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Building a classic Celtic knot


Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Building a classic Celtic knot

Building a classic Celtic knot provides you with in-depth training on Design. Taught by Deke McClelland as part of the Illustrator CS5 One-on-One: Advanced
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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
Video Duration: 8m 28s14h 53m Intermediate Nov 30, 2010

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View Course Description

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

Building a classic Celtic knot

I have gone ahead and saved the progress from the previous exercise as 1 on 1 love, just in case you want to compare your results to mine. We are not going to move on to the Celtic knot project. So I will switch over to Celtic knot. ai and I want you to appreciate how remarkable this very simple illustration is. First of all you know that in the PostScript printing language and in Illustrator, one object has to be either in front of or in back of another object. It can't be woven into an object.

So what we have got here is this orange circular element that is weaving in front of and in back of this green element. Meanwhile, the green element is weaving in front of and in back of itself. That is just impossible inside of Illustrator and yet you can simulate that affect using Live Paint and even better. I will press the A key in order to switch to the White Arrow tool and check this out. If I start grabbing segments and moving them around, then every thing updates on the fly and I can even grab the interior of the circle if I want to, so I can modify partial elements and still get dynamic results here.

Now what you will notice because I filled these objects with gradients and you'll see how that works in the future exercise, but because of the gradients I have some ghosting left over in the wake of my changes and that's something I could rectify if I want to. I actually think it looks pretty cool in this case, but I could fix those gradients in short order using the Gradient tool and again I'll show you how that works. But I just want you to have a sense of how amazingly, flexible this approach is. All right, so I am going to press Ctrl+Z, Command+Z on the Mac a few times to restore my original objects and what we are going to do in this exercise is set up the base path outline, essentially we are going to set up this path outline right here, this arc that runs over the course of this area, that I am tracing right now, because that's the base path in this green element here.

And so the green element is really a combination of three of those things working together as I'm tracing and so there are parts of circles and then we have this other circle that's woven into them. So let's go ahead and start work on those base objects. I have a file already for you very simple file to you. You could have drawn it yourself but I just want you and I get exactly the same results. It's called Circle & and you should see this circle with a black stroke no fill and this little target guide, if you can't see the guide, press Ctrl+Semicolon or Command+Semicolon on Mac in order to bring it up and the guide is just a little circle with a couple lines drawn through it.

But it identifies the center of our transformations. So go ahead and press the V key if you're working along with me to switch to the Black Arrow tool and if you don't have this progress file, you can pretty much build this. I think on your own and follow along with me. But this just gives a premium members a place to start and I will go ahead and click on this path outline in order to select it, then I am going to switch over to my Rotate tool, I can get that by pressing the R key of course and I will Alt+Click or Option+Click on that target in order to bring up the Rotate dialog box. Now I need three circles that are woven together in order to create that green object and so a full circular rotation is 360?, so we take 360 and we divided it by three in order to get 120 and so go ahead and enter a 120 for your Angle, click the Copy button and then do it again by pressing Ctrl+D or Command+D on the Mac and now we have three circles, we want 4 because we also want that central orange circle.

So go head and grab your Black Arrow tool once again and drag from the center point of this most recent circle, drag it until it aligns, it should snap into alignment with that target, then press the Alt key or the Option key on he Mac in order to create a clone. Now go to the layers panel and twirl open the primitive's layer, the one and only layer inside the panel. And turn off the top object. This most recent circle you just created because we will come back to it. We just want to have that circle on place for now. So go ahead and turn it off. Now, what I found over the course of working through this project that the most efficient approach was to go ahead and whittle things down to an intersection of two of these circles.

So what I need to do is, I need to cut out this part right there, right. We need to get rid of this section of circle, this section up here and this section down there and you could do that by cutting, using the Scissors tool, you could cut right there at the intersections or there is bunch of different approaches you could take. You could even try to make it work with Live Paint. You can turn this into Live Paint object and get rid of these outer strokes but if you do that, you are not going to be able to take advantage of the Live Paint technique later on down the road. We need to start with a Static path outlined in order to get that Live Paint weaving effect.

So it doesn't pay to be too clever upfront in this case. Anyway here's the cleverness. I just need this little piece right their. That's what I figured out over time. So what I am about to show you may not seem like the best approach, it's not the intuitive approach necessarily, but it was the best approach that I came up with. So I will go ahead and click on this circle right there in order to select it, the most recent circle of the three and I am going to press the Backspace key or the Delete key on the Mac to get rid of it, which may seem pretty radical, just like throw it away like that but works out beautifully. I am not going to marquee the last two circles, the remaining both, to select them both and I will bring up the Pathfinder panel and then I will click on this guy right there Intersect, in order to find the intersection of those two paths, that's all we need.

Is this bit right there, fact that's still too much, we don't need all of that. Now hide the Pathfinder panel, I am going to switch to the White Arrow tool by pressing the A key and I am going to marquee these two points. We want to keep the points that I am not marqueeing. So we are just marqueeing the two inner points here, the two points on the left hand side, in order to select them and then press the Backspace key or the Delete key on the Mac and only you have left is that little bit. The entire knot by the way is based on that little bit. This is this section right there. We just happen to be zoomed out from it.

So we are zoomed in more in this Illustration, you can and the zoom ratios is set to 200%. It's not the other one, its set to 100%. That's because we needed to take in all those circles originally. Anyway, this is the section that we still have and the entire Celtic Knot is based on that. All right, so I will switch back to my Illustration & Progress. Mine as well; zoom in on it so that we have the same zoom ratio. Go ahead and switch from the Rotate tool to the Reflect tool now which you can get by pressing the O key. Alt key or Option on this left hand point, set the Reflect axis to Vertical, turn on Preview so you can see what you're doing.

You should get this effect right here a horizontal flip and then click Copy in order to create a clone. All right, now we need to fuse these two path outlines together and I am going to do that by grabbing my direct Selection tool, marqueeing these two coincident anchor points right there and by coincident I mean one is directly on top of the other and what you typically do is just join them together. You might go to the Object menu, choose the Path command and then choose Join or press Ctrl+J, Command+J on the Mac and now in Illustrator CS5, you don't get a dialog box anymore. It just does its thing.

The problem is that it goes ahead and fuses those two points into a corner point. As you can see right there, I need it to be a smooth point so I will undo that modification by pressing Ctrl+Z or Command+Z on the Mac. You should just be able to go up here to the Ctrl panel and click on this icon right there that converts the point to a smooth point only in my case it's not working. So that's a bust. Anyway I will press Ctrl+Z, Command+Z on the Mac a couple of times in order to restore my two independent path outlines and I can see that they are independent here inside the layers panel.

I have got an arch on the left hand side and another one on the right hand side. I am going to marquee these two points with the White Arrow tool once again. They look like one but they are two points directly on top of each other. Now to get that old school behavior, those of you who are familiar with previous versions of Illustrator know that when you join two coincident endpoints in the old days, CS4 and all the way back to Version 1.0, you got a dialog box that would ask you if you want to join the two points into a corner point or a smooth point, you can still get that dialog box by mashing your fist down and pressing the J key.

Hit Ctrl+Shift+Alt+J or Command+Shift+Option+J on the Mac, brings up the Join dialog box. Now you can say that you want a smooth point, click OK and now it's done properly. These two control handles are locked into alignment with each other which is what I want. All right, I will press Ctrl+Z or Command+Z on the Mac to undo that particular modification. We now have our base path; we need to rotate it around, a couple or more times. We've now described this arch right here, we need to create this one and this one as well and then we need to fuse them together and will do all that and more in the next exercise.

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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