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Adobe Illustrator has long been the most popular and viable vector-drawing program on the market but, for many, the learning curve is steep. In Illustrator CS3 One-on-One: The Essentials , author and leading industry expert Deke McClelland teaches the key features of Illustrator in a way that anyone can understand. He also goes beyond that, showing users how to get into the Illustrator "mindset" to make mastering Illustrator simple and easy. The training covers how to use the core drawing and shape tools, the transformation and reshaping features, text and gradients, and color management and printing features. Even if learning Illustrator has been a struggle in the past, this time it is going to make sense. Exercise files accompany the training.
Now at this point, you might be thinking, Hey Deke, will there be any training associated with Chapter 8? It's great that you're touring us through your illustration here but will we actually be doing anything? To which I would respond, Wow are you rude. What a rude thing to say to me. Oh wait you didn't say anything. That was all hypothetical. Yeah, well. The answer turns out to be yes. We are going to be doing stuff. For example in this exercise we're going to be taking this big leg element that includes the foot and goes all the way up here through the body and neck into the eye-head, the eye-head element atop of the Uzz character.
And we're going to be snipping it and spinning it in order to create a right leg that is his left leg and an independent neck-body element right there. Now, I want you to make sure that you're working inside of this illustration and if you're just joining me go ahead and open the document called Weady to Wuv.ai that's found inside the select_enhance folder then make sure that your Primitives layer is active here, and I've gone ahead and clicked on this big long leg element here with the black arrow tool, and I'm going to zoom in because here's what I want to do. I want to snip this path at exactly the location where it intersects this body path right here. So at this point, right at this point is where I want to snip the path and that way the neck will go ahead and fuse seamlessly into the body and the legs will fuse seamlessly with each other, with any luck.
And in order to do that I want to view these two layers in the outline mode. I also want to lock down the other layers so that I don't harm them. So let me show you a couple cool tricks here inside the Layers palette. I showed you how if you Alt or Option-click on an eyeball you hide or show everything but that layer. Well the same goes for locking. So if I Alt-click in the lock column in front of the Primitives layer or Option-click on the Mac, I will lock everything but that Primitives layer, which is really cool. You can also drag up and down eyeballs and locks inside the Layers palette. So let's say I decide, Well there's really no point in locking down the Articulates and Circle eye layers because they're not even visible right now, so there's no chance of me editing them. So you can just go ahead and drag over them like so in order to turn them both off, and you can drag over layers, up down layers all you want in order to hide and show many layers at a time.
I want to see these bottom four layers though so I'll go ahead and drag over them and then I'm going to press the Control key or the Command key on the Mac, and I'm going to drag over these two eyeballs in order to Little Orphan Annie both of them and switch them both to the outline mode like so. Then click on your Primitives layer to make it active so we can only edit the Primitives layer at this point, and both Primitives and Other stuff are in outline mode. That means I can see exactly the intersection location. All right, I'm going to click on this big path right here, the big leg path in order to select it. Then I'm going to grab my Scissors Tool. And then I'm going to click at this location, right at that intersection in order to sever the path thusly.
Now let's go ahead and rotate the neck into place here. I'll go ahead and Control-click or Command-click on that neck path, on that what is now an independent neck path, in order to call up the black arrow tool and select the path. Then I'm going to get my Rotate Tool right here. I'm going to click at the top of the path in order to position my rotation origin, and I'm going to drag like this, I'm going to start dragging from the bottom endpoint of the path and I'm going to drag down so that my cursor is exactly over the center point in this top button, in this circle that represents the top button on his little fancy suit here and that ensures that, assuming that the button is centered on the body, that the neck is centered on the body as well. And then I'll release.
All right, so that's exactly where I want it to be. Let's make the leg exactly where we want it to be, that is what's going to be the leg on the right side of the body, our right, his left. You got it. All right so go ahead and Control-click or Command- click on that existing leg in order to select it. Then I'm going to go ahead and zoom out a little bit so that I can see more of the body. I'm going to click in order to reset that rotation origin up here because every time you switch objects, every time you select different objects, that rotation origin goes back to the center of said object, and we want it up here at the intersection of the neck and the eye-head. Then I'm going to drag like so until the leg is exactly aligned with the right side of the body, and I'm going to press the Alt key or the Option key on the Mac, and I'm going to release in order to clone that leg.
Now notice that the leg doesn't really line up with the body very well here, and part of the reason is I want to go ahead and scale the leg, so that it's longer because it's forward, it's in front, it's closer toward us, that is to say. So it would appear a little longer, a little more stretched, a little larger. And it's always important, even when you're working with a goofy cartoon like this one, it's always important to make sure that you have a certain perspective logic going on, I think anyway. So I'm going to get my Scale Tool right here from the toolbox. I'm going to click at the top of the leg, right there where it intersects the body, and I'm going to drag downward and I'm going to press the Shift key as I drag down so I'm getting an exclusively vertical scaling effect going on here, and I'm going to release when I'm seeing, see how I can see little bits of blue on top of the black line of the body that's showing me that the paths are overlapping, and then I'll release and you should get this effect here where the leg is a little longer, looks like it's in this kind of weird cartoon perspective, everything looks copacetic and wonderful, and then finally I'm going to go ahead and zoom in here to this portion of the illustration.
I'm going to press the Control key or the Command key on the Mac and drag over the two eyeballs, the two Little Orphan Annie eyeballs in order to fill them once again with pupils, and enter the Preview mode of course. And I want to take these two paths and connect them to each other. I need to because notice these little humps, are of the round caps that are showing up over the edge of the body, and they're actually overlapping the hand path on the left-hand side anyway, so I'm just going to go ahead and join them using the Pen Tool, because it's the simplest thing to do. I could select both the endpoints and then press Control+J or Command+J on the Mac, but in this case I think the easier thing to do is use the Pen Tool, so I'm going to grab hat Pen Tool, I'm going to Alt or Option-click on this active endpoint here, in order to sever off its control handle, convert it from a smooth point to a cusp point essentially, and then I'm going to move my cursor over until I see this Pen Tool cursor right there.
Notice it'll switch from a standard Pen Tool cursor to a Pen Tool with a little anchor point next to it, with a little tiny segment going through it and that shows you that you're going to join two points together, two paths together and I'm going to Alt-click once again or Option-click once again, in order to sever off this control handle so that we end things with a nice straight segment. I'm still overlapping the hand so I need to take the Primitives layer and move it down a step so that it's underneath the Other stuff layer. I'll press Control+Shift+A or Command+ Shift+A on the Mac, back out and we have exactly what we need.
So there's snip and spin for you, we went ahead and snipped this path and spun the pieces into different locations in order to create a neck, body and leg elements as well.
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