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Illustrator CS4 Essential Training

Applying Live Effects


From:

Illustrator CS4 Essential Training

with Mordy Golding

Video: Applying Live Effects

It's obvious until this point that the Appearance panel holds a certain amount of power inside of Illustrator, especially when it comes to working with attributes of each of your objects, but hold down your seats, the real power comes through another feature inside of Illustrator called Live Effects. Live Effects are accessible directly through the Appearance panel, which again, make it that much more important for you to understand what the Appearance panel means and how it works. A Live effect is something that basically changes the appearance of a particular path but does not change the underlying structure of the path itself. Let's start off with a very basic example and then we will began to see where this goes. I'm working with this regular appearances file; I have actually reverted back to the original state of this file. I'm actually going to select this object right here. This has a white fill and a black stroke and maybe I want to add a soft drop shadow effect to this particular shape. In the past, I can go over to the Effect menu and I could choose to apply a particular effect.
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  1. 59s
    1. Welcome
      59s
  2. 33m 17s
    1. Why use Illustrator?
      2m 22s
    2. What are vector graphics?
      8m 4s
    3. Understanding paths
      4m 13s
    4. Fill and Stroke attributes
      5m 32s
    5. Selections and stacking order
      8m 31s
    6. Isolation mode
      4m 35s
  3. 23m 43s
    1. The Welcome screen
      1m 11s
    2. New Document Profiles
      4m 36s
    3. Using multiple artboards
      7m 17s
    4. Libraries and content
      3m 52s
    5. Illustrator templates
      2m 56s
    6. Adding XMP metadata
      3m 51s
  4. 43m 55s
    1. Exploring panels
      4m 18s
    2. Using the Control panel
      5m 25s
    3. Navigating within a document
      5m 27s
    4. Using rulers and guides
      5m 23s
    5. Using grids
      2m 12s
    6. Utilizing the bounding box
      3m 3s
    7. Using Smart Guides
      4m 59s
    8. The Hide Edges command
      3m 31s
    9. Preview and Outline modes
      2m 18s
    10. Using workspaces
      7m 19s
  5. 38m 3s
    1. The importance of modifier keys
      1m 9s
    2. Drawing closed-path primitives
      7m 15s
    3. Drawing open-path primitives
      5m 5s
    4. Simple drawing with the Pen tool
      7m 28s
    5. Advanced drawing with the Pen tool
      10m 33s
    6. Drawing with the Pencil tool
      6m 33s
  6. 46m 37s
    1. Editing anchor points
      13m 7s
    2. Creating compound shapes
      5m 55s
    3. Utilizing Pathfinder functions
      5m 11s
    4. Joining and averaging paths
      5m 37s
    5. Outlining strokes
      3m 24s
    6. Simplifying paths
      5m 41s
    7. Using Offset Path
      2m 43s
    8. Dividing an object into a grid
      1m 41s
    9. Cleaning up errant paths
      3m 18s
  7. 35m 23s
    1. Creating point text
      4m 4s
    2. Creating area text
      4m 19s
    3. Applying basic character settings
      6m 27s
    4. Applying basic paragraph settings
      4m 4s
    5. Creating text threads
      5m 28s
    6. Creating text on open paths
      5m 18s
    7. Creating text on closed paths
      3m 57s
    8. Converting text to outlines
