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Hey, gang, this is Deke McLellan. Welcome to Deke's Techniques. This week, I'll show you how to simulate calligraphic lettering inside of Illustration using art brushes. Specifically, we'll take this Chinese shop that we created last week with these uniform path outlines, and we'll turn it into this more desirable effect Fact here. Now, we're going to see a bunch of different things happening. First of all, we're going to create a vector based smart object inside of Photoshop. So we can see how Photoshop and Illustrator interact with each other.
And then, over the course of time, I'll show you how to hand modify the letters in order to make the art brushes fit the letter forms that much better. So, if nothing else this will serve as a glimpse into a real world design project. Here, let me show you exactly how it works. Alright so the first step is to copy the uniformly stoked vector based chop that we created last week or if you prefer, in the previous movie. So here inside Illustrator, you want to press Control A or Command A on a Mac to select all of the path outlines and then press Control C or Command C on the Mac in order to copy them into the clipboard.
And then, go ahead and switch over to Photoshop. You can see that I've got my final seal already open, but we are once again going to create this thing from scratch by going up to the View menu and choosing the new command or you can press Control N or Command N on a Mac. I'm going to change my unit to points and that way I can dial in the exact same values that I used for my Illustrator document, which is to say a width of 720 points, a height of 500 points, and we might as well raise the resolution value to 300 pixels per inch.
Color mode is RGB and the background contents are white. Then go ahead and click Okay in order to create that new document. I'll go ahead and zoom in here and then I'll press Ctrl+V or Cmd+V on the Mac in order to invoke the paste command. Photoshop naturally wants to know how I want to paste this illustration. And the answer is smart object. That way we can go back and modify the illustration any time we like. Which is to say, pretty much right away. So I'll go ahead and click Okay in order to paste that copy-chop.
And I'll press the Enter key, or the Return key on a Mac, in order to accept its default size. Now, those of you who worked away through the previous movie will note right away that we've lost our rounded corners. And that's because, well, all these sizing dynamic effects, it is those transform commands that we applied, all of them remain intact. Photoshop does not necessarily pick up on the fact that there's a dynamic effect applied to an entire layer. So what we need to do is make it aware of that fact by reapplying that effect back inside of Illustrator.
And to launch Illustrator with this document just go ahead and double click on this thumbnail on the vectors smart object thumbnail here inside the layer panel. You may end up seeing this alert message that's basically just telling you how smart objects work, just click Okay in order to switch over to Illustrator like so. Now in my case, it's make my windows smaller. So I've gotta maximize the window once again, and then zoom back on in, and I'm going to actually zoom out just a little bit here.
By clicking inside this little zoom icon in the lower left corner of the window and pressing the down arrow key until I like what I see. You'll notice that our original layers are intact, but if I go ahead and click on a circle to target the Chop layer, and then I switch over to the Appearence panel, which you can do by going to the Window menu and choosing the Appearence command, you will not see any dynamic effect. So it's dropped away. Not really a big problem though because it's so easy to reassign. By going up to the effect menu, choosing stylized, and then choosing round corners.
And you want to set the radius value to 12 points, and then click Okay. And that will go ahead and round off those corners like so. And this is for the entire layer incidentally including this M. Now I'll go ahead and click off the path outlines to deselect them. Now, if I were to go ahead and close this illustration, by the way, and then click on the Yes button in order to save my changes or the Save button on the Mac, you're not going to save your changes to disk, rather, you're going to save your changes into the Photoshop document.
And if I switch back over to Photoshop, you can see that's the case. And you can also see I now have my round corners intact. So you can apply dynamic effects to the layers, it's just that they don't really translate across the clipboard. That is, across the copy and paste operation. But there's still more modifications I want to apply. So I will, once again, double click on the thumbnail for that smart object and then click Okay in response to the alert message. Go ahead and maximize my window once again, center my zoom by pressing Control zero or Command zero on the Mac.
