IntroductionWelcome| 00:01 |
(MUSIC).
| | 00:07 |
Greetings.
I'm Russell Viers and I'm an Adobe
| | 00:10 |
Certified instructor in Illustrator.
In fact, it's my favorite of all the
| | 00:14 |
Adobe products.
I love it.
| | 00:17 |
I use Illustrator for fun.
If you ever come over to my house for a
| | 00:20 |
party, yeah, we'll break out Illustrator
and start designing logos.
| | 00:24 |
That's how much I love it.
And I really love to teach it.
| | 00:28 |
I get to speak at conferences as, as well
as, speak on site at design firms, ad
| | 00:32 |
agencies, and corporations that use this
software extensively.
| | 00:37 |
The inspiration for this course was the
number of people I meet who own
| | 00:40 |
Illustrator, but never use it because
they don't know what it does, or they
| | 00:44 |
tried it and didn't understand it, or
just find it too daunting to even try to learn.
| | 00:50 |
That's why I've narrowed it down to 11
things you need to know to learn and love
| | 00:54 |
Illustrator quickly.
11, that's it.
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Once you learn these 11 things, you'll be
able to use Illustrator to create and
| | 01:03 |
edit art, logos, et cetera.
And you're gonna love it.
| | 01:07 |
I've seen it happen too many times.
I'm gonna show you simple, yet powerful
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tools you're already familiar with, like
the pencil, eraser, a knife.
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Then, we'll ramp up to combining paths
into more complicated designs with the Pathfinder.
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We'll even take text and convert it to
art, so you could play with letters for
| | 01:25 |
logos and really creative designs.
When I teach Illustrator to a room of
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total beginners, in less than two hours
they're having a ball.
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Playing and creating all sorts of
designs.
| | 01:37 |
You will too.
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(MUSIC)
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| | Collapse this transcript |
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1. Introduction to Vector DataVector vs. raster| 00:02 |
If you're brand new to Illustrator, the
term vector may be very foreign to you.
| | 00:06 |
But it's important because it's the basis
of everything we're gonna do in this
| | 00:10 |
entire lesson.
So you have to understand what the
| | 00:13 |
difference is between vector, which is
anchors and lines that create our art.
| | 00:18 |
And raster, which we are probably
comfortable with because that is pixels.
| | 00:23 |
Yeah.
We've been using pixels for years.
| | 00:24 |
We're comfortable with that in photoshop.
But, when we start talking about vector,
| | 00:30 |
wow, that's really foreign.
But the reality is, it's not, InDesign,
| | 00:35 |
Quark, Pagemaker, they're all based on
vector technology.
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FreeHand, CorelDraw, MacDraw.
Yeah.
| | 00:42 |
The whole post-script language is based
on vector.
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So once you understand what it is and how
to use it, you'll see there are many benefits.
| | 00:50 |
For example, let's go to this raster
photo here of this art.
| | 00:54 |
Basically I took this art and I opened it
in Photoshop, rasterizing it.
| | 01:00 |
Okay, so you might be comfortable with
this.
| | 01:02 |
Maybe you've opened clip art in
Photoshop, or you've opened a PDF file in
| | 01:06 |
Photoshop, and now it's Pixels.
So somebody says, hey can you move that motorcycle?
| | 01:12 |
So what do you do?
You take your quick selection tool, and
| | 01:15 |
you try to select it, you hold your
button down there as you're going along,
| | 01:18 |
and everything's going fine.
And then you realize, oh, I've gotta get
| | 01:22 |
that, so you hold your alt key down as
you come through, and now it really
| | 01:26 |
starts getting ugly.
Alright?
| | 01:29 |
Well, so you think, wait a second.
Let's go to the magic wand and I'll click
| | 01:33 |
there and shift click and shift click and
youre shift clicking around this art
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because the magic wand and shift click
selection tool they all work off
| | 01:42 |
lightness values of pixils not objects.
Photoshop has no idea what whether this
| | 01:50 |
is a motorcycle or a balloon it just
doesn't know that.
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It just sees pixels and their colors.
So if I take this move tool and start to
| | 01:58 |
move the motorcycle you can see that
what's left is the transparency.
| | 02:05 |
Or if this was on a flattened file you'd
have whatever the background color is.
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In which case it would be white that
would be here.
| | 02:13 |
So now how do I take this motorcycle and
move it?
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Well, it's going to be a long day at the
office because I'm going to have to
| | 02:19 |
recreate this type, maybe use the rubber
stamp tool or some other tricks but I'm
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going to spend a lot of time rebuilding
this art.
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The exception to that would be if whoever
built this originally built it in Photoshop.
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On layers, okay then I can grab that
layer and move it but when you open art
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and Photoshop that was a created
Photoshop rasterizing it well that's not
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gonna happen it will all be one flat
object.
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Lets switch to vector, with vector if I
go the layers panel in illustrator for
| | 02:52 |
example It still says one layer.
But notice that I can click on that
| | 02:58 |
motorcycle and move it.
Or I can click with the black arrow on
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the motorcycle and move the entire group
of objects.
| | 03:08 |
I can select the word Moto and move that.
Cycle, move that.
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So all of these are separate objects.
Let's take a look at it under view
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outline and you can see that everything
on the page actually is outlined because
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that's really all it's made up of is
anchors and lines.
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What's the benefit of that?
Well, several, aside from the obvious.
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Which is, when the customer says, can you
move that motorcycle on top of that o?
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And move that text over there instead?
Wow, that was easy.
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Yeah.
Because it's objects, we can do that very quickly.
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That's one benefit.
The other is, very quickly selecting objects.
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And doing things like.
Changing their color.
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Another benefit is file size.
These anchors and lines really aren't
| | 03:58 |
that big, so illustrator files tend to be
smaller than Photoshop files.
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They're also not resolution dependent.
If I zoom in on this letter o...
| | 04:10 |
That jagged edge you see along there?
That's the monitor.
| | 04:14 |
There is no resolution to this file.
There's no resolution until I actually
| | 04:19 |
output it.
When you print this, that's when it's
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rasterized for that printer.
So if it's going to a 600dpi laser
| | 04:27 |
printer it It will be 600 DPI on the
output.
| | 04:30 |
1200 DPI laser printer, it's 1200 DPI.
But in the Illustrator file, all this
| | 04:36 |
text that's vector, there is no
resolution.
| | 04:39 |
So it's smaller in size, its flexible in
resolution, and another benefit is scalability.
| | 04:45 |
I'm just gonna zoom out here, alright,
and I'm gonna go to my layers and unlock...
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That background there.
Now, watch what happens when I select
| | 04:54 |
this art, and I just enlarge it, and
enlarge it.
| | 04:58 |
I could keep going, and going, and going,
and, when I zoom in, there's the page
| | 05:02 |
size there, but let's go to document
setup, art boards.
| | 05:08 |
And I can make this very big, choosing
tabloid maybe.
| | 05:11 |
Or even bigger.
I can make a ten foot by four foot
| | 05:14 |
banner, if I wanted.
The point is that this is scalable.
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Can you imagine taking this photoshop
file, in RGB or CYMK, and making it ten
| | 05:23 |
foot by four foot at a high enough
resolution that it is going to look good?
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That's gonna be a large photoshop file.
But this file might very well still be
| | 05:34 |
one or two megabytes.
So, scalability, file size, flexibility
| | 05:38 |
in very quickly grabbing objects, that's
the vector world.
| | 05:42 |
And that's what we're gonna spend our
time on in this entire Video is working
| | 05:47 |
with vector objects.
In the last chapter we're gonna work with
| | 05:51 |
photos which are raster.
We'll talk about that then, but up till
| | 05:55 |
then virtually everything we do is
working with vector objects.
| | 06:01 |
| | Collapse this transcript |
| Understanding anchors and lines| 00:02 |
All right.
For this lesson, we're going to create a
| | 00:03 |
New Document.
So, let's go to File > New, and under New
| | 00:06 |
Document Profile, just choose Print, for
now, and under size choose Letter, and
| | 00:11 |
let's make it horizontal, or landscape
like that.
| | 00:16 |
Okay?
Simple enough.
| | 00:17 |
Let's hit Okay.
And there's our document.
| | 00:20 |
This is the playground, which we're
going to use today as we work.
| | 00:24 |
Now when we create this art, that we're
going to do, we're probably with paint
| | 00:28 |
programs, but when we start talking about
anchors and lines in this vector world.
| | 00:34 |
Wow, this is a whole new thing.
So, I just want to demonstrate the hard
| | 00:36 |
way to do it.
Don't get freaked out when you see this
| | 00:39 |
and run away and say, I'm never going to
touch this, because we're going to use
| | 00:42 |
this tool very little today.
But I want us to go to the pen tool.
| | 00:47 |
This third tool down on the left.
Okay?
| | 00:49 |
The pen tool.
Hit p on your keyboard, and I want you to
| | 00:52 |
just move it over your page.
But don't click the mouse or anything.
| | 00:56 |
Just put it there.
All right.
| | 00:58 |
Now, I'm going to create a very simple
shape.
| | 01:01 |
And I want the shape to begin there.
Now keep in mind that I can always change
| | 01:04 |
my mind later.
But for right now, I'm just going to
| | 01:07 |
click with my mouse, and look what
happened.
| | 01:09 |
It put an anchor right there.
There's an anchor.
| | 01:12 |
All right.
Simple enough.
| | 01:14 |
Now, I let go of my mouse.
You can't see me right now but both hands
| | 01:17 |
are in the air, all right.
Look ma no hands, and I'm going to move
| | 01:21 |
my mouse now over here, all right.
Just move it over there, and then when I
| | 01:25 |
feel like I'm ready I'm going to click my
mouse again.
| | 01:28 |
Boom, now it put the second anchor and it
automatically put the line connecting
| | 01:32 |
those two.
Simple enough.
| | 01:34 |
Now I'm going to move down here.
And now, click again, boom.
| | 01:37 |
There it is.
Let's go all the way back to the beginning.
| | 01:41 |
And I'm going to let it hover over that
path.
| | 01:43 |
And you can see, there's a small circle
that shows up down by the pen.
| | 01:47 |
And that's telling me, I'm getting ready
to create a closed path.
| | 01:50 |
If I move it out, see, that circle's not
there.
| | 01:52 |
Move this back there.
There it is.
| | 01:54 |
And click, and now I've created a
triangle.
| | 01:57 |
I'm going to show you much easier ways to
create a triangle, so let's not get
| | 02:00 |
caught up in that.
We're just focusing on what are anchors
| | 02:04 |
and what are lines, well, right now this
art is made up of one, two, three anchors
| | 02:08 |
and the intersecting lines.
There you go.
| | 02:11 |
If I go to view, outline mode...
Now, I can see it just in its very rugged
| | 02:17 |
sense here.
It's just lines.
| | 02:19 |
Okay, I'm going to go to view, preview
again.
| | 02:23 |
Now, how do I work with this shape?
Well, if I'm on my black arrow, I had
| | 02:27 |
this bounding box.
And if I try to scale that, all right,
| | 02:31 |
you can see how I'm reshaping That by
stretching it, compressing it what have
| | 02:35 |
you or I can move the entire shape like
that, but if I want to really modify this
| | 02:39 |
or I need to go to my white arrow which
is called the direct selection tool when
| | 02:43 |
I click on that you will see the bounding
box disappears and you will see that if I
| | 02:48 |
click right there watch what happen This
anchor is blue.
| | 02:57 |
This one is hollow or white, and so is
this one.
| | 02:59 |
So that's telling me that I'm only going
to be working on this anchor right there.
| | 03:04 |
Hit your arrow keys on your keyboard and
you can see that anchor is moving and the
| | 03:08 |
lines are adjusting with it.
Can you see that?
| | 03:12 |
There you go.
Hold your shift key down while you do it.
| | 03:15 |
And you can really see it move a lot
faster.
| | 03:18 |
That goes in ten point increments now.
So I'm just using the arrow keys on my
| | 03:21 |
keyboard, shift key.
And I'm moving that anchor around.
| | 03:25 |
Simple enough.
Or I can grab it, and just drag it.
| | 03:29 |
See?
I can make this shape whatever I want.
| | 03:32 |
It's very flexible.
I can grab this one, move it over here.
| | 03:37 |
I can hold my shift key down and select a
second anchor, so now this one is hollow,
| | 03:41 |
these two are selected, and now as I
move, notice I'm moving both of those.
| | 03:48 |
But the one that's not selected is
staying anchored right where it was.
| | 03:52 |
Well, that's pretty simple and these are
just straight lines.
| | 03:56 |
Let's go ahead and with your black arrow,
select this art and hit delete.
| | 04:01 |
Let's try something else now.
Let's take this pen tool, click, click.
| | 04:07 |
There's our line with the two anchors.
Click, but this time, hold down with your mouse.
| | 04:13 |
Now, I haven't let go on my mouse yet,
and I'm going to begin to drag.
| | 04:17 |
And notice that what I've done, is I've
put handles on this anchor which allow me
| | 04:22 |
to create a curve.
Here we go.
| | 04:27 |
And now I'll go back to the beginning and
click one more time.
| | 04:29 |
So now I've created three anchors.
One, two, three, but one of them is now curved.
| | 04:39 |
I have a curved anchor.
There you go, that was fun, and I grab
| | 04:42 |
those handles and I can play with the
angle of the curve.
| | 04:48 |
I can move that handle in.
I can play with the radius of that curve.
| | 04:53 |
Yeah!
That's fun.
| | 04:56 |
But you know what?
I've decided that I don't want that to be
| | 05:00 |
a curve anymore.
If I go to my pen tool and hold down
| | 05:03 |
there are four important tools here, pen
tool, add anchor point tool, delete
| | 05:07 |
anchor point tool, and this is the one I
want to go to right now, convert anchor
| | 05:11 |
pool tool.
If I go to that convert anchor point tool
| | 05:16 |
and I click on that anchor right there.
Boom, it now becomes an angled anchor.
| | 05:23 |
If I hold down on it, and drag, I'm at a
handles back end.
| | 05:27 |
So watch what happens when I click and
then I go to this one and I drag.
| | 05:30 |
Watch what happens when I click, and I go
to this one and I drag.
| | 05:39 |
See?
I had the flexibility of very quickly
| | 05:42 |
changing these anchors to curves or
straight lines.
| | 05:46 |
Just by using that tool.
Drag, curve, click, angle.
| | 05:51 |
Drag, curve.
See?
| | 05:53 |
That's fun.
It's like a party weight and a half.
| | 05:55 |
But what if I want more anchors on here?
Well, I'm going to hold down.
| | 06:00 |
And you could go to the add anchor point
tool.
| | 06:02 |
But you don't really need to.
Because if I go to my pen tool, and I
| | 06:05 |
move it over a path.
You'll see the little plus.
| | 06:09 |
Look, look, look, look, look.
When I go right over the path.
| | 06:11 |
Do you see the plus that shows up by the
pen?
| | 06:14 |
It's not there now.
It's like an x, right?
| | 06:16 |
The little icon to the right of the pen.
But when I go right over the line there,
| | 06:19 |
it changes to a plus.
And when I click, I've now added an
| | 06:23 |
anchor to that line.
Let's click down here.
| | 06:25 |
Go back to my white arrow.
The direct selection tool, click, and now look.
| | 06:31 |
I've created extra points on this.
Well I've decided I don't like that one.
| | 06:37 |
I could go to the delete anchor point
tool, but I don't really need to, because
| | 06:41 |
the regular pin tool, when I go over an
existing anchor, it shows the little
| | 06:44 |
minus there and when I click, I'm now
getting rid of that.
| | 06:49 |
So I can take any shape and continue to
modify it long after its created, its
| | 06:55 |
totally flexible so those are the anchors
and it will automatically adjust the
| | 07:02 |
intersecting lines as you move them or as
you change them from angled to curved, or
| | 07:09 |
as you change, the radius of that curve.
Now I don't expect you to learn how to
| | 07:19 |
use the Pen tool, we're going to use
tools that are far easier then that in
| | 07:22 |
this video.
I just want you to understand what the
| | 07:26 |
anchors and lines do, so that when you
start opening clip art and working on it,
| | 07:29 |
you can very easily get in there.
And just by playing with the anchors and
| | 07:35 |
lines, totally change your art.
| | 07:39 |
| | Collapse this transcript |
| Strokes and fills| 00:02 |
Now if you only wanted to do black lines
and white fills your art is going to
| | 00:05 |
probably get pretty boring pretty fat, so
let's take this shape that we just
| | 00:09 |
created using our pen tool and let's give
it color, let's give it a border, and all
| | 00:12 |
sorts of fun stuff that really takes this
to a new level.
| | 00:18 |
For us to do that we need to understand
two important terms stroke and fill,
| | 00:23 |
okay, so lets look over here at the tool
bar down towards the bottom you will see
| | 00:27 |
this fill and this stroke icon, notice
the stroke icon is an outline and the
| | 00:32 |
fill is solid, if the fill is in front
and you go to your swatches panel, lets
| | 00:36 |
say, and you choose a color, it will fill
that shape with that color.
| | 00:46 |
But I want to put a different color
stroke, or border on that.
| | 00:50 |
Lets zoom in and see what that's gonna
look like.
| | 00:52 |
See the black stroke right there, I'm
gonna bring that to the front go to my
| | 00:55 |
swatches panel and I'll choose a totally
different color.
| | 00:59 |
Let's just choose green there, and you
can see that we've done that.
| | 01:03 |
Let's zoom in even more so we can really
see that.
| | 01:06 |
Now that blue line going right down the
middle of that green stroke, that's the
| | 01:09 |
actual stroke.
All we've done is apply a thickness or a
| | 01:14 |
weight to that stroke and you'll notice
that it goes half out and half in from
| | 01:19 |
that stroke by default.
Now the good news is we have a stroke
| | 01:24 |
panel and all these panels are under
window.
| | 01:27 |
So if you can't find it just go to
window, stroke, and it launches this
| | 01:31 |
stroke panel.
Minimize that.
| | 01:34 |
You can also get it by clicking on that
blue word stroke right there, and there's
| | 01:37 |
some stroke controls.
There's the weight.
| | 01:40 |
There's the type you're gonna create
here, and you can click on that and it
| | 01:43 |
opens the stroke panel as well.
So, there's lots of ways to work with strokes.
| | 01:49 |
What I want us to learn here is this
align stroke, which I can align it to the inside.
| | 01:54 |
Or the outside of that stroke if I want
to.
| | 01:57 |
By default it's right there in the
middle.
| | 02:00 |
So as I increase the weight of the
stroke, notice that it's growing half out
| | 02:03 |
and half in because that's where I
aligned it to was the center.
| | 02:08 |
And that's the default setting.
If you look right up here in the control
| | 02:11 |
bar, in the last couple versions of
Illustrator, we've been able to change
| | 02:14 |
the fill and stroke right here, without
having to go down here, and bring one to
| | 02:17 |
the front, or one to the back.
And it really is a nice change to the software.
| | 02:23 |
Alright, so let me hit command 0, to make
this fit window again, and you can see
| | 02:27 |
that we've applied a stroke.
And a fill that matches this.
| | 02:33 |
Okay?
And I control the weight.
| | 02:35 |
Alright?
I can play with the weight.
| | 02:37 |
But, we have a problem down here.
Look at that.
| | 02:39 |
It flattened out, and I don't really want
that, I want it to be pointy at that end.
| | 02:44 |
That was the goal, anyway.
Well, I want to introduce you to a term,
| | 02:47 |
here, in the stroke panel, called limit.
It's actually the miter limit.
| | 02:51 |
And right it's at 10, in older versions
it was only at 4.
| | 02:55 |
Watch what happens when I increase that,
eventually, I sent that limit high enough
| | 02:59 |
that it goes ahead and makes that point.
That's gonna be really important when
| | 03:04 |
you're making stars, and other shapes
with really tight angles on it.
| | 03:08 |
Okay, let's go ahead and bring that
stroke weight down just a little bit more there.
| | 03:13 |
There we go.
Simple enough.
| | 03:14 |
So we have stroke, and fill.
We can also put dashed lines on that
| | 03:19 |
stroke if we want to.
And now, in CS 5, we have a choice
| | 03:23 |
between the way it used to be, where the
corners looked horrible, and now it's got
| | 03:27 |
this really nice, aligned corner feature,
and that's new in CS 5.
| | 03:33 |
We're not gonna go too deep into the dash
lines today.
| | 03:35 |
Let's turn that off.
Okay, so let's delete this art for now
| | 03:38 |
and let's start with something really
basic like a line.
| | 03:42 |
When I draw a line, the last stroke I
created is there automatically.
| | 03:46 |
That's six point green.
There it is.
| | 03:48 |
Okay, and in CS5 we have a new ability to
change from a uniform stroke to some of
| | 03:53 |
these variable width strokes.
And if I increase the weight here, you
| | 03:59 |
can really see that take place.
That's new in CS5 and that's nice.
| | 04:04 |
You can play with that right here as well
with this width tool.
| | 04:08 |
It allows you to grab that and just drag
and create all sorts of different widths
| | 04:12 |
on your strokes if you want to.
If I go to view outline, you can see it's
| | 04:17 |
still just a line.
But with variable strokes, you've created
| | 04:20 |
all this great effect here.
Alright, so just for fun, I'm gonna make
| | 04:24 |
some ellipses.
I'm gonna hold my shift key down, draw a
| | 04:27 |
circle there and fill that with.
A color.
| | 04:30 |
Good enough.
Now I'm gonna Alt-drag Alt-drag Alt-drag
| | 04:34 |
Alt-drag Alt-drag Alt-drag Alt-drag
Alt-drag.
| | 04:38 |
Okay.
Now I can select all of those and I can
| | 04:41 |
play with the stroke width.
And I can change that uniform stroke
| | 04:46 |
width to, let's say, something like that.
And you can see that the circle is thin
| | 04:50 |
on this side and heavy on this side.
That's brand new to CS5.
| | 04:55 |
Prior to CS5, you want see that uniform
weight right there.
| | 04:59 |
That's just the way it was, you could
only do that, uniform weight all the way
| | 05:03 |
around it.
So your controls were.
| | 05:07 |
Thickness.
Aligning to the inside and aligning to
| | 05:12 |
the outside.
Those are your strokes and then your fills.
| | 05:16 |
You can fill with not just colors but
also gradients and patterns.
| | 05:24 |
And those are available down here in the
swatch libraries menu.
| | 05:27 |
There's art history colors.
There's color properties.
| | 05:30 |
There's default swatches.
And down here we have some gradients to
| | 05:34 |
choose from.
I can go to season and I'll choose that
| | 05:37 |
gradient right there or that gradient
right there.
| | 05:41 |
And now you can see that I very quickly
fill it with that.
| | 05:44 |
I can also choose from patterns.
Let's go to decorative, classic, and I
| | 05:49 |
can now fill this with all sorts of
different patterns.
| | 05:53 |
So I can fill a path with patterns,
gradients, solid colors, and I can stroke
| | 05:58 |
it with patterns.
Let's fill that now.
| | 06:02 |
So you can see, I've stroked it with that
pattern.
| | 06:08 |
Let's try stroking it with a gradient.
Yeah, you can't do that, okay?
| | 06:12 |
Won't let you do that.
You can learn what you can choose by
| | 06:15 |
going right up here, if you've got the
newer versions of Illustrator, and you
| | 06:18 |
can see there are no gradients available
to us here.
| | 06:21 |
Only patterns and solids for the strokes.
Let's go ahead and give that a red stroke.
| | 06:25 |
But for fills, I have a choice of
gradients, patterns and the solid colors.
| | 06:30 |
So, now we know how to stroke, change the
width, as well as fill it with different
| | 06:36 |
colors and patterns.
| | 06:40 |
| | Collapse this transcript |
|
|
2. What Is Illustrator?Why use Illustrator?| 00:00 |
So you may be asking, well what is
Illustrator?
| | 00:03 |
What has it got that Photoshop or
InDesign doesn't?
| | 00:07 |
Well, it has a lot.
Not only does it allow you to do things
| | 00:10 |
that the other applications just can't
do, some of the things That the other
| | 00:14 |
programs can do, Illustrator does faster,
and it also gives you more flexibility.
| | 00:20 |
So, as you're gonna see in this series of
videos, Illustrator is a great tool to
| | 00:24 |
use for creating art, for creating logos,
for creating ads.
| | 00:28 |
But you may only use it at first, to edit
art.
| | 00:32 |
For example, I'm gonna go to file, open,
and lets open this wood border.
| | 00:36 |
Alright.
Let's say that you're a newspaper, and
| | 00:39 |
you're using metro or, or one of the
other art services.
| | 00:43 |
Well, this obviously is vector art.
You can see that.
| | 00:48 |
Well, how many of you have done something
like this in the past?
| | 00:50 |
Where you select this, maybe you place
this into a design and you just.
| | 00:54 |
Stretch this you need it to be taller.
Right?
| | 00:58 |
And now what you end up with is, well,
the wood looks alright maybe, but this
| | 01:01 |
art down here, that just looks horrible.
It's all stretched, and that's not the
| | 01:06 |
look you should have gone for.
So I'm gonna undo, undo, and let's go
| | 01:10 |
back to just a square border.
What illustrator can allow you to do is
| | 01:15 |
edit existing art.
Maybe you want to use this, but it needs
| | 01:18 |
to be for a tall ad or on a tall page,
or, or wide.
| | 01:22 |
It doesn't matter.
What we can do is, working with these
| | 01:25 |
vector lines, we can go in and edit that.
So let me just select this really quickly
| | 01:30 |
and go to object, ungroup, and make sure
it's all ungrouped here.
| | 01:34 |
There we go, okay.
Now I am gonna go with my white arrow,
| | 01:37 |
let's say, and select that drop shadow
there, and just hit delete a couple
| | 01:40 |
times, let's just get rid of that
background.
| | 01:43 |
Okay, so now I've just got the wood.
Now you can see the vector lines that
| | 01:48 |
makeup these pieces of wood.
Alright, I could grab this wood right
| | 01:53 |
here, and actually just drag it, because
it's all groups together.
| | 01:56 |
But I also wanna make the whole thing.
taller.
| | 01:59 |
So what I'm gonna do.
I'm gonna zoom out here a little bit.
| | 02:03 |
Hold my space bar and move this down.
If I go to View, Outline, you can see all
| | 02:07 |
the vector lines there, right?
Well, I'm gonna only move some of them.
| | 02:11 |
So instead of using the black arrow, and
selecting the whole art.
| | 02:15 |
I'm only gonna select some of the
anchors, and move them.
| | 02:19 |
Let me show you with a really simple
piece of art.
| | 02:22 |
Let me grab a rounded rectangle tool and
I'm gonna draw a square with rounded corners.
| | 02:27 |
Let's zoom in so we can this a little
better.
| | 02:30 |
See those nice round tidy corners?
Well watch what happens when I grab with
| | 02:34 |
the black arrow this bounding box and I
stretch it.
| | 02:38 |
You can see that I've warped those
corners and that's not the look we're
| | 02:41 |
going for.
So let me Undo that.
| | 02:44 |
Well if you remember what vector is,
anchor, anchor, anchor, anchor, anchor,
| | 02:49 |
anchor, anchor, anchor, right?
This whole art is made up of only eight
| | 02:53 |
anchors and the intersecting lines.
What happens if I only select the anchors
| | 02:59 |
on one side of the art, and not over
here?
| | 03:03 |
Now if I use, let's say, my arrow key to
move this to the right, you can see that
| | 03:08 |
these stay where they are.
These stay in relationship to each other,
| | 03:14 |
and all we did was extend the line that
connects these two anchors.
| | 03:20 |
That's all we did.
So now I've got a wider art, and the
| | 03:23 |
corners stay nice and round.
Hm, let me delete that.
| | 03:27 |
So if it works with round rectangles,
what would happen if I move this down
| | 03:32 |
here, switch to my white arrow, and only
drag across the top half of this art?
| | 03:39 |
Lets zoom in and look.
Can you see how these anchors down here
| | 03:43 |
are all white, or hollow, and these are
all blue, meaning they're selected.
| | 03:49 |
I'm zooming out a little bit.
And watch what happens when I move my up
| | 03:52 |
arrow to extend this.
Alright now, let's zoom in, look at the
| | 03:58 |
art down here.
Not stretched.
| | 04:01 |
See that circle is still nice and round.
All I did was extend the wood.
| | 04:08 |
But I didn't warp this at the top either.
I only made this portion longer, but the
| | 04:13 |
part at the bottom here still looks good.
So now you can see how we can use
| | 04:20 |
Illustrator as a tool to edit existing
art as well.
| | 04:24 |
Doing something as simple as taking a
border, moving it in, selecting just
| | 04:28 |
parts of it and making it the size we
need.
| | 04:31 |
Then saving this out and placing it in
design that's were we want to build our
| | 04:36 |
ad or finishing the ad right here and
then saving this as a PDF or a AI file
| | 04:39 |
that's gonna go into in design, so what
you do with illustrator you create as
| | 04:44 |
well as edit its a great creative tool
very powerful at any tool
| | 04:52 |
| | Collapse this transcript |
| Exploring the interface| 00:02 |
If you've used any Adobe product before
this is probably familiar territory to
| | 00:05 |
you, so we'll just do a quick overview of
this interface to make sure you know
| | 00:08 |
where to look for everything.
First of all, tools, okay, that's simple.
| | 00:14 |
And if you're looking at the single
toolbar you can make it a double toolbar
| | 00:17 |
by clicking that little icon right there.
I kinda prefer that at times, I don't
| | 00:22 |
know maybe I'm nostalgic, if you look at
any of the tools, or the little triangle
| | 00:25 |
in the bottom right corner of it, that
means, hold down.
| | 00:29 |
And there are other tools buried or
nested underneath there.
| | 00:33 |
All the way to the right is this little
icon here.
| | 00:36 |
This little feature that allows us to
tear that off, and make a floating panel
| | 00:40 |
out of it.
So now, all my type is right here instead
| | 00:44 |
of having to go down here every time I
want it.
| | 00:47 |
I love that feature.
It's not new, and I've wished Photoshop
| | 00:49 |
and Indesign would add that for years.
Up along the top we have our drop-down menus.
| | 00:54 |
You could pretty much expect the same
thing in other applications.
| | 00:57 |
For example, all the panels are listed
under window, and they are here in
| | 01:00 |
alphabetical order.
Sure, if you're going to do things
| | 01:03 |
related to objects, it's here.
Type, guess what?
| | 01:07 |
It's under the type menu.
But you'll notice that a lot of these
| | 01:09 |
features are available in this control
bar that runs across the top.
| | 01:13 |
We've got it in Indesign.
We've got it in Photoshop.
| | 01:16 |
It's nothing new.
It's just it looks a little different.
| | 01:19 |
Couple things.
When you're working with text, notice
| | 01:22 |
it's dynamic and there's all these
choices, but not as many as you see in Indesign.
| | 01:27 |
Why?
Because if I click on the word character
| | 01:29 |
that's in blue, boom!
It launches my entire character panel, or
| | 01:34 |
my paragraph panel right there.
So, it doesn't give us as much, because
| | 01:38 |
we don't need as much, because it's all
right here in this panel.
| | 01:42 |
So that saves us from having to go over
here, or go to window.
| | 01:46 |
Type, character, and launching that
panel, I can do it just by clicking.
| | 01:52 |
And as we work, you'll notice that it
changes.
| | 01:55 |
For example, I'll select this art, and
there's the stroke panel.
| | 01:59 |
Or, transparency, or transform.
So, this is dynamic, and it changes
| | 02:03 |
depending on what you've got selected.
Okay?
| | 02:06 |
So, keep an eye on this control bar.
Right here.
| | 02:09 |
Over to the right we have our panels, and
these icons may be totally foreign to you.
| | 02:14 |
So for those of you who are beginners,
I'm going to recommend you move your
| | 02:17 |
cursor right here over the edge of this,
and just drag out; and now you can see
| | 02:20 |
that these icons have a name.
