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The final flawed subpaths

From: Illustrator CS5 One-on-One: Advanced

Video: The final flawed subpaths

In this exercise, we're going to establish the final sub-path in this core path outline inside of our seamlessly repeating pattern. But it's going to be a little trickier this time, because we're trying to match the existing endpoints, which don't necessarily have anything to do with each other. So in other words, we've got this far left endpoint in the red path, and then we've got the far left endpoint in the right path. They were drawn without any knowledge of each other. There was no symmetrical matching between these two paths either. So we're bound to have to a little bit of mis-registration this time around.

The final flawed subpaths

In this exercise, we're going to establish the final sub-path in this core path outline inside of our seamlessly repeating pattern. But it's going to be a little trickier this time, because we're trying to match the existing endpoints, which don't necessarily have anything to do with each other. So in other words, we've got this far left endpoint in the red path, and then we've got the far left endpoint in the right path. They were drawn without any knowledge of each other. There was no symmetrical matching between these two paths either. So we're bound to have to a little bit of mis-registration this time around.

I'll show you how to resolve that. I've saved my progress as Red path blue path.ai. Before we draw anything, I'm going to establish yet another guide. So I'm going to go ahead and draw up down to this guides layer. I'm going to drag it up to just above the humanoid layer, like so. Then I'll go up to the View menu, and I'll choose Guides. And I'll choose Lock Guides to turn it off. I'll grab any one of these circular guides. Because they're in front now, I can drag them by their center points. I'll drag this guide by the center point until it snaps into alignment with that endpoint there, the left- hand endpoint in the blue path.

Then I'll press the Alt key or the Option key on the Mac in order to duplicate that guide. Now I've gone ahead and created a total of six different circular guides. So I've managed to identify every point of intersection, as well as the points at which the various sub- paths meet up with each other. All right, now I'm going to go back to the View menu, choose Guides, and choose Lock Guides to lock those guides down. Let's set that about continuing this sub-path right here along the thigh. So I'm going to click on that segment with the Black Arrow tool to select it.

I'll zoom in a little bit as well. Press the P key in order to switch to the Pen tool. Click on that point in order to sever off its control handle and make it a cusp point. Then I'll click here to create a corner point under the arm. Click at the elbow. Click at the wrist, or whatever wacky thing this is. Then finally, click around here, because I don't want to click on that endpoint or I'll go ahead and connect the two paths. It's too early for that. Now I'll switch to the White Arrow tool, grab that endpoint, and drag it until it snaps into alignment with the first one.

All right, now let's get rid of these other thigh paths here. They helped us to establish the point of intersection, but we don't need them anymore. So I'll press the V key to switch to the Black Arrow tool. I'll marquee around both of them, and press the Backspace key or the Delete key to get rid of them. All right, let's grab this path, the one we're working on. Let's change its color to green, just so that we can keep all the sub-paths separate from each other. This time around, I'm going to grab my Rotate tool. However, I don't want you to Alt+ Click exactly at that endpoint.

I want you to Alt+Click a little bit away from it. This requires a leap of faith on your part. But we're not going to try to nail the location of that knee this time around. Instead, we're going to go ahead and align this new path, the clone that we're about to create to this point down here. Then we'll figure out how far off the knees are from each other. So Alt+Click or Option+Click let's say right about there, just slightly away from the knee. A 120 must not be the right value. So I'll change it to -120. That looks right. I'll click the Copy button in order to create a copy of that path.

Now go back to the Black Arrow tool. Grab this endpoint here, and drag it until it snaps into alignment with that tail point. We end up getting a great match all the way around, except right here. Let's go ahead and zoom in like crazy. I'm pressing Ctrl and the Spacebar, or Cmd+Spacebar on a Mac. I'm going to marquee around this point, so that we can see that the two points are not coincident. That is no surprise. That is going to happen, unless you were just incredibly lucky, as you were drawing this path outline, these two points are going to be slightly out of whack with each other.

Now, the quick and dirty solution is to marquee these two points with the White Arrow tool, like so. Then you'd go the Object menu, choose Path, and choose Average, or press Ctrl+Alt+J, Cmd+Option+J on a Mac, then you would average to Both axes. But if you do that, you will go ahead and average the points together, and that's great. However, that also doesn't really reconcile the fact that these two lines now have slightly different slopes than each other. So the way in which they're bending may now be different from each other.

They may not quite align. If you want to check that out, what I suggest you do is go ahead and click off those paths. Click with the White Arrow tool on one of the segments. It doesn't matter which one. Press Ctrl+C or Cmd+C on a Mac to copy it. Then click off the segment to deselect it. Press Ctrl+F or Cmd+F on the Mac to paste it in front. Then press the R key to select the Rotate tool. Alt+Click on that knee point right there, that being an Option+Click on the Mac. Change the value to -120 degrees.

That looks like it's going to work out fine. Click OK. Then let's press Ctrl+Y or Cmd+Y on a Mac. I'm going to zoom in here. I'm going to turn off the template layer by clicking on its eyeball. So what we've done by pressing Ctrl+Y or Cmd+Y on a Mac is we've switched to the Preview mode, and we can see whether these two lines exactly match each other. They're not quite exactly on. Now that might not be a problem. That might be good enough for you. But it is going to mean that when those strokes align with each other, they're going to get slightly thicker than the other strokes inside of your illustration.

So, I think there is a better way. I'm going to press Ctrl+Z, Cmd+Z on the Mac a few times in a row, until I get my points back away from each other, like so. Now, that didn't take me out of the Outline mode. So I'll press Ctrl+Y or Cmd+Y on a Mac to switch to the Preview mode. Then I'm going to show you the better way to exactly, precisely align those two endpoints in the next exercise.

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This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28124 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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