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The 3D Revolve settings

From: Illustrator CS5 One-on-One: Mastery

Video: The 3D Revolve settings

In this exercise I'll be explaining how to use the various settings inside the 3D revolve options dialog box. I'm still working away inside Half an apple.ai, which is found inside the 29_3D folder, and I've managed to take that selected path outline, which is the Half an Apple itself, and revolve it around a vertical axis in order to create a complete Apple form. Now it doesn't really have that much definition at this particular angle, but we can go ahead and switch that around. I notice that we've got these color- coded controls here, which allow you to spin the object in 3D space.

The 3D Revolve settings

In this exercise I'll be explaining how to use the various settings inside the 3D revolve options dialog box. I'm still working away inside Half an apple.ai, which is found inside the 29_3D folder, and I've managed to take that selected path outline, which is the Half an Apple itself, and revolve it around a vertical axis in order to create a complete Apple form. Now it doesn't really have that much definition at this particular angle, but we can go ahead and switch that around. I notice that we've got these color- coded controls here, which allow you to spin the object in 3D space.

So currently, for example, even though we're revolving the Path outlined around a Vertical axis, we've gone ahead and rotated that Vertical axis in 3D space, so that the Apple can spin back and forth, and you do that using these various controls right here. Now, rather than calling these the XYZ controls, which is a little bit misleading, because they are not really listed in the conventional order, instead I'm going to refer to them by their airplane names. So this first control is the Pitch control, notice that it is in red, and think of when you're in an airplane, and you pitch forward or you pitch backwards, so the wings are staying in place, but you're either nosing forward or your tail is going down, you're nosing upward, that's the Pitch control.

And you can either change that value numerically if you want to, or you can grab the front edge of that cube and yank it around like so, and notice that the front edge highlights red, as do the other edges that are associated with pitch. So if you end up basically spinning this guy upside down, why then you can grab one of these other red edges in order to one day spin it back right side up like so, and the nice thing about this cube incidentally is that it gives you control over 3D object which is what this thing is, even though you're working in 2D space, that is you're working on a two-dimensional screen, you've got width, height and that's all you've got, and many programs make it very difficult to move around in 3D, whereas, Illustrator does a pretty darn good job inside of these dialog boxes.

All right, your last control, I'm going to jump ahead here, is your Roll Control, so imagine that, that dot right there is the nose of the plane, it's coming right at you, essentially. You can roll around the nose. So if you were in the plane, if one wing dipped down and the other one went up, or the other wing dipped down and the opposite went up, then you'd be rolling back and forth, and you can control the roll not only by modifying this value, and these are measured in degrees by the way. But you can also go ahead and drag these bottom edges here, the ones that appear blue and that will allow you to roll that Apple to your heart's content as you can see.

And then finally you've got the Y axis control, which is basically what happens when the plane spins back and forth, kind of on a spindle, so one of the wings goes forward and the other goes backward in other words. And you can control the Y axis by dragging one of the vertical edges, at least one of the edges that starts off vertical; because after all you can spin this cube anyway you want. Notice as I drag the Y axis, then I'm spinning the Apple around its axis, so the axis stays in place when I adjust the Y axis control.

Whereas, if I grab one of the other controls if I change the pitch for example or if I end up changing the roll, in both of those cases I'm changing the angle of that axis. So it's all stuff that you might find helpful or you may want to just grab that cube and drag it all over the place. Now the other option in this area is Perspective and currently it is set to 0 degrees, which means that we're looking at an isometric projection. If you want any amount of perspective whatsoever, you need to go ahead and increase that value, which becomes very useful in the 3D extrude dialog box here, you can take it or leave it, you might want to add a little perspective, you might not, we're going to come back to it later.

In the meantime I want you to see this revolve control right here, this is how far you're revolving the path outlined around the axis. Currently we're revolving it all the way around 360 degrees, which is why the Apple ultimately closes around itself, and we're not seeing any of the meat, in other words, we haven't cut a slice out of that Apple. However, we could cut a slice if you want to, or we could just render a slice. If I take this value down from 360 degrees to just 30 degrees, then all we will be left with is a slice of Apple and nothing more, just like this, and now you're seeing the problems that gradient fills can cause by the way.

Let's go ahead and rotate that guy around here, I'm going to change the Y axis control, so the Apple is facing a different direction, that is the Apple slice at this point in time. Notice what's happening, the Stroke is peeling away from the Fill, is basically what we're seeing here. So when that happens to Illustrator and it can't think it's way outside of this box, it ends up showing Gray, which is obviously a tragic thing, because that's for real, that's actually going to render gray, which is going to completely mess up the effect and we don't want that.

And you can get around these kinds of problems by not working with gradients in the first place, at least not gradient fills, you can add them after the effect by mapping them into your artwork as symbols and we'll see how that works later, but in just a moment, we're going to get rid of the gradient fill. Now you can turn off the cap if you want to, if you don't want to see the fill it all, then you go ahead and select this second icon right there, which gives you this effect. Now there is no reason we'd want to do that where this Apple is concern, however, you may find a use for it in your other artwork.

In my case I'm going to go ahead and turn the cap back on. And I'm also got to set the angle value; the final angle value that I'm looking for is 270 degrees, which is three quarters the way around the circle. Now so long as the Preview check box is turned on every time you make one of these modifications, you're going see a progress bar. Don't be surprised if you see that little not responding message for a moment, that's just Illustrator's way of messing with you. It should go ahead and successfully render out every one of these effects. Now notice that the exposed portion of the Apple is facing away from us, so I've got to go ahead and grab one of those Y axis controls and rotate the Apple around, so that I can see into it, and this should work right there.

The wireframe preview can be a little difficult to interpret at times, but when we've just got a quarter slice open, it's pretty easy to see what's going on. I actually wanted to look more like that I think, and then finally, notice that you've got this sort of gap in the middle of the Apple and that's a function of the offset incidentally, you can increase that offset if you want to. I could take it up to 12, and that's going to give us essentially a thicker axis, so that we're separating the slices of Apple away from each other, so that we've got this big missing core in the center.

Well, it would be nice, is if I could change this offset value to something negative, so that I can get rid of any vestige of a core whatsoever, but that is not an option. The lowest you go with this control is zero, and that's what I suggest you do. But got to tell you something, for now I suggest you actually do nothing, because we've got to take care of that gradient problem. So I am going to go ahead and cancel out there, or you can apply, if you want to, you can go ahead and click OK, might as well, let's do that, because this is a dynamic effect, we can come back and modify it anytime we like, that's our first venture into the world of 3D revolve inside of Illustrator.

In next exercise we're going to clean up this Apple and make it right.

Show transcript

This video is part of

Image for Illustrator CS5 One-on-One: Mastery
Illustrator CS5 One-on-One: Mastery

134 video lessons · 28150 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 37m 22s
    1. Welcome
      45s
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
      58s
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
      33s
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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