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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.
In this exercise, we are going to apply a separate Gradient Map effect to the inside of the eyes and to the highlight on the lower lip and I'm still working inside that same Free woman.psd document that I opened in the previous exercise. All right, so this time around we are going to start with the Paths palette. Go over to the Paths palette and click on path outlines like so in order to make it active. You will also Sepia #1 Vector Mask in Italics if you have been working along with me. Go back to the Layers palette now, and then I want you to bring up the Adjustments palette and you are going to see the settings that are associated with the current Gradient Map layer right there, the Sepia #1 layer. I want you to see all of the various adjustment layers that are available to you. So click on this left pointing arrowhead that will appear green when you hover over it.
Go ahead and click on it. Then return to that Gradient Map icon and again Alt-click or Option-click on it and we'll call this one Sepia #2 and then click OK. Notice that this time around, the path outlines were added automatically as a vector mask to this New Gradient Map layer because those paths were active when we first created the layer. I'm going to go ahead and click on this vector mask in order to hide the outlines because we want to be able to focus in on what we're doing. This time around, the vector mask will serve us extremely well. We are not going to have to invert it manually the way we did in the previous exercise because this time we want to work on the eyes and the highlight and I'm going to click this down pointing arrowhead. This presumes, by the way, that you already went ahead and loaded the gradients in the previous exercise. You would drop down to the very last gradient, which is called Sepia #2, and you would click on it in order to load it up and notice that it loads a lighter version.
So this is Sepia #1 and this is Sepia #2. So Sepia #2 has some Highlights going on inside of it so that we preserve the highlights inside of the eye. Now, we can still see the veins inside the eyes, but they don't look nearly so bloodshot as they did a minute ago. Now at this point this image is looking pretty good but my one problem with it is that I want to flatten things out. I want to make it look more graphical, so I want to give myself more Highlights to work with and stronger shadows as well and I'm going to achieve that using the Levels Adjustment layer and I'll show you how that works in the next exercise.
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