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Illustrator CS5 One-on-One: Advanced
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Constructing the base objects


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Constructing the base objects

So, we are working our way through this Celtic knot here. We've created the upper arc of this bottom portion of the knot and what we are going to do in this exercise is finish off the green object and bring back the orange object and then we are going to fill them and stroke them so that they look every bit the way they do right now except they'll have flat fills and they won't weave in and out of each other, just so that we have the base materials we need to work with. So, I've saved my progress as The lone arc.ai. I am going to click on this base object here, the only path outline we have right now with the Black Arrow tool to select it.
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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

Constructing the base objects

So, we are working our way through this Celtic knot here. We've created the upper arc of this bottom portion of the knot and what we are going to do in this exercise is finish off the green object and bring back the orange object and then we are going to fill them and stroke them so that they look every bit the way they do right now except they'll have flat fills and they won't weave in and out of each other, just so that we have the base materials we need to work with. So, I've saved my progress as The lone arc.ai. I am going to click on this base object here, the only path outline we have right now with the Black Arrow tool to select it.

Now, I'll grab my Rotate tool and I could do that by pressing the R key as well. I need to set my center at the same target point that I have before. That's why I marked it. I didn't need to market in order to rotate the circle that was pretty darn easy just as long as I would have it duplicated it the second time, so that I had three rotated around the same point, everything was hunky-dory. But now in order to maintain those same results, I need to have marked that origin point in advance. So, I am going to Alt+click or Option+ click on that point to bring up the Rotate dialog box, the Angle should still be at 120?.

I click the Copy button and then I press Ctrl+D or Command+D on the Mac in order to duplicate that transformation. Now, I'll press the V key in order to switch back to the Black Arrow tool. I'll marquee these three paths so they are all selected and then I'll just go up to the Object menu, choose Paths and choose Join. This time, the automation that has been introduced inside of Illustrator CS5 is really quite useful. So, you could press Ctrl+J or Command+J instead and it goes ahead and fuses the shape just, like so. So all three of those sets of endpoints are joined together and you can check them out just to make sure those of you who've been using the program for a while and might be skeptical about Illustrator's ability to get those points right.

You can press the A key to switch to the White Arrow tool. You can click off the shape to deselect it and you can grab one of those points and drag it around and you will move a single point as opposed to dragging away two endpoints that are separate from each other. You can also see that they are fused together because we have these nice sharp joints. All right, anyway, I'll press Ctrl+Z, Command+Z on the Mac, to undo that latest modification. I'll go to the layers panel and twirl open the primitives layer and then I'll turn on that top path which is the big circle. Now, it shouldn't be that big; I need to scale it.

So, I am going to press the V key to switch back to my Black Arrow tool, select that big circle, switch to the Scale tool which I could get by pressing the S key. Again, I want to scale from that exact center point there but because that is the center of the circle, it's already identified as being my transformation origin. So, all I need to do is double-click on the Scale tool in order to bring up the Scale dialog box. I want you to change the Uniform Value to 76%. That way you'll get the same results that I'm getting. Then click OK, don't click Copy, just click OK in order to create that effect right there.

Now, those are base objects except instead of having thick stroke shapes; we need filled shapes. So, we are going to have to convert these strokes to path outlines and we are going to do that after we go ahead and duplicate this layer. I want to keep my original primitives because we are going to need to come back to them and I'll explain why as we work away through this. But basically, we are going to make a mistake upfront. It's the exact same mistake I made when I was trying to create this Celtic knot in the first place and I want you to see the mistake because I think you'll find it very helpful and then we'll see the solution later on.

But in the meantime just so that we don't really mess things up, go ahead and twirl close that primitives layer, grab it and drag it to the page icon at the bottom of the layers panel to make a duplicate. Then turn off primitives so that we don't harm it, double-click on primitives copy to bring up the layer Options dialog box and call this guy, live paint number #1 because this is going to be our first approach. As I say, something of a mistake. We are going to switch the Color from Light Blue to Red. You don't have to do that part; I'm just doing it so that I can keep track of my different layers here and then click OK in order to modify that layer.

Now then, go ahead and grab your Black Arrow tool once again, marquee these two paths, there's only two of them. So this guy in the middle is the single path outline. Then go up to the Object menu, choose Path and choose Outline Stroke or if you loaded dekeKeys, you've got a keyboard shortcut for this very, very useful command of Ctrl+Backslash(\) or Command+ Backslash(\) on a Mac and we get these two filled shapes here. Click off, click back on this guy, this big outline circle and we are going to modify the Fill and Stroke attributes and we might as well do that from the Control panel.

I'll click of the Fill swatch and change it to this orange color right there; six swatches in. Then go ahead and change the stroke from nothing to this Rich black that I've created for you and change the Stroke weight to 2 points. Now, let's do something similar actually for this guy. We'll go ahead and assign those same Stroke attributes. So I'll assign Rich black, I'll change the line weight to 2 points and then I'll change the Fill from black to this green color. Five swatches in this time around and we end up with these two path outlines here.

Now, as you can see, the orange path covers the green path that is the orange path is in front, the green path is in the background. Now, we could change that, of course. I could twirl open this live paint #1 layer and I could grab the green path and move in front of the orange path. But there is no way that I'm going to take this guy and move it partially behind the other guy that's just not a feature inside of Illustrator. Again, we can simulate that kind of interaction using live paint and that's exactly what we will do 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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