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Adjusting the interior elements


Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Adjusting the interior elements

I've saved my progress as Next missing So called, because this guy seems to be evolving before our eyes into some sort of next-generation monocled creature. Anyway, we do need to fix him up a little bit, because he has got a lot of problems, especially in this hand. I'm going to reconcile these problems by pressing Ctrl+Y or Cmd+Y on the Mac to switch to the Outline mode. That way we can see exactly where the path outlines aren't lining up properly. Now you may notice here, that we lost a finger. That's because this guy is a blend.
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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
    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
    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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Watch the Online Video Course 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
Deke McClelland

Adjusting the interior elements

I've saved my progress as Next missing So called, because this guy seems to be evolving before our eyes into some sort of next-generation monocled creature. Anyway, we do need to fix him up a little bit, because he has got a lot of problems, especially in this hand. I'm going to reconcile these problems by pressing Ctrl+Y or Cmd+Y on the Mac to switch to the Outline mode. That way we can see exactly where the path outlines aren't lining up properly. Now you may notice here, that we lost a finger. That's because this guy is a blend.

We're blending between these two path outlines in order to create a third outline in between. So anyway, I'm going to grab my White Arrow tool. That's how we're going to do most of this work, and I'm going to scrunch this finger forward quite a bit. Change the control handles. Go ahead and make them shorter, and then drag this end point, so it snaps into alignment with the corner right there. Then I might go ahead and drag this guy up. You know what else I want to do, just for the fun of it. I'm going to create a knuckle here with the Pen tool. I'm going to do the same thing for this path outline as well.

So I'm Ctrl+Clicking or Cmd+ Clicking to deselect the former path, Ctrl+Clicking or Cmd+ Clicking on this path to select it. Then I'll Alt+Drag or Option+Drag from this anchor point in order to add a control handle in a different direction, and I'll go ahead and draw a hump at this location as well to indicate a knuckle, of course. Make a little bit of a modification with the White Arrow tool, go ahead and grab that White Arrow tool in fact, and I drag this knuckle up a little bit as well. I don't need this path outline anymore, so I'll go ahead and Alt+Click or Option+Click on it to select it, and then press the Backspace key to get rid of it.

That's the Delete key on the Mac. Let's grab this anchor point. Snap it into alignment with this point right there. Move the control handle, so that it's in alignment with this straight segment right there. That way we have a continuous edge at this location. This guy needs to come over a little bit. This is like his glove or something, by the way. If you don't like this path, you can totally get rid of it. You can make any alterations you like. I don't care if you draw a smiley face on the guy, totally up to you. All right, now I'll grab this path outline and move it back into position.

Basically, everybody around the edge needs some sort of slight modification, because that edge path is different than it used to be. I'll go ahead and Alt+Marquee or Option+ Marquee those two paths to select them. Drag this guy down a little bit until it snaps into alignment, like so. Alt+Click this path, maybe just nudge him over a little bit. That was an Option+Click on the Mac, just because I want to keep using the White Arrow tool, by the way. You could switch to the Black Arrow tool, and then you wouldn't have to keep Alt+Clicking on one path after another to select the entire thing.

Anyway, I'm going to grab this guy, move him into alignment. Let's see what else we've got to deal, with these hairs; they should be a lot higher. I could nudge him, or I could drag him, obviously, a variety of different ways to work. These are fine. Those are his spikes there. Good enough where they are. I think this guy wants to move over a little bit. Yes, he does. This guy could get nudged over slightly as well. It could even snap into alignment, that's not going to hurt anything. This guy, definitely a problem, move him up until he snaps into alignment, and otherwise, that looks pretty good.

I'll go ahead and grab this point right there, that anchor point and drag it out. This anchor point wants to be nudged out a little bit. This thumb path wants to be nudged out. This guy wants to be nudged down. These guys want to just come out of this location for right now. What I'm going to do with them is I'm going to turn them into the little hang ten sort of hand signal here by dragging this guy down like this. Then I'll get the Pen tool by pressing the P key. I'll click there, and I'll click like so, and I might click right about there, I figure.