Once you learn what those are, you can
| | 02:26 |
always put that right back in there to
hide it.
| | 02:29 |
But for now let's leave it out there so
you can see the names of these are as we
| | 02:32 |
go over there.
Which panels are available depend on
| | 02:36 |
which workspace you're using.
I recommend you go to Essentials for
| | 02:40 |
right now or which panels you go to.
The launch, and then nest over in there.
| | 02:46 |
Behaves just like photoshop, and
InDesign.
| | 02:49 |
If you don't want it over there any more,
you can always drag it out and get rid of it.
| | 02:54 |
You totally mess up your workspace,
because you've just been working late
| | 02:58 |
nights, and everything's crazy.
Window, workspace, essentials.
| | 03:03 |
Makes it all nice and neat again, and
once again I'm going to drag this right
| | 03:06 |
out there.
Now if I want to save that work space, I can.
| | 03:10 |
I can save that, give it a name that
makes sense to me.
| | 03:13 |
Down here at the bottom, this is how we
navigate our multiple art boards, the
| | 03:17 |
percentage of preview, and this shows us
what tool we're using, type tool.
| | 03:23 |
Selection tool, line segment.
It's a good way to learn what these tools
| | 03:28 |
are called, but if you click on that, you
can also show the date and time, number
| | 03:31 |
of undos, or the artboard name that you
are working on.
| | 03:35 |
So as you can see, we didn't have to
spend a lot of time on the interface,
| | 03:38 |
because it's familiar to us.
It's very Adobe.
| | 03:41 |
It's like all the other products we use,
just maybe some tools you don't recognize
| | 03:44 |
what they are, or some features up here
you don't recognize what they are.
| | 03:48 |
So what do you do in the other Adobe
products?
| | 03:51 |
You hover.
If I just let my mouse sit there, it says
| | 03:54 |
live paint bucket blob brush.
This tells me the stroke panel, stroke weight.
| | 04:01 |
Variable width profile.
So if I don't know what that is, I can
| | 04:04 |
hover over it.
And if I still don't know what it is, I
| | 04:06 |
have a help menu I can go to.
Or maybe you've bought a book that helps
| | 04:12 |
you resource it.
| | 04:14 |
| | Collapse this transcript |
| Using artboards| 00:02 |
Before we start drawing, I guess we
should figure out where we're drawing.
| | 00:05 |
And that's on a thing called the art
board.
| | 00:07 |
And if you're using a version of
Illustrator prior to CS4, your art board
| | 00:11 |
was the document size.
So if you set your document up as, let's
| | 00:16 |
say, letter size, that's the size of your
art board.
| | 00:19 |
In CS4, however, they gave us multiple
art boards, which is just fantastic,
| | 00:23 |
because now I can take a single project
and keep it all within a, one file.
| | 00:29 |
So I can have a poster, CD cover, ads,
all sorts of parts to the project in one
| | 00:33 |
file, whereas priro to CS4 I had to have
that in multiple files with different
| | 00:36 |
names and it was really hard to keep
things organized and consistant across
| | 00:40 |
all those projects.
But now with CS4 and CS5 I can go to
| | 00:46 |
document setup and I'll say edit the art
boards.
| | 00:50 |
And now you can see everything goes gray
except for this dotted line around the art.
| | 00:55 |
And I'm gonna zoom out a couple clicks
there.
| | 00:57 |
There we go.
With my cursor I'm just gonna simply draw
| | 01:00 |
where I want the new art boards to be.
If I want 'em a specific size, I can go
| | 01:05 |
up here to presets.
Set it up.
| | 01:08 |
Maybe I'm doing a web page as part of
this too.
| | 01:10 |
Like a landing page for a website.
Right here I can choose x g a.
| | 01:14 |
And it will make it that size for me.
I'm gonna undo that.
| | 01:18 |
And I could even have like flash headers
and all sorts of things, all within a
| | 01:21 |
single project.
I'm allowed 99 of these, alright, so if I
| | 01:25 |
wanted an existing art board, though,
like this one, and I want to duplicate
| | 01:30 |
it, I just hold my alt key down and drag,
and now I've dupklicated that board.
| | 01:37 |
What happened to the art?
Why did it take that with me?
| | 01:39 |
Well, that's a choice we have right up
here in this button.
| | 01:42 |
So let me undo that.
I'm gonna push that button right there.
| | 01:46 |
And now, when I alt drag, yeah.
Now I duplicated the art.
| | 01:51 |
Because maybe I want a different color on
this one than this one, or different text
| | 01:54 |
or whatever.
And now that we got multiple art boards.
| | 01:57 |
I can grab, let's say, this background.
Well, let me hit escape, so that I'm back
| | 02:01 |
to the working art.
And I'll grab this background, let's say,
| | 02:04 |
and move it.
Right over here I should have duplicated
| | 02:07 |
that shouldn't I?
So, hold the alt key down and drag it
| | 02:10 |
over, and now I'm gonna have the same
background on multiple pieces of art, so
| | 02:14 |
that if I want to change it in the
swatches panel If I set it up properly, I
| | 02:17 |
can change all the art at once, as
opposed to click change, click change,
| | 02:21 |
click change.
So, one new thing we got in CS5 was the
| | 02:27 |
ability to name our artboards.
So I'm going to go to document setup,
| | 02:32 |
edit artboards, and I'm going to click on
this artboard named artboard two, and
| | 02:35 |
I'll just call this magazine ad.
Here we go and I'll click on this one and
| | 02:41 |
call it Newspaper Ad.
And this will be the Poster.
| | 02:46 |
And this will be the Flash Banner.
We'll just call that Flash Banner.
| | 02:50 |
There we go and I won't even name the
other one cuz I'm too lazy to do that.
| | 02:55 |
And in CS5 they gave us an arts board
panel.
| | 02:57 |
There it is.
So poster magazine ad.
| | 03:00 |
Now you're thinking, well why do I need
that?
| | 03:03 |
Well, maybe you want these laid out in a
certain way.
| | 03:06 |
And I want this up next to the poster.
But I didn't change anything.
| | 03:10 |
But if I go here and say rearrange art
boards And I, let's say, let's put them
| | 03:14 |
in a column, or let's stretch them across
horizontally.
| | 03:19 |
When I hit OK, now everything's nice and
neat.
| | 03:22 |
Ooh, I want the Flash banner first?
Well, I could move that up to the top.
| | 03:26 |
Fly out menu, rearrange art boards, and
hit okay, and now the flash banner's
| | 03:30 |
first, cuz that's first in that order.
So a little bit of art board control there.
| | 03:36 |
Let me hit escape, and whichever art
board you're working on is gonna be
| | 03:39 |
highlighted in a little bit darker.
It's very faint.
| | 03:43 |
Can you even see that on this video?
Notice how this one has a darker border
| | 03:47 |
than that one?
When I click on that, it got darker.
| | 03:50 |
Well, that kinda matters because
whichever one you're on, when you hit
| | 03:53 |
Cmd+0 or Ctrl+0, that's the one that
you'll be zooming in and out of.
| | 03:58 |
So that's the live art board and you can
control that down here in this corner.
| | 04:02 |
Let's go to the magazine ad real quick.
Now, when I save this I'm gonna save it
| | 04:07 |
with the art boards, of course.
And if I save it as a PDF file, each of
| | 04:11 |
those art boards is gonna be a separate
page in the PDF.
| | 04:15 |
If I save it as an AI file, when I place
that in InDesign.
| | 04:19 |
When I place that in Flash, or when I try
to open it in Photoshop.
| | 04:22 |
Any of those things.
I can choose which art board it is that I
| | 04:25 |
want to actually open and work on.
So the art boards is actually kind of a
| | 04:29 |
useful thing.
Just remember that you don't have all
| | 04:32 |
this fun stuff if you're using.
A version prior to CS4.
| | 04:36 |
All you have is a single art board, and
you need to work within that.
| | 04:39 |
Because anything extending off that art
board, is not gonna print.
| | 04:43 |
When I save this, this just doesn't
exist.
| | 04:46 |
And you got all sorts of stuff out here,
and it won't print.
| | 04:49 |
So if I wanted the art board to actually
be that size, so all that stuff's going
| | 04:52 |
to actually print, document setup, Edit
Art Boards.
| | 04:56 |
Now it looks like it is that, isn't it?
But look, when I move it out of the way,
| | 04:59 |
you can see that the art board isn't that
size.
| | 05:02 |
I need to actually make the art board
that size otherwise that art won't fit
| | 05:05 |
that, won't be printing out.
It's only going to print out the size of
| | 05:10 |
the art board so make sure they match, or
you're going to have some surprises down
| | 05:14 |
the road in your production.
| | 05:17 |
| | Collapse this transcript |
| Saving and exporting| 00:02 |
When you're done with your file in
Illustrator, the question now is, now what?
| | 00:07 |
Well we can save this file, Save As,
let's say, and I'll choose under Format,
| | 00:12 |
there's Illustrator AI.
Well what programs use Illustrator AI?
| | 00:17 |
Course and design does.
Newer versions of Quark allow you to
| | 00:21 |
place AI files.
It just doesn't support the transparency.
| | 00:25 |
So if I had a drop shadow in this, and I
wanted it to blend to something in Quark,
| | 00:29 |
that's not gonna work.
Pagemaker didn't support it.
| | 00:34 |
Older versions of Quark don't support it.
So you may think, well, I'll just save it
| | 00:37 |
as an illustrator EPS, and that's fine.
It creates kind of a dual-part file, half
| | 00:42 |
Illustrator, half EPS.
The Illustrator part is still there in
| | 00:47 |
case you open it and want to edit it.
The EPS part is what's actually used in
| | 00:52 |
your Quark document, let's say.
But again, EPS doesn't support
| | 00:56 |
transparency, so if you have a drop
shadow that you want to blend to
| | 00:59 |
something in Quark, it's not gonna work.
Now, we have another choice here, PDF.
| | 01:06 |
If I say this is a PDF file and I hit
save, notice that I can preserve the
| | 01:09 |
illustrator editing capabilities and that
means that, guess what?
| | 01:15 |
It's another dual-part file.
Half illustrator, half PDF.
| | 01:20 |
The PDF file does what it needs to do but
also inside of that is all that
| | 01:23 |
illustrator data that allows you to open
it back up in illustrator and continue to
| | 01:27 |
make edits.
If I go to File, Save As, and I say this
| | 01:31 |
is an illustrator file.
Hmm, if I saved it as an illustrator
| | 01:36 |
file, I can actually open that up in
Acrobat, if I create a .pdf compatible
| | 01:41 |
file, which is the recommended way to do
that.
| | 01:47 |
So, now, I can actually open up any
illustrator file in Acrobat.
| | 01:50 |
So, if I sent this illustrator file to a
customer and they had Acrobat Reader,
| | 01:53 |
they can actually look at it.
They can't make changes, but they can
| | 01:57 |
look at it and they can approve that.
Now you'll notice in that list, File,
| | 02:01 |
Save As, probably some things are missing
that you might be wanting.
| | 02:05 |
For example, how do I make a jpg of this
if that's what I want, or a tif file,
| | 02:08 |
where are all the other choices?
Well we don't save as those we Export as
| | 02:14 |
those and you'll see there's quite a long
list here.
| | 02:19 |
Some of them though may be formats we
don't even know what they are.
| | 02:23 |
DWG and DXF for example is great for the
AutoCad drafting engineering world,
| | 02:27 |
whereas here in this printing publishing
world we're probably, well maybe I need a
| | 02:31 |
JPEG for something I'm doing.
I hope not.
| | 02:37 |
But it's there in case you need that.
Or tiff file, okay?
| | 02:40 |
So there are other formats here, but
where's gif in case I wanna put this on
| | 02:43 |
my website as a gif?
Well, once again, we have a third one
| | 02:47 |
that we need to go to and that's File,
Save for web and devices.
| | 02:52 |
And in this module, I could look two up
at the original art, and I can see what
| | 02:56 |
it's gonna look like after it's
compressed as a gif with, say, 32 colors.
| | 03:03 |
Still looks pretty good.
Little rugged around this edge, but
| | 03:06 |
probably good enough for the website.
I'm going to look at the gradient.
| | 03:09 |
Yeah that looks alright.
Well now let's look at it with even fewer colors.
| | 03:13 |
16, you can start to see the dithering
there, and maybe I don't want to use this
| | 03:17 |
on the website.
Maybe I want to g back up to 32, or maybe
| | 03:21 |
I want to switch to a ping, or maybe I
want it to be a JPEG.
| | 03:27 |
And right down here at the bottom, it
tells you that, depending on their
| | 03:31 |
connection, how long it's going to take
this file to download versus, say, a GIF
| | 03:35 |
with only 16 colors.
It's going to take 17 seconds.
| | 03:41 |
So here's the before, here's the after,
and I can see what sacrifices are going
| | 03:44 |
to be made as I then save that GIF to
upload to my website.
| | 03:49 |
Again, for the printing world that we're
in, especially knowing you're using
| | 03:54 |
Creative Suite, I save all my AI files as
AI unless I have a specific reason to
| | 03:59 |
save it as a PDF.
Those are the only two formats I use.
| | 04:05 |
I do wanna show you one more nice little
trick.
| | 04:08 |
Let's say that I wanna use this artwork
in InDesign, but I want it to be editable
| | 04:12 |
vector data in InDesign.
Well saving this as an AI file and
| | 04:17 |
placing it in InDesign only places the
art.
| | 04:19 |
So I'm gonna show you a trick.
I'm gonna select the rooster, and I'm
| | 04:24 |
gonna copy that.
I just went to edit, copy or command c,
| | 04:28 |
and now I'm gonna go to end design and
I'm gonna go to edit paste.
| | 04:34 |
There's the rooster.
Now if I ungroup it, object ungroup, you
| | 04:40 |
can see that this is editable art in, in
design.
| | 04:47 |
I can actually delete parts of it.
I can use parts of it as a picture frame
| | 04:53 |
if I want, or just change the color of it
here.
| | 04:56 |
Totally editable here in, in design, and
if I look at my links panel it's not
| | 05:01 |
linked to anything.
So, oftentimes, I'll use Illustrator just
| | 05:06 |
to creative art that I'm going to
ultimately copy and paste into design as
| | 05:10 |
a placeholder or something that's
artistic.
| | 05:13 |
So, save, export, copy paste.
There's lots of ways to get it out of
| | 05:19 |
Illustrator for use in other products.
| | 05:24 |
| | Collapse this transcript |
|
|
3. Fun with ShapesCreating shapes| 00:00 |
Okay, now it's time for the fun to begin.
We're going to start creating art from scratch.
| | 00:07 |
And I've given you this background, just
so we don't have to look at this dull
| | 00:10 |
white page.
If you create a new document however,
| | 00:13 |
it'll be white.
So, I gave you this purple background and
| | 00:16 |
I locked it on a layer, which we don't
have to get into that.
| | 00:19 |
But basically, you don't have to worry
about bumping it or nudging it as we draw.
| | 00:23 |
Okay.
Now, over here on the toolbar is the
| | 00:25 |
Rectangle tool.
That should be what you see.
| | 00:27 |
If you don't, you may see one of these
other shaped tools if you've been playing
| | 00:31 |
around before.
And what's important about this is that
| | 00:34 |
these are just some basic shapes.
They're a really easy way for us to get started.
| | 00:38 |
So, if we go over here and hold down on
any of them, let's just choose the
| | 00:41 |
rectangle for now.
Or, you know, one really easy way to work
| | 00:45 |
is to go ahead and grab this tear off and
bring this shape panel now up so we have
| | 00:49 |
it easily accessible.
All right.
| | 00:53 |
Now, in this chapter, there are a couple
really key lessons I want us to grasp,
| | 00:56 |
because I'm guessing, if I didn't tell
you, you could eventually figure out how
| | 00:59 |
to draw a rectangle.
Yeah that, that's pretty basic knowledge here.
| | 01:04 |
So, we're not going to focus on that
basic stuff right now.
| | 01:07 |
I wanna show you just a few keyboard
operators, little keyboard shortcuts that
| | 01:10 |
you'll wanna use as you work.
So, that you can really control your art
| | 01:14 |
easier than if you didn't know these.
All right.
| | 01:17 |
But before I go there, I do wanna show
you this.
| | 01:19 |
If I'm on any of these tools and I merely
click with my mouse, it will pop up this window.
| | 01:26 |
Of course, they won't all say rectangle.
That says rectangle cuz I'm on the
| | 01:31 |
rectangle tool.
I'm sure you would've figured that out,
| | 01:33 |
but I had to say that.
So, if I know that I want this box to be
| | 01:37 |
5 inches by 5 inches, well, when I hit
OK, there's my 5 by 5 box.
| | 01:44 |
Okay, that's easy enough.
Now, what I really wanna show you with
| | 01:47 |
this, though, is that in Illustrator,
just like in InDesign and other Adobe
| | 01:50 |
applications, I could actually have this
do Math for me.
| | 01:55 |
Let's just say I'm working in inches,
which is the unit of measure I've set up
| | 01:59 |
for this document.
But somebody says to me, hey Russell, can
| | 02:04 |
you make me a box that's, say, 14
centimeters by 32 millimeters?
| | 02:08 |
14 cm for centimeters by, let's just say,
20 mm for millimeters.
| | 02:14 |
Notice that it converted those to inches
for me automatically and I don't have to
| | 02:18 |
think about finding a conversion chart
and looking that up.
| | 02:23 |
So, centimeters, millimeters, picas,
there's all sorts of different units of
| | 02:27 |
measure you can use to convert back and
forth.
| | 02:30 |
Okay.
So, I can even have this do the Math for me.
| | 02:33 |
Let's say that I've got my ruler and I
measure a box and I wanna replicate it.
| | 02:39 |
And it's 5 inches.
So, let's just type in here five in, 5 in.
| | 02:43 |
5 in but it's not exactly 5 inches.
It's one millimeter shy of that, minus 1 mm.
| | 02:49 |
And when I hit my Tab key, it does the
Math for me.
| | 02:53 |
It says, oh, well that is 4.9606 inches.
I'm sure most of you watching already
| | 02:57 |
knew that that was the Math but I need
help with that.
| | 03:00 |
So, I can have this do that for me.
So, the height, watch this, 10 inches
| | 03:04 |
divided by 2 is 5 inches.
Again, that Math is easy.
| | 03:08 |
But what if its not so easy, what if it's
4.785 times, that's an asterisk, to
| | 03:17 |
there, 9.57.
So, multiplication, division, plus,
| | 03:22 |
minus, have unit conversion.
All that's handy little information to know.
| | 03:26 |
And that's anywhere in Illustrator where
there's a number.
| | 03:29 |
So, what was that lesson?
That lesson was, take the shape and
| | 03:32 |
either click to enter the values or have
it do the Math or unit conversion for you.
| | 03:37 |
Okay.
Enough of that.
| | 03:39 |
From now on, we're gonna be free hand
drawing.
| | 03:42 |
We're eyeballing it.
We're just playing around here.
| | 03:44 |
So, I've got my Rectangle tool.
And I'm gonna start drawing.
| | 03:49 |
And I want this to be a perfect square.
Well, holding my Shift key with any of
| | 03:55 |
these tools will keep it constrained to a
1 to 1 aspect ratio.
| | 04:00 |
So, drawing and holding my Shift key,
there's my square.
| | 04:05 |
There's another square.
Let go of my Shift and I get a rectangle.
| | 04:09 |
Simple enough?
Now, what you need to remember though,
| | 04:12 |
and I see this all the time, people will
start drawing, and they'll let go of the
| | 04:14 |
shift, before they let go of the mouse
and, you know, it doesn't work that way.
| | 04:19 |
Let go of the mouse button first.
Now if you're not getting the results on
| | 04:22 |
your screen like I am, the white fill
with the black stroke, hit D on your
| | 04:25 |
keyboard, and watch your fill and stroke
change to be white with a black stroke.
| | 04:31 |
That D for, default fill and stroke.
All right, simple enough.
| | 04:35 |
Now, let's start drawing from this point
down to this point.
| | 04:39 |
Can you see that?
Well, I don't really want to do that.
| | 04:42 |
I want to draw from this point out.
I want it to go from there out.
| | 04:47 |
Well, I'm gonna hold my Shift key to keep
it a square and I'm also gonna hold my
| | 04:50 |
Alt, or Option key down.
And now you can see that I'm drawing from
| | 04:56 |
the center point out.
That's really useful if I know a place in
| | 05:00 |
the art like, notice my Smart Guide as I
move around.
| | 05:04 |
See that green line?
And if I put my cursor right there on the
| | 05:07 |
center, if I hold my Alt+Shift and start
drawing, I know that I've just drawn that
| | 05:11 |
shape from the center out, and by adding
Shift, I've kept it square.
| | 05:17 |
So, Alt+Shift works on all these tools to
have it start from where you begin out
| | 05:22 |
and the Shift keeps it square.
Okay.
| | 05:26 |
So there's one lesson learned.
All right.
| | 05:28 |
Rectangle tool, simple enough.
Let's go to the Rounded Rectangle tool.
| | 05:33 |
Now, the Rounded Rectangle tool might be
useful to click, so that you can tell it
| | 05:37 |
the corner radius and keep that
consistent.
| | 05:40 |
Otherwise, this next trick I'm gonna show
you, may cause you to have inconsistent shapes.
| | 05:45 |
So, I'm going to show you this trick but
just know that if you really want corners
| | 05:49 |
that are consistent, you'll wanna go
ahead and put a unit of measure in there,
| | 05:53 |
0.25, and now when you draw it, there it
is.
| | 05:57 |
Now, watch what happens when I don't
click this time.
| | 06:02 |
It keeps the last setting until I either
change it, use this next little keyboard
| | 06:06 |
shortcut I'm going to show you, or quit
Illustrator.
| | 06:10 |
If I quit Illustrator, it will go back to
the Illustrator default of 0.1667.
| | 06:16 |
All right.
Let's get rid of those cuz I wanna show
| | 06:17 |
you this trick.
As I'm drawing with this Rounded
| | 06:19 |
Rectangle tool, I'm gonna hold my up
arrow down.
| | 06:23 |
Up arrow down, that seems a little bit
contradictory but can you notice what's
| | 06:27 |
happening to the corners now?
Do you see that?
| | 06:31 |
The corners are getting larger and larger
and larger.
| | 06:35 |
If I hold the down arrow, notice that now
the corner radius is slowly getting
| | 06:40 |
smaller and smaller and smaller.
Here's the lesson.
| | 06:44 |
You probably won't use this on the
Rounded Rectangle much, but the Up Arrow,
| | 06:48 |
Down Arrow, Left Arrow, Right Arrow, can
oftentimes, depending on which tools
| | 06:52 |
you're working, allow you to make changes
live as you're drawing this.
| | 06:58 |
Now what's neat about this is, this now
remembers whatever it was I set.
| | 07:02 |
And if I click, you can see 0.3194, and
it's gonna be that way for the rest of today.
| | 07:07 |
You know, as long as I keep Illustrator
open or if I quit Illustrator or if I
| | 07:10 |
change that, then it changes.
But from now on, until I do that, it'll
| | 07:15 |
be these measurements.
That's kinda neat.
| | 07:17 |
But again, its worth doing that at some
point, clicking and figuring out exactly
| | 07:21 |
what that is, so that you can keep that
consistent cuz tomorrow when you come
| | 07:24 |
back to work and you quit, you're gonna
forget what that was.
| | 07:29 |
Here's the Ellipse tool.
Really, there's not much different there
| | 07:33 |
than the Rectangle tool.
Shift keeps it a circle.
| | 07:36 |
Alt+Shift helps you draw out.
And if you click, you can tell if I want
| | 07:42 |
a 5-inch circle or maybe you want an oval
instead.
| | 07:48 |
Okay?
Now, we are getting tricky.
| | 07:50 |
Here's the Polygon tool.
Now, if I start drawing with the Polygon
| | 07:54 |
tool, you can see that its a six sided
polygon.
| | 07:59 |
If I tap my Up Arrow, you can see its
adding sides and if I tap my Down Arrow,
| | 08:04 |
you can see I'm removing the number of
points that is your Triangle tool.
| | 08:12 |
I get that e-mail all the time.
How do I make a triangle easily in Illustrator.
| | 08:16 |
Well, its absolutely that simple.
Take your Polygon and just tap.
| | 08:20 |
Remember, it starts at six sides.
Just tap Down three times and there's
| | 08:24 |
your triangle.
The next time you draw, you want
| | 08:27 |
something different, hit your Up Arrow.
There, there's your octagon.
| | 08:31 |
All right.
Up Arrow and Down Arrow, that's all you
| | 08:33 |
have to remember.
You wanna do it while you're drawing.
| | 08:36 |
All right?
I'm gonna give you one more little
| | 08:38 |
keyboard shortcut to remember and this
also works with all those shapes.
| | 08:42 |
And that's the Space Bar.
As I'm drawing this, I've realized that I
| | 08:45 |
wanna move it to the top right corner.
I hold my Space Bar down, and as I move
| | 08:49 |
my mouse, there it goes, I'm still
holding my mouse button down.
| | 08:53 |
I wanna let go.
Now I can continue drawing.
| | 08:56 |
So, the Space Bar temporarily turns this
into a Move tool.
| | 09:00 |
When you let go of the Space Bar, now you
can continue Up Arrow, Down Arrow,
| | 09:03 |
whatever it is you want to do.
And when you let go, that's the shape you own.
| | 09:09 |
Okay?
And remember, click, it remembers the
| | 09:11 |
last thing you did.
So, you can keep clicking and replicate
| | 09:15 |
that as much as you want.
All right.
| | 09:18 |
Let's go ahead and select all those and
get rid of those cuz I really wanna show
| | 09:21 |
you the Star tool.
You know, we can never have enough stars
| | 09:25 |
in our design.
It's just, it's not possible.
| | 09:27 |
Notice the default star is a five-sided
star.
| | 09:30 |
Simple enough.
But, I don't want five stars.
| | 09:33 |
Well, I can click, and I can enter this
manually.
| | 09:36 |
Or, as I'm drawing, I can hit my Up
Arrow.
| | 09:43 |
Or as I draw, I can hit my Down Arrow.
So, I can add, Up Arrow, subtract, Down Arrow.
| | 09:54 |
I can keep playing with that.
And if I hold my Cmd key or the Ctrl key
| | 09:58 |
on a Windows machine and drag, notice
that I'm controlling the links of those points.
| | 10:05 |
Look at that, linked.
I'm just Ctrl or Cmd and dragging.
| | 10:10 |
Let go of the Cmd or Ctrl.
I'm still holding down my mouse, Up
| | 10:13 |
Arrow, Down Arrow.
So, let's make those a little bit shorter.
| | 10:17 |
Like that.
Hold my Space Bar down, move it up here,
| | 10:20 |
let go, and there's my star burst.
So, drawing a star has lots of variables
| | 10:25 |
just by knowing a few keyboard shortcuts.
It's very friendly.
| | 10:30 |
Now, what if I create a star burst with
longer points here, and I'm gonna let go.
| | 10:35 |
Now, I like it but I want a little bit of
variation.
| | 10:38 |
I'm gonna draw a rectangle.
I like it but I want to vary it some.
| | 10:43 |
Back to one of our earlier lessons, White
Arrow, click on an anchor, it's live or
| | 10:47 |
selected and the others are hollow.
That means that if I drag that, I'm now
| | 10:54 |
modifiying this path however I want.
Same thing is with the starburst.
| | 10:59 |
I can click on an anchor and as I drag it
you can see that I can take every other
| | 11:05 |
point and make it longer if I want.
Make a little bit of a variety here.
| | 11:15 |
And then, I can take the other ones and
make them shorter if I want.
| | 11:20 |
Even doing the inside points, if I really
want a very jagged, very rugged-looking
| | 11:24 |
star, I can sit here and just grab any
point I want, and just vary it however.
| | 11:31 |
No rules, guys.
It's your design.
| | 11:33 |
The point is, that these anchors are all
editable on every single one of these shapes.
| | 11:38 |
We're not gonna cover the Flair tool
today.
| | 11:40 |
We're gonna stick with just the basic
shapes in this lesson.
| | 11:43 |
So what did we learn?
We learned that creating shapes is as
| | 11:46 |
easy as taking any of these tools and
drawing.
| | 11:50 |
We learned that some of them, if you hit
your Up Arrow and Down Arrow, have
| | 11:53 |
modifiers that give it more sides or
fewer sides.
| | 11:57 |
We also learned, that if we take any of
these shapes, and simply click, we can
| | 12:00 |
create it by the numbers.
But remember, when we use those
| | 12:04 |
modifiers, when we quit Illustrator, it
all goes back to defaults.
| | 12:07 |
So, modifiers are nice, but it doesn't
hurt to write down some numbers on a
| | 12:11 |
piece of paper and keep them handy, if
you ever want to recreate that artwork
| | 12:16 |
another day.
| | 12:18 |
| | Collapse this transcript |
|
|
4. The Humble Line Tool: It's Not as Simple as It SoundsCreating lines| 00:00 |
You know, until recently, the only way to
make a line in Illustrator was to take
| | 00:04 |
the pen tool, click, and then click
again.
| | 00:08 |
And there's our line.
Now we have tools that make that even easier.
| | 00:12 |
But I'll show you that if you click and
hold your shift key down.
| | 00:15 |
No matter where your mouse is over here.
It will make that a nice straight line.
| | 00:19 |
So that's good to know, in case you do
wanna use that pen tool.
| | 00:21 |
But I'm gonna delete that.
Because in this chapter, we're gonna
| | 00:24 |
focus on these really nifty.
The line tools, and there's grid tools
| | 00:27 |
and line tools, and we're going to learn
how to use those and we're going to learn
| | 00:31 |
some keyboard shortcuts so that we can
very quickly modifiy them and control them.
| | 00:36 |
And in the end of this chapter, you're
going to learn that something as simple
| | 00:39 |
as a spiral.
Can you imagine trying to make something
| | 00:43 |
like this with the pen tool.
It would be a nightmare.
| | 00:46 |
But now we have a simple tool that allows
us to do that.
| | 00:49 |
Or maybe I want that to go even deeper
inside of that circle like that.
| | 00:53 |
And I want to control that.
| | 00:57 |
| | Collapse this transcript |
| Line tools| 00:00 |
For this lesson I'm gonna break the line
tools up into two sections.
| | 00:06 |
The actual line tools, and the grid tool.
In this lesson, we'll focus on the top
| | 00:11 |
three here.
And I'm gonna go to the tear-off and
| | 00:13 |
bring that out so it's actually floating
as a panel.
| | 00:17 |
The first tool is so simple to use, you
probably wondering why are you even
| | 00:20 |
covering this.
Well, I think it's worth doing.
| | 00:23 |
If I drag with that tool, I create a line
segment, simple enough.
| | 00:29 |
Now if I want it to be at a right angle I
can draw and as I'm drawing, if I hold my
| | 00:33 |
Shift key down, it will snap it to be
orthogonal, 45 degree angle or 90 degree
| | 00:37 |
angle as I draw.
So now I can have some controls with that
| | 00:43 |
Shift key.
All right.
| | 00:45 |
So, you're thinking, well, that was a
pretty easy lesson, Russell.
| | 00:48 |
Yes, it was.
Now, if I go to my white arrow though,
| | 00:51 |
just remember that if I click on at one
end, not the other, I can then go ahead
| | 00:56 |
and rotate that however I want.
All right, so, pretty simple to work with
| | 01:03 |
the line segment.
Now, the next one, the arc tool gets a
| | 01:07 |
little trickier.
I'm gonna start drawing with the arc tool.
| | 01:11 |
And you can see that it basically just
makes a quarter round.
| | 01:14 |
Now, that's useful, I guess.
And if I click, I can control settings on that.
| | 01:20 |
Like the length x axis, and length y
axis, and the type, and man, what does
| | 01:25 |
all that mean?
