- [Instructor] In this movie, I'll show you at least one way
to express surface contours using a gradient mesh.
So for example, we're going to be lighting up these fenders,
both along the rear tire and the front one.
And we're going to add some highlights on the top of the doors
and a highlight down here
near the bottom of the door as well.
Now, I still have open that scary Photoshop diagram,
which is showing how each and every one
of the mesh points is colored.
The most important thing at this point though is to note
that we have a bunch of columns that we have to add.
And in all, including the first and last column line,
we've got one, two, three, four, five,
six, seven, eight, nine, 10.
And so far,
we have two,
so we've got to add eight more.
All right, I'll go ahead and switch over to Illustrator,
and notice that my meshes layer is twirled open.
I'll go ahead and scroll down the list here.
And I will target this object right here,
but, for some reason, Illustrator isn't letting me.
Notice that I'm clicking on the circular meatball,
and nothing is happening.
I found that the solution was
to unlock the clipping mask for a moment.
Now, we may find that we have to relock it
in order to make it come back again,
so there seems to be a little bit of a bug at work.
All right, I'm going to press the A key
to switch to my White Arrow tool,
and I actually want to grab this guy
and drag its control handle down a little bit.
All right, let's start with the contour of the front fender.
And so I'll just go ahead and switch to the Mesh tool,
which you can get by pressing the U key.
And then I'll click on this row line right there
in order to create this absolutely crazy column line,
which isn't really anything like I want it to be,
which means that I need to drag around some mesh points.
So I'll go ahead and drag this guy down
while pressing the Shift key
so that I drag it along the row line.
I'll go ahead and drag this guy in just a little as well.
And I'll zoom in, so I can adjust the control handle.
And then I'll grab this guy,
and I'll drag it while pressing the Shift key
until I get, let's say right about here.
And then I'll drag this control handle up,
and that's because I want a nice smooth arc
at this location.
And then I'll go ahead and drag this guy
while pressing the Shift key
so that it's very close to the mesh point below it.
And I'll go ahead and drag this control handle up actually
so that we have a little more of an arc.
And I'll get rid of this little wiggle right there.
And I might drag this guy
while pressing the Shift key a little farther outward.
And I'll drag this control handle.
And so I'm just feeling my way through this.
I just want it to be nice and smooth by the time I get done.
All right, let's take this guy and drag him
while pressing the Shift key, but of course,
until we come to about this point here,
is going to work out nicely.
And then I'll go ahead and drag this control handle down,
and I'll drag this one back up.
And you know, this is looking a little bit harsh,
this transition right here,
so I'm going to soften things a little bit
by changing the angle of these control handles.
And notice now that we're getting a much softer effect.
Then I'll drag this guy up to about this location,
let's say, while pressing the Shift key, of course.
And I'll drag this one up
while pressing the Shift key as well
so that we end up with an effect like this.
And I want to move this guy back to about here.
That's just going to help some
of the future points a little bit.
And I'll drag this one as well.
So in each and every case,
I am dragging the mesh point while pressing the Shift key.
And you have to do that point for point because, after all,
you can't select multiple points with the Mesh tool.
Move this guy out just a little more, like so.
And now let's add another column right about here,
let's say, by clicking on that row line.
And what we're going to get, with any luck, is another column
that emulates the one that we've already created.
Now, I'll just go ahead and Shift drag this point right here
over to the left, and I'll adjust the control handles,
so we get a better transition.
And I'll go ahead and Shift drag these guys
closer down here at the bottom
so that the two columns kind of flare apart
at this location.
And I might actually drag this guy out a little farther
to perhaps right there.
Maybe this one wants to come a little farther as well.
All right, so I'll go ahead and zoom out a little bit,
and I'm going to select some points
and see what their colors are here.
It looks like all the guys down at the bottom
and both of the bottom two rows, in fact,
should be set to Blue 1,
so I'll go ahead and select all those points
by Shift clicking on 'em.
And I'll make sure my Fill is active in the Swatches panel,
and I'll select Blue 1, like so.
And we also want these points to be Blue 1.
So I'll go ahead and Shift click on all of them,
all the ones that are out here along the outside edge,
with the exception of the top right point,
and I'll change them all to Blue 1 as well.
All right, now it may surprise you,
but we want these three points right here to be Blue 1.
And the same goes working our way down for these two.
And so I'll go ahead and select 'em
and change them to fill one like so.
And then I'll select this point,
although I seem to have missed it,
but I'll try to grab it again.
And you can tell, by the way,
if your cursor is hovering over a mesh point,
if you see a little square next to the arrow.
So I'll go ahead and click right there
in order to select that point.
And I want to Shift click this guy as well.
And I'm going to set both of these points to Blue 3
in order to create that highlight.
And you can see that it's doing a very nice job
of contouring around that fender.
All right, I just want to make sure
that these guys are set to Blue 1.
I believe they are, but something's wrong,
so I'll go ahead and select Blue 1 from the Swatches panel.
And then I'll select this point right there,
and I'll change it to Blue 2, is what we're looking for.
And then I'll select this guy
and make sure that it's set to Blue 3
so that we have this nice highlight along this edge.
Now, these two should, once again, be Blue 1,
and so I'll just make sure that's how they're set.
And I want all of these points, these three right here,
to be set to Blue 2, so I'll go ahead and select them
and assign that color, like so.
And then I'm just going to confirm
that these two points are White, which they are.
All right, there's just one more point I want to check,
and that's this guy down here.
So I'll select it by clicking on it
with the White Arrow tool,
and I'll make sure that it's set to Blue 2.
All right, now I just want to add
a little bit of a highlight above this right headlight,
and so I'll switch to the Mesh tool.
Again, you can get it by pressing the U key.
And I'll click right about there.
That's going to add this crazy column.
It really doesn't matter that much.
And then I'll click again to create another crazy column.
And now I'll press the A key
to switch back to my White Arrow tool.
And I'll go ahead and marquee these points,
which seems to work fine for the interior points.
So notice I'm selecting pretty much
all of our new mesh points,
every one except this guy right here.
Now, I've also managed to select the clipping path.
I don't want to do that, so I will lock it down
by clicking in the lock column
in front of the clipping path thumbnail.
And then I'll change the fill of all these guys to Black.
And then I'll select this guy right here,
and I'll change him to Blue 3
to add a pretty subtle highlight,
but that's going to help it better match the hood.
All right, we're looking for a total of 10 columns.
We currently have six,
and so we need to create four more
in order to express the contour of the rear fender.
And we're going to be doing that in the very next movie.