Illustrator CS3 One-on-One: The Essentials
Illustration by John Hersey
Watching:

Examining a layered illustration


From:

Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: Examining a layered illustration

I'm still working inside the Playful violin.ai file that's found inside the 01_hello_illustrator folder which itself is inside the exercise files folder, that's available to you as part of this series. And this illustration of course you may recall, comes to us from Illustrator Aliaksandr Stsiazhyn. And I'd like to take you on a tour of how this illustration is constructed. Basically when you're working with a hand drawn graphic, like if you were working with say a pencil and a piece of paper, why then you would actually be drawing lines on that piece of paper.
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  1. 59m 51s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 34s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 50s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      54s
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 55s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 9s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 16s
    10. Cutting lines with the Scissors tool
      6m 44s
    11. Aligning and joining points
      7m 57s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 0s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      6m 59s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 15s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 35s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
      32s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 5s
    5. Using the RGB sliders for screen output
      4m 38s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 13s
    8. Trapping gaps with rich blacks
      7m 57s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 15s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 34s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 14s
    4. Moving by the numbers
      4m 15s
    5. Using the Reshape tool
      6m 29s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 24s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 49s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 31s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 55s
    7. Smooth points and B├ęzier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 3s
    10. Cutting, separating, and closing paths
      7m 30s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 41s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 27s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 7s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 7s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 20s
    15. Eyedropping Live Effects
      5m 38s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

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Watch the Online Video Course Illustrator CS3 One-on-One: The Essentials
9h 36m Beginner May 18, 2007

Viewers: in countries Watching now:

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.

Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Examining a layered illustration

I'm still working inside the Playful violin.ai file that's found inside the 01_hello_illustrator folder which itself is inside the exercise files folder, that's available to you as part of this series. And this illustration of course you may recall, comes to us from Illustrator Aliaksandr Stsiazhyn. And I'd like to take you on a tour of how this illustration is constructed. Basically when you're working with a hand drawn graphic, like if you were working with say a pencil and a piece of paper, why then you would actually be drawing lines on that piece of paper.

Well Illustrator kind of works that way as we'll see, you do draw objects here and there but notice that word that I just said, objects. You're basically creating every single one of these lines as a separate thing and those things are known as objects inside of Illustrator. And they're piled up on top of each other, so you're actually building an illustration. You really are constructing it. So let's see how that works. Let's get a little feel for that. I'm going to switch to the black arrow tool so that I don't have my magnifying glass going on screen here, and you can do that just by clicking on that black arrow/Selection tool. Adobe calls it the Selection tool. I call it the black arrow, because what color is it? Black.

And then we're going to bring up the Layers palette and you can get to the Layers palette by going up to the Window menu and choosing the Layers command. You also might want to think about memorizing this keyboard shortcut because the Layers palette is a very, very useful palette inside of Illustrator. F7 brings up the Layers palette. F7 hides it and F7 works across many of the Adobe applications. So there's my Layers palette. I'm going to go ahead and extend that palette by dragging it down and I'm going to drag the top of the palette upwards so that we're basically taking up the better portion of my screen with this palette and you should see nice thumbnail previews of each one of these layers and you can think of these layers as being sheets of vellum, if you'd like to, that are layered on top of each other, each one of which contains different graphical information. So here's what I'd like you to do to so we can see how things are building up here, I want you to press the Alt key or the Option key on the Mac and click on that bottom eyeball right there.

And what that does by virtue of the fact that you have the Alt or Option key down, and by the way you can release that key now. By virtue of the fact that you had that key down when you clicked on the eyeball you hid everything but that layer. All right, so now we're just seeing the Background layer, again courtesy of Alaiksandr. He created this layer. Next turn on the Body layer by clicking its eyeball. Notice that this area is blank where the eyeball formerly appeared. If you click in that blank area you'll make the eyeball come back. So we're not Alt clicking or Option clicking, we're just clicking. There is the body of the violin, very interesting, and just one shape, there's only one shape on that entire layer and then click on this layer that's called highlights.

And by the way if you're seeing truncated layer names you can go ahead and drag out this left side of the Layers palette until all of the layer names are completely visible. I'm still missing a little bit of Orange lines there. There, we go. And I'll use the Hand told the scroll my violin over just a little bit so that we can see it. All right now at this point we have this sort of psychedelic effect going on thanks to this Highlights layer. Now I'm going to turn on my Orange lines layer and this is where the sketchy lines begin to form inside of this graphic.

Then we've got the Red lines layer. Them we've got the Dark lines layer, these dark lines that are built on top, so layer upon layer of lines. This is not something you have to do when you're building an illustration. This is what this particular artist decided to do, so this is the way he decided to assemble his illustration. You could of course work just with a single layer of lines if you wanted to. And then finally I added this text on this Text layer, and you can see a little bit of the text up here in the upper left-hand corner and you may be able to see more of the text on your screen.

Now each one of these layers contains a bunch of different objects and you can see what those objects are and I don't want you to be frightened by this word objects because it is pretty darn unfriendly. It just means stuff, it just means various lines and shapes and other items that are going on inside of the illustration. Objects is just a catchall term for that. Go ahead and twirl open this backdrop player by clicking on its twirly triangle right there and you can see the various items that make up this layer. There's the teal twirls and there's the lower, let's go ahead and expand this palette a little more so that we can see what in the world that says. Lower swirls and then we have the background, which is just a big rectangle, so even a rectangle can be an object.

So you can basically get in there and dissect each one of the objects that exist on these layers. Now why in the world would you want to? Well because even if you're working with an illustration that's created by someone else, as we're doing here, you can still modify it to suit your exacting needs. So you can change which layers are turned on and which layers are turned off and you can modify the composition of the paths and you can add various drawn elements of your own and you can subtract elements that were already there and I'm going to show you what I mean by all that stuff, a very simple example, in the next exercise.

Find answers to the most frequently asked questions about Illustrator CS3 One-on-One: The Essentials .


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Q: When trying to synchronize color settings between all Creative Suite programs in Bridge, the Creative Suite Color Settings command either does not appear in the Edit menu or does not work. What is causing this?
A: If the Color Setting command is not available or does not function, it's because Bridge thinks that a single application (such as Photoshop or Illustrator), is installed and not one of the many versions of the Creative Suite.
If only Photoshop or Illustrator is installed, skip the exercise and move on.
If the entire Creative Suite is installed, then, unfortunately, there is no easy fix. Either contact Adobe or completely reinstall the Creative Suite.
 
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