Well, that can be pretty confusing.
| | 01:29 |
So maybe instead of that I am just gonna
start drawing and if I hold my up arrow
| | 01:33 |
or tap it a few times I can control the
depth of that as I am drawing.
| | 01:40 |
I haven't like going on my mouse yet, I'm
still drawing, here we go.
| | 01:44 |
So now if I bring this down like this.
Let's say I like that.
| | 01:49 |
When I let go, there's my arc.
Just remember that when I draw again,
| | 01:53 |
it's going to keep that until I make a
change or until I quit Illustrator, and
| | 01:56 |
it will go back to the default.
Now I am gonna click, cuz I wanna click
| | 02:01 |
this little button right here and change
this to closed, and let's see what
| | 02:04 |
happens when we draw from now on.
Now we're drawing, up arrow.
| | 02:10 |
Down arrow.
Okay so notice that it is still
| | 02:14 |
controlling the angle of the arc, but the
other two are closed and if I hold my
| | 02:18 |
shift key down, it keeps it constrained
so now I've got a very clear quarter
| | 02:21 |
round on that arc.
Now, this is kinda messy so let's get rid
| | 02:27 |
of everything and let's once again look
at the differences.
| | 02:30 |
With the arc tool, click with it on open.
I'm gonna go ahead and delete that.
| | 02:38 |
As I draw up arrow, down arrow.
When I let go it's just an open arc.
| | 02:45 |
But, if I click or if I double click on
the tool, I can change that to closed.
| | 02:51 |
And now as I'm drawing, especially if I
hold my Shift key down, right, keeps it constrained.
| | 02:56 |
Up arrow, down arrow controls the depth
of that arc, when I let go, now I've got
| | 03:01 |
that shape, nice.
The third one here, this spiral tool,
| | 03:05 |
when we look at those settings, it can be
a little bit confusing too.
| | 03:09 |
Radius, Decay, Segments, Styles, see I
have 'em flipped, one this way, one that way.
| | 03:16 |
All right, let's go ahead and hit OK, and
that's the default settings, but I am
| | 03:20 |
gonna go ahead and start drawing, and I'm
gonna hit my down arrow a whole bunch.
| | 03:26 |
I am still hitting it and notice how it's
bringing that out, and basically it's
| | 03:29 |
just a single line segment.
So I am gonna hit my up arrow again.
| | 03:34 |
That goes back inside.
So up arrow makes that seashell or that
| | 03:37 |
tornado go deeper in there and the down
arrow makes it come out like that.
| | 03:42 |
There you go.
All right?
| | 03:44 |
If I hold my Cmd or Ctrl key down as I
move, notice that I'm controlling the
| | 03:49 |
depth of that.
Alright, so we can very easily control
| | 03:53 |
this without having to go to these
controls.
| | 03:57 |
But once you start learning what they do,
then it helps a little bit.
| | 04:00 |
For example, let's just look at decay in
the way I did it there.
| | 04:04 |
All right.
And now, I'm going to do something like that.
| | 04:09 |
I'm just holding my command key down and
dragging.
| | 04:12 |
And now when I click, you can see the
decay's at 38.
| | 04:16 |
So now you know that if you ever do
something like that and mess it up, maybe
| | 04:19 |
you just need to click and bring this up
around 80.
| | 04:23 |
And now when you start to draw, you've
got more of that seashell look.
| | 04:28 |
Maybe the best thing to do is just play
around with it, as beginners just play
| | 04:32 |
around with it, Cmd key Ctrl, up arrow,
down arrow, and if you totally mess it up
| | 04:35 |
and you can't figure out how to get it
back, quit Illustrator.
| | 04:41 |
When you start back again, it will take
it back to the default settings.
| | 04:45 |
Then you don't have to be all messed up
about that.
| | 04:47 |
Now, keep in mind, these are paths.
So, even if I were to draw this quarter
| | 04:52 |
round like this, I can always go to my
white arrow, click on that point and
| | 04:55 |
bring that out.
Okay, I can modify these as well.
| | 05:00 |
So we're not stuck with any of this.
All right, the lesson here is, these are
| | 05:04 |
places to start.
That's all that is.
| | 05:07 |
A place to start, get something down in
front of you, and then from there you
| | 05:11 |
edit the lines, the arc, or the spiral to
be exactly what you want.
| | 05:15 |
Something worth noting is that you can't
create this type of a shape in InDesign.
| | 05:21 |
If you remember, any vector shape here
that you copy, Edit > Copy, and then
| | 05:26 |
paste into InDesign, will be an editable
shape in InDesign.
| | 05:31 |
So just keep that in mind, that you can
use that for text on a path, and other
| | 05:35 |
fun things there, if you want.
| | 05:39 |
| | Collapse this transcript |
| The Grid tool, Live Paint, and the Shape Builder| 00:02 |
I remember when these grid tools first
came out, there's the rectangular grid
| | 00:06 |
tool and the polar grid tool.
And I remember thinking, oh, that is just wonderful.
| | 00:11 |
And I was so excited to use them.
And then, after I created something I
| | 00:15 |
realized, how limited I was in being able
to edit them.
| | 00:18 |
Let me show you what I mean.
I'm going to start with the rectangular
| | 00:22 |
grid tool.
As I draw, holding the shift key down
| | 00:26 |
keeps it constrained.
That's useful.
| | 00:29 |
The up arrow adds lines, the down arrow
deletes lines, vertically and horizontally.
| | 00:39 |
It adds and deletes with the left and
right arrow.
| | 00:42 |
So, up arrow, down arrow, right arrow,
left arrow.
| | 00:46 |
You can see how that controls your art.
So if you wanted to make a checkerboard,
| | 00:50 |
you could either count as you do it, or
simply click.
| | 00:54 |
And you can tell.
Okay, I want the width of this to be five
| | 00:57 |
inches by five inches.
I want seven dividers.
| | 01:00 |
And seven dividers.
Let's just see what that does for us.
| | 01:05 |
Okay, now there's our grid, and that's
nifty, looks cool, except, I remember
| | 01:10 |
when I first used it, I wanted to click
in these, and put color in there.
| | 01:16 |
There's nothing there.
That's hollow.
| | 01:19 |
Remember this is one of the line tools.
If I were to, with my white arrow, click
| | 01:23 |
on this line here and begin to drag.
See?
| | 01:26 |
This is just lines.
There's nothing in there at all.
| | 01:30 |
It's still useful.
And I'm going to show you a trick in just
| | 01:32 |
a minute.
But just know that all you created was a
| | 01:35 |
grid of lines.
Not a grid of frames.
| | 01:40 |
Two different things.
So, let's delete that for now, and let's
| | 01:44 |
go to the polar grid tool, and let's
start to draw.
| | 01:49 |
Again, shift key keeps it constrained to
a one-to-one aspect ratio.
| | 01:54 |
All right?
Up arrow adds or deletes the circles
| | 01:57 |
inside of this grid, and the left arrow
and right arrow adds or deletes.
| | 02:04 |
Lines that divide that, subdivide that.
So if you wanted a bullseye, you might
| | 02:09 |
hit your left arrow to get rid of those
lines, your up arrow to create enough
| | 02:13 |
circles, let's count those, one, three, I
think I need one more there, and now I
| | 02:17 |
could use that as a bullseye if I wanted
to.
| | 02:22 |
All right, when I let go, the problem is
That these are just circles.
| | 02:26 |
Now that's okay, because I could click on
this, and I could go to the swatches and
| | 02:31 |
I could fill that with a red for the
bull's eye.
| | 02:35 |
I could do that.
I could also use my black arrow if I were
| | 02:40 |
to select all this and go to object,
ungroup.
| | 02:46 |
Object ungroup.
Object, sometimes you gotta do this a
| | 02:49 |
couple times.
There we go.
| | 02:51 |
Now, each one is a separate line.
So I could click on this one now, and
| | 02:55 |
fill that with green.
And click on this one now, and fill that
| | 02:58 |
with yellow.
And okay.
| | 03:01 |
We can get this done.
All right.
| | 03:02 |
But I'm going to show you an easier way.
All right, what I'm going to show you now
| | 03:06 |
is really kind of an advanced thing, but
I just think these grid tools are just
| | 03:09 |
not as effective as they are with this
next thing I'm going to show you.
| | 03:14 |
So, just for fun, let's go ahead and
start with the checkerboard.
| | 03:17 |
Let's click again.
Five by five, seven by seven, fine.
| | 03:21 |
There we go.
There's our checkerboard, but again
| | 03:23 |
remember, there's nothing in there,
nothing at all.
| | 03:25 |
All right, so black arrow, I want you to
select your grid, and you can see all the
| | 03:29 |
little anchors selected there.
We've got the whole thing selected.
| | 03:33 |
Good.
Over here on the toolbar is this live
| | 03:37 |
paint bucket.
It's K on your keyboard.
| | 03:40 |
Just go and hit K on your keyboard.
If you don't see it, there's a little
| | 03:43 |
paint bucket icon.
And I'm going to go over here to my
| | 03:47 |
swatches and choose a color.
I chose magenta.
| | 03:51 |
It doesn't matter for this exercise what
color you choose.
| | 03:54 |
Now before we start painting, I wanted
you to hold your right arrow just tap
| | 03:57 |
your right arrow a few times and look at
the color swatches above your paint brush
| | 04:00 |
and you'll notice that what its doing is
its going through the swatches.
| | 04:06 |
You can actually change the colors on the
fly, you don't have to drive all the way
| | 04:09 |
over here to the swatches panel every
time you want to change the colors, but
| | 04:12 |
anyway Red is selected there.
And I'm going to click, click, click, click.
| | 04:19 |
And you see what I'm doing?
I'm just clicking inside of these squares.
| | 04:21 |
Now, what this live paint bucket does.
Is, it allows you to fill between lines,
| | 04:26 |
even though there's nothing there.
There's nothing there, I'm telling you.
| | 04:32 |
But the tool reads where there are
intersecting lines.
| | 04:35 |
And it's smart enough to say.
Well, Russell wants something in there.
| | 04:40 |
Let's change to black now, and I can go
through here and I can fill this with
| | 04:44 |
black, and now I'm going to create my
checkerboard.
| | 04:49 |
Simple enough, eh?
All right, so without the live paint
| | 04:52 |
bucket, there is only so much we can do
with those lines.
| | 04:55 |
With the live paint bucket, it becomes a
really powerful design tool.
| | 04:59 |
Create your grid, fill it with color, and
now you've got your checkerboard.
| | 05:04 |
Want to give it some perspective?
There's other tools you can use for that.
| | 05:07 |
But right now, you got this nice
checkerboard.
| | 05:09 |
We can do the same thing with the polar
grid tool to create a logo.
| | 05:14 |
Maybe we want a bullseye of some sort,
let's just do something like this.
| | 05:18 |
Something simple.
Hold the shift key down and let go.
| | 05:22 |
Live paint bucket, once again.
I'm going to choose red and boom, boom, boom.
| | 05:27 |
There we go.
Bullseye, simple enough.
| | 05:31 |
I want to change the other ones to a
different color.
| | 05:33 |
Life Paint Bucket.
Let's choose yellow and boom boom, we're done.
| | 05:37 |
Okay, Life Paint Bucket with the grid
tools.
| | 05:37 |
Let's go on further though.
I had a friend ask me one time to take a
| | 05:47 |
circle and I asked, how would I take that
circle and break it into.
| | 05:52 |
Eight even parts because I need each one
of those parts around the outside of that
| | 05:55 |
circle to have text in it, kind of going
around like a color wheel.
| | 06:00 |
How would I do that quickly?
Well you could imagine if I took the
| | 06:03 |
ellipse and tried to draw a couple of
circles and then work them together.
| | 06:07 |
And then draw lines and get in that.
It would be impossible.
| | 06:10 |
So I took the polar grid tool and I drew
something like this.
| | 06:13 |
OK.
Simple enough.
| | 06:15 |
Now I'm going to use the live paint
bucket again.
| | 06:18 |
I'm going to choose any random color and
I'm just going to paint around the
| | 06:22 |
outside of this shape.
Something like that.
| | 06:25 |
Great.
I'm going to choose a different color and
| | 06:27 |
I'm going to paint on the inside, all
right.
| | 06:29 |
I'm not even worried about, you know,
what color it is because I want to get
| | 06:32 |
rid of all this.
I don't want what's in the center here.
| | 06:35 |
Okay, now this is where it's really going
to get fun.
| | 06:48 |
I want to get rid of the inside of this,
I don't even want it.
| | 06:51 |
'Kay, I want to introduce a term to you,
here, called expand.
| | 06:51 |
All right, a little trick here, I know this
is kind of an advanced thing, but we
| | 06:51 |
gotta get through this.
Expand breaks this down, I'm just
| | 06:52 |
going to hit okay.
Breaks this down into its non-live
| | 06:55 |
components, and if you don't know what
that means, it's okay for right now.
| | 06:59 |
By expanding that, now I have the ability
to ungroup it and divide this and tear it apart.
| | 07:05 |
It's really a fun day at the office.
If you have CS5, I want you to see this
| | 07:09 |
next thing, because I can go here with
the shape builder tool, and I can
| | 07:13 |
actually start drawing across this middle
area here and it actually unites these
| | 07:18 |
areas that are graying out Into a single
shape.
| | 07:24 |
Look at that.
I just took that entire center grid and
| | 07:26 |
turned it into a single shape.
Now watch what happens when I go to my
| | 07:30 |
white arrow, select it, and hit Delete.
It's not there anymore.
| | 07:34 |
I just took that circle, and very quickly
broke it into these smaller segments with
| | 07:39 |
lines all perfectly round.
And now I can put text in that area or
| | 07:43 |
change the colors, or any number of other
things.
| | 07:47 |
I'm going to hit undo because if you have
prior to c s five, it's not quite so simple.
| | 07:52 |
So let me show you what we have to do
there.
| | 07:53 |
Object > Expand.
We still have to do that.
| | 07:57 |
But now I can Object, Ungroup or with my
white arrow I can click on these pieces
| | 08:02 |
and go in here and start getting rid of
These pieces individually.
| | 08:09 |
So yeah, it's a little bit more work, not
as glamorous as the shape builder tool,
| | 08:14 |
but it does work.
And as you can see, with a little bit
| | 08:19 |
more time I can go through here and get
rid of the fills and The lines, okay
| | 08:25 |
we've got to be very careful not to click
too far or you might get rid of one of
| | 08:31 |
these lines in the outside that you are
hoping to keep.
| | 08:42 |
One quick way to get rid of all these is
to go to view outline and now when you
| | 08:45 |
select you're only selecting those lines
without worrying about.
| | 08:51 |
Any other stuff there here we go, now we
got rid of that we can go back to preview
| | 08:55 |
mode and I accomplished the same thing,
all right I start my circle with no inside,
| | 08:58 |
but as you can see that shape builder
tool that's pretty handy for very quickly
| | 09:02 |
selecting multiple shapes in just uniting
them as one single shape.
| | 09:08 |
So what we learn here?
We learned how to make grids both by
| | 09:11 |
drawing, up arrow, down arrow, right
arrow, left arrow, and by clicking and
| | 09:16 |
entering the values.
We also learned that those lines can only
| | 09:22 |
do so much for us,'til we bring in the
live paint bucket, to really fill those
| | 09:26 |
in, and start creating some great
designs.
| | 09:31 |
| | Collapse this transcript |
|
|
5. Illustrator KindergartenDrawing tools| 00:02 |
We have a really busy chapter ahead of
us.
| | 00:05 |
We're gonna focus on these drawing tools
and the three specific areas here are the
| | 00:08 |
pencil tool and what's underneath that.
The eraser tool and what's underneath that.
| | 00:15 |
And the blob tool, we're gonna deal with
these three.
| | 00:17 |
In fact, I'm just gonna grab the little
tear-off here and bring them out as
| | 00:21 |
floating panels.
So we have right here handy when we're
| | 00:24 |
ready to use them.
Alright?
| | 00:26 |
This one, we can't do that with, cuz
there's only a single tool.
| | 00:30 |
Alright, let's start with the most basic,
and that's the pencil tool.
| | 00:33 |
How hard can this be, huh?
We're gonna draw a single path.
| | 00:37 |
So, let's just draw.
Well, nothing happened really because I
| | 00:41 |
didn't have a stroke color applied when I
started drawing.
| | 00:46 |
So I'm gonna hit delete, and if you had
the same result, let's hit D on our keyboard.
| | 00:51 |
And you'll notice that it makes the fill
white, and the black stroke there so that
| | 00:55 |
now when I draw you can see that I've got
a black line on that area that I drew
| | 00:59 |
with that pencil.
Okay, so, the pencil you can say, well,
| | 01:04 |
Russell, that's really simple.
Why are you wasting my time with this?
| | 01:08 |
Well, because there's a hidden gem in the
pencil tool.
| | 01:11 |
And that is this, if I don't like this
line.
| | 01:14 |
I've watched people delete it and try
drawing again.
| | 01:18 |
And then they delete and they draw again.
But you don't have to.
| | 01:23 |
With the line tool, you can start
drawing, and let's say you are doing
| | 01:26 |
something like this.
And you're like, you know, I just don't
| | 01:29 |
really like that.
Instead of deleting, you can start here,
| | 01:33 |
let's say, draw, end right here, and
you're only going to redraw thin little
| | 01:38 |
dotted area.
Now that line has changed.
| | 01:44 |
I don't want this.
So I'm gonna start drawing, go off the
| | 01:47 |
art, and let go.
And you can see that I've changed the
| | 01:50 |
direction of the end of that.
Let's take a look at these hills down here.
| | 01:54 |
I don't like those at all, so I'm gonna
start drawing.
| | 01:57 |
And I'm gonna put one more loop.
And I'm gonna end right here.
| | 02:02 |
And you'll see that it redrew from there,
to there.
| | 02:06 |
So the pencil tool, yeah we can draw with
it.
| | 02:09 |
But you can also redraw with it.
Now think about this for a second.
| | 02:13 |
If you can do that with a line, hmm, I
wonder what would happen with a path?
| | 02:20 |
So let's take the pencil tool, start on
the edge of this path and I'm gonna draw.
| | 02:25 |
See, I'm drawing?
And I'm leaving the path now, coming down
| | 02:28 |
here, coming over here, and now I'm going
to come over here and end on that path.
| | 02:34 |
Notice I begin on the path, end on the
path, and when I let go, I've redrawn
| | 02:38 |
that path.
Now if I just start here, and draw
| | 02:41 |
straight down, well, Illustrator doesn't
know what you want to do.
| | 02:45 |
So it's just going to add the line.
What you have to do is be a little tricky.
| | 02:49 |
Start by moving to the right, just a
little bit, then draw, and then go where
| | 02:53 |
you want to end, and go to the left
there, just a little bit.
| | 02:58 |
And I've told it, that's the area I want
to keep.
| | 03:00 |
I am gonna undo that, what if I want to
keep this and not this well I am gonna do
| | 03:04 |
the opposite, go to the left, go down, go
to the right and now I get rid of that side.
| | 03:11 |
So its a little tricky but if you start
on a line end of the line with a little
| | 03:14 |
practice you will find that you could
absolutely redraw any path.
| | 03:19 |
Later I'm gonna show you how to edit
existing artwork by using this tool right there.
| | 03:23 |
Let's go back to the pencil tool and just
draw a simple line.
| | 03:27 |
Okay, there we go, and that's not as
smooth as I would like it to be.
| | 03:31 |
I don't like that little point there.
I want it to be more of a rounded point,
| | 03:33 |
and I don't like that.
Well nested underneath the pencil tool is
| | 03:37 |
a smooth tool and I can go around this
line just like that and notice how it's
| | 03:42 |
smoothing out the line to make it more
like what I want it to be.
| | 03:48 |
Yeah, it's either reducing points or
cutting down the angle of those to create
| | 03:53 |
a smoother line.
Love it.
| | 03:56 |
Again, that could be used on any path.
What if I wanna break this into smaller
| | 04:01 |
segments or I just don't want this part
of the path anymore?
| | 04:03 |
One thing I can do is, right here, this
path eraser tool.
| | 04:08 |
And I'm just gonna come right along here
and it's gone.
| | 04:11 |
Or, let me undo that, I'm just gonna
erase this little bit right there.
| | 04:16 |
And that little bit right there.
And you can see that I've broken this
| | 04:19 |
into three lines.
Well that becomes kind of useful if we do
| | 04:23 |
something like this.
I'm gonna take my pencil tool.
| | 04:26 |
Once again, I'll just draw a shape like
that.
| | 04:30 |
And take my smooth tool and kinda go
around that line a little bit smoothing
| | 04:33 |
it out just a little bit there.
It a little more appealing.
| | 04:37 |
There we go.
I'm gonna go to my stroke panel, and I'm
| | 04:41 |
gonna put an arrowhead on one end.
Make it kind of big.
| | 04:46 |
And on the other end, I'm gonna put, the
back of an arrow.
| | 04:50 |
There we go, lets make that kind of big
as well.
| | 04:54 |
I'm gonna dash the line There we go.
And let me increase the weight of it just
| | 04:59 |
a little bit.
There we go.
| | 05:00 |
You know, I think those are too big now.
Let me go ahead and reduce those.
| | 05:03 |
Scale those back down to be a little bit
smaller.
| | 05:06 |
There we go.
That's all new in CS5, what I'm doing now.
| | 05:10 |
This part of it, the arrowheads.
Now, watch this.
| | 05:14 |
Let's say that I want to break this into
segments.
| | 05:18 |
If I take my eraser tool and erase that,
and that, you can see that what I've done
| | 05:24 |
is I've created multiple segments.
Okay?
| | 05:29 |
And I can only erase it if it's live, so
notice these two are selected.
| | 05:35 |
This one is not.
I can't erase that.
| | 05:37 |
I'm gonna have to click on that with the
black arrow, and then I can erase that.
| | 05:42 |
Okay?
So now I've taken a single line and
| | 05:44 |
broken it into a bunch of line segments.
And that's something you wouldn't easily
| | 05:48 |
do by drawing individual lines.
So, drawing one big, continuous line and then.
| | 05:53 |
Breaking it down would be easier.
Let's say that you're doing directions on
| | 05:57 |
a map.
Even if you're using the pen tool, okay,
| | 06:00 |
and you take the arrowheads once again on
the stroke panel, and you.
| | 06:07 |
Let's put an arrowhead on the one end,
this on the other.
| | 06:12 |
Once again I take that eraser tool, I can
just erase at these points.
| | 06:19 |
You can see how that behaves.
So the erase path tool allows you to
| | 06:22 |
erase part of a path and you can use this
for text on a path too if I were to do
| | 06:25 |
something like this.
Take the ellipse tool but I only want
| | 06:29 |
part of the ellipse once again.
Erase that path and now I only have half
| | 06:35 |
of a circle that's fun.
Alright let's get rid of that, and let's
| | 06:40 |
go to the other eraser tool.
Now what's different about this one, well
| | 06:44 |
let me go ahead and draw a shape, like
this circle here, and let me go ahead and
| | 06:48 |
turn off the dash line.
And fill this with some color so we can
| | 06:53 |
see this take place.
There we go.
| | 06:56 |
Now, with the eraser tool, see this
circle?
| | 06:59 |
See that cursor, the size of that?
As I go across that art, I'm actually
| | 07:04 |
erasing, from that art.
Because I erased all the way through, I
| | 07:08 |
erased this into two parts.
So if I deselect and select just part of
| | 07:13 |
it, you can see how now, this is two
parts, two separate closed paths.
| | 07:18 |
I'm gonna undo back to this, and I'm
gonna go to my Eraser and I'm gonna make
| | 07:22 |
that bigger.
And I can do that by doing the brackets,
| | 07:26 |
which is right next to the letter P.
Or I can double click, and I can choose
| | 07:31 |
the diameter this way as well.
'Kay, let's go ahead and hit OK.
| | 07:35 |
Okay, so I've got my bigger brush now.
I'm going to erase, erase, erase.
| | 07:45 |
Notice what I'm doing.
I'm creating either a parachute or an umbrella.
| | 07:49 |
I don't know which you want it to be.
But either way, if you try to do that
| | 07:52 |
shape, as simple as that might seem, from
scratch.
| | 07:56 |
It's gonna take a lot longer than it does
using the eraser tool.
| | 08:00 |
So the eraser tool can be used exactly as
it sounds to erase art that you don't want.
| | 08:05 |
There it is, it's gone.
Or it can be used as an artistic tool as
| | 08:08 |
I've shown you by making this very quick
umbrella or parachute.
| | 08:12 |
Now with the eraser we have a scissors
tool.
| | 08:15 |
Hm, what does that do.
Well, it helps to look at the artwork in
| | 08:19 |
outline mode.
The scissors tool actually allows you to
| | 08:23 |
clip lines.
Into separate paths.
| | 08:27 |
So now you can see that I've broken this
into two separate open paths.
| | 08:33 |
All right, let's do this again, but this
time let's look at it in preview mode.
| | 08:37 |
Here's my art, it's one closed path, but
I'm gonna take my scissors and I'm gonna
| | 08:42 |
click and I'm gonna click.
And now, let's deselect the art.
| | 08:48 |
And if I select this half, you can see
where I've made two open paths.
| | 08:53 |
There's no stroke going down there.
So, I've broken that line into parts.
| | 08:58 |
Much like the exercise we did before with
the eraser.
| | 09:01 |
I could use this to take a line, and very
quickly break it into segments.
| | 09:07 |
So we'll once again use the pencil.
We'll create our path.
| | 09:11 |
Here we go and once again we'll use,
let's say, a dotted line with an
| | 09:15 |
arrowhead, that seems to be a good visual
to do, arrowhead and then the back of it,
| | 09:20 |
we'll use a dot this time.
Now if I use the scissors, the
| | 09:26 |
differences with the path eraser tool I
can erase a lot of the path like that.
| | 09:33 |
With the scissor tool it literally snips
the path wherever you click and it breaks
| | 09:38 |
that into those smaller segments.
From that point you could grab the
| | 09:43 |
segment and move 'em apart very easily.
So it's a lot like the eraser and yet as
| | 09:49 |
you can see, different.
Now I'm gonna select all of that, get rid
| | 09:53 |
of that.
And once again I'm gonna create a very
| | 09:57 |
simple shape, and fill it with a color.
Let's fill it with blue again.
| | 10:02 |
I have a knife tool.
Now where's the eraser tool?
| | 10:07 |
When I went through the middle of this,
actually erased everything in its path.
| | 10:12 |
With the knife tool, it does exactly as
you would expect an X-Acto knife to.
| | 10:16 |
Alright?
I'm gonna start cutting outside the shape.
| | 10:20 |
I'm gonna cut into it and up, and you can
see that exactly where my knife went, it
| | 10:25 |
sliced this into these two parts.
So you may want a certain shape but you
| | 10:31 |
don't know how to create it with the pen
tool or from scratch.
| | 10:36 |
Sometimes it's as simple as just taking
any of the shape tools and then cutting it.
| | 10:41 |
You want a certain look of, say, a
sunrise.
| | 10:44 |
I can take the star tool, I can start
drawing.
| | 10:48 |
Let's make the rays a little bit longer,
let's put a few more on there.
| | 10:53 |
'Kay, let's move this, let's fill this,
turn the stroke off there, here we go.
| | 10:58 |
And let's actually not have any stroke.
Let's do something like that, and now
| | 11:03 |
let's just fill this with a reddish
gradient and I am gonna go to the
| | 11:07 |
gradient here and make that radial.
Okay, now that's only half of sunrise.
| | 11:14 |
Now I could put a box over that, or I can
take my knife tool.
| | 11:18 |
I can start cutting outside of this, cut
in here, cut across, to leave the bottom
| | 11:25 |
half, and now I've got my sunrise.
I need to redo my gradient there, so that
| | 11:31 |
it looks like a sunrise.
So now I've got half of that shape versus
| | 11:36 |
the entire star that I have to now figure
out how to hide it, or whatever.
| | 11:40 |
So the knife really allows us to edit
paths into segments, or other art into
| | 11:45 |
smaller pieces that we can manipulate.
Last drawing tool I'm gonna show you, and
| | 11:51 |
then I'm going to start editing some art,
is the Blob Brush.
| | 11:55 |
And this one came to us just a couple
versions ago, and I wanna show you the
| | 11:58 |
difference between the Blob Brush and,
say, the Pencil tool.
| | 12:02 |
If I take the Pencil tool and I put a
nice black stroke on it.
| | 12:08 |
Let's go ahead and put a black thick
stroke on that Pencil tool.
| | 12:12 |
And lemme just draw just something here
so I can show this to you.
| | 12:16 |
So I'm gonna draw a shape there.
And let's overlap with a shape there, okay?
| | 12:18 |
And let's overlap that with something
like that.
| | 12:24 |
Okay, and it's just artistic, we'll call
that artistic.
| | 12:30 |
If I do the same thing with the blob
brush, okay?
| | 12:32 |
I'm gonna do the exact same thing, I'm
gonna come down there.
| | 12:35 |
I'm gonna come across there, and I'm
gonna come down there.
| | 12:39 |
'Kay, so kind of the same piece of art.
If I go to view, outline, notice the
| | 12:44 |
difference between the two.
When you use the pencil tool, it's still
| | 12:49 |
three distinct lines overlapping each
other, and you have to control the stroke
| | 12:54 |
to get the look that you want.
And that's fine, there's nothing wrong
| | 12:59 |
with that.
But the blob brush gives us a different way.
| | 13:03 |
And that is, that, wherever we overlap.
It actually joins it as a closed path.
| | 13:09 |
It's not lines, it's path.
Watch what happens when I take this.
| | 13:13 |
We're gonna stay in this outline mode for
a second.
| | 13:15 |
Watch what happens when I take the blob
brush, and I continue to paint.
| | 13:19 |
You can see that it will continue to
treat this as a single piece of art.
| | 13:25 |
Whereas, if I did something with this
that way, the pencil tool.
| | 13:29 |
I would have that many lines that I would
have to manage.
| | 13:32 |
And if I grab it and try to move one.
Oops.
| | 13:35 |
I'm gonna have to remember to group
those, or select 'em and move 'em.
| | 13:38 |
Whereas, this is a single object.
Lets go back to preview mode and you can
| | 13:44 |
see how I can click and then choose a
different color for the fill and the
| | 13:47 |
stroke and it effects the entire thing.
And where they overlap, I get a different
| | 13:54 |
effect than if I use the pencil tool.
So the blob brush is a great artistic
| | 13:58 |
tool for you to play with.
Alright, now, let's open up this man
| | 14:02 |
yelling and let's see how these tools
working together can make a real
| | 14:06 |
difference in the way we edit art.
I am gonna select him, all one big group,
| | 14:11 |
I'm gonna go to object ungroup.
I don't want this hand in the art
| | 14:16 |
anymore,I just want his head and this
hand.
| | 14:20 |
So, I'm gonna select these 3 pieces of
art and delete those.
| | 14:24 |
I'm going to select the cuff and delete
that.
| | 14:28 |
I'm going to select this part of his hand
and delete that, that, that.
| | 14:34 |
Now if I select his hand here and delete,
notice the the hand was also one path
| | 14:39 |
that makes up his face, his ear and the
other hand.
| | 14:44 |
Mm, that's not a good idea.
How do we do that?
| | 14:48 |
Well, once again, let's look at our
drawing tools, we have lots of choices.
| | 14:52 |
One, I could erase it.
Could, come right down there and erase it.
| | 14:59 |
Could do that.
I could also take my Pencil tool, start
| | 15:03 |
on the line, redraw, End of the line, and
now I've gotten rid of it that way.
| | 15:10 |
And the other choice, well, I can take my
knife tool, come right in here, cut right
| | 15:14 |
through there, and down.
By going back to my black arrow, and
| | 15:18 |
selecting his hand, I can delete that,
and I've gotten rid of that face.
| | 15:23 |
There's lots of ways, using these drawing
tools, where you can edit existing artwork.
| | 15:27 |
I'm gonna click on his arm here, that was
his hand and I'm gonna turn that into
| | 15:31 |
another shoulder with the Pencil tool, by
starting on the line, redrawing, ending
| | 15:35 |
on the line.
