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- [Instructor] In this movie

we're going to take on,



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what I believe is, the

most ambitious project



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I've ever attempted in

an one on one course,



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and that is this car, which includes



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nearly a dozen mesh objects.



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Now, if you're working along with me,



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you may notice some

onscreen idiosyncrasies,



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such as these white lines,

or whatever they are,



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over here next to the gas cap,



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as well as next to the rear door,



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and underneath both of the wheels.



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Now, if you zoom in,



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then some of those problems may go away,



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and others may become worse.



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But, they're not really there,



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and to demonstrate what I'm talking about,



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I went to the file menu, chose export,



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and then chose export as,



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and exported this as a tif image,



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which I will now open up inside Photoshop.



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And, you can see that everything

is looking super smooth,



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with none of those

white lines, whatsoever.



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And, with any luck, that should be the way



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it prints, as well.



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Alright, I'm going to

switch back to Illustrator,



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and we're going to start off



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inside this illustration, right here.



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Now, the reason I'm crediting Dreamstime



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is because of the tracing template.



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And so, I'll just go ahead and turn off



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these layers, right here.



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And, you can see I've got

this photographic image



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that I traced with just

a ton of path outlines



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here inside Illustrator.



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Now, also worth noting,

is that this project



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is complicated enough the way it is, here.



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So, I decided to limit my pallet

to just four global colors,



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which we're seeing in

this car colors group here



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in the swatches panel.



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And, just in case you don't

have access to this file,



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these are the HSB values.



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So, the hue value's 220

degrees, for all four colors,



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and then in the second column,



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we're seeing the saturation values,



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and in this third, we're

seeing the brightness values.



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Just in case, you have any

desire to get similar results.



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Alright, I'm going to go ahead



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and grab this layer, right

here, URL and colors.



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And, I'll drag it and drop it



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onto the trash icon to get rid of it.



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Now, we're going to start things off



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in this movie, by shading

the rear view mirror.



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So, I'll go ahead and

zoom in on it, like so.



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And if you like, you can just click on it,



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but bear in mind if you

selected that checkbox,



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inside the preferences dialogue box,



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this guy right here, object

selection by path only,



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then you're not going to

be able to click inside



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the path to select it.



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Instead you're going to have to click



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on the outline of the path,



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and then just go ahead

and press control plus,



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or command plus, on the Mac,



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a couple of times, to zoom in.



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Now notice, if I go up to the object menu,



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create gradient mesh is dimmed,



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and that's because it's not applicable



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to this specific kind of object.



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Which, as we can see, over

here in the far left side



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of the control panel, is a compound shape.



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And, what that means

is we're going to have



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to turn a few of these paths

into static path outlines.



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Now, the best thing to do in that case,



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before you turn anything

into a mesh object,



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is to make a copy of all

those special objects.



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And, we're going to do that

by selecting the path's layer,



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here inside the layers panel.



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Then you want to click

on the flyout menu icon,



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and choose duplicate paths,



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which is going to duplicate

the entire paths layer.



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Go ahead and turn off the original,



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so you don't mess it up,



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and then double click on an empty portion



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of this new layer.



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Let's go ahead and rename it, meshes,



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and then change the color to gold,



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just because it's going to show up well



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against these blue path outlines.



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Alright, now what you want to do



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is go up to the window menu,



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and chose the path finder command,



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to bring up the path finder panel.



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Now, with any luck the expand

button will be available.



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If it's not, just click off the path,



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and then reselect it, by

clicking on its outline,



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at which point the expand

button should become available,



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in which case, go ahead and click on it.



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Alright, having done that,



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I'll go ahead and hide

the path finder panel.



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You should see the word

path on the far left side



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of the control panel, incidentally.



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And, that'll tell you that you can convert



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this into a mesh object my

going up to the object menu



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and choosing create

gradient mesh, if you like.



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And then, with the preview

check box turned on,



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I'll just go ahead and take

the rows value down to three,



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and that's going to give us two row lines.



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And, then I'll tab to the columns value,



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and I'll take it down to four,



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so that we have three

column lines, like so.



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At least, that's one way to work.



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That's not actually the way

I want to work, however,



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because it's spacing all

those line equidistant



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from each other, so I'm

just going to cancel out.



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And, then I'll grab my mesh tool,



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which tends to be the

more flexible approach,



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and you can get it incidentally

by pressing the U key.



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And now, I'll click to create

a new row, right about here.



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Make sure that you're seeing



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a plus sign next to your cursor,



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and that'll show you that you're creating



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a new row, like so.



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And now, I'll drop down

to right about here,



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where the bottom path intersects



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the rear view mirror, and I'll click.



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And, if you end up getting this effect,



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where you select the wrong object,



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then just press control

Z, or command Z on the Mac



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to undue that change.



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This guy is already filled

with the standard gradient,



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so we don't want to mess it up,



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which is why I'm going to

switch to the isolation mode,



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which you can do by double clicking



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on the path outline with

the black arrow tool.



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Or, if you don't want

to leave the mesh tool,



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then go up to this icon right here,



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isolate selected object, and click on it,



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and that'll isolate this guy, like so.



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Alright, now click right

about here, let's say,



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in order to create a second row,



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and now I want to create a few columns,



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by clicking up here at the top,



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and then clicking over here,



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at this location, and then finally



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I think I'll click over here, like so,



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and you may find that to be a little hard



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because there's that

control handle in the way.



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In which case, drop down to

the bottom of the path outline,



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and click right about here, let's say.



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Alright now, this path was already filled



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with this guy right here, blue one,



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and just to make sure that's the case,



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I'll select my fill attribute

here, in the swatches panel,



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and I'll click the blue one swatch.



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Alright now, let's add a few highlights,



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by pressing the A key, to

get the wide arrow tool,



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and then I'll click on

this guy, let's say,



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and then shift click on these two,



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and I'm going to change

them to blue three,



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which will lighten up things nicely.



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And then, I'll select this point,



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and I'll change it to blue four,



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which is the lightest of those swatches.



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Alright, now notice if I press the V key,



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to switch back to black arrow tool,



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and I click off the path to deselect it,



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I have once again lost my stroke,



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just as we've seen in previous movies.



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To get it back, I'll go

up to the window menu



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and choose the appearance command,



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in order to bring up the appearance panel,



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and then I'll click on that path outline,



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to select it once again.



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I'll drop down to the add new stroke icon



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in the bottom left corner

of the appearance panel,



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or you can press that keyboard shortcut,



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control alt slash, or command

option slash on the Mac.



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A one point line weight is fine,



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but I want the color of

the strobe to be black,



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which it isn't currently.



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It's a kind of weak black,



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in which point we'll end

up with this effect here.



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Alright, now that I'm done,



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I'll just press the escape key,



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in order to exit the isolation mode,



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and by the way, you

can tell you're working



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in the isolation mode, if

I go ahead and double click



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on the path outline, once again.



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Not only because all the

other objects are dimmed,



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but also because we're

seeing this path up here,



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in the top left corner of the window.



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And so, notice we're

working on the meshes layer,



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that's what that means,



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and we're working on this mesh object.



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And so, you can either back out,



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by clicking on this right

pointing arrow head,



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or again, you can just

press the escape key.



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After which, I'll go ahead



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and click off the path to deselect it.



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And again, you don't need to worry



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about those white artifacts.



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But, we do need to worry

about this miter joint.



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I'm not interested in it, so I'll go ahead



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and select the path

outline, and then I'll click



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on the word stroke here

in the appearance panel,



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and I'll change the corner to round join,



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and then I'll go ahead

and round off that corner.



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And then, I'll click off

the path to deselect it.



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And, that's how you add

shading with gradient mesh



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in order to create a volume metric object,



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as well as how you isolate a mesh object,



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here inside Illustrator.