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Illustrator CS5 One-on-One: Mastery
Illustration by John Hersey

Finessing the colors of mesh points


From:

Illustrator CS5 One-on-One: Mastery

with Deke McClelland

Video: Finessing the colors of mesh points

All right, so after about seven or eight minutes worth of work here, this is the effect I've come up with so far. It's called Manually assigned colors.ai and it's found inside the 24_gradients folder. And incidentally, if you're ever trying to gauge the colors inside of a shape and you don't want all those selection edges in the way, all you do is that same keyboard shortcut we've been using all this time, Ctrl+H or Command+H on a Mac, to hide the selection or Ctrl+H or Command+H again to bring it back. Now, a couple of other things I want you to note. In addition to Shift+Clicking to lift colors from the tracing template, you can Shift+Click in order to lift colors from inside the gradients as well.
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  1. 37m 22s
    1. Welcome
      45s
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
      58s
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
      33s
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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Illustrator CS5 One-on-One: Mastery
13h 5m Advanced Jan 28, 2011

Viewers: in countries Watching now:

In Illustrator CS5 One-on-One: Mastery, the third and final part of the comprehensive Illustrator One-on-One series, author and industry expert Deke McClelland shows how to take advantage of the wide array of dynamic effects in Illustrator CS5. Deke explores Illustrator’s powerful Gradient Mesh feature, great for creating photorealistic airbrushing effects. He also covers graphic styles, the liquify tools, envelope-style distortions, the new Bristle Brushes, 3D text, and perspective drawing. Exercise files accompany the course.

Topics include:
  • Working with dynamic effects
  • Placing artwork as a Photoshop Smart Object
  • Creating and editing a Gradient Mesh
  • Distorting artwork with an Envelope Mesh
  • Using the Calligraphic, Art, and Scatter Brushes
  • Creating an intricate Pattern Brush
  • Importing and graphing data
  • Creating a complex pictograph
  • Drawing and editing a perspective shape
  • Working with the new Perspective Grid tool
  • Using the 3D Revolve effect
  • Creating 3D type with Extrude & Bevel
  • Recording and playing automated actions
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Finessing the colors of mesh points

All right, so after about seven or eight minutes worth of work here, this is the effect I've come up with so far. It's called Manually assigned colors.ai and it's found inside the 24_gradients folder. And incidentally, if you're ever trying to gauge the colors inside of a shape and you don't want all those selection edges in the way, all you do is that same keyboard shortcut we've been using all this time, Ctrl+H or Command+H on a Mac, to hide the selection or Ctrl+H or Command+H again to bring it back. Now, a couple of other things I want you to note. In addition to Shift+Clicking to lift colors from the tracing template, you can Shift+Click in order to lift colors from inside the gradients as well.

So let's say, for example, that I want these two points to be lighter, so that we have a highlight at this location. I'm working with my White Arrow tool. So I clicked on one. I Shift+Clicked on the other. I'll press the I key to switch over to the Eyedropper and I will Shift+Click once again. So Shift+Clicking will go ahead and lift that color and assign it to the active attribute, regardless of whether you're Shift+Clicking on the original tracing template or within the gradient mesh as you're working on it. Now, one, if you want to make some adjustments to the colors manually, inside the Color panel, for example? Well, than in that case what I recommend you do is work with HSB, the HSB Color model, and you can get to it by the way by going up to the Color panel flyout menu and choosing HSB.

And the advantage of HSB is you can decide, all right, I want to stick with red, which is 0 degrees by the way, is the hue value, and I want to make sure that I'm sticking with red the whole time. And then if I decide I want to brighten up these colors a little bit, I'll increase that Brightness value, but what you have to make sure you do, if you're going to increase the Brightness, notice that you're going to bring a tone of warmth into that area of the pepper. And if you take a close look at how the colors and the peppers are organized in the first place, you'll see that they drift into these sort of blues, at least by comparison they look to be a little blue. What they really are is low saturation reds.

So what I recommend you do is, if you're going to increase the Brightness, then take down the Saturation a little bit; if you're going to decrease the Brightness, then pump up the Saturation, because that way you won't get oversaturated highlights and you won't get under saturated dead shadows. Anyway, I'm going to take this Saturation value down to let's say about 54, and the values will change on you a little bit. They'll spring, because we're working in the RGB mode and the Illustrator is trying to match the closest RGB equivalent to these HSB values. All right, now I'm going to press the A key to switch back to my Black Arrow tool, and I'm going to select a couple of colors right there, a couple of these anchor points, in order to make them active.

I'm going to just manually adjust my HSB values this time around. I'm going to enter, as always, the Hue value of 90 degrees, then I'm going to pump up the Saturation value to 90%, and I'm going to take the Brightness value down to 62%. So this time around I'm compensating for a low Brightness value with a high Saturation value, because if I let the Saturation value drop, notice I end up getting this horrible gray right there and it doesn't look very dark either. So Saturation is going to infuse that shadow with color and it's going to make it appear deeper as well. All right, let's try a couple of other things here.

I'll grab this point and I'll press the I key to get my Eyedropper and I'll Shift+Click in order to lift that color. I should have selected that point in the first place, but I just forgot to I guess, and now I'll press the A key to grab my White Arrow tool and I'll click and Shift+Click on these pair of colors right there and I'm going manually adjust them. Once again, I'm going to change the Hue value to 0 degrees, I'm going to take the Saturation value down to 74%, and I'm going to take the Brightness value up to 70%, so that we get this nice even red shade right there.

So again, different ways to work. If you want to go in and manually adjust those color values, that's the way I recommend you do it. You may find that Illustrator, every once in a while, because we're working once again in the RGB mode, that it bounces you back to the RGB sliders. In which case, if it does that, I very much recommend that you don't tweak the RGB sliders. They're just harder to work with, where shading and tinting is concerned, and you just go ahead and go to your flyout menu, switch back to HSB, and edit your colors in this model. All right, so that's how you go about finessing the colors of your anchor points.

In the next exercise, we're going to begin working on these background objects and I'm going to show you a different way to create a gradient mesh.

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


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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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