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Coloring paths and testing the interlock

From: Illustrator CS5 One-on-One: Advanced

Video: Coloring paths and testing the interlock

I've saved my progress as Ready to deploy.ai. In this exercise, we're going to take this guy, we're going to assign some fill colors, we're going to group them together, we're going to rotate him to create the other various humanoids, and we're ultimately going to assemble a rough repeating pattern that will then serve as the basis for a rectangular tile pattern. So I'm going to switchover here to the Black Arrow tool. I'm going to click in this big humanoid shape here. From the Swatches panel, I'm going to fill it with this Muted red.

Coloring paths and testing the interlock

I've saved my progress as Ready to deploy.ai. In this exercise, we're going to take this guy, we're going to assign some fill colors, we're going to group them together, we're going to rotate him to create the other various humanoids, and we're ultimately going to assemble a rough repeating pattern that will then serve as the basis for a rectangular tile pattern. So I'm going to switchover here to the Black Arrow tool. I'm going to click in this big humanoid shape here. From the Swatches panel, I'm going to fill it with this Muted red.

But first of all, I need to make sure the fill is active. So I'll switch over to the Color panel, it's not. I'll click on Fill, or press the X key, switch back to Swatches and then click on Muted red in order to fill that guy with red. And now I see what other filled shapes I have, including this little interior of a thumb shape. That's going to be fun to select. So I'll go ahead and marquee, just this tiny marquee around it, in order to select both of it, and the path in front of it, and then I'll Shift+Click on the path in front of it in order to deselect it. So I just have the white path selected, and you can confirm that, because you'll see that up here in the Control panel, the Fill is White and the Stroke is None.

Then I'm going to fill that shape with Muted red once again. Now I'll select a spine shape. So I'll go ahead and click on this guy to select him, and then I'll Shift+Click on each one of the outlines of these spikes. This takes a little bit of care actually to make sure you get him selected. Then I'll go back to the Swatches panel, and fill them with Muted red as well. Now I have a little problem. Do you notice that, how that filled edge is cutting into that stroke right there? So what I'm going to do is I'm going to select this point using the White Arrow tool.

I'm just going to nudge it over it until I reveal that entire corner. And at about that point there, everything looks good. All right, so I'll click off of that point in order to deselect it. You might as well take care of every single issue that you see at this point in time, because once you start rotating and cloning this guy, then you're not going to want to go back and have to make any more changes. So now is the time to do the work. All right, I'm going to go to press the V key to switch back to my Black Arrow tool. I'm going to click on the monocle in order to select it. I want to select these guys too.

But I should be able to select him, just by going up to the Select Similar Objects icon, and clicking on the down pointing arrowhead next to it, and choosing Fill Color and that should just select those six objects altogether, because after all, there are no other white filled objects on any visible layers. All right, now I'm going to switch these guys to Muted blue, so a slightly different color for those shapes. And we have the base guy done. So I'm going to grab him by marqueeing around him, and I'm going to press Ctrl+G, or Cmd+G on the Mac to group him.

What that's going to do is it's going to move the path from humanoid onto the interior layer, because when you group, you always move all the grouped objects up to the top layer in the selection. Anyway, I want the exact opposite. I'm going to take this guy back down to humanoid by dragging that turquoise square right there next to the interior layer, I'll drag it down to the humanoid layer like so, so that goes ahead and moves him. For now, I'm going to turn off interior. We'll find a new use for it later. Then I'm going to go ahead and zoom out a little bit, so that we can see more of the illustration.

I'm going to press the R key in order to switch to the Rotate tool. I'm going to Alt+Click or Option+Click on that bridge of the nose point right there. And then inside the Rotate dialog box, I'm going to enter a 120 degrees instead of negative, and click the Copy button, because I'm going to fill this guy next. I'm going to do so by switching to the White Arrow tool and I'm going to click off the path outline in order to deselect everything. I'll Alt+Click on the big old path around the entire guy there. Then I'll Shift+Alt+Click on each of these other paths that I know is currently filled with red.

Now I would love it, if I could use that Select Similar Objects icon. But I can't, because it would select not only the reds in this guy, but the reds in this guy as well. So having selected all the red paths, I'm going to switch over here to Muted blue, and click on it to make it active. Oops! I missed the thumb path, darn it. You know what, here is an easier way to work. I'm going to undo that modification there for a moment. I'm going to click off the path outline. It was telling you, I can't use this icon. I can use this icon. I just have to lock down the other group.

