copy.
| | 07:59 | And now the Scale Tool also remembers the last thing I did, so
now I'm going to Alt + click, or Option + click, with the Scale Tool,
| | 08:10 | and it turns out the last scaling I did was just
over 70 percent, and it's showing me a preview.
| | 08:19 | I can turn on and off the preview.
| | 08:21 | So if I made one scaling by hand - that looked about right -
and then I wanted the next one some time later to be identical,
| | 08:28 | I can use the Scale Tool as a way of remembering what I did last time.
| | 08:33 | And then I can go and hit OK.
| | 08:35 | And then I have the copy option there, too.
| | 08:38 | All of these same commands are available under Object
Transform, and you see Move, Rotate, Reflect, Scale, Sheer.
| | 08:45 | We'll go into some of those other ones in the next few movies, but
they're all there as well, and if you were to open one up, like Scale,
| | 08:53 | it opens the same Window that you got with the Alt + click.
| | 08:56 | The other thing about the Scale Window is not only can it be precision,
but you also can make different scalings for horizontal and vertical,
| | 09:06 | and we'll talk about Scaling Strokes and Effects in just another movie.
| | 09:10 | So we cancel out of that.
| | 09:13 | So there you go.
| | 09:14 | I've gotten pretty far with the North Symbol.
| | 09:16 | Hey, before we leave, let's finish it off.
| | 09:18 | We'll just go over and select these two objects, the North and the
Circle, and bring them over, center them right on my object there,
| | 09:28 | and click off to the side.
| | 09:29 | And look at that.
| | 09:30 | We've got a beautiful object to put into our document.
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| Reflection| 00:00 | >>So I have another file open here, "Caterpiller.ai,"
and I'm going to talk a little bit about Reflection.
| | 00:07 | Now, Reflection again is one of those tools that when you need it,
boy nothing else will do, but you may not be using it all that often.
| | 00:14 | But it has a lot of handy uses, and perhaps
in even places you might not have thought.
| | 00:19 | So I have my caterpillar here, and I'm actually
going to zoom in on his head a little bit more.
| | 00:25 | There we go.
| | 00:27 | Maybe zoom out just a tad.
| | 00:28 | There. Now, I've got one antenna - he
looks pretty sad with just one antenna.
| | 00:32 | I think we'll give him two.
| | 00:34 | There are a couple of ways we could do it.
| | 00:35 | We could draw another antenna, but that would take some time, or
I could take the antenna and select it with my Selection tool,
| | 00:42 | and I could copy it via an Alt or Option and drag, and now
I've got the Bounding Box around a copy of the antenna.
| | 00:51 | Well, one way to Reflect is: Object, Transform,
Reflect, and I'll get the Reflect Dialogue.
| | 01:01 | Here is the Object, and I can preview what it would be like to
reflect it on the vertical axis, which is actually what I want,
| | 01:09 | or I could reflect it on the horizontal axis, make a
leg out of it, or I could choose an angle of reflection.
| | 01:15 | Let me do like 45 degrees here, and what this is doing is it's reflecting
it kind of across axis, if you will, so it's doing kind of a rotation
| | 01:27 | and reflection all at once.
| | 01:29 | That kind of bends my mind a little bit,
so I tend not to even deal with that.
| | 01:35 | Usually vertical or horizontal is what you're wanting to
do with a reflection, and then you can make a rotation
| | 01:40 | if need be afterwards, and you can hit OK.
| | 01:43 | So that was one way.
| | 01:45 | You may have noticed that I had an option also of
just Selecting - going Object, Transform, Reflect --
| | 01:54 | and just like before, I have the option of making a
copy instead of just using the object I had selected.
| | 02:04 | So I got to create a copy during the reflection.
| | 02:07 | That's another way to do it.
| | 02:10 | Get rid of the antenna.
| | 02:11 | There's yet another way to do it.
| | 02:13 | I could make a copy of the object.
| | 02:15 | I did an option, Alt + drag, with it selected, and now from the Bounding
Box I can Reflect by taking one of the sides - not one of the corners,
| | 02:24 | but one of the side handles - and passing right through the zero
point, I will end up with the object reflected on the other side.
| | 02:32 | The trouble here is that it may not be a perfect reflection in that
I've also done a little bit of squashing of the object as well.
| | 02:41 | But you know, if I was making an antenna for the other
side of the caterpillar, I might want to do that anyway.
| | 02:45 | A couple of little changes, and his antenna looks a little different
than the one on the other side, which is actually desirable here.
| | 02:52 | So, hey, that was a pretty cool way to do it, too.
| | 02:54 | And then, finally - we'll delete it - here's the object.
| | 02:59 | There is a Reflect Tool; it's underneath the Rotate Tool.
| | 03:03 | Click and Hold, and you'll come up with it.
| | 03:05 | And that will allow you to create a center of
reflection, so around which axis do you want to reflect?
| | 03:13 | And this will show you more what it's like to reflect at an angle.
| | 03:16 | I'm going to put it way out here, and we'll Click and Drag, and now you can
see I can reflect the object and I'm kind of rotating it at the same time.
| | 03:28 | You can imagine a line kind of between the two objects, as if
you were placing a mirror, and at what angle that mirror would be
| | 03:37 | to the first object, the other object would appear in a
different place in the mirror as you moved the mirror around.
| | 03:43 | That's kind of what the Reflect Angle is.
| | 03:45 | And if I just let go right now, I'll get a reflection,
but the original object will still be there.
| | 03:51 | I can hold down my Option or Alt key and
make a copy while I'm doing this as well.
| | 03:57 | So there it is kind of in one step.
| | 04:00 | So lots of different ways for you to reflect objects, and then once you
have the reflected object, then it's its own object and you can do just
| | 04:09 | about whatever you want with it to get the final effect that you like.
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| Shearing| 00:01 | >>The Sheer Tool.
| | 00:03 | It's again one of those tools that has a very specific
purpose, and very cool once you know how to use it.
| | 00:09 | The way the Sheer Tool works is, you go over here
to the Toolbox, and you can select the Sheer Tool.
| | 00:16 | You don't see it right away.
| | 00:17 | It's hiding underneath the Scale Tool.
| | 00:20 | There it is, the Sheer Tool, and you can tell by its little icon,
it's going to bend over or back the objects that you select.
| | 00:29 | So here's my fast train, and it doesn't look very fast, right now.
| | 00:33 | It doesn't look like things are happening very excitingly.
| | 00:36 | So what I'll do - actually, I forgot to select
the train, so I'm going to select the whole thing.
| | 00:41 | There it is, all selected.
| | 00:43 | Now I'll go back and choose my Sheer Tool.
| | 00:46 | And like all the Transformation tools, the first thing to do is
to set a point of transformation, a center of transformation.
| | 00:53 | By default, it's the center of the object.
| | 00:55 | So I could click right there if I want to, and
then everything will sheer around that point.
| | 00:59 | I find it a little easier with the Sheer Tool to pick a point on one sort
of corner of your object, and click there, and that's a little easier.
| | 01:08 | So this is where it's sheering from.
| | 01:10 | This spot is going to remain like a thumbtack stuck in
the page, and everything's going to move relative to that.
| | 01:17 | OK, so here's my train.
| | 01:18 | Let's suppose I want my train going very fast.
| | 01:21 | I'm going to Click and Drag forward, and look what happens.
| | 01:25 | Now, and I'll deselect so you'll have it, I have my train zipping forward.
| | 01:30 | All of the paths have been sheered.
| | 01:33 | They're not really bent, they've just all been changed
in their direction so that they're all going forward.
| | 01:39 | I can Select All - Command + A, or Control + A - click again,
and maybe my train needs to "Whoa, slow down there buddy".
| | 01:48 | I can do the same thing.
| | 01:50 | I can sheer back in the other direction,
and there's the train slowing down.
| | 01:55 | Command + Z or Control + Z, Command + Z or Control + Z. Again, I can
set the sheer point at any place, so if I put it in the center,
| | 02:02 | now that spot is going to stay still, and
the train will sheer around that point.
| | 02:09 | Now if I get very extreme with Sheer I can
come up with some really weird kind of effects.
| | 02:17 | There's my train sort of stretched out and blasting to the moon.
| | 02:21 | I'm not sure why I would use that kind of
a thing, but you can do it, if you want to.
| | 02:27 | But Sheer is really handy for doing something just like I
did there - dragging and sheering something forward or back,
| | 02:33 | and adding a little bit of energy into your artwork.
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| Transforming Patterns and Strokes| 00:00 | >>One of the other things you'll be dealing when you deal with
scaling and you deal with rotations is, what happens with patterns
| | 00:07 | and strokes and effects.
| | 00:09 | Ok, well, let's take a look because they're kind of a special case
where sometimes you want them to scale and sometimes you don't so,
| | 00:17 | here is my caterpillar, caterpillar AI but it has the
second antenna I added in the movies on reflection.
| | 00:23 | It also has the fill chip on top in the toolbox.
| | 00:27 | Make sure that, that chip is on top in your file before continuing
since we'll be working mostly with fills in this exercise and,
| | 00:35 | I'm going to take the caterpillar's face here.
| | 00:38 | I'm going to fill it with the area rug
pattern and it's going to look awful.
| | 00:43 | It's going to look awful because this is a very large pattern and
I really want it to come be sort of a texture in the caterpillar
| | 00:51 | and not really an obvious pattern.
| | 00:53 | Well, what I need to do is I need to make the pattern smaller and you saw
with creating patterns, I could make a new one but I'd rather just be able
| | 01:00 | to scale this one so I want to do is I can
go do, can't go to objects until I select it.
| | 01:06 | I'll select the object.
| | 01:07 | I'll go to object transform, scale.
| | 01:10 | All right, we'll do a uniform scale, 50 percent and right now, you can
see when I scale it down to 50 percent, the pattern isn't changing yet,
| | 01:20 | you got to toggle the preview on and off and look right in the center.
| | 01:23 | You can see that it's not changing the size of the pattern at all but
down here in my options, by default, objects, scale but not patterns
| | 01:33 | and not strokes or effects which we'll talk about later.
| | 01:36 | We uncheck objects and check just patterns and now, watch.
| | 01:40 | Now, I can go down even further.
| | 01:43 | Maybe down to 10 percent and now it's become much more of a texture.
| | 01:49 | I can go down even further.
| | 01:50 | I could go to five percent and now, it's super a texture and
that might be the effect that I want, more like cutout paper.
| | 01:59 | I'll go ahead and hit Ok.
| | 02:02 | Now, interestingly, that gave me the pattern but what about rotation.
| | 02:08 | Can I rotate this too?
| | 02:10 | Well, if I rotate the bounding box, I'll rotate the object but if I go to
Object, Transform rotate, I'll find the same effect, objects and patterns
| | 02:26 | and notice patterns is checked now.
| | 02:27 | I'll do it from here, it's 230 degrees of rotation.
| | 02:31 | You can see I'm rotating the pattern 60 degrees rotation
but I'm not changing the object, very, very cool so now,
| | 02:44 | I have this sort of cutout effect.
| | 02:46 | Now, here's another version of this which
is kind of interesting and important.
| | 02:50 | Ok, I have the fills of several of these overlapping
green body parts, segments of the caterpillar.
| | 02:57 | I'm going to take that, going to fill them each with effect, let
me just click, that's what I really wanted to do, we'll just click.
| | 03:09 | Fill them with this pattern, now, I'll deselect, because a pattern is put
in and you can see it is entirely across all the objects and it's kind
| | 03:20 | of ruining the sense of them all being
separate so, how do I deal with that?
| | 03:25 | I can select them all, click to object transform.
| | 03:29 | I can scale and there's five percent patterns only.
| | 03:35 | I can go to, let's try 50 percent, and that's
a little too much, let's try 25 percent.
| | 03:42 | There we go.
| | 03:43 | Ok so I've gotten them smaller.
| | 03:47 | Now, I can select individual ones object transform, rotate and
maybe we'll just do about 15 degrees on that one and on this one,
| | 04:02 | we could do a different amount, object.
| | 04:04 | I could even do a transform again.
| | 04:08 | It rotated but then it went the same distance, object transform again.
| | 04:12 | Now, I've rotated it another 15 degrees.
| | 04:15 | I could do object transform or maybe do a rotate here.
| | 04:19 | It will do this one minus 15 degrees and I've got this one, we could do
object transform, transform again and since that's D on the keyword Command
| | 04:32 | or Control D, it's easy for me to just select it
and maybe hit Control D or Command D a few times.
| | 04:37 | One, two, three four.
| | 04:39 | I rotated that one and maybe this one like so and
I can even do this one again and there you go.
| | 04:49 | Now, I've gotten in an effect where I just
rotated the pattern and scaled the pattern inside.
| | 04:57 | Now, I got this kind of cool, it's more like cutout
paper, or something like that so, that's patterns.
| | 05:06 | Now, let's zoom out a little bit in caterpillars
because I have another one in here for you.
| | 05:10 | Right here, I have the north symbol, the compass
rose that we created in another exercise.
| | 05:16 | I'm going to go ahead and hold down my Alt key and copy it, do an Alt + drag.
| | 05:21 | Ok, so I've copied it and now, I'm going
to scale it down just a little bit.
| | 05:28 | Hold down my Shift key to keep it symmetrical
and you can see it looks pretty good.
| | 05:33 | Same as before, right?
| | 05:35 | I'll select it again, it's grouped, I'm going to scale it down a lot and
I'll click and now, if you look, it looks a little odd and when I zoom
| | 05:47 | in on it, you can see that all the lines have gotten very thick.
| | 05:52 | There's something going on here.
| | 05:54 | I'll slide over so you can compare.
| | 05:57 | They haven't actually gotten thick.
| | 05:59 | The problem is they haven't gotten thin.
| | 06:01 | If you look at it next to the original object, here are the original lines.
| | 06:06 | Here's the scaled down version.
| | 06:08 | The lines are the same width.
| | 06:10 | The strokes did not scale.
| | 06:13 | Now, interestingly, N looks good because it has no stroke on it.
| | 06:17 | It's just a fill.
| | 06:18 | If you see right over here, once I selected it,
fill only, no stroke and so what's happened.
| | 06:25 | I'll click now so you can see.
| | 06:27 | Look in here you can see the paths have all scaled down.
| | 06:31 | They always scale but that's the object.
| | 06:36 | The strokes are the issue.
| | 06:38 | Ok, so let's zoom back out to the whole page.
| | 06:41 | I'm going to do Command or Control + Z a few times to scale and now, we can
go to object transform and I could go to scale and right in here you see
| | 06:53 | that scale strokes in effect.
| | 06:56 | Now, soon as I check it, you can see, it's kind of
hard because it's selected, I went down to 25 percent
| | 07:04 | but the thing seemed to have scaled down.
| | 07:05 | I'm going to go ahead and click that ok and click and that
is what I wanted so I've said ok and I scaled it down.
| | 07:14 | Now, the object has its strokes scaling along with the paths themselves.
| | 07:21 | Now, you may ask yourself, why wouldn't you
want to scale strokes and effects all the time?
| | 07:25 | Well, you remember that small change that I did?
| | 07:29 | All right, let me just do that one again.
| | 07:31 | We got an isolated group in there.
| | 07:34 | If you're wondering what happened there, go
ahead and check out the video on isolated groups.
| | 07:42 | It does happen by accident sometimes.
| | 07:46 | All right, I'm going to copy it with an Alt + drag and now,
the scale, strokes and effects are still on a little bit.
| | 07:53 | This scale down, you can or you kind of see, the lines have
now gotten a little bit smaller and a little bit thinner.
| | 08:03 | It looks ok in this particular scenario but if I had just a few of these.
| | 08:08 | Maybe I have several boxes or several objects.
| | 08:12 | Let me get it a little closer and you can kind of see better.
| | 08:16 | If you had several objects you were copying and you needed to make one just
slightly smaller than the other, sometimes you actually want the strokes
| | 08:24 | to stay the same because you'll end up with things
that look just a little bit different on the screen,
| | 08:30 | almost annoyingly different on the screen rather than, all being
the same and so, you need to have that option open to you to be able
| | 08:40 | to scale a stroke, an effect sometimes and not other times.
| | 08:43 | As rule, if you're going to be doing large-scale
changes, you have to have it on.
| | 08:48 | If you're doing small changes, then you can leave the default
of don't scale the strokes and don't scale the effects.
