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- In this movie, we'll
finish off the smoke

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by connecting that
first arc to the spiral.

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We'll do so once again using the Arc Tool

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but this time we'll modify
the curvature of that arc

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using the White Arrow.

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The first thing I want you
to do is click on that arc

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in order to lift its fill
and stroke attributes

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so that the line weight
appears as 30 points

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up here in the Control Panel.

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Now, go ahead and select the Arc Tool,

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either from your floating toolbar

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or by clicking and holding on
what is now the Spiral Tool

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and selecting the Arc
Tool from the flyout menu.

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Now, go ahead and drag
from this point right there

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and notice that I'm seeing
the arc at the wrong angle.

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So you don't press "r" for reflect

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because that's what the
fancy Spiral Tool does.

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The Arc Tool is just a plain
Joe so you press the "f" key

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in order to flip the line

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and then go ahead and drag down

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until you snap into alignment

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with the beginning of the spiral, like so.

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All right, now, we need to adjust

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the curvature of this path.

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What I want you to do is
turn on the guides layer

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in order to bring back the guides

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so you can once again select them.

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Then I want you to press the "v" key

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to switch back to the Black Arrow Tool

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and click in the factory to select it.

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All right, now, I want to find the center

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of this path outline

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and the best way to do that
is to go up to the Window menu

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and choose Attributes

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to bring up the tiny
Attributes Panel right here.

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Then if you're not seeing all the options,

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if you're just seeing these
two overprint check boxes,

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go ahead and click on
the double arrow icon

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next to the word Attributes

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to reveal the rest of the panel.

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And this is the guy you want, Show Center.

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Go ahead and click on
that icon right there

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to find the center of the path outline.

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All right, having done
that, you can go ahead

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and hide the Attributes Panel.

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Now, we want to add another guide

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so click on the guides
layer to make it active

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and then press ctrl + r

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or cmd + r on the Mac
to bring up the rulers.

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And go ahead and drag a new
guide from the vertical ruler

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until it snaps into alignment

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with that center point
that you just created.

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All right, now, you can press ctrl + r

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or cmd + r again to hide the rulers

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and then go ahead and once
again click on the lines layer

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here inside the Layers
Panel to make it active.

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All right, now, we're going to zoom in

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on this arc right here

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so that we can see it
a little more clearly.

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What I want you to do is
switch to the White Arrow Tool,

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again, you can get it
by pressing the "a' key,

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and I want you to take care
to click on the path outline,

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right here, the one that
goes through the center

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of this stroke.

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You're going to see it highlighted in red,

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assuming that you're Smart
Guides are turned on.

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At which point, you're going
to see these guys right here,

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these levers that are ending
in circular control handles.

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Now, we'll be seeing a lot of
these guys in future chapters

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but for now, I just want you to see

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that they control the
curvature of the path.

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See this vertical one right there?

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If you drag it down, like so,

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you're going to compress
that path outline,

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you're going to move its
curvature down into the right.

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What I want you to do is move
it all the way down to here,

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press the shift key to constrain
the angle of that lever

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to exactly horizontal

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and then go ahead and snap into alignment

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with that vertical guide that
you just got done creating

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and then release.

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You'll end up with this
curving segment right here

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that first curves down into the right

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and then curves up into the left, like so.

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All right, now, if that's the first time

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you've ever seen control handles,

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it may seem awfully strange

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but rest assure that we will
see much, much more of them

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in future chapters.

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All right, now, what we need to do

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is join these path outlines together.

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The best to do that is
to go ahead and marquee

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this intersection right there
with the White Arrow Tool

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in order to select
these two anchor points.

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These are said to be coincident
anchor points, by the way,

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because there's one anchor point
directly on top of another,

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they're occupying the same space.

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Now, to join them,

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you can go up to the Object menu,

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choose Path and then choose Join.

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But if you do that, you're
going to join them in such a way

102
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that these two control handles right here,

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this long one on the left-hand side

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and the short one on the right-hand side,

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are not locked into
alignment with each other.

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The better way to work is to
just escape out of that menu

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and then press the top-secret shortcut.

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This is the only way to make
this happen, I'm afraid.

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And that is what I call mash your fist

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which is all of the modifier keys down,

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ctrl + shift and alt here on a PC

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and cmd + shift and opt on the Mac,

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along with "j".

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What that's going to do is bring up

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the Join dialogue box right there.

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Again, that's mash your fist + j,

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gets you the Join dialogue box

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with just two options, Corner and Smooth.

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You want Smooth, just trust me on this,

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we're going to see lots
more of this later,

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click OK.

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What that does, watch now,

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if I drag one of these control handles,

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the opposite one moves as well

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which ensures that we
have a smooth transition

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through this anchor point.

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All right, I don't want to move

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that control handle, however,

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so I'll just go ahead and press ctrl + z

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or cmd + z on the Mac to
put it back where it was.

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Now, I'll marquee these two
coincident anchor points.

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Again, coincident means one anchor point

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is directly on top of another,

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they occupy the exact same
horizontal and vertical space.

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And then press that
keyboard shortcut again,

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ctrl + shift + alt + j

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or cmd + shift + otp + j on the Mac,

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brings up the Join dialogue box

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at which point you select Smooth,

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click OK and you're good to go.

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All right, now, just go ahead
and click off the path outline

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to deselect it

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and I'll press ctrl + 0

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or cmd + 0 on the Mac to center my zoom.

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I'm also going to turn off my guides layer

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so that I can focus on the
artwork without any distraction.

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At which point, you'll
notice a big difference

148
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with what we have so far and
the final piece of artwork.

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That is that our artwork

150
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is not properly centered in the art board

151
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which is a problem that we will address

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in the next movie.