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- [Narrator] In this movie,



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we'll create a basic gradient mesh.



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Specifically, we're going to

draw the body of this bacteria.



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And to get a sense for

what that looks like,



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I'll go up to the view

menu, and choose diagram,



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to switch to that view

that I saved in advance.



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And I'll go ahead and turn

off the diagram layer,



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so that you can see that

it's a kind of lozenge shape,



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that has some shading

over here on the left



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and right hand sides, as

well as through the middle,



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in order to indicate a

light source up above,



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as well as some reflected

light down here at the bottom.



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And this is the kind of stuff



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you can really only pull

off inside Illustrator,



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using a gradient mesh.



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Alright, so I've got this layer

right here, called you draw.



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I'll turn it on, and click on

that layer, to make it active.



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And then, I'll go ahead

and select my ellipse tool,



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from the shape tool fly-out menu,



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and I'll click right

about there, let's say.



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And I'm looking for width and

height values of 274 points.



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At which point, I'll click OK.



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Alright, now I'll press the V key,



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to switch back to my black arrow tool,



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and I'll drag this guy up a little bit.



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And for the moment, I don't

want it to have a fill.



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So, I'll click in the

first swatch up here,



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in the control panel,

and change it to none.



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Alright, now I'll press the enter key,



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or the return key, on the Mac,



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and because the black arrow is selected,



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that brings up the move dialogue box.



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And so I'll change the

horizontal value to 317 points,



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and I'll set the vertical value to zero,



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and click the copy button,



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in order to create a copy of that shape.



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And then, I'll switch to the scale tool,



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which you can get by pressing the S key.



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And I'll press the enter key,

or the return key, on the Mac,



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to bring up the scale dialogue box,



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I'll change the uniform

value to 89%, and click OK.



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Now, obviously, I didn't work this way



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when I created this

artwork in the first place,



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but I've reverse-engineered it,



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so that you and I get the same results.



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Alright, now I'll press the A key,



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to switch to my white arrow tool,



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and I'll marquee these

two anchor points here,



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and I'll press the backspace key,



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or the delete key, on the

Mac, to get rid of them.



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And then I'll press control-J,

or command-J, on the Mac,



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twice in a row, in order to

join those two paths together.



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Alright, now let's go

ahead and fill this shape.



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And so, here inside the color panel,



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complete with my HSB values,



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I'll change the hue value to 200 degrees,



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and I'll set both the saturation



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and brightness values to 100%.



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Alright, now we need to turn this object



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into a gradient mesh, by

going into the object menu,



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and choosing create gradient mesh.



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And by default,



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you're going to see four

rows, and four columns.



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And notice, all of the rows

and columns are evenly spaced.



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And notice this appearance

option right here.



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By default, it's set to flat,



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which means that all of the mesh points



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are colored in the same way,



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so that you're not

really seeing a gradient.



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If you want to rough in the

gradient from the get-go,



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then change appearance, either to center,



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at which point, you'll see a highlight



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in the center of the shape,

or to edge, at which point,



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you'll see a highlight around the edge.



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And you can determine how

bright that highlight is,



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by entering a different highlight value.



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In my case, however, I want to

leave appearance set to flat,



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and I'm looking for a total

of 10 rows, and no columns.



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The lowest value you can enter is one.



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The reason I don't want any columns,



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is because I don't want the

columns to be regularly spaced.



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I want to have more columns



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over on the left and right-hand side,



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and a big empty area in the center.



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At which point, I'll click OK.



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Alright, now to add those

columns, switch to the mesh tool,



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which you can get by pressing the U key.



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And then, click right about there.



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Because we want to add a column,

you want to click on a row.



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Any row will do,



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but you want to make sure

you click on the row,



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not slightly off of it, in which case,



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you're going to create both

a new column and a new row,



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which is not what we want.



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So press control-Z, or command-Z,



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on the Mac, to undo that change.



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And click on a row, like so.



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And you can't click on a

control handle, by the way,



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so if a control handle gets in your way,



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just move over a little bit,



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to create a column in this location.



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And then move back, to

create a column right here.



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Make sure you're seeing a

plus sign next to your cursor,



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by the way, and that'll show you



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that you're about to create a new row,



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or, in my case, a column.



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Alright, so I'll create a new guy here,



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I'll create one here,



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and then I'll create

one in between, like so.



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Alright, now comes the fun part,



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where we color all of these mesh points,



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which is why I've created

this diagram in advance,



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just so that you can see what's going on.



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So notice that we're starting



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with a hue value of 200 degrees,



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and saturation and brightness

values of 100% each.



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We've already performed that step.



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And now what we're going to need to do



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is select these red mesh points,



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and change their brightness to 60%.



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Take these orange ones, down

here, and up here as well,



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and set them to 70%.



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And then we've got a couple of mesh points



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that we're going to set to 75%, and so on.



