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Illustrator CS5 One-on-One: Advanced
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Weaving one object into another


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Weaving one object into another

I have saved my progress as Independent path outlines.ai. Now all that stuff that we saw back with that Venn diagram, that was live paint for babies. This is the good stuff here, where we create live intersecting objects using live paint. So what I'd like you do is take the Black Arrow tool and go head and marquee these two paths, so that they are both selected. Then drop down here to whatever tools appearing at this location. In my case it's back to the Shape Builder tool, I will click and hold and select the Live Paint Bucket, and then with the Live Paint Bucket active, notice that I am seeing my swatches, it's very important, so make sure that swatch is active here in the SWATCHES panel.
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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

Weaving one object into another

I have saved my progress as Independent path outlines.ai. Now all that stuff that we saw back with that Venn diagram, that was live paint for babies. This is the good stuff here, where we create live intersecting objects using live paint. So what I'd like you do is take the Black Arrow tool and go head and marquee these two paths, so that they are both selected. Then drop down here to whatever tools appearing at this location. In my case it's back to the Shape Builder tool, I will click and hold and select the Live Paint Bucket, and then with the Live Paint Bucket active, notice that I am seeing my swatches, it's very important, so make sure that swatch is active here in the SWATCHES panel.

And if your green object is on top, like this then this is the approach I want you to take, that is we are going to bring pieces of the orange object in front. So start with a green one in front if you are working along with me. And then I'll press the Right Arrow Key to switch to orange and I will click inside of this region to make that region work, like so. And then I will move my way over to this intersection, click on it to fill it with orange and then move over to this intersection and click on it to make it orange as well.

Now assuming that your Live Paint Bucket tool is set up to change Fills and Strokes, and if you want to confirm that, you can double-click on the tool both Paint Fills and Paint Strokes should be turned on, so I will go ahead and cancel out of this dialog box. Then what you want to do next is hover over one of the stroke intersections like so and make sure that you're seeing the rich black as this swatch above the cursor. If you're not seeing black for some reason or you don't see all those swatches, then what you want to do is go up to the STROKE swatch here on the Control panel and change the stroke to rich black.

Anyway, it's already rich black for me so I am ready to go and I can click on the stroke intersection right there in order to stroke it with black. You want to make sure that Stroke Weight is set to 2 point. Alight, now I'll click and that goes ahead and increase the stroke at that location, I will here as well to create a stroke there, and we want strokes not there actually, that's all fine. I want a stroke here and here, on this bit of orange path, and I want one here and here as well. And then I am going to get rid of these little stroke lits that's right here and here, for example, that are getting in the way of my fluid orange circle, and I will do that using a Live Selection tool just for the sake of variety.

So I will switch from the Live Paint Bucket to the Live Paint Selection tool, which you can get of course by pressing Shift+L if you like. And then I will click on these path outlines right here, that is these little subpaths. So click on one, Shift+Click on the other, click and Shift+Click on these guys, and click and Shift+Click on these guys as well. And you might be tempted at this point. I will go and twirl the Live Paint group open, so we can see what's going on. Notice we've got a lot of path outlines now, we've got 2 paths defining the circle, we've got this exterior path that's defining the outline of the green shape and then we have all these other paths that are cut out of it.

But watch what happens if I just select these paths and press the Backspace Key, everything gets really messed up. We have all these breaks all over the place in our paths, and that's not what we want. It looks good, but if we try to modify the results at this point, then everything goes to hack. Let me show you, I'll grab my White Arrow tool and then I will Alt+Drag or Option+Drag across the top portion of this green shape right there, and I will drag it to a different location, and you can see that everything just burst apart. So you never want to delete little stroke lits when you are working inside of a Live Paint object.

Anyway, I will press Ctrl+Z, Command+Z on the Mac and the reason I'm harping on this is because I've made that mistake a lot in the past and I don't want you to make that mistake. I'll go ahead and grab once again my Live Paint Selection tool and I will also press Ctrl+Z or Command+Z on the Mac in order to get those little strokes back. I will grab my Live Paint Selection tool and then I'll click on those same strokes that I split on before, so Click and Shift+Click on each of these of course in order to select them. And then what you want to do, is you want to change those strokes from black to none, here inside the SWATCHES panel or wherever else, you could just press the slash (/) Key as well if you want to, and then I will give you this effect here.

And now we still have some cohesiveness where our path outlines are concerned. If I switch back to my white Arrow tool and I Alt+Drag or Option+Drag around that same region that I selected before and I drag this path outline to a different location, I left behind some of these holes down here at the bottom. So that's something of a mistake, but I still have exactly the same interaction of objects that I had before. So everything is working at the way I wanted to. If I want to move the entire green object there, I would Shift+Alt+Drag or Shift+Option+Drag across these regions that didn't get selected the first time round and then I would drag them round like so, and everything survives quite nicely.

All right anyway, I am going to press Ctrl+Z, Command+Z on the Mac in order to undo that change. We've done a beautiful job so far of making sure that this orange object intersects with the green object, so the circles both in front of and behind the Celtic knot object there. However, what we do about weaving the Celtic knot into itself? That's a puzzle, because if you look at the Celtic knot.ai file, notice that it does go in front of itself at one point, and then behind itself, and then it wraps around in front of the circle, and then in back of the circle in front of itself, and back of itself in front of the circle, in back of the circle and so on.

Oh, I can't do that with the one I've got here. It looks great so far, but I don't have these regions, I can't tell Live Paint to do anything to this area, because there's nothing there, I have nothing to start with. That's the mistake I was telling you about in the previous exercise, that's why I have called this Live Paint #1 and that's why we are going to go ahead and turn that layer off. Turn primitives back on, grab primitives, make a duplicate by dragging it onto the page icon, dropping it there and then turn off your original primitives layer once again, so that you don't mess it up.

Double-click on primitives copy; let's call this guy Live Paint #2 this time around. Change its color to something like gold, it's one of my favorites, click OK, and this time round we are going to take a much better approach that's going to give us those areas of intersection. It's not obvious, that that's what we needed to do before, but it's obvious now, and I'll show you exactly how that works in the 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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