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| Transforming Each| 00:00 | >>Here's a final call at cookies dot AI and you can't quite see the whole
thing so I'm going to Shift + tab just to get rid of all the palettes except
| | 00:08 | for the Toolbox and it's ok but there's something wrong.
| | 00:12 | What's wrong is, the cookies are just too small,
as my son would say, you need bigger cookies.
| | 00:18 | Well, ok we'll make some bigger cookies.
| | 00:20 | Hey, we know how to scale things so we'll just go ahead
and scale and go ahead and I'll just select them all and,
| | 00:27 | I'll go ahead and make them bigger.
| | 00:30 | Oh, this is a problem.
| | 00:32 | As I scale them up, they're going off the side of the page.
| | 00:34 | Well, that's ok.
| | 00:35 | I'll hold down the Alt key, right and then I can make them bigger.
| | 00:39 | Well, that's not helpful either.
| | 00:41 | See, they're going to grow but they're also getting out of alignment.
| | 00:44 | See, I'll go ahead and do that.
| | 00:46 | I had them all nicely aligned on the page
but now, they're too big for the page.
| | 00:53 | Well, so how could I deal with this?
| | 00:54 | I could scale up each group individually but then I have to
worry about getting them all up the right size and so forth.
| | 01:01 | There is an easier way perhaps, a better way and one you
should know about and that's a Command + Called transform each.
| | 01:07 | I'm going to select all of the objects and we're going to go object
transform, transform each and now, here's transform each and,
| | 01:20 | I'll turn off the preview here for a second, actually, let's turn off
preview, clear this back to a hundred and a hundred and a thousand.
| | 01:30 | I can turn preview back on.
| | 01:33 | Ok. Transform each will scale all the objects individually so if I were to
take it and say, I want to bring this up by a 125 percent and 125 percent,
| | 01:49 | I've now scaled up the cookies, the Snickerdoodles, the
chocolate chips, the Snickerdoodles and the Gingerbread man each
| | 01:57 | by their own center of transformation.
| | 02:00 | I could also, if I wanted to, scale them from a different center
of transformation from the lower right corner, from the side,
| | 02:08 | from the middle and if you look at transform
each, I have quite a bit I can do.
| | 02:12 | I can move them all horizontally and vertically.
| | 02:14 | All is part of one thing.
| | 02:15 | I could rotate all of them by about 45 degrees if I wanted to or any number
that I wanted and I can even, just kind of, put the amount right in here.
| | 02:27 | I can do it all at once.
| | 02:28 | I can even make reflections vertical, reflections on the horizontal
axis, vertical reflections or I could do it on the y axis
| | 02:38 | as if we're flipping them back and forth reflected the next direction.
| | 02:42 | I can even randomize transformations across the objects but the
most important part is that, they are all changing individually
| | 02:50 | and you know what, those cookies still aren't big enough.
| | 02:52 | Let's go ahead and make them a 150 percent.
| | 02:56 | There we go and I'll go ahead and hit
ok and now, you can see what's happened.
| | 03:00 | They've all gotten bigger but they've
all gotten bigger from their own centers.
| | 03:06 | Transform each all at once.
| | 03:09 | Before you go with transfer each, just one thing to remember.
| | 03:11 | Let's take a look at just one of these objects.
| | 03:14 | Notice how when I clicked on it, the actual
object, everything got selected.
| | 03:18 | Each one of these cookies is a group and
that's one of the reasons it worked so well.
| | 03:22 | Let's suppose I take these three Gingerbread men here.
| | 03:29 | Actually, let me take just one for a second and I'm
going to go ahead and I'm going to ungroup it so now,
| | 03:36 | it is separate buttons on the Gingerbread man and other such
things and I'm going to take these three Gingerbread men.
| | 03:45 | We'll do a transform each on them again.
| | 03:50 | Ok? Now, they're kind of overlapping and I'll go and hit Ok
but look what happened, two of the Gingerbread men, just fine.
| | 04:02 | This Gingerbread man, what's going on?
| | 04:05 | Well, the individual eyes and the mouth and the buttons all
transformed from their own centers so they all gotten bigger.
| | 04:14 | Notice they're the same size but they didn't move at all whereas, the
Gingerbread men that were all their parts were grouped, the entire thing,
| | 04:25 | the group, was treated as a single object from its center so grouping
is pretty important when you're dealing with transform each as well
| | Collapse this transcript |
| Free Transform| 00:00 | >>Let me look at another transform tool to a, called free transform.
| | 00:05 | It let's you, pretty much, make any kind of transformation
you like and the cool thing about it actually, is that,
| | 00:12 | it allows you to do multiple transformations or transformations
on multiple objects at once in kind of a novel way.
| | 00:20 | Here's a good example.
| | 00:22 | I built a box and it's going to be a box
on mom's kitchen assortment cookies.
| | 00:26 | Let me Shift + tab to just get rid of the noise in the picture there.
| | 00:30 | Now, if I was just making this box without
anything on the surface, be really easy to do.
| | 00:36 | I can just take my Direct Selection tool.
| | 00:39 | I could click on the side I wanted to move.
| | 00:43 | I could just move it down like that and I could click on this side right
here and I could move it up right and I get my three dimensional box
| | 00:52 | in two quick moves, not a problem except that the sunflower is staying
out in space and all the text hasn't moved and so forth and so on so,
| | 01:00 | we'll Command + Z, Control + Z twice to undo that.
| | 01:04 | If I want all of these things to move together and keep
perspective, the best way to do it is, with free transform and so,
| | 01:12 | the first thing I need to do, in order to do a free
transform, is the objects I want to transform together,
| | 01:18 | I want to group so I'm going to go ahead and group.
| | 01:21 | Now, you might notice something interesting right here.
| | 01:24 | This is type.
| | 01:27 | Mom's kitchen so forth but it doesn't look like type when I select it.
| | 01:31 | In fact it says group.
| | 01:33 | I've turned this type into an outline.
| | 01:35 | Outline type used to be required in Illustrator to use free transform.
| | 01:41 | In CS2, you can use live type but in this file, I use outline.
| | 01:46 | See the movie on creating outlines for more information so I'll go
ahead, I'm going to group this section and I'm going to go ahead
| | 01:54 | and group this section and if you may have wondered why that,
there was an ungroup option in there, there is an ungroup option,
| | 02:03 | that's because this flower is already a group but that's ok.
| | 02:06 | It works with groups inside of groups.
| | 02:07 | The key is now that each side of the box is
a set of objects that will move together.
| | 02:13 | Let's start with this one.
| | 02:14 | I want to use the free transform tool now and the free transform
tool is the one over here with little triangle with boxes around it
| | 02:24 | and it's allow me to transform a set of objects that
can move stuff just like I would with a bounding box.
| | 02:31 | Ok and you can see I even gave it a little rotation.
| | 02:34 | I didn't mean to do that, Command + Z out of that, but more importantly,
I can take a corner of the box and with the free transform tool,
| | 02:43 | I could click and then hold down the Command key or the
Control key on Windows and now, I can pull a corner.
| | 02:52 | Look what's happening.
| | 02:53 | I'm warping the whole box.
| | 02:56 | Let me undo out of that or I can take the center.
| | 03:00 | This is kind of a weird user interface thing but you click, then hold
down the Control or Command key and drag and now I can move the side up
| | 03:11 | and into place like so.
| | 03:14 | Now, I can do the same thing over here.
| | 03:17 | I can get temporary, a Selection tool by holding down
Command or Control while I'm not over the object.
| | 03:23 | I still have the free transform tool selected.
| | 03:26 | I'll go to the center.
| | 03:28 | I'll click and hold then hold down Control or Command.
| | 03:31 | I can come down into place here and I can
hold down Command, I let go with everything.
| | 03:42 | Now, I can hold down Command or Control for a temporary
Selection tool and click and you can see the effect already.
| | 03:48 | This is now moving in perspective but it's not quite right yet.
| | 03:51 | This corner needs to be fixed and the lower
corner needs to be fixed so I'll select it again.
| | 03:56 | Now, I'm going to go over the corner and I'm going to click and hold,
hold down Command or Control and then I can even hold down Shift if I want
| | 04:06 | to once it starts moving so that I can't go up or down.
| | 04:09 | I can only slide side to side and you get the effect that I want and now,
if you look, I messed up the corner over on the other side so this is kind
| | 04:19 | of a, you work back and forth a little bit at a time.
| | 04:25 | Get it just the way you want it to be.
| | 04:28 | I can select this side and its side needs to go up a little bit, like so.
| | 04:37 | I can even take the corner and I can adjust it just a tweak little bit.
| | 04:44 | Click out here and so forth.
| | 04:46 | I can even, because of the perspective, I might need to take
this front corner and I selected it and now, I'll click and hold.
| | 04:55 | Hold down Control or Command and I can just move up the
corner the ever so tiniest amount and click off to the side
| | 05:04 | and what I've done is I've gotten the box and I've gotten all of the
objects that were on it to move in perspective right along with it
| | 05:13 | and I can keep fiddling and twiddling in getting it just right
if I want but I'll end up with the right object when I'm all done
| | 05:20 | and that's free transform.
| | Collapse this transcript |
|
|
8. Working with TypeType Containers| 00:00 | >>Working with type in Illustrator requires you to
understand one little quirk of how Illustrator deals with type
| | 00:07 | that if you get it clear right now you'll have a much better
time dealing with type throughout your Illustrator experience.
| | 00:16 | Illustrator has to associate type with an object on the Illustrator
screen so, just to give you an example here, I draw a rectangle, ok.
| | 00:27 | Well, that is, as far as Illustrator is concerned, a path.
| | 00:31 | The type in Illustrator whenever I enter some text, some
type, it's going to be associated with some kind of a path.
| | 00:39 | That is, it's going to be on, in or next to
some kind of a path and this is how it works.
| | 00:45 | There are really three ways you can have type in Illustrator.
| | 00:48 | Then, I'm going to go and I'll take this rectangle and delete it.
| | 00:52 | If you just take the Type tool, click.
| | 00:56 | You can start entering type.
| | 00:59 | Here is some Illustrator type.
| | 01:05 | Let me click my Selection tool so I can see what I've got here.
| | 01:13 | When I drag you can really see it.
| | 01:15 | Do you see the little x in the lower left corner?
| | 01:19 | That is a point, a single Illustrator point
to the simplest thing no path even associated.
| | 01:25 | That is the point associated with this type and the type essentially hangs
off of that point as if it were a thumb tack in this or a little banner
| | 01:33 | and I can take the type and I can rotate it if I want to, move it around.
| | 01:38 | I could make it stretched out, bigger, smaller or wow,
there's an Illustrator type or I can stretch it out this way.
| | 01:47 | Here's some Illustrator type and so forth and even though I've done
all sorts of rotation, I could double-click it and I could end it.
| | 02:02 | Cool Illustrator type, all right, there you go.
| | 02:05 | However, this type is still just associated with this point and it can only
extend in a straight line away from that point and it'll show up over here
| | 02:17 | as by default, the name of the type.
| | 02:20 | Now, I can also take some type in Illustrator and associate it with a path
so I'm going to draw a, just a curve path here and I'll take my Type tool
| | 02:32 | and this time rather than just clicking, I'm going
to go over the path and watch the Type tool change.
| | 02:36 | Now, I'm going to start typing, here is some cool
Illustrator type on a path and I'll click to select.
| | 02:57 | Now, the type is on a path.
| | 02:59 | I can still make it bigger, smaller, move it around however I want
to but I also have the ability to slide type on a path back and forth
| | 03:17 | and I have the ability to change the path so
that the type follows it so here's my path.
| | 03:25 | I'll bend the path.
| | 03:26 | The type will bend to follow the path so that's type number two.
| | 03:32 | I'm going to select a more fun shape like
a star and give it something like that.
| | 03:40 | Here we go.
| | 03:41 | I can take my Type tool and come over and now I have a
different icon changing when I click and I can type again,
| | 03:53 | here is some more cool Illustrator type.
| | 03:59 | This type is inside a path and here I've got type that
has filled a path rather than following its edges.
| | 04:21 | Now, if I resize the path, the type doesn't resize but it does reflow in
order to fill that shape as best it can without breaking up words and see,
| | 04:35 | even if I rotate it, there's the type trying to follow the path so that's
the key, is that type is always associated with some kind of container.
| | 04:47 | That's part one.
| | 04:48 | Here's part two.
| | 04:49 | When you select type, see I just clicked the type to select it with
the Selection tool; you are selecting the container so I'm moving
| | 04:59 | around the path that's holding the type.
| | 05:01 | I'm moving around the shape that's holding the type.
| | 05:04 | I'm clicking.
| | 05:05 | I'm actually moving around that point all the
way on the lower left that's holding the type.
| | 05:10 | If I double-click, now, I'll get to the actual type and I can edit it.
| | 05:14 | I can also take the Type tool and click inside type and edit it.
| | 05:20 | The difference is shown right here on the Control
palette and over here on the Appearance palette.
| | 05:29 | See, there's the type.
| | 05:30 | That means the type container selected.
| | 05:32 | I can double-click characters.
| | 05:36 | Here are the actual characters that are selected.
| | 05:39 | It's kind of like a group where you have a bunch of pals and
they're put together in a group and you can select the group
| | 05:45 | or you can select the object in the group.
| | 05:49 | That may seem like a difference, not big deal.
| | 05:53 | You'll notice it when you start dealing with color because the, look
down here, the color of the type is actually applied to the characters,
| | 06:02 | not to the container and you'll notice it in terms
of what you want the type to do like resizing type
| | 06:11 | when its area type can't resize it with a bounding box.
| | 06:14 | When it's point type, you can but you'll have
to put in all the character returns yourself.
| | 06:20 | See, notice this, it had returns put in, soft returns to follow the box.
| | 06:26 | When you're on a path, you can bend the type.
| | 06:28 | When you're with a point, you can't.
| | 06:30 | All those things are really important for you to realize when you're
working with type, that you can use all three types of containers
| | 06:36 | for different purposes so, let's take a look at how
you would use the three different kinds of type.
| | Collapse this transcript |
| Point Type| 00:00 | >>Point type is the easiest kind of type to work with.
| | 00:04 | You just click and go.
| | 00:05 | I'm going to use some different type faces during this video and if
you don't have all these typefaces on your computer, that's fine.
| | 00:14 | You can use just about anyone that you want to just to play around.
| | 00:17 | If you had Illustrator CS and you upgraded to CS2
then you probably do have the ones that I use.
| | 00:24 | You just click and you go.
| | 00:25 | I've got some cookies here and actually, let me
Shift + tab to get some palettes out of the way.
| | 00:31 | We'll go ahead and just click and we'll type count the cookies.
| | 00:41 | That's kind of small.
| | 00:44 | Do I want to make it bigger?
| | 00:45 | Sure, easy to do.
| | 00:46 | I can just go like this.
| | 00:48 | I'll resize it with a bounding box.
| | 00:53 | Now, what's interesting is, as I move this around, the new Control palette,
when I start working with type, immediately gives me quite a few options
| | 01:04 | for working with a type and if you'll notice, it actually shows
me the font size and I just resized this type with a bounding box.
| | 01:11 | What Illustrator did was it figured out exactly
what the font size would be to be equivalent there.
| | 01:17 | Now, I can go ahead and choose regular font sizes from that window as well.
| | 01:21 | I can also choose the kind of type I'm working with so here is,
I'm working with Myriad but I can go to Myriad Pro if I wanted
| | 01:31 | which doesn't look very different.
| | 01:32 | I can go to Papyrus, which is going to look very different and kind of fun.
| | 01:38 | Illustrator ships with over a hundred of these
typefaces, rose with standard count the cookies.
| | 01:45 | Now, we're out in the Old West.
| | 01:46 | Illustrator ships with over a hundred of these different type faces,
all open type fonts that give you a whole lot to choose from even
| | 01:55 | if you didn't have a bunch of types to begin with.
| | 01:57 | I actually think we'll go back to, we'll
go to Papyrus, that was kind of fun.
| | 02:04 | Count the cookies.
| | 02:05 | There we go.
| | 02:06 | We've got that at 72 point right now.
| | 02:10 | That looks kind of cool.
| | 02:12 | We'll go up like that.
| | 02:14 | Now, if I want to put the numbers and names of the cookies
down below, I can do another click with the Type tool.
| | 02:21 | Just type and it's going to remember the last settings that I had for
type but maybe I don't want these numbers to be quite in this typeface.
| | 02:30 | I also have a Type menu font, Type font and that is more
of a WYSIWYG, what you see is what you get menu and now,
| | 02:39 | I can go down and choose a different type face if I want to.
| | 02:43 | Put the actual type and let's suppose, I want to go,
go back with the Myriad just to show you with that.
| | 02:54 | Here's Myriad regular and you can see, here's something
different about Illustrator than you may be used to.
| | 03:02 | When you choose a typeface then, there
are different types of that typeface.
| | 03:08 | There's Roman, which is also known as regular and I think
Myriad Pro, they call it regular, yeah, there it is, Regular.
| | 03:14 | That is just the normal typeface then Italic, Bold, Bold Italic.
| | 03:19 | You won't find an Illustrator anywhere a Bold button or an Italic button.
| | 03:23 | You actually have to choose the type and then you get an option of what
you can have depending on what comes with that type face so if you go
| | 03:31 | to Myriad the Professional set, well, you get not just regular but kind of
a lightweight, lightweight Italic, Italic Semi-bold, over halfway to Bold,
| | 03:40 | Bold and then Black which is even heavier than
Bold and I even have some condensed versions.
| | 03:45 | These are all versions of Myriad Pro and then there are other typefaces.
| | 03:50 | You may find like Onyx here, there's a one, one and one only.
| | 03:55 | You have no choice if you're using standard black, that's it.
| | 03:58 | That's all you get so you have different options depending on the
typeface but you can't make everything bold or everything, not bold.
| | 04:06 | I'm going to a semi-bold Myriad Pro and maybe I'll go down to 18 point
that kind of small and now, I'll type one, one chocolate chip cookie.
| | 04:17 | Now, what's interesting about this is because this is point
type, I could keep typing, it would just keep typing and typing
| | 04:28 | and typing right off the side of the page
and continue off the screen and out of view.
| | 04:39 | If I want to control point type and I have to force the page breaks
or the paragraph breaks rather, manually so I'll just hit Return
| | 04:51 | and I can use my arrow keys to move around and
hit Return and now, I've got breaks in the type.
| | 04:59 | It's still only associated with this one point right here
and what that means as well, as soon as I select that one.
| | 05:09 | Here I have the alignment of the paragraph
you can see, align left, align center.
| | 05:14 | I can because they're different paragraphs if I want to align
them in different ways but it's still also, with that one point,
| | 05:22 | I want all of them to align center so I'll select them all and align
center and I want this to be extra large so we will make that 24 point, no,
| | 05:36 | even bigger than that, 60 point.
| | 05:38 | There we go and you look at that and you
say, gosh, doesn't look very aligned.
| | 05:45 | Let's look again.
| | 05:45 | There's some spaces in there, looks like there's the space and
we'll delete that space, delete that extra space and there you go.
| | 05:57 | You got point type, very simple, very easy to use
and then type can be copied just like anything else.
| | 06:05 | I'll hold down my Alt key while I drag, come over to here and now,
I've got a copy of that type then I can just go and change it,
| | 06:15 | select the various type that I need.
| | 06:18 | Maybe I want that capitalized and these aren't chocolate chips,
they're Snickerdoodles and so forth and I can go back and correct
| | 06:33 | and also the things that you would need
to do with basic type so there you go.
| | 06:38 | That is point type and the next one up would be path type.
| | Collapse this transcript |
| Path Type| 00:00 | >>So here we are in Cookie Counts again and we had made
this one chocolate chip cookie, two Snickerdoodles.
| | 00:07 | I went ahead and made three Gingerbread men.
| | 00:09 | The empty space was sort of disturbing my sense of order and decency
but now, it should be pretty much where we left it off last time
| | 00:17 | or you can open the file, Cookie Count two from the
exercise files if you want to start with a complete version.
| | 00:23 | I want to take this count the cookies which is point type and I want to
make it follow an arc just for more fun and put a little bit more energy
| | 00:32 | into the image here so I'm just going to select it with my selection
tool and then hit Backspace or Delete and delete it and now,
| | 00:41 | what I want to do is, I want to create an arching path.
| | 00:45 | Here's an easy way to do it.
| | 00:48 | I'm going to take my Ellipse tool, draw an ellipse, like so,
and looks like it's filled with black, that's sort of annoying.
| | 00:57 | I can swap the fill-in stroke or I can just do Shift X does the same thing.
| | 01:01 | Right, there it is.
| | 01:04 | Now, I only want part of this path.
| | 01:06 | I want it from about here over to there so I'm going to take
this Scissors tool see if I can get it right on the path.
| | 01:13 | There we go and get it right on the path and right over here as well and
so now, I've taken this elliptical path and I've clipped it in two places
| | 01:24 | so it's now two paths and I can take my Selection tool.
| | 01:28 | Select the lower one.
