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Adobe Illustrator has long been a popular vector–based drawing program, but for many the learning curve is steep. In Illustrator CS4 One-on-One: Fundamentals, author and leading industry expert Deke McClelland shows users how to get in to the Illustrator mindset and overcome this learning curve. He covers the application's key features in a new way, making it simple and easy to master Illustrator. Deke teaches viewers how to use the core drawing and shape tools, the transformation and reshaping features, text, and the Pen tool. He also explains how to export and print. Even if learning Illustrator has been a struggle in the past, this training can help make sense of it. Exercise files accompany the course.
In this exercise I'm going to introduce you to our sample project file and we are going to inspect one of the objects inside the Appearance palette, so that you can see just the amazing things you can accomplish with the Appearance palette. I also want to show you a way in which it's been newly enhanced inside Illustrator CS4. And I'm going to show you this really amazing text formatting attribute that I think you want to be aware of. All right, so I've got two files open here inside of Illustrator. One is called One-eyed petroglyph.jpg. You can open pixel-based image files inside of Illustrator if you want to, and that's what I have done here. And this is a photograph of a petroglyph. I believe it's an Anasazi petroglyph that features this giant one-eyed creature with these arms akimbo. That's what I'm imagining them to be anyway.
And then he has got this sort of tubular body and down here he's got the sort of Mickey Mouse shoes going on, and yet he is very old petroglyph, a non-western petroglyph. Meanwhile, over here on the right we have the sample file. This is the project file that we will be working inside of and it's called Zorble.ai. And obviously I created this Zorble character as a pretty derivative rip-off of this Anasazi one-eyed creature over here on the left-hand side. And we are going to be creating this corporate logo ourselves. It's kind of an evil corporate logo actually.
Anyway, let's go ahead and switch to the Zorble.ai file, and I'm going to switch away the one-eyed petroglyph, so we will no longer have any memory of what a rip-off this piece of art is, and I want to show you something that's pretty remarkable. The Anasazi didn't have this. If I click on this rectangle in the background right here and you can tell it's selected, it's the contents of the Sand art layer right there. I'll go ahead and twirl open my Sand art layer and you can see there is just one path. That's it. That's the rectangle, end of story. And yet if I were to hide it for just a moment, notice that it contains a lot of information. It was responsible for all of those colors that were going on behind Zorble here.
So I'm going to turn it back on, make sure that it's selected by meatballing it right there, and let's take a look at what's going on inside the Appearance palette. So notice, I have several Fills going on. I've got a couple of strokes. So one 2-point white stroke is sitting on top of a six-point purple stroke right there, and here is the new thing inside of Illustrator CS4 that I'm so grateful for, we should have had it for years actually, this should have been available to us a long time ago but we finally have it eyeballs. And that may seem like a small thing that you can like turn and effect off and then you can turn it back on, but that's amazing, you used to have to throw away the Strokes and the Fills in the old days to get sort of a before and after preview. You had to drag them into the Trash Can and then undo that. In order to see the contribution that was being made by anyone of these attributes.
Now you have eyeballs and there are savable states. So if you go ahead and turn off an eyeball and then you were to save this illustration in the CS4 format, then it will keep track of which attributes are turned on and off. It's awesome. I have to tell you, it is so great. So for example, where the Fills are concerned, they are little harder to keep track of because the stroke is pretty obvious, we have got a two-point white stroke, sitting inside of a six- point violet stroke right there. But having a bunch of Fills stacked on top of each other, that's more of a mystery, so I'll just go ahead and turn these guys off right here, like so. And then we can see that we are starting off with a violet fill, nothing going on with it. It's just a standard everyday average fill. But then in front of that, we have this red fill. Notice that and if I twirl it open, I have got a transform effect applied just to that fill, and if you wanted to see what that transform effect look like, you would just click on this link here in order to bring up the Transform dialog box, and I was able to make this red fill smaller toward the bottom of this rectangle by reducing its size to 30% so that would move it actually to the bottom. Notice that it's linked to the bottom, this little origin guy right here, set to the bottom point.
So when it's scaling it down to 30% it's actually moving it toward the bottom of the rectangle, and if you want to see the contributions that are being made to these options you turn on the Preview checkbox. Now vertical is actually scooting it up upward. There is a little bit of a gap down here at the bottom, and if you wanted to scoot this fill even farther upward, you would increase that vertical value, like so, in order to move to farther and farther up. As we are seeing there, I could also make the vertical size of this stripe a little smaller. So everything was eyeballed, I just eyeballed things here inside of this dialog box. I'm going to click out of there, and we will see more about how you apply these live effects inside of Illustrator. You can do it directly from this fx icon down here. Another new option inside the Appearance palette and you can access all of these Appearance options and Transform is available right there. Distort and Transform, the Transform function, incredibly useful feature.
