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Illustrator CS5 One-on-One: Advanced
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Sketching and drawing for Illustrator


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Sketching and drawing for Illustrator

Over the course of this project we're going to assemble a vector-based pirate flag inside of Illustrator. I'm currently viewing the flag, the final piece of flag art. It measures 5 feet wide by 3 feet tall. So it's very large. It's ultimately a product of Illustrator's Live Trace feature, but if you've ever thought of Live Trace as being some sort of automatic art creation tool, it is nothing of the kind, as you're about to learn. This project involves every bit as much artistic labor as working with something like the Pen tool.
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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
      39s
    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
      44s
    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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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
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Sketching and drawing for Illustrator

Over the course of this project we're going to assemble a vector-based pirate flag inside of Illustrator. I'm currently viewing the flag, the final piece of flag art. It measures 5 feet wide by 3 feet tall. So it's very large. It's ultimately a product of Illustrator's Live Trace feature, but if you've ever thought of Live Trace as being some sort of automatic art creation tool, it is nothing of the kind, as you're about to learn. This project involves every bit as much artistic labor as working with something like the Pen tool.

Note that this is an entirely original project. So you are more than welcome to use it any way, shape, or form that you see fit, with one provision, you've got to earn it, you've got to create this project along with me from the very beginning. So I'm going to show you how I sketched this artwork in the first place and how I assembled the imagery inside of Photoshop before we bring it over into Illustrator for tracing. So I'm going to switch over to Photoshop right now in fact. I have it running in the background. I have got open a series of five images that represent my progress as I developed this image here inside Photoshop.

I started things off with this image here. It's a ballpoint pen sketch. So I just took a pen and began sketching this on a piece of paper. I was working from a few photographs that I had of skulls, but I had to sort of mix and match the skulls to come up with this image. And notice that some of the contours along this goal are fairly realistically rendered. For example, the eye sockets, and the cheekbones, this hole for the nose and so on. I didn't really pay that much attention to the teeth. I just kind of whipped them in. I don't even know how many teeth there are. Obviously, an object without any ears isn't really going to be able to hold on to earrings.

So I took some artistic license. We have some ghost eyes on the inside and so on. Now, I couldn't just work with this ballpoint pen sketch, even though I did go ahead and scan it in, just so that you can see it here, I didn't actually bring it into Illustrator, because Illustrator's Live Trace feature would try to trace each and every one of these scribbly lines. So somehow I had to take this sketch and turn it into an ink drawing that featured all of the scribbly stuff in black and everything else in white. And that's how I came up with this rendering here.

So this is a separate piece of paper, just laid it on top of the first one and traced the skull using a Sharpie, and that's all that's going on in this case. Now, I didn't even have a light table to work with, so I ended up having to lift the page several times in order to keep track of the original sketch, so that I was matching the details. That doesn't mean that I necessarily came up with an impeccable piece of art. You'll notice here, among other things, that this eye is slightly smaller and sort of more scrunched than the eye over here on the right-hand side. So I needed to open it up and make some alterations to the image in general.

I also needed to blacken up the lines. If I zoom into this artwork, you'll see that the lines aren't exactly black, they're very, very, dark gray, but we do have some light area showing up. And the page isn't absolutely white either. It's a very light gray. So I needed to increase the contrast and make some alterations all the way around. We have some paper wrinkles back here inside the earring. And if I zoom all the back out, you'll see that I captured the edges of the page as well when I scanned this piece of artwork. The other big thing that's missing here, you may notice, is there are no sabers.

I've got the skull drawn but I do not have the sabers rendered in the background. I knew I wanted to use sabers, I wanted to have nice sharp sabers instead of crossbones, for example. However, I didn't have room to add them to the piece of artwork, because I drew the face too big in the first place. Now, I could have drawn on a bigger piece of paper, which would require me taking a second approach to the project, I didn't want to do that. But also, this was a small scanner. It only accepted letter-size pieces of paper. So I had to fit everything on that page, which means that what I ultimately needed to do was take this skull and shrink it, which is something that's hard to do in the real world, whereas, once you take it into Photoshop, it's no problem.

So I went ahead and took this original piece of Sharpie art and I converted it into this here inside Photoshop. So it doesn't look all that different, however, the lines are nice and black, the paper is nice and white. We don't have any of those paper edges showing up, and the eyes are rendered a little more proportionally vis-a-vis each other and the larger skull as well. I did that using the Liquify command, and we'll see how that works later, I'll run you through the entire process. But the other thing I wanted you to see was, at this point I went ahead and took this image, and I went up to the File menu and I chose the Print command.

And it's very important that you use a halfway decent printer. I tried printing this to one of the black-and-white laser printers here inside the building and I ended up getting a bunch of white lines through the black art, and that wasn't going to work at all, because ultimately, I need to shrink this guy down and then draw the sabers in the background. So I ended up going with this Ricoh printer, this full-color printer in the building and it worked out spectacularly well. Also, notice that I scaled the image to 76% roughly, and I also turned off the Center Image check box, and I moved the image around to center it on the page, so that I would have room to draw my sabers, and then I went ahead and printed the artwork, and then I drew on that.

Anyway, I'm going to click Done for now, just to escape out of that dialog box, and I'll switch to the next piece of artwork. So this one shows the skull as it appeared when printed, and then I painted the sabers in using the Sharpie once again. Notice I also filled in the mouth. So if I zoom in on that mouth, you can see that this area was drawn in using the Sharpie, where the rest of the black was created by the printer itself. That doesn't mean anything is quite black, and again, the paper isn't quite white. So we still need to darken up the details.

And I wanted to make some additional modifications to the art. For example, I'm not happy with the fact that the handle of this saber is touching the jaw, that's not something I meant to see happen. And there's a few other details that need adjustments. The eye is still not quite right. This blade is too thin, you may notice. And so there were some changes I needed to make inside of Photoshop before I got this final piece of artwork here, with the nice black lines, the white areas inside the skull, the red background, the red eyes as well, and a few other details going on.

What I am going to do is I am going to walk you through the process of converting this piece of artwork here, my final Sharpie drawing, to this final imagery here inside of Photoshop, in the very next exercise.

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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