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Making a symmetrical modification

From: Illustrator CS5 One-on-One: Advanced

Video: Making a symmetrical modification

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.

Making a symmetrical modification

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.

Show transcript

This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28377 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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