Adobe Illustrator CS WOW! desktop publishing software User manual

Blends, Gradients & Mesh
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Introduction
Blends
Gradients
Gallery: Rick Barry / DeskTop Design Studio
Examining Blends: Learning When to Use Gradients or Blends
Shades of Blends: Creating Architectural Linear Shading
Galleries: Janet Good, Gary Ferster, Linda Eckstein,
Peter Cassell, Steven Stankiewicz
Unlocking Realism: Creating Metallic Reflections with Blends
Galleries: Jared Schneidman, Andrea Kelley
Unified Gradients: Redirecting Fills with the Gradient Tool
Galleries: Filip Yip, Hugh Whyte, Caryl Gorska, Tim Webb
Rolling Mesh: Converting Gradients to Mesh and Editing
Advanced Technique: Mastering Mesh:
Painting with Areas of Color Using Mesh
Galleries: Ma Zhi Liang, Yukio Miyamoto
Blends, Gradients & Mesh
BLENDS
"W" Blend tool
"G" Gradient tool
The speed of the blend
To control the speed of the blend,
create the blend and set the number of blend steps. This creates
the blend spine, which is editable
just like any other Illustrator path.
Using the Convert Anchor Point
tool, pull out control handles from
the anchor point at each end of
the blend spine. By extending or
shortening these control handles
along the spine, the speed of the
blend is controlled. This is very
similar to how blend speeds are
controlled in a gradient mesh.
—Derek Mah
Recolor after expanding blends
If you've expanded a blend, you
can use filters to recolor blended
objects. Direct-select and recolor
the fill for the start and/or end
objects, then select the entire
blend and choose Filter>Colors>
Blend Front to Back. Your objects'
fill colors will reblend using the
new start and end colors (this
won't affect strokes or compound
paths). Also try Blend Horizontally
or Vertically, Adjust Colors, and
Saturate.
Note: This doesn't work if your
blend includes gradients.
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Think of blends as a way to "morph" one object's shape
and/or color into another. You can create blends between
multiple objects, and even gradients or compound paths
such as letters (see the Drawing & Coloring chapter for
more on compound paths). Blends are live, which means
you can edit the key objects' shape, color, size, location, or
rotation, and the resulting in-between objects will automatically update. You can also distribute a blend along a
custom path (see details later in this chapter).
Note: Complex blends require a lot of RAM when drawing
to the screen, especially gradient-to-gradient blends.
The simplest way to create a blend is to select the
objects you wish to blend and choose Object >Blend >
Make. The number of steps you'll have in between each
object is based on either the default options for the tool,
or the last settings of the Blend Options (discussed in the
following section). Adjust settings for a selected blend by
selecting the blend, then double-clicking the Blend tool
(or via Objects >Blend >Blend Options).
A more reliable method of creating smooth blends
between two individual paths is to point map using the
Blend tool. (Keep in mind that a smooth blend will only
occur between two individual paths—as opposed to
compound paths or groups—that have the same number
of selected points.) First, select the two objects that you
want to blend (with the Group Selection tool), then use
the Blend tool to point map by clicking first on a selected
point on the first object, and then on the correlating
selected point on the second object.
When a blend first appears, it's selected and grouped.
If you Undo immediately, the blend will be deleted, but
your source objects remain selected so you can blend
again. To modify a key object, Direct-select the key object
first, then use any editing tool (including the Pencil,
Smooth, and Erase tools) to make your changes.
Blend Options
To specify Blend Options as you blend, use the Blend
tool (see the point map directions in the previous section) and press the Option/Alt key as you click the second
point. To adjust options on a completed blend, select it
and double-click the Blend tool (or Object > Blend > Blend
Options). Opening Blend Options without any blend
selected sets the default for creating blends in this work
session; these Options reset each time you restart.
• Specified Steps specifies the number of steps between
each pair of key objects. Using fewer steps results in
clearly distinguishable objects, while a larger number of
steps results in an almost airbrushed effect.
• Specified Distance places a specified distance between
the objects of the blend.
• Smooth Color allows Illustrator to automatically calculate the ideal number of steps between key objects in a
blend, in order to achieve the smoothest color transition.
If objects are the same color, or are gradients or patterns,
the calculation will equally distribute the objects within
the area of the blend, based on their size.
• Orientation determines whether the individual blend
objects rotate as they follow the path's curves. Align to
Path (the default, first icon) allows blend objects to rotate
as they follow the path. Align to Page (the second icon)
prevents objects from rotating as they're distributed along
the path's curve (objects stay "upright" as they blend
along the curve).
Blends along a Path
There are two ways to make blends follow a curved path.
The first way is to Direct-select the spine of a blend (the
path automatically created by the blend) and then use
the Add/Delete Anchor Point tools, or any of the following tools, to curve or edit the path: the Direct Selection,
John Kanzler created the fairy (top) with
multi-object blends and a replaced spine; Rick
Henkel used gradient-to-gradient blends for
the pedestal of his table (see his explanation in
"Henkel-Flared Effect.ai," on the Wow! CD for
full details)
To blend or not to blend.
In addition to blending between
individual paths, or groups of
objects, you can also blend between symbols (see the Brushes
& Symbols chapter for more on
symbols), or between Point type
objects (see the Type chapter
for more on Point type objects).
Some of the objects that you can't
include in a blend are meshes, raster images, and type objects that
aren't Point type. One last tip:
When blending between objects
containing brushes, effects, and
other complex appearances, the
effect options are blended, which
can help you create interesting
animations (see the Web & Animation chapter for more on how
to export animations).—Teri Petit
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Lasso, Convert Anchor Point, Pencil, Smooth, or even the
Erase tool. As you edit the spine of the blend, the blend
objects will automatically be redrawn to align to the
edited spine.
The second way is to replace the spine with a customized path: Select both the customized path and the blend,
and choose Object > Blend > Replace Spine. This command
moves the blend to its new spine.
It's a bit tricky, but you can also blend between multiple objects. Create your first set of objects and Group
them ( -G/Ctrl-G). Next, select this group. Then hold
down Option/Alt and drag off a copy (making sure that
you release your mouse button before releasing the keyboard—see "A Finger Dance" in the Zen of Illustrator
chapter for help). Select both sets of grouped objects, and
click on the first group with the Blend tool. Then hold
Option/Alt as you click on the second group to specify the
number of steps. As long as you maintain the same number of points, you'll get a predictable blending between
the groups. Once the objects are blended, you can rotate
and scale them, and use the Direct Selection tool to edit
the objects or the spine. (See "SteuerSharon-Pumpkin
Blend.ai" on the Wow! CD.)
Groups of objects blended into each other
(pumpkins into pumpkins, shadows into shadows) using the Align to Path orientation. Specified Distance, and the "spines" edited into S
curves (for more about blends see "SteuerSharon-Pumpkin Blend.ai" on the Wow! CD)
Reverse Front to Back
To reverse the order of a blend
with only two key objects, Directselect one of the key objects and
Reversing, Releasing, and Expanding Blends
Once you've created and selected a blend, you can do any
of the following:
• Reverse the order of objects on the spine by choosing
Object > Blend > Reverse Spine.
• Release a blend (Object > Blend > Release) if you wish
to remove the blended objects between key objects and
maintain the spine of the blend (be forewarned—you may
lose grouping information!).
choose Object > Arrange, or for
any blend choose Object >Blend >
Reverse Front to Back.
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• Expand a blend to turn it into a group of separate,
editable objects. Choose Object >Expand.
GRADIENTS
To insert objects into a blend
Gradients are color transitions. To open the Gradient palette: double-click the Gradient tool icon on the Toolbox,
or choose Window > Gradient. Gradients can be either
radial (circular from the center) or linear.
To apply a gradient to an object, select the object and
click on a gradient swatch in the Swatches palette. To
view only gradient swatches, click on the gradient icon at
the bottom of the Swatches palette.
To start adjusting or creating a new gradient, click on
the gradient preview in the Gradient palette. Only after
clicking on the preview will you see the color stops and
midpoints. Make your own gradients by adding and/or
adjusting the stops (pointers representing colors) along
the lower edge of the gradient preview, and adjust the
midpoint between the color stops by sliding the diamond
shapes along the top of the preview.
You can adjust the length, direction, and centerpoint
location of a selected gradient. In addition, you can apply
a gradient to multiple selected objects across a unified
blend by clicking and dragging with the Gradient tool
(see the "Unified Gradients" lesson later in this chapter,
and for a lesson incorporating radial gradients, see Laurie Grace's "Distort Filter Flora" lesson in the Drawing &
Coloring chapter). Hint: A special feature of the Gradient
palette is, even if it's docked with other palettes, you can
expand it both taller and wider so you can get a better view
of the Gradient bar.
To create the illusion of a gradient within a stroke,
convert the stroke to a filled object (Object >Path > Outline Stroke). You can use this method to create a "trap"
for gradients (for more about this technique of trapping
gradients, see the Christopher Burke Gallery in the Drawing & Coloring chapter).
To turn a gradient into a grouped, masked blend, use
Object >Expand (see the Advanced Techniques chapter for
more on masks and masked blends).
Direct-select a key object and
Option/Alt-drag to insert a new
key object (the blend will reflow)
that you can Direct-select and
edit. You can also insert new objects by dragging them into the
blend in the Layers palette.
Reset gradients to defaults
After you select an object that
has an altered gradient angle (or
highlight), new objects you draw
will have the same altered angle.
To "re-zero" gradient angles,
Deselect All and fill with None by
pressing the "/" key. When you
next choose a gradient, angles
will have the default setting. Or,
for linear gradients, you can type
a zero in the Angle field.
Adding color to your gradient
• Drag a swatch from the Color or
Swatches palette to the gradient slider until you see a vertical
line indicating where the new
color stop will be added.
• If the Fill is a solid color, you can
drag color from the Fill icon at
the bottom of the Toolbox.
• Hold down the Option/Alt key
to drag a copy of a color stop.
• Option/Alt-drag one stop over
another to swap their colors.
• Click the lower edge of a gradient to add a new stop.
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GRADIENT MESH
If you see an amazing photorealistic image created in
Illustrator, chances are it was created using gradient
mesh. A mesh object is an object on which multiple colors
can flow in different directions, with smooth transitions
between specially defined mesh points. You can apply a
gradient mesh to a solid or gradient-filled object (but you
can't use compound paths to create mesh objects). Once
transformed, the object will always be a mesh object, so
be certain that you work with a copy of the original if it's
difficult to re-create.
The amazing work with mesh only starts in
this chapter—don't miss the additional mesh
artwork in the Advanced Techniques chapter—
including this work by Yukio Miyamoto (cat) and
Ann Paidrick (olives and tomatoes) !
Expanding
Get back your (mesh) shape!
Items such as gradients, meshes,
When you convert a path to a mesh, it's no longer a
blends, and patterns are com-
path, but a mesh object. To extract an editable path
plex and can't be used to define
from a mesh, select the mesh object, choose Object >
other complex art unless the art
Path > Offset Path, enter 0, and press OK. If there are
is Expanded first using Object >
too many points in your new path, try using Object >
Expand. Once expanded, you can
Path >Simplify (for more on Simplify see "Map Tech-
use the objects within the art to
niques" in the Brushes chapter). —Pierre Louveaux
define a brush, pattern, or blend.
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Transform solid filled objects into gradient mesh
objects either by choosing Object >Create Gradient Mesh
(so you can specify details on the mesh construction) or
by clicking on the object with the Mesh tool. To transform a gradient-filled object, select Object >Expand and
enable the Gradient Mesh option.
Use the Mesh tool to add mesh lines and mesh points
to the mesh. Select individual points, or groups of points,
within the mesh using the Direct Selection tool or the
Mesh tool in order to move, color, or delete them. For
details on working with gradient meshes (including a
warning tip about printing mesh objects), see Galleries
and lessons later in this chapter, and see the Advanced
Techniques chapter as well. Hint: Instead of applying a
mesh to a complex path, try to first create the mesh from
a simpler path outline, then mask the mesh with the more
complex path.
Chapter 7 Blends, Gradients & Mesh
Rick Barry / DeskTop Design Studio
To demonstrate the difference between blends
them. The objects used to create the blends
and gradients, Rick Barry took an image he
remained, and Barry filled these objects with
created in Illustrator (upper left Preview mode,
custom gradients and then adjusted the rate
lower left Outline mode), selected the blends
and range of the gradients with the Gradient
(by clicking twice with the Group Selection
tool (upper right Preview mode, lower right
tool on one of the blend objects) and deleted
Outline mode).
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Examining Blends
Learning When to Use Gradients or Blends
Overview: Examine your objects;
for linear or circular fills, create basic
gradients; for contouring fills into
complex objects, create blends.
You need to take a number of factors into consideration
when you're deciding whether to create color transitions
with blends or gradients. Steve Hart's magnifying glass,
created for Time magazine, is a clear-cut example that
demonstrates when to use gradients or blends.
Adjusting the placement of colors, and then rate
of color transition in the Gradient palette
Selecting a gradient from the Swatches palette
and setting the gradient Angle
One gradient duplicated and altered for application to different related objects
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1 Designing gradients. Select an object you'd like to fill
with a linear gradient. Open the Gradient palette. Click
on the gradient icon at the bottom of the Swatches palette.
Choose Name from the Swatches pop-up menu and click
on the "White, Black" gradient. This minimal gradient
has two colors: white (at the left) and black (at the right).
Click on the left gradient slider to display its position on
the scale from 0-100% (in this case 0%). Move the slider
to the right to increase the percentage displayed in the
scale, and increase the black area of the gradient. Click
on the bottom edge of the scale to add additional pointers. Click on a slider to access its numeric position, or to
change its color or tint. Between every two pointers is a
diamond icon indicating the midpoint of the color transition (from 0-100% between each color pair). Grab and
drag a diamond to adjust the color transition rate, or type
a new position into the percent field.
2 Storing and applying gradients and making adjustments. To store a new gradient you've made within a
selected object, hold Option or Alt and click the New
Swatch icon and name your gradient. Hart filled his magnifying glass handle with a gradient set at a 135° angle (in
the Gradient palette). He created slightly different variants for gradients representing the metal rings around
the outside, along the inside, and inside behind the glass.
To create variants of a current gradient, make color
adjustments first, then Option-click/Alt-click the New
Swatch icon to name your new gradient. Although you
can experiment with changing the angle of a gradient, be
forewarned that continued adjustments to a gradient in
the Gradient palette will not update the gradient stored in
the Swatches palette! (See the intro to this chapter.)
With the Blend tool, clicking first on a selected
point of one path, then Option I Alt-clicking on
a selected point of the other to open Blend Options; choosing Specified Steps from the
pop-up and entering 20; the blended objects
3 Using blends for irregular or contoured transitions.
A blend is often best for domed, kidney-shaped or contoured objects, such as shadows (for Gradient Mesh, see
later in this chapter). Scale and copy one object to create
another and set each to the desired color. With the Blend
tool, click an anchor point on one, then Option-click/Altclick a related point on the other. The default blend setting, "Smooth Color," often means many steps; however,
the more similar the colors, the fewer steps you'll actually
need. You can manually choose "Specified Steps" from
the pop-up and experiment with fewer steps. Hart specified 20 steps for the glow in the glass, 22 for the handle
knob and 12 for the shadow. To re-specify the steps of a
selected blend, double-click the Blend tool (you may have
to uncheck and recheck Preview to see the update). To
blend selected objects using previous settings, click with
the Blend tool without holding the Option/Alt key.
Selected paths before and after a 22-step blend
Before and after a 12-step blend to create a
shadow
Automatically updating colors
Changing a spot or global color definition (see the
Drawing & Coloring chapter) automatically updates
blends and gradients containing that color. Blends between tints of the same spot color (or a spot color and
white) update when changes are made to that color,
even if the blend isn't "live."—Agnew Moyer Smith
The final image as it appeared in Time
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Shades of Blends
Creating Architectural Linear Shading
Overview: Create an architectural
form using rectangles; copy and paste
one rectangle in front; delete the top
and bottom paths and blend between
the two sides.
Without much difficulty, Illustrator can help simulate the
traditional artistic conventions for rendering architectural details. Jared Schneidman Design developed a simple, but exacting, method to apply vertical line shading.
A selected rectangle copied and pasted in front
in full view, and in close-up
The top and bottom deleted with the sides selected
The full blend and a close-up detail
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Chapter 7 Blends, Gradients & Mesh
1 Creating an architectural structure. After establishing
the overall form, color and tonality of your illustration,
select and copy one rectangle. Choose Edit > Paste in Front
to place the copy on top, then set the fill to None and the
stroke to .1 pt Black. Choose Window > Info to note the
line's width in points (to change your ruler units, see Tip,
"Changing measurement units," in the Illustrator Basics
chapter). Calculate the width of the rectangle, divided by
the spacing you'd like between lines. Subtract 2 (for the
sides you have) to find the proper number of steps for this
blend.
2 Deleting the top and bottom and blending the sides.
Deselect the copy, Shift-Direct-select the top and bottom paths and delete, leaving the sides selected. With the
Blend tool, click on the top point of each side and specify
the number of steps you determined above.
Janet Good/Industrial Illustrators
Illustrator Janet Good's image of the white-hot
glow of molten metal spraying inside a chamber of liquid nitrogen is based on a drawing
by Crucible Research. For the fiery glow at the
she created a blend that appears to have rays.)
top of the chamber, she first drew yellow and
On a layer above the blend, Good drew several
orange objects and then blended them. (By
pairs of yellow and white lines, blending the
making the edge of the orange object jagged,
pairs to form a fan of glowing light rays.
Chapter 7 Blends, Gradients & Mesh
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Gary Ferster
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For his client Langeveld Bulb, Gary Ferster used
white stroke. Selecting both objects, Ferster
blends to create the in-between layers in this
specified a six-step blend that simultane-
flower bulb. He began by styling the outer
ously "morphed" each progressive layer into
peel with a .5 pt stroke in a dark brown cus-
the next while lightening the layers towards
tom color and filled the object with a lighter
white. Blends were also used to create the leafy
brown custom color. He then created the inner
greens, yellow innards and all the other soft
layer, filled it with white and gave it a .5 pt
transitions between colors.
Chapter 7 Blends, Gradients & Mesh
Linda Eckstein
establish both the general composition and the
Linda Eckstein used blends in Illustrator to
broad color schemes. On top of these tonal-
create these beautiful seascapes. In addi-
filled object blends are irregularly shaped linear
tion to controlling the regularity of blends to
blends that form the waves and surf. Using the
depict the ocean, Eckstein needed to control
Direct Selection tool, she isolated individual
the irregularity of the blends as well. On the
points and groups of points to stretch and dis-
bottom layer of her image are blends that
tort the waves.
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Peter Cassell
Using the Blend tool is a great way to save
time; it lets Illustrator automatically create the
intermediate paths between two paths. In this
adoption announcement for Morgan Katia
Hurt, Peter Cassell drew the two outermost
lines of longitude for the globe using the Pen
tool. With the two paths selected, he chose the
Blend tool and clicked on the end-points of the
two paths (to blend properly, be sure to pick
two points that have the same relative position
on their respective paths). He set the number
of intermediate paths by double-clicking the
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Chapter 7 Blends, Gradients & Mesh
Blend tool, choosing Specified Steps from the
Spacing pop-up menu, and keying in 4 in the
Spacing field. To create the bulging effect of
a sphere, Cassell wanted to spread out the
intermediate paths. To do this, he selected the
blend, chose Object > Expand and then Object >
Ungroup. After selecting the four intermediate
paths, Cassell double-clicked the Scale tool and
in the Scale dialog box, entered 125 in the Horizontal field, while keeping the Vertical field
at 100. He spread the two inner paths farther
apart by applying horizontal scaling again.
Steven Stankiewicz
Steven Stankiewicz uses a technique he calls
"blends to blends" to smooth one colorful
blend with another in his illustrations. To create a butterfly wing, he first drew the wing
shape and its spots with the Pen tool and then
colored each object. For the wing blend, he
copied the wing object, pasted it in front,
and scaled it smaller with the Scale tool. After
selecting the original and the copy, he used
the Blend tool to click on an anchor point on
the original wing and Option-click on the corresponding point of the copied (smaller) wing.
From the pop-up Blend Options dialog box,
Stankiewicz chose the Smooth Color option.
Then he performed the same steps to create
blends for each of the wing spots. Stankiewicz decided to smooth the color transition
between each wing spot blend and the wing
blend behind it. To accomplish this, he chose
the Direct Selection tool and selected the outermost object in one of the wing spot blends;
then he Shift-selected the innermost object of
the wing blend behind it. With both objects
selected, Stankiewicz clicked points on both
objects that were in roughly the same position
on each object. As a result, a new blend was
created that smoothly bridged the blend of a
wing spot with the blend of the wing behind it.
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Unlocking Realism
Creating Metallic Reflections with Blends
Overview: Form the basic shapes
of objects; create tonal boundaries for
future blends that follow the contours
of the objects; copy, scale, recolor
and adjust the anchor points of tonal
boundaries; blend highlights and
shadows.
Achieving photorealism with Illustrator may appear prohibitively complex and intimidating, but with a few simple rules-of-thumb, some careful planning and the eye of
an artist, it can be done. Brad Neal, of Thomas • Bradley
Illustration & Design, demonstrates with this image that
you don't need an airbrush to achieve metallic reflectivity,
spectacular highlights or warm shadows.
Designing the basic objects and choosing a base
tone (Note: Gray strokes added to distinguish
objects)
Creating tonal boundaries for future blends by
following the contours of the objects
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1 Preparing a detailed sketch that incorporates a
strong light source, and setting up your palette.
Before you actually start your illustration, create a sketch
that establishes the direction of your light source. Then,
in Illustrator, set up your color palette (see the Drawing
& Coloring chapter). Choose one color as a "base tone,"
the initial tint from which all blends will be built, and
fill the entire object with that value. After you create the
basic outlines of your illustration, work in Outline mode
to create separate paths—following the contours of your
objects—for each of your major color transitions. After
completing the initial line drawing of the lock set, Neal
visually, and then physically, "mapped" out the areas that
would contain the shading. He added a few highlights
and reflections in the later stages of the project, but the
majority of blends were mapped out in advance.
2 Using your color transition paths to create blends.
Next, use the contouring paths you've created to map out
your tonal boundaries. Choose one of the objects and fill
it with the same color and tonal value as its underlying
shape. In the Neal locks, this initial color is always the
same color and value selected for the base color. Then,
copy the object and Paste in Front (Edit > Paste in Front).
Next, fill this copy with a highlight or shadow value, scale
it down and manipulate it into the correct position to
form the highlight or shadow area. You can accomplish
this step by one of two methods: by scaling the object
using the Scale tool, or by selecting and pulling in individual anchor points with the Direct Selection tool. In
order to ensure smooth blends without ripples or irregular transitions, the anchor points of the inner and outer
objects must be as closely aligned as possible and should
contain the same number of points. To then complete
this highlight or shadow, use the Blend tool to point map
(see the intro to this chapter for details). The blend in
Figure 2 required eight in-between steps. If your blend
isn't smooth enough, then use the Direct Selection tool to
select anchor points on the key objects and adjust their
position or Bezier handles until the blend smooths.
Pasting in Front a scaled down and adjusted copy
with the same number of aligned points
Adding an in-between contour to help control
the rate and shape of blends; blending with too
few contours flattens the image
3 Blending in smaller increments. Some blend situations
may require more than two objects to achieve the desired
look. For instance, to control the rate at which the tone
changes or the way an object transforms throughout the
blended area, you may wish to add an intermediate object
and blend in two stages, instead of one.
4 Using blends to soften hard transitions. Always use
blends when making tonal transitions, even when you
need a stark contrast shadow or highlight. A close look at
Neal's shadow reveals a very short but distinct blend.
Long, close-up, and Outline close-up views of
highlight and shadow transitions
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Jared Schneidman / JSD
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Illustrator blends helped Jared Schneidman
For the searchlights emanating from the
convey the murky depth and bright exploring
explorer vehicles, Schneidman first made cone
lights in this Newsweek infographic about deep
objects filled with a pale yellow. He then made
trenches in the Pacific Ocean. Schneidman cre-
companion objects using the dark colors of
ated the subdued highlights and shadows of
the ocean and trench. Finally, he made blends
the subterranean trench using blended objects.
between each cone and its companion object.
Chapter 7 Blends, Gradients & Mesh
Andrea Kelley
To illustrate this North Face camping equipment, designer Andrea Kelley carefully analyzed fabric folds, stitched seams, and the play
of light and shadow. She began the sleeping
bag by drawing the outline of the bag, creating a blend object and masking it with a copy
of the sleeping bag outline. She drew each
stitched seam as a solid line, and the fabric
folds around the seams as jagged, filled shapes.
Over the sleeping bag, Kelley drew light-grayfilled objects for the fabric highlights between
the seams. Kelley created the tent by first
drawing its outline, and then creating a multiple-object blend, which she masked with the
tent outline. Kelley created additional masked
blends to define other shapes that make up the
tent. For the front flap, Kelley created a blend
object and masked it with an oval, and then
drew light and dark triangles on top of it to
show wrinkles in the fabric.
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Unified Gradients
Redirecting Fills with the Gradient Tool
Overview: Fill objects with gradients; use the Gradient tool to adjust
fill length, direction, center location
and unify fills across multiple objects.
The Gradient palette, and the Gradient tool
(This tool has the same name and icon as the
one in Photoshop, but is completely different.)
Filling the first group with the cyan gradient,
then the other group with the purple gradient
Clicking and dragging with the Gradient tool to
unify the gradient fill across multiple objects,
and to establish the gradient's rate and direction
How long can a gradient be?
Click and drag the Gradient tool
anywhere in your image window;
you don't need to stay within the
objects themselves. Also, see the
Elberg-Comet Gradient Lesson.ai
by Eve Elberg, on the Wow! CD.
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Chapter 7 Blends, Gradients & Mesh
The Gradient tool allows you to customize the length and
direction of gradient fills, and to stretch gradients across
multiple objects. For this Medical Economics magazine
illustration, Dave Joly used the Gradient tool to customize
each gradient and unify the checkerboard floor.
1 Filling objects with the same gradient. Select multiple
objects and fill them with the same gradient by clicking on a gradient fill in the Swatches palette. Keep your
objects selected.
2 Unifying gradients with the Gradient tool. Using
the Gradient tool from the Toolbox, click and drag from
the point you want the gradient to begin to where you
want it to end. Hold down the Shift key if you want to
constrain the angle of the gradient. To relocate a radial
gradient's center, just click with the Gradient tool. Experiment until you get the desired effect. To create his
checkerboard, Joly used the Knife tool to segment the
floor, grouped every other tile together and filled these
with a cyan-to-white gradient fill. He then duplicated the
gradient, changed the start color to purple and applied
this purple gradient to the remaining tiles. With all tiles
selected, he again applied the Gradient tool.
0
Filip Yip
Filip Yip prefers the simplicity of linear and
radial gradients to the photo-realism of blends
in creating the stylized look of many of his
illustrations. The images above began as pencil
sketches that Yip scanned, placed in Illustrator
as templates and then traced over to create
compositional elements. For the spoonful of
vegetables, Yip developed gradients that share
similar colors but differ in the number and
location of intermediate colors and midpoints
along the slider in the Gradient palette. The
lobster is more stylized, conveying shadows
with color-to-gray gradients. Both illustrations
contrast the soft gradient effects with crisp
highlights and shadows in strong, solid-filled
colors.
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Hugh Whyte / Lehner & Whyte
In this image designed for a promotional
poster, Hugh Whyte used gradients and the
Gradient tool to create a colorful, cut-out look
that is both flat and volumetric. The Outline
view at right reveals that Whyte constructed
the image entirely of gradients, with no blends.
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Chapter 7 Blends, Gradients & Mesh
Caryl Gorska
Caryl Gorska created "Bountiful Harvest" as a
package design for Nunes Farms' dried fruits,
colors). A scan of parchment paper, saved as an
nuts and chocolates. She used the Gradient tool
EPS file, is Placed on the bottom layer (see the
to customize her radial blends (made of process
Layers chapter).
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Tim Webb
In these two magazine illustrations, Avion
(for Avion magazine) and Quality Control (for
Field Force Automation magazine), Tim Webb
created a small palette of gradients and varied the gradient angle of the fill to achieve a
wide range of color. With an object selected,
he clicked and dragged with the Gradient tool
from the beginning point to the endpoint
of the area in which he wanted to place the
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Chapter 7 Blends, Gradients & Mesh
gradient. Webb varied the angle and distance
of the gradient to create specific fill colors. The
sky, clouds, and windows in Avion are all filled
with the same gradient. In Quality Control, the
floor and yellow shadows share the same gradient. Using a small palette of gradients allowed
Webb to quickly change the color of an object
and maintain subtleties of color throughout his
illustrations.
Tim Webb
Tim Webb used just a few features of Illustrator to create his Victory Climb and Road lessons
illustrations. The crisp woodcut appearance is
a result of bold line work layered above gradient fills. Webb began by drawing the image
with the Pen tool. Webb then created his color
palette by importing colors from a swatch
library into the Swatches palette. He then
double-clicked the Gradient tool icon to open
the Gradient palette and created gradients by
dragging colors from the Swatches palette onto
the stops of the Gradient palette. (For more
detail on creating a gradient, see the gradients
section of the introduction to this chapter).
After he created and saved the gradients in
the Swatches palette, Webb drew closed paths
and filled them with either a linear or a radial
gradient, varying the direction and length of
the gradient in order to give volume to the
image. The woodcut appearance was created
by blending between two triangular shapes
on a curved path. Webb created custom art
brushes to make the small rocks and the
raindrops.
Chapter 7 Blends, Gradients & Mesh
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Rolling Mesh
Converting Gradients to Mesh and Editing
©
Overview: Draw shapes and fill with
linear gradients; expand gradient-filled
objects into gradient meshes; use various tools to edit mesh points and colors.
For many images, gradients can be useful for showing the
gradual change of light to shadow (if you need to learn
more about creating and applying gradient fills, first see
"Unified Gradients" earlier in this chapter). For
these rolling hills, artist Sharon Steuer expanded linear
gradients into gradient mesh objects so she could better
control the curves and contours of the color transitions.
The hills shown filled with radial gradients—
although there is some sense of light, it isn't
possible to make the radial gradient follow the
contours of the hills
The hills shown filled with linear gradients,
which are easier to edit than radial gradients
when converted to gradient meshes
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Chapter 7 Blends, Gradients & Mesh
1 Drawing shapes and then filling them with linear
gradients. Begin your illustration by creating closed
objects with any of the drawing tools. After completing
the objects, select each object with the Selection tool and
Fill it with a linear gradient fill. For each linear gradient, adjust the angle and length of the gradient transition
with the Gradient tool until you can best approximate
the desired lighting effect. Steuer created four hill-shaped
objects with the Pen tool, filled them with the same linear
gradient, then customized each with the Gradient tool.
Note: Although in some objects radial gradients might
look better before you convert them, linear gradients create
gradient mesh objects that are much easier to edit!
2 Expanding linear gradients into gradient meshes.
To create a more natural lighting of the hills, Steuer
converted the linear gradients into mesh objects so the
color transitions could follow the contours of the hills. To
accomplish this, select all the gradient-filled objects that
you wish to convert and choose Object >Expand. In the
Expand dialog box, make sure Fill is checked and specify
Expand Gradient to Gradient Mesh. Then click OK.
Illustrator converts each linear gradient into a rectangle
rotated to the angle matching the linear gradient's angle;
each mesh rectangle is masked by the original object (see
the Advanced Techniques chapter for help with masks).
3 Editing meshes. You can use several tools to edit gradient mesh objects (use the Object > Lock/Unlock All
toggle to isolate objects as you work). The Mesh tool combines the functionality of the Direct Selection tool with
the ability to add mesh lines. With the Mesh tool, click
exactly on a mesh anchor point to select or move that
point or its direction handles. Or, click anywhere within
a mesh, except on an anchor point, to add a new mesh
point and gridline. You can also use the Add Anchor
Point tool (click and hold to choose it from the Pen tool
pop-up) to add a point without a gridline. To delete a
selected anchor point, press the Delete key; if that point is
a mesh point, the gridlines will be deleted as well.
Select points within the mesh using either the Mesh
tool or the Lasso tool, using the Direct Selection tool to
move multiple selected points. Move individual anchor
points and adjust direction handles with the Mesh tool
in order to reshape your gradient mesh gridlines. In this
way, the color and tonal transitions of the gradient will
match the contour of the mesh object. Recolor selected
areas of the mesh by selecting points, then choosing a
new color.
If you click in the area between mesh points with the
Paint bucket tool (from the Eyedropper tool pop-up)
you'll add the Fill color to the four nearest mesh points.
By using these tools and editing techniques, Steuer
was able to create hills with color and light variations that
suggest the subtlety of natural light upon organic forms.
After Expanding the gradients into gradient
mesh objects
Using the Mesh tool to add a mesh line, then
moving the mesh point with the Direct Selection tool
Using the Add Anchor Point tool, using the
Lasso to select a point, moving selected point
(or points) with the Direct Selection tool
The final rearmost hill, shown after making
mesh adjustments
Chapter 7 Blends, Gradients & Mesh
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Mastering Mesh
Painting with Areas of Color Using Mesh
Advanced Technique
Overview: Create simple objects to
make into gradient mesh; edit and
color mesh objects; create compoundpath masks for copies of mesh; make
a mesh with no grid to reshape.
The original oval; choosing Object >Create
Gradient Mesh; setting the Mesh options
The mesh created; after selecting points and deleting to create a pattern in the mesh
Recoloring selected rows and columns using the
Color palette and the Adjust Colors filter
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Chapter 7 Blends, Gradients & Mesh
With a background in painting, sculpture and 3D imaging, Ivan Torres knew that the Gradient-mesh tool would
allow him to paint in a powerfully unique way. In creating this fish illustration, he demonstrates how, unlike any
other medium, the mesh allows him to move a stroke of
color without changing the relationship between colors.
1 Creating the fish's body. Create a solid-filled oval; while
it's selected, choose Object >Create Gradient Mesh. Set
fairly high numbers for rows and columns; for his fish
(shown above at about 30% actual size) Torres set 17
rows, 35 columns. Set Flat for Appearance, 100% Highlight and click OK. Next, to make the base for the fish's
stripes, you'll need to create an irregular pattern within
the mesh. With the Direct Selection tool, select anchor
points and delete—the connected rows and columns
will be deleted along with the points. Torres deleted 8
columns and 10 rows. Marquee horizontal anchor points
with the Direct-selection tool. For even more selection
control, try working in Outline mode, disable Use Area
Select in Preferences > General, or select points using the
Lasso tool. With horizontal rows of points selected (make
sure you are now in Preview mode), mix or choose new
colors in the Colors palette (use View > Hide/Show Edges
to hide/show selection edges). Torres horizontally selected
sections of the mesh, changing colors to create a sense of
volume. For more subtle color transitions, select an area
and choose Filter > Colors > Adjust Colors to adjust the
color cast of your selection. Carefully Direct-select points
and reposition them to form the fish body.
Creating the fish's tail
2 Making the fish's tail and fins. Create several colored
rectangles and ovals. Again, convert each object to a gradient mesh, but assign a low value for columns. Directselect sections of each object and use the Adjust Color
Filter to create gradual changes in tone (use -Option-E
(Mac)/Ctrl-Alt-E (Win) to reopen the last-used filter).
Direct-select points on the objects and adjust them to
form tail and fin shapes. Move each object into a separate
layer for easy editing (see the Layers chapter for help).
3 Creating the fish's eye and lips. Create three circles:
one small, one medium and one large. Convert the
medium-size circle to a gradient mesh this time by
clicking on the circle with the Gradient-mesh tool. Add
additional rows or columns by clicking again with the
tool; delete by Direct-selecting points, rows or columns
and deleting. Torres ended up with unevenly spaced rows
and columns (five of each), which he colored to achieve
a wet, reflective-looking surface. When you are pleased
with the glossy part of the eye, combine all the circles and
adjust the outlines of some to be less perfect.
To create the fish's mouth, begin with a rectangle on
a layer above the fish. Convert the rectangle to a gradient mesh using Object >Create Gradient Mesh, and enter
different low values for rows and columns, maintaining
Flat for Appearance. Select areas of the object and use the
Eyedropper to load colors from the fish to create smooth
color transitions between the mouth and the body. Move
this object into position and reshape it to form a mouth.
4 Creating shadows for the fish. Duplicate the layer containing the fish's body by dragging that layer to the New
Layer icon in the Layers palette. On a layer above this one,
Drawing objects for shadow areas; making them
into a compound path; masking a copy of the
fish with the compound path; using Filter >Colors >Adjust Colors to darken a copy of the fish;
the final fish shown with completed shadows
Chapter 7 Blends, Gradients & Mesh
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An oval
After applying a mesh with values of 1, deleting
the original oval anchor points (in orange)
The remaining points moved and colored
After reshaping is complete, a copy is created,
reflected and sheared, and colors are inverted
248
use the Pen tool to draw a contour defining each shadow
as a closed object. Select all the shadow objects and
choose Object > Compound Path >Make to unite them
into one compound object. Use these shadow objects as a
mask for the copy of the fish body. Select both the compound path and the copy of the fish body (in the Layers
palette, Option-Shift-click/Alt-Shift-click the shadow
and fish copy layers to select all objects on those layers)
and choose Object >Clipping Mask >Make. To simulate
shadow colors, select the masked copy of the fish and use
the Adjust Colors filter to darken the area and reduce
the contrast. Torres created a shadow that contrasted the
cyan color cast of the fish by decreasing cyan and increasing yellow and magenta—each in increments of 2 to 5%.
After applying the filter, with selection edges hidden -H
(Mac)/Ctrl-H (Win), he reapplied the filter using -E
(Mac)/Ctrl-E (Win), until he was satisfied.
5 Creating the border "bone" shape. Create an oval;
while it's selected, choose Object > Create Gradient Mesh,
assigning 1 for rows and columns and "Flat". Using the
Delete Anchor Point tool, delete the four original points
of the oval, leaving only the mesh points. Reposition the
remaining points to create an arcing effect, and assign
colors to each point. Next, use the Reflect tool to flip a
copy of this object horizontally. With the copy selected,
choose Filter > Colors > Invert Colors. Lastly, use the Shear
tool to adjust the copied image to touch the original border object (see Zen chapter for Reflect and Shear help).
Printing gradient mesh objects
Adding to the mesh
Gradient mesh objects rely on PostScript Level 3
To add new rows and columns
(PS3) to print. Gradient mesh objects printed to older
to your mesh, click on the mesh
printers will convert to a 150-pixel-per-inch JPEG!
object with the Mesh (U) tool. To
If you can't print to a PS3 printer, you may wish to use
add a new mesh row, click on a
Illustrator's Rasterize or Export commands. Hint: Also
column mesh line. To add a new
see the Tip "Grouping masks" in the Advanced Tech-
mesh column, click on a row.
niques chapter.
Chapter 7 Blends, Gradients & Mesh
Ma Zhi Liang
Ma Zhi Liang is an artist from China who
up the "mask" of the face. Layered above the
painstakingly rendered this illustration from a
"mask" are other mesh objects that create
photograph using Gradient Mesh. This portrait
the details of the facial features, such as the
of his niece is a lovely example of how mesh
nose, eyes, and lips. Shown above are the mesh
can be used to show light, texture, and detail.
points that create the shadows and highlights
The face is comprised of one mesh that makes
in the fabric, lips, and button.
Chapter 7 Blends, Gradients & Mesh
249
©
Yukio Miyamoto
Yukio Miyamoto combined gradients, gradient
mesh, and basic fills to render this photorealistic illustration of a motorcycle for his book,
The Adobe Illustrator Super Guide (published in
Japan). The in-process version above provides
an insider's view into his methods for creating
the finished piece at right. Miyamoto began
by placing a photo as a template. He then
traced over the photo using the Pen tool, creating solid black objects. He then systematically
began to fill the individual objects with color,
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gradients, and gradient mesh, using the Eye-
Chapter 7 Blends, Gradients & Mesh
dropper tool to pick up color from the photo
for his objects, mesh points, and gradients.
Miyamoto also combined masking techniques
with gradient mesh in the wheels (see the
Advanced Techniques chapter for more).
Yukio Miyamoto
As with his motorcycle (opposite), Yukio
Miyamoto began this illustration of a Yamaha
French horn by tracing over a photo with the
Pen tool, then filling the objects with solid fills.
In layers above the basic tracing, Miyamoto
drew the reflections and details of the tubular
structure and filled them with linear gradients.
He used the Mesh tool to define several reflections within the horn, with the most obvious on
the horn's bell. He then created other areas of
reflection with clusters of solid and gradientfilled objects (as on the bell and the valves).
Miyamoto made the background out of a large,
rectangular, gradient mesh. Within this mesh.
he created the horn's shadow. The magnificent
level of detail is evident even when the image
is viewed in Outline mode (a detail is shown
directly above left; the full image in Outline is
above right).
Chapter 7 Blends, Gradients & Mesh
251
Ellen Papciak-Rose
252
In this children's book cover illustration (Heine-
the snail shells), and Reflect (on the tree and
mann Publishing), Ellen Papciak-Rose applied
triangular-shaped mushrooms) tools to create
the Mesh tool to create glowing areas of color.
variations. Papciak-Rose selected each object
Papciak-Rose began her illustration by draw-
and chose the Mesh tool, clicked on the center
ing and coloring one of each object (such as
anchor point of the object, and then, still using
a leaf, mushroom, spider, or tree). She then
the Mesh tool, clicked on the desired contrast-
made one or more of each object and used the
ing color in the Swatches palette to create the
Scale (on the rounded mushrooms), Rotate (on
center of the glow.
Chapter 7 Blends, Gradients & Mesh
Transparency & Appearances
254
254
263
264
266
268
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275-277
278
280
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286
Introduction
Basic Transparency
Appearances
The Finer Points of Appearances
Transparency 101: Assigning Opacity to Default Brushes
Advanced Technique: Transparent Color:
Customizing Transparent Brushes & Layers
Basic Transparency: Blending Modes, Opacity & Isolate Blending
Basic Highlights: Making Highlights with Transparent Blends
Galleries: Nancy Stahl, Tiffany Larsen, Louis Fishauf
Basic Appearances: Making and Applying Appearances
Floating Type: Type Objects with Transparency & Effects
Advanced Technique: Tinting a Scan:
Using Transparency Effects & Simplify Path
Advanced Technique: It's a Knockout!:
See-through Objects with a Knockout Group
Advanced Technique: Opacity Masks 101:
Applying Glows and Using Opacity Masks
288-290 Galleries: Peter Cassell, Adam Z Lein
Transparency & Appearances
Using transparency with.
• Fills—apply an opacity, a blend
mode, or an effect that utilizes
transparency (e.g., Inner Glow).
• Strokes—just as with fills,
apply an opacity, a blend mode,
or an effect that utilizes transparency (e.g., Outer Glow).
• Brush Strokes—scatter brushes,
art brushes, and pattern brushes can all be made from transparent artwork. In addition,
you can make any brush stroke
(including calligraphic brush
strokes) transparent by applying an opacity, blend mode, or
effect that utilizes transparency.
• Text—apply transparency to
selected text characters and/or
the entire text object.
• Charts—apply transparency to
the entire chart or the elements
that make up the chart.
• Groups—select or target the
group and apply an opacity, a
blend mode, or an effect that
utilizes transparency (e.g.,
Feather). Since Illustrator 10,
selecting an entire group automatically targets it.
Illustrator's sophisticated use of transparency is woven
throughout the application—you use transparency not
only whenever you apply an opacity percentage, a blending mode, or an opacity mask from the Transparency
palette, but also whenever you apply certain kinds of
effects (such as shadows, feathers, and glows) or styles
that include those features. Although it's easy to apply
transparent effects to your artwork, it's important that
you understand how transparency works, because this
will help you later when you export or print.
Illustrator CS gives you helpful new tools to increase
your control over how you print and output artwork that
includes transparency, and allows you to save your transparency flattening settings as time-saving presets. There
are now no less than four handy ways to control flattening settings: through the new Flattener Preview palette
(Window > Flattener Preview), the Flatten Transparency
dialog box (Object >Flatten Transparency), the Advanced
options in Illustrator's new comprehensive Print dialog
box, or the Transparency Flattener Presets dialog box
(Edit >Transparency Flattener Presets). Once you've specified your flattening settings using any of these methods,
you can save them as presets.
If the concepts of Transparency, Flattening, Appearances, Targeting, or Opacity Masks are new to you, it's
very important that you take the time to master the lessons in this chapter. Although this is not an advanced
techniques chapter, we do assume that by now you have a
basic knowledge of fills, strokes, and especially layers. If
you're unable to keep up with this chapter, please see the
Drawing & Coloring and Layers chapters first.
• Layers—target the layer and
apply an opacity, a blend mode,
BASIC TRANSPARENCY
or an effect that utilizes trans-
Although the Artboard may look white, Illustrator treats
it as transparent. To visually distinguish the transparent areas from the non-transparent ones, choose View>
parency. —Sandee Cohen and
Pierre Louveaux
254
Chapter 8 Transparency & Appearances
Show Transparency Grid. To set the size and colors of
the transparency grid, select File > Document Setup >
Transparency. You can check Simulate Colored Paper
if you'll be printing on a colored stock (click on the top
swatch to open the color picker to select a "paper" color).
Both Transparency Grid and paper color are non-printing
attributes and are only visible in on-screen preview.
The term transparency refers to any changes in blending modes and opacity. Some masks or effects, such as
Feather or Drop Shadow, use these settings as well. As
a result, when you apply these masks or effects, you're
relying on Illustrator's transparency features. To apply
transparency to an object or group, make a selection or
click on the target indicator in the Layers palette, then
adjust the opacity slider in the Transparency palette.
(Objects and groups are automatically targeted when you
select them; if you want to apply transparency at the layer
level, target the layer explicitly.) Completely opaque is
equal to 100% opacity and 0% is completely see-through,
or invisible. Be careful how you apply transparency; it's
easy to get confused—correctly targeting and applying
transparency is very important (see the "Basic Transparency" lesson in this chapter).
Blending modes control how the colors of objects,
groups, or layers interact with one another. Blending
modes are color mode-specific and yield different results
in RGB and CMYK. As in Photoshop, the blending
modes show no effect when they're over the transparent
Artboard. To see the effect of blending modes, you need
to add a color-filled or white element behind your art.
Need more transparency?
Look for more lessons and Galleries involving transparency in the
Live Effects & Graphic Styles and
Advanced Techniques chapters.
Editing Opacity Masks
• Disable—Shift-click the mask
thumbnail to turn it off. A red X
will appear over the preview.
• Enable—Shift-click to reapply
the mask.
• Mask View—Option-click
(Mac)/Alt-dick (Win) the mask
thumbnail to toggle between
viewing and editing the masking objects on the Artboard, or
the mask grayscale values.
• Release Opacity Mask (palette
menu)—releases the masking
effect.
• Toggle between working on
artwork or Opacity Mask—click
the appropriate icon to control
what you are editing.
• Link or unlink the Opacity Mask
to artwork—click between the
mask and artwork to toggle the
link/unlink option.
Opacity Masks
Opacity masks allow the dark and light areas in one
object to be used as a mask for other objects. Black within
the mask indicates areas of the masked artwork that
will be completely transparent. White within the mask
represents areas of the masked artwork that will be fully
opaque and visible. Grays allow a range of transparency.
(This works exactly like Photoshop layer masks).
The Transparency palette with all options shown
(choose Show Options from the Transparency
palette menu)
Chapter 8 Transparency & Appearances
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Colorize a grayscale image
Creating a monotone image is
easy with an Opacity Mask. First,
place an image. Next fill a rectangle with a color and send it behind the image. Select the image
and the rectangle and choose
Make Opacity Mask (Transparency palette menu). To correct
for the negative image, check
Invert Mask. To print spot colors
correctly, be sure to export as an
Illustrator EPS file or place the native Illustrator file into InDesign.
Opacity masks are indicated by a dashed line in
the Layers palette
More opacity masks
Seethe "Opacity Masks 101" lesson
in this chapter, and Advanced Techniques for more on opacity masks.
The easiest way to create an opacity mask is to first
create the artwork you want masked. Next, place the
object, group, or raster image you want to use as the mask
above it. Select the artwork and the masking element,
and choose Make Opacity Mask from the Transparency
palette pop-up menu. Illustrator automatically makes the
topmost object or group the opacity mask.
You may want to start with an empty mask and draw
into it—in effect, painting your objects into visibility. To
create an empty mask, start by targeting a single object,
group, or layer. Since the default behavior of new opacity masks is clipping (with a black background), you'll
need to turn off the "New Opacity Masks Are Clipping"
option in the Transparency palette menu or your targeted
artwork will completely disappear when you first create
the empty mask. Next, choose Show Thumbnails from the
Transparency palette menu, and double-click in the right
thumbnail area. This creates an empty mask and puts you
in mask editing mode; the Layers palette changes to show
the opacity mask. Use your drawing and editing tools to
create your mask. (For instance, if you create an object
filled with a gradient, you'll see your artwork through
the dark areas of the gradient.) While the opacity mask
thumbnail is selected, you won't be able to edit anything
else in your document. Choose to work on your artwork
or your opacity mask by clicking on the appropriate
thumbnail (the artwork thumbnail is on the left; the
opacity mask is on the right).
A few hints can help you with opacity masks. First,
the masking objects may display in color, but behind the
scenes they're being converted to grayscale. In addition,
if you select Invert Mask, you'll reverse the effect of dark
and light values on the opacity—dark areas of the mask
will be more opaque and light areas will be more transparent. To identify which elements have an opacity mask,
look for the dashed underline in the Layers palette next to
the object or group with the mask.
This cat by Yukio Miyamoto relies heavily on
opacity masks (for details, see the Advanced
Techniques chapter).
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Chapter 8 Transparency & Appearances
The link icon in the Transparency palette indicates
that the position of the opacity mask stays associated with
the position of the object, group, or layer it is masking.Unlinking allows you to move the artwork without moving the mask. The content of the mask can be selected and
edited just like any other object. You can transform or
apply a blending mode and/or an opacity percentage to
each individual object within the mask.
Option-click (Mac) or Alt-click (Win) on an opacity
mask thumbnail in the Transparency palette to hide the
document's contents and display only the masking element
in its grayscale values. Shift-click the opacity mask thumbnail to disable the opacity mask.
Transparency is cumulative
The total effect of transparency is
determined by the object, group,
sublayers, and container layer.
Note: There isn't any way to clear
all effects for the multiple levels.
You have to target each level and
click the Clear Appearance icon (see
the "Appearances" section later in
this chapter).
Knockout Group checkbox
Knockout Controls
In addition to being checked or
Choose Show Options from the pop-up menu of the
Transparency palette to display the checkboxes that control how transparency is applied to groups and multiple
objects.
With a group or layer targeted, check the Knockout
Group option to keep individual objects of the group or
layer from applying their transparency settings to each
other where they overlap. This is particularly useful for
blends containing one or more transparent objects. For
this reason, Illustrator automatically turns on the Knockout Group option on all newly created blends.
unchecked, the Knockout Group
Check Isolate Blending for a targeted group or layer so
the transparency settings of the objects inside the group
only affect their interaction with other objects inside the
group (see the "Basic Transparency" lesson later in this
chapter).
The final checkbox, Opacity & Mask Define Knockout Shape, is used in very specific situations to limit the
knockout of a color to the area defined by the opacity and
the mask. To see any effect, you must use this option on a
transparent object inside a knockout group.
