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Given that the name of this chapter is selecting and enhancing artwork, we've been spending a lot of time on enhancing the artwork, not so much time on selecting it. Well that all changes now. Now we're really going to rev up the selection info here, starting with, I'm going to show you how to save your selections for later use, so that you can recall a selection over and over again, just by choosing it from the Select menu as it turns out. So let's say I want to be able to easily select all of these eye shapes here that make up the eye-head, and by the way I'm working inside of a document called The eye-head.ai that's found inside of the 08_select_enhance folder.
So let's say I want to be able to select these very easily at the same time in the future without having to marquee them. Why then one thing I could do is I could group the objects together. We've seen that before. So I could go up to the Object menu, and I could choose the Group command, groovy. And if I were to do that, I want to turn your attention here to the Layers palette for a moment. I'll go ahead and twirl open the Primitives layer and you can see now inside the layer there's this item called Group that includes the entire eye-head, and I can even rename that item. I could call it eye-head if I wanted to, so that I knew what it was in the future. Not eye=head, but eye-head like that and then click OK.
Then I could name the other items, if I wanted to. This one right here is the neck-body. He's got a lot of sort of shared items here because, it's a neck-body because this stuff down here with the buttons on it, those are his pants. He just happens to wear his pants very high on his body. All right and then we've got of course the legs underneath that. And then I could twirl open eye-head and name the items inside of the eye-head group, and I'm doing this for a reason that will become clear in a moment, not just to waste time or anything along those lines.
So I'll call this eye and I'll call this head. So we got the pupil, pupils? It's just pupil singular. He's a Cyclops. Click OK. Pupil, eye, and head are inside of the eye-head group right here. Notice the eye-head group is still meatballed. So that's one way. Now if I click off the shape and then I click back on the shape, I select everything with the black arrow tool. But let's say you don't want to group the objects because after all, if you group the objects then you really lock them into a relationship with each other and you can only violate that relationship by going in on a path by path basis and selecting them with the Direct Selection Tool.
What if instead you just want the option of selecting the three paths at the same time? Why then you'd go ahead and ungroup the objects, and I want you to notice what happens. Right now eye-head is selected of course, so watch the Layers palette. When you go to the Object menu and you choose Ungroup, the eye-head item disappears, but the other items continue to be named. So Illustrator remembers that you did change their names to pupil, eye and head. That's why I did that, cause I wanted you to see that Illustrator respects as much as it can respect about what you're doing, which is a good thing.
So now we just happen to have pupil, eye and head selected, as you can see by their respective meatballs here. If I want to save that out as a selection, I'd go up to the Select menu and choose Save Selection. and guess what I call it? I call it eye- head, not eye=head, eye head, and click OK. And now let's say gosh, you know what? I think I want to save these buttons as another selection. So let's go ahead and twirl closed Primitives. Let's unlock Other stuff, cause the Other stuff layer has been locked here. And I'm going to click on one of the buttons in order to select it, and then I'm going to go up to this little selection item, this Select Similar Objects item here in the Control palette and I'm going to click on it. Assuming that All is the active select object setting, then you will go ahead and select all the buttons and only the buttons, because it's looking for things that match all of the attributes, the same fill, the same stroke, the same opacity, and so on.
So I've gone ahead and selected these buttons. If you get something different, you would want to choose All, and now I'm going to go ahead and save that as a selection by going up to Select menu and choosing Save Selection, and then I would call these guys buttons of course, and then click OK, and now check it out. I'll zoom out so that we can take in more of Uzz at the same time. I'll go up to the Select menu and choose eye-head and what happens? I select the eye-head. I go to the Select menu and choose buttons and what happens? I select the buttons. It's that simple. Now, something else to note about this, how really cool it is. Where do you think this information is saved? Do you think it's saved in some sort of Preference file, would that make any sense? No it wouldn't make any sense because if I tried to use eye-head selection in a totally different illustration, there wouldn't be any eye-head for Illustrator to select. So it's saved actually as part of this document. So if you pass this document off to somebody else, then they can go into your document and say, You know, I want these buttons to be a different color I'll choose buttons from the Select list.
There they are. They're all selected for me. Saved with the illustration. Does that not rock? It's rocking I think. I think it's a rocker. So anyway, that's how you save selections inside Illustrator. All right, now you know how to save and recall selections inside Illustrator. In the next exercise we're going to set about creating Uzz's eyelashes. What does that have to do with selecting? You'll learn in that next exercise.
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