Deke's Techniques185 Creating a custom 2013 calendar in Illustrator| 00:00 | Hey gang, this Deke McClelland.
Welcome to Deke's Techniques.
| | 00:03 | Well, it's a new year, January 2nd to be
exact, and I just got back from a 2-day party.
| | 00:10 | Yeah, that's it, which
is why I am so gussied up.
| | 00:14 | Now in honor of the New Year I thought I
would show you how to create your own Custom 2013
| | 00:19 | Calendar inside of Adobe Illustrator.
| | 00:21 | Now we're going to base
our design off this one here.
| | 00:24 | It's from this guy German Ariel Berra.
| | 00:27 | Let's pretend that's how it's
pronounced of the Fotolia Image Library.
| | 00:30 | Problem is this guy hasn't
updated his design since 2011.
| | 00:34 | So I thought we'd lift from it and
create our own 2013 design right here.
| | 00:39 | Now we are going to start things off by
creating a pattern of precisely-aligned hexagons, and
| | 00:44 | you can see just how precisely aligned they are in this
detail, and then we will add the days and the month.
| | 00:50 | And in the subsequent video I'll show you how to
create the dates inside of an Illustrator table.
| | 00:56 | Here, let me show you exactly how it works.
Alright, here is the final calendar.
| | 01:03 | It'll take us a total of
three movies to create it.
| | 01:05 | We are going to start off inside of this file,
and I have gone ahead and included the original
| | 01:10 | Fotolia artwork for the sake of reference.
| | 01:13 | But for the sake of clarity, I am going to
turn that layer off, and I'm going to click
| | 01:16 | of hexagons layer to make it active.
| | 01:19 | Then you want to click and hold on the Shape
tool icon here inside the Toolbox and select
| | 01:23 | the Polygon tool from the fly-out menu, then
click over here in the upper left region of
| | 01:29 | the document in order to
bring up the Polygon dialog box.
| | 01:32 | I went ahead and set the Radius value to 98
points, though of course, you can modify that
| | 01:37 | setting to anything you like.
| | 01:38 | But you do want Sides value to be 6 so that you are
creating hexagons, then click OK to create that Shape.
| | 01:46 | It's at the wrong angle, so double-click on
the Rotate tool in order to bring up the Rotate
| | 01:51 | dialog box and set the
Angle value to 30 degrees.
| | 01:53 | And if you have got the Preview check box
on, you'll see that goes ahead and rotates
| | 01:58 | the hexagons so it's upright, then
click OK in order to accept that change.
| | 02:03 | Now I am going to go and zoom in on the
shape so that I can see it nice and close.
| | 02:08 | I'll press the V key to switch back to my
Black Arrow tool, and I'll also go up to the
| | 02:12 | Window menu and choose the Appearance command
to bring up the Appearance panel so we have
| | 02:16 | access to the Fill and Stroke attributes.
| | 02:19 | Click on the Fill to make it Active, then
click on its Color Swatch to bring up the
| | 02:23 | Swatches panel and select this shade of
medium blue that I have created in advance, which
| | 02:27 | is called February, and that goes ahead
and changes to Fill to medium blue, like so.
| | 02:32 | Then click on a Stroke to make it active,
change Line Weight to 2 points, and change
| | 02:36 | the color from black to white.
| | 02:39 | Now with the Stroke still selected, go ahead
and drop down to little page icon at the bottom
| | 02:44 | of the Appearance panel and click
on it, to make a copy of the Stroke.
| | 02:48 | We want to scoop this new stroke inward, so go
up to the Effect Menu > Distort and Transform,
| | 02:53 | and choose the Transform command.
| | 02:55 | And the settings I came up with are 95% apiece
for both the Horizontal and Vertical scale values.
| | 03:01 | If you turn on the Preview
check box, you can see the result.
| | 03:05 | Now click OK in order to accept that change.
| | 03:09 | Now let's go ahead and
zoom out a little bit here.
| | 03:11 | We need to make a few copies of this hexagon.
| | 03:14 | So with the Black Arrow tool active, go
ahead and drag from this upper-left point over to
| | 03:18 | the right until you snap into Alignment with
the similar right-hand point and then press
| | 03:23 | Alt key or the Option key on the Mac and
release in order to create copy of that shape.
| | 03:28 | Notice up here in the Swatches panel that the
Stroke is active because the Active Swatch is white.
