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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.
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.
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