So I can better see what I'm doing and I'll just dial in that zoom value of 142% down here in the lower left corner of the screen. Anyway, that's going to be enough going back and forth between Illustrator and Photoshop. From here on out, I'm just going to make my changes and then we'll save' em back to Photoshop just for the sake of expediency. We need a couple of brushes. And so what you want to do is go up to the window menu, and choose the brushes command to bring up the brushes panel which has nothing in it, as you can see. But Illustrator shifts with a bunch of brushes that you can load by clicking on a little books icon in order to bring up the library's menu.
Then choose artist, and in our case, we want to choose choc, charcoal pencil in order to bring up this little independent panel right here. I'll go ahead and make it a little bigger. The ones that were interested are the second and third ones. Chalk blunt and chalk round. To transfer them over to the brushes panel just click on one, and then click on the other. And now they're both members of this document. Now you can close the floating panel if you like to get it out of the way. Now the problem is what I want to do here is select this outer shape, the square, and I want it's stroke to be set to chalk round.
But if I click on chalk round, you're going to see that it's a little bit lighter than the red we're looking for because it's automatically tinted and you can go ahead and click on options of selected object down here at the bottom of the brushes panel to bring up this big dialog box here. And you can change the colorization method, assuming that you've got your preview box on, you can see what you're doing. You can change it to none, that looks wrong. You can change it to tints and shades, that's going to darken it up. Or you can change it to hue shift, and hue shift looks like it's doing the right thing, but it's actually slightly lighter than the red in the center.
So in other words, there's no way to make this specific brush work. So, cancel out, click off the square to deselect it, and grab this brush stroke right here. Let's go ahead, and scroll over a little bit. Grab it, and drag it and drop it into the document. Now, let's go ahead and zoom in on it. And you can see, if you click on it, you're going to select both it, and its little bounding box here. That's not what we want. So press the A key to switch to the white arrow tool. Click off the path to deselect it. Press and hold the Alt key, or the Option key on a Mac, so that you see a plus sign next to your white arrow. And click twice on that blob of brushiness right there in order to select everything, but the bounty box.
So just click twice with Alt or Option uuu, you don't have to double click, you're just clicking twice in a row. And now go up to this black swatch, the fill swatch, on the far left side of the control panel and shift click on it in order to bring up the RGB values, if you don't see the RGB values choose RGB from the fly out menu and then dial in a red value of one fifty and set both the green and the blue values to zero like so. And now that we have a properly colored red brush, you can press the V key to switch to the black arrow tool, click off of it and then click on the brush again to select the entire thing including its bounding box.
And drag it and drop it into the Brushes Panel, we want to create a new Art Brush. So select Art Brush here inside the New Brush dialog box. Click Okay, and now let's go ahead and call this guy Red Chalk, let's say and click Okay. All right. Now you can press the Backspace key or the Delete key on a Mac to remove the brush from the document. Zoom out just a little bit here, and now, I'll click on a square to once again select it, and I'll click on red chalk in order to apply it to the path outline.
Now this isn't the exact effect I'm looking for so I'll click on this little options of selected object icon down here at the bottom of the panel, and with the preview check box on. Make sure that this value, this first value's selected and press Shift up arrow, a couple of times in order to increase the thickness of that brush and then select the Flip Across option and set colorization to none. So that we have the proper shade of red, and then just go ahead and click Okay in order to create this effect here.
Alright, now I'm going to hide my brushes panel, because I'm done with it for the moment, and I'm going to select this fill here inside the appearance panel, I want to make it slightly bigger. So I'm going to twirl open that red fill right there by clicking on it's little triangle. Then I will click on the Work transform to bring up the transform effect dialogue box and I will change both the horizontal and vertical values to 94%. Turn on the preview check box and you can see that makes that red interior area a little bigger, then click Okay. Now we need to brush up the rest of the paths by going up to the Select menu and choosing the Inverse command and that way we'll select all the paths except for the big square and I'm getting some flashing of the path outlines up on the screen here and that's because I have my smartguides turned on.
