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Illustrator CS5 One-on-One: Advanced
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Adding a custom path of the blend


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Adding a custom path of the blend

In this exercise I am going to show you how to draw in your own path of a blend if the Illustrator doesn't provide one for you. I have saved my progress as Shooting star.ai, and I am going to go ahead and zoom in on this bat's eyebrow right there by Ctrl+Spacebar-dragging or Cmd+Spacebar-dragging on a Mac. Notice that I've got this kind of lump over here on left side of the eye and another one, a ridge I guess, over here on the right side of the eye. Let's say I want to create a bunch of ridges in between that follow the contour of the eye. Why then, I will go ahead and click on one of the path outlines with my Black Arrow tool and Shift+Click on the other so that they are both selected.
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  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Adding a custom path of the blend

In this exercise I am going to show you how to draw in your own path of a blend if the Illustrator doesn't provide one for you. I have saved my progress as Shooting star.ai, and I am going to go ahead and zoom in on this bat's eyebrow right there by Ctrl+Spacebar-dragging or Cmd+Spacebar-dragging on a Mac. Notice that I've got this kind of lump over here on left side of the eye and another one, a ridge I guess, over here on the right side of the eye. Let's say I want to create a bunch of ridges in between that follow the contour of the eye. Why then, I will go ahead and click on one of the path outlines with my Black Arrow tool and Shift+Click on the other so that they are both selected.

Go up to the Object menu initiate the Blend as you always do by choosing the Blend command, then choosing Make or pressing Ctrl+Alt+B, Cmd+Option+B on Mac, and Illustrator creates this. Now obviously that's not quite what we want. I am glad it gave me this many steps because the two path outlines are fairly geographically different from each other. However, they are not far apart enough that we get a path of the blend. I can't see a path of the blend here inside the illustration window. Then if I go ahead and twirl open bat head, that is bat head layer, and then I twirl open the Blend, which is right on top there, I have got two extreme paths in the blend, but I don't have any path of the blend in between.

So I need to draw it in, and here's how. Go ahead and grab your Pen tool, and you may need to select it from that Convert Point flyout menu, or you can press the P key of course. You can draw your path in either direction. However, you are going to get different results. If I draw it from the left-hand side to the right-hand side, then I am going to reverse this blend, I am going to actually turn it upside down, and you would only know that through trial and error. I don't want you to have to go through that experience, because the only solution is to undo and do it again. So we might as well do it right in the first place. I'm going to go ahead and start my path over here on right-hand side and to make sure that I don't add any points to my existing paths, I am going to press Ctrl+Shift+A or Cmd+Shift+ A on a Mac to deselect them.

If I don't want my extreme paths to move, because the beginning and the end of the path of the blend determine the beginning and the end of the blend as we will soon see, if you want those extreme paths to stay exactly where they are, then you want to go ahead and start and end your path outline at those paths, like so. So I dragged out a control handle from this anchor point and I am going to drag from here to the left, because I have already established the direction of my path is counterclockwise in this case. So I need to continue in that direction and I will end up creating this path outline, like so.

That's good enough, just a starting point is what we want and now what you do is you grab that new path that you just created and you drag it here inside the Layers panel. You just drag it on to the blend and drop and Illustrator is that smart. Instead of adding it to the blend, it goes ahead and makes it the path of the blend. I will press Ctrl+Z Cmd+Z on a Mac in order to undo that move. If you wanted it to blend between these various path outlines and add that as another blended object, then you would move it between the two like so and then you are going to create a crazy blend like this one, which of course is a disaster.

So I will press Ctrl+Z, Cmd+Z on a Mac to undo. If you want it to be a path of the blend, then just drop it on top like so and you will get a path of the blend. Beautiful, and it's in the right direction, because I already knew was going to be wrong otherwise. Now I will get my White Arrow tool and I will click off the path for a moment and then click back on it, because I want to edit the anchor points independently of each other. If I drag this left hand anchor point over, notice that I increase the size of the blend as well. So the position of the endpoints determines the size of the blend. Anyway I don't want that. So I will press Ctrl+Z, Cmd+Z on a Mac.

I might lift this guy's eyebrow a little bit to give him a little bit of an arch. So he is a more evil. He is not so much evil. He is just kind of menacing. Then I will move this control handle down a little bit and now I want to change the number of steps inside of my blend. So I will double-click on the Blend tool while the path outline is selected. Any portion of the blend can be selected. I will double-click on the Blend tool. It brings at the Blending Options dialog box. I will switch the Spacing option from Smooth Color to Specified Steps. I can see that Illustrator has given me eight steps. Let's say I take it up to 15 for a moment and press the Tab key. And the reason I'm doing this is I want to show you the difference between these two orientation options.

They specifically control the orientation of the blended steps along the path of the blend. So you have to have a path of the blend for these guys to do anything. By default, we are seeing all of the path steps upright with respect to the path of the blend. If we want them to sort of flay outward like a fan, then you click the second option to Align to the Path and you end up getting this effect instead. Now that may or may not be what you're looking for; in our case it's not. So I will switch back to Align to Page, like so, and then I'm going to change the Spacing Value to 9, because that's what I want for this effect, and then I will click OK in order to accept that modification.

Switch back to Black Arrow tool, click off the path outline, zoom out a little bit. And you can see that we have this kind of cartoon ridge above the bat's eye, created using a collection of arcs represented as a blend that traces the contours of a path outlined that we created using the Pen tool.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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