If you don't like it just start again,
| | 15:39 |
and draw again.
You can keep doing that, and playing with
| | 15:42 |
it and use the Smooth tool if you want.
Now let's zoom in and take a look at his
| | 15:47 |
shirt here.
Notice, there's a tie and it's connected
| | 15:51 |
to his collar, it's one piece.
What if you wanna make the tie red, how
| | 15:55 |
would you do that?
Well, let's go to the knife tool.
| | 16:00 |
Using the knife tool, and with that art
selected, I'm gonna cut from the outside,
| | 16:03 |
into the art, come across here and back
outside the art, like that.
| | 16:08 |
When I let go, with my black arrow on
deselect, I can click on just the tie
| | 16:13 |
portion, and I'll make it filled, let's
say, with red.
| | 16:19 |
Here we go.
This part is missing.
| | 16:22 |
Hmm.
Why don't I just take the shirt, take the
| | 16:25 |
pencil tool, draw down here, and across,
and I'll put that part back into that shirt.
| | 16:32 |
Simple enough.
Let's zoom out a couple of clicks.
| | 16:34 |
We can see how we've modified this
artwork using the pencil, smooth, eraser, knife.
| | 16:41 |
Using all these drawing tools to create.
We can also use them to modify art.
| | 16:46 |
So spend some time and just play with
those.
| | 16:49 |
Don't be afraid, you've always go
unlimited undos if you mess something up.
| | 16:56 |
| | Collapse this transcript |
|
|
6. Modifying Your PathsFun with paths| 00:02 |
You've seen posters like this in print or
magazine ads or anything else.
| | 00:07 |
It gets pretty complicated and you're
thinking, now how did they do that?
| | 00:10 |
You know maybe you don't even want to
worry about.
| | 00:13 |
But maybe you really want to create
something like this and you're thinking
| | 00:15 |
well that's a font.
Well that's just a logo; they created that.
| | 00:20 |
Yeah, they created that, but what did
they create that in?
| | 00:23 |
And the starburst with the three levels,
and this guy here, and the moon.
| | 00:27 |
Can you imagine taking the pencil tool
and trying to draw a moon and, forget it.
| | 00:32 |
Not interested.
How do we create this stuff?
| | 00:35 |
Well, there are a few basic tools,
techniques and rules that you need to
| | 00:38 |
learn when working with vector art and
once you learn those, you can very
| | 00:42 |
quickly and easily create that.
And that's what we're going to do in this chapter.
| | 00:47 |
Fun with paths.
We're just gonna take simple shapes,
| | 00:50 |
simple text, all sorts of things.
And with a few simple, very easy to learn
| | 00:54 |
techniques, we're gonna create this type
of stuff.
| | 00:58 |
Before I leave you to those champers, I
just wanna show you this.
| | 01:01 |
Remember, this is all vector.
You can see the anchors and the lines in
| | 01:05 |
all of this art.
If I go to View > Outline, now you can
| | 01:09 |
see behind the scenes of the show.
And you can see that yes in fact, these
| | 01:14 |
are just paths.
So what we're gonna learn in this chapter
| | 01:18 |
is how to create those paths.
You get a whole new way of designing, as
| | 01:22 |
you're doing your ads, your posters, your
brochures.
| | 01:26 |
Whatever it is, with paths, and a few
magic tricks, we can do some amazing things.
| | 01:34 |
| | Collapse this transcript |
| The Pathfinder panel| 00:02 |
See this moon, how did we easily create
that and how do we cut off this star
| | 00:05 |
bursting all the other need things that
we can do with paths.
| | 00:10 |
How do we do that?
Well we were going to learn in this
| | 00:13 |
lesson how to take shapes, overlap them,
move them around and then using this
| | 00:16 |
pathfinder technology, chop 'em down into
these smaller little bits so that we get
| | 00:20 |
a whole new end result.
Let's go to our Pathfinder Start here,
| | 00:25 |
and let's do something really basic,
let's create the moon.
| | 00:29 |
Well, it's really simple, we're going to
start with an ellipse.
| | 00:32 |
And I'm going to draw a circle, holding
the Shift key down, so that I get a nice
| | 00:36 |
constrained circle.
There you go.
| | 00:40 |
Now I'm going to draw a second circle
over it.
| | 00:42 |
Now, if you can visualize what you want
the moon to look like, because right now
| | 00:46 |
I'm using the top shape.
I'm visualizing a cookie cutter.
| | 00:51 |
And so what's left is going to be this
shape.
| | 00:55 |
Right in here.
So with my black arrow I'm going to
| | 00:58 |
select that, hold my shift key down and
select that.
| | 01:01 |
So now I have the two shapes selected,
simple enough.
| | 01:05 |
Now remember which ones the top shape.
Window, pathfinder, opens this pathfinder panel.
| | 01:12 |
Now there are lots of buttons on here and
we're going to get into that in just a
| | 01:15 |
second but for this demonstration.
I want you to click this second one right
| | 01:19 |
here, which you can see where it says
right there, minus front.
| | 01:23 |
Well, minus front means when I push that
it's going to take the top shape and
| | 01:27 |
remove everything underneath it.
And now watch as I grab the corner here,
| | 01:33 |
rotate my moon, there we go.
Now I just need to fill it.
| | 01:38 |
With the swatch color that I want to use,
and move it into position, behind the accordion.
| | 01:44 |
Well it's not there, so I'm going to go
to object, arrange, send back, and now
| | 01:48 |
it's behind the word accordion nights.
That was really easy to create.
| | 01:54 |
I'm going to slide my art board over here
a little bit, just so I have some room to
| | 01:57 |
play with some other shapes.
Let's start really simple, lets draw A rectangle.
| | 02:03 |
There we go, simple enough.
Hold down your rectangle tool, and go to
| | 02:07 |
your star tool.
And I ant you to draw, but as you're
| | 02:10 |
drawing, hit your up arrow a few times,
and maybe control command drag, so the
| | 02:14 |
points aren't quite so big, there we go.
And now lets draw a starburst.
| | 02:21 |
Okay.
Now lets move it just over the corner of
| | 02:23 |
this rectangle for a bit, and lets go
ahead and fill it with a different color,
| | 02:26 |
so we can really see this take place.
All right, so I've got a rectangle that's
| | 02:31 |
one color.
I'm going to go ahead and make that blue,
| | 02:34 |
so it's a little bit more colorful.
So I have a blue rectangle, I have a red starburst.
| | 02:39 |
Two very distinct shapes.
If I go to view outline, you can see that
| | 02:43 |
they are in fact two shapes, 'kay.
You can see where they overlap here, 'kay.
| | 02:48 |
And you can visualize that though in
preview mode, you can kind of see where
| | 02:52 |
that's going to go, all right.
So let's select both of those paths, if I
| | 02:56 |
go to the Pathfinder, and push the first
button, which is called Unite.
| | 03:02 |
Guess what it does?
It makes a single path out of both of
| | 03:05 |
those shapes.
If I go to outline mode now, There you go.
| | 03:10 |
You can't see that part of the shape
anymore because it doesn't exist.
| | 03:14 |
Those have been molded into a single
shape.
| | 03:17 |
All right.
So undo that, go back to preview mode
| | 03:19 |
and, if I hit the second button, what do
you think is going to happen?
| | 03:23 |
Well, the star which is on top is
going to be a cookie cutter and it
| | 03:26 |
kind of just take a bite right out of
what's underneath there.
| | 03:30 |
Sure enough, all of this is gone.
All that remains are these bits of the path.
| | 03:34 |
I'm going to hit command z to undo again.
This third button is called intersect.
| | 03:41 |
What that's going to do is anywhere those
two shapes intersect, let's look at it in
| | 03:44 |
outline mode.
Wherever these two are overlapping,
| | 03:48 |
that's what's going to be affected here.
So let's go to preview mode.
| | 03:52 |
Make sure you have both selected, and
boom.
| | 03:56 |
All that's left is where they overlap.
Everything else is gone, we don't need it anymore.
| | 04:00 |
Command Z, this next one is called
exclude.
| | 04:04 |
It's going to take wherever the two
overlap and, it's going to make a donut
| | 04:07 |
out of that.
Now watch what happens when I move this
| | 04:11 |
art over the image.
So you can actually see through the hole
| | 04:15 |
that we just cut there.
Let me give you an example of where we
| | 04:19 |
might use something like that.
Let's take the ellipse tool and I'm going
| | 04:23 |
to draw a circle, okay.
And now I'm going to use the star tool
| | 04:27 |
and I'll draw a star.
Now I'm going position that star right in
| | 04:31 |
the middle.
There we go.
| | 04:35 |
Select them both.
Now if I wanted that to match this
| | 04:37 |
background, well if this background was
solid it would be possible for me to just
| | 04:41 |
fill that with the same color.
Could do that.
| | 04:46 |
But this background, as you could see,
has a gradient.
| | 04:49 |
So that would be a lot of work.
So I'm better off selecting both.
| | 04:53 |
Punching a hole right in the middle that
now I can see through that hole to
| | 04:58 |
whatever's underneath it.
So what the pathfinder does is it does a
| | 05:03 |
lot of punching.
All right?
| | 05:06 |
That's what it does.
Now I want to create another shape here.
| | 05:09 |
I'm going top go ahead and create a star
tool again and another star tool.
| | 05:13 |
Yeah, this is going to be really crazy.
I'm going to go ahead and change the fill
| | 05:16 |
color of that so we can see this.
And let me move these down here.
| | 05:17 |
There we go.
So now you can see, if we go to outline
| | 05:17 |
mode, we've got a lot going on there.
Yeah, it starts getting really crazy,
| | 05:19 |
depending on how busy our paths are.
There we go.
| | 05:27 |
Wow, yeah, that's crazy.
So let's select them both.
| | 05:36 |
Now in preview mode, down here we have a
whole bunch of other choices as well.
| | 05:40 |
We have divide.
Now what did that do?
| | 05:42 |
Didn't look like anything happened there.
Hmm.
| | 05:45 |
Well if I go to object, ungroup, I'm
going to add this, and move it.
| | 05:48 |
I'm going to grab this, and move it.
Look what it did guys.
| | 05:55 |
Everywhere the paths overlapped, it
chopped it into a small piece.
| | 06:00 |
This allows us to take any piece of art
that's overlapping and very quickly cut
| | 06:04 |
it up into smaller pieces for kind of an
explosive effect, if that's what we wanted.
| | 06:10 |
Or, maybe I wanted this And this and
nothing else.
| | 06:14 |
Well, I might of been able to do that in
one of these, but by dividing it, maybe I
| | 06:17 |
got a better result.
All right, I'm going to undo a whole
| | 06:20 |
bunch, Command Z, Command Z, Command Z.
And go back to where it's just two paths again.
| | 06:25 |
See, it's still just two paths.
All right, I'm going to select both and
| | 06:29 |
this next one here is called trim.
Hm, what did that do?
| | 06:33 |
Well, it looks like, nothing.
But if I select it and ungroup, you can
| | 06:39 |
see that it did a similar thing, but only
with what was visible.
| | 06:45 |
See before, it chopped even the
underneath stuff.
| | 06:48 |
Now, it kept the appearance of what I
had.
| | 06:52 |
Let's go back again, and you can see this.
It kept the appearance of what I had,
| | 06:56 |
but, in the end, I can ungroup it, and
then move, parts of it, if I want to.
| | 07:04 |
Notice that's a little different than
the first one we did there, which was divide.
| | 07:09 |
All right, I'm going to hop over a couple
of these for right now, because they're
| | 07:11 |
not important for us at this stage of our
learning.
| | 07:14 |
But let's go to this last one, which is
the opposite of this one.
| | 07:17 |
You know, you'd almost think they'd move
that right up there beside that like they
| | 07:21 |
do in End Design.
This is minus back.
| | 07:24 |
This is going to take the shape that's
underneath and use that As the cookie
| | 07:27 |
cutter to get rid of the shape in front.
So you have minus front here and you've
| | 07:32 |
got minus back buried down here.
So for what that's worth.
| | 07:36 |
All right, so let's put a star burst
behind this accordion player so that it
| | 07:40 |
looks like the art that we're working on
there, okay?
| | 07:45 |
We'll go ahead and nest that over there.
All right.
| | 07:47 |
So, how do we do that?
Well, I'm going to zoom out, a couple
| | 07:50 |
clicks here, so I gotta little more to
work.
| | 07:53 |
Let's grab the star tool.
Let's go right here in the middle of his
| | 07:57 |
chest and start dragging.
Let's hold the shift key down so it's constrained.
| | 08:01 |
Get it about the size you like and if
there aren't enough points, add a few
| | 08:04 |
more points, that's fine.
If they're too long or too short, hold
| | 08:07 |
the control.
Command, get em the length you want,
| | 08:10 |
there we go.
All right, go ahead and let go and let's
| | 08:13 |
reposition this a little bit behind him.
And let's go ahead and fill that with
| | 08:18 |
this light red color right there.
Object arrange send to back.
| | 08:23 |
Now the reason that's not going behind
the background is because I've got that
| | 08:26 |
on a separate layer and we'll cover that
in another chapter.
| | 08:29 |
All right, so I've got this star.
And I have all this stuff hanging out.
| | 08:33 |
Which is fine if I want to leave it
there.
| | 08:35 |
But I tend to want to be able to clean
that stuff up so that it's just, it's not
| | 08:38 |
just in our way there.
So I'm going to go over here and select
| | 08:42 |
the rectangle tool.
And I'm going to draw a rectangle that
| | 08:45 |
goes right down here to the edge of the
art.
| | 08:49 |
Can you see that?
I'm going right down there in the corner
| | 08:50 |
of the art.
What color this is.
| | 08:53 |
It doesn't matter.
Okay, and I'm going to hold my shift key
| | 08:56 |
down and select that.
So now you can see I have both paths
| | 08:59 |
selected, the star burst and the square,
the rectangle.
| | 09:03 |
Now you saw me do this earlier.
Do you remember?
| | 09:05 |
Let's do a little quiz.
All right?
| | 09:09 |
Which one of these tools will we use to
just keep the star burst?
| | 09:14 |
Well, I'm going to use the intersect,
because what I want to do is keep
| | 09:17 |
everything that, where the two overlap, I
want to get rid of the rest of the
| | 09:20 |
rectangle, and I want to get rid of the
points on the starburst.
| | 09:25 |
When I push that button, there, I got rid
of them.
| | 09:28 |
It brought them to front, because the
rectangle was the front most object.
| | 09:33 |
And so that, that's why it brought it to
front.
| | 09:34 |
So I'm going to go to object, arrange,
send it back again.
| | 09:38 |
And now I have got my star burst behind
him so as you can see the path finder alas!
| | 09:43 |
Allows us to take shapes overlap I mean
just chop, chop, chop for some simple
| | 09:47 |
very powerful designs like the moon, like
a star burst and anything else that pops
| | 09:52 |
into your head.
| | 09:55 |
| | Collapse this transcript |
| Compound paths| 00:02 |
Alright guys, you're not in grade school
anymore.
| | 00:04 |
We're gonna cover an advanced topic here.
But it's one of those that you need to know.
| | 00:08 |
You've got to know this.
We're gonna talk about compound paths.
| | 00:12 |
If you take a look at this letter A here,
for example.
| | 00:15 |
Let me just zoom in on it.
It's not one path.
| | 00:18 |
One path is the outline of the A.
The other path is the star.
| | 00:23 |
And together they create a compound path.
Okay?
| | 00:27 |
That sounds simple enough?
All right.
| | 00:30 |
So, anytime you've got a letter that has
an inside, that would be an example of a
| | 00:33 |
compound path.
This here, this logo right here, is also
| | 00:38 |
a compound path.
There's one path that makes up the
| | 00:42 |
outside, but then there's another path
that makes up the inside.
| | 00:46 |
This is multiple paths.
Look.
| | 00:48 |
One, two, let's go ahead and count this,
three, four, and then the outside path,
| | 00:52 |
there's five paths put together as a
single compound path to make this look.
| | 00:58 |
Okay, how do we do that?
Well, let's go to this art right here and
| | 01:02 |
let's just do it.
Are you ready?
| | 01:04 |
Then we'll zoom in on this letter, this
type is already created as art, and I've
| | 01:08 |
gotta box.
So, I'm gonna hold my Shift key down and
| | 01:11 |
select both.
If I go to Object > Compound Path > Make.
| | 01:17 |
There we go.
That was it.
| | 01:19 |
That's all there is to it.
I'm gonna go over here and choose a fill
| | 01:23 |
color for that.
Let's make that, that color's fine.
| | 01:27 |
Okay?
There we go.
| | 01:29 |
I'm gonna zoom out a little bit.
And let's look at these letters.
| | 01:34 |
They're all grouped together.
Object > Ungroup.
| | 01:40 |
Now if I select that A, again it's a
compound path.
| | 01:44 |
Let me zoom in there so we can see this.
If I don't want it to be a compound path
| | 01:48 |
anymore, Object > Compound Path >
Release.
| | 01:53 |
Now, it's two separate paths.
There's the inside, there's the outside.
| | 01:58 |
I can delete that cuz I don't want that
anymore.
| | 02:00 |
I'm gonna go over here to my Star tool
and I'm gonna click.
| | 02:04 |
And I'm gonna tell it to make Radius 1.
Let's make this small, 0.25.
| | 02:09 |
Radius 2, 0.5.
And let's do 5 points on it.
| | 02:15 |
Let's just see what we get.
There we go.
| | 02:17 |
All right, good enough.
Now, that's a still little big but that's alright.
| | 02:21 |
I am not even worried about the color, so
if yours is a different color than mine,
| | 02:25 |
don't worry about it.
I wanna bring it right over here and
| | 02:30 |
position it where it's in the center of
that A.
| | 02:33 |
Hold my Shift key down, just like we did
on the previous logo.
| | 02:37 |
I have the star and the outside selected,
Object > Compound Path > Make.
| | 02:41 |
Now, some of you who watched the previous
chapter on Pathfinder might say, well,
| | 02:44 |
can I do that with a Pathfinder?
Yeah, cuz the Pathfinder makes compound paths.
| | 02:51 |
It also makes non-compound paths, though.
So, I think it's important that you
| | 02:54 |
understand that I can release this star
at any moment by going Object > Compound
| | 02:58 |
Path > Release.
And now, it's not there anymore.
| | 03:02 |
I'm gonna hit Cmd+Z to undo that cuz I
wanna show you that if I go to my White
| | 03:05 |
Arrow and click on that star, the star is
selected.
| | 03:09 |
But that notice I don't have any points
selected.
| | 03:12 |
So, I'm gonna hold my Alt key down and
I'm going to now have all of them selected.
| | 03:17 |
Can you see the blue anchors now?
Notice nothing else is selected.
| | 03:22 |
I'm just going to use my arrow keys and I
can play with the position of this now.
| | 03:27 |
And all it's doing is changing where that
path is, but it's still part of a
| | 03:31 |
compound path.
How cool is that?
| | 03:35 |
All right?
So, I'll play with that a little bit, get
| | 03:37 |
it the way I like it.
If I wanna change the size of it, I can
| | 03:40 |
go back to my black arrow and I can make
that just a little bit smaller.
| | 03:44 |
There's my compound path, I can do that
the same way on this O.
| | 03:49 |
Object > Compound Path > Release.
I'm gonna select the middle, delete it,
| | 03:54 |
and go to my Star tool and I'm gonna make
this one, just down here at the bottom,
| | 03:58 |
I'm not gonna make it right in the
center.
| | 04:02 |
Oops.
That over.
| | 04:04 |
Select the background.
Object > Compound Path > Make.
| | 04:09 |
So now, you can just keep going through
all your art.
| | 04:13 |
Release the compound path.
Make the compound path.
| | 04:21 |
And as you can see now, it's quite easy
for us to go through this text, and put
| | 04:25 |
stars there to fit the feel of Accordion
Nights as opposed to going and looking
| | 04:29 |
for a font that might do that for us.
So, we can create logos.
| | 04:36 |
We can chop out for letters.
Any time we wanna join two paths
| | 04:40 |
overlapping for a more complicated
design, compound paths might be there.
| | 04:45 |
What's more important to know, I think in
this lesson, is how to release a compound path.
| | 04:51 |
Cuz you know the Pathfinder will do lot
of this.
| | 04:54 |
We can't release the compound path there.
And I may wanna get rid of those star,
| | 04:58 |
Object > Compound Path > Release.
So, just remember that when you see
| | 05:02 |
something complicated, you can break it
into smaller bits by releasing the
| | 05:06 |
compound paths.
| | 05:08 |
| | Collapse this transcript |
| Outline stroke| 00:02 |
In this video, I'm gonna show you one of
my favorite tips.
| | 00:05 |
It's one of my favorite tips, because,
it's one of those things we need all the time.
| | 00:09 |
And once we discover it, it literally
change the way we work.
| | 00:13 |
And I remember, when I discovered it, and
I think it's still marked on a calendar somewhere.
| | 00:16 |
It's just such a huge feature.
Let's zoom in and look at this logo right here.
| | 00:21 |
See those piano keys on the logo?
How did I create that?
| | 00:25 |
Well, human nature may have us do
something like this.
| | 00:29 |
I'm gonna go back to this original
document before I did that.
| | 00:33 |
And let's take our line segment tool.
And I'm just gonna draw a simple line.
| | 00:39 |
There we go.
And let's put a stroke on it.
| | 00:41 |
Something like that, maybe too big.
Let's go with like five points maybe.
| | 00:45 |
Good enough.
And let me make that just a little bit longer.
| | 00:49 |
Okay, now I'm going to, with this line
that I've created or this stroke, it's
| | 00:54 |
got a black stroke on it, okay?
I'm gonna go ahead and duplicate this.
| | 00:59 |
Alright, so I'm gonna hold my Alt key
down and my Shift key, and I'm just gonna
| | 01:03 |
drag to the right here a little bit and
let go.
| | 01:06 |
And now I've got the second key.
I wanna keep that uniform going all the
| | 01:10 |
way across the art here.
So I'm gonna just hit Cmd on a Mac, Ctrl
| | 01:14 |
On a Windows machine, D and I'm gonna
keep hitting that, Ctrl+D, Ctrl+D,
| | 01:17 |
control d, command d command d.
I'm just going all the way across this
| | 01:23 |
art to about there, and if it's not
exact, don't worry about that right now.
| | 01:28 |
Okay?
Now, I'm gonna go to every third key,
| | 01:31 |
actually, I guess every fourth key, one
two three, and.
| | 01:35 |
The numbers may not be exact, but that's
okay.
| | 01:37 |
We're just creating a logo here.
And, I'm going to make that shorter.
| | 01:41 |
Well, I don't remember exactly what the
height was there.
| | 01:43 |
I did one, but what are the odds of
getting that exact?
| | 01:46 |
And even if I could, I'm really lazy.
So I'm gonna hit Cmd+D, again.
| | 01:50 |
Notice that it remembers the last
transition.
| | 01:53 |
That we did.
By the way, this isn't a shortcut
| | 01:55 |
(LAUGH).
That's just a good tip, but where I'm
| | 01:57 |
going next is really what I wanna show
you.
| | 02:00 |
Here we go, and, perfect.
Okay, so now I have the keys to this
| | 02:04 |
accordion, we'll just say that.
Alright.
| | 02:08 |
Well, here's the issue guys.
These are lines.
| | 02:11 |
How do I use Pathfinder with lines?
Let's look at this.
| | 02:16 |
If I drew a simple square, there we go.
And I drew a line.
| | 02:24 |
Even if I make a really thick stroke on
that line, and let's fill this shape with
| | 02:28 |
the black.
Okay, so that looks the way I want it to look.
| | 02:35 |
But if I go to View Outline, it's a line
and a closed path.
| | 02:39 |
Well, you can only use pathfinder with
closed paths.
| | 02:44 |
You can only use compound paths with
closed paths.
| | 02:47 |
This isn't a closed path, it's an open
line.
| | 02:48 |
That's all it is is a line.
Well, I'm pretty lazy guy.
| | 02:53 |
I'm probably not gonna wanna recreate
that by going over here and trying to
| | 02:57 |
redraw that exact same thing.
I'm just not gonna do that.
| | 03:02 |
So what's the trick?
Here we go.
| | 03:03 |
You're ready?
Select the line, Object > Path Outline
| | 03:07 |
the stroke, what it does is it takes the
stroke and the thickness that you've
| | 03:11 |
applied to it and it makes an outline.
Let's look at it in outline mode now.
| | 03:18 |
See?
It's not a line anymore.
| | 03:19 |
It's now a path.
So I can select them.
| | 03:22 |
I can go Window > Pathfinder and unite
them as a single path now, whereas, I
| | 03:27 |
couldn't have done that when it was just
a line.
| | 03:32 |
Alright, so what are we gonna do here
then?
| | 03:34 |
Well, I'm gonna stay in Outline mode.
And I'm just gonna grab here and drag across.
| | 03:38 |
I select only my lines.
I'm gonna go to view, preview mode.
| | 03:43 |
And now you can see that I've got all
those lines selected.
| | 03:46 |
Ready for the fun part?
Object > Path > Outline the stroke, and
| | 03:51 |
now all those keys are paths.
I can kind of position it where I want
| | 03:56 |
it, hold my Shift key down, select the
art behind it.
| | 04:01 |
Window > Pathfinder.
Second button is minus front, kaboom, and
| | 04:06 |
now, you'll see that I've knocked all
those lines out of this art.
| | 04:12 |
Let's zoom out a little bit, you can see.
That, as I move this around my page, you
| | 04:16 |
can see through, the keys, to what's
behind, because it's knocked out, it's
| | 04:21 |
gone, doesn't exist.
One of my favorite tricks.
| | 04:28 |
Take a stroke, outline it, and now you
can use it with Pathfinder to get the
| | 04:33 |
desired effect.
| | 04:35 |
| | Collapse this transcript |
| Offset paths| 00:02 |
OK, so how do I get this look?
How do I get this outline of the text there?
| | 00:08 |
Make this starburst bigger like that,
different levels?
| | 00:12 |
How do I do that?
You might think it's just scaling, but
| | 00:15 |
let's go to this accordian nights offset
paths document, and if I scroll over to
| | 00:18 |
the paste board, I've given you an
example of how it doesn't work.
| | 00:23 |
I've got this c alright and it's a path
you can see that and I am gonna copy this
| | 00:28 |
and I am going to paste in front.
So just put it exact replica on top of
| | 00:34 |
itself, you can see that, okay.
And I'll go ahead and change the color of
| | 00:38 |
it cuz I wanna make this.
Behind it with an outline like I showed
| | 00:42 |
in the previous example.
Try scaling it.
| | 00:45 |
Hold your shift key down and just make it
a little bit bigger, and you'll see that
| | 00:50 |
you can't.
I'm going to go to object, arrange, send
| | 00:55 |
it back.
So, now you can see that c in front of
| | 00:58 |
it, but use your arrow keys and nudge it
around a little bit.
| | 01:01 |
See, it doesn't work, scaling only grows
it out or shrinks it in.
| | 01:07 |
Notice it doesn't take the whole path and
have it come outside like I really want
| | 01:11 |
it to do.
So in order to do that, we have to use a
| | 01:15 |
different trick, alright, it's called,
offset path.
| | 01:19 |
Let's start with something simple, like
this starburst.
| | 01:22 |
So with the starburst selected, I'm gonna
go to Object Path, offset path, and turn
| | 01:29 |
on preview.
It's a good idea to turn that on.
| | 01:33 |
And now you can play with the amount up
here.
| | 01:36 |
I just left it at the .125.
And I'm gonna put this back down to 4 cuz
| | 01:39 |
that's actually the default setting.
Now look what happens to the points of
| | 01:43 |
the star when it's on miter limit 4.
It just kinda lops it off there.
| | 01:48 |
And you can do that with Other corners of
really challenging letters.
| | 01:52 |
So, I recommend you really look at your
art and increase that miter limit until
| | 01:56 |
you make sure you have all your points
there.
| | 01:59 |
When you get it the way you like it, hit
okay and now that's our bigger path.
| | 02:04 |
But let's look at it here under view
outline mode.
| | 02:07 |
And you can see that I still have the
original one there as well.
| | 02:11 |
Now, if I use my white arrow, and I
select that path, I can actually
| | 02:15 |
manipulate it separately from the other
one.
| | 02:19 |
Let's go back to preview mode, and let's
just do a simple fill to give that a
| | 02:22 |
different color.
Or, maybe I want to fill it with the
| | 02:26 |
other color.
And with my white arrow I'll select the
| | 02:30 |
outside one and I'll fill it with a
darker color.
| | 02:34 |
That was fun.
Now let's take this text, let's select it.
| | 02:41 |
Let's do the same thing, Object, Path,
Offset Path, Turn on preview, and maybe
| | 02:49 |
0.125 is too big.
So let's bump that down to just 0.1 and
| | 02:54 |
see what we get.
It's a little smaller; not quite as
| | 02:57 |
obnoxious there.
Let's go ahead and accept that.
| | 03:01 |
Okay?
Brought it to the front.
| | 03:03 |
You can see that's selected.
Let's fill that with this light blue,
| | 03:06 |
'cause it didn't really bring it to the
front, it just had it selected; looked
| | 03:09 |
like it did, but it wasn't.
So now we've given some dimension to that.
| | 03:14 |
Text there, this starburst, and now the
arts a lot more exciting, because we've
| | 03:18 |
got multiple layers, highlights, and
things like that.
| | 03:22 |
So, sometimes you'll need to enlarge a
path because you just need it to be bigger.
| | 03:26 |
And, scaling doesn't work, so you'll do
the offset path.
| | 03:29 |
In this case, we use it to give our
design a little bit of pizazz.
| | 03:36 |
| | Collapse this transcript |
|
|
7. You've Made a Path, Now What?Transforming objects| 00:02 |
If there's something you want to change
in your art, you're better off learning
| | 00:05 |
how to transform it than deleting and
then starting all over again.
| | 00:10 |
It maybe something as simple as a rotate
or scaling it or skewing it or maybe
| | 00:15 |
duplicating it, or any number of other
transformations.
| | 00:21 |
Maybe you want these two moons to line up
perfectly.
| | 00:24 |
There's all sorts of buttons, drop down
menus, tools, keyboard shortcuts, that
| | 00:29 |
allow us to achieve that without having
to delete our art and starting again.
| | 00:35 |
Or trying, omigod, can you imagine
redrawing this same art over and over and
| | 00:38 |
over again?
We're not gonna do that.
| | 00:40 |
We're gonna learn all sorts of neat
tricks.
| | 00:42 |
And then we're gonna learn how to
organize them through groups and how to
| | 00:45 |
arrange them with alignment.
So, this is a busy chapter on
| | 00:50 |
transforming those objects on our art.
| | 00:55 |
| | Collapse this transcript |
| Duplicating objects| 00:01 |
Alright, I think this artwork need some
stars.
| | 00:04 |
The stars I put in the text here, it's
just not enough.
| | 00:07 |
We've gotta really, really, really make
this night happen.
| | 00:11 |
So let's draw some stars.
Let's for now go to window, layers.
| | 00:16 |
And in the layers panel, I've actually
broken this art up.
| | 00:18 |
And I'm gonna turn off the visibility of
the top layer and select layer two.
| | 00:22 |
And that's where we're gonna put our
stars for this exercise.
| | 00:26 |
Okay?
Now, I'm gonna go to my star tool and I'm
| | 00:28 |
just gonna draw a star.
And let me just hold my command key down
| | 00:32 |
and make that a little bit bigger.
Okay?
| | 00:35 |
Yeah, that works pretty well.
And I'm gonna go to my Swatches panel
| | 00:38 |
here and fill that with, let's say,
yellow for right now.
| | 00:43 |
Okay, great, now I've got one star.
Now I really don't want to draw another
| | 00:46 |
star, an draw another star, an draw
another star.
| | 00:50 |
So how do we duplicate?
Well I could go object, Hm, I don't see
| | 00:54 |
any duplicate there.
