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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 I am going to show you how to build an object so that it can overlap itself and basically this is a matter of taking the object, busting into pieces very deliberately by the way and then putting it back together again after outlining the strokes. I have saved my progresses Back to square one.ai and here's what we are going to do, you should have the live paint # 2 layer active, go ahead and click on the not object and before we started just going to help if we get the colors roughed in a little. So we can tell these objects apart from each other, so with this first object selected here go upto to the Stroke swatch here in the Control panel and change the Stroke to Green and then I want to grab the circle and change its Stroke to orange, again we are just doing this so we can keep out object straight.
Then go ahead and click on the green path outline and we need to bust this object apart into three pieces. Again, because it's a repeating series of three different path outlined in the first place we need to bust it back into three pieces in order to put it back together again and that will ensure that we have three areas of overlap, which is what we were looking for. Now in order to do as little damage to this path as possible, I want to break of the path, add some existing anchor points so I can either break it at the smooth points, the three smooth points right here towards the center of the shape or I can break things up at the corner points.
Now you might look at this and think the corners make more sense, of course because the corners are crying out loud and they are on the outside and the whole number. However if we bust it at the corner and then we try to outline that corner it's not can to render out properly. It's not going to render as a nice miter corner, it's going to render as a cap, a butt cap specifically. That's not what we want, so we're going to do far less damage if we break the path at the smooth points and I think this will make more sense as we work along here. I want you to just trust me for a moment here and grab the Scissors tool which if you're not seeing it you can get from the Eraser tool flyout menu, you can also select that tool by pressing the C key and then I want you to click at exactly that smooth point right there click on it in order to bust it up, in order break it in twin and it's very important that you click directly on that anchor point.
You don't want to click slightly to the side of it and create yet another new anchor point because that's going to mess things up. Then click on this anchor point right there and then you won't see the other smooth point, you need to click on because this path outline is now deselected. So press and hold the Ctrl key or the Command key on a Mac and just drag around that area to select it like so and the Ctrl or Command key gets you to the Arrow tool on a fly. Then release the key and once you see that anchor point click on it. So in other words we clicked here, here and here, on each of the three smooth points inside of this shape.
We have busted up that path outlined into three pieces if you twirl open the live paint #2 layer, you'll see that you have got an orange path which is a circle and then three green paths like so which are each of these pieces that we broke apart from each other. All right now go back your Black Arrow tool, go-ahead and marquee all these path outlines to select them. Then I want you to go up to the Object menu, choose Path and choose Outline Stroke or if loaded Deke keys you can press Ctrl+Backslash or Command+Backslash on the Mac, in order to convert those strokes to path outlines.
Now let's go ahead and assign some strokes to these path outlines by going up to the Control panel once again and click on that Stroke Swatch and change it to rich Black and then I want you to change the Stroke Weight from one point to two point, like so and we end up getting this effect here and you can see that we now have all of the intersections so the path outlined is more or less intersecting itself. Now then we are going to join these path outlines together and we are going to do that like so, go ahead and grab your White Arrow tool and this part is a kind of a pain in the neck.
This is a labor-intensive we just have to kind of sit here and do the same thing over and over again. But grab your White Arrow tool and then marquee at that intersection right there in order to select those two path segments that are overlapping each other and press the Backspace key to get rid of them. And then I want you to marquee this top anchor point and because we need to join it back into a smooth point we now have two coincident endpoints here. We need to join them into a single smooth point, press mash your fist J, Ctrl+Shift+Alt+J or Command+Shift+Option+J on a Mac, to bring up the Join dialog box, click Smooth and click OK and get used to it because you have to do that five more times.
Marquee this point right there like so I'll press Ctrl+Shift+Alt+J, Command+Shift+Option+J on a Mac, click on Smooth, click OK. All right now we have got a repeat that process for these two intersections right here. Go ahead and marquee those two segments they are right on top of each other, the straight segments, make sure you don't get any anchor points or anything like that. just marquee the segments and then with them selected press the Backspace key or the Delete key on a Mac in order to get rid of them, marquee these two coincident endpoints, press Ctrl+Shift+Alt+J, Command+Shift+Option+J on a Mac, click on Smooth, click OK.
go-ahead and marquee these two coincident endpoints, press Ctrl+Shift+Alt+J, Command+Shift+Option+J on a Mac, click on Smooth, click OK in order to apply that again. Now so far we still have a single path outline which may amaze you, you may even think okay are we about to create a path that actually just naturally overlaps on top of itself that's like impossible? So what's going to happen when we really finish off this path outline because currently we have got a single path outlined that does this number that breaks at this point right there so we've got a break in the action and so that makes sense if you follow what's going on.
But once we fuse that together what's going to happen to the shape? Let me show you. I'll press Ctrl+Z a couple of times, Command+Z on a Mac in order to undo the movement of those points. I am going to marquee these two overlapping straight segments in order to select them. Press the Backspace key or the Delete key on a Mac, everything goes haywire, we now have two separate path outlines that's the way it's going to stay. Now I'll marquee these two points right there, these two anchor points and I'll press Ctrl+Shift+Alt+J, Command+Shift+Option+J for the fifth time, click on Smooth, click OK and then finally I can't see the anchor points but I know they are right their.
So I marquee this area and of course this assumes that you're selecting objects by the path outlines, that you're not marquee inside of a fill and dragging it around, just as I've suggested you do throughout the series now. Go ahead and marquee these two points like so and then press for the sixth and last time Ctrl+Shift+Alt+J, Command+Shift+Option+J on a Mac, click on Smooth and click OK and we now have these two independent paths. That's the way it's got to work, we were working with static path outlines like this. All right go ahead and grab the Selection tool once again, click on that innermost path outline like so and just you can have a vague sense of what's going on.
Let's go and change its Fill from Green to White and Fill is selected for me but if I just want to make sure on doing of the way that will work for everybody, I'll click on the Fill Swatch up here in the Control panel and click on White and that gives us this affect here. So we are still preserving these intersections, we have got everything we need believe it or not to pull off the final effect and I'll show you how to convert these path outlines into a live paint object that's going to do exactly what we wanted to do in the next exercise.
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