| | 01:30 | Delete it and now I've got what I was looking for, a curving path
and I can stretch it out and get it just the way I want it to be.
| | 01:40 | You can do this at any kind of path you want.
| | 01:41 | The key is you just get a path and now, that I
have a path selected and that's the way I want.
| | 01:47 | I can take the Type tool and you can see as I approach the path,
it changes and if I were to click, it will type right on the path.
| | 01:56 | Now, interestingly, if you click and hold on the type
tool, there are other tools like the type on path tool.
| | 02:03 | This is the same icon.
| | 02:05 | It will always try and put type on a path.
| | 02:08 | However, the regular Type tool does just fine by itself
as you come over a path, you can just start typing so,
| | 02:14 | it's really up to you which you want to use.
| | 02:18 | Ok? We clicked.
| | 02:19 | We got 60 points bold and center this was the last typing
I did so we'll just go ahead and type and see how it goes.
| | 02:27 | I'll type, I'll say, count the cookies.
| | 02:32 | Now, I want a little bit more text on
there so I'm just going to go and edit it.
| | 02:46 | Let's say, quick, count the cookies.
| | 02:49 | There we go.
| | 02:53 | Now, you can see, the type didn't quite
fit, a little plus has appeared over here.
| | 02:57 | That gives me a clue that 60 points is a little too big so,
we'll drop it down, 48 point and or I can just write in here.
| | 03:08 | I'm going to want maybe, 50 point.
| | 03:12 | Maybe I want 55 point.
| | 03:16 | There we go.
| | 03:17 | Now, I have a couple of options here with the type on path.
| | 03:24 | You see I have a little slider that allows me to
slide the type, the center point back and forth.
| | 03:32 | I can also use that same tool and flip the type.
| | 03:37 | I'm just dragging down now to the other side of
the path so it's now on the bottom of the path.
| | 03:43 | Now, that's kind of cool.
| | 03:46 | I have the beginning and end points.
| | 03:49 | I can start the text at a particular point on the path or if I needed to,
I can end it at a particular point and if I drag them too close together,
| | 04:00 | the text will try and fit between them.
| | 04:02 | Right now, it's also in center, align center.
| | 04:05 | I can align left and right on a path just like I can
any kind of a paragraph as it gets doing whole words.
| | 04:11 | It's not going to break a word as I'm working with type on a path.
| | 04:18 | Other thing about path type that you need to know is you have control
over how these letters are actually arranged relative to the path.
| | 04:26 | If you go to type, type on path, you'll see there are some
other options and let me pick one that will make a lot of sense.
| | 04:36 | Switch it to stair step.
| | 04:38 | The type is normally arranged with they call rainbow,
that is the base of the type that's aligned to the path
| | 04:43 | until all the tops were pointed out a little bit.
| | 04:46 | They're now going up with their base lines
parallel to the bottom of the page.
| | 04:50 | The base lines are all, as you would expect for a regular type.
| | 04:54 | This looks a little weird on the ascending type but it actually looks
really nice on the descending type over here and it keeps the tops
| | 05:02 | of the characters from splaying out from each other quite so much so the
steeper the curves that you're using, the more of an issue this might be.
| | 05:11 | We can also do a check out a whole bunch of different options but let's go
straight to type on path options themselves because it has a Preview button
| | 05:20 | and it allows you to see here a rainbow, this is normal.
| | 05:25 | It allows you to see all the different options.
| | 05:27 | Here's skew.
| | 05:29 | Now, the baseline of the type is following a curve but the tops are trying
to make themselves be upright so the more the path becomes vertical,
| | 05:38 | the more skewed the letter will be.
| | 05:40 | It kind of gives it an interesting effect, some energy to it.
| | 05:44 | There's this 3D ribbon effect where they're kind of skewing
outward and there's gravity that I never quite really understood
| | 05:50 | but seems like the letters get pulled together in interesting warp there.
| | 05:55 | You can also, let's put this back to rainbow,
so the effect is rainbow, that's the standard.
| | 06:01 | You can also change the alignments the type follows the center
of the path or you can align to the path, the descenders,
| | 06:07 | that would be sort of the bottom of Gs and Ys or the ascenders, the
tops of Hs and Ks and things like that or you can leave it as baseline.
| | 06:17 | You also have the option of changing the spacing.
| | 06:20 | You're not going to see it very much if I change it on this one if, you
can see a little bit how the tops of the letters are spreading apart.
| | 06:28 | If I had a really sharp curve in here then, the letters will get very far
apart at the tops of that curve and I might need to bring down the spacing,
| | 06:39 | making it more negative to pull the letters together.
| | 06:41 | I can also, on the other side of things, increase the spacing.
| | 06:46 | You can imagine if I had typed that went down into a very in deep
panachasm, all the letters would knock together at the top as they bent
| | 06:56 | so I can add spacing in there to try and remove that problem but if
it's not a problem, you don't need to mess with it then you can hit OK.
| | 07:03 | We're just going to stick with rainbow but
I needed to show you that it was there.
| | 07:07 | There was also a flip option.
| | 07:09 | I forgot to mention that.
| | 07:11 | That's actually identical to grabbing this handle and pulling it down
such that you flip the type to the bottom of the path so let's move on now
| | 07:18 | from path type to area type.
| | Collapse this transcript |
| Area Type and Threading| 00:01 | >>OK, so I have a file here called combineplay.
AI, and it contains Area Type.
| | 00:07 | Area Type is type inside some kind of
shape inside a closed path, if you will.
| | 00:14 | It's not following the path.
| | 00:15 | It's not attached to a point.
| | 00:16 | And the first big difference is that if I resize the area that contains the
type, the type will re-flow to fill that new area, rather than resizing.
| | 00:28 | If I want to resize the type, I'm going to have to
go up here to the Control palette, change the size...
| | 00:34 | I'll have to go to the Type menu-- here I can change fonts and size-- or
I'll have to go to the Character palette, and we see that in a later movie.
| | 00:42 | The other thing about Area Type is that if you don't have
enough room in the area-- I'll just make it too small here--
| | 00:52 | you'll get this red mark, and that says, "Hey, Jeff, you
don't have enough space inside this area for your type.
| | 00:58 | You're going to have to make your type smaller, or you're going to
have to define another area, and have the type flow to that area."
| | 01:06 | What's cool about Area Type, and the reason you would use it for
anything more than a couple of lines worth of type in Illustrator,
| | 01:13 | is this idea of multiple areas and threading.
| | 01:16 | So let me say I need to get that type somewhere else.
| | 01:20 | I'm going to click on that red area-- that red spot.
| | 01:23 | Now my cursor has changed.
| | 01:25 | I come over here and make another click,
and now I have another area of type.
| | 01:32 | And you know what?
| | 01:33 | Yours probably won't look like mine because,
by default, Show Text Threads is checked.
| | 01:40 | And you'll probably see this blue line come across, like that.
| | 01:43 | This is telling you, "Hey, type starts here, and it connects.
| | 01:47 | It flows to over here."
| | 01:50 | And I'm going to go ahead and make this area smaller, like so.
| | 01:56 | And lift it up a little bit.
| | 01:59 | Notice it's not going to change anything at
the bottom because there's no type down there.
| | 02:05 | Now if I make the type here even smaller, you
can see it's now flowing over to the new spot.
| | 02:15 | So I don't lose type anywhere, and I can-- if I had, say,
a brochure with several columns, something like that--
| | 02:23 | then I would have no trouble being able to move, change the shape of
type, maybe make it flow around objects and get some interesting designs,
| | 02:31 | and all of my text will rearrange itself as needed between the columns.
| | 02:35 | If I ever run out of space, I'll get that
little red icon-- it would appear.
| | 02:39 | I'll show you again.
| | 02:41 | Make not enough space like that, saying, "Hey,
you've got some type that's not showing up."
| | 02:45 | It's still saved.
| | 02:46 | It's still part of the file.
| | 02:47 | It's just not appearing anywhere because it needs more space.
| | 02:50 | Got to have the space.
| | 02:52 | So that's text threading and Area Type.
| | 02:57 | When you have Area Type, you actually have
quite a few options that you can apply to it.
| | 03:01 | I just want you to know that they're there under Type, Area Type, Options.
| | 03:06 | I can change the number of rows and columns in an area and how wide
they are, so I can have one large area that had several columns in it.
| | 03:15 | I don't even need to have separate type containers.
| | 03:18 | I can change the way text flows just on the page, whether it goes from
area to area to the left first and then down and then over-- I'm sorry--
| | 03:26 | to the right, and then down to the right, and then down.
| | 03:29 | Or whether it goes from top to bottom, and then hops
to the top of, say, the next column on the next page.
| | 03:33 | It comes down.
| | 03:36 | I can change the width and height of the type area that I'm using,
but even more interesting, I can create a little bit of an inset.
| | 03:45 | That is, I can create some space between the
edge of this box and where the type begins.
| | 03:53 | So we go ahead and do a Preview on that.
| | 03:56 | And now you can see how this is becoming moved in on the type.
| | 04:03 | What's cool about this is I might have some kind of stroke on the
same path, or a similar path, or some kind of effect that goes along
| | 04:13 | with the type, and I can have that happen and then inset the type
as I need to be the right distance from whatever path or shape,
| | 04:23 | or whatever it is that's available out there.
| | 04:26 | Or, if I want, if it's just a regular old type, I can leave it at zero.
| | 04:30 | So just know for the most part that those options are there for you.
| | 04:35 | One last thing before we go-- when you're dealing with threading,
you can actually mix threading between Area Type and Path Type,
| | 04:44 | which is a really cool little feature.
| | 04:46 | So let's do that.
| | 04:48 | What I'm going to do is I'm going to create a
path down here at the bottom, and-- let's see.
| | 04:58 | I'll make the path look like this-- something along those lines.
| | 05:06 | Pardon the pun.
| | 05:08 | OK, so now I've got this path that's shooting down like so.
| | 05:12 | And now I can come over.
| | 05:15 | I'm going to take the bottom of this type, and what
I want to do-- see there's this cool line in here.
| | 05:21 | It says, "Best of all, the stairs went up one side and the kid
disappeared, only to shoot out the bottom of a giant tube slide."
| | 05:28 | I'm going to take that last line, "only to shoot out the bottom,"
and now even though this is threaded, I'm going to click here,
| | 05:37 | and that's going to break the threading for a moment.
| | 05:42 | And now when I come over, you watch my type-- my cursor-- has changed.
| | 05:47 | I click on this line, and I've inserted a piece of threading,
so now the threading's going from here to my Path Type,
| | 05:56 | and then back up to my Area Type.
| | 06:00 | Now as you get lots of threading, it gets kind of in your way.
| | 06:03 | See, you can hide the text threads once you know where they're going.
| | 06:06 | And see, here's the type-- very cool.
| | 06:11 | But since this is Path Type, I can adjust the path.
| | 06:16 | So I'm going to take my Direct Selection
tool, select that point over on the end.
| | 06:21 | I'm going to bend the path up, straighten it out a bit like this.
| | 06:29 | Now I can go back to the type, and I get my regular Selection tool.
| | 06:35 | Remember that the end piece on the type changes how it sits on the line.
| | 06:43 | There we go.
| | 06:44 | And now I could take this type, move it up and, if I align
it nicely, I have this cool-- that's a little too close.
| | 06:57 | It'll take a bit to get it just right.
| | 07:00 | But I have this cool effect of I can get my paragraph reading and then just
suddenly just have something roll right out of the bottom of the paragraph
| | 07:08 | and then flow over to the next page.
| | 07:11 | All done with Area Type type threading and a little bit of Path Type.
| | Collapse this transcript |
| Paragraph Control| 00:01 | >>Here's combineplay.ai, with the changes
made in the movie on area type and threading.
| | 00:06 | Now it's time to look at controlling the paragraphs with a little
bit more precision, and so for that we'll have to select a paragraph.
| | 00:16 | And because we have the Control palette now in Illustrator CS2,
we get some options for controlling a paragraph right here.
| | 00:24 | Right out of the Control palette we can change the
alignment of the paragraph and, well, that's about it.
| | 00:32 | So we're going to need to look at the Paragraph palette.
| | 00:34 | One of the cool things about the Control palette is it has a
hyperlink to open the palette from which it is getting these buttons.
| | 00:42 | Remember the Control palette is actually kind of a super palette, and
it gives us access to all the real palettes if we need it through one
| | 00:53 | of these hyperlinks or, of course, we could always go
to Window, Type, and then open the appropriate palette.
| | 01:00 | So we'll actually go ahead and do that and get the
Paragraph palette out here where we can see it.
| | 01:06 | So here's the full-on Paragraph palette, and
we have it as a palette so it'll persist.
| | 01:12 | You can see we had a line center, a line right.
| | 01:16 | Those were all available above, but there's some extra ones
available to us, too, and those are the ones I wanted to bring
| | 01:22 | up because they're kind of cool.
| | 01:23 | You've probably used things like a line center.
| | 01:25 | I'll go ahead and I can just click on it, and you get the idea.
| | 01:28 | You can see that I have this type container selected so all the
type inside this type container was affected by what I clicked.
| | 01:40 | I could also-- triple click there-- select the actual characters inside.
| | 01:47 | Now, I've got the characters selected.
| | 01:49 | Now, when I go ahead and check the alignment, you see it only
affecting the paragraph containing my cursor at the moment.
| | 01:59 | So, this is a good example of how what you have
selected changes the effect that you're going to have.
| | 02:06 | I'm going to go ahead and select all of this,
and I can even-- since this is all type--
| | 02:12 | you can see how I was able to drag my cursor right through one
area type, this path type, and into the next area type because all
| | 02:21 | of them were threaded to each other.
| | 02:23 | So I could just kind of drag right through the whole thing.
| | 02:26 | Let's look at some of these other justifications.
| | 02:29 | This is my favorite-- justify with the last line aligned left.
| | 02:33 | Why is this cool?
| | 02:35 | Well, look at Fill, Justify here for a moment.
| | 02:37 | See when I have a full justify-- see it's trying to
make even one-word lines like "useful" down here--
| | 02:44 | it's getting stretched way out in order to try and fit.
| | 02:48 | I don't really want that.
| | 02:50 | By having this last line available, you can see I've got one problem
here for sure, but Illustrator's going to try and justify into nice,
| | 03:00 | clean columns, except for that last line, and it
will let that one hang, which is kind of what I want.
| | 03:07 | I'll go back to my Selection tool here, and click to select.
| | 03:11 | Now, a couple of things have happened because I've been playing around.
| | 03:15 | I lost the type that's running along this path.
| | 03:19 | I want to put that back, so I just move the bottom of one part up.
| | 03:25 | This one is having a little trouble when it's spread out quite that far.
| | 03:29 | What's cool is as I resize, you can see in blue the
way the type is going to flow through the new space.
| | 03:36 | That works much better.
| | 03:38 | And now you can see how "useful" is on its own line,
and now we have a much cleaner kind of look to things.
| | 03:43 | A couple of other things while we're still
looking at the Paragraph palette--
| | 03:47 | I have the ability to indent from either side
or to have a first-line indent if I want to.
| | 03:54 | So I could have my first line kind of come in just like this.
| | 04:00 | And then I probably wouldn't need this space between the paragraphs.
| | 04:04 | So that's an option as well.
| | 04:06 | There are some additional options that are
hiding right now in the Paragraph palette.
| | 04:10 | Let's reset that to zero.
| | 04:11 | If I give it a click and another click...
| | 04:18 | This is new to Illustrator CS2-- a long time coming.
| | 04:23 | This is space before or after the paragraphs.
| | 04:25 | See, right now I've got space between these paragraphs,
and I'll click right in there so you can see it.
| | 04:31 | There's a character return right here.
| | 04:35 | I actually hit the Return key.
| | 04:37 | Now, the problem with that-- you can see all
the way over here-- I've got an extra space.
| | 04:44 | That's the Return when I was typing.
| | 04:46 | It came after this paragraph and before this one.
| | 04:49 | So what I want is some space after paragraphs, but only when necessary.
| | 04:54 | Well, that's OK.
| | 04:55 | Let's just do a little Select All for all of the
type there-- it's Command A, or Control A on Windows.
| | 05:02 | And we'll add just a little bit of space
after-- not even a full, like, 14 point.
| | 05:07 | We'll add maybe just 12 point after a paragraph.
| | 05:10 | Now, right now, it looks like it's way too much.
| | 05:12 | That's because I have an extra paragraph return in here.
| | 05:16 | So I'm just going to hit Delete, and I've got one over here as well.
| | 05:25 | Delete. Now Illustrator is doing what I want.
| | 05:29 | I've got space between my paragraphs, but only when I need it.
| | 05:33 | So at the beginning of a new text area, I
don't get that space, which is really nice.
| | 05:39 | That's exactly what I want.
| | 05:41 | A couple of other things that I want-- this quote, I don't
like the way that this is starting and indenting the paragraph.
| | 05:47 | I want the quote to hang.
| | 05:49 | Well, I can do that.
| | 05:51 | It's on the Flyout menu for the options-- Roman Hanging Punctuation.
| | 05:55 | Check it, and whenever I need punctuation that
should hang outside the paragraph, it now will.
| | 06:03 | The other things I have options here to control how things are
justified, or how they hyphenate, I also have the ability for Illustrator
| | 06:13 | to change how it decides justification and how
it decides the spacing between letters and words.
| | 06:20 | Normally, it does it on a line-by-line basis.
| | 06:23 | You do have the ability to switch to a entire paragraph basis.
| | 06:27 | You saw a very subtle shift in how it was composing the type.
| | 06:31 | You can really go with whichever one works better for you, looks better.
| | 06:34 | And the best idea-- try them both out.
| | 06:37 | See which looks good.
| | 06:39 | So that's looking a little better.
| | 06:40 | I think all we need to do now is adjust the position of this type, because
we want it to kind of look like it's continuing right off the paragraph.
| | 06:48 | There we go.
| | 06:49 | And there you have the main parts of the Paragraph palette.
| | Collapse this transcript |
| Character Control| 00:01 | The character palette and character control, this is something you're
going to need if you're going to be working with type in Illustrator
| | 00:09 | and you'll find that the character palette has a lot more on it than the
paragraph palette did because there are a lot more attributes to control
| | 00:16 | but don't let the name fool you.
| | 00:18 | There are several things you'll be applying, often applying to an
entire paragraph, it's just that the attributes could be applied
| | 00:25 | to individual characters.
| | 00:26 | So there on the character palette.
| | 00:28 | In CS2, there are a couple ways to get to that palette.
| | 00:32 | If I just click on some type here, and I've got my file, ticket.AI open,
you can see I've got my Control palette and it has on it the typeface
| | 00:43 | or font, the style, and the size, they're all readily available.