| | 03:33 | So press the X key to make the Fill active
and then change that fill to March in order
| | 03:39 | to apply the shade of green.
| | 03:41 | Now I'll press Ctrl+D or Command+D on a Mac
to make another copy of the shape and change
| | 03:45 | its Fill to April, make it another
copy and change its Fill today to May.
| | 03:51 | Now go ahead and marquee
these three shapes right there.
| | 03:54 | You only have to partially marquee them and
then drag from the top-most point, down and
| | 03:59 | to the right a little bit until you snap
into alignment at this position here and press
| | 04:03 | the Alt key or the Option key on the Mac and
release to make three more copies of the shapes.
| | 04:10 | Go ahead and marquee the first one to make
it active and then change its color to June.
| | 04:16 | Marquee this final shape over here and
change its color to this red, which is July.
| | 04:21 | And then you want to marquee the central
shape and change its color to the shade of purple,
| | 04:26 | which is called Year spot, because
that's a spot at which the year will appear.
| | 04:31 | Let's go ahead and
scroll things up a little bit.
| | 04:33 | I'll marquee these top shapes and drag
this top point down to this position.
| | 04:38 | You'll see that hollow arrowhead which
indicates a snap to, then press Alt key or Option key
| | 04:42 | on a Mac and release to create these copies.
| | 04:46 | Go ahead and marquee this guy to make him
active and change its color to August, marquee
| | 04:51 | this one, change its color to September,
marquee this one, change its color to October, and
| | 04:57 | then this guy right there
wants to have a color of November.
| | 05:02 | Go ahead and drag this point right there,
the upper point in November until it snaps
| | 05:06 | into alignment at this location, press and
hold the Alt key or Option Key on a Mac to
| | 05:10 | make a copy and change the
color of the shape to December.
| | 05:14 | And then go ahead and select November again
and drag its bottom point up to this location
| | 05:20 | of up here and press the Alt or Option key on
the Mac, and then release in order to create
| | 05:24 | the top shape and change its color to January.
| | 05:28 | Now we can press Ctrl+O or Command+O on
the Mac to zoom out, and you'll see that even
| | 05:33 | now have all the hexagons we need, they
aren't by any means positioned properly.
| | 05:38 | So, what you need to do is press Ctrl+A or
Command+A on the Mac to select all the hexagons,
| | 05:44 | and then go into the Object menu and choose the
Group command to group all of the shapes together.
| | 05:50 | Now you can center them by going up to this
Align icon and changing it to Align to Artboard
| | 05:55 | if it's not set that way already.
| | 05:57 | And next, you want to click on Horizontal
Align Center, and then click on Vertical Align
| | 06:03 | Center in order to go ahead and
scoot the shapes to the desired location.
| | 06:08 | Now I am going to go ahead and zoom in just
a little bit here, and I'll switch back to
| | 06:12 | the Layers panel and turn on the Months layer
so that you can see that I've gone ahead and
| | 06:18 | created in advance, not only the text that
indicates the year for this Calendar, but
| | 06:23 | also most of the months, including
January and then June through December.
| | 06:28 | The reason I have done this already is
because most of this text work is busy work.
| | 06:33 | However, I want to give you has a sense of
how I accomplished it, so we'll be creating
| | 06:37 | February through May together.
| | 06:39 | So I'll go ahead and zoom in on my calendar like
so and then center things on the month of February.
| | 06:47 | And let's start things off by switching to the
Type tool, which you can get by pressing the T key.
| | 06:51 | Go ahead and click on the Months Layer inside
the Layers panel, if you're working along with me.
| | 06:56 | And we want to set a few things up in advance.
| | 06:58 | First of all, we want the text of the align
center, so go ahead and click on the Align
| | 07:02 | Center icon up here in the control panel, then click
on the word Character to bring up the Character panel.
| | 07:09 | And I am going to be
setting my Text in Myriad Pro.
| | 07:11 | And to get to it, assuming that you have it, it's
included with most versions of the Creative Suite.
| | 07:16 | All you have to do is enter the
first few letters of Myriad Pro like so.
| | 07:22 | And next, I want to change the Type Style to Bold,
and notice I have a very long list of Styles.
| | 07:28 | You probably won't see that many,
but you should see bold at some point.
| | 07:32 | And then we want to change
the Type Size to 22 points.
| | 07:37 | Notice this next option down
here, that's the Kerning value.
