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Lifting colors from a tracing template


Illustrator CS5 One-on-One: Mastery

with Deke McClelland

Video: Lifting colors from a tracing template

I've saved my progress as Modified 8-by- 9 mesh, so called by the way because we now have a total of 8 rows and 9 columns inside of our foremost pepper shape. Now, you may notice that I introduced a few colors at those points at which I clicked. So Illustrator just goes ahead and takes that last used color and throws it in at the new location. So you're going to have to sort of watch what you're doing in the final phase. When you're refining your gradient mesh, you want to be careful that you're not introducing colors without noticing it, because you'll probably want to switch out those colors.
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  1. 37m 22s
    1. Welcome
    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
    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
    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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Watch the Online Video Course 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
Deke McClelland

Lifting colors from a tracing template

I've saved my progress as Modified 8-by- 9 mesh, so called by the way because we now have a total of 8 rows and 9 columns inside of our foremost pepper shape. Now, you may notice that I introduced a few colors at those points at which I clicked. So Illustrator just goes ahead and takes that last used color and throws it in at the new location. So you're going to have to sort of watch what you're doing in the final phase. When you're refining your gradient mesh, you want to be careful that you're not introducing colors without noticing it, because you'll probably want to switch out those colors.

But right now it's not that big a deal, because none of the colors are particularly accurate where the original pepper is concerned. So let's get a sense of how we make them accurate. I'm going to switch over to the layers panel, just so that we can see that I've got the mesh peppers layer on, and the original photograph layer down here at the bottom, it's on as well. I'm going to press Ctrl+Y or Command+Y on the Mac to switch to the Outline mode, so that we can see through to the background pepper. I'm going to grab my White Arrow tool. One of the easier ways to work upfront, although it's not going to seem easy, it's going to seem fairly labor-intensive, but you can make pretty quick work of some initial colors here, is to go ahead and click on a few points. Like I'm going to click on some of these side points here and Shift+Click on a few others to select them as well, because all these points look like they want to be more or less the same color.

And then I'll grab my Eyedropper tool, either by clicking on it here in the toolbox or pressing the I key and the next thing you want to do, to lift a color from the background image, you want to press the Shift key and click on that color. Now, this isn't going to work for me, this did not produce a proper effect, because if I look up here in the Color panel, my Stroke is active, and that means I just made the stroke red, which is meaningless when you're working inside of a gradient fill. That does nothing. In fact, watch this, if I go ahead and click on that little question mark Fill item right there, the Stroke disappears.

Illustrator is basically saying, "I was just joking, there is no stroke, you were just wasting your time a moment ago." And now you would Shift+Click inside of that pepper to change the fill color that's associated with that anchor point, because that's the only way to change the color of that anchor point. I'll show you, if I press Ctrl+Y or Command+Y in a Mac, that I have now changed the color of those various points. Subtle, but you can see that they're darker than they used to be. Now, another thing to bear in mind, those of you who've been using Illustrator for a long period of time, back in the old days Illustrator, when you were working from a tracing template and it was set to 50% Opacity or something, which is what mine is set to, then Illustrator had a propensity of lifting a 50% Opaque color. It would actually change the tint of the color, which completely ruined the effect.

Illustrator has now taken care of the problem, for the last couple of versions. All right, I'm going to press Ctrl+Y, Command+Y on a Mac to switch back to the Outline mode, and I'm going to Ctrl+ Click or Command+Click, because pressing Ctrl or Command gets me that White Arrow tool on the fly, and I'm going to Ctrl+Shift+Click, Command+Shift+Click on a couple of other points to select them as well. And then I will Shift+Click inside the pepper template in order to lift the color. And you can see, by the way, that our Fill is active and you may be wondering, well, why was the stroke active earlier? That's because we'd added that stroke. Remember we lost the stroke to the larger shape and then we added it back in and that told Illustrator that we were working on the stroke now.

So every time we go through that process of adding the stroke back in, the stroke is going to be activated again and we're going to have to keep an eye out for that and make sure that we switch back to the fill, if we want to assign new colors to the points inside of our mesh. All right, so I'm Ctrl+Shift+Clicking, Command+Shift+Clicking on a Mac, on a few points right there in order to make them active. Then I will Shift+Click inside of one of these light colors inside the peppers. So you can see that the mesh points don't necessarily exactly overlap with the areas of highlights and shadows and the peppers.

Again, I want you to take as much creative latitude as you like. You don't have to get exactly the same results as me. I doubt I'm going to get the same results I got the last time around in my final example I showed you a couple of exercises ago. It's a work of art in process. That's fine. I'm going to go ahead and press the Ctrl key and click on some of these points, I'm Shift+Clicking as well, so I've got the Shift key down along with Ctrl or Command on a Mac. And then I will Shift+Click there in order to lift a highlight color. I'll go ahead and grab some of these points right there. It's a little trickier up in this region.

I might have to zoom in actually in order to make sure that I'm selecting the proper points, like so. You want to avoid selecting the wrong lines in the background. That can be an issue that will really snag you up. And if you find you're having problems with that, then you can lock down a few of those objects that you're not working on right now. And then I'll Shift+Click, once again with the Eyedropper, in order to lift that color. I'm going to go ahead and Ctrl+Click on a few of these points, like so. I'm not sure I'm going to do everything in front of you, because this does get to be the same thing over and over again here.

Then I'll go ahead and lift a color there and just keep working through it. That's what I recommend to you. Tell you what, let's see what we've got so far. I'll press Ctrl+Y, Command+Y in a Mac, to switch back to the Preview mode. I've managed to lift a few very interesting colors, but bear in mind, if I've got 8 rows and 9 columns and I've got points at the bottom and the far left side of the rows and columns respectively, then I've got more than 72 points. I've got in the neighborhood of 80 points that I have to deal with here.

So it does take a while to lay down all those colors. My recommendation is to have fun with it. Keep switching back and forth between the Preview and the Outline mode, so that you can lift colors in the Outline mode and see what you've done inside the Preview mode and see if you want to make some tweaks and that kind of thing. Then once you're done, go ahead and join me in the next exercise.

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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