      1m 46s
  8. 20m 15s
    1. Using the basic selection tools
      7m 53s
    2. Using the Magic Wand and Lasso tools
      6m 34s
    3. Selecting objects by attribute
      2m 38s
    4. Saving and reusing selections
      3m 10s
  9. 40m 35s
    1. Using the Appearance panel
      6m 48s
    2. Targeting object attributes
      3m 26s
    3. Adding multiple attributes
      7m 6s
    4. Applying Live Effects
      8m 9s
    5. Expanding appearances
      4m 48s
    6. Appearance panel settings
      6m 51s
    7. Copying appearances
      3m 27s
  10. 37m 15s
    1. Defining groups
      7m 2s
    2. Editing groups
      5m 28s
    3. Working with layers
      8m 10s
    4. Layer and object hierarchy
      6m 57s
    5. Creating template layers
      2m 3s
    6. Object, group, and layer attributes
      7m 35s
  11. 44m 4s
    1. Applying colors
      3m 18s
    2. Creating solid color swatches
      4m 48s
    3. Creating global process swatches
      5m 1s
    4. Using spot color swatches
      4m 27s
    5. Creating swatch groups and libraries
      6m 50s
    6. Working with linear gradient fills
      6m 34s
    7. Working with radial gradient fills
      2m 19s
    8. Applying and manipulating pattern fills
      4m 51s
    9. Defining simple patterns
      5m 56s
  12. 22m 43s
    1. Moving and copying objects
      2m 1s
    2. Scaling objects
      4m 49s
    3. Rotating objects
      3m 14s
    4. Reflecting and skewing objects
      2m 27s
    5. Using the Free Transform tool
      2m 9s
    6. Aligning objects
      5m 15s
    7. Distributing objects
      2m 48s
  13. 25m 13s
    1. Using a pressure-sensitive tablet
      1m 38s
    2. Using the Calligraphic brush
      6m 10s
    3. Using the Scatter brush
      4m 0s
    4. Using the Art brush
      2m 26s
    5. Using the Pattern brush
      3m 21s
    6. Using the Paintbrush tool
      1m 41s
    7. Using the Blob Brush tool
      3m 42s
    8. Using the Eraser tool
      2m 15s
  14. 16m 36s
    1. Using symbols
      3m 9s
    2. Defining your own symbols
      2m 1s
    3. Editing symbols
      4m 4s
    4. Using the Symbol Sprayer tool
      2m 32s
    5. Using the Symbolism toolset
      4m 50s
  15. 35m 37s
    1. Minding your resolution settings
      6m 15s
    2. Applying basic 3D extrusions
      6m 43s
    3. Applying basic 3D revolves
      2m 31s
    4. Basic artwork mapping
      5m 9s
    5. Using the Stylize effects
      5m 35s
    6. Using the Scribble effect
      5m 43s
    7. Using the Warp effect
      3m 41s
  16. 21m 37s
    1. Placing images
      4m 51s
    2. Using the Links panel
      2m 47s
    3. The Edit Original workflow
      2m 0s
    4. Converting images to vectors with Live Trace
      5m 29s
    5. Rasterizing artwork
      1m 55s
    6. Cropping images with a mask
      4m 35s
  17. 10m 35s
    1. Saving your Illustrator document
      8m 18s
    2. Printing your Illustrator document
      2m 17s
  18. 6m 25s
    1. Exporting files for use in QuarkXPress
      1m 8s
    2. Exporting files for use in InDesign
      39s
    3. Exporting files for use in Word/Excel/PowerPoint
      45s
    4. Exporting files for use in Photoshop
      1m 25s
    5. Exporting files for use in Flash
      1m 15s
    6. Exporting files for use in After Effects
      19s
    7. Migrating from FreeHand
      54s
  19. 2m 23s
    1. Finding additional help
      2m 0s
    2. Goodbye
      23s