This option is most useful on raster images and
feathered edges. It's automatically turned on inside the
appearance of Drop Shadow, Blur, Feather, and Photoshop effects. If it weren't, putting objects with these effects
in knockout groups would produce unwanted results: the
checkbox has a third or neutral
state that is indicated by a dash
(in the Mac version) or grayed
checkmark (in the Windows version). Illustrator automatically
sets all newly created groups and
layers to this neutral state so
that simply grouping objects will
not cause their transparency to
change. The neutral state prevents the new group from overriding the knockout setting of
the enclosing group. (See "It's a
Knockout!" later in this chapter.)
The Transparency palette with the Knockout
checkbox in its third, or neutral, state (indicated
by a dash in the Mac version shown here), as
described in the Tip above
Chapter 8 Transparency & Appearances
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entire rectangular bounding box of Drop Shadows, Blurs,
and Photoshop effects would knock out, as would the
unfeathered outline of Feathered objects.
A known printing issue
Stitching is a visible transition
between rasterized and vector
artwork. Stitching usually happens when parts of vector objects
The art of flattening
get rasterized in the flattening
PostScript printing devices and file formats such as EPS
can only reproduce transparent artwork in "flattened"
form. Illustrator's flattening process is applied temporarily if you print, and permanently if you save in a format
that doesn't support transparency natively. Flattening
occurs when areas of transparent overlap are converted
into opaque pieces that look the same. Some of your
objects may be split into many separate objects, while
others may be rasterized.
process, and can occur as a result
of certain printer drivers. To fix
this, check the Clip Complex Regions checkbox in the flattening
settings when you adjust them.
Note: This option is only available
when the Raster/Vector Balance
slider is set to less than 100.
As previously mentioned, Illustrator CS provides
convenient new tools that give you increased control over
exactly how your art is flattened. Illustrator's new Flattener Preview palette (Window > Flattener Preview) lets
you see how flattening will affect your art, by means of
a preview built right into the palette. The Flatten Transparency dialog box (Object >Flatten Transparency) and
the Advanced section of the Print dialog box also let you
choose transparency and flattening settings. And the
Transparency Flattener Presets dialog box (Edit > Transparency Flattener Presets) gives you quick access to your
presets (discussed in the "Working with flattener presets"
section following this one), allowing you to edit existing
custom presets and create new ones.
•
•
The Flattener Preview palette with all options
showing (choose Show Options from the palette
menu), including the Flattening Preset settings
in the center of the palette. Click the Refresh
button at the top of the palette, and the current document will be displayed in the preview
area at the bottom of the screen. The section
"Using the Flattener Preview palette," later in
this chapter, explains how to use this preview to
highlight areas of your art that will be affected
by flattening
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Chapter 8 Transparency & Appearances
•
•
Here are the flattening options you can adjust:
Name lets you name settings to be saved as a preset.
Raster/Vector Balance lets you control the degree to
which your artwork is rasterized (discussed in greater
detail in the "Setting Raster/Vector Balance" section a
little further on in this chapter).
Line Art and Text Resolution sets the resolution for vector objects that will be rasterized when flattening.
Gradient and Mesh Resolution lets you set the resolution for gradient and mesh objects that will be rasterized
in the course of flattening.
• Convert All Text to Outlines keeps the width of text
consistent during flattening by converting all type objects
to outlines and discarding glyph information.
• Convert All Strokes to Outlines ensures that the width
of text stays consistent during flattening by converting all
strokes to simple filled paths.
• Clip Complex Regions reduces stitching artifacts by
making sure that the boundaries between vector artwork
and rasterized artwork fall along object paths.
• Preserve Alpha Transparency (Flatten Transparency
dialog box only) preserves the alpha transparency of
objects being flattened.
• Preserve Overprints and Spot Colors (Flatten Transparency dialog box only) preserves spot colors and overprinting for objects that aren't involved in transparency.
To access these settings in the Flattener Preview palette, open the palette and choose Show Options from the
palette menu. In the Flatten Transparency dialog box,
you can access them by selecting any existing preset as a
starting point and then making changes in the dialog. In
the Advanced section of the Print dialog box, choose any
existing Preset from the Presets menu and click the Custom button to change the settings. See the User Guide for
more details about Illustrator's flattening options.
Working with Flattener Presets
Once you've adjusted any of the settings above, you can
save the results as a preset, so you won't have to create
them from scratch the next time you want to apply the
same flattening settings (or create a slight variation).
Illustrator comes with three default presets to get you
started: High Resolution (for final press output and highquality proofs such as color separations), Medium Resolution (for desktop proofs and print-demand-documents
to be printed on PostScript color printers), and Low Resolution (for quick proofs to be printed on black-and-white
desktop printers). You can't edit these default presets, but
you can use them as a starting point, making changes and
saving them as your own custom presets.
The Advanced section of the Print dialog box
(choose File >Print, then select Advanced in
the menu just above the preview)
The Flatten Transparency dialog box (Object >
Flatten Transparency)
The Transparency Flattener Presets dialog box
(Edit Transparency Flattener Presets)
The Transparency Flattener Preset Options
(New) dialog box that results when you click
the New button in the Transparency Flattener
Presets dialog box (above)
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You can create and save your own custom flattening
presets in any of the four following ways:
Click the Custom button in the Advanced section of the Print dialog box to display the Custom Transparency Flattener Options dialog box,
where you can create a new custom preset
Overprint Preview
Previewing overprints on your
screen has never been easier.
Choose View>Overprint Preview
to see how your overprints will
look when they print. Overprint
Preview also provides the best
spot color simulations, although
editing your file in Overprint Preview mode is slightly slower than
in regular Preview mode.
• Using the Flattener Preview palette: Select an existing preset from the Preset menu. Make your changes to
its settings in the palette (choose Show Options from the
palette menu if they aren't visible), and then choose Save
Transparency Flattener Preset from the palette menu.
Give your new preset a name and click OK. (If the existing preset you chose isn't one of the predefined default
presets, you can also choose to apply your changes as an
edit to that preset by choosing Redefine Preset.)
• Using the Object >Flatten Transparency dialog box:
Choose an existing preset from the Presets dropdown
menu, adjust the settings in the box and click Save Preset
to name and save your new settings.
• Using the Edit Transparency Flattener Presets dialog box: Click the New button to create and name a new
Preset; click the Edit button to make changes to an existing (non-default) preset.
• Using the Advanced section of the Print dialog box:
Under the Overprint and Transparency Flattener Options
heading, click the Custom button next to the Preset dropdown menu to create a custom preset. Click the Save Preset button at the bottom of the Print dialog box to name
and save your new preset.
To apply flattening presets when you're ready to print
or export, choose an existing preset (or create a new custom preset) in the Advanced section of the Print dialog
box. (For more on flattening presets, see the User Guide.)
Using the Flattener Preview palette
The Flattener Preview palette lets you highlight areas of
your artwork that will be affected when you flatten it, so
you can see the effect of various settings and adjust them
accordingly.
The Flattener Preview palette showing artwork
highlighted in red in its preview area, after we
chose All Affected Objects from the Highlight
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Chapter 8 Transparency & Appearances
To begin, choose a preview mode from the palette
menu: either Quick Preview (which gives you the fastest
preview, but excludes the All Rasterized Regions option
in the Highlight menu) or Detailed Preview (which
enables All Rasterized Regions). Then choose an option
from the Overprint menu: Preserve, to retain overprinting; Simulate, to imitate the appearance of printing to
separations; or Discard, to prevent any Overprint Fill or
Overprint Stroke settings that have been set in the Attributes palette from appearing on the composite.
Now you're ready to choose a flattening preset from
the Preset menu (or create a new one), as described earlier
in the "Working with flattener presets" section. When
you've done that, click the Refresh button at the top of
the palette, which will update the display in the palette's
preview area according to the settings you've chosen. At
this point, you can use the palette's Highlight menu to
highlight areas that will be affected by the flattening process. You can choose from a variety of options—from All
Affected Objects to specifics such as Outlined Strokes or
Outlined Text. You'll see the areas in question flagged out
in red in the preview. See the User Guide for more details
about the various Highlight Options, and other aspects of
using the Flattener Preview palette.
More than one way to preview
Keep in mind that the Flattener
Preview palette isn't intended
for precise viewing of spot colors,
overprints, and blending modes.
Instead, use Overprint Preview
mode to preview how those features will appear when output.
The Flattener Preview palette's Highlight menu
Flattener Preview tools
To magnify the preview in the
Flattener Preview palette, click
anywhere on it with the default
Zoom (magnifying glass) tool. To
zoom back out, press the Option
key as you click. To change the
Setting Raster/Vector Balance
Zoom tool to the Hand tool so you
The Raster/Vector Balance setting, one of the flattening
settings mentioned in "The Art of Flattening" earlier in
this chapter, determines how much art is rasterized and
how much remains vector. In case you're unfamiliar with
the terms, raster art is made up of pixels, while vectors
are discrete objects. These days, most programs contain
aspects of both vectors and rasters, but Photoshop is
primarily raster and Illustrator primarily vector.
can move the preview around,
By default, Illustrator's Raster/Vector Balance setting
is 100—which results in the greatest possible amount
of art remaining in vector form. At the highest setting,
the file contains the most vector objects and may produce longer print times. As you move the slider to the
left, toward zero, Illustrator tries to convert vectors (like
pure Illustrator files) to rasters (like Photoshop files). At
a setting of zero, Illustrator converts all art to rasters.
just hold down the spacebar and
drag anywhere on the preview.
Resolution of live effects
The Flattener Preview palette
can't help you fix everything that
affects the output of your file. For
instance, if you've applied a live
effect with a specific resolution,
in order to increase its resolution
you'll need to reapply your effect
at the resolution you desire (see
the Live Effects & Graphic Styles
chapter for more on applying live
effects).
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261
Different flavors of PDF
Not all versions of PDF support
transparency, so it's important to
pay attention to the version of
PDF you're using. Illustrator CS,
like Illustrator 10, uses PDF 1.4 as
its native format and is compatible with Adobe Acrobat 5. But
Illustrator CS can also save in the
new PDF 1.5 format, which is
compatible with Acrobat 6, and
can take advantage of Acrobat 6's
Usually you get the best results using the all-vector setting of 100, but if this takes too long to print, try the allraster setting of 0. In some cases, when transparent effects
are very complex, this might be the best choice. Generally,
the in-between settings create awful results.
Because objects are always flattened to a white background, you might see color shifts after you flatten your
artwork. To preview the way your artwork would look
if flattened, you can turn on Simulate Paper (Document
Setup > Transparency) or Overprint Preview (in the View
menu), and you can use the new Flattener Preview palette
to highlight the areas that would be affected.
new PDF layers features. (See
the Illustrator Basics chapter for
The last word on transparency
more info on PDF formats and
When working with transparency, it is extremely important to know when your files will become flattened. When
you print a file, the artwork gets flattened, but your file
isn't permanently affected (because the flattening only
happens to a temporary copy of the file during the printing process). Also, know that there are two kinds of EPS
files you can make from Illustrator—Adobe Illustrator 9 (AI9) and newer, and Adobe Illustrator 8 (AI8) and
older—and there's a big difference. (Illustrator CS allows
you to export to a variety of Illustrator Legacy formats,
including AI8, AI9 and AI10.) When you export an EPS
to AI9 or a newer format (or you Save as EPS in Illustrator CS), two versions of your file actually get saved in the
EPS—a flattened version and a native unflattened version.
This allows you to print the file to a PostScript device (or
import it into another application such as QuarkXPress).
It also allows you to reopen the file in the current version of Illustrator in unflattened form so you can make
edits to the file. However, exporting as AI8 EPS (or earlier
versions) only saves the flattened version of the file. This
means that if you reopen the exported AI8 EPS file in a
later version of Illustrator, you'll see that all your art is
flattened. Reopening a flattened AI8 EPS file in Illustrator
results in a loss of spot colors and layer information, and
some of your objects may be broken apart or rasterized.
saving for Acrobat 6, including
Illustrator's new PDF presets).
There are also two older formats
you might encounter. PDF 1.3 is
compatible with Acrobat 4 and
does not support transparency.
PDF 1.2 is the basis for Quartz, the
rendering engine of Mac OS X,
which uses Apple's own extensions to implement a limited form
of transparency.
The Illustrator Legacy Options dialog box, showing the legacy versions to which you can export
files (File>Export, then choose Illustrator Legacy
from the Format menu and click Export)
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In addition, all text and strokes will have been converted
to outlines (they become separate objects and will no
longer be editable in the same way). Furthermore, if you
export as AI9 or AI10, you'll lose any Illustrator CS-specific features (they'll be expanded and lose their editability). So, it's really important to save in Illustrator CS EPS
format if you need EPS. If you have to export to an earlier
Illustrator EPS format, be sure to also save a copy of your
file in native Illustrator CS format. See the User Guide for
more about exporting to Illustrator Legacy EPS formats.
If you can't see an appearance
If you're trying to alter an
appearance but nothing seems to
be changing on the screen, make
sure that:
• your objects are selected
• you're in Preview mode
APPEARANCES
Within an appearance are a collection of strokes, fills,
effects, and transparency settings. An appearance can
be applied to any path, object (including text), group,
sublayer, or layer. The specific appearance attributes of
a selection are shown in the Appearance palette. Attributes within the appearance are added to the palette in
the order they are applied. Changing the order of the
attributes will change the appearance. An object and
its enclosing groups and layers can all have their own
appearances.
To apply an appearance, make a selection or click on a
target indicator (Layers palette). Then add transparency,
effects, multiple fills, and/or multiple strokes (see the
"Adding Fills and Strokes" section). When a group, sublayer, or layer is targeted, strokes and fills will be applied
to the individual objects within the selection, but any
effects or transparency settings will be applied to the target (see Tip "Selecting vs. targeting" in the Layers chapter). Drag the target indicator (in the Layers palette) from
one layer to another to move an appearance or Optiondrag (Mac) or Alt-drag (Win) the indicator to copy the
appearance. To re-use an appearance, save it as a style in
the Graphic Styles palette.
Appearance palette
When an item is selected or targeted, the Appearance palette displays all the attributes associated with the current
Appearance palette indicators
The appearance indicators for Paint, Effects,
and Transparency only show up in
the Appearance palette on layers
or groups that contain elements
with these attributes.
Layers appearance icons
An object has a basic
appearance as long as it
does not contain multiple Fills or
Strokes, transparency, effects, or
brush strokes. It is indicated by an
open circle in the Layers palette.
More complex appearances
are indicated by a gradientfilled icon in the Layers palette.
Chapter 8 Transparency & Appearances
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An example of multiple Strokes and Fills, including a 1 pt black stroke, a solid fill at 66% Opacity, a pattern fill at 45% Opacity, a 5 pt green
stroke, and a Drop Shadow effect (see the Live
Effects & Graphic Styles chapter for more about
live effects)
Move or copy appearances
In the Layers palette,
drag the Appearance
icon circle from one object, group,
or layer to another to move the
appearance. To copy the appearance, hold Option (Mac) or Alt
(Win) as you drag the icon.
Target all elements
THE FINER POINTS OF APPEARANCES
When a group or layer is targeted,
Adding fills & strokes
you can double-click the Contents
It's not until you start adding multiple fills and strokes to
an appearance that you completely understand how useful the Appearance palette is. See lessons and Galleries
later in this chapter for some great examples of why you
would want to use multiple strokes and/or fills.
line in the Appearance palette to
target all the individual elements
inside the group or layer.
—Pierre Louveaux
264
selection. If there isn't a selection, the palette will display
the attributes for the next object drawn. When the current target is an object, the Appearance palette always
lists at least one fill, one stroke, and the object-level
transparency. When the target is a group or layer, no Fill
or Stroke is shown unless one has been applied (see "Adding Fills & Strokes" following). "Default Transparency"
means 100% opacity, Normal blending mode, Isolate
Blending off, and Knockout Group off or neutral.
A basic appearance isn't always a white fill and a
black stroke (as suggested by the icon). An appearance
is defined as a Basic Appearance when it includes one
fill and one stroke (with either set to None); the stroke is
above the fill; there are no brushes or live effects; opacity
is 100%; and blending mode is Normal (the defaults).
If the current selection has more than the basic attributes you can choose what attributes the next object will
have. The first icon at the bottom of the palette is New Art
Maintains Appearance (when disabled) and New Art Has
Basic Appearance (when selected). For example, if your
last object had a drop shadow but you don't want the next
object to inherit this attribute, click on the icon and the
new object will only inherit the basic attributes.
Click on the Clear Appearance icon to reduce appearance attributes to no fill, no stroke, with 100% opacity.
Click on the Reduce to Basic Appearance icon to reduce
the artwork's appearance to a single stroke and fill along
with the default transparency. To delete an attribute, drag
it to the Trash, or click it and then click the Trash.
Note: Keep in mind that Reduce to Basic Appearance
removes all brush strokes and live effects!
Chapter 8 Transparency & Appearances
The Appearance palette has a stacking order similar
to that of the Layers palette. Items at the top of the palette
are at the top of the stacking order. You can click on items
in the palette list to select them, and you can rearrange
them by dragging them up and down.
Select Add New Fill or Add New Stroke from the
palette pop-up menu to add these attributes to an appearance. You can also add effects and transparency attributes
to each fill or stroke by first clicking on the desired fill or
stroke line in the palette.
There are several ways to duplicate or delete a fill,
stroke, or effect. You can select the attribute in the palette list and drag it to one of the icons at the bottom of
the palette. You can also select the attribute and click the
appropriate icon at the bottom of the palette. Finally, you
can choose the appropriate item from the pop-up menu.
Multiple fills & strokes
Create multiple line effects by adding multiple strokes
to a path. Select a path, group, or layer and choose Add
New Stroke from the Appearance palette pop-up menu.
A new stroke is added to the Appearance. In order to
see the additional stroke on the path, you must give it
different attributes from the initial stroke. Target one
stroke (in the Appearance palette) and adjust the color,
point size, shape, and/or transparency settings. (See Teri
Pettit's tutorial "Pathfinder_Strokes.ai" on the Wow! CD
for details on how to use pathfinder effects to construct
specialty strokes.)
To create multiple fills, target an object, group, or
layer and choose Add New Fill. As with multiple strokes,
before you can see the effect of the added fill, it needs a
different appearance. To vary the results of additional
fills, apply an effect or different transparency settings.
If you're having trouble seeing the results of your
multiple strokes, start with a wider stroke on the bottom
(see the example opposite). To vary the results, try applying dashed lines and /or different end caps. For fills, try
patterns or gradients with transparency.
New Art Has Basic Appearance
Be aware that in Illustrator CS,
the Appearance palette's New Art
Has Basic Appearance option is
now on by default. So, unless you
uncheck this option in the palette
menu or click the button at the
bottom of the palette, no effects,
brush strokes, or multiple fills or
strokes will be automatically applied to new objects you create.
—Brenda Sutherland
For a step-by-step lesson applying multiple
Strokes, Fills, and brush strokes to "outlined"
type, see Steven Gordon's "Brushed Type" lesson
in the Type chapter
Expandable text shapes
Want to make a text button? Type
a word, then select the text object. Choose Add New Fill (in the
Appearance palette menu) and
drag this new fill below the Characters line. Click on the Fill line,
apply the desired fill color, and
then choose a shape from the Effect > Convert to Shape submenu.
Set the Relative Extra Width and
Extra Height to how far you want
the button to extend around
the text, and click OK. Each time
you edit the text, the button will
automatically resize itself.
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265
Transparency 101
Assigning Opacity to Default Brushes
Overview: Prepare
an image for tracing in
Illustrator; set Paintbrush
preferences; set up the
Brush and the level of Transparency; draw, using Layers
to save your work in stages.
A scanned sketch, saved as a grayscale TIFF file
The TIFF in Layer 1; converting Layer 1 to a
template layer
Set the Paintbrush Tool Preferences to prevent
new brush strokes from filling and to prevent
redraw of marks already made
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Chapter 8 Transparency & Appearances
The most basic use of transparency involves only a
drawing tool and the Transparency palette. To create this
drawing, Sharon Steuer traced a scanned sketch using
Calligraphic brushes set to 45% Opacity. For this lesson, New Art Has Basic Appearance must be off (it's on
by default); toggle it on/off from the Appearance palette
pop-up menu (Window > Appearance). The Bounding
Box should be visible (this toggle is in the View menu).
1 Preparing an image for tracing in Illustrator. Scan a
photograph or drawing you want to trace. Save the
image in TIFF format. Open it in Illustrator (File >Open).
Your scanned image will be contained within Layer 1. In
order to be able to draw in great detail without having to
resize your brushes, enlarge the image. Click on it with
the Selection tool, then Shift-drag a corner to enlarge
(Shift-Option-drag/Shift-Alt-drag to enlarge from the
image's center). To convert Layer 1 to a template layer in
order to prevent your template image from exporting or
printing, double-click on Layer 1 in the Layers palette,
select the Template option, type in a dimming factor
other than the default 50% (if desired), and click OK. (For
more about templates and layers, see the Layers chapter.)
2 Setting Paintbrush preferences. You'll need to set the
Paintbrush Tool Preferences so you can freely make overlapping marks. Double-click on the Paintbrush tool, then
uncheck the Options "Fill new brush strokes" (so your
marks will be stroked and not filled) and "Keep Selected"
(so new marks won't redraw the last drawn mark). With
the "Keep Selected" option disabled, you can still redraw
a mark by selecting it first with a selection tool, then
drawing a corrected mark within the distance specified in
the Within field of the Paintbrush Tool Preferences dialog
box. To create accurate marks, Steuer set the Fidelity to .5
pixels and the Smoothness to 0%. If you want Illustrator
to smooth your marks, experiment with higher settings.
Open the Brushes palette (Window menu) and
choose a Calligraphic Brush
3 Setting up the Brush and the level of Transparency.
Create a new layer by clicking the New Layer icon in the
Layers palette. With the Paintbrush tool selected, open
the Brushes palette. The first six default brushes are
Calligraphic brushes. Click on one to choose it. Using the
Color palette, choose a Stroke color. Next, in the Transparency palette, move the Opacity slider to approximately
50%. To change the opacity of future brush strokes at any
point, move the Opacity slider to a new setting.
4 Drawing, and using Layers to save your work in
stages. Start drawing. Notice that the opacity you chose
will apply after you complete each stroke. Feel free to
switch to any of the other Calligraphic brushes; Illustrator will maintain your transparency and color settings.
Once you have a group of marks you're satisfied with,
make a new layer and begin working into it. Working this
way will allow you to easily return to the last stage you
were pleased with. Hide and show any layer by clicking
on the icon in the leftmost column next to the layer name
in the Layers palette. Delete any layer by dragging its
name to the Trash icon at the bottom of the palette.
Although your drawing should look as though it were
painted with ink washes, real ink was never this flexible or editable. See the next lesson for a more advanced
variation of this technique involving Custom brushes,
changes in Transparency, and Layers. For more about
working with brushes, see the Brushes & Symbols chapter.
Open the Color palette (Window menu), then
set the Fill to None and choose a Stroke color
Open the Transparency palette (Window menu),
then preset the opacity of future brush strokes
by adjusting the Opacity slider
Use the Layers palette to organize groups of
brush strokes and save stages of the illustration;
you can hide or show layers by clicking on the
visibility icon in the left column
Chapter 8 Transparency & Appearances 267
Transparent Color
Customizing Transparent Brushes & Layers
Advanced Technique
Overview: Create custom Calligraphic brushes, setting Paintbrush
Tool Preferences and Opacity; create
sublayers for categories of objects
and for grouping of similar marks;
use layers to separate different types
of marks and to easily choose brush
styles; experiment with blending
modes; add finishing touches and a
Clipping Mask to crop the image.
Customize the settings for each new Calligraphic
brush using the Brush Options window
Four custom Calligraphic brushes in List view
(from the Brushes palette pop-up)
Preset the opacity for future objects by moving
the Opacity slider in the Transparency palette to
the desired percentage
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Chapter 8 Transparency & Appearances
Illustrator's Calligraphic brushes are among Sharon
Steuer's favorite digital tools. For the painting above, she
customized Calligraphic brushes, varying the Opacity
and colors to achieve a watercolor-like look. For this lesson, the New Art Has Basic Appearance feature must be
off (it's on by default); toggle it on/off in the Appearance
palette pop-up menu (Window > Appearance).
1 Create custom Calligraphic brushes and set the
Paintbrush Tool Preferences and Opacity. You'll first
customize a few brushes so you can better control the size
of the marks you make. If you have a pressure-sensitive
tablet, you can customize brushes so they respond to your
touch. To make the first brush, start a new file, then open
the Brushes palette (Window > Brushes), click the New
Brush icon at the bottom of the palette, select New Calligraphic Brush, and click OK. In the Calligraphic Brush
Options window, experiment with various settings, then
click OK and make a stroke to test the brush. To try other
settings, double-click the desired brush in the Brushes
palette. For her first custom brush, Steuer chose a Pressure setting for Diameter (9 pt with a 9 pt Variation), set
the Angle to 60° and the Roundness to 60% with both
Fixed, and clicked OK. For greater stroke variation, trychoosing a Pressure or Random setting for each option
(pressure settings are unavailable or don't work unless
you have a graphics tablet installed). To create each of
the brush variations, drag the first custom brush over the
New Brush icon and adjust the settings.
Once you have created your initial brushes, set the
Paintbrush Tool Preferences so you can freely create
overlapping marks: Double-click the Paintbrush tool, and
uncheck the "Fill new brush strokes" and "Keep Selected"
options. (For more on Paintbrush Tool Preferences, see
step 2 of the previous lesson.) In order to draw with the
maximum amount of detail, Steuer also set the Fidelity to
.5 pixels and the Smoothness to 0%.
To paint in transparent color, after you've chosen a
Calligraphic brush and a color, open the Transparency
palette (Window >Transparency). To set Transparency,
click and hold the triangle to the right of the Opacity field
to reveal the Opacity slider, which you can adjust.
2 Creating sublayers for categories of objects, then
sublayers for each grouping of similar marks. Create
sublayers for the major categories of objects within your
composition. Whenever you intend to draw a group of
marks within a broader grouping (such as Steuer's thicker
stalks within the vase), create a sublayer for those (use
the New Layer or New Sublayer icons at the bottom of
the Layers palette). It's helpful to create nested sublayers because, although you can expand any layer to view
the <Path> for each separate object, expanding a layer
that contains many objects can slow Illustrator down.
It's also helpful to name the layers that contain sublayers
so you can identify which layers you can easily expand
or collapse. Although she didn't name all of her layers,
Steuer named the sublayers that contained further sublayers (flowers and vase). To rename a layer, double-click
The New Sublayer and New Layer icons found at
the bottom of the Layers palette
An early stage of the image showing organizational sublayers nested within a master layer
(top Layer 1). Steuer custom-named sublayers
that contained additional sublayers so she could
identify which ones she could easily expand
without slowing down Illustrator
Chapter 8 Transparency & Appearances
269
the layer in the Layers palette. By holding down Option
for Mac or Alt for Windows as you click the New Layer
or New Sublayer icon, you can name a new layer as you
create it. Drag layers to the trash if you no longer need
their contents. Steuer created and trashed many sublayers
as she worked, which resulted in some out-of-sequence
sublayer names.
Steuer used Illustrator's built-in layer location
and style duplicating features to easily create
new sublayers in the desired locations and with
the desired styling
Above, Steuer chose the Screen blending mode
with Opacity set to 55% to achieve a brightening effect on the stem objects. Below, she chose
the Color Burn blending mode with Opacity set
to 32% on a duplicate copy of the vase shape
layer to achieve a glassy effect
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Chapter 8 Transparency & Appearances
3 Using the layers to separate different types of marks
and to easily choose the right brush style. One of the
wonderful aspects of working with Illustrator is that your
last selected object determines the styling and "stacking
order" for the next object you draw. For instance, say you
select a petal, then deselect it by clicking outside of the
image itself (or -Shift-A for Mac /Ctrl-Shift-A for Win),
the next mark you make will match the styling of the last
selected object and will be placed at the top of the same
layer. If you want the new object to be placed directly
above an existing one, click on the existing one in the
Layers palette before drawing the new one. If objects on
top obstruct your ability to click on the object you want to
select, then first select the problem objects and lock them
with Object >Lock >Selection ( -2 /Ctrl-2). Or expand
the layer to find the object in the Layers palette and then
select it by clicking to the right of the targeting circle for
that <Path>.
4 Experimenting with changing the blending modes
of your marks. In addition to setting the Opacity, you
can also adjust the blending mode for selected objects by
choosing from the pop-up menu in the upper left corner
of the Transparency palette. For example, after creating a batch of stems on one layer within the vase, Steuer
wanted to make them appear brighter, so she changed
the mode from Normal to Screen. To adjust the blending
mode for all objects within a layer or sublayer, click to the
right of that layer's targeting circle (on the far right side of
the layer name) to select all the objects within that layer,
and then experiment with different blending modes. To
enhance the effect, you can duplicate the sublayer (by
dragging the sublayer to the New Layer icon). If this
makes the effect too strong, you can reduce the opacity
of the upper sublayer. To enhance the glass vase, Steuer
duplicated the sublayer containing the vase shape (by
dragging the sublayer to the New Layer icon), and moved
the duplicate on top of the other vase objects by dragging
its name up in the Layers palette. In the Transparency
palette, she chose the Color Burn blending mode for
the duplicate vase sublayer, and reduced the Opacity to
32%. Be aware that custom blending modes are retained
from the last selected object in the same way as the brush
style, color, and opacity are retained. You can manually
reset your blending mode to Normal, or any other mode,
before or after you create the next object.
5 Finishing touches, and perhaps a Clipping Mask to
crop the image. For finishing touches, you can work
into your layers, adding details. Steuer continued to add
sublayers above and below others to add the final details
to her still life, and to add a signature.
To neatly trim your illustration, create a Clipping
Mask that crops out everything outside the mask. To
apply a Clipping Mask across multiple layers, all your
objects and sublayers must be contained within one layer
(which we'll call the master layer) and the topmost path
within your master layer will become your mask. If you
haven't been working within a single layer, you'll need to
create a master layer. To do this, first select all the layers
you want masked by -clicking each layer for Mac /Ctrlclicking for Win (you can Shift-click to select contiguous
layers) and choose Collect in New Layer from the palette
pop-up menu. This converts your layers into sublayers
within a new master layer. To make a topmost masking
object, first click on the master layer's name to highlight
it, then use the Pen tool or Rectangle tool to create a path
that will define your mask. With your master layer still
highlighted, click the Make Clipping Mask icon at the
bottom of the Layers palette.
Before and after the finishing touches and
cropping, and the final Layers palette shown
collapsed (left, with enlarged icons) and expanded (right)
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Basic Transparency
Blending Modes, Opacity & Isolate Blending
©
Overview: Arrange elements; selectively apply blending modes to objects
using Layers, Appearance and Transparency palettes; modify layer opacity; assign a blending mode to objects;
group objects and isolate blending.
Once you have mastered selecting and targeting in
Illustrator, you can create cool effects using basic transparency. In this illustration, Diane Hinze Kanzler
incorporated three aspects of the Transparency palette:
opacity, blending modes, and Isolate Blending.
Elements of the final Illustration before
transparency effects
Use the Layers palette to target a path, and the
Appearance palette to select the Fill attribute
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Chapter 8 Transparency & Appearances
1 Arrange elements of the final illustration on layers.
The logical placement of groups and objects in layers will
be helpful as you apply transparency effects to an illustration. In this illustration, for example, all parts of one fish
are on one layer, the marbles in the bowl are on a separate
layer from the marbles outside of the bowl, etc. (see the
Layers chapter for help with organizing layers).
2 Selectively apply a blending mode to an object.
Kanzler wanted the gray fill of her bowl to have a slight
deepening color effect on the objects in the layers below.
First, she selected the bowl and gave it a fill of light gray
and a stroke of dark gray. Next, she targeted the bowl
path in the Layers palette. In order to correctly apply a
blending mode to the fill of the bowl, Kanzler selected
Fill in the Appearance palette by clicking once on the Fill
attribute. She chose Multiply from the list of blending
modes in the Transparency palette. The light gray fill of
the bowl has a blending mode applied to it, but the dark
gray stroke of the bowl remains opaque, as intended.
To apply a blending mode to one of the paths in the.
water layer, Kanzler used the same targeting method.
First, she targeted the larger water path (not the splash
drops) and selected Fill in the Appearance palette. Then
Kanzler chose Multiply as a blending mode in the Transparency palette.
3 Using the Opacity slider. For the reflection effect on
the bowl, Kanzler simply reduced the opacity of the
white objects. She targeted the "reflection" layer, and
in the Transparency palette used the Opacity slider to
reduce the opacity of the reflection objects to the desired
amount. In this instance, the Appearance palette wasn't
even used, as the effect was applied to the entire layer.
4 Isolate the blending. In order to prevent a blending
mode from affecting objects beneath a certain point, the
blending effect must be isolated. With Kanzler's illustration, she wanted the aquatic leaves and stems to be transparent with each other as they overlap, and those plants
to show the fish behind them. But she also wanted to
prevent the plants from interacting with the bowl shadow
which is beneath the plants on a lower layer.
So that the individual paths in the plant group would
interact with each other and with the fish, she first
selected the plant paths by Option (Mac) /Alt (Win)-clicking on the plant <Group>. Then Kanzler chose the Hard
Light blending mode in the Transparency palette. If she
had targeted the plant layer instead, the blending mode
would have applied to the plant group as a whole, and
the overlapping leaves would not blend with each other.
To prevent the bowl shadow from showing through the
plants, Kanzler selected the plant group and rearmost
fishes group and chose Object > Group, which placed all
into one new group. She targeted that group in the Layers
palette, and then selected the Isolate Blending checkbox
in the Transparency palette, which maintained the blending mode within the group, but prevented the group from
being transparent to layers below.
Docking the Transparency palette under the
Appearance palette to keep both conveniently
available
The Opacity slider in the Transparency palette
was used to reduce opacity of the reflection
highlight shapes
Apply a blending mode to multiple objects individually by selecting rather than targeting before
applying the blending mode
Use the Layers palette to target a group of objects that have been assigned a blending mode,
then enable Isolate Blending (in the Transparency palette) to prevent that blending mode from
affecting objects outside the group
Chapter 8 Transparency & Appearances
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Basic Highlights
Making Highlights with Transparent Blends
Overview: Create your basic objects
and a light-colored highlight shape;
use blends to make the highlights;
scale the highlights to fit.
Using transparency, highlights are now as simple as
creating a blend in the correct highlight shape. For help
creating smooth contoured blends, see "Unlocking Realism" in the Blends, Gradients & Mesh chapter.
The original objects (locked in the layers palette)
shown with the basic highlight shape
The highlight objects before blending (the outer
object is set to 0% Opaque in the Transparency
palette); after blending in 22 steps; the blend
shown at actual size
The final blend in place and shown in a "registration" circle for easy scaling on other bubbles
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Chapter 8 Transparency & Appearances
1 Creating your basic objects and determining your
basic highlight shape and color. Artist Sharon Steuer
created this "Bubbles" image using overlaying transparent radial gradients (to see how she created the hill, see
"Rolling Mesh" in the Blends, Gradients & Mesh chapter).
She modified an oval with the Direct-selection tool to
create her basic highlight shape. After creating your main
objects, make a light-colored highlight object on top. Use
the Layers palette to lock everything except the highlighted object (see the Layers chapter for help).
2 Creating the highlight. Select the highlight shape and
Copy, choose Edit > Paste in Back, then Object > Lock.
Now, select and shrink the front copy (for scaling help
see the Zen chapter). Choose Object >Unlock All, then
set the Opacity of this selected outer object to 0% in the
Transparency palette. Select both objects, then with the
Blend tool, click on one anchor point of the outer object,
then Option/Alt-click on the corresponding anchor point
of the inner object and specify the number of blend steps
(Steuer chose 22 steps). Steuer scaled copies of her highlight blend (with a "registration circle") for each bubble.
Nancy Stahl
Nancy Stahl created
a soft, airbrushed
look throughout her
illustration for The Illustrator 9 Wow! Book cover
by using opaque-totransparent blends, as
described in the "Basic
Highlights" lesson opposite. Shown bottom left
are the steps Stahl used
in creating the hat band:
the first two figures in
the first diagram show
her custom Pattern
Brush and that brush
applied to a path (see
the Brushes & Symbols
chapter for help with
brushes), third down
shows the opaqueto-transparent blends
on top of the brushed
path, next are the brush
and blends masked, at
bottom is that masked
group on the hat colors,
with the brushed path
set to a Multiply mode
with a 65% Opacity
(Transparency palette).
At bottom right is the
gondolier with and
without the opaqueto-transparent blends.
Chapter 8 Transparency & Appearances
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Tiffany Larsen
276
In this Illustration about Mardi Gras nightlife,
blocks of color. Here, Larsen also introduced a
artist Tiffany Larsen combined a posterized
third color (turquoise) within the transparent
look with layers of subtle transparency to
smoke swirls. She applied varying opacities of
create depth and atmosphere. Larsen typically
10%-30% using the opacity slider in the Trans-
uses two colors in her illustrations. The primary
parency palette, all with the Blending mode set
color, of multiple shades, creates texture. The
to Normal. The complex layering of transparent
secondary color (red) is used as a highlight,
smoke over the solid blocks of color heightens
and is limited to one or two shades and simple
the energy of the composition.
Chapter 8 Transparency & Appearances
Louis Fishauf
Louis Fishauf created the holiday glow that
for St. Nick, Fishauf constructed the globe-like
radiates from his mischievous Santa by using
body, legs, arms, head, and hat from gradient-
Illustrator's Gaussian Blur effect, the Trans-
filled objects. He then made copies of these
parency palette, and one of a set of custom
and pasted them behind the original set of
art brushes. Fishauf created the background
objects, applying to each a white Fill and white
by drawing a large circle with a purple radial
Stroke ranging from 5 points to 7.26 points.
gradient and applied a 25 pixel radius Gauss-
A Gaussian Blur was applied to these objects,
ian Blur. He selected the Star tool and drew a
along with a uniform opacity of 68%. The
shape. He then selected Blur>Gaussian from
gift box, computer, and Christmas tree each
the Effect menu, setting the Opacity to 25%.
received individual glows. Fishauf added even
To create the illusion that the orbiting streak
more visual interest by adding a Drop Shadow
fades into the distance behind Santa, and to
to Santa's face and beard. Santa's list was cre-
add a sense of depth to the entire image, Fish-
ated from a set of white Strokes, behind which
auf applied an art brush he created with short
Fishauf pasted a white-filled shape with an
tapered ends to a 0.36 pt white stroke. He then
Opacity set to 50%, and a second copy of the
integrated the streak into the image by giving
shape with a gradient fill set to Lighten mode
it an opacity of 34% with the Lighten mode. As
for a subtle modeled effect.
Chapter 8 Transparency & Appearances
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Basic Appearances
Making and Applying Appearances
Overview: Create appearance
attributes for an object; build a
three-stroke appearance, save it as a
style, and then draw paths and apply
the style; target a layer with a drop
shadow effect, create symbols on the
layer, then edit layer appearance
if needed.
Complexity and simplicity come together when you use
Illustrator's Appearance palette to design intricate effects,
develop reusable styles and simplify production workflow.
In this location map of Chicago, Illinois, cartographer
Steven Gordon relied on the Appearance palette to easily
build appearances and apply them to objects, groups
and layers.
On the left, the lake with blue fill and stroke; on
the right, the lake with the Inner Glow added to
the appearance attribute set
Appearance palette displaying the finished set
of attributes (Cordon used the Appearance palette so that he could create a single path for the
lake that contained a fill and the coastline stroke
above it)
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Chapter 8 Transparency & Appearances
1 Building an appearance for a single object. Gordon
developed a set of appearance attributes that applied a
coastline, vignette and blue fill to a path symbolizing
Lake Michigan. To begin building appearance attributes,
open the Appearance palette and other palettes you
might need (Color, Swatches, Stroke, and Transparency,
for example). Gordon began by drawing the outline of the
lake with the Pen tool and giving the path a 0.75 pt dark
blue stroke. In the Appearance palette, he clicked on the
Fill attribute and chose the same dark blue he had used
for the stroke. To give the lake a light-colored vignette, he
applied an inner glow to the Fill attribute (Effect > Stylize > Inner Glow). In the Inner Glow dialog box, Gordon
set Mode to Normal, Opacity to 100%, Blur to 0.25 inches
(for the width of the vignette edge), and enabled the Edge
option. He clicked the dialog box's color swatch and chose
white for the glow color.
2 Creating a style. Until Illustrator 9, you created a "patterned" line like an interstate highway symbol by overlapping copies of a path, each copy with a different stroke
width. Now you can use the Appearance palette to craft
a multi-stroked line that you apply to a single path. First,
deselect any objects that may still be selected and reset
the Appearance palette by clicking the Clear Appearance
icon at the bottom of the palette (this eliminates any attributes from the last selected style or object). Next, click
the Stroke attribute (it will have the None color icon) and
click the Duplicate Selected Item icon twice to make two
copies. Now, to make Gordon's interstate symbol, select
the top Stroke attribute and give it a dark color and a 0.5
pt width. Select the middle attribute and choose a light
color and a 2 pt width. For the bottom attribute, choose
a dark color and a 3 pt width. Because you'll use this set
of appearance attributes later, save it as a style by dragging the Object icon at the top of the palette to the Styles
palette. (Double-click the new style's default name in the
palette and rename it in the dialog box if you want.)
3 Assigning a style to a group. Draw the paths you
want to paint with the new style you created above. Then
choose Select All and Group. To get the three levels
of strokes to merge when paths on the map cross one
another, click on Group in the Appearance palette and
then apply the interstate style you just saved.
4 Assigning appearance attributes to an entire layer.
By targeting a layer, you can create a uniform look for all
the objects you draw or place on that layer. Create a layer
for the symbols and click the layer's target icon in the
Layers palette. Then select Effect > Stylize > Drop Shadow.
Each symbol you draw or paste on that layer will be automatically painted with the drop shadow. Later, you can
modify the drop shadows by clicking the layer's targeting
icon and then double-clicking the Drop Shadow attribute
in the Appearance palette and changing values in the
pop-up Drop Shadow dialog box.
On the left, the interstates with the Style applied to the individual paths; on the right, the
interstate paths were grouped before the Style
was applied
Top, targeting the layer in the Layers palette;
bottom, the Appearance palette showing the
Drop Shadow attribute (double-click the attribute to edit Drop Shadow values)
Chapter 8 Transparency & Appearances
279
Floating Type
Type Objects with Transparency & Effects
Overview: Create an area type
object, key in text; add a new fill
attribute in the Appearance palette;
convert the fill to a shape; change
transparency and add an Effect.
Left, the Selection tool selected; right, the Type
tool selected
Using the Convert to Shape effect, you can create an
area type object with transparency and effects that will
save you from making and manipulating two objects
(a type object and a rectangle with transparency and
effects below it). For a virtual guide to Bryce Canyon
National Park, Steven Gordon created a transparent area
type object with a hard-edged drop shadow that provided information for each of the Park's most popular
hiking trails.
1 Making the area type object. Start by selecting the
Type tool, dragging it to create an area type object, and
then keying in your text. When you have finished typing,
click on the Selection tool (the solid arrow icon) in the
toolbox. This deselects the text characters while selecting the type object, preparing the object (rather than the
characters) for editing in the next step.
The type object after clicking with the Selection
tool (the background photograph has been hidden in this view)
The Appearance palette after selecting the fill
attribute and applying white to it
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Chapter 8 Transparency & Appearances
2 Creating a new fill and converting to a shape. Open
the Appearance palette and select Add New Fill from the
palette menu. Drag the new Fill attribute below Characters in the palette. The Fill attribute will be automatically
deselected when you move it in the palette so you'll need
to click on it again to select it. Next, apply a light color to
it (Gordon chose white from the Swatches palette). Now
choose Effect > Convert to Shape > Rectangle. In the Shape
Options dialog box, control the size of the rectangle
around your type object by modifying the two Relative
options (Extra Width and Extra Height). To make the
shape wrap more tightly around his area type object,
Gordon keyed in 0 inches for the Extra Width and Extra
Height options.
3 Adjusting transparency and adding a drop shadow
effect. Gordon designed each trail information box
to incorporate transparency and a drop shadow, so its
text would float above, but not obscure, the background
photograph. To adjust the transparency of the shape
you converted in the previous step, first ensure that the
type object's Fill or Rectangle attribute is selected in the
Appearance palette. (If either attribute is not selected,
then the transparency changes you're about to make will
also affect the text characters.) Open the Transparency
palette and adjust the transparency slider or key in a
value (Gordon chose 65% for transparency).
Instead of creating a soft drop shadow, Gordon opted
to make a hard-edged shadow. To create this shadow,
make sure the Fill attribute is still selected in the Appearance palette. Choose Effect > Stylize > Drop Shadow and
in the Drop Shadow dialog box set Color to black, Blur
to 0, and then adjust the X Offset and Y Offset sliders so
the shadow is positioned as far down and to the right as
you wish.
4 Editing the area type object. As you continue working,
you may decide to resize the type object you originally
created when you dragged with the Type tool. (This is
different than editing the Shape Options dialog values
to change the size of the transparent rectangle around
the type object, as you did previously). To resize the
object, click on the Direct Selection tool and then click
on the edge of the type object you want to drag in or out.
Because the transparent drop shadow shape was formed
using the Convert to Shape effect, it is "live" and will
automatically resize as you resize the type object.
Similarly, if you edit the text by adding or deleting
words, the type object will resize, causing your transparent drop shadow shape to resize automatically.
The Shape Options dialog box with the Relative
options edited
Left, the Appearance palette with the transparency attribute selected; right, the Transparency
palette
The Drop Shadow dialog box
The Direct Selection cursor when it nears the
edge of an area type object
Getting an edge
It can be hard to click the edge
of a type object that has a drop
shadow. To easily find the edge,
choose View >Outline. Now the
selectable edge will display as a
black line.
Chapter 8 Transparency & Appearances
281
Tinting a Scan
Using Transparency Effects & Simplify Path
Advanced Technique
Overview: Place an EPS image and
its clipping path; tint the image using
the clipping path, blending modes
and Opacity; reduce a path's anchor
points using Simplify; use Isolate
Blending to prevent double shadows.
Diane Hinze Kanzler enhanced her original salamander
illustration using transparency effects and Simplify to
make her image more unique and naturalistic.
The grayscale leaf scan; the outline selection
converted to a path in Photoshop and designated as a clipping path (the small hole in the
leaf has been included in the path, making it a
compound clipping path in Illustrator)
Drawing the russet-colored rectangle into the
compound clipping path group; targeting the
rectangle path and specifying a Multiply blending mode and opacity of 50%
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Chapter 8 Transparency & Appearances
1 Scanning and placing an image and its clipping path.
If you don't have access to Photoshop, place a grayscale
image with a simple outline shape and manually create
your own clipping path (see the Advanced Techniques
chapter for help). To add a bit of nature to her illustration, Kanzler scanned a real oak leaf in grayscale mode
in Photoshop. To create a clipping path for the leaf, she
used Photoshop's Magic Wand tool to select everything
except the leaf (using the Shift key to add the hole to her
selection) then chose Select >Inverse. To convert the leaf
selection into a clipping path, Kanzler chose from the
Path pop-up menu (in order): Make Work Path (with .5
Tolerance), Save Path, and Clipping Path (with a 4 Flatness). To preserve the clipping path, she used Save As and
chose Photoshop EPS format, then in Illustrator she chose
File > Place to place the EPS leaf, disabling the Link option
to embed the scan and its clipping path.
2 Tinting the scan. Kanzler used the leafs clipping path
to tint her scan. First, in the Layers palette she located
the scan's <Group>, expanded it and clicked the scan
<Image>. She then drew a russet-colored rectangle above
the scan (bigger than the leaf). She targeted this rectangle
in the Layers palette, then set a Multiply blending mode
with 50% Opacity in the Transparency palette.
3 Adding a shadow. To create a shadow, Kanzler began
by copying her clipping path. She then clicked the New
Layer icon, and moved this new layer below the leaf's
layer. After moving your new layer below your image,
paste your copied outline in proper registration by first
turning off Paste Remembers Layers (from the Layers
palette pop-up menu), then choose Edit > Paste in Front
( -F /Ctrl-F). Kanzler then chose a new fill color for
the outline and used Arrow keys to offset its position.
4 Creating a simpler shadow. In order to minimize
the overall size of her file, Kanzler wanted to create a
simplified shadow for her salamander. In the Layers
palette, she selected the salamander outline path by
clicking to the right of the target circle. She then made
a copy of the selected outline to a layer below by dragging the colored square to the layer below while holding Option /Alt. After choosing a color for the shadow,
Kanzler simplified the shape by choosing Object >
Path > Simplify, and set the Curve Precision to 82%,
thus reducing the path from 655 to 121 path points,
while still maintaining the shape's overall look. She
then offset the salamander's shadow.
Kanzler selected all the objects in the leaf file, copied, and switched to her salamander illustration. Then
with Paste Remembers Layers still on, she pasted. Using
the Layers palette, she moved the leaf layers below the
salamander layers, and targeted her salamander shadow
object. In the Transparency palette, she set a Multiply
blending mode for the shadow.
To prevent a "double shadow" effect where shadows
overlapped, Kanzler used Isolate Blending. She selected
and grouped (Object > Group or -G /Ctrl-G) the salamander shadow with the leaf group—but not the leaf
shadow. She targeted this new group, then clicked Isolate Blending in the Transparency palette.
Using a copy of the leaf's clipping path to create
an offset shadow on a layer below the leaf scan
Simplifying the salamander's shadow object
path (left: before; right: after Simplify)
Assigning a blending mode to the salamander's
shadow in the final, combined illustration
Using the Transparency palette's Isolate Blending
feature to prevent an overlapping shadow effect
Chapter 8 Transparency & Appearances
283
It's a Knockout!
See-through Objects with a Knockout Group
Advanced Technique
Overview: Arrange elements in
layers; apply a gradient fill and solid
stroke to text; modify opacity and use
a blending mode; create a Knockout
Group; adjust transparency effects.
All elements of the final illustration, before applying blending modes and Knockout Croup
A copy of the gradient-filled "Organic" is pasted
behind and given a 6 pt stroke of dark blue and
a fill of None
Detail of the rainbow <Group> after reducing
opacity in the Transparency palette
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Chapter 8 Transparency & Appearances
For this sign, Diane Hinze Kanzler used Illustrator's
Knockout Group feature to allow wood grain to show
through text while blocking out other elements.
You may already be familiar with the concept of
knockout from darkroom or film prepress work. A
knockout film is typically used to "punch a hole" in an
illustration or photograph, thus revealing images, text, or
even the paper color below.
The Knockout Group feature in Illustrator (found in
the Transparency palette) works according to the same
principle as prepress knockout film, yet it is much more
powerful because it also allows transparency effects to be
applied with the knockout. The real trick to controlled
use of the Knockout Group feature is the proper use of
the Layers palette to correctly select or target objects.
1 Arrange elements of the final illustration on layers,
convert text to outlines, and apply a gradient fill. It
is important, particularly when you're planning to use a
Knockout Group, that all of your illustration's elements
be placed on layers in a logical fashion (see "Organizing Layers" in the Layers chapter) and grouped (Object >
Group or -G/Ctrl-G) when appropriate. This will make
selecting or targeting groups much easier.
Create some text using a font bold enough to fill
with a gradient, and convert the text to outlines using
Type > Create Outlines (converted text is automatically
grouped). Next, select the group and click on a Gradient-
fill swatch to apply the fill to each letter of the text.
To add a stroke to her text without distorting it, Kanzler selected "Organic," copied it, deselected the text,
created a new layer below the filled text layer and chose
Edit > Paste in Back with the Paste Remembers Layers toggle off (see the Layers palette pop-up). She gave that copy
a fill of None and a thick stroke of dark blue.