| | 07:40 | You want to change it from Auto to Optical,
which is going to give you the best results
| | 07:44 | and then click on the fly-out menu icon in the upper-
right corner of the panel and switch to All Caps.
| | 07:51 | Go ahead and press the Enter key or the
Return key on the Mac in order to accept the change
| | 07:56 | and click somewhere inside the hexagon, not
along the outline, because then you'll create
| | 08:01 | text inside of a hexagon.
| | 08:03 | Rather, you want to create an
independent line of point text.
| | 08:06 | So your cursor should appear as an
I beam inside of a dotted square.
| | 08:09 | Go ahead and click inside the hexagon at
some location and then enter February and press
| | 08:15 | the Escape key in order to
exit the text entry mode.
| | 08:18 | Now we've got one issue, which is that the
text is black, so click in the first Color
| | 08:23 | Swatch up here in Control panel
and change it to white, like so.
| | 08:28 | Now we need to position and duplicate
text in order to create the other months.
| | 08:31 | We are going to do that by adding
some center points to the Hexagons.
| | 08:35 | So go ahead and marquee this first hexagon
here, and because they are group together,
| | 08:39 | that selects all of them and press Ctrl+Y or
Command+Y on a Mac to switch to the outline mode.
| | 08:45 | Then go up to the Window menu and choose the
Attributes command in order to bring up the
| | 08:50 | Attributes panel and make sure that the
panel is expanded as far as it can go so that you
| | 08:56 | can see this option right here Shows Center,
then go ahead and click on it, and that will
| | 09:00 | add center points to all the hexagons.
| | 09:03 | Now go ahead and close the panel, select
the text by clicking on it, and then drag its
| | 09:08 | point in 'til it snaps into
Alignment with the center of the hexagon.
| | 09:13 | Now what we want to do is zoom out a
little bit and make some duplicates of text.
| | 09:17 | So I'll go ahead and once again drag from
the center point of February over to this
| | 09:22 | location here and press the Alt key or the
Option key on the Mac in order to create a duplicate.
| | 09:27 | We need a couple of more, so press Ctrl+D or
Command+D on the Mac couples more times, like so.
| | 09:34 | Then press the T key in order to switch to
the Type tool, double-click inside February,
| | 09:38 | and change it to March, press the Escape key
in order except that change, press the T key
| | 09:43 | once again to switch to the Type tool, double-
click inside this occurrence of February to select
| | 09:48 | it, change it to April, press the Escape key
in order except that change, and then press
| | 09:52 | the T key to switch back to the Type tool,
double-click inside the final February, and
| | 09:57 | change it to May, and then press the Escape key.
| | 10:00 | And notice, not only does that except the change,
but it also switches you back to the Black Arrow tool.
| | 10:04 | So I'll go and Shift-click on all of the
Months here in order to select all four, and we need
| | 10:11 | to move them up a little
bit into the desired position.
| | 10:14 | So double-click on the Black Arrow tool at
the top of the Toolbox in order to bring
| | 10:18 | up a Move dialog box, change the
Horizontal value to 0 and press the Tab key and then
| | 10:24 | change the Vertical value to -41 points and press Tab
in order to move the text into these locations here.
| | 10:32 | And then click OK to accept the change.
| | 10:36 | Press Ctrl+0 or Command+0 on a Mac in order
to zoom out for my Artwork, and now I'll press
| | 10:42 | Ctrl+Y or Command+Y on the Mac in
order to switch back to the Preview Mode.
| | 10:46 | And that, friends, is how you create the
hexagons and month names in order to fill out a single
| | 10:52 | page calendar that you can scale to any
size that you like here inside Illustrator.
| | 10:59 | If you're a member of the lynda.com online
training library, I have two follow-up movies.
| | 11:04 | In the first I show you how to create the
dates inside of an Illustrator table so that
| | 11:08 | you can easily modify the
dates for each and every month.
| | 11:11 | And in the next movie I show you how to create
a field of logos inside of hexagons surrounding
| | 11:17 | the calendar so that you can output your
calendar to say poster size and hand it out to clients.
| | 11:23 | In next week's free movie I am going to
show you how to create an infinity symbol, not
| | 11:28 | a sideways eight, but rather an infinity
symbol that matches the font of your choice using
| | 11:34 | the Width tool inside of Illustrator, and
this is an amazing technique that you'll see.
