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Illustrator CS5 One-on-One: Advanced

Extending paths from the intersections


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Extending paths from the intersections

I've saved my progress as points of intersection.ai. In this exercise we're going to work our way away from the points of intersection, and we're going to create these kinds of radiant segments that are going outward. The idea is, every segment that we lay down has an equal and opposite segment. So for example, what I mean by that, is this segment that goes down his nose on the other side of his nose, also represents this segment here at the top of his hair. And this segment down his face represents the segment along the top of his hair, and the segment along his arm represents the segment along the back of his hair, and so on, so every single one of these segments has to be absolutely identical.
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  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's 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 CS's 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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Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Extending paths from the intersections

I've saved my progress as points of intersection.ai. In this exercise we're going to work our way away from the points of intersection, and we're going to create these kinds of radiant segments that are going outward. The idea is, every segment that we lay down has an equal and opposite segment. So for example, what I mean by that, is this segment that goes down his nose on the other side of his nose, also represents this segment here at the top of his hair. And this segment down his face represents the segment along the top of his hair, and the segment along his arm represents the segment along the back of his hair, and so on, so every single one of these segments has to be absolutely identical.

So let's start tracing away here. I'm working on the humanoid layer and I'm going to go ahead and click on this segment right there, and I'm going to switch to my Pen tool once again by pressing the P key and I'm going to draw a few segments. So I'll click here, then I'll click, and I'll click, and I'll click. Now I don't know how far I should go, I obviously should not trace the entire darn thing, because I'm not exactly sure where these segments are going to line up elsewhere. But let's click a little farther here, I'm going to add a few points around the hand for example, and this line right there is ultimately a straight segment.

So I'll just click, and then I'll click down like that, click under his arm, and maybe I'll go little farther. I'll drag away from that last point, from the end point to have a control handle, and I'll drag at this location as well, to add a smooth point at this location. And I'm going to press the Space Bar and drag it around a little bit, just to get that point where I want it. I don't really know yet if these lines are going to work out, so I need to test them, and the way you test them is around the point of intersection once again. So get rid of those existing segments up there that we don't need, because we're going to re-create them in just a second.

And go ahead and grab this line with the Black Arrow tool, and I'll press the R key to switch to the Rotate tool. And I'll Alt+Click once again at the top there on the bridge of the nose, and I'll enter my 120 degrees and I'll press the Tab key. And you know what, I don't really care what's going on this direction right now, what I do care about is how it's going to trace the other side of his head. So let's go ahead and flip that angle to -120 degrees, should send it the other direction and that works out beautifully, and I'll go ahead and click the Copy button, so that I have both of my lines here.

And then I'll notice that I've gone too far, so I'm tracing into that other guy up there, and really what I want to do, I just want to craft him and only him, later I'll see if the other humanoids around him interlock properly. But if I get his lines down properly in the first place, his points of symmetry down right in the first place, then everything should work out. So what I'm going to do here, is I'm going to delete the segments that I don't need up here. So this point obviously is not something I need, and I'll Shift+Click on this point as well.

And so that identifies these two segments, and then I will press the Backspace key to get rid of them. Well, if I do it there, I've got to do it over here as well. So I'm going to get this point and I'm going to Shift+Click on this point. Now how do I know those are my two points? Because I'm working from the end, I selected two points up there, so I should select those exact same two points down here, and press the Backspace key. This is the most surefire solution for working our way around the core outline. Now I'm going to go ahead and marquee these two points right there, because this needs to be joined together, I need to join these two path outlines that I have created together at the point of intersection.

So I'll go ahead and select them both. Again, I'm marqueeing them with the white arrow tool, and now, instead of going up to the Object, menu choosing Path, and choosing the Join command, which will join them automatically without any dialog box here inside Illustrator CS5, I want to join it the old-school way, where I make a dialog box come up onscreen, and you do that by mashing your fist down on the keyboard and pressing J. So instead of Ctrl+J it's Ctrl+Shift+Alt+J or on a Mac it's Cmd+Shift+Option+J.

So let's go ahead and do that and assuming I got those points exactly aligned with each other, when I press Ctrl+ Shift+Alt+J or Cmd+Shift+Option+J, I should get the join dialog box. If you don't see that dialog box, and instead your points just slightly move onscreen and join together, that's a problem, you don't want any automatic movement right now. Instead, you want the dialog box, so what you'd have to do, if you're not getting the dialog box, is you'd want to go ahead and grab your Black Arrow tool, click on this path outline right there, delete it, go ahead and select the first one again, press the R key to get your Rotate tool.

Alt+Click or Option+Click exactly at that endpoint to bring up the Rotate dialog box, and that's the trick. You have to nail that endpoint, then go ahead and enter -120 degrees, click on the Copy button, press the A key to switch back to the White Arrow tool, marquee around those points again, press Ctrl+Shift+Alt +J or Cmd+ Shift+Option+J on a Mac, you should hopefully see the dialog box now, select corner, and click OK. The reason I really want to see that dialog box, is I want to make sure that these two points are exactly coincident, that is, they occupy precisely the same location inside of my illustration.

And now I'll go ahead and click OK. And finally what I'm going to do, is I'm going to change my stroke to red, and my stroke is currently active, so I'm just going to click in this red swatch, here in the Swatches panel. And the reason I'm making this path red, is I need to color code the subpaths that are going to make up the larger path outline, and you'll see why shortly. All right, that's good for this exercise. In the next exercise we'll extend our paths from the other points of intersection.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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