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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.
I have saved my progress as Aligned faces.ai. In this exercise, we are going to apply dynamic effects inside of dynamic effects in order to replicate these leaves and let me show you what I'm talking about. First of all, what I've got to do is get my White Arrow tool so that I can select these leaves inside of their groups. And I will Alt+Click or Option+Click on the topmost of these two leaves and if you're searching for the leaf inside of the Layers panel, and you've got the group twirled open, the big flake group, then you should find an item that's called small leaf 3, so that happens to be this guy right there.
And what's going to happen now? We're going to apply a transform effect in order to fill out the top of this branch and it's going to replicate all over the place. Because even though we are creating a single dynamic effect, the group as a whole is also affected by two applications of Transform. So we are really going to be creating one dynamic effect inside of another inside of another. So we are working three effects deep here. So I will go up to the Effect menu and I will choose Distort & Transform and I will choose Transform, or if you've loaded dekekeys, you've got Ctrl+E, Command+E on the Mac.
And I am going to rough in some settings before I turn on the Preview check box. I am going to change both of the scale values to 84%. And then I will change the Horizontal Move value to 4.4 and the Vertical Move value should be -3.8, and then I am going to change the number of copies to 5. And now I will turn on the Preview check box to see if this worked out right, and it's not because these guys are moving into each other, but you can see what I am talking about. In addition to applying the dynamic effect that we are working on right now, we are also applying two other dynamic effects at the same time.
First the Reflect effect, which is sending the leaves over here to left-hand side and then we are rotating those reflected leaves five times. So we are creating a total of 11 different duplicates on the fly of five duplicates. So I'm not exactly sure what the math is there. It's more than 55 duplicates. It's an awful lot of path outlines being duplicated on a fly. However, it's not happening right, because these leaves are closing in on each other. And the mistake I made here was to not select the right reference point. I want to select the top reference point this time around and that goes ahead and aligns everything quite nicely.
Now I'll click OK in order to accept that modification. I'll Alt+Click or Option+Click on this bottom leaf, which is small leaf 4 here inside the Layers panel. Then I'll go ahead and choose that second command from the Effect menu, Transform in this case, or press the keyboard shortcut Ctrl+Shift+Alt+E, Command+Shift+Option+E on the Mac. And let's adjust some settings here. I am going to change both the Horizontal and Vertical values to 88% this time around. I want the Horizontal Move value to be -5.2, and by the way I just figured out these values through absolute trial and error with the Preview check box turned on, but I'm just trying to save you some time and effort.
I will change the Vertical value to 2.2 and I will turn on the Preview check box to see what's going on here. That's not quite right because I don't want that many copies. I will reduce the copies value to 3. And the best way to gauge the accuracy of what I've done here is to look at this branch right there, which shows the two sets of leaves here side-by-side in a vertical formation and they look like they align pretty nicely, but again it's all happenstance. You just have to feel your way through this project. Then click OK in order to accept that modification. Now what I want to do is I want to go ahead and give this guy a crown.
And so I will grab my Pen tool, which I can get by pressing the P key. And the reason I'm waiting till now to add the crown is because now I can see the negative space that I have to work inside of. So I'll click right there, sort of at the base of his head and then click here and maybe there for now. That's good enough. And now in order to make it part of the transformation project, in order to make it part of the snowflake that is, I need to make a part of the group. And you do that by grabbing the path here inside the Layers panel, this is the easiest way of work. Grab the path in Layers panel and just drag it and drop it into the group, like so, into that big flake group and then it gets duplicated all over the place.
Now I'm not done with my crown. That was just the beginning of it. I will go ahead with the path outline. Notice that it's still active. Because the Pen tool cursor does not have an X next to it, so the Pen is still willing to work away on this path. So I will click here and then maybe here and so forth in order to create my crown. And I'll finally allow the segments to cross each other a little bit. And if you need to make any modifications, you can just by nudging from the keyboard. So in my case, I am pressing the Left and Up Arrow keys a few times. In order to nudge those anchor points around, I will go ahead and grab my White Arrow tool and I might drag these guys in a little bit, just so that they follow the angle of the leaves a little better.
Drag this guy in just a tiny bit as well, or of course nudging can sometimes be more helpful. Unless I am going to zoom in there. And then I'll go ahead and move this guy up and in just a little bit. Move this guy up and over as well until I get an effect that looks like this. And I will zoom in just to make sure I've got good alignment and everything actually looks pretty darn good there. All right, now I'll zoom out so that we can take in more of the snowflake at a time, and you can see just how amazingly powerful but something as simple as the transform dynamic effect is, just by virtue of the fact that allows you to create and amass duplicates of a single collection of path outlines on-the-fly.
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