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Assembling primitives

From: Illustrator CS4 One-on-One: Advanced

Video: Assembling primitives

Now let's take a look at a few practical applications of pathfinder operations inside Illustrator. I would like you to go ahead and open Ghost robot.ai, found inside the 13_pathfinder_ops folder and for those of you who were with me in the Illustrator CS3 One-on-One series, you may be looking at this and thinking, "hey, that's that exact same Ghost robot.ai file that I have seen in the past." No it's not. I have modified the color scheme inside of this illustration. I have changed some of the text around as well but ultimately at it's core, we still have the very same Ghost robot illustration, all be it differently colored, as I said, and here remains this amazing work of pathfinder operation madness.

Assembling primitives

Now let's take a look at a few practical applications of pathfinder operations inside Illustrator. I would like you to go ahead and open Ghost robot.ai, found inside the 13_pathfinder_ops folder and for those of you who were with me in the Illustrator CS3 One-on-One series, you may be looking at this and thinking, "hey, that's that exact same Ghost robot.ai file that I have seen in the past." No it's not. I have modified the color scheme inside of this illustration. I have changed some of the text around as well but ultimately at it's core, we still have the very same Ghost robot illustration, all be it differently colored, as I said, and here remains this amazing work of pathfinder operation madness.

Much of what we are seeing here is hinging on the icons and the options that are available to us here inside the Pathfinder palette. So what we have is a magazine cover from the year 2174 and of course, that's fairly hilarious because the very idea that there will be print publications in the 2174, I think is absolutely preposterous but still. And it's a combination of all kinds of live type effects and some transparency effects as well, all kinds of stuff that we'll seeing in later chapters but the core drawing, as I say, the objects that make up the robots, are a function ultimately of some of the geometric shape tools and the pathfinder operations working together.

Notice over here in the Layers palette we have a sequence of layers. I'm going to go and turn off the Type layer, which contains all those type elements. Then I'll turn off Pathfinders and I'll turn off Frames in order to reveal this image layer that I created inside Photoshop and then places inside of my illustration. If I turn that off, this Backdrop layer right there, you will see in the background that we have these Ghost vectors right here, which are my primitive objects that I'll be using in order to build-up the final Ghost robot and then in back of that is the Ghost template rendered in orange and I'm going to show you how I created that template in the next exercise, just so that you have sense of how you can use Photoshop in order to clean up and colorize your templates and make them as easy as possible to trace here inside of Illustrator.

But if I were to turn Ghost vectors back on for a moment and turn Ghost template off, like so and then I'm going to go ahead and zoom in on some of these primitive objects here, notice that most of them were draw with the Ellipse tool. So we have a ton of rotated ellipses and a few circles going on inside of this illustration. We also have a few items that I drew with the Pen tool, the most complex of which is probably this valentine heart right here. And in case you are thinking well gosh, this must have been hard to draw these fingers right here so that both outlines of the fingers, both the left and right sides are exactly parallel with each other. Well that's really a function of that Outline Stroke command that we saw earlier in this series. Let me show you what I mean. I'm going to go ahead and grab my Pen tool right there and I'll just draw a very simple path on the right layer. Go ahead and switch over to the Ghost vectors layer here so that I can draw and I'll go ahead and click-and-drag here and click-and-drag here and I'm showing you how to draw a finger incidentally. And I don't like the location of that point so I'm going to press and hold the Spacebar as I move it into a better location like so.

Then release the Spacebar and drag that control handle into a better position. Notice this. We have got a white fill and a transparent stroke. So I'm going to go ahead and switch it my Black Arrow tool, click on a path to select the whole thing so that I get the right options up here in the Control palette and I'll change my Fill from white to None and then I'll go ahead and change my Stroke to Black if I like and I'll increase that stroke value to about 6 points and then I also want to go ahead and create a round cap. So I'll go to the Stroke palette right there and I'll turn on the Round Cap option. The Join option doesn't really matter at this point because we don't have any corner points inside of this little line and then I'm going to go up to the Object menu. I'll choose the Path command and I'll choose this guy right there, Outline Stroke, and now we have a nicely outlined stroke. I can go ahead and switch my Fill and Stroke icons right there so that I have a black stroke, along with no fill and we end up getting the results that we are seeing down here inside of the robot's finger.

So that's all that went on there, not very hard to do. My big point though here is that all of these primitive objects that I created so far, very easy to throw together, just the function of drawing some geometric shapes, the occasional path with the Pen tool. If you take a look at him, most of these paths don't have more than a couple of points a piece, I think. Like this guy right there. It's just two points as you can see with control handles coming out of them. That's the extent of it. So very, very simple stuff here and yet we can assemble these primitives into a complex illustration using pathfinder operations as I'll explain in upcoming exercises.

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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 · 21494 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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