1

00:00:00.05 --> 00:00:01.04

- [Instructor] Alright, before we get



2

00:00:01.04 --> 00:00:02.05

to the actual chapters,



3

00:00:02.05 --> 00:00:05.07

I wanna squeeze in a movie

here in order to show you



4

00:00:05.07 --> 00:00:08.09

one of the most exciting new

features inside Illustrator,



5

00:00:08.09 --> 00:00:10.06

and that is Puppet Warp.



6

00:00:10.06 --> 00:00:12.06

Now, Puppet Warp allows you to apply



7

00:00:12.06 --> 00:00:17.04

freeform distortions just by

creating and dragging pins.



8

00:00:17.04 --> 00:00:20.04

It first appeared as a motion

feature inside After Effects.



9

00:00:20.04 --> 00:00:23.06

It's also available in

Photoshop as a command.



10

00:00:23.06 --> 00:00:26.05

Inside Illustrator, it's

available as a tool.



11

00:00:26.05 --> 00:00:27.07

And so the first thing you wanna do



12

00:00:27.07 --> 00:00:29.06

is select a path outline.



13

00:00:29.06 --> 00:00:31.04

And so I'll just go ahead

and click on this guy,



14

00:00:31.04 --> 00:00:33.07

which is actually one big compound path,



15

00:00:33.07 --> 00:00:36.05

as witnessed by the words "compound path"



16

00:00:36.05 --> 00:00:39.02

over here on the far left

side of the control panel.



17

00:00:39.02 --> 00:00:42.03

And it comes to us from the

Dreamstime image library,



18

00:00:42.03 --> 00:00:44.05

about which you can learn

more and get some great deals



19

00:00:44.05 --> 00:00:47.08

and dreamstime.com/deke.php,



20

00:00:47.08 --> 00:00:50.08

and they've got tons of vectors available



21

00:00:50.08 --> 00:00:53.01

both as EPS and .ai files,



22

00:00:53.01 --> 00:00:55.05

sometimes complete with dynamic effects,



23

00:00:55.05 --> 00:00:58.03

meaning that you can

easily grab those vectors



24

00:00:58.03 --> 00:01:01.00

and integrate them into your own artwork.



25

00:01:01.00 --> 00:01:02.05

Alright, now I'll go ahead and switch



26

00:01:02.05 --> 00:01:06.00

to my Puppet Warp tool,

which looks like a pushpin,



27

00:01:06.00 --> 00:01:08.02

and notice that my

anchor points disappear,



28

00:01:08.02 --> 00:01:11.06

so that I can better

focus on what I'm doing.



29

00:01:11.06 --> 00:01:13.01

Now, you may see a little bit of animation



30

00:01:13.01 --> 00:01:14.05

as well as some advice,



31

00:01:14.05 --> 00:01:18.01

including the notion that

you need three or more pins



32

00:01:18.01 --> 00:01:19.05

to get good results.



33

00:01:19.05 --> 00:01:20.09

Which isn't necessarily true,



34

00:01:20.09 --> 00:01:22.08

so let me show you what's going on here.



35

00:01:22.08 --> 00:01:26.04

I'm gonna click to set a pin

right here at this elbow.



36

00:01:26.04 --> 00:01:29.03

And notice when I do,

I've got a pin, of course,



37

00:01:29.03 --> 00:01:31.09

but I'm also seeing this

mesh of gray triangles,



38

00:01:31.09 --> 00:01:34.04

which shows me the area of the object



39

00:01:34.04 --> 00:01:37.02

that's being affected at

any given moment in time,



40

00:01:37.02 --> 00:01:40.02

and it also shows me the degree

of detail that's at work.



41

00:01:40.02 --> 00:01:43.03

Now, if I were to drag

this lone pin around,



42

00:01:43.03 --> 00:01:44.09

I would move the entire object.



43

00:01:44.09 --> 00:01:46.04

So I'm not applying any distortion



44

00:01:46.04 --> 00:01:48.06

until I set a second pin,



45

00:01:48.06 --> 00:01:51.01

which I will set at this other elbow.



46

00:01:51.01 --> 00:01:53.03

And now notice if I drag this pin,



47

00:01:53.03 --> 00:01:56.00

the other one remains stationary



48

00:01:56.00 --> 00:01:59.00

and everything else distorts.



49

00:01:59.00 --> 00:02:01.00

So we're seeing a little bit of distortion



50

00:02:01.00 --> 00:02:02.04

over here in the left-hand wing.