Hm, edit, no, hm, what would we do?
| | 01:01 |
Well, I could copy it, and then I could
paste it.
| | 01:08 |
Alright, well that was pretty easy, then
I could move it to position.
| | 01:11 |
We could do that, we could do that.
Before I show you the next trick I'm
| | 01:14 |
gonna show you, let me just show this one
little worthwhile thing about copying though.
| | 01:19 |
I love this paste in front or paste in
back, what that allows me to do, is if I
| | 01:22 |
paste that in back, you can't see that
it's there, but there is a star there and
| | 01:26 |
if I enlarge this just a little bit.
Look at that, and now I can fill that
| | 01:32 |
with a different color and you can see
where I've got one star exactly behind
| | 01:35 |
the other.
So there's times when you want to do a
| | 01:39 |
paste in front or paste in back.
But for right now let's try a different
| | 01:43 |
trick, I'm going to move this star up
here.
| | 01:45 |
You ready for this?
I'm gonna hold my alt key or option key
| | 01:48 |
down and drag, and ta-da!
I've duplicated it.
| | 01:52 |
That was simple enough.
But, I want it to be in line with this.
| | 01:55 |
So, as I'm holding my alt key and
duplicating, I'm gonna hold my shift key
| | 01:59 |
down, and that will keep it constrained.
To a right or 45 degree angle.
| | 02:06 |
Okay, so now I'm gonna put that star
right there.
| | 02:09 |
Good enough.
Now I wanna keep doing that.
| | 02:11 |
Now what are the odds of me moving that
the exact same distance all the way across?
| | 02:16 |
Probably pretty slim.
So look here, I've got Object > Transform.
| | 02:22 |
Transform again.
Forget this, remember the shortcut.
| | 02:26 |
Command D, or control D.
Now watch what I'm gonna do.
| | 02:29 |
I'm gonna just hit command D, D, D, D, D,
D, D, and now I just repeated that
| | 02:33 |
transformation all the way across the
page.
| | 02:37 |
That doesn't just work with moving, or
duplicating, it works with all sorts of transformations.
| | 02:43 |
Object transform Move, rotate, reflect,
scale, sheer.
| | 02:47 |
So watch what happens if I take this one
and I let's say move it down here.
| | 02:53 |
I can grab this one, hit command or
control D and it does the exact same
| | 02:56 |
thing right here.
Boom, it does it again.
| | 03:00 |
It remembers the last transformation you
made and you can do it over and over again.
| | 03:04 |
So often times when I'm duplicating
something, I'll Let's make this a little smaller.
| | 03:10 |
I'll option drag, at an angle, let's just
do that.
| | 03:14 |
And then command d d d d, and you can
see, that it just keeps doing the exact
| | 03:17 |
same transformation.
That's a great shortcut.
| | 03:21 |
So duplicating, really guys, is as easy
as, option drag.
| | 03:26 |
And then move it where you want or if you
want to step it, command D D D.
| | 03:29 |
That's probably the best way to do it,
with one exception, and that's copy,
| | 03:33 |
paste in front, paste behind.
There are times when that's the best
| | 03:38 |
shortcut you can know.
| | 03:41 |
| | Collapse this transcript |
| Aligning objects| 00:01 |
So I'm still working on this poster, and
I want these stars.
| | 00:04 |
I'm gonna go to my Layers panel, and turn
off that top layer, and select layer three.
| | 00:09 |
And I'm just gonna draw a star here, and
here, and here, and here, and here, and
| | 00:13 |
here, just gotta bunch of stars.
Alright.
| | 00:17 |
Okay, and now I'm looking at 'em and I'm
thinking, you know, I think I want those
| | 00:22 |
lined up along the top.
Well, if I select all of those, up here
| | 00:27 |
in the control bar I've got all these
alignment icons, or if I go to Window,
| | 00:32 |
Align, I have the align panel.
Now, this icon kind of tells us what it's
| | 00:38 |
gonna do, but I just hold my cursor
there, it'll tell me align left, align top.
| | 00:44 |
So let's click align top, and you can see
all those stars just snap to the top
| | 00:48 |
based on where the highest anchor is.
If I align bottom, you can see it lines
| | 00:53 |
those to the bottom.
Simple enough.
| | 00:56 |
Align right.
Now they're all aligned at the bottom,
| | 00:59 |
and the right.
Okay, I'm gonna hit Cmd z a few times and
| | 01:02 |
make it messy again.
Now in addition to that I have distribute.
| | 01:06 |
So if I were to align these to the top.
And I'm just going to move this down a bit.
| | 01:12 |
I'm gonna bring this star out.
Let's select 'em all again.
| | 01:15 |
And align top.
And this time I'm gonna distribute the
| | 01:19 |
centers horizontally and now you can see
that the centers of these objects are all
| | 01:24 |
exactly aligned.
Or, let me go to the show options in that
| | 01:29 |
align panel and I can distribute the
spacing between those stars evenly, and
| | 01:33 |
now you can see that the space between em
is exactly the same all the way across.
| | 01:40 |
If I want to move them closer together
Let's do this.
| | 01:43 |
Let's actually center those.
Here we go and let's move this one
| | 01:47 |
further to the left.
Select 'em all and redistribute the space.
| | 01:52 |
And now we've bought 'em all closer
together.
| | 01:54 |
It's great when somebody says, you know,
I want those to go all the way across.
| | 01:57 |
I don't have to move and then guess and
then guess.
| | 02:02 |
All I do is move this where I want it.
move this where I want it, now it's like
| | 02:06 |
book ends.
I'm gonna select 'em, recenter, and redistribute.
| | 02:11 |
So maybe with stars its not as effective
if, as say if I drew a box here, and a
| | 02:15 |
box here, and a box here, and a box here.
Notice they're all different sizes, which
| | 02:21 |
is okay, I select them all.
Distribute, Distribute the spacing.
| | 02:25 |
Now it's even between them, or I could
distribute the spacing based on the
| | 02:29 |
centers of the objects, okay?
So now the centers of those objects are equidistant.
| | 02:35 |
Here, the space between the objects is
the same.
| | 02:39 |
Alright, so that's a nice little trick in
aligning things.
| | 02:42 |
I want to show you one last thing.
I'm gonna take this box, and I'm gonna
| | 02:46 |
take this white arrow there, the direct
selection tool, click on that anchor
| | 02:49 |
right there and move that up.
And I'll move it out, just, just go crazy here.
| | 02:56 |
Now I've decided that I don't want it
like that again.
| | 03:00 |
I want this anchor and this one to be
lined up.
| | 03:04 |
Well, if I select both anchors like that
and I hit left, notice that it lined up
| | 03:08 |
on the left.
I'm gonna undo that.
| | 03:11 |
And if I hit the right Notice that it
goes to the right, okay?
| | 03:15 |
So that worked fine.
But watch what happens if I select in
| | 03:18 |
like this, click.
Shift click.
| | 03:21 |
Now watch what happens when I hit left.
It worked.
| | 03:24 |
Undo.
Watch what happens when I hit right.
| | 03:26 |
It still goes to the left.
The logic here is that the last anchor
| | 03:30 |
you select is the one it's gonna align to
no matter which one of those you use.
| | 03:35 |
So if I wanted this to be a rectangle
again I could select these two anchors
| | 03:39 |
and say, there, then I'll select this
anchor and this anchor and there, and now
| | 03:44 |
it's a rectangle again.
So you can align anchors as well as
| | 03:50 |
multiple objects through the align panel.
But keep in mind that once you select
| | 03:57 |
more than one object, this comes to life
up here in the control bar and you don't
| | 04:01 |
really even need this align panel to do
what you wanna do.
| | 04:05 |
One final note on alignment.
Right here we can choose to align to
| | 04:09 |
selection, align to a key object or align
to art board.
| | 04:13 |
Hm, what does that mean, align to key
object?
| | 04:16 |
I want to take this star.
And I'll change the fill color.
| | 04:19 |
Make it purple, there we go.
Now I'm gonna take this square, hold my
| | 04:23 |
Shift key, select this circle and I'm
gonna center them.
| | 04:27 |
Notice that they both met in the middle.
I'm gonna undo that.
| | 04:31 |
Let me bring this to front.
Object arrange, bring to front, there we go.
| | 04:35 |
I'm gonna select 'em both again.
And this time before I hit that, I can
| | 04:39 |
tell it which object I want to stay
stationary.
| | 04:43 |
If I hit that star, notice the little
outline it gives us, and when I hit
| | 04:47 |
centered, then it brings the box to the
star.
| | 04:50 |
I'm gonna undo that.
Select 'em both again.
| | 04:53 |
This time, I'll click the rectangle.
See the bold outline there.
| | 04:58 |
And I'm telling it, I want that to be
what it centers on.
| | 05:02 |
So I can use these based on selection or
a key object.
| | 05:06 |
And if I leave it on selection, I don't
have to choose the key object.
| | 05:09 |
I just wanted to explain that to you.
And then the art board, right there.
| | 05:12 |
I can say, center this star on the art
board.
| | 05:17 |
There, and there.
I tend, I would say 95% of the time I'm
| | 05:24 |
on a line to selection.
| | 05:28 |
| | Collapse this transcript |
| Grouping objects| 00:02 |
There's nothing more frustrated when your
art starts getting really complicated
| | 00:05 |
than trying to grab something and move it
and you realize you're only grabbing a
| | 00:09 |
part of that.
And what's really bad is when you notice
| | 00:13 |
it until it's too late.
You're well down the road and you go oh, great.
| | 00:17 |
Now your choices are either moving it
back ot just undoing until it gets back
| | 00:20 |
to where you wanted it to be.
So one of the things we want to learn in
| | 00:24 |
this episode is grouping, so I don't grab
that and then, oh now I've got to move
| | 00:28 |
that and there's a lot going on there.
It's really quite simple.
| | 00:34 |
I select that, hold my Shift key down,
select additional objects that I want in
| | 00:38 |
that group and object group.
There you go.
| | 00:42 |
Yep, that was pretty simple.
So, this is pretty complicated art.
| | 00:46 |
I'm not gonna shift-click around.
What I may want to do is, select, then
| | 00:51 |
deselect the objects that I don't want
included in that.
| | 00:55 |
And, looks like I have them all, and now
I can object-group that.
| | 01:01 |
You want to ungroup.
You can ungroup them as well.
| | 01:04 |
Or, if I'm working with a group, like
this, and I just want to work on
| | 01:07 |
something in the group, if I
double-click, I move into what's called
| | 01:11 |
isolation mode, and now I'm only working
on that object or that compound path, in
| | 01:15 |
this case, within this group.
So, I select it.
| | 01:21 |
I'm only working on that 1 object.
But I can hit command a, because I'm
| | 01:25 |
working on a compound path.
It'll go ahead and select all those objects.
| | 01:29 |
There's a whole chapter on isolation
mode.
| | 01:30 |
I'm just showing you, you don't have to
ungroup to be able to work on an element
| | 01:34 |
within a group.
Now, another nice thing to know is that
| | 01:38 |
you can use your white arrow or direct
selection tool to select subparticles to
| | 01:42 |
a group.
In this case, I wanna change the words,
| | 01:46 |
accordion nights.
If I click on those, only with the white
| | 01:49 |
arrow, it selects that and not what's in
the blue.
| | 01:53 |
And now I can go ahead and change the
color that way.
| | 01:57 |
So the white arrow allows us to get
within objects within a group as well, so
| | 02:01 |
let's select just his face, and now I can
go in here and choose that color for Just
| | 02:05 |
his face.
I'll wanna do the same thing with his
| | 02:09 |
hands, with my white arrow I'd get right
in there.
| | 02:12 |
Choose that, and now I make those changes
as well.
| | 02:15 |
So it's important to know that the white
arrow allows you to get within subgroups.
| | 02:20 |
The black arrow will allow you to keep it
as a group so that you can move it around
| | 02:24 |
without having to spend a lot of time
clicking on things.
| | 02:30 |
| | Collapse this transcript |
| Arranging objects| 00:00 |
All right.
Now I'm gonna show you something that
| | 00:03 |
drives people nuts.
All right?
| | 00:06 |
Until you understand what's going on,
this'll drive you crazy.
| | 00:10 |
In this artwork, go ahead and select that
moon.
| | 00:12 |
And go Object > Arrange > Bring to Front.
Now, that's pretty straightforward, we
| | 00:16 |
understand that.
I think I want to put that moon behind
| | 00:19 |
the letters but in front of that blue
background there.
| | 00:24 |
Kinda put it right between there.
So, I'm gonna select the moon and go
| | 00:28 |
Object > Arrange > Send Backwards,
because I am gonna send it backwards,
| | 00:31 |
behind one item, right?
Well, that didn't work.
| | 00:34 |
So, let's try it again.
Object > Arrange > Send Backwards.
| | 00:37 |
Let's try that again.
That didn't work either.
| | 00:39 |
Mm, why not?
That's the next thing underneath there.
| | 00:42 |
That's, that's what logic tells us.
Okay?
| | 00:44 |
But I wanna explain how this arranging is
really working and then you'll go, aha.
| | 00:49 |
I'm gonna create a new document.
And for this demonstration, I'm gonna
| | 00:53 |
rely on the layers panel.
This is not a layers lesson but it helps
| | 00:57 |
to see this.
So, let me go to my Panel options and
| | 01:00 |
make this large.
Okay.
| | 01:02 |
So, here's my layer.
I'm gonna draw an object on right here.
| | 01:06 |
Just put an object right there, and I'm
gonna fill it with yellow.
| | 01:10 |
There it is, it's on that layer, you can
see that, there it is.
| | 01:14 |
Okay.
Now, I'm gonna draw another object.
| | 01:17 |
Let's just do another rectangle, that's
fine.
| | 01:19 |
Didn't even have to be the same size.
And let me fill it with another color, blue.
| | 01:24 |
And notice that it's on top, in the
hierarchy, on that document.
| | 01:28 |
Lets draw another one, another rectangle
here, and I'll fill this one with red.
| | 01:33 |
And once again, you can see that that's
on top.
| | 01:37 |
So, what you're learning here is, that as
we draw in Illustrator, whatever we draw
| | 01:41 |
in chronological order is going to be on
top until we intervene and do something else.
| | 01:48 |
Okay?
So, now what you can see is, that since
| | 01:50 |
the yellow was built first, it's on the
bottom.
| | 01:54 |
Well, since these things aren't
overlapping each other, it's not really
| | 01:58 |
an issue.
But when I move this over it, like this, okay?
| | 02:02 |
Let's go one step further.
Let's say that it was only in front of
| | 02:05 |
the yellow item.
And I were to say send backward.
| | 02:10 |
Object > Arrange > Send Backward.
Well, notice it didn't go behind the
| | 02:14 |
yellow thing that we visually see as
right below it.
| | 02:17 |
But look right here.
It went below the red thing, which we
| | 02:19 |
know, chronologically was the last thing
built.
| | 02:23 |
So, therefore, it was sitting right below
it.
| | 02:26 |
So, don't think visually, when you send
backward, bring forward.
| | 02:29 |
Think in terms of chronologically when
things were built.
| | 02:32 |
Alright?
Let's go ahead and undo that.
| | 02:34 |
So now, again, green is on top, red,
blue, yellow.
| | 02:38 |
So, watch what happens when I put this
all the way over all of them and I go
| | 02:41 |
Object > Arrange > Send Backward.
Yup.
| | 02:44 |
Object > Arrange > Send Backward.
Mm-hm.
| | 02:48 |
Object > Arrange > Send Backward.
So, you can see that what happens is,
| | 02:52 |
it's looking anywhere in this document
for what the next item below is, and it
| | 02:56 |
will keep going there.
Below it, you don't see that because
| | 03:01 |
what's under it may be way over here and
it may be small, and it's the thing that
| | 03:05 |
you're sending it behind, not what you
intended to.
| | 03:10 |
So, it's kind of useful to understand how
that works as you're doing that Object >
| | 03:13 |
Arrange > Bring to Front, Send to Back,
Bring Forward, Send Backward.
| | 03:18 |
And if the document is on layers, like
this one, if I'm on that layer, if I have
| | 03:22 |
something on that layer and I go to
Object > Arrange > Send to Back, it's
| | 03:26 |
only sending to back of that layer.
The background is on another layer, so it
| | 03:32 |
doesn't go behind that.
All right.
| | 03:35 |
So, hopefully, what we learned in this
lesson was, don't be so confused when
| | 03:38 |
you're working on complicated art.
And you say, Send Backward, and it
| | 03:42 |
doesn't do what you wanted, it may be
because there's a little square, a little
| | 03:45 |
letter or something way off somewhere
else.
| | 03:48 |
And Illustrator thinks that is what's
just below it.
| | 03:54 |
| | Collapse this transcript |
| Transform tools| 00:02 |
When we get right down to it and we're
ready to make a few changes to this art,
| | 00:04 |
just some final tweaking.
There are a few tools that can help us
| | 00:08 |
transform as well.
Now, in the more recent versions of
| | 00:12 |
Illustrator, the black arrow has taken on
more power.
| | 00:15 |
There was a day when it couldn't even
rotate.
| | 00:18 |
It was frustrating.
Yeah, believe it or not.
| | 00:20 |
That was like wow, hey that's nice
improvement.
| | 00:22 |
Okay there's things it will do now.
But we go down here and we actually have
| | 00:25 |
a rotate tool.
Now why would I have a rotate tool if I
| | 00:28 |
can just go with a black arrow.
Well, notice that when I change the
| | 00:31 |
rotate tool, there's that little axis
that shows up in the middle.
| | 00:35 |
Let's look at it again.
This is the bounding box, okay.
| | 00:38 |
So just kind of visualize the middle, and
when I go to the rotate tool, it puts
| | 00:41 |
that right there.
Well I can actually hold my alt key down
| | 00:45 |
and move this right up there to that
point, and now when I rotate either
| | 00:49 |
numerically, or if I just drag, that's
the axis on which I'm rotating.
| | 00:56 |
And you'll see that in all the tools,
including the scale tool, so let's just
| | 01:00 |
switch now to the scale tool right here,
and let's say I wanted to scale this.
| | 01:05 |
Well, notice it's gonna grow from the
center out because that's where the axis is.
| | 01:10 |
Alright?
And I can do that with the black arrow.
| | 01:12 |
So you're thinking, why would I do that?
Well, if I hold my option key down, and
| | 01:15 |
move that axis point there.
Now, as I scale it, I'm going from that
| | 01:20 |
point out.
So it's a way for me to anchor things and
| | 01:23 |
keep 'em there.
So that's an advantage of those tools
| | 01:26 |
over the black arrow.
Another advantage is, you can be numerical.
| | 01:30 |
I can select that moon, double click, and
tell it.
| | 01:33 |
Rotate that at whatever degrees I want
to.
| | 01:36 |
I can also hit copy at this point, and
have it duplicated as I'm doing that.
| | 01:40 |
Same thing with scale I can select this
object right here.
| | 01:43 |
Double click on scale, and I can do a
uniform or nonuniform.
| | 01:47 |
And this is important if there are
strokes on that art I can have those
| | 01:50 |
scale with it.
So it's a one point stroke as I grow it
| | 01:54 |
1.2, 1.5, whatever.
Same with effects drop shadows and things
| | 01:58 |
like that.
So that's kind of important.
| | 02:00 |
You can also preview it as you're doing
it.
| | 02:03 |
Another tool that's nested here with the
scale tool that's kind of nice, is the
| | 02:06 |
sheer tool.
Alright?
| | 02:08 |
So I'm gonna select this text right here,
and I'm also gonna select that background
| | 02:12 |
there and group those and I'm going to go
to my sheer tool and just.
| | 02:17 |
Angle those a little bit.
And that's kind of nice.
| | 02:20 |
Alright.
That's good, that's good.
| | 02:22 |
And another one we can do is the reflect
tool.
| | 02:25 |
Alright?
So I'll take the reflect tool, and if I
| | 02:28 |
double-click on it and turn on preview, I
can say, well let's do it horizontally,
| | 02:32 |
and let's copy that while we're at it.
So now, I just made a duplicate of it.
| | 02:39 |
Alright?
And there we go.
| | 02:42 |
Now we have a reflection of it that, of
course, I would tone down the color and
| | 02:46 |
things like that.
We've got a reflection of it.
| | 02:49 |
And you could do that both horizontally
and vertically.
| | 02:52 |
And so maybe I want to flip this moon; I
want it facing a different direction.
| | 02:55 |
Go to the reflect tool, Let's play with
it, vertical, hit okay, and now the moon
| | 02:59 |
is facing the other direction.
Alright?
| | 03:02 |
So, just remember these transform tools
over here, as you're working.
| | 03:06 |
And then we also have the free-transform
tool, which does a lot of what we just
| | 03:09 |
talked about all in one tool.
Okay?
| | 03:12 |
But, we don't have the controls of the
axis.
| | 03:15 |
So.
I don't use this tool that much.
| | 03:18 |
The biggest time I use that is with area
type.
| | 03:23 |
| | Collapse this transcript |
|
|
8. This Isn't Your Average Brush ToolIntroduction to brushes| 00:02 |
Sometimes, strokes just are, well,
boring.
| | 00:05 |
Yeah, I can create a line that goes from
the city to the satellite down to the
| | 00:09 |
radio, but it's just a line.
Throw some lines in the sky, and no
| | 00:14 |
matter how thick you make them, they're
just lines.
| | 00:17 |
So in this chapter, we're gonna meet the
brush.
| | 00:20 |
The brush is a great artistic tool, lets
us do some really neat things from, well,
| | 00:25 |
making it look like a paintbrush to
artistic borders and lines, and well,
| | 00:29 |
just a lot of really fun stuff.
For example, I wanna have exhaust coming
| | 00:35 |
out of the back of this rocket.
Well, if I take my pencil tool and just draw.
| | 00:41 |
Well, it's just a line and even if I make
it thicker, you know, it's still kind of
| | 00:45 |
a harsh uniform edge.
Yes, I can play with some of the Presets,
| | 00:49 |
you know, and try to give it a different
look, but it's still a very clean edge.
| | 00:53 |
It's not exhaust.
So, let's delete that and let's go to our Brush.
| | 00:59 |
Now, I'm gonna start in the back and
let's just draw the, okay.
| | 01:03 |
So that doesn't look like much, but if I
select it, and I go to the Brushes panel,
| | 01:07 |
now, I can apply different brushes to it,
like this one for example.
| | 01:11 |
I'll just push that, and, wait a second.
That's not bad.
| | 01:15 |
That kind of looks like exhaust coming
out of a rocket there.
| | 01:19 |
And if I select it, and go to my Stroke
and give it a color.
| | 01:23 |
Let's apply, let's say some blue to it.
Mm, something like that or lighten it up
| | 01:28 |
even more or say, darken it just a bit,
whichever one floats your boat there.
| | 01:33 |
Well, what's nice about the brush is,
it's an effect that's been applied to the line.
| | 01:39 |
And unlike Photoshop, where if I created
that with pixels and then I wanted to
| | 01:43 |
change it, that could be a lot of work.
But with Brushes in Illustrator, with
| | 01:49 |
that selected, I can go to the library
here, and let's say go to Artistic Chalk,
| | 01:53 |
Charcoal Pencil and look at all these
choices I have.
| | 01:58 |
So, let's just choose that one and you
can see that it instantly updates, or,
| | 02:02 |
let's choose that one, or That one.
Hm, I kinda like that one.
| | 02:08 |
So, let's close out of the library and
you can see that it's added those brushes
| | 02:12 |
to my panel right there.
I can change the stroke width.
| | 02:16 |
Continue to play with it.
Let's go back to the first one I did.
| | 02:20 |
I wanted kind of a rough look.
And let's go ahead and bring the stroke
| | 02:23 |
back down to one.
So there you go.
| | 02:25 |
I've applied a brush to that.
That's fun.
| | 02:28 |
But what about these clouds?
Well, I have these watercolor brushes
| | 02:32 |
that I've put in here that I can apply,
and maybe change the thickness.
| | 02:37 |
There we go.
See, that looks kinda nice, yeah.
| | 02:40 |
But check this out.
I wanna give the illusion or the idea
| | 02:43 |
that music is being streamed via
satellite from one location to another.
| | 02:48 |
I've created a brush of musical notes, so
that now, I've given the idea that music
| | 02:53 |
is being streamed as the rocket is taking
off.
| | 02:56 |
There are so many options, and in this
chapter, we're gonna learn how to create
| | 03:02 |
all those, as well as use what
Illustrator has already given us to very
| | 03:06 |
quickly start using brushes in our
artwork.
| | 03:12 |
| | Collapse this transcript |
| Using Illustrator brushes| 00:02 |
Using brushes is actually quite simple.
To use the existing ones is even easier.
| | 00:07 |
We have a Brush tool and so you might
think, hey, I'll use the Brush tool.
| | 00:12 |
And if you do that, that's fine.
You start painting, you know, you create
| | 00:15 |
your line whatever you want it to be.
And when you're done, it applies the
| | 00:20 |
default brush which is this first little
calligraphy brush right here.
| | 00:24 |
Okay.
So that was using the Brush tool and now
| | 00:26 |
I just need to select it if I wanna
change that brush and there's some basic
| | 00:30 |
ones that come with it and most of them
are ugly, to be honest with you.
| | 00:35 |
There's one artistic, one decorative, one
border here.
| | 00:39 |
But down in the bottom left corner, is
where our libraries are.
| | 00:43 |
We have all sorts of arrows we could
apply.
| | 00:45 |
We could apply artistic borders, bristle
brush.
| | 00:48 |
Play with these, and spend a little bit
of time digging around and seeing whats there.
| | 00:52 |
For this demonstration, we'll go to
artistic, and I'll just choose, lets say,
| | 00:55 |
chalk and charcoal, or ink.
And in there, you'll see we have a whole
| | 01:00 |
bunch of different brushes to choose
from.
| | 01:03 |
So with this selected, if I click on
that, it's just gonna apply that brush,
| | 01:07 |
that easily.
Let's apply that one.
| | 01:10 |
Very good.
That one's kinda fun.
| | 01:13 |
And notice that when I click in the
Library like this automatically adds it
| | 01:16 |
as a brush in here.
Now this is my brushes panel.
| | 01:20 |
This is where I'm going to work from.
But I'm just pulling from the library and
| | 01:24 |
if I click on that, then I've got
splatters.
| | 01:27 |
Yeah, there we go, that's fun.
The nice thing about this is you don't
| | 01:31 |
really do any permanent damage.
Right?
| | 01:33 |
Now I'm going to close out of that
library and I'm going to delete that line
| | 01:35 |
because I want to show you.
That you don't even have to use the brush.
| | 01:40 |
Get this, I can take the pencil tool and
let's say that I'm drawing this path of
| | 01:43 |
the rock of the rocket, this inebriated
pilot was doing.
| | 01:48 |
And I hold down the pencil and use the
smooth tool say, to smooth that line down
| | 01:52 |
a bit.
And Well, you know, maybe I could delete
| | 01:55 |
a few anchors in there, here and there.
Okay, there we go.
| | 01:58 |
and I've given it a thickness there.
Alright.
| | 02:01 |
And then, after the fact I think, you
know, I should apply a brush to that.
| | 02:06 |
Click, click.
See?
| | 02:09 |
It's as easy as just clicking on the
brush.
| | 02:12 |
We don't even have to, you know, use the
brush tool.
| | 02:15 |
It's there, and it's pretty.
Looks nice, but we don't even have to use it.
| | 02:19 |
So let's delete that again.
One thing I noticed though, the, the
| | 02:23 |
default settings of the Pencil tool tend
to allow you to make more jagged lines
| | 02:27 |
then the default settings of the Brush.
The Brush smooths out.
| | 02:33 |
So it is a little easier to use the Brush
tool, I'm just pointing out that you
| | 02:36 |
don't have to.
So with the Brush tool, I am gonna start
| | 02:41 |
drawing the path, here we go and I'll
apply any number of brushes I want to it.
| | 02:49 |
Alright, simple enough.
Now let's make the moon.
| | 02:52 |
Let's put the moon up there and I want to
show you that you can actually take the
| | 02:55 |
ellipse tool.
I'm gonna draw a circle there where the
| | 02:58 |
moon is gonna be.
And let's make the moon white.
| | 03:02 |
Why not?
And let's make the stroke of the moon
| | 03:06 |
white as well.
But, so that the moon looks more like
| | 03:09 |
cheese like it supposed to, because we
all know that's what it's made from, I
| | 03:13 |
can click on.
A brush and when I do that lets zoom in
| | 03:18 |
and see, you can see that we've got kind
of a rugged edge around that moon,
| | 03:22 |
alright or may be I don't wanted to be
quite that harsh, alright so lets go back
| | 03:26 |
to the library artistic chalk circle and
lets just see if there is any that we
| | 03:31 |
like to give it kind of a nice rugged
look, but not too rugged for us Okay.
| | 03:40 |
Maybe we like that looks, so let's
command zero, and there we go.
| | 03:45 |
Let's change the color of that stroke to
blue, and you'll notice that even
| | 03:49 |
changing the color is one click away.
Let's say we want the moon to be a little
| | 03:54 |
bit darker, maybe grey or maybe even
yellow.
| | 03:57 |
Alright.
So, let's just go to the swatches panel
| | 04:00 |
and let's choose a yellow.
For our stroke, and let's go ahead and
| | 04:04 |
fill it with that as well.
And then we'll go up here to our color
| | 04:08 |
guide and we'll choose a darker moon.
There we go, something like that.
| | 04:12 |
Okay, and you can see that it's very easy
for us to go in and put a rough edge on
| | 04:16 |
anything, any edge that we want, it's
that simple.
| | 04:21 |
Okay, so draw your shape, circle, any of
these shapes in here, even stars.
| | 04:28 |
Draw any shape you want or draw with any
of the line tools that you want and
| | 04:32 |
simple click on any of the brushes that
are here to apply them.
| | 04:39 |
After you've created a brush like this.
And you decided you don't like the line.
| | 04:43 |
Just because a brush has been applied to
it, doesn't change any of the rules of
| | 04:47 |
editing paths.
I'll take my pencil tool, for example,
| | 04:51 |
and I'll start on a line and I'll draw a
circle here.
| | 04:54 |
And go off again, and you can see that I
can still edit these paths.
| | 04:59 |
I can take my white arrow or direct
selection tool and select that anchor and
| | 05:03 |
bring it up to the bottom of The rocket,
just like that if I want to.
| | 05:08 |
So you can continue to edit even though a
brush has been applied.
| | 05:11 |
So what you've seen is how easy it is to
take any path, doesn't matter how it's
| | 05:16 |
created, and with a couple of clicks of
the button, you can apply any brush that
| | 05:20 |
you want that's in the library.
| | 05:25 |
| | Collapse this transcript |
| Creating your own brushes| 00:02 |
Sometimes the libraries that come with
the brushes down here just don't cut it.
| | 00:07 |
You could look for it, you can go down
here to boarders, decorative, or bristle
| | 00:10 |
brush or decorative scatter and let's
just see what they have there.
| | 00:15 |
Okay, yeah, that's fun, but that's not
what I'm after.
| | 00:18 |
Alright.
So, how do you create your own brush?
| | 00:22 |
Well, it's really hard.
Are you ready for this guys?
| | 00:25 |
Let's say that I want to send a signal
via satellite from this city to this radio.
| | 00:33 |
So I'm gonna draw a path.
We already talked about that.
| | 00:35 |
We start with a path, click, click.
Click, there's our path, okay, and let's
| | 00:42 |
get the fill out of there.
There we go.
| | 00:44 |
Now I wanna apply these musical notes to
that path so that I give this idea that
| | 00:49 |
I'm streaming music from this city to
this radio.
| | 00:54 |
So how do I make a brush?
Out of music notes.
| | 00:58 |
Are you ready?
You take the artwork, and you just drag
| | 01:02 |
it right into the brushes panel like
that.
| | 01:05 |
It's that simple.