Then I'll click some place around here, click underneath the thumb, like so. Why is that working, and what did I do? Now I'm completely confused by my own modifications. Oh, I see, look at that. I added a point there. Silly, silly me only been using Illustrator 24 years, so sometimes I get confused. Anyway, I'm going to click there in order to reactivate the path. Click here I guess, click over here, and then click up there in order to create that sort of hang-ten sign. I might go ahead and move these guys into alignment, or you know what, I think this would look better if I take this guy wider, like so.

That other path outline that's just hanging up there at top, I don't need it. So I'll Alt+Click on it, Option+Click on the Mac. Delete it by pressing the Backspace or Delete key. Press Ctrl+Y or Cmd+Y on the Mac, so I can see what's going on with this thumb. It should cover up those two fingers. So I'm not sure if it's in front or in back, but I'm going to go ahead and select that path. Right-click, choose Arrange, and then choose Bring to Front, or I could press Ctrl+Shift+Right Bracket, Cmd+ Shift+Right Bracket on the Mac. Then I need to fill it with White, I gather.

So I'll go up to the Fill icon up here in the Control panel, and I'll change that Fill color to White. That is going to present a problem though, because that means I'm filling over on top of this stroke right there, that's on the outside of the path. I definitely don't want to do that. So I'm going to have to take a two-part approach on this guy. I'll go ahead and Copy him by pressing Ctrl+C, Cmd+C on the Mac in order to copy it to the clipboard. Then I'll click off the shape with the White Arrow tool. Grab this anchor point, drag it in, so it's remaining centered at the previous location, like so.

Drag this guy in as well. So in other words, I'm maintaining alignment with the original outline there. Now I'll get rid of the stroke that's associated with this path outline. I believe my stroke is currently active. So I'll just click on the None swatch here in the Swatches panel. That works out. Now I'll press Ctrl+F or Cmd+F on the Mac to paste back in that stroke. Now we need to get rid of the fill by going up to the Fill option here in the Control panel, and switching the Swatch to None, like so. And then I'll click off that sub -panel. That looks great.

You know the one thing that doesn't look great is this guy right there. I don't need this segment. What is going on with this stuff here? These two are connected to each other. That is weird. I didn't know that. All right, I'm going to go ahead and get this anchor point, and delete it like so, because we don't need a straight edge right there. That's fine. I am done with that hand. That's enough work up there. Now I'm going to move down here. These guys aren't really properly aligned, might as well switch back to the Outline mode, so I can better see how these various points are intersecting with each other. I'll drag that guy into alignment. Just a few more fuzzy little things I have to do.

Your changes will be totally different, because your path outline is totally different. So, enjoy that. You'll get a kick out of moving these anchor points all over the place. At least, if nothing else, this is a very real-world project. This is the kind of stuff you have to do on a regular basis inside of Illustrator. So if nothing else, you might as well get used to it. I'm going to go ahead and grab this anchor point. Drag it up, until it snaps into place. Otherwise, this looks pretty good. I don't know what's going on with that pocket. All right, that was just a weird screen redraw problems. So that's okay. Oh, here, these guys still need work.

I'll move this guy up out of the way. Then snap him into alignment. Get this path right there, and snap it into alignment, like so. Grab this path, snap it into alignment. This guy needs to be nudged out just a little bit. This guy needs to come in, if I can select him, I am having problems grabbing that point. So I'll go ahead and marquee it. Lock down humanoid for a moment. Drag it in like so, unlock humanoid, and then bring it back, so I can get a snap. Let's see, this point right there needs to be moved down into alignment.

I keep thinking I'm going to be done any hour now. This guy is the final one, brilliant. This happens every once in a while. If you don't exactly grab the anchor point, you'll grab the segment. You'll whip it around like some kind of crazy lasso. Anyway, I'll undo that modification, like there would be any reason on earth I would want to do that, Illustrator. I'll go ahead and marquee that point, that ends up selecting some of the humanoid, so I'll lock that down. I'll lift the point by nudging it. Unlock humanoid. Drag this anchor point back down into place. I'm feeling so hopeful here.

I think I got everybody aligned properly. I'm going to press Ctrl+Y, Cmd+Y on the Mac, and yes, we do have alignment with the interior and the humanoid exterior. In the next exercise, we're going to start coloring these objects. We're going to rotate him around into different positions. We're going to establish the basis for a repeating tile pattern.

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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