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Illustrator CS4 Essential Training
8h 25m Beginner Oct 13, 2008

Viewers: in countries Watching now:

Illustrator can be used to accomplish many different design tasks. For this reason, Illustrator CS4 Essential Training teaches core concepts and techniques that can be applied to any workflow for print, the web, or assets that will find their way into other applications. Mordy Golding explains the elements that make up vector graphics—paths, strokes, and fills—and shows how to use each of Illustrator's drawing tools. He demonstrates how to combine and clean up paths, and organize them into groups and layers. Mordy also covers text editing, working with color, expressive brush drawing, effects, and much more. Exercise files accompany the course.

Topics include:
  • Making efficient use of the Illustrator interface
  • Creating text on a path
  • Using the Magic Wand and Lasso selection tools
  • Working with a pressure-sensitive tablet
  • Applying 3D extrusions and resolves
  • Converting images to vectors with Live Trace
  • Exporting files for use in Photoshop, Flash, and other applications
Subject:
Design
Software:
Illustrator
Author:
Mordy Golding

Applying Live Effects

It's obvious until this point that the Appearance panel holds a certain amount of power inside of Illustrator, especially when it comes to working with attributes of each of your objects, but hold down your seats, the real power comes through another feature inside of Illustrator called Live Effects. Live Effects are accessible directly through the Appearance panel, which again, make it that much more important for you to understand what the Appearance panel means and how it works. A Live effect is something that basically changes the appearance of a particular path but does not change the underlying structure of the path itself. Let's start off with a very basic example and then we will began to see where this goes. I'm working with this regular appearances file; I have actually reverted back to the original state of this file. I'm actually going to select this object right here. This has a white fill and a black stroke and maybe I want to add a soft drop shadow effect to this particular shape. In the past, I can go over to the Effect menu and I could choose to apply a particular effect.

By the way, we also notice that the Filter menu no longer exist here inside of Illustrator. Right now the Effect menu has all the settings necessary inside of that, but you can also access all the effects directly to the Appearance panel now. From the bottom here where I can choose to add a new effect. So when I click over here, I'm going to go ahead and choose Stylize and then I'm going to choose Drop Shadow. So now when I get this dialog box, I'll choose the regular settings. I'll click on the Preview button, so I could actually see a preview of that drop shadow. I'll keep the settings as same right now and I'll click OK. The important thing to realize here is that now in the Appearance panel, besides my Stroke attribute and my Fill attribute, I also have a Drop Shadow attribute. Again, this is because that Illustrator is now showing to me that I have added this additional appearance to my object itself.

The reason why it's important to understand that a drop shadow was added in this case as an appearance is that if I were to change my shape or move it or adjust it or resize it in any way, the drop shadow was simply update itself. It's not necessarily an effect that once I apply it I have to then reapply if I make changes. Anything that I now do to the shape-- For example, if I were to go ahead and grab the edge here and adjust the scale of it, notice the drop shadow automatically updates. I'm going to press undo to go back to where I was before. If I want to now change that Drop Shadow effect, I also have the ability again to go the Appearance panel in the same way that I was able to adjust fills and strokes by clicking on them, I can now click on the word Drop Shadow, which brings up the dialog box and here I could adjust the setting. For example, maybe I want the opacity little bit lighter maybe 30%.

So now I have gone ahead and I have updated that particular drop shadow. Again, I do that all through the Appearance panel. If I wanted to remove the drop shadow from this particular object I could simply take it and drag it to the trashcan. I'm going to go ahead and press undo for a second because Illustrator CS4 now also has the ability to simply turn on and off effects that have already been applied to an object. For example, if you look on the far left over here at the Appearance panel, you will see these little eyeballs here. These eyeballs control the visibility of the effects that are being applied or the attributes that are being applied to that object.

For example, right now my path is my target and I now I have a fill, a stroke and also my drop shadow, which are all visible. If I go ahead and I decide to hide the visibility of the drop shadow, notice that I don't see the drop shadow here and maybe I just want to experiment with this. I don't want to throw out the drop shadow or lose it settings but maybe temporarily or maybe just for one object I just want to turn off the drop shadow. I can hide its visibility without having to lose it because at any time I can now bring that drop shadow back by clicking on this icon and bring back its visibility. Whereas if I had basically deleted that drop shadow, there is no way for me to easily bring that back and this is important especially when you are dealing with finicky clients or managers or creative directors and they want to see something one way and they constantly saying, oh you know, maybe go back to the old way of seeing it or show me what it look like with it or without it instead of having multiple copies, you can have one object and we will simply click on the eyeballs to hide or show those particular attributes within the Appearance panel.

Let me give you another example of really what I mean when I say that the effects that are applied to a particular object, affect the appearance of the object but not the underlying structure of the object and we will see why that's important as well. I'm actually going to take this Drop Shadow and throw it in the garbage for now. I have a regular shape now that has again a white fill and a black one-point stroke and if we want to change this surfboard and make it look more realistic. Let's go and make a 3D surfboard. It's actually not that difficult at all and we will talk more about 3D later on, but for now let's just get a quick idea on how to apply that kind of effect. I'm going to change my fill to something different. Let's go ahead and maybe choose an orange color and now what all I have to do is I'll take my stroke actually and set my stroke to none. Let's go ahead and say we don't want to stroke on the object at all. We just want to have a pure orange surfboard here.