51

00:02:02.04 --> 00:02:04.09

We're seeing a little bit in

the right-hand wing as well,



52

00:02:04.09 --> 00:02:07.02

but most of the distortion is occurring



53

00:02:07.02 --> 00:02:08.08

between the two pins.



54

00:02:08.08 --> 00:02:11.02

And so if you wanna lock down the details,



55

00:02:11.02 --> 00:02:12.03

such as the shoulders,



56

00:02:12.03 --> 00:02:15.01

then just go ahead and

lay down a couple of pins.



57

00:02:15.01 --> 00:02:17.08

And now notice if I drag this wing around



58

00:02:17.08 --> 00:02:22.01

that the rest of the

skeleton is more stationary



59

00:02:22.01 --> 00:02:23.07

at least than it was before.



60

00:02:23.07 --> 00:02:26.08

And so now I might put a

pin down here at the hips,



61

00:02:26.08 --> 00:02:30.00

and that way I can make this

guy dance back and forth



62

00:02:30.00 --> 00:02:31.02

as we're seeing here.



63

00:02:31.02 --> 00:02:32.08

Another option is to move your cursor



64

00:02:32.08 --> 00:02:34.04

out slightly from the pin,



65

00:02:34.04 --> 00:02:37.05

while keeping it inside

of this dotted circle.



66

00:02:37.05 --> 00:02:40.00

At which point, notice you

get a little rotate cursor.



67

00:02:40.00 --> 00:02:43.03

And so if I were to drag, I

would rotate, in this case,



68

00:02:43.03 --> 00:02:46.08

the ribs and the legs around that pin.



69

00:02:46.08 --> 00:02:49.03

And now I can just go ahead

and set some more pins



70

00:02:49.03 --> 00:02:51.00

in order to move this leg out



71

00:02:51.00 --> 00:02:53.01

and move this leg out as well.



72

00:02:53.01 --> 00:02:55.03

So just bear in mind that

you're using the pins



73

00:02:55.03 --> 00:02:59.00

not only to move certain

portions of a path outline,



74

00:02:59.00 --> 00:03:02.06

but to keep other areas

stationary as well.



75

00:03:02.06 --> 00:03:05.01

And so I'll go ahead and set one guy here,



76

00:03:05.01 --> 00:03:08.03

and then I could rotate this

hand up and down if I want.



77

00:03:08.03 --> 00:03:11.03

I could do the same with

this hand if I like.



78

00:03:11.03 --> 00:03:12.09

I could even stretch the skull.



79

00:03:12.09 --> 00:03:15.04

I'll go ahead and set one

pin here and another here,



80

00:03:15.04 --> 00:03:19.01

and now notice that I can

drag these guys outward



81

00:03:19.01 --> 00:03:21.04

in order to stretch the face.



82

00:03:21.04 --> 00:03:24.03

Also notice if I set another

pin up here at the top



83

00:03:24.03 --> 00:03:28.07

that I immediately apply a

little bit of distortion.



84

00:03:28.07 --> 00:03:30.09

So keep an eye out for that as well.



85

00:03:30.09 --> 00:03:32.09

Alright, let's take a look at what happens



86

00:03:32.09 --> 00:03:35.03

when you're working with

multiple path outlines.



87

00:03:35.03 --> 00:03:37.05

I'll go ahead and press Shift + PgDn



88

00:03:37.05 --> 00:03:39.04

in order to advance to the next art board.



89

00:03:39.04 --> 00:03:41.08

And I'll switch back to

the black arrow tool,



90

00:03:41.08 --> 00:03:43.04

which I can get by pressing the V key.



91

00:03:43.04 --> 00:03:46.02

And I'll click on this central fish path.



92

00:03:46.02 --> 00:03:49.03

Notice that it exists

independently of the fins.



93

00:03:49.03 --> 00:03:50.09

So I'll go ahead and put

it back where it was,



94

00:03:50.09 --> 00:03:53.00

and I'll Shift + Click

on the fins like so.



95

00:03:53.00 --> 00:03:55.07

So we have a total of

three path outlines in all.



96

00:03:55.07 --> 00:03:57.09

And now I'll switch back

to the Puppet Warp tool,



97

00:03:57.09 --> 00:03:59.07

at which point my anchor points disappear,



98

00:03:59.07 --> 00:04:02.00

and that's just so you can

better see what's going on.



99

00:04:02.00 --> 00:04:05.01

And now I'll go ahead and set

a pin right here in his face,



100

00:04:05.01 --> 00:04:08.08

one over here in the spine,

and one in the tail as well.



101

00:04:08.08 --> 00:04:11.03

And now if I were to drag the face pin,



102

00:04:11.03 --> 00:04:14.04

notice that the spine is

moving back and forth.