| | 00:48 | Now I'll mention this again, and I have in a few other places, if you're
not used to typefaces in Illustrator or in a program like InDesign
| | 00:58 | which uses professional typefaces and that kind of
structure, there's no Bold button or Italic button for type.
| | 01:05 | What you have is the character of the type, the typeface itself,
and here we have say, Myriad Pro, and then within that type,
| | 01:16 | there's going to be different styles for that font.
| | 01:18 | And Myriad Pro has quite a few.
| | 01:20 | Here's the whole list, all the way from light, condensed.
| | 01:23 | This would be a very light weight, very tight together.
| | 01:26 | So I can go ahead and show you how the letters look very tall,
how they're brought really close together to just condense,
| | 01:33 | just going to weigh visually a little heavier on the screen.
| | 01:37 | Here's bold, but condensed, so it's tight together but a bold.
| | 01:41 | All the way to just light but not condensed, gets wider.
| | 01:45 | Regular, that's what everything is right now and we go all the
way to bold and we can factor all the way out to black.
| | 01:51 | Black is going to be the heaviest visually of all of them.
| | 01:55 | And in fact, what I want to do is take all of this type, and we're
going to change it all to Myriad Pro, actually should be Myriad Pro,
| | 02:07 | but incase yours isn't like mine disappeared, we'll just make
sure, Myriad Pro, there we go, and we'll make it all black.
| | 02:16 | The other thing you could do here from the
Control palette is you could change the font size.
| | 02:21 | That's pretty straight forward, but you know you could also do
that by just taking the type, I'm going to take this first part,
| | 02:27 | Bring Your Own Imagination, we'll drag it up here.
| | 02:30 | And this is actually a point type, I just started typing.
| | 02:34 | If I want to resize some type, I can go ahead and just drag the bounding
box, that's around point type and I'm going to hold down my shift key
| | 02:42 | so it stays proportional and I can just drag it larger.
| | 02:45 | And there we go.
| | 02:47 | I've got my type larger.
| | 02:49 | What's interesting here, it doesn't look like a type size has changed.
| | 02:53 | I want to go ahead and click the Character
palette hyperlink here if you will.
| | 02:58 | And that's opening my real Character palette just as a drop down.
| | 03:03 | This, right here, is the font size and
you can see how it's gone up to 15.23.
| | 03:09 | That's now the real size of this type.
| | 03:12 | Let me go ahead and open up the Character palette for real.
| | 03:15 | So we have it opened for the rest of this exercise
and I'll do that from Window, Type, Character.
| | 03:22 | If you had the Paragraph palette still open from previous exercise
right here, you could just click over to the character tab
| | 03:30 | and you get the full palette.
| | 03:31 | I'll bring it up just so I can see what's going on.
| | 03:34 | You can see on here I've got, here's the typeface,
Myriad Pro, and there's the size right now.
| | 03:38 | 15.23. And I did that by dragging the box larger.
| | 03:43 | But, if I wanted to make BYOI, Bring Your Own Imagination, I
want to make that type much larger, but not this other type.
| | 03:52 | If I resize the box, the bounding box, they're all going to change,
but I'll just double-click and that will give me my type tool.
| | 04:00 | Select the type I want, now I can go to my character
palette and I can use the type size right here to change.
| | 04:08 | The other thing I can do is, I can just
put my cursor in there if I want to.
| | 04:13 | Delete and I could say, well what does 90 point look like?
| | 04:18 | And I can just hit return and it will show me what 90 point is.
| | 04:21 | I can type any size I want.
| | 04:23 | I could also experiment by using my arrow keys and I can bring
down the type size of the selected type one point size at a time.
| | 04:31 | I can also hold down my Shift key and move them by increments of four.
| | 04:36 | I think about 80 point is probably going to look good.
| | 04:41 | If I want to see what that's really going to look like, I'll switch
back to my Selection tool, click off to the side, and there we go.
| | 04:47 | I'm going to drag this up a little bit so it
just looks a little more centered in there.
| | 04:52 | So there's one thing I could do with my character palette that
I can't easily do with just the Control palette by itself.
| | 04:59 | Let me move the character palette out of the way.
| | 05:01 | Let's go ahead and look at some other type here.
| | 05:04 | I've got my dates, and what I want to do is
I want to have these on three separate lines.
| | 05:11 | Now this type box that I've created right here, the one
with June in it, is not point type, it's set area type.
| | 05:18 | So if I try and resize this box, the type
container, June isn't changing size.
| | 05:24 | And if you want a clarification on area type versus
point type, go ahead and check out those movies.
| | 05:32 | So if I want to resize things within area type,
I'm going to have to use my character palette.
| | 05:36 | What I'm going to do, I double-clicked with my selection
tool to get to Type tool, and hit the Delete key and return.
| | 05:42 | Then I'm going to go over here in front of
2005, hit the Delete key, and return.
| | 05:48 | So now I have the text all strapped one on top of the other.
| | 05:52 | Let's select it all.
| | 05:53 | 80 looks pretty good.
| | 05:55 | So I'm going to go over and I'm just going to select for the type size.
| | 05:59 | I'll type in 80.
| | 06:01 | And you can see it got huge and because this is area type, it
filled the area and then there's type going off the page somewhere.
| | 06:09 | Go back to my type tool.
| | 06:11 | Make this just a little bit larger.
| | 06:13 | So June fits.
| | 06:15 | And I might decide, you know, 80's just a little too big.
| | 06:19 | Again I can employ my same tool of just putting my cursor in the
character palette box, pulling down the shift key, so give me big changes,
| | 06:29 | actually 80, I'm going to leave it at 80, because
I like how June sort of matches BYOI here.
| | 06:34 | I'll just going to make everything else work to fit.
| | 06:38 | Let's make this type window even bigger.
| | 06:41 | OK, there's 2005, and that's actually not too bad.
| | 06:46 | Here's June 4-6th, but these are really too far apart right now.
| | 06:51 | What I want to do is I want to bring them closer together.
| | 06:55 | So how am I going to do that?
| | 06:56 | The space between these lines is referred to as
leading and that's controlled right over here.
| | 07:03 | You can see baseline to baseline.
| | 07:06 | Right now the type is 80 points high and the
leading is actually automatically being set.
| | 07:13 | That's what the little parentheses mean to 96.
| | 07:17 | If I want to make the leading smaller, I can while I
still have this selected, manually bring the leading down.
| | 07:24 | See if I change to 72 point, now I've brought
the leading down to 72 baseline to baseline here.
| | 07:32 | And I could crank it down even tighter if I wanted to.
| | 07:35 | I'd go to 60 and you see how the type has come much, much closer together.
| | 07:40 | Well let's suppose I want June 4-6th to be a little bit bigger.
| | 07:44 | And this is going to factor back into leading as well.
| | 07:47 | I selected this line, 4-6th, and now I'm going to put my cursor in
the font size and I'm going to hold down my shift key and start going up.
| | 07:58 | Now watch interesting things happening.
| | 08:00 | Before when I was going up, space was added between
lines in order to account for the larger type size.
| | 08:09 | It's not happening now.
| | 08:11 | Why? Because I've turned off automatic leading.
| | 08:15 | So now I need to change the leading here in order to make enough
size but before I do, curiously look what's happening here,
| | 08:24 | 4-6th I still have a viable, useful amount of space between 2005
and the date, but the date is overrunning the bottom of June.
| | 08:35 | Remember that leading is from baseline to baseline.
| | 08:38 | It's always from this character to the one above it.
| | 08:43 | So it's not the leading of these characters, 2005 that needs
to change, it's the leading of these characters, 4-6th.
| | 08:52 | So I'll put my cursor in there, hold down my shift
key, and I don't want to go down, I want to go up.
| | 08:57 | See it's going up four at a time because I'm holding down the shift key,
now release the shift key and I'll go up just one point size at a time
| | 09:05 | until I get just the amount of space that I want.
| | 09:10 | What that means is if I were to try and say change the leading
up here of these characters, try to get the whole thing,
| | 09:16 | nothing would change on my screen because there's
no text above it that's in the same block.
| | 09:22 | If I wanted to increase the space between 2005 and
4-6th, I'd want to increase the leading around 2005.
| | 09:31 | There are a number of other features on the palette.
| | 09:34 | These next two are referred to kerning and tracking.
| | 09:38 | There's actually a separate video specifically on
kerning and tracking so I'm going to skip those for now.
| | 09:42 | But we're going to go ahead to the fly out menu and do show options.
| | 09:46 | I'll get a number of other features.
| | 09:48 | Let's go over and look at The Greatest Show
on Earth is Actually in Your Mind here.
| | 09:54 | I took my Zoom tool and zoomed in on it.
| | 09:56 | Oops. And I zoomed out with my Zoom tool, I didn't mean to do that.
| | 10:01 | I still had some text selected.
| | 10:03 | This is an interesting, I'm actually glad this happened, what I did
was I zoomed in on the text over here, I still had this text selected.
| | 10:13 | I tried to use the space bar to get myself a Hand tool, I ended up
putting a space into my text right here, which I don't want to do.
| | 10:21 | Try and delete some of those spaces.
| | 10:23 | Let's see, what happened?
| | 10:25 | Oh I think I actually deleted 2005.
| | 10:29 | That is in fact what I did.
| | 10:31 | Tell you what?
| | 10:31 | Easiest thing to do, Command + Z. There it is.
| | 10:36 | I get my 2005 back.
| | 10:38 | Just a little thing when you're working with type to be very
careful to deselect before you go hitting the space bar or something
| | 10:43 | on the keyboard like this to find some type.
| | 10:47 | OK, if I want to use some of these other attributes
on the character palette, they're sort of more specific.
| | 10:55 | I can use the width of a character to make something extra
wide or I could make it extra tall and maybe less wide
| | 11:06 | so I can make my own kind of narrow type.
| | 11:09 | I can change the baseline, going to skip that for a moment, I'll show you
a practical application of it, but I can also rotate some characters,
| | 11:17 | you can see even the first jump 30 is pretty heavily rotated,
but if I wanted to just say maybe make a 5 degree rotation,
| | 11:25 | say I could add a little bit of life to kind of these characters
a little bit of action and I wouldn't have to do the whole word
| | 11:33 | if I wanted to for example.
| | 11:35 | I could take the word mind here and I could do just the first letter M,
I could rotate that one by 30 and I could leave this character, the I,
| | 11:48 | I could make it say 15, and I could take the N and I could make it minus
15, and I can have some sort of fun stuff happening with letters this way,
| | 12:00 | and I can make that one say minus 30.
| | 12:03 | See how I've created this cool effect using these letters.
| | 12:06 | This section is kind of the more sparing area that you may want.
| | 12:10 | These are not needed quite as often.
| | 12:13 | One cool thing to know though, when that's there, notice how when I
have multiple items selected, you can see that I have different sizes
| | 12:22 | and so forth so they're all grayed out.
| | 12:24 | If I want to reset things while they're all selected, I can just go
back and reset all of them and they go back to the way they were.
| | 12:31 | But an interesting tidbit with this palette here, I'm not going to
hold down my shift key, I'm just going to drag this a little bit bigger,
| | 12:37 | you can see how Illustrator is kind of calculating this.
| | 12:41 | It's decided that the shape that I created would be
53.67 point type that was only 24% of the correct width.
| | 12:50 | So it does some kind of cool things in there, but it's a way
if you have dragged or typed really weird sizes and shapes,
| | 12:57 | you can reset it really quickly over here.
| | 13:00 | Let me go to 100%.
| | 13:02 | Whoops. Let's try that again.
| | 13:04 | Go to 100% width, take that back.
| | 13:08 | It doesn't want to reset.
| | 13:09 | Let's try typing in 100%.
| | 13:13 | There we go.
| | 13:14 | Try typing it in.
| | 13:18 | 12 point and back down to normal.
| | 13:22 | So there's one way that you can get back to the regular type.
| | 13:25 | Another thing with the character palette, and this one we're actually
going to use and stick, it gives me access to small caps as well
| | 13:31 | as superscript and subscript.
| | 13:33 | Then go ahead and switch to small caps
because I want that for this lower section.
| | 13:37 | And you'll notice that, the T, the capital T that I had is now sort
of extra large, I'm just going to select it and type a lower case T
| | 13:45 | on my keyboard, but it actually came out as the small cap T. And
for typefaces that have true small caps, which Myriad Pro does have,
| | 13:54 | it's actually going to substitute the correct character
and I get a really good sharp looking small caps.
| | 13:59 | If you wanna learn more about typography,
there's a really great lynda.com title just on typography.
| | 14:04 | Now, last thing for this video, I'm going to take these
words, The Greatest Show on Earth is Actually in Your Mind,
| | 14:14 | and I want to put them around this globe.
| | 14:18 | So, let's go ahead and get rid of some palettes
temporarily, so we have some more space.
| | 14:25 | Go to my Zoom tool and zoom in right here.
| | 14:29 | Hold down my space bar and slide over.
| | 14:33 | This is a place where there's a really good use
for this baseline shift on the character palette.
| | 14:37 | It helps explain what it is.
| | 14:39 | And take my Ellipse tool, go to about the center of my earth here, hold
down the Alt or option and shift keys and that will allow me to draw circle
| | 14:49 | from the center so that made it easier to
center it on the earth here and there it is.
| | 14:55 | I'm going to go ahead right now when I drew that I had black
fill and no stroke, I'll switch it so I just have a black stroke.
| | 15:05 | There is a globe around the earth.
| | 15:07 | I want to make it a little bit wider than it is tall,
looks like my earth's a little off, not quite round.
| | 15:13 | So I just give it a little adjustment.
| | 15:15 | Now I'm going to take my Scissors tool and
I'm just going to cut this into two pieces.
| | 15:24 | So I now have two paths, an upper path, it's a
half circle, a semi-circle, and a lower path.
| | 15:30 | Got it. What I'm going to do is take The Greatest Show on
Earth, I double-clicked, I'm going to select all the type.
| | 15:41 | Then we'll do an edit, copy.
| | 15:44 | And now, I'll switch back to my Selection tool, select here, switch back
to my type tool, and as I bring it over the top half, that top semi-circle,
| | 15:58 | you can see how that cursor's changing, it's going to make path
type for me, I'll click and then I'll do a control or Command + V,
| | 16:07 | which is paste and there's The Greatest Show on Earth.
| | 16:10 | Cool, that's what I wanted.
| | 16:13 | I'll select the old type.
| | 16:14 | I don't need it anymore.
| | 16:15 | And here's, is Actually in Your Mind.
| | 16:18 | And I'm going to go ahead and we'll do a command X or cut this time.
| | 16:26 | There's still an empty type container there, so I'm
going to hit Delete or backspace on my keyboard.
| | 16:31 | Switch back to a Selection tool, click the lower path, type tool.
| | 16:39 | Bring it over the path, click once and we'll do a Command + V. And you can
see my type is like whoa, it went way off the side of the board here.
| | 16:50 | That's OK, I can switch to my selection
tool and I can drag just like this.
| | 16:57 | And now you can see what's going on.
| | 17:01 | Remember all paths have direction and so, is Actually
in Your Mind, is kind of flowing around this way.
| | 17:07 | Now what I want it to do is flip up to the top part of the type so
I'm going to take the middle handle, flip it up and there we go.
| | 17:15 | Is Actually in Your Mind.
| | 17:16 | Now, I have kind of the effect I want except this lower
one is awfully close to the globe and I could drag it down
| | 17:27 | but the letters are going to be a lot more
crowded together than they are up here.
| | 17:31 | I could resize this path, but then the letters are probably
going to grow so I end up with an interesting situation.
| | 17:38 | The easy way to handle it is with baseline shift and what I'm saying
is I want to take the baseline of the letters and move it relative
| | 17:46 | to the container, in this case a path.
| | 17:49 | And I want to move it down.
| | 17:51 | So I did negative 12 and that was a little too far away.
| | 17:54 | I'll put my cursor in there, I'll start using my up
arrow key to adjust, and you can see I can bring it up
| | 18:02 | and what I really want is I just visually do it until the top of the
letters, I visually went up arrow, turned out about minus 6 point,
| | 18:10 | put the letters right on the bottom of the
line, which is pretty much what I wanted.
| | 18:16 | I'll do a command 0 or control 0 so I can see the whole object and deselect
and there is my completed ticket customized with the character palette.
| | Collapse this transcript |
| Kerning and Tracking| 00:00 | I have an untitled document here, nothing on it, and
I'm going to use it to look at kerning and tracking,
| | 00:07 | just two factors that if you have a background in typography you're
familiar with, but you might not if you're new to Illustrator
| | 00:13 | and coming from an art background.
| | 00:15 | And they're important if you're going to be working with type.
| | 00:18 | So let me just, choose a Type tool, and we're going to click, make
some point type, and I'm just going to type my name, Jeff Van West,
| | 00:29 | because my name just happens to have some
interesting problems with kerning and tracking.
| | 00:35 | Now I'll zoom in on it.
| | 00:37 | Come in close here and we'll go to 800%.
| | 00:40 | So there's my name and it's in Myriad right now.
| | 00:44 | Let's go ahead and go, we're going to switch that, actually, you know what?
| | 00:50 | No, I'm going to stay in Myriad, that's fine.
| | 00:52 | We'll stay in Myriad.
| | 00:54 | So here's my name.
| | 00:56 | And if you look at the space between the letters, switch
to a Selection tool so I have a better way of pointing,
| | 01:06 | you can see that the letters are actually different distances apart.
| | 01:10 | The Fs very close together, the V and the A have a bit of a gap
between them, the W and the E have a bit of a gap between them.
| | 01:19 | This gap, the space between letters, is considered kerning
and different letters require different amounts of kerning.
| | 01:26 | The V in my name is a bit of a problem because it hangs way
out at the top, yet it's got this big space down at the bottom.
| | 01:35 | So the eye, reading along, hits this space and it disrupts for a moment.
| | 01:41 | So what has to happen is the A has to come in a
little bit closer to the V and that's what kerning is.
| | 01:47 | Now, built into the typeface are values for how close letters should
with come together and by default, that is what Illustrator will use
| | 01:57 | to keep letters separated the right amount and that's called auto kerning.
| | 02:01 | And you can see this A, V, how close those
two characters are being brought together.
| | 02:07 | If I go ahead and I switch the kerning to zero and that's what
I'm going to do right now, you'll watch the letters spread out,
| | 02:15 | particularly the ones that would be problem letters.
| | 02:17 | See, now look at the W and the E and the V and
the A, definitely causing a big problem here.
| | 02:24 | If this was an upper case A, it would be even worse.
| | 02:27 | In fact, let's go ahead and do that.
