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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 saved the results of the previous exercises, One-color Spot illustration.ai, and you know what, this still is a little deceptive, because there are still some blend modes going on. When you save an illustration that contains spot colors that are subjected to blend mode, you get a warning that tells you that things might not print the way you think they're going to print, and sure enough we do still have some blend modes that work inside of this illustration. So I'm going to press Ctrl+A or Command+A on the Mac to select everything, and we're not seeing the selection edges, because I've hidden them. I'm going to go to the Opacity option up here in the Control panel and then notice that there is no blend mode assigned, and that just means that there's multiple blend modes going on, so I'll click on the Blend mode option, and I'll set it to Normal so that we're getting what we really think we're getting, and the leaves over here in the left-hand side darkened up a little bit, because they are no longer subject to the screen mode and this text inside the right-hand T-shirt got a little bit lighter, because it's no longer subject to multiply blend mode.
All right, so that's fine, I'll press Ctrl+H so I can see the selection edges click off, I'm going to click on this guy in order to make it active and I'll make sure the opacity is set to 100 %, so that we don't have any weird interactions going on there and I'll increase the tint value in the color panel to 100% and will get this result here. So we still have some nice dark text, and actually this looks pretty darn good, and it's indicative of the way the document will really print. All right, the real subject of this exercise however, is this file here, it's called Big gradient knots.ai and you may recall back in a Live Paint Chapter that we created that Celtic knot and it's filled with gradients, and I just want to show you that you can re-color artwork that's filled with gradients even if those gradients are inside of a live paint object, here inside Illustrator.
So it's a very versatile function, however, you may end up getting effects that you weren't quite prepared for. So let me show you how that works, I'll press Ctrl+A or Command+A on the Mac to select everything that's currently visible inside this illustration and I guess I have selection edges hidden here too, so I'll press Ctrl+H Command+H on the Mac to make sure everything selected, it is. Now I'll go up to Recolor Artwork, click on it, and we're seeing all these colors and when Illustrator is showing me here this list of colors, 14 colors in all, is a list of all the key colors in the illustration.
So in another words, it's not calculating every single little step inside the gradient, it's just calculating for example, the beginning color and the end color inside that gradient, as well as any intermediate key colors in that gradient that I may have created. And so by re-mapping those key colors, I tell Illustrator to go ahead and re-address the gradients as well. Well, just for the sake of simplicity, I'm going to re-map these colors here inside the Edit view, and I'm going to lock down my harmony rules, just so I can drag all the colors at once, and then I'll just give it a drag and see what happens.
Now looks actually really cool, I kind of like that gradient scheme right there, and that's why I changed it on-the-fly. I liked it so much I decided to overwrite it and try something else, but what I'm noticing the big problem of course, is that we have tiny little radial gradients inside every single one of the live paint intersections, and so we get that exact same effect we got when we applied the gradients in the first place. So I'd say okay, that's cool, I like this new scheme let's say, and then once I've left the dialog box, I'd go ahead and grab my Gradient tool just as I did two chapters ago, and I'll go ahead and drag from let's say, right about there, down and to the right, and then I'll release and that goes ahead and re-draws all the gradients, which is wonderful thing and also makes a mess out of my strokes, which is not such a wonderful thing, so I'll switch back to my black arrow tool, I'll press Ctrl+H, Command+H on the Mac, so I can see what I'm doing.
Now I'll go up to the line weight option, and I'll change it to two points to thicken up those line weight, and then I believe I also want those strokes, so I'll go ahead and make sure that the stroke is active here inside the Color panel. I'll switch over to Swatches and I believe I have a rich black waiting for me; I'll click on it, and that goes ahead and riches up those blacks. So, even a very complicated illustration filled with blends and gradients and all that junk can still be subjected to the amazing magic and I think efficiency of the recolor artwork function, here inside Illustrator.
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