So I'm going to go up to the view menu and turn them off for now. Now with all these path outlines selected, you want to bring back up the brushes panel which you can also do of course by choosing brushes from the window menu and this time we are interested in chalk blunt. And if you click on it you're going to get this effect right here which is very blunt indeed. Go ahead and hide the brushes panel. Notice that some of the brushes are thinner than others and that's a function of the fact that we have some dynamic effects applied so let's go ahead and take care of that problem by clicking out the past to deselect all of them and then click on the c right there in order to select it.
That is the small c up here at the top. And now what you want to do is bring back up the brushes panel and click on that options of selected object icon to bring up the stroke options dialog box and change this first value here to 150% and you'll end up with this thicker c. And then go ahead and click Okay. Alright now, click an e this time, the first e in order to select it. Click on that same options of selected object icon and this time we're going to take this scale value up to 175%.
And basically what I'm doing, by the way, I'm not sure if you're interested in the math, if you want to be able to figure this stuff out. But you may recall that I had originally scaled the e to 57%, that's in the previous movie, and so to figure out how much you need to compensate, you whip out your phone calculator and you divide 1. You take 1 divided by 0.57, which is 57% and you end up with 1.75, which is 175%, so that's how you do that math.
Just in case you're curious. Of course, you can always eyeball it if you want to. Then click Okay, in order to apply that change. Alright, now we have a few placement issues to take care of. Notice that the e is a little too far to the right. It's kind of poking into the second l. To compensate for that, go ahead and click on the word transform here inside of the appearance panel, to bring up the transform dialog box. And turn on the preview check box and see what you are doing and then click in the horizontal value, the horizontal move value and then just press the down arrow key as many times as it takes in order to that guy over to the left a little bit.
I have found that a value of negative two or negative three is going to do the trick. In my case, it's negative two. So I'll go ahead and click on the Okay button, but there's the 57% that I applied in a previous movie that I was compensating for, by one divided by .57, to get 1.75, which is a 175% in the previous dialog box. Anyway, just wanted to show you that. I'll click okay in order to apply that change. Notice the k's kind of a mess, because we've got this corner that's digging into the e. To get rid of it it, select that v, that upside down v shape, then click on options of selected object.
And go ahead and select this guy, this first overlap option. And that's going to cut that short right there like so. And then click okay. And then lets go ahead and hide the Brushes panel. I've got another placement problem right here. Notice the big c doesn't quite come in to the first L the way that it should. So I'm going to go ahead and select it and we're going to transform this guy dynamically by going up to the Effect menu, choosing Distort and Transform and choosing the Transform command. And I'm going to select this left hand point in this tiny little reference point matrix in the down left corner of the dialogue box, turn on preview check box; so we can see what we're doing, then click in the horizontal scale value and press the up arrow key in order to scale that guy over.
And in my case I'm scaling it to a horizontal value of 103%, you're results may vary a little bit. Now I'll click okay in order to apply that change. Now we need to bring the bottoms of the M's and L's and everybody down. And the biggest trick here is trying to select these guys. So press control Y, or command Y in the Mac, in order to switch to the outline mode, so we can better see what's going on. And then press the a key to select the white arrow tool and marquee the bottoms of all of these l's and the bottoms of the m's.
So all these bottom anchor points here. Avoid the bottom of the square, of course. And then press Control Y or Command Y on a Mac to switch back to the preview mode. And then press shift and arrow just once in order to move the bottoms of all these paths down. And now you can press the Shift key and press every one of these bottom anchor points except the very first one. So I'm shift clicking all of them except this guy right there so that he remains selected and then I'll press shift down arrow a couple of times actually and then up arrow a little bit about right there is what I'm looking for and you will see a little bit of the M hanging down, but that's okay I think that looks fine.
All right, notice that we also have a problem with the tops of the Ls, they don't really align to the top of the M here, because of the shape of the brush. So again press Ctrl Y or Cmd Y on the Mac, so that you can see the paths by themselves in the outline mode. Go ahead and marquee around the tops of the three L' s. Press Control Y or Command Y on the Mac to switch back to the preview mode and press shift up arrow a couple of times in order to raise the tops of those L' s like so. And you know what? I think I want the L' s to be going in the other direction here.
