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Applying the 3D Extrude & Bevel effect

From: Illustrator CS4 Beyond the Basics

Video: Applying the 3D Extrude & Bevel effect

Illustrator supports three different types of 3D effects. If I select an object and I go to the Effect menu, I'll see underneath 3D there at list Extrude & Bevel, Revolve and Rotate. In this movie, we are going to explore the Extrude & Bevel option. Now Illustrator itself is a 2D program. So what I'm seeing right now on my artboard is a two-dimensional object, two dimensions meaning it has an X and a Y value, which if you think about it on the terms of an object itself, you can think of them as width and height. Working with Extrude gives you a third option or what we call now the third dimension, and that's the depth of an object. That's also referred to as the Z axis.

Applying the 3D Extrude & Bevel effect

Illustrator supports three different types of 3D effects. If I select an object and I go to the Effect menu, I'll see underneath 3D there at list Extrude & Bevel, Revolve and Rotate. In this movie, we are going to explore the Extrude & Bevel option. Now Illustrator itself is a 2D program. So what I'm seeing right now on my artboard is a two-dimensional object, two dimensions meaning it has an X and a Y value, which if you think about it on the terms of an object itself, you can think of them as width and height. Working with Extrude gives you a third option or what we call now the third dimension, and that's the depth of an object. That's also referred to as the Z axis.

So you would have X, Y and Z. So the Extrude object right here, it takes this regular plain flat object and extends it back into space giving it some depth. Notice that right over here it says Extrude Depth, which is set to 50 points. So I click on the Preview button so we can actually see that. Notice that now the object has not just a front basically, but it also has some depth to it as well. Now we are also not looking at this object head-on, because if we were, we wouldn't be able to see the actual depth of the object, we would just see the front face of it. So what Illustrator has done here is it's actually rotated the object just a little bit. That's what we refer to as Off-Axis Front and in fact, this cube that appears right here is representative of the way that this object appears on the screen.

Now we can control the depth of that extrusion how far back into space it actually goes, by changing this value right here. For example, if I type in 200 points right over here, I notice that my object has a far larger depth than it did before. A little keyboard shortcut, if you hold down the Shift key while you click on this little slider that appears right over here, you will actually see that depth changing in real time. In fact, just about any of the settings inside of the 3D dialog box are applied in real time if you hold down the Shift key at the same time. For now, just to explore these options, I'm actually just going to set this Extrude Depth to about 100 point. So again, we are looking at this object right now, this object is living now in this 3D world and that's because we have the 3D Extrude & Bevel Options dialog box open and I'm looking at it Off-Axis Front.

So again, in Illustrator it's important to realize that I don't have like a camera that's looking at the object what I might have in other 3D applications. Instead, the object itself is now living in that 3D space. So think of that right now as that badge that exists in my artboard right now is kind of just rotated just a little bit so I can see some of the depth. But you notice that there is a Position popup over here where it says Off-Axis Front and I can actually change that to some other options. For example, let's look at it straight from the front. Now as I said before, since I'm looking straight at it right now, I don't see any of the depth. And again, this square or this cube that appears right here is giving me a representation of that. So let's change the position to something else. For example, let's look at Off-Axis Left. So now I'm looking at the left side of the object which is a little bit off axis so that I also see the 3D dimensions of the object.

There are also some Isometric settings down here on the bottom as well. But let me go back over here to the Off-Axis Front because I want to talk more about what this cube represents right over here. Now imagine this object really existed and you are able to basically hold it in your hand and you are able to kind of rotate it or look at it from all different sides. Well, this cube allows you to do just that with the object. In fact, we refer to this as the track cube, it's really supposed to be a trackball, but it turns out that with a sphere, it's very difficult to identify the front or backsides of an object. So a cube metaphor works much better right here.

What I can do is I can simply click on the cube, click anywhere on it, let's say over here on this particular face right here and then drag. As I do so, I actually see that I'm changing the way that I look at that object on the artboard. So again, if I can imagine myself holding that piece of art in my hand right now and rotating it around in my hand, I'm doing the same thing by moving this track cube around. Now you will notice that I can easily identify the front face of the object by over here at this blue area. In fact, if I click and I drag to view the back of the object, you will see that the back of the object is shaded with a much darker gray. Light gray areas identify the sides and the top and bottom.

Let me position it just so like this right over here and I want to show you that once you went ahead and you actually got a nice position of your artwork, you will notice that if you mouse over just the edges of the cube over here, they highlight. Clicking and dragging on the edge of a cube when these edges are highlighted will allow you to constrain the rotation of the object just on that axis. So if I got the right position of it, I just want to rotate it just a little bit, I can click over here and I can rotate it just on that axis alone. Now I also have the ability to come right over here to the actual edge of the circle itself and then click-and-drag and rotate the entire object as a whole. At any time I can go back to the Custom Rotation popup over here and to go back Off-Axis Front or any of the other presets as well.

