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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 if you were with me for the previous exercise, you saw my thrilling demonstration of the Magic Wand Tool. We used it to go ahead and select all of the objects that were stroked and filled with plain black respectively. And then we went ahead and linked them to a global version of the black swatch here inside the Swatches palette. Well I'm still working along inside the Plain black Uzz.ai document, because I want you to note a couple things. First of all see how the text was not picked up by the Magic Wand. So even though this text, zz ! Won't u wuv me? Even though that text is filled with plain black, it didn't get selected because the Magic Wand Tool isn't sensitive to text.
So you need to grab your black arrow tool and you need to click on that text like so, in order to make it active and then go ahead and link its fill, assuming that the fill is active, which it is for me. You can link its fill to the black swatch by clicking on the black swatch here inside the Swatches palette. Everybody is now linked to this black swatch. I'm going to go ahead and press Control+Shift+A or Command+Shift+A on the Mac, in order to deselect everything inside the illustration. Now I'm going to double-click on the global black swatch here, in order to bring up the Swatch Options dialog box, and I'm going to change the definition of black to 50, 50, 50 for C, M, and Y so that we're dialing in a rich black, one of many different rich blacks out there.
And I'll go ahead and rename my swatch Rich black. If you want to, or if you want to go for the familiar name, you can call him Rick Black if you like. Ha ha ha. All right, Rich black is good enough. I could turn on the Preview checkbox as well. Now I want you to watch Uzz. Stare into Uzz's hypnotic eye here. Notice how the blacks are a little washed out. As soon as I turn on Preview, they get nice and rich. This is before, washed out. This is after. It's just a subtle change, but it's a big change and it can mean all the difference where trapping is concerned.
Having done that, go ahead and click on the OK button and you have now modified all of the blacks inside of this document. You've converted the plain blacks into rich blacks. Nicely done. In the next exercise we're going to switch away from Uzz. I know you're going to miss him but we're going to switch away from Uzz to another project still revolving around selecting and enhancing artwork inside of Illustrator CS3.
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