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The wonders of editing dynamic artwork

From: Illustrator CS5 One-on-One: Mastery

Video: The wonders of editing dynamic artwork

I have saved my progress as Base snowflake.ai. Now the great thing about dynamic effects is that they are dynamic, meaning that they automatically update to reflect any other changes you make to your core path outline. So if you move an anchor point, all the duplicates move as well. And in our case, we we've got 11 duplicates. So bear in mind, first we reflected all of the paths and then we took those two reflective paths and duplicated them five times. So altogether we've got 12 different copies with one original, so 11 duplicates.

The wonders of editing dynamic artwork

I have saved my progress as Base snowflake.ai. Now the great thing about dynamic effects is that they are dynamic, meaning that they automatically update to reflect any other changes you make to your core path outline. So if you move an anchor point, all the duplicates move as well. And in our case, we we've got 11 duplicates. So bear in mind, first we reflected all of the paths and then we took those two reflective paths and duplicated them five times. So altogether we've got 12 different copies with one original, so 11 duplicates.

Let's see how that works because it really is fairly amazing to watch. Now bear in mind that the way that we are approaching this project isn't really the way I built it. In other words I'm not so wicked smart that I knew exactly how to lineup my path outlines before I started. So when I was really drawing this in the first place, I created about half of the artwork and then I created the overall snowflake and then I started messing around with the face shapes and so on in order to get them to look just right. Then I reverse engineered it for you, but I did leave some problems in here and we are going to make some additions as well.

So I am going to press Ctrl+Y or Command +Y on the Mac so that I can see my base path outlines and I'm going to zoom in here. So these are still the only path outlines inside of this Illustration. And I am going to grab my White Arrow tool, because we are working inside of a group after all, and I want to select some individual anchor points. And these are the guys that I am going to select. I will marquee around these and then I am going to Shift+ Click on a few other points including these guys right there. I think that should actually do me. So this little collection of points that you see selected on-screen.

Then I will press Ctrl+Y or Command+Y on the Mac, so that I can see the results of modifying these points. And notice that these points are overlapping into each other in ways that we don't want. So the nose is cleaving in kind of a weird way and the forehead isn't aligning properly and this wrinkle or whatever it is at the top of the head isn't aligning either. And it's not aligning inside any of the other portions of the snowflake because they're all duplicates. So I will go ahead and grab my Rotate tool, which I can also get by pressing the R key. And then I'm going to click right there in order to specify my origin point and I'm going to drag like so, in order to lift the top of the nose upward a little bit to about that location, and that looks pretty good. It's not quite exactly right.

So now I can go ahead and grab my White Arrow tool once again, press the A key of course, and I click on that point right there and just nudge it. And by the way, if you press Ctrl+K, Command+K on the Mac, then you'll see your keyboard increment. In my case I have it set to very low increment, 0.2. That's the best way to work inside of this illustration and most illustrations if you ask me, but I am going to cancel out, and I'm going to go ahead and press the Right Arrow key, just once in my case did the work. Let's go ahead and move that point to a different location. Notice when you make any modification it is reflected in these 11 different other locations as well. So in one case, we are seeing the flipped version of that anchor point modification I made, and then in the other case we are seeing all of the rotates as well.

All right, I'll go ahead and press Ctrl +Z, Command+Z on the Mac to undo that modification, because I like the effect I had. It doesn't look like I am lining up quite right at the top of his head there, so I might select that point and nudge it to the right as well in order to get that effect. Now of course, your results will vary if you are working along with me, just bear that in mind. Now then I'm going to make a change to a core path outline by clicking at this location right there in order to select that segment and then I will press the Backspace key or Delete on the Mac, in order to get rid of it. And that's going to recall kinds of havoc inside the illustration,and that's okay. We are going to fix it right now.

So I am going to click off the points for a moment and click on this anchor point and drag it down a little bit, like so, with my White Arrow tool. Then I will switch to the Pen tool either by clicking on it or pressing P key, and I will click on that point in order to make it active. Then I will click here and here and so on, and I'm just adding a handful of anchor points. Now I need to figure out where that first anchor point is because I can't see it. I will press Ctrl+Y, Command+Y on the Mac in order to switch back to the outline mode and I will click on it, like so, in order to close off that shape.

And then when I press Ctrl+Y or Command+Y on the Mac, all the other shapes are likewise closed. Now I will go ahead and switch back to my White Arrow tool. I could press the A key if I wanted to. I will drag this guy upward, like so. I will go ahead and select this point because it isn't really properly positioned there and I will press Left Arrow tool a couple of times in order to nudge it overall. So press the Down Arrow key to nudge it down. I might as well go ahead and drag this guy down as well. So I'm just going for a few different patterns. Now wouldn't it be cool if we had some knockout paths inside of his head, up here in his brow I think and may be along his cheek.

And I am going to create those by drawing new paths with a Pen tool and I will just sort of rough in some path outlines, like so. So I will draw one there and I will draw another one down here I think, like so. So these should look pretty good. Now I am going to press Ctrl+Y or Command+Y on the Mac, so that I can see those path outlines I just created. I will go ahead and grab him with my Black Arrow tool because they're not part of the group. So I will go ahead and get the Black Arrow tool, which I can get by pressing the V key. Click on one of paths, Shift+Click on the other, and then I'll go up to the Edit menu and I'll choose the Cut command or Ctrl+X, Command+X on the Mac.

Now what we need to do is go over to Layers panel, expand not only the snowflake layer but also the big flake group, so that you can see inside of it. Scroll down to the bottom here and the path outline you are looking for is trunk. Go ahead and meatball that path in order to make it active. And then go back to the Edit menu and choose Paste in Front or press Ctrl+F, Command+F on the Mac. Now that goes ahead and not only pastes those paths in front of the trunk path, but also pastes the paths into the group. So any modifications you apply to these path outlines are now going to affect the entire snowflake.

Now I want you to Shift+ Click on the meatball for trunk. So both of your new paths and trunk should be active, as you see them here inside the Layers panel. Go ahead and press Ctrl+Y, Command+Y on the Mac in order to switch back to the Preview mode. Then I want you to go to the Window menu and bring up your Pathfinder panel, which has that keyboard shortcut right there or you can just find the icon there inside of your panel column. And you should see the Pathfinder panel like so, then click on the second shape modes icon, Minus Front, in order to transform those new paths into holes, and you'll see that modification reflected throughout the snowflake pattern.

All right, I'll go ahead and zoom in so you can see what I am talking about. Now we have these wonderful interactions. It just looks like the most complicated paper cutout ever, and yet what's really interesting about this is unlike if we're really using scissors and paper, first of all every single stem, every single trunk, and all these other items here are exactly alike, so they're all absolute duplicates of each other of those core path outlines. Also you can have floaters so I can create a little path outline in between that's not really connected to any of them and it will still replicate inside the snowflake.

Whereas of course, if I had a piece of paper then I cut out an independent piece, it would fall apart. In the next exercise, I am going to show you how to create dynamic effects inside of dynamic effects which will allow us to duplicate these bottom leaves.

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This video is part of

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

134 video lessons · 28299 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 37m 22s
    1. Welcome
      45s
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
      58s
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
      33s
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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