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Adobe Illustrator has long been the most popular and viable vector-drawing program on the market but, for many, the learning curve is steep. In Illustrator CS3 One-on-One: The Essentials , author and leading industry expert Deke McClelland teaches the key features of Illustrator in a way that anyone can understand. He also goes beyond that, showing users how to get into the Illustrator "mindset" to make mastering Illustrator simple and easy. The training covers how to use the core drawing and shape tools, the transformation and reshaping features, text and gradients, and color management and printing features. Even if learning Illustrator has been a struggle in the past, this time it is going to make sense. Exercise files accompany the training.
All right we have one remaining problem with this illustration here, and that is the fact, if you have a keen eye you might be able the spot it and I'm being sarcastic, because it's really obvious. This outer ring goes outside, it exceeds the boundaries of the eye path, does it not? And the Egyptians didn't call for this kind of design. They weren't slobs they were skilled artisans and craftsmen and we need to follow in their footsteps. So we need to go ahead and clip this outer ring, so it fits inside of the eyeshape. I'm working once again inside the Now for the iris.ai file and in the previous exercise of course, I drew these concentric circles using the Polar Grid Tool right here.
You may be working along with me inside of the original Horus.ai illustration and if so I commend you. I offer a hearty good job in your direction. So I've gone ahead and zoomed in on my illustration quite a bit. I'm looking at the illustration at the 600% view size, because I want to see how all these lines intersect with each other. Make sure that your concentric rings are selected by the way. If necessary grab that black arrow tool and click on one of the rings. I still can't really see how my lines interact because I have these thick strokes going. So what I need to do is Control-click or Command-click on the eyeball in front of the Draw here layer so that I'm seeing the outlines and I'm also, just to keep things clean here, I'm also going to turn off the Horus layer, so I can just see the outlines associated with the Draw here layer and nothing else. Now I'm going to go grab my Scissors Tool which are available of course from the Eraser Tool slot. You can also get to the Scissors Tool by pressing the C key and I'm going to click it at that intersection, and that should go ahead and clip this ring. Illustrator shouldn't get grumpy at me this time around because the rings are in front. All right now I'm going to go over to this edge right there and click on it in order to cut this portion of the ring as well. Now I'll grab my black arrow tool and click again on this shape right here to make sure it's selected and it is for me. Notice that it is selected. So that's a good thing. Now if I click again accidentally I end up selecting all of the rings, and that's because they're all grouped together.
So here's what I suggest you do, go ahead and just click off the rings for a moment here. And then I want you to switch to a variant of the white arrow tool called the Group Selection Tool which allows you to select entire subpaths inside of groups like so. And notice if I click on this upper path, I only select that path, and I don't select the lower region of the path or any of the concentric circles, any of the interior circles either. Another way to access the functionality of this tool, you don't have to switch tools if you don't want to, you can stick with the Direct Selection Tool. So in other words, you don't have to switch tools inside the flyout menu.
You can stick with the white arrow tool and you can Alt or Option click on that top little guy in order to select it independently of the other ones. All right so an Alt or Option -click with the white arrow tool will get that top path, that top subpath, then press the Backspace or Delete key to get rid of it and now I'm going to once again Control or Command-click on this eyeball in order to switch back into the Preview mode. Now we need to zoom in to see what kind of job we've done. I'm going to go ahead and zoom in on this portion of the illustration and it actually looks really, really great as it turns out.
Just to confirm I'm going to go ahead and marquee with the white arrow tool, marquee around this area and I do have a good match at this point. All right good, that's good to know. Now I'm going to bring up my Navigator palette which I can do by clicking on this little sort of steering wheel here, this little ship's wheel. Or I could go to the Window menu and choose the Navigator command, and the reason I'm doing this is cause I'm so far zoomed in, I just want to click over here to make sure that I have these points aligned properly as well and I don't. Notice that little hump right there. You've probably got some kind of hump someplace going on where these paths don't align properly with each other.
And that's a function of this little point being slightly off kilter with this path here. So what I'm going to have you do is Control-click or Command- click on the eyeball. Once again, if you're having this problem. Then just go ahead and click on that point to select it and then you can nudge it from the keyboard by pressing an arrow key. And remember how in the previous chapter, I had you reduce your keyboard increments to 0.2. This is why, so you can make these very fine-tune adjustments, and in fact that's kind of too big of an adjustment right there. So I'm going to nudge it a little farther down and then I'm just going to go ahead and drag it up, and the reason I nudged it down before I dragged it up is to prevent any auto-snapping from occurring here. So I'm going to go ahead and drag that point up so it exactly aligns with this path right here.
And just to make sure I got it right, I'm going to zoom even farther in all the way in to 6400% and it looks pretty good. If I was worried that it's just ever so slightly off I could undo that last movement, and then just drag it back up again like so. And now I have things aligned properly, at least it looks like I do on screen so I'll press the Control key or the Command key on the Mac and click on that eyeball once again just to confirm that I have a good match and I do, and it's important that you get these matches as exactly right as possible, because once again you never know, especially if you're sending this illustration out for commercial reproduction, because those kinds of printers, those professional level imagesetters have a lot more dots to work with than your screen does, so you've got to zoom in there and make sure that everything lines up perfectly. All right, so I'm satisfied that my lines align as well as they possibly can. I'm going to go ahead and zoom out here from this Horus eye.
I'm also going to go ahead and hide my guidelines by clicking on the eyeball for the Guides layer and I'll click off the line in order to deselect it. This is the final Horus eye that we've created over the span of this chapter. The amazing thing is, it's a very precise illustration. And we managed to pull it off using a combination of guidelines and the simple line drawing tools available to us here inside Illustrator CS3.
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