2 Apply transparency effects to chosen objects.
Kanzler wanted her rainbow to be transparent, so she targeted the layer of her rainbow group and set the Opacity
slider to 75% in the Transparency palette. She also wanted
the wood grain of the background to show through
"Organic" while still being affected by the gradient fill. In
order to do this Kanzler targeted the gradient-filled text
group in the Layers palette, then
chose a blending mode of Hard Light in the Transparency
palette. At this point, all the objects below the gradient-filled "Organic" showed through, including the thick
strokes from the copy of "Organic."
3 Grouping objects and creating a Knockout Group.
Kanzler controlled which objects showed through the
topmost "Organic" with the Knockout Group feature.
First, she Option-Shift-clicked (Alt-Shift-click for Win)
each of the layers containing objects she wanted to select,
including the layers containing the filled "Organic" text,
the stroked "Organic" text, the corn, and the rainbow,
and Grouped (Object >Group, or -G/Ctrl-G). Next,
she targeted the group (in its new position in the Layers
palette), and clicked on the Knockout Group box in the
Transparency palette until a appeared (you may have
to click more than once to get the ). With a Knockout
Group applied, each object knocks out all the objects
below it within the group. In this case all objects within
Kanzler's group were knocked out by the shape of her
topmost object. This allowed the wood grain (which was
not part of the Knockout Group) to show through and be
affected by the blending mode of the filled "Organic" text.
With a blending mode applied to the gradientfilled "Organic," all lower layers show through,
and can be affected by the blending mode (also
shown enlarged)
Option-Shift-click /Alt-Shift-click on layers to
select objects within multiple layers. Object >
Group will move all selected objects into a new
<Group> on the topmost selected layer.
Target the new group, now composed of all objects to be included in the Knockout Group
Knockout Group applied to targeted group;
the topmost object's shape "punches a hole"
through the rest of the objects in the group and
reveal lower objects not included in the group
Chapter 8 Transparency & Appearances
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Opacity Masks 101
Applying Glows and Using Opacity Masks
Advanced Technique
Overview: Scan sketched artwork,
place it as a template, and draw
objects; apply Inner Glow; blend
one object into another using an
Opacity Mask.
Blending complex shapes and achieving contoured glows
and shadows can be daunting tasks—unless you know
how to use Illustrator's Transparency palette and Effect
menu. Joe Lertola makes the most of glows and opacity
masks in this TIME magazine illustration, enjoying the
convenience of applying raster effects in Illustrator.
Pencil sketch layout of the illustration
Top, head before and after applying Inner Glow;
bottom, the Inner Glow dialog box
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1 Sketching and scanning, then drawing. Draw the
objects to which you want to add a glow. Lertola placed
a scan of a rough pencil layout in Illustrator as a tracing
template (File > Place, and check the Template box) and
drew the brain, lobes, arrows, and other elements.
2 Creating Inner Glows. Heighten the visual drama of the
objects you've drawn by applying glows, shadows, and
other effects from the Effect menu. For example, Lertola
selected the outline of the head and choose Effect > Stylize > Inner Glow. In the pop-up dialog box, he selected
Multiply for Mode, entered 40% for Opacity, and set
the Blur. Next, he clicked the color icon to bring up the
Color Picker dialog box and chose a dark color. To start
the Inner Glow color at the edge so it fades inward to the
object's center, Lertola selected Edge. (To create the glow
with a color chosen in the Color Picker dialog box at the
center of an object—and fading outward to the edges—
you would select Center.)
Similarly, you can add a drop shadow to a selected
path by choosing Drop Shadow from the Effect > Stylize menu and specifying Opacity, Offset, and Blur in the
Drop Shadow dialog box.
3 Applying an opacity mask. Making an object appear
to blend into another object may seem difficult. Using
an opacity mask, you can perform this trick easily. First,
make sure the object that will be blended into another is
in front (in Lertola's illustration, the lobe was moved in
front of the brain by dragging it in the Layers palette).
To make an opacity mask, draw a rectangle (or other
shape) in front of the object you want to fade. Fill with
a black-to-white gradient, placing the black where you
want to fully hide the top object and the white where you
want that object fully revealed. (See the Blends, Gradients
& Mesh chapter for more about gradients.) Next, select
both the rectangle and the object to be masked (Shiftclick the outlines of both objects to select them). Make
sure the Transparency palette is open (display the palette
by selecting Window >Transparency), and choose Make
Opacity Mask from the palette's pop-up menu.
Once you've made the opacity mask, the object and its
mask are linked together (moving the object will move
the mask with it). To edit the object's path, click on the
artwork thumbnail in the Transparency palette and use
any of the path editing tools; to edit the mask, click on
the mask thumbnail. Edit the gradient using the Gradient
palette or the Gradient tool.
Top, brain with overlying lobe; bottom left, lobe
and opacity masking object (black-to-white gradient fill) selected; bottom right, lobe following
Make Opacity Mask
Entering mask-editing mode by clicking on the
mask thumbnail in the Transparency palette
Why can't I draw now?
You may be in mask-editing mode
and not know it if:
• You draw an object, deselect it,
and it seems to disappear
Opacity Masks—source materials
You do not have to limit yourself to a single vector ob-
• You fill an object with a color,
but the color doesn't display
ject when making an opacity mask. Any artwork will
If you are in mask-editing mode,
do. Experiment with placed images, gradient meshes,
the Layers palette tab will read
and even objects that contain opacity masks of their
Layers (Opacity Mask). To exit
own. Remember that it's the grayscale luminosity of
mask-editing mode, click on the
the masking artwork that determines the opacity of
artwork thumbnail in the Trans-
the masked artwork, not its color or vector structure.
parency palette.
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Peter Cassell /1185 Design
As a kind of artwork not normally associated with Illustrator's hard-edged vector
tools, Peter Cassell's fluffy cumulus clouds
comprised one of the packaging illustrations
created for Adobe Illustrator 9 (see Cassell's
cityscape Gallery opposite). Cassell began by
placing a photographic image on a template
288
layer in Illustrator. Next, he created a gradi-
needed more detail, Cassell added rows and
ent mesh with the maximum number of rows
columns to the mesh by clicking on a mesh
and columns (50). To color the clouds, he first
line or in an empty space in the mesh with
chose View>Outline (so he could see the cloud
the Mesh tool. As the composition became
image on a layer below the mesh). Next, he
unwieldy with detail, Cassell selected over-
selected the Direct-selection tool, clicked on
lapping sections of the mesh and copied and
a mesh point, selected the Eyedropper tool,
pasted each section into a separate file. Once
and then clicked in the cloud image to sample
he finished with a section, Cassell copied and
its color. He repeated this process to color the
pasted it into the final, composite file. He was
rest of the mesh to match the cloud image. To
careful not to adjust mesh points where sec-
reshape parts of the grid to follow the contours
tions overlapped, so he could maintain a seam-
of the clouds, Cassell clicked mesh points with
less appearance where the separate sections he
the Mesh tool and dragged them. Where he
had worked on overlapped.
Chapter 8 Transparency & Appearances
Peter Cassell /1185 Design
Peter Cassell's European cityscape, commissioned for the Adobe Illustrator 9 packaging
illustration, was built with mists he created
using a gradient mesh as an opacity mask.
After drawing the rough shapes of reflections
in the water, Cassell drew a rectangle on a
layer above the water and filled the rectangle
with white. He copied the rectangle, pasted it
30% to 50% black. To shape a mist, he selected
in front, filled it with black, and then selected
and moved mesh points. To mask the white
Object >Create Gradient Mesh to turn it into an
rectangle with the gradient mesh above it, Cas-
18x15 mesh. He edited the mesh by selecting
sell selected the mesh and the rectangle and
mesh points with the Direct-selection tool and
chose Make Opacity Mask from the Transpar-
filling the points with gray values varying from
ency palette's pop-up menu.
Chapter 8 Transparency & Appearances
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Adam Z Lein
Adam Z Lein began this pie chart in Microsoft
Excel by selecting data and using Excel's Chart
Wizard to turn the data into a chart tilted in a
perspective view. Lein used the Acrobat 5 PDF
290
maker to create a PDF of the graph. When
set the blending mode to Luminosity and the
he opened the PDF in Illustrator, the graph
transparency to 30%. To fit the image within
retained all of the shapes as vector objects and
the pie chart, Lein created a clipping mask from
the type as outlines. Lein then placed a photo-
the circle and edge of the pie chart. (See the
graphic image on a layer below the pie chart
Advanced Techniques chapter for more about
artwork and used the Transparency palette to
clipping masks.)
Chapter 8 Transparency & Appearances
Live Effects & Graphic Styles
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301
302
303
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321-325
Introduction
Effects vs. Filters
Raster effects
3D Effects
Scribble Effect
Warps and Enveloping
Effect Pathfinders
Effect > Pathfinder > Hard Mix and Soft Mix
Graphic Styles in Illustrator
Gallery: Steven Gordon
Scratchboard Art: Using Multiple Strokes, Effects, and Styles
Embossing Effects: Building an Embossed Graphic Style
Blurring The Lines: Photorealism with Blends and Effects
Gallery: Ted Alspach
Warps & Envelopes: Using Warping and Enveloping Effects
Quick & Easy 3D: Simple 3D techniques
3D Effects: Extruding, Revolving, and Rotating Paths
Galleries: Robert Sharif, Trina Wai, Mordy Golding, Tom Patterson,
Joe Lertola
326 Scribble Basics: Applying Scribble Effects to Artwork
328 Gallery: Todd Macadangdang
Live Effects & Graphic Styles
The effects that Illustrator offers us get better with each
release. Illustrator 9 brought us live effects, Illustrator 10
brought us warps and envelopes, and now Illustrator CS
expands this repertoire to include the 3D and Scribble
effects. This chapter will bring you up to speed on Illustrator's various effects and will also acquaint you with the
Graphic Styles palette.
See Joe Lertola's "Opacity Masks 101" lesson
in the Transparency & Appearances chapter
The palette formerly known as...
The Graphic Styles palette is the
same palette that was simply
called the Styles palette in previous versions of Illustrator. The
word Graphic has been added to
its name to distinguish it from
Illustrator's new Paragraph and
Character Styles palettes (discussed in the Type chapter).
Transform effects!
This one is a gem! Any transformation can be applied as an effect
(Effect > Distort & Transform >
Transform). Know exactly how
much you've rotated, sheared, or
scaled an object and you can completely undo or adjust it.
Some effects don't scale
You must fully select a group to
scale effects applied to the group.
Layer effects don't scale with objects; so if you need to scale layer
effects, target the layer and Expand Appearance.
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Chapter 9 Live Effects & Graphic Styles
EFFECTS VS. FILTERS
Illustrator provides a variety of methods for altering or
enhancing paths and fills. The Drawing & Coloring chapter introduces you to some basic methods, from manual
adjustments to Pathfinder filters. This chapter focuses
on effects. Effects are similar to filters, with one exception—effects are live, whereas filters permanently change
your artwork. Effects alter the look of your work without
permanently changing the base art—and therefore they
can be edited or removed at any time. When an effect is
applied to an object, group, or layer, it will display as an
attribute in the Appearance palette. The effect's position
in the palette indicates which element it will modify.
The Effect menu is divided into two sections. The
effects in the upper section (in the 3D through Warp submenus) can be applied to either CMYK or RGB artwork.
Those in the lower section (in the Artistic through Video
submenus) can be applied only when your document is in
RGB color mode (with the exceptions of the Blur effects,
the Pixelate effects, and the Unsharp Mask).
Although none of the effects let you save or export
presets of settings that you like from within their dialog
boxes, you can save any set of effect attributes that you
like as a Graphic Style. To save your set of effects as a
Graphic Style, just drag the set of appearance attributes
from the Appearance palette to the Graphic Styles palette
(for more about Graphic Styles, see the final section of
this chapter introduction: "Graphic Styles in Illustrator").
RASTER EFFECTS
Applying effects
Illustrator's default resolution for the Document Raster Effects Settings (Effect > Document Raster Effects
Settings) is deliberately set low, because it allows effects
to preview faster while you're editing the artwork. But
when you get ready to print, you'll want to re-execute
your effects at a higher resolution setting. If you don't
change those settings for your effect, your effect will print
at that default 72 ppi (pixel per inch) setting—even if your
file is printed at a much higher resolution! To re-execute
your effect, double-click it in the Appearance palette and
change the resolution there (see Tip "Applying effects").
After printing or flattening, you'll probably want to
restore the lower resolution if you intend to continue editing objects with effects on them, because working with a
high Document Raster Effects resolution can be slow.
Once an effect has been applied
There's an important distinction between the raster
effects that originated in Photoshop and were then added
to Illustrator (the ones in the bottom part of Illustrator's
Effect menu, such as Gaussian Blur), and the raster effects
that were developed specifically for Illustrator such as
Feather, Glow and Drop Shadow. The Photoshop effects
specify their options in pixels, whereas the native Illustrator effects specify their distances in ruler units. So
if you apply a Gaussian Blur at 3 pixels, it looks much
more blurry when the resolution is 72 ppi than when it
is 600 ppi. On the other hand, if you have a drop shadow
with a blur of 3 pt, it automatically adjusts to the resolution, and just covers more pixels at a higher resolution.
For this reason, if you have Photoshop effects applied and
you change the Document Raster Effects resolution, you
may need to adjust the specific effect options, such as blur
distance, as well. (This process should be familiar to anyone who has changed the resolution of a Photoshop document that already had Layer effects in it.)
to an object, double-click the effect in the Appearance palette to
change the values. If you re-select
the effect from the Effect menu,
you'll apply a second instance
of the effect to the object, not
change it. (In the case of 3D,
you'll want to avoid applying
two 3D effects to a single object.
Understanding what you can do
in the various 3D dialog boxes
will help you avoid that; see the
Tip "3D—Three dialogs" later in
this chapter.)
Why duplicate items?
Why are there duplicate items in
both the Filter and Effect menus?
Adobe kept duplicates in the
Filter menu because they save
you a step (namely, the Expand
Appearance step) when you don't
want them live.
Flare—tool or effect?
The Flare tool turns up in some of
the lessons and Galleries in this
chapter. That's because although
the Flare tool isn't technically an
effect, it behaves like one—you
can select and re-edit your Flare
3D EFFECTS
tool work using the Flare Tool Op-
Illustrator CS breaks new ground by offering the power
to transform any two-dimensional (2D) shape, including
tions dialog box (double-click the
Flare tool to open it).
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Extruding an object using the Effect >3D>
Extrude & Bevel dialog box—the two-dimensional object on the left was extruded to create
the three-dimensional house image (and also
rotated to change its angle).
2D or not 2D...?
Although Illustrator's 3D effect
does a terrific job of rendering
objects that look fully three-dimensional, you should bear in
mind that Illustrator's 3D objects
are only truly three-dimensional
while you're working with them
in a 3D effect dialog box. As
soon as you're done tweaking
your object and you click OK to
close the dialog box, the object's
three-dimensional qualities are
type, into a shape that looks three-dimensional (3D). As
you're working in Illustrator's 3D effect dialog boxes, you
can change your 3D shape's perspective, rotate it, and add
lighting and surface attributes. And because you're working with a live effect, you can edit the source object at any
time and observe the resultant change in the 3D shape
immediately. You can also rotate a 2D shape in 3D space
and change its perspective. Another exciting feature of
the 3D Effect is the ability to map artwork, in the form of
a symbol, onto any of your 3D shape's surfaces.
To begin, think of Illustrator's horizontal ruler as the
X axis and the vertical ruler as the Y axis. Now imagine
a third dimension that extends back into space, perpendicular to the flat surface of your monitor. This is the
Z axis. There are two ways to create a 3D shape using 3D
effects. The first method is by extruding a 2D object back
into space along the Z axis, and the second is by revolving
a 2D object around its Y axis, up to 360 degrees.
Once you apply a 3D effect to an object, it'll be listed
in the Appearance palette. As with other appearance
attributes, you can edit the effect, change the position of
the effect in the palette's stacking order, and duplicate or
delete the effect. You can also save the 3D effect as a reusable graphic style (see "Graphic Styles in Illustrator," later
in this chapter).
"frozen"—almost as if Illustrator
had taken a snapshot of the ob-
Extruding an object
ject—until the next time you edit
To extrude a 2D object, begin by creating an open or
closed path. Your path can contain a stroke, a fill or
both. If your shape contains a fill, it's best to begin with
a solid color. (See the Tip "Solid advice on 3D colors.")
With your path selected, choose Extrude & Bevel from
the Effect > 3D submenu. The top half of the 3D Extrude
& Bevel Options dialog box contains rotation and perspective options that we'll examine a bit later, but for the
moment we'll concentrate on the lower portion of the
dialog box. Choose the depth to which you'd like your 2D
object extruded by entering a point size in the Extrude
Depth field or by dragging the popup slider. Choosing to
it in a 3D dialog box again. On the
page, it's technically an impressive
2D rendering of a 3D object that
can only be worked with in twodimensional ways. But because
the effect is live, you can work
with the object in 3D again any
time you want, just by selecting
the object and choosing the effect you want to work with from
the Effect>3D submenu.
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add a cap to your object will give it a solid appearance,
while choosing to turn the cap option off will result in a
hollowed-out looking object.
You also have the option to add a beveled edge to
your extruded object. Illustrator offers you ten different
styles of bevels to choose from, and a dialog box in which
to enter the height of the bevel. You can choose between
a bevel that will be added to the original object (Bevel
Extent Out), or subtracted from the original shape (Bevel
Extent In). These options result in objects that appear
radically different from each other.
Remember that because you're working with a Live
Effect, any changes you make to the original 2D source
shape will immediately update the 3D object. The original
shapes of the vector paths will be highlighted when you
select the 3D shape and you can easily edit them just as
you would any other path. You can always edit the settings you've entered for a particular 3D effect by doubleclicking it in the Appearance palette. The appropriate
dialog box will reopen and you can adjust any settings
that you've previously entered.
Revolving an object using the Effect > 3D > Revolve dialog box—the two-dimensional shape
on the left was revolved to create the three-dimensional object on the right (for more on the
Revolve effect, see the "3D Effects" lesson later
in this chapter)
Solid advice on 3D colors
You'll get best results by choosing
solid fill colors for objects you'll
be working with in 3D. Gradients
and pattern fills don't produce
reliable results.
3D—Three dialogs
Revolving an object
There are three different dialog
You can also create a 3D object from a 2D path (either
open or closed) by revolving it around its Y (vertical)
axis. Solid strokes work just as well as filled objects. Once
you've selected your path, choose Effect > 3D > Revolve. In
the 3D Revolve Options dialog box, you can set the number of degrees you wish to revolve the object by entering
a value from 1 to 360 in the Angle text field, or by dragging the slider. An object that is revolved 360 degrees will
appear solid. An object revolved less than 360 degrees
will appear to have a wedge carved out of it. You can also
choose to offset the rotation from the object's edge. This
will result in a 3D shape that appears to be carved out in
the center. And finally, as with extruded shapes, because
the 3D options you've chosen are live effects, any changes
you make to your original source object will immediately
change the look of the 3D shape you've revolved.
boxes for the 3D effect, and some
of the features overlap. So before
you apply 3D effects to an object,
you'll want to first decide which
single 3D effect will accomplish all
of your goals. If all you need to do
is rotate or change the perspective of an object, use the Rotate
dialog box. If you want to map a
symbol to the object, you'll need
to use either Revolve or Extrude
& Bevel. If you still need to rotate
the object after that, you can do
so from within the Revolve and
Extrude & Bevel dialog boxes.
—Brenda Sutherland
Chapter 9 Live Effects & Graphic Styles
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Rotating an object in 3D space
You can rotate objects in three dimensions by
using the Effect >3D >Rotate dialog box (or the
upper halves of the Revolve and the Extrude &
Bevel dialog boxes). The star on the left was rotated in 3D to create the star on the right.
Another example of rotating an object in three
dimensions
3D effect—pass it on
Although in this book we generally recommend working with the
New Art Has Basic Appearance
setting turned off, you might
The Rotate dialog box can be accessed directly by choosing Effects > 3D > Rotate. It can be used to rotate both 2D
and 3D shapes. It also appears in the upper half of both
the Extrude & Bevel and the Revolve Options boxes. The
3D Rotate Options dialog box contains a cube representing the planes that your shape can be rotated through.
You can choose a preset angle of rotation from the Position menu, or enter values between -180 and 180 in the
X, Y and Z text fields. If you'd like to manually rotate
your object around one of its three axes, simply click on
the edge of one of the faces of the white cube and drag.
The edges of each plane are highlighted in a corresponding color that tells you which of the object's three planes
you're rotating it through. Red represents the object's X
axis, a green highlight represents the object's Y axis, and
blue edges represent the object's Z axis. The object's rotation is constrained within the plane of that particular
axis. Remember, to constrain the rotation you must be
dragging an edge of the cube. Notice the numbers changing in the corresponding text field as you drag. If you
wish to rotate your object relative to all three axes at once,
click directly on a surface of the cube and drag, or click
in the black area behind the cube and drag. Values in all
three text fields will change.
want to turn it on when working
with 3D effects. Otherwise, any
Changing the perspective of an object
new paths that you create subse-
You can change the visible perspective of your object by
entering a number between 0 and 160 in the perspective
text field, or by dragging the slider. A smaller value simulates the look of a telephoto camera lens, while a larger
value will simulate a wide-angle camera lens, with more
of an "exploded" perspective.
quent to applying 3D effects to
an object will also have the same
appearance set, unless you first
clear the appearance set from the
palette, or click on the default
fill and stroke icon in the Tools
palette. On the other hand, if you
Applying surface shading to 3D objects
want your next object to have the
Illustrator allows you a variety of choices in the kind of
shading you apply to your 3D object. These range from
dull and unshaded matte surfaces to glossy and highlighted surfaces that look like plastic. And because you
same 3D effects as the one you
just created, leave New Art Has
Basic Appearance turned off.
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Chapter 9 Live Effects & Graphic Styles
can also choose how you light your object, the possible
variations are limitless.
The surface shading option appears as part of both the
3D Extrude & Bevel and the 3D Revolve Option dialog
boxes. Choosing Wireframe as your shading option will
result in a transparent object whose contours are overlaid
with a set of outlines describing the object's geometry.
The next choice is No Shading, which will result in a flatlooking shape with no discernible surfaces. Choosing the
Diffused Shading option results in your object having a
soft light cast on its surfaces, while choosing the Plastic
Shading option will make your object appear molded out
of shiny reflective plastic.
Mordy Golding used the Map Art feature to
wrap the label art (above left) around the bottle
(shown in detail, above right)—tо create the
bottle he used the 3D Revolve effect with a custom Surface Shading (for more about this art see
the Mordy Golding Gallery later in this chapter)
If you choose either the Diffused Shading or Plastic
Shading options, you can further refine the look of your
Mapping—don't get lost!
object by adjusting the direction and intensity of the light
Here are some tips to help you
source illuminating your object. By clicking the More
avoid getting confused about
Options button, the dialog box will enlarge and you'll
what surface you're mapping
be able to make changes to the Light Intensity, Ambient
symbols to:
Light level, Highlight Intensity, Highlight Size and num-
• Remember that you need to
ber of Blend Steps. You can also choose a custom color to
choose a surface in the dia-
light your object.
log box. Select by clicking the
Arrow keys to view each sur-
Mapping art onto an object
One of the most exciting aspects of the 3D Effect is the
face.
• When clicking through the
ability to map artwork onto any of the surfaces of your
various surfaces, it's sometimes
2D or 3D shape (as with the label on the wine bottle
easier to identify the surface
shown above). Whenever you have the Extrude & Bevel,
you want by the red highlight
Revolve, or Rotate Options dialog boxes open, you can
on the object itself than by the
simply click on the Map Art button and choose one of
flattened proxy in the mapping
the available symbols from the menu. You can specify
dialog box.
which of your object's surfaces the artwork will map onto
• Even the red highlight can fool
by clicking on the left and right Arrow keys. The selected
you. If the symbol isn't mapping
surface will appear in the window and you can either
to a selected surface, it may be
scale the art by dragging the handles on the bounding
because it's being mapped to
box or make the art expand to cover the entire surface
the inside of the surface.
by clicking the Scale to Fit button. Note that as you click
through the different surfaces, the selected surface will be
highlighted in your document window.
• If the object has a stroke, this
will add more surfaces.
—Brenda Sutherland
Chapter 9 Live Effects & Graphic Styles
297
SCRIBBLE EFFECT
The Scribble effect can be applied to the stroke,
the fill, or both the stroke and the fill of an
object
The Scribble Options dialog box
For more lessons with Scribble, see Steven
Gordon's "Antiquing Type" and Sandee Cohen's
"Offset Fills" lessons in the Type chapter
Crosshatching using Scribble
You don't have to duplicate a
shape to create a Crosshatch effect using Scribble. Instead, after
applying Scribble to the object's
The new Effect > Stylize > Scribble effect lets you quickly
create a variety of looks for your artwork, from a loose,
scribbly, hand-drawn look to a tight Crosshatch. The
Scribble effect can be applied to the fill and/or stroke of
an object depending on what you have targeted in the
Appearance palette when you apply it.
The Scribble Options dialog box (shown at left) is
divided into three sections. The Settings menu contains
a fixed number of Scribble presets. Use the Angle slider
to control the overall direction of the Scribble lines. A
setting of 0° causes the Scribble lines to run left to right,
90° makes them run up and down. Use the Path Overlap
slider to control how much the scribble stays inside or
extends outside of a path boundary. In the Line Options
section of the Scribble dialog, use the Stroke Width control to specify how fat or thin you want the scribble line
to be. Use the Curviness slider to set how Angular or
Loopy the ends of each scribble stroke should be. Use the
Spacing slider to specify how tight or loose you want your
strokes to be. Use the Variation sliders to further control
how each attribute is applied: For a very regular machinemade look, set the slider to None, and for a more freehand
and natural look move the slider toward Wide. For more
about using the Scribble Options, see the "Scribble Basics"
lesson later in this chapter.
But choosing Scribble Options is only the beginning.
By combining other effects, or applying brushstrokes to
your scribbles, you can create an almost infinite variety
of looks. You can then use them as fills or masks, or to
transform type; or you can save them as graphic styles to
apply to other artwork. See the "Offset Fills" and "Antiquing Type" lessons in the Type chapter.
fill (and with your object selected), choose Add New Fill from the
WARPS AND ENVELOPING
Appearance palette menu. Then
Illustrator's warps and envelope tools are robust and very
powerful, offering much more than just simple transformations. Warps and envelopes may look similar at first,
but there's an important difference between them. Warps
choose Effect >Stylize>Scribble,
and for the Angle setting, add 90°
to the angle. —Mike Schwabauer
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Chapter 9 Live Effects & Graphic Styles
are applied as live effects—meaning they can be applied
to objects, groups, or layers. They're created by choosing
from the predefined options in the Warp dialog boxes,
and can be saved within a graphic style. Envelopes, on
the other hand, are also live, but instead of being effects,
they're actual objects that contain artwork. You can edit
or customize the envelope shape, and the contents inside
the envelope will conform to the contour.
Warps
These warps look familiar
Photoshop users will recognize
that Illustrator's Warp feature
looks much like Photoshop's Text
Warp feature. The difference?
Photoshop's warps work only on
text, but Illustrator's Warp effect
can be applied to anything—text,
vectors, and even rasters!
—Mordy Golding
Applying a warp is actually quite simple. Target an object,
group, or layer and choose Effect > Warp >Arc. It really
doesn't make a difference which warp effect you choose,
because you'll be presented with the Warp Options dialog
box where you can choose from any of the 15 different
warps. While the warp effects are "canned" in the sense
that you can't make adjustments to the effects directly,
you can control how a warp appears by changing the
Bend value, as well as the Horizontal and Vertical Distortion values.
Once a warp is applied, you can edit it by opening
the Appearance palette and double-clicking on the warp
listed there. Like any other effect, a warp can be applied
to just the fill or just the stroke—and if you edit the artwork, the warp updates as well.
Since warps are effects, you can include them as a
graphic style, which can then be applied to other artwork.
(More on graphic styles later in this chapter.)
Envelopes
While warp effects do a nice job of distorting artwork,
there are times when you need more control. That's where
Illustrator's envelopes come in.
There are three ways to apply envelopes. The simplest
way is to create a shape you want to use as your envelope
and make sure it's at the top of the stacking order—above
the art you want to place inside the envelope. Then, with
the artwork and the shape you created both selected,
choose Object >Envelope Distort >Make with Top Object.
"Crunching Type" lesson in the Type chapter
Four's company
"Stylize" is listed twice in the
Filter menu and twice in the Effect menu. The Filter >Stylize commands change the paths of the
objects to which you apply them.
The Effect >Stylize commands
produce "live" effects, altering
the appearance of objects but
leaving the paths unchanged and
available for editing. Remember
that the bottom Stylize choices in
each menu sometimes require an
RGB color space.
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Editing envelopes
Remember that you can edit
the contents of any envelope
by selecting the envelope shape
and choosing Object > Envelope Distort > Edit Contents. See
Sandee Cohen's "Warps & Envelopes" lesson later in this chapter
for examples of how to combine
meshes with envelopes to create
realistic shading effects.
—Mordy Golding
Envelope distort options
If your artwork contains pattern fills or linear gradients, you
can have envelopes distort them
by choosing Object > Envelope
Distort > Envelope Options and
checking the appropriate items in
the dialog box. —Mordy Golding
Smart people use Smart Guides
Although they can sometimes be
annoying, Smart Guides can be
quite helpful when you work with
Warps or Envelopes, as it may become difficult to edit artwork that
has an appearance applied to it.
With Smart Guides turned on, Il-
Illustrator will create a special kind of object—an envelope. This envelope is a container in the shape you created, which appears in the Layers palette as <Envelope>.
You can edit the path of the envelope as you would any
other, and the artwork inside will update to conform to
the shape. To edit the contents of the envelope, you need
to choose Object >Envelope Distort >Edit Contents. If
you then look at the Layers palette, you'll notice that the
<Envelope> now has a disclosure triangle that reveals the
contents of the envelope—the artwork you placed. You
can edit the artwork directly or even drag other paths
into the <Envelope> in the Layers palette. When you're
finished editing the contents, choose Object >Envelope
Distort >Edit Envelope.
There are two other types of envelopes, and they're
closely related. Both of them use meshes to provide even
more distortion control. One of them is called Make
with Warp and it's found in the Object >Envelope Distort submenu. This technique starts off by displaying the
Warp dialog. When you choose a warp and press OK,
Illustrator converts that warp to an envelope mesh. You
can then edit individual mesh points with the Direct
Selection tool to distort not only the outer edges of the
envelope shape, but also the way art is distorted within
the envelope itself. To provide even more control, use the
Mesh tool to add more mesh points as desired.
The third way to create an envelope is to start from
a rectangular mesh. Select artwork and choose Object >
Envelope Distort > Make with Mesh. After you've chosen
how many mesh points you want, Illustrator will create
an envelope mesh. Use the Direct Selection tool to edit
the points and use the Mesh tool to add mesh points.
lustrator will highlight the art for
you, making it easier to identify
EFFECT PATHFINDERS
where the actual artwork is (and
The effects listed in the Effect > Pathfinder menu are effect
versions of the Pathfinders described in the Drawing &
Coloring chapter. To apply a Pathfinder effect, you should
either group the objects, making sure that the group is
also targeted (see the Tip "Pathfinder Group Alert"), or
not the appearance). Make good
use of the
-U/Ctrl-U keyboard
shortcut to turn Smart Guides on
and off. —Mordy Golding
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Chapter 9 Live Effects & Graphic Styles
target the layer with the objects (which applies the effect
to all objects on that layer). Then, select Effect >Pathfinder and choose an effect. If you don't do one of those
two things, and you're applying the effect to a non-group,
there may be cases where you won't see a visible result.
Pathfinder Group Alert
Even if your objects were already
grouped, you may still get the following warning when you apply a
Pathfinder Effect:
Pathfinder Effects vs. Compound Shapes
With live Pathfinder effects, you create a container (group
or layer) and then apply one effect (Add, Subtract, Intersect, or Exclude) to the container. But in a compound
shape, each component independently specifies whether it
adds to, subtracts from, intersects with, or excludes from
the components below it.
When you're using more than one or two shape modes
you'll find it simpler to work with compound shapes. One
of the great benefits of compound shapes over Pathfinder
effects is that compound shapes behave much more reliably when the objects being combined aren't simple.
Compound shapes can be exported live as Photoshop
files (PSD), or copied in Illustrator and pasted into Photoshop as shape layers. Compound shapes can also be used
as clipping paths. See the Drawing and Coloring chapter
for more about Pathfinders and compound shapes.
This happens if you Direct-select
the objects and miss some of their
points, causing the objects to get
targeted.
To fix this, target the group
the objects are in, then apply the
EFFECT>PATHFINDER>HARD MIX AND SOFT MIX
Pathfinder effect. To avoid the
Hard Mix and Soft Mix change the color of the areas
where the objects overlap, in order to simulate transparency (see the Tip at right). Also see "SandeeCs Soft Mix
Chart" on the Wow! CD, and see the Pathfinder Palette
chart in the Drawing & Coloring chapter for examples of
how Hard Mix and Soft Mix can be used.
Filter versions of these effects are no longer available
on the Pathfinder palette. To obtain the equivalent result,
apply the effect, then choose Object >Expand Appearance; or use the Wow! Pathfinder Filter actions available
on the Wow! CD. When you expand, or use the action
versions of Hard and Soft Mix, the objects get divided
just as though you had first applied the Divide command
from the Pathfinder palette.
problem and ensure that the
group gets selected, hold down
Option (Mac) /Alt (Win) to switch
from the Direct Selection tool to
the Group Selection tool while
selecting your grouped objects.
Hard/Soft Mix & Transparency
You can obtain the same color
effect as the Hard Mix Effect by
setting the Transparency Blend
Mode to Darken and Opacity to
100%. There is no Transparency
equivalent for Soft Mix.
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Merge Graphic Styles
GRAPHIC STYLES IN ILLUSTRATOR
Select two or more styles in the
If you want to apply an appearance more than once,
whether it's a simple stroke and fill or a complex combination of effects, save it as a graphic style in the Graphic
Styles palette. A graphic style is simply a combination of
one or more appearance attributes that can be applied to
objects (including text objects), groups, and layers. See
the previous chapter for more about appearances.
Graphic Styles palette, and choose
Merge Graphic Styles from the
palette menu to combine appearance attributes into a new style.
Clean up your palettes
When your artwork is finished,
and you've saved a copy, you can
reduce the size of your file by
choosing Delete Unused Palette
Items from the Actions palette.
This reduces your final file size
by removing unnecessary palette
items—including graphic styles,
brushes, symbols, and swatches—
from their respective palettes. See
Tip "Saving time and space" in the
Illustrator Basics chapter.
Replacing graphic styles
To replace a saved appearance in
the Graphic Styles palette with
a new set of attributes, Optiondrag (Mac)/Alt-drag (Win) the
thumbnail from the Appearance
palette, or an object from the
Artboard, to the Graphic Styles
To save a set of appearance attributes as a graphic
style, in the Appearance palette (with or without an
object selected) select the desired appearance attributes,
and then either click the New Graphic Style icon on the
bottom of the Graphic Styles palette or drag the appearance thumbnail from the Appearance palette to the
Graphic Styles palette. The color mode (color space) is
also stored with the Graphic Style.
To apply a graphic style, simply select an object—or
target a group or layer—and click on a thumbnail in the
Graphic Styles palette. You can also sample a style from
another object using the Eyedropper. Alternatively, you
can drag a style from the Graphic Styles palette directly
onto an object.
To separate a graphic style from an object, click on
the Break Link to Graphic Style icon at the bottom of the
palette, or select the item from the Graphic Styles palette
menu. You might want to do this when you are replacing
a graphic style but don't want to change all the objects
using the current graphic style to the updated or replaced
version (see the Tip "Replacing graphic styles").
palette and drop it onto the high-
302
lighted graphic style. To replace
Automatically creating reflected views...
the currently selected graphic
Explore the ways in which
style, make adjustments and
Ted Alspach was able to auto-
choose Redefine Graphic Style
mate the reflecting of art on his
from the Appearance palette
playing card on the Wow! CD.
menu. The style's name won't
He only created one quarter of
change and all objects or groups
the image, and used live effects
using the graphic style will update
Transform Each, Transform and
to the new appearance.
Reflect to create the rest!
Chapter 9 Live Effects & Graphic Styles
©
Steven Gordon / Cartagram
Illustrator's brushes and effects can transform
the lettering of a calligraphic font into art that
suggests a more hand-rendered appearance.
To begin this map title, Steven Gordon typed
Selecting the stroke in the Appearance palette,
"Texas" and then chose a calligraphic font that
he chose a dark blue color. To further customize
included swash capital letters (Apple Chancery).
the title, Gordon selected the pale blue fill in
He adjusted kerning to fine-tune the spac-
the Appearance palette, offset the fill and dis-
ing between characters. With the text object
torted the fill's edges using the Transform and
selected and the Appearance palette open,
Roughen commands from the Effect > Distort
Gordon selected Add New Fill from the palette's
and Transform menu. He also made it transpar-
options menu and gave the new fill a purple
ent by moving the slider in the Transparency
color. He duplicated the fill by clicking on the
palette. To finish, Gordon selected the bottom
Duplicate Selected Item icon at the bottom of
fill and applied the Roughen command from the
the palette, and gave the duplicate a pale blue
Effect > Distort and Transform menu. (For a simi-
color. Next, he clicked on a brush in the Brushes
lar technique, see "Brushed Type" in the Type
palette (Gordon chose the Dry Ink brush that
chapter and see the Transparency & Appearances
comes with Illustrator's default Brushes palette).
chapter for more on Appearances.)
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303
Scratchboard Art
Using Multiple Strokes, Effects, and Styles
Overview: Apply multiple strokes
to simple objects; offset strokes;
apply effects to strokes; create and
apply graphic styles.
The original scratchboard art consists of simple
primitive shapes
Artist Ellen Papciak-Rose asked consultant Sandee Cohen
if there was a way to simulate scratchboard art in Illustrator. Cohen devised a way to transform Papciak-Rose's
artwork using Art Brushes, multiple strokes, and stroke
effects, which were then combined and saved as graphic
styles. Once a series of effects is saved as a graphic style,
you can easily apply that graphic style to multiple objects
to create a design theme. Art directors may find this
method helpful for unifying and stylizing illustrations
created by a number of different artists.
1 Applying Art Brushes and Fills. To create a more natural-looking stroke, Cohen applied Art Brushes to simple
objects supplied by Papciak-Rose. Cohen used Charcoal,
Fude, Dry Ink, Fire Ash, and Pencil Art Brushes (on the
Wow! CD). Select a simple object, then click on your
choice of Art Brush in the Brushes palette or in a Brush
Library. (For more on Art Brushes, see the Brushes chapter.) Next, choose basic, solid fills for each object.
To offset a path's Stroke from its Fill, select the
Stroke in the Appearance palette and apply Free
Distort and Transform from the Effect >Distort &
Transform menu
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Chapter 9 Live Effects & Graphic Styles
2 Offsetting a stroke. To develop a loose, sketchlike
look, Cohen offset some of the strokes from their fills.
First, highlight a stroke in the Appearance palette and
apply either Effect > Distort & Transform > Free Distort
or Effect > Distort & Transform > Transform to manually
or numerically adjust the position of the stroke so that it
separates from the fill. This gives the stroke the appearance of a different shape without permanently changing
the path. (You can further reshape the stroke by doubleclicking the Transform attribute in the Appearance palette and adjusting the offset of the Stroke attribute.)
3 Adding more strokes to a single path. To add to the
sketchlike look, Cohen applied additional strokes to each
path. First, she chose a Stroke attribute in the Appearance
palette and clicked the Duplicate Selected Item icon at the
bottom of the palette. With the new Stroke copy selected,
she changed the color, as well as the choice of Art brush.
She also double-clicked the stroke's Distort & Transform
effect in the Appearance palette and changed the settings
to move the Stroke copy's position. Cohen repeated this
until she had as many strokes as she liked.
This graphic illustrates the individual strokes that
Cohen combined to create the multiple strokes
for the face object in the final illustration
To make a stroke visible only outside its fill, make sure
that the object is still selected, and simply drag the stroke
below the Fill in the Appearance palette.
4 Working with graphic styles. To automate the styling of future illustrations, Cohen used the Appearance
and Graphic Styles palettes to create a library of graphic
styles. Whenever you create a set of strokes and fills you
like, click the New Graphic Style icon in the Graphic
Styles palette to create a new graphic style swatch.
Once Cohen had assembled a palette of graphic style
swatches, she could alter the look and feel of the artwork
by simply applying a variety of graphic styles to selected
paths. Using new colors sent by Papciak-Rose, Cohen's
graphic styles from an earlier scratchboard project were
re-colored to create the graphic styles used here. The use
of graphic styles allows the artist or designer to create a
number of overall themes in a graphic style library, and
then apply them selectively to illustrations or design elements. This work flow can also be used to keep a cohesive
look throughout a project or series.
Multiple Strokes applied to an object shown in
the Appearance palette; appearance attributes
saved in the Graphic Styles palette by clicking
the New Graphic Style icon
Applying different graphic styles to objects can
give the same artwork several different looks
Chapter 9 Live Effects & Graphic Styles
305
Embossing Effects
Building an Embossed Graphic Style
Overview: Apply object-level effects
for highlights and shadows; build
appearances, save as graphic styles
and apply to layers.
At the top, making the screw slots (on the left,
the rectangle and on the right, the rectangle
with Round Corners Effect): at the bottom, an
enlarged view of the composite appearance
The Drop Shadow options pop-up dialog box;
edit the X and Y Offset fields to adjust the
position of the shadow and highlight (check the
Preview box to see the effect as you work)
Resizing appearances
If you plan to resize an Illustration
that contains appearances with
stroke values, be sure to apply
the appearances to objects, not
to layers. Illustrator may fail to
re-scale stroke values in layertargeted appearances.
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Chapter 9 Live Effects & Graphic Styles
Ted Alspach, Senior Product Manager for Adobe Illustrator, choose the embossed letters, numbers and lines of
a license plate to demonstrate the ease and flexibility of
using Illustrator's effects and appearances. In this memorial to French mathematician Pierre Bezier, inventor of
the original Bezier curve, Alspach simulated the look of
embossing by applying a drop shadow effect and by building a sophisticated graphic style.
1 Applying the drop shadow effect. Start the license
plate by drawing the background shape, circles, curves
and other linework. While technically not a raised surface, the four screw slots still require highlights and
shadows to convey the impression of dimension. To create a slot, draw a rectangle and then Fill with White and
Stroke with None. Use the Round Corners Effect (Effect >
Stylize > Round Corners) to give the object a more oval
shape. To cast the plate's shadow on the edge of the slot,
select the slot rectangle and apply the Drop Shadow Effect
(Effect >Stylize >Drop Shadow). In the Drop Shadow
dialog box, choose black for color, Blur 0, and Offset up
and to the left (using negative numbers for "X" and "Y"
offsets). Then click OK. Repeat the drop shadow effect to
make the highlight, except choose a light color and Offset down and to the right (using positive numbers). To
further tweak the drop shadows (modifying their color
or width, for example), simply double-click the attribute
name "drop shadow" in the Appearance palette (Window > Appearance) and edit the values in the dialog box.
2 Building multiple appearances. Alspach took another
approach to embossing by building a sophisticated
graphic style in which transparency and multiple offset
strokes simulate highlights and shadows.
To make the license plate lettering, type the characters
in a sans serif font and convert them to outlines (Type >
Create Outlines). Ungroup the characters, select a character and set its Fill to orange. To make the first embossing highlight, select the orange Fill appearance attribute
in the Appearance palette (Window > Appearance) and
copy it by clicking the Duplicate Selected Item icon at the
bottom of the palette. Now, select the lower Fill attribute
in the palette, choose white from the Color palette and, in
the Transparency palette, set Opacity to 25% and blending mode to Screen. Then, choose Effect > Transform >
Distort & Transform to offset it up and to the left by editing the Move fields (negative Horizontal and positive Vertical). Make two more copies of this white Fill attribute by
once again clicking the Duplicate Selected Item icon. Offset each copy farther up and to the left by double-clicking
the Fill's Transform attribute and editing the Move values
in the Transform dialog.
To start the shadows, first duplicate the lowest white
Fill. Now select the bottom white Fill and set its color to
black, Opacity to 50%, and blending mode to Multiply.
Double-click the Fill's Transform attribute and edit the
Move values to offset it down and to the right. Copy this
shadow and offset it farther down and to the right. When
you have finished, the Appearance palette will display six
Fill attributes for the object.
3 Creating and applying a graphic style. Alspach turned
the appearance set into a graphic style by dragging the
Appearance palette's preview icon and dropping it in the
Graphic Styles palette. He then applied the graphic style
to the layer with the number characters. You can achieve
the same embossing look by applying the graphic style to
selected character outlines or to a group composed of the
character outlines.
Appearance palette showing the appearance
preview icon (top left), and the target of the appearance (Object)
Move values in the Transform Effect dialog box
to offset Fill attribute up and left
Close-up view of the embossed letter characters
with the multiple highlight and shadow strokes
that progressively hide the background artwork
Chapter 9 Live Effects & Graphic Styles
307
Blurring The Lines
Photorealism with Blends and Effects
Overview: Trace a placed image;
draw objects and fill them with colors sampled from the image; create
blends; rasterize objects and apply
Gaussian Blur.
Using a technique he calls "Pen and Eyedropper," artist
Bruce Brashear reproduces photographs in Illustrator
by tracing a placed image and filling objects with colors
sampled from the image (see Brashear's Vector Photos in
the Drawing & Coloring chapter to learn about this technique). In this illustration, Brashear expands his technique by employing blends and Gaussian blurs to capture
the subtleties of candlelight and reflections.
The original composite photograph (made from
separate images in Photoshop) placed on a
template layer
1 Placing an image, and drawing and coloring objects.
After beginning a new file, Brashear placed an image of
a candle and flame on a template layer (File >Place). He
traced the shapes for the candle, wick, flame and halo
using the Pen tool. For a complex object like the candle
flame or the candle wick, you may need to create several
objects or blends to completely illustrate its different colors or shapes (Brashear created 11 objects for his candle
flame). To fill your objects with colors from the image on
the template layer, select the Eyedropper tool, select an
object, and Shift-click in the image to sample its color.
2 Making a halo from blends, rasterizing it, and applyAll of the objects Brashear drew for the illustration, displayed in Outline View
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Chapter 9 Live Effects & Graphic Styles
ing a blur to it. Brashear's soft, round halo behind the
flame was created with blends and several effects. To
begin a halo, draw at least two objects to blend (Brashear
made five objects to serve as transitional color blends
in the image's halo). Next, fill each object with a color
sampled from the placed image using the Eyedropper
tool. Then, select the objects and choose Object > Blend >
Make. To set the complexity of the multi-step blend that
Illustrator creates, choose Object >Blend > Blend Options
(or double-click the Blend tool icon in the Tools palette).
In the Blend Options dialog box, click the pop-up menu,
select Specified Steps and enter a high enough number
to provide a sufficient transition of shapes or colors (the
number you choose sets the steps between each pair of
objects, not the total steps for the whole multi-step blend).
If you need to reshape the halo, click on anchor points
with the Direct Selection tool and move the points or
their Bezier handles. Finish by drawing a background
rectangle and filling it with a color that will contrast with
the colors in the halo blend.
While blends can soften the shape and color transitions between objects, you can further soften the appearance of your halo by applying a Gaussian Blur. Because
applying a raster effect to a complex blend can tax your
computer's processor, consider rasterizing the blend
before applying the blur. (Note: because rasterizing artwork will prevent it from being further edited, save a
copy of it in case you need it later.) To rasterize, select
the black background rectangle and the multi-step blend
you created previously and choose Object > Rasterize. In
the pop-up Rasterize dialog box, set Resolution to a value
that suits the size or medium of your illustration's display
or publication; also, set Anti-aliasing to None. Be sure to
review the Illustrator Basics chapter for guidance on settings that affect the quality of exported Illustrator files
with raster objects and effects.
When you're ready to apply the blur, select the
rasterized object and choose Effect >Blur > Gaussian
Blur. In the Gaussian Blur dialog box, move the slider to
the right or enter a number in the Radius field (Brashear
The background and five halo objects (each halo
object shown here with magenta stroke for
demonstration)
The multistep blend with 12 blend steps between each of the five original component
objects
Above, the rasterized object created from the
multi-step blend; below, the Object >Rasterize
dialog box
Chapter 9 Live Effects & Graphic Styles
309
applied a blur with a 20 pixel radius to his halo's blend).
If you want to change the blur later, simply select the
blurred object and double-click Gaussian Blur in the
Appearance palette, and enter another Radius value.
Top, the Gaussian Blur dialog box; bottom, the
rasterized object following blurring
The original yellow candle flame tip on the left;
on the right, the original flame tip and a copy
that was scaled smaller and filled with yellowwhite
3 Blending, blurring and masking the flame. Brashear
observed that the orange tip of the flame in the photographic image was hard-edged along the sides but gradually blurred near the tip. You can achieve this visual effect
in Illustrator with a blur and a clipping mask. Start by
selecting the object you drew as a triangular flame tip.
Then select the Scale tool and click on the bottom-left
point of the tip, then click on a point or line on the other
side of the tip and drag inward while pressing the Option/
Alt key to create a smaller copy of the object. Fill the copy
with a yellow-white color. With the copied object still
selected, click on the bottom-left point with the Scale tool,
click on a point or line opposite it and Option-drag/Altdrag a new outline that is taller but not wider than the
other tip objects. Next, select the first two tip objects and
choose Effect > Blur > Gaussian Blur; in the pop-up Gaussian Blur dialog box, set the Radius to 1.0 pixel. To finish,
select the blurred tips and the unblurred tip (the second
copy you made) and choose Object >Clipping Mask >
Make. As a result, the blur is confined to the edges of the
clipping mask (but spreads through the empty area at the
top of the masking object).
The two faces of Rasterize
When you apply Effect > Blur >Gaussian Blur to a vector
object, Illustrator automatically rasterizes the paths
"live" (using the parameters found in the Effect >
Document Raster Effects Settings dialog). This doesn't
happen with the Filter version of the Gaussian Blur,
however. You need to convert your vector object to a
raster object using Object > Rasterize before you can
On the left, an elongated copy of the original
candle flame tip in front of the yellow and white
tips; in the middle, the yellow and white tips are
blurred; on the right, the blurred flame tips after
being masked
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Chapter 9 Live Effects & Graphic Styles
apply the Gaussian Blur filter. Remember that unless
you undo the rasterization, your vector object will be
permanently changed to raster—so make a copy first!
Ted Alspach
Ted Alspach used the
Flare tool to create an air
of mystery in this mock
movie poster. The Flare
tool simulates a lens flare
in a photograph by creating a halo, rays, and
rings around an object.
Alspach selected the Flare
tool (found in the Rectangle tool pop-up menu),
clicked and dragged to set
the halo size, then clickdragged again to set the
distance and direction
of the rings, while using
the Arrow keys to adjust
the number of rings. He
colored some elements
(such as the type) a light
shade of gray to give the
flare an illusion of greater
brilliance. In addition to
the click-drag method,
components of the flare
can be modified using the
Taking care of the Flare
Flare Options dialog box.
