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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.
All right here I am still inside the Richer artwork illustration that I opened in the previous exercise. And I went ahead and changed the fill and stroke attributes associated with these outermost circles right here. And I hope you did too, if you're working along with me. Now our final goal is to create this illustration right here. This version of the illustration that you see before you that has more depth going on. You probably noticed that the face is missing. We'll take care of that, don't you worry, but for now we're just trying to get the other fills and strokes in order.
So I'm going to return to this version of the illustration right here. Now I want to show you how you can go about assigning fill and stroke attributes to shapes that are not even selected. Now, the first thing I want you to do is make sure that your fill is active here in the toolbox, so I'm going to switch over to the fill and that switched me to the Color palette here. Fine, I'll go back to Swatches because I need to make sure Swatches are available to me. Now let's say that I want to fill this outermost circle in this group of circles here, this next group of circles in, I want to fill it with the Pale clay color. I would go ahead and grab the Pale clay swatch here from the Swatches palette, then I would drag it over the outline of this circle and drop.
And it's important it you drop it onto the outline of the circle because, if I press Control+K or Command+K on the Mac and then click on the next button here, because I've got this Object Selection by Path Only checkbox on and if you've been working along with me, you have it on too. I asked you to turn it on back in Chapter 2 and for very good reason. It allows you to have more precise control over complex illustrations and I'm here to tell you every single illustration you create inside of Adobe Illustrator ultimately becomes a complex one. So it's best to have that checkbox turned on, but at the same time, it also requires you to act more deliberately.
So when you're grabbing these swatches and dragging and dropping them, you definitely have to move for example, Medium clay onto the outline of the circle you want to change before you drop it. Now you might think, because we're dropping the swatch onto the outline it would affect the outline it would affect the stroke, actually it affects whatever is the active attribute. If you wanted to change the inactive attribute, like let's say I want to assign white to the stroke of this shape right here, then I would press the Shift key and drop and then it affects the inactive attribute.
All right, that's not really what I want. I want to keep that nice and black here. I want to keep all my strokes from this point on black. But I do want to assign a few more fills actually at this point, so I'm going to go ahead and grab white and assign it to this one right here, this circle right there. And then I'm going to go ahead and grab my Pale clay swatch and assign it to this more thickly stroked circle right there. I'll grab white once again and assign it to this next circle in and then finally I'll grab the Light clay swatch and assign it to this inner circle, the inner visible circle that is. So I've managed to fill all of these circles.
I'm going to now grab this group of circles. Just go ahead and click on any one of the smaller circles here. They're all grouped together and then might as well fill them the more traditional way, just by clicking on a swatch inside the Swatches palette. So I offer the drag-and-drop technique just as an FYI so that you can take advantage of it if you like to work that way. Me, I generally have to admit, I generally just go ahead and select the item that I want to fill and then go ahead and fill it. Now notice working your way in here that we seem to have lost a circle. Remember that circle we were spending so much time with at the outset of this chapter that I filled and stroke in a half dozen different ways? Well that guy's gotten covered up, and if you want to see that that is indeed the case, you just have to go and Control-click on the eyeball or Command-click on the eyeball and see the guy right there.
It has gotten covered up in the stack. If I Control-click or Command-click on that eyeball again, you can see that yes indeed it did get covered up. So if I click off of it you can see it disappears. Well, how do I get to it, besides the technique I just showed you of switching to the outline mode for this one layer and then finding it and then switching back? How do you locate a lost shape, a covered up shape? Well when you're working in that mode, once again Control+K, Comman+K on the Mac, go to Next, there's that's checkbox, turn on Object Selection by Path Only when you working that way, and the only reason I keep hammering this option is caused it's turned off by default, which is craziness in my opinion. All right anyway, that when you're working this way, which is the better way to work then watch this. You can move your cursor over an object and as soon as it finds the object, look at that. It gets a little tiny square next to the cursor. So you see that square and it tells you there's something there. Click, and you'll get it. Is that not cool? Now, what I want you to do is I want you to go ahead and press, let's go and zoom in actually on this object a little bit so that we can see it when it comes to the forefront, so that we can see it's stroke.
And now I want you to right-click and then I want you choose Arrange and choose Bring Forward. Okay that didn't quite do it. Now I'm going to right-click again. Notice I don't have to right-click on the object. I can right-click any old place and I'll choose Bring Forward and this time I'm going to pay attention to the keyboard shortcut and assign it to memory. Control+right bracket, Command+right bracket on the Mac, because that still didn't get it, It's still coming up the stack but it hasn't made it up far enough yet. I'm going to press Control+right bracket over and over and over again until I see it appear on screen.
There it is. All right, so you can see how Control+right bracket is a good keyboard shortcut to assign to memory. That's Command+right bracket on the Mac. Go ahead and remember that it allows you to bring things forward and similarly Control+left bracket allows you to send things incrementally backward. Now there's another way to change that stacking order, to move a bunch of objects in front of a bunch of different objects or behind a bunch of different objects and these techniques, these ways go by the name paste in front and paste in back, and I'm going to show them to you inside the very next exercise.
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