Best way to make drawings from scratch line

Hi and I apologize if one fundamental question, but I created a complex illustration, and I wonder if there is a faster way to go of are first attached image to the second transparent. I feel like I spend a lot of monotonous time, following a model less before and make a compound path to set the black background for a new series of carvings. All black in the picture is a filled shape, encompassing the whole of the back of the hotel, while white is white fill blocking the black space, or other white objects below.

How can I clean up my Act? Or what would be a better strategy from the beginning to achieve a transparent line drawings?

I sincerely thank you for your answers, I'm losing too much time here, I know. Happy to clarify any details left!sam1.jpgsam2.jpg

Your basic problem is you aren't working methodically and planning as you go. You draw a large number of paths willy-nilly until the whole drawing is "done" just in terms of how it looks on the screen and thinking you look just with how inevitiable decisions it revolves on a technical level subsequently. You discover that you have created a number of unwieldy and confusing objects that you hope to solve in constructions more simple (so predictable) understandable in last step.

It is much better to have in mind what kind of constructions and General Organization, you want to end up with and work toward that, completely finishing (cutting, Union, etc.) each developed in consequence article you go. This way you avoid the confusion between yourself and creating extra work later when you think you are finished with the line work and wishes to draw the fills. While you work, always keep in mind what type of objects you create: every path is either open or closed, filled or unfilled, striped or contour, simple or compound.

Drawings like this can be organized in different ways. None are 'good' or 'bad '; but you created frustration are time consuming when you are unable to plan for her:

  • All the line drawings fully trimmed, without resorting to the fillings in a box 'hide' unwanted portions of the book of the line in another area. A stack separated from outline of the objects behind the line work to create the color fill. (This method can greatly simplify the issue of trapping). Some users still prefer to create all the fillings on one or more separate layers (although it is not necessary to do so).
  • The linework drew more willy-nilly, intending to use the LivePaint make adjusting, completing later. Some users live and die by this method. I have not, because all these invariably automated routines create what would otherwise be unnecessary additional anchorPoints, and resulting simply fills "kiss" of their work to the adjacent string, rather than their base. Which may require more elaborate trapping.
  • Work to the chain and shared by the same paths fillings. Sections of the work dealt with in distinct groups (Group of helmet, visor group, etc.) An advantage to work in this way, it is that the overlaps resulting allow the relative position of the parts to be tweaked later.

Yet once, it is not a method of organization is good or bad; the fact is that, like it or not, the vector drawing is all about creating a battery of independent objects. It is fundamentally different from the "painting" in a raster imaging program. By its very nature, it imposes a need intelligent Organization of this stack. So you are always much better at least generally this inevitable organization planning, no matter which scheme you choose. Unceremoniously to the design approach is antithetical to the nature of the vector drawing.

For example, consider the designs of the sheet on the visor. You attract them (evident in your screenshot of second and third), spread in an adjacent area where you intend to be partially hidden by a white fill in front of them. There is nothing of strictly 'evil' to work in this way (although I think it is messy), but it suggests that you want to build your drawing according to the third organizational scheme described above. But that conflicts with your tent to correctly solve your line work through automated routines (mode strokes, Boolean path operations plan) later whidh is more suitable for the first method of organization described above. To use these automated features will result in some places, the unwanted portions to re - appear as the stack object changes (as you can see it occurred in your third-party screenshot). So now you have things to cut away. You have created extra work for yourself.

Where you are, based on your first screenshot, you can try this:

  1. Select all
  2. Object > path > outline strokes
  3. Select all
  4. Pathfinder palette: Merge (unions touch fills with the same color and overlapping objects of a different color in punch)
  5. Make the necessary adjustment and correction of the unwanted stuff that was previously hidden.
  6. Make the necessary corrections of the sense of the trace or winding or mixture to return rule fills voids or vice versa.
  7. Create your objects to fill behind the line work, or use trace to create.

Due to the number of runaway from the paths that you drew, you have lot to do all of the steps above. If so, try to work in several "sections". for example, with the black marquee pointer select through a half or a third of the drawing, do the steps, then repeat for the other third, and so on.

And don't worry... After you did this kind of tedious cleaning afterwards on a few projects, you will begin to understand the principles of advance planning in the organizational structure of your drawings and start that keeping in mind as you proceed. We've all been there.

IE7

Tags: Illustrator

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