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Illustrator CS5 One-on-One: Advanced
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Distorting and expanding a symbol


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Distorting and expanding a symbol

I have saved my progress such as it is as Duh I'm a goof.ai. So called because, well, for obvious reasons, this guy just sitting there going... Anyway, let's make him evil. That's the whole intention here. I have got a few anchor points selected with my White Arrow tool. So I can see the control handles now. So each and every one of these lines between the mesh points can bend as you see them doing right now. I am going to go ahead and drag this control handle down a little bit. I might drag that anchor point up a little more, like so.
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  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Distorting and expanding a symbol

I have saved my progress such as it is as Duh I'm a goof.ai. So called because, well, for obvious reasons, this guy just sitting there going... Anyway, let's make him evil. That's the whole intention here. I have got a few anchor points selected with my White Arrow tool. So I can see the control handles now. So each and every one of these lines between the mesh points can bend as you see them doing right now. I am going to go ahead and drag this control handle down a little bit. I might drag that anchor point up a little more, like so.

I don't want to go too far with the change, because I am going to get some big stretching if I do. But this might work out pretty well. I will drag this control handle down, drag this one down as well. This guy needs to come down just a little bit it seems to me, these guys need to move as well. So you can make any kind of modifications that seem near and dear to your heart. Once you're done which I might kind of be done anyway. I am going to drag these guys up a little bit and as I'm dragging the points up, I am trying to make sure that the mesh is absolutely straight up and down by pressing the Shift key as I drag my anchor points around.

You can also nudge a selected anchor point if you want to from the keyboard by pressing the up and down arrow keys. I've got a little bit of a weird pinch over on this side of the guy. So I am going to have to drag this control handle in, in order to get straighter effect there. I could take these edges up a little bit as well if I wanted to in order to scrunch up into his face, so that were lifting the cheekbones just a little bit. Then of course, I'm going to lift the eyes, because he's got to have sort of an evil appearance going up here.

So his eyes need to slant down and he needs to slant downward on the right-hand side more than it does on the left hand side, like this. Then I am going to drag this control handle like so, grab this anchor point and drag its control handles as well. Maybe nudge that anchor point down just a little bit to compensate so that his eyes are more or less symmetrical. They don't need to be absolutely symmetrical of course, but a little bit of symmetry might make him look, you know, either more or less deranged whatever kind of effect we are going for here. I will go ahead and lift that point as well.

Lift this guy, drag this down a little bit, and so forth until you get some thing resembling this scary expression right here. You know what, I just want to fool around something here. I am going to grab these two points and drag him out a little bit and see what that looks like. Unfortunately, that gives a bulbous neck. So I don't really like that. It's nice that it brings the mouth out but bulbous neck no, not so much, not going for that one. Anyway, let's see if we can drag that bulbosity in a little bit by dragging on this control handle.

That seems to work pretty nicely. Obviously, I could spend the rest of my life on this project. I should probably cut it off at some point. Let's say this is good enough. I will switch back to the Black Arrow tool and I will just click on some portion of the mesh to select the entire thing. Now let's go ahead and render out the effects. So we regain access to the original path outlines, because we can go to the contents here. You can click on Edit Contents and that will take you to the original path outlines that are not modified. So currently we have a kind of dynamic effects going on here.

What I want however is static path outlines. So I'm going to switch back to editing the envelope and they'll go up to the Object menu and I will choose Expand Appearance. That will go ahead and render those path outlines back out. Now you may wander, as you look at this, why in addition to these many anchor points that Illustrator has decided to throw at the artwork, why we have a big rectangle around everything? Well, that big rectangle if I go ahead and click off the shape for a moment and then click on the rectangle or actually what I will have to do is grab my White Arrow tool and I will Alt+Drag or Option+Drag around that area to select the rectangle independently of everything else.

If I drag it to a new location you can see that that's the drop shadow. So Illustrator had to render the drop shadow to an independent shape that is now a bunch of pixels, notice that. So we have this embedded image inside of our illustration. So anyway you need to leave that there is my point. Or another thing we can do if we wanted to link to the graphic, because now it's this static image that's not going to update, we could delete it. I could go ahead and press the Backspace key in order to get rid of that old drop shadow. Then grab my Black Arrow tool.

This is probably the better way to work. Click on the mask in order to select the whole darn thing. Then go up to the Effect menu, choose Stylize, and choose Drop Shadow or press Ctrl+Alt+E, Command+Option+E if you load Deke keys. Then you should see the exact same values you applied before just to confirm that everything is working the way you expect. Turn on the Preview check box, click OK, and now we've restored the drop shadow as a dynamic effect. In the next exercise I am going to show you how to take what we've done and use it to replace the existing symbol definition.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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