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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.
In this exercise we are going to flip things around. I've been showing you how to place images into Illustrator. So we are placing Photoshop stuff into Illustrator. Now we are going to take illustrations and open them up in Photoshop. So we are going to go the opposite direction. So what I'm hoping here is that you have a moderate amount of Photoshop experience. Most Illustrator users dabble in Photoshop too. So I am hoping that's true for you. Also, I'm hoping you have Photoshop on your machine. So that might mean any version of the Creative Suite, by the way, just about every version of the Creative Suite includes Illustrator.
I think there is just one that doesn't. And then every single version of the Creative Suite includes Photoshop. So hopefully you got it lying around, because we will be working in Photoshop inside this very exercise. I've saved my progress as Unlikely dinosaur story.ai found inside the 21_photoshop folder. Just in case you're curious, it's here. Also, I have opened this illustration that will appear familiar to those of you who've been working along with me. It's called Knot number 3.ai, also found inside the 21_photoshop folder. So it's got a different color scheme going on.
I've modified the interior section of this knot so that the strokes get thicker as they go toward the center. Then I've created this border around the illustration as well. I created the border incidentally as a collection of five of these things. I'm going to do it for you, because it's actually a really useful technique. It's a blend by the way. So it's not anything terribly hard. But it's easy to throw together this kind of stuff and I just want you to be thinking outside the box when you're working with things like Blends and other effects inside Illustrator.
So I'm going to go ahead and bust up this blend by clicking on it to select it with my Black Arrow tool and I am going to go up to the Object menu, I am going to choose Blend and I'm going to choose Release. Now we will go ahead and bust things up. We are left with the pieces, essentially, the stuff that I used to create the blend in the first place. But we are going to go back even farther than that. We are going to get rid of just about all this stuff. I'm going to twirl open this layer right here, which is called rear items hear inside the layers panel and I'm going to collapse the Gradient panel as well just so we have little more room to work.
I'm going to de-meatball this guy right there by Shift+Clicking on its meatball. So I am working inside a top group item here inside the layers panel, and then everything else we will just get rid of. So what you should see is this guy right here, left over. Now let me tell you what's going on with the specific path. I'm going to twirl it open. It's actually a collection of two paths. So I will show you how each one is put together. This guy right there is just your typical everyday average compound path. So we've got a big circle with a smaller circle cutting a hole out of in, and of course, it's filled with a gradient and then I've got a smaller circle inside also filled with a gradient.
They both have the same strokes, by the way, which are 4 point rich black strokes, and they are set inside of a group. You may recall from our discussion of blending when we worked for those fence posts, how you can blend between groups inside of Illustrator. So starting with that guy, I am going to go ahead and select the entire group by meatballing the group here inside the layers panel and I will twirl the group close as well. Now I'm going to grab this guy and I am going to drag it over to the right section, to the upper right corner of that square guide that I've set up in advance and I will press the Alt key or the Option key on the Mac when I drop it into place.
So I am dragging by the center point by the way as I do this. Then I will Alt+drag or Option+drag it to this location, drag it to this location, press the Alt or Option key on the Mac in order to clone and then I am going to drag it to about here, not directly on top of itself, because we wouldn't really know what was going on if we do that. We have to complete the cycle though, don't you know, because we are going to blend from this guy to there, then here, then to here and then back again. But if the two paths are coincident right on top of each other initially, then we are not going to have the control we need. So I am just going to set this guy up right about there and I will press the Alt key or the Option key on a Mac in order to clone it into that new location. All right.
Now I am going to go ahead and grab everything on this rare items layer, and I will do that by clicking in that upper- right corner on that little wedge there on the layer inside the layers panel. That selects everything on this background layer including by the way, the backmost path. We don't want that big rear rectangle selected. So I am going to Shift+click on it in order to deselect it. I could either Shift+click inside the illustration window or on the meatball, which is what I chose to do. So all we've got selected now are the five sort of circle inside of a circle pattern.
Now I am going to go up to the Object menu, choose Blend, and choose Make or you can press Ctrl+Alt+B Command+Option+B on the Mac and you create this blend right here. Now if you're not seeing the same results I am with every single one of the circles exactly aligning with each other. In case that seems like, boy, what a big mysterious coincidence that I got these to line up exactly right. Well, each one of these circles is exactly 100 points wide. Then this big square guideline here measures exactly 700 degrees, 700 points.
So that means that we can fit exactly six of these circles in between each one of the extremes. That's what Illustrator has chosen to do for me. It's created exactly six intermediate circles, but if it didn't for you, then you would double-click on the Blend tool in order bring up the Blend Options dialog box. You would switch the Spacing from Smooth Color to Specify Steps, and then you would raise that value to 6 like so, and then click OK in order to accept the modification. Now we need to grab this guy right there and drag them back up all the way.
So he is coincident with the circle up here in the top-left corner. You're going to do that by clicking off, if you're working long with me, in order to deselect the paths and using your White Arrow tool, I want you to the Alt+click three times. So we are first selecting with the first Alt+click or Option+click you're selecting the outside circle. With the second one, you're selecting the inside of the compound path, and then with that third Alt+click or Option+ click, you're selecting the entire group. Don't Alt+click or Option+click the fourth time, because you will select the entire blend; we don't want that. Normally, I would advise you to go ahead and drag the path by its center up to this new location.
But if you do that, you will grab the path of the blend. If you take a look at this blend here inside the layers panel, go ahead and twirl it open, you'll see that there's a path at the top of the stack. That's the path of the blend and it happens to begin right there and it's got corner points at each one of the corners of the square, and then it ends right at that location there. If you start dragging from there, you will end up dragging an anchor point inside the path of the blend and you'll deselect the group that you've selected so far. So I would drag it by this outside point right there up like so, so it snaps into alignment with that top circle and then released.
Don't press the Alt or Option key to clone it. Just release it at that location and you end up getting this effect here. So that's how you create that border pattern. Now more to the point, what in the world are we doing? I told you we are going to be working with this illustration inside of Photoshop and yet I spent the entire time showing you how to do something inside of Illustrator, which is great, because this is after all an, Illustrator training series but what we are going to do in the next exercise is we are going to take this guy and we are going to rasterize it inside Photoshop. I'll explain how and I will explain why in the next exercise.
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