Illustrator CS5 One-on-One: Mastery
Illustration by John Hersey

Adjusting a dynamic transformation origin


Illustrator CS5 One-on-One: Mastery

with Deke McClelland

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Video: Adjusting a dynamic transformation origin

Now that we've created the base four- leaf clover, I want to show you how to create a reflective tile pattern. And I have tile pattern in quote fingers, because really we're creating a reflective pattern using the Transform effect. I've saved my progress as Overlapping And I'm going to press Ctrl+0, or Command+0 to zoom out all the way, so that I'm fitting the illustration on-screen. And I'll press Ctrl+Semicolon or Command+Semicolon on the Mac in order to bring up my guides. Now you can see that I've used the guides in order to divide my artwork into eight areas.
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  1. 37m 22s
    1. Welcome
    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
    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
    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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Watch the Online Video Course Illustrator CS5 One-on-One: Mastery
13h 5m Advanced Jan 28, 2011

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In Illustrator CS5 One-on-One: Mastery, the third and final part of the comprehensive Illustrator One-on-One series, author and industry expert Deke McClelland shows how to take advantage of the wide array of dynamic effects in Illustrator CS5. Deke explores Illustrator’s powerful Gradient Mesh feature, great for creating photorealistic airbrushing effects. He also covers graphic styles, the liquify tools, envelope-style distortions, the new Bristle Brushes, 3D text, and perspective drawing. Exercise files accompany the course.

Topics include:
  • Working with dynamic effects
  • Placing artwork as a Photoshop Smart Object
  • Creating and editing a Gradient Mesh
  • Distorting artwork with an Envelope Mesh
  • Using the Calligraphic, Art, and Scatter Brushes
  • Creating an intricate Pattern Brush
  • Importing and graphing data
  • Creating a complex pictograph
  • Drawing and editing a perspective shape
  • Working with the new Perspective Grid tool
  • Using the 3D Revolve effect
  • Creating 3D type with Extrude & Bevel
  • Recording and playing automated actions
Deke McClelland

Adjusting a dynamic transformation origin

Now that we've created the base four- leaf clover, I want to show you how to create a reflective tile pattern. And I have tile pattern in quote fingers, because really we're creating a reflective pattern using the Transform effect. I've saved my progress as Overlapping And I'm going to press Ctrl+0, or Command+0 to zoom out all the way, so that I'm fitting the illustration on-screen. And I'll press Ctrl+Semicolon or Command+Semicolon on the Mac in order to bring up my guides. Now you can see that I've used the guides in order to divide my artwork into eight areas.

So I'm dividing the artboard into two regions vertically and four regions horizontally. And that's because these are the regions into which I want to flip my fourleaf clover. But how I accomplish that? Because recall inside the Transform effect dialog box, one of the big limitations of that dialog box is that your only control over the origin is that little reference point matrix. So you can move the origin point to any of nine locations within the context of your selected artwork, but not outside of it. So one, if you want the origin point to be right there at the intersection of those two guidelines, what you do? Well, you add another anchor point and it can just be a floating anchor point all by itself.

So let me show you how that works. Make sure by the way that you're working on the new clovers layer that's very important if you're working along with me. You might just want to go ahead and meatball the leaf group, so that the point you create appears in front of that. And then go ahead and grab the Pen tool or press the P key and I want you to just go ahead and click at the intersection of those two guidelines. And that's it and you'll just add what's called a path right there, but it's really just a free-floating anchor point. And if you have any concerns that it's not exactly targeted to the proper location. You can grab your White Arrow tool and sort of move it around like so and then move it until it snaps into alignment with those two guidelines.

Anyway, I'm going to go ahead and rename this guy Point, because after all it is a floating point. You could even called it floating point, if you wanted to. And then I'm going to select all three of these objects that are on this new clovers layer by clicking on this little black wedge in the upper right corner of the layer, inside Layers panel of course. And then I'm going to group them altogether by pressing Ctrl+G or Command+G on the Mac. And now we have this group that includes the leaf, it includes the stem, and it also includes this little anchor point. All right, now I can go out to the Effect menu, choose Distort & Transform, and then choose the Transform command, or press Ctrl+E, Command+E if you got it.

And now go ahead and select the far left point on the matrix. It doesn't really matter whether it's a top left or the bottom left or the middle left point. Any of them will do. And then select Reflect X, 1 copy of course, and turn on the Preview check box just make sure you got it right. And it should look like this. It should look absolutely beautiful. All right, we can only do Reflect X. We can't do Reflect Y as well, or you'll just make a mess of things, like so. We have to reflect the leaves to the bottom portion of the illustration in a separate step. So go ahead and turn off that Reflect Y if you turned it on along with me.

So just 1 copy, Reflect X, side pointing the matrix. Click OK. And then we'll go back to the Effect menu choose Distort & Transform again, choose the Transform command. And this time after clicking on Apply New Effect of course. I want you to set the number of copies to 1. I want you to Reflect Y this time around. You want the bottom point in the matrix. Turn on the Preview check box to make sure everything looks the way it should and click OK. Now, what's remarkable about this, check this out, is that you can change your mind about exactly what the reference point is after having already applied the transformation.

And here is how it works. Click off of the shapes in order to deselect them, make sure you have your White Arrow tool selected, I'm going to click on that little point that I created and it is now a traveling origin point. You can move it anywhere you want outside the region. It has to be outside the area of the four-leaf clover. And for example, let's say, I decided to drag it over here to the intersection of the two middle guidelines, then I will go ahead and on-the-fly move those clover leaves to a totally different location, like so. So it gives you this amazing degree of control quite frankly.

Anyway, I'm going to go ahead and put that guy back because I want it to be there. And now I want to reflect this entire collection of four clover leaves. Well, I'm going to have to create a new origin point of course. Right there at the intersection of those two middle guidelines. And I'll do that by grabbing my Pen tool and I'll just go ahead and click at that location, or what I prefer to do, because I'm not always confident that when you click with the Pen tool you're exactly aligning to the guidelines. So the better thing to do in many cases is just to set the anchor point any old place and notice you should see a new Path on top of your group there inside the Layers panel.

Go ahead and once again and rename at point and then press the A key to get your White Arrow tool and drag it so that it snaps into alignment at the intersection of those guides. And this is a little complicated, because I have so much artwork going on. I'm going to go ahead and turn off some of these layers right here. Some of the pirate layers so white, black, and his head rag. I'm going to turn all those off and then I'm going to zoom in a little and drag that anchor point, until I am confident that it is intersecting those guidelines properly. All right, good.

The next step is the same step we saw before. You go ahead and Shift-meatball the group so that both the point and the group are selected. Go back up to the Object menu choose the Group command press Ctrl+G, Command+G on the Mac, to group them together. So that you have yet another group and then this time around you only have to apply one transformation by going up to the Effect menu, choosing Distort & Transform, choosing the Transform command, and I'm going to turn on that left-hand point in the matrix. I'll go ahead and raise the copies value to 1 of course. Turn on Reflect X, turn on Preview to make sure everything is working, and there it is.

And now click OK and you have created your own pattern of reflecting four-leaf clovers. Now, I'll go ahead and turn on the other layers like so, so that we can see the elements of the pirate flag. I'll press Ctrl+Shift+A, Command+ Shift+A on the Mac in order to deselect everything and then press Ctrl+ Semicolon or Command+Semicolon on the Mac to hide those guidelines, but now we're back to the same old problem. We're back to that original piece of artwork I showed you at the outset of the previous exercise, which means that we have a stylistic mismatch. What do we do about that? Well, we're going to apply the scribble effect and I'll show you how in the next exercise.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Mastery .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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