The Flare tool is unusual in that it's the only tool that sometimes
Here, you can adjust the
requires a two-step process. When the "Rings" option is checked,
diameter, opacity, and
you must click-drag to establish the center, and then click or click-
brightness of the flare's
drag again to determine the length and direction of the path
center, as well as the
along which the rings are drawn. If "Rings" is unchecked, drawing
fuzziness of the halo, the
a Flare is a one-step process. Many people don't realize the de-
number of rays, and the
fault two-step process and click away onto something else before
flare's crispness.
completing their flare.
Chapter 9 Live Effects & Graphic Styles
311
Warps & Envelopes
Using Warping and Enveloping Effects
Overview: Group clip art for use
with Warp; apply Warp; save Warp
effect as a graphic style; apply Envelope using a shaped path; add a shading effect using a mesh.
Making sure that the flag artwork is grouped.
Note: The Appearance palette shows information for the currently targeted (not just selected
or highlighted) object in the Layers palette
The Flag Warp applied to a not-fully-grouped
flag artwork. The stripes are grouped, but the
stars and the union (blue field) are separate
objects
After the tragic events of September 11, 2001, consultant
Sandee Cohen wanted to make some flag decorations for
her Web site. She used Illustrator's Warping and Enveloping effects to mold copies of a basic rectangular flag into a
waving flag and a bow tie.
Warps are the easier of the two methods to understand and use. Simply choose one of the 15 preset shapes
from the Warp menu and adjust the shape using the
sliders in the Warp Options dialog box.
Envelopes let you use any path, warp preset, or mesh
object to shape and mold your artwork into almost any
form imaginable. You can further manipulate the shape
using the envelope's anchor points.
Although Warps and Envelopes leave original artwork
unchanged, only Warps can be saved as graphic styles.
1 Group clip art for use with Warp effects. Cohen
started with a standard United States flag from a clip art
collection. First, she made sure that the flag artwork was
a grouped object by selecting the flag artwork (which also
targets it in the Layers palette) and checking its description in the Appearance palette. If the artwork is not a
grouped object, then the effects will not be applied to the
artwork as a whole, but rather to each of the paths individually (as shown in the sidebar).
With Preview enabled, experiment with the
Warp Options settings
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Chapter 9 Live Effects & Graphic Styles
2 Make a copy of the flag artwork and apply a Warp
effect. Next, Cohen made a duplicate copy of the flag by
selecting it and, holding down Option/Alt, dragging it
to a position below the original. While the duplicate was
still selected, Cohen chose Effect > Warp > Flag to bring
up the Warp dialog. She enabled the Preview checkbox in
the Warp dialog box so she could preview the effect her
settings would have on the artwork. Cohen set the Horizontal Bend slider to -42% to create the first stage of her
waving flag effect, and clicked OK to apply the Warp. She
then applied a second Warp effect to the flag artwork, to
complete her waving flag. With the artwork still selected,
she chose Effect > Warp > Arc and, with Preview enabled,
set the Horizontal Bend slider to 40%.
Note: In the Warp dialog box, you have access to the full
library of Warp shapes no matter which warp you chose
from the Effect > Warp menu. Simply click and drag on the
style pop-up menu in the Warp dialog box to access any of
the Warp shapes. As long as Preview is enabled, you can
then experiment with each Warp shape and settings to see
how each will affect your artwork before you apply one.
To remove a Warp effect, target your artwork. Then,
in the Appearance palette, select the Warp and either
click on, or drag your selection to, the Trash button.
3 Save your Warp effect as a graphic style. Once you
are pleased with a particular Warp effect or effects that
you have achieved, you can easily save the effects as a
graphic style for application to other artwork. Begin by
targeting the artwork that you applied your warp(s) and
other effects to in the Layers palette. Then Option-click/
Alt-click on the New Graphic Style button at the bottom
of the Graphic Styles palette to create and name your new
graphic style. If the appearance you save as a graphic style
has no fill or strokes, the thumbnail for the graphic style
you created will be blank. When this happens, choose
either the Small or the Large List View (from the Graphic
Styles palette pop-up menu) to view the graphic styles by
name. To apply a graphic style, simply target the object,
group, or layer, and then click on the graphic style in the
Graphic Styles palette.
Applying a second Warp effect. Because Warps
are live effects, the original flag artwork (seen
here as an outline in light blue because the
artwork is still selected) remains unchanged
Removing Warp effects from the artwork by
highlighting the effects in the Appearance
palette, and then clicking on the Trash button to
delete them
To create a new graphic style, target your
artwork, then Option-click/'Alt-click the New
Graphic Style button, and give your new graphic
style a name
Applying a Warp effect graphic style to a
grouped object
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4 Use Envelope Options to maximize Envelope fidelity.
Envelopes are more versatile in the ways you can shape
and manipulate them, but sometimes (especially when
the shape you use to create the envelope is kinked or
makes sharp changes in direction) the artwork may not
conform tightly to the envelope. To minimize this problem, set the Object >Envelope Distort >Envelope Options
Fidelity to 99%. Note: Setting Fidelity to 100% creates
many more intermediate points along the deformed path,
and is usually not necessary.
Cohen used an Envelope to give her flag the shape of a
bow tie, and added some shading using a mesh.
With Envelope Options fidelity set too low, red
color in the lower right corner of the upper
figure spills outside the bow tie shape. When
the fidelity is set to 99% the artwork conforms
much more closely to the envelope shape.
Bow tie path positioned above the flag artwork,
and selected, just before making the envelope
Applying the envelope, and the resulting artwork
Using Edit >Paste in Front to create a duplicate
positioned directly over the original artwork
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Chapter 9 Live Effects & Graphic Styles
5 Apply Envelope using a shaped Path. Cohen added
points to a circle and then distorted it into a bow-tieshaped path. To apply a shaped path of your own, place
it above your flag artwork, select both the flag and your
shaped path, and choose Object >Envelope Distort >Make
with Top Object.
6 Add a shading effect with a mesh. Next, Cohen added
a shading effect by using a mesh object on top of her bow
tie flag. Begin by creating a duplicate of the bow tie flag
(Edit > Copy), then paste it in front of the first one using
Edit > Paste in Front to exactly align it over the original.
With the duplicate still selected, choose Object > Envelope
Distort > Reset with Mesh. In the Reset Envelope Mesh
dialog box, make sure that Maintain Envelope Shape and
Preview are both enabled. Increase the number of Rows
and Columns until you are satisfied with the mesh grid in
terms of how you intend to shade it. For her mesh, Cohen
used 6 rows and 6 columns. Click OK, and with the mesh
artwork still selected, choose Envelope > Distort > Release
to free the mesh from the flag. Delete the flag artwork
and keep the mesh object. When a mesh object is released
from an envelope, it is filled with 20% black. Select the
mesh object, then with the Direct-select or Lasso tool,
select points on the mesh grid and change their fill to a
shadow color. Cohen selected interior grid points and
gave them a value of white until she was satisfied with the
mesh's shading.
Note: Multiple contiguous points and large areas in the
mesh are most easily selected using the Lasso tool.
To see the effect of the shading on the original bow tie
flag beneath the mesh, Cohen (with the mesh selected) set
the Blending Mode in the Transparency palette to Multiply. This applied the Blending mode only to the selected
mesh object, and not the whole layer.
Finally, using the same enveloping and mesh
techniques described above, Cohen created a center for
the bow tie using a copy of some of the stripes and an
elongated rounded rectangle path.
Creating a mesh object using a duplicate of the
bow tie flag envelope artwork
In this illustration,
Cohen applied a U.S.
Using Envelope>Distort>Release to free the
mesh from the flag artwork
shaped path as an
envelope to a US flag.
Cohen was not satisfied with the way the
flag was enveloped
by default, so she
used the Mesh tool
to add mesh points
to the envelope. She
then moved the new
mesh points manually to adjust the flag
artwork within the
envelope outline.
Using the Lasso to select multiple mesh points
3D look, Cohen
added a shaded mesh
over the countryshaped flag using the
same techniques that
she used to shade the
bow tie-shaped flag
in the lesson.
Before and after applying a blending mode of
Multiply to the shaded mesh object
Chapter 9 Live Effects & Graphic Styles
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Quick & Easy 3D
Simple 3D techniques
Overview: Draw or modify 2D artwork, prepare artwork for 3D; apply
3D Effect; expand artwork and edit
objects to complete visual effects.
Steven Gordon was hired to design a set of contemporary
map symbols for Digital Wisdom, Inc. that would be
sold as a clip-art set of map symbol artwork and Illustrator symbols (www.map-symbol.com). To make this set
stand out from other map symbol sets and fonts, Gordon
explored Illustrator's new 3D Effect and found that it
made it easy to turn the ordinary into the unusual.
Some of the standard map symbols that Gordon
modified for the map symbol set
Left, the original tent artwork objects; center,
the white triangle selected; right, the tent after
subtracting the white triangle from the black triangle and changing the fill color to green
Single-axis movements in 3D
In the 3D Extrude & Bevel Options
dialog, you click on a side of the
cube and drag to rotate artwork
using the X, Y, or Z axis. If you
want to move the artwork by just
one axis, click instead on a white
edge of the cube and then drag.
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Chapter 9 Live Effects & Graphic Styles
1 Drawing artwork, visualizing 3D appearance, and
using editing tools to prepare for 3D. Gordon started
with some standard map symbol clip-art. For the camping symbol, he modified the tent artwork by removing
the bottom horizontal object and applying a light green
fill to the remaining triangle. When visualizing how the
object would look in 3D, Gordon realized that the white
and green triangles would both be rendered as 3D objects;
instead he needed the white triangle to form a hole in the
green triangle that would become the tent. He selected
the white and green triangles and clicked the Subtract
from Shape Area icon in the Pathfinder palette to punch a
hole in the green triangle.
As you prepare artwork for the 3D Effect, refer to
the Drawing & Coloring chapter to review techniques
for making compound shapes by combining or cutting
objects (as Gordon did to make the tent opening), and
for making compound paths (which may yield different results than applying a 3D Effect to separate artwork
objects). Also, change stroke attributes for caps, joins, and
miter limits to round off path intersections in the 3D rendering you'll create in the next step.
2 Apply 3D Effect, modify Position controls to extrude
and rotate objects, and create a Style. When you finish creating your artwork, make sure it is selected, and
then from the Effect menu, select 3D >Extrude & Bevel.
In the 3D Extrude & Bevel Options dialog box, click the
Preview checkbox to see what your artwork will look like
using the dialog box's default settings.
You can change the artwork's rotation by clicking on
the three-dimensional cube in the Position pane of the
dialog box and dragging until the artwork moves to an
orientation you like. You can also fine-tune the position
by keying in values in the X, Y, and Z axes rotation fields.
Artwork in preview mode for several adjustments of the Position cube in the 3D Extrude &
Bevel Options dialog box
To change the amount or depth of the extrusion, use
the Extrude Depth slider in the Extrude & Bevel pane of
the dialog box. To give the tent less depth than the default
setting (50 pt), Gordon dragged the slider to extrude by
40 pt. To simulate perspective, drag the Perspective slider
to adjust the amount of perspective from none/isometric
(0°) to very steep (160°). Gordon used 135° for his artwork. When you are satisfied with your artwork's appearance, click OK to render the object.
Gordon converted the 3D appearance he had created
for the tent into a reusable style. Refer to the Live Effects
& Graphic Styles chapter for instructions on creating and
modifying styles. You can use a style for other artwork,
as way of providing a uniform 3D appearance for several objects, or as a starting point for creating a new 3D
appearance for an object.
3 Editing the artwork after using the 3D Effect. After
applying the 3D Effect to the tent artwork, Gordon
decided to make color and shape changes to the artwork.
To edit shapes or change colors of objects in the 3D artwork, you must first expand the appearance by choosing
Object >Expand Appearance. (Note: this will remove
the "live" editability of the artwork; it's safer to work
with a copy of the artwork instead of the original.) Once
expanded, ungroup the artwork (Object >Ungroup) and
select and edit its paths.
The 3D Extrude & Bevel Options dialog box with
the settings Gordon used for the final version of
the tent symbol
Left, the tent artwork after expanding the 3D
artwork (Object >Expand Appearance); right,
shapes after filling with different colors
Selecting and modifying one of the shapes to
create the interior floor of the tent
Chapter 9 Live Effects & Graphic Styles
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3D Effects
Extruding, Revolving, and Rotating Paths
Overview: Create basic paths working with a custom template layer;
extrude, revolve, and rotate paths;
map artwork onto shapes.
The original pencil drawing, placed as a template, and the vector shapes drawn over them
To complete this illustration, Brad Hamann created a
set of basic paths and applied a series of live 3D effects to
them. He then added lighting and mapped artwork to the
components.
The original group of paths, selected and revolved as a group with the same settings
The wing shape drawn to follow the contour of
the hull and then extruded and rotated slightly
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Chapter 9 Live Effects & Graphic Styles
1 Planning ahead. Because he would be rotating his
shapes, Hamann needed to draw only one side of the
symmetrical space cruiser. Working over a pencil drawing he had scanned in Photoshop and placed on a designated template layer, he drew one closed shape for the
hull. He divided it into sections using the Pathfinder tool
so he could color each part differently. He filled the paths
with solid color and no stroke. When revolved, a filled
path with no stroke will present the fill color as its surface
color. A stroked shape that is revolved uses the stroke
color as its surface color, regardless of fill color.
2 Applying the 3D Revolve effect to a group of shapes
and extruding the wings. Hamann chose to revolve
the group of shapes that make up the ship's hull all at the
same time, because they shared the same left-side vertical rotation line. He also revolved the three shapes making up the rocket-shaped wing end as a group, using the
same settings. Once the shapes were revolved, Hamann
selected and moved each shape into its proper position
within the group, using the Bring to Front command. He
deleted the two inner green circles, because they would be
invisible within the 3D model anyway.
For the wings Hamann then drew a flat shape for the
right wing that followed the contour of the 3D hull and
chose Effect > 3D > Extrude & Bevel. He selected an extrusion depth and rotational angle for the wing that would
be visually consistent with the hull.
3 Mapping artwork. Hamann decided to map a star pattern, which he had previously saved as a symbol, onto the
wing to liven up the look of the spaceship. He was able to
return to the 3D Effects settings window by selecting the
wing and clicking the Effect setting from the Appearance
palette. He then clicked the Map Art button to access the
Map Art window, which presented an outline of the first
of the six surfaces available on the wing for mapping.
Hamann chose his star pattern from the menu of available symbols. He scaled the pattern using the handles on
the bounding box and then clicked OK. At this time, he
also changed the wing color from green to red. Finally,
Hamann selected the wing and the rocket at its end,
and reflected and copied the wing to the opposite side of
the spacecraft. He made a slight adjustment to the rotational angle of the new wing's Y-axis to account for its
new position.
Clicking in the wing's Appearance palette to return to the 3D Effects settings window
The Map Art window showing the first of the
wing's surfaces available to map art onto
After selecting the star pattern from the Symbol
menu, the pattern was scaled and positioned
onto the wing outline
4 Ready for takeoff. Hamann completed his rocket ship
by creating a porthole from a circular path to which he
applied a 5.5 pt ochre-colored stroke. He then extruded
the path and applied a rounded bevel. A blue gradient
filled path, and a Gaussian Blur was applied, which completed the porthole.
Chapter 9 Live Effects & Graphic Styles
319
Mike Schwabauer / Hallmark Cards
To announce a company blood drive, artist
Mike Schwabauer produced this illustration
that was emailed as a low-resolution graphic
and printed as a sign. For the background flag,
Schwabauer started with flat, rectangular flag
artwork. He selected the Free Transform tool
to rotate and scale the flag. Then he chose
Object >Envelope Distort >Make with Warp. In
the Warp Options dialog box, he selected Flag
from the Style menu. Schwabauer modified
320
the default settings for the Flag style. When he
the settings in the 3D Revolve Options dialog
had the look he wanted, he clicked OK. To fade
box. After clicking OK, he changed the object's
the flag, he drew a rectangle large enough
transparency in the Transparency palette to
to cover the flag and filled it with a black-to-
93% to make the drop look more like a liq-
white gradient. After selecting the rectangle
uid. To complete the blood drop, Schwabauer
and the flag, he opened the Transparency pal-
selected the blood drop object and chose
ette and chose Make Opacity Mask from the
Effect >Stylize>Drop Shadow. In the Drop
palette menu. For the blood drop, Schwabauer
Shadow dialog box, he set Mode to Multiply,
drew half of the blood drop shape. Then he
Opacity to 50%, Blur to 0.12 inches, and Offset
chose Effect >3D >Revolve and customized
to-0.5" (X) and 0.2" (Y).
Chapter 9 Live Effects & Graphic Styles
Robert Sharif
Robert Sharif used the power of Illustrator's
3D Extrude & Bevel effect to transform and
combine a set of flat shapes into a stunningly
realistic rendering of a classic Fender electric
guitar. Robert chose Off-Axis-Front as the
position for each shape he wanted to extrude,
including the red guitar body, the wooden
neck/headstock, and a grouped set of shapes
containing the fingerboard, frets, and dotshaped position markers. Because each extrusion shared the same position, the extruded
pieces all lined up. Robert varied the value
of the extrude depth for each piece, from a
deeper extrusion for the body (25 pt), to a
shallower extrusion for the white face plate
(0.65 pt). Robert also chose to add a variety of
bevels to various parts of the guitar, including
rounded bevels to the body and neck, and a
rendering style. The 3D Extrude & Bevel effect
classic bevel to the control knobs. The three
was also used to create the screw heads for the
white pickups, the fret board, and other square
tuning pegs, whose shafts were created using
edged parts were extruded with the Bevel set
3D Revolve. The tuning peg handles and other
to None. To create the soft highlights on the
parts of the guitar were made using gradient-
guitar body, Robert used the Plastic Shading
filled shapes.
Chapter 9 Live Effects & Graphic Styles
321
Trina Wai
Trina Wai created her playful panda by taking
full advantage of Illustrator CS's 3D Revolve
and 3D Extrude and Bevel effects. She started
with a series of very simple flat shapes and
ended with a truly organic look. Wai began by
drawing an open path for one side of the panda's head. Choosing Effect>3D >Revolve, she
rotated the path 360° along its left edge. To
create the soft shiny reflections of the panda's
fur, Wai specified plastic shading as the surface
type and added additional light sources using
the New Light button. The bamboo stalk was
also revolved from a simple open path, then
rotated and grouped with a set of flat leaf
322
shapes. Wai then extruded the main body parts
surrounding the eyes. Each shape also received
by selecting 3D Extrude and Bevel. Each shape
a rounded bevel and plastic shading lit with a
received its own extrusion depth ranging from
single light source. The small eyes were created
150 pt for the legs and body, 37.5 pt for the
using a blend between a large black circle and
ears, 30 pt for the nose and 7 pt for the areas
a smaller gray circle.
Chapter 9 Live Effects & Graphic Styles
Mordy Golding / Adobe Systems, Inc.
To demonstrate the 3D effect of Illustrator CS,
Adobe Product Manager Mordy Golding created a wine label and then dragged the label
to the Symbols palette (so he could use it next
to create the 3D rendering). He drew a halfbottle shape and selected Effect >3D >Revolve.
In the 3D Revolve Options dialog box, Golding
clicked the Preview checkbox and then clicked
on the Map Art button. From the Map Art dialog box's Symbol menu, he selected the wine
label symbol he had created previously. Back
in the 3D Revolve Options dialog box, Golding
adjusted the preview cube, changing the rotation angles until he was satisfied with the look
of the bottle. He finished the effect by adding
lights, using the New Light icon in the Surface
panel of the dialog box; this created the cascading highlights on the bottle. After creating
the cork, using the same technique as he used
for the bottle, Golding selected the bottle,
moved it above the cork, and changed its opacity to 94% in the Transparency palette.
Chapter 9 Live Effects & Graphic Styles
323
Tom Patterson / National Park Service
324
Cartographer Tom Patterson used Illustrator's
orientation of the arrow. When the arrow
3D effect to show species movement across the
looked right, he clicked OK. To fill the arrow,
Sonoran Desert. Patterson drew a straight path
Patterson first chose Object >Group to change
with the Pen tool and chose a 20 pt stroke. To
the arrow from an object to a group. Then he
turn the path into an arrow, he chose Effect >
selected Add New Fill from the Appearance
Stylize >Add Arrowheads. In the Add Arrow-
palette menu and applied a custom gradient
heads dialog box, he selected an arrowhead
to the new fill. He repeated these steps to cre-
design (11) and specified 25% for Scale. Next,
ate the other three arrows. To finish, Patterson
Patterson chose Effect >3D > Rotate and in the
targeted the layer containing the arrows and
3D Rotate Options dialog box, he enabled the
changed opacity to 80% in the Transparency
Preview and dragged the three-dimensional
palette; he also added a drop shadow (Effect >
cube in the Position pane to adjust the spatial
Stylize >Drop Shadow) to the layer.
Chapter 9 Live Effects & Graphic Styles
Joe Lertola/TIME
Joe Lertola of TIME Magazine relied on the 3D
Effect (Effect >3D > Extrude & Bevel) to turn
an otherwise flat map into an eye-catching 3D
thematic map. After drawing all the artwork,
Lertola created groups for the gray states and
the colored states. To give each group a different height, he applied the 3D Effect to each
group, but specified a different Extrude Depth
value in the 3D Extrude & Bevel Options dialog
box for each group (6 pt for the gray states and
24 pt for the colored states). Lertola completed
the effect by adding a second light (he clicked
on the New Light icon in the Surface panel)
to change the position of the highlight and
shadow of each group.
Chapter 9 Live Effects & Graphic Styles
325
Scribble Basics
Applying Scribble Effects to Artwork
Overview: Applying default Scribble
effect settings; choosing from preset Scribble styles; making custom
adjustments to Scribble settings.
Shown here in Outline mode, Stead created her
first tree by drawing with the brush tool
Judy Stead's evergreen tree began simply, but with the
help of Illustrator's brand new Scribble effect, it evolved
into an eye-catching Christmas card. Here, you will learn
how to apply the Scribble effect to your artwork, how to
make use of the preset Scribble styles, and how to make
custom adjustments to the effect in order to add excitement and energy to your art.
After switching the color scheme for her second
tree, Stead selected the red rectangle background, hid the edges, and applied the Custom
Scribble option from the Effects menu
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Chapter 9 Live Effects & Graphic Styles
1 Creating the base art and the variations. Stead began
by using the Brush tool to create a simple, filled shape for
the tree. She used a 5 pt round Calligraphic brush to create the star, and applied a red stroke and a yellow fill to
the path. The ornament was drawn using the same brush
and stroke with a magenta fill added. Stead copied and
pasted this shape several times to decorate her tree. She
created the base of the tree using a 12 pt oval Calligraphic
brush to draw a single horizontal stroke. She then made
three copies and grouped them against a white rectangle.
Stead decided that her card would contain three
variations of the first tree, so she copied and pasted them
into position and gave each one a different color scheme.
Beginning with the first variation, she selected the red
background rectangle. She chose Effects > Stylize > Scribble, after first hiding the selection edges of her art ( -Y)
in order to observe the results more clearly. When the
Scribble Options menu appeared, Stead clicked Preview.
Satisfied with the Default settings, she clicked OK. These
settings applied the appearance of a loose, continuous
stroke to her solid red rectangle.
2 Using the Scribble presets. For her next variation,
Stead first selected the light green tree and chose the
Scribble style set entitled Sketch. She decided to leave
the Sketch settings as they were and clicked OK. Then
she selected the magenta background. After applying the
Scribble style set entitled Sharp, she opened up the denseness of the effect's strokes by using the slider to change
the Spacing value from 3 pt to 5 pt. The Scribble Options
palette also contains sliders to control the thickness of
the stroke, the general curviness of the strokes, and the
degree of variation or evenness of the effect.
3 Further Scribble settings. For the final variation, Stead
selected the green background and chose the Swash settings from the Options palette. Using the circular Angle
slider, she changed the preset angle of the strokes from 0
to -30 degrees. Stead then selected all the ornaments on
the tree and applied a final Scribble effect using the Dense
settings from the Scribble Options palette. Stead was able
to go back and readjust all her settings, as needed, by
clicking the instance of the effect in each object's Appearance palette. As a final touch, Stead selected the solid red
tree and sent it backward (Object > Arrange > Send Backward) so that the green Swash scribble effect would overlay the tree and provide an interesting texture.
For the light green Christmas tree, Stead chose
the Sketch from the Scribble palette's Settings
Stead applied the Scribble palette's Sharp settings to the background, changing spacing setting from 3 pt to 5 pt for a looser appearance
Stead applied Swash from the Scribble palette's
Settings to the green background of the final
tree art, and changed the angle of the strokes
using the Angle slider in the Options palette
(which then changed the "Settings" to Custom)
Hiding edges to see the effect
Applying a Scribble effect can
generate a complex set of edges
that make it difficult to view the
artwork underneath. Get into the
habit of hiding the edges of your
selection before trying out an effect. Use the
-Y keyboard short-
cut to toggle the visibility of the
edges on and off.
Chapter 9 Live Effects & Graphic Styles
327
Todd Macadangdang/Adobe Systems, Inc.
328
Todd Macadangdang used the Scribble effect
process, working his way toward the largest
to turn this photo into an artistic Crosshatch
back-most areas; using Object >Arrange >Send
sketch. Todd started by adjusting the colors
Backward as he went along to keep the shapes
and posterizing the photograph in Photoshop,
in the correct visual stacking order. Todd then
using adjustment layers. He then placed the
applied the Scribble effect to each traced area.
image in Illustrator and created filled shapes
To give his image a greater sense of depth, he
based on the posterized areas. Starting with
created fatter, looser Scribble strokes (using
the smallest, front-most area, he clicked on
Settings such as Childlike, Loose, or Snarl) for
the area with the Eyedropper tool to set the
the front-most areas and used smaller denser
Fill color (with Stroke set to None), then traced
strokes (with the Angle setting rotated 90°) for
over it using the Pencil tool. He repeated this
the larger back-most crosshatched areas.
Chapter 9 Live Effects & Graphic Styles
Advanced Techniques
330
330
333
334
Introduction
Clipping Masks
Mask Problem-Solving Strategies
Advanced Technique: Colorful Masking:
Fitting Blends into Custom Shapes
336 Advanced Technique: Reflective Masks:
Super-Realistic Reflection
338-341 Galleries: Bradley Neal, David Cater, Gary Ferster, Greg Maxson
342 Advanced Technique: Glowing Starshine:
Blending Custom Colors to Form a Glow
343-347 Galleries: Kenneth Batelman, Alan James Weimer, Marc LaMantia
348 Advanced Technique: Masking Opacity:
Making Transparency Irregular
350 Advanced Technique: Modeling Mesh:
Shaping and Forming Mesh Objects
353-356 Galleries: Javier Romero, Ann Paidrick, Yukio Miyamoto
Advanced Techniques
Choose Clipping Mask >Make from the Object
menu or use the Make Clipping Mask button on
the Layers palette
This chapter combines techniques found in different
chapters of this book. With masking effects in particular,
the techniques will be easier to follow if you're comfortable with layers and stacking order (the Layers chapter),
as well as blends and gradients (the Blends, Gradients
& Mesh chapter), and are willing to experiment with
Pathfinder filters (the Drawing & Coloring chapter).
CLIPPING MASKS
Choosing Object >Clipping Mask >Make puts
all of the masking objects into a group with the
masking element at the top of the group
Clicking the Make Clipping Mask button at the
bottom of the palette turns the first item below
the highlighted group or layer into a clipping
path, without creating a new group
When you open a legacy file with layer-masks,
the masked layers become sublayers of the
masking layer, because all masking objects
must be on the same container layer
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Chapter 10 Advanced Techniques
There are two kinds of masks in Illustrator: Clipping
Masks and Opacity Masks. This chapter will discuss the
use of Clipping Masks in a variety of techniques. Opacity
Masks are made using the Transparency palette and are
discussed in the Transparency & Appearances chapter.
Illustrator's Clipping Mask command (left) gathers all
the selected objects into a group (moving them onto the
same layer as the top object if they aren't already there).
It then converts the topmost object in that group into a
mask. Portions of the other objects in the clipping group
that extend beyond the mask boundaries will be hidden. After you've applied a Clipping Mask, you can easily
adjust the contour of the masking object itself, as well as
the objects within the mask, using the Lasso or any pathediting tools. Use the Direct Selection tool to edit paths,
the Group Selection tool to isolate objects within a group
or to select entire objects, or the Selection tool to work
with groups of objects.
In order to use multiple objects as a mask, you'll
need to first select the objects and convert them to a
Compound Path (Object >Compound Path >Make), or a
Compound Shape (choose Make Compound Shape from
the Pathfinder palette pop-up menu, or use the Wow!
Action loaded from the Compound Shape Commands
group of actions in Wow! Actions on the Wow! CD). In
either case, your multiple objects form one compound
object that can then become a single masking object.
Two indicators in the Layers palette can tell you that
you have an active Clipping Mask. First, your Clipping
Mask path will be underlined and will remain underlined
even if you rename it. Second, with an active Clipping
Mask, you'll see dotted lines between the clipped items in
the Layers palette instead of standard solid lines.
Once you've created the object or Compound object
you wish to become your mask, you can convert it into a
Clipping Mask using either the Make Clipping Mask button of the Layers palette, or the Object > Clipping Mask >
Make command. The Layers palette commands maintain
your layers' structure as they mask (recall that the Object
menu command gathers all the selected objects into a new
group, which can be disconcerting if you've already set up
a layer structure). See below for details on both methods.
Clipping Mask icon disabled
The container (layer, sublayer, or
group) that holds your intended
clipping object must be highlighted in the Layers palette before you can apply Make/Release
Clipping Mask. Also, in order for
the button to be enabled, the
top item inside the highlighted
container must be something
that can be turned into a clipping
path (or container full of clipping
paths). Possible items are a path,
a compound path, a text object,
a compound shape, or a group or
sublayer containing only items in
Masking technique #1: The Layers palette options
To mask unwanted areas of art within a container (meaning any group, sublayer, or layer), create an object to use
as your mask and make sure it's the topmost item in your
container. Next, highlight the container with the object
that will become your mask, and click the Make Clipping Mask button on the Layers palette. The result: the
topmost object within the selected container becomes
the Clipping Mask object (which hides all elements that
extend beyond the mask) within that container.
Once you've created a Clipping Mask, you can move
objects up or down within the layer or sublayers to
change the stacking order. However, if you move items
out of the container that has the Clipping Mask, they will
no longer be masked (see the Layers chapter for more on
Layers). Moving the clipping path itself out of the container it was created within releases the mask completely.
To release a Clipping Mask without reordering objects or
layers, highlight the mask's container in the Layers palette
and click the Make/Release Clipping Mask icon.
Before Illustrator 9, if you selected objects on different layers and chose to Make Mask, you'd be creating
a "layer-mask" that would hide all objects between the
this list.
Compound Paths or Shapes?
When creating masking objects,
use Compound Paths to combine
simple objects. Use Compound
Shapes for more control over the
"holes" in overlapping objects
or to combine more complex
objects, such as live type or envelopes. Convert selected objects
into a Compound Shape with
Make Compound Shape from the
Pathfinder pop-up menu, or the
Make Compound Shape Wow!
Action (in the "Compound Shape
Commands" in Wow! Actions on
the Wow! CD). For more about
Compound Paths and Shapes, and
Pathfinders, see the Drawing &
Coloring chapter.
Chapter 10 Advanced Techniques
331
Inserting objects into a mask
To insert objects into a Clipping
Mask, make certain that Paste
Remembers Layers (in the Layers
palette menu) is off, then Cut or
Copy the objects you wish to insert. Next, select an object within
the mask and use Paste in Front or
Back to place the copied object
into the mask. Alternatively, you
can drag the new object into the
mask using the Layers palette (see
the Layers chapter).
Magically move a Clipping Path
Once an object is a Clipping Path,
you can move it anywhere within
its layer or group in the Layers
palette and it will still maintain its
masking effect!
Figuring out if it's a mask
If you're not sure whether a
selected objects, with the topmost object becoming your
mask. If you open one of these files in the current version
of Illustrator, you'll see that all your layers are now contained within a new layer called a "master layer."
In order to mask across layers in the current version,
you'll have to manually create your own "master layer"
into which you'll place everything you want to mask. To
do this, first select all the layers that you wish to mask
(click on the first layer you want masked, then Shift-click
on the bottom layer) and choose Collect in New Layer
from the Layers pop-up menu—this places all of your layers within a new "master layer." Although any topmost
object can now become your mask (including an entire
group or sublayer), it's probably easiest to create or move a
masking object in the "master layer" itself. Make sure the
element to be used as a mask is at the top of the contents
within the master layer; then select the master layer in
the Layers palette, and click the palette's Make/Release
Clipping Mask button, or choose Make Clipping Mask
from the Layers palette pop-up menu. For practice applying a Clipping Mask across multiple layers, see Step 5 in
the "Transparent Color" lesson in the Transparency &
Appearances chapter.
current selection contains a mask
or is being masked, look for:
Masking technique #2: The Object menu command
• The <Clipping Path> entry in
You can also create masks for objects and groups of
objects that are independent of layers and sublayers. Use
this method when you want to confine the masking effect
to a specific object or group of objects that you can easily
duplicate and relocate. Since this method modifies your
layer structure, don't use it if you need to maintain
objects on specific layers.
the Layers palette. Even if the
entry has been renamed, it will
remain underlined if it is a mask.
All clipped objects will be in the
same layer or group as the mask.
• Object>Clipping Mask>Release
being enabled means a mask is
affecting your selection.
• An Opacity Mask is indicated
with a dotted underline.
An example of how
type can be used as a
masking object
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Chapter 10 Advanced Techniques
As before, start by creating a topmost object or
compound object that will become your Clipping Mask.
Next, select all the objects you want to be masked (the
topmost object will become the mask). Now, choose
Object > Clipping Mask > Make. When you use this
method, all the objects, including the new Clipping
Path, will move to the layer that contained your topmost
object and will be contained within a new <Group>.
The masking effect will be restricted to only those objects
within the group, and you can easily use the Selection
tool to select the entire clipping group. If you expand
the <Group> in the Layers palette, you'll be able to move
objects up or down within the group to change the stacking order. Expanding the <Group> will allow you to move
objects into or out of the clipping group. This chapter
includes many examples that show how to use this command to create intricate contours by masking complex
groups, such as blends.
When a mask isn't a mask
Masks used to be the only way to
achieve certain effects. You can
now use gradient mesh objects
to create effects that once had to
be created with masked blends
(see the Blends, Gradients & Mesh
chapter). The Pathfinder palette
also provides ways to visually crop
unwanted parts of objects or
groups of objects with the same
styling—but be aware that all
MASK PROBLEM-SOLVING STRATEGIES
Pathfinders unify the styling of
Using type or type outlines as a mask
objects and can delete or alter
You can use editable type as a mask to give the appearance that the type is filled with any image or group of
objects. Select the type and the image or objects with
which you want to fill the text. Make sure the type is
on top, then choose Object >Clipping Mask >Make. To
use separate type characters as a single Clipping Mask,
you have to first make them into a Compound Shape
or Compound Path. You can make a Compound Shape
from either outlined or live (i.e., non-outlined) text. You
can make a Compound Path only from outlined text
(not live text). Once you've made a Compound Path or
Shape of your separate type elements, you can use it as a
mask. (See the Tip "Compound Paths or Shapes?" in the
Drawing & Coloring chapter. And see the Type chapter for
examples of masking with text.)
strokes. Furthermore, the commands on the bottom row of the
Pathfinder palette permanently
alter the shape of your objects.
Finding masks
Deselecting all objects first and
choosing Select >Object>Clipping
Masks should help you find most
masks, though the command will
not find Clipping Masks that are
inside linked EPS or PDF files.
Memory-intensive masks
Mask error message
Too many masks, or complex
If you've tried to make a Clipping Mask, but you get the
message "selection cannot contain objects within different groups unless the entire group is selected," the objects
you've chosen to mask are part of a subset of a group of
objects. To create a mask with these objects, Cut your
selected objects, then Paste in Front ( -F for Mac/CtrlF for Win). Now you'll be able to apply Object >Make
Clipping Mask.
masking paths, may demand too
much RAM and prevent you from
printing. To test whether a specific mask is the problem, select it
and its masked objects, temporarily Hide them (Object >Hide), and
then try to print. Hiding the mask
will free up memory.
Chapter 10 Advanced Techniques
333
Colorful Masking
Fitting Blends into Custom Shapes
Advanced Technique
Overview: Create a complex blend; mask it with
a custom masking object;
create a second mask-andblend combination; make
a two-object mask using
compound paths.
The best way to learn how to mask is to make some
masked blends. With Laurie Grace's pencils, you'll learn
how to mask complex blends to fit into custom shapes.
And with the patriotic corners of Danny Pelavin's baseball illustration, you'll learn how to mask one blend into
two different objects by using compound paths.
The gradient for a pencil body
Creating objects and blending them in pairs,
then creating an object to use as a mask
Selecting the blends with an overlying object
designed as a mask; the blends masked
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Chapter 10 Advanced Techniques
1 Creating the basic elements not requiring masking.
Create your basic objects. For her pencils, Grace created
the long barrel of the pencil with a gradient fill.
2 Creating the first mask-and-blend combination. To
prepare a mask for the pencils, create a closed object outlining the shaved wood and pencil tip, and Lock it (Object
menu). To ensure that your blend will completely fill the
mask, make sure that each created object extends beyond
the mask. Then select and blend each pair of adjacent
objects (see the Blends, Gradients & Mesh chapter). Grace
created the slanted outside objects first and the center
object last so the blends would build from back to front
towards the center. Unlock your pencil-tip object, choose
Object > Arrange >Bring to Front, select the blends with
the mask object and choose Object > Clipping Mask>
Make. Then Object >Group the mask and the blend.
3 Preparing the next masking objects and mask. Select
and copy your mask, then select and lock the mask with
the masked objects to keep from accidentally selecting any of them as you continue to work. Next, use
Paste in Front to paste a copy of your previous mask on
top, and make any adjustments necessary to prepare this
object as the next mask. Grace cut and reshaped a copy
of the full pencil-tip mask until it correctly fit the colored
lead at the top. Hide this new mask-to-be (Object >Hide
Selection) until you've completed a new set of blends.
4 Creating a new mask that overlays the first. Create
and blend new pairs of objects as in Step 2. When your
blends are complete, reveal (Object >Show All) your hidden masking object and Bring to Front to place the mask
on top of these latest blends. Then select the colored-tip
blends with this top object, make a mask as in Step 2
and, as before, Group them together for easy re-selection.
Finally, Unlock the first blends (Object >Unlock All),
select the entire piece and Group it all together.
5 Making a mask from a compound path. Create a
blend to be masked by two objects. As Pelavin did for his
patriotic corners, start with a circle as a template. Turn
on View > Smart Guides and use the Pen tool to draw a
straight line from the circle's center point to its bottom
edge. With the Rotate tool, Option-click/Alt-click on the
circle center to specify an 11.25° rotation and click Copy.
Then choose Object > Transform >Transform Again seven
times to repeat the rotated copy a full quarter of a circle.
Recolor every other line and blend from one to the next,
as above. Next, create two paths for a mask (Pelavin cut
and joined quarters of concentric circles) and choose
Object > Compound Path >Make. Place the compound
path on top of the blends, select them all and choose
Object > Clipping Mask > Make to see your blend show
through both paths. Pelavin recolored a copy of the red
blend with a range of whites, masked the white blend with
a larger arc and placed it behind the reds.
Completed objects selected and locked, then a
copy of the last mask made into a new mask
New objects before and after blending, and
after being masked
Rotating a copy of a line about a circle's center
11.25°, then applying Transform Again 7 times
Coloring every other line and blending in pairs
Compounding paths and getting ready to mask
Blends masked by compounds and a final corner
(shown here also with a masked white blend)
Chapter 10 Advanced Techniques
335
Reflective Masks
Super-Realistic Reflection
Advanced Technique
Overview: Move a copy of
a blend area; if you're using
type, convert it to outlines; shear
and adjust it to the right shape; use
filters to make an offset; recolor and
remask blends; move blend back into
position.
A blended area selected and a copy moved off
the image area 5" (using Shift-Option/Shift-Alt
and Keyboard Increment set to .5" increments);
and type converted to outlines
Shearing outlined type, then adjusting and coloring it to fit the blend contour
Creating reflections for an "outline" by copying the outlined type object, then stroking and
choosing Object > Path >Outline Stroke and then
Unite in the Pathfinder palette
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Chapter 10 Advanced Techniques
T. NEAL / THOMAS • BRADLEY ILLUSTRATION & DESIGN
Two techniques in earlier chapters demonstrated how
Thomas • Bradley Illustration & Design (T«B I&D) used
the Pathfinder palette to generate its basic objects for
blending, and how the blends themselves are formed (see
"Unlocking Realism" in the Blends, Gradients & Mesh
chapter). This technique focuses on replicating contouring blends to create reflectivity and surface variation.
1 Replicating an area of your image for placing new
details. This process can be used to create color or surface variations, but we'll use the application of type
detailing as a demonstration. After you've outlined your
image and filled it with contouring blends, choose an area
for detailing. With the Shift key down, use Selection and
Group Selection tools to select all blends and originating objects for the blends that exist in that area. To move
a copy of these blends out of the way, set the Keyboard
Increment distance to .5" in Preferences >General. Now
hold Shift-Option /Shift-Alt and press the
key to pull
a copy of the selected blends 5" to the right (10 times
the Keyboard Increment distance). To move this copy
further, use Shift
to move the selected blends in 5"
increments, or use
alone to nudge in .5" increments.
With the Type tool, place a letter or number on top of the
moved blend (see the Type chapter for help). Click a Selection tool to select the type as an object and choose Type >
Create Outlines.
2 Reshaping type to fit your blended contours and
creating an offset. Working from templates, references or just your artistic eye, use the Rotate, Scale and
Shear tools with Direct Selection to adjust various anchor
points until the type fits the contour. For the type on the
race car, T«B I&D sheared the letters (by clicking first in
the center of a baseline, grabbing above right, and Shiftdragging to the right). Then they Direct-selected individual points and groups of points, moving them into the
visually correct positions.
Re-creating blends in new colors and preparing
to mask them with a copy of the 3 on top
To create the outlining effect, copy a solid-filled version and set the stroke weight and color. While the object
is still selected, choose Object >Path > Outline Stroke,
then click on Unite in the Pathfinder palette.
3 Pasting the original back on top, designing new
colors for copies of the blends and masking the
new blends. First, Paste in Front the original, unstroked
type element. Next, select and Lock blends or objects
that won't fall within the detail, but that you want to
keep for reference. Copy and Paste in Front each of the
source (key) objects for new blends and recolor them for
your detailing. To recolor a blend, Direct-select each key
object you want to recolor and choose a new color—the
blend will automatically update! As necessary, recolor
each pair of key objects using the same procedure (bear
in mind, blending between Spot colors results in Process
in-between colors). T«B I&D recolored the car blends for
the red 3, then added a tear-shaped blend for more detail.
Select and copy the original 3, use Paste in Front, press
the Shift key and click to add the new grouped blends
to the selection, then choose Object >Clipping Mask>
Make. Group and Hide these finished masked objects and
repeat the recoloring of copied blends, masked by a top
object for any additional highlights and shadows. Choose
Object > Show All when these masks are complete, group
all the masks together and use the Arrow keys to snap
this group of reflective details into position. T»B I&D created one more version of the 3 for a dark offset. For areas
requiring more reflections, they constructed even more
masks upon masks, as well as occasionally applying compound-masks (see previous lesson "Colorful Masking").
With the red, reflective blends masked, creating
a darker, offset 3
The dark 3 and the entire group of objects complete, before and after being moved back into
position with Arrow keys
Other elements require more stages of blending
(see "Colorful Masking" in this chapter for compounding multiple objects, like type elements, to
apply as a single mask)
Chapter 10 Advanced Techniques
337
Bradley Neal
Bradley Neal combined an attention to detail
with Illustrator's wide range of drawing and
rendering tools to create this photo-realistic
image of a Ford Taurus stock car. Beginning
with a contour shape filled with a flat color,
Neal overlaid a series of custom blends to replicate the subtle modeling of the car's surface.
Neal simulated the grill work at the front of
the car by overlaying a series of four dashed
stroked paths. The racing logos on the side of
the car were drawn by hand, grouped, and
positioned using the Shear tool. The Taurus,
Valvoline, and Goodyear logos were fitted to
the contour of the body with the help of the
Envelope Distort tool. To achieve the realistic
look of the front right wheel, Neal created
customs blends with outer edges that blended
smoothly into the flat color of the underlying
shapes. Neal created a drop shadow for the car
using a carefully controlled blend. This blend
had an inner path that contained a solid black
fill that blended to white as it approached the
outer edge.
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Chapter 10 Advanced Techniques
David Cater
David Cater created this Mini Cooper image
Because he was careful to color only the body
for reproduction on T-shirts, posters, and note
panels using gradients created from those two
cards. Knowing that different clients would
colors, he was later able to easily change the
want the car in a variety of colors, he started
color of the car by simply double-clicking on
by creating two spot color swatches for the
each of the two color swatches and using the
mid and shadow tones of the car. He then used
CMYK sliders to redefine the colors. Although
those two spot colors (global process colors
he could have used blends more extensively
would also work) to create the handful of
(he only used a few for the cowlings along the
gradients he used to fill each of the approxi-
front and side of the car). Cater found it faster
mately 1,500 shapes he used to create the car.
and easier to use simple gradient-filled shapes.
Chapter 10 Advanced Techniques
339
Gary Ferster
340
In creating a product illustration, Gary Ferster
lines with the Pen tool and then drew the base
strives to combine realism with a dramatically
objects that would be used to create blends,
appealing view of the product. For the Jeep
created his blends, and then masked the blends
and the sneaker, Ferster began by scanning
with copies of the outlines. For each sneaker
photographs of the products and placing these
lace, Ferster created several dark-colored
grayscale TIFFs on template layers (see "Digitiz-
blends overlaying a light background. Then he
ing a Logo" in the Layers chapter). On layers
masked each of the blends and background
above the templates, he drew the objects' out-
with the lace outlines.
Chapter 10 Advanced Techniques
Greg Maxson / Precision Graphics
Illustrating the metal surfaces of this circular
blend for the bottom half of the blade. He cop-
saw required Greg Maxson to create overlap-
ied the dark gray ellipse and used the ellipse
ping blends. For the blade, Maxson began with
to mask both blends. For the round grip, Max-
an ellipse filled with a dark gray. Next, he cre-
son created five blend objects, and blended
ated two blending objects, one filled with the
between them to form the grip's surface. He
same dark gray as the ellipse and the other (on
masked these blends with an object built by
top) filled with a light gray. Maxson blended
connecting ellipse shapes (the cylinder and the
these to create the highlight and shadow. He
circular face at the end of the cylinder) to form
used the Reflect tool to create a copy of the
the grip.
Chapter 10 Advanced Techniques
341
Glowing Starshine
Blending Custom Colors to Form a Glow
Advanced Technique
Overview: Create a custom color for
the background and the basic object;
scale a copy of the object; make object
adjustments and blend a glow.
Illumination is the key to creating a realistic nighttime
sky. This variation on a technique by Guilbert Gates and
Jared Schneidman Design (JSD) will help you create
glowing lights, not just stars, simply and directly.
The background spot color; dragging a guide to
the center of a circle, drawing a center line and
rotating a copy of the line
I Transform Again
After pressing I Ctrl-D six times, making guides
and adding anchor points at guide intersections
After Shift-Option/Shift-Alt scaling the circle
smaller and changing the center to 0% tint; Direct-selecting and moving top, bottom and side
points outward
Before and after a 12-step blend
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Chapter 10 Advanced Techniques
1 Creating a custom color and the basic object. Create a background rectangle filled with a dark, spot color.
JSD's background was 25% C, 18% M and 100% K. In
Outline mode, make a circle, then drag a guide from the
ruler until it "snaps" to the circle's center (the arrow turns
hollow). With the Pen tool, click on an edge of the circle
where the guide intersects, hold Shift and click on the
other edge. Select this line, double-click the Rotate tool,
specify 22.5° and click Copy. Press 'Ctrl-D to repeat
the rotate/copy six times, then select only the lines and
choose 'Ctrl-5 to make the lines into guides. Use the
Add Anchor Point tool to add eight points, one on each
side of the circle's original points at guide intersections.
2 Creating the glow. With the circle selected, use the
Scale tool to make a smaller copy of the circle (hold Shift
and Option/Alt keys), then in the Color palette specify a
0% tint fill. Direct-select the top point of the bigger circle
and Shift-drag it outward; do the same to the bottom and
side points. With the Blend tool, click on corresponding
selected points from each circle and specify 12 steps.
0
Kenneth Batelman
Batelman drew his small stars using dashed line
patterns applied to marks made with the Pencil
tool. To simulate a variety of star sizes, spacing,
and values, he created a number of different
dashed strokes using the Strokes palette. All of
his dashes begin with a 0 value for the "dash"
field, and then have varied values for the gap
(between from 20 to 90 points). He chose the
rounded options for both the Cap and Join,
and then set Stroke values ranging from .85
to 2.5 points. Using these settings, Batelman's
"dashes" actually appear as a range of small
dots that vary in spacing and size. Choosing
warm gray colors for the strokes, he applied
different dash patterns to marks drawn with
the Pencil tool (dashes are shown directly
above right: applied to lines, in the Stroke
palette, and applied to a mark made with the
"bursts" shown in three stages, Batelman used
the Ellipse tool to create a circle, and then the
Star tool to place a star on top. Circle and star
were each filled with radial gradients that start
with a lighter color at the center, and end with
a color matching the background sky. To create less "perfect" bursts, he stretches the star's
endpoints using the Direct Selection tool. From
a distance, Batelman's spectacular water looks
photographic, but viewed up close it's simply
constructed of irregular flat objects, interwoven with gradients and blends (see the Blends,
Gradients & Mesh chapter). The Water details
show before (top right) and after (directly
below) gradients and blends are applied .
Pencil tool). To create each of the larger star
Chapter 10 Advanced Techniques
343
Alan James Weimer
Alan James Weimer achieved the detailed
symmetry in the above design using Illustrator's
344
Rotate and Polar Grid tools. After selecting the
by drawing half of the petal with the Pen tool
Polar Grid tool, he clicked where he wanted
and creating a copy for the other side using the
to position the grid. Within the dialog box,
Reflect tool. Next, Weimer positioned the petal
Weimer entered the width and height of the
on one of the guides, selected the Rotate tool,
circle, as well as the number of concentric and
and Option-clicked (Alt-click for Win) the cur-
radial dividers. (The Polar Grid tool can also be
sor once on the centerpoint of the circle. In the
clicked and dragged to create the grid. Use
dialog box, he entered "360 / 8" (in order to
the Arrow keys on the keyboard to adjust the
have Illustrator calculate 360° 8, the total num-
concentric circles and dividers.) The grid was
ber of petals he wanted), and clicked Copy. He
then made into a guide (View>Guides >Make
then pressed
Guides). Alan created the individual elements
copying and rotating six more petals around
of the design, such as the pink flower petal,
the circle.
Chapter 10 Advanced Techniques
-D (Ctrl-D for Win) to continue
Alan James Weimer
To make the two medallions for a horizontal
"tile" (right), Alan Weimer used the circle-andguides technique described on the opposite
page. After arranging the medallions and
other elements to form the tile, he Optiondragged / Alt-dragged the tile to the right to
form the first row. To create the repeating pattern, Weimer diagonally Option-dragged /Altdragged copies of the first tile row onto a grid
and, at the bottom of the Layers palette,
of guidelines to form rows above and below
clicked the Make/ Release Clipping Mask icon.
the first row. To "crop" the design, he drew a
On a layer above the mask he added a border
rectangle on the same layer as the tiled design,
composed of blended, stroked rectangles.
