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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.
All right, we are very close to our goal now, which is why I have gone ahead and saved my progress so far as Almost done.ai found inside that O6 fill_stroke folder. Here is our goal. Notice that it's only subtly different at this point. These areas around these squares for example need fills and these ellipses have some beveling going on and there are some fills going on inside of these rectangles as well that we have not accounted for, but what's really terribly interesting here to me is that all of these objects are grouped.
So we need to somehow dig into the groups. Look at this big group of objects here and I want you to just fill certain areas inside of these objects like you need to fill this rectangle, this one right there and you need to fill this rectangle right there and you need to fill this rectangle right there and that might seem a little taunting. It might be like the kind of thing where you think I don't want to do this exercise, just drag-and-drop into these little squares over and over again this is going to take me the rest of my life. Oh, no it's not. It's just going to take a few minutes because of that way that I structured this illustration. For example, notice these circles here these eggs that are floating around the perimeter of this circle right here, this white circle, they are all grouped together. So if I click on them with the Black Arrow tool. I can fill them all mass by making sure the Fill attribute is active of course and then clicking on White and they are filled, bang! Just like that. That's totally great what do we do about problems like this where we have gigantic clusters of grouped objects? Well, first thing you are going to do is click of the objects to deselect them, then you going to get your White Arrow tool which you can get by pressing the A key. I'm going to zoom in on the face here so that we can take in these objects a little more closely and watch this. if you Alt-click or Option-click on one of these tall thin rectangles right here that's an Alt-click on the PC and Option-click on the Mac.
You will select that rectangle independently of the rest of the group. Now Alt-click or Option-click again on that same rectangle and you will select all of the eight slim rectangles because I grouped them together before I grouped the larger group of groups. So that means if you were to Alt-click or Option-click a third time you would select all of the rectangles inside the group. So you can have groups, inside groups, inside groups, inside Illustrator if you so desire and of course, we do. All right, so I'm going to press Ctrl+Shift+A, Command+Shift+A on the Mac, to deselect all the objects.
Alt-click, Alt-click. So Alt-click twice here on the PC, Option-click twice with the White Arrow tool on one of those slim rectangles on the Mac and then we are going to change the fill to Light Clay right there. Next what I want you to do is Alt-click, Alt-click so Alt-click twice or Option-click twice on one of these outer rectangles in order to select all four of them because I took the time to group them together as well. So it's a great idea to create hierarchical groupings of objects inside of Illustrator as we will see over and over again throughout this series and I'm going to go ahead and change these guys to Pale Clay. Now let's go ahead and zoom out little bit so that we can take in more of the illustration. I have done something very similar with these rectangles right here, Alt-click, Alt-click that's an Option-click, Option-click on the Mac in order to select all of the rectangles that are grouped with this one right there and then let's go ahead and change the color of those rectangles to the Light Clay like so, then I want you to Alt-click twice or Option-click twice on the outermost of the two ellipses and we will change that to Light Clay as well, then you are going to Alt-click or Option-click twice on the innermost of the two ellipses and we are going to change that fill to Rich Black.
Now why in the world are we are going to do that? Well, because of that beveling effect, see the beveling effect that we have created in the Our goal document right there, that's a function of having two different sets of ellipses. As you can see, if I were to Alt-click, Alt-click on the back ones, those are the ones that are filled with Rich Black. Then Alt-click, Alt-click on the forward ones, those are filled with White. So how do we go about making those? Well, let's go back to Almost done. I want you to press Ctrl+K or Command+K on the Mac in order to bring up the Preferences dialog box and I want you to confirm that Keyboard Increment is set to 0.2 point, it is good.
Now if you have to change this value, go ahead and click OK and then I'm going to have you press Shift+Alt+Up arrow, that's Shift+Option+Up arrow on the Mac, and once that is done I'm going to go ahead and zoom in so that we can see a little better here. That has gone ahead, by virtue of the fact that you had the Shift key down, you move that group of ellipses up, ten times the normal keyboard increment. So two points as opposed to 0.2 point and by virtue of the fact that you have the Alt key down or the Option key on the Mac you went ahead and cloned that group of ellipses as opposed to moving it.
So that's was a Shift+Alt+Up arrow, Shift+Option+Up arrow on the Mac. Then let's change the fill to White and that's our effect, my friends. I'm going to go ahead and zoom out in order to take in that illustration. This is no longer almost done. This is Our goal, as you can see if I switch to the Our goal illustration they are now identical to each other. So why do we still have a few exercises left in this chapter? Because we need to create the obvious missing element inside of our 265-day Aztec calendar and that is the face as you will learn beginning in the next exercise.
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