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Reconciling misaligned paths

From: Illustrator CS5 One-on-One: Advanced

Video: Reconciling misaligned paths

I have saved my progress to Slightly off So called, because our endpoints here at the knee are slightly out off alignment with each other. So here's how to solve the problem. At least this is what I came up with in my case, you may have to experiment a little to get exactly the same results. But what I am going to do here is scroll to the bottom of the layers panel and turn off the template layer so that we can focus our attention just on this green knee. I am also going to turn off the guides layers for now. We will come back to it later.

Reconciling misaligned paths

I have saved my progress to Slightly off So called, because our endpoints here at the knee are slightly out off alignment with each other. So here's how to solve the problem. At least this is what I came up with in my case, you may have to experiment a little to get exactly the same results. But what I am going to do here is scroll to the bottom of the layers panel and turn off the template layer so that we can focus our attention just on this green knee. I am also going to turn off the guides layers for now. We will come back to it later.

I am going to press Ctrl+Y or Cmd+ Y on the Mac to switch to the outline mode, so that we can better see our path outlines. I am going press Shift+Tab in order to hide those right side panels so I have more room to work. Now with the Black Arrow tool I am going to click on this path outline to select it here and I am going to switch over to the Scissors tool, which you may have to select from the Eraser tool flyout menu, or you can press C key. I am going to click right there at the toe, at the base of the calf, and then I will press and hold the Ctrl key or the Cmd key on the Mac to temporarily get my Black Arrow tool, and I will click on this thigh path right there to select it, and then I will click right there.

Having released Ctrl or Cmd I will click with the Scissors tool in order to cut that point. So we now have two independent paths to work with right here. Using the Black Arrow tool I will lift these guys up and I am going to align them together at their end point so that they snap into alignment right there. Then I am going to press the A key to switch to the White Arrow tool. I will marquee those two coincident end points, and to make sure they are coincident, again very, very important, press Ctrl+Shift+Alt+J or Cmd+Shift+Option+J on the Mac to join the two points together.

You should bring up the Join dialog box. If so, select Corner and click OK. Again, it's very important that you see that dialog box. Now I am going to press the V key to switch back to my Black Arrow tool and I am going to grab this endpoint right there, and I am going to drag it so that it snaps into alignment at the top of the thigh right there, which means that those two endpoints are exactly aligned, but these two are not as you can see. So now what we need to do is a combination of rotating and scaling these paths into exact alignment.

Let me show you how that works. And this is where you and I might differ. You might have to try out something different, because after all your path outline's going to be a little different than mine. But anyway, I am going to switch to the Rotate tool. Then I am going to click to set my transformation origin on that endpoint that is properly aligned, so over here on the far right side of the thigh. Then I am going to zoom in like crazy at this location where the points are not aligning properly and I am going to drag up like so and I am going to drag just slightly beyond the other end point.

See that, I am just leaving a little gap between the two, and now I am going to grab my Scale tool. The great thing about the Transformation tools is as long as you switch back and forth between them, you maintain the same origin point. So I don't have to go all the way back over there to the right side of the thigh to reset the Transformation origin. It's already there. I will just go ahead and drag from this anchor point until it snaps into alignment with the other one. Now if I have done everything properly, then I should find out that these two outlines here, these two segments are more or less in alignment with each other, or very, very darn close.

So I will go and switch back to the Rotate tool and this time I am going to Alt+Click or Option+Click on the knee. I am going to set the Angle value -120, press the Tab key. It looks like this is going to align very well, because what was formerly this anchor point is swung around to this location. It looks like I have a alignment, I will click Copy, and all I am doing is testing whether these two path outlines meet each other, and here I am zoomed into 2400% and they are almost exactly on top of each other. So that is going to be good enough.

Now I am going to go ahead and zoom out. I don't need that path. I was just using it for confirmation. So I will press the Backspace key or the Delete key in order to get rid of it and then I am going to switch back to my Black Arrow tool. Now a couple of little cleanup chores here. I will press Shift+Tab to bring back my right side panels. I will turn on the template layer so I can see it once again. Press Ctrl+Y or Cmd+Y on the Mac so that I switch back to the Preview mode. You may notice, I will press Cmd+Y or Ctrl+Y again, you may notice that my new path outlines here on the humanoid layer are not exactly in alignment with those on the template layer.

That, again, does not matter. As long as you create these humanoid paths correctly, these various subpaths that we've been working on, then it doesn't matter whether you get different results in the template or not, all of your various little men are going to align with each other once we start rotating them. Anyway, I will press Ctrl+Y or Cmd+ Y again to switch back to the Preview mode, and I am going to bring back my guides layer. And notice that this guide is no longer in alignment with the knee. I want it to be exactly aligned with the knee. So I will go up to the View menu, I'll choose Guides, and I'll choose Lock Guides to turn it off, and then I will click on this little circle right there, and I'll drag it until it snaps into alignment with the knee, everything is copacetic now, so I will go back to the View menu, choose Guides, lock him back down.

Then I am going to take that guides layers and drag it below template once again. All right, we are now ready to embark upon the task of joining our various path outlines to each other, and we are going to do that in the very 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 · 28017 viewers

Deke McClelland

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
    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
    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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