| | 11:39 | Deke's Techniques each and
every week, keep watching!
| | 11:44 |
| | Collapse this transcript |
| 186 Adding dates to a calendar using tables| 00:00 | In this movie, I'll show you how to create
the days of the week as well as the dates
| | 00:04 | here inside of Illustrator.
| | 00:06 | And we'll do so in the most automated way
possible so that once you've established a
| | 00:10 | single table of dates, you can fill
out the other months quite easily.
| | 00:15 | I'll go ahead and switch to my document in progress
in which most of the months are already filled in.
| | 00:20 | I've only left February through May open,
but this will give you good sense of how the
| | 00:24 | process works without wasting a
lot of your time on the other months.
| | 00:29 | So I'll go ahead and zoom in on the month
of February here and then switch to the Type
| | 00:34 | tool, which you can get by pressing the T
key and drag somewhere inside the month in
| | 00:38 | order to create a text frame.
| | 00:40 | Right now it doesn't really matter how big it is,
you just want it to be roughly the right size.
| | 00:45 | And now we need to dial in a few settings here.
| | 00:48 | Notice to the right of the word Paragraph up
here in the Control panel are these Alignment icons.
| | 00:52 | I want you to go ahead and turn on Align
Center in order to make it active and then click
| | 00:57 | on the word Character to bring up the Character
panel and switch the font to Myriad Pro, which
| | 01:03 | with any luck is available to your system,
and you can get to it just by entering the
| | 01:07 | first few letters of Myriad
Pro up here in the Font option.
| | 01:11 | Then click on the Type Style pop-up
menu and change it to Bold.
| | 01:14 | You probably won't have this many styles available to
you, but you should see Bold somewhere inside the list.
| | 01:20 | And then dial in the Type
Size by a value of just 6 points.
| | 01:23 | We want this to be small text and change
the Kerning to Optical for the best results.
| | 01:29 | Finally, click in the fly-out menu icon in
the upper-right corner of the panel and select
| | 01:33 | All Caps from the list, and now you can
press the Enter key or the Return key on the Mac
| | 01:38 | in order to accept those changes.
| | 01:40 | Now you want to enter the first three
letters of each of the days of the week.
| | 01:44 | So SUN followed by the Enter
key or the Return key on the Mac.
| | 01:49 | MON then TUE then WED then THU then FRI and
then SAT, and notice that each time I've separated
| | 01:57 | the days using a Paragraph Return.
| | 02:01 | Once you've established those days, go ahead
and press the Escape key in order to not only
| | 02:06 | except the change but also to
switch back to the Black Arrow tool.
| | 02:10 | Now go up to the Type menu
and choose Area Type Options.
| | 02:13 | And what this is going to let us to is two
things: first of all, we'll be able to scale
| | 02:17 | the text frame to the right size, and
secondly, we'll be able to dial in rows and columns
| | 02:23 | in order to create a table.
| | 02:25 | Go ahead and choose the
command to bring up this dialog box.
| | 02:28 | Change the Width value to 120 points and
then change the Height value to 94 points.
| | 02:34 | We want the Number of Columns obviously
to be 7 because there are 7 days in a week.
| | 02:40 | But it also turns out we want the Number
of Rows to be 7, because that way we have an
| | 02:45 | extra row in case the dates go long.
| | 02:48 | And notice that when you accept those values you
end up lighting up these Gutter values as well.
| | 02:54 | We want the Gutter value for the columns to
be 0, because we want all the columns to be
| | 02:58 | right next to each other.
| | 02:59 | But we want the Gutter value for the rows to be 4
points where this specific calendar is concerned.
| | 03:05 | Then if you want to see what difference these
options are going to make, turn on the Preview check box.
| | 03:11 | Notice that now you've created a kind of
automatic table here inside Illustrator.
| | 03:15 | Go ahead and click OK in order to accept
that change and then press the T key in order to
| | 03:19 | switch to the Type tool and click after the
T in Saturday in order to set the blinking
| | 03:25 | insertion marker and press the Enter key or
the Return key on the Mac in order to advance
| | 03:29 | to the next cell, which
happens to be on the next row.
| | 03:34 | As it just so happens, February of
year 2013 happens to begin on a Friday.
| | 03:39 | To advance to Friday, just keep pressing the
Enter key or the Return key on the Mac until
| | 03:43 | you see the blinking insertion marker at
this location, then enter the dates, each one of
| | 03:48 | the dates separated by Enter or Return.
