Illustrator CS5 One-on-One: Advanced

Best practices for 3D type


Illustrator CS5 One-on-One: Advanced

with Deke McClelland

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Video: Best practices for 3D type

In this exercise, we're going to apply the 3D rotate command in order to rotate this text in 3D space. Now if that sounds familiar, if you've been following along with me, it's because it is. We did the very same thing, completely out of context back in Chapter 15 if you may recall. This time however, I'm going to show you how we need to take a very deliberate approach to this process because we're already heaping a lot of dynamic effects on top of each other. And every time you add another dynamic effect, it needs to be calculated on top of everything else that's going on.
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  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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Watch the Online Video Course Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

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In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Deke McClelland

Best practices for 3D type

In this exercise, we're going to apply the 3D rotate command in order to rotate this text in 3D space. Now if that sounds familiar, if you've been following along with me, it's because it is. We did the very same thing, completely out of context back in Chapter 15 if you may recall. This time however, I'm going to show you how we need to take a very deliberate approach to this process because we're already heaping a lot of dynamic effects on top of each other. And every time you add another dynamic effect, it needs to be calculated on top of everything else that's going on.

So things become more and more complex for Illustrator and what we want to avoid are big time delays and of course the program crashing. That can happen on rare occasion as well if we are not careful. I have saved my progress as Multi-stroke And I still have my big text selected here, my Multi-bevel text. What I am going to do is I'm going to go up to the Effect menu. I'm going to choose 3D and I am going to choose Rotate and that's that command that allows you to rotate the text in 3D space. If you wanted to add a beveled edge, you could choose Extrude & Bevel.

We are going to steer clear that command right now because that would really exponentially complicate things. We will take a look at Extrude & Bevel in all kinds of detail into 3D chapter in the mastery portion of this series. But for now just go ahead and choose Rotate. That brings up this dialog box and notice it's got a warning. It's says Gradients will be rasterized. Well, the text has filled with a gradient; otherwise we wouldn't see this message. If there was no gradient, the message wouldn't come up onscreen. This is a pretty dangerous message, not because we care whether the gradient gets rasterized or not, that's not really the issue, in other words whether the gradient is represented as bands of vector colors or pixel colors, really doesn't matter that much to us.

It's not going to change the quality of the output. What it is going to do though, is make Illustrator work an awful lot harder. Illustrator, unlike Photoshop, is not good at pixels, very good at vectors, not so great at pixels. This can really slow it down. So here's what I am going to have you do. Cancel out for now. And I want you to turn off the Fill attribute here inside the Appearance panel. Just click on its eye to turn it off. That's going to give us a very unfortunate result. We're going to see through the fill down to all of these strokes piled on top of each other.

So let's go ahead and add another fill. That will just be a placeholder, so that we can get our work done a little more easily. So I will click on Stroke to make it active and then I'll click on my Fill icon, my Add New Fill icon down here at the bottom of the Appearance panel. You can also press Ctrl+/ or Command+/ on the Mac and then we'll go ahead and add that exact same fill, that same gradient, we don't want that, so click on the swatch and I want to change it to this swatch right here, this dark red swatch in my case in the first row. Click on it in order to make it active and that's it.

Now we have a flat solid fill that will not cause the 3D command any problems. Now at this point, you don't want to leave Fill selected because then you would just revolve the Fill independently of everything else. You want to click on Type instead here in the Appearance panel to make the entire Type object active and then go up to the Effect menu, choose 3D and choose Rotate again. Notice this time, we don't get the warning which is good news and we're going to get a much faster preview as a result. Turn on the Preview check box. So you can see what you're doing? Go ahead and set the Perspective to 100 degrees.

So we have a high degree if perspective. And then I'm going to drag this bottom edge which is a red edge, therefore we are modifying the red value that is the pitch of the type. And that allows us to lean the type back word or lean it forward as well. I want to change that value to about 1 degree, works out pretty nicely. And you may find that these values kind of change themselves when you're trying to change one or the other ones. That's to be expected, don't worry about it. It just means you have to go back and forth a little bit. Then I'm going to change the Ya value, the green value right there, the rotation around the Y axis, by dragging one of these green edges, these side edges and I'm going to go ahead and rotate this guy to about -9?, like so.

And because you have the Preview check box turned on, you can see a wireframe preview of your text as you drag it around and you can see all of those strokes are moving on the fly. Actually, it's a pretty cool effect. Now, I'll drag this little bitty side area right there in order to get that blue edge and I'll drag that guy up just a little bit like so, until that role value changes to about 4 degrees, that is the blue value right there, the rotation around the Z axis. So we've got 1 degree, -9 degrees and 4 degrees and then the Perspective is set to a 100 degrees.

Then go ahead and click OK in order to accept your modification. Now that moves the text way over there to the left hand side of the screen. So what I would like to do is move it back. Problem is the text is currently centered. It's exactly where it wants to be. If I press Ctrl+; or Command+; on the Mac to bring up my guides, I have got this one guideline that's running right smack dab to center of the document. The point text is absolutely exactly aligned to it. I don't want to upset that. I want to leave it there because then if I modify my 3D effect which is way down here at the bottom of the list by the way, I've got to twirl all these guys close.

There is 3D Rotate. So if I move the text and then I decide to modify the effect, I'm going to have to move the text again back and forth which means a lot of back-and-forthing, which also means that my original objects are not in alignment. The point I'm trying to make here is the better approach is to use Transform. So virtually move the text. So make sure that your Type object is selected or at least that none of the individual attributes are selected here inside the Appearance panel. And then go up to the Effect menu and choose Distort & Transform and choose the Transform command once again.

This time, I'm going to make a couple of modifications. First I am going to move my text 66 points to the right. By the way, you can use the Up and Down Arrow keys in order to nudge the value of course. You can also press Shift+Up Arrow and Shift+Down Arrow and that's going to change the value in six-point increments. Where's six comes from, I have no idea, but that's how it works when you're nudging here inside of this dialog box. Then turn on the Preview check box to see what things look like with a movement of 66 points. So that manages to visually center the text here on the screen.

Then I'm also going to increase the height of my characters independently of the width by changing the Vertical value to a 120%, like so. And we get this effect here. Then click OK to accept the modification. All right, so far so good. In the next exercise, we're going to apply yet another dynamic effect, one that's totally different than anything we've seen so far, called Pucker and Bloat.

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

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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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