There were two other important settings when working with Extrudes as well. Come down over here where it says Cap. Cap simply refers to the fact that whether I want a solid appearance of my object or a hollow appearance, which is almost as same as applying a stroke to an object without a fill and then simply applying a 3D effect to that stroked object. But I'll go back and choose this option here. You also have the ability to apply a Perspective to your object. Now this is the same thing as if you have an actual object in front of you and if you would, for example, take a look at it through the lens of a camera. As we get closer and closer to the object, you would start to see some natural distortion applied to that particular object.

Think of it like a lens perspective or a lens distortion. When it comes to perspective, you can click on this little button over here and actually get a slider and go all the way up to 160 degrees. Again, holding down the Shift key while you are holding the slider will allow you see that in real time. Now you'll notice by the way that the actual artwork is changing in color as you're applying a perspective to that. See how it gets darker as I add my perspective here. Well, the reason why that's happening here inside of Illustrator is because, remember this is real 3D rendering that's happening inside of Illustrator, and the way that Illustrator defines the actual shade in the object is by actually shining a light on that object. In fact, in a future movie we'll talk more about the actual lighting options of how you can shade your object.

But for now imagine that you actually had a light shine on the object from let's say on the upper right-hand edge. In that way you see highlights that over here but you see shadows in this area over here. Now as I'm adding perspective, like I said before, it's almost like taking a camera lens and bringing it closer and closer to the object. Well, as you bring that camera close to the object you are eclipsing the light source and hence the actual artwork gets darker. You can, of course, correct this by adding additional lights by moving a light source around which we'll get to in a later movie. But for now I'll go ahead and I'll change the Perspective back to zero and I'll click OK to apply the 3D effect inside of Illustrator. You may find at times, by the way, that Illustrator 3D effect leaves some kind of artifacts on the screen, which are simply removed by using a refresh or by zooming into a different level.

