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Illustrator CS5 One-on-One: Advanced
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Completing the core path outline


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Completing the core path outline

I have saved my progress as Many subpaths.ai. In this exercise, we are going to take our various subpaths, join them together into one overarching path outline, and we are going to make sure that we have exact alignment. We have got a few different subpaths going on. I am going to drag them apart so you can see. We've got the thigh and a calf, we've got the bottom side of the leg, we've got this area under the arm as well. Then we have the red path and the blue path. So we need to join all the green paths together first and then we will join them to the red path and the blue path. Here is how.
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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
      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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Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

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
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Completing the core path outline

I have saved my progress as Many subpaths.ai. In this exercise, we are going to take our various subpaths, join them together into one overarching path outline, and we are going to make sure that we have exact alignment. We have got a few different subpaths going on. I am going to drag them apart so you can see. We've got the thigh and a calf, we've got the bottom side of the leg, we've got this area under the arm as well. Then we have the red path and the blue path. So we need to join all the green paths together first and then we will join them to the red path and the blue path. Here is how.

I will go ahead and undo those movements by pressing Ctrl+Z or Cmd+Z on the Mac a few times. Then I will grab my White Arrow tool and I will marquee around these end points right here, press Ctrl+Shift+Alt+J, Cmd+Shift+Option+J on the Mac to bring up the Join dialog box. Now we are going to be pressing Ctrl+ Shift+Alt+J or Cmd+Shift+Option+J in a Mac many, many times here and every single time you need to see this dialog box. If not, you have got some sort of misalignment that you're going to have to reconcile. I will go ahead and click OK, corner points are fine all the way around.

Now I am going to marquee these endpoints right there at the base of the foot. I will press Ctrl+Shift+Alt+J, Cmd+ Shift+Option+J on the Mac, click OK to accept the corner point. Now then, our green path is all one big subpath at this point. Let's join it to the blue path. And, when we do it by the way, both paths are going to turn one color, because the single path outline can only have one color of stroke, that is, if it's got a single stroke which these do; one is going to override the other. Presumably, the new path is going to turn green, because I believe the green path is in front. But we will see.

It doesn't really matter at this point. I will marquee these two end points right there of the two differently colored paths, and I will press Ctrl+Shift+Alt+ J, Cmd+Shift+Option+J on the Mac. It brings up the dialog box, click OK. Now we have one big green path outline. Now we are going to join these two endpoints. That's going to leave these two end points at the top of the hand still not together. They still won't be joined. So we have to remember that. So I will marquee the endpoints at the bottom of the elbow there, at the intersection of the green path and the blue path, and then I will press Ctrl+Shift+Alt+J, Cmd+Shift+Option+J. Sure enough, get the dialog box, click OK.

One big green path outline all the way. It's still an open path, though we haven't closed it, because these two points are independent of each other. Anyway, I'll undo that move. I will marquee those two endpoints with my White Arrow tool and if everything is going according to plan, I should be able to press Ctrl+Shift+Alt+J or Cmd+Shift+Option+J in the Mac in order to confirm that I am getting a Corner point, click OK. So in every single case I had coincident endpoints and as a result I am going to get precise alignment. That's my prediction anyway.

Let's see if it comes true. So I am going to change the stroke back to my jet black there, the rich black, and then I am going to press the V key to get my Black Arrow tool. I will click on the path outline to make sure I have the entire thing selected. Then I will press R key to switch to the Rotate tool. I am going to go ahead and zoom in on the top of the nose there, the bridge of the nose and I will Alt+Click or Option +Click on the Mac in order to bring up the Rotate dialog box. The last Angle I applied was -120 degrees, that's fine. Either negative or positive of 120 degrees will do it for us.

Click the Copy button, and then press Ctrl+D or Cmd+D on the Mac in order to duplicate that path outline. Now, you can see I have got exact alignment around the head and arm region. So that's good news. The only place where I expect to have some alignment problems is down here along this thigh and calf, because that was the area of reconciliation. But we will see how things go. I will press Ctrl+A or Cmd+A on the Mac to select all three of these shapes, because they are the only shapes that are visible and unlocked. Then I will press the V key.

Now from here and out we have path outlines in every direction we need them, at every angle, that is to say. Now we just need to replicate them in different areas. So I am going to drag at the top of this guy's knee, right there. You want to drag from an endpointt, by the way, because we want to ensure that one endpoint snaps into alignment with the other. So you want to make sure that you're bonding box is off and all that jazz. Anyway, the reason I am choosing this knee point is because there is a knee point to lock it into alignment with right there. So I will go ahead and grab this guy and drag it down like so until it locks into alignment, I should see the white arrowhead cursor that shows me I have a snap.

Then I will press and hold the Alt key or the Option key on the Mac and release. It looks good. I think we have a very good match thus far. This time around, just to confirm, I will go ahead and zoom out little farther here and I will drag from this guy's toe, right there, and I will drag it into alignment with this location and then I will press the Alt or Option key and release and I have gone ahead and cloned some more path outlines. And let's go and turn off the Template for a moment, just so we can see if all these guys are aligning properly with each other, and they seem to be.

Now what if at this point we want to make a change? We have confirmed that everybody aligns great so we have done a good job so far, but maybe I don't feel comfortable with all the details. For example, I am going to press Ctrl+Z a few different times here, this would be Cmd+Z a few different times on the Mac, until I get back to just my core guy stroked in black right there. I look at this guy and I am very proud of the fact that he aligns with himself all over the place. He is absolutely a golden interlocking object.

But he's kind of got some strange details inside of him. For example, in order to reconcile the hands, I gave him this kind of strangley, sort of four-fingered hand on one side in which he curled his thumb around, and then on the other side he has got a three-finger hand and he has got his thumb tucked. Well, I could take this thumb out into that finger region. Notice that this is the other hand right there. So this hand reaches around to this location. So I could have his thumb sticking into his fingers as if he is holding his own hand.

Well, I will show you how to make such a modification and keep everything in alignment 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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