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Establishing symmetrical gradients

From: Illustrator CS5 One-on-One: Advanced

Video: Establishing symmetrical gradients

I've saved my progress as Nose and muzzle.ai. In this exercise, we are going to create some more symmetrical gradients, and the idea here is that we want to create gradients that go in the opposite direction of each other, and then gradients that go in reflective directions. I'll show you what I mean as we work our way through this exercise. Let's start things off using the Black Arrow tool by selecting both of the cheek shapes right here and then the two eyelids, which are the shapes outside of the white eye. So, all four of those shapes should be selected.

Establishing symmetrical gradients

I've saved my progress as Nose and muzzle.ai. In this exercise, we are going to create some more symmetrical gradients, and the idea here is that we want to create gradients that go in the opposite direction of each other, and then gradients that go in reflective directions. I'll show you what I mean as we work our way through this exercise. Let's start things off using the Black Arrow tool by selecting both of the cheek shapes right here and then the two eyelids, which are the shapes outside of the white eye. So, all four of those shapes should be selected.

Then what I want you to do is grab the Gradient tool, which you can get by pressing the G key, of course. And notice we now have four annotators showing up inside of the Illustration window. If I want all four annotators to go in the same direction, then all I have to do, of course, is the same thing we did in the previous exercise. Just drag from a neutral location, and then I'll press the Shift key as I continue to drag so I get a vertical gradient. And I am creating my gradient from above the eye down to just below the cheek, like so, and then I'll go ahead and release, which works beautifully for the two cheek shapes but I actually want the eyelids to go in the opposite direction.

So I am going to grab my black arrow tool once again and I'm going to Shift+Click on one of the cheeks and Shift+Click on the other to deselect them so just the eyelids are selected now. Then I'll just go over here to the Gradient panel and reverse the direction by clicking on the reverse direction icon. And it's that simple. So, bear in mind that the Gradient tool and the annotator aren't your only ways of modifying gradients. You've got all these all these options in the Gradient panel as well, some of which are actually easier to work with than having to drag a bunch of annotators around. All right, next I am going to change the angle of the ear by clicking on this left ear up here.

Now, I could try to change the angle of both ears at the same time but that's not going to work and I'll just show you. Might as will go ahead and Shift+Click on the other ear shape right there and then I'll go ahead and grab my Gradient tool again. I want the tips of the ears to be bright and the base to be dark. So I am going to drag from about here down toward the head. This time I am not going to press the Shift key, I am just going to draw an angled gradient this time around. So, the Shift key is going to constrain the angle of the gradient annotator to the nearest 45 degrees, but again I don't need any constraints so I'll just drag to here.

That affects this ear beautifully but just wipes out the gradient inside the other ear and the whole thing is appearing black. So, then I could drag a new gradient. I'd have to deselect this ear and draw a new gradient inside the other ear. But how do I make sure that they are both exactly opposite of each other? Well, I could check the angle value over here and I could it to something like -45 degrees, for example. Then I could grab the other guy and notice we've got this gradient up here, this annotator way up here, for the other ear now.

So, we could grab it, then we could try to change it's angle so that it goes an presumably 45 degrees instead of negative, or you could try this instead. This is by far the simplest thing to do and it's a fairly obvious technique. But I'm going to switch back to the Black Arrow tool, click off ears, click on this guy to select it and get rid of it by pressing the Backspace key or the Delete key on the Mac. Click on this ear in order to select it. Go ahead and get yourself the Reflect tool, which you can select from a Rotate tool flyout menu, and then we need to reflect around the center of the illustration.

Now, I have marked the center using a guideline but that may not appear onscreen for you if your guides are hidden, as they are for me. So I am going to go to the View menu, choose Guides, and then choose Show Guides or just press Ctrl+Semicolon, Cmd+Semicolon on a Mac. Now, we have that guideline right through the center of the document. I'll press the Alt key or the Option key and click right at that location and I'll set Reflect to Vertical so that I'm reflecting across the vertical axis to create a horizontal reflection and then I'll click the Copy button in order to create that other ear.

And not only does the ear flip, but the gradient flips along with it. Then I'll press Ctrl+Semicolon, or Cmd+Semicolon on a Mac, in order to hide those guidelines. All right, the last thing I want to do in this exercise is assign a little bit of additional depth using some Drop Shadows. Drop Shadows are another form of gradient inside of Illustrator, it's just that you apply them using a command. They are dynamic effects that you can change anytime you like. And, instead of going from one color to another color, they go from one color to the same color but they fade away.

They go from Opacity or some level of translucency to absolute transparency. So what I'd like you to do if you are working along with me, is select the brow, then Shift+Click on the nose and Shift+Click on each one of the eyes using the Black Arrow tool, and those are the white eye shapes, not the eyelids, in order to select those four shapes. Then, go up to the Effect menu, choose Stylize, and choose Drop Shadow, or you can press my keyboard shortcut if you loaded dekeKeys. That's Ctrl+Alt+E or Cmd+Option+E on a Mac, and these are the values I want you to apply.

Mode should be set to Multiply, then Opacity is 100%, X Offset is 0, Y Offset is 5, and Blur is 5. And then the Color radio button should be selected and set to black. Darkness, by the way, is going to create a gradient variation that is some translucent level of the colors that are already found inside of your selected paths, so that becomes a more complicated operation for Photoshop. Anyway, I am going to turn on the Preview check box so we can see what we've done. There it is, looks great, click Ok, and we've now assigned even more depth to our cat.

In fact, we've gone a long distance toward creating this final effect, but we still have a lot of work to do, including creating this Gradient Backdrop, which is the topic of the next exercise.

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This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28088 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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