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I'm looking at a document called Two-up tees and it features this T-shirt that I drew along with this text treatment as well against the background that comes from the Fotolia Image Library, specifically these various elements were created by Sunny Frog, and you can learn more about Fotolia at Fotolia.com/deke. And ultimately what we'll do is we'll explore Color Harmonies in the context of re-coloring this background artwork in order to create a complementary color scheme that is one that complements the blues inside of the T-shirt.
But before I do that I figured, given that we just got done talking about Advance Type Treatments in the previous chapter, I would show you how I created this one here because it is, if nothing else, a little more tasteful and it's also a lot more manual as well. So in the spirit of transitioning from one chapter to the other let's see how it was put together. I am going to go ahead and twirl open the t-shirts layer here inside the layers panel and I am going to turn off the top object which is called Type and it's a group of these path outlines that make up that Type right there and then I am going to turn on the top layer which is called text & symbol.
And what's going on here is, I've got some text that I created in a font called Chiller that just happened to be on this machine, I don't know where the heck it comes from, but because you don't have that font most likely on your machine I went ahead converted the type to outlines. Also that allows me to manipulate those Outlines using the White Arrow tool and the Pen tool and so on. And then, this guy right here is a Symbol that actually ships along with Illustrator and so if you go up to the Symbols panel and we're going to be talking about Symbols and all kinds of detail in the very next chapter but if you bring up the Symbols panel you'll notice that I've gone and outfitted it with a bunch of these Grime Vector Pack Symbols which is a library that ships along with Illustrator.
I use this guy right there, Grime Vector Pack 05 and I dragged it out into the Illustration window, dropped it into place and then I scaled it by going to my Scale tool, double-clicking on it, and I scaled it to about 44% and then click OK. And because I need access to the path outlines that are associate with this symbol right here I also went ahead and converted it to outlines and you do that by breaking the link so you click the Break Link to Symbol icon at the bottom of the Symbols panel and away you go.
Anyway I'm going to backup so that this guy is back where he is supposed to be. I'll press Ctrl+Z or Command+Z on a Mac several times in a row in order to reinstate that path outline to its original position and I am going to hide this Symbols panel and zoom on in here. And the next thing that I want to do is switch to the Outline mode so I can see what I'm doing so I'll press Ctrl+Y, Command+Y on a Mac, and there's a lot going on, a lot in little bits and pieces of grunge art work. So, what I'll do just to clean things up, I am going to twirl close t-shirts and I am going to turn off for the moment the backdrop layer so we can just focus on the contents of this layer and nothing more and then I'll zoom on in.
So what I wanted to do was I wanted to use the O in the text in order to cut a kind of circular outline just this interior circle or oval or whatever it is out of this symbol outline. So, this is manual labor. Put simply, there are no automated ways around this one, you got to go ahead and grab your White Arrow tool and then you just kind of select the junk you don't want and the easiest way to do that is to just marquee a few points and then delete them and then I'll marquee a few points or possibly just go ahead and click and Shift+Click on these guys actually I think I want to click and Shift+Click more along this area up here in order to select a few points and delete them and what that does is it cleaves what was formerly a close path into two open paths and then click off, Alt+Click or Option+Click, on the outer open path and then just press the Backspace key or the Delete key on Mac in order to get rid of it.
Then I zoomed in on my illustration a little more here and I need to do the same thing, I need to cleave a hole in this symbol so I'll go ahead and grab a few points and then delete them by pressing the Backspace key or the Delete key once again on the Mac. Then I just grabbed these guys, like so, so I am just marqueeing a bunch of points here, and I just dragged them down. Didn't do any sort of fancy work at all, I just went ahead and dragged them into a better place. It is okay if we have some strange transitions here because this is a grunge effect but if that worries you he can go in there and edit the points and control handles as much as you desire.
Now I'll go ahead and grab this guy and snap it into place and marquee these two points, which are coincident one on top of the other, and then I'll go up to the Object menu and I'll choose Path and I'll choose Join. And at this point Illustrator will get grumpy at me and say hey, you can't do that buddy because these guys are part of different objects which is really a big pain in the neck and then you have to dig in there and find out what kind of different objects they are. So if they come from different group that is going to be a problem if they come from different compound paths that's going to be a problem.
Fortunately we enjoy both problems so I'll click OK and so the first thing I need to do is grab this group here, notice it here inside the layers panel, if you have text & symbols twirled open you can go ahead and meatball that group and that's the text. And then go up to the Object menu choose Ungroup, Ctrl+Shift+G, Command+Shift+G on a Mac, in order to ungroup those guys. Okay, so far so good. And then I'll marquee those points again. This is joined for your, even though it's gotten better inside of Illustrator CS5 it's still not what anyone would call best.
This time I'll just use a keyboard shortcut Ctrl+J or Command+J on the Mac and I am doing that because Illustrator I know is going to grump at me again. You don't want to say Don't Show Again, to this message even though it's highly irritating because otherwise the program just ignores you it doesn't bark at you anymore, it just doesn't do anything. So I'd rather be barked at so at least I know nothing happened and I am still not getting my way. And so then at this point what I am going to need to do is go back to my Black Arrow tool, click on this path outline right there and then go up to the Object menu choose Compound Paths, because I just happened to know this is a compound path.
If you wanted to figure that out well, actually you could just look up here in the Control panel, on the left hand side, you'll see it's a Compound Path so that's your problem. Go to Compound Path and choose Release. Now, if there is any holes being cut of course you are going to loose those holes, in my case there is not so there aren't any path outlines that are cutting holes in other paths so everything should work fine. I'll go ahead choose that Release command cross my fingers, hopefully there's nothing else wrong here. Press the A key in order to give back to the White Arrow tool, Marquee those two points again and then press Ctrl+J and it's still not happy with me which means I still have a compound path selected.
So I'll go ahead grab my Black Arrow tool. Isn't this fun? In as much as my sample file in the previous chapter was not the most tasteful piece of art, it was a lot more fun to work on than this thing. Anyway, I'll go ahead and click on this lower path outline, the one I haven't really fully dealt with yet. In order to select it with a Black Arrow tool, I can see here in the layers panel that I've got a compound path selected I can also see that up here in the Control panel. So, I'll go up to the Object menu, choose Compound Path and choose Release and really I'm just hoping against hope this time that I got to the bottom of the problem.
I'll press the A key in order to grab my White Arrow tool and I'll marquee those two points of a press Ctrl+J. Callooh Callay it worked. Awesome! And then I'll grab a few arbitrary points here so I am clicking on one Shift+Clicking on a few others, dragging them down like so, may be move these points down a little bit as well, could probably stand and kind of zoom out so we can see better what I'm doing. Now I don't want these guys to get too close to each other because I still want these open area of white coming into the center of the O because I like that affect. And it looks like I am going to have to draw a little bit using the Pen tool so I'll press the P key in order to switch to the Pen click, click and then click on that point it worked that's another thing that could have gone wrong but the two points in it up joining together.
And now we have more or less the effect that I created. So if I zoom out here, and we're going to have to check our work, just make sure we didn't lose any holes. I'll press Ctrl+Y or Command+Y on a Mac in order to check out the effect and it looks great, I've got this O, the original O, carved out of the big Symbol and we've got ourselves a nice bit of logotype inside of this T-shirt. So, that's how you can work manually to create Advance Type effects. In the next exercise, we'll have one more transitional one in which I'll show you the dynamic effects that are in work in back of this T-shirt.
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