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In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.
So I was saying a couple of exercises ago that the whole reason I wanted to bring in this Celtic knot on its own layer, was because I wanted to add a beveling effect. Something that's very difficult to pull off inside of Illustrator, not a terribly satisfying effect either, whereas in Illustrator very easy to do, very satisfying indeed. It looks great. So that's what we are going to do inside this exercise. I have saved my progress as Large knot layer.psd, found inside the 21_photoshop folder, and I am going to select a Vector Smart Object layer here inside the layers panel, and then I'll drop down to this fx icon at the bottom of the layers panel, and click on it, and that brings up a list of layer effects.
Now layer effects are analogous to dynamic effects inside Illustrator, in some ways it's not quite as versatile, quite frankly, because for example, whereas inside of Illustrator you can apply multiple drop shadows to single objects, inside of Photoshop one drop shadow per one entire layer, and that's all you get. But you can group these various effects together, and things like Drop Shadows and Outer Glows and so on are actually handled better inside of Photoshop than they are in Illustrator because Photoshop does a great job of handling pixels and Illustrator is not so great.
As we've seen in previous chapters, Illustrator starts choking at very high resolutions, that is it really slows down, whereas inside Photoshop it's all lickety-split, it happens very quickly, because Photoshop is optimized for working with pixels. You also tend to get smoother effects, better transitions, and there are layer effects inside Photoshop that have no equivalents inside Illustrator. There is no Inner Shadow effect in Illustrator, and there is no Bevel and Emboss. Anyway, that's what I am going to choose is Bevel and Emboss, it brings up this ginormous dialog box.
Notice as long as the Preview check box is on, you can preview the effect back here in the Image window. I am going to press Ctrl+Plus or Command+Plus on the Mac in order to zoom in, which is again something you can do inside Photoshop. You can zoom and pan, by the way just by dragging while a dialog box is up onscreen, that's not something you can generally do inside Illustrator. I am going to change the style from Inner Bevel to Outer Bevel so the edges are on the outside of the layer, and I am going to increase the Size value to 25 pixels, like so.
Now you may recall that this object already has a Drop Shadow associated with it, that was brought over from Illustrator. So we don't want to emphasize the shadow too much more. I am going to take this Shadow Opacity value down to 50%, and then I am going to crank up the Highlight value to 100%, and I am going to emphasize it even more by changing the mode from Screen to Linear Dodge; which is a mode that's not even found inside of Illustrator. And what it does is it goes ahead and heightens that highlight effect and introduces a little bit of saturation as well.
Now having done that, I need to change this shadow angle, and you probably don't recall this, but the shadow that we assigned way back when to this Celtic knot when we were drawing it, has an X Offset and a Y Offset value of three points each their inside Illustrator. Photoshop however doesn't think in terms of the direction of the shadow. It thinks in terms of the direction of the light source, and the two are going to be opposite of each other. If the light source is coming in from the upper right then the shadow is going to be cast down and to the left.
In our case, the shadow is going down and to the right, so the light source needs to come in from the upper left-hand corner, which it is doing. You can see this Angle value is set to 220? which means it's located right there, at that tiny little cross inside the circle. What it needs to be set up however because our Drop Shadow is just as wide as it is tall. We need to set this value to 135?, and that's going to give us a matching effect as you can see here. Then go ahead and click on the OK button in order to accept that modification, and the result is parametric or if you prefer dynamic pixel-based effect applied here inside Photoshop to a group of vectors that are ultimately native Illustrator objects.
In the next exercise, I am going to show you how you can edit those objects inside Illustrator and pass your changes back to Photoshop.
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