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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.
I have saved my changes as Core path outline.ai, and in this exercise I am going to show you how to make an alteration. So as I said, I want to make this guy's thumb come out. Right now it curls around. I want to make it come out into this guy's hand and then by the same token, this guy is going to have his index and pinky extended making a sort of hang 10 gesture. Now in order to pull that off, I need to make a modification to this region right here and I am going to do that by switching to the White Arrow tool. I am going to marquee this segment and I am going to press the Backspace key or the Delete key on the Mac to delete it.
Then I am going to press the P key to switch to the Pen tool and I am going to click like this just to bring that thumb into that region right there and then finally I will complete the path outline, like so. Now, I may need to make a few adjustments here and in fact I am going to. One thing I am going to do is nudge this point over just little and I am doing that using the Arrow keys. I might want to nudge this point over as well so it's more or less aligned like it was. Although this isn't essential, I am just doing all this work for aesthetic reasons. And I am going to take these two points right here.
Click on one, Shift+Click on the other, and I am going to lift them, because his hand's just too darn thick, it seems to me. This hand right here could use a little bit of thickening. So I will drag that finger up. I am going to have these two fingers tucked down eventually once I get done finishing off the interior. This looks like it's pretty good. I am just trying to nudge everything into alignment so that I'm comfortable with the location of the points, because once I accept them, I'm going to have to stick with them, is is basically what it comes down to. So he's going to have this big giant thumb, fair enough, but his fingers are to be a little slimmer. And now I will marquee these points like so, because they're the ones I just got through changing.
I did not select that point, I did not select that point. Just these points right here in between and I will press Ctrl+C or Cmd+C on the Mac to copy them. Now I am going to switchover and I'm going to get rid of those similar points over on this side. Now this takes a little bit of imagination, but I'm pretty confident it's these three points that need to come out. So let's give that a shot. I will marquee them with the White Arrow tool and I will press the Delete key or the Backspace key in order to wipe them out. Then I will press Ctrl+V or Cmd+V on the Mac to paste that path just right there in the center.
I don't care if it's aligned with anything at this point. I will go ahead and get my Black Arrow tool and I am going to drag this endpoint in alignment with this one right there, because we are going to need to lift it around, like so. We are going to rotate this new path around this endpoint. So I will press the R key to select the Rotate tool and then I will Alt+Click or Option+Click at that shoulder location, enter an Angle of -120 degrees, that's exactly what I want, and click OK. Now again, we cross our fingers, go ahead and grab that White Arrow tool, marquee these two end points, and like usual we've got to do the mash your fist J number in order to confirm that we have coincident end points.
So press Ctrl+Shift+Alt+J, Cmd+ Shift+Option+J an a Mac to bring up the Join dialog box, select Corner and click OK. And then, go ahead and marquee these two end points, they're the last ones that need to be joined together. Press Ctrl+Shift+Alt+J, Cmd+Shift+ Option+J on a Mac, and that didn't work, which is really potentially a big drag. Now I say it didn't work, because we didn't get the dialog box. When we don't get the dialog box that means you did not have coincident endpoints. You do now, because they got fused together. But I am going to press Ctrl+Z or Cmd+Z on the Mac in order to undo that modification.
I am going to turn off the template layer, so I can see what I am doing. I am going to press Ctrl+Y or Cmd+Y on the Mac so I just see the path outlines. Let's get rid of those guides as well. Where are the guides these days? They are down here. I will hide that guides layer. And then I am going to Ctrl+ Spacebar+Drag around these points. That's Cmd+Spacebar+Drag in order to zoom way in on them and I'm going to click off the point to see what the deal is. Man! even at 6400% I cannot see a gap. So apparently the gap is not big enough to worry about.
But anyway, I'll go and marquee those two points. You can see that they are separate, because there are more rectangular when I select them, than square. So one is apparently little higher than the other. Anyway, what happens when you have two endpoints that aren't quite on top of each other and you press Ctrl+Shift+Alt+ J or Cmd+Shift+Option+J on the Mac, you both align them with each other so they just scooted right on to each other. You make them coincident and then you go ahead and join them and in this case, it must've joined them with a corner point. So all is well, I guess, because that should be good enough.
If you have any concerns about it, then you would run through that whole number where you select the guy and you rotate him and all that jazz. Now we have something of a screen redraw problem here, because we have got these thick edges, I should think if we just move that path a little bit like so, those will go away. Anyway, I press Ctrl+Z, Cmd+Z on Mac to undo that change, and let's just test that these guys are still in alignment with each other. I will grab my Rotate tool, I will Alt+ Click or Option+Click on the bridge of the nose right there, -120 degrees is fine, Copy, then press Ctrl+D or Comman+D on the Mac in order to duplicate that rotation and duplication.
Switch back to the Black Arrow tool, zoom in, make sure everybody is aligned with each other. Well, these hands definitely are aligned just fine and these other areas look like they have alignment as well. So it seems we lucked out, and everything is okay. I like it better when we have perfect alignment between those points, but I suppose every once in a while we can accept less than perfect results. I am going to marquee these two paths in order to select them, press the Backspace key, we are left with our core path outline with the big giant fist on one side and the strange hand signal on the other side. We are going to go ahead and build up these paths, I will press Ctrl+Y, Cmd+Y on the Mac to switch back to the Preview mode.
I am going to leave the template and guides layers turned off, but I am going to bring up this layer, interior, which contains all the interior elements. You can see that for the most part everything works out just fine. He is a fairly strangely put together guy with some spikes on his back and these scales on his arm. He is wearing a monocle and he's got a pocket on the back of - is he wearing jeans or not, he has got a seam over on this side and the other side, but he doesn't really have any place for his tail to come out. So he is a fairly mysterious creature, but we do have to make some modifications.
We have to bring out that thumb out, we have to rearrange the fingers a little bit, we have to change the hand signal over on this side. And, because my path outline has changed a little bit, because I redrew it for you here in the last few exercises, I am going to have to realign some of these points around the outside of the creature, and we will do all that work in the next exercise.
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