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Anticipating and troubleshooting

From: Illustrator CS4 One-on-One: Advanced

Video: Anticipating and troubleshooting

This exercise serves two purposes. First of all it's a kind of quiz. So you can see if you are able to anticipate which pathfinder operations to apply when. And then I'm going to offer you a little bit of troubleshooting advise, what to do when the pathfinder operation that you thought you should apply goes wrong. So I have gone ahead and saved my progress so far as Ball & chain.ai and we are going to be doing a couple of things. Toward the end of this exercise we are going to be using this heart here to cut a hole in the chest. And the reason we are doing that at the end is, because that's the troubleshooting part of this exercise.

Anticipating and troubleshooting

This exercise serves two purposes. First of all it's a kind of quiz. So you can see if you are able to anticipate which pathfinder operations to apply when. And then I'm going to offer you a little bit of troubleshooting advise, what to do when the pathfinder operation that you thought you should apply goes wrong. So I have gone ahead and saved my progress so far as Ball & chain.ai and we are going to be doing a couple of things. Toward the end of this exercise we are going to be using this heart here to cut a hole in the chest. And the reason we are doing that at the end is, because that's the troubleshooting part of this exercise.

Down here at the bottom though, this is the quiz part, we are going to be cutting away the extra bits of leg here, and we're going to be putting the grid lines inside the shoes. So let's start with the grid lines, why don't we? In order to set the grid lines inside the shoes, this is just like setting the grid lines inside the cape, which means we apply the Crop operation of course, but that also means, that we need to make sure that grid lines are converted to shapes, closed shapes that are filled with black, as opposed to open paths that are stroked with black, which is what we have right now.

So go ahead and click and Shift-click with the Black Arrow tool on each of one of these grid lines like so. I might as well grab these guys as well, because they are going to need the same treatment. And then go up to the Object menu, and choose Path, and choose Outline Stroke or press Ctrl+Backslash or Command+Backslash if you loaded Dekekeys. All right, and we'll get this effect right there. Then what I want you to do is click on each of the shoes. That is, click on one and then Shift-click on the other to select them. Copy them by pressing Ctrl+C or Command+C on the Mac, and then click off the shapes in order to deselect them, and press Ctrl+F or Command+F on the Mac in order to paste copies of those feet in front of everything else.

All right, now I'm going to click on one of the sets of grid lines here, actually I'll go ahead and click and Shift-click on these various grid lines. And then I'll Shift-click on the foot path as well. So the foot and the grid lines are all selected at this point, and then I'll go over to the Crop operation and click on it. And we've now gone ahead and cropped these grid lines inside the shoe. The other shoe you just do the same thing. So click on one of these grid lines. Shift-click on each of the other four and then Shift-click on the foot as well, or the shoe or what have you, and then go over to the Crop operation, click on it, and you are done.

All right, what about these legs? Now these legs currently are signaling into the viewer of my artwork that I'm lazy, and then I didn't get around to drawing the entire underlying skeletal structure of my robot. Now I had no intention of doing that in the first place, but I don't want the viewer to know that. I want these legs to end right there at that point. So what do you do? Well, this is classic divide and unite territory. So go ahead and click on the smock there, in order to select it. This is the translucent smock. And then it includes all of the other smock elements going up northward inside of the artwork. Then Shift-click on each of the two legs here with the Black Arrow tool once again. Then you go over to the Pathfinder palette and click on Divide. And that divide things up. Now it looks down here like you've messed up the transparency, you didn't know. Because we can still see that the translucency is intact up stairs in the artwork. So everything is hunky-dory. Then we don't want to leave them stroke like that. So here's what you want to do. You want to go ahead and press the A key to get the White Arrrow tool, click off your artwork in order to deselect everything and then I want you to Alt-click or Option-click on this path outline right there, which actually goes up and over like so.

And then Shift+Alt-click or Shift+ Option-click on each of these little wedges right here, and I suggest you Shift+ Alt-click or Shift+Option-click on the bottom segments because that's the unique segments where these little guys are concerned. And then you want to unite these paths together, these three paths that are selected, by going over to the Unite option and clicking on it. It's so beautiful. I have done a brilliant job at this point. Now then what about the heart? Well, it would seem that the heart is a really easy thing to work with here. I'll go ahead and click on the Black Arrow tool in order to make it active, click on this top chest shape right there and then Shift-click on the heart.

Now before we go any farther, I want you to note, let's see. Let's work up the stack. I think I just passed the heart, I think I saw it just go wizen by there. Unfortunately I went by too fast, me demonstrating what not to do now, that is not really traditionally my role, but there is the heart, all right. We can see it's selected. And that heart Path is pretty far up the stack. It's much farther up the stack than this group here that represents his chest, which is right there. And what's going to happen if you apply any pathfinder operation to two or more selected objects? Everything is going to jump up the stack to meet the top object, which is the Valentine, in this case the heart, and that means we are going to wreak havoc on the stacking order inside of our illustration, and I don't want to do that.

So what I really want to do, we'll go and click off the artwork for a moment. I'm going to click on the heart to select it, Ctrl+X, Command+X on the Mac to cut it to the Clipboard, click on chest to make it active, and press Ctrl+F or Command+F on the Mac. So that the two are right next to each other here inside the Layers palette. All right, then I would Shift-click on the Group right there in order to make it active. So we have got heart and chest selected, now, how do we turn the heart into a hole. Well, and by the way, we want to make the heart a hole, because he has no heart, he has got a hole where his heart should be, which is part of the reason for his anguish.

Now we can see right there on screen. So how do we make that happen? Well, this is the classic doughnut technique, right? It's just that the interior of the doughnut looks like a heart instead of a circle. And so that means we should be able to go up to the Object menu and choose Compound Path, and choose Make, but that's not going to work. Well, I'll show it to you. Just turns it into a Compound Path that serves no purpose whatsoever and everything turns opaque on us. So boo to that, all right, so go ahead and Undo, press Ctrl+Z, Command+Z on the Mac. Instead what we want probably, hopefully, is a good old application of Minus Front. That should do it.

So let's go ahead and click on Minus Front and that just killed everything, my goodness, we're left with one item right here. One path somewhere, of this leg. Somehow this leg got selected, oh that's right, because it became part of the larger group because we applied the Divide operation to it. So it's just the only thing that's left over, because all of the front objects got deleted from that rear most object that was selected. So that's what happens with Minus Front. It minus all the things that are in front of the one lone leftover object in the back. Oh gosh, I'll go ahead and Undo, Ctrl+Z, Command+Z on the Mac.

So what do we do, the White Arrow tool is your friend. So go ahead and grab that White Arrow tool. Click off the paths in order to deselect them. Alt-click or Option-click on just the chest, then Shift+Alt-click or Shift+Option-click on the Valentine, so that we have part of this group selected and the heart, and at this point you can try to go up to the Object menu, choose Compound Path, and choose Make, but Illustrator is going to get all grumpy with you and tell you that, no, you can't do that. What are you thinking? You can't make a Compound Path of objects that are within different groups. Which is so funny, because that's what it's about to do in just a moment using a different function.

So I'll go ahead and click OK, and the truth of the matter is yeah, you can, Illustrator, why don't you work with me? But anyway click OK, you go over here instead, you go over to Minus Front. You click on it, and watch what's happening right here inside of the Layers palette. I'll click on this option, and sure enough it went ahead and took this chest out of the Group, when it had extracted out of the Group combined it with the heart as a Compound Path. So apparently it can't do it. It just can't do it using the Compound Path command. So there we have it, nice. In the next and final exercise of this chapter we are going to assemble this Ball & chain here, using a couple of Pathfinder operations that we have only had, just an introduction to you so far, exclude and intersect.

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This video is part of

Image for Illustrator CS4 One-on-One: Advanced
Illustrator CS4 One-on-One: Advanced

149 video lessons · 21604 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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