I have it selected and again, my path right now is targeted. I'm going to go over here to the effect over here and choose add a new effect. We will choose 3D and I'll also choose Extrude and Bevel. I'm going to click on the Preview button so I could what this looks like. Notice that I have now an extruded surfboard here. I want to make this look more realistic. I can go ahead and I can click on this cube to rotate how that sets in 3D space. So for example, let's say we do something like this. I'm going to change the depth to that extrusion to maybe 30 points and I'm also going to apply a bevel, choose a rounded bevel to make it look like this surfboard has a little bit of rounded edge, maybe we will change to height to that bevel to six point.

So now I get basically something that looks far more realistic, looks not unlike a real surfboard here. Let's go ahead and choose nice little angle like that, beautiful. We get some nice sliding and shading on it. I'll click OK and that's my 3D surfboard. But let's go into Outline mode for a second. If I go into the View menu and I choose to view this in outline. I don't see a 3D shape. I see the same path itself. So what happen here is I have my regular vector path with all anchor points in the path that basically make up that shape in general inside of Illustrator.

But what I have done is I have applied a 3D appearance to what I have changed the way that that path looks, but it didn't change to make up of the path itself and if I now go back to my Preview mode, I'll see what that path looks like now with the appearance on it. So the appearance effects how that path looks, remember but I have not changed underlying path and the reason why that's important is because I decide that I want to do something different to this surfboard. For example, may be I want to make it look like a shark took a bite out of this particular surfboard. Well, I know that I have certain commands such as the Pathfinder commands that I could use. So I'm actually going to go ahead here and just draw a range of shapes here. Why don't we go into Outline mode just to show you how I'm doing this. I'm take let's say the Ellipse tool and just create a whole bunch of circles here. I'm going to use my Option key or if you are on the PC, hold the Alt key, this is something create a whole bunch of circles just like this.

Now I'll go ahead and just kind of drag all this together. I'll select them all and I'll go to the Window menu, I'll choose Pathfinder and I'll add them all to one particular shape. Now what I'll do is I'll take this exact shape right here that I created and kind of bring it over here just like this, select both items and now choose to subtract. So what I have done is I basically made it look like a shark took a bite out of that surfboard there. If I go into Preview mode right now, what do you think what happened to that 3D, look at that surfboard. That's right, what's going to happen is that, that's now going to look like, it was taken right out of that particular surfboard.

So the benefit of an appearance is that by not affecting the underlying path itself, if I ever made changes to that path that updates in the appearance as well. Imagine if I created a 3D shape and then I want to take the bite out of the 3D shape well, that would have been far more complex. So this is a key thing to understand with appearances. Remember that appearances affect the overall look of the path, but they do not affect the underlying structure of that particular path. At the end of the day what that means is that the artwork that you create now inside of Illustrator when you are using appearances, is far more editable than anything else and that's the key to the game.

If you want to be efficient, if you want to be able to create your graphics inside of Illustrator, what you end up doing is creating a path structure and then you are applying appearances to everything and that's where the Illustrator works. So it's very simple from that perspective. Hopefully, this gives you more of an idea or understanding of what the appearances are, how effects are applied to these particular shape, why they are called Live Effects inside of Illustrator. We now know also how to change to 3D. If you want to go ahead and edit the 3D, that's right you just come to the Appearance panel select the art work go ahead and click on 3D Extrude and Bevel and you get the 3D dialog box and maybe change its rotation a little bit.

Click on the Preview and I could very easily change how that looks, which is a few clicks in the mouse. That would have been very difficult for me to do if I had changed the underlying structure or the vector shape.

Find answers to the most frequently asked questions about Illustrator CS4 Essential Training.


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Q: I cannot get the new brush dropdown to allow me to create either a New Scatter Brush or a New Art Brush; the only ones I can click on are New Calligraphic Brush and New Pattern Brush. When I go to Windows > Brush Library and choose New Brush, again the only ones I can click on are New Calligraphic Brush and New Pattern Brush. How do I make these work like they should?
A: In order to create a new Scatter or Art brush, you must first have artwork selected on the artboard.
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