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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.
This chapter we're going to be seeing a few familiar things here and there, we'll be touching on some familiar topics. We'll be seeing lots and lots of new stuff of course. And then every once in a while I'll give you a preview of coming attractions just to keep your mind activated and keep the challenge level accelerated and high and all that jazz, cause we're high on info here at lynda.com. I'm working inside of a document called Wuv Uzz .ai found inside the 08_select_enhance folder, and I want to turn your attention here to the Layers palette. Right now turned on are the Articulates, Text and Orange layers, and then we have turned off Circle eye, Primitives and Other stuff. Circle eye, Primitives and Other stuff, those layers contain the primitive objects from which we will derive the Uzz character right here.
Now, what I want to do, I want to show you the Articulates layer by itself, and I'm going to do that by, I haven't shown you this one yet. If you Alt-click on an eyeball inside the Layers palette or Option-click on the Mac, you will show all layers. Alt-click again or Option-click again and you'll hide all except for the active layer. So the one layer that's not affected is the one that you clicked on, the one that you Alt or Option-clicked on. How's that for postmodern irony? And this all by way of showing you that the Articulates layer does indeed contain Uzz. Blessed him. All right turn that guy off for a moment. Now let's turn on the Text layer. It contains the text. Fair enough.
And then finally the fascinating Orange layer. You wouldn't think this was the fascinating layer, but this one is something else. Go ahead and turn it on for a moment. It looks kind of like geological layers, a different kind of layer metaphor, don't you know. Or maybe it might remind you of sand art, sand art in a glass from the good old days. But what it really is is a single rectangle. Believe it or not. Go ahead and twirl open this layer and scroll down and you'll see that there's one item on this layer, just path.
Which is Illustrator's way of saying any old path. This happens to be a rectangle. Go ahead and meatball it there, in order to select it and then bring up your Appearance palette if it's not already on screen, by going to the Window menu and choosing the Appearance command and notice what we got here. We got a single stroke. Okay, so no big deal there right? And we got a total of four fills, and the fills can be twirled open. Hmm. What's going on there? Now notice that we got a white fill, All right and it's in front. So these things are layered in the order they actually appear, the fills that are toward the top are above the fills that appear toward the bottom and you can drag them up and down the list if you want to. Notice that there is a white fill. We see it there, a layer of white. A little sedentary layer of white right there. Why is it so tiny? Why doesn't it fill up the whole object? Well because of this transform effect that I applied to it, a live transform effect.
We'll see more about them, but I chose it from the Effect menu and applied it directly to the fill. Is that not wild? You can do that kind of thing. But if I double-click on it, you can see, it brings up a dialog box. Go ahead and turn on the Preview checkbox if you're working along with me and notice that I've scaled it down. So it's the full width of the object. It's 100%, but it's only 3.5% the height of the object. Hence it's so short right there and we could make it taller. I could replace that value with 10% for example and it would make to fill taller.
But I don't want that of course 3.5% is what I want and then notice we've got this Move option right here. And if I raise the value, I'm pressing the up arrow on the keyboard, I'm actually nudging the fill upward. I'm not dragging it. I'm just tracking it right there. I'm pressing the up arrow key in order to move it up. Wow, that's the kind of stuff you can do in Illustrator. I'll cancel out of there cause we don't want to modify this. Check out the blue fill. It kind of waves past us. It's not just smaller, it also is wavy. Well if you twirl it open, you you can see that it's transformed as well. So it's made smaller, it's made shorter and it's also located at a specific position, but then we've got Tweak. It's tweaked, baby. So if I double-click on Tweak, you can see, and I'll go ahead and turn on the Preview option. You can see how much you can tweak this fill back-and-forth here. So you can modify fill and stroke attributes independently of the objects that are filled and stroked. To me this is just amazing. Now notice I kept Horizontal at 0% because if I start goofing with the Horizontal, it exceeds the boundaries of the rectangle because this fill is 100% the width of the rectangle right now. So that's not something I want to do, so I'll leave that set to zero.
Anyway I'm going to cancel out of this. We'll see that kind of stuff later, but I just wanted to whet your appetite a little bit, just give you a sense of the many wonders that are afforded to you inside of this amazing application, Adobe Illustrator CS3. Go ahead and turn on Orange and turn on Text and now I want you to turn on Other stuff, which contains some of the body elements for the Uzz character. A lot of it comes directly from that petroglyph image, including his arms, for exapmple and his general body type. I went ahead and gave him lips because without lips he can't talk. The petroglyph didn't have lips, but I felt like he needed big juicy lips here.
And then I have this Primitives layer that I want you to select as well, and go ahead and click on that layer to make it active. So show it, make it active. You want to see the bottom four layers. Leave the top two layers off for now and then join me for more Uzz wuvin' fun inside the next exercise.
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