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This video is part of

Image for Illustrator CS4 Beyond the Basics
Illustrator CS4 Beyond the Basics

137 video lessons · 29058 viewers

Mordy Golding
Author

 
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  1. 2m 4s
    1. Welcome
      1m 41s
    2. Using the exercise files
      23s
  2. 33m 20s
    1. Introducing Live Paint
      38s
    2. Drawing in Illustrator
      4m 21s
    3. Creating a Live Paint group
      2m 54s
    4. Using the Live Paint Bucket tool
      3m 17s
    5. Using Live Paint with open paths
      2m 29s
    6. Detecting gaps in Live Paint groups
      4m 17s
    7. Adding paths to a Live Paint group
      3m 41s
    8. Using the Live Paint Selection tool
      5m 44s
    9. Releasing and expanding Live Paint groups
      2m 55s
    10. Understanding how Live Paint groups work
      3m 4s
  3. 49m 36s
    1. Introducing the trace options
      39s
    2. Setting expectations: Live Trace
      2m 26s
    3. Using the Live Trace feature
      1m 51s
    4. Understanding how Live Trace works
      5m 41s
    5. Making raster-based adjustments
      5m 52s
    6. Tracing with fills, strokes, or both
      2m 55s
    7. Making vector-based adjustments
      6m 12s
    8. Adjusting colors in Live Trace
      4m 39s
    9. Using Photoshop with Live Trace
      5m 22s
    10. Releasing and expanding Live Trace artwork
      2m 58s
    11. Saving and exporting Live Trace presets
      2m 36s
    12. Tracing in Batch mode with Adobe Bridge
      1m 35s
    13. Turning an image into mosaic tiles
      2m 28s
    14. Tracing an image manually
      4m 22s
  4. 1h 24m
    1. Introducing 3D
      33s
    2. Setting expectations: 3D in Illustrator
      2m 53s
    3. How fills and strokes affect 3D artwork
      4m 43s
    4. Applying the 3D Extrude & Bevel effect
      6m 25s
    5. Applying a bevel
      5m 40s
    6. Showing the hidden faces of a 3D object
      4m 49s
    7. Applying the 3D Revolve effect
      5m 22s
    8. Visualizing the revolve axis
      3m 5s
    9. Applying the 3D Rotate effect
      1m 35s
    10. Adjusting surface settings
      9m 33s
    11. Understanding the importance of 3D and groups
      3m 24s
    12. Preparing art for mapping
      10m 19s
    13. Mapping artwork to a 3D surface
      14m 21s
    14. Hiding geometry with 3D artwork mapping
      4m 0s
    15. Extending the use of 3D in Illustrator
      8m 7s
  5. 44m 37s
    1. Introducing transformations and effects
      32s
    2. Using the Transform panel
      12m 37s
    3. Repeating transformations
      5m 23s
    4. Using the Transform Each function
      3m 48s
    5. Using the Convert to Shape effects
      5m 49s
    6. Using the Distort & Transform effects
      5m 12s
    7. Using the Path effects
      6m 58s
    8. Using the Pathfinder effects
      4m 18s
  6. 28m 23s
    1. Introducing graphic styles
      33s
    2. Applying graphic styles
      10m 8s
    3. Defining graphic styles
      8m 46s
    4. Previewing graphic styles
      2m 10s
    5. Modifying graphic styles
      3m 30s
    6. Understanding graphic styles for text
      3m 16s
  7. 22m 49s
    1. Introducing advanced masking techniques
      32s
    2. Understanding clipping masks
      7m 15s
    3. Using layer clipping masks
      6m 30s
    4. Creating opacity masks
      8m 32s
  8. 1h 6m
    1. Introducing color
      40s
    2. Considering three types of color swatches
      7m 7s
    3. Managing color groups
      2m 58s
    4. Understanding the HSB color wheel
      3m 57s
    5. Understanding color harmonies
      2m 57s
    6. Using the color guide
      3m 54s
    7. Limiting the color guide
      3m 17s
    8. Modifying color with the Recolor Artwork feature
      6m 25s
    9. Using the Edit tab to adjust color
      5m 44s
    10. Using the Assign tab to replace colors
      8m 37s
    11. Making global color adjustments
      2m 17s
    12. Using Recolor options
      7m 3s
    13. Converting artwork to grayscale
      3m 23s
    14. Simulating artwork on different devices
      3m 18s
    15. Accessing Kuler directly from Illustrator
      2m 7s
    16. Ensuring high contrast for color-blind people
      2m 42s
  9. 53m 19s
    1. Introducing transparency
      40s
    2. Understanding transparency flattening
      2m 31s
    3. Exercising the two rules of transparency flattening
      10m 53s
    4. Understanding complex regions in transparency flattening
      4m 50s
    5. Exploring the transparency flattener settings
      8m 37s
    6. Using transparency flattening and object stacking order
      6m 39s
    7. Using the Flattener Preview panel
      6m 31s
    8. Creating and sharing Transparency Flattener presets
      2m 25s
    9. Working within an EPS workflow
      5m 3s
    10. Understanding the Illustrator and InDesign workflow
      5m 10s
  10. 50m 1s
    1. Introducing prepress and output
      23s
    2. Understanding resolutions
      8m 27s
    3. Discovering RGB and CMYK "gotchas"
      5m 42s
    4. Using Overprints and Overprint Preview
      7m 43s
    5. Understanding "book color" and proofing spot colors
      8m 1s
    6. Collecting vital information with Document Info
      2m 28s
    7. Previewing color separations onscreen
      1m 12s
    8. Making 3D artwork look good
      2m 16s
    9. Seeing white lines and knowing what to do about them
      2m 41s
    10. Creating "bulletproof" press-ready PDF files
      3m 45s
    11. Protecting content with secure PDFs
      2m 48s
    12. Using PDF presets
      2m 47s
    13. Moving forward: The Adobe PDF Print Engine
      1m 48s
  11. 35m 43s
    1. Introducing distortions
      27s
    2. Using the Warp effect
      4m 20s
    3. The Warp effect vs. envelope distortion
      3m 48s
    4. Applying the Make with Warp envelope distortion
      2m 45s
    5. Applying the Make with Mesh envelope distortion
      2m 41s
    6. Applying the Make with Top Object envelope distortion
      3m 45s
    7. Editing envelopes
      5m 0s
    8. Adjusting envelope settings
      4m 2s
    9. Releasing and expanding envelope distortions
      1m 44s
    10. Applying envelope distortions to text
      1m 27s
    11. Using the liquify distortion tools
      3m 5s
    12. Customizing the liquify tools
      2m 39s
  12. 28m 56s
    1. Introducing blends
      32s
    2. Blending two objects
      6m 18s
    3. Adjusting blend options
      5m 47s
    4. Blending anchor points
      5m 36s
    5. Blending three or more objects
      2m 9s
    6. Replacing the spine of a blend
      4m 32s
    7. Reversing the direction of a blend
      2m 15s
    8. Releasing and expanding a blend
      1m 47s
  13. 46m 54s
    1. Introducing charts and graphs
      35s
    2. Setting expectations: Graphs in Illustrator
      3m 19s
    3. Creating a chart
      8m 2s
    4. Importing data
      3m 34s
    5. Formatting data
      5m 1s
    6. Customizing a chart
      10m 21s
    7. Combining chart types
      2m 40s
    8. Creating graph designs
      6m 0s
    9. Styling and updating graphs
      5m 33s
    10. Ungrouping graphs
      1m 49s
  14. 26m 36s
    1. Introducing Gradient Mesh
      23s
    2. Understanding the Gradient Mesh feature
      9m 34s
    3. Using Gradient Mesh to add contoured shading
      6m 14s
    4. Using Gradient Mesh to create photorealistic effects
      10m 25s
  15. 8m 18s
    1. Introducing flare effects
      25s
    2. Drawing a lens flare
      3m 28s
    3. Modifying a lens flare
      1m 27s
    4. Using a mask with lens flares
      2m 58s
  16. 29s
    1. Goodbye
      29s

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