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

Adjusting shading and light


Illustrator CS5 One-on-One: Mastery

with Deke McClelland

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Video: Adjusting shading and light

Now comes the fun part. We are going to customize the lighting effect and we are going to actually add a couple of lights. Right now we have just one default light that's being projected onto the Apple. We are going to add two more, because we want convert this fairly drab looking surface here into this very shiny Apple that's included in the 270-degree artwork file. I've gone ahead and saved my progress as Mapped, and I am going to go ahead and once again marquee that left half of the Apple. I marqueed too much, because I went ahead and grabbed that ellipse as well.
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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 shading and light

Now comes the fun part. We are going to customize the lighting effect and we are going to actually add a couple of lights. Right now we have just one default light that's being projected onto the Apple. We are going to add two more, because we want convert this fairly drab looking surface here into this very shiny Apple that's included in the 270-degree artwork file. I've gone ahead and saved my progress as Mapped, and I am going to go ahead and once again marquee that left half of the Apple. I marqueed too much, because I went ahead and grabbed that ellipse as well.

So I'll Shift+Click on it to turn off. Then I will switch over to the Appearance panel, click on 3D Revolve Mapped and in order to see your lighting options, notice down here at the bottom you have this thing that says surface Plastic Shading and you can switch between a variety of different options here. You can view a simple Wireframe of your object. I will go ahead and choose that option and then turn on the Preview check box, so we can see what that looks like. You'll get a wireframe, which you might find to be useful. Or you might opt for No Shading whatsoever, in case you want a 3D form, but you don't want any lighting associated with it.

As you can see that still takes a moment for Illustrator to figure out. Now I don't like this effect at all. So I want some form of shading. Diffuse Shading will give you very diffused lighting. So if you don't want that hot plastic lighting that I was showing you a moment ago, you can try Diffuse Shading instead. However, it ends up looking pretty darn drab to my way of thinking. Notice that we have these very soft forms going on. I would rather have these highlights really pop off the surface. So I am going to stick with Plastic Shading, but notice that I'm not seeing any lighting controls whatsoever.

Well, that's because I need to click on the More Options button in order to increase the height of the dialog box, and we are now seeing all the way to the bottom here. Notice when you select a few shading, you have just three controls, Light Intensity, Ambient Light, and Blend Steps. I'll explain what they are in just a moment. When you switch to Plastic Shading you're going to see two additional controls down here, as soon of course as Illustrator has done rendering the preview. Those are Highlighted Intensity and Highlight Size. So let me explain what's going on. Light Intensity, notice there is one light on this surface right here.

So that little sort of diamond object right there, that's your light source, and this is a classic example of Adobe giving us the smallest little interface possible for our lights, but that's the way it works. Anyway, Light Intensity determines the intensity of this little guy right there, and all the other ones, if you decide to add some more lights, as we will in a moment. Ambient Light is how much additional light is coming in from the outside world. So if you want more dramatic shadows, you want to take that Ambient Light value down as we will in just a moment.

Highlight Intensity determines how reflective the surface of the object is. Highlight Size determines the size of the highlights. That's pretty straightforward. Then Blend Steps is the number of steps that Illustrator is using to render out its blends. Now you're getting better results out of more Blend Steps, but it's going to be way slower as well. So the first thing I'm going to do is turn off the Preview check box. Otherwise, we are not going to be able to get any work done. I am going to go ahead and drag this light over to the upper right corner if you will, of this sphere.

You will get a sense of how things are mapping out. Notice that the light is pretending to hover in space in it's casting its highlight right about there. So it's actually casting its highlight in on the surface a little bit. You can choose to move a light behind the object if you want to, and you do that just by clicking on this little control, in which case you'll get this fringe lighting like so, and the color of your diamond will switch from black to white. So any black diamonds indicate lights that are in back of the object. I want all of my lights in front however, so I am going to click that guy again.

Here is how you create a new light. You click on the little page icon and then appears wherever it's got appear just sort of dead center in the object. I am going to drag this one up into the left, because I want a nice bright highlight in this region of the Apple. Then I want more light, so I will go ahead and click. You might imagine that I figured this out with the Preview check box on, which is true. So I sat there and waited for one preview after another, as I played around with these lights, and that's the way you're probably going to work as well. It's just for video purposes here.

As I say, we are not going to get any work done if we go that route. So I will go ahead and move this guy down to about there, looks pretty good. Now light intensity of 100% is just fine. I am going to crank down my Ambient Light value to 5% and that way we will get dramatic shadows, because we are basically dimming down the lights in the room, so just these spotlights are showing up. As soon as I press the Tab key, watch the sphere. When I press the Tab key, notice that; that sphere grows much darker. So the sphere is trying to represent what's going on. It's just that if it was a little bit larger it might be more helpful.

I am going to crank up that Highlight Intensity value to 100%, so we have very hot highlights. That's going to make for a very plastic like Apple, but again, we are going to take it into Photoshop to mitigate that. Then the Highlight Size is currently 90%. I am going to take it up to 95%. I just found 100% was too much, but 90% wasn't quite enough. Then Blend Steps, well, it's not going to do us any good to have 25. You know what; let's turn on Preview for a moment so you can see what that looks like. It is going to take a few moments to render out the effect now, because we've got these three different lighting sources going on.

But once it's done, it looks something like this, and notice the banding that's occurring on the Apple. Now were we to rasterize the effect that banding might not actually be quite this bad, but it's going to be there. It's going to be evident. The only way to get rid of the banding is to increase the number of Blend Steps. So I am going to take that Blend Steps value up to 100, so that we have a hundred steps between the highlights and the shadows. Once Illustrator gets done rendering the effect, you can see that we have some much smoother transitions. Now they're not ultimately smooth, that is, we can see some edges, but that is a function of this Plastic Shading.

If you didn't want that, you would go ahead and switch to Diffuse Shading instead. However, I am going to leave that setting alone and I am going to click OK in order to accept those modifications. All right gang! This is the final version of the apple here inside of Illustrator. The next step is to take it into Photoshop.

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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