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Illustrator CS3 One-on-One: The Essentials
Illustration by John Hersey

Cleaning up overlapping segments


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Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: Cleaning up overlapping segments

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.
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  1. 59m 53s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 35s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 51s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      55s
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 56s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 10s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 17s
    10. Cutting lines with the Scissors tool
      6m 45s
    11. Aligning and joining points
      7m 58s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 1s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      7m 0s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 16s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 36s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
      33s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 6s
    5. Using the RGB sliders for screen output
      4m 39s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 14s
    8. Trapping gaps with rich blacks
      7m 58s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 16s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 35s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 15s
    4. Moving by the numbers
      4m 16s
    5. Using the Reshape tool
      6m 30s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 25s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 50s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 32s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 56s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 4s
    10. Cutting, separating, and closing paths
      7m 31s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 42s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 28s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 8s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 8s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 21s
    15. Eyedropping Live Effects
      5m 39s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

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Illustrator CS3 One-on-One: The Essentials
9h 36m Beginner May 18, 2007

Viewers: in countries Watching now:

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.

Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Cleaning up overlapping segments

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.

Find answers to the most frequently asked questions about Illustrator CS3 One-on-One: The Essentials.


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Q: When trying to synchronize color settings between all Creative Suite programs in Bridge, the Creative Suite Color Settings command either does not appear in the Edit menu or does not work. What is causing this?
A: If the Color Setting command is not available or does not function, it's because Bridge thinks that a single application (such as Photoshop or Illustrator), is installed and not one of the many versions of the Creative Suite.
If only Photoshop or Illustrator is installed, skip the exercise and move on.
If the entire Creative Suite is installed, then, unfortunately, there is no easy fix. Either contact Adobe or completely reinstall the Creative Suite.
 
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