Chapter 10 Advanced Techniques
345
о
Marc LaMantia
Marc LaMantia scanned a photograph into
Photoshop and saved it in PSD format. He then
opened a new Illustrator document and chose
File > Place, and selected Place as Template
(see "Digitizing a Logo" in the Layers chapter).
On layers above the template, LaMantia then
began to meticulously trace the details of the
photograph using the Pen tool. To create the
posterized appearance, he began by initially
tracing shapes with less detail. On additional
layers, as he worked he increased the amount
346
Chapter 10 Advanced Techniques
of detail with each subsequent pass of tracing.
To soften some areas, such as the wall adjacent
to the door and the creases in the coats, he
applied a Feather Effect by selecting Effect >
Stylize > Feather with a 2 pt feather radius.
LaMantia used varying opacities to make the
reflections in the store window. To create
a look of concrete and stone, he applied a
Pointilize effect (Effect >Pixelate>Pointilize).
(For more about effects, see the Live Effects &
Graphic Styles chapter.)
Marc LaMantia
Marc LaMantia scanned one of his photographs
to create this illustration of a subway exit, in
steps) are actually made of transparent pink,
which he used the techniques described on the
red, and magenta shapes, layered above black.
opposite page. In this piece, LaMantia depicts
Rarely is a color used at full opacity. The layer-
the beauty of a single moment of an ordinary
ing of numerous transparent layers (all in Nor-
day in New York City. Transparency effects
mal mode) brings enormous depth and interest
were used throughout the entire illustration
to the posterized style. When viewing the
(see the Transparency & Appearances chapter).
image in Outline mode (above right), the level
Many of the shadow areas (such as within the
of detail becomes apparent.
Chapter 10 Advanced Techniques
347
Masking Opacity
Making Transparency Irregular
Advanced Technique
Overview: Draw an object outline
and convert it to gradient mesh;
duplicate the mesh and convert it
to grayscale; make a copy of the
grayscale mesh; rasterize, "reverse"
and blur it; add it to the grayscale
mesh and create an opacity mask.
Original sketches of the movement of the flame
Flame mesh in Preview and Outline modes
Rasterization resolution
If you're using live Effects and the
Ivan Torres found that Illustrator's gradient mesh and
opacity mask provided the perfect solutions for creating
the light-and-dark, opaque-and-translucent character of
a match flame, while allowing him to do all of his work
within Illustrator rather than moving artwork between
Illustrator and a bitmap program like Adobe Photoshop.
screen redraw is too slow, set the
Resolution in Effect >Rasterize >
Raster Effects Settings to Screen
(72 ppi). But don't forget to reset
this to the correct output (typically twice the line screen), and
adjust each Effect setting, before
saving for print! —Ivan Torres
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Chapter 10 Advanced Techniques
1 Drawing the gradient mesh. Torres began his flame by
placing a scan of a sketch into Illustrator to use as a tracing template. He drew a filled outline of the flame and
converted it to a gradient mesh (Object >Create Gradient
Mesh). See the Blends, Gradients & Mesh chapter to find
out more about creating and editing gradient meshes.
Torres edited the mesh to color the flame.
2 Making an opacity mask and modifying its opacity.
As Torres observed, a flame can contain transparent and
opaque parts. To achieve irregular transparency, you
can build and apply a customized opacity mask. First,
select the gradient mesh object you made, Copy, and then
Paste in Front. Next, convert the color mesh to grayscale
by selecting Filter > Colors > Convert To Grayscale. Now
use the Direct Selection tool to click on intersection
points in the grayscale mesh and change their gray values
in the Color palette. (The darker the point's gray value,
the more transparent the object will be when the mesh is
made into an opacity mask and applied to the object.)
3 Adding a blurred outline, then completing the opacity mask. Torres added a blurred outline to the grayscale
mesh, so that when applied later as an opacity mask it
would soften the edge of the flame. To create a blurred
edge, begin by duplicating the grayscale mesh (Copy,
then Paste in Front). In the Object menu, select Rasterize, and in the Rasterize dialog box, click to enable Create Clipping Mask. Next, release the mask you just made
(Object >Clipping Mask >Release) and Ungroup; select
the square (which is the rasterized grayscale copy) and
delete it. This leaves the mask object, an exact duplicate of
the flame outline. Give this mask object a black stroke.
Next, create a "reverse" version of the mask using
drawing tools or the Pathfinder functions (see the
Drawing & Coloring chapter for more on creating and
modifying paths). Fill this reverse object with black, and
blur the object by selecting Effect > Blur > Gaussian Blur
and assigning a blur radius that is wide enough to create
the look you want.
To finish constructing the opacity mask, select the
blurred object and the grayscale gradient mesh you
created earlier and group them (Object >Group).
4 Applying the mask. Select the mask artwork and the
original color gradient mesh and choose Make Opacity
Mask from the Transparency palette's pop-up menu.
At the left, color mesh converted to grayscale;
at the right, the edited version of the grayscale
mesh made by changing the gray values of individual mesh intersection points
In Outline View, the rasterized grayscale gradient mesh (with the mask outline and the raster
rectangle) on the left; on the right, the "reverse"
object Torres created by cutting the top line
with the Scissors tool, deleting the top segment,
and then joining the remaining segments
The filled "reverse" object of the rasterized mask
on the left, and the same object on the right
after blurring
On the left, the composite artwork of the opacity mask (the grayscale gradient mesh and the
blurred "reverse" object); on the right, the opacity mask applied to the flame
Chapter 10 Advanced Techniques
349
Modeling Mesh
Shaping and Forming Mesh Objects
Advanced Technique
Overview: Create an outline for
smoke; create a simple rectangular
mesh; bend the mesh using the Rotate
and Direct Selection tools; align the
mesh to your outline; add columns to
lend a 3D effect; color your mesh; use
the Screen Blend mode to make the
smoke transparent.
Create an outline of the desired final smoke
form
Smoke outline locked on a layer, with the starting mesh above
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Chapter 10 Advanced Techniques
Ivan Torres molded a mesh as though it were a piece of
clay to form the smoke in his art piece "Meshsmith." One
of the highlights of this lesson is Torres's use of the Rotate
tool to bend portions of a mesh (as opposed to using it to
rotate whole objects).
1 Setting up your artwork. Start by using the Pen or
Pencil tool to create an outline of a smoke form. Lock the
smoke outline in a layer, then place a rectangle at the base
of the smoke. Convert the rectangle to a mesh, using the
Object >Create Gradient Mesh command, with 1 column
and 3 rows. Keep your starting mesh simple, it is easier to
add rows as needed later.
2 Making the rough bends. Make your first big bend
using the Rotate tool. Start by Direct-selecting all but the
bottom two points of the mesh. Next with the Rotate tool
click on the inside of the first curve of the smoke outline
to place the center for rotation, and then grab the top
of your mesh rectangle and drag it around the center of
rotation to form the first curve (see images at right).
At each bend or pinch in the smoke, you will need a
row in order to make the next bend. If an existing row of
your mesh is nearby, Direct-select it and move it over the
bend or pinch. To add a row, click with the Mesh tool on
the edge of the mesh outline, at the bend or pinch. Once
you have placed or added a mesh row at a bend or pinch,
leave those points out of the next selection as you work
your way up the smoke. Repeat this step until you reach
the top of your smoke outline.
3 Aligning and straightening the mesh rows. Once you
have the mesh roughly aligned, zoom in at each pinch
and bend where you placed a mesh row and make it
straight and perpendicular to the curve. Straightening
out the mesh rows is essential for your final smoke to look
correct and work smoothly.
4 Aligning the mesh curves with the smoke. With the
Direct Selection tool, start at the bottom and click a
section of the mesh curve. Adjust the direction handles
so they align with the smoke outline. You may have to go
back and forth between the next and previous sections
of the curves in order to properly adjust the sides of the
mesh to fit the smoke outline.
Selecting top portion of mesh. After clicking on
inside of the first curve to set the rotation point
(blue crosshair in lower right), clicking the top of
the rectangle, and dragging to left and down
Working up the smoke, rotating the mesh at
each major bend; placing mesh rows at pinches
and using the Direct Selection tool to adjust
Aligning the rows with the pinches in the outline, making them straight and perpendicular to
the sides of the curve
Starting from the bottom, using the Bezier
handles to align the curves of the mesh to the
outline of the smoke
Adding columns to the smoke mesh using the
Gradient tool and spacing them closer at the
edges to create a rounded 3D look
Chapter 10 Advanced Techniques
351
3D effect, use the Mesh tool to add a first column by
clicking on the center of the bottom edge of the smoke.
Next, add two more columns close to each outside edge of
the smoke. Then, place two columns between the center
and the next closest columns on each side—not exactly in
between, but closer to the outside edge.
Because of your careful work in steps 3 and 4 above,
your new columns will be parallel to—and flow smoothly
through—the pinches and bends of your smoke outline.
The completed smoke mesh
Creating a highlight at a mesh point
The smoke before and after setting the Blend
Mode to Screen on the Transparency palette
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Chapter 10 Advanced Techniques
6 Coloring the mesh. Torres chose a dark blue color for
his smoke (if you want to use a different color you will
have to adjust the color choices in the steps below). To see
where the mesh points are as you work, turn on Smart
Guides from the View menu, or §§-U/Ctrl-U. In order to
make the selection line color interfere less with the mesh
color as you work, use a dark shade of blue for the selection line color (choose Dark Blue from the Layer Options
Color menu). Also, learn to use the single-key navigation
shortcuts to quickly switch between the Mesh (U), Paint
bucket (K), and Direct Selection (A) tools.
Start by adding a middle blue value to the whole mesh.
Next, from the Color palette pop-up menu, choose HSB,
and then use the Brightness ("B") slider to create lighter
highlight or darker shadow tints of your starting color. At
the center of where highlight or shadow areas should be,
use the Paint bucket to apply your highlight or shadow
color. If there is no mesh point there, use the Mesh tool to
add one. Because the point where you click with the Mesh
tool remains selected, you can easily adjust the fill color
using the HSB sliders. For final tweaking of the highlights
and shadows, use the Direct Selection tool or Lasso tool
to select areas, and then make adjustments using the
HSB sliders.
7 Making the smoke transparent. Select your smoke
and on the Transparency palette, experiment with various combinations of the Screen Blend mode and Opacity
settings until you get the desired effect.
Javier Romero / Javier Romero Design
Group
Throughout this illustration for the Illustra-
path into a clipping mask (see earlier in this
tor 10 Wow! Book cover, Javier Romero adjusted
chapter for help with clipping masks). To make
the opacity and blending modes of his objects
these lines slightly lighter on the sax player's
to soften the transitions and overlaps, and to
left shoulder, he made a duplicate of the wavy
create a glowing look. To create the wavy lines
lines, adjusted the Opacity to 25% and masked
in the shirt he filled several wavy shapes with
that set with a narrow shape defining the left
a black to white linear gradient. He then used
shoulder. To create the swirl of sound coming
the Gradient tool to adjust the angle of the
from the horn, Romero created a blend from
gradient uniformly across all the shapes (see
a light yellow object set to 50% Opacity, to a
the "Unified Gradients" lesson in the Blends,
dark red object set at 100% (directly above,
Gradients & Mesh chapter for help with this).
right). Another of the blends forms the orange
Romero then applied a 30% Opacity and a
glow on the shoulder; the top orange object is
Multiply Blending Mode to the wavy shapes. To
set to Lighten 66%, and the dark object below
confine the waves to the shirt, Romero masked
is set to Multiply at 18% (shown in Normal
the waves by transforming a copy of the shirt
mode at 100% Opacity, top right).
Chapter 10 Advanced Techniques
353
Ann Paidrick
354
With an original photograph as a reference,
tool in the Tools palette and decreased its size
Ann Paidrick recreated these ripe and juicy
slightly. She selected both the black and white
tomatoes using a complex combination of
objects and chose Object >Blend >Make (see
gradient mesh, blends, gradients, masking
the Blends, Gradients & Mesh chapter). Paidrick
techniques, and symbols. For the tomato
then selected the blend objects, along with the
slices, Paidrick used the Pen tool to draw basic
linear gradient, and chose Make Opacity Mask
shapes. She then filled them with a base color
from the Transparency palette, and selected
and turned each into a mesh (Object >Create
Clip. The blended object became both a clip-
Gradient Mesh). Paidrick used the Direct Selec-
ping mask and an opacity mask, blending the
tion tool to select and place rows and columns
dark area into the underlying background. The
into the desired position, and to select points
plate is made with three layers of mesh objects.
to color using the Color palette. To create the
The top and bottom mesh objects form the
darker seeded areas of the tomato (above
whites of the plate. The middle object forms
right), Paidrick filled a new object with a linear
the inner rim shadow, which Paidrick created
gradient. To create a smooth transition from
by applying the opacity masking technique
this darker area to the tomato mesh, she cre-
described above, to a red-hued mesh. Paidrick
ated an opacity mask. To do so, she copied that
also applied opacity masks to the objects that
object and pasted two copies in front (
make up the tomato shadows, and varied the
-F/
Ctrl-F). She filled the bottom copy with black
opacities and blending modes. She applied the
and the top with white. With the top white
small highlights with symbols (see the Brushes
object selected, she double-clicked on the Scale
& Symbols chapter).
Chapter 10 Advanced Techniques
Ann Paidrick
Using techniques similar to those described on
the previous page, Ann Paidrick created this
delicious-looking bowl of olives. The olives and
pimentos were created with gradient mesh
objects. Paidrick applied an opacity mask to
make the hole where the pimento sits. She
highlighted the olives with objects blended
from black to white. Within the Transparency
palette, she then adjusted the opacities, set
outside rim handle was created with three gra-
the Blending Mode to Screen, and selected
dient mesh shapes layered above a solid filled
Knockout Group to reveal the color of the
shape (shown above). The ribs of the bowl are
olive below. Paidrick used a combination of
linear gradients with solid filled highlights, and
mesh objects with opacity masks throughout
the larger ribs are mesh shapes with an opacity
the many individual shapes that make up the
mask below. Lastly, Paidrick made the back-
glass bowl (details above right). The outside
ground out of a large square gradient mesh
rim is filled with a radial gradient and layered
and created the illusion of the surface reflec-
with solid filled shapes and mesh shapes. The
tions by carefully coloring mesh points.
Chapter 10 Advanced Techniques
355
Yukio Miyamoto
Using a photograph of his cat, Chinta, as a
template, Yukio Miyamoto created a realistic
Miyamoto also sampled colors from the image
rendering using gradients and gradient mesh.
for his objects and gradients. The head is made
With the Pen tool, he traced over the template.
of four main shapes sculpted with gradient
Before coloring his shapes, he double-clicked
mesh: the overall head shape, the white area
on the Eyedropper to open the Options dialog
of the face, and the ears. To transition these
box, and disabled the Appearance checkbox.
gradient mesh shapes into one another, Miya-
This allowed him to sample color with the
moto applied an opacity mask to each of the
Eyedropper from the placed image with a
gradient mesh objects. The body was created
click, rather than having to continually Shift-
using the same method. Details, such as the
click. He filled the objects that would be the
whiskers and bits of fur, were drawn with a 1 pt
mesh shapes with a base color sampled from
round brush. To soften many of the objects,
the photograph using the Eyedropper. Then
he applied Effect>Stylize >Feather. The nose,
he used the Mesh tool and created the mesh
eyes, and shadow beneath the cat are gradi-
points within the shape. Toggling between
ent-filled objects with a Feather effect. To give
the Eyedropper and the Direct Selection
a furry appearance to the outline of the cat,
tool (using the
Miyamoto applied a Feather effect to a filled
/Ctrl key), he clicked on the
image and picked up color for his mesh points.
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Chapter 10 Advanced Techniques
shape matching the contour of the cat.
Web & Animation
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Introduction
Working in RGB in Illustrator
A few thoughts on RGB and CMYK color
Assigning URL'S and Slicing
Release to Layers
Export File Formats
SVG
Data-Driven Graphics
Gallery: Ivan Torres
Off in a Flash: Making Artwork for a Flash Animation
Gallery: Kevan Atteberry
Layering Frames: Turning Layered Artwork into Keyframes
Webward Ho!: Designing a Web Page in Illustrator
Gallery: Steven Gordon / Cartagram
Advanced Technique (Illustrator with Photoshop):
Making Waves: Transforming and Blending for Animation
Web & Animation
Facts about CMYK and RGB
Because Illustrator allows you to
mix colors in CMYK, RGB, or HSB
color modes, be aware of which
color palette is displayed when
you're creating colors. If your file
is in RGB, you should switch the
color palette to RGB or Web safe
RGB. If you're doing print work,
you would normally work in
CMYK, but you may need to work
in RGB in order to apply some of
the Photoshop filters. If you intend to use your artwork for both
print and the Web, your best bet
is to work first in CMYK (with its
narrower color gamut) and then
create the final Web output by
exporting to an RGB format and
This chapter focuses on how you can use Illustrator to
prepare artwork for on-screen display. Although everything in this chapter relies heavily on Illustrator, some of
the techniques also involve working with other applications (see the Illustrator &Other Programs chapter).
The actual assembly of animations and Web graphics in this chapter was produced using a number of other
programs, including Macromedia's Director; Adobe's
Premiere, After Effects, and GoLive; Yves Piguet's GIF
Builder; Thorsten Lemke's GraphicConverter; and Bare
Bones Software's BBEdit.
Web designers will find that Illustrator supports a
wealth of file formats, and a streamlined work flow for
creating Web graphics. Save for Web in the File menu
makes it easy to optimize graphics for the Web, by letting
you visually compare examples of different quality settings and file compression options side by side, in a multiview dialog box. And Pixel Preview allows you to view
precise antialiasing right in Illustrator.
adjusting colors to approximate
the original CMYK colors.
Choosing color models from the Color palette's
pop-up menu. You can also cycle through color
models by Shift-clicking on the Color Spectrum.
Selecting a different color model to mix colors
does not change the color mode of the file
WORKING IN RGB IN ILLUSTRATOR
To create artwork in RGB, first start with a new RGB file
(File > New and Color Mode > RGB Color in the dialog
box). Choose a Web safe RGB palette of colors if you want
to create colors that are never dithered when viewed on
8-bit monitors. This is a great opportunity to take advantage of Illustrator's new Templates feature. If you base
your new file on any of the Web templates that ship with
Illustrator, you'll be in RGB color mode by default.
A FEW THOUGHTS ON RGB AND CMYK COLOR
If you need Photoshop...
Don't forget to look at the Illus-
you're creating graphics for on-screen display. If
trator & Other Programs chapter
you're designing for the Web, it's particularly important
to keep file sizes to a minimum, and the final files must be
in RGB (see "The Web Swatches library" below).
for details about working with
Illustrator and Photoshop.
358
• You should work in the RGB color mode (space) if
Chapter 11 Web & Animation
• Don't convert the same artwork repeatedly between
RGB and CMYK. Converting RGB to CMYK forces one
range of colors (a gamut) into a smaller range of colors.
This process involves either clipping or compressing
certain colors, and can make the colors in your file appear
muddy or muted. If you absolutely need both CMYK and
RGB versions of your artwork, maintain two versions of
your art—one in RGB and one in CMYK. To experiment
with clipping or compressing colors between gamuts, see
the User Guide on choosing the appropriate rendering
intent in the Color Settings dialog box.
Converting CMYK to RGB
If you already have artwork
prepared in CMYK and you need
to change the color mode for onscreen RGB viewing, make sure
you first save a copy of your file,
then choose File >Document Color
Mode >RGB Colors. Remember,
try not to convert your artwork
back and forth between color
spaces, because your colors can
become muddy or muted (see text
• If you're going to use your artwork for both print
and on-screen viewing, create in CMYK and then
export the art to RGB. With the CMYK color spaces
smaller color gamut, and with the control available to
produce predictable color for print, it makes sense to create artwork in CMYK before exporting it to RGB for display on a monitor. RGB has a wider gamut, so it won't clip
or compress the colors of your CMYK document.
at left for more details).
Rasterizing art for the screen
The process of turning vector
art into a pixel-based image is
called rasterizing. Anyone creating
The Web Swatches library
artwork for the Web or for multi-
Illustrator includes a non-editable Web safe swatches
library. Its 216 RGB colors are common to both Mac and
Windows platforms, and are the most reliable colors for
creating Web artwork when you don't know the color
depth or platform your audience will be using. To access
this library, choose Open Swatch Library > Web from
the Swatches palette menu, or choose Window > Swatch
Libraries > Web. To create a smaller custom library
from the Web safe library, simply drag the desired color
swatches to the Swatches palette for storage and save the
file. (Remember to clear the Swatches palette before you
build your custom library—see "Setting up your palettes"
in the How To Use This Book section.)
media applications might, at some
point, need to rasterize vector
art, with the exception of SWF
and SVG (see the "SVG" section
further on in this chapter). The
Rasterize dialog box (Object >Rasterize) provides options that make
it easy to control the rasterization
of artwork.
ASSIGNING URL'S AND SLICING
Illustrator's Attributes palette lets you create an image
map area and assign a URL (Uniform Resource Locator)
Chapter 11 Web & Animation
359
GIF or JPEG?
Save as GIF if your art has large
areas of solid color and/or is made
up of "vector" graphics (such as
Illustrator objects). Export as a
JPEG if your art includes "raster"
images (photos) with a wide
range of colors or grays, or if your
image contains gradients or gradient meshes. If your art includes a
high-contrast photo or has both
large areas of solid colors and images, experiment with different
optimizations in File >Save for
Web to see which looks best at
the smallest file size.
Batch optimizations
You can combine File >Save for
Web with the Actions palette to
batch optimize GIF files that share
a custom palette. Make a new file,
then copy into it the group of Illustrator files that need to share
a palette. Use Save for Web to
find the optimum combination
of colors and palette size, then
choose Save Color Table from the
bottom pop-up menu. Close this
file, and open one of the individual Illustrator files. Start recording
a new Action, then choose Save
for Web, load the color table, and
save the file. Now you can run this
custom action to automatically
process the rest of your GIF files.
—Cynthia Baron
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Chapter 11 Web & Animation
to any object, group, or layer in your artwork. Creating image maps is an essential tool for Web designers
because it allows them to create links to other Web pages
by defining clickable parts of the artwork. Illustrator creates a separate HTML (HyperText Markup Language) file
containing the URL information, which can be imported
into an HTML editor such as Adobe GoLive, Macromedia
Dreamweaver, or BareBones Software's BBEdit.
To assign a URL to a selection, open the Attributes
palette (Window > Attributes), select the type of image
map from the Image Map pop-up, and type the URL into
the URL text field (see the Gulf Shores Web page Gallery
in this chapter for more on making image maps). If you
need to verify whether your URL is correct, simply click
the Browser button in the Attributes palette. This will
launch your default Web browser and automatically open
the link. You can export the file by using Save for Web
and choosing Save as Type: HTML and Images (*.html).
Illustrator also provides another way for you to assign
URLs or links to objects—by using Web slices. Web slicing is a way to divide a large image into several smaller
pieces that are displayed in HTML as a table. This allows
you to optimize individual parts of your artwork in different formats (e.g., GIF, JPEG, SVG), and helps the files
download faster to a Web browser. To assign a URL to a
Web slice, apply a slice to an object by selecting the object
and choosing Object > Slice > Make, and then with the
object still selected, choose Object > Slice > Slice Options.
In the URL field, enter the correct link information. You
can also get to the Slice Options dialog box by doubleclicking on a slice with the Slice Select tool in the Save for
Web dialog box.
When you apply a slice to an object, group, or layer
using the Object menu, you've actually assigned a slice
as an "attribute." This means that if you update your
artwork, your slice will update automatically. So, once
you make a slice, you never have to re-create it.
If you want to create a slice whose position remains
unchanged when you update the artwork from which
the slice was originally generated, choose Object > Slice >
Create from Selection, or draw the slice using Illustrator's
Slice tool. (In ImageReady, this kind of slice is called a
user slice.) Slices applied as attributes are exported as
layer-based slices when you choose File >Export >Photoshop (*.PSD) and you select the Write Slices option. If you
edit the exported layers in Photoshop or ImageReady, the
corresponding slices will reshape themselves just as they
would have done in Illustrator. This PSD export option
only works on slices attached to elements that are not
contained inside any groups or sublayers. All other slices
are exported as user slices.
RELEASE TO LAYERS
Illustrator gives you the ability to take multiple objects
or blended objects and distribute each onto its own layer.
For example, having the objects on separate layers makes
it easier to develop animations. ("Macromedia Flash
(SWF) export," in this chapter, explains how to move
Illustrator art into Flash for animation work.) Highlight
a layer, group, live blend or symbol set in the Layers palette by clicking on it—if you merely select or target the
artwork, this won't work. Next, choose Release to Layers
(Sequence) from the palette menu. Each new layer is
created within the current layer or group and consists
of a single object. To perform an additive effect, choose
Release to Layers (Build). Instead of containing a single
object, each new layer is generated with one more object.
You end up with the same number of layers, but what
appears on those layers is very different.
When releasing objects to separate layers, keep in
mind that their stacking order in the Layers palette can
affect the final animation. With scatter brush art, it's
sometimes hard to predict the order in which the individual objects will be released to the layers: stacking order
is dependent on the direction of the path. You can reverse
the direction of a path by clicking on an end anchor point
with the Pen tool. You can reverse blends by choosing
Object > Blend >Reverse Front to Back.
Save for Web
Save for Web provides many options for optimizing Web graphics:
• Tools: A limited set of tools lets
you zoom, pan, select slices, and
sample colors in the artwork.
• Views: Multiple views are
available for you to compare
compression settings against the
final image quality.
• Settings: Preset compression
settings are easily accessed from
the Settings pop-up menu. If
you are new to Web graphics,
start with one of these settings.
You'll notice that as you select
different presets, the options
for the specific file type are updated under the Settings grouping. Save your own settings by
choosing Save Settings from the
pop-up menu to the right of the
Settings menu.
• Color Table: The color table
updates the number of colors
in the image for GIF and PNG-8
file formats. You can lock colors or shift to a Web safe color
by clicking on the icons at the
bottom of the palette.
• Image Size: To change the
dimensions of the final optimized file, but not the original
artwork, click on the Image Size
tab and enter a new size.
• Browser button: To preview the
optimized image in a browser,
click on the browser button at
the bottom of the dialog box.
Chapter 11 Web & Animation
361
Which GIF options are for you?
EXPORT FILE FORMATS
• Color Table: 8-bit images have
Save for Web
a maximum of 256 colors. The
Perceptual table is more sensitive to colors that can be differentiated with the human eye.
Selective gives more emphasis
to the integrity of the colors
and is the default setting.
• Colors: You can have up to 256
colors in a color table. However,
the image might not need that
many. Select a smaller number
of colors when you optimize by
adjusting the number of colors
in the color table. The fewer
colors, the smaller the file.
• Dither: Blends colors in a limited color palette. Diffusion
dither is usually best. Vary the
amount of dither to reduce
banding of solid-color areas
by adjusting the Dither slider.
Leave it off for clean-edged
vector graphics.
• Transparency: Choose this for
non-rectangular artwork that
you want to put over multicolored backgrounds. To reduce
edge artifacts, choose a color
to blend with the transparent
edges from the Matte pop-up.
• Interlacing: Allows viewers to
see a low resolution version
of the image as it downloads,
which continues to build until
the image is at full resolution. A
non-interlaced image draws one
line at a time.
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An important feature for Web designers is the ability to
export optimized files from the Save for Web dialog box.
GIF and JPEG are the Web's two most common image
formats (see the Tip "GIF or JPEG?" in this chapter). The
GIF format's compression works well with vector-based
images or files that have large areas of solid color. GIF
files support transparency; JPEGs don't.
JPEG provides a variable level of compression and
works best for images with gradients or photos that have
continuous tones. Although JPEG is a "lossy" format
(when you optimize the file size you lose image detail),
this trade-off still tends to result in good-quality images,
making JPEG a particularly useful format for Web
designers. It can also be a useful alternative to a PDF file.
For example, a JPEG file can be used to transfer a layout
for client approval. JPEGs are much smaller than PDFs
while sacrificing very little image detail, and smaller files
transfer more easily (and sometimes more reliably) via
the Internet. Other JPEG options include progressive and
optimized. A progressive JPEG is similar to an interlaced
GIF—it first appears blurry, then builds up with increasing clarity until the image is fully displayed.
Note: If Progressive is checked, checking Optimized will
not make the file any smaller.
To save a version of your artwork for use on the Web,
choose File > Save for Web and adjust the various optimization settings (see the Tip "Save for Web" in this
chapter). If you've defined slices in your file, use the Slice
Select tool to click on and select the slice you want to
optimize, then select a file type from the Optimized file
format pop-up. If you want to compare the compression
of two or more settings, click on one of the other views,
either 2-Up or 4-Up. The final file format, size, download
time, and specifics about the compression are listed under
each preview panel. Finally, if you want to export your
artwork now, click the Save button to specify how you
want your files saved. If you have slices, you can choose to
export the images and the HTML as well. If you opened
Save for Web only to define the optimization settings for
your slices, you can press the Done button and Illustrator
will take you back to your file, while remembering all the
settings you just applied. See the User Guide for a complete description of format options.
Note: PNG, SWF, and SVG are available file formats in
the Save for Web dialog box, but these formats may require
browser plug-ins in order to be viewed on the Web.
SVG and alpha channels
Illustrator CS ships standard
with (and installs by default) the
SVG 3.0 browser plug-in. If you're
creating SVG graphics, make sure
that whoever is viewing them
also downloads the free SVG 3.0
viewer that's available from the
www.adobe.com/svg Web page.
Macromedia Flash (SWF) export
Although many multimedia artists and designers use
Illustrator with Macromedia Flash to create Web pages
and animations, there is no completely foolproof method
for bringing artwork from one program to the other.
Illustrator now comes with a Flash export module, but
as of this writing it has some significant problems, ranging from poor rendering quality to the creation of extra
frames and symbols. Be aware that it may also break your
artwork into many separate objects. If you have very
simple artwork, you can try copying and pasting art from
Illustrator to Flash, or try using Illustrator's Flash Export
dialog box (File > Export, then choose Macromedia Flash
from the Format menu). Here are some strategies for
maximizing the quality and usefulness of your Illustrator
files in Flash:
Transparency and Web colors
Even if you've been working in
RGB mode with Web safe colors, if
you've used Illustrator's transparency in your file, you will end up
with out-of-gamut shades when
the artwork is rasterized or flattened. Files with extensive transparency use should be saved as
JPEG, not as GIF, to avoid excessive
dithering.
Web safe RGB
The Web Safe RGB Color palette
will not display the Out of Gamut
warning for CMYK colors, but the
• Use Illustrator symbols for repeating objects. Illustrator lets you convert both raster and vector artwork
into symbols that you can place multiple times, instead of
using multiple copies of the original art. Each time you
place an instance of a symbol, you are creating a link to
the symbol stored in the palette, rather than duplicating
the artwork. This reduces the size of your Illustrator file
and of any SWF files you export from Illustrator.
RGB color palette will.
LiveMotion 2 support
LiveMotion 2 can read native
Illustrator files (version 10 or
higher) and even understands Illustrator's native transparency. To
use Illustrator art in LiveMotion 2,
simply save the file as an Illustra-
• Use flat colors rather than blends, gradients, or
gradient mesh objects. You'll make smaller SWF files if
you use Flash to add your gradient colors. If you must use
tor file. Make sure the Create PDF
Compatible File option is checked
when you save.
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Adobe Color picker
Illustrator now supports the
Adobe Color Picker. Double-click
gradients or gradient mesh objects, recognize that you'll
be creating bitmapped images that will result in larger
file sizes.
on the color proxy in the Toolbox
or on the Color palette to open
• If you import or create rasterized art for the
the Color Picker. Enable the Only
Internet, rasterize at 72 ppi, not the default, to keep file
Web Colors checkbox to limit the
sizes small.
Color Picker to Web safe colors.
• To export a file's layers or paths selectively, hide the
Pixel units
ones you don't want before exporting.
Control-click (Mac)/Right mouseclick (Win) on the rulers after
View>Show Rulers and select Pixels to display the units as pixels.
Auto-opening select libraries
Set any swatch library (Window> Swatch Libraries) to open
automatically when you launch
Illustrator by selecting Persistent
from the palette's pop-up menu.
• If the object you want to export to Flash contains
a dashed stroke, expand it using the Tip "Outlining
Dashed Strokes" in the Drawing & Coloring chapter. Or
you can use your operating system's clipboard to copy the
stroke from Illustrator and paste it into Flash. To preserve
the dash and gap pattern of the Illustrator object, choose
Preferences > File Handling & Clipboard and then select
PDF for the Copy As option. If you don't do this, the dash
and gap pattern will be converted to the default pattern
in Flash.
Choose it again to reset the palette to close by default.
• Choosing Export Al Layers to SWF Files turns each
Illustrator layer into a separate Flash file. This is the
SVG or SVGZ (Compressed)?
preferred method of exporting Illustrator elements for
SVG compressed is gzipped or
animation.
"gnu-zipped," and is the W3Csanctioned version of "raw" SVG.
SVG
The Adobe SVG Viewer automati-
Illustrator supports the export of Scalable Vector
Graphics (SVG). SVG is an emerging standard for a
Web graphic format that contains a combination of elements such as vectors, gradients, type, raster effects, and
JavaScript events, all based on the popular XML standard. SVG is also a text-based format, which means it can
be easily edited even after the file has been uploaded to
a Web server. We'll talk more about this later when we
discuss data-driven graphics. SVG is potentially a very
exciting file format, because it combines very small file
sizes with crisp artwork that, like Illustrator vector art,
cally decompresses the file on the
client browser and displays it as
normal. So there is little difference
between the formats, except that
one is much smaller. An exception
occurs when you use a database
to serve information to a client. In
this case, you will need a script to
decompress and then re-compress
the file.—Andrew T. Watanabe
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can be zoomed into and scaled up or down with no loss
of quality. As with Flash, in order for exported SVG files
to be viewed in a browser, a special viewer (plug-in) is
required. The SVG plug-in is automatically installed in
your browser when you install Illustrator.
The SVG format supports JavaScript interactivity as
well as static image display. To add a JavaScript event to
your artwork you must know JavaScript! Open the SVG
Interactivity palette (Window >SVG Interactivity); then,
with an object selected, choose an event from the pop-up
menu, and type a JavaScript command in the JavaScript
text field.
Pixel preview
Choose View >Pixel Preview and
zoom in to 200% or more to
display a rasterized preview of
your vector artwork.
No more SVG export?
Illustrator now lets you save as
SVG directly from the Save and
Save As dialog box. If you check
the Preserve Illustrator Editing
Capabilities option, a native version of the Al file will be included
DATA-DRIVEN GRAPHICS
in the SVG file, allowing for
With Illustrator's Variables palette, you can create artwork in Illustrator that can automatically be updated or
replaced using a script you write. For example, you can
create a template for a news headline where the actual
word headline is defined as a text variable. With the use of
a script you can retrieve a news headline from a database
and automatically update the text of your headline with
the current news item. The real time saver here is that
your template can be used over and over again for each
new headline—simply by running the script.
complete editability in Illustrator.
There are four different kinds of variables you can
define in Illustrator: text, linked images, graph data,
and visibility. When text is defined as a variable, you
can apply any attributes to the text and they will stick
with the text object (for example: font, color, style information), and the text string will be replaced (as in the
headline example we mentioned above). A linked image
variable means that one linked image is replaced by
another. If scaling or effects have been applied to a linked
image, then any image that replaces it will also have the
scaling or effects applied to it. (This can be affected by the
Placement Options command in the Links palette menu.
This command lets you set options for linked objects,
such as whether the incoming art remembers transformations such as scaling, or whether it's placed according
Go, Go Dynamic!
You can take dynamic graphics a
step further if you're using Adobe
GoLive 6.0 or higher, which understands Illustrator's variable content. Simply save your file in SVG
format and import it into GoLive
as an Illustrator Smart Object. The
variables you defined in Illustrator
can then be changed in GoLive.
CSS Layers
Illustrator allows you to export
CSS (Cascading Style Sheets) layers. Newer browsers take advantage of DHTML, which allows
you to overlap artwork layers.
Top level layers can be converted
to CSS layers on export from the
Save for Web dialog box, and you
can specify what layers to export
from the Layers tab there.
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What is Graphics Server?
Adobe Graphics Server is an image
server product that allows you to
automatically generate graphic
content for the Web in real time.
It uses complex scripts to take
Illustrator templates and update
them with a database as a user
browses a Web site.
Exploiting data sets
Illustrator's variables are all based
on the XML standard. You can import and export variable libraries
with ease via the Variables palette
menu. For a detailed description
of how Illustrator's XML variables
are defined, see the XML Grammar guide PDF on the Adobe Illustrator CS application CD.
Variables and objects
The following variables can be applied to the following objects:
• Visibility: any layer, group, or
object
• Text String: any text object
• Graph Data: any graph object
• Linked File: any linked file
object
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to other characteristics, such as proportions, file dimensions, or how it fills the bounding box. See the User Guide
for more about Placement Options.)
Graph variables allow you to design a graph using
Illustrator's graph tools and link the graph to a database;
when data changes, the graph is automatically updated.
The final variable type is visibility, which allows you to
show or hide artwork. You define whether artwork is visible or not simply by showing or hiding the layer or sublayer for that artwork in the Layers palette.
To define a variable, open the Variables palette
(Window > Variables). Type some text on the Artboard
and click on the Make Text Dynamic button on the
Variables palette. (The same button changes to Make
Graph Dynamic or Make Linked File Dynamic depending on your selection.) Use the same technique to define
other kinds of variables. For visibility variables, use the
Make Visibility Dynamic button.
You can also store multiple data sets in Illustrator—which almost makes Illustrator itself into a database.
Once you've defined your variables, click on the Capture
Data Set button (or choose Capture Data Set from the
Variables palette menu). You can then change the data of
your variables, capture another data set, and repeat. At
that point, you can use the Previous Data Set and Next
Data Set icons to step between data sets and see the data
update on your screen. This is a great technique for seeing
how multiple versions of data will look when you design
your template. Or, on the other hand, if you have multiple
versions of a design or layout to present to a client, you
could assign the same variable to equivalent attributes in
each version of the layout design.
Ivan Torres
Symbols can dramatically reduce file size,
especially in art destined for the Web. Artist
To create the body parts with mirrored twins
Ivan Torres began this beetle by first creating
on opposite sides of the beetle body, he used
individual body parts, many of which were
the Reflect tool, chose Vertical and clicked
complex gradient meshes. (To learn more
Copy. When he had completed the illustra-
about creating and editing gradient meshes,
tion, Torres chose File > Export and selected
see the Blends, Gradients & Mesh chapter.)
Macromedia SWF format. In the pop-up dialog
Then he converted the parts into symbols by
box, he picked Export As: Al File to SWF File.
dragging and dropping each onto the Symbols
After opening Macromedia Flash (SWF), Torres
palette. To assemble the beetle from body
imported the Illustrator Flash file (File >Import)
part symbols, Torres dragged the parts from
and then used Flash's tools to manipulate the
the Symbols palette and dropped them on the
body part symbols to create an interactive
artboard, creating instances of the symbols.
animation.
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Off in a Flash
Making Artwork for a Flash Animation
Overview: Sketch character artwork;
create brushes and blend objects
for moving parts in the animation; export the artwork as a static
Macromedia SWF file and a SWF
animation; preview animations in
Illustrator.
Character parts sketched with a custom calligraphic brush (see the Brushes chapter for help
with brushes)
Symbols palette displayed in Large List View
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Seattle artist and animator Kevan Atteberry knows how
to get the most from Illustrator when preparing artwork
for animation in Macromedia Flash. Besides making
his Illustrator file a sketchpad filled with the eyes, ears,
arms, and legs of the character he will animate later in
Flash, Atteberry uses the Layers palette to preview parts
of the animation. He also exports a Flash animation from
Illustrator to view as a draft version as he works on the
final animation in Flash.
1 Sketching characters, drawing body parts. Atteberry
began with a custom calligraphic brush, sketching a
series of facial expressions and figure poses, honing the
visual character of a lemur until he was satisfied with the
characterization and ready to construct the lemur's body
parts. Once you're done drawing your character's parts,
you can keep your artwork as Illustrator objects or turn
the artwork into symbol instances. It takes fewer steps to
convert your artwork to symbol instances in Illustrator
than to bring your artwork into Flash and make symbols
there. Also, if you plan to export a Flash movie from Illustrator, turning your character parts into symbol instances
results in a smaller and faster-loading Flash file.
To make symbol instances, select the artwork for each
part body you drew and Shift-drag it into the Symbols
palette. After you release the mouse button, Illustrator
adds the artwork as a symbol in the Symbols palette and
replaces the selected artwork with an instance of the symbol that was just made. (See the Brushes, & Symbols chapter for more on symbols and instances).
2 Making brushes, creating blends for objects,
expanding blends, and creating symbols. For any part
you animate, you will need to create a sequence of parts—
for example, a leg that moves from straight to bent. Atteberry created art brushes for the lemur's moving parts, so
he could paint each part in the motion sequence with the
brush. (This saved the effort of creating separate art for
each part in the sequence.) First, draw a straight version
of the part. When you have the look you want, drag-anddrop it on the open Brushes palette. In the New Brush
dialog box, choose New Art Brush.
Next, you'll create artwork for the two extremes in the
motion sequence. Draw the straight part, and a few inches
away draw the bent part. Select both paths and apply
the art brush to both. Now, to make other parts in the
movement sequence, make sure both paths are selected
and choose Object > Blend >Make; then choose Object >
Blend > Blend Options and key in the number of steps in
the Spacing: Specified Steps field. Consider using a small
number of blend steps—Atteberry uses three or four—so
that if used as frames in a Flash animation, your SWF file
will have a smaller number of frames and a smaller file
size. Finally, expand the blend (Object >Blend > Expand)
and Ungroup it so you have separate objects to use in constructing poses for the motion sequence.
Two of the brushes Atteberry created for the
moving parts
The straight and bent lemur legs representing
the extremes of a motion sequence that Atteberry used to create a Blend
A blend using three steps created between the
straight and bent lemur legs
Al instances to Flash symbols
If you make symbols in Illustrator and want to import them into
Flash, be sure to make instances
of your symbols first. When you
export an SWF file from Illustrator,
the Symbols palette is not exported with the SWF file. Flash will recognize Illustrator's instances in the
SWF file, however, and add them
as symbols to its own Library.
Exporting an SWF file
3 Exporting an SWF animation. Once your artwork is
complete, you can export the file as a draft or final animation that you can view in a browser or in the Flash player.
To prepare your file for animation, first add as many
Illustrator's three Export As options for exporting an SWF file
produce files you can import into
the Macromedia Flash application.
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layers as frames needed to show the motion sequence.
Treating each layer as an animation frame, assemble
the artwork for a particular pose or step in the motion
sequence on each layer. Move from layer to layer, creating
renditions of the character on each layer until the character has performed all of the poses or movements you
want to preview. When you have completed all the layers,
select File >Export. From the Format pop-up, select Macromedia Flash (SWF) and in the Format Options dialog
box, choose Export As: AI Layers to SWF Frames. If your
animation will use a lot of frames, or will include complex
motion sequences that require many intermediate poses
or steps, create the final animation in Flash instead of in
Illustrator. Flash's tweening commands automatically create many of the intermediate poses you would otherwise
assemble manually in Illustrator.
Previewing a motion sequence using Illustrator's
Layers palette as a crude film projector
Pasting into Flash
You can copy Illustrator artwork
and paste in Flash. Be careful,
though—some Illustrator artwork
with complex styles and bitmap
effects will not look correct when
pasted in Flash.
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There is another animation technique you can use to
preview motion—from within Illustrator itself. Atteberry
constructed a draft version of part of the animation to
preview the look of objects and of the motion sequence.
To do this, you can construct a preview by first following
the steps described above for positioning poses on successive layers. After you've filled all your layers with artwork,
select Palette Options from the Layers palette menu. Click
on the Show Layers Only checkbox to enable this option
and key in 100 pixels in the Other field. To preview the
animation, position the cursor over a Layers palette scrolling arrow and press the mouse button to cause the layer
thumbnails to scroll like frames in a projector.
4 Exporting an SWF file to import into Macromedia
Flash. Another use of your artwork is to export it as an
SWF file and then import the SWF into Flash to develop
the finished animation. To export, choose File > Export
and from the Format pop-up, choose Macromedia Flash
(SWF). Then, in the Format Options dialog box, choose
the Export As option that saves the SWF in the format
(single frame file, animation file, or multiple files) that
you need.
Kevan Atteberry
To assist in constructing his animation "Millard
and the Pear," which is described in the previous lesson, artist Kevan Atteberry developed a
file of recyclable parts—a cartoon "morgue"—
from which he copied parts and pasted them
in the file in which he created the animation.
To trim the file size of the animation, Atteberry
converted the artwork for parts into symbol
instances by Shift-dragging them to the Symbols palette. When he needed to edit a symbol,
Atteberry selected the instance and chose
Object > Expand. After editing the artwork,
Atteberry selected the artwork and Shiftdragged it to the Symbols palette to automatically convert it back into a symbol instance.
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Layering Frames
Turning Layered Artwork into Keyframes
Overview: Draw artwork for print;
design animation sequences using
artwork; create layers and lay out
art and text in positions for animation keyframes; export layers as
Shockwave Flash frames.
After designing the brand identity, menu artwork, and a
wall mural in Illustrator for The Red Grape, a Sonoma,
California restaurant, Hugh Whyte of Lehner and
Whyte faced one more task. He needed to turn his artwork into Flash animations for the restaurant's Web site
(www.theredgrape.com). The key to recycling the artwork
was to develop a productive workflow between Illustrator and Macromedia Flash that would allow Whyte and
Mark Murphy of DigitalKick to work within the software
that each designer knew best.
Artwork originally created for The Red Grape's
printed restaurant menu
Planning an animation sequence by positioning
objects and text at beginning and end of the
sequence
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1 Drawing artwork and planning objects and type
for keyframes. While his drawings of people and food
were originally designed for the printed menus, Whyte
returned to the artwork and prepared it for the Web as a
Flash animation.
If you are more comfortable designing in Illustrator than in Flash, stay in Illustrator and use the artwork
you've already created. Think about how your artwork
will move in the animation sequences you plan. Identify
the starting and ending locations of each object in an
animation sequence. Also note where objects will change
direction as they move during the sequence.
2 Arranging artwork on layers. To facilitate their collaboration, Whyte and Murphy devised a workflow in which
Whyte created in Illustrator what Murphy would use as
keyframes in Flash. You can do the same (even if you will
be producing the final animation yourself in Flash) and
enjoy the ease of using Illustrator to build the foundation
of your animation.
Begin by creating a new file (File >New). In the default
layer of the new file, arrange objects and text in the positions you plan for the first frame of the animation. Next,
duplicate the default layer by dragging the layer name and
dropping it on the Create New Layer icon at the bottom
of the Layers palette (see the Layers chapter for more on
managing layers and the artwork on them). In the new
layer, arrange the objects and text for their next positions
in the animation sequence. These positions might be the
final ones in the animation, or points in the middle of the
sequence where something occurs (for example, a text
object stops moving). Continue creating new layers, copying and pasting artwork, and positioning the artwork,
until you've created as many layers as you'll need to cover
the beginning, end, and any important intermediate
frames of the animation.
Keep in mind that you don't need to make every
frame that will appear in the final animation. That would
be unnecessary! Instead, create layers and arrange the
text and graphic objects on them for the critical frames
(which will be used as "key frames" in Flash). Once
exported, the Flash software will generate the in-between
frames (or "tweens") to fill in the frames you haven't created, saving time and producing a smaller Flash file size.
3 Exporting the Illustrator layers as Shockwave Flash
frames. When Whyte finished building the file, he
deleted any artwork or layers that weren't required as
Flash frames.
To save the file, choose File>Export and from the
Export dialog box, choose Macromedia Flash (SWF) from
the Format pop-up. Click Export, and in the Macromedia
Flash (SWF) Format Options dialog box choose AI Layers
to SWF Frames. Set the other dialog options as you prefer
and then click OK.
Artwork for the final animation sequence arranged on three layers; the Layers palette showing the layers in the sequential frame order of
the animation
Macromedia Flash (SWF) Format Options dialog
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Webward Ho!
Designing a Web Page in Illustrator
Overview: Set up a document for
Web page design; use layers to structure artwork for pages and frames;
save layouts as template images; slice
text and artwork and save an HTML
file and sliced image files.
If you are comfortable designing and drawing in
Illustrator, why go elsewhere to design your Web pages?
Steven Gordon uses Illustrator to design and preview
Web pages, create comps for client approval, export a layout as a template for use in Adobe GoLive, and slice and
optimize artwork before saving it for use on Web pages.
Gordon constructed the Cartagram Web site
around a two-frame design; the black rectangle
represented the top frame's Web page, used for
the logo and main navigation controls; the other
colored rectangles served as a design grid for
dividing areas of the Web pages that would load
in the bottom frame
216 colors, or millions?
The palette of 216 non-dithered.
Web safe colors was designed for
text and graphics displaying on
8-bit monitors. But how many
people are restricted to 8-bit
color anymore? Not many. Most
computers are now equipped with
24-or 32-bit video boards, rendering Web safe colors unnecessary.
So you can choose from millions
of colors, not just 216.
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1 Choosing document settings. With Illustrator, you can
draw and organize artwork to design a simple Web page
or a more complex page with multiple frames. To start
your page, create a new document (File >New). In the
New Document dialog box, set Units to pixels, specify
an Artboard size in pixels equal to that of your intended
Web page size, and choose RGB Color for Color Mode.
You may want to create a grid (Preferences > Guides &
Grid) that will help you align and constrain artwork.
Also, if your artwork will be exported in a bitmap
format like GIF or JPEG, consider turning on pixel
preview (View > Pixel Preview) —this lets you see the antialiasing of your artwork. (See Tip, "Anti-antialiasing," for
a technique that helps you reduce the amount of blurring
that affects artwork when it is antialiased.)
2 Structuring pages with layers and adding artwork. Let
the Layers palette help you organize the layout and content of your Web page. (See "Nested Layers" in the Layers
chapter for more on making and manipulating layers.)
Gordon created separate layers for the top and bottom
frames of his page, and sublayers for multiple pages he
designed for the bottom frame. He toggled layer visibility
on to preview the layout and content of different pages in
the bottom frame of his page design.
Once you've set up the layer structure of your document, you're ready to add content to your page design.
As you create text and graphics, and import images,
use familiar Illustrator tools and palettes to help make
and arrange objects. Gordon relied on the Align palette
to easily align and distribute navigation buttons in the
top frame and to center or justify colored background
rectangles for both frames (using the Align to Artboard
option in the Align palette).
The layer structure for the Web page design,
showing the top and bottom frames, and two
sublayers representing separate pages designed
to load in the bottom frame
3 Saving a Web page design and importing it into
GoLive. Once your page design is complete, export it as
a GIF or JPEG and import the file into Adobe GoLive as
a "tracing image" to help you construct a finished HTML
page. If you set up the Artboard to match the dimensions of the Web pages you'll construct in GoLive, you
can crop your Illustrator artwork so that it matches those
dimensions when exported as a bitmapped image. To do
this, either create cropmarks from the Artboard (see the
Type chapter for instructions on making cropmarks) and
then use File > Export, or skip the cropmarks and choose
File > Save for Web (which automatically crops artwork to
the Artboard).
When you begin working in GoLive, import the image
you just exported from Illustrator and use it as a template
to guide you in building the page. First, choose Window >
Tracing Image; then, in the Tracing Image palette, click
the Source checkbox and the Browse icon to select your
Illustrator-exported image. Next, adjust the HTML page's
frame widths, and create text boxes and other objects in
GoLive that match the Illustrator image. Repeat these
steps with other exported images when building other
pages in GoLive.