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And by the way, every single one



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of our modifications is

entirely symmetrical,



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just to make things a little bit easier.



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And then all of these

diagonal mesh points,



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that have strokes, are

saturation modifications.



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So in the case of the

brightness modifications,



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we're modifying the brightness value,



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and only the brightness value.



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We're leaving hue and saturation alone.



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Where the saturation

adjustments are concerned,



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we're leaving hue and brightness alone.



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So I just want you to

see this, in advance.



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You can come back to it, as well,



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because I'm going to be

moving pretty quickly,



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through these changes.



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Alright, so I'll go ahead and

turn those two layers off,



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and I'll bring back my you draw layer.



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And then I'll switch back

to my white arrow tool.



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The reason being, if I

try to select this shape



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using the mesh tool, I

add a new row and column,



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as we're seeing right here.



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I don't want that, so

I'll press control-Z,



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or command-Z, on the Mac.



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And I'll switch to my white arrow tool,



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which, of course, you can

get by pressing the A key.



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Then you just want to go

ahead and select the shape.



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Alright, now what I want to do



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is marquee a bunch of

mesh points at a time.



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However, if I try to do that,

then I'm going to mess things up,



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by dragging a mesh patch around,

as you can see right here.



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So I'll press control-Z,

or command-Z, on a Mac,



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to undo that change.



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And so I'll press control-K,

or command-K, on a Mac,



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to bring up the preferences dialogue box.



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I'll select the second

item in the left-hand list,



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and I'll turn on object

selection by path only,



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which is a great setting,



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when you're working with gradient mesh.



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After which, I'll click OK.



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And now notice, I can

marquee these points,



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in this row, directly

below the middle one.



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And notice that I'm

selecting all of the points,



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except the extreme ones.



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The extreme one over here,

on the left-hand side,



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and the right-hand side.



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And now, I'll select the brightness value,



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and change it to 60%.



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I'll marquee that next row down,



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like so, to grab all of its points,



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and apparently, I missed

these guys over here,



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so I will try again.



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And then I'll also shift-click

on these two mesh points,



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and shift-click on these guys over here.



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And I'll take the brightness value



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down to 70%, this time around.



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Next, I'll select this mesh point,



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and shift-click on this one, so again,



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all the modifications are symmetrical,



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and now I'll reduce the

brightness value to 75%.



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And the reason I'm working this way,



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is that I'm trying to create

a nice, smooth transition.



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And so you have to do some

fill-ins, every once in a while,



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because after all,

you're ultimately working



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inside a kind of rectilinear grid.



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And so if you're trying to

create smooth, curving shading,



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then you're going to have to resort to



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a little bit of trial and error,



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which of course, I have

performed in advance.



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Alright, so I'm going to select this guy,



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and shift-click on this one,



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and then I also want this point,



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so I'll shift-click on

it, and it's opposite,



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over here on the right-hand side.



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And I'll shift-click on this point,



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and I'll shift-click on this one.



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And then, I'll select

the brightness value,



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and take it down to 80%.



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Alright, now we want to

select these two points,



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right there, and then you

want to select these two.



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So they're almost on top

of each other, right there.



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And then I'll shift-click on this one,



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and this one, as well.



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And I'll go ahead,



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and take the brightness

value down to 90%, this time.



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And then, finally, where the

brightness are concerned,



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I'll click on this guy,

shift-click on this guy,



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and then drop down to this point,



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shift-click on it, and

shift-click on this one,



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and I'll take the brightness

values down to 95%.



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Press the enter key, or the return key,



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on the Mac, to accept that change.



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And now, press control-H,

or command-H, on the Mac,



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just so you can see how far we've come.



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And it looks like we're getting



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some very smooth transitions.



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Alright, now I want to

create some hot spots,



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a few highlights.



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The thing is, most of the mesh

points are already maxed out,



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where the brightness value is concerned.



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Which means, to brighten things further,



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we're going to have to

reduce the saturation value.



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Because, after all, as

you reduce saturation,



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you add, more or less,



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equal amounts of red,

green, and blue light,



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which brightens the color.



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Alright, so I'll press control-H,

or command-H, on a Mac,



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to bring back my selection edges.



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And I'll click on this point,

and shift-click on this one,



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and now, I'll reduce the

saturation value to 60%,



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which is going to give us

this bright band, right here.



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Alright, now I want to

taper things a little bit,



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so I'll select this mesh point,



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shift-click on this one,

shift-click on these two,



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and then I'll shift-click

on this one, and this one,



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way down here, in the bottom row.



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And then, I'll take the saturation value,



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this time, down to 80%, and

I'll press the enter key,



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or the return key, on the

Mac, to accept that change.



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And then, finally, I'll

get this guy right there,



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and shift-click on this one,



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and I'll take the saturation

value down to 90%,



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and press the enter key, or

the return key, on the Mac.