So I'm going to go ahead and twirl open that humanoid layer right there, lock this upright guy. The other one's now unlocked. I'll go ahead and Alt+Click or Option+Click on the larger path outline. Then I'll go up to this icon and click on it. That should give me all of the red filled paths. Then I'll go ahead and click on Muted blue. And that time, it worked beautifully. Now I might have worked in the other order, because now I have to select these guys independently. So I guess I'm not the smartest worker ever, but I'll go ahead and Shift+Alt+Click on each one of these circles, as well as this one right there.

Then I'll switch that to Muted yellow. Let's see if I can learn from our mistakes this time. I'll go ahead and grab my Black Arrow tool. Click on the path outline to select the entire group. Then I'll grab my Rotate tool by pressing the R key. I'll Alt+Click or Option+Click on that bridge of the nose point. A 120 degrees is a great Angle. Click Copy in order to create yet another copy. All right, this time, I'm going to lock you down, mister. I'm going to leave this guy unlocked, so I can edit him. I'll grab my Direct Selection tool. Click off the shapes to deselect them, Alt+Click or Option+Click on any one of these yellow circles.

Go up to this icon, click on it. Go ahead and change these circles to Muted red this time. Now I'll Alt+Click or Option+ Click on the big purple shape. Go up to this icon in the Control panel, and click on it. Then switch these guys to Muted yellow, and we end up getting this effect here. All right, that's exactly what I wanted. Thank gosh, I did it right this time. Let's go ahead and unlock those various items right there. And, just to match the template, why not, let's go ahead and show the template layer once again.

I'm going to grab these guys, all of them, just by marqueeing them. I'm going to grab this purple guy's toe. I'll drag it over here, and then, I'll press the Alt or Option key, and I'll release in order to create a copy of these various guys. Then I'll Alt+Drag or Option+Drag from the tail like so in order to create a copy here. Then apparently, I just want to copy this guy - wait a sec, things are out of alignment. What in the world is going on? Oh my gosh! I have a problem. These guys are out of alignment.

So let's press Ctrl+Z a few times. No need to panic. Let's just try to see if we can get to the bottom of this, Ctrl+Z, Ctrl+Z again. That would be Cmd+Z, Cmd+Z again on the Mac in order to undo those modifications. I'm going to press Ctrl+Y, and turn off this template layer, and see if we've got proper alignment. It looks like these guys are absolutely aligned with each other. So let's go and zoom back out. I may just not have dragged things into alignment properly when I grabbed his toe, for example. I'll go ahead and grab it again.

I will snap it into alignment. It looks like everybody is aligned, and I'll press the Alt key or the Option key on the Mac in order to create a clone at that location. I'll press Ctrl+Y, Cmd+Y, and see if we have any gaps. We don't, everything seems to be just fine. All right, let's go ahead and grab these guys again. This time, I will drag by this anchor point and I will snap it into alignment with this location right there. Press the Alt key or the Option key on the Mac in order to create yet another clone. So I guess I was just doing some sloppy dragging there. Phew.

I thought something was really wrong with my core objects. That would've scared me silly. All right, I'm going to go ahead and grab this guy like so and just move him over there. Press the Alt key or the Option key on the Mac in order to clone him. Then I'll drag him by his toe point, so I can snap him into alignment. That goes ahead and snaps all those guys as you see there. Let's see how many other paths we want to create here. I'm going to go ahead and bring back up my template layer. It looks like we have a few other things to fill in. So I'll just go ahead and drag these guys out.

I'll press the Alt or Option key to create copies. Drag this into position. I'm dragging by an anchor point, the tail that is, and I'm moving it into the proper location right there. This guy should be in front at this point. So I'll go ahead and drag him by his heel. So you always want to drag by an anchor point. I was saying that before. Then I'll press the Alt key or the Option key on the Mac in order to create a clone at this location. From here on out, you can just move independent objects if you want to, that is, independent guys here.

So, I'll go ahead and grab this guy. Press the Alt or Option key as I drag him to create a clone. Grab him by his tail. Snap him into alignment right there. Then I could grab, let's say, this guy, move him out. Press the Alt or Option key in order to create a clone. Drag him by the top of his head, and snap him into alignment. He is the same guy that needs to go over here. So let's press the Alt or Option key as we drag him over. Grab the tail. Snap him into alignment once again. Finally, which one of the guys is he? He is the purple guy, so I'll drag him out.

Press the Alt or Option key. Grab the base of his tail, and drag him into alignment right there. And we now have a collection of these interlocking dudes. I'm so relieved that everybody is in alignment with each other. In the next exercise, I'll show you how we determine the rectangular perimeter of these objects.

Show transcript

This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28201 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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
      39s
    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
      44s
    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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