The Tracing Image palette in Adobe GoLive5;
Gordon clicked the Browse icon to locate the
layout image file he had exported previously
using Illustrator's Save for Web command
Anti-antialiasing
When artwork is saved as a
bitmapped image, straight lines
and other objects may be antialiased (blurred). To minimize
this, first set Keyboard Increment
to 0.5 pixels in the Preferences >
General dialog box. Then make
sure both View >Pixel Preview and
View >Snap to Pixel are turned
on. Next, draw and position your
objects. Finally, turn off View >
Snap to Pixel, and nudge aliased
objects in 0.5 pixel increments as
needed, using the Arrow keys.
—Mordy Golding
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Object or clipping path?
When making a slice using the
Object>Slices>Create from
Selection command, you'll need
to decide whether the clipping
path or the artwork it masks will
become the slice. Clicking on a
masked object will make a slice
out of the object instead of the
clipping path. Click carefully!
The numbered slices created after using the Object >Slices >Create from Selection command
In the Save for Web dialog box, a preview of
the slices is displayed; Gordon clicked in a slice
with the Slice Selection tool to select it and
then specified settings related to file format and
other image characteristics in the Settings portion of the dialog box
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4 Slicing artwork. Instead of using your Illustrator artwork
as a template in GoLive, consider using Illustrator's slices
to turn text, artwork, and placed images into elements
you can use when building your HTML pages. Slices also
let you divide a large image or layout into smaller areas
that you can save as separate, optimized images. These
images will load simultaneously, and usually faster than a
single large image in a Web browser.
You can use artwork selections, guides, or the Slice
tool to divide your Illustrator design into slices. Gordon's
design was divided by colored backgrounds and a masked
image. (You can use non-contiguous objects for slicing; Illustrator will add slices to fill in any gaps between
objects.) To make the slices, first choose Object >Slice >
Clip to Artboard, then select an object and choose
Object > Slice > Create from Selection. Repeat these steps
until you've created all of the slices you need. If you need
to remove a slice, select and delete it; or in the Layers palette drag its name (<Slice>) to the palette's trash icon.
5 Saving slices, and using and previewing the HTML
page. When you've finished slicing your artwork, you
can save the slices as text and images. Choose File > Save
for Web; in the dialog box, click on the Slice Select tool
and click one of the slices. Pick the settings that you want
to use in saving the selected slice. Gordon set GIF as the
file format for the two blocks with solid color fills and
text. For the globe image, he chose JPEG as the file format and enabled Optimized to make the file size smaller.
After clicking on Save, Gordon entered a file name for the
HTML file (which automatically became the root name of
each of the sliced image files), and made sure that HTML
and Images were selected in the Format pop-up menu.
After Illustrator saved the HTML file and the sliced image
files, Gordon opened the HTML file in GoLive to add
head tags (like meta tags) and then previewed the file in a
Web browser.
Steven Gordon / Cartagram
To build image-mapped buttons at the top
of a travel Web page, Steven Gordon first
placed a TIFF image in Illustrator to serve as
a background image. Next, he drew a button shape with rounded corners and gave
it a white Fill and a 25% Opacity using the
Transparency palette. He copied the button
Attributes palette (Window >Attributes) chose
six times and arranged the buttons in a row
Rectangle from the Image Map pop-up menu.
above the background image. To space the but-
He then keyed in the button's URL link in the
tons evenly, Gordon positioned the left and
URL field. In the Save for Web dialog box, Gor-
right buttons, selected all buttons, and then
don selected JPEG as the output file format,
clicked the Horizontal Distribute Space icon
clicked Save, and then chose HTML and Images
in the Align palette. To map the buttons to
from the Format pop-up menu. He entered a
URLs, he selected each button shape and in the
file name in the Name field and clicked Save.
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Making Waves
Transforming and Blending for Animation
Advanced Technique
Illustrator with Photoshop
Overview: Create "key"frames with
transformation tools; blend to create
steps; transform your steps; bring the
steps into Photoshop.
Illustrator's transformation tools, used in combination
with the Blend tool, are wonderful animation timesavers.
Commissioned by Adobe Systems for a special promotion, Bert Monroy used these techniques to prepare many
of the objects within a room for animation.
The first key frame; next, Rotating a copy; then
using the Add Anchor Point and Direct Selection
tools to transform the copy into the next frame
Making certain that the first and last frame have
the same number of anchor points in similar
alignment for smooth blending (see "Unlocking
Realism" in the Blends chapter for more on preparing objects for smooth blending)
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1 Establishing the "key" frames. To create an animation,
you must first establish the "key" character positions.
How many key frames you'll need will depend on the
character, and how it will be animated. Create a character
in a neutral position, and if you'll need help maintaining registration, draw an unstroked, unfilled bounding
rectangle, amply surrounding the character. Select the
objects making up the character and the bounding rectangle and Option-drag/Alt-drag a copy to the side of the
original. On the copy of the character (not the bounding
box), use the transformation tools and Direct Selection
editing to create the next extreme position (for more on
transformations, see the Basics and Zen chapters). In
Monroy's animation, the characters were: fan, clock second hand, clock pendulum, plant, and the "wave." He first
drew the wave in horizontal position using a gray rectangle and a second object for the blue liquid. To create the
left-tilted position, he rotated a copy of these two objects,
then used the Add Anchor Point and Direct Selection
tools to adjust the liquid anchor points manually.
2 Using the Blend tool to generate the in-between
steps. Also called "tweening," the secret to smooth animation is to create the correct number of steps between
the key frames. For video animations, smooth illusion
of motion is achieved with 24 frames per second (fps) of
animation; for film it's 30 fps; for on-screen animation
it's simply as many frames as is needed for your animation to run smoothly. To make the steps between your
first two key frames, select each pair of like objects and
blend between them (for help with blends see the Blends,
Gradients & Mesh chapter); you can only apply a blend
reliably between two objects, so you'll have to apply the
blend separately for each pair of like objects (including
your bounding rectangle), making sure that each pair has
the same number of anchor points, and that you select
the correlating anchor point in each object when blending. For the wave, Monroy first blended in 12 steps from
box to box, and then from liquid to liquid. Since the same
number of steps was chosen for each transition, the liquid
blends were perfectly registered within the box blends.
The outer objects after blending (left column),
then blending the inner wave (right column)—
Note: Selecting the upper right point on the
wave gives the smoothest blend
3 Transforming blends to extend the animation. Rather
than continually starting from scratch, it's often easier to
rotate, scale, shear or reflect your blends to extend your
animation. Monroy selected the blended boxes and waves,
and Reflected them vertically as copies (see the Zen chapter, Exercise #9) to create the right-side rocking motion.
4 Pasting into Photoshop. With Illustrator still open,
launch Photoshop and create an RGB document larger
than your biggest key frame. In Illustrator, copy each
character frame and bounding box, and then move to
the Photoshop file and paste "As Pixels" to create a new
layer with that step. With that object still in memory,
also paste "As Paths" for easy re-selection. Monroy used
his paths to make selections for applying special effects
locally—using Alpha Channels to create effects such as
the darkening and bubbles in the liquid. (For more about
Photoshop see the Illustrator & Other Programs chapter.)
The option to "Paste As Pixels" or
"Paste As Paths" when pasting from Illustrator
to Photoshop; the frames after pasting into layers; the wave after effects using Alpha Channels
Chapter 11 Web & Animation
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Introduction
Placing Artwork in Illustrator
Illustrator & Other Programs
Illustrator & Adobe Photoshop
Illustrator & Adobe InDesign
Illustrator, PDF & Adobe Acrobat
Illustrator & Adobe Streamline
Illustrator & 3D programs
Gallery: Bert Monroy
Illustrator with Photoshop: Software Relay:
An Illustrator-Photoshop Workflow
391 Gallery: Rob Magiera
392 Advanced Technique: Illustrator with Photoshop:
Shape Shifting: Exporting Paths to Shapes in Photoshop
394-407 Galleries: Judy Stead, Timothy Donaldson, April Greiman,
Lance Hidy, David Pounds, Ron Chan, Louis Fishauf,
Filip Yip, Chris Spollen, Bryan Christie, Eliot Bergman,
Tom Willcockson, Joe Jones
Illustrator & Other Programs
Prevent color shifts
If at all possible, you'll want to
avoid color space mismatches and
conversions, especially if you use
any kind of transparency. If you
use color management, choose
your settings in Illustrator and
then use the same settings in Photoshop and InDesign; and when
you exchange PSD files between
Illustrator, Photoshop, and InDesign, include the color profiles in
the files. —Pierre Louveaux
Is EPS obsolete?
If your application (e.g., Illustrator, Photoshop, or InDesign) can
This chapter showcases some of the ways you can use
Illustrator together with other programs. Although the
range of work you can create using Illustrator is virtually
limitless, using other programs together with Illustrator increases your creative opportunities, and in many
instances can save you significant time in creating your
final work. One of this chapter's highlights is the step-bystep technique by renowned artist Rob Magiera for bringing Illustrator images into Photoshop.
We'll begin by discussing how you can place artwork
in Illustrator, and then we'll provide a general look at
how Illustrator works with other programs. Next we'll
examine how Illustrator works with specific programs,
including Photoshop, InDesign, Acrobat, Streamline, and
other 3D programs. For information about working with
Illustrator and other web or animation programs, see the
Web & Animation chapter.
place or open the native Al, native
PSD, or PDF 1.4 formats, it's bet-
PLACING ARTWORK IN ILLUSTRATOR
ter to use those than EPS, because
Illustrator can place more than two dozen different types
of file formats. The major choice you'll need to make is
whether to link or embed the file. When you link a file,
you don't actually include the artwork in the Illustrator
file; instead a copy of the artwork acts as a placeholder,
while the actual image remains separate from the Illustrator file. This can help reduce file size, but keep in mind
that linking is supported only for certain formats (see
Tip at left). On the other hand, when you embed artwork,
you're actually including it in the file. The Links palette
keeps track of linked files, but also lists all the raster
images used in your document, regardless of whether
they were created within Illustrator or embedded via the
Place command (see the Illustrator Basics chapter for
more). For details on how to place artwork (by linking
and/or embedding it), see "Importing Artwork," in Chapter 2 of the User Guide.
they may preserve transparency,
layers, and other features.
Which formats can you link?
Any BMP, EPS, GIF, JPEG, PICT,
PCX, PDF, PNG, Photoshop, Pixar,
Targa, or TIFF file can be placed
linked (rather than embedded).
So you think it's linked?
Applying a filter or flattening
transparency of a linked image
will automatically embed the
image. In addition to increasing
the file size, Illustrator will no
longer be able to update the link.
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Chapter 12 Illustrator & Other Programs
In general, you should embed artwork only when:
• The image is small in file size.
• You're creating web graphics.
• The placed file interacts with other parts of the document
via transparency. Embedding will ensure proper flattening and printing.
• You want more than just a placeholder with a preview
(e.g., you want editable shapes and transparency).
• Linking isn't supported for the format your artwork is in.
In contrast to linked images, embedded image objects can
be permanently altered.
Resolution of placed images
Greatly reduce your printing time
and ensure optimal image reproduction by properly setting the
pixel-per-inch (ppi) resolution of
raster images before placing them
into Illustrator. The ppi of images
should be 1.5 to 2 times the size of
the line screen at which the final
image will print. For example, if
your illustration will be printed
in a 150 dpi (dots per inch) line
And you should link (rather than embed) when:
• Your illustration uses several copies of the same image.
• The image is large in file size.
• You want to be able to edit the placed image using its
original application.
• File will be used in Illustrator 88 through version 6.x.
Another argument for linking files is that you can make
changes to a linked file and resend only the linked file to
your service bureau or client. As long as it has exactly the
same name, it'll auto-update without further editing of
the Illustrator document itself.
screen, then the resolution of
your raster images would typically
be 300 ppi. Get print resolution
specifications and recommendations from your printer before you
begin your project!
Open sesame
If you're working in an application that doesn't allow you to
save in a format that Illustrator
imports (such as EPS or PDF), but
ILLUSTRATOR & OTHER PROGRAMS
does print to PostScript, you may
The first consideration when moving artwork between
Illustrator and other programs is to decide which objects
in your artwork have to remain as vectors and which can
be allowed to become rasterized. Next, is whether you
want to move the artwork between two open programs on
your desktop (e.g. by using Copy and Paste or Drag and
Drop) or if you will be moving your artwork via a file format. Finally, consider whether you want to move only a
few objects or the whole file. The details of how to do the
above vary depending on the program and are described
in the corresponding program sections below.
Depending on the application, when you drag or
paste objects between Illustrator and another open program, your objects will either drag or paste as vectors or
be able to get the vector data by
printing to File and then opening
the raw PostScript file from within
Illustrator.
Faster and smaller "saves"
Turning off the PDF option when
you save reduces file size and
makes saving faster. However, if
you're going to be importing your
artwork into certain programs
(e.g. InDesign and LiveMotion), be
sure to leave PDF compatibility on.
Chapter 12 Illustrator & Other Programs
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as raster objects. In general, any program that supports
PostScript drag and drop behavior will accept Illustrator
objects via Drag and Drop (or Copy and Paste). For Mac
OS only, you need to be sure that the AICB (Adobe Illustrator ClipBoard) is selected in the File Handling & Clipboard panel of the Preferences dialog box at the time you
copy the objects between AI and the other application.
When you are dragging and dropping, your Illustrator
art will automatically be rasterized at the same physical
size, or pixel-per-inch ratio, that you have specified in the
raster-based program to which you're dragging the art.
See Bert Monroy's Photoshop and Illustrator
lesson, "Pattern Brushes" in the Brushes & Symbols chapter
You can Save (via Save, Save As, Save for Web, or Save
for Microsoft Office) or Export your Illustrator artwork
to many formats, including: EPS, GIF, JPEG, Legacy.ai,
PDF, PICT, PNG, Photoshop (PSD) SVG, SWF, and TIFF.
Knowing what file formats your other application supports and the type of information (vector, raster, layers,
paths) you want to bring from Illustrator into the other
program will help you determine which format to use.
See the User Guide for detailed information about these
file formats.
ILLUSTRATOR & ADOBE PHOTOSHOP
Illustrator File Handling and Clipboard Preferences dialog box. To copy and paste vectors
to Photoshop set the clipboard preferences as
shown above. (See the User Guide for more
about these options)
See Adam I Lein's Gallery in the Transparency
& Appearances chapter to find out how he used
the Excel Chart Wizard and for this Pie Chart
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Chapter 12 Illustrator & Other Programs
As the lessons and galleries in this chapter demonstrate,
the creative possibilities for using Illustrator and Photoshop together are limitless.
By default, artwork that you move from Illustrator
to Photoshop via the Clipboard (or by using drag and
drop) will be rasterized (see figure at left for how to keep
vectors as vectors). Moving artwork via a file format can
be more straightforward, since Illustrator can open and
export Photoshop PSD files. But the rules governing
how Illustrator layers get translated into Photoshop layers (and whether or not those layers get rasterized in the
process) are complex. How to use these methods to move
most types of Illustrator objects (such as simple paths,
text, compound paths, and compound shapes) between
Illustrator and Photoshop is covered in detail in the corresponding sections of the User Guide.
ILLUSTRATOR & ADOBE INDESIGN
Illustrator in page layout apps
When you Copy and Paste artwork from Illustrator into
If you save Illustrator files with
InDesign, the artwork is pasted as either PDF or AICB,
the PDF compatibility feature
depending on which option you specified in the Illustra-
enabled, you'll be able to place
tor File Handling & Clipboard panel of the Preferences
.ai files directly into InDesign and
dialog box. PDF preserves transparency, while AICB can
Pagemaker. You'll notice that
break your artwork into smaller opaque native InDesign
InDesign imports these "native"
objects that mimic the transparency of your original
files through its PDF import op-
artwork.
tion. Though this PDF format,
To place Illustrator files in InDesign, you must have
it may not be supported by all
saved your Illustrator artwork with the Create PDF
programs, most should be able to
Compatible File option enabled. Doing so preserves your
place your files if you Save or Save
gradients, patterns, and transparency (which will allow
As with Acrobat compatibility set
underlying artwork to show through). But be aware that
to Acrobat 4, 5 or 6. However, the
your artwork is imported as one object, which is not
surefire way to ensure that you
editable using InDesign, and not listed in InDesign's
can place Illustrator files into lay-
Links palette. For more about moving artwork between
out programs that can't see native
Illustrator and InDesign, search the InDesign online help,
.ai files is to choose Save As and
using the word "Illustrator."
choose the EPS option.
ILLUSTRATOR, PDF & ADOBE ACROBAT
Using Illustrator with PDF
Acrobat's Portable Document Format (PDF) is platform
Illustrator offers particular ad-
and application independent—this means the format
vantages to those working with
allows easy transfer of files between different operating
Acrobat. If you use Save As,
systems, such as Mac OS, Windows, and even UNIX, as
Adobe PDF, you can include the
well as between different applications.
editable Illustrator artwork. You
Illustrator CS now includes more options for specify-
can then use Acrobat to add com-
ing how PDFs are created. These options were previously
ments and interactive elements.
available only in Acrobat Distiller. You can now save your
Then, you can reopen the PDF in
layered Illustrator CS files as layered Acrobat 6 files. In
Illustrator to make any changes.
the Save As dialog box, choose Adobe PDF (pdf), and
In Illustrator, you won't see the
then in the Adobe PDF Options dialog box, enable the
Acrobat content you added; how-
"Create Acrobat Layers From Тор-Level Layers" option.
ever, when you resave the docu-
Illustrator and Acrobat share many other features,
ment as PDF and later reopen it
including Overprint Preview, the transparency grid,
in Acrobat, your Acrobat content
and native PDF 1.5 support. To save your file for use in
will still be there!
Acrobat, be sure that you enable the Create PDF Compat-
—Sandee Cohen (from Adobe Ac-
ible File option in the Illustrator Save As dialog box that
robat 5 Master Class: For Interac-
appears when you Save your Illustrator file.
tivity and Digital Documents)
Chapter 12 Illustrator & Other Programs
385
Crop Areas & Acrobat
PDF files created by other programs can be edited in
You can now set the crop area in
Illustrator, but you can only open and save one page at
PDF files in Illustrator. First set the
a time, and text that appears to be all in one flow or text
crop area in your lllustrator.ai file
box in the PDF may be broken up into multiple text boxes
(create a rectangle and choose
when opened in Illustrator.
Object >Crop Area) then File >
Export it as PDF 1.5. When you
ILLUSTRATOR & ADOBE STREAMLINE
open the file in Acrobat 6, the
A number of artists use Streamline to creatively translate
file will be cropped to the crop
scanned drawings or photos into Illustrator art.
area you specified in Illustrator. If
Streamline was designed by Adobe to convert scanned
you want to change the crop area
black-and-white or color raster images into editable
in Acrobat, choose Document >
vector paths and fills that can be brought into Illustra-
Pages >Crop and enter the new
tor, Photoshop, and other programs that accept Illustra-
desired crop area. Best of all, you
tor vector art. For bitmapped art, Streamline gives you
will not lose any art you created in
much more control for specifying how the auto tracing is
Illustrator that was clipped by the
done than Illustrator's Auto Trace tool. You can choose
Illustrator specified crop area.
whether to trace the outline of shapes, or create vectors
—Brenda Sutherland
that follow the centerlines of the shapes, or a sophisticated combination (see figure on previous page). For ras-
Antialiased artwork in Acrobat
ter images, the basic technique is to posterize the image,
If your Illustrator artwork looks
and then auto trace the resulting shapes and fill them
coarse or jagged in Acrobat 6, it's
with the corresponding colors, custom colors, or tints of
probably being displayed without
custom colors.
antialiasing. To fix this, choose
Preferences>Smoothing in Acro-
ILLUSTRATOR & 3D PROGRAMS
bat б and enable all the Smooth
In addition to Illustrator's 3D effects (see the Live Effects
options. —Pierre Louveaux
& Graphic Styles chapter) you can also import Illustrator
paths into 3D programs to use as outlines and extrusion
paths. Once you import a path, you can transform it into
a 3D object. Strata's 3D StudioPro and Lightwave 3D are
just two of many 3D programs you can use in combination with Illustrator.
Joe Lertola's Skin Deep image for TIME used Illustrator and Lightwave 3D. See his Gallery in
the Brushes & Symbols chapter
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Chapter 12 Illustrator & Other Programs
Bert Monroy
(Photoshop)
Bert Monroy capitalized on layered, resolutionindependent artwork that he created in Illustrator and brought into Photoshop to create
this image of a neon sign. In the image, Monroy used techniques similar to those detailed in
his Rendez-vous Cafe image (see the Brushes &
Symbols chapter). Monroy's techniques for creating photorealistic images from 2D software
are illustrated in his books, Bert Monroy: Photorealistic Techniques with Photoshop & Illustrator
and Photoshop Studio with Bert Monroy (both
New Riders Publishing).
Chapter 12 Illustrator & Other Programs
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Software Relay
An Illustrator-Photoshop Workflow
Illustrator with Photoshop
Overview: Create paths in Illustrator; build a registration rectangle;
organize layers for Photoshop
masking; export as a PSD file;
copy Illustrator paths and paste in
Photoshop for masking.
Two stages in the construction of the image in
Illustrator: left, the shapes as drawn; right, the
shapes with fills
Why crop area?
Creating a crop area will automatically set the canvas size of a
PSD file you export from Illustrator. Also, by making the crop area
the same size as the Artboard, you
To illustrate mascots for Salt Lake City's 2002 Olympic
Winter Games, Utah artist Rob Magiera drew shapes in
Illustrator. He then exported the artwork as a Photoshop
(PSD) file so he could airbrush highlights and shadows
in Photoshop. While working in Photoshop, Magiera
sometimes copied an Illustrator object and pasted it in
Photoshop to serve as a selection or to modify a Quick
Mask. (See the "Shape Shifting" lesson in this chapter to
learn another way to move artwork between Illustrator
and Photoshop.)
Although Magiera's illustration would be completed
in Photoshop, his client needed the original Illustrator
artwork for other uses.
can easily register the image after
you've modified it in Photoshop.
Just choose File >Place, select the
image file, click Okay, and then
drag a corner until it snaps to a
corner of the Artboard.
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Chapter 12 Illustrator & Other Programs
1 Placing a sketch in Illustrator, drawing shapes, and
making a registration box. Magiera began by scanning pencil sketches and saving them in TIFF format. He
created a new Illustrator file with dimensions that were
larger than the drawings he would make and then created
a crop area the size of the document by choosing Object >
Crop Area >Make (this will help when you place the
Photoshop image back into Illustrator). Next, he placed
the scanned image on a template layer in Illustrator (see
the Layers chapter for more on templates) and drew the
mascot shapes with the Pen and Pencil tools. He filled the
shapes with color, leaving the outlines unstroked.
In order to more easily modify rasterized shapes
once you get them into Photoshop, make sure you organize your major artwork elements onto separate layers
(for help see the "Organizing Layers" lesson in the Layers chapter). (On export to PSD, Illustrator preserves as
much of your layer structure as possible without sacrificing appearance.) For objects that overlapped other objects
(like the bear's arm or the coyote's leg), Magiera created
new layers and moved the overlapping objects onto separate layers so he could easily mask them in Photoshop
when he began airbrushing them.
Knowing that he would bring some of the paths he
had drawn into Photoshop to help with masking, Magiera
devised a way to keep paths registered to other pasted
paths and to the raster artwork he would export from
Illustrator. You can accomplish this by making a "registration" rectangle in Illustrator that will keep your artwork in the same position relative to the rectangle (and
the Photoshop canvas) each time you copy and paste. To
make this rectangle, first create a new layer in the Layers
palette, and then drag it below your artwork layers. Next,
draw a rectangle with no stroke or fill that is the same size
as the Artboard. Center the rectangle on the Artboard.
With the rectangle matching the size and position of the
Artboard, copies of the rectangle will be pasted in Photoshop automatically aligned with the canvas.
Now you're ready to export your Illustrator artwork.
Select File > Export, and from the Export dialog box
choose Photoshop (PSD) from the Format pop-up.
2 Working with Illustrator paths in Photoshop. After
opening the exported PSD file in Photoshop, Magiera
The Illustrator Layers palette organized with
separate layers for shapes (shown as selected
objects) to be masked in Photoshop
Illustrator's Export: Photoshop Options dialog
The Photoshop Layers palette showing the layer
structure of the Illustrator-exported PSD file
Chapter 12 Illustrator & Other Programs
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Photoshop's Paste dialog box for pasting paths
At fop, the bunny figure with the "whole foot"
work path selected; bottom, Photoshop's Paths
palette showing the selected work path
Masking a shape with a shape
If you mask a raster shape with
a pasted Illustrator path in Photoshop, be aware that the mask
applies antialiasing to pixels that
used different masking techniques as he airbrushed highlights and shadows. To mask within a shape, Magiera
usually enabled Lock Transparent Pixels for the layer on
which the shape was located. If you use the Quick Mask
working mode, you can create new masks from objects
copied in Illustrator and pasted in Photoshop. To do this,
in Illustrator, select both an object and the registration
rectangle and then choose Edit > Copy. Next, in Photoshop, choose Edit > Paste and in the Paste dialog box,
choose Paste as Pixels. Notice that the artwork is in the
same position on the Photoshop canvas as it was relative to the registration rectangle in Illustrator. With each
pasted path, you can generate a selection and either add to
or subtract from your working Quick Mask.
As Magiera worked in Photoshop, he occasionally
modified a raster shape and then needed to update the
Illustrator path that he originally used to generate the
shape. To do this, first make a copy of the Illustrator
path and the registration rectangle. Then, in Photoshop,
choose Edit > Paste and from the Paste dialog box, choose
Paste as Path. Now you can modify the shape's path with
Photoshop's drawing tools. When you finish, Shift-select
the modified path and the registration rectangle path
(click close to an edge of the canvas to select the rectangle) and choose Edit > Copy. Return to Illustrator, select
the original registration rectangle, choose Edit > Paste,
and drag a corner of the pasted registration rectangle
until it snaps to the corresponding corner of the existing
registration rectangle. Now you can delete the original
path that you are replacing with the modified path.
When Magiera finished airbrushing in Photoshop, he
saved the file (which was still in PSD format).
are already antialiased, resulting in an incorrect appearance. A
better way to mask raster shapes
in Photoshop is to use the Layers
palette's Lock Transparency Pixels
option or the Layer >Group with
Previous command.
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Chapter 12 Illustrator & Other Programs
3 Bringing the Photoshop image into Illustrator. For
some of the changes to raster shapes he made in Photoshop, Magiera chose to edit the original path in Illustrator. He selected File > Place and imported the image into
the Illustrator file, snapping it to the registration rectangle. He edited the paths using the Pen and Pencil tools.
Rob Magiera
Rob Magiera created these mascots for the
2002 Olympic Winter Games in Salt Lake City,
Utah, using many of the same techniques
discussed in the previous lesson. After drawing the mascots in Illustrator, he exported a
PSD file and airbrushed the rasterized artwork
toshop. Finally, he saved the Illustrator file
in Photoshop. Then Magiera edited the Illus-
(used for silk-screened printed versions of the
trator paths to correspond to the changes
artwork) and sent Illustrator EPS and PSD files
he had made to some of the shapes in Pho-
to his client.
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391
Shape Shifting
Exporting Paths to Shapes in Photoshop
Illustrator with Photoshop
Advanced Technique
Overview: Draw paths in Illustrator; convert paths to compound
shapes; export in PSD format; apply
effects in Photoshop.
Artist Brad Hamann prepared this colorful illustration
in Illustrator before exporting it as a PSD file and opening it in Photoshop, where he applied live effects that he
could not have created in Illustrator. The key to bringing
editable paths into Photoshop is to turn the objects you
want to keep as paths into compound shapes. Then, after
you export your document as a layered PSD and open it
in Photoshop, you will see that your compound shapes
have become editable shape layers while the rest of your
artwork has been rasterized.
1 Drawing and layering artwork. Hamann used the Pen
Thе original Illustrator artwork and the Layers
palette shown before the frame, the yellow
burst, and the yellow background (behind the
type) were turned into compound shapes
tool to draw objects and relied on the Blend, Reflect, and
Rotate tools to create repeating elements (such as the
slanting lines on the side of the milk box). For two of the
objects he drew (the yellow burst and the yellow background behind the title), Hamann decided to leave each
with a simple fill color in Illustrator and use Photoshop's
layer styles and lighting effects to "paint" the objects.
Moreover, in order to keep the outer frame looking neat
in Photoshop, he had to export it as a single vector object.
To do all this, Hamann converted these objects to com-
The palette showing objects in a compound
shape
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Chapter 12 Illustrator & Other Programs
pound shapes so they would be exported as Photoshop
shape layers when he created a PSD file.
Once you've identified the objects you will bring
into Photoshop as paths, select each object. From the
Pathfinder palette pop-up menu, choose Make Compound Shape. (Choose Release Compound Shape from
the Pathfinder palette pop-up menu if you need to turn
compound shapes back into regular objects.) Hamann's
compound shape frame had two components: a copy
of the burst object in Subtract mode, and a rectangular
frame. See the Drawing & Coloring chapter introduction
for details about working with compound shapes and
shape modes.
If a compound shape is to remain an editable path
when exported from Illustrator, make sure that it is not
inside a group or on a sublayer. If it is, move the shape out
of all groups and sublayers (see the Layers chapter to learn
how to move objects using the Layers palette).
Compound shape to raster
If you turned a stroked object into
a compound shape and exported
a PSD file, but then found your
shape rasterized in Photoshop,
don't panic. Either select the
object in Illustrator and choose
Round Join in the Stroke palette,
or remove the object's stroke.
A portion of the Options section of the Illustrator File >Export >Photoshop (PSD) dialog box
2 Exporting a Photoshop (PSD) file. Export your Illustrator file by choosing File > Export, then choose Photoshop (PSD) format and click OK. In the Photoshop
Options dialog box, pick a resolution setting that matches
the requirements of your printing or display medium and
make sure that within the Options section, that all available options are selected.
Note: See the User Guide for more details regarding moving artwork between Illustrator and Photoshop.
3 Applying effects to shape layers in Photoshop.
When Hamann opened the exported PSD file in
Photoshop, each Illustrator compound shape appeared as
a shape layer in Photoshop's Layers palette. To add a layer
effect to a shape layer, Hamann double-clicked the shape
layer in the Layers palette. He applied Bevel and Emboss
effects to his yellow rectangle and starburst shape layers,
and even reshaped the shape paths using Photoshop's
Direct Selection tool. Finally, he added some Photoshop
effects (such as Strokes) to duplicates of some of the shape
layers, and applied the Add Noise filter (Gaussian) to a
duplicate of the background.
Top shows the Photoshop Layers palette as the
PSD is first opened; bottom shows layer effects
applied to some of the shape layers
Chapter 12 Illustrator & Other Programs
393
Judy Stead
(Photoshop)
394
Judy Stead combined Photoshop,
allowed her to create a line that
Illustrator, and traditional painting
varied in width (see the Brushes
techniques to design the cover of
chapter). She then exported the
this Scholastic Book Fairs journal.
file to Photoshop as a PSD file
(Shown above are the back and
and made several copies of the
front covers.) Stead alternated
butterfly, varying rotation, orien-
between the three approaches
tation, and size. Stead drew the
throughout her entire creative
wavy book spine in Illustrator. In
process. She first painted the
Photoshop, the clouds, spine, and
blue clouds on a gesso-textured
butterflies were combined into a
board with acrylic paint, pastels,
layered Photoshop file. Stead set
and a white pencil (see image
the blending mode of the cloud
inset at right). The image was scanned into
layer to Multiply, so the cloud texture was vis-
Photoshop and the color was adjusted from
ible through the individual elements. She then
aqua blue to orange (Image > Adjustments >
added airbrushed detail to the butterfly and
Hue/Saturation). Stead drew the butterfly in
continued to adjust the color of the element
Illustrator, using one of the default Calligraphic
using Hue/Saturation until she was satisfied
brushes and a Wacom drawing tablet, which
with the overall effect.
Chapter 12 Illustrator & Other Programs
Judy Stead
(Photoshop)
This personal piece, entitled Altered States,
began as a scanned marker sketch placed as a
template (see the Layers chapter). In Illustrator, Judy Stead worked in RGB color mode so
she could access the Effect >Artistic filters that
are available only for RGB images. Stead traced
the template using a Wacom tablet, with a 3 pt
round Calligraphic brush (Diameter set to Pressure; Roundness and Angle Fixed). She applied
Effect>Artistic>Rough Pastels (choosing a canvas texture and varying the other options) to
give a hand-drawn appearance to the lines that
make up the facial contour. Next, she blocked
in large areas of color with filled shapes drawn
with a 3 pt round Calligraphic brush, setting
the opacity to Multiply, so the underlying line
work was visible. Using the Charcoal Art Brush,
Stead added texture to the hair. She then
printed the composition (shown above right)
onto newsprint drawing paper using an inkjet
printer. She colored specific areas of the drawing, such as the hair, with pastels. After scanning the drawing into Photoshop, she applied
further enhancements using a variety of
Photoshop brushes, adjusting their size, flow,
and blending mode. With these brushes, she
applied large areas of color to the background,
as well as to both sides of the face. On separate
layers, using Photoshop brushes with various
shapes, textures, opacity, and flow, she added
to the drawing until she was satisfied with the
end result.
Chapter 12 Illustrator & Other Programs
395
Timothy Donaldson
(Photoshop)
396
Lettering artist Timothy Donaldson takes
objects, applied blurs and drop shadows and
delight in the difficulty people have associating
adjusted transparency. Some of these Photo-
his abstract calligraphy, like Ducal (above), with
shop treatments can also be achieved using the
artwork made with Illustrator. Donaldson cre-
Effect menu and the Transparency palette. (See
ated every element of the piece using default
the Transparency & Appearances and the Live
or custom Illustrator Art brushes. He drew each
Effects & Graphic Styles chapters for more on
object on its own layer. Later, when he opened
the Appearance and Transparency palettes and
the layered artwork in Photoshop, he selected
the Effect menu.)
Chapter 12 Illustrator & Other Programs
April Greiman
(Photoshop)
April Greiman, of April Greiman Made in Space,
took advantage of Illustrator's ability to pro-
with the Photoshop image, she saved it as a
duce resolution-independent vector graphics
PSD file. The PSD file was imported into Illustra-
when creating this large wall mural for the Cafe
tor and text was added. The text was created
& Fitness Center at Amgen. Greiman began
on several layers with varying opacities. The
with source photos and original images. In Pho-
size of the Illustrator image was 21 inches x 5
toshop, she combined the images, adjusted the
inches, and the final mural measured 36 feet
hue, saturation, and opacity and made adjust-
x 11.3 feet. The pixels in the Photoshop image
ments with levels and curves. A variety of filters
were greatly distorted when enlarged to the
were applied to the images, such as Gaussian
final mural size. This desired pixelated effect
Blur, Motion Blur, Ripple, and Noise. Greiman
was combined with crisp text that Illustrator
knew that when the image was enlarged, the
can produce at any magnification. The final
pixelated effect would enhance the image, just
image was output from Illustrator and printed
as she wanted. When Greiman was satisfied
directly on vinyl.
Chapter 12 Illustrator & Other Programs
397
Lance Hidy
(Photoshop)
Illustrator Lance Hidy photographed hands
holding a book several times until he had a
"natural" pose. He scanned the photograph
and, in Photoshop, lightened the shadows and
other dark tones in the image before printing it. On this print, Hidy drew outlines of the
hands directly using a fine-tipped pen. Then
he scanned the marked print and placed the
398
resulting TIFF file in Illustrator as a tracing
tours and details of the hands as he traced with
template. He was able to clearly follow the con-
Illustrator's Pencil tool.
Chapter
Chapter 12
12 Illustrator
Illustrator &
& Other Programs
David Pounds
(Photoshop)
David Pounds used to do much of his creative
work in Photoshop, but he can now work
almost exclusively in Illustrator, due to recent
improvements to the program. In this illustration, Pounds used Photoshop to make different
versions of the photo in order to accentuate various details. For instance, he created
a posterized version (Image >Adjustments >
Posterize) to help him see the image as areas of
color. He also created a few versions using Levels (Image >Adjustments > Levels) to accentuate
specific details of the image. He opened his
layered .psd file in Illustrator, then set up layers
for tracing the photo with closed paths. Using
the Pen tool, he created closed shapes and used
the Eyedropper tool, with the Shift key, to pick
up color from various layered versions of the
photograph in Photoshop (the Eyedropper tool
in Illustrator now allows for greater range of
color sampling options, much like Photoshop).
Whenever he wanted to create another variation of his photo in order to accentuate a missing detail, he created that version in Photoshop
(using Levels, for instance). He then chose
Select > All, and Copy. Moving back to Illustrator, he created a new layer for this version and
used Paste in Front ( -F /Ctrl-F), which placed
the new version of the photo in perfect alignment with the previous variations of the samesized Photoshop file.
Chapter 12 Illustrator & Other Programs
399
Ron Chan
(Photoshop)
400
Illustrator Ron Chan began this illustration for
elements and added textures to lend a more
the Catellus Web site by employing many of
organic look the illustration. Similar results
the same Illustrator techniques described in
can be achieved using Effect menu commands,
his "Cubist Constructs" lesson (in the Drawing
with transparency and opacity masks (see the
& Coloring chapter). After drawing and filling
Transparency & Appearances and Live Effects &
objects with color, Chan brought the artwork
Graphic Styles chapters for help with effects,
into Photoshop, where he selected individual
the Transparency palette, and opacity masks.)
Chapter 12 Illustrator & Other Programs
Louis Fishauf / Louis Fishauf Design Limited
(Photoshop)
For this image about e-commerce, Louis Fish-
Illustrator-drawn objects as compositional
auf brought Illustrator objects into Photoshop,
elements in Photoshop, Fishauf also used the
where he created transparency and blurring
objects to create underlying glows (done with
effects. Fishauf filled the credit card and house
Photoshop's layer effects). To see how similar
front objects with white in Illustrator. Then he
effects can be achieved using transparency,
pasted them into the Photoshop file and built
opacity masks, and live effects in Illustrator, see
gradation layer masks to simulate progres-
the Transparency & Appearances and Live Effects
sive transparency in the objects. Besides using
& Graphic Styles chapters.
Chapter 12 Illustrator & Other Programs
401
Filip Yip
(Photoshop)
Filip Yip began by drawing Illustrator objects
and organizing them on many separate layers
(so each object would remain on its own layer
when he later exported them to Photoshop).
He decided on the overall color scheme, colored the shapes, and added blends. Yip then
402
exported his Illustrator objects into Photoshop
Airbrush tool, adjusted the transparency, and
in order to add transparency, feathering, and
applied the Add Noise filter. Blurring effects
lighting effects. The artwork (shown above
(such as Gaussian Blur) were used to highlight
right) was exported as a Photoshop PSD file. In
details of the image. To further soften the
Photoshop, Yip was able to easily manipulate
blends, Yip also applied the Fade Brush Tool
the illustrator objects, since they were on sepa-
(Edit >Fade Brush Tool >Fade > Dissolve) in the
rate layers. He enhanced the blends with the
Dissolve mode.
Chapter 12 Illustrator & Other Programs
Chris Spollen
(Photoshop)
Chris Spollen often creates his collage-like illustrations by weaving
back and forth between Illustrator and Photoshop. He always
starts with thumbnail pencil
sketches (below right), which he
scans and places as a template
in Illustrator (see "Digitizing a
Logo" in the Layers chapter). He
then creates his basic shapes and
elements in Illustrator. While
some of his illustrations do end
up being assembled in Illustrator, this piece, "Hot Rod Rocket,"
was finalized in Photoshop, with
many of the objects becoming
"Illustrator/Photoshop hybrids"
(such as his white clouds on an
angle, which began as simple
Illustrator shapes). In order to
control his layers in Photoshop,
Spollen moved one or more
selected Illustrator objects at a
time into a single layer in Photoshop using drag-and-drop.
Spollen then reworked the
shapes in Photoshop using the
Paintbrush and Airbrush tools.
He also adjusted the opacity. The
3D-looking rocket originated as a
scanned toy "rocket gun," while
the moon began as a scanned
photo. "Hot Rod Rocket" received
an Award of Merit in the Society
of Illustrator's Show.
Chapter 12 Illustrator & Other Programs
403
Bryan Christie
(Photoshop, MetaTools Infini-D)
Bryan Christie assembled this mechanical bug
with Illustrator and later integrated Photoshop
and Infini-D, a 3D modeling program. The 3D
shapes, such as the leg joints and circuit boards,
were first drawn in Illustrator as an outline
without detail or color, and then imported into
404
Infini-D and extruded into 3D shapes. To map
nally drawn in Illustrator onto the wing shape
the color and the details of the circuit boards,
in Infini-D. To complete the mechanical bug,
Christie drew and colored the circuitry in Illus-
he rendered the artwork in Infini-D, opened
trator. He then exported the artwork as a PICT
it in Photoshop to make minor touchups (such
and mapped it onto the 3D shapes in Infini-D.
as color correction and compositing separately
Christie created the transparency of the wing
rendered elements), and finally converted the
by mapping a grayscale image that was origi-
entire image into CMYK.
Chapter 12 Illustrator & Other Programs
Eliot Bergman
(Photoshop and Alias Sketch!)
Bergman created this illustration for a trade
magazine advertisement with a combination
of 2D and 3D programs. He took advantage
of the precision possible with Illustrator to
draft sections, plans and profiles of objects
before importing them into Silicon Graphics
Alias Sketch!, a 3D modeling program. He also
made color and bump maps in Illustrator, then
retouched them in Photoshop. For this illustration, the first step was to draft the layout of
the pinball machine in Illustrator. The elements
in this design served both as a template for 3D
objects and as a basis for a color map. Bergman used the Gradient tool to create the background, and he used a combination of the Star
tool (hidden within the Rectangle tool) and the
Filter>Distort>Pucker and Bloat filter to create
the starbursts. Bergman imported the artwork
into Sketch! where he created 3D objects by
extruding and lathing individual items. After
rendering a rough preview image, Bergman
added the final maps, colors and lights. He
brought the finished rendered image into
Photoshop for retouching.
Chapter 12 Illustrator & Other Programs
405
Tom Willcockson / Mapcraft
(Bryce)
406
Cartographer Tom Willcockson visited the cam-
the contour JPEG and generated a 3D terrain
pus of William Paterson University to acquire
image. Then he imported the base map JPEG
photographs, building floor plans and other
and draped it across the terrain. He rendered
materials. Then in Illustrator, he built a base
the image and exported it as a JPEG, which
map of the campus roads, rivers, vegetation
he placed on a template layer in Illustrator.
areas, building outlines and other features.
He traced the streets, building footprints and
After scanning a contour map, Willcockson
other features in Bryce-rendered perspective
drew closed contour lines, filling them with
view. Willcockson drew the buildings, and then
gray shades based on elevation. He exported
added trees and shrubs as Scatter brush objects
two JPEG images to serve as source images in
from a brush library he had created for other
Bryce: the grayscale contour layer and the base
maps. (See the Brushes chapter to learn about
map artwork. In Bryce, Willcockson imported
using scatter brushes for map symbols.)
Chapter 12 Illustrator & Other Programs
Joe Jones: Art Works Studio
(Ray Dream Studio, Bryce, Photoshop)
In this World War II tribute entitled "West Field
separate layers with the Pen tool. Then Jones
Yardbird," Joe Jones used Illustrator artwork
brought the artwork into Photoshop where
as components in building the 3D model in Ray
he applied edge treatments and simulated the
Dream Studio, and as texture maps to cover
effects of weathering by painting onto the art.
the model in Bryce. To start the artwork that
Then he flattened and saved the files. In Bryce,
would serve as texture maps for the metal
Jones imported and mapped the images onto
panel seams, window masks, rivets and other
the modeled plane parts. In all, he filled the
elements of the model, Jones drew objects on
scene with nearly 3000 Illustrator objects.
Chapter 12 Illustrator & Other Programs
407
Artists
Erik Adigard, see M.A.D).
Adobe Systems, Inc.
345 Park Avenue
San Jose, CA 95110-2704
408-536-6000
see also Laurie Szujewska,
Ted Alspach, Mordy Golding,
Min Wang, Brenda Sutherland,
Julie Meridian, Teri Pettit
Kenneth Batelman
128 Birch Leaf Drive
Milford, PA 18337
888-532-0612
[email protected]
batelman.com
Sandee Cohen
33 Fifth Avenue, #10B
New York, NY 10003
212-677-7763
[email protected]
www.vectorbabe.com
Eliot Bergman
362 West 20th Street
New York, NY 10011
Scott Grouse
755 W. Cummings St.
Lake Alfred, FL 33850
863-956-8891
Agnew Moyer Smith, Inc.
503 Martindalc Street
Pittsburgh, PA 15212
412-322-6333
[email protected]
Bruce Brashear
124 Escanyo Drive
South Sanfrancisco, CA 94080
650-588-3388
[email protected]
Bjorn Akselsen, sec Ice House Press
& Design
Christopher Bucheit/Design Time
P.O. Box 2152
La Crosse, WI 54602
608-796-0885
[email protected]
www.chrisbucheit.com
Jen Alspach
[email protected]
www.bezier.com
Ted Alspach
Adobe Systems, Incorporated
345 Park Ave., Mailstop Wl 1
San Jose, CA 95110
[email protected]
www.adobe.com/creative suite
Jack Anderson, see Hornall Anderson
Kevan Atteberry
P.O. Box 40188
Bellevue, WA 98015-4188
206-550-6353
[email protected]
www.oddisgood.com
Karen Barranco
323-848-2090
[email protected]
www.specialmoderndesign.com
Rick Barry
DeskTop Design Studio
1631 West 12th Street
Brooklyn, NY 11223
718-232-2484
Jennifer Bartlett
Girvin Strategic Branding &
Design
1601 2nd Ave. The Fifth Floor
Seattle, WA 98101
206-674-7808
Artists Appendix
Christopher Burke
4408 Chad Court
Ann Arbor, MI 48103-9478
313-996-1316
John Burns
John Burns Lettering & Design
1593 Parkway Drive
Rohnert Park, CA 94928
707 585-7604
Peter Cassell
1185 Design
411 High Street
Palo Alto, CA 94301
650-325-4804
[email protected]
www. 1185design.com
David Cater
510-232-9420
[email protected]
Ron Chan
24 Nelson Ave.
Mill Valley, CA 94941
415-389-6549
K. Daniel Clark
3218 Steiner Street
San Francisco, CA 94123
415-922-7761
www.artdude.com
Shayne Davidson
Medical Illustration & Graphics
1301 Granger Ave.
Ann Arbor, MI 48104
734-994-6223 / 734-998-6140
extl33
[email protected]
www.medicalart.net
Rob Day & Virginia Evans
10 State Street, Suite 214
Newburyport, MA 01950
508-465-1386
Timothy Donaldson
Domus Crossheads
Colwich Staffordshire ST180UG
England
01889 88 20 43
[email protected]
www.timothydonaldson.com
Linda Eckstein
201 W. 70th St. #6G
New York, NY 10023
212-721-0821
Eve Elberg
60 Plaza Street East, Suite 6E
Brooklyn, NY 11238
718-398-0950
Mindi Englart
145 Cottage Street
New Haven, CT 06511
203-752-1959
Virginia Evans, see Day & Evans
Gary Ferster
756 Marlin Ave., Suite 4
Foster City, CA 94404
650-577-9696
[email protected]
www.garyferster.com/
Louis Fishauf
47 Lorne Ave.
Kettleby, Ontario
Canada LOG 1 JO
905-726-1597
[email protected]
www.fishauf.com
Mark Fox
415-258-9663
[email protected]
David Fridberg
Miles Fridberg Molinaroli
4401 Connecticut Ave., NW
Suite 701
Washington, DC 20008
202-966-7700
Guilbert Gates
145 West 12th/Apt 2-5
New York, NY 10011
212-243-7853
see also Jared Schneidman Design
Tim Girvin
Girvin Strategic Branding &
Design
1601 2nd Ave. The Fifth Floor
Seattle, WA 98101
206-674-7808
www.girvin.com
Mordy Golding
Adobe System, Incorporated
345 Park Ave., Mailstop Wl 1
San Jose, CA 95110
Janet Good
Industrial Illustrators, Inc.
P.O. Box 497
Harrison City, PA 15636-0497
800-683-9316
[email protected]
[email protected]
ix3.com
Steven H. Gordon
Cartagram, LLC
136 Mill Creek Crossing
Madison, AL 35758
256-772-0022
[email protected]
www.cartagram.com
Caryl Gorska
414 Jackson Street / Suite 401
San Francisco, CA 94111
415-249-0139
see also MAX
Laurie Grace
860-659-0748
[email protected]
Adele Droblas Greenberg
AD Design & Consulting
202 Sixth Ave. Suite #2a
New York, NY 10013
212-431-9132
April Greiman
620 MoultonAve. No. 211
Los Angeles, CA 90031
323-227-1222
[email protected]
ww.madeinspace.la
Wendy Grossman
Grossman Illustration
355 West 51st Street
New York, NY 10019
212-262-4497
Brad Hamann
Brad Hamann Illustration &
Design
41 West Market Street
Red Hook, NY 12571
845-758-6186 studio
[email protected]
www.darkdesign.com
Steve Hart
TIME / Editorial Art Dept
1271 Sixth Avenue / Rm 2440 D
New York, NY 10020
212-522-3677
Ice House Press & Design
Pattie Belle Hastings
BJ0rn Akselsen
266 West Rock Ave.
New Haven, CT 06515
203-389-7334
Lisa Jackmore
13603 Bluestone Court
Clifton, VA 20124
703-830-0985
[email protected]
Jared Schneidman Design
16 Parkway
Katonah, NY 10536
914-232-1499
see also Guilbert Gates
Dave Job/
15 King St.
Putnam, CT 06260
860-928-1042
Frank Jonen
Haupstrasse 15
65510 Idstein
Germany
voice 49-6126 9581 81
fax 49-6126 9581 83
[email protected]
www.frankjonen.com
Pattie Belle Hastings, see Ice House
Press & Design
Joe Jones
Art Works Studio
802 Poplar St
Denver, CO 80220
303-377-7745
[email protected]
www.artworksstudio.com
Rick Henkel, see Agnew Moyer Smith
Diane Hinze Kanzler
Kurt Hess, see Agnew Moyer Smith
John Kanzler
424 Adams Road
Greenfield, Ma 01301
413-773-7368
800-210-0711
[email protected]
www.johnkanzler.com
Lance Hidy
2 Summer St.
Merrimac, MA 01860
978-346-0075
Kaoru Hollin
[email protected]
John Hornall, see Hornall Anderson
Hornall Anderson Design Works
1008 Western Ave., Suite 600
Seattle, WA 98104
206-467-5800
[email protected]
www.hadw.com
Andrea Kelley
Andrea Kelley Design
530 Menlo Oaks Drive
Menlo Park, CA 94025
650-326-1083
[email protected]
Artists Appendix
409
Marc LaMantia
64 Macdougal Street Apt 5
New York, NY 10012
212-677-6907
[email protected]
Rob Magiera
Noumena Digital
9636 Ruskin Circle
Salt Lake City, UT 84092
801-943-3650
David Nelson
Mapping Services
721 Grape St.
Denver, CO 80220
303-333-1060
Tiffany Larsen
[email protected]
uberpop.com
Rob Marquardt
Toast Design
300 First Ave North, Suite 150
Minneapolis, MN 55401
612-330-9863
Gary Newman Design
2447 Burnside Rd
Sebastapol, CA 95472
[email protected]
www.newmango.com
MAX
246 1st Street/Suite 310
San Francisco, CA 94105
415-543-1333
see also Caryl Gorska
Ann Paidrick
5520 Virginia Ave.
St. Louis, MO 63111
314-351-1705
[email protected]
www.ebypaidrick.com
Adam Z Lein
3 Woodlands Ave
Elmsford, NY 10523
914-347-1710
[email protected]
www.adamlein.com
Joe Lertola
TIME / Editorial Art Dept
1271 Sixth Avenue / Rm 2442
New York, NY 10020
212-522-3721
www.joelertola.com
Randy Livingston
Bona Fide Design
206 Ernest Street
Washington, IL 61571
309-745-1126
Patrick Lynch
Yale University C/AIM
47 College Street / Suite 224
New Haven, CT 06510
203-737-5033
M.A.D.