Now, for this lesson, lets choose scatter
| | 01:08 |
brush, and hit okay.
Now, it asks us all these questions.
| | 01:11 |
I'm just gonna name this music notes, and
I'm gonna recommend that, as new users,
| | 01:15 |
you just leave the default settings for
right now, hit okay.
| | 01:19 |
Alright?
Now let's select that line there and
| | 01:23 |
let's click on the notes.
Ta da.
| | 01:25 |
There you go, you can see that the music
notes have been applied to that line.
| | 01:30 |
Okay, well that was simple enough but
what if we want other things done like,
| | 01:34 |
for example, they're too big?
We want them to kind of flutter, not just
| | 01:39 |
be in a straight line, and all sorts of
other things.
| | 01:42 |
Well, I go over here and double click on
the brush.
| | 01:45 |
In this case, the music notes.
Make sure preview is on, now watch our
| | 01:50 |
art as I change the size.
You can see them getting smaller.
| | 01:55 |
That's nice.
Okay, let's put them like right there.
| | 01:57 |
But now they're too far apart so well,
let's adjust the spacing.
| | 02:02 |
Now you can see they're closer together.
And that's kind of a nice texture but I
| | 02:06 |
want them to look like fluttering notes.
It's music, you know.
| | 02:10 |
Let's have them fluttering around.
So.
| | 02:12 |
Let's go to scatter and let's change this
from fixed to random.
| | 02:16 |
And as grab this slider and move and grab
this slider and move, I'm setting a
| | 02:21 |
perimeter from the stroke on either side
that those nodes are allowed to go.
| | 02:29 |
Well, that's kinda nice that they're all,
you know, fluttering, but what if I had
| | 02:33 |
them spinning as well?
So let's go to random, and let's move
| | 02:37 |
that that way and move that that way.
And now we've got all these random,
| | 02:41 |
fluttering notes coming up to the
satellite, and down to our music box.
| | 02:45 |
And when we're done, just hit okay.
Apply it to the strokes and the art.
| | 02:51 |
And there we go!
Done!
| | 02:53 |
So we've now created a brush.
How hard is it if you don't have a piece
| | 02:57 |
of clip art like that?
Well, it's pretty simply.
| | 03:00 |
Watch this.
Take your star tool.
| | 03:03 |
Draw a star.
Let's fill it with a color.
| | 03:06 |
Now there are a couple rules that we need
to remember when making these brushes.
| | 03:10 |
Number one, it has to be vector art.
You can't do it with photographs,
| | 03:15 |
anything rasture.
It also can't have any affects on it,
| | 03:19 |
and, it also can not have gradience,
anything that would render, that would be
| | 03:23 |
any resemblence of rasture won't work.
So I'm gonna grab this star, I'm drag it
| | 03:29 |
right in there like that, hit, okay.
Call this star.
| | 03:34 |
And now we've got a star brush, okay,
fine.
| | 03:37 |
What happens if take my pen to a let's
say, and I'll click out here and I'll
| | 03:41 |
click over here and I'm just gonna create
kind of an arc over the sky like that.
| | 03:48 |
Okay, let's hit command zero.
Let's get rid of that fill, alright,
| | 03:51 |
there we go.
Now I am gonna click on the star, and
| | 03:54 |
there is that star going over that sky.
Simple.
| | 03:57 |
Doesn't have to be anything difficult.
And I think even B clip art is something
| | 04:02 |
we can create.
Double click, change the size to smaller,
| | 04:07 |
bring the spacing together, random
scatter, random rotation.
| | 04:16 |
Apply that.
Let's go ahead and move that up a little
| | 04:21 |
bit at an angle.
And our art's getting kind of busy here,
| | 04:26 |
so let's send that to back, bring it to
front one.
| | 04:30 |
And maybe, that's a little bit, you know
too loud there.
| | 04:33 |
So maybe we wanna change that in someway.
But, I just wanted to show you the
| | 04:36 |
concept that it's very simple, just take
any piece of art, drag it right in there
| | 04:40 |
and you're done.
Alright let's go ahead and get rid of
| | 04:43 |
that one.
I didn't like the way those stars turned out.
| | 04:46 |
Alright?
Simple enough.
| | 04:48 |
Creating.
Just grab something.
| | 04:50 |
Drag it in, apply it to the stroke, if
you don't like it double click, make your
| | 04:56 |
changes and you're done.
| | 05:00 |
| | Collapse this transcript |
| Editing brushes| 00:02 |
So here's your artwork and it's well
under way and you show the first proof to
| | 00:05 |
your customer and they wanna make
changes.
| | 00:08 |
Well editing a brush is actually quite
simple once you know the process, but it
| | 00:13 |
seems a bit foreign.
You're wondering, well, how do I change that?
| | 00:18 |
Well, there are a lot of ins and outs
that we're gonna cover in this chapter.
| | 00:22 |
We're gonna learn how to edit an existing
brush and quickly apply it to multiple
| | 00:25 |
brushes, or do some real localized
editing of that brush.
| | 00:29 |
Let's start with something simple like
these musical notes.
| | 00:32 |
The customer has said, you know I like
the music notes, good, good, good.
| | 00:36 |
But I don't like the color.
I want to change the color.
| | 00:38 |
Well, one of the easiest things to do is
to grab this piece of art, in the Brushes
| | 00:42 |
Panel, drag it right out.
There you go.
| | 00:46 |
There's your art.
Now if I Zoom In and look at it.
| | 00:51 |
You'll notice that there's now a second
part to it.
| | 00:54 |
This perimeter has been added.
That was added by the brush itself.
| | 00:58 |
The Brushes Panel added that when we
dragged that in.
| | 01:01 |
So I'm gonna go to my Wide Arrow and
select the note, and I'm gonna go to my
| | 01:03 |
Swatches Panel and I'll choose yellow.
And I'll lighten it up a little bit,
| | 01:08 |
something like that, something really
light and simple.
| | 01:11 |
There we go.
Okay.
| | 01:13 |
Now, Cmd+0, fit in window again.
Let's go back to our Brushes Panel.
| | 01:17 |
Now watch this art as I take this art and
I'm gonna drag it.
| | 01:22 |
But before I put it in the Brushes Panel
I'm gonna hold my Alt key down.
| | 01:26 |
So I'm Alt-dragging over the existing
art.
| | 01:30 |
Now I'm not gonna let go yet, because I
want to explain something before I do.
| | 01:34 |
This is gonna change all instances of
this note to the new color or whatever
| | 01:38 |
change we make.
If I don't want to do that, I can add it
| | 01:42 |
as a new brush here.
If I add it as a new brush, then I can
| | 01:46 |
toggle back and forth between the blue
and then the yellow one.
| | 01:50 |
All right?
Those are your choices here.
| | 01:51 |
I'm going to go ahead for this
demonstration.
| | 01:54 |
With my Alt key held down, drag it over
the existing one and look what pops up.
| | 01:58 |
There we go.
Hit OK, and it says Apply to Existing Strokes.
| | 02:03 |
Yes, and now notice that all those notes
instantly change.
| | 02:07 |
Customer says you know Russel, or insert
your own name here, I just don't like
| | 02:12 |
that yellow either.
I don't know that I like the blue.
| | 02:16 |
Can we, can we see some options?
Okay.
| | 02:18 |
Once again, grab that, drag it out,
select it.
| | 02:23 |
Let's change the color this time to
something else like, oh, let's just make
| | 02:27 |
it a deep red.
Why not?
| | 02:29 |
Let's just see what happens.
I'm gonna Select that and let's drag it
| | 02:32 |
back and this time I'm not gonna over
write that one.
| | 02:35 |
I'm just gonna drag it back in.
When I do that and make it a Scatter
| | 02:39 |
Brush notice though that it doesn't
remember all those settings.
| | 02:43 |
So you're gonna have to write down those
settings or somehow remember what those are.
| | 02:49 |
Okay.
Now what you could do is I could
| | 02:52 |
duplicate that brush.
Now if I select this and I Option-drag or
| | 02:57 |
Alt-drag over it.
It remembers those settings and when I
| | 03:02 |
hit OK, now I can select this line and I
can toggle between red, yellow, red, yellow.
| | 03:08 |
So here's a little trick for you to know
if you wanna have a multiple versions of
| | 03:12 |
that in your art.
Okay, I'm gonna go ahead and delete that
| | 03:16 |
and I'm actually going to for this
demonstration go ahead and.
| | 03:20 |
I'm just gonna get rid of that stroke for
right now, cuz I want to focus on the
| | 03:24 |
line here, on the back of the rocket,
'kay?
| | 03:28 |
Now, let's Zoom In, and let's look at
this swoosh.
| | 03:32 |
And can you see, all this, loose stuff
that's kind of hanging out here?
| | 03:36 |
That's what gives it that, kind of that
charcoal look, and let's say that the
| | 03:40 |
customer says, I don't really like that.
All right?
| | 03:44 |
Well, there are two approaches to this.
One is to take this art and make it
| | 03:48 |
editable and just work on this art alone.
The other is to actually find the brush
| | 03:54 |
and change the brush.
So let's go over both.
| | 03:58 |
Let's start with changing the brush
itself for multiple instances.
| | 04:02 |
For this demonstration I'm gonna go to
File > New, just create any new document.
| | 04:07 |
And I'm gonna take my Brush Tool and I'm
just gonna draw a brush and apply any
| | 04:10 |
brush to it, okay, so I'm gonna select it
and apply.
| | 04:15 |
A brush to it.
There we go.
| | 04:16 |
And I'm gonna, Option-drag, Option-drag,
Option-drag, Option-drag, Option-drag.
| | 04:23 |
Now, I have a bunch of versions of this
brush right here.
| | 04:27 |
Customer has said that they don't like
that little twig down there at the bottom.
| | 04:32 |
Now before I go any further I want us to
look at this in Outline Mode.
| | 04:36 |
Notice that this is nothing more than
lines, that's all it is.
| | 04:40 |
It's nothing more than a stroke with an
effect applied to it.
| | 04:44 |
So how do I grab onto that if there's
nothing to grab onto?
| | 04:48 |
Well there is, we edit the effect.
How do we do that?
| | 04:53 |
I'm gonna drag that out, just like I did
the music note, I'm going to Zoom In on
| | 04:58 |
it and see all this garbage down here?
Well, that's the stuff that's given it
| | 05:03 |
that kind of the rugged look on the
outside.
| | 05:06 |
I'm gonna take my Pencil Tool and start
drawing on the line here and I'll end
| | 05:11 |
about there, let's say.
Actually let's smooth that out even more.
| | 05:15 |
Let's come up to about here.
There we go.
| | 05:18 |
I'ma take my white arrow and select all
of this.
| | 05:22 |
Get rid of that.
Get rid of that.
| | 05:26 |
As you can see, we've smoothed out the
bottom of that.
| | 05:28 |
At least enough for, for what we're doing
here.
| | 05:30 |
Now I'm going to hit Cmd+0 to fit in
window.
| | 05:34 |
Again what we wanna get rid of is this
part that's hangin' out down here at the
| | 05:37 |
bottom of all the lines.
Select this art, and I'm gonna hold my
| | 05:42 |
Alt or Option key down as I drag this
over the brush.
| | 05:46 |
Well, I'm gonna leave all the settings
exactly as they were.
| | 05:51 |
'Kay?
So that it recreates it.
| | 05:53 |
And I'm gonna tell it to Apply it to the
strokes in the art.
| | 05:55 |
Now watch all seven of those instantly
change.
| | 05:59 |
One, two, three, four, five six, yeah,
six of 'em.
| | 06:02 |
I can't count.
And I'm gonna get rid of that right there.
| | 06:06 |
Did you see how that worked?
So see that little bit right there?
| | 06:09 |
Let's Zoom In and look at that.
That right there,they say you know i
| | 06:13 |
don't like that, all right, grab this
drag it out let's Zoom In look.
| | 06:19 |
Well there it is right there I am gonna
go to my Wide Arrow to Select that and
| | 06:25 |
Delete okay, gone.
I am gonna grab this brush, Alt-drag it
| | 06:29 |
over the original.
Hit OK, Apply it to the strokes, and look
| | 06:31 |
I just updated every single one of those.
| | 06:32 |
| | Collapse this transcript |
| Making unique borders| 00:02 |
If I want a border around this, I can
click on this and, yes, I could, you
| | 00:06 |
know, put a stroke.
Could do that, nice big stroke.
| | 00:11 |
Yeah.
I go to Stroke panel and I can put dashes
| | 00:15 |
on it.
We start running out of options pretty quickly.
| | 00:18 |
So once again, we're gonna turn to our
Brushes.
| | 00:20 |
And if I enlarge this, you'll see that
there is one border tool there in the
| | 00:25 |
Brushes panel.
And, alright, maybe, but I want something
| | 00:30 |
more exciting, so I'm gonna go to the
Library, and you'll notice there's an
| | 00:33 |
option for Borders.
Dash, decorative, frames, geometric
| | 00:37 |
lines, novelty and primitive.
Alright, that's fun.
| | 00:39 |
Lets see what they have for decorative
borders.
| | 00:43 |
Alrighty.
Hm, how about that one?
| | 00:46 |
Or that one?
Or that one?
| | 00:48 |
Or that one?
Alright, so you can see that we're a
| | 00:51 |
click of a button away from applying some
rather horrid looking borders.
| | 00:58 |
Alright, some of them are as bad as
others, but in the end, the opportunities
| | 01:03 |
to use exactly these borders are probably
limited.
| | 01:08 |
There's gonna come a day when you are
going to say, I'm going to make my own border.
| | 01:11 |
Okay, so I'm gonna close out of this
library and let's create our own.
| | 01:15 |
We're gonna use this flag here to create
a maple leaf border around this art.
| | 01:22 |
Now, I showed you earlier, how I can take
very easily just something like this
| | 01:26 |
maple leaf, and drag it in, and create a
scatter brush out of that.
| | 01:32 |
Now if I did that, and I clicked on this
border and applied that, okay, you can
| | 01:36 |
see it there.
But notice the corners don't really line up.
| | 01:42 |
Now, I can try to get them to line up by
double clicking on it, and playing with
| | 01:47 |
the spacing and the size.
I can try.
| | 01:50 |
But, you know what?
I'm telling you, I've done it.
| | 01:52 |
You're gonna always have 1 corner that's
off.
| | 01:55 |
Alright.
So we've got this horrid looking border
| | 01:57 |
now that we've gotta really make a real
border.
| | 02:00 |
And I think one of the best ways to learn
how to make these what are called pattern
| | 02:04 |
brushes is to take an existing one.
Any of these, it doesn't matter.
| | 02:09 |
And, I'm gonna drag this out and we're
gonna use this as a model.
| | 02:13 |
Hm, that's interesting.
Look there's this piece here, and this
| | 02:17 |
piece here.
I wonder what that means.
| | 02:19 |
Let's look at another one just to get an
idea.
| | 02:21 |
This one actually has this, and then this
one, and this one.
| | 02:25 |
What could those be?
Well, I'm gonna slide this over and just
| | 02:28 |
show you.
If I take my pen tool and I click, click,
| | 02:32 |
click, click and then I apply that brush,
notice how the sides have a look, this
| | 02:39 |
corner has a look and this corner has a
look.
| | 02:45 |
The outside and inside corners on this
one are treated differently.
| | 02:50 |
On this one, if I select this and apply
this brush.
| | 02:53 |
They're not.
In fact, this one didn't come with an
| | 02:56 |
inside border.
So this particular border will only work
| | 03:01 |
on rectangles, right?
But if I did something like this, if I
| | 03:08 |
took this rectangle, and this rectangle
and I use the Pathfinder to make a new shape.
| | 03:16 |
Window > Pathfinder, now watch when I
apply this border you can see that it
| | 03:21 |
only lines up on this portion.
There is nothing here.
| | 03:26 |
So we're literally limited on that
particular one, cuz whoever made it,
| | 03:30 |
didn't plan on having any corners like
this.
| | 03:34 |
Alright.
So let's look at this one.
| | 03:35 |
Slip here at this one.
Alright, now this one works.
| | 03:40 |
It's the same art on both corners, but
that's okay.
| | 03:43 |
It still flows all the way through.
Alright, so now that we kinda know what's
| | 03:47 |
going on, let's drag this out and look at
that.
| | 03:50 |
Okay, so this is the sides.
This Is a corner, and this is a corner.
| | 03:59 |
Alright, you got that?
Okay, so now, lets get rid of these, then
| | 04:03 |
we hit Cmd+0 to make this fit in the
middle there.
| | 04:08 |
And now I'm gonna take this Canadian
flag, and let me make this a little bit smaller.
| | 04:12 |
Here we go.
And I'm going to drag it in to the
| | 04:16 |
brush's panel.
This time, I'm going to tell it I want it
| | 04:20 |
to be a pattern brush.
When I hit OK, notice what pops up.
| | 04:26 |
We'll call this maple leaf.
And can you understand these little
| | 04:30 |
diagrams here?
Let's just take a look at them for a second.
| | 04:33 |
Here's the path and the arrow is over
here.
| | 04:36 |
And it's showing this square in the
middle of the path.
| | 04:39 |
So what we're telling it is I want this
maple leaf to be the middle of the path.
| | 04:44 |
This one is empty, this is the outside
corner.
| | 04:47 |
This one's empty, it's an inside corner.
And look, I can even put art for an
| | 04:52 |
ending and a head.
So if I want to create a really unique
| | 04:56 |
arrow, for example, I could do that,
'kay?
| | 04:58 |
Now, I'm gonna go ahead and hit OK, and
notice that it added that brush.
| | 05:03 |
I got the two maple leaves there, but I
don't have a corner and I don't have an
| | 05:06 |
inside corner.
So I'm gonna take this art and I'm gonna
| | 05:09 |
hold my Shift key down, I'm gonna rotate
it 45 degrees and make it just a little
| | 05:13 |
bit bigger.
Like that.
| | 05:16 |
Why not?
And I'm going to hold my Alt key down or
| | 05:19 |
Option key, and drag that art over into
the brushes panel, I'm still holding it
| | 05:23 |
down, and I'm putting it in that little
square to the left of those maple leaves
| | 05:27 |
in the brush.
When I let go, pops this up.
| | 05:34 |
Now, let's look at it again, we want this
maple leaf, on the sides, on we want this
| | 05:39 |
maple leaf, on the outside corner, let's
hit Okay.
| | 05:44 |
Now just to go all the way with this,
let's flip this around.
| | 05:48 |
And let's shrink it down, really small
like that.
| | 05:52 |
And I'm gonna hold my Option key down,
Alt key.
| | 05:55 |
And drag it on top of that square.
So look what we're doing.
| | 05:58 |
This maple leaf on the side, this in the
outside corner, this in the inner corner,
| | 06:02 |
and I'm done.
Alright, now, let me select this border.
| | 06:06 |
And now, when I select my new border,
let's take a look at it.
| | 06:09 |
Let me zoom out a little bit, and now you
can see, that I've created this Maple
| | 06:13 |
leaf border around this art.
Let me go ahead and fill this with white
| | 06:18 |
so you can actually see this a litte
better.
| | 06:21 |
There you go.
We've got this maple leaf going all the
| | 06:24 |
way around and we've got the maple leaf
on the outer corner.
| | 06:27 |
If I took my pen tool, click, click,
click, click.
| | 06:34 |
Me turn off the fill there, and let me
stroke it with that brush.
| | 06:38 |
You can see that on the outer corner I
have the big maple leaf and on the inner
| | 06:42 |
one I have the small one.
Alright?
| | 06:46 |
So that's a scatterbrush.
And you can do these with any piece of
| | 06:48 |
vector art.
If you're doing a car ad and the customer
| | 06:51 |
says hey, I need the Ford logo or the
Chevy logo or whatever brand it is, I
| | 06:54 |
need that in there.
Or I need a brand of soft drinks, right?
| | 06:59 |
It doesn't matter.
I want pumpkins for a Halloween ad that
| | 07:01 |
I'm doing.
it doesn't matter.
| | 07:04 |
Any peice of clip art that you can
create, you can very easily just drag
| | 07:07 |
right in there, and you can create these
custom borders doing that.
| | 07:12 |
If you wanna play with spacing or other
things in there, you can double-click,
| | 07:16 |
make sure Previews on.
And you can see here that as you play
| | 07:20 |
with scale, right, you can play with the
scale.
| | 07:24 |
The spacing, alright?
110%.
| | 07:27 |
Let's take that down to 60%.
Alright?
| | 07:31 |
So we can continue to play with this even
after we've created it.
| | 07:34 |
Hit okay.
Let's apply that to the strokes.
| | 07:38 |
And now we've got our nice border there.
So as you can see, it may not be as easy
| | 07:42 |
as just a simple scatter brush, but once
we learn the basic techniques and we use
| | 07:46 |
an existing brush as a model, get an idea
of how that works.
| | 07:52 |
You can see that creating out own really
isn't that hard.
| | 07:57 |
| | Collapse this transcript |
|
|
9. Time for Some WordsFun with text| 00:02 |
They say a picture is worth a thousand
words, but my opinion, this picture needs
| | 00:06 |
some words.
So, let's look at where we're gonna go
| | 00:10 |
during this chapter.
We're gonna talk about type, fun with
| | 00:14 |
type, and if you look at this piece of
art in front of you, this is 100% text.
| | 00:19 |
Yeah, even this artwork right here, its
text.
| | 00:22 |
And we're gonna talk about how to take
glyps, or dingbats, like zav dingbats,
| | 00:26 |
and other artfonts, and turn them into
workable art.
| | 00:30 |
We're also gonna learn how to take text,
which wont allow you to apply a gradiant
| | 00:34 |
to it.
See, can't do it.
| | 00:37 |
Can't do it.
Can't do it.
| | 00:38 |
We're going to learn how to create
outlines, so that now I can apply a
| | 00:41 |
gradient to it, as well as do other
things.
| | 00:44 |
Like, notice the center of this O.
Watch when I move the motorcycle, there's
| | 00:47 |
not one.
We can modify this text beyond what we
| | 00:50 |
can do in the humble, character panel,
and paragraph panel that maybe you're
| | 00:55 |
familiar with from in design.
We're gonna go beyond that.
| | 01:00 |
And we're gonna create outlines on text
for a whole list of things.
| | 01:03 |
We're gonna play with the glyphs.
Also in this chapter, we're gonna learn
| | 01:07 |
the difference between area type and
point type.
| | 01:10 |
And why that matters.
And why they're different, how they're different.
| | 01:13 |
And when to use one and when to use the
other and their behaviors.
| | 01:16 |
So even thought htis may not be a
comprehensive type chapter, we're gonna
| | 01:21 |
learn some really basic, fun things that
allow us to take basic text and actually
| | 01:27 |
create artwork from it.
| | 01:31 |
| | Collapse this transcript |
| Point vs. area type| 00:00 |
In working in Illustrator there are two
ways of applying type.
| | 00:06 |
In InDesign if you've ever used that, you
know that you need to take the type tool
| | 00:10 |
and actually drag the box before you can
begin typing.
| | 00:13 |
In Illustrator that's not the case.
I'm actually gonna take this type tool
| | 00:17 |
and I can actually just click and I can
begin typing.
| | 00:20 |
So I'll type.
MOTO, there we go.
| | 00:21 |
And I can highlight that type either with
my mouse or by hitting Cmd+A at this point.
| | 00:31 |
And up here in the control panel you'll
see I've got some controls like I can
| | 00:35 |
change the font, change the size.
Look right over here, see the word
| | 00:40 |
character in blue, and if I click on
that, it launches my character panel and
| | 00:44 |
if I.
Choose my fonts there, I could actually
| | 00:48 |
get a preview of what I'm looking at.
I'm gonna use basic fonts that I'm gonna
| | 00:52 |
trust you have at home, like Ariel Black.
And I can choose the size if I want, or
| | 00:57 |
maybe I don't know, maybe I just wanna
guess at it.
| | 01:01 |
And I've got all the other controls that
we're used to using, and other type applications.
| | 01:05 |
We've got leading, kerning, tracking,
horizontal scaling, all sorts of controls there.
| | 01:11 |
But I'm gonna stop right there, and I'm
gonna go to my black arrow, and you can
| | 01:15 |
see that there's a bounding box around
that.
| | 01:19 |
And if I grab a corner and start to drag
you can see that I can modify that how
| | 01:23 |
ever I want.
I can also do it with the sides.
| | 01:27 |
Only by choosing a bounding box on the
side I can only move horizontally whereas
| | 01:31 |
at the corner I can just go nuts.
Whoo hoo.
| | 01:36 |
You know I'm gonna undo Cmd+Z, Cmd+Z here
we go.
| | 01:40 |
Now if I do that by holding the shift key
down, now it constrains it and I don't
| | 01:44 |
have to worry about mutating the text to
make it look warped in any way.
| | 01:50 |
Now I wanna change the space between
these letters just a little bit so I'm
| | 01:53 |
going to put my cursor in there.
And if I got to the character panel,
| | 01:57 |
you'll see the kerning right there.
I'm actually going to use a keyboard
| | 02:01 |
short cut which is alt left arrow.
So that now when I'm here I just alt left
| | 02:05 |
error and I bring those together, move my
cursor there, move my cursor there.
| | 02:10 |
There we go, so that's a little bit
closer together.
| | 02:14 |
Back to my black arrow and I'm gonna move
this into position.
| | 02:18 |
Now this is point type.
Because I took my type tool and clicked
| | 02:22 |
and then I began typing, okay, it's based
on a point.
| | 02:26 |
So I wanna delete that.
And I'm gonna select this and I want you
| | 02:29 |
to watch what happens when I changed it
to be centered.
| | 02:33 |
It jumped because the point, the
insertion point where I clicked with my
| | 02:37 |
mouse well when I started typing it was
flush left which means that if I wanna go
| | 02:41 |
to the next line I have to hit return.
And then I can begin typing again.
| | 02:47 |
Well that got a little skewed on us
there, so let me Cmd+Z, Cmd+0 to put it
| | 02:51 |
back in the window there.
But the point is that if we begin typing,
| | 02:56 |
by clicking, it's gonna start from that
point, which was right there, out, and
| | 03:00 |
it's gonna keep going, and going, and
going all the way till Houston, until you
| | 03:03 |
hit Return.
Now if I center it, what I'm telling it
| | 03:08 |
is that insertion point I want the text
centered on that now.
| | 03:13 |
So I'll move that back into position.
Now if I hit Return, notice that the
| | 03:18 |
cursor has come underneath that.
It's centered and now any text I add
| | 03:23 |
stays centered on that point.
Right there that's the point or I am
| | 03:28 |
gonna Cmd+Z back to that.
Watch what happens when I flush right,
| | 03:33 |
well now the insertion point is here
still in the same place.
| | 03:38 |
But now its pushed all that text all the
way to the left of it, so that now if I
| | 03:42 |
hit return and I type something see its
gonna stay flush right.
| | 03:48 |
So let's look at it again Flush Left,
Centered, Flush Right always on that point.
| | 03:54 |
That's what Point Text does.
Now, that's fine if I want to be able to
| | 03:58 |
control it by grabbing the corner here,
holding my Shift key down and changing
| | 04:04 |
the size like that.
But if I want to put bodies of text, like
| | 04:10 |
if I want to put a paragraph.
Well, if I would have set a point type
| | 04:17 |
there and start typing, start typing
here, notice it's centered, let's
| | 04:22 |
selected that.
And let's make that flush left, okay, and
| | 04:27 |
there we go.
Now I'm gonna hit Return, more typing
| | 04:33 |
here, and still more.
So I've got three lines of text, now what
| | 04:38 |
if I want to move the word, more, up here
after, here, and have, and, and, still
| | 04:42 |
come up.
I wanna reflow this paragraph, is what I
| | 04:46 |
wanna do.
Well if I grab that bounding box and
| | 04:49 |
start to move it, I can't.
See point-text doesn't reflow inside of
| | 04:54 |
an area.
It only allows you to modify its size,
| | 04:57 |
shape, and that sort, but it won't allow
me to reflow it like you'd be used to
| | 05:01 |
doing in other applications.
If I want the word more up here, I
| | 05:06 |
literally have to put my cursor there and
hit backspace.
| | 05:12 |
Put a space back in there, move my cursor
here and then hit return.
| | 05:17 |
I'm gonna have to come down here,
backspace, hit my space, come over here,
| | 05:23 |
hit return.
I'm gonna have to manually do that work
| | 05:27 |
with point type.
So, as you can see, well if I wanna put a
| | 05:30 |
paragraph of type in there, that's
probably not the best approach.
| | 05:34 |
That's probably the best approach for
single words, maybe.
| | 05:37 |
Artistic use of words, like you're doing
a logo, you just want to put a single
| | 05:40 |
word there, that might be a good use of
that.
| | 05:43 |
Because you want to play with the size
and what have you.
| | 05:46 |
But if it's body copy, I want to go to my
type tool and this time I'm gonna drag a
| | 05:49 |
frame with the text tool.
Notice that it creates an area there, and
| | 05:54 |
I'm gonna start typing here, and I'm
gonna select that text, and I'm gonna
| | 05:59 |
bring this down to a more manageable
size.
| | 06:05 |
Let's do 21 for this exercise, and this
is area type where I can continue to
| | 06:09 |
type, and have it reflow in the frame.
Okay, there you go.
| | 06:16 |
Now I've put a paragraph of text there.
Watch what happens when I widen, the text box.
| | 06:24 |
See, the text automatically reflows.
If I want to go narrower It reflows.
| | 06:30 |
So now it behaves more like InDesign if
you're using that program.
| | 06:35 |
Or work express.
As we're working within a frame in the
| | 06:38 |
type of reflow.
Well, what if I want to enlarge this text?
| | 06:42 |
Well, I have to go up here, and now
choose something like that.
| | 06:47 |
Unless you know this little trick.
Go to the transform tool and now if you
| | 06:52 |
grab, notice that I am scaling the text
and the frame and if I hold my shift key
| | 06:56 |
down, I am keeping it constrained.
So now it's still area type but I sized
| | 07:03 |
it on the fly versus having to go up here
and choosing a set font size.
| | 07:10 |
To be honest, in most cases, you're
probably gonna choose a set font size.
| | 07:14 |
You're gonna want 14 point or 12 point or
10.
| | 07:16 |
But if you do want to just randomly play
with that, go to your free transform tool
| | 07:20 |
and now you can just scale it that way.
So that's area text, or area type, and
| | 07:26 |
this is point type.
There's a use for both, and if you do one
| | 07:31 |
when you meant to do the other, you may
have to do some backtracking to get that
| | 07:36 |
to behave the way you want it to.
| | 07:40 |
| | Collapse this transcript |
| Using glyphs| 00:02 |
With almost every font there are these
hidden characters that you don't learn
| | 00:05 |
about unless you try something like this.
Maybe take your type tool and draw an
| | 00:10 |
area and you just start banging on all
your keys.
| | 00:13 |
And then you hold your Alt key down and
start banging on all your keys.
| | 00:17 |
And eventually as you're doing this, and
then Alt Shift, eventually you may find
| | 00:21 |
that one upside down question mark or
that cross that you're looking for.
| | 00:26 |
If you've ever done that, you can stop
it, because now, in Illustrator, as well
| | 00:31 |
as inDesign, under type, we have the
glyphs panel.
| | 00:35 |
The glyphs panel allows us to see every
single character available in any given
| | 00:40 |
font that we have selected.
In this case I have Ariel black selected
| | 00:45 |
and I'm seeing every single character in
this version of Ariel black.
| | 00:51 |
So it's possible that you have Garamond
and Garamond Pro and both of them have
| | 00:55 |
totally different sets of characters.
So just be aware that hidden within these
| | 01:00 |
fonts are some great little nuggets that
we might be able to use.
| | 01:04 |
For example, a smiley face.
The card symbols, musical note.
| | 01:09 |
Did you know that those were in Ariel
black?
| | 01:11 |
To be honest with you I didn't until just
this second as I was down here.
| | 01:14 |
And there's some patterns here and all
sorts of stuff.
| | 01:18 |
Now you may not use them all, but this is
the point I'm getting to.
| | 01:21 |
Let's say that you need a special
character like the Euro symbol or some
| | 01:25 |
sort of a umlat over a letter.
