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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.
Woo-hoo, we are in the final exercise of Chapter 5 and we are almost done with our entire Tonalpohualli illustration here, that illustration that we've been creating over the course of Chapters 4 and 5, and it was worth it, was it not? What a gorgeous illustration it has turned out to be and so very spiritual, don't you think? Which is why it's only appropriate that I have you open this final document here The end times.ai for these are the end times of Chapter 5 anyway. And if you're still working inside of your richer artwork document, good job, bless you, may the Aztec gods bless you for you have done such an exceptional job. Now we're going to take care of a little problem.
And then we're going to move on to a little bit of last-minute fun. The little problem if you zoom in on this face here, you'll see that the objects that we copied over from the calendar layer and pasted onto the paths layer have plain black strokes where all of our other objects have rich black strokes. So let's go ahead and take care of that. Click on any one of the face objects with the black arrow tool in order to go ahead and select them. Make sure your stroke is active. If it isn't just go ahead and press the X key to make the stroke active and then select Rich black here from the Swatches palette and that's all taken care of. That;s all you need to do there. Now all of our strokes match and you can see that the strokes just appear to sort of flow into each other, which is a wonderful, wonderful thing. Something you can do in Illustrator, and graphic artists do inside Illustrator all the time.
The next thing I want to do, I want to show you, this is the fun part, I want to show you how to create a tile pattern fill. A goofy but cool thing that you can do very easily inside of Illustrator. I want you to grab the god's nose here by clicking on it, clicking on any one of these three shapes, and I want you to go and drag the nose and drop it into the Swatches palette right here. And notice, by the way we can make our swatches bigger if we want to. Why don't we switch to the large thumbnail view so that we can see large versions of our swatches, and there's our nose swatch right now. I'm going to go ahead and double-click on it in order to name it Nose, and then I'll click OK. Now it may seem like a goofy thing to do, to turn the nose into a repeating tile pattern fill, but as you'll see in just a moment, it's actually going to be really great.
All right so I'll click off of the nose in order to deselect it. Now, oops. I actually messed something up pretty darn good. I'd just filled the nose with the nose. Oops. That can't be a good thing, so I'll go ahead and click on the nose again, if I can find it. There it is. Click on the nose. Look it's filled with the repeating nose tile pattern. No, no, not a good idea. So let's switch it back to our regular white nose and, oh I stroked it. That's the stroke, I assigned the nose to the stroke.
All right, let's switch the stroke back to rich black. Good, that's much better, a close call. Never stroke a nose with a nose. Let that be a lesson to us all. Now I'm going to zoom out from the calendar a little bit. And I'm going to select this 4th circle in, this one that's filled with Medium clay. And I'm going to go to the fill item here inside the Appearance palette, and if you don't see your Appearance palette on screen I want you to go to the Window menu and choose Appearance, it's one of the foremost palettes inside of Illustrator.
You'll see, we're going to be spending a lot of time inside the Appearance palette. This is just a preview of things to come. Go ahead and click on the fill item that's associated with this selected path here. And then I want you to click on this little page icon to duplicate that fill, so that we have two fills associated with the object. Sounds nutty, but it's a very useful thing to do. Especially if we switch out one of those fills for the nose. So I'll go ahead and switch this fill out. Notice it's selected. Switch it out for the nose pattern, and we get this effect right here. A repeating nose with the Medium clay fill in the background. So we have both those noses and that color going on at the same time. I'm now going to click off the shape in order to deselect it, It seemed like such a goofy proposition in the first place, but they don't look like noses, they look like repeating patterns in the background. That is our finished calendar folks. Good job, nice work people. We have created a real actual, very complicated illustration inside of Adobe Illustrator and here we are only at the end of Chapter 5.
I tell you, worlds of vector-based joy and wonder awaits you in future chapters. Won't you do us all a favor, and join me?
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