Patricia McShane & Erik Adigard
237 San Carlos Ave.
Sausalito, CA 94965
415-331-1023
Ma Zhi Liang
[email protected]
Todd Macadangdang
348 Arco St.
San Jose, CA 95123
408-536-6373
[email protected]
[email protected]
Jacqueline Mahannah
Medical and Biological Illustration
[email protected]
Elizabeth Margolis-Pineo
margolispineo concept, copy &
design
138 Glenwood Avenue
Portland, ME 04103
207-773-8447
410
Artists Appendix
Greg Maxson
116 W.Florida Ave
Urbana, IL 61801
217-337-6069
[email protected]
www.portsort.com
Yukio Miyamoto
3-8 Matuba-cyo
Tokorozawa-shi
Saitama-ken 359-0044 Japan
+81-42-998-6631
[email protected]
www.bekkoame.ne.jp/~yukio-m/
index_e.html
Scott McCollom
808 N. Kaufman St.
Seagoville, TX 75159
Ellen Papciak-Rose
In The Studio
[email protected]
http://homepage.mac.com/
inthe studio
Tom Patterson
National Park Service
Media Development
Harpers Ferry Center
Harpers Ferry, WV 25425-0050
304-535-6020
[email protected]
www.nacis.org/cp/cp28/resources.
html
Patricia McShane, see M.A.D.
Daniel Pelavin
90 Varick Street, Suite 3B
New York, NY 10013-1925
212-941-7418
Bert Monroy
11 Latham Lane
Berkeley, CA 94708
510-524-9412
Cher Threinen-Pendarvis
4646 Narragansett Ave.
San Diego, CA 92107
619-226-6050
Joachim Muller-Lance
125 A Stillman St.
San Francisco, CA 94108
www.kamedesign.com
John Pirman
[email protected]
represented by
Gerald & Cullen Rapp
212-889-3337
Brad Neal
Thomas • Bradley Illustration
& Design
411 Center St. / P.O. Box 249
Gridley, IL 61744
309-747-3266
[email protected]
www.thomasbradley.com
Bradley Neal, Thomas Neal
see Thomas • Bradley Illustration
David S. Pounds
7 Greenmoor
Irvine, CA 92614
949-733-0226
[email protected]
www.hisnet.org/userpages/
davidpounds
Dorothy Remington
Remington Designs
632 Commercial Street
San Francisco, CA 94111
415-788-3340
Javier Romero
Javier Romero Design Group
(JRDG)
Westport, CT
203-256-0934
[email protected]
Jared Schneidman Design
155 Katonah Ave.
Katonah, NY 10536
914-232-1499
[email protected]
jsdinfographics.com
Mike Schwabauer
Hallmark Cards, Inc.
2501 McGee, Box 419580, MD 142
Kansas City, MO 64141-6580
816-545-6948
[email protected]
Max Seabaugh, see MAX
Robert Sharif
2791 Lexford Ave.
San Jose, CA 95124
[email protected]
[email protected]
Charles Shields
Shields Design
415 East Olive Ave.
Fresno, CA 93728
209-497-8060
Mitch Shostak Studios
57 East 11th Street
New York City, NY 10003
212 979-7981
Steve Spindler
Steve Spindler Cartography
1504 South St.
Philadelphia, PA 19146
215-985-2839
[email protected]
www.bikemap.com
Christopher Spollen
Moonlightpress Studio
362 Cromwell Ave.
Staten Island, NY 10305
718-979-9695
[email protected]
spollen.com
Nancy Stahl
470 West End Ave, #86
New York, NY 10024
212-362-8779
Steven Stankiewicz
[email protected]
www.porfolios.com/
stevenstankiewicz
Judy Stead
741 Lake Catherine Drive
Maitland, FL 32751
407-310-0051
[email protected]
www.judystead.com
Sharon Steuer
c/o Peachpit Press
1249 Eighth St.
Berkeley, CA 94710
800-283-9444
Jean-Claude Tremblay
Illustrator Instructor & Prepress
Technician
7180 Des Erables
Montreal (Quebec)
H2E2R3
Jean Tuttle
Jean Tuttle Illustration
800-816-0460
[email protected]
www.jeantuttle.com
Trina Wai
5027 Silver Reef Dr.
Fremont, CA 94538
Min Wang, see Adobe Systems, Inc.
Barbara Sudick
California State University
Dept. of Communication Design
Chico, CA 95929
530-898-5028
Laurie Szujewska
shoe yev ska design
7045 Toma Lane
Penngrove, CA 94951
707 664 9966
Clarke W. Tate
Tate Studio
P.O. Box 339 / 301 Woodford St.
Gridley.IL 61744-0339
312-453-0694
[email protected]
www.tatestudio.com
Thomas-Bradley Illustration
& Design
411 Center Street / P.O. Box 249
Gridley, IL 61744
309-747-3266
Threinen-Pendarvis see Pendarvis
Kathleen Tinkel
MacPrePress
12 Burr Road
Westport, CT 06880
203-227-2357
Ivan Torres
12933 Ternberry Ct.
Tustin, CA 92782
714-734-4356
[email protected]
[email protected]
www.meshsmith.com
Timothy Webb
Tim Webb Illustration
305 W. Maywood
Wichita, KS 67217
316-524-3881
[email protected]
www.timwebb.com
Alan James Weimer
67 Bliss St.
Rehoboth, MA 02769-1932
508-252-9236
[email protected]
Ari M. Weinstein
[email protected]
www.ariw.com
Hugh Whyte
Lehner & Whyte
8-10 South Fullerton Ave.
Montclair, NJ 07402
201-746-1335
Tom Willcockson
Mapcraft Cartography
731 Margaret Drive
Woodstock, IL 60098
815-337-7137
Filip Yip
877-463-4547
[email protected]
www.yippe.com
Ma Zhiliang, Ma Zhi Liang
see alphabetized under Ma
Artists Appendix
411
Resources
Adobe Systems, Inc.
345 Park Avenue
San Jose, CA 95110-2704
408-536-6000
www.adobe.com
AGFA
prepress, production
Agfa Corp.
100 Challenger Road
Ridgefield Park, NJ 07660
201-440-2500
www.agfa.com
Ambrosia Software, Inc.
SnapzPro.SnapzProX
PO BOX 23140
Rochester, NY 14692
800-231-1816
www.AmbrosiaSW.com
Apple Computer
ColorSync, QuickTime
800-767-2775
www.apple.com
Aridi Computer Graphics
Digital Art
P.O. Box 797702
Dallas, TX 75379
972-404-9171
www.aridi.com
Artlandia, Inc.
Artlandia SymmetryWorks
2015 Barberry Cr.
Champaign, IL 61821-5862
Toll-free: +1 (888) 972-6366
www.artlandia.com
Avenza Systems Inc.
MAPublisher
124 Merton Street Suite 400
Toronto, Ontario
Canada M4S 2Z2
tel: 416-487-5116
fax 416-487-7213
sales: 800-884-2555
www.avenza.com
Bare Bones Software, Inc.
BBEdit
P.O. Box 1048
Bedford, MA 01730
781-778-3100
www.barebones.com
412
Resources Appendix
Barney's Mac Software
Border
Barney Hilken
+44 (0) 1204 697223
45, Mason Street
Horwich, Bolton, BL6 5QP, UK
homepage.ntlworld.com/b.hilken
Cartesia Software
Digital Maps
PO Box 757
Lambertville, NJ 08530
800-334-4291 (x3)
www.mapresources.com
CDS Documentation Services
Printer of this book
2661 South Pacific Highway
Medford, OR 97501
541-773-7575
Comnet Co., Ltd.
LogoSpruce FoldUP!3D
Professional design plug-ins
for Illustrator
Sannomiya Grand Building 8F
2-2-21 Isogamidori, Chuo-ku
Kobe 651-0086 Japan
Fax: 1-877-804-2912 (US only)
www.comnet-network.co.jp
Corel Corporation
procreate Painter, Bryce
1600 Carling Ave.
Ottawa, ON Canada K1Z 8R7
1-800-772-6735
www.procreate.com/
CValley, Inc.
FILTERiT4.1 (demo included)
CAD-COMPO (information only)
Xtream Path (information only)
212 Technology Dr. Suite N
Irvine, CA 92618
949-727-9161
www.cvalley.com
Dantz
Retrospect
www.dantz.com
Dynamic Graphics Inc.
Clip art, etc.
6000 N. Forest Pk. Drive
Peoria, IL 61614
800-255-8800
www.dgusa.com
GifBuilder
[email protected]
hot door
CADtools, Perspective, MultiPage
101 W. McKnight Way, Suite В
Grass Valley, CA 95949
1-888-236-9540
www.hotdoor.com
Macromedia
FreeHand, Director, Flash MX
600 Townsend Street
San Francisco, CA 94103
800-989-3762
www.macromedia.com
Pantone, Inc.
color matching products
590 Commerce Blvd.
Carlstadt, NJ 07072
866-PANTONE
www.pantone.com
procreate (see Corel Corporation)
Strata
Strata3Dplus
567 S. Valley View Dr./Suite 202
St. George, Utah 84770
800-678-7282
www.strata.com
TruMatch, Inc.
Color Matching Software
50 East 72nd, Suite 15B
New York, NY 10021
800-878-9100
www.trumatch.com
Ultimate Symbol
Design Elements, clipart
31 Wilderness Drive
Stony Point, NY 10980
845-942-0003
www.ultimatesymbol.com
Virtual Mirror Corporation
Vector Studio, Retouch Brush Tools
P.O. Box 6727
San Rafael, CA 94903
415-472-3359
www.virtualmirror.com
zenofthepen.org
QuickTime Enhanced Bezier Pen
Tutorials for Illustrator, Photoshop,
InDesign, FreeHand & Fireworks 4+
General Index
2D objects
extruding, 294-295
mapping artwork onto, 297
transforming to 3D, 293-294
"3D—Three dialogs" tip, 293, 295
3D effects, 293-297
adding columns to create, 351
applying multiple, 293
introduction of, xxi, 292
lessons on, 316-319
"live" nature of, 294
and mapping of artwork, 297
and New Art Has Basic
Appearance option, 296
preparing artwork for, 316
programs for creating, 386
"3D Effects" lesson, 318-319
3D Extrude & Bevel Options dialog
extrusion settings, 316, 321, 322,
325
rotating objects in, 295, 315
surface shading option, 297
3D modeling programs, 404,405
3D objects See also 3D effects
applying surface shading to,
296-297
choosing fill colors for, 295
mapping artwork onto, xxi, 297
revolving, 295, 318-319, 320,
322,324
rotating, 296, 324
3D programs, 382, 386
3D Revolve effect, 318-319, 320,
322, 323
3D Ribbon effect, 183
3D Rotate effect, 324
3D StudioPro, 386
"9 Lives" cat symbol, 82-85
216-color palette, 30, 359, 374
1185 Design, 288-289,408
1776 logo,214-215
А
Acrobat
antialiased artwork in, 386
and crop areas, 386
Distiller, xxiii, 385
and Illustrator CS versions, xx
Reader, xxiii, 24
and transparency, 262
actions, 35-36, 301, 330
Actions palette, 35-36, 37
AD Design & Consulting, 409
Adam Z Lein Gallery, 290
"Add & Expand" lesson, 86-87
Add Anchor Point tool, 10,43, 245
Add Anchor Points filter, 45, 47
Add New Fill command, 265
Add New Stroke command, 190
Add Pathfinder, 86-87
Add to Shape command, 85
additive colors, 29
Adigard, Erik, 48,408,410
Adjust Colors filter, 74-75
Adobe
and "Isometric Systems" lesson,
92-93
and "Objective Colors" lesson,
96-97
.ai file extension, 3
AI files, 3, 24, 386
AICB, 384, 385
Airbrush tool, 402, 403
airplanes, 232, 399, 407
.ait file extension, 3
Akselsen, Bjorn, 210, 408
Alias Sketch!, 405
Alice's Adventures Underground,
Acrobat. See Acrobat
After Effects, 358
Color Picker, 30, 364
contact information, 408
Creative Suite, xx
Distiller, xxiii, 385
GoLive. See GoLive
Graphics Server, 366
Illustrator. See Illustrator CS
ImageReady, 361
InDesign. See InDesign
LiveMotion, 363
Photoshop. See Photoshop
PostScript. See PostScript
Premier, 358
Reader, xxiii, 24
Streamline, 112,129,386
SVG Viewer, 364
Adobe Illustrator ClipBoard
See AICB
Adobe Illustrator CS CD, 36, 37, 366
Adobe Illustrator CS Scripting
Guide, 37
Adobe Illustrator CS User Guide
See User Guide
Adobe Illustrator Super Guide, The,
250
Adobe Online, 35
Adobe Systems, 408, 409, 412
See also Adobe
adoption announcement, 232
After Effects, 358
AGFA, 412
Agfa PostScript Process Color
Guide, 97
Agnew Moyer Smith, 408
and automatic updating of colors,
227
contact information, 408
Gallery page, 94
194-195
aligning
geometric objects, 11
meshes, 351
with Optical Margin Alignment
feature, xxiv
by snapping to point, 11, 92-93
alpha channels, 363, 379
alphabet poster, 200
Alspach, Jen, 130,408
Alspach, Ted, 302, 306-307, 311,408
"Altered States" image, 395
Ambrosia Software, 412
American Express magazine,
170-173
AMS, 92-93, 96
See also Agnew Moyer Smith
Anchor Point tools, 193
anchor points. See also endpoints
adding/deleting, 10, 77
converting, 10
creating, 7
dealing with excess, 77
defined, 6
selecting, 12-13
snapping objects to, 9
"Ancient 2000" CD, 105
Anderson, Jack, 408
Andrea Kelley Design, 410
Angle Threshold setting, 77
angles
for 3D Revolve effect, 295
for Bezier curves, 8
constrain, 27, 92, 93, 95
gradient, 223, 353
for Miter joins, 75
animation
exporting, 369-370, 373
Gallery pages, 367, 371
General Index
413
animation, continued
lessons, 368-370, 372-373,
378-379
preparing artwork for, 368-369
previewing, 368-370, 370
and Release to Layers command,
361
repurposing print artwork for,
372
techniques for extending, 379
timesavers, 378
tools for working with, 153, 358,
367, 378
"Anti-antialiasing" tip, 375
antialiasing, 25, 358, 374, 375, 386
"Antiquing Type" lesson, 216-217
appearance attributes, 16,263-264,
278-279, 302
Appearance palette, 263-264
adding strokes to text with, 190
applying multiple fills/strokes
with, 189, 265
designing intricate effects with,
278
disabling New Art Has Basic
Appearance option in,
xviii
editing warp effects in, 299
importance of, 264
stacking order for, 265
targeting elements in, 264
using with type, 191-193
appearances, 263-265
adding multiple fills/strokes to,
80,264-265
applying, 263,279
clearing attributes for, 264
copying, 264
creating, 278
icons for, 263
lessons on, 278-281
moving, 264
reordering attributes for, 263
resizing, 306
Apple Computer, 412
Apple Display Calibrator, 28
AppleScript, 36
April Greiman Made in Space, 397
architectural drawings, 95, 228
Area type objects, 181-182,191,203,
280-281
Area Type Options dialog box, xxv,
182
Area Type tool, 203
Aridi Computer Graphics, 412
414
General Index
Arrow keys, 96
adding/deleting points with, 11
adjusting Flare tool rings with,
311
adjusting Polar Grid tool circles/
dividers with, 344
nudging aliased objects with, 375
offsetting outlines with, 283
positioning letters with, 210
positioning reflective masks with,
337
sliding objects along axes with, 93
specifying surfaces for mapping
with, 297
stretching path segments with,
197
tracking line of Point Type with,
203
"Art Brush Motions.ai" file, 153
Art Brush Options dialog box, 205
art brushes
and animations, 153
applying to closed paths, 133
artwork for, 121
creating, 120-121
creating distortions with, 153
purpose of, 120-121
sources of, 133
Art Works Studio, 407,409
Artboard
changing background of, 27-28
and page tiling, 4
selecting artwork on, 162
setting up for page design, 202
transparency of, 254-255
Artistic brush libraries, 133
artistic observation, 78
Artistic_Paintbrush brush palette,
205
artists, 408-411
See also specific artists
Artlandia, 412
artwork
adding brushes to, 132-133
applying 3D effects to, 316-317
background, 146-147
copying and pasting, 383-384
for creating brushes, 121
for creating symbols, 123
distributing to layers, 122
dragging and dropping, 383-384
embedding vs. linking, 382-383
expanding, 224
flattening, 159,258
importing from other
applications, 363
mapping onto 2D/3D shapes, 297,
319,323
masking, 256
See also masking; masks
organizing, 156,174
preparing for on-screen display,
358-359. See also Web
graphics
previewing before printing, 34, 35
printing, 4
scaling, 122
scanning/digitizing, 164-165
scattering copies of, 121
selecting, 162
tracing, 126
on Wow! CD, xvi
Artwork mode, 7
Asian text options, 188
athlete images, 153
Atteberry, Kevan, 368-371,408
Attributes palette, 100, 359-361
Auto Add/Delete function, 9-10
Auto Trace tool, 141, 386
auto-tracing program, 112
Avenza Systems, 412
Average function, 14-15,45
Average-Join function, 47, 85
Average mode, 123
averaging, 46,47
aviator, 399
Avion magazine, 242
В
backups, 23
Bare Bones Software, 358, 360,412
Barney's Mac Software, 412
Baron, Cynthia, 360
Barranco, Karen, 102,103,408
Barry, Rick, 225,408
Bartlett, Jennifer, 207,408
baseball illustration, 334-335
"Basic Appearances" lesson, 278-279
"Basic Transparency" lesson,
272-273
batch optimization, 360
Batelman, Kenneth, 343,408
BBEdit, 358, 360,412
bear, 388
beaver lodge logo, 86-87
beetle, 367
Bergman, Eliot, 405, 408
Bert Monroy: Photorealistic
Techniques with Photoshop
& Illustrator, 387
Bevel joins, 76
beveled edges, 295, 316, 319
Bezier, Pierre, 306
Bezier curves
creating, with Pen tool, 7, 8
importance of, 8
lessons for fine-tuning, 7
rules regarding, 8
ways of "hinging," 9
Bezier-editing tools, 9-11
Bianchi USA decal, 81
bike map, 138
birds, 132-133,197
black-and-white images
adding color to, 168-169
color casts in, 29
placing color under, 161
sketching/scanning, 168-169
BlackDog, 81
blacks, blackness of, 29
Blend Options dialog box, 221,233
Blend tool
and architectural details, 228
automatically creating
intermediate paths with,
232
and "blends to blends" technique,
233
and "point map" technique, 220,
235
specifying Blend Options with,
221
tweening with, 379
blending modes
applying selectively, 272-273
experimenting with, 270-271
and grayscale scans, 161
isolating, 273
purpose of, 255
and transparency, 255
blends, 220-224
along paths, 221-222
for architectural details, 228
automatically updating colors
for, 227
complexity of, 224
contouring, 336-337
contrasted with gradients, 225,
226
controlling regularity of, 231
controlling speed of, 220, 235
creating, 220
creating glow effect with, 229, 342
creating highlights with, 274
creating in-between layers with,
230
creating metallic reflections with,
234-235
deleting, 220
expanding, 222
and file size, 35
Gallery pages, 225,229-233,
236-237
inserting objects into, 223
isolating, 273
lessons on, 226-228,234-235,
336-337
masking, 237, 334-335
multi-object, 221
between objects, 221, 222
and photorealism, 234
RAM considerations, 220
recoloring after expanding, 220
releasing, 222
reversing order of, 222
and seascapes, 231
selecting/replacing spine of,
221-222
smoothing, 235
smoothing one with another, 233
softening transitions with, 235
between symbols, 221
when to use, 226-227
"blends to blends" technique, 233
Bloat tool, 76
blood drive sign, 320
Blur effect. See Gaussian Blur effect
"Blurring the Lines" lesson, 308-310
"Book Cover Design" lesson,
202-203
book covers, 202-203,252,275, 353
Book of Days typeface, 211
Border application, 412
bounding box
contrasted with Free Transform
tool, 19-20
and Hide Edges, 28
hiding/showing, 20
purpose of, 20
resetting, 20
"Bountiful Harvest" package design,
241
bow tie, 314-315
Brad Hamann Illustration & Design,
409
brain, 286-287
Brashear, Bruce, 112, 308-310,408
Break Link to Graphic Style icon,
302
breaks, line, 188
Bring Forward command, 162
Bring to Front command, 162
brochure illustration, 95
brochure template, 4
Brush palette, 122
brush strokes. See also strokes
creating, 141-142
editing, 142
organizing groups of, 267
reversing, 144
using transparency with, 254
Brush tool
closing path using, 121
constraining, 121
creating brush strokes with, 120
Fidelity/Smoothness options, 12,
121-122
"Brushed Type" lesson, 204-205
brushes, 120-154
adding to existing artwork,
132-133
applying to closed paths, 133
applying to letterforms, 204-205
assigning opacity to, 267-268
auto-replacing, 143
colorization methods for, 122-123
constraining, 121
creating, 121, 122, 125, 140-141
editing, 122
Gallery pages, 125,128-131,
136-139,145
lessons on, 126-127,132-135,
140-144
naming, 121
painting with, 140-141,150-151
setting opacity for, 269
setting preferences for, 121-122
setting pressure sensitivity for,
126
sharing between documents, 144
types of, 120-121
See also specific types
ways of using, 120
on Wow! CD, 120, 304
Brushes palette
adding brushes to, 122,141,144
altering brush settings in, 133
creating brushes in, 135,137
editing brushes in, 122
viewing brushes in, 127
Bryce, 406,407,412
Bryce Canyon guide, 280-281
General Index
415
"Bubbles" image, 274
Bucheit, Chris, 125, 408
bug, Group command, 162
bug images, 106-107,404
"Building Brushes" lesson, 140-141
"Building Houses" lesson, 42-47
bunny, 388-390
Burke, Christopher, 100,408
Burns, John, 198, 408
bus map, 142-144
business card template, xxii, 4
Business Sets, 4
Butt caps, 75
butterflies, 233, 394
buttons, Web page, 377
с
CAD-COMPO, 412
CADtools, 412
cafe scene, 134, 136
calibration
hardware, 28
monitor, 28
printer, 101
California Statue University, 411
Calligraphic Brush Options dialog
box, 137
Calligraphic Brush tool, 122-123
See also calligraphic brushes
calligraphic brushes
creating "pen-and-ink" drawings
with, 126-130, 152
creating watercolor effect with,
268
customizing, 120, 127, 133, 137,
152,268-269
and graphics tablets, 122-123, 126
purpose of, 120
using multiple, 133, 152
"Calligraphic brushes.ai" file, 152
calligraphic fonts, 303
calligraphy, abstract, 140-141
camping equipment, 237
campus map, 406
candlelight effect, 308-310
cap styles, 75
Capture Data Set button, 366
"Careers" title illustration, 201
cars, 69, 338, 339, 340
Cartagram, 218, 303, 374-376, 377,
409
Cartesia Software, 412
cartographers, 138, 142,163, 324
See also maps
416
General Index
Cascading Style Sheets, 365
Cassell, Peter, 232, 288-289,408
Catellus Web site, 400
Cater, David, 66, 339,408
cats, 82-85, 130, 224, 256, 356
CD label template, xxii, 4
CD packaging, 125
CD-ROM drive, 2
CDs
Adobe Illustrator CS, 36, 37, 366
Illustrator CS Wow! Book
See Wow! CD
CDS Documentation Services, 412
CE Software, 55
center point
relocating, for radial gradient, 238
rotating around, 52
"ChO2 The Zen of Illustrator" folder,
xvi
chain links, 134-135
Chalk Scribbler brush, 133
Chan, Ron, 90-91, 400, 408
"Changing measurement units"
tip, 7
Character palette, 188
character spacing, xxiv
Character Styles palette, xxiv, 180,
185-186, 187
charcoal brushes, 131, 133,209
Chart Wizard, Excel, 290
charts, 17, 254, 290, 384
checkerboard pattern, 118, 238
Chicago map, 278-279
Chinese fonts, 188
Christie, Bryan, 404
Christmas tree, 277, 326-327
Cinnabon logo, 207
circle-and-guides technique, 344,
345
circles
adding perspective/dynamics to,
107
attaching lines to, 84-85
cutting and joining, 82
drawing, 108
circular saw, 341
cityscape, 289
Clark, K. Daniel, 408
"Classic Icon" lesson, 48-49
Clean Up command, 34,77
Clear Appearance icon, 257, 264
Clear Guides command, 27
clip art, 312,412
Clipping Mask command, 330
clipping masks
advanced techniques, 330-333
blurring edges of, 310
converting objects to, 331
creating/applying, 115, 200, 201,
271
disabling icon for, 331
finding, 333
identifying, 331,332
lessons on, 334-337
for multiple layers, 271, 332
clipping paths, 332
clouds, 288, 403
CMY color model, 29
CMYK color
converting to/from RGB, 29-30,
359
meaning of acronym, 28
and monitor calibration, 28
and out-of-gamut warning, 32,
66, 363
and print output, 29, 358
and Web output, 358-359
CMYK inks
contrasted with RGB monitor
colors, 28
hiding misrepresentation of, 30
misregistration of, 100
CMYK percentages, 97
CMYK-to-RGB conversions, 29-30,
359
Cohen, Sandee
and 1776 logo, 214-215
on closing Pencil/Brush tool
paths, 12
contact information, 408
flag decorations, 312-315
Gallery page, 149
and InDesign CS Visual
QuickStart Guide, 187
and "Intricate Patterns" lesson,
116
on joining text boxes, 191
and "Open-Type_Guide.pdf"
file, 187
and "Preparing Art" lesson,
132-133
on reflowing text in page layout,
190
and simulation of scratchboard
art, 304-305
special brushes supplement,
152-153
on using Illustrator with PDF, 385
on using transparency, 254
collages, 403
Color Burn blending mode, 271
Color Guide, Agfa PostScript
Process, 97
color management, 28, 30
color matching systems, 30-31,412
color models, 29, 358
See also color spaces
Color palette
choosing color models in, 358
choosing Stroke color in, 267
purpose of, 65-66
saving colors mixed in, 66
Web, 30. See also Web-safe color
Color Picker, 30, 364
color printers, 101
color saturation sliders, 98
Color Settings command, 30
color shifts, 29, 382
color spaces
monitor considerations, 28
output considerations, 29
selecting, 29-30
working in multiple, 29
color swatches. See swatches
Color Table option, 361, 362
colored stock, simulating, 255
"Colorful Masking" lesson, 334-335
coloring. See also colors
basic techniques, 64-69
expanding toolset for, 69-77
Gallery pages, 98-105
lessons on, 96-97, 108-110
with radial gradient, 109
colors, 28-31
for 3D objects, 295
additive vs. subtractive, 29
automatically updating, 227
changing definitions of, 97
creating custom spot or global,
96-97
under grayscale scans, 161
and monitor calibration, 28
naming, 97
organizing, 96, 98
sampling, 68, 114, 115
viewing names of, 99
"Colors with Layers" lesson, 168-169
ColorSync, 28, 412
columns
creating 3D effects with, 351
creating from non-type objects,
183
defining characteristics of, xxiv
using multiple, in layouts, xxiv
"Comet" Gradient tool exercise, 238
commercial printers, 32,412
See also service bureaus
Comnet, 412
compound objects, 49
compound paths, 69-71
components of, 69
creating, 69-70
fills/holes with, 70
pros and cons of, 71
vs. compound shapes, 70, 71, 331
compound shapes, 70-71
converting to single path, 87
creating, 49,70-71
defined, 70
expanding, 74
integrating effects into, 71
pros and cons of, 71
purpose of, 49
vs. compound paths, 70, 71, 331
vs. Pathfinder effects, 301
compression
JPEG, 362
lossy, 362
presets, 361
SVG, 364
computer. See also Macintosh;
Windows
chip board illustration, 78-80
creating traditional line art with,
164
system requirements, 2
Computers Freedom & Privacy logo,
48-49
Constrain Angle
and architectural drawings, 95
preferences/settings, 27, 92, 95
and technical illustrations, 92, 93
Constrain Angle key, 93
constructing-object exercises, 42-47
Construction Guides preferences, 28
Context magazine, 170-173
context-sensitive menus, 6
Convert Anchor Point tool, 9,10
Convert to Shape effect, 280,281
converting
anchor points, 10
CMYK to/from RGB, 29-30, 359
compound shapes to path, 87
gradients to meshes, 244-245
lines to guides, 176-177
objects to clipping masks, 331
paths to meshes, 224
spot colors to process colors, 97
type to outlines, 189-191,197,
198
copy-and-paste technique, 383-384
copying
appearances, 264
artwork, 370, 383-384, 385
fills/strokes, 17
Corel
contact information, 412
Painter, 8, 140-141
corners
changing shape of, 75-76
dragging, with Free Transform
tool, 107
course outline, xvi
CPU, 2
Cracker Jack logo, 164
Create Gradient Mesh command,
224, 289
Create New Layer icon, 156
Create Outlines command, 198,199,
201,207,284
Create PDF Compatible File option,
385
"Creating Simple Object" lesson, 53
Creative Suite, xx
crop areas, 203, 386, 388
crop marks, 116,203
Crop Pathfinder, 72, 91
cropping
with clipping masks, 271, 345
for inset look, 91
tiled design, 345
Crosshatch effect, 298, 328
Crouse, Scott, 408
Crucible Research, 229
"Crunching Type" lesson, 212-213
Crystallize tool, 76
CSS layers, 365
"Cubist Constructs" lesson, 90-91,
400
cursor
feedback, 8-9
and Type tool, 185
curves
constructing, 83
creating, with Pen tool, 7, 8
lessons for fine-tuning, 7
rules regarding, 8
ways of "hinging," 9
"Custom Text Paths" lesson, 194-195
customizing
calligraphic brushes, 120, 127,
133, 137, 152, 268-269
gradients, 238
grids, 27
guides, 203
General Index
417
customizing, continued
keyboard shortcuts, xvii, 5-6
radial blends, 241
tab leaders, xxiv
cut-and-paste technique, 46
cut-out effect, 240
cuts, changing shape of, 114
cutting, using Scissors tool for, 85
"Cutting & Joining" lesson, 82-85, 90
CValley, 412
D
Dantz, 23,412
dashed lines/strokes, 76, 143
data-driven graphics, 37, 365-366
databases, 366
David Cater Gallery, 339
Davidson, Shayne, 137, 408
Davis, Jack, 141
Day, Rob, 202,408
Dayton, Linnea, 141
Define Pattern command, 117
Delete Anchor Point tool, 10
deleting
anchor points, 10, 77
blends, 220
layers, 156, 172
slices, 376
sublayers, 172
swatches, 67
symbols, 148
warp effects, 313
Density option, 124
Desaturate filter, 75
Design Time, 408
design(s)
book jacket, 202-203
companies, 408-411
cropping, 345
experimenting with multiple, 103
graph, 18-19
mockups, 37
product packaging, 241
symmetrical, 344
Web page, 374-376
DesignTime, 125
DeskTop Design Studio, 225,408
detailed renderings, 92-93
DHTML, 365
diagrams, technical, 92
Diccolor, 30
Diffused Shading option, 297
digital art, 412
digital maps, 412
418
General Index
digital pens, 12
Digital Wisdom, 316
DigitalKick, 372
"Digitizing a Logo" lesson, 90,
164-165
Dim Images option, 158
Direct Selection tool, 9, 10, 13
direction points, 7
Director, 358, 412
disco clock illustration, 88-89
Distiller, xxiii, 385
"Distort Dynamics" lesson, 106-107
"Distort Filter Flora" lesson, 108-110
Distort filters, 76-77,108-111
distorting
letterforms, 210
raster images, 76
text, 190,213
Dither option, 362
"Divide & Color" lesson, 88-89
Divide Pathfinder, 69,72,88-89, 113
documents
changing color mode for, 29
creating, 2-3
file extension for, 3
saving as PDF files, 31-32
dog, 126-127
Domus Crossheads, 408
Donaldson, Timothy, 140-141, 396,
408
"Don't outline small type" tip, 191
door knob, 234-235
dots per inch, 383
"double shadow" effect, 283
dove, 196
dpi, 383
drag-and-drop technique, 383-384
dragonfly, 103
drawing, 64-118. See also painting;
tracing
basic techniques, 64-69
expanding toolset for, 69-77
Gallery pages, 81, 94-95
under grayscale scans, 161
lessons on, 78-80, 82-93
mechanical objects, 78-80
troubleshooting, 287
Dreamweaver, 180, 360
Drop Shadow dialog box, 281,306
drop shadows, 135,198,281, 306
Dry Ink brush, 205
Duquesne Incline illustration, 96-97
DVD label template, xxii
dynamic graphics, 365
Dynamic Graphics, Inc., 412
Е
e-commerce image, 401
E-MEN cover title, 212-213
eagle decal, 81
Eckstein, Linda, 231,408
edges
beveled, 295, 316, 319
changing shape of two unfilled,
114
clicking on/viewing, 281
and CMYK inks, 100
feathered, 257
hiding/showing, 22, 28, 327
jagged, 104
editing
Bezier curves, 9-11
brush strokes, 142
brushes, 122
envelope effects, 300
masks, 255, 287
meshes, 245
paths, 9-11
PDF files, 386
symbols, 371
type, 217
warp effects, 299
educational CD-ROM illustrations,
105
Effect menu, 292,293, 299
effects, 292-328
3D. See 3D effects
applying, 293
contrasted with filters, 292
envelope. See envelope effects
Gallery pages, 303, 311, 321-325,
328
hiding edges before viewing, 327
lessons on, 304-310, 312-319,
326-327
new features, 292
Pathfinder, 300-301
raster, 293
saving attributes for, 292
scaling, 292
Scribble. See Scribble effect
transforming lettering with, 303
warp. See warp effects
Elberg, Eve, 19,238,408
electric guitar, 321
Ellipse tool, 11,78, 82
embedded images, 33, 382-383
"Embossing Effects" lesson, 306-307
Encapsulated PostScript
See EPS format
end cap styles, 75
endpoints. See also anchor points
changing end caps for, 75
fixing overlapping, 75
joining, 14-15
sandwiching on top of each other,
14
Englart, Mindi, 408
English language fonts, 188
Envelope Distort tool, 213, 338
envelope effects
applying, 299-300, 314
contrasted with warp effects,
298-299
distort options for, 300
editing, 300
lesson on, 312-315
maximizing fidelity of, 314
and Smart Guides, 300
transforming type with, 212-213
types of, 300
EPS format
and color management, 29
contrasted with other formats,
382
and flattening, 258, 262
importing/exporting, 33, 262-263
Preview feature, 33
Erase tool, 10
European language fonts, 188
Evans, Virginia, 202, 408
Evenson Design Group, 102
Eveready batteries symbol, 82-85
Every-line Composer, xxiv, 188
"Examining Blends" lesson, 226-227
Excel Chart Wizard, 290, 384
Exclude Pathfinder, 72
exercises, xix. See also lessons
Expand command, 222, 224
Expand Pathfinder, 86-87
expanding
artwork, 224
blends, 220, 222
compound shapes, 74, 87
gradients, 244-245
Export command, 363
exporting
layered files, 160, 365
type, 193
Web graphics/animation, 362365, 369-370, 373
extruding objects, 294-295, 321
eye illustration, 139
eye logo, 48-49
Eyedropper/Paint Bucket
options dialog, 68,190
Eyedropper tool
controlling attributes picked up
by, 68
filling objects with, 114,115
purpose of, 67-68
setting options for, 190
Shift-clicking with, 68, 114
toggling between selection tool
and, 114
F
fabric, 237
fairy, 221
Feather effect, 346, 356
feathered edges, 257
Ferster, Gary, 105,230, 340,409
Fidelity option, 12, 121-122, 314
Field Force Automation magazine,
242
file formats. See also specific formats
and exporting, 362-365
and linking, 382
source of additional information
on,384
file-naming system, 23
files
bringing to front, 26
controlling size of, 35, 37
legacy, 262
naming, 23
optimizing, 360
reverting to earlier version of, 24
saving, 22-23
"Fill Rules.pdf" file, 70
Fill/Stroke icon, 16
fills. See also appearances
adding to appearances, 264-265
and compound paths, 70
copying, 17
creating multiple, 265
defined, 64
redirecting, with Gradient tool,
238
setting, 65
swapping attributes for, 65, 85
using tints for, 79
using transparency with, 254
Filter actions, Pathfinder, 301
Filter menu, 293, 299
FILTERiT4.1, 412
filters
for adding anchor points, 45, 47
color modification, 74-75
contrasted with effects, 292
for distorting, 108-110
for Hard Mix/Soft Mix effects,
301
and linked images, 382
setting measurement units for, 7
for trapping, 100
Find Font dialog box, 188-189
finger dances
importance of mastering, 41, 54
for Macintosh, 56, 58, 60
manual dexterity required for, 55
quick reference card, 54
rules for performing, 54-55
and Undo command, 54, 55
and Universal Access conflict, 55
for Windows systems, 57, 59, 61
Fire Ash brush, 133
Fireworks, 412
fish, 147-148,246-248
Fishauf, Louis, 208, 277, 401, 409
fishbowl, 272-273
flags, 312-315, 320
flame effect, 308-310, 348-349
Flare Options dialog box, 311
Flare tool, 218, 293, 311
Flash
animation, 367, 368-370
copying and pasting artwork into,
370
importing symbols into, 369
and Release to Layers command,
361
using Illustrator files in, 363-364
Flash Export dialog box, 363
Flatten Artwork command, 159
Flatten Transparency command/
dialog box, 254, 258, 259
Flattener Preview palette, 34, 36,254,
258-261
flattening, 258-262
options/settings, 34, 35, 258-259
and PostScript printing devices,
258
presets, 259-261
previewing, 260-261
Flip Horizontal/Vertical option, 21
"Floating Type" lesson, 280-281
Flood typeface, 206
floral application icon, xx
Florence, Ted, 412
flower bulb, 230
flowers, 108-111, 116-117,268-271
Focoltone, 30, 101
General Index
419
FoldUp!3D, 412
FontLab, 211
Fontographer, 206
fonts. See also text; type
creating, 206
finding and replacing, 188-189
getting professional help with, 189
for hand-rendered look, 216, 303
highlighting substituted, 189
for historical look, 216
licenses for, 191
multinational, 188
WYSIWYG menu for, xxv
Ford Taurus, 338
foreign language fonts, 188,190-191
Fort Santiago illustration, 176
Fox, Mark, 81,82, 409
fps, 379
fractions, 187
frames
creating "key," 378
layering, 372-373
pasting, 379
tweening, 379
frames per second, 379
Free Distort filter, 77
Free Transform tool
adding energy/movement with,
106-107
alternatives to, 19, 20
contrasted with bounding box,
19-20
creating perspective with, 107
distorting objects with, 76
purpose of, 20
rotating and scaling objects with,
320
FreeHand, 412
French horn, 251
Fridberg, David, 409
Friskets, 8
fruit, 241
Full Screen mode, 25
Fund for Animals logo, 86-87
G
Gallery pages, xix
gamut warning, 32, 66, 363
Gary Newman Design, 410
Gates, Guilbert, 150,228, 342,409
Gaussian Blur effect, 277, 308,
309-310
geometric primitives, 11
420
General Index
geometric shapes, 11-12,78-80
See also shapes
GIF Builder, 358,412
GIF format, 360, 362
"GIF or JPEG" tip, 360
gift certificate template, xxii
gingham pattern, 118
Girvin, Tim, 69, 207, 409
Girvin Strategic Branding & Design,
408,409
global colors
for blends/gradients, 227
changing, 97,227
creating, 96-97
specifying tint percentages, 68
globe, 232
glossary, xvii, 2
glow effect, 229, 277, 286-287, 342,
353
"Glowing Starshine" lesson, 150, 342
Glyphs palette, xxiv, 180, 187
gnu-zipped format, 364
Golding, Mordy
on antialiasing, 375
contact information, 409
on editing envelopes, 300
Gallery page, 323
on warps in Illustrator vs.