103

00:04:14.04 --> 00:04:17.05

It's deforming, that is to

say, down and then upward.



104

00:04:17.05 --> 00:04:19.06

The tail is moving a little bit as well,



105

00:04:19.06 --> 00:04:21.09

but the fins are remaining stationary.



106

00:04:21.09 --> 00:04:24.07

And that's because, notice

if I undo that change,



107

00:04:24.07 --> 00:04:26.05

that the triangular mesh right here



108

00:04:26.05 --> 00:04:28.04

is not extending from the skeleton



109

00:04:28.04 --> 00:04:31.08

up into or down into the fins.



110

00:04:31.08 --> 00:04:33.06

And so what you need to do in that case,



111

00:04:33.06 --> 00:04:35.00

if you want everything to move together,



112

00:04:35.00 --> 00:04:37.05

is to increase the expand mesh value.



113

00:04:37.05 --> 00:04:38.09

And I'm just gonna go ahead



114

00:04:38.09 --> 00:04:41.06

and take that value up to 20, let's say.



115

00:04:41.06 --> 00:04:45.06

And now if I were to drag

the face up and down,



116

00:04:45.06 --> 00:04:49.04

I would move the fins

along with everything else.



117

00:04:49.04 --> 00:04:52.05

And so now I'll just go ahead

and move the spine down,



118

00:04:52.05 --> 00:04:53.03

and I'll take the tail up.



119

00:04:53.03 --> 00:04:55.01

And you can use Puppet

Warp in order to add



120

00:04:55.01 --> 00:04:56.06

a little bit of expression.



121

00:04:56.06 --> 00:04:59.02

And so I'll go ahead and

set a pin right there



122

00:04:59.02 --> 00:05:00.05

at the top of the eye,



123

00:05:00.05 --> 00:05:03.07

and I'll drag it down in order

to make that eye angrier.



124

00:05:03.07 --> 00:05:07.01

I'll go ahead and create a pin

in the nose and lift it up,



125

00:05:07.01 --> 00:05:09.03

and I'll create another

pin down here at the chin



126

00:05:09.03 --> 00:05:13.03

and move it downward in

order to open up that jaw.



127

00:05:13.03 --> 00:05:16.02

And then, as soon as I switch

back to the black arrow tool,



128

00:05:16.02 --> 00:05:18.01

you can see the effect applied.



129

00:05:18.01 --> 00:05:19.06

Alright, now we're gonna move on



130

00:05:19.06 --> 00:05:22.00

to a very complicated piece of artwork.



131

00:05:22.00 --> 00:05:24.02

This skull right here, once again,



132

00:05:24.02 --> 00:05:25.03

comes to us from Dreamstime.



133

00:05:25.03 --> 00:05:27.09

And so notice if I click on this path



134

00:05:27.09 --> 00:05:30.00

that we actually have a ton



135

00:05:30.00 --> 00:05:32.02

of different path outlines going on.



136

00:05:32.02 --> 00:05:34.04

And so you could try to select them all



137

00:05:34.04 --> 00:05:37.00

and then make sure that

they bend together,



138

00:05:37.00 --> 00:05:39.05

once again using that expand mesh value.



139

00:05:39.05 --> 00:05:42.00

But in this case, you're

better off just combining



140

00:05:42.00 --> 00:05:43.02

all of the path outlines



141

00:05:43.02 --> 00:05:45.04

by first selecting them all.



142

00:05:45.04 --> 00:05:48.02

Which you can do, where

this document is concerned,



143

00:05:48.02 --> 00:05:49.08

by clicking in the top-left corner



144

00:05:49.08 --> 00:05:53.04

of this big skull layer here

inside the layers panel.



145

00:05:53.04 --> 00:05:55.06

Notice that it goes ahead

and selects all those paths.



146

00:05:55.06 --> 00:05:57.06

And then you can either

group them together,



147

00:05:57.06 --> 00:05:59.08

or in my case I could combine them



148

00:05:59.08 --> 00:06:02.02

into a single compound path.



149

00:06:02.02 --> 00:06:04.04

Alright, now I'll go ahead and once again



150

00:06:04.04 --> 00:06:05.07

switch to my Puppet Warp tool,



151

00:06:05.07 --> 00:06:08.00

and I'll go ahead and lay down some pins.



152

00:06:08.00 --> 00:06:11.02

Now, because this is a much

more complicated object,



153

00:06:11.02 --> 00:06:14.06

it is gonna work a little

more slowly as well.