| | 02:31 | You can see there's this very big space
because this A hangs out on the bottom.
| | 02:36 | This V hangs out on the top, in fact that's
why they use A and V right here.
| | 02:40 | This is a really bad kerning pair.
| | 02:42 | Let's go back to the regular A. Now that I put my cursor between
the letters, I'll just put it right here, you can see that the V,
| | 02:52 | there's a line, and then the edge of the A, they don't overlap at all.
| | 02:56 | Now let's go back and we'll reset this to auto, the kerning
values, and now I'm going to go and actually select in the type.
| | 03:07 | And this is sort of the tricky part about kerning.
| | 03:10 | You don't select a letter to look at kerning.
| | 03:13 | See that's just on auto.
| | 03:15 | You actually, if you want to see what a kerning value
is, you put the cursor between two characters unselected.
| | 03:21 | The E and the S have no kerning under auto.
| | 03:25 | The W and the E have minus 34, minus 34 what?
| | 03:29 | Minus 34 one-thousandths the width of the lower case
letter M. It's called uh, minus 34 M and it is of the value
| | 03:39 | that they're going to use for kerning.
| | 03:41 | The W has minus 36 in front of it and I'm reading these
over here on the Character palette in the kerning section.
| | 03:49 | Zero, zero minus 36 because of my V, zero, zero, zero.
| | 03:56 | The J and the E actually have positive kerning.
| | 03:59 | Why? Because of these curves at bottom.
| | 04:03 | Actually it's really this curve in the middle of the E. It needs a little
bit more space, otherwise it gets too close to the letter in front of it
| | 04:11 | and it kind of blends in.
| | 04:12 | So those are actually kerned apart a little bit.
| | 04:16 | Now Illustrator also has a, this was new in Illustrator
CS, the ability for what they call optical kerning.
| | 04:24 | This is going to look at the kerning values of the type and it's going to look
at the overall look of the type to try and give you the best readability
| | 04:31 | and you watch all the letters shifted again there.
| | 04:33 | There's auto, shift, there's optical, shift, and it actually
is a little bit easier to read somewhat and optical.
| | 04:41 | Let me switch back to auto and I'm going to watch what happens when we
change typefaces, remember I said, auto was built into the typeface,
| | 04:50 | we'll go from Myriad to Myriad Pro, essentially the same type and
I'm going to go to regular, which is the equivalent of the Myriad Roman
| | 05:00 | that we have right now.
| | 05:01 | I'll go to Myriad regular and you watched,
the characters seem to shift again.
| | 05:08 | Now let's look at the kerning values.
| | 05:11 | Minus 33 this time.
| | 05:13 | Slightly different.
| | 05:15 | Minus 33, I think it was 32 last time.
| | 05:17 | Still 36 there.
| | 05:18 | So it's different in the typeface and here's an interesting one.
| | 05:23 | If you look at the FF here, they've actually been brought
together such that they're now looking like a single character.
| | 05:32 | And that is crawled a ligature and we'll talk about ligatures in the
section on open type and glyphs, but Illustrator, in this typeface,
| | 05:41 | has brought these together and essentially treating them like a
single letter and that is the way they used to be printed actually
| | 05:47 | if it was a lead type, they would actually
be a single character that was put in.
| | 05:51 | Illustrator can automatically substitute ligatures
for FF, FL, and various other combinations of letters.
| | 06:00 | Alright, so let's look at kerning and let's get it at its
worst when we'll go for the poster child for kerning problems.
| | 06:07 | We'll go find Caslon Pro.
| | 06:09 | Here we go Adobe Caslon Pro Regular.
| | 06:15 | You can see visually the V and the W now
have this very open space next to them.
| | 06:22 | We still have auto kerning, well let's see what the values are.
| | 06:27 | Minus 80 this time between the E and the W. Now
note, I haven't changed any of these myself.
| | 06:32 | This is still, if I select all the type, auto.
| | 06:36 | It's just, these are the values built in to the typeface.
| | 06:40 | And here we go.
| | 06:41 | We've got minus 85.
| | 06:44 | And with this one, we have a true ligature substitution.
| | 06:49 | Notice I can't even put my character, my cursor, between the two Fs,
they have been substituted and they are actually overlapping completely.
| | 06:57 | They are now just one letter, FF, that has been substituted.
| | 07:01 | So these are the kinds of things going on
in order to make the type look appropriate.
| | 07:07 | So how does this all work out for you?
| | 07:10 | Well looking at this you might want, especially if this is a
fairly large type where you're going to be zoomed in like this,
| | 07:17 | you may want to bring in the space between the V and the A even more.
| | 07:21 | So, you could move it to maybe minus 100.
| | 07:25 | Same thing with the E and the W. I could bring that in even
tighter, minus 100 until it looked right to me because you're going
| | 07:33 | to need different amounts depending on how
big the type is relative to the reader.
| | 07:39 | Also, if I do something crazy like stretch the type
out, I might make the kerning problem even worse.
| | 07:45 | The type was never designed to look like this and probably with good
reason, but if I want to adjust that, I might need to even kern these
| | 07:54 | in even more and I can do my up and down arrows and now
I'm doing down arrow because this is negative values.
| | 08:02 | You can see I instinctively did it the wrong way to begin with.
| | 08:05 | And I can sit there and bring in the kerning
value to whatever it is that looks bright for me.
| | 08:14 | This also might be an issue with particular kinds of type.
| | 08:18 | So, let's go ahead and swing this back to
12 point and we'll swing this back to auto.
| | 08:25 | And we're on auto and we'll bring 100%.
| | 08:32 | You're not going to change for me.
| | 08:37 | There we go.
| | 08:38 | Much better.
| | 08:42 | Alright, let's look at brush script.
| | 08:47 | Here's brush script medium.
| | 08:49 | Now brush script medium, here we have something
that's designed to look like handwriting.
| | 08:55 | Look like script writing, but I can see already that there
are gaps between some of the letters and they shouldn't be.
| | 09:02 | Furthermore the V and the A are kerned pretty close together
but in my actual handwriting there's a bit of a gap there
| | 09:09 | because I lift my pen off the page and then I start writing again, so
if I want to make this look real, I'm going to play around with kerning,
| | 09:16 | I'm also going to play around with this one next to it
called tracking, which seems to have gone its way to zero.
| | 09:22 | Zero tracking means that I'm not doing anything beyond the kerning
values to move these characters close together or further apart.
| | 09:32 | What I'm going to do now is turn on the tracking.
| | 09:35 | I'm going to bring it up to maybe 10.
| | 09:37 | That will spread the characters out a
little bit so you can see what's going on.
| | 09:41 | See how the, everything's a little further apart,
both the characters and the words themselves.
| | 09:46 | Kind of how tight or loose the type looks like.
| | 09:49 | I could bring it all in and you could see that helped quite
a bit actually with the type looking more handwritten.
| | 09:55 | Still a little too much.
| | 09:58 | Maybe about 20, 18.
| | 10:03 | See I want to get the overall look about right
so I don't have to sit and kern everything.
| | 10:07 | And I don't want to change the kerning value directly because the letters
are already being kerned in and out based on what kind of letter they are
| | 10:17 | and if I force them all to the same value them
I'm going to have a real mess on my hands.
| | 10:21 | By changing tracking, I'm kind of changing the overall value of how
things are together and now I can go and clean up specific problems,
| | 10:30 | that J and the E, they've gotta get closer
together and even a little closer than that.
| | 10:39 | Hold down my Shift key to go in larger jumps.
| | 10:42 | There, now those are lining up nicely.
| | 10:44 | This E and this S are actually a little too close together.
| | 10:48 | I can kern them apart.
| | 10:51 | Oops. Get it right in there.
| | 10:55 | There we go, get my cursor in there.
| | 10:58 | 1, 2, 3. Need a little bit more space between them.
| | 11:04 | Perfect. And then the W and the E, they're kerned together.
| | 11:09 | I don't want them kerned together because that doesn't look right to me.
| | 11:12 | We can spread them apart.
| | 11:14 | Same thing with the A and the V. Minus 60, no probably more like minus 25.
| | 11:19 | And we'll select and click off, and now you can see I've got
something that looks a lot more like hand writing with natural gaps,
| | 11:26 | in fact I might even spread that W and that E out even further,
but the other letters actually look like they're flowing together.
| | 11:35 | You might now notice this at small typefaces, but if your viewer, your
reader is going to be in really close, they're going to study this
| | 11:43 | or if it's going to be very large type,
they're going to notice this kind of a problem.
| | 11:47 | The other place that I strongly recommend you look at,
particularly tracking rather than kerning, is with small caps.
| | 11:56 | Let's go back to Adobe Caslon Pro Regular and I'll just
go ahead and switch everything back to the way it was.
| | 12:07 | Regular tracking, auto kerning, OK, that's looking good.
| | 12:11 | And then off the fly out menu I'll choose small caps and this can
also be a problem if you have longer superscripts or subscripts,
| | 12:20 | but definitely shows up in small caps.
| | 12:23 | Now I'm going to go ahead and make them all
true small caps by changing these letters.
| | 12:31 | I'm selecting them and putting in the lower case letter.
| | 12:34 | So there's my name, Jeff Van West and this is just straight up small caps.
| | 12:39 | Small caps or all caps, either way, are difficult to read.
| | 12:43 | They slow the reader down because they've lost all the
ascenders and descenders that help form the shape of a word
| | 12:50 | and help make it easier to read.
| | 12:52 | So you, working with the type, can make life easier for your
reader by taking the small caps or all caps and spreading them out.
| | 13:04 | In fact, just so you can see it, maybe
I'll do an Alt, drag and we can compare.
| | 13:12 | Here's zero, and there's just slightly kerned out.
| | 13:18 | In this case, the letters kind of run together and they're a
little harder on the eye than letters that are a little bit looser
| | 13:25 | and I can even drag it down, make another
copy and we can go make it kind of extreme.
| | 13:33 | That's even looser and somewhere, kind of between 50 and 25 here, is
probably where I'd settle in on how loose I wanted these characters to be,
| | 13:45 | but they become easier to read, the gaps become much more pronounced
and my eye has space around the letter to help me recognize what kind
| | 13:54 | of letter it is even when I don't have the shape of the
word with its normal ascending and descending letters.
| | 14:01 | So kerning and tracking definitely something you want
to play around with to get your type to look just right.
| | Collapse this transcript |
|
|
9. Type Styles and AppearancesParagraph Styles| 00:01 | Illustrator CS was the first Illustrator to come out with paragraph and
character styles, that is type styles and this was a huge improvement
| | 00:10 | in that character styles and paragraph styles allow you to
define a bunch of attributes for your type and then reuse them
| | 00:19 | through your document wherever you want them.
| | 00:22 | Also you can make changes in one place and they
propagate automatically throughout the whole document.
| | 00:27 | So let's take a look at how this would be used.
| | 00:29 | I have type styles.AI opened here and I want to do a couple
things with these paragraphs that I have in the document.
| | 00:37 | Make them look a little better.
| | 00:39 | First and foremost, let's go down to the bottom.
| | 00:41 | At the bottom of the document here, I have these two photographs
that flow into one another but they're a little tight together
| | 00:48 | and they may not be quite in the typeface that I want.
| | 00:51 | The way to work with this is choose your
paragraph and now you can start playing with it.
| | 00:58 | Let's suppose I want to go to, instead of Myriad, I want to go
ahead and go to Minion, Minion Pro, a serif type sort of like this.
| | 01:10 | I wanna take a look and you can see it affected only what
I had selected here so this other type didn't get selected.
| | 01:16 | Hmm, now that looks OK, maybe we'll
just go and play with that a little bit.
| | 01:21 | I, it's a little too small, so I want it at 12 point.
| | 01:24 | Maybe I want it at 14 point.
| | 01:26 | No that's a little too big, maybe I want it at 13
point, sure we can leave it at 13 point like that.
| | 01:33 | Yeah, I want the leading to go up a little bit.
| | 01:37 | So that's character with attribute, that's on the Character palette.
| | 01:41 | I could open up the Character palette or I could use the new Control palette
to just temporarily get it by clicking the hyperlink that says character
| | 01:49 | and right now the leading's at auto which
came out to about 15 1/2, 15.6 point.
| | 01:55 | I want to open it up a little bit make it say 18 point.
| | 01:59 | There that made it a little bit bigger and hmm, that looks good
but you know what, I don't like Minion Pro, I'm going to go ahead
| | 02:06 | and switch back to Myriad Pro.
| | 02:10 | Alright, so I made that switch and I've been making all these little
changes, if you've been watching, some of them have been flowing
| | 02:17 | through into the other window kind of as I
go back and forth and get the things I want.
| | 02:23 | In a way this is good, because we're just going
to see what happens over here in the moment.
| | 02:28 | See here I go.
| | 02:29 | I've got it just pretty much the way I want it.
| | 02:31 | Yeah, that looks pretty good and maybe I
want to move it in a little bit actually.
| | 02:38 | Oops. Go back to my Selection tool there and move the whole window
in a little and now I want to save all these changes I've made
| | 02:48 | and define them as a paragraph style.
| | 02:51 | So to do that, I'll go to Window, Type, and on the sub menu,
Paragraph Styles, and this will bring up the Paragraph Style palette.
| | 03:00 | Now, let's take a look at the palette and see what's going on.
| | 03:03 | Right now, it shows a normal paragraph style, that's kind of the
default for Illustrator, and then there's a little plus sign.
| | 03:10 | The plus means that the type I have selected is in the normal paragraph
style, all type is in some paragraph style, you have no choice about this.
| | 03:18 | It's always in some style and if you don't
do anything, it's in the normal style.
| | 03:24 | I have also overridden that type a little bit
by the changes I've made, hence the plus sign.
| | 03:30 | Now if I select some other type, like the type I haven't worked
with, you can see it's in the normal paragraph style, no override.
| | 03:38 | If you ever want to clear the overrides, there are two ways to do it.
| | 03:43 | You can go to the Paragraph Style fly out menu and clear overrides
or you can do an Alt + click on the paragraph style itself.
| | 03:53 | Looks like I just messed up my style a little bit.
| | 03:55 | I'll Command + Z just to undo that last thing I did.
| | 03:58 | You can also hold down your Alt key or Option key and click
on the style and that will clear any messing overrides you did
| | 04:05 | and make it go back to normal.
| | 04:07 | But what I want to do is I want to save my style as a new paragraph style
so I'm going to hit the Create New Paragraph Style button and there it is
| | 04:15 | down here and I'll give it a click and you say as soon as I clicked
it a whole change kind of propagated through the whole paragraph.
| | 04:23 | That is I applied this style to the entire paragraph
because this is one paragraph even though it's flowing
| | 04:29 | between two windows just by clicking on it.
| | 04:32 | And I could click again and clear any overrides.
| | 04:36 | Now look, here's normal, I could click again.
| | 04:39 | Let's see, I'm going to just go ahead and,
there we go, click twice in just the right succession.
| | 04:50 | So there's normal, there's paragraph style one, and I can make whatever
changes I want, like right now, I have the problem it looks pretty good,
| | 05:00 | but it's flowing between these two windows and I really
want both to be three lines, not four lines, right?
| | 05:06 | So let me just click off in the middle of nowhere here.
| | 05:10 | Nothing is selected now.
| | 05:11 | I'm going to double-click paragraph style one.
| | 05:14 | That'll open up the paragraph style options which shows the whole style.
| | 05:20 | And I have my Preview button checked so that I can make changes.
| | 05:24 | Now, the first thing you see when you open up the paragraph style options
is the summary, what they call general up here and so this is everything
| | 05:33 | that this paragraph style defines, the family, Myriad Pro, regular
13 point on 18 point leading, and a whole bunch of things unchanged.
| | 05:43 | I haven't said anything about tabs, hyphenation,
justification, any of that stuff.
| | 05:48 | So, what's going to happen with all of these?
| | 05:51 | These are going to inherit their behavior from normal.
| | 05:55 | But let's make some changes, maybe I want the basic format here,
I don't want 13 point, you know it actually did look better at 12.
| | 06:07 | So we'll click down to 12.
| | 06:08 | Yeah, that's looking a little bit better.
| | 06:10 | Now with a little bit of resizing I can
probably make my windows fit nicely too.
| | 06:14 | And we can go look at the advanced formats.
| | 06:18 | I could make all sorts of changes.
| | 06:20 | These are the same things that are on the Character palette.
| | 06:22 | Don't let this confuse you, character formats, paragraph style.
| | 06:27 | The paragraph style is able to set character
properties and paragraph properties both.
| | 06:35 | And it applies to the entire paragraph.
| | 06:39 | So, look at composition, let's try changing composers.
| | 06:44 | Now we are on the every line composer, I could also switch to single
line composer, but it doesn't look like that's going to change much.
| | 06:51 | Justification, this is how the justification is set up.
| | 06:55 | What I really want is, there it is, and indents it's spacing is alignment.
| | 07:02 | Let me justify a little bit, the ends.
| | 07:05 | There, see now I'm getting justification over here.
| | 07:08 | Looks a little square, that's what I want.
| | 07:11 | Now let me go ahead and give this paragraph style a name.
| | 07:14 | This is footer text and I hit return.
| | 07:21 | And now, I have my footer text defined as a paragraph style.
| | 07:27 | And let's see, I can, there we go.
| | 07:29 | I can now play around a little bit, get my size just right.
| | 07:34 | And there's my paragraph style for footer.
| | 07:36 | If I want to apply this anywhere else in my document, all I have to
do is select the text and tap the appropriate style and it's done.
| | 07:43 | Pretty cool.
| | 07:45 | Also, as you saw, if I make any changes over here, it is going to
go ahead and propagate those changes throughout the whole document.
| | 07:54 | This document, once I save it, will have these styles built in
and I'll be able to use them in other documents by loading them
| | 08:02 | out of this Illustrator document into my other one.
| | 08:06 | Just so you don't feel left behind, I'm going to do a
quick change on this style too and show you another way
| | 08:13 | that you can make these paragraph styles work.
| | 08:16 | Let's go ahead and bring you up to maybe 18 point and you watch
as I make these changes, you're seeing the change happen here
| | 08:25 | and I've got an override on footer text
because it's still considered footer text.
| | 08:29 | We'll bring the leading way, way, way up, even,
nah, 36 isn't even enough, 48, that might be enough.
| | 08:38 | Notice I'm doing a character change, let me show you if there are paragraph
changes too, I'm going to bring in an indent of probably about 30 point.
| | 08:46 | Let's see, that's not quite enough.
| | 08:49 | I'm going to put my cursor in the fields.
| | 08:52 | Hold down my Shift key and do some up cursor.
| | 08:55 | And then I can adjust it a little bit just like that.
