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

Coloring and correcting extruded edges


Illustrator CS5 One-on-One: Mastery

with Deke McClelland

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Video: Coloring and correcting extruded edges

So I went ahead and applied those settings inside the 3D Extrude & Bevel dialog box and I figured why not go ahead and apply a jagged bevel. See how it works out. And I've saved the result as Steak-fry, and if you want to see what settings I applied, you just have to go ahead and click on 3D Extrude & Bevel in order to see those settings right there inside the 3D Extrude & Bevel Options dialog box. I did add another light source by the way. I will go ahead and turn on the Preview check box, so we can see what that's doing. And I went ahead and set that light source right there behind the letters.
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  1. 37m 22s
    1. Welcome
    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
    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
    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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Watch the Online Video Course Illustrator CS5 One-on-One: Mastery
13h 5m Advanced Jan 28, 2011

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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.

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
Deke McClelland

Coloring and correcting extruded edges

So I went ahead and applied those settings inside the 3D Extrude & Bevel dialog box and I figured why not go ahead and apply a jagged bevel. See how it works out. And I've saved the result as Steak-fry, and if you want to see what settings I applied, you just have to go ahead and click on 3D Extrude & Bevel in order to see those settings right there inside the 3D Extrude & Bevel Options dialog box. I did add another light source by the way. I will go ahead and turn on the Preview check box, so we can see what that's doing. And I went ahead and set that light source right there behind the letters.

And notice now if I move this slide around a little bit, then I'm lighting essentially the back of those beveled edges. All right! I am going to cancel out there though, because I liked my previous effect better. Now, you can see that I have knocked my 3D type off-kilter a little bit, and that happens and you could just move the type to a different location if you wanted to center it once again. However, I prefer to leave the type where it really is, inside of the document especially if it's centered inside the illustration in the first place, and then go ahead and adjust the positioning of the type by going to the Effect menu, choosing Distort & Transform and choosing the good old Transform command.

I am going to go ahead, and turn on the Preview check box, so I can see what I'm doing, and I will increase that Horizontal value by pressing Shift+Up Arrow, and I'm doing a lot of Shift+Up Arrows here, because I don't know how far I want to take it over, and it looks like at a Horizontal value 66, that's not enough, so I will increase the Horizontal value to about 100 points, and that's good enough for now, fine. Click OK in order to except that modification. This is all fine and dandy. I have got some sort of semi-ugly yellow type, but it works well for this kind of french-fry effect here, but what if you want your extruded edges, to be a different color than the face of your type? Well you could map art onto the artwork of course, if you wanted to.

You'd have to save out some symbols, and then spent a fair amount of time, mapping those symbols on to your 3D art, or you can add strokes. So when you have Fills and Strokes associated with your text, and these are Fills and Strokes that have been added to the type object, mind you. I haven't applied these on a character level. So when you have such Fills and Strokes, why then the Fill is face of the letters, and then the Stroke becomes the color of the extrusion? So for example, if I turn on this white stroke here inside the Appearance panel, then I will go ahead and change the color of that extrusion to white.

And you'll also see that it takes a fair amount of time. This is going to increase Illustrator's computation. So it's going to take more time in order to calculate that effect and so at this point, I'd very much suggest before you turn on the other strokes here, that you go ahead and turn off those french-fry edges. So I'm going to click on 3D Extrude & Bevel and I'm going to go ahead and get rid of the Bevel entirely by setting it to None, and then I'll go ahead, and click OK in order to make that modification and we now have a more sensible extrusion.

So we have these dark yellow letters, because the light is all coming in from downstairs here, and then we have these bright beveled edges, but what I wanted to do is wrap the text in multiple strokes, and so whichever stroke is the outermost stroke is the one that's going to be assigned to the extrusion. All right! So this is obviously no good, having these bright extruded edges in this very dark type look terrible, and sinister; spider type is a good guy. So I am going to go ahead and click on 3D Extrude & Bevel once again. Actually I am going to turn off Transform first of all, because the effect that we are going to apply, we will end up centering that text again.

So I will turn off Transform, click on 3D Extrude & Bevel and here are the values that I want you to try out. Let's set the Pitch value to 20 degrees, and the Yaw value to 0 degrees and I'm also going to set the Roll value to 0 degrees, so that we're looking at the text straight on. And this Perspective, I am going to take that down a couple of notches to 100 degrees and then the extrusion, let's take that down to 40; which is a lot more sensible I think. And then turn on the Preview check box to see what we have. Now, this is going to take a little bit longer to compute, and this looks terrible.