Same with this guy right there. So I'll shift click somewhere on this middle bar, that middle stem of the M, and I'll bring back up my brushes panel for the mteenth time and I'll go ahead and click on options of selected object in order to bring up the stroke options dialogue box and I think I want flip along. Let's see if that works. It does. The effect that we are getting now is that we can see the tops of those brushes, like so. I think that's a better look, so I'll click okay in order to accept that and I'm going to ahead and shift click on this stem to turn it off.
These points are still selected and I'll press shift down arrow to nudge them down a little bit. That looks better to me anyway. Alright now I'll press the v key to switch to the black arrow tool and I'll click on the d here to select it. I'm not exactly loving this shape right here. So what I'm going to do is I'm going to take this guy and I'm going to switch over to the layers panel I'm going to drag this little orange square from not round down to the top layer, which as you may recall, has the round corners effect assigned to it. And notice that now, I'm running the corners of the D and I'm getting an entirely different effect like so.
Now I'm going to go ahead and select the other letters, one at a time here. I'm going to select the E, and I'm going to nudge it down until the two letters, the D and the E touch, and then I'll press the down arrow key. One, two, three, four, five times in order to create a little bit of room between those two letters, so I'm basically hand curving the letters by pressing the down arrow key. And now click on this portion of the K and shift click on the stem right there, and I'll nudge it down to right about there, and then I'll press 1, 2, 3, 4, 5 to hand cut those two letters.
And then I'll grab this E and I'll scoot it down to the very bottom until it touches the bottom and then I'll press the up arrow key one, two, thre, four, five times in order to create the proper amount of spacing and you know this guy is a little too far over to the right so I'll press left arrow key a total of 3 times actually to move him over just a little bit to the left. So he's not cutting into the second L, don't you know? Alright now we need to work on the ampersand and I'm going to start by adding a little bit of roundness right there at kind of the nose inside of it's face if you will.
And I'm going to do that by grabbing the orange square here inside the layers panel and dragging and dropping it down to the chop layer which moves this to the chop layer Which goes ahead and rounds off those corners and thanks to the fact that we have this brush applied, it's not so noticeable that we have those lumps in the path outline. Now press the A key to switch to the white arrow tool. I'll click off the shape to deselect it and I'm going to click on that end point to select to and I'll shift click on this end point to select it as well and I'll press shift right arrow to move both of the points ten points to the right.
It'll click off and I'll click on this top guy to select him independently. And I'll press shift down arrow a total of three times to scoot that point down. And then, I'll drag the control handle upward while pressing the shift key so that I constrain the angle of that control handle to vertical. That moves this little bit of brush outside the path into the red region, into the red stroke. So, I'll go ahead and press left arrow key a couple of times in order to move that anchor points slightly. Alright now I'll select this bottom end point, and I'll press shift up arrow three times in a row, then I'll drag down, while pressing shift key on the control handle and we end up with this final effect.
And now I'll press Control zero or Command zero on a Mac in order to zoom and I'll press the v key to switch to the black arrow tool and I'll click off the path outlines to deselect them and now, I can go ahead and close this file inside of Illustrator and then click the Yes button, that would be the Save button on the Mac in order to save my changes back into Photoshop. And I want you to notice that my original document the one we copied at the outset of this movie it still has uniform strokes, it doesn't have any of the brush strokes we saw just a moment ago. And that's because everything that we've done is actually truly saved inside of the Photoshop document.
To see that document, go ahead and switch back over to Photoshop, and you will see your changes. And if you want a before and after press Ctrl+z or Cmd+z on the Mac. This is the before version of the document. And this is the after version, thanks to our ability to fundamentally change the appearance of a vector based drawing, using brush strokes applied inside of Illustrator, and now rendered, here inside Photoshop. Alright, if you're a member of the lynda.com online training library, I have two, count them two, follow up movies.
In the first, I show you how to add this organic paper texture, so that our chop looks more like an actual stamp inside Photoshop and in the second movie I show you how to create this black stamp on red paper variation. If you're waiting for next week I have a mercifully short movie in which I show you how to auto hide iconic panels in Photoshop. It's much more exciting than it sounds. Geeks techniques each and every week. Keep watching.
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