Adobe Illustrator CS5 One-on-One

26.

Select the blocks of black text and assign the global swatch. With

the black arrow tool, click the line of text Hi! I’m Uzz! to select

that text group. Next, Shift-click the legalese at the bottom of

the illustration to add that text block to the selection. Finally,

click the global black swatch in the Swatches panel to apply the

swatch to all the selected text. Press Ctrl+Shift+A (-Shift-A) to

make sure nothing remains selected.

27. Edit the black swatch to make it a rich black. Now that the

black elements have been assigned the global swatch, all that’s

left to do is edit the swatch to make it a rich black. Double-click

the swatch, and change the C, M, and Y values each to 50. Click

OK to accept the changes. On screen, you should see the black

go from a dull gray to a rich, true black. Figure 5-75 illustrates

the difference between the plain black and rich black in print.

Uzz is now ready to make his public debut, and you’re now armed

with a number of new tools to deal with selections and transfor-

mations. Save or discard your work as you see fi t; you’ll be starting

with new artwork in the next exercise.

Scaling Partially Selected Paths

In this fi nal exercise, you’ll use the scale and rotate tools

to transform three simple circles into an elaborate lace

pattern, as in Figure 5-76. While the results may seem

like an impossibility, Illustrator’s scale function, when

applied to path segments rather than whole paths, can

create some lovely Spirograph-style effects.

1.

Open the lace-pattern art. Navigate to

the Lesson 05 subfolder inside the Lesson

Files-AIcs5 1on1 folder. Open the fi le called

Lacemaking.ai.

This document has four layers. The Final Lace layer

shows the fi nal artwork; this will be used as your

guide as you recreate the other bits of art. The Just

Figure 5-74 .

Flat black Rich black

Figure 5-75 .

Figure 5-76 .

169

Circles layer houses the circles you’ll use later in the

exercise; you can ignore it for now. The One Shy

layer contains many of the background elements.

2.

Turn on the One Shy layer. You’ll begin the exercise

with the One Shy layer—so-named because it’s shy

one rounded square from the fi nal art. Turn off the

Final Lace layer by clicking its icon, just to make

sure it stays out of the way. Turn on the One Shy

layer by clicking the leftmost column by its name

in the Layers panel, and make that layer active by

clicking the layer name.

3.

Draw the fi nal rounded square. Select the rounded

rectangle tool by choosing it from the rectangle tool

fl yout menu, as shown in Figure 5-77. Draw from

the upper-left to lower-right corner—with smart

guides enabled, you should snap directly to the

anchor points at the corners—and while holding

the mouse button down, press the  arrow key to

increase the roundness of the rectangle’s corners.

(Depending on whether you had a previous value

for the rounded corners, you may need to hold the

 key down for a little while; if you go too far, press

the  key a few times to nudge the outline back.)

Once your outline looks like that in Figure 5-78,

release the mouse button.

4.

Pick up the live effects from one of the other squares.

The square is the right shape, but it has all the

wrong appearance attributes. If you examine the

other rounded rectangles, you’ll see a lighter edge

along the top and a shadow along the bottom. This

effect is achieved by using two separate drop shad-

ows—both of which are live effects. By default, the

eyedropper tool doesn’t pick up live effects, but that

can be changed easily:

•

Double-click the eyedropper tool in the toolbox.

• In the Eyedropper Options dialog box, shown

in Figure 5-79, select the Appearance check box

in the Eyedropper Picks Up column. Click OK.

Figure 5-77 .

Figure 5-78 .

Figure 5-79 .

170

Lesson 5: Transform and Reshape