We're dropping out, all kinds of edges here and also the text is still very, very dark. So let's take care of the lighting. I will turn off the Preview check box for a moment. And I will drop down to my lighting option. So I am going to increase the Ambient Light value back to 50%. Light Intensity is still 100%; I am going to take the Highlight Intensity down to 60%. These are just some values that I just found aesthetically pleasing for this particular type. I will go ahead and change the Highlight size to its default which is 90%. The number of Blend Steps is fine at 25. We need to go ahead and move this highlight up to the top because that's where the face of the letters are, and I'll move this backlight.

I still want a bit of a backlight over here on the left-hand side. All right! Let's see what that looks like. If I turn on the Preview check box, see if it resolves any of our problems. Look at those dropped out edges. So I was telling you when we were looking at the apple that you can run into problems where the stroke is so thin, in terms of whatever mathematics that Illustrator comes up with, the stroke becomes so thin that you're seeing through to the fill. Well, I'm not sure I can defend this appearance here because we're not seeing through to anything.

We're just dropping out layer after layer, after layer of stroke and we're even dropping out the Fills back there in the background. Now we have got this little warning, and I love it. It says Path self-intersection may have occurred, that sounds so painful for the paths. I don't even know what that means self intersection. Well I gather, it means the paths are somehow wrapping into themselves. Here is the solution. Try increasing one of the 0 values, the 3D functions don't tend to like values completely zeroed out. So let's go ahead and increase the Yaw value to let's say 1 degree.

I just nudged it up by pressing the Up Arrow key, and we'll see if things get better or not and look at that, things got almost entirely better, not entirely better unfortunately because we're seeing through one of the strokes around the R, but tell you what, why don't we come back to that, because we have a couple of other effects to apply and maybe over the course of time, Illustrator will self reconcile it's path intersection. I will go ahead and click OK in order to accept this effect. So really all the letters are looking good, except for this little line under the P over here on the left-hand side and then the second stroke, the middle stroke around the R is entirely out to launch, it just disappear.

We could try something like -- let's turn it off for a moment. See what happens. We will turn off that middle stroke. And now everybody looks really good, and now let's turn the middle stroke back on and it came back, look at that yes, sometimes that happens and this one of those sometimes. Awesome! All right1 Let's apply another effect, why don't we, and I don't want to apply it to just the stroke. Can you imagine, what we are going to do is bend the letters and if I just warp the stroke by itself inside of this 3D environment here, I don't know what would happen. Probably the world would cease to exist. I am just going to go ahead and click on Type in order to make it active and then I'll go up to the Effect menu and choose Warp and I'm going to choose this guy right there, Arch.

That's a wrong one, actually now that I see its shape. What I want is Arch. All right! So, I will go ahead and select Arch, and I will turn on the Preview check box, the Bend value of 20% is exactly what I think I want. Nope, I am wrong. I want a Bend value of 10%. Let's go ahead and try that out. Notice how we have got new problems associated with their text which are there, excellent, I just added some new problems. All right! I am going to click OK in order to accept my problems. Then I am going to notice, oh, look at that Warp Arc, got added to the top, so it happened before the 3D Extrude & Bevel.

What if we say, okay, the 3D Extrude & Bevel was fine before we warp the letters? So theoretically, if we warp the letters after they are already extruded and beveled, that will make life lot safer. So I will go ahead and drag this guy to the bottom of the list and you may recall that where effects are concerned, you are seeing them from the top-down. So the top effects are applied first, the lower effects are applied later, and that did indeed solve our problem. So it's safer to get those 3D effects down first and then apply your other effects on top of them, and then finally, I'm going to go up to the Effect menu.

I am going to choose Stylize, and I'm going to choose Drop Shadow, and I'm to add a pretty big heaping helping of Drop Shadow. This is it right there. The mode is set to Multiply, Opacity 100%. No offset for X, so we are going to send the drop shadow straight down, a Y Offset value of 14 points; that's big, a Blur value of 8 points, also pretty darn big. Color is set to black, let's go ahead, and turn on the Preview to see what that looks like, just so that we can confirm that we're not breaking anything else here, inside this illustration. That looks great! Go ahead and click OK to accept that modification.

Wait out whatever progress bars decides to zip across the screen, and then press Ctrl+Shift+A or Command+Shift+A on the Mac to deselect the text. You know what, I am just going to go ahead and fill the screen with this illustration and drag my type to the center of the video here, and that is my final extruded type. You don't have as many 3D options, here inside of Illustrator, as you do inside of Photoshop, but it is lickety-split easy to extrude live editable type, using the 3D Extrude & Bevel effect inside Illustrator.

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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