Start learning with our library of video tutorials taught by experts. Get started

Illustrator CS3 One-on-One: The Essentials
Illustration by John Hersey

Lifting fills and selecting through shapes


From:

Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: Lifting fills and selecting through shapes

What's next? What's next? I hear you clamor. Well we're going to take these two shapes right here, these two eye-head shapes belonging to our cloying mascot, our cloying corporate mascot Uzz, and we're going to fill them with the desired color white inside of the eye, and flesh, Uzz flesh out here in the outer portion of the eye-head. I'm still working inside Snipped and spun, a document that I opened a couple of exercises ago. I've added a pupil since then, that fits nicely inside of the core eye shape.
Expand all | Collapse all
  1. 59m 53s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 35s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 51s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      55s
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 56s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 10s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 17s
    10. Cutting lines with the Scissors tool
      6m 45s
    11. Aligning and joining points
      7m 58s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 1s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      7m 0s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 16s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 36s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
      33s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 6s
    5. Using the RGB sliders for screen output
      4m 39s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 14s
    8. Trapping gaps with rich blacks
      7m 58s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 16s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 35s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 15s
    4. Moving by the numbers
      4m 16s
    5. Using the Reshape tool
      6m 30s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 25s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 50s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 32s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 56s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 4s
    10. Cutting, separating, and closing paths
      7m 31s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 42s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 28s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 8s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 8s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 21s
    15. Eyedropping Live Effects
      5m 39s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
Please wait...
Illustrator CS3 One-on-One: The Essentials
9h 36m Beginner May 18, 2007

Viewers: in countries Watching now:

Adobe Illustrator has long been the most popular and viable vector-drawing program on the market but, for many, the learning curve is steep. In Illustrator CS3 One-on-One: The Essentials , author and leading industry expert Deke McClelland teaches the key features of Illustrator in a way that anyone can understand. He also goes beyond that, showing users how to get into the Illustrator "mindset" to make mastering Illustrator simple and easy. The training covers how to use the core drawing and shape tools, the transformation and reshaping features, text and gradients, and color management and printing features. Even if learning Illustrator has been a struggle in the past, this time it is going to make sense. Exercise files accompany the training.

Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Lifting fills and selecting through shapes

What's next? What's next? I hear you clamor. Well we're going to take these two shapes right here, these two eye-head shapes belonging to our cloying mascot, our cloying corporate mascot Uzz, and we're going to fill them with the desired color white inside of the eye, and flesh, Uzz flesh out here in the outer portion of the eye-head. I'm still working inside Snipped and spun, a document that I opened a couple of exercises ago. I've added a pupil since then, that fits nicely inside of the core eye shape.

Before we go any further people, I need to make sure that we're all on the same page in terms of our Preference setting that we visited many times before, but it's so important and we got to make sure that we're all thinking as one here. I'm going to press Control+K or Command+K on the Mac to bring up the Peferences dialog box. And then I'm going to click the Next button in order to switch to the Selection & Anchor Display options and make sure that Object Selection by Path only is turned on. I know, I've had you turn it on, I've had you check on that several times now, but it does affect everything we're about to do here, so make sure it's turned on, because it is the better way to work because why? Because it ensures that you can only select paths by hovering over their outlines, instead of being all sloppy and simple and clicking inside of their fills.

Fills get in the way of each other, block your access to shapes. It's better to work the way we're working. So go ahead and click on the outline for the central eye shape right there. And I want to go ahead and lift the fill and stroke attributes from the hand down here, because it's filled white, which is what we want and it's stroked black. Delightful. So go ahead and get your eye dropper tool from the toolbox and then click on the outline. You have to click on the outline of the path from which you want to lift the attributes because of that checkbox we just made sure was turned on. So I'll click and notice what it does. It not only fills the shape with white, but it also made the stroke thinner. So before, if I press Control+Z or Command+Z on the Mac, before we had a thicker stroke. I want to keep that thicker stroke. I don't want to abandon that thicker stroke.

So what I really want to do is just lift the fill attribute. So I make sure that the fill attribute is active here inside the toolbox. It is. Then I press the Shift key, because recall from the previous chapter you can Shift-click on a color with the Eyedropper Tool to replace just the active attribute of the selected shape. So I'm going to Shift-click inside the hand. This time we Shift- click inside the hand, because if you Shift-click on the stroke here, on the outline, you will take the stroke color black and put it inside the eye. That's not what you want. So go ahead and Shift-click inside the hand on the fill to transfer white to the active attribute. All right, let's see that happen again.

I'm going to go ahead and Control-click or Command-click in order to get my black arrow tool and select the outermost of these elliptical shapes here, which defines the outline of Uzz's head, and then I'm going to Shift-click inside the lips, in order to lift Uzz's flesh color. Now finally notice that the pupil is covered up, so the shapes are covering up the pupil. That's no good, but it affords us the opportunity to take advantage of yet another technique here. I'm going to go to the black arrow tool, click on it to select it, and then I'll move my cursor over this area and there it is. As soon as I see that little square next to my arrow cursor, that means there's a shape there. If I click on that shape I'll go ahead and select it, and that's a function of course, of using that checkbox once again, that allows you to select objects just by clicking on their path outlines. You can select right through objects very easily that way.

So I've gone ahead and selected this pupil shape. Now I'll press Control+Shift+Right Bracket or Command+Shift+Right Bracket on the Mac in order to bring the pupil to front. Nice. We've now completed the core elements of Uzz's eye-head unit here. We still need to draw in the eyelashes because as you may recall the original pictograph has eyelashes. Gosh. Were those forward thinking Anasazi or what? Because Uzz needs eyelashes, and I imagine we might be giving him some eyelashes in a future exercise.

Find answers to the most frequently asked questions about Illustrator CS3 One-on-One: The Essentials.


Expand all | Collapse all
Please wait...
Q: When trying to synchronize color settings between all Creative Suite programs in Bridge, the Creative Suite Color Settings command either does not appear in the Edit menu or does not work. What is causing this?
A: If the Color Setting command is not available or does not function, it's because Bridge thinks that a single application (such as Photoshop or Illustrator), is installed and not one of the many versions of the Creative Suite.
If only Photoshop or Illustrator is installed, skip the exercise and move on.
If the entire Creative Suite is installed, then, unfortunately, there is no easy fix. Either contact Adobe or completely reinstall the Creative Suite.
Share a link to this course
Please wait... Please wait...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Illustrator CS3 One-on-One: The Essentials.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Welcome to the redesigned course page.

We’ve moved some things around, and now you can



Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked