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- [Instructor] In this movie,



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we are going to take

on the body of the car,



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which is currently expressed

as a compound shape.



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And the reason it's a compound shape



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is because I had to cut

a hole through the window



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so that we could see through

it to the interior of the car,



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and I also had to cut holes

for both of the wheels.



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Now, I've gone ahead and made a diagram



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of what this gradient mesh

is going to look like.



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It's not going to be quite this scary,



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although there is a fair

amount of stuff going on.



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Anytime where you see an arrow,



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that means, for example,



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white spans the entire row.



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And then we've got a few rows



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that are spanned entirely by blue one.



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Now, the most important

thing to note at this point



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is that we have a total of 11 row lines



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if you count the top and the bottom.



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And so notice here we've got one, two,



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three, four right together,



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five, six, seven right together,



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eight, nine, 10 right together,



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and then 11 down here at the bottom.



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And we're going to make

use of that information



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in this very movie.



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All right, so I'll switch back

to my illustration so far.



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We already know that you

can't turn a compound shape



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into a gradient mesh,



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and so at the very least,



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we need to expand it to

create a compound path.



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So, and I'll do that by

going to the Window menu



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and choosing the Pathfinder menu.



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And then you want to click

on the Expand button.



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If it's dimmed,



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just click off the path

and click on it again,



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and then click on Expand,



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and that is going to

convert the compound shape



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into a compound path.



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So in other words,



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we got rid of the wheel paths,



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we just cut them away,



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and the window's now just serving



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as your everyday average hole.



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Problem is,



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if I return to the Object menu,



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you can see Create Graded

Mesh is still dimmed,



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and that's because

meshes are not compatible



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with compound paths



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any more than they are compound shapes.



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And so what do we do?



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Well, the answer is to fill the shape



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with a very precise gradient



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and then convert that

gradient into a mesh.



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All right, so I'm going to

switch back to Photoshop



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where I have open yet another diagram here



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which shows the gradient

that we're about to create.



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And notice, if you will,



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that there are as many color stops



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as there are rows in that final artwork.



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So in other words,



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we're looking at a total

of 11 color stops in all,



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and as you might imagine,



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I did a lot of measuring



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in order to figure out these values.



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I'll switch back to Illustrator.



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Here we go.



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I'm going to bring up the gradient panel,



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which is already expanded,



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and I'm going to drag it out here



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just so I have a little more room to work.



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And you can see that I've

made it nice and wide.



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Make sure that the fill is active



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here inside the gradient panel,



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and then what you want

to do is grab blue one



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from the swatches panel



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and drag it and drop it all the way over



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to the left-hand side of this gradient,



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and then grab white



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and drag it and drop it



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over on the right-hand

side of the gradient,



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so we have this kind of

washed-out blue to white artwork.



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And I just want you to see

it over here on the screen.



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We obviously need more

color stops in this,



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and so I'll go ahead and

bring this guide back



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so that we can see both it



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and the swatches panel,



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and then I'm going to make a

copy of this blue one swatch



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by Alt or Option + dragging it,



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and I ultimately want it to appear



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at a location of 8%,



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and then I'll Alt or

Option + drag another copy,



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and this time I'll set the

location value to exactly 15%.



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Now we want to create a color

stop in between those two,



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and so I'll grab the blue two swatch



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and I'll drag it and drop it in between,



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and I'm looking for this

guy to be set to 11%,



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like so.



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All right, now I'll make

another copy of blue one



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and I'll Alt or Option + drag it



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until I get a location value of 30%,



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which you may have to enter manually.



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And then I'll grab blue

three this time around



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and I'll drag it and drop it



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to pretty close to the other color stop.



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I really want the location to be 33%.



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All right, now I'll Alt

or Option + drag this guy.



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And this is the blue one stop, by the way.



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And I'll set its location to 43%.



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And then I'll Alt or Option

+ drag another one of it



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and I'll set its location to 53%.



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And then I'll Alt or Option + drag



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this blue one stop right there



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until I reach a location of

48% is what I'm looking for.



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We've only got one more,



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and so I'll just go ahead

and make a copy of this guy,



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so I'm Alt or Option + dragging

the blue three color stop,



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and I'm going to change the location



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to exactly 80% this time around.



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And you should end up with

one, two, three, four,



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five, six, seven, eight,

nine, 10, 11 color stops.



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All right, I'll go ahead



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and put the gradient

panel back where it goes



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just to tidy up the screen a little bit.



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Now, I really don't want the gradient



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just going from left to right,



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as we're seeing right now.



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I want it to go up and to the right.



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And so one way to work



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would be to get the gradient tool



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and then just drag



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from this bottom corner of

the wheel well right there



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up and to the right, like so,



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at which point you'll

see these bands of color



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tracing the artwork more or

less the way we'd like it to be.



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However, I want things



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to be a little more precise than that,



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so I'm going to press Control + Z



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or Command + Z on the

Mac to undo that change,



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and I'm just going to

change the angle value



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here inside the gradient panel



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to 73 degrees is what I came up with.



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And that way, as you can see,



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these bands of color are tracing the car



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more or less the way they are



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in the final version of the artwork.



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So we've already done

a ton of work upfront.



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That's going to save us a lot

of effort in the long run.



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All right, now I'll go ahead



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and switch back to the black arrow tool,



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which you can get by pressing the B key.



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Now, I put a lot of

effort into that gradient,



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and so I don't want to lose it,



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which is why I'm going

to create a copy of it



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by pressing Control + C, Control + F.



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That's Command + C,

Command + F on the Mac.



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In order to copy the shape



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and paste it in front.



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And then I'll go ahead and

twirl open this message layer.



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It's going to be located

way down here at the bottom.



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So you might go ahead and

name this guy Gradient



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if you want to



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just so that you remember what it is.



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And then I'll turn it off

so I don't mess it up.



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And now I'll make sure the

copied artwork is selected



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and I'll go up to the Object menu



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and choose the Expand command.



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And that's going to bring

up the Expand panel.



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You don't need to expand the stroke



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so you can turn that off.



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Go ahead and make sure fill is turned on



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and Expand Gradient To

is set to Gradient Mesh,



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and then click OK.



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That's going to result in a group,



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as we're seeing over

here on the far left side



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of the control panel,



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which you want to ungroup

by going to the Object menu



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and choosing the Ungroup command,



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or you can just press Control + Shift + G,



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Command + Shift + G on the Mac.



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And that's going to give us a

couple of extra path outlines,



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one for the outside of the car



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and one for the window.



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We don't need either of them,



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so 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 go ahead and twirl open



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this clipping group right here



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and select the top object,



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which is the clipping mask,



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and let's go ahead and

give it a stroke of black.



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We want a one point line weight,



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so that's great.



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Notice that we've got two

gradient meshes going on



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inside this clipping mask.



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One is the one we want.



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Notice it's nice and wide.



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And the other is the one we don't want.



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Not really sure why it's here,



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but we really don't want it.



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So press the Backspace key



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or the Delete key on the

Mac to get rid of it.



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And then go ahead and target this guy,



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which is the actual mesh object.



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So to answer the big question here,



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if you want to put a gradient

mesh into a compound path,



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you have to start with a gradient



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and then expand it.



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All right, now press the A key



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in order to switch to

the white arrow tool,



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and what I want to do is

take these guys right here



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and skew them.



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And so I'm going to select

each one of these mesh points



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by Shift + clicking on them.



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Notice these guys right here.



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I'll go ahead and Shift

+ click on all of them.



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And then I'll switch to the shear tool



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and I'll go ahead



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and Alt or Option +

click right about there,



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and I'll make sure the

preview checkbox is on,



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and then I'll increase

that shear angle value.



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Problem is right now I'm shearing

along the horizontal axis.



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I want a vertical axis.



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And so I'll go ahead and select vertical.



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A shear angle of seven

degrees is too much,



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so I'll go ahead and reduce

that value to, let's say,



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five degrees in order to

produce this effect here



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so that we're exactly matching the angle



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of this portion of the car,



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and then I'll click OK.



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All right, now I want to move

these points in a little bit,



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so I'll press the A key



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to switch back to my white arrow tool,



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and I'll click and Shift +

click on these guys, like so,



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and then I'll just drag along the line.



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I want to make sure



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that I'm not messing

up its angle too much.



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And then I'll Shift + click

on this one to turn it off,



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and I'll drag these guys

farther in, like so.



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And again, I'm just

trying to eyeball things.



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And I'll go ahead and grab this guy



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and drag him in, as well.



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And we want to make sure

that our control handles



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aren't getting too close together,



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and so I'll just go ahead



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and drag one of them.



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Unfortunately I ended up

selecting that rocket panel,



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and so I'm going to lock

the panel object here,



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and I'm actually going

to meatball this guy,



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the actual mesh object,



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



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choose Lock,



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and choose All Artwork Above,



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just so that these other

objects don't get in my way.



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All right, now I'll select this guy again,



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and I'll back off the

control handles a little bit,



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00:09:17.01 --> 00:09:17.09

like so.



258

00:09:17.09 --> 00:09:19.01

I just don't want them to cross,



259

00:09:19.01 --> 00:09:21.00

'cuz that's going to mess things up later.