Well, it's right here in the glyphs panel.
| | 01:30 |
Alright.
Just look for it and if that font has it,
| | 01:32 |
it'll be right here.
There's the yen for example and the
| | 01:35 |
copyright and the bullet, TM for
trademark.
| | 01:39 |
There's the degree symbol for all of you
who have been doing a capital O and then
| | 01:42 |
superscripting it.
You don't have to do that any more.
| | 01:46 |
Where I wanna go with this is a type of
font called a dingbat and.
| | 01:51 |
You've probably seen this before if
you've ever done zaft dingbats.
| | 01:53 |
I'm gonna go down here in this little box
in the bottom left corner and type zaft
| | 01:57 |
dingbats and hit enter.
And there you go, there's every single
| | 02:00 |
character available to us in zaft
dingbats.
| | 02:03 |
Okay, that's fun, but it's not nearly as
fun as some of the other fonts.
| | 02:07 |
For example Web dings and I'm gonna bet
everyone of you have web dings loaded on
| | 02:11 |
your machine.
And if you look at web dings all there
| | 02:15 |
different characters and down here in the
bottom right corner I can click on the
| | 02:18 |
little mountains there.
Okay, and you can see all these
| | 02:21 |
characters la, la, la there's really good
ones here.
| | 02:25 |
And I want you to select that little
motorcycle there, okay?
| | 02:29 |
But before we do that, I wanna show you
how to do this.
| | 02:32 |
Because it's text, I know we're in the
glyphs panel and it may not feel like
| | 02:36 |
that, but it is text.
So I'm gonna take my type tool and I'm
| | 02:40 |
gonna just click out here in the pace
boards so we can see it.
| | 02:44 |
Now if I want that motorcycle, I'm just
gonna double click on it, and there it is.
| | 02:50 |
It's in 14 point type.
If I highlight that and enlarge it, now I
| | 02:54 |
can see it bigger.
It's a font.
| | 02:57 |
That's what I'm telling you, it's a font.
And I can take that.
| | 03:00 |
Let's close out of this panel.
I can scale this.
| | 03:03 |
And now you can see how I can take this
font, this glyph, and I can add it to my art.
| | 03:09 |
Now obviously I'm not done, but you can
see how we can use glyphs, or these
| | 03:13 |
special characters, as a source for art.
We don't always have to go looking for clipart.
| | 03:20 |
You might be surprised at what fonts
right now are on your machine that offer
| | 03:25 |
some really interesting characters for
you to use in ads, posters, any type of design.
| | 03:32 |
Glyphs.
Just get in there and dig around for a
| | 03:35 |
bit and you'll find some really great
stuff.
| | 03:39 |
| | Collapse this transcript |
| Creating outlines| 00:02 |
Okay, type is fun, yeah great, and there
some neat things we can do with the text.
| | 00:06 |
But there are limits, there are things we
can't do with text.
| | 00:10 |
And a simple example of that is, I can't
fill this text with a gradient.
| | 00:15 |
I can't come over here and select one of
these gradients that I wanna use maybe to
| | 00:18 |
give it a kind of a metal look with these
silver gradients, can't do it.
| | 00:23 |
Because it's type.
I can't put a picture in there; I can't
| | 00:25 |
do any modifications of the paths.
Basically it's type.
| | 00:29 |
So how do I go from it being type to it
being editable art?
| | 00:34 |
Well, it's actually very simple.
Type Create outlines.
| | 00:38 |
There it is.
Just remember that, Create outlines.
| | 00:40 |
When I choose that, notice that now I
have the anchors and line, this vector
| | 00:43 |
art that we've been talking about all
along.
| | 00:46 |
Let's go to view outline.
Now we're seeing this art in outline mode.
| | 00:53 |
Look at the word cycle down here.
It's a font.
| | 00:56 |
But I go to type.
Create outlines, and now you can very
| | 01:00 |
clearly see those outlines.
Now, what does this do for us?
| | 01:04 |
I'm gonna move the motorcycle out of the
way for just a second.
| | 01:06 |
As I take my white arrow, and I grab the
two ends, the two anchors here, on the
| | 01:10 |
end of the leg of this M.
Notice that they're blue, the rest are
| | 01:15 |
hollow, and if I move my down arrow you
can see that this is no longer an M.
| | 01:20 |
This is now art.
It's just a path.
| | 01:23 |
That's all this is.
Let's go to View, Preview, and now you
| | 01:26 |
can see that I've modified that M to be
something totally different than the font
| | 01:31 |
ever was.
So how does that help me?
| | 01:35 |
Well, I can modify the art, and I could
put gradients in there.
| | 01:38 |
So let's select the word moto.
Let's hit that gradient there.
| | 01:41 |
Notice as I'm choosing these gradients,
it's applying a gradient to each letter.
| | 01:45 |
I actually wanted to do it to the whole
shape, the whole compound path as we call that.
| | 01:51 |
So I'm gonna go to the gradient tool and
from right around the middle of this O
| | 01:55 |
I'm just gonna drag out, and now you can
see how the gradient is one big gradient
| | 01:59 |
across the whole thing.
Great.
| | 02:04 |
Now if I'm on my black arrow, if I select
this or this, notice how it's a group of
| | 02:08 |
all the letters together.
I'm going to go to object, ungroup,
| | 02:14 |
object, ungroup, and now Each letter is
on its own.
| | 02:20 |
Okay, great.
So let's take this motorcycle and move it
| | 02:23 |
right back in the middle here.
Well the problem I'm having now is, the
| | 02:28 |
middle of that o, making sure it lines up
for the look that I'm after.
| | 02:33 |
So I'm going to select the o Alright I
gotta get through there.
| | 02:37 |
So let's move this motorcycle back out of
the way for a second as I focus on just
| | 02:40 |
this o.
I'm going to go to my white arrow, and
| | 02:44 |
select the anchor on the inside of that
o, and you can see that that one's
| | 02:47 |
selected and the others are not.
But only that path is active.
| | 02:54 |
If I hit my backspace or delete key and
got rid of that one anchor, activated the
| | 02:57 |
others and I am gonna hit it one more
time, and then I will see I have no more
| | 03:01 |
center in the middle of that O, which
allows me to move this back in the position.
| | 03:08 |
And I have some room here to play with it
to still have the effective the head
| | 03:11 |
being the middle of the O but that
happened to be as precise.
| | 03:16 |
That was so much fun.
Let's do it again on this one.
| | 03:19 |
But let's do something different.
Let's select that, delete, delete.
| | 03:23 |
Same thing as I did before.
But now let's take our star tool.
| | 03:26 |
Why not?
Because we can, I'm gonna hold my Alt and
| | 03:30 |
Shift and I'm gonna draw star right
there.
| | 03:33 |
I'm gonna hold my Shift key down, and now
I've got the star and the circle both selected.
| | 03:40 |
I'm gonna click on the outside one more
time, so it's highlighted, which allows
| | 03:44 |
me to align the star to the center, I
think it's pretty accurate, but I wanted
| | 03:47 |
to just be sure.
And now I'm gonna go to Window,
| | 03:51 |
Pathfinder, hit the second button here
that minuses the front, and you'll notice
| | 03:54 |
I've made an O with a star in the middle
of it instead of the regular O.
| | 04:00 |
You know what, I don't like that, I think
the points are too long.
| | 04:03 |
So now I'm gonna grab the tip of that
star and just bring that down a little bit.
| | 04:09 |
And maybe I'll bring this one in just a
little bit.
| | 04:13 |
See, the point here is, that once this is
art we can do whatever we want, there are
| | 04:17 |
no limitations.
Whereas if you don't know how to do this,
| | 04:20 |
you're spending all your time looking for
a font that does what you want, and that
| | 04:24 |
just may not exist.
And I don't think any of us have the time
| | 04:28 |
to go around making our own fonts.
Alright.
| | 04:33 |
Now I've got the gradient the way I want
it.
| | 04:35 |
I've put a star there.
I've knocked out the center of that and
| | 04:38 |
I've extended the leg of that m.
Good enough.
| | 04:42 |
But what about this?
Remember Glyphs?
| | 04:45 |
It's a font.
See, I can highlight it.
| | 04:48 |
Web dings regular.
What would happen if I went to type,
| | 04:52 |
create outlines on the motorcycle?
Now if I go to view outline.
| | 04:57 |
Look at that, the motorcycle is also art.
So any of those glyphs that you have, any
| | 05:02 |
of those dingbats that you have on your
system, you can apply those here and very
| | 05:06 |
quickly turn them into rt.
So what do we do now?
| | 05:10 |
Well, let's add some color to it.
And really the easiest way to do it is to
| | 05:14 |
go over here to our live paint bucket.
If you don't see it immediately, it's
| | 05:18 |
under the shape builder.
But if you just hit k on your keyboard
| | 05:21 |
you'll get it.
Live paint bucket.
| | 05:23 |
Well, I'm gonna go over here to this
gradient for example, the turquoise, and
| | 05:27 |
I'm just gonna click right inside that
part of the motorcycle, and I'll click in
| | 05:32 |
that part of the motorcycle.
Hmm let's choose a darker blue for the rider.
| | 05:39 |
There we go, and let's choose this
metallic gradient.
| | 05:42 |
Let's just use a solid silver there for
the mask and let's make black gloves.
| | 05:49 |
And lets choose a nice bright blue,
handle, right there.
| | 05:55 |
And as you can see, we've now colorized,
what was once just a glyph, we've now
| | 05:59 |
made it color.
How did we do that?
| | 06:02 |
We created outlines.
The same thing we did with the text.
| | 06:06 |
Now I need to move the moto, and the
cycle over just a bit more.
| | 06:09 |
To give room for this text, right here,
to be red.
| | 06:13 |
So, lets select this, move it over a
little bit, space it out maybe, play with it.
| | 06:20 |
We could even rotate, any number of other
things that we want to do, to make that
| | 06:23 |
type the way we want it.
Because now, once again, lets go to view outline.
| | 06:28 |
As you can see, we've outlined all the
text that we wanna use for our logo.
| | 06:32 |
Why didn't I outline this?
Well, because this isn't artistic.
| | 06:36 |
This is text that the customer may wanna
make edits to all the way up to the last minute.
| | 06:41 |
So, I'm not gonna create outlines on
that.
| | 06:43 |
Only the art text, or the text that I
want to have an artistic effect.
| | 06:47 |
There you go.
With basic text, we have now created our
| | 06:51 |
entire art just by creating outlines.
| | 06:56 |
| | Collapse this transcript |
|
|
10. Working with Your Art Gets Easier with LayersMastering layers| 00:02 |
In this chapter, we're not just going to
get a demo of layers, we're gonna master
| | 00:05 |
layers, because this is a really
important component to being able to work
| | 00:09 |
in illustrator.
A lot of you might be thinking, isn't
| | 00:13 |
layers kind of an advanced topic?
You know, I'm a beginner here.
| | 00:16 |
I'm just getting started.
Maybe.
| | 00:19 |
I think it's one of the core tools that
you need to understand to be able to work
| | 00:22 |
well in Illustrator.
So we're going to cover it now so you
| | 00:25 |
know this and it's amazing what you'll be
able to do with your documents after you
| | 00:28 |
see how this works.
Plus, I'm guessing that most of you have
| | 00:32 |
had some experience with layers in
Photoshop.
| | 00:35 |
And even though it's different, there is
enough similarity there that I think
| | 00:38 |
you'll be able to grab this very quickly.
So in this chapter we're going to learn
| | 00:42 |
how to manage all that.
Now let's open the document, Los chickens
| | 00:47 |
end, and go to window layers.
When you open this panel you're gonna
| | 00:52 |
see, that this art is actually broken
down into a bunch of layers, you can't
| | 00:56 |
tell that by looking at it.
But here you can see, that in fact the
| | 01:01 |
chicken is on its own layer, that can be
turned on and off.
| | 01:06 |
Just as I can do with the barn.
I can also turn on and off different
| | 01:10 |
layers for different versions.
Maybe a different colored background for this.
| | 01:14 |
I can also move them up and down just
like in Photoshop for different hierarchy.
| | 01:19 |
So maybe I want the text in front.
No, I don't think that's working so let
| | 01:23 |
me bring that back up in front.
We're gonna learn how to lock layers, so
| | 01:27 |
that I don't have to accidentally bump
that, and move that.
| | 01:31 |
So, by the end of this chapter, you'll be
able to not only break your art into
| | 01:34 |
multiple layers, but also understand how
to manage them.
| | 01:38 |
Including, sublayers, where every object
on that layer, is on its own sublayer.
| | 01:44 |
You could even select things, from the
layers panel, without having to come over
| | 01:48 |
here to the art and select individual
pieces.
| | 01:52 |
Go to the layer, one click, and there you
go.
| | 01:55 |
So this is an important chapter, in being
able to work with our documents.
| | 02:02 |
| | Collapse this transcript |
| Understanding layers, groups, and sublayers| 00:02 |
So, let's learn how to take simple art,
figure out what layers it's using, and
| | 00:06 |
break it into multiple layers so that our
job is easier.
| | 00:10 |
I'm going to go to File > Open.
And I'm gonna go to the Chapter 10 Assets
| | 00:14 |
folder there and I'm gonna open Los
Chickens.
| | 00:17 |
Start is the name of that file, Los
Chickens, Start.
| | 00:21 |
And I've back-versioned this all the way
to Illustrator 8, which pretty much
| | 00:24 |
covers all of our bases, I think.
And I'm gonna expand this to fit my whole
| | 00:29 |
window and Cmd+0 to fit in window.
That's exactly the same thing we would do
| | 00:34 |
in Photoshop or InDesign.
Now, if I go to window layers, there's my
| | 00:39 |
layers panel.
And I'm gonna grab the tab and bring that
| | 00:43 |
out because we're probably gonna make
lots of layers in this.
| | 00:46 |
Now, if I select this art, you can see
all the vector lines there.
| | 00:51 |
And you can see there is one layer and
that's always going to be there.
| | 00:55 |
I don' t care if you have an old piece of
clip art that you got off a CD somewhere
| | 00:58 |
or someone e-mailed it to you and nobody
even knows anything about layers.
| | 01:03 |
There will always be layer one, that's a
top level layer and you just got that.
| | 01:09 |
Now, off to the left of that is a little
triangle.
| | 01:12 |
And if I click on that, it opens it up
and I can see that there's a sublayer
| | 01:16 |
that's the group.
So this has obviously been grouped.
| | 01:20 |
I can also see that when I do a single
click, and it all becomes active there.
| | 01:25 |
But I can also see it here.
Now, if I expand the group, I can see
| | 01:29 |
every single object that's in this piece
of art.
| | 01:34 |
Every single dot, line, triangle, circle,
it doesn't matter.
| | 01:39 |
If it's in this document, it's in a
sublayer of some sort.
| | 01:44 |
Now, if I select this group and I go to
Object > Ungroup, or Cmd+Shift+G, notice
| | 01:49 |
how the group goes away.
And now I've only got the top level layer
| | 01:55 |
and then all the objects that create
that.
| | 01:58 |
Okay.
Now, if I click off, now you can see that
| | 02:00 |
I can click on just the body of the
chicken and there it is active there.
| | 02:06 |
I'm going to zoom in a little bit by
hitting command plus a couple times and
| | 02:09 |
now we can see this a little better.
One nice thing about these layers and
| | 02:14 |
sublayers is that instead of coming over
here and trying to click on his eyeball
| | 02:18 |
and possibly bumping it or moving it or,
or maybe I'm looking for a piece of art
| | 02:21 |
that's behind something else and it's
really hard to get ahold of that.
| | 02:27 |
If I look right over here, and see the
previews, there's the eyeball right there.
| | 02:32 |
I can actually click to the right and it
selects the art on the page.
| | 02:37 |
So, I don't have to even touch the art to
be able to select or make active, that
| | 02:41 |
piece of art, which I can then come over
and choose a different color for the eye
| | 02:45 |
in one way or another.
Now these panels, if you're brand new to
| | 02:51 |
this, might be little hard to see.
So, I'm gonna go to the flap menu of the
| | 02:55 |
Layers panel go all the way to the bottom
to Panel Options.
| | 02:59 |
And now I am gonna make that large, so
that now we can see that.
| | 03:02 |
There we go.
Now we can see it a little bit better and
| | 03:04 |
I need to extend this panel even more so
we can see it.
| | 03:08 |
There's the eyeball, there it is.
There's his waddle right there.
| | 03:13 |
If I wanna select that I can click here
or I can click on the art.
| | 03:17 |
Either one will get that job
accomplished.
| | 03:19 |
Okay, so we have this single top level
layer, but I want to break it into those
| | 03:23 |
multiple layers, so I can turn on and off
portions of it very easily.
| | 03:29 |
Now we have a couple choices here.
It would be possible for me to select
| | 03:33 |
just the chicken.
Make a group of just that chicken.
| | 03:38 |
And you can see that, that group is a
sublayer of group that can be turned on
| | 03:42 |
and off.
This is one way to do it.
| | 03:46 |
It's not the way I prefer to do it
because with top level layers, we can
| | 03:50 |
turn top level layers off and on, as far
as their visibility goes, in InDesign.
| | 03:57 |
I could also bring those layers right
into Flash and animate this art.
| | 04:01 |
So, if you're going to do anything beyond
Illustrator, I think it's good practice
| | 04:05 |
to make top level layers when it's
appropriate.
| | 04:08 |
So, we'll go through this now.
I'm gonna ungroup this chicken again,
| | 04:12 |
Object > Ungroup.
Now you can see that once again I just
| | 04:16 |
have a single top-level layer.
All right.
| | 04:18 |
So, let's click down here at the bottom,
this Create New Layer icon, which is the
| | 04:22 |
same as Photoshop, same as InDesign, same
as Flash or I can go to the Flyout menu
| | 04:26 |
and, say, let's create a new layer.
Alright.
| | 04:31 |
Now I can name it at this point, but
maybe I don't know what I'm gonna put on there.
| | 04:35 |
So, I could do that later if I wanted.
I happen to know that I'm gonna put the
| | 04:38 |
chicken on there.
And I'm gonna put poultry because we
| | 04:41 |
still haven't decided whether it's a
chicken or a rooster.
| | 04:44 |
So, I'm gonna do that.
So, here's everything's on this layer and
| | 04:47 |
I need to move just the chicken, or
rooster to the poultry layer.
| | 04:52 |
And I'm gonna select it, hold my Shift
key down, grab his wing there, and now
| | 04:56 |
I've got the entire chicken selected.
Now, look all the way to the right of
| | 05:02 |
that layer 1.
You can see a little blue square there
| | 05:05 |
and that tells us that something in that
graphic is selected.
| | 05:10 |
Well, in this case we know that, cuz we
just selected it.
| | 05:13 |
And if I grab that square and move that
up to the poultry layer, you can see that
| | 05:19 |
a few things happen.
Number one, we get a red square and the
| | 05:24 |
blue one disappears.
Number two, look at the bounding box and
| | 05:29 |
the outlines, anchors and lines of the
arc, they become red, which is the color
| | 05:33 |
of that art.
And if you look at the preview, you can
| | 05:37 |
see that the chicken is on it's own layer
and the background is on separate layer.
| | 05:41 |
Okay.
Now, I wanna do that to other objects in
| | 05:44 |
this art.
So, I'm gonna expand this, see what else
| | 05:48 |
is underneath there, and I'm gonna add
another couple layers there.
| | 05:53 |
I'm gonna select this barn by going right
over here and clicking.
| | 05:56 |
You can see that I got a portion of that.
And I'm gonna hold my Shift key down and
| | 06:00 |
just come through here.
And I'm selecting multiple paths that are
| | 06:04 |
parts of this barn and I can see little
objects there.
| | 06:09 |
And because their color is unique to the
barn, it's easy for me to know to stop
| | 06:13 |
because the brown is the fence.
So, I can actually see that.
| | 06:17 |
You may not be that lucky on all pieces
of art.
| | 06:20 |
So now I'm gonna grab that and drag that
up to layer three.
| | 06:23 |
There we go.
Lets do this to the fence.
| | 06:26 |
Hold the Shift key down and I'm gonna
move that up to its own layer.
| | 06:30 |
All right.
We are making progress.
| | 06:32 |
I want to have four layers though.
I still got to do the grass and the sunshine.
| | 06:38 |
So, I'm gonna create two more layers.
Expand this.
| | 06:42 |
I'm gonna select the grass and I'm gonna
move this up.
| | 06:46 |
You may notice that I'm missing
something.
| | 06:47 |
I forgot the solid background there and
that's down here because it was
| | 06:51 |
underneath the sunshine.
So, I'm gonna select it and I'll move it
| | 06:56 |
up at this point.
There we go.
| | 06:59 |
Uh-oh, it's on top.
Well, I could do Object > Arrange > Send
| | 07:03 |
To Back or I can expand that layer and
drag it underneath there and now I've got
| | 07:06 |
it the way I want it.
Let's close that back up.
| | 07:11 |
One last thing to do.
Actually, the sun's already on its own
| | 07:14 |
layer, so I'm gonna use this for type in
just a bit.
| | 07:17 |
Now look at the order of things, what a
mess.
| | 07:20 |
Now if I select this layer, make
everything active and I go to Object >
| | 07:23 |
Arrange > Send To Back, well, nothing's
gonna happen because in Illustrator,
| | 07:28 |
you're only sending to back or bringing
to front of objects on that layer.
| | 07:34 |
So, it allows you to control things a
little bit easier than when you're
| | 07:37 |
working on a really complicated art.
And when you send it to back it goes
| | 07:41 |
behind everything and you really only
wanted that green to go behind these
| | 07:44 |
green lines.
So, to send it back now, I actually move
| | 07:48 |
that layer underneath to the bottom.
There we go.
| | 07:52 |
And I'm gonna bring the chicken up to the
top.
| | 07:54 |
Now his little feet are on the fence
there and now I've got it in the order
| | 07:58 |
that I want it.
Now, let's say I select this barn, and I
| | 08:02 |
group it.
Object > Group.
| | 08:04 |
There we go.
And I'm gonna expand the group and I'm
| | 08:07 |
gonna select the door by Shift+clicking,
until I have all the parts of that door selected.
| | 08:14 |
And now I'm gonna group that.
Object > Group.
| | 08:16 |
So, now you can see I've got a barn group
and a door group.
| | 08:21 |
I'm gonna double-click on that and I can
name this door.
| | 08:24 |
I'm gonna double-click on this and I can
call this barn group.
| | 08:30 |
So, I can actually name objects by double
clicking on them.
| | 08:33 |
Notice that I got too much accidentally.
I can see that right here.
| | 08:38 |
When I select those, I actually got the
wrong door.
| | 08:41 |
So what am I gonna do?
I'm gonna select those two objects, and I
| | 08:44 |
can just move them out into this layer.
Let's mover the other one out.
| | 08:49 |
And now, if we look, they're not in that
door selection anymore.
| | 08:53 |
I'm only selecting that.
So, by taking things out of a group and
| | 08:56 |
into a group, you don't even have to
ungroup anymore.
| | 09:00 |
It's just a matter of moving them in this
hierarchy to where they belong.
| | 09:05 |
Okay.
So, now I can turn off just the door if I
| | 09:07 |
want or I can lock just the door.
So, by breaking it into these layers,
| | 09:13 |
it's becoming very manageable for us.
Okay.
| | 09:16 |
So, now you've learned how to take a very
simple piece of clip art and break it
| | 09:19 |
into layers, if it hasn't already come in
that way.
| | 09:23 |
And if you're getting anything from a CD,
anything off the internet, chances are,
| | 09:26 |
it won't be broken into these layers.
And this is something you'll have to do yourself.
| | 09:32 |
If you're creating art from scratch, this
is something you'll do as you'll go.
| | 09:36 |
And I'm not big on naming layers.
I'm guilty of that.
| | 09:39 |
But in this case, I've become a big fan
of it.
| | 09:42 |
I strongly recommend you double-click and
you name this fence, and you give it
| | 09:45 |
names that make sense to you, so that you
can identify it very quickly as you get
| | 09:49 |
more and more of them.
But also, as you work with other
| | 09:54 |
applications, it's gonna be very useful
to be able to identify those quickly.
| | 10:00 |
| | Collapse this transcript |
| Working with layers| 00:00 |
Let's open the Los Chickens layered CS
file and you'll see that we've got the
| | 00:03 |
art broken down into these top level
layers.
| | 00:07 |
We've still got the barn in groups.
Alright well we want to do some more with
| | 00:12 |
this art.
Let's put a background in there.
| | 00:15 |
Now even though I don't have a layer
selected, you don't see one highlighted
| | 00:19 |
in blue right?
Well, it actually is selected.
| | 00:24 |
Look right there, see the little
triangle, that microscopic corner notch?
| | 00:28 |
That's telling us that whatever we do now
is going to apply to that layer.
| | 00:31 |
You know, I never stress this because
let's say that I take my rectangle tool
| | 00:36 |
and I draw a frame.
Okay, yes, it went on that layer.
| | 00:41 |
I'ts not the end of the world.
I can take that green dot there that
| | 00:44 |
shows that I've got that selected, and I
can move it to its own layer.
| | 00:50 |
Grab that layer, move it below, and
there's the background.
| | 00:53 |
Well, I don't really care for that color,
so let's go to the swatches panel.
| | 00:57 |
And I'm gonna go to the library, and I'll
choose maybe some gradients here.
| | 01:01 |
And since this is a farm picture, I'm
gonna go up here to fruits and vegetables
| | 01:05 |
and just click on a few of these to play
with a bit, see if I find any that I like.
| | 01:11 |
Alright, that ought to do it.
Okay, now we'll close out of that library there.
| | 01:16 |
Alright, so let me go to the swatches and
choose that one.
| | 01:19 |
Go to the gradient panel and make this
minus 90 degrees there.
| | 01:25 |
There we go, isn't that lovely?
Or, maybe we'll try This green one right here.
| | 01:31 |
That one's kinda nice.
OK, lets do that one.
| | 01:33 |
So now you can see there's the thumbnail.
Little preview.
| | 01:36 |
Let's double-click on that.
Now I'm gonna call this background green.
| | 01:40 |
Clever name, eh?
Okay, and it's on the bottom there.Now,
| | 01:44 |
I'm gonna do some work on this art so I'm
gonna lock That art there.
| | 01:50 |
And by locking that you can see that I
just can't get to it.
| | 01:54 |
And even if I hit command a for control
all, it's gonna select all the art that's
| | 01:59 |
not on a locked layer.
I can even lock sublayers.
| | 02:03 |
For example, if I wanted to.
I could lock just the door group.
| | 02:09 |
Or, I could lock just that one path.
Now, that gets a little confusing because
| | 02:14 |
if you look here, you'll notice there's
no indication that, that layer is locked.
| | 02:19 |
And that may cause you some problems down
the road cuz you're wondering why isn't that.
| | 02:22 |
Behaving the way I want it to.
Okay, so I'm going to open that up and
| | 02:26 |
I'm going to unlock that layer for now,
because I want to select all of this art
| | 02:30 |
and I want to scale it.
So I'm holding my Shift key down as I
| | 02:35 |
grab these bounding box corners and make
the artwork bigger there.
| | 02:40 |
Here we go.
Now, again, it's good habit.
| | 02:43 |
Maybe to create the layer in advance, so
that it's a little easier to keep an eye
| | 02:46 |
on things.
But different than Photoshop.
| | 02:49 |
It's not as big of an issue.
If I take my type tool, for example.
| | 02:53 |
And I click right here, and I type
chicken.
| | 02:57 |
And I select all.
And I'm gonna make this a lot bigger by
| | 03:00 |
grabbing the bounding box, and just shift
dragging it.
| | 03:04 |
Okay.
Well, it's on that poultry layer.
| | 03:06 |
And I realize, oh, that's, yeah.
That's not where I want it.
| | 03:08 |
Once again.
New layer, grab that dot, move it and now
| | 03:12 |
you can see chicken is on it's own layer.
I can get rid of the chicken to see
| | 03:17 |
what's underneath it if I want to.
I can turn off the visibility of all the
| | 03:20 |
art and just work on the type if I want
to.
| | 03:23 |
By clicking on that little eye ball to
the left there.
| | 03:27 |
So I am gonna choose a different font.
Let's choose something farmish.
| | 03:31 |
Farm-ish.
I don't know if that's a word or not, but
| | 03:34 |
we're gonna choose something farm-ish
like mesquite.
| | 03:38 |
There we go.
I think that's pretty farm-ish.
| | 03:41 |
So I'm gonna hold my shift key down and
enlarge that word chicken.
| | 03:45 |
Now let's just see how it looks with
everything.
| | 03:47 |
Well.
That's not exactly how I want it, I want
| | 03:50 |
the chicken in front of that.
First, though, I think I'll choose some colors.
| | 03:54 |
So let's go back to the swatches panel
and I don't have any swatches there
| | 03:57 |
because that piece of art is old, or it's
from a CD, or whatever the reason is, I
| | 04:01 |
don't have anything there.
So once again, go to my swatches library.
| | 04:06 |
Default swatches, maybe.
Could do that, and I'll just choose the
| | 04:11 |
basic CMYK swatches.
Alright, and I'm gonna select all of
| | 04:15 |
these and just drag them right in there.
There we go.
| | 04:21 |
And let's choose a dark Brownish color
maybe, something like that.
| | 04:26 |
Nuh, don't like that.
There we go, that's better.
| | 04:29 |
But it still doesn't solve the problem of
the chicken, which I want on top.
| | 04:34 |
So once again, grab that layer, move it
above and now you can see that the word
| | 04:37 |
chicken is behind the actual chicken.
Now I also want to have a choice for
| | 04:42 |
rooster, because you know some people
think its a rooster not a chicken, I
| | 04:45 |
thought a rooster was a chicken, but we
will debate that at another time.
| | 04:50 |
I want to duplicate that layer I can go
the fly out menu and say duplicate layer
| | 04:55 |
seven or I can drag that on top of the
new layer icon.
| | 05:00 |
And now I've made a copy there as well.
Now there's a third way to do it that I
| | 05:04 |
like to show because it's just good to
know.
| | 05:06 |
I can create the blank layer there, and
with that word selected, now if you know
| | 05:11 |
this in the Adobe world, if I Option drag
something it duplicates it, right?
| | 05:18 |
Once you know that shortcut it's so
valuable because you can sit there and
| | 05:21 |
go, hey I wonder If, when I move that to
that new layer, I wonder if I hold the
| | 05:25 |
alt, or option key down, when I do that,
will it duplicate that.
| | 05:31 |
And, as you can see, it does.
And that's really a useful, little tip,
| | 05:34 |
that I just gave you there.
I'm gonna turn off the visibility of the
| | 05:39 |
layer seven chicken, and I'm gonna change
this text to be Rooster.
| | 05:44 |
There we go, alright.
Maybe I'll just make that a little bit
| | 05:48 |
smaller, so that it fits a little
differently there.
| | 05:51 |
And, I'm gonna go to the swatches panel,
and I'll choose, just a totally different color.
| | 05:56 |
I'll choose, like, this reddish color
there.
| | 05:58 |
Little bit too close to the other one, so
lets just choose a darker version of it.
| | 06:02 |
There we go.
Alright, now lets go back to our layers
| | 06:05 |
panel, and look.
So I have, chicken, and rooster, as
| | 06:10 |
options that I can toggle between.
If I have them both on, as you can see,
| | 06:15 |
it's probably not the best look.
So now I can choose between which one I
| | 06:19 |
want visible, for any particular piece of
art.
| | 06:23 |
I want to play with the different
background too, so I'm gonna Duplicate
| | 06:26 |
that background, and by unlocking the art
and selecting it, I'm going to go back to
| | 06:30 |
the swatches panel, and I'll just choose
a different gradient, choose one of the
| | 06:34 |
other ones that we were playing with
earlier like maybe this red one.
| | 06:41 |
I kind of like that one.
