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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.
In this exercise, I'm going to show you how to take those two objects, at least our perceived objects; the green one and the orange one. We'll fill them in with gradients, as we're seeing in this final Celtic knot.ai file. It's not really hard to pull this off. It's just that it takes a fairly deliberate approach, because things can go wrong as I'll show you. So you just have to be careful. I've gone ahead and restored the saved version of my Intricate weave.ai file. So let's say, I decide to select the green object. We've seen that you can do that using the White Arrow tool.
So I'll go ahead and grab my White Arrow tool, and then I'll Alt+Drag or Option+Drag around the top of that object to select it independently of the orange circular object. Then I'll go up here to the Fill swatch in the Control panel and I'll change that Fill to Green grad, which is one of the swatches I've set up in advanced, and I get this effect here, which is okay. I guess that's more or less sort of what I'm looking for, at least it's a starting point. I did fill in these regions as well, the parts of the circle that are not selected with the green gradient and up here as well.
So everything that's caught inside of these objects got filled, which isn't what I want. But anyway, I'll Alt+Drag or Option+ Drag now around a portion of this orange shape in order to select what I perceived to be a circle with the hole cut out of it. Then I'll go up to the Fill option, and I'll change that to Orange grad, another swatch that I've set up in advance, and that absolutely kills the stuff on the inside. So that wipes out everything. In truth to be told, this is the wrong approach. So, let me show you the right approach, because you could be at this for a little while, trying to get all these guys roughed in properly, and you could end up, if you go too far with it, you could end up losing your strokes and that's a big pain in the neck if you have to reestablish those.
So, I'm going to press Ctrl+Z or Command+ Z on the Mac a couple of times in order to undo those modifications. We're going to switch here from a Live Paint Bucket tool to the Live Paint Selection tool, which you can get by pressing Shift+L of course. Now problem is, I need to select my fills, but I can't, because you may recall a few exercises ago I set this tool so it only select strokes. So I need to double-click on it in order to bring up the Live Paint Selection Options dialog box and I need to turn on Select Fills. So, both of these check boxes are on. I'll click OK.
Now I'll just click some place inside of the green object in order to select that green. Now you might figure okay, now I've got to Shift+Click and Shift+Click, and so on, and actually not. Here is what you can do. With one of these green areas selected, you can go up to the Select menu, choose Same, and choose Fill Color. That actually works. That'll go ahead and select the rest of the green fills. So huge timesaver, and now just so, I can see what I'm doing. I'll press Ctrl+H, Command+H on the Mac to hide those selection regions.
I will switch my fill here in the Swatches panel and that works great. Now you might look at and say no, it doesn't. We have all these horrible intersections going on. Basically, that's what Illustrator has done. It's filled each and every one of these sub-paths with its own independent gradient. That's okay. We can fix that later, so don't worry about it. What I'm going to do now as long as I'm here is I'm going to go to the Gradient panel. So go ahead and open it up, if you want to work along with me, and I'm going to change the Type. I saved these gradients as linear gradients; I want them to be radial.
So right now at this point, so that I don't have to go back and mess around with things. I'm going to change the Type from Linear to Radial and then we'll get these tiny little spotlights of gradients throughout all these little sub-paths. Now we will override that shortly. But right now, I think it's pretty cool. Now I'm going to click inside one of the oranges. We're not going to see the selection pattern this time, because I press Ctrl+H or Command+H to hide him. That's fine. I know it's selected. I'm going to go up to the Select menu, I'm going to choose Same and I'm going to choose Fill Color again. That selects all of the oranges.
And I can confirm that by pressing Ctrl+H, Command+H on the Mac. That brings back my little weird selection patterns. Fair enough. Press Ctrl+H or Command+H again to get rid of them. Now go over to the Swatches panel, and click on Orange grad, and we get a bunch of little orange gradients all over the place. Here inside the Gradient panel, I'll change Type from Linear to Radial in order to create this effect here. Now you might be thinking what in the world do we do now? How do we solve this particular problem? Well, here is what I want you to do. I'm going to go ahead and zoom out. If you're working along with me once again, I want you to select all of the objects in this illustration by pressing Ctrl+A, or Command+A on the Mac.
This would be all the visible objects. I'll press Ctrl+H, Command+H on the Mac, so I can see that everything is selected. I just want to make sure this outer rectangle is also selected and I'm going to go ahead and zoom in. Now, check this out. Using the Gradient tool, you can go ahead and drag inside of the illustration in order to set the angle, and size, and all that jazz associated with your Radial gradient. So, get the Gradient tool or press the G key if you want to, and I'm going to start my gradient from about here and I'm going to drag down to the lower right region of my window and I'm going to release.
That goes ahead and fills everybody with this same sort of radial gradient and it's continuous throughout the various shapes. The problem is, it's looking like I just wiped out my strokes, which would be terrible news. In fact, what Illustrator has done, it's just changed all my strokes. So it still knows where the right strokes are, didn't completely wipe them out, which makes them fairly easy to reinstate. But it did for some reason override them. I don't know why it did that. Anyway, I'm going to go ahead and change the placement of my Radial gradient a little bit.
I think I'll start it right about there, and drag down, like so. So you can apply the Gradient tool to multiple path outlines even if they're part of live paint objects here inside of Illustrator, which is really great. All right, anyway, I'm going to switch back to my Black Arrow tool. I'll click off my paths for a moment to deselect them and then I'm going to marquee around these shapes, so that I'm selecting them independently of the background rectangles. So the square is not selected this time around. I'll go ahead and reinstate my stroke information. I'll press Ctrl+H or Command+H on the Mac, so you can see that all of the strokes are in the right place.
It's just that we now have weak blacks I believe, and we also have one point strokes, which is no good. So I'll click on the Stroke Swatch here in the Control panel and I'll select Rich black and that will darken up the blacks. Then I'll click inside of this line weight value right there. I'll enter 2 and press the Return key or the Enter key on the Mac to reinstate those strokes. All right, one more thing I want to add a little bit of depth as I was saying. You could try to heap of another stroke on this object here inside the Appearance panel if you want to.
I don't recommend you go that route. I didn't find it to be that successful myself. Instead, the best approach I found was go to the Effect menu, choose Stylize, and then choose Drop Shadow, or you can press my keyboard shortcut if you have loaded dekeKeys, Ctrl+Alt+E, Command+Option+E on the Mac. These are the settings that I applied. So mode is set to Multiply. The Color is black by the way. Opacity 50%, X and Y Offset both 1 point. Blur 0. Turn on the Preview check box, and you'll see what happens. So it's just a slight amount of depth there. Click OK.
So, to just give you a sense of what happened, because it's pretty subtle actually, I'll turn off that eyeball here inside the Appearance panel, the one that's associated with Drop Shadow. Turn it off. That's what the shapes look like without the drop shadow. This is what they look like with the drop shadow. So it's just a little bit of depth going on, and that is the final version of my illustration. So once again, if you decide to do this number where you click off the paths, or press Ctrl+H, Command+H on the Mac, so I can see what I'm doing. Click off the paths to deselect them.
Then start dragging these items to different locations, like so. Then you start to reveal these little bits of weirdness, that is the ghosting associated with the original gradient pattern. Then all you need to do is select the shape once again, and then apply the Gradient tool in order to rectify the situation. That's entirely up to you. But this gives you a sense of the amazing power really of this basic feature. The whole reason that Adobe created the Live Paint feature in the first place was to simplify things, and what they ended up doing was creating a feature that does something you can't otherwise do inside of Illustrator, create overlapping path outlines, paths that weave in and out of each other, and in and out of themselves.
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