| | 09:04 | That looks pretty good, that's kind of what I wanted.
| | 09:07 | So I can make whatever changes I want.
| | 09:09 | 60 point might be too much.
| | 09:14 | Play around with getting my type just the way I want it to go.
| | 09:21 | Like so, and when I'm all done, as long as I have this type selected,
I can go ahead and do, I could do new paragraph style down here
| | 09:32 | or I could just do new paragraph style and create one.
| | 09:35 | I could also, if I wanted to, and this is why I wanted
to show you this, I could redefine a paragraph style,
| | 09:42 | maybe I want footer text to now reflect all these changes I just made.
| | 09:47 | Redefine paragraph style would change my selected one,
footer text, to permanently be the changes I just made.
| | 09:56 | I want new paragraph style, and what's nice
about this is I get to name it right away.
| | 10:00 | We'll call this one the main text.
| | 10:03 | And there it is.
| | 10:05 | Now, lastly, this hasn't become the new paragraph style yet.
| | 10:11 | By clicking it and then again to clear the overrides, I
now have made this text the main text paragraph style.
| | 10:19 | So there are paragraph styles setting properties for a whole paragraph.
| | 10:22 | As you noticed, you could override it at any time.
| | 10:26 | Select the text and make changes, but remember, those changes will not
affect the other instances of that style unless you redefine the style
| | 10:34 | to match and then if you need to override for specific sections
but you want to save those overrides, well that's a character style
| | 10:40 | and that's the next movie.
| | Collapse this transcript |
| Character Styles| 00:00 | So hot on the heels of paragraph styles, I now have character styles
and they're on the same floating palette, they're on a different tab
| | 00:10 | and you can see I don't have any character styles to find.
| | 00:13 | I have some paragraph styles to find from the movie that I just did in
this document type styles.AI where I created these two paragraph styles.
| | 00:23 | And remember the paragraph styles set the typeface and
alignment, spacing, leading, and things for the entire paragraph
| | 00:33 | and for this paragraph down here.
| | 00:34 | This one's the footer.
| | 00:36 | A character style is one I want to set similar attributes, but
not for an entire paragraph, just for part of the paragraph.
| | 00:44 | That is a character style should always override part of a paragraph style.
| | 00:48 | I'm going to double-click on my footer text down here so I get a Type tool.
| | 00:53 | I'll double-click again so I select the word combines.
| | 00:57 | I'm going to go ahead and make it purple and then I'm going to go up and
change the typeface from Myriad Pro regular to Myriad Pro semi-bold italic
| | 01:09 | and then I'll take a Selection tool, deselect
so I can see what it looks like.
| | 01:13 | And that's what I wanted right there.
| | 01:15 | Now, the cool part about character styles is that I haven't changed
the entire paragraph, I just changed the letters that were selected.
| | 01:23 | Now I haven't actually made the style yet so let me go ahead and do that.
| | 01:26 | I'm going to select the text that matches the new style that I want.
| | 01:32 | Go to the new fly out menu, choose new character style.
| | 01:36 | We'll call it the purple words.
| | 01:40 | And now I've defined a new character style,
but I haven't applied these attributes to it.
| | 01:47 | I'm going click once, click twice on purple words and there I go.
| | 01:50 | I've got combines is now in that style.
| | 01:53 | The cool part is that if I want to change some
other words, all I have to do is select them.
| | 02:00 | Click the purple words character style and you can see I can take all three
of these words, wheat, corn, and soy beans and I can turn them all purple.
| | 02:10 | Let me go to my Selection tool, deselect and
there I go, I've got the three words again.
| | 02:15 | Now if I click into this paragraph, just anywhere on the
paragraph, you're not going to see the character style lit
| | 02:21 | up because I haven't selected individual characters.
| | 02:24 | You can see that footer text, which is in
this paragraph, has an override showing on it.
| | 02:31 | Well that override is because of the character style.
| | 02:34 | Now if I were to click on it again, I
can make that override seem to go away.
| | 02:38 | Well that's because Illustrator knows that I do want these here.
| | 02:43 | I have put them in as a character style.
| | 02:46 | What if I want to get rid of them?
| | 02:49 | If I select the words I want to get rid of and I were to just
try to apply footer text, nothing's going to happen there,
| | 02:55 | I'm not going to get the change that I want.
| | 02:58 | But if I go back to my character styles and I click normal character
style, you'll see that the purple and the italic over here disappeared.
| | 03:08 | Normal character style is kind of a misnomer, what's happening
here is it is inheriting its features from the paragraph style.
| | 03:18 | So the normal character style is just not changing these at all.
| | 03:22 | This is important if, let's suppose I want combines up here
to be in purple, semi-bold italic and I hit purple words.
| | 03:30 | And you can see there we go, combines semi-bold italic, but look
at the size because I didn't redefine the size of the type at all.
| | 03:41 | I never made it bigger, I made it smaller.
| | 03:43 | All I did was change the color and the typeface, this
combines is inheriting the 21 point type up here,
| | 03:55 | this combines is inheriting 12 point type from, switch to
paragraph style so you can see it, 12 point type from footer text.
| | 04:04 | This one is inheriting 21 point type, there it is, from main text.
| | 04:12 | If I were to go into this character style, and I'll double-click so you can
see it, and I were to ever change the type size, basic character formats,
| | 04:22 | see how size is grayed out?
| | 04:24 | If I were to change this at all to something in here, I'd make it say 12
point, then I would lose that ability to have this character style inherit
| | 04:34 | and there's really no way to get it back.
| | 04:36 | I'd have to make myself a new one.
| | 04:38 | So just something to be kind of aware of there.
| | 04:40 | Again, if I decide I don't want combines there, I can just go back
to normal character style and it switches back to the normal style.
| | 04:48 | Now I can do this in a more grand way if I want to.
| | 04:53 | Or if I want to, I, you know, so I could make this sea
in the background if it wasn't outlines in this document,
| | 04:59 | but I can make that a character style as well.
| | 05:04 | I could do it, these characters up here so that I can define things
only once in my document and then use it in several different ways.
| | 05:13 | Well how would I load these type styles,
and character styles into a new document?
| | 05:17 | It's very easy actually, all I would need to do is save this document.
| | 05:21 | So I'm going to go ahead and save it.
| | 05:24 | Save. And if you were working off the CD, you might need to
save it somewhere else onto your desktop or you can just save it
| | 05:30 | over the file you are working on.
| | 05:31 | Now I'm going to go ahead and make a new document from
file new, and it doesn't matter what we call it right now.
| | 05:38 | And you can see this new document has no
character styles and no paragraph styles.
| | 05:43 | I'm going to go ahead and load all styles from the fly out
menu of the paragraph style and character style palette.
| | 05:52 | Here are my exercise files we were working in chapter 8.
| | 05:55 | I had type styles, let me open those up.
| | 06:00 | And what you see is I just loaded footer
text and main text and there's purple words.
| | 06:08 | I loaded these styles by loading a document, an Illustrator document
that had those styles saved in them and now if I wanted to take
| | 06:18 | and create some text, right here, so here's
some text, here's some more text,
| | 06:35 | what I could do is pretty easily make this first paragraph the footer
textile, I could make the second paragraph I wanted to the main textile,
| | 06:44 | see how it jumped out, changed type?
| | 06:47 | And if I wanted to override part of it with character
styles, there's purple and semi-bold italic and purple
| | 06:54 | and semi-bold italic inheriting their features that I
didn't change from the paragraph style that they were using.
| | Collapse this transcript |
| Open Type and Glyphs| 00:01 | One of the great things about the type engine in Illustrator from CS
and beyond is it was updated to allow you to take advantage of some
| | 00:10 | of the more advanced features and some type that's out
there, mainly open type and it added a palette called glyphs
| | 00:17 | which really let's you see the entire typeface at a glance.
| | 00:21 | So here's what you might do with those.
| | 00:24 | First of all, to see the Open Type palette, it actually only applies to
certain fonts, open type fonts or typefaces so let me go to the type menu
| | 00:33 | for a second and go to font and point out
something you may have been wondering about.
| | 00:38 | If you look in front of these fonts, you can see
there is a little symbol, I've got a TT here.
| | 00:43 | I've got an O here.
| | 00:45 | I've got, if I keep rolling down, there's one, an A here.
| | 00:49 | These are three different kinds of fonts and you may
even have some that show an MM for multiple master.
| | 00:56 | These are known as type one fonts with the A or postscript fonts.
| | 01:00 | These are true type fonts and the O is open type fonts.
| | 01:04 | Open type is actually a kind of container that goes around a font
and allows it to work on both windows and Macintosh platforms
| | 01:13 | and it gives you access through the code of the type
to all sorts of Alternates for different characters.
| | 01:22 | It also allows for a lot of cool automatic substitution.
| | 01:25 | So, to see how this works, we'll go to window, type, open type.
| | 01:32 | And it's actually a tab on the character and
paragraphs palette, but it's not one that you can get
| | 01:38 | to from the Control palette the way you can paragraph and character.
| | 01:43 | So we'll select some type here and for this type, the open type
palette is telling me it is going to do some automatic work for me.
| | 01:52 | It's going to do some automatic ligature substitution
and means certain characters, when they come together,
| | 01:58 | are going to be treated like a single character and I have one actually.
| | 02:01 | It's chaff, right here with the FF.
| | 02:04 | If I were to turn this off, unclick, you see the little reformats, very
subtle, but if we were zoomed in you could probably see it even more.
| | 02:13 | It's changing how these letters are being deAlt with.
| | 02:15 | They're still going to be kerned close together but it's whether they're
being dealt with as a true ligature, a single character or not.
| | 02:23 | I can also have different alternate characters that are a little more
stylized if they're in the typeface and uh, various other things.
| | 02:32 | They have different ligatures, what they call discretionary
ligatures, whether you want the more unusual ones being used
| | 02:39 | or not, so forth and so on.
| | 02:42 | Without going into a huge amount of detail on that, let me look at one
that you may really use, more often and that just has to do with numbers.
| | 02:51 | And I'm going to change the number at bottom of the page here.
| | 02:53 | We'll zoom in on it with a little bit of context.
| | 02:56 | Whoops my Zoom tool didn't quite click
where I wanted it to click, but that's OK.
| | 03:01 | We got close enough.
| | 03:03 | OK, right now this typeface is showing what they call the default figure
and that means they're just normal numbers the way you're used to numbers,
| | 03:13 | but I have a whole bunch of other possibilities.
| | 03:17 | Tabular lining or proportional lining, numbers
that line up in a particular way for tables
| | 03:24 | or I can do proportional lining gives me even proportions visually.
| | 03:29 | What I really want to show you is proportional old style.
| | 03:32 | This is kind of the older, old style, it's a different way
of show numbers and different numbers will have descenders
| | 03:42 | where they go below the line a little bit and it adds a really nice look,
a very kind of classy look to certain type when you want it that way.
| | 03:52 | By using the Open Type palette, I can set these in my document and get
these numbers to substitute automatically which is a cool little feature.
| | 04:02 | The other thing you should know is that this is
only really going to apply to open type fonts.
| | 04:08 | So ligatures and smart quotes and things like that that are non-open type
fonts, we'll they're handled somewhere else, let me point them out now,
| | 04:16 | that's under type, smart punctuation, and smart punctuation is going
to, whoops, make the same kinds of changes, ligatures, smart quotes,
| | 04:29 | how it's going to deal with eem dashes,
whether the ellipse is going to be three periods
| | 04:34 | or an actual character called an ellipse that's a little bit
crunched together and I can set that for the entire document or not.
| | 04:42 | So smart punctuation, the cool thing about it is, I'm going to
hit OK, and it's going to go through and make those changes
| | 04:51 | for whatever type I want.
| | 04:53 | The thing is, I need to manually do that
if I want it to apply through the document.
| | 04:59 | So whereas open type, I could select the document and just
make my changes on the Open Type palette and be all set.
| | 05:07 | So there's open type and let's Command + Zero
or Control + Zero to show the whole document.
| | 05:13 | I want to show you glyphs as well and that is another palette I can get
to from window, type, glyphs, but it's so useful to actually put it right
| | 05:23 | on the type palette so I can just go type, glyphs.
| | 05:26 | They open the same thing.
| | 05:28 | So let me close out open type for a moment here.
| | 05:32 | Here's the glyphs palette and what it's showing me is the
Myriad typeface and it's showing me everything in the font.
| | 05:40 | Everything that's in there and I also have the opportunity
to show an Alternative for my current selections.
| | 05:45 | Let me just do the whole font for the moment.
| | 05:48 | Here is everything that you might find in Myriad.
| | 05:52 | Now let me select a different typeface and you'll watch it change.
| | 05:54 | I'm now looking at Myriad Pro and this is kind of
what separates the pro set from the regular set.
| | 06:01 | There are a whole bunch of Alternatives, like for
capital A, I have these two characters that I can use.
| | 06:08 | For the number 3, I have eight different 3s that I can use.
| | 06:13 | Some are superscript, some are subscript,
some are sort of partial superscript.
| | 06:18 | Whatever it is that I want, I can make substitutions.
| | 06:21 | And if I actually select some type, like let me select
FF here, you can see here's the FF ligature character,
| | 06:30 | it's showing me what I have selected in the typeface.
| | 06:36 | Now, this is also a cool way just to be able to put in the letters,
special characters, like let's suppose I wanted an eem dash in here,
| | 06:43 | well I could scroll down and find the
appropriate em dash by double-clicking, put it in,
| | 06:50 | so that I can make my changes right off
the Open Type palette if I wanted to.
| | 06:56 | Another thing I might want to do, and I'm going to select, if I wanted to
see what something looked like in a different typeface and play with it,
| | 07:04 | I could select the type, and you can see I just changed to
Myriad and it changed a little bit, and let me go up and find one
| | 07:14 | of my favorites, where is it?
| | 07:19 | There it is, caslon, we'll switch to caslon, and you can see
again, I have, everything's changed, the typeface has changed.
| | 07:31 | Now I can go through and make substitutions off of this
palette as much as I want to and I have, you know, multiple,
| | 07:41 | here's my small caps J and so forth.
| | 07:44 | So I can make whole changes to the palette as I wish.
| | 07:47 | If I don't have something selected, I can go along, I can also
type in here, adobe wood ornaments, that's what I was looking for.
| | 07:55 | Now I have access to all the ornaments that are in there and I can place
one of those into my document if I wish by just clicking and there we go.
| | 08:06 | I got the ornament in the document.
| | 08:08 | So the glyphs palette and the Open Type palette, very cool features.
| | 08:12 | Explore them a little bit further to give you access to a whole typeface.
| | Collapse this transcript |
| Missing Fonts| 00:01 | Sometimes you'll get an Illustrator file
that includes a font that you don't have.
| | 00:06 | Now, it's a little confusing in that Illustrator creates PDF files
which, or PDF compatible files, which you would think include the fonts
| | 00:16 | but they do subset the fonts so uh, not all of the font is
going to be available unless you have that font on your system.
| | 00:23 | So what does Illustrator do in this case?
| | 00:25 | It warns you and this is what it looks like.
| | 00:28 | We'll do file open and I have for you actually in your
exercise files, we'll have to drill down to it here,
| | 00:40 | in the exercise files are missing font, there it is, missing font.
| | 00:47 | We'll go ahead and hit open.
| | 00:48 | And it uses a font that's not super common, so you probably don't have
it on your system, milliar LT and you'll get this warning, it says that,
| | 00:58 | do you want to continue?
| | 00:59 | Sure we'll go ahead and continue.
| | 01:02 | And what has happened is the default font
has been substituted for the missing font.
| | 01:06 | Now you can't really tell that unless you know what the default
font is or you go looking for it and that's under type, find font,
| | 01:16 | and as soon as I do that, there are a whole bunch of fonts in the document.
| | 01:22 | These are all the fonts in the document.
| | 01:24 | These are fonts I could replace it with and let
me go ahead and click on the one that's missing.
| | 01:29 | You can see it's not showing up, it's got these carrots around
it and it's going to show me, in my document, where that font is.
| | 01:36 | It was this type that I had to find with milliar.
| | 01:40 | I can go locate it.
| | 01:43 | I could change it.
| | 01:45 | And if I want to change it, I'm going to have
to tell Illustrator what I want to change it to.
| | 01:50 | So I have selected milliar here.
| | 01:53 | I want to change it to Myriad Pro and I'll go ahead and change it.
| | 01:59 | This would change the selection or change every instance in the font.
| | 02:02 | I'll just change it here and now it's done so I can go, done.
| | 02:08 | And now when I save this file, this type is going to be as Myriad Pro.
| | 02:14 | If I don't want to change it, I can undo the find font,
alright, you can see if I click in it now, it's showing it,
| | 02:22 | it knows that this should be milliar LT standard, but I can save
this file when I give it back to the person who sent it to me,
| | 02:29 | and they have this font, it will open up just fine for them
with the right font as long as I don't do the replacement.
| | 02:35 | As long as I don't do find font, I can even make changes in the
text and it will reflect back into the correct font when I'm done.
| | 02:42 | So just so you know that it's there, that's
what will happen with a missing font.
| | Collapse this transcript |
| Legacy Files| 00:01 | One issue you'll run into with Illustrator when you're working with other
folks who have versions of Illustrator, is what happens when you move
| | 00:08 | between older and newer versions of Illustrator files?
| | 00:13 | There was a major change in the text engine for Illustrator
and Illustrator CS and it got tweaked further in CS2
| | 00:20 | and this causes some consternation if you will.
| | 00:24 | If you open a fill that is pre-Illustrator CS, you will
see a warning if there is type in the file, in fact,
| | 00:33 | you'll see the warning regardless I believe,
but it particularly applies to type.
| | 00:36 | There we go.
| | 00:37 | Yeah there we go.
| | 00:38 | The file contains text created in a previous version of Illustrator.
| | 00:42 | You can update, you can hit OK, or you can cancel.
| | 00:47 | If you hit OK, you will not be able to edit any of that text
unless you then go and update it and you can update it one at a time
| | 00:58 | or you can update all of the text at once right now.
| | 01:00 | I'm just going to hit OK to update the text later and I'm also missing
font in this particular file and now I'll go to my Selection tool
| | 01:09 | and you can see when I select any of the type, I get this X through
it, telling me no, no, no, no, that's the old Illustrator type,
| | 01:18 | you can't update it, you can't edit unless you update it.
| | 01:22 | The other thing is that, converted has been appended to the name of the
file up here and if I go in and save it, that will become part of the name.
| | 01:30 | You can get rid of that in your preferences Macintosh, Illustrator,
preferences; and Windows it would be under edit, preferences.
| | 01:39 | If I want to change the type, I'll just
double-click on it and I have an option.
