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The anatomy of an illustration

The anatomy of an illustration provides you with in-depth training on Design. Taught by Deke McClell… Show More

Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: The anatomy of an illustration

The anatomy of an illustration provides you with in-depth training on Design. Taught by Deke McClelland as part of the Illustrator CS3 One-on-One: The Essentials
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  1. 59m 51s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 34s
    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 50s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
    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 55s
  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 9s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 16s
    10. Cutting lines with the Scissors tool
      6m 44s
    11. Aligning and joining points
      7m 57s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 0s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      6m 59s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 15s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 35s
    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
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 5s
    5. Using the RGB sliders for screen output
      4m 38s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 13s
    8. Trapping gaps with rich blacks
      7m 57s
    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 15s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 34s
    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 14s
    4. Moving by the numbers
      4m 15s
    5. Using the Reshape tool
      6m 29s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 24s
    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 49s
    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 31s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 55s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 3s
    10. Cutting, separating, and closing paths
      7m 30s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 41s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 27s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 7s
    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 7s
    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 20s
    15. Eyedropping Live Effects
      5m 38s
    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

please wait ...
The anatomy of an illustration
Video duration: 7m 2s 9h 36m Beginner


The anatomy of an illustration provides you with in-depth training on Design. Taught by Deke McClelland as part of the Illustrator CS3 One-on-One: The Essentials


The anatomy of an illustration

In this exercise I'm going to give you a very broad sense of what Illustrator is all about. What is the program's core mission, especially when compared to that of its better-known sibling, Photoshop. So what I'd like you to do, you can go ahead and leave the illustrations that you have open so far up onscreen. In fact, go ahead and do that. If you have multiple files open already, that's fine because later on as we work through these exercises, I'm going to show you how to close all of your illustrations in one fell swoop. Very cool technique, and it also makes the point if you can have multiple illustrations open inside of Illustrator no problem. So I'm going to go up to the File menu, and I'm going to choose the Open command or I could press Control+O or Command+O on the Mac and I'm going to navigate to the 01_hello_illustrator folder that's included inside the exercise files folder, and that's available to you along with this series.

Go ahead and select the illustration called Playful and then I want you to go ahead and click the Open button in order to open it up on screen, and because I'm working on a relatively small screen here, I'm working on a 1024x768 pixel screen, I'm going to go ahead and hide these palettes on the right-hand side of the interface by clicking on this dark bar right here at the top. This is the title bar for the docking panel as it turns out. And just one click will go ahead and reduce those palettes to icons, to a column of icons. Now your palettes may already appear as icons, that's fine. I'm going to be explaining everything you need to know about the Illustrator interface, about managing the interface, in the next chapter.

So here we're looking at a piece of poster art. This is obviously a work of graphic art, and I've made some minor modifications to this artwork here and there and organized some layers and so on, just to make the illustration easier to navigate, but the core illustration comes to us from a fellow named Aliaksandr Stsiazhyn. who works with, which is a really great group that basically licenses pieces from artists and photographers all over the world for a very reasonable fee. So something you might want to check out. Once again

And this guy has done a terrific job, I think. I just love this sort of fanciful violin that we have going here and I'm zooming in on this illustration using the Zoom tool and you can get to the Zoom tool by clicking on the Zoom tool here at the bottom of the Illustrator toolbox. You can also use this Hand tool. Notice it right there. You can use the Hand tool to move the illustration around on screen. All right so you can see how this is a hand-drawn piece of artwork with all kinds of filigrees and stuff going on, very cartoony, sketchy looking illustration. Very nice indeed, I think. I'm going to press Alt+Tab.

On the Macintosh side you could press Command+Tab to switch over to Photoshop, which I have running. So Alt+Tab or Command+Tab will allow you to switch between running applications, and I have open onscreen here, an image called Violin photograph.jpg. And this comes to us from photographer Kevin Russ again via And this is obviously a photograph, which is what Photoshop brokers in. So Illustrator is for hand-drawn artwork and Photoshop is for photographs. Now that's an oversimplification, because really you can bring a photograph into Illustrator, if you want to, as we will throughout future exercises, and you can create hand-drawn graphics inside Photoshop if you want to, but their core missions once again, is photographs inside Photoshop and illustrations inside Illustrator, hence their names, what a big surprise that is.

So what's the difference on sort of this molecular level, what's the difference? Well, Photoshop works in pixels. Right now I'm seeing this image at the 100% view size. That is to say I'm seeing the image as big as it is, one screen pixel devoted to one image pixel, making this a fairly low resolution image. All right, so I'm going to zoom in on it and as I do, once again I'm using the Zoom tool at the bottom this time of Photoshop's toolbox, and as I zoom in beyond the 100% zoom ratio, I'm seeing bigger and bigger pixels, not greater clarity but bigger pixels, and regardless of what the resolution of your image is, you're going to run into the same thing. Photoshop ultimately tops out and starts showing you big pixels. Compare that, let's go back to Illustrator right here.

Compare that to zooming in on this illustration. As we zoom in, I'm going to zoom in on the bridge of the violin. As we zoom and we gain greater and greater clarity. The lines remain very smooth. Now they may have little jagged ends and spikes and so on, but they are smooth lines, because illustrations are made up of these mathematical objects called paths. So a shape or a line inside of Illustrator is called a path and you can zoom in as far as 6400%, that is 64 times the actual size of the artwork, the printed size of the artwork, mas o menos.

And at this point, I can see that my lines which represent the strings of the violin, they don't quite line up with each other. Now, they're not very far off of each other, but they don't quite exactly lineup, but truth be told I'm so far zoomed in, if I was a scientist with a microscope right now., I'm so far zoomed in that I could actually see a large bacterium. No kidding that is the truth. All right I'm going to zoom back out by Option clicking on the Mac or Alt clicking on the PC with my Zoom tool. That will take you back out from the illustration.

And I'll be telling you all kinds of stuff about Zooming and scrolling and navigation in general, when we look at navigation in the next chapter. But for now, you get it, right? We've got a core mission of illustrations inside Illustrator. We have a core mission of photographs inside Photoshop. Illustrator obviously delivers smoother graphics and that means they're more flexible graphics, you can do a heck of a lot of editing to them, but Illustrator demands it's pound of flesh in the form of lots of work. All right so Illustrator tends to be pretty labor-intensive, because you actually have to draw all of this information as opposed to photograph it. Not that photography is easy or any less demanding, but you are going to spend a fair amount of time making your artwork inside of Illustrator. Of course one of my missions throughout this series is going to be sharing with you ways to save time.

And of course elevate the quality of your artwork. In the next exercise we're going to take this illustration right here, this Playful file and we're going to pick it apart and see what makes it tick.

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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