All right, then, I have got this yellow stripy pooh right here that's sort of this wave of a stripe, I'll show you that in just a second, and then down here is this Black Fill that's in back of my yellow text. And that also has a transform effect applied to it to make it nice and small. It's only 3.5% its normal height. And when I say its normal height, the height of the entire filled rectangles what we are working from. All right, so I'm going to twirl open this yellow guy right there and there is the transform. There is the tweak. I'm going to go ahead and show you tweak by clicking on it. We will turn on the Preview, and you don't want to do a horizontal tweak when you are doing a horizontal stripe like this. Because if you do this is what's going to happen, you are going to move outside of the boundaries.
But if I set that to 0 and then play with this vertical value, notice that I'm able to accomplish quite the wave with this tweak effect, this is yet another one of those effects that's available inside of that Distort Transform sub-menu right there. Anyway, that's why I don't expect you to memorize anything that's happening at this point, we are going to be discussing live effects in a later chapter much later in this series but you can't help, but sprinkle them throughout everything because they are so amazingly great. They are so great in fact that I have applied some to this text right here, to the logo, the Zorble logo right there. And you will notice that in addition to the Fill, which I moved on top of the stroke which is something you can do. When we take a look at special type effects, I'll be showing you this kind of stuff.
But we've got a fill on top of the stroke, if I twirl open the stroke, it also has a transform effect applied to it and that gives this text some dimension. Notice if I didn't have transform watch the text. If I turn off transform, the stroke would be centered around the letters, like so, thanks to the fact I'm just slightly nudging that stroke. It's moving downward with respect to the fill, and it's giving the text as I say a little bit of a bevel. So I'll click on it, just to show you, I'll click on Transform, it's just a one-point movement, one-point horizontal meaning that it's going one point to the right I believe, yes, and then it's going one point down as well, thanks to that -1 Vertical value. All right, anyway, that's all that's happening. I'm going to cancel onto that.
Now I was telling you there is a text formatting attribute I wanted to show, it's not that, it's not the stroke effect, as amazing as that is. I'm going to go ahead and zoom in on this little sort of technical detail down here, this little bit of legalese, and I'm Shift+ Tabbing away my palettes so that we can zoom in for a closer view, and I'm going to click on this text to select it. Now before I do actually, I'll click off of it for just a moment, I want you to see this. Do you see the punctuation, I'm going to go ahead and zoom in just a little bit. We've got punctuation that's hanging off the edges of the letter.
So this is force justify text, in other words, it's flush right and flush left all the way down the text, even the bottom line. But if I were to do a standard force justify, I'll show you what that would look like. I'll go ahead and click on the text to select it. I will press Ctrl+H or Command+H on the Mac. And I'm going to bring up the Paragraph palette from the Control palette up at the top of the screen. I'm going to click on this option and I'm going to turn off Roman Hanging Punctuation. This is what this would look like normally. Well, that's a total mess of course, let's just go ahead and get rid of a letter or two so that we can see that. I need to do a little bit of the screen refresh here. So wait one second, be patient with me, there we go! It would look like this where the comma and period are squished in and so the E looks like it's shoved out to the right. Whereas if I click on that text once again to select it, I press Ctrl+H or Command+H on the Mac in order to hide those selection edges, so we can't see them right now. But trust me, it is selected. And if I go to Paragraph once again, the force justify option, Justify all lines is turned on. If I go here and then choose Roman Hanging Punctuation, notice the difference, it goes ahead and sends the Roman Punctuation, standard everyday average punctuation that we use over the edge, over the right edge there, and as a result all the letters are perfectly lined up with each other. So remember that option can be very handy despite its oddball name.
All right, I'm going to escape out and I'm actually going to press Ctrl+Z or Command+Z on the Mac a couple of times until we restore our original text, and then I'll zoom out. So that is our document. This is the guy we are going to be working with. I'm going to press Ctrl+ H or Command+H on the Mac to bring back my selection edges. So I'm not confused in the future. Also going to press Shift+Tab to bring back my palettes. Now there are a couple of things I want you to do. Go to the Layers palette, and let's go ahead and twirl close that Sand art layer, and I call it Sand art because it looks like old style sand art, don't you know from the side.
All right, I'm going to turn off Articulates, which is the finished version of Zorble right here, the evil Zorble character. Turn them off and then I'm going to turn on other stuff, which is the beginning of the Zorble body, and then we've got this layer called Primitives, which is the beginning of the Zorble leg as you can see here, and also the big Zorble eye. And so just these first four layers here, Primitives, Other stuff, Text, and Sand art, I want you to turn those on and then join me in the next exercise.
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