| | 01:45 | I can just update this text object or I can copy it and leave my
original one intact and then place on top of it an updated version.
| | 01:56 | The problem with updating type is that sometimes it breaks up the type
so instead of it being one long paragraph, you, or even a sentence,
| | 02:05 | you get a couple letters, then a new text object
that's a couple more letters, it's doing that to try
| | 02:10 | and keep the appearance of the type the same.
| | 02:13 | I'm going to take a roll of the dice here and hit update.
| | 02:16 | Let's see how we did.
| | 02:17 | A way to find out is to select everything, great.
| | 02:20 | This updated fine and I can go ahead and make my edits.
| | 02:23 | And actually it does pretty well.
| | 02:25 | There were a lot of problems in the early Illustrator developmental
cycles and they've gotten much better about dealing with this legacy type.
| | 02:31 | The issue that you will run into is once you've saved it in the new version
of Illustrator, you're not going to be able to go back to the old version.
| | 02:39 | They won't be able to open it up and edit the type at all.
| | 02:42 | It gets very broken up.
| | 02:43 | So that can be kind of an issue.
| | 02:46 | The other thing that might happen is just between Illustrator
CS2 and Illustrator CS, let me show you what might happen
| | 02:53 | to an Illustrator CS2 file that I open in Illustrator CS.
| | 02:58 | I'll use my file combines.AI.
| | 03:00 | I'm now in Illustrator CS, and I'm going to go to file,
open recent files, and I'll open the same file, combines,
| | 03:10 | and it's going to warn me it was generated by a newer
version of Illustrator, would you like to import the file?
| | 03:17 | Some data loss may occur.
| | 03:19 | Oh yeah, sure how bad could it be, right?
| | 03:21 | Alright, there's a missing font.
| | 03:22 | That's fine.
| | 03:23 | So now I'll go and click and suddenly,
first of all everything has been grouped.
| | 03:29 | It's now all in one big group and there's another group.
| | 03:32 | And then there's all of my stuff in little broken up bits and paths.
| | 03:38 | Oh no. What's gone on?
| | 03:40 | Let me try just using my Group Selection tool and seeing what's happening.
| | 03:44 | Each line of type has been broken into a separate line of type.
| | 03:51 | These were special effects, they've all been broken up into little pieces.
| | 03:56 | So the Illustrator CS2 file is now a mess in Illustrator CS.
| | 04:01 | And it would drive someone nuts if I was sharing it with them.
| | 04:05 | There is a way out of this.
| | 04:06 | We'll close out combine there, switch back to Illustrator CS2.
| | 04:10 | You can tell by the different color flower here.
| | 04:13 | If I want, I could always save as or I'm going to do a save copy, we'll
call it combines copy and it's going to ask me if I want to replace one
| | 04:24 | because I already have one there, testing this out earlier.
| | 04:27 | So there it is, and now at the very top, remember I told
you about this before, Illustrator CS2 or Illustrator CS
| | 04:34 | or what they call the legacy formats, the older
formats, if you go to Illustrator CS as your version,
| | 04:41 | you're not really going to lose a major amount of data, just some of the
newer features, the further back you go, the more data's going to be lost
| | 04:49 | and there's a big jump when you go from CS to ten because the
type engine changes so your type is at risk whenever you do this
| | 04:56 | so becoming uneditable.
| | 04:57 | We'll just go to CS and give me some, some warnings.
| | 05:02 | There may be a little bit of a layout change or something like that.
| | 05:05 | We'll go ahead and save it.
| | 05:08 | We'll switch back to Illustrator CS from CS2.
| | 05:13 | File, open, I could do open, or I happen to have it in
open recent, combines copy, I don't get the warning.
| | 05:20 | The window just opens and my type is intact.
| | 05:26 | And various other things also intact.
| | 05:29 | And in addition, my grouping hasn't been messed up either.
| | 05:35 | So very cool things in Illustrator, so just something to keep in mind,
if you're working with somebody who has Illustrator CS and you have CS2,
| | 05:44 | you are going to have to deal with a little
bit of version control when you work with them.
| | Collapse this transcript |
| Type and Appearances| 00:00 | Right about Illustrator 9, something happened to the Eyedropper tool
that caused people all sorts of frustration when dealing with type
| | 00:11 | and sampling color for type and it looks
like a bug but it's actually not a bug.
| | 00:17 | It's regular behavior.
| | 00:18 | By Illustrator CS, the problem was being
deAlt with and by CS2 it's pretty much gone.
| | 00:24 | But you need to know what is happening especially because if
you understand it, you can actually do some things with type
| | 00:32 | that technically aren't suppose to be able to be done.
| | 00:34 | So let's take a look at what's going on.
| | 00:37 | OK, I have some type and I'm on my little soap box
here, but all type is characters in a type container.
| | 00:44 | Now I'm going to click and select the type.
| | 00:47 | I've selected the container type and it's containing
characters over here on the Appearance palette.
| | 00:52 | I double-click characters, I've now selected
the type as if I had with a Type tool.
| | 00:58 | In fact you can see it's already switched to the Type tool and
I can see that my characters have a black fill and no stroke
| | 01:05 | which is normal for characters.
| | 01:06 | If you look up here it says type: No appearance.
| | 01:10 | There's nothing special applied to the type container,
the group if you will, that's holding the type.
| | 01:16 | Kind of special case group but there is
a fill on the type and that's standard.
| | 01:20 | That's the way things are suppose to be.
| | 01:21 | OK, let me switch back to selected in this normal way, the way most of
us would select some type and I can go ahead and take the Eyedropper tool
| | 01:32 | and sample this purple.
| | 01:33 | And the type turns purple.
| | 01:36 | Looking over here on the characters palette, and excuse me, the
Appearance palette, I can see I've got type, double-click characters,
| | 01:45 | it's now a purple fill with no stroke.
| | 01:47 | Hey, no problem.
| | 01:48 | I could also potentially just sample some type from the middle
of something, grab the Eyedropper tool, and there we go.
| | 02:01 | I have selected the type and that type now has a fill of purple.
| | 02:07 | Hey that's not a problem, right?
| | 02:08 | I could also sample something that has a fill and a stroke.
| | 02:15 | And we'll watch what happens.
| | 02:18 | Now, I have sampled the fill and the stroke from
this object and it's been applied to my type.
| | 02:26 | Ah! Take a close look at what's going on here.
| | 02:29 | It looks terrible because type isn't normally suppose to have
an outline like this unless it's very, very large, then uh,
| | 02:36 | the stroke really starts to make it look kind of weird on the type.
| | 02:40 | OK, hey, I can fix that, right?
| | 02:43 | We'll select it and I can go over and sample type.
| | 02:48 | Now, Illustrator is doing just fine on making this
all work out just the way I want it to work out.
| | 02:55 | OK, let's suppose I have over here, I'm going to switch to my selection
tool, let's suppose I want to sample this gradient and I'll go ahead
| | 03:07 | and sample the gradient.
| | 03:08 | And it looks like I sampled it over here, I have the type selected, see?
| | 03:15 | And it's saying it's filled with gradient,
but it's actually filled with black.
| | 03:21 | What's the deal there?
| | 03:24 | If I look at characters, sure enough, it's filled with a gradient.
| | 03:30 | But when I select here, it's filled with black.
| | 03:33 | How does this work?
| | 03:34 | What's going on?
| | 03:35 | What I can do to make this work is I can double-click the eye
dropper tool and say that eye dropper picks up appearance.
| | 03:47 | And now, when I come over and sample, whoops, I however need to select
the type first, now when I sample, it still looks black from here,
| | 04:01 | but if you look close, it's got kind of a fuzzy edge to it.
| | 04:07 | Something definitely happened.
| | 04:10 | There's a little bit of line and it's not
just your monitor, something did happen.
| | 04:15 | Look over here on the Appearance palette where it says type and you can see
that when I picked up an appearance, now the type level has an appearance
| | 04:24 | of fill, problem is it's underneath the
characters which are unable to display a gradient.
| | 04:30 | So I'll take that fill, I'll drag it up on top,
and there I have type filled with a gradient.
| | 04:38 | I can zoom back out and you can see it.
| | 04:41 | However it does look a little bit funky.
| | 04:44 | The characters also still have paint on them, even though
it's trying to make them a gradient, it can't display.
| | 04:50 | Characters can only display solid colors.
| | 04:53 | So we'll just drag that to the trash.
| | 04:55 | Now the characters have no stroke and fill but the container
does have paint on it and if I deselect, now it looks great.
| | 05:05 | Hey, cool, right?
| | 05:07 | OK, one thing to just be aware of when you do this, incase you run
into a problem, I'm going to change this color to kind of a maroon here.
| | 05:16 | Here's my Eyedropper tool, here's my type, it was working just fine,
I'm going to go ahead and sample with my eye dropper and, wait a minute,
| | 05:26 | wait a minute, wait a minute, this worked great last time, this
is just simple type, this is a simple color, what's going on?
| | 05:33 | How was I able to sample a color before and not now?
| | 05:37 | Well what's going on is I still have the eye dropper set to pick up
appearances and this is what freaked people out for a long time was
| | 05:43 | that the eye dropper normally picked up an appearance and what it did
was it added a level of fill to the container just like adding strokes
| | 05:54 | and fill to a group and now I have purple characters sitting
on top of a red fill in the shape of those characters.
| | 06:03 | If I drag the fill on top, now I have red on top of purple.
| | 06:07 | And if I really want it to be red, I'd have to drag that to the trash.
| | 06:10 | And there we go.
| | 06:14 | All is set and all is happy.
| | 06:16 | Now, it can get more complicated.
| | 06:18 | You've probably noticed with the Eyedropper tool, let me switch it
back to its normal behavior, I double-click the Eyedropper tool,
| | 06:26 | turn off appearance, OK we're back to a normal eye dropper now.
| | 06:30 | You've probably noticed that the eye dropper
turns to this T when I come over type.
| | 06:35 | It's a special type eye dropper and it allows
me to pick up the characteristics of type.
| | 06:42 | It's specific to type.
| | 06:44 | And I can go ahead and select from type
and get everything to work out nicely.
| | 06:53 | The problem is, if my type has an appearance
on it, it's going to apply to the appearance.
| | 06:59 | Let me switch something around here.
| | 07:02 | Let's try and, oops, let me select, this is normal type, it's the only
normal type that I have left that has no appearances on the type level.
| | 07:09 | If I try and pick up the type and I try
and sample an appearance, what happened?
| | 07:17 | The type eye dropper is always picking up what was in characters and
so when I sampled this type down here, that I had put a gradient onto,
| | 07:30 | it sampled the characters, which were no stroke and no fill
and therefore made my characters go to no stroke and no fill.
| | 07:38 | So they had nothing on them.
| | 07:39 | So how do you get out of this whole mess with type if you've
suddenly got appearances put on tops of things and no appearances
| | 07:47 | on tops of other things?
| | 07:49 | Well what you want to do if you need to just get the type back to normal,
a quick way to do it, select the type and you can just fill it with black.
| | 07:58 | Illustrator will try and fill it with black
if it doesn't have an appearance on it.
| | 08:03 | If you try that, and you fill it with black and you still have appearances
and characters over here, you can go to these buttons, clear appearance
| | 08:12 | or Reduce to Basic Appearance.
| | 08:15 | Now our clear appearance, there we go, totally clear the
appearance, now we're back to type with regular characters on it.
| | 08:24 | I'll do it once more up here.
| | 08:26 | This one's a mess with characters and fill and so forth.
| | 08:30 | We'll just clear the appearance and we'll get
back to type with just black characters on it.
| | 08:36 | So know that you have the ability to put paint on the
character level or the type level and it all boils
| | 08:43 | down to whether you're using an appearance or not.
| | 08:46 | If you're going to put paint on the type level, you actually get more
options and you can do some really funky kind of fills with gradients
| | 08:53 | and patterns and whatever else you might want.
| | Collapse this transcript |
| Creating Outlines| 00:01 | One thing you may need to do occasionally with your type is create outlines
and what that means is you would take the type, like this type here
| | 00:10 | and you turn it from type that you could edit into Illustrator
artwork that is uh, you would actually turn it into vector drawings
| | 00:19 | and it's very simple to do.
| | 00:20 | You select the type that you want to change.
| | 00:23 | You do Type, Create Outlines.
| | 00:25 | And you can see it's changed now and I can see all the paths that
make up this type and it creates it as a group right over here
| | 00:36 | and some of the shapes will come out as compound shapes as well so you can
check out compound shapes to see, excuse me, compound paths to take a look
| | 00:45 | at how that works out, but there are a couple reasons you might
want to do this, one you may have the typeface that you're using,
| | 00:55 | you can't give that font to somebody else and they don't need
to edit it, so as soon as you turn it into outlines like this,
| | 01:01 | my Type tool doesn't do anything on this type.
| | 01:03 | I can't select it, I can't do anything along those lines.
| | 01:07 | The other reason you might want to change it is once it's objects,
well now you're not constrained anymore by the type position.
| | 01:18 | You can move each object how ever you want to move it.
| | 01:23 | You can just move it around like so.
| | 01:25 | And I have the Group Selection tool so I could move them all like that.
| | 01:29 | The other reason you might want to change your type
is that you want to be able to edit the type itself.
| | 01:37 | So maybe I'll select this type and I'll go over, I'll take my Pen tool,
and I'll just add a few more points right along the top of the path here.
| | 01:48 | And then once I've done that, I can take my
Direct Selection tool and this is, it's a path.
| | 01:55 | Just like any other path and so that means that I can move points around.
| | 02:00 | And uh, move that point, Illustrator will make
adjustments as needed and the points will, there we go,
| | 02:13 | the paths will follow the new points.
| | 02:16 | I could take these and fill them with color,
maybe even fill this one with a gradient.
| | 02:29 | Sure, why not?
| | 02:30 | And we'll straighten that gradient out there we go and now what
I've done is I've created a shape, an actual vector graphic,
| | 02:42 | based on type that I can do whatever I want with.
| | 02:46 | So there you go.
| | 02:47 | Creating outlines.
| | Collapse this transcript |
|
|
10. Pen and PencilDrawing with the Pen| 00:00 | The Illustrator Pen tool, one of the oldest tools in Illustrator
and arguably one of the most powerful tools in Illustrator.
| | 00:08 | Virtually every piece of Illustrator artwork could be drawn with little
more than just the Pen tool if you really knew what you were doing
| | 00:16 | and you had lots and lots of time on your hands.
| | 00:19 | Regardless of whether you want to work almost entirely
from the Pen tool or occasionally use it when you need it,
| | 00:26 | understanding how this Pen tool works is really
fundamental to being able to master Illustrator.
| | 00:32 | The Pen tool is one of those things that when you try and use it for
the first time, people are often very frustrated because it looks
| | 00:40 | as if you should just be able to click on it over here in the tool
box and then just drag with it like a pen, right across your page.
| | 00:48 | And now if I try and drag you can see I clicked
and dragged, I'm getting this sort of blue line,
| | 00:54 | that's not quite what I expected let me try and draw some more.
| | 00:57 | Now I'm dragging but a line's appearing way back up on the other
direction and now when I drag I get a strange squiggly line.
| | 01:04 | What if I try and just pull straight down or just click with it.
| | 01:08 | Clicking seems to give me a line but it's nothing like what I attempted
to draw dragging along with the Pen tool as with say some kind
| | 01:17 | of normal drawing tool that I might be used to.
| | 01:19 | So how does the Pen tool work?
| | 01:22 | Well hit my Delete key a few times here
just to make those go away and explain.
| | 01:27 | The Pen tool is really a connect the dots tool.
| | 01:31 | It's really a path tool.
| | 01:33 | That is, the Pen tool allows you to define points on the page
and Illustrator will then connect those points with path segments
| | 01:44 | to create a path and a complete shape.
| | 01:47 | You can, with the Pen tool, create straight paths or you can
create curved paths or you can do both and here's how it works.
| | 01:55 | To make things a little easier as you get going,
let's go to the View menu and we'll turn on the grid.
| | 02:01 | So we'll do View, Show Grid.
| | 02:04 | And now we have something reminiscent of graph paper.
| | 02:07 | We're also going to go to view and we'll turn on snap to grid.
| | 02:12 | Snap to grid means that we're only going to be able to place
points with the Pen tool where the grid lines intersect
| | 02:18 | and that will just help everyone, me and you,
all get exactly the same shape as we draw here.
| | 02:25 | The other thing is the Pen tool will start drawing and it will fill
the shape, the path with a stroke and fill that we have selected
| | 02:34 | over here on the Toolbox.
| | 02:37 | It's also the stroke and fill that you would find
up here on the Color palette if I were to expand it.
| | 02:42 | So this is going to be a white fill and a black stroke.
| | 02:46 | Just for the ease of focusing on what's important here, I'm going to go
Shift + tab and get rid of all the floating palettes we don't need right now.
| | 02:54 | And we'll start drawing with the Pen tool.
| | 02:57 | Instead of dragging with the Pen tool first time
out of the box, we're just going to click with it.
| | 03:02 | So go to where two major grid lines intersect and do a simple click.
| | 03:06 | And what you noticed, I didn't show you
beforehand, let me actually hit my Delete key here,
| | 03:12 | notice the Pen tool has an X to the lower right side of it right now.
| | 03:16 | That means that if I start clicking and or
dragging, I'm going to start a new path.
| | 03:21 | So now I'll click and as I move my Pen tool away, it now has a
Pen tool that is unadorned by any little icon to the lower left,
| | 03:29 | lower right, excuse me.
| | 03:32 | This point that we've created is the beginning of a path, but there's
no path yet and no paint because we haven't defined a second point.
| | 03:40 | So I'm going to go four major grid lines over and I'm going to click again.
| | 03:46 | Click. And since I have snapped a grid on, the point's going to snap
as long as I'm fairly close right to where the grid lines intersect.
| | 03:53 | Now Illustrator has connected these two points with a
path and since that is a path that is stroked with black
| | 04:01 | and so we have a one point black stroke on the path.
| | 04:05 | There's also a white fill on the path, but you can't see it yet
because this is just a straight line so let's add another point.
| | 04:12 | I'll click again and I'm going to go down
three major grid lines right in the middle.
| | 04:17 | So I've kind of gone over two and down three and I'll click.
| | 04:22 | And what's happened now, well Illustrator has added a third
point to the path and so we have point number one, two, three.
| | 04:34 | The path is stroked with black and the
inside of the path is filled with white.
| | 04:39 | For that reason, there's no black line connecting
the third point that I've placed with the first one.
| | 04:47 | Why? Because there's no path connecting them.
| | 04:49 | I haven't told Illustrator to close this shape yet.
| | 04:52 | So this is a fill, but it's on an open path.
