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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.
All right, one gradient out of the way, two more to go inside of this eye shape here. Each one of the gradients is going to cover up the gradient below it, so we need to create some kind of interaction between the gradients and we are going to do so using a Blend mode. I've saved my progress as First eye gradient.ai. I have the right-hand eye shape selected with my Black Arrow tool. I am going to move over to the Appearance panel, and if you can't see it onscreen, go to the Window menu and choose Appearance or press Shift+F6, and then I want you to go ahead and click on the existing Gradient Fill, notice that we have one fill, which is Radial gradient; we don't have any stroke, and the Radial gradient is covering up the Drop Shadow below it.
Now we want to add yet another radial gradient and I am going to do that by dropping down to the Add New Fill icon. I can click on that icon or I can press its keyboard shortcut, Ctrl+Slash, or Cmd+Slash on the Mac, in order to create a duplicate of the existing fill. So, we should see two identical radial gradients on top of each other. Now, I want to reverse the order of this gradient. The reason being, if you take a look at a cat's eye, and we are not going to exactly match a cat's iris, but the way it basically works is that it starts dark right on the outside of the pupil, and then it lightens up in the middle of the iris, and then it grows dark again as it's shaded by the eyelids.
So that's the effect we are trying to mimic. So I am going to create that darkness in the center by reversing the order of this gradient. So I'll click the Reverse Gradient button so that the dark point's in the inside and the light point's at the outside. I am going to click on that midpoint skew right there and reset it to 50%, so that the speed of the gradient is uniform throughout. And then I am going to double- click on that final color stop, the one that's currently white, and I'm going to click on the flyout menu icon, switch it to CMYK, and I am going to dial in 50% yellow, that's it. Everything else stays 0, and we end up getting this affect right here.
Now, I need to adjust the speed of the gradients and so forth. So I am going to press the G key to get my Gradient tool. That center point should still be right there at the center of the pupil. However, I want to go ahead and drag this guy down a little bit in this direction here, and I am going to move it in as well to about this location, because I want a short amount of darkness there, maybe a little more than that. And then finally, I am going to change that angle value, just so that you and I are getting the same results. I am going to change it to -35 degrees, like so. Then finally, we need to create the interaction, because notice, this Fill, if I turn off its eyeball, it's just totally covering up the fill below it.
So, we have two opaque gradients sitting on top of each other, that's not going to do any good. So, I will turn the Fill back on once again by clicking in that eyeball column, and then I'll switch over to the Transparency panel, and you can also get to it by choosing Transparency from the Window menu. It's going to be down toward the bottom, of course, because these guys are in alphabetical order, and then finally, I am going to change the Blend mode from Normal to Multiply. We'll be learning a lot more about blend modes in a future chapter, but for now, what they do is they allow you to create complex interactions between objects, so you can blend different objects together with each other or different attributes in this case because we are working with Fills. And when I set this Fill to Multiply, it burns in to the gradient below it, so that one gradient is darkening the other gradient.
So as a result, we get this darkness on the inside that fades toward lightness in the middle right there, and then fades toward darkness again. Now, the great thing about expressing these two pieces as separate fills, because you might figure, well gosh, couldn't we have used one gradient that started dark, got light, and then got darker again? Yes, we could have, but we wouldn't have the same degree of freedom. For example, I can move this guy up or I can move it down so I can change its position where the gradient begins independently of the other gradient. So this guy I definitely want to have it begin right there at the center of the pupil, but then I may turn around and decide, you know this outside gradient, it doesn't need to begin at the inside of the pupil.
It can shift up a little bit and move out a little bit as well, just so that it's covering up the entire portion of this eye, that is it's better matching the eye path. So it's really up to you how you decide to work but I often find that working with independent Fill attributes set to different blend modes gives me a lot more freedom. All right! Now, I am going to add one more gradient and this one is going to be a totally different gradient. So there is no way I could simulate it by adding another color stop to one of these gradients because it's going to be a Linear Gradient that starts dark at the top and gets lighter.
Currently, we have a little bit of darkness at the top, thanks to the Drop Shadow that's being cast by the brow, but that's also a black drop shadow. So it's producing a slightly muddy effect. We can essentially add a little bit of vibrance here by throwing in another gradient. So that's what I am going to do. I will drop down to the bottom of the Appearance panel once again, and click on Add New Fill, or press that keyboard shortcut, Ctrl+Slash, Cmd+Slash on the Mac, and then this happens to be the very gradient that I want to create. That is, it has exactly the colors I want to use, but it's the wrong kind of gradient.
So, I am going to switch to the Gradient panel and I am going to change the Type from Radial to Linear. Now, it runs in the right order. It starts dark and it ends light, but it's the wrong direction. So, still armed with my Gradient tool, I am going to go ahead and drag that end point down, that terminus point right there, like so, and the ultimate angle I want is -60 degrees. So I am just going to go ahead and dial that in. Again, I am working numerically just so that you can follow along. But if you were really crafting this file on your own, you'd be more likely to drag that terminus manually.
Anyway, I am going to go ahead and press the Enter key or the Return key on the Mac to accept that angle value, and then, I am going to move the top point, the origin point, down just a little away from that eyebrow, and then I am going to drag the terminus quite high, actually to about here, so that we are casting just a little bit of the shadow as you can see. Now, it's not a shadow, because this is an opaque gradient, it's covering up everything below it. In order to make it a shadow, we need to apply that very same Blend mode we applied a moment ago. So you go over to the Transparency panel, click on Normal, and then switch it to Multiply, which again goes ahead and burns the active gradient into the ones below, and we end up achieving this affect here.
So I will go ahead and switch back to the Black Arrow tool, click off the shape to deselect it, and there you have it, one shape filled with three gradients interacting with each other to create the effect of a shaded eye.
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