154

00:06:14.06 --> 00:06:17.00

And so I'll create some pins over here



155

00:06:17.00 --> 00:06:17.09

at the top of the skull,



156

00:06:17.09 --> 00:06:20.07

and I might create another

one down here at the snout.



157

00:06:20.07 --> 00:06:22.03

Alright, now what I wanna do



158

00:06:22.03 --> 00:06:24.01

is I wanna move the horns outward.



159

00:06:24.01 --> 00:06:25.05

And you can see what I mean,



160

00:06:25.05 --> 00:06:27.03

because this object is so complicated,



161

00:06:27.03 --> 00:06:30.02

things are happening a little more slowly.



162

00:06:30.02 --> 00:06:32.02

And so really what's

up is that Illustrator



163

00:06:32.02 --> 00:06:34.06

takes a moment to catch up with me.



164

00:06:34.06 --> 00:06:37.09

And so I'll go ahead and

drag this guy upward like so.



165

00:06:37.09 --> 00:06:40.01

And everything's working

pretty hunky dory so far,



166

00:06:40.01 --> 00:06:44.01

but notice what happens if

I drag on this left horn.



167

00:06:44.01 --> 00:06:46.06

I not only move out this pin



168

00:06:46.06 --> 00:06:48.05

and drag the horn along with it,



169

00:06:48.05 --> 00:06:50.06

but things become even more evident



170

00:06:50.06 --> 00:06:51.07

if I move this guy out.



171

00:06:51.07 --> 00:06:54.04

Notice that I end up stretching the eye,



172

00:06:54.04 --> 00:06:55.07

which is not what I want.



173

00:06:55.07 --> 00:06:56.09

So I'll go ahead and undo



174

00:06:56.09 --> 00:06:59.01

those last couple of modifications



175

00:06:59.01 --> 00:07:01.07

by pressing Ctrl + Z or

Command + Z on the Mac



176

00:07:01.07 --> 00:07:03.00

a couple of times.



177

00:07:03.00 --> 00:07:05.01

The problem here is once again the mesh.



178

00:07:05.01 --> 00:07:07.03

So pay attention to how it's formed.



179

00:07:07.03 --> 00:07:09.06

Notice that the mesh from the eye



180

00:07:09.06 --> 00:07:11.00

is getting caught on the horn.



181

00:07:11.00 --> 00:07:14.09

So what you wanna do is take

this expand mesh value down.



182

00:07:14.09 --> 00:07:17.03

So it's a contract mesh value in my case.



183

00:07:17.03 --> 00:07:19.00

I wanna take it down to zero,



184

00:07:19.00 --> 00:07:21.05

but actually the lowest you can go is one.



185

00:07:21.05 --> 00:07:24.09

Alright, now I'll just go

ahead and zoom out once again,



186

00:07:24.09 --> 00:07:27.04

and I will drag this horn like so.



187

00:07:27.04 --> 00:07:31.02

And notice that I do not

end up affecting the eye,



188

00:07:31.02 --> 00:07:34.04

even if I drag this portion as well.



189

00:07:34.04 --> 00:07:36.03

Then I'm gonna go ahead and drag this guy



190

00:07:36.03 --> 00:07:38.04

up and to the left.



191

00:07:38.04 --> 00:07:39.07

And one more thing I should note.



192

00:07:39.07 --> 00:07:42.00

If you decide you don't

want a pin anymore,



193

00:07:42.00 --> 00:07:44.05

then just go ahead and

click on it to select it,



194

00:07:44.05 --> 00:07:47.00

and then press the Backspace

key here on the PC.



195

00:07:47.00 --> 00:07:49.06

That would be the Delete key on a Mac.



196

00:07:49.06 --> 00:07:52.07

And that'll go ahead and get

rid of that specific pin.



197

00:07:52.07 --> 00:07:54.04

In my case, I wanna keep it, however,



198

00:07:54.04 --> 00:07:56.00

so I'll just go ahead and press Ctrl + Z,



199

00:07:56.00 --> 00:07:59.03

or Command + Z on the Mac,

to undo that deletion.



200

00:07:59.03 --> 00:08:01.03

Then I'll press the V key to switch back



201

00:08:01.03 --> 00:08:02.06

to my black arrow tool,



202

00:08:02.06 --> 00:08:04.06

and I'll click off that very complicated



203

00:08:04.06 --> 00:08:06.09

compound path to deselect it.



204

00:08:06.09 --> 00:08:09.05

And that's how you tale

advantage of the new



205

00:08:09.05 --> 00:08:12.08

and, I believe, terribly

exciting Puppet Warp tool



206

00:08:12.08 --> 00:08:17.02

here inside the most recent

version of Illustrator CC.