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Illustrator CS5 One-on-One: Mastery
Illustration by John Hersey

Assigning an effect to an entire layer


From:

Illustrator CS5 One-on-One: Mastery

with Deke McClelland

Video: Assigning an effect to an entire layer

Over the course in the next few exercises we're going to transform our snowflake so far, which I'm calling Kings with crowns.ai, into this beveled effect here, in which we're building up a bunch of different stroke effects and I've gone ahead and rotated the entire snowflake about 15 degrees. Now if I set in applying the strokes to the group as it is so far, then we're going to run into problems, because basically because we have all these dynamic effects piled on top of each other they respond to everything we do and the simple act of adding a stroke actually shoves the path outline outward a little bit and messes up our alignment.
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  1. 37m 22s
    1. Welcome
      45s
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
      58s
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
      33s
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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Illustrator CS5 One-on-One: Mastery
13h 5m Advanced Jan 28, 2011

Viewers: in countries Watching now:

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.

Topics include:
  • Working with dynamic effects
  • Placing artwork as a Photoshop Smart Object
  • Creating and editing a Gradient Mesh
  • Distorting artwork with an Envelope Mesh
  • Using the Calligraphic, Art, and Scatter Brushes
  • Creating an intricate Pattern Brush
  • Importing and graphing data
  • Creating a complex pictograph
  • Drawing and editing a perspective shape
  • Working with the new Perspective Grid tool
  • Using the 3D Revolve effect
  • Creating 3D type with Extrude & Bevel
  • Recording and playing automated actions
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Assigning an effect to an entire layer

Over the course in the next few exercises we're going to transform our snowflake so far, which I'm calling Kings with crowns.ai, into this beveled effect here, in which we're building up a bunch of different stroke effects and I've gone ahead and rotated the entire snowflake about 15 degrees. Now if I set in applying the strokes to the group as it is so far, then we're going to run into problems, because basically because we have all these dynamic effects piled on top of each other they respond to everything we do and the simple act of adding a stroke actually shoves the path outline outward a little bit and messes up our alignment.

And we're going to see some other dynamic effects along the way as well. So I'll switch back to our illustration at hand. And I'm going to select that group by just kind of generally marqueeing in this area of the screen with my Black Arrow tool, and that goes ahead and selects all the paths inside the group. And we can see that the group is selected here inside the Appearance panel. Now I'm going to add a stroke to the entire group by dropping down to the Add New Stroke icon in the bottom-left corner of the Appearance panel, clicking on it, and that adds this one point black stroke by default. And you can see that everything has gone to heck. I'll go ahead and zoom in here.

Each and every single path outline is now stroked independently of the other one and what I want is a big ginormous overarching stroke. So to solve that problem you go up to the Effect menu you choose Pathfinder and you choose Add. So this is a dynamic application of an Add Pathfinder effect, and because this stroke is active over here inside the Appearance panel we will apply that effect just to the stroke, which is very important. So go ahead and choose Pathfinder, choose Add, if you're following along with me, and we end up getting this effect. So the strokes are now merged with each other much better than before, but we still have these outlines right down the center of this guy's face.

And the reason for that is once again because that one point stroke is centered on the path outline that goes a half a point out as well as a half a point in. And that little bit, that half a point out, has scooted all the path outlines away from each other just ever so slightly and completely ruined the alignment of our effect, and we don't want that. So the solution is not to apply the stroke to the group, but to apply it to the next thing up, which happens to be the layer. So I'm going to grab the stroke right here inside the Appearance panel and I'm going to drag it down to the Trash Can and release, and that will get rid of it.

And what we need to do is go to the layers panel. Inside the snowflake layer is the big flake group, which is currently selected for me. I'm going to meatball the layer instead to make it active then switch back over to the Appearance panel. Notice that the layer is active here as well. Then I'll add a stroke to it by clicking on the Add New Stroke icon, and we end up getting already a much better effect. We don't have those lines down the center of the dude's face and now in order to reconcile the fact that we do have overlapping strokes, each and every path outline is still stroked in so far as Illustrator is concerned.=, I'll going up to Effect, I'll choose Pathfinder, and I'll choose Add, and that will go ahead and reconcile some of those overlaps as we see right there.

Now one of the other problems is that the strokes are going both in and out, as I was telling you before. I want them to go exclusively out. I don't want to be covering up any of the white fill, and that means that I need to offset the strokes just ever so slightly. Now if I go up to the Stroke panel, I'll click on the word Stroke up here in the Control panel in order to bring up the Stroke panel, I'm going to switch my Corners to Round Joins. But notice the Align Stroke option here, there is only one icon that's available and that's Align Stroke to Center. The other ones, where you move the stroke inside or outside, they're dimmed, because I'm working with a special variety of stroke that's applied to an entire layer.

So what I need to do instead is go to the Effect menu, choose Path, and in order to scoot those paths out I'm going to choose Offset Path. Now by default the Offset value is set to 10 points. That's way too big. I'm going to knock it down to 1 point, like so, and turn on the Preview check box and you'll see those strokes move outward, so they're no longer covering up the white fills. All right, that looks pretty good so far. I'll go ahead and click OK. Now my other problem with this is I don't want a black stroke, so I'm going to dial-in a different color inside the Color panel. Notice my stroke is active and the values I'm going to dial-in are 100% for Cyan, and by the way you can expect a little bit of a delay as you enter these values if you're working with me, because of the dynamic effects that are heaped on top of each other here.

I'll then change Magenta value to 75%, I'll change Yellow value to 15, then finally I'll change that K value, black, to 0% in order to create these blue strokes as you see them here. And then I'm going to twirl that stroke open, just so that I can see that my Add effect and my Offset Path effect are both assigned to the Stroke itself, not to the larger layer, just to the stroke that's assigned to the layer. And with that Stroke still active I want to nudge the Stroke just a little bit using once again Transform. So I'll go out to the Effect menu, choose Distort & Transform, and then choose Distort & Transform, and then choose Transform, or if you load a dekekeys you can press Ctrl+E, Command+E on the Mac.

And I'm going to change these values ever so slightly. -0.2 for the Horizontal Move value and positive 0.2 for the Vertical Move value. Turn on the Preview check box and you'll see the strokes shift ever so slightly, just a tiny shift going on there, and then I'll click OK in order to accept that modification. The final thing I want to do is make sure that the strokes are not interrupting the fills ever. Notice right there at this location we have an interruption and you do that by grabbing that stroke and moving it under Content, so that the stroke is applied underneath the fills, which are assigned directly to the contents, to the path outlines themselves in other words, and we end up with this effect here.

All right, so that's part one of our effect. In the next exercise I'll show you how to add the additional beveled strokes.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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