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In Illustrator CS5 One-on-One: Mastery, the third and final part of the comprehensive Illustrator One-on-One series, author and industry expert Deke McClelland shows how to take advantage of the wide array of dynamic effects in Illustrator CS5. Deke explores Illustrator’s powerful Gradient Mesh feature, great for creating photorealistic airbrushing effects. He also covers graphic styles, the liquify tools, envelope-style distortions, the new Bristle Brushes, 3D text, and perspective drawing. Exercise files accompany the course.
All right, I am still inside of Photoshop, and as you may recall I was lamenting the fact that the Apple flesh is overlapping into the stem. And if this were a standard image, then the best way to approach this problem would be to select the stem using of all things, Photoshop's Pen tool. However, the work has already done for us in advance, because I already drew this darn thing using Illustrator's Pen tool. So I might as well go ahead and grab that path outline from Illustrator, bringing it into Photoshop and mask the stem away. I'm going to switch over to Illustrator, and then inside of his final file 270-degree apple.ai, I'll get my Black Arrow tool of course, and I'll go ahead and marquee both of these stem paths.
I don't whether I really need both of them, but I definitely need the rear one, which contains the Stroke information, then go up to the Edit menu and choose the Copy command or press Ctrl+C on the PC, Command+C on a Mac. All right, now let's switch back to Photoshop, and in Photoshop I want to go up to the Edit menu and choose the Paste command or press Ctrl+V or Command+V on the Mac, and you'll get this dialog box here. Now, normally I was telling you when we were talking about working between Photoshop and Illustrator way back in Chapter 21 of the Advance portion of the series.
I was telling you that nine times out of ten you're going to say Smart Object, because after all you want all of your artwork, and you want to be able to edit it seamlessly inside of Photoshop. However, for our purposes here, because all we're looking for is a selection outline, that we can use to mask away the stem, we want path, so go ahead and turn on Path and click OK and you now get this path outlined. All right, now I want you to drop down to the Black Arrow tool that's near the bottom of the toolbox, and if you don't see the Black Arrow tools, it's called the Path Selection tool by the way, then you select it from the White Arrow tool flyout menu.
But we need the black one, so go ahead and grab it. And then I want you marquee the paths like so, in order to select them, and that will select all the paths, and you may need to zoom in just a little bit here. And then go ahead and drag the bottom of that path outline, so it aligns with the stem of the Apple. And you can nudge these paths around by the way on a pixel level, by pressing any of the arrow keys, and I'm just going nudge this until it looks like it's in the right position. I think that's about right, may be just a little off, I'll press the right arrow key, well twice it looks like, and the down arrow key too, I'm way off.
All right, now that looks right okay good. We should see these paths now inside the Paths panel, so I'm going to switchover to the Paths panel. If you can't find these panels by the way, you get to them from the Window menu. So you go to Window, choose Paths, and you'll see this item called Work Path right there. And I went ahead and clicked off of it, so my paths disappear. I'll click on it again, so they come back. Double-click on Work Path, so that we can name this path and keep it around, because when the Path appears just as Work Path like this, it's very dangerous, that means you can lose it very easily.
So go ahead and double-click on it, and call this Stem, and then go ahead and click OK, and now that it appears in upright text, it is protected. It will automatically be saved along with the file. All right, now we need to convert it to a selection outline, and you do that by pressing the Ctrl key or the Command key on the Mac and click on that thumbnail for that path outline, and it will convert to a selection outline as you see it here. Go back to the layers panel and what I suggest you do, just so that we have a little wiggle room, go up to the Select menu, choose Modify, and choose the Contract command, and you may not see some of these keyboard shortcuts, including the one for Color Range, and then the one for Contract, because these are part of my Dekekeys for Photoshop.
So you'll have to have loaded those from one of my Photoshop series in order to see these shortcuts. Anyway, don't worry about that, just go ahead and choose the Contract command, set the Contract By value to 2 pixels, click OK, then I want you to go back to the Select menu, choose Modify, and this time choose Feather, and go ahead and set the Feather Radius value to 1 pixel, click OK. All right, having done that make sure your layer mask thumbnail is selected here inside the Skin layer, so make sure the Skin layer is active and layer mask thumbnail is selected. If you're at all concerned about that, just click on it and that will make it active.
And then you want to fill the selection with Black, and you do that by making sure your foreground color is black, which we set in the previous exercise, and then you press this keyboard shortcut, Alt+Backspace on a PC or Option+Delete on the Mac. Now that will make it look like you're infusing the stem with more color than ever, but in fact, you're actually lightening the stem back to its original color. And so noticed that the stem coloring is now continuous throughout, that's the way we wanted, press Ctrl+D or Command+D on the Mac to deselect the image.
You'll have a little bit of additional darkness around the entire stem, that's perfectly acceptable if you ask me. All right, go ahead and zoom out, and you'll see that we've accurately masked the Apple flesh inside of the 3D Apple. In the next exercise we're going to add a few water droplets.
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