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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 still have a few face details to draw here, but the poor little god's face is getting awfully covered up with rectangles and what not. So I'm going to go ahead and bring this face forward and fill it with the white so it covers up the rectangles and gives us something of a blank slate to draw on. So I'm going to do that. I'm going to click on the circle to select it and by the way, I'm working in another catch up document, bless me. It's called Face time.ai and it's included once again inside of the 04_Geometric_Shapes folder, so you can open up that document as well if you want.
Go ahead and select that inner circle here cause we're pretty zoomed in to the calendar, and I'm going to fill it with white by going up to this first option up here in the Control palette, clicking the down pointing arrowhead, clicking white in order to make that the fill color. Next I'm going to go ahead and bring this shape to front and you could do it by choosing this command once again, but I'm not going to do that, commands shemmands man. I'm going to press Control+Shift+Right Bracket or Command+Shift+Right Bracket on the Mac to take advantage of that very, very useful keyboard shortcut.
All right, so here's the face in front of the objects. Now, I've kind of covered up the tracing template at this point, I can't really see what I'm doing. So I'm going to go ahead and Control-click on that eyeball right there or Command-click on that eyeball in order to change it to a little Orphan Annie eyeball at the top of the Layers palette so that we can see through my drawing to the template below. And now I'm going to go zoom in even farther into this face so that we can see what's going on here. Now notice that mostly everything that makes up this face is some sort of variation on a circle. We've got circular eyes.
We've got circular cheeks and a bunch of circular items down here at the bottom. I drew one circle and then I rotated the others into place. That's getting ahead of things a little bit. We'll examine those sorts of transformations and duplications series in a later chapter, but just to give you sense of what I did. I also went ahead and made these feelers up here at the top of the god's head with circles. These feelers, because after all, the Aztecs were visited by aliens, everyone knows that.
So that's where those come from. Now what about some of the more complicated objects, like this nose for example? It is a combination of three ellipses glommed together and this lozenge-shaped mouth right here, the shape that makes up the mouth and the tongue and so on. How do we go about drawing more complicated shapes like that? Well you start with your simple shapes and you build up. For example let's go ahead and make the nose. Grab yourself the Ellipse Tool by pressing the L key or selecting the tool. And then we'll drag outward, actually I'm going to drag outward from the intersection of the two guidelines and press and hold the Shift and Alt keys as I drag, and once I've created an ellipse that matches here, I'll go ahead and release and then I'm going to draw another one from this point right here, from the outer point along the edge of the ellipse, and I'll press Shift and Alt, once again, Shift and Option on the Mac, and then release, and then in order to make a symmetrical circle over here on the other nostril, I'll grab the black arrow tool and I'll go ahead and drag the point by its center point. I'll drag the point over here to the right hand side so that it snaps into alignment and then I'll press and hold the Alt key or the Option key on the Mac to ensure that I'll create a clone and then I'll release. Now I could have pressed the Shift key in order to constrain my movement to exactly horizontal, but that's hardly necessary given that I have a point to snap to and a guideline to snap to. So I'm pretty well covered in that territory, but it is essential that I press and hold the Alt key with the Option key in order to create that clone.
Now I'm going to select all three of these shapes like so. Now if I marquee around them, I may also end up selecting the guideline. It appears that I didn't, so I seem to be okay in that regard. But if you end up selecting the guideline, you may need to Shift-click on it in order to deselect it. Actually you know what? I'm just not getting an effective preview, cause if I look down here in the guides palette, I do have a little green square that shows me that the guide is selected, so I'm going to go ahead and Shift-click on it to deselect it. That did deselect it, good. And that might be a function of the fact that I'm working in this partial outline mode right here.
Whatever, I need to make sure that just the three circles are selected. Then I'm going to go to a special place here folks. I'm going to go over to the Pathfinder palette. Now my Pathfinder palette is located right there. Yours may be elsewhere on the screen. Where ever it is you can get to it by going to the Window menu and choosing the Pathfinder command or pressing Control+Shift+F9, Command +Shift+F9 on the Mac in order to bring that palette up. All right, but I've already got my palette up on screen. So I'm going to click on this first guy right here. Now Pathfinder's are wicked cool. They allow you to take simple shapes and combine them into more complicated shapes using all kinds of different equations basically. They are so wicked cool that we're going to devote an entire chapter to Pathfinders later in the series.
And we are going to have an awesome, rocking time with these Pathfinder options, I tell you what. But for now we'll have a pretty rocking time, just a slight party here, by clicking on this guy right here, which unites the shapes together. So if I click on it, I just united all three shapes together, we can't see the effect of the uniting, because we're working in the outline mode. So go ahead and hide your Pathfinder palette or whatever. You can leave it on screen if you want to, but I'm hiding it so that it's not in our way, cause I've got a tiny screen. I'm going to go back up to my drawing layer here, and I'll Control-click on the eyeball again and you'll see now that these three shapes are united into a single shape that has a single stroke and a single fill going on between it, and if that shape seems like it's got a little too thick of a stroke than you can go ahead and take that stroke down a little bit. I'll take it down to one point so that we can see what's going on a little better here on screen.
So that's how you create the nose. How do we go about creating the mouth, that lozenge-shaped mouth that we saw just a moment ago? I'll go ahead and Control-click the eyeball again. Command-click on the eyeball again in order to send this layer here to the outline mode. How do we create this lozenge-shaped mouth right here? Well, I will show you in the very next exercise.
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