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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.
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