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Adding and deleting rows and columns


From:

Illustrator CS4 One-on-One: Advanced

with Deke McClelland

Video: Adding and deleting rows and columns

All right, now that we have gone and made a 'mesh' of things, let's see how we modify our mesh. And in this exercise, I'm going to show you how to add row and column lines and then how to turn around and delete them as well. I have gone ahead and saved my progress as Expanded gradient.ai found inside the 16_gradient_mesh folder. Now I have purposely gone ahead and deselected my gradient mesh because I want to show you how to find it again, which is actually little more complicated than it should be. So I have got my Black Arrow tool active right now, right? And what I'm going to do is I'm going to hover around inside of my graphic and when I hover right here in the middle of this green swath of color right there, if I hover at this point, I'm going to see a black square next to my cursor at some point which it is telling me that there is something there.
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  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
      42s
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
      51s
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time
      58s

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Watch the Online Video Course Illustrator CS4 One-on-One: Advanced
12h 54m Intermediate Jul 09, 2009

Viewers: in countries Watching now:

Knowing the fundamentals of drawing and reshaping paths is only part of the story. In Illustrator CS4 One-on-One: Advanced, the second of the popular One-on-One series, computer graphics expert Deke McClelland covers some of Illustrator's most powerful and least understood features. He shows how to merge simple shapes to create complex ones with the Pathfinder palette, as well as align paths to create schematic illustrations. Deke explains how to paint fluid, multicolor fills with blends, and the new and improved gradient tool. He explores seamlessly repeating tile patterns, blobs and brushes, and imported images. He also dives into one of the deepest features in all of Illustrator, transparency. Exercise files accompany the tutorial.

Recommended prerequisite: Illustrator CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Illustrator from the Exercise Files tab.

Topics include:
  • Working with compound shapes in the Pathfinder palette
  • Ghosting shapes with Fill Opacity
  • Understanding gradients and the gradient tools
  • Cloning and coloring a blended path
  • Saving tile patterns and applying them to a shape
  • Importing and linking images from other applications
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Adding and deleting rows and columns

All right, now that we have gone and made a 'mesh' of things, let's see how we modify our mesh. And in this exercise, I'm going to show you how to add row and column lines and then how to turn around and delete them as well. I have gone ahead and saved my progress as Expanded gradient.ai found inside the 16_gradient_mesh folder. Now I have purposely gone ahead and deselected my gradient mesh because I want to show you how to find it again, which is actually little more complicated than it should be. So I have got my Black Arrow tool active right now, right? And what I'm going to do is I'm going to hover around inside of my graphic and when I hover right here in the middle of this green swath of color right there, if I hover at this point, I'm going to see a black square next to my cursor at some point which it is telling me that there is something there.

And if I click on it, I'll select it. And what that something is it's a line that distinguishes one row from another inside of the gradient mesh. So I would expect to see that gradient mesh where I would click. Click, and what you see is a rectangle and that's it. You do not have access at this point to the gradient mesh itself because what you have done is you have selected the entire group as you can see here inside the Layers palette and that means that Illustrator is going to show you the path outline and nothing more, which is a big giant drag. I don't really why it wouldn't show me everything, but it doesn't. So let's see what you do instead.

If you want to really see the gradient mesh, what do you do? Click off the path in order to deselect it. Let's press the A key to get the White Arrow tool, and then move that White Arrow tool cursor right there into about the same position we moved the Black Arrow tool cursor. You should see a black square next to your cursor at some point. When you do, click and you will now select the gradient mesh. Notice here it's meatballed independently of the Clipping Path, and the Group, and so on. And if you want to see that entire word Clipping Path, which I do, I'm just going to go ahead and make my palette a little wider there.

So that's one way to do it. Let's go ahead and deselect this once again. The other thing you can do is you can just meatball the mesh item here inside the Layers palette. So if you can find the item that's called mesh, which will require you to twirl open your group. So you would have to expand the layer and expand the group, then find the mesh, meatball it, and you can see it on screen. All right, now that I'm gone ahead and selected the darn thing, now that I can see it, I'm going to go over here to my Mesh tool. Now the Mesh tool is the tool that you use to modify your mesh matrix.

So you can either add or delete columns and points to the mesh as you are about to see. So I'll go and get that Mesh tool. And the interesting thing here is that even though we have got a fair number of lines, right, we have got a total of six row lines at this point, that's not enough because of the flow of colors that we are trying to represent from the acrylic painting are all over the map. And we are going to need a fairly complicated matrix to pull this off. And if you want to get a sense of what those colors look like at the same time you are modifying the matrix, here is what you do.

Go ahead and Ctrl-click, or Command- click on the Mac, on the eyeball in front of the backdrop layer like so. So that's a Ctrl-click on the PC, a Command-click on the Mac and what that allows you to do is see through the Mesh object to this paint layer in the background that contains the acrylic painting itself. So that you can really see what in the world you are doing. And the advantage of that instead of turning the layer on and off is that you don't keep deselecting your gradient mesh over and over again. It's difficult to see where to put the columns. It's obvious that I need rows that go over like this in this direction, and so on.

But you cannot create rows in just any old direction. You have to use columns and rows deftly in order to try to sort of pull things off. But what's interesting about this, I should say, is that once you send out some rows and columns then you can move them to weird locations. So you really have lot of flexibility but you have got to set things up in sort of rectilinear matrix fashion at the beginning. So I'm going to click right here and notice when I do, that I go ahead and establish a column at this position, so I'm establishing a perpendicular line at this location along this row line.

And then I might click here to setup another one and here might be another good location. You do whatever you want. There is no wrong places to put things at this point. Just bear in mind that upfront it's very tempting to just throw a ton of rows and columns at your matrix. It's not necessarily that great of an idea to make things too complicated right upfront because you can always add things later. And it sometimes very helpful to add those rows and columns once you have a better sense of where the other colors are falling inside of your mesh.

Anyway, I'm going to go ahead and add some rows to it. I'm going to add a row here and another one perhaps there and then maybe down here I'll add a couple of rows as well. And let's say at some point you decide, well gosh, I don't want really want that. I have added too much. Why then what you do with this very same tool, the Mesh tool right here, which you can get by the way. It has a keyboard shortcut of U because it's good for you. I have no idea. U was just left over I imagine. But to get rid of one of these points here, you press the Alt key or the Option on the Mac and click.

But if you Alt-click or Option-click on a point, notice you lose both a row and a column. So we got rid of more than we wanted to in this case. So I'm going to pres Ctrl+Z, Command+Z on the Mac. If you just want to get rid of a column line then Alt or Option-click on that line, like so, that gives you more control. And then if you want to get rid of just a row line, you would Alt or Option-click on the row line like so. So you would avoid the points in other words. All right, I'm going to go ahead and undo that last deletion and I might add a column line at this point.

You may wonder, well why are you calling some of these column lines and some of these row lines? Then I'm probably doing it exactly backward. Actually if this is the angle of the gradient, then we have got lots of column lines and I was just adding rows, but whatever. At this point we really have diagonal, perpendicular lines, rows, columns, what have you. Let's go ahead and Ctrl-click or Command-click on this eyeball so we can see what in the world we have done. We have added all these weird colors at these different points. In the next exercise, I'm going to show you how to modify the colors of points from the Color, Color Guide, and Swatches palettes.

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Advanced .


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Q: In the lesson on pressure sensitivity, exactly what kind of Wacom tablet is the instructor using?
A: The instructor is using a Wacom Intuos 3 tablet
 
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