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Illustrator CS3 One-on-One: The Essentials
Illustration by John Hersey

Snip and Spin


From:

Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: Snip and Spin

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.
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  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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Illustrator CS3 One-on-One: The Essentials
9h 36m Beginner May 18, 2007

Viewers: in countries Watching now:

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.

Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Snip and Spin

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.

Find answers to the most frequently asked questions about Illustrator CS3 One-on-One: The Essentials.


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Q: When trying to synchronize color settings between all Creative Suite programs in Bridge, the Creative Suite Color Settings command either does not appear in the Edit menu or does not work. What is causing this?
A: If the Color Setting command is not available or does not function, it's because Bridge thinks that a single application (such as Photoshop or Illustrator), is installed and not one of the many versions of the Creative Suite.
If only Photoshop or Illustrator is installed, skip the exercise and move on.
If the entire Creative Suite is installed, then, unfortunately, there is no easy fix. Either contact Adobe or completely reinstall the Creative Suite.
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