260

00:09:21.00 --> 00:09:24.01

And now I'll drag this guy back, like so,



261

00:09:24.01 --> 00:09:25.06

and drag this one in, as well,



262

00:09:25.06 --> 00:09:28.06

and then I'll do the

same for this segment,



263

00:09:28.06 --> 00:09:32.06

although it's not really

as severely effective.



264

00:09:32.06 --> 00:09:34.05

All right, now I want

to do something similar



265

00:09:34.05 --> 00:09:36.07

for these five rows right here,



266

00:09:36.07 --> 00:09:38.06

and so I'll go ahead and click on this guy



267

00:09:38.06 --> 00:09:41.08

and Shift + click on each one of these.



268

00:09:41.08 --> 00:09:44.04

I accidentally ended up

selecting the clipping path,



269

00:09:44.04 --> 00:09:46.06

so I'm going to lock it, as well,



270

00:09:46.06 --> 00:09:47.08

and see if that helps.



271

00:09:47.08 --> 00:09:49.03

And I'll Shift + click on this guy,



272

00:09:49.03 --> 00:09:50.07

and I'm just going to go ahead



273

00:09:50.07 --> 00:09:52.06

and drag these guys, like so,



274

00:09:52.06 --> 00:09:53.05

this time around,



275

00:09:53.05 --> 00:09:55.09

so that I have a little extra wiggle room



276

00:09:55.09 --> 00:09:58.00

where the gradient mesh is concerned.



277

00:09:58.00 --> 00:09:58.08

In other words,



278

00:09:58.08 --> 00:10:00.08

I want the mesh to be bigger

then the clipping mask.



279

00:10:00.08 --> 00:10:01.08

And now I'll click



280

00:10:01.08 --> 00:10:03.09

and Shift + click on

each one of these guys,



281

00:10:03.09 --> 00:10:05.00

like so,



282

00:10:05.00 --> 00:10:09.07

and I will drag them up

a little bit, as well.



283

00:10:09.07 --> 00:10:12.04

And what I'm trying to

do is match the angle



284

00:10:12.04 --> 00:10:14.07

of this seam line right here.



285

00:10:14.07 --> 00:10:17.06

And if we really want to simulate

a little bit of perspective,



286

00:10:17.06 --> 00:10:19.08

you probably want to

select those two points.



287

00:10:19.08 --> 00:10:22.04

Problem is marqueeing doesn't

seem to work for this,



288

00:10:22.04 --> 00:10:24.08

and so I'll just go ahead

and meatball the mesh again



289

00:10:24.08 --> 00:10:27.01

and click this guy and

Shift + click this one,



290

00:10:27.01 --> 00:10:29.04

and I'll just nudge those points up



291

00:10:29.04 --> 00:10:31.08

by pressing the up arrow key a few times



292

00:10:31.08 --> 00:10:33.03

so that we get an angle



293

00:10:33.03 --> 00:10:35.08

that's somewhere in between

that of the rows above



294

00:10:35.08 --> 00:10:38.09

and those of the rows below.



295

00:10:38.09 --> 00:10:39.08

And then I'll just go ahead



296

00:10:39.08 --> 00:10:42.00

and select this point right there,



297

00:10:42.00 --> 00:10:43.05

and I'll Shift + click on this one,



298

00:10:43.05 --> 00:10:46.09

and I want to give myself a

little more room above the hood.



299

00:10:46.09 --> 00:10:50.05

And then this guy I want

to drag down, like so.



300

00:10:50.05 --> 00:10:52.01

Just moving him down by himself.



301

00:10:52.01 --> 00:10:56.00

And then I'm going to drag

this control handle up



302

00:10:56.00 --> 00:10:58.07

so that I'm more or less

matching the contour



303

00:10:58.07 --> 00:11:01.06

of the hood of the car.



304

00:11:01.06 --> 00:11:02.08

And that's enough to get us started,



305

00:11:02.08 --> 00:11:05.01

so I'll just click off

the car to deselect it



306

00:11:05.01 --> 00:11:07.07

and I'll press Control + zero

or Command + zero on the Mac



307

00:11:07.07 --> 00:11:09.07

to center my zoom.



308

00:11:09.07 --> 00:11:11.06

All right, so that more or less takes care



309

00:11:11.06 --> 00:11:14.02

of all the rows that we're going to need,



310

00:11:14.02 --> 00:11:15.04

but as you can see here,



311

00:11:15.04 --> 00:11:17.07

we're also going to

need a bunch of columns,



312

00:11:17.07 --> 00:11:21.08

and I'm going to show you how

to make those in the next movie.