Photoshop, 299
wine bottle, xxi, 297, 323
GoLive
and Adobe's Creative Suite, xx
and animation, 358
and dynamic graphics, 365
and HTML editing, 360
and Web graphics, 358
and Web page layout, 180, 374,
375
gondolier, 275
Good, Janet, 229, 409
Goodyear logo, 338
Gordon, Steven
Boston map title, 204-205, 265
Bryce Canyon virtual guide,
280-281
Cartagram Web site, 374-376
Chicago map, 278-279
contact information, 409
Great River Scenic Byway map,
174
map symbols, 316-317
Texas map title, 303
travel Web page, 377
Zion National Park label, 218
Zuni Pueblo book title, 216-217
Gorska, Caryl, 241, 409
Grace, Laurie, 108-111,166-167,
334-335, 409
gradient meshes. See also meshes
creating mask effects with, 333
Gallery pages, 249-251, 354-356
lessons on, 244-248, 348-349
and photorealism, 224
purpose of, 224
Gradient palette, 223, 226-227, 238,
243
Gradient tool
adjusting gradient angle with, 353
creating cut-out effect with, 240
customizing radial blends with,
241
exercise on Wow! CD, 238
opening Gradient palette with,
223
redirecting fills with, 238
unifying gradients with, 100, 238
gradients. See also blends
adding color to, 223
adjusting, 223, 226-227
applying to multiple objects, 223
automatically updating colors
for, 227
complexity of, 224
contrasted with blends, 225, 226
converting to meshes, 244-245
creating, 223, 243
creating illusion of, 223
customizing, 238
designing, 226
expanding, 244-245
and file size, 35
Gallery pages, 225, 239-243
lessons on, 226-227, 238,
244-248
linear. See linear gradients
manual trapping of, 100
naming, 227
radial. See radial gradients
resetting defaults for, 223
setting resolution for, 258
showing change of light to
shadow with, 244-245
storing, 226-227
stretching across multiple objects,
238
trapping, 30
unifying, 100, 238
varying angle/distance of, 223,
242
when to use, 226-227
Graph tools, 17-19
graph variables, 366
graphic design companies, 408-411
graphic styles
applying, 16-17, 302, 305, 307
creating library of, 305
defined, 17,302
lessons on, 304-307, 312-315
"live" nature of, 17
merging, 302
replacing, 17, 302
saving appearance attributes as,
302
saving warp effects as, 313
separating from objects, 302
simulating embossing with,
306-307
updating/replacing, 17
Graphic Styles palette
and appearance attributes, 302
creating new graphic styles in,
305
and effect attributes, 292
previous name for, 292
GraphicConverter, 358
graphics. See also artwork; images;
Web graphics
data-driven, 37, 365-366
dynamic, 365
for on-screen display, 358
Graphics Server, 366
graphics tablet, 126
See also Wacom tablet
graphs
changing style of, 17-18
creating pie charts from, 290
entering/importing data for, 17
inserting design elements into,
18-19
maintaining "graphness" of, 18
purpose of, 17
setting default style for, 17
ungrouping objects in, 18
updating with symbols, 20
using as templates, 19
grasses, 151
Gravity effect, 183
grayscale images, colorizing, 256
grayscale scans, placing color under,
161
Great River Scenic Byway map, 174
"greeked" type, 180
Greenburg, Adele Droblas, 409
Greenland map, 166-167
Greiman, April, 397, 409
grids
customizing, 27, 255
drawing, 12
hiding/showing, 27
positioning, 344
snap-to function for, 27
splitting objects into, 183
Grossman, Wendy, 409
Grossman Illustration, 409
Group command, 162, 169
Group layers, 160
Group Selection tool, 13
groups
assigning styles to, 279
Knockout, 284-285
organizing objects into, 13, 285
targeting all elements in, 264
using transparency with, 254
guidelines, perspective, 105
guides. See also Smart Guides
and blended objects, 177
converting lines into, 176-177
creating, 26-27
customizing, 203
locking/unlocking, 27, 177
setting preferences for, 27
snap-to property for, 9,177
guitar, 321
gzipped format, 364
H
Hallmark Cards, 320,411
halos, 311
Hamann, Brad, 115, 318-319, 392393, 409
hand/eye coordination, 41
hand-rendered effect, 216, 303
Hand tool, 4,34
handles, 7
hands, 398
handwritten typeface, 211
Happy Meal box, 99
hard drive, 2
Hard Mix Pathfinder, 72, 74, 90-91,
301
hardware
calibration, 28
requirements, 2
Hart, Steve, 226-227, 409
Hastings, Pattie Belle, 210, 409
hatch effects, 124, 298, 328
head tags, 376
Hebrew wedding certificate, 196-197
Heinemann Publishing, 252
Help menu, 35
Henkel, Rick, 93, 94, 96-97, 221,409
"Henkel-Flared Effect.ai" file, 221
Hess, Eric, 23
Hess, Kurt, 94,409
Hide command, 162
Hide Edges command, 22
Hide Page Tiling command, 4
Hide/Show Edges command, 28
hiding/showing
bounding box, 20
edges, 22, 28, 327
grids, 27-28
layers, 156,158,167
masks, 333
objects, 162
palettes, 16
rulers, 26
text threads, 184
tiling, 4
Hidy, Lance, 398,409
Highlight Substituted Fonts option,
189
highlights, 28, 79-80, 189, 274, 321
highway symbol, 279
Hilken, Barney, 412
hills, rolling, 244-245
holes
creating simple, 70
transparent, 118
using Subtract to cut, 89
holiday card, xxi, 326-327
Hollin, Kaoru, 146-148, 409
Hornall, John, 199,409
Hornall Anderson Design Works,
199, 409
hot door, 412
"Hot Rod Rocket" image, 403
houses, 42-47, 266-267
HSB color space, 30
HTML editors/files, 360, 376
human silhouettes, 88-89, 153
HyperText Markup Language, 360
hyphenation, xxv, 188
I
ICC(M) profiles, 28-29
Ice House Press & Design, 210, 408,
409
iconic images, 48-49
illustrations
See also graphics; images
educational, 105
magazine, 242, 286-287
General Index
421
illustration, continued
product, 78-80, 338-341
technical, 78-80, 92, 93
Illustrator 9 Wow! Book cover, 275,
353
Illustrator CS
advice for new users of, xviii
basic techniques for using, 2-37
course outline, xvi
flexibility of, 40, 94
glossary, xvii, 2
and hand/eye coordination, 41
integration with other Adobe
applications, xx,
xxii-xxiii
keys to mastering, 40-41
meaning of "CS" in, xx
new features, xx-xxvi
Scripting Guide, 37
system requirements, 2
tutorials, 412
User Guide. See User Guide
with other programs, 382-386
See also specific
programs
as Web design tool, 374-375
Illustrator Legacy Options dialog
box, 262
IllustratorCS Wow! Course Outline,
xvi
IllustratorCSWowCD. See Wow! CD
image formats, 32-33, 360, 362
image maps, 359-360, 377
ImageReady, 361
images
adding perspective to, 176-177
displaying different aspects of,
24-25
file formats for, 32-33, 360, 362
linked vs. embedded, 33, 382-383
modifying visibility of, 112
naming, 23
placing, 112
saving, 22-23
imagesetters, 32
importing
artwork, 172, 363
data for graphs, 17
to layers/sublayers, 172
symbols, 369
variables, 366
in-betweens, 220, 230, 379
in port, 182
In The Studio, 131,209,410
422
General Index
InDesign
and Adobe's Creative Suite, xx
book about, 187
and color management, 29
copying/pasting artwork from
Illustrator to, 385
and EPS format, 29
integration of Illustrator with, xx,
xxii-xxiii
online help, 385
as page layout tool, 180, 202
tutorials, 412
InDesign CS Visual QuickStart
Guide, 187
Industrial Illustrators, 229,409
Infini-D, 404
infographics, 236
"Ink Brush Strokes" lesson, 126-127
Ink Brushes library, 139
inks
contrasted with monitor colors,
28
hiding misrepresentation of, 30
misregistration of, 100
Inner Glow dialog box, 275-277, 286
inset shapes, 91
Intensity option, 124
interlaced GIF, 362
Intersect Pathfinder, 69, 72, 83-84
"Intricate Patterns" lesson, 116-117
Invert Mask command, 217
Isolate Blending option, 273, 283
isometric formulas
automating, 93
demonstration on Wow! CD, 93
lesson on, 92-93
and technical illustrations, 92
"Isometric Systems" lesson, 92-93
"It's a Knockout" lesson, 284-285
J
Jackmore, Lisa, 120,129,409
jagged edges, 104
Japanese fonts, 188
Jared Schneidman Design, 228,236,
342,409,411
JavaScript, 36, 364-365
Javier Romero Design Group, 191,
353,411
Jean Tuttle Illustration, 411
Jeep,340
Jennifer Diamond Foundation logo,
103
Joe Lertola Gallery, 145
John Burns Lettering & Design, 408
Join function, 14-15, 46-47
joining
error message, 14
exercises on, 46, 47
while averaging, 15,46-47
Joly, David, 238, 409
Jonen, Frank, 211,409
Jones, Joe, 407,409
JPEG format, 360, 362
JRDG, 411. See also Javier Romero
Design Group
JSD, 236, 342
justification settings/controls, xxv,
188,196
К
Kanzler, Diane Hinze, 86-87, 272273, 282-285, 409
Kanzler, John, 86-87, 106-107,
168-169,221,409
Kelley, Andrea, 78-80, 237,410
kerning, 303
Ketubah, 196-197
Keyboard Increment settings, 45,
92, 375
keyboard shortcuts
accessing tools with, 5
customizing, xvii, 5-6
for Mac vs. Windows, xvii
keyframes, 372-373. See also frames
Knife tool, 11, 113,238
Knockout Group feature, 257-258,
284-285, 355
knockouts
and compound shapes, 49
controls for, 257-258
as film prepress/darkroom
technique, 284
Gallery page, 355
lesson on, 284-285
purpose of, 284
Kodak Digital Science Color
Management, 28
Korean fonts, 188
L
labels, color, 96-97
LaMantia, Marc, 346-347, 410
Langeveld Bulb, 230
language support, xxv
Larsen, Tiffany, 118,276,410
Lasso tool, 12-13,93,245
layer-based slices, 361
layer masks, 255
Layer Options dialog box, 156,
157-158
"Layering Frames" lesson, 372-373
layers, 156-177. See also sublayers
adding to Layers palette, 156
assigning appearance attributes
to, 279
changing, by selecting object, 169
changing stacking order for, 157
color-coding of, 157,168
coloring black-and-white images
with, 168-169
creating, 156, 167
deleting, 156, 172
distributing objects to, 122, 361
drawing into, 172
duplicating, 156
exporting CSS, 365
exporting to Photoshop, 160
Gallery pages, 163, 173
hiding/showing, 156, 158, 167
importing art into, 172
lessons on, 164-172, 174-177
locking/unlocking, 156,158,175
moving objects between, 173
with names in italics, 158
naming, 157
nesting, 174-175
non-printing, 158
organizing, 170-172, 284
and pasted objects, 159
previewing, 167
printing, 158
purpose of, 156
reordering, 167
selecting items on, 162
selecting multiple, 156
separating symbols onto, 123
template. See Template layers
troubleshooting, 162
using transparency with, 254
for Web page content, 374-375
Layers palette
adding layers to, 156
creating clipping masks in,
331-332
display options for, 175
making selections in, 162
moving objects between layers
in, 173
navigating, 156
organizing, as nested hierarchy,
174-175
organizing groups of brush
strokes in, 267
organizing Web page content in,
374-375
performance considerations, 162
pop-up menu, 158-160
previewing animation in, 370
and transportation map, 163
layout programs, 180, 184, 202,
374-375
layouts
multi-column, xxiv
reflowing text in, 190
tools for creating, 180, 184, 202,
374-375
leaves, 150-151
legacy files, 32, 262
legacy text, 186
Lehner & Whyte, 240, 372,411
Lein, Adam Z, 290, 410
Lemke, Thorsten, 358
lens flare effect, 311
Lertola, Joe, 145, 286-287, 325, 386,
410
lessons, xvi
Add & Expand, 86-87
Antiquing Type, 216-217
Basic Appearances, 278-279
Basic Transparency, 272-273
Blurring the Lines, 308-310
Book Cover Design, 202-203
Brushed Type, 204-205
Building Brushes, 140-141
Building Houses, 42-47
Classic Icon, 48-49
Colorful Masking, 334-335
Colors with Layers, 168-169
Creating Simple Object, 53
Crunching Type, 212-213
Cubist Constructs, 90-91, 400
Custom Text Paths, 194-195
Cutting & Joining, 82-85, 90
Digitizing a Logo, 90, 164-165
Distort Dynamics, 106-107
Distort Filter Flora, 108-110
Divide & Color, 88-89
Embossing Effects, 306-307
Examining Blends, 226-227
Finger Dances, 54-61
Floating Type, 280-281
Glowing Starshine, 150, 342
Ink Brush Strokes, 126-127
Intricate Patterns, 116-117
Isometric Systems, 92-93
It's a Knockout, 284-285
Layering Frames, 372-373
Making Waves, 378-379
Map Techniques, 142-144, 163
Masking Letters, 200
Masking Opacity, 348-349
Mastering Mesh, 246-248
Modeling Mesh, 350-352
Nested Layers, 174-175
Objective Colors, 96-97
Off in a Flash, 368-370
Offset Fills, 214-215
Opacity Masks 101, 286-287
Organic Creation, 150-151
Organizing Layers, 170-172
Preparing Art, 132-133
Quick & Easy 3D, 316-317
Reflective Masks, 336-337
Rolling Mesh, 244-245
Scratchboard Art, 304-305
Scribble Basics, 326-327
Shades of Blends, 228
Shape Shifting, 392-393
Simple Realism, 78-80
Software Relay, 388-390
Stretching Type, 196-197
Symbol Basics, 146-148
Tinting a Scan, 282-283
Tracing Details, 166-167
Transparency 101, 266-267
Transparent Color, 268-271
Unified Gradients, 238
Unlocking Realism, 234-235
Varied Perspective, 176-177
Vector Photos, 112-114
Warps & Envelopes, 312-315
Webward Ho!, 374-376
Zen Rotation, 52
Zen Scaling, 50-51
letterform paths, 140
letterhead template, 4
lettering
artist, 198
building brushes for, 140-141
letters. See also fonts; text; type
applying brushes to, 204-205
converting to outlines, 198
distorting, 210, 213
elongating, 196
embossing, 306-307
filling with patterns/gradients,
191,214-215
masking, 191, 200-201
stretching, 196, 197
Liang, Ma Zhi, 249,410
Liberty, Statue of, 225
General Index
423
libraries
auto-opening, 364
saving, xxvi, 67
using objects as, 94
license plate, 306-307
ligatures, 187
Lightwave 3D, 386
line breaks, 188
Line Segment tool, 7
linear gradients. See also gradients
creating stylized look with, 239
creating woodcut effect with, 243
expanding to gradient meshes,
244-245
filling shapes with, 244, 251
lesson on, 244-245
lines
attaching to circles, 84-85
converting to guides, 176-177
creating anchor points for, 7
refining with Pencil tool, 165
shading, 228
linked image(s)
applying filters/transparency to,
382
and file size, 35, 382
variables, 365, 366
vs. embedded, 33, 382-383
"Links are manageable" tip, 31
Links palette, 31, 172
Liquify tools, 76
live effects, 292, 299. See also effects
LiveMotion, 363
Livingston, Randy, 410
lobster, 239
Locate Layer command, 175
Locate Object command, 175
Lock command, 161
Lock Guides command, 177
lock illustration, 234-235
locking/unlocking
guides, 27, 177
layers, 156, 158, 175
objects, 161
logos
adapting for multiple applications,
102
constructing, 48-49
digitizing, 90, 164-165
trying range of designs for, 103
LogoSpruce, 412
lossy compression, 362
Louis Fishauf Design Limited, 401
424
General Index
Louveaux, Pierre
on antialiased artwork in Acrobat,
386
on expanding compound shapes,
74
on extracting path from mesh,
224
on outlining dashed strokes, 76
on preventing color shifts, 382
on targeting groups/layers, 264
on using transparency, 254
Lynch, Patrick, 410
M
Ma, Zhiliang,249,410
Mac OS X, 19, 262
See also Macintosh
Mac Software, Barney's, 412
Macadangdang, Todd, 124,328,410
Macintosh
and color management, 28
finger dances, 56, 58,60
and Page Setup button, 4-5
and PDF format, 19
rendering engine, 262
scripting languages, 36
system requirements, 2
MacPrePress, 411
Macromedia
contact information, 412
Director, 358
Dreamweaver, 180, 360
Fireworks, 412
Flash. See Flash
FreeHand,412
M.A.D.,48,410
magazine advertisements, 405
magazine illustrations, 242, 286-287
Magiera, Rob, 382, 388-391,410
magnification percentages, 27
magnifying glass, 226-227
Mah, Derek, 220
Mahannah, Jacqueline, 139,410
Make Guides command, 177, 203
Make Opacity Mask command, 217,
218, 256, 289
Make Text Dynamic button, 366
Make Text Wrap command, 185
"Make Time" illustration, 88-89
"Making Waves" lesson, 378-379
"Manual Trapping" tip, 100
map symbols, 316-317, 324
"Map Techniques" lesson, 142-144,
163
map titles, 204, 303
Mapcraft Cartography, 406, 411
mapping artwork, 297, 319, 323
Mapping Services, 163,410
maps
bike, 138
Chicago, 278-279
city bus, 142-144
creating layer structure for,
174-175
Great River Scenic Byway, 174
Greenland, 166-167
image. See image maps
Sonoran Desert, 324
sources of, 410,412
transportation, 163
United States, 325
William Patterson University, 406
MAPublisher, 412
Mardi Gras illustration, 276
Margolis-Pineo, Elizabeth, 410
marks, crop, 116,203
Marks & Bleed section, Print dialog,
xxv
Marquardt, Rob, 410
mascots, 388-391
mask-editing mode, 287
masking. See also masks
advanced techniques, 330-333
blend objects, 237, 334-335
combining gradient meshes with,
250
lessons on, 200, 334-337,
348-349
letters, 191,200-201
RAM considerations, 333
raster shapes, 390
"Masking Letters" lesson, 200
"Masking Opacity" lesson, 348-349
masks. See also masking
clipping. See clipping masks
finding, 333
hiding, 333
identifying, 332
inserting objects in, 332
layer, 255
opacity. See opacity masks
RAM considerations, 333
reflective, 336-337
troubleshooting, 333
using gradient meshes in place
of, 333
using multiple objects as, 330
"Mastering Mesh" lesson, 246-248
Matrix logo, 69,207
MAX, 410,411
Maxson, Greg, 341, 410
McCollum, Scott, 410
McDonald's packaging, 99,176
McShane, Patricia, 48, 410
measurement units, 7, 15,228
mechanical objects, 78-80, 404
medallions, 345
Medical and Biological Illustration,
410
Medical Economics magazine, 238
Medical Illustration & Graphics, 408
medical illustrations, 137,145,408
memory. See RAM
menus
Illustrator CS, 5-6, 6
restaurant, 372-373
Merge Pathfinder, 72, 206
mermaid, 125
mesh objects, 224. See also meshes
mesh points, 224
Mesh tool, 224, 245, 248, 251, 252
meshes. See also gradient meshes
adding columns/rows to, 248
aligning/straightening, 351
applying shading effect with,
314-315
coloring, 352
combining masking techniques
with, 250
complexity of, 224
converting gradients to, 244-245
converting paths to, 224
creating envelopes from, 300
editing, 245
lessons on, 244-248, 350-353
modeling, 350-352
painting with, 151
and photorealism, 224,249
printing, 248
rotating portions of, 350
setting resolution for, 258
shading with, 314-315
"Meshsmith" art piece, 350-352
meta tags, 376
metallic reflectivity, 234
metallic surfaces, 341
MetaTools, 404
Microsoft
Excel, 290, 384
Office, xxii, xxiii
Windows. See Windows
Miles Fridberg Molinaroli, 409
"Millard and the Pear" animation,
368-371
Mini Cooper, 66, 339
Minus Back Pathfinder, 70, 72
Minus Front Pathfinder, 206, 209
mist effect, 289
Mitch Shostak Studios, 411
Miter joins, 75-76
Miyamoto, Yukio
cat, 224, 256
contact information, 410
French horn, 251,356
Gallery pages, 250-251
motorcycle, 250
mockups, 37
"Modeling Mesh" lesson, 350-352
modifier keys, 42
monitor
calibration, 28
resolution, 2
Monroy, Bert, 134,136, 378-379,
387,410
moon-glow effect, 151
Moonlightpress Studio, 411
Mordy Golding Gallery, 323
morphing, 220, 230
motion effect, 379
motorcycle, 250
mouse, drawing freehand with, 12
movie poster, 311
MS Office, xxii, xxiii
Miiller-Lance, Joachim, 206,410
multi-column layouts, xxiv
multinational fonts, 188, 190-191
MultiPage, 412
mural, 397
Murphy, Mark, 372
N
Name View, Swatches palette, 99
naming
brushes, 121
colors, 97
files, 23
gradients, 227
images, 23
layers, 157
patterns, 117
sublayers, 269-270
swatches, 97,98
views, 24
National Park Service, 324, 410
naturalistic images, 282
See also photorealism
Navigator palette, 26
Neal, Brad, 234-235, 338, 410
Neal, Thomas, 69,410
negative space, 89
Nelson, David, 142-143,163,167,
190,410
neon sign, 387
"Nested Layers" lesson, 174-175
New Art Has Basic Appearance
option, xviii, 265, 266, 268,
296
Newman, Gary, 70,201,410
newsletter template, xxii
Newsweek infographic, 236
Niagara Falls image, 115
North Face camping equipment, 237
Nunes Farms package design, 241
О
Object Highlighting preferences, 28
"Objective Colors" lesson, 96-97
objects. See also shapes
appearance attributes for, 16
applying effects to, 293
See also effects
applying gradients to, 223, 238
See also gradients
applying graphic styles to, 16-17
See also graphic styles
assigning URLs to, 359-361
controlling stacking order of,
160-162
creating custom guides from, 27
creating see-through, 284-285
creating simple, 53
deleting stray points from, 10, 77
deselecting, 56-61
distorting, 76-77
distributing to layers, 122, 361
extruding, 294-295, 321
filling, 16, 65, 79
grabbing, 56, 57
group-selecting, 60,61
grouping/ungrouping, 13, 285
hiding/showing, 162
highlighting, 274
inserting in masks, 332
joining, 46
linking text, 184
locking/unlocking, 161
making compound, 49
moving, 56-61, 173
overlapping. See overlapping
objects
resizing, xxvi, 6
General Index
425
objects, continued
revolving, 295, 318-319, 320,
322, 324
rotating, 296, 324
scaling, 20,21,22, 50-51
selecting, 12-14, 160,161
snapping to guides/points, 9
specifying numerical location
for, 20
stroking, 16,65
targeting, 161
tinting, 79
using as "libraries," 94
using color labels to find, 97
wrapping text around, 185
ocean trenches, 236
"Off in a Flash" lesson, 368-370
Office, Microsoft, xxii, xxiii
Offset command, 91
Offset effect, 215
"Offset Fills" lesson, 214-215
Offset Path command, 224
Offset Path dialog box, 215
olives, 224, 355
Olson, Robin AF, 121,158
Olympic Games mascots, 388-391
opacity masks, 255-257
creating/applying, 217, 218, 256,
287, 354
creating monotone image with,
256
disabling, 257
editing, 255
and fills, 217
identifying, 256
lessons on, 286-287, 348-349
purpose of, 255
source materials for, 287
tips for working with, 256-257
"Opacity Masks 101" lesson, 286-287
Opacity slider, 269, 273, 285
Open Library command, xxvi, 31
"Open-Type_Guide.pdf" file, 187
OpenType fonts, xxiii-xxiv, 186-187
OpenType palette, xxiv, 180,187
Optical Kerning feature, xxiv
Optical Margin Alignment feature,
xxiv
Optima font, 216
optimizing
GIF files, 360
patterns, 117
slices, 362-363
Web graphics, 358, 360, 361
"Organic Creation" lesson, 150-151
426
General Index
"Organic" text, 284-285
organizing
artwork, 156,174
brush strokes, 267
colors, 96, 98
layers, 170-172, 284
objects, 13,285
sublayers, 170
"Organizing Layers" lesson, 170-172
origin, ruler, 26,161,202
Orlando bus map, 142-143
ornaments, 187
out-of-gamut warning, 32, 66,363
out port, 182, 184
Outline mode, 7-8,42,158,167
Outline Pathfinder, 72
Outline Stroke command, 91,100,
208
outlines
converting text/type to, 189-191,
197, 198
Illustrator CS course, xvi
outlining
dashed strokes, 76
paths, 91
small type, 190,191
"Outlining Dashed Strokes" tip, 76
overlapping objects
applying Soft Mix to, 90-91, 283
creating/positioning, 86-87
designing images/symbols with,
82-83, 88
dividing, 88
Overprint Fill option, 100
Overprint Preview mode, 25, 35,261
overrides, 186
р
package design, 241,288,289
page layout programs, 180, 184, 202,
374-375
Page Setup dialog box, 4-5, 34
page tiling, 4
Page tool, 4
PageMaker, 29, 37,180
Paidrick, Ann, 224, 354-355, 410
Paint Bucket tool, 67-68, 68, 190
paint programs, creating brush
strokes in, 140-141
Paintbrush tool, 266-267, 269
Painter, Corel, 8, 140-141, 412
Painter Wow! Book, The, 141
painting
along paths, 121
with brushes, 140-141,150-151
lesson on, 268-271
with meshes, 151, 246
with symbols, 150-151
palettes. See also specific palettes
accessing, 15
cycling through expanded/
collapsed views of, 16
hiding/showing, 16
regrouping, 15
resizing, 15
restoring default settings for,
15-16
setting measurement units for,
7,15
setting up, xvii-xviii
tear-off, 6
panda, 322
Pantone
Color Specifier, 98
contact information, 412
swatch libraries, 30,67,101
Papciak-Rose, Ellen, 131, 209, 252,
304-305, 410
Paragraph Styles palette, xxiv, 180,
185-186, 187
Paste As Paths option, 379
Paste As Pixels option, 379
Paste in Front/Back commands, 161,
198
Paste Remembers Layers feature,
159,332
Pastels effect, 395
pasting
artwork, 370, 383-384, 385
frames, 379
paths, 46, 390
Path Type Effects options, 183
Path type object, 191
Path type tool, 183, 185
Pathfinder commands
See also Pathfinder palette;
specific commands
basic path construction with,
82-85
chart, 72-73
creating objects as basis for, 90-91
"destructive" nature of, 69, 74
permanently applying, 82
purpose of, 69, 74
Pathfinder effects, 300-301
Pathfinder group alert, 301
Pathfinder palette
combining objects with, 68-69
commands chart, 72-73
lessons on uses of, 69
restoring Hard/Soft Mix to, 91
setting traps in solid objects with,
30
Pathfinder Trap filter, 100
Pathfinders
See Pathfinder commands
paths
adding strokes to, 305
applying brushes to closed, 133
automatically creating
intermediate, 232
closing, 85
combining into new objects, 9
constructing with Pathfinders,
82-85
converting compound shapes
to, 87
converting to meshes, 224
creating, 49, 88
creating custom guides from, 27
cutting, 11,46,85
defined, 6
deleting excess anchor points
from, 77
deleting sections of, 10-11
dividing overlapping, 88
joining, 85
making blends follow, 221-222
making compound, 49
offsetting, 91
outlining, 91
pasting, 46, 390
placing text along, 183, 194
positioning, 88
reshaping, 10
rotating part of, 52
selecting, 12-13
simplifying, 142
smoothing points on, 10
tools for editing, 9-11
pattern brushes, 121, 134-135, 151
patterns
creating, 76, 214
creating fabric textures with, 118
designing complex, 116-117
filling lettering with, 215
manual trapping of, 100
naming, 117
painting along paths, 121
repeating, 117
testing/optimizing, 117
trapping, 30
Patterson, Tom, 324, 410
"PDF compatibility" option, 24, 383,
385
PDF format
and AI files, 24
choosing specific version of,
xxiii, 31
and commercial printers, 32
creating files in, 385
and crop areas, 386
editing files saved in, 386
flavors of, 262
Illustrator CS support for, xxiii,
31-32
and Mac OS X, 19
meaning of acronym, 31
presets for, 31-32
purpose of, 385
and transparency, 262
Peachpit Press, 411
Pelavin, Danny, 334-335,410
"Pen and Eyedropper" technique,
308
pen-and-ink drawings, 126-127,152
Pen tool
Auto Add/Delete function of,
9-10
avoiding common mistakes with,
10
basic cursor feedback for, 8-9
creating anchor points with, 7
creating Bezier curves with, 7, 8
drawing curved path with, 194
tracing templates with, 165
Pencil tool
Fidelity/Smoothness options, 12
refining lines with, 165
reshaping paths with, 10, 193
setting options for, 166
tracing with, 165,166-167
pencils, 334-335
Pendarvis, Cher Threinen-, 141, 200,
410
performance considerations
Layers palette, 162
rasterizing/screen redraw, 117
perspective
adding to images, 176-177
changing objects, 296
creating, with Free Transform
tool, 107
guidelines, 105
Perspective (hot door), 412
Petit, Teri, 221
photographs
posterizing, 276, 328, 346, 347,
386, 399
tracing, 130, 251,308, 346
photorealism. See also product
illustrations; realism
with blends, 234-235, 308-310
with effects, 308-310
with gradient meshes, 224, 249,
250
with gradients, 250
Photorealistic Techniques with
Photoshop & Illustrator,
387
Photoshop, 388-405
and Adobes Creative Suite, xx
books about, 141,387
creating brush strokes in, 140-141
exporting layers to, 160
exporting paths to shapes in,
392-393
Gallery pages, 387, 391, 394-405,
407
integration of Illustrator with, xx,
xxii-xxiii, 384
lessons on, 388-390, 392-393
moving artwork from Illustrator
to, 384
pasting frames into, 379
rasterizing in, 30
Text Warp feature, 299
tutorials, 412
Photoshop Studio with Bert Monroy,
387
Photoshop Wow! Book, The, 141
pie chart, 290, 384
Piguet, Yves, 358
pimentos, 355
Pirman, John, 88,410
Pixel Preview mode, 25, 358, 365,
374, 375
pixelated effect, 397
pixels, 364
pixels per inch, 383
Place command, 82, 112, 194
Placement Options command,
365-366
placesetters, 32
placing
color, 161
images, 112
sketches, 82
text along paths, 183, 194
PlanTea logo, 198
Plastic Shading option, 297, 321, 322
General Index
427
playing cards, 302
PNG format, xxii, 363
"point map" technique, 220, 235
Point Type objects, 181, 191, 203, 221
Pointillize effect, 346
Polar Grid tool, 12,344
Polygon tool, 11,44,45
portraits, 249
ports, in/out, 182, 184
"Ports illustrated" tip, 182
posterized effect, 276, 328, 346-347,
386, 399
PostScript
emulation, 33
language, 33, 34
printers, 2, 33-34, 258
"white paper" on, 34
Pounds, David, 399,411
power-keys. See also finger dances
importance of mastering, 41, 54
lessons on, 56-61
quick reference card, 54
rules for using, 54-55
ppi, 383
Precision Graphics, 341
Preferences, 2
Premier (Adobe), 358
"Preparing Art" lesson, 132-133
prepress/production services, 412
See also service bureaus
Preserve Text Appearance option,
193
Preserve Text Editability option, 193
presets
compression, 361
flattener, 259-261
PDF, 31-32
Scribble effect, 327
transparency, 254
pressure-sensitive devices, 126
Preview mode
interrupting, 25
toggling between Outline mode
and, 158,167
previewing
animations, 370
flattening, 260-261
layers, 167
overprints, 260
prior to printing, 5
primitives, geometric, 11
Print dialog box
controlling page size/orientation
with, 4-5
new features, xxv, 34
428
General Index
and Page Setup options, 4-5
previewing page with, 5
Print presets, 5
printers
calibrating, 101
PostScript, 2, 33-34, 258
preparing PDF files for
commercial, 32
resolution considerations, 383
separation ICC(M), 28-29
printing
to file, 383
gradient mesh objects, 248
hidden objects, 160, 162
layers, 158
new features, xxv, 4-5
previewing prior to, 5
profiles, 28-29
proofing prior to, 34
troubleshooting, 34, 258
Web-ready, 34
Private Chef logo, 210
problems. See troubleshooting
process colors
converting spot colors to, 97
and printer calibration, 101
selecting from swatch libraries,
30, 67, 97, 101
procreate (Corel), 412
product illustrations, 78-80,
338-341
See also photorealism
progressive JPEG, 362
Projecting caps, 75
proofing
for final printing device, 28-29
and ICC(M) profiles, 28-29
on laser printer, 34
on-screen, 29
with Overprint Preview, 35
PS3 "white paper", 34
PSD format, 388-390, 391, 392, 393
Pucker & Bloat filter, 77
Pucker tool, 76
pumpkins, 222
Q
"Quality Control" illustration, 242
QuarkXPress, 29, 37, 180, 202
Quartz, 262
"Quick & Easy 3D" lesson, 316-317
Quick Masks, 388
QuicKeys, 55
QuickTime, 412
R
rabbit, 388-390
radial gradients. See also gradients
creating stylized look with, 239
defined, 223
editing, 244
filling objects with, 109-110, 243
lessons on, 109-110,238
relocating center of, 238
rainbow, 285
Rainbow effect, 183
RAM
and blends, 220
and masks/masking paths, 333
system requirements, 2
raster effects, 293. See also rasterizing
raster images. See also rasterizing
contrasted with vector, 261
converting vector art to, 359
dimming, 158
distorting, 76
and Knockout controls, 257
masking, 390
and trapping, 30, 100
and Web applications, 359
Raster/Vector Balance setting, 258,
261-262
Raster/Vector slider, 35
Rasterize and Flatten Transparency
command, 30
Rasterize dialog box, 309
rasterizing
defined, 359
of drag-and-drop artwork, 384
and Gaussian Blur effect, 310
in Photoshop, 30
with Rasterize and Flatten
Transparency, 30
resolution settings for, 348
to speed up screen redraw, 117
Ray Dream Studio, 407
rays, 311
Reactor Art + Design, 208
Reader (Adobe), xxiii, 24
realism. See also photorealism
from geometry/observation,
78-80
unlocking, with blends, 234-235
Rectangle tool, 44, 78
rectangles, 44, 78, 183
Rectangular Grid tool, 12
Red Grape, The, 372
Reflect tool, 47, 85, 341, 344, 367
reflections, 234-235, 336-337, 355
"Reflective Masks" lesson, 336-337
registration problems, 100
Release to Layers command, 361
Remington, Dorothy, 101, 411
rendering engine, 262
Rendez-vous Cafe image, 134,136
Replace Spine command, 222
replacing
brushes, 143
fonts, 188-189
graphic styles, 302
spine of blends, 221-222
Reset Palette command, 16
Reshape tool, 22
resizing
appearances, 306
objects, xxvi, 6
palettes, 15
selections, 6
symbols, 147
text, 190
resolution
gradient, 258
live effects, 261
mesh, 258
monitor, 2
of placed images, 383
ppi, 383
printer, 383
raster effects, 293
rasterization, 348
resolution templates, 36
resources, 412
restaurant menu
artwork, 372-373
template, xxii, 4
Retrospect, 23, 412
Reverse Front to Back command,
222
Reverse Spine command, 222
Revert command, 24
Revolve command, 295
RGB color
converting to/from CMYK,
29-30, 359
meaning of acronym, 28
and monitor calibration, 28
and print output, 29
and Web output, 358-359
RGB-to-CMYK conversions, 29-30,
359
rings, 311
Rings option, Flare tool, 311
"Road Lessons" illustrations, 243
rocket ships, 318-319,403
rolling hills, 244-245
"Rolling Mesh" lesson, 244-245
"Roman Life" illustrations, 105
Romero, Javier, 191, 353, 411
Rotate tool, 44, 344, 350, 351
rotating
3D objects, 296, 324
around center point, 52
parts of meshes, 350
parts of paths, 52
rectangles, 44
symbols, 148
rotation lessons, 52
Rough Pastels effect, 395
Roughen dialog box, 215,216
Roughen effect, 215
Roughen filter, 77,110
Round caps, 75
Round joins, 76
Rounded Rectangle tool, 11-12, 78
rows
adding to meshes, 248
creating from non-type objects,
183
defining characteristics of, xxiv
rulers
hiding/showing, 26
origin for, 26, 161,202
setting measurement units for, 7,
228, 364
S
sailboat, 343
sailor boy, 164
salamander, 282-283
sampling, color, 68, 114, 115
sand effect, 151
Santa, 277
Saturate filter, 74-75
saturation sliders, 98
Save As command, 22, 31
Save as PDF button, 19
Save As Template command, 36
Save for Microsoft Office command,
xxii, xxiii
Save for Web command, 358, 360,
361, 362-363, 376
"Save for Web" tip, 361
Save Library command, xxvi
Save Swatch Library command, 67,
68
saving
appearance attributes, 302
effect attributes, 292
files, 22-23
images, 22-23, 166
mixed colors, 66
in PDF format, 31-32
resolution settings, 36
slices, 376
swatch libraries, xxvi, 67
transparency settings, 254
warp effects, 313
saw blade, 341
Scalable Vector Graphics format
See SVG format
scale, self-adjusting, 144
Scale Strokes & Effects preferences,
124
Scale tool, 6
scaling
artwork, 122
brushes, 122
effects, 292
lesson on, 50-51
objects, 20, 21,22, 50-51,320
"Scaling & Scatter Brushes.ai" file,
124
Scallop tool, 76
ScanFont plug-in, 211
scanning
artwork, 164-165
black-and-white images, 168-169
and blending modes, 161
grayscale, 161
sketches for use as templates, 90
scans, tinting, 282-283
scatter brushes, 121, 124, 150,406
Schneidman, Jared, 95, 236, 409, 411
Scholastic Book Fairs cover, 394
Schwabauer, Mike, 298, 320, 411
Scissors tool, 11,85, 132
"Scratchboard Art" lesson, 304-305
Screen Blend mode, 352, 355
screen redraw, speeding up, 117
Screener tool, Symbol, 123, 147-148,
149
"Scribble Basics" lesson, 326-327
Scribble effect
changing settings for, 214, 298
creating "antiqued" letters with,
216-217
creating hatches with, 124, 298
creating holiday card with, xxi
creating irregular pattern with,
214
lesson on, 326-327
purpose of, xxi, 298
settings/presets for, 327
General Index
429
Scribble Options dialog box, 214,
298
scripting
guide, 37
languages, 36
new features, xxvi
Scripting Guide, Adobe Illustrator
CS, 37
Scruncher tool, Symbol, 123
Seabaugh, Max, 411
seascapes, 231
seashells, 128
see-through effect, 284-285
selecting
all objects, 160
anchor points, 12-13
artwork, 162
color spaces, 29-30
layers, 156
with Layers palette, 162
objects, 160, 181
paths, 12-13
stray points, 77
text/type, 180, 181
troubleshooting, 159
vs. targeting, 161
"Selecting type by accident" tip, 180
Selection tools, 12-13
separation ICC(M) printers, 28-29
Separation Setup dialog box, 34
service bureaus
and color matching, 101
cost considerations, 34
and font licenses, 190-191
preparing images/files for, 33-35
and RGB-to-CMYK conversions,
29
"Shades of Blends" lesson, 228
shading
creating highlights with, 321
with meshes, 314-315
surface, 296-297, 322
vertical line, 228
shadows. See also drop shadows
creating, 80, 283
preventing double, 283
preventing overlapping of, 283
showing change of light to,
244-245
simplifying, 283
simulating colors for, 248
using blends for, 227
Shape modes, 71
Shape Options dialog box, 281
"Shape Shifting" lesson, 392-393
430
General Index
shapes. See also objects
combining simple, 68-69
compound. See compound shapes
creating simple, 48-49
exporting paths to, 392-393
mapping artwork onto, 297, 319,
323
Sharif, Robert, 321,411
Shear tool, 22,338
Shields, Charles, 411
Shifter tool, Symbol, 148
shoe yev ska design, 411
shortcuts. See keyboard shortcuts
Shostak, Mitch, 411
Show All command, 162
Show Grid command, 27
Show Page Tiling command, 4
Show Tool Tips option, 5
Show Transparency Grid command,
27
showing/hiding
bounding box, 20
edges, 22, 28, 327
grids, 27-28
layers, 156, 158, 167
masks, 333
objects, 162
palettes, 16
rulers, 26
text threads, 184
tiling, 4
silhouetted human figures, 88-89,
153
Silicon Graphics, 405
"Simple Realism" lesson, 78-80
Simplify command, 77, 117, 142, 224
Simulate Colored Paper option, 255
Simulate Paper option, 262
Single-line Composer, 188
Sizertool, Symbol, 123, 147, 149
sketches
creating, 82,168-169
lending painterly look to, 125
placing, 82
preparing for tracing, 267
scanning for use as templates, 90
Skew effect, 183
"Skin Deep" image, 145, 386
sleeping bag, 237
Slice Select tool, 362, 376
Slice tool, 361,376
slices
applying to objects, 360
creating, 360-361, 376
deleting, 376
exporting, 361
layer-based, 361
optimizing, 362-363
purpose of, 360, 376
saving, 376
user, 361
sliders
color saturation, 98
opacity, 269, 273, 285
raster/vector, 35
Smart Guides
and envelopes/warps, 300
incorporating in workflow, 27
and large files, 28
preferences for, 28
and Scissors tool, 85
Smart Objects, 365
smoke effect, 350, 351-352
Smooth tool, 10, 12, 167
Smoothness option, 12
snap-to arrows, 9
Snap to Grid command, 27
Snap to Pixel option, 375
Snap to Point option, 9, 92-93
snap-to property, for grids/guides, 9,
27, 177
SnapzPro/ProX, 412
sneaker logo,102
sneakers, 340
Snoopy, 99,176
snowman, 53
"Soaring Hearts Futons" logo, 23
Soft Mix Pathfinder, 72, 74, 90-91,
301
"Software Relay" lesson, 388-390
Sonoran Desert map, 324
"Special Brushes" supplement,
152-153
special characters, 187
See also Glyphs palette
Special Modern Design, 103
speed
blend, 220, 235
screen redraw, 117
of swatch creation, 97
Spindler, Steve, 138,411
spine, blend, 221-222
Spinner tool, Symbol, 123, 148, 149
Spiral tool, 11
Splash brush, 205
Split into Grid command, 183
Spollen, Chris, 403, 411
spot colors, 96-97, 259
Sprayer tool, Symbol, 123, 147
stacking order
for Appearance palette, 265
for layers, 157
for objects within layers, 160-162
for symbols, 148
for text boxes, 191
Stahl, Nancy, 170-173, 275,411
Stainer tool, Symbol, 123, 147-148,
149
Stair Step effect, 183
Standard Screen mode, 25
Stankiewlcz, Steven, 233,411
Star tool, 11
stars, 150,319,343
Statue of Liberty, 225
Stead, Judy, xxi, 326-327, 394-395,
411
Steuer, Sharon
"Bubbles" image, 274
contact information, 411
dog pen-and-ink drawing,
126-128
flower painting, 268-271
Gallery page, 149
house drawing, 266-267
message from, xvi
pumpkins, 222
rolling hills, 244-245
stars and trees painting, 150-151
Web site, xvi
"SteuerSharon-Pumpkin Blend.ai"
file, 222
Steve Spindler Cartography, 411
stitching, 258
stock car, 338
Stone, Sumner, 206
Strata, 386,412
Strata3Dplus, 412
stray points, 10, 77
Streamline, 112,129,386
"Stretching Type" lesson, 196-197
Stroke icon, 16
Stroke palette, 75
stroke weight, 6
strokes. See also brush strokes
adding to appearances, 264-265
adding to paths, 305
copying, 17
defined, 64-65
offsetting, 304-305
outlining dashed, 76
setting measurement units for, 7
swapping attributes for, 65, 85
using transparency with, 254
Structure Tone brochure, 95
Style Sheets, Cascading, 365
Styler tool, Symbol, 123, 147-148
styles
character/paragraph, xxiv, 180,
185-186, 187
end cap, 75
graph, 17
graphic. See graphic styles
group, 279
Styles palette, 292
Stylize commands, 299
stylized images, 239
sublayers
creating, 269
deleting, 172
exporting, 156
and hierarchical layer structure,
160-161
importing art into, 172
naming, 269-270
organizing, 170
and print productions, 158
purpose of, 156
selecting items on, 162
troubleshooting, 162
Subtract Pathfinder, 72, 88-89
subtractive colors, 29
subway exit, 347
Sudick, Barbara, 189,411
sun, 107
surfaces
mapping artwork onto, 297
reflections off of, 355
shading, 296-297, 322
Sutherland, Brenda, 265, 297
SVG 3.0 plug-in, 363
SVG format
and alpha channels, 363
benefits of, 364-365
compressing/decompressing, 364
exporting, 365
and JavaScript, 365
meaning of acronym, 364
and Save for Web dialog box, 363
and Symbol artwork, 123
viewer for, 363, 364
SVG Interactivity palette, 365
SVG Viewer, 364
SVGZ format, 364
Swap Fill/Stroke arrows, 85
swashes, 187, 303, 327
swatch libraries, 30-31, 67, 359, 364
Swatch Options dialog box, 66-67
swatches
changing attributes of, 66-67
deleting, 67
naming, 97,98
sorting by name, xvii
speeding creation of, 97
Web-safe, 359
Swatches palette
accessing swatch libraries via,
30,67
default settings for, 30-31
saving as custom swatch library,
67
saving mixed colors in, 66
and Sort by Name option, xvii
using global colors in, 68
viewing color names with, 99
SWF format, 123, 363-364, 373
"Symbol Basics" lesson, 146-148
symbol instances, 123-124, 369, 371
See also symbols
Symbolism tools, 123-124,146-149
symbols, 123-124, 146-151
adding to instance sets, 123
as alternative to artwork copies,
80, 363, 367
applying, 147
assembling artwork from, 367
blending between, 221
changing color/transparency of,
147-148
changing intensity of, 124
changing stacking order for, 148
creating, 123, 147
deleting, 148
editing, 371
Gallery pages, 149
lessons on, 146-148,150-151
managing, 142-143
mapping, 297
moving, 148
painting with, 150-151
resizing, 147
rotating, 148
and Scale Strokes & Effects
preferences, 124
separating onto layers, 123
and Shockwave Flash files, 80
spraying onto documents, 123
and SWF files, 363
updating graphs with, 20
vs. scatter brushes, 124
Symbols palette, 123
symmetrical designs, 344
system requirements, 2
Szujewska, Laura, 194-195, 411
General Index
431
т
T-shirt logo, 102
tab-delimited text format, 17
tab leaders, xxiv, 182-183
Tabs palette, 182-183
tapered brushes, 143-144
targeting, 161, 264
Tate, Clarke, 99,411
Taurus, 338
tear-off palettes, 6
technical illustrations, 78-80,92
Techniques sections, xix
Template layers, 157, 158,164,166
templates
accessing, xxii
creating documents from, 3-4
file extension for, 3
Illustrator's built-in, xxii, 4
placing, 82
purpose of, xxii
saving resolution settings in, 36
tracing, 82-83, 165
using graphs as, 19
Templates feature, 358
Templates folder, 3
tents, 237, 316-317
text. See also fonts; type
changing appearance of stroked,
190
converting to outlines, 189-191,
197, 198
determining where line breaks
occur in, 188
distorting, 210, 213190
formatting, 185-186
getting professional help with, 189
hyphenation in, 188
justifying, 188,196
legacy, 186
placing along path, 183,194
preserving editability of, 193
reflowing, 190
resizing, 190
restyling, 190
selecting, 181
setting measurement units for, 7
stacking order for, 191
using transparency with, 254,
284-285
working with threaded, 184-185
wrapping around objects, 185
text buttons, 265
text engine, 186
Text Label Hints preferences, 28
432
General Index
text variables, 365, 366
Text Wrap Options dialog box, 185
texture maps, 407
Thomas-Bradley Illustration &
Design, 69,234, 336-337,
410,411
threaded text, 184-185
three-dimensional effects
See 3D effects; 3D objects
Threinen-Pendarvis, Cher, 141, 200,
410
TIFF format, 166
tiling, 4
Tim Girvin Strategic Branding &
Design, 207
Tim Webb Illustration, 411
TIME magazine, 145, 286, 325, 409,
410
Tinkel, Kathleen, 8, 191,411
tinting
lesson on, 282-283
specifying percentages for, 68
using fills for, 79
"Tinting a Scan" lesson, 282-283
Tip boxes, xviii
Toast Design, 410
Todd Macadangdang Gallery, 328
tomatoes, 224, 354
Tool Tip option, 5
tool tolerance options, 12
tools. See also specific tools
assigning shortcuts to, 5-6
tearing off subsets of, 6
Torres, Ivan, 246-248, 348-352, 367,
411
Toyo.30, 101
tracing
artwork, 126, 267
with auto-tracing program, 112
lesson on, 166-167
with Pencil tool, 166-167
photos, 130, 251, 308, 346
preparing sketch for, 267
saving images for, 166
templates, 165
"Tracing Details" lesson, 166-167
Transform Each command, 19, 20,
22
Transform Effect dialog box, 307
Transform effects, 292
Transform palette, xxvi, 19, 21
Transform Tools preferences, 28
Transformation Effect, 22
transformations, 19-22
modifying, 21
performing multiple, 22
repeating, 21
types of, 19
undoing, 19
transforming
with isometric formulas, 93
lettering/type, 212-213, 303
objects, 19-22, 293-294
with warps/envelopes, 212-213
transitions
correcting visible, 258
softening, 235
using blends for, 227,235
transparency, 254-263
See also opacity
changing, for symbols, 147-148
creating cool effects with,
272-273
creating naturalistic images with,
282
creating posterized effect with,
276
cumulative nature of, 257
defined,255
distinguishing from nontransparent areas,
254-255
export considerations, 262-263
and file size, 35
and Flattener Preview palette, 34,
254, 258
and flattening, 262-263
Gallery pages, 275-277, 288-290
and Hard/Soft Mix Pathfinders,
301
and Knockout Group options,
257-258
lessons on, 255, 266-274,
280-287
and Microsoft Office applications,
xxii
and PDF format, 262
purpose of, 254
saving settings for, 254
and Web-safe color, 363
"Transparency 101" lesson, 266-267
Transparency Flattener Preset
Options dialog box, 259
Transparency Flattener Presets
dialog box, 254, 259
transparency grid, 27-28, 255
Transparency palette, 255, 257,
284-285
"Transparent Color" lesson, 268-271
transportation map, 163
Trap filter, 100
trapping
defined, 100
of gradients/patterns, 100
misregistration of CMYK inks, 30
and Overprint Preview mode, 25
and raster images, 100
"Trapping issues" tip, 30
traps, previewing, 25
"Travel Ads.ai" file, 37
Traveling Radio Show logo, 210
trees, 150-151
Tremblay, Jean-Claude, 159,411
Trim Pathfinder, 72
troubleshooting. See also User Guide
with Adobe Online, 35
changing appearances, 263
drawing problems, 287
with Help menu, 35
join problems, 14
layers, 162
masks, 333
misregistration of inks, 100
overprinting problems, 169
Pathfinder effects, 301
printing problems, 34
selection of objects, 159
snapping-to-point, 92
stitching, 258
TruMatch, 30,67,101, 412
tutorials, 412
Turtle, Jean, 98,411
Tweak filter, 77
tweening, 379
Twirl tool, 76
Twist filter, 77, 110
type, 180-218. See also fonts; text
adding strokes to, 190
antiquing, 216-217
converting to outlines, 189-191,
197, 198
default settings for, 181
distorting, 190,210,213
editing, 217
experimenting with, 216
exporting, 193
filling with scribble pattern,
214-215
See also Scribble effect
Gallery pages, 198-199, 201,
206-211,218
getting professional help with, 189
"greeked," 180
lessons on, 194-197, 200, 202205,212-217
new features, xxiii-xxv, 180
outlining small, 190, 191
selecting by accident, 180
stretching, 196-197
using Appearance palette with,
191-193
Type & Auto Tracing preferences,
Type engine, 180, 193
Type Object Selection by Path Only
option, xvii, 180
type objects, 191-193
Type on a Path Options dialog box,
183, 184
Type tool
accessing, 180
and cursor appearance, 185
making new text object with, 185,
280
selecting text with, 181
toggling between horizontal/
vertical mode for, 185
type options accessible through,
181
typeface, handwritten, 211
and choosing appropriate
rendering intent, 359
and color management, 28, 29,30
and color shifts, 29
and creation/manipulation of
type, 180
and creation of patterns, 76
and data-driven graphics, 37
and file format considerations,
384
and Illustrator/Photoshop
techniques, 384
and legacy files, 32
and Path Type Effects options,
183
and pattern-making basics, 116
and PDF settings/presets, 32
and Placement Options
command, 366
and setting traps in solid objects,
30
and Symbolism tools, 148
and Tabs palette, 183
and text wrapping, 185
user slices, 361
U
V
181,188
Ultimate Symbol, 412
Undo command
and Preferences, 24
and transformations, 19
"unlimited undos" for, 23-24
ungrouping objects, 13, 18, 285
"Unified Gradients" lesson, 238
Uniform Resource Locators
See URLs
United States flag. See flags
units, measurement, 7, 15, 228, 364
Units & Display Performance area,
Preferences, 7,26
Universal Access preferences, 55
Unlock All command, 161
"Unlocking Realism" lesson,
234-235
Urban Wildlife Program logo, 86-87
URLs
assigning to objects, 359-361
meaning of acronym, 359
User Defined mode, 123
User Guide, xvi
and Average vs. User Defined
modes, 123
and Character/Paragraph Styles
palettes, 186
Valvoline logo, 338
vanishing points, 177
variables
changing data in, 366
defining, 366
importing/exporting, 366
types of, 365-366
ways of using, 37
Variables palette, 37, 365-366
"Varied Perspective" lesson, 176-177
vector objects
applying Gaussian Blur effect to,
310
contrasted with raster images, 261
distorting, 76
and opacity masks, 287
rasterizing, 359
"Vector Photos" lesson, 112-114
Vector Studio, 412
VectorBabe, 214
See also Cohen, Sandee
vectorizing brush strokes, 141
vegetables, 239
veggie cuisine logo, 199
Venus, xx
Vertical Type tool, 181
"Victory Climb" illustrations, 243
General Index
433
Mac Wow! Glossary of Terms
The Command key (this key may have a or a on it).
The Option key can be used to modify many of the tools.
The keyboard Arrow keys: Left, Up, Right, Down.
Toggle
Menu selection acts as a switch: choosing once turns on, again turns it off.
Marquee
With any Selection tool, click-drag from your page over object(s) to select.
Hinged curve
A Bezier curve that meets a line or another curve at a corner.
Direct-selection
Group-selection
Selection
Direct-selection tool selects points and paths.
Group-selection tool. The first click always selects the entire object, subsequent
clicks select "next group-up" in the grouping order.
Selection tool (selects the biggest grouping which includes that object— if an
object is ungrouped, then only that object is selected).
Note: See the Basics chapter for help with selection tools.
Select object(s)
Click on or marquee with Group-selection tool to select entire object.
Click on or marquee with the regular Selection tool to select grouped objects.
Deselect object (s)
To Deselect one object, Shift-click (or Shift-marquee) with Group-selection tool.
To Deselect all selected objects, with any selection tool, click outside of all
objects (but within your document), or press Shift- -A.
Select a path
Click on a path with the Direct-selection tool to select it.
Note: If objects are selected, Deselect first, then click with Direct-selection tool
Select anchor points
Click on path with Direct-selection tool to see anchor points. Then, Directselect marquee around the points you want selected. Or, with Direct-selection
tool, Shift-click on points you want selected.
Note: Clicking on a selected point with Shift key down deselects that point.
Grab an object or point
After selecting objects or points, use Direct-selection tool to click and hold
down mouse button and drag to transform entire selection.
Note: If you click by mistake (instead of dick-and-hold), Undo and try again.
Delete an object
Group-select the object and press the Delete (or Backspace) key.
To delete grouped objects, use the Selection tool, then Delete.
Delete a path
Direct-select a path and press the Delete (or Backspace) key. If you delete an
anchor point, both paths attached to that anchor point will be deleted.
Note: After deleting part of an object the entire remaining object will become
selected; therefore, deleting twice will always delete the entire object!
Copy or Cut a path
Click on a path with Direct-selection tool, then Copy ( -C) or Cut ( -X).
Note: See the Macintosh Finger Dance Summary for more ways to copy paths.
Copy or Cut an object
Click on an object with Group-selection tool, then Copy ( -C) or Cut ( -X).
For grouped objects, Click on one of the objects with the Selection tool, then
Copy( -C)orCut( -X).
Mac Finger Dance Summary from "The Zen of Illustrator"
Object Creation
Hold down keys until AFTER mouse button is released.
Constrains objects horizontally, vertically or proportionally.
Objects will be drawn from centers.
Opens dialog boxes with transformation tools.
Spacebar turns into the grabber Hand.
Turns cursor into the Zoom-in tool. Click or marquee around an area to Zoom in.
Turns cursor into the Zoom-out tool. Click to Zoom out.
Turns your cursor into a cross-hair.
Object Selection
Watch your cursor to see that you've pressed the correct keys.
The current tool becomes the last chosen Selection tool.
Current tool becomes Group-selection to select entire object. Click again to select next
level of grouping. To move selection release Option key, then Grab.
Toggles whether Direct-selection or regular Selection tool is accessed by the
key.
Toggles whether an object, path or point is selected or deselected.
With Direct-selection tool, click on or marquee around an object, path or point to toggle
selection/deselection. Note: Clicking inside a filled object may select the entire object.
Clicking on, or marqueeing over objects with Selection or Group-selection, toggles
selection/deselection (Group-selection chooses objects within a group).
Object Transformation
Hold down keys until AFTER mouse button is released.
Constrains transformation proportionally, vertically and horizontally.
Leaves the original object and transforms a copy.
Undo. Use Shift- -Z for Redo.
To move or transform a selection predictably from within dialog boxes, use this diagram to determine if you need a positive or negative number and which angle is
required. (Diagram from Kurt Hess/Agnew Moyer Smith)
Windows Finger Dance Summary from "The Zen of Illustrator"
Object Creation
Hold down keys until AFTER mouse button is released.
Constrains objects horizontally, vertically or proportionally.
Objects will be drawn from centers.
Opens dialog boxes with transformation tools.
Spacebar turns into the grabber Hand,
Turns cursor into the Zoom-in tool. Click or marquee around an area to Zoom in.
Turns cursor into the Zoom-out tool. Click to Zoom out.
Turns your cursor into a cross-hair.
Object Selection
Watch your cursor to see that you've pressed the correct keys.
The current tool becomes the last chosen Selection tool.
Current tool becomes Group-selection to select entire object. Click again to select next
level of grouping. To move selection release Alt key, then Grab.
Toggles whether Direct-selection or regular Selection tool is accessed by the Ctrl key.
Toggles whether an object, path or point is selected or deselected.
With Direct-selection tool, click on or marquee around an object, path or point to toggle
selection/deselection. Note: Clicking inside a filled object may select the entire object
Clicking on, or marqueeing over objects with Selection or Group-selection, toggles
selection/deselection (Group-selection chooses objects within a group).
Object Transformation
Hold down keys until AFTER mouse button is released.
Constrains transformation proportionally, vertically and horizontally.
Leaves the original object and transforms a copy.
Undo. Use Shift-Ctrl-Z for Redo.
To move or transform a selection predictably from within dialog boxes, use this
diagram to determine if you need a positive or negative number and which angle
is required. {Diagram from Kurt Hess/Agnew Moyer Smith)
Windows Wow! Glossary of Terms
Ctrl will always refer to the Ctrl (Control) key.
Alt will always refer to the Alt key, and is used to modify many of the tools.
The keyboard Arrow keys: Left, Up, Right, Down.
Toggle
Menu selection acts as a switch: choosing once turns on, again turns it off.
Marquee
With any Selection tool, click-drag from your page over object(s) to select.
Hinged curve
A Bezier curve that meets a line or another curve at a corner.
Direct-selection
Group-selection
Selection
Direct-selection tool selects points and paths.
Group-selection tool. The first click always selects the entire object, subsequent
clicks select "next group-up" in the grouping order.
Selection tool (selects the biggest grouping which includes that object— if an
object is ungrouped, then only that object is selected).
Note: See the Basics chapter for help with selection tools.
Select object(s)
Click on or marquee with Group-selection tool to select entire object
Click on or marquee with the regular Selection tool to select grouped objects.
Deselect object (s)
To Deselect one object, Shift-click (or Shift-marquee) with Group-selection tool.
To Deselect all selected objects, with any selection tool, click outside of all
objects (but within your document), or press Shift-Ctrl-A.
Select a path
Click on a path with the Direct-selection tool to select it.
Note: If objects are selected, Deselect first, then click with Direct-selection tool.
Select anchor points
Click on path with Direct-selection tool to see anchor points. Then, Directselect marquee around the points you want selected. Or, with Direct-selection
tool, Shift-click on points you want selected.
Note; Clicking on a selected point with Shift key down deselects that point.
Grab an object or point
After selecting objects or points, use Direct-selection tool to click and hold down
mouse button and drag to transform entire selection.
Note: If you click by mistake (instead of click-and-hold), Undo and try again.
Delete an object
Group-select the object and press the Delete (or Backspace) key.
To delete grouped objects, use the Selection tool, then Delete.
Delete a path
Direct-select a path and press the Delete (or Backspace) key. If you delete an
anchor point, both paths attached to that anchor point will be deleted.
Note: After deleting part of an object the entire remaining object will become
selected; therefore, deleting twice will always delete the entire object!
Copy or Cut a path
Click on a path with Direct-selection tool, then Copy (Ctrl-C) or Cut (Ctrl-X).
Note: See the Windows Finger Dance Summary for more ways to copy paths.
Copy or Cut an object
Click on an object with Group-selection tool, then Copy (Ctrl-C) or Cut
(Ctrl-X). For grouped objects, Click on one of the objects with the Selection
tool, then Copy(Ctrl-C) or Cut (Ctrl-X).
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