| | 04:56 | Let's go ahead and close the path.
| | 05:00 | What I do if I were to keep clicking, Illustrator is going to keep drawing.
| | 05:03 | You'll notice as my pen gets close to the origin,
a starting point, I get an O next to the pen.
| | 05:10 | It's Illustrator telling me, click now and you'll close the path.
| | 05:13 | I'll click.
| | 05:13 | The path is closed and notice now as I move my pen away, I get an X again
telling me if I were to start clicking and dragging or clicking anyway,
| | 05:23 | I would start creating a new path.
| | 05:26 | So what have I done?
| | 05:26 | I've created a triangle.
| | 05:28 | Well gosh, you say I could have done that with the Polygon tool, Jeff, you
just go over here and you go to polygon and you know you start dragging,
| | 05:36 | use your arrow keys to make something
smaller and hey there's a triangle, right?
| | 05:43 | Well with the Polygon tool, I can only create an equilateral triangle.
| | 05:46 | And that's not what I've created over here.
| | 05:50 | Put it right over it so you can see.
| | 05:52 | See how the angles on the triangle are a little bit different.
| | 05:58 | If I want an equilateral triangle, sure I can just go with the
Polygon tool, but if I want a very specific triangle, let's see,
| | 06:06 | let me put it right over, see how it's a
little wider at the top than the bottom.
| | 06:09 | I can't do that with a Polygon tool.
| | 06:11 | I'd have to edit it.
| | 06:12 | The Pen tool, I can do anything I wanted.
| | 06:14 | Let me get rid of that triangle there.
| | 06:16 | There's a lot more I could do with the Pen tool.
| | 06:19 | And what I'll do is go over to my Pen tool here.
| | 06:22 | I'll select it again.
| | 06:24 | Now if I were to start clicking anywhere now, you
can see the X the Pen tool's going to start a new path.
| | 06:31 | Even though I'm over my old path here.
| | 06:33 | Why? Well because nothing is selected right now so
if I start drawing, I'll start drawing a new path.
| | 06:39 | If you remember, if you hold down your Command key or it's the
Control key on Windows, that will give you a temporary Selection tool.
| | 06:46 | I'm going to select the path.
| | 06:49 | There we go, now I've got the Pen tool.
| | 06:51 | I've clicked on the path with the Selection tool.
| | 06:53 | Notice now, as I bring my Pen tool onto the
path, I come over it, I get a little plus sign.
| | 07:00 | If I click now and I'm at a point where there's a major
grid line again, and click, I'll add a point to the path.
| | 07:09 | The Pen tool can also remove points from a path.
| | 07:13 | Go over to this point and you'll see I'm getting a little minus sign now.
| | 07:16 | I'm going to click and something very interesting's going to happen.
| | 07:20 | Notice how the whole shape changed, well why?
| | 07:23 | I took out a point, Illustrator says this is a closed path and it went
back and reconnected the last open two dots with a new path segment.
| | 07:34 | So with the Pen tool, I can add points, I can subtract points,
and I can create points and make virtually any path I want.
| | 07:40 | I'm going to go and use my Direct Selection tool up here on the Toolbox.
| | 07:45 | It's the one here that doesn't have a plus
by it but is an open-shaped arrow head.
| | 07:49 | And then I can go right over the point I just made and notice I
can slide it along the grid by dragging and the shape refills.
| | 07:59 | So with a combination of the Pen tool and the Direct
Selection tool, I can do all sorts of fun things.
| | 08:04 | So what I'm going to do is I'm going to
add three points to the top the path.
| | 08:08 | Two, three, all at the major grid lines.
| | 08:11 | I'm going to switch back to my Direct Selection tool.
| | 08:15 | And I'm going to take one of those points.
| | 08:19 | Notice when I come over with my Direct Selection tool, I get that hollow
O next to the Direct Selection tool, says I'm over a point with the tip,
| | 08:26 | if I click and drag, I'm going to move that tip.
| | 08:29 | Move this piece up.
| | 08:31 | Come over another point.
| | 08:33 | I'll drag it up, one major grid line and I have
sort of a very blocky-shaped heart right now.
| | 08:39 | I want to do this to make a point here.
| | 08:42 | We originally had just the three points of the triangle.
| | 08:45 | I decided I wanted to pull up these two middle pieces, but if I had
just placed two points, I would have a shape that looked like that.
| | 08:58 | Sort of a diamond with the top cut off because the
middle path segment would have come up with it.
| | 09:03 | Instead I placed a third point here in the middle to kind of pin
the path down and you can, think about this sort of like thumb tacks
| | 09:12 | and rubberbands between them.
| | 09:14 | You sort of pin the path down in certain points and then
the rubberbands or the path stretches between those pins
| | 09:21 | and that gives you the final shape that you want.
| | 09:24 | That's all there is to drawing with the basic Pen tool.
| | 09:27 | One thing to be aware of is that on the Pen tool palette,
there are dedicated, what they call anchor point tools for,
| | 09:37 | well they call it the Pen tool, and anchor point tool, it's a Pen tool,
this is the add point Pen tool if you will, and delete point Pen tool.
| | 09:45 | Those are the same thing as I had before
when I just moved the pen over a path.
| | 09:51 | The advantage of these tools is I can add and remove
points even if I don't have the path selected.
| | 09:56 | I find that a little dangerous because it's pretty
easy to add a point or subtract it from the wrong path.
| | 10:02 | So that's what I like to do is just keep my regular Pen tool
and then as long as I want to work on a path, I select it,
| | 10:09 | add and remove the points that I want, and
then slide them around where I want to.
| | 10:13 | Of course that's only half the story, you're drawing with the Pen tool,
but none of the paths are curved so the next thing to look at is how
| | 10:19 | to convert these points into points with
direction handles and get some curves.
| | Collapse this transcript |
| Converting Points| 00:01 | So picking up where we left off with the Pen tool, we have a heartish
shape, but it's not really very romantic, it's all sharp corners and harsh,
| | 00:10 | we need to make it smooth and round.
| | 00:12 | In order to do that, we need to do a second step here, and that is
we're going to exchange our Pen tool, right over here by clicking
| | 00:21 | and holding on the Pen tool on the Toolbox, slide
all the way over to the Convert Anchor Point tool.
| | 00:26 | The Convert Anchor Point tool is a little different than the
Pen tool in that you need to have a point all ready to go
| | 00:34 | for the Convert Anchor Point tool to create direction handles.
| | 00:38 | But it works with a dragging motion and so
what I'm going to do is go to this point.
| | 00:43 | We'll click and drag.
| | 00:45 | I'm going to drag to the right and I think I'll go, we'll go
five grid lines here and you can see as I pull and drag,
| | 00:52 | I'm actually pulling out a direction handle from that point and an equal
by opposite direction handle is heading off in the opposite direction.
| | 01:01 | That's causing a curve in the path here.
| | 01:04 | Remember, connect the dots here.
| | 01:06 | Here's our starting point.
| | 01:08 | Illustrator knows to connect this point with the next one,
but it's under the influence of this direction handle.
| | 01:15 | So the path will head out in that direction to begin
with and then start arcing down towards the next point
| | 01:21 | after which it will follow straight lines.
| | 01:23 | I'm going to go to the second point and do the same thing, drag out
about five and release and I have dragged from the point to here,
| | 01:32 | that has created another curve to my shape.
| | 01:35 | These points, on the top, are what are known as smooth points,
that is the path will move smoothly through that point.
| | 01:45 | These points, which do not have direction handles are called corner points.
| | 01:50 | The path will potentially make a sharp turn at one of these points.
| | 01:56 | It's possible to have a path that goes straight in one
side and straight out the other, kind of 180 degrees.
| | 02:02 | There would really be no need for a point there, but it can be done.
| | 02:06 | But certainly whenever you want the path to change direction
sharply, you're going to need a point and it will be a corner point.
| | 02:12 | Let's keep moving around the heart and I'll go to the next point.
| | 02:17 | And I'll drag down and you can see I'm
getting, again, the handle in both directions.
| | 02:23 | But you can see I'm getting a very different curve on either
side and I'll go out the same five grid lines that I did before.
| | 02:30 | On this side, I now have a path segment that is
under the influence of two direction handles.
| | 02:37 | Here to here, it starts being under the influence of that handle and
then as it approaches the path it comes under the influence of this one.
| | 02:44 | That's making quite a curve.
| | 02:47 | Compare it to the other side over here, where I have a
direction handle, and I'll switch to my Direct Selection tool
| | 02:54 | so you can see this a little better, click on the path,
here's one direction handle, and even if I click between,
| | 03:00 | there are no direction handles coming off the this point so the curve here
looks a lot different than the curve on the opposite side of the heart.
| | 03:09 | Switch back to the Convert Anchor Point tool.
| | 03:13 | One thing I want to point out with the Convert Anchor Point tool is if
I make a mistake dragging out points, I can simply click on the points
| | 03:22 | with the Convert Anchor Point tool and it will remove all the points.
| | 03:25 | Turn it back into an unadorned corner point and if I
start dragging again, I'll get a brand new smooth point.
| | 03:32 | Notice that direction matters here.
| | 03:34 | I'm dragging down, but if you were to go to the same
point and drag up, we've got a very different look.
| | 03:41 | Very different shape and I'll release so you can see this.
| | 03:43 | I now have this kind of squiggle.
| | 03:45 | What's going on?
| | 03:46 | Well it's, the path is following exactly what I told it to
do, come from this point, head out of the curve, head down,
| | 03:54 | and because it's directional it will come in from this side
of the point, I'm telling it to come down here, turn around,
| | 04:03 | go through the point up this way, turn around again,
cross over the original path and come down this way.
| | 04:10 | That's because when I first drew this heart, if
you remember, we drew in a clockwise direction.
| | 04:17 | And so, in order to get the shape to not cross itself, I'm
going to have to pull all these handles in a clockwise direction.
| | 04:25 | I pulled to the right, I pulled to the right, I pulled down, and now
on the other side of the heart, I want, I'm going to have to pull up.
| | 04:36 | If I were to pull down, well there you
go, I get the crossed over shape again.
| | 04:41 | So what I want to do is pull up and I'm
going to pull up again five grid lines.
| | 04:45 | So all of these that I've made are now smooth points and the shape of
the curve going to those points depends on the distance to the next point
| | 04:55 | and the direction handles.
| | 04:58 | So I'm able to create just about any shape I want by combining these.
| | 05:02 | But what if I want a corner but I want some curve to it?
| | 05:07 | Well here you go, we'll take our Convert Anchor Point tool and start
dragging out from the point and now you can see if I were to drag
| | 05:17 | out in both directions here, I'll get just kind of a widening of the heart.
| | 05:20 | I can also drag down, like so, and if you look down near
the bottom, I'm going outside the shape up at the top,
| | 05:30 | the opposite side of where my cursor is right now.
| | 05:32 | I have a direction handle that's inside the shape and I'll release.
| | 05:38 | You can see how the curve is being influenced by that
handle and then I've got this kind of hook happening.
| | 05:43 | You'll see one of those kind of hook shapes
whenever you have a smooth point.
| | 05:48 | One handle inside, one handle outside.
| | 05:51 | But that's still not quite what I want.
| | 05:53 | I like this little subtle curve coming into the bottom
of the heart, but I want it mirrored on the other side.
| | 05:58 | If I want it mirrored I'm going to have to
take this direction handle and bring it up.
| | 06:03 | And that's exactly what I can do with the Convert Anchor Point tool.
| | 06:07 | After I have handles, if I were to drag just one of them with the
Convert Anchor Point tool, they now move independently of each other.
| | 06:17 | And if I want to move those handles around some more, I can go to my direct
Selection tool and I can move them with my Direct Selection tool as well.
| | 06:27 | So, once the handles have been made, I'll click on
the point so we can see it, once they have been made,
| | 06:34 | I can move them around with my Direct Selection tool and get them just
the way I like, so if I want both of these in really tight, I can do that,
| | 06:42 | if I want the heart a little wider at the bottom, I can
do that and you can see how I move them independently.
| | 06:47 | We can go up to the side of the heart again, I'm going to take this
handle here and start dragging with my Direct Selection tool.
| | 06:53 | This one is still a smooth point.
| | 06:56 | And so I can make them different lengths with direct selection,
like I can drag all the way down to the major grid line,
| | 07:05 | but I can't move one independently of the other because this is defined
to be smooth, it will stay smooth, and the lines will always be,
| | 07:13 | the direction handles, sorry, will always be 180 degrees to each other
until I take my Convert Anchor Point tool and physically move one of them.
| | 07:23 | Then again, I'll get a corner point.
| | 07:25 | And the same thing over here, now, just so there's
no confusion, I'm going to pull this one down as well.
| | 07:34 | Don't confuse pulling two handles out
from a point with just editing one handle.
| | 07:40 | If I want this handle to extend in the downward direction,
well then I'll pull that handle in that direction,
| | 07:46 | doesn't matter which way I drew the path.
| | 07:49 | And then just to finish things off, I'm going to take
this point in the center, we'll slide it up a little bit.
| | 07:54 | Now it's nice and heart-shaped.
| | 07:56 | We'll do a little Shift + tab here, and maybe we'll select the
fill, make it red, we'll select the stroke, make it none,
| | 08:04 | and there you have a basic heart drawn totally by hand with
the Pen tool and then edited with a Convert Anchor Point tool.
| | 08:15 | Pen tool over here, Convert Anchor Point tool over here.
| | 08:18 | Really just an extension of the Pen tool itself.
| | Collapse this transcript |
| Tracing with the Pen| 00:00 | Now it's time to take the skills you have with the Pen tool drawing
straight lines and drawing curved lines and put them all together.
| | 00:07 | So rather than going from pen to Convert Anchor Point tool and doing
things in multiple steps, you can do it all in one smooth flowing motion.
| | 00:14 | And I'm going to use this highway sign as a template for something to
trace because it has a perfect mix of straight lines, curved lines,
| | 00:23 | and curves in various directions.
| | 00:25 | Kind of creates all the situations you might
run into with the pen in one simple shape.
| | 00:30 | So it's a really cool one to use.
| | 00:32 | The file is called route50.AI and all
it contains right now is a single image.
| | 00:39 | I want you to go and lock this image by
clicking in the Layers palette on the lock icon.
| | 00:45 | That means that we can't slide, I can't
select it, I can't slide this image around.
| | 00:50 | There's nothing worse than trying to trace and then having
the image that you're tracing suddenly get moved, you know,
| | 00:56 | it's like when you're tracing paper slides on the table.
| | 00:58 | It's really annoying.
| | 00:59 | So we're going to lock the image to start with.
| | 01:02 | The next thing is you're going to go and get the Pen
tool and then while you're over on the Toolbox, go down.
| | 01:08 | Right now we have a fill and stroke.
| | 01:10 | Go ahead and bring the fill box forward by clicking
it or X on your keyboard and then hit None.
| | 01:16 | So right now, the Pen tool will draw with just a black stroke and no fill.
| | 01:21 | That way, as we draw, we'll be able to see our sign underneath,
but we'll be able to see the path that we're drawing.
| | 01:28 | And the first thing to do is to go right up to the center, top part of
sign and we're going to click, but instead of click and release like we did
| | 01:37 | with the heart, just click and hold and now drag down with the Pen tool.
| | 01:43 | And what you see is that we've created a point and by
dragging, I'm adding these two direction handles to the point.
| | 01:54 | So the points actually starting off with some direction handles.
| | 01:57 | Now don't get confused, this is not a path being created, when
I release I see something in blue, but there's no black stroke.
| | 02:05 | No path is being created.
| | 02:08 | This is simply a single point with two direction handles and it's
a smooth point, one direction handle went away from my cursor,
| | 02:15 | one went in the same direction.
| | 02:16 | Now I'm going to go over to the second point over here and I'm
going to create the curve between these two points all in one action
| | 02:24 | by clicking right on the vertex and dragging.
| | 02:29 | And you can see as I drag, I'm dragging and
creating the curve that I need right here.
| | 02:36 | And as soon as I create the curve, I might find out that my first
point wasn't quite where I wanted it to be so I'm going to release.
| | 02:45 | Here's the curve as it's created between these two points.
| | 02:50 | I can always switch back to my Direct Selection tool,
I'll hold down Command on my keyboard or Control,
| | 02:56 | if the last tool I had was the Selection tool, which is the filled
in arrow, that's what I got right there, so I'm going to need to go over
| | 03:03 | and actually choose the Direct Selection tool and I can go and take
one of these direction handles and I can drag down a little bit
| | 03:10 | and get them kind of more balanced.
| | 03:13 | Didn't get quite enough direction handle the first time.
| | 03:15 | And there's the curve.
| | 03:16 | You can see the blue path highlighted and
here are the direction handles, about equal.
| | 03:22 | So I created this kind of all at once and if I
had gotten it right, it would have been two steps.
| | 03:26 | I'm going to switch back to my Pen tool and
here I am picking up the path from before.
| | 03:34 | Now if I have this path selected, I can go ahead and click on it.
| | 03:41 | And I'll start drawing again and one of the interesting things is
when I did, you can see that the direction handle that was sticking
| | 03:49 | out over here completely went away.
| | 03:52 | Which is a cool little trick, that direction handle going away if
I ever want to make it go away, I can click on a path with the pen
| | 04:01 | and continue drawing where I had left off.
| | 04:04 | Let's go back to where we were which is the
direction handle would look something like this.
| | 04:08 | I'm going to drag it back out from the point.
| | 04:10 | Alright, I had a direction handle like yay and then
I'm going to go to the next point which is down here.
| | 04:17 | If I had continued drawing, I would click here and you
can see, I don't really want direction handles right here,
| | 04:25 | but I'm getting a curve from this direction handle up here.
| | 04:30 | Another cool tool that you should know when you're drawing with the pen
tool is to hold down the Alt key on Windows or the Option key on the Mac
| | 04:38 | and that'll temporarily turn your Pen
tool into the Convert Anchor Point tool.
| | 04:43 | So I can go and slide that direction handle right back into the point.
| | 04:48 | And now I've got a direction handle here, coming into
the point, but no direction handle coming out of it.
| | 04:53 | Then I can go back with my Pen tool and I can click
right on that last point, click and select it.
| | 05:00 | It's filled in now and I can start drawing.
| | 05:03 | Now if I were to click and drag here, you can see I'm creating
another point with handles, but my point that I came from there,
| | 05:13 | doesn't have a direction handle and I kind of want it to have one.
| | 05:16 | So I'll release and I'll Command + Z Control + Z to let go.
| | 05:20 | When you first start drawing or picking up from an old point,
I can go over it with the Pen tool again and I can start
| | 05:33 | by dragging a point out of it, like so.
| | 05:36 |
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