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Scaling and editing traced art


Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Scaling and editing traced art

In this movie, we're going to finish up our great big 5 foot wide by 3 foot tall vector-based pirate flag here inside of Illustrator. Now, I've already gone ahead and made this red field in the background exactly the right size, so it's 5 feet wide, with a little extra, we've got an inch on each side for the bleed, and it's 3 feet tall, with an inch at the top and the bottom for the bleed as well. However, our skeleton sabers are way too tiny. In fact, this is what we're looking for, this final piece of artwork right here. So I've not only made the core artwork much larger, but I've also gone ahead and tweaked the location of the eyes a little bit, the ghost eyes in the center here, and I've modified the color of the scarf.
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  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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Watch the Online Video Course Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Deke McClelland

Scaling and editing traced art

In this movie, we're going to finish up our great big 5 foot wide by 3 foot tall vector-based pirate flag here inside of Illustrator. Now, I've already gone ahead and made this red field in the background exactly the right size, so it's 5 feet wide, with a little extra, we've got an inch on each side for the bleed, and it's 3 feet tall, with an inch at the top and the bottom for the bleed as well. However, our skeleton sabers are way too tiny. In fact, this is what we're looking for, this final piece of artwork right here. So I've not only made the core artwork much larger, but I've also gone ahead and tweaked the location of the eyes a little bit, the ghost eyes in the center here, and I've modified the color of the scarf.

So let's see how that works. I'm going to switch back to my art in progress, which I've called Tiny flag, and I'm going to go over to the layers panel and I'm going to unlock the black layer because we want to modify the contents of that layer, and I'm going to lock down deep red, because the big field of red in the background is exactly where it needs to be. Then I'll press Ctrl+A or Command+A on the Mac to select everything that's unlocked, that is the entire contents of the black and white layers. I don't want to see all these anchor points, so I'm going to press Ctrl+H or Command+H on the Mac to hide the selection edges.

Then I'll switch to the Scale tool, which I can get by pressing the S key, and there's my transformation origin right there in the pirate's eye, but I want to move my cursor about 45 degrees away from that origin point. So I might start dragging at the base of this right hand saber handle, and I'm going to drag down into the right in order to increase the size of this artwork. Now, if I press the Shift key, I'll also constrain the proportions, but you know what, just because we have so much width associated with this flag, I want to actually make him a little wider than I drew him, in proportion to his height of course.

So I'll just make sure, I'll press the Shift key here and I can see that, that would be the normal proportions right there, and so if I release the Shift key and drag out a little bit, that's going to be wider. Now, I'll release in order to increase the size of that art. Now, what we just saw was an absolute minor miracle, because that's the kind of thing you can't do in Photoshop with pixels. If we were trying to scale up the pixels, then we would soften the transitions, we would not necessarily do ourselves any good, because we would just add pixels for the sake of adding pixels, we wouldn't add better detail, whereas when you scale this artwork as vectors inside of Illustrator, then you retain these razor-sharp edges, no matter how much scaling you apply.

So this artwork is going to look absolutely fantastic at its new, larger size. All right, I'm going to zoom back out, because now I want to go ahead and color in that scarf. So I'm going to grab my Black Arrow tool from the top of the toolbox, and I'm going to select these white paths that should be filled with red if I want to color the scarf red. So I'll press Ctrl+H, by the way, or Command+H on the Mac to bring back my selection edges. Then I'll click off my artwork to deselect it, and I'll go ahead and click on one of those path outlines, and what that does is it grabs black, in my case. So I'm going to lock down black once again, so that doesn't get in my way.

And I'm going to click now on the white shapes to select them. So I'm clicking and Shift+clicking on these various white shapes in order to select each one of them. This is the most tedious part of the process, quite frankly, is grabbing all these shapes, because at a point it's a little difficult to determine who should be part of this scarf and who shouldn't, but if you follow my lead here, you'll get everything that I regard to be part of the scarf, because this part back here, for example, is a bit of the saber. This is a part of his jaw. This is part of the earring right there. This is part of his skull and so on.

