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Applying and scaling an art brush


Illustrator CS4 One-on-One: Advanced

with Deke McClelland

Video: Applying and scaling an art brush

All right we are now going to transition from the Paintbrush tool and the Blob brush and all that jazz and calligraphic brushes as well. We are going to transition to art brushes, which are the most interesting brushes I think at work inside of Illustrator, but I just wanted you to see what I came up with here. This is my final version of this cartoon that I have drawn here. It's called Horse of Nothing that you need to do with it except for just basking Edwardo's glory here. He is quite the horse. But he is kind of full of himself, which is why Eunice still loves Bob. Gosh! Bob's well drawn.
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  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time

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Watch the Online Video Course Illustrator CS4 One-on-One: Advanced
12h 54m Intermediate Jul 09, 2009

Viewers: in countries Watching now:

Knowing the fundamentals of drawing and reshaping paths is only part of the story. In Illustrator CS4 One-on-One: Advanced, the second of the popular One-on-One series, computer graphics expert Deke McClelland covers some of Illustrator's most powerful and least understood features. He shows how to merge simple shapes to create complex ones with the Pathfinder palette, as well as align paths to create schematic illustrations. Deke explains how to paint fluid, multicolor fills with blends, and the new and improved gradient tool. He explores seamlessly repeating tile patterns, blobs and brushes, and imported images. He also dives into one of the deepest features in all of Illustrator, transparency. Exercise files accompany the tutorial.

Recommended prerequisite: Illustrator CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Illustrator from the Exercise Files tab.

Topics include:
  • Working with compound shapes in the Pathfinder palette
  • Ghosting shapes with Fill Opacity
  • Understanding gradients and the gradient tools
  • Cloning and coloring a blended path
  • Saving tile patterns and applying them to a shape
  • Importing and linking images from other applications
Deke McClelland

Applying and scaling an art brush

All right we are now going to transition from the Paintbrush tool and the Blob brush and all that jazz and calligraphic brushes as well. We are going to transition to art brushes, which are the most interesting brushes I think at work inside of Illustrator, but I just wanted you to see what I came up with here. This is my final version of this cartoon that I have drawn here. It's called Horse of Nothing that you need to do with it except for just basking Edwardo's glory here. He is quite the horse. But he is kind of full of himself, which is why Eunice still loves Bob. Gosh! Bob's well drawn.

All right, I'm going to go ahead and switch over to this other illustration. I would like you to open it. It's called and it's found inside of the 19_blobs_brushes folder and it's that Eye of Horus that we drew way back when we were taking a look at the Line tools back in the fundamentals portion of the series. We are going to gussy this thing up by the way. It's now an album cover for a group called Horus in their breakout CD Eyeliner as if bands have CDs anymore. What we are going to do is we are going to doll it up a little by adding some art brushes. So I'm going to start off by clicking on this eyebrow shape right there. And then I'm going to switch over to the Brushes palette.

Now none of these shapes as you may recall were drawn with the Paintbrush tool or the Blob brush, or have received any kind of treatment from any of the other tools we have look at inside of this chapter. They were all drawn with the Line tools, or in the case of the eyebrow and the eye, they were drawn with the Pen tool. But we can still modify them using brushes here inside the Brushes palette. These brushes right here are the Calligraphic brushes, but then we have got the art brushes from Rough Charcoal down here to Fude. So what I'm going to do is I'm going to click on Rough Charcoal in order to apply that effect, and I'll show you how to create an art brush but basically the idea is it's an elongated shape that stretches over the course of an entire line.

So it describes the stroke of the line, but then you can modify it if you want to. You don't have to accept the way that the art brush stroke is aligned by default. Notice by the way that it went ahead and adopted the stroke color just automatically. So even though the original color of Rough Charcoal was black, the new color is that red that was assigned to the eyebrow in the first place. All right now let's say you want to edit how the art brush is applied. You could double-click on Rough Charcoal in order to modify it, but that would not only change its appearance on this eyebrow here but it would change the fundamental nature of that art brush, and that's not something that I think we want to do. So go ahead and cancel.

Instead if you just want to modify the art brush on this specific path, then you drop down to that second icon at the bottom of the palette and if you hover over it, notice it says Options of Selected Object. Go ahead and give it a click and you will bring up this dialog box right here. At this point in time, you can go ahead and change the size of that art brush with respect to the path. So first things first, go ahead and turn-on the Preview checkbox and then you might as well try Proportional to see what it looks like. We'll go ahead and scale the art brush so it fits the path proportionately, but that's not the effect I want, and I have a little bit of hard time believing that's true because that art brush is really long, whereas it's getting really thick and chunky here on the path.

But in any case, that's what Illustrator has decided to do. I'm going to say no, thank you very much. I get better control if I just modify the Width value here. So I'm going to go ahead and take this Width value up for starters to 400%, which isn't quite enough. It's getting there though. It looks pretty darn and thick, but I want it to be a nice bushy eyebrow. So I'm going to now press Shift+Up arrow and I can see that art brush growing on the fly. I'm ultimately going to take it up until I get to 500%, which looks right to me.

Now you have two Flip options that you can choose from. And notice that they have this pretty darn and helpful icon tight here. So Flip Along is going to go ahead and flip this art brush across the length of the path. So what was formerly on the right side of the path is going to flip to the left side of the path and what was formerly on the left side is going to flip to the right side, so across the length of the path, whereas Flip Across is going to flip across the width of the path here. So what was on top is going to go to the bottom, but it's not strictly the difference between Flip Horizontal and Flip Vertical because the path might be vertical instead of horizontal, which would change the equation. But just keep your eye in the icons, or even better just try them out.

So I'll try out Flip Along and that definitely does the trick. We have got more of an angry horse going because we have the thick part of the eyebrow over here on the nose side of the eye, or if you prefer, the beak side of the eye since he is after all a horse. We can also try out Flip Across but that doesn't do what I'm looking for at all. So Flip Across off, Flip Along on. We'll take a look at Colorization later. Go ahead and click OK in order to accept that effect. Now having applied the art brush to this path outline, I can edit the path outline. I could scale it, for example. So let's go ahead and grab that Scale tool right there, and I'm going to click right about there in order to set the origin point, just above that pupil outline there.

And then I'm going to drag up and out while pressing the Shift key in order to perform a proportional resizing like so. And the art brush grows in kind. So it's constantly feeding that path, and it even works if you go ahead and reshape the path using the White Arrow tool. So I'm going to click off the path outline, click on that first point like so. I want to make the horse pretty angry here. So I'm going to move down this first point like this, and then I'm going to move this up. I'm going to actually bring up this control handle, so that we get a nice arch associated with the eyebrow.

And I want to cover up just a little bit of the R, not too much, and I might actually go ahead and nudge the point from the keyboard using the Arrow keys. Then I'll bring this guy up just a little bit, knock it down with the control handle in order to create more of an arch and we get this final effect here. Actually, let's move U over a little bit. Move U down and over as well. This is the effect I think I'm looking for. We now have an angry horse with the fluffy eyebrow. Thanks to the application of this Rough Charcoal art brush here inside Illustrator.

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Advanced .

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Q: In the lesson on pressure sensitivity, exactly what kind of Wacom tablet is the instructor using?
A: The instructor is using a Wacom Intuos 3 tablet
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