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Illustrator CS4 Beyond the Basics

Applying a bevel


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Illustrator CS4 Beyond the Basics

with Mordy Golding

Video: Applying a bevel

In Illustrator, the Extrude effect is also referred to as the Extrude & Bevel effect. So what we have done so far is we have actually explored the Extrude effect but we didn't talk about Bevel. So let's take a look at exactly what a Bevel is inside of Illustrator. I have a regular object here, a regular plain flat 2D object. I'm going to select it and then I'm going to the Effect menu and choose 3D > Extrude & Bevel. Now I'm going to click on the Preview button so we could see what we can do over here. Notice by the way you will always have to click on the Preview button. Illustrator does this as a precaution. Obviously, like we said before, Illustrator is doing real 3D rendering here, let's say by accident, you hit Command+ A and selected all the artwork in your file, and then you chose to open up the 3D Extrude dialog box, Illustrator would now wait forever basically to generate a preview for all that artwork.
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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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Illustrator CS4 Beyond the Basics
9h 42m Intermediate Apr 03, 2009

Viewers: in countries Watching now:

Covering a wide range of topics, from advanced masking to chart creation, Illustrator CS4 Beyond the Basics reveals a whole new level of power, creativity, and efficiency with Illustrator. Instructor Mordy Golding explores how to work with Live Paint groups, get the most out of the Live Trace feature, and take advantage of Illustrator’s wide range of effects. He also discusses advanced transformation techniques, powerful 3D functionality, and important color concepts. Exercise files accompany the course.

Topics include:
  • Tracing artwork both automatically and manually
  • Mapping artwork to complex 3D surfaces
  • Using pressure-sensitive distortion tools
  • Recoloring artwork across a document
  • Using Excel data to create charts and graphs
  • Understanding how transparency really works
  • Creating high-quality, press-ready PDFs
  • Building efficient files with graphic styles
Subject:
Design
Software:
Illustrator
Author:
Mordy Golding

Applying a bevel

In Illustrator, the Extrude effect is also referred to as the Extrude & Bevel effect. So what we have done so far is we have actually explored the Extrude effect but we didn't talk about Bevel. So let's take a look at exactly what a Bevel is inside of Illustrator. I have a regular object here, a regular plain flat 2D object. I'm going to select it and then I'm going to the Effect menu and choose 3D > Extrude & Bevel. Now I'm going to click on the Preview button so we could see what we can do over here. Notice by the way you will always have to click on the Preview button. Illustrator does this as a precaution. Obviously, like we said before, Illustrator is doing real 3D rendering here, let's say by accident, you hit Command+ A and selected all the artwork in your file, and then you chose to open up the 3D Extrude dialog box, Illustrator would now wait forever basically to generate a preview for all that artwork.

So to prevent that from happening, the Preview checkbox is always turned off, basically allowing you to click on it manually to generate a preview. The reality is that the 3D effect was actually added back in Illustrator CS when computer power wasn't nearly what it's at right now. So if you do have a modern computing system, I don't think it's that much of a problem but still the Preview button is something you will have to manually check on each time you open the dialog. Now before we apply the Bevel effect, I'm actually going to change my Extrude Depth to about 200 point. I want to be able to actually see the depth of my extrusion here and that will give us a much better idea of understanding what the Bevel actually is.

Now in order to understand what a bevel is we have to really understand what is happening when this object is extruded. For example, if you take this shape right over here, I know that I have a regular flat shape here on the front and if I want to actually do this manually, what I would do is I would probably make a copy of this and actually bring it to the back and then connect the front and the back with straight lines over here in these areas. Actually, the Extrude effect is doing something very similar to that. But notice that over here the Bevel is currently set to None. If you look over here I have a straight line. Think of the line that connects this point and this point right over here as the Bevel setting. Since it's set to None, that is now a straight line.

What a Bevel is, is it's actually my ability to tell Illustrator don't connect these two points with a straight line, but connect these points with a different type of a line, maybe a curve line or some other line that has kinks it. For example, where it says over here Bevel, let's choose the Classic option. Notice that right over here, it looks like I have a little bit of chiseled edge on the front of my object and on the back of it as well. So instead of me connecting this over here from this point to this point with a straight line, Illustrator, it takes over here and look at the Classic line which is a little bit up and then straight and then a little bit down again.

I have the exact same thing here, a little bit up, straight across and a little bit down again. In fact, to get a really good idea of exactly what's happening when I apply a Bevel, let's look at my piece of artwork from a completely different angle. Let me set my Bevel back over here to the None setting and I'll change my position over here to be let's say from the Left. So now I'm looking at the left side of my object. Because my Bevel is currently set to None, you can see that the front and the back of my object are connected with a straight line. But I'm going to go ahead, I'm going to choose now the Classic option. Notice that now I have a line that goes up, straight across and then back down again.

In fact, it's easier to see it over here where I don't have a straight line connecting the ends of the object, I have a line that kind of comes out a little bit here, goes straight across and then back down again. Let's take a look at some of the other Bevel Settings that Illustrator has as well. For example, one called Complex 1. This is a straight line that then goes up and then back down again. If I choose Complex 1 here, I can see that exactly happens here on the shape. If I view it from Off-Axis Front again, I can see exactly how that Bevel applies to my artwork. Let's take a look at one of the other Bevel setting here as well. I'm going to choose this option over here called Complex 3. Take a look at that line that appears right over here. It, kind of, goes up as three humps and I can see that I now basically have three humps that apply in that area that is extruded on my object.

Again, if I look directly at the left side of my object, I can see exactly how that bevel is applied. It's a straight line before and now it's a line that curves in these three areas. Illustrator comes with 13 different types of bevels and I urge you to experiment with a lot of these. But one of them that I find that I use a lot is this one here called Rounded. Instead of a straight line Illustrator actually connects the front and the back with a round curve. This actually gives your shape a nice rounded edge. In fact, when I switch back over here to the Off-Axis Front setting here and instead of me having my Object Extrude at 200 point, I'll change it to around 30 point. In doing so, you can see that now it looks like the object has a bit of a rounded edge instead of a square edge.

So let's go back over here. My Bevel over here is set to None, has a pretty much of flat straight edge that's over here, but if I choose the Rounded option, I can see that I now have a much softer transition and a nicer shaped object here inside of Illustrator. In addition, because this surface is now rounded, I do see a nicer shadow and highlight area that I normally would not have on a regular object without a Bevel applied. So there are two other settings you need to know about when applying a bevel. The first one over here is the Height or how big the bevel is. Then the other option over here is do you want the bevel actually added to the actual shape itself meaning it makes the shape bigger, it takes the original shape and then adds the bevel stroke on top of that? Or do you want the actual bevel taken away from the object? Now with any of these settings at the end there is no right or wrong, it's simply a matter of finding what works best for your particular object in hand.

For example, I do find when I'm working with text, I find this particular Bevel option better because this option just adds too much weight, especially when I'm dealing with typefaces that have some kind of a serif in it. Now remember, one of the great things about working with 3D as a live effect is that you can make changes at any time. Because of the added complexity that bevels bring, for example, if I rotate the object, now you will see that there is a lot more pass in shapes than it were before working with bevels to get them to look just right may take little bit more of work on your behalf. Likewise, they will also take more time to render. But once you have got a bevel to look just the way that you want to, there is no question. It's definitely worth the effort.

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