Okay.
| | 06:43 |
So now, i can turn on and off.
The different backgrounds.
| | 06:48 |
And turn on and off the different text.
And I've got different versions.
| | 06:52 |
Okay.
So as you can see, what we've learned in
| | 06:55 |
this chapter is how to change visibility.
How to lock.
| | 06:59 |
And how to recognize which layer you're
working on.
| | 07:02 |
As well as duplicating layers, or
duplicating objects to layers, by holding
| | 07:07 |
down the alt and then dragging that.
| | 07:12 |
| | Collapse this transcript |
| Isolation mode| 00:02 |
Let's open the image, Los Chickens in
CSAI.
| | 00:06 |
And let's go to window, layers.
And if you want to, you can enlarge the
| | 00:12 |
preview by going to the panel options and
choosing large.
| | 00:16 |
Now we can see those layers a little bit
better.
| | 00:18 |
I want to talk about something in this
chapter that you've probably done by accident.
| | 00:23 |
Whenever I'm in front of a live audience
and I'm teaching illustrator and I show
| | 00:25 |
them this they go oh, that's what that
is.
| | 00:28 |
I've been there by accident a million
times and I didn't know what to do.
| | 00:31 |
We're gonna learn this because once you
master isolation mode you're really going
| | 00:35 |
to be able to work a lot faster.
You're gonna love this, I promise, you're
| | 00:39 |
gonna love this.
If you've ever done this by accident,
| | 00:42 |
just double-clicked on a piece of art,
you'll notice that we get this gray bar
| | 00:46 |
runs across the top and what we selected
is editable.
| | 00:50 |
Right?
You can see that.
| | 00:52 |
I'm going to undo that by hitting Command
z, but everything else is grayed out.
| | 00:57 |
And you're thinking, Now, how did I get
here?
| | 00:59 |
And you might have been clicking around
and trying anything you could, and
| | 01:02 |
accidentally maybe double clicked outside
the art.
| | 01:05 |
And then it went back to normal and
you're like, Oh, okay, now I see.
| | 01:08 |
All right.
And then you're working a little bit
| | 01:10 |
longer and maybe you want to select the
text.
| | 01:12 |
Well, double clicking on the text does
change from the selection tool to the
| | 01:16 |
type tool.
But if you double click on the
| | 01:18 |
background, for example, Where'd my art
go?
| | 01:21 |
Well, we're working in isolation mode.
Alright?
| | 01:25 |
I'm gonna double click off.
And I'll give you a great example of how
| | 01:28 |
this works.
Let's go to the barn layer, and expand it.
| | 01:32 |
And you'll see the barn group.
And let's expand it again.
| | 01:35 |
And you'll see the group called door.
So we actually have three groups.
| | 01:39 |
Now, even if you're creating art, and
these aren't named.
| | 01:43 |
If this just says layer eight, and this
just says group.
| | 01:46 |
And this just says group.
It still works the same way.
| | 01:48 |
I just named them so that it's easier for
us to see what's going on.
| | 01:52 |
Now, let's say that I want to work on the
barn, only the barn, and I double click
| | 01:56 |
on the barn.
Now, because the barn is a group, it
| | 02:00 |
isolated that group and everything else
is grayed out.
| | 02:06 |
Look what happens if I try to move the
chicken.
| | 02:08 |
Can't, or the rooster, can't, background,
nope, not gonna have it.
| | 02:14 |
Because I've isolated just the bar, and
look at my layer's panel.
| | 02:18 |
I'm only working on that group and only
sub-layers are visible.
| | 02:23 |
Now, what if I wanna change the door?
I'm gonna double click on the door Now look.
| | 02:27 |
The barn, grayed out.
I can't work on the barn now.
| | 02:31 |
I can only work on the door.
Now I can still work on sub-layers of
| | 02:35 |
that door, right?
But everything else is grayed out.
| | 02:39 |
Now I can go back to the barn group.
Up here in the top left corner you can
| | 02:43 |
see the bread crumbs.
Barn, barn group, door.
| | 02:48 |
I can go back to the bar and group, by
clicking there, or I can click on this
| | 02:51 |
arrow, and go back one more level, and
one more level.
| | 02:55 |
Or, lets just go there again, double
click, double click.
| | 02:59 |
Or, if I just double click off the art
somewhere, now I'm back in my original
| | 03:03 |
art again.
Now why is that useful?
| | 03:06 |
Well one reason is, maybe I don't want to
sit here and lock, lock, lock just to
| | 03:11 |
work on the barn.
That's one reason.
| | 03:15 |
It automatically will lock the position
of everything else.
| | 03:18 |
Because if I hit command a now notice I
can only get the barn.
| | 03:22 |
So I've locked the position, just with a
simple double click.
| | 03:25 |
I'm able to now work, only, on that barn.
That's one benefit.
| | 03:30 |
Another benefit is, if you've ever done
groups, and this doesn't have to be Illustrator.
| | 03:35 |
Lets take Quark, or Pagemaker even,
Indesign, doesn't matter.
| | 03:39 |
If you've ever grouped multiple objects,
you know, that if you want to add
| | 03:43 |
something to that group, you had one of
two choices.
| | 03:47 |
Either ungroup everything, select that
extra thing in addition and group it all
| | 03:51 |
again, or just group that on top of the
previous group.
| | 03:55 |
So what you have now is groups on top of
groups on top of groups.
| | 03:59 |
Well, watch this.
If I double click on the barn I'm only
| | 04:02 |
work on that group.
Double click on the door I'm only work on
| | 04:05 |
that group.
What would happen if I zoomed in.
| | 04:09 |
On this door, right there.
Again, I'm only working on the door.
| | 04:14 |
On the door group.
What would happen if I took my star tool,
| | 04:19 |
let's say, and I just drew a small star
and I'm gonna fill that with yellow.
| | 04:27 |
There we go.
So I got a yellow star.
| | 04:28 |
On the door of the barn now.
Let's look at the group.
| | 04:31 |
It automatically added that to that roup.
I don't have ungroup and regroup.
| | 04:36 |
I don't have to select multiple objects.
By drawing or creating anything while in
| | 04:41 |
that isolation mode of that group it
automatically does it.
| | 04:45 |
I'm gonna position that a little bit
better there and I'm gonna hold my alt
| | 04:48 |
key down.
And drag that so that I have a duplicate
| | 04:52 |
of it.
Now notice I have two stars already
| | 04:55 |
automatically in the door group.
Easy.
| | 04:59 |
Now, I can either go back to the barn to
do more work on the barn if I want.
| | 05:03 |
Or, the arrow, keep going back.
Or, as I showed you earlier, just double
| | 05:07 |
clicking off will take you back.
And there you can seethe little stars in
| | 05:11 |
the door.
If I ever want to change those, I don't
| | 05:15 |
have to go to the layers anymore.
I don't have to worry about this.
| | 05:18 |
Double click, double click and there I am
in that sub layer.
| | 05:23 |
I can now double click and notice that I
am only working on the star, simple.
| | 05:29 |
Isolation mode.
Yeah, now that you know what it is, once
| | 05:32 |
you start creating these layers, and once
you start creating groups, you're gonna
| | 05:37 |
find that just by clicking you're able to
get in there, get the job done, and get
| | 05:41 |
back out.
| | 05:45 |
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|
|
11. Bringing in Photos and Other Graphics for More FunWorking with photos and other art| 00:02 |
Sometimes when you're working in
Illustrator, you need to bring in photos,
| | 00:05 |
or maybe you need to bring in art you've
created in Illustrator in other files.
| | 00:09 |
There are several ways to do that.
And in this chapter, we're gonna focus
| | 00:13 |
on, how to place pictures properly, and
when to use embedding versus linking, and
| | 00:17 |
we're gonna place some graphics.
For example, file, place.
| | 00:22 |
Seems just like in design, if you've used
that or cork or anything else.
| | 00:26 |
We need to know that when I choose this
art right here, for example, do I link it?
| | 00:32 |
Or embed it?
And how do I know the difference?
| | 00:35 |
Well, we're gonna learn how to look at it
the link panels to digest what's exactly
| | 00:39 |
going on in our file.
And when I go to file place.
| | 00:44 |
And I need another vector graphic,
perhaps something created in Illustrator,
| | 00:48 |
and go to place that, whether I link or
enbed it.
| | 00:51 |
The question is, do I really wanna place
it, or would it be better for me to open
| | 00:55 |
it in Illustrator, copy it, and paste it
in here?
| | 00:58 |
All those are questions that we're gonna
answer in this chapter, working with photos.
| | 01:03 |
Working with Illustrator files and we're
also gonna show you how to take a picture
| | 01:08 |
like this and crop it, because it's very
foreign if you've never used Illustrator before.
| | 01:15 |
| | Collapse this transcript |
| Placing photos| 00:02 |
When you look at all the products in the
Creative Suite, Photoshop, Illustrator,
| | 00:05 |
InDesign, there's a lot of crossover
where you're able to do the same thing in
| | 00:08 |
any of those products.
And so, sometimes it just comes down to a
| | 00:13 |
personal preference.
Well I prefer Photoshop or I prefer InDesign.
| | 00:18 |
No matter which is your favorite though,
there are times when working in
| | 00:21 |
Illustrator placing graphics, placing
photos, is the best way to do it.
| | 00:26 |
So, it's important that you know how to
place a photo and how to work with them
| | 00:29 |
in Illustrator.
It's actually very simple.
| | 00:32 |
File > Place.
There you go.
| | 00:35 |
File > Place, just like InDesign.
And you look in the folder for the file
| | 00:39 |
you wanna place.
In this case, the Fiat photograph there.
| | 00:43 |
And I hit Place.
But, but wait.
| | 00:45 |
Before I do that, we have a really
important decision right over here.
| | 00:50 |
Do I wanna link to an external file, or
do I want to embed that?
| | 00:53 |
Well, let's go ahead and link for now.
And when I place this, this is gonna be
| | 00:58 |
much like working in other applications,
Pagemaker, Quark, InDesign.
| | 01:04 |
What I've got in the document is just a
low resolution preview and it's linked to
| | 01:08 |
the hi res.
And let's go to Window > Links, and you
| | 01:12 |
can see that right there in the Links
panel, it shows me that document.
| | 01:17 |
And if I double-click on it it'll tell me
the path of where it is.
| | 01:21 |
Okay?
And it, it's got some basic information
| | 01:24 |
here, all right?
And then up here, it tells me something
| | 01:27 |
really important.
I'm at 269 pixels per inch.
| | 01:30 |
That's the name of the file.
It's grayscale mode.
| | 01:33 |
So, there's some information there, to
help me monitor this file.
| | 01:37 |
I'm gonna go ahead and place another
photo.
| | 01:40 |
File > Place.
But this time, I'm gonna go ahead and
| | 01:42 |
embed it.
All right?
| | 01:44 |
I'm going to unlink, all right?
Deselect the link right there.
| | 01:48 |
But what I'm doing now is I'm saying go
ahead and put the full version of that in
| | 01:52 |
this document.
What that means is I can have this
| | 01:55 |
document open in Photoshop making changes
and it won't effect what I see here cuz
| | 01:59 |
the entire photo is embedded in this
document.
| | 02:03 |
One time when that's really useful for
you is, if you are gonna send the
| | 02:06 |
Illustrator file to someone else and you
don't want to worry about sending the
| | 02:10 |
support files.
Okay.
| | 02:13 |
So, I could take this photo, for example,
go to the flap menu, the Links panel.
| | 02:18 |
And now, I can embed that file.
And now you can see that both of them are
| | 02:21 |
embedded in this document.
What's the downside to that?
| | 02:25 |
Well, if your photos have a lot of
memory, 1 megabyte, 5 megabytes, 20
| | 02:29 |
megabytes, that can really balloon the
file size of that illustrator file.
| | 02:35 |
So, whereas you're traditionally used to
rather small Illustrator files, now all
| | 02:38 |
of a sudden, you've got these that are 50
megabytes or more.
| | 02:42 |
And you're wondering, wow why is that so
big?
| | 02:44 |
Well, It's because I've embedded all that
data right there in that file.
| | 02:49 |
Now, watch what happens when I take this
photo and I shrink it down.
| | 02:53 |
Notice that it shoots up to 1400 pixels
per inch.
| | 02:57 |
Well, I don't need that much.
I just don't need that much information.
| | 03:00 |
That is if I've decided this is the size
it's gonna be.
| | 03:04 |
Once I place it, scale it and I've
decided that's the size I want this to
| | 03:07 |
be, I can go to Object > Rasterize, and
I'm actually using the exact same
| | 03:11 |
technology that I would get if I opened
it in Photoshop and downsampled it.
| | 03:18 |
I can set the resolution.
I can change the color model.
| | 03:21 |
If there's any transparency, I can make
that stay transparent or go to white.
| | 03:26 |
So, I have some controls here.
I can even preserve spot colors or have
| | 03:30 |
those all convert to CMYK during the
rasterization.
| | 03:34 |
Well, when I hit OK, watch what happens.
This file is now 300 pixels per inch.
| | 03:40 |
So, when I save it with this embedded
data, it's gonna be considerably smaller
| | 03:43 |
than it would have been if I didn't do
that.
| | 03:47 |
So, one thing to think about, if you're
done with your art, you're gonna send it
| | 03:50 |
on to someone else, you may want to
downsample some of those raster graphics
| | 03:53 |
if they're too big.
I'm gonna go ahead and undo that.
| | 03:57 |
So, now it's big again.
And let me just take it back to that size.
| | 04:01 |
So, I've got this embedded file and I
wanna relink it to another file.
| | 04:05 |
Well, I can do that with the Relink
button down here.
| | 04:08 |
I can do that with an embedded file or a
linked file.
| | 04:10 |
So, I'm gonna relink.
I'm gonna choose this photo but what do I
| | 04:14 |
wanna remember?
Link it.
| | 04:16 |
Okay?
If I don't want it embedded, I wanna keep
| | 04:18 |
it linked to the external file, this time
I'm gonna tell it link.
| | 04:21 |
And now, watch what happens, this file is
now linked to an external Photoshop file.
| | 04:26 |
Now why is that important?
Well, number one it keeps the Illustrator
| | 04:30 |
file size smaller.
Number two, I can continue to make
| | 04:33 |
changes in Photoshop.
Let me scale this picture up, make it fit
| | 04:36 |
that page a little bit more.
There we go.
| | 04:39 |
And I'm looking at this, and I've decided
that I want to make some changes to this
| | 04:43 |
in Photoshop.
Well, if you've ever done this in
| | 04:46 |
InDesign, or Quark it's the same here.
I'm gonna hold my Option key down, and
| | 04:51 |
double-click on that file.
It now opens that in Photoshop for me,
| | 04:56 |
because it's linked.
Embedded files won't do that.
| | 04:59 |
So now, I'm gonna select that layer and
I'm gonna go to Image > Adjust > Use
| | 05:03 |
Saturation, something like that.
Let's hit Colorize.
| | 05:08 |
Let's make that match that background on
there, kinda close, looks pretty good.
| | 05:13 |
And now, I'm just gonna hit Save on my
keyboard, Cmd+S.
| | 05:17 |
All right?
Now, let's go back to Illustrator.
| | 05:19 |
It's gonna say, hey, some of these files
have been you know, modified.
| | 05:23 |
Do you wanna update them now?
And I am gonna say yes and look what happens.
| | 05:26 |
It now updates with that linked file.
So, there's a benefit of linking, is that
| | 05:32 |
I can start building my Illustrator
document before anybody is actually done
| | 05:36 |
with the photos.
I can link 'em and as they're working on
| | 05:40 |
those, I can modify those.
One other thing worth noting here is,
| | 05:45 |
when working with Photoshop files on
layers that have transparency, watch what happens.
| | 05:51 |
I'm going to take this JPEG.
JPEG's don't have transparency, right?
| | 05:56 |
They don't have layers, right?
And I'm going to relink this right here,
| | 06:01 |
to the other window in rome.psd, and I'm
gonna link that or embed it.
| | 06:08 |
That's not the point here.
The point is, that this version, let's
| | 06:12 |
zoom in and see it.
This version, if we open it in Photoshop,
| | 06:14 |
you would see that there's a transparent,
gradient fade there, okay?
| | 06:18 |
Let's go ahead and do that, I'm gonna
Alt+double-click, opens in Photoshop.
| | 06:22 |
And you can see there's transparency
there.
| | 06:24 |
See it right there on the layer mask.
Okay?
| | 06:26 |
What's the point?
The point is that if you put transparency
| | 06:30 |
in a Photoshop file, then Illustrator
will recognize that.
| | 06:33 |
That includes knock outs.
That includes gradient fades.
| | 06:37 |
Any form of transparency that you put in
a Photoshop file, you'll have preserved
| | 06:41 |
right here in Illustrator.
So as you can see, the actual art of
| | 06:46 |
placing a photo is rather easy.
The hard part is knowing when and when
| | 06:51 |
not to embed or not embed and the
benefits of those.
| | 06:55 |
Just remember, if you embed it, it's
actually in that document and it all goes
| | 06:59 |
with that Illustrator document.
The downside is ballooned file size.
| | 07:04 |
If it's linked and I send this
Illustrator document to somebody and they
| | 07:07 |
don't have that high res file.
They're gonna have trouble in the output.
| | 07:11 |
See, I remember to send those along with
it if you're going to have them do the
| | 07:16 |
final output or any other work with that
Illustrator file.
| | 07:22 |
| | Collapse this transcript |
| Cropping photos (using clipping masks)| 00:02 |
An email I get all the time is, hey
Russell how do I crop a photo in Illustrator?
| | 00:07 |
Well, you don't really.
It's not like PhotoShop where I'm gonna
| | 00:11 |
take this photograph and crop it down.
And it's not like in design, or quark
| | 00:16 |
where you place it into a frame
necessarilly, and then you can move the
| | 00:20 |
frame around a crop.
It's a different animal in Illustrator,
| | 00:24 |
so it's really important we understand
what's going on here.
| | 00:27 |
And what these things are called are
Clipping Mask.
| | 00:29 |
We're gonna use Clipping Mask, and we're
gonna do a couple tricks here.
| | 00:33 |
But basically in this chapter we're gonna
learn how to, and I'm doing the
| | 00:36 |
proverbial quote marks in the air here,
Crop, a photo, in Illustrator.
| | 00:42 |
But we don't.
Just to be sure, we don't crop photos, we
| | 00:44 |
merely mask out, or clip, what we don't
want to have visible.
| | 00:49 |
So lets just do a really basic one right
now.
| | 00:51 |
Well, I've got this art here, and I'm
gonna zoom out a click there, and I'm
| | 00:54 |
gonna make this bigger Then the page, by
shift-dragging.
| | 00:58 |
And you can see that the art extends off
the page.
| | 01:02 |
You can see that, okay.
Well, lets say that I wanted to really
| | 01:06 |
crop, right there.
Or, lets go down, back to the size of it,
| | 01:10 |
what I really want, is I want to crop
this in the bottom half of this frame.
| | 01:15 |
Well if I grab the handle here and bring
it down.
| | 01:18 |
Yeah, that's not a good look.
Okay?
| | 01:21 |
So, how do I get rid of the top half of
that?
| | 01:24 |
Okay?
Well, it's actually very simple if you
| | 01:27 |
know just a couple op steps.
Number one, draw with any of the frame
| | 01:32 |
tools, pencil, it doesn't matter what you
use to create this, but you need a path
| | 01:36 |
that is the frame.
Okay?
| | 01:39 |
So I'm gonna draw just with the rectangle
tool.
| | 01:42 |
That frame is over the picture the fact
that its filled with black I am
| | 01:45 |
absolutely going to ignore that it
doesn't matter for what we are doing
| | 01:48 |
because that fiill is gonna disappear as
soon as we make this clipping mask.
| | 01:54 |
Now I am holding my shift key down and I
am also selecting the photograph that's
| | 01:58 |
gonna go in it okay, so frame is on top.
The picture underneath.
| | 02:04 |
They're both selected.
Object.
| | 02:07 |
Clipping mask.
Make.
| | 02:09 |
Tah-dah!
There you go.
| | 02:11 |
It's that simple.
Now, what if I wanted to move that
| | 02:14 |
picture up or down or around.
Well, I can double click on it.
| | 02:19 |
You can see up here that I'm in isolation
mode, and if I click again I'm actually
| | 02:23 |
working on the photograph, and now I can
move that down and around, hold my shift
| | 02:27 |
key down, maybe scale it just a bit.
When I double click, to go back to the
| | 02:33 |
original artwork, you could see how
that's changed.
| | 02:36 |
Or if I double click, I can be working on
the frame.
| | 02:40 |
I can move that up.
Move this back down closer to the car.
| | 02:45 |
Alright, so I can still work on the
frame, double click out, and now there's
| | 02:48 |
my changed art.
You know, I don't like the fact that the
| | 02:52 |
tires are clipped off, so let me double
click, double click.
| | 02:56 |
Now move that up.
There we go.
| | 02:59 |
Lets double click off, and now you can
see that I moved that inside that frame.
| | 03:04 |
Now, if I hover over it, you can actually
see a blue frame that shows me the
| | 03:08 |
picture frame edge.
And if I click on that, well, nothing's
| | 03:13 |
happening, see?
It's there but I'm not really working
| | 03:16 |
with that.
So it's best to kind of become familiar
| | 03:19 |
with isolation mode and learn how to get
in there.
| | 03:22 |
Now if I select this, up here in my
control bar are these little buttons here
| | 03:26 |
that said Edit clipping mask or Edit
content.
| | 03:30 |
Can you see that?
Well now if I click on the Edit contents
| | 03:33 |
button, you can see the frame that pops
up.
| | 03:37 |
And now I can move the contents and
actually see what I'm clipping as I'm
| | 03:41 |
doing it, because maybe I didn't want the
car at all, I really just wanted the tree
| | 03:45 |
in this.
Okay?
| | 03:48 |
And now I can go back and edit the frame,
and now just moving that up or down
| | 03:51 |
changes the clipping.
We'll I don't like that.
| | 03:54 |
let's actually go back and edit the
contents and bring that car back up into
| | 03:58 |
that frame.
So there's lots of ways to work with the
| | 04:01 |
contents once you've got it in that
clipping mask.
| | 04:05 |
Alright, now, what if I don't want it in
the mask anymore?
| | 04:09 |
Well, object, clipping mask, release.
Now I've released it, the frame is still
| | 04:14 |
there, and I can delete that, cuz I don't
want it anymore.
| | 04:18 |
Alright, so that's one way to create a
clipping mask.
| | 04:22 |
I want to show you another way, and this
is a little trick that's kind of neat to know.
| | 04:25 |
Okay, I'm just gonna click over here and
type Rome.
| | 04:28 |
There we go.
And I'm going to select it with the black
| | 04:32 |
arrow, and I'll choose impact.
Something really big and bold, and let me
| | 04:37 |
hold my shift key down and scale that.
Alright so, there's the word Rome.
| | 04:42 |
A little bit too big, lets bring that
down a little bit more.
| | 04:44 |
Here we go.
Bring the letters together with alt left arrow.
| | 04:48 |
There we go.
And one more little trick here.
| | 04:51 |
I'm gonna go to type, create outlines.
Now this word is, basically, it's a frame.
| | 04:58 |
Now I'm gonna show you two tricks.
Trick number one, I've got the word Rome selected.
| | 05:02 |
I'm gonna shift click on the background.
Object, clipping mask, make.
| | 05:06 |
Hm.
Why didn't that work?
| | 05:09 |
Well, it's because each of these letters
is a seperate path, and I didn't make
| | 05:14 |
this a compound path.
So, object, compound path, make.
| | 05:21 |
Now, the black disappeared, but we can
still see the outlines there, so I'm not
| | 05:25 |
worried about that.
I'm gonna shift-click on the background,
| | 05:29 |
and go to object, clipping mask, make.
And now you can see, that inside of that
| | 05:34 |
text, is that photograph.
That's one way to do it.
| | 05:38 |
Alright, I'm gonna undo, all the way back
to this being live text again.
| | 05:43 |
Alright, you ready for this guys?
This is a cool trick.
| | 05:46 |
I'm going to copy the background.
Edit, copy, alright, I'm gonna delete the background.
| | 05:55 |
I'm gonna select this text, notice it's
live text, it's not outlines, and right
| | 05:59 |
down here, we've got three buttons, and
the one all the way to the right is draw
| | 06:02 |
inside mode.
Draw inside.
| | 06:07 |
When I click that you can see these
little dotted lines at the corner of the
| | 06:11 |
word Rome.
I'm actually gonna be drawing inside that text.
| | 06:15 |
If I go to Edit, Paste, look what
happened.
| | 06:21 |
It actually put the picture inside that
text, and now I can move that text around.
| | 06:25 |
Look at that.
Well here's what's really neat, I can
| | 06:30 |
still change the font, never use Hobo,
that was just an example, please, please
| | 06:35 |
I beg you, never do that.
So as you can see the words, I can change
| | 06:41 |
the font, I can highlight this And I can
alt-left arrow, or right arrow, or I can
| | 06:46 |
use my command shift comma to shrink the
font, or enlarge the font.
| | 06:52 |
So, this is live text, with a photograph
sitting there inside of it.
| | 06:59 |
And I did that by going to draw inside
mode And then pasting.
| | 07:03 |
And now that's inside of there.
So, that's a nice little trick, but what
| | 07:06 |
is it?
It's really just a clipping mask.
| | 07:09 |
And if I go to object clipping mask
release, now we're back to just type and
| | 07:14 |
just a photograph.
So, cropping photos is just as easy as
| | 07:19 |
making a frame.
Any frame.
| | 07:22 |
I am not doing this to be pretty I just
wanna prove my point, I can take my
| | 07:27 |
pencil tool and draw any path I want,
lets close that up here we go, take my
| | 07:31 |
smooth tool smooth that out, so it
doesn't matter what technique we use and
| | 07:36 |
if we take that path and also select the
picture object clipping mask make or,
| | 07:41 |
select the path.
Draw in side mode.
| | 07:48 |
And if you paste anything that's in your
clipboard, it's now inside that shape.
| | 07:54 |
So, any path with a clipping mask or draw
in side mode.
| | 07:58 |
Just a side note, that draw in side mode
is new in CS5.
| | 08:02 |
Sorry to get your hopes up if you guys
watching are using older versions.
| | 08:06 |
So anything prior to CS5, you need to use
the clipping mask.
| | 08:10 |
CS5.
Has that draw inside mode, so you can
| | 08:13 |
select it, draw inside, and then just
paste.
| | 08:17 |
Alright?
So what did we learn here?
| | 08:19 |
We learned that you didn't crop a photo,
you merely masked out, and that tool is
| | 08:23 |
under object.
Flipping mask, and that's the term you
| | 08:27 |
want to become very familiar with, cuz
you're gonna be doing a lot of that.
| | 08:30 |
You're also gonna be unmasking photos a
lot as you work on them.
| | 08:36 |
| | Collapse this transcript |
| Placing Illustrator files| 00:02 |
If you watched the previous movie on
placing photos, you may think well I can
| | 00:05 |
skip this chapter cuz how different can
it be placing Illustrator files.
| | 00:10 |
It is.
It's a totally different animal and we
| | 00:13 |
wanna really know what's going on with
this.
| | 00:15 |
So let's say that I've got an illustrator
file that I've created externally here
| | 00:19 |
that I wanna place right here.
So let's go to File.
| | 00:23 |
Place.
I'm going to choose this Rome art AI
| | 00:26 |
file, and I can link that and that's not
different than working with photographs.
| | 00:33 |
I can crop this to the art, the crop box,
the bleed.
| | 00:38 |
There's all sorts of settings here.
We're going to go ahead and crop this to
| | 00:40 |
the art and hit OK.
And there it is on my page.
| | 00:44 |
And I'm going to hold the shift key down
and shrink that down a bit.
| | 00:47 |
Go ahead and bring that up here.
Now at this point it's going to behave
| | 00:51 |
much like just any other file.
Its linked.
| | 00:55 |
If I edit this in illustrator it will
update here.
| | 00:59 |
Let's go ahead and do that.
If I Option or Alt double click on this,
| | 01:03 |
it's gonna open this in Illustrator for
me.
| | 01:07 |
There we go.
And I can make changes to this.
| | 01:10 |
So just like where with photos, this is
an external file that can be worked on.
| | 01:15 |
Okay, that's great.
But what if I wanna work on it in here?
| | 01:18 |
This is the real question.
Window, Links.
| | 01:23 |
Now if I go up here and embed this you
might think what if I embed this file?
| | 01:27 |
Well if I embed it, now its in there, but
it's still one entity, its an entire file.
| | 01:35 |
I can't get in there and click on the
individual handles of the r and this to
| | 01:39 |
change it.
it's still as placed art, it's only embedded.
| | 01:45 |
Hum.
Well, what if I want to change the color
| | 01:47 |
here, I want it right here as if I copied
and pasted it, well, object expand,
| | 01:51 |
alright, but before you get excited about
this there's only one problem.
| | 01:57 |
Let's go look at the original file.
Notice that this line is a brush, right,
| | 02:01 |
and I applied it with the brush right
there.
| | 02:04 |
So that means if I go to view Outline,
you can see it's just a line, with a
| | 02:09 |
brush affect applied to it, okay, just an
affect.
| | 02:14 |
Well, what happens when I go here, to
this art, that's embedded, and I wannna
| | 02:18 |
edit it here?
Well if I go to Object, Expand, now I can
| | 02:23 |
edit it here, that's the good news,
alright?
| | 02:29 |
I can go to my white arrow, and I can
come in here, and I can select that R and
| | 02:32 |
I can change the color of it.
Alright?
| | 02:35 |
So, yeah, that 's good news.
There's only one problem.
| | 02:39 |
Remember this was a line.
Let's go in here and look at it in an
| | 02:44 |
outline view.
Now look at the mess that we've created there.
| | 02:48 |
We've got the drop shadow is expanded,
the art is expanded, there's clipping
| | 02:52 |
mass going on along here.
Look at the brush, it's no longer a brush.
| | 02:57 |
In my opinion, you're better off not
placing art if you wanna be able to edit
| | 03:01 |
it in this document.
In my opinion, you're better off opening
| | 03:06 |
this selecting this art, copying it,
going back here, and pasting it in this document.
| | 03:15 |
Now notice that when I paste this and I
move this up here, and I hold my Shift
| | 03:19 |
key down to reduce the size, take this,
bring this down in size, all right,
| | 03:24 |
they're two separate elements now, Which
is okay, it's what I want.
| | 03:32 |
But now when I go to view, outline,
notice that the text is one item, and the
| | 03:36 |
line is one item.
But when I go to preview mode, see, it
| | 03:41 |
looks the way I want it.
I can select this.
| | 03:45 |
Notice it's still live text.
Whereas before when I did it, remember
| | 03:49 |
what happened?
It went to outlines, the gradient went to
| | 03:53 |
outline, the brush went to outline, but
by copying and pasting, I keep everything
| | 03:58 |
that's editable in this document.
So, when you place an Illustrator
| | 04:04 |
graphic, even though you can embed
Alright.
| | 04:08 |
In my opinion you're better off opening
that up, copying it, pasting it in here
| | 04:12 |
and then working with it that way.
The exception to that would be is if
| | 04:17 |
someone else is working on this part of
the art.
| | 04:20 |
Well, again, delete this.
In that case file, place.
| | 04:26 |
Find the art, link to it, place it, and
now as that other artist continues to
| | 04:33 |
work on this art.
You simply update that.
| | 04:38 |
But you're not gonna edit it here.
You're gonna let them do that.
| | 04:42 |
So two different approaches.
Someone else working on the art, and
| | 04:45 |
you're just placing it, working on the
document itself, or you wanna be able to
| | 04:49 |
control this.
In which case you're gonna copy and paste
| | 04:53 |
that in there.
| | 04:54 |
| | Collapse this transcript |
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