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And now, if I click off the path,



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you can see that we have some very nice,



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if subtle, highlights.



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Alright, now I'll press

control-zero, or command-zero,



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on the Mac, to center my zoom.



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00:10:03.05 --> 00:10:06.07

And I'll press the V key, to

switch to my black arrow tool.



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00:10:06.07 --> 00:10:09.02

I'll go ahead and turn

on the template layer,



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00:10:09.02 --> 00:10:10.02

down here at the bottom.



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00:10:10.02 --> 00:10:14.08

And I'll meatball it, in order

to target the entire layer.



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And I'll take its opacity

value down to 50%.



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If you loaded D keys,



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all you have to do is press the five key,



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00:10:21.04 --> 00:10:23.04

in order to invoke that change.



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00:10:23.04 --> 00:10:24.09

And then, I'll lock the layer,



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in order to protect it from harm.



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00:10:28.05 --> 00:10:31.02

And now I'll select the

shape that I just created.



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And by the way,



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00:10:32.02 --> 00:10:34.00

because you turned on

that preference setting,



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object selection by path only,



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you can't just necessarily

click inside the path,



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00:10:38.07 --> 00:10:40.04

in order to select it.



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00:10:40.04 --> 00:10:42.07

You need to click on it's outline.



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00:10:42.07 --> 00:10:44.05

Alight, now we want to

rotate it into place,



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00:10:44.05 --> 00:10:45.09

by grabbing the rotate tool,



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00:10:45.09 --> 00:10:47.05

which you can get by pressing the R key,



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00:10:47.05 --> 00:10:49.09

and then press the enter key,

or the return key, on the Mac.



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00:10:49.09 --> 00:10:54.05

And I came up with a jaunty

angle value of 21.5 degrees,



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00:10:54.05 --> 00:10:57.04

after which point, I'll click

OK, to accept that change.



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00:10:57.04 --> 00:11:00.04

I'll press the V key, to switch

back to my black arrow tool,



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00:11:00.04 --> 00:11:05.07

and I'll drag this guy into

the desired location, like so.



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00:11:05.07 --> 00:11:08.04

And now, I'll turn off the template layer,



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00:11:08.04 --> 00:11:10.03

and I'll turn on the rear stuff layer,



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00:11:10.03 --> 00:11:13.02

and then I'll turn on the

front stuff layer, as well.



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00:11:13.02 --> 00:11:15.03

And notice if I click off the shape,



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00:11:15.03 --> 00:11:18.01

that I have lost my stroke.



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00:11:18.01 --> 00:11:19.07

And that's something that happens,



283

00:11:19.07 --> 00:11:23.07

the second that you convert an

object into a gradient mesh.



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00:11:23.07 --> 00:11:25.06

Now, you might figure

to restore the stroke,



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00:11:25.06 --> 00:11:28.02

you could just go ahead

and select the object.



286

00:11:28.02 --> 00:11:30.02

And then notice, we don't

have a line weight value,



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00:11:30.02 --> 00:11:31.06

up here in the control panel,



288

00:11:31.06 --> 00:11:33.06

but I can see my stroke panel right here,



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00:11:33.06 --> 00:11:35.08

so I'll change the line

weight to one point.



290

00:11:35.08 --> 00:11:39.04

At which point, I ruin the

effect. I lose everything.



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00:11:39.04 --> 00:11:41.02

Which, obviously, isn't what I want,



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00:11:41.02 --> 00:11:43.00

so I'll undo that change,



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00:11:43.00 --> 00:11:44.07

and then I'll go up to the window menu,



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00:11:44.07 --> 00:11:47.04

and choose the appearance command.



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00:11:47.04 --> 00:11:51.01

Notice that I have a mesh object selected.



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00:11:51.01 --> 00:11:53.09

And so I'll drop down to

the add new stroke icon,



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00:11:53.09 --> 00:11:56.06

and click on it, or you

have that keyboard shortcut,



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00:11:56.06 --> 00:12:01.01

of control-alt-slash, or

command-option-slash, on the Mac.



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00:12:01.01 --> 00:12:02.07

And that's going to go

ahead and, by default,



300

00:12:02.07 --> 00:12:06.02

add a black, one point stroke,

which is exactly what I want.



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00:12:06.02 --> 00:12:08.06

And so, now notice, if

I click off the shape,



302

00:12:08.06 --> 00:12:11.08

that I have reinstated that stroke.



303

00:12:11.08 --> 00:12:14.02

Now, I'll go ahead and press

the up key, a couple times,



304

00:12:14.02 --> 00:12:16.02

to switch to the full screen mode.



305

00:12:16.02 --> 00:12:19.00

And that, my friends, is

how you shade an object,



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00:12:19.00 --> 00:12:22.01

using a very basic gradient mesh,



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00:12:22.01 --> 00:12:24.01

here inside Illustrator.