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Saving and recalling selections

From: Illustrator CS3 One-on-One: The Essentials

Video: Saving and recalling selections

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.

Saving and recalling selections

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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This video is part of

Image for Illustrator CS3 One-on-One: The Essentials
Illustrator CS3 One-on-One: The Essentials

114 video lessons · 37142 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 59m 53s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 35s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 51s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      55s
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 56s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 10s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 17s
    10. Cutting lines with the Scissors tool
      6m 45s
    11. Aligning and joining points
      7m 58s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 1s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      7m 0s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 16s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 36s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
      33s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 6s
    5. Using the RGB sliders for screen output
      4m 39s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 14s
    8. Trapping gaps with rich blacks
      7m 58s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 16s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 35s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 15s
    4. Moving by the numbers
      4m 16s
    5. Using the Reshape tool
      6m 30s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 25s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 50s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 32s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 56s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 4s
    10. Cutting, separating, and closing paths
      7m 31s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 42s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 28s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 8s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 8s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 21s
    15. Eyedropping Live Effects
      5m 39s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

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