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- [Instructor] In this movie,

I'll show you at least one way



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to express surface contours

using a gradient mesh.



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So for example, we're going to

be lighting up these fenders,



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both along the rear

tire and the front one.



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And we're going to add some

highlights on the top of the doors



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and a highlight down here



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near the bottom of the door as well.



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Now, I still have open that

scary Photoshop diagram,



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which is showing how each and every one



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of the mesh points is colored.



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The most important thing at

this point though is to note



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that we have a bunch of

columns that we have to add.



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And in all, including the

first and last column line,



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we've got one, two, three, four, five,



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six, seven, eight, nine, 10.



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And so far,



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we have two,



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so we've got to add eight more.



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All right, I'll go ahead and

switch over to Illustrator,



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and notice that my meshes

layer is twirled open.



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I'll go ahead and scroll

down the list here.



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And I will target this object right here,



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but, for some reason,

Illustrator isn't letting me.



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Notice that I'm clicking

on the circular meatball,



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and nothing is happening.



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I found that the solution was



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to unlock the clipping mask for a moment.



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Now, we may find that we have to relock it



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in order to make it come back again,



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so there seems to be a

little bit of a bug at work.



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All right, I'm going to press the A key



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to switch to my White Arrow tool,



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and I actually want to grab this guy



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and drag its control

handle down a little bit.



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All right, let's start with the

contour of the front fender.



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And so I'll just go ahead

and switch to the Mesh tool,



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which you can get by pressing the U key.



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And then I'll click on

this row line right there



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in order to create this

absolutely crazy column line,



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which isn't really anything

like I want it to be,



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which means that I need to

drag around some mesh points.



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So I'll go ahead and drag this guy down



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while pressing the Shift key



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so that I drag it along the row line.



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I'll go ahead and drag this

guy in just a little as well.



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And I'll zoom in, so I can

adjust the control handle.



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And then I'll grab this guy,



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and I'll drag it while

pressing the Shift key



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until I get, let's say right about here.



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And then I'll drag this control handle up,



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and that's because I

want a nice smooth arc



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at this location.



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And then I'll go ahead and drag this guy



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while pressing the Shift key



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so that it's very close to

the mesh point below it.



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And I'll go ahead and drag

this control handle up actually



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so that we have a little more of an arc.



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And I'll get rid of this

little wiggle right there.



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And I might drag this guy



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while pressing the Shift key

a little farther outward.



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And I'll drag this control handle.



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And so I'm just feeling

my way through this.



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I just want it to be nice and

smooth by the time I get done.



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All right, let's take

this guy and drag him



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while pressing the Shift

key, but of course,



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until we come to about this point here,



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is going to work out nicely.



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And then I'll go ahead and

drag this control handle down,



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and I'll drag this one back up.



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And you know, this is

looking a little bit harsh,



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this transition right here,



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so I'm going to soften things a little bit



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by changing the angle of

these control handles.



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And notice now that we're

getting a much softer effect.



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Then I'll drag this guy

up to about this location,



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let's say, while pressing

the Shift key, of course.



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And I'll drag this one up



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while pressing the Shift key as well



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so that we end up with

an effect like this.



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And I want to move this

guy back to about here.



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That's just going to help some



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of the future points a little bit.



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And I'll drag this one as well.



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So in each and every case,



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I am dragging the mesh point

while pressing the Shift key.



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And you have to do that point

for point because, after all,



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you can't select multiple

points with the Mesh tool.



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Move this guy out just

a little more, like so.



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And now let's add another

column right about here,



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let's say, by clicking on that row line.



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And what we're going to get,

with any luck, is another column



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that emulates the one that

we've already created.



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Now, I'll just go ahead and

Shift drag this point right here



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over to the left, and I'll

adjust the control handles,



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so we get a better transition.



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And I'll go ahead and

Shift drag these guys



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closer down here at the bottom



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so that the two columns

kind of flare apart



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at this location.



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And I might actually drag

this guy out a little farther



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to perhaps right there.



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Maybe this one wants to come

a little farther as well.



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All right, so I'll go ahead

and zoom out a little bit,



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and I'm going to select some points



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and see what their colors are here.



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It looks like all the

guys down at the bottom



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and both of the bottom two rows, in fact,



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should be set to Blue 1,



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so I'll go ahead and

select all those points



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by Shift clicking on 'em.



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And I'll make sure my Fill is

active in the Swatches panel,



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and I'll select Blue 1, like so.



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And we also want these

points to be Blue 1.



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So I'll go ahead and Shift

click on all of them,



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all the ones that are out

here along the outside edge,



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with the exception of the top right point,



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and I'll change them

all to Blue 1 as well.



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All right, now it may surprise you,



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but we want these three points

right here to be Blue 1.



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And the same goes working

our way down for these two.



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And so I'll go ahead and select 'em



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and change them to fill one like so.



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And then I'll select this point,



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although I seem to have missed it,



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but I'll try to grab it again.



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And you can tell, by the way,



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if your cursor is hovering

over a mesh point,



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if you see a little

square next to the arrow.



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So I'll go ahead and click right there



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in order to select that point.



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And I want to Shift

click this guy as well.



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And I'm going to set both

of these points to Blue 3



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in order to create that highlight.



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And you can see that it's

doing a very nice job



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of contouring around that fender.



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All right, I just want to make sure



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that these guys are set to Blue 1.



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I believe they are, but something's wrong,



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so I'll go ahead and select

Blue 1 from the Swatches panel.



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And then I'll select

this point right there,



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and I'll change it to Blue

2, is what we're looking for.



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And then I'll select this guy



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and make sure that it's set to Blue 3



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so that we have this nice

highlight along this edge.



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Now, these two should,

once again, be Blue 1,



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and so I'll just make sure

that's how they're set.



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And I want all of these

points, these three right here,



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to be set to Blue 2, so I'll

go ahead and select them



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and assign that color, like so.



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And then I'm just going to confirm



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that these two points are

White, which they are.



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All right, there's just one

more point I want to check,



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and that's this guy down here.



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So I'll select it by clicking on it



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with the White Arrow tool,



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and I'll make sure that

it's set to Blue 2.



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All right, now I just want to add



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a little bit of a highlight

above this right headlight,



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and so I'll switch to the Mesh tool.



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Again, you can get it

by pressing the U key.



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And I'll click right about there.



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That's going to add this crazy column.



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It really doesn't matter that much.



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And then I'll click again to

create another crazy column.



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And now 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 go ahead and

marquee these points,



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which seems to work fine

for the interior points.



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So notice I'm selecting pretty much



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all of our new mesh points,



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every one except this guy right here.



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Now, I've also managed to

select the clipping path.



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I don't want to do that,

so I will lock it down



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by clicking in the lock column



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in front of the clipping path thumbnail.



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And then I'll change the fill

of all these guys to Black.



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And then I'll select this guy right here,



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and I'll change him to Blue 3



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to add a pretty subtle highlight,



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but that's going to help

it better match the hood.



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All right, we're looking

for a total of 10 columns.



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We currently have six,



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and so we need to create four more



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in order to express the

contour of the rear fender.



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And we're going to be doing

that in the very next movie.