So some of these shapes I absolutely do not want. All right, so those are all the scarf shapes, and now what we want to do is create yet another new layer, again, just to keep all the colors and different layers, so that the printer can decide what he or she needs to get the job done. I'll press Ctrl+Alt+L, Command+Option+ L on the Mac to create a new layer, and I'll call this light red, and then I'll change the color back to that grass green that we were using earlier, and I'll click OK. I'll move this below white actually, and then I'll go ahead and take this blue square right there to the right of the white layer, that represents all the selected items, and I'll drag it down onto the light red layer.

Now, that doesn't change the color of those objects, it just changes their location. Now, to change the color, up here in the Color panel, the Hue value is already 0, that's what I want. The Saturation value should be 100 once again, and I'm going to take the Brightness value down to 65, so it's just a little bit lighter than the deep red of the background. Then I'll click off of that artwork in order to deselect it. Now, finally, I want to go ahead and move the eyes to a slightly different location, the ghost eyes in the center, and there's all kinds of modifications you could make from this point if you want to here inside of Illustrator.

You can go nuts on these path outlines if you want to customize this art, but I just want to move the eyes around a little. First of all, this red inside the eyes is actually part of the black layer, because we've got a compound path here, we've got the big eye path filled with black, with this area of red carved out of it. So I have to unlock the black layer to get to it, but then if I click on it with the Black Arrow tool, I select both the inside and the outside of the eye, because they're all combined together into one compound path as I say. So I'm going to click off the shapes in order to deselect them and I'm going to grab my White Arrow tool, the Direct Selection tool, which you can get by pressing the A key, and then I'll Alt+ click or Option+click on that eye path in order to select it.

And now I'm going to move it a little bit. I'm going to do that by the way by double-clicking on the Black Arrow tool to bring up my Move dialog box, and I'll change the Horizontal value to -16, the Vertical value to 0, and then press the Tab key. And make sure Preview is turned on. So this is the location of the path outline before and this is its current location. So I'm just moving that path outline. And of course I could have just dragged it if I wanted to or nudge it from the keyboard, but I wanted a very specific modification, so that's why I brought up the Move dialog box.

I'll click OK, and then I'll Shift+Alt +click or Shift+Option+click with the wrong tool, so that's not going to do it. I've got to switch back to the White Arrow tool. All right, let's try that again. I'll Alt+click or Option+click on this path to select the whole thing, then Shift+Alt+click or Shift+Option+click on this path, and then double-click again on the Black Arrow tool to bring up the Move dialog box. And this time I don't want to move this horizontal, I'm going to press 0 for the Horizontal value. I'm going to move both of these paths down 16 points. So I'll enter 16 for the Vertical value, and I could take that value even higher.

Let's try 24. My gosh! That looks great! All right, I'll click OK in order to accept that modification. So you get the idea, you can do anything at this point with these path outlines, and every step of the way, every modification you make is going to deliver super smooth results. For example, let's say I want to take this little divot in his skull and I want to move it closer to his nose. Well, if I just drag the black path, notice I leave a hole, because there's always a corresponding hole in the white paths for the black paths, so I've got to undo that modification there.

So what I need to do is just go ahead and marquee around those two, and in this case, I go ahead and select the entire path. I forget of course this is a compound path, so I'm going to grab them both. And by the way, that little marquee trick is only going to work if you press Ctrl+K, Command+K on the Mac, and then you go here to Selection & Anchor Points Display and you turn on Object Selection by Path Only, that's very important, otherwise you're going to drag that white path around. Anyway, I'll go ahead and Cancel out of there because mine was already turned on. I'll grab the White Arrow tool, click off the shapes, then I will Alt+drag or Option+drag around those two paths in order to select them both, that is, they are two coincident paths; one right on top of the other.

Then I'll just go ahead and drag it over, like so. So again, no end to the modifications you can make, the finessing that you can apply to this flag. Everything, no matter what, is going to come out super smooth, as impeccably smooth as it ever was in the first place, thanks to our meticulously step-by-step approach to this project - every one of those steps, by the way, is extremely important - and the power of the Live Trace feature here inside Illustrator.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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