| | 03:51 | At some point you should end
up seeing a total of 28 days.
| | 03:55 | Remember, this is not a leap year, so
just 28 days where February is concerned.
| | 04:00 | And then you want to double-click under
Sunday in this blank cell right here, double-click
| | 04:05 | right there and hold on a second click and
drag in order to select all of the dates,
| | 04:10 | because we want to change them slightly.
| | 04:12 | Click on the word Character in order to bring
up the Character panel, change the Type Size
| | 04:16 | to 10 points like so to make them bigger,
and then change the Type Style from Bold to
| | 04:21 | an earlier style on list, which is Bold
Condensed, in order to create this effect here.
| | 04:27 | Strictly speaking, this is until you would
align the dates in the calendar, in other
| | 04:32 | words you should probably right-align them
instead of center them so the 9 is aligned
| | 04:37 | on right-hand side along with the 6 in 16.
| | 04:40 | However, for purposes of this
calendar, Center Type looks just great.
| | 04:44 | Now I'm going to double-click on SUN in order
to select it and then drag across to Saturday.
| | 04:49 | So it's a click-drag in order to
select all the days of the week.
| | 04:52 | We want to scoot them down, and the best way to do that
is to take advantage of this thing called Baseline Shift.
| | 04:58 | To get to it, click on the word Character
once again to bring up the Character panel,
| | 05:02 | then advance to this option right there.
Notice it's the A with the little A next to it.
| | 05:06 | It's says Set baseline shift, click on it to
select a value and dial in -2.5, and that's
| | 05:12 | going to scoot the text 2.5 points down as
you see here, then press the Escape key in
| | 05:18 | order to switch back to the Black Arrow tool.
| | 05:20 | Obviously, the text is the wrong color, so
click on the Color Swatch and change it to White.
| | 05:26 | And now we want to position
the text where it needs to be.
| | 05:30 | So press Ctrl+Y or Command+Y on the Mac to
switch to the Outline Mode so that we can
| | 05:34 | see the center points that we created
inside of the hexagons in the previous movie.
| | 05:39 | Notice there is also a center point at work
inside this text blog right here in the number
| | 05:44 | 13, and go ahead and drag from that center point until
you snap into alignment with the center of the hexagon.
| | 05:53 | Now you won't necessarily see a Snap cursor, but
you should be able to sense that a snap has occurred.
| | 05:58 | Now we want to scoot the text down a
little bit, so double-click on the Arrow tool at
| | 06:01 | the top of the Toolbox to bring up the Move
dialog box, change the Horizontal value to
| | 06:06 | 0, and then change the Vertical
value to 11 to scoot those dates down.
| | 06:12 | Now click OK in order to accept that change.
| | 06:15 | Now I'm going to be able to duplicate these dates
into the other months, that is March, April, and May.
| | 06:21 | So we need to create a kind of alignment point
so that every table is properly aligned inside
| | 06:26 | of its hexagon, and you can
do that using the Pen tool.
| | 06:29 | So go ahead and click on the Pen tool,
which you can also get by pressing the P key and
| | 06:33 | click at the top of the hexagon like so in
order to set an anchor point at that location.
| | 06:39 | And because I was so close to the top of the
screen, Illustrator slightly auto-scrolled my artwork.
| | 06:45 | Now switch back to the Black Arrow tool,
which you can get by pressing the V key.
| | 06:49 | Notice that the little anchor point is selected.
| | 06:51 | It should appear orange inside of your artwork
because that's the color of the active layer.
| | 06:56 | Shift-click inside the date table to select
it as well so both the anchor point and the
| | 07:00 | table are selected, go up to the Object menu
and choose the Group command, or you can press
| | 07:05 | Ctrl+G or Command+G on the Mac.
| | 07:08 | Now zoom out slightly so you can better
see what you're doing and drag that alignment
| | 07:13 | point that appears at the top of the
February hexagon until it snaps into alignment with
| | 07:18 | the top of the March hexagon, then press the
Alt key or the Option key on the Mac and release
| | 07:23 | in order to duplicate the table.
| | 07:25 | You need to now copy it twice more, so press
Ctrl+D or Command+D on the Mac in order to do so.
| | 07:32 | The beauty of March in a non-leap year is
it starts on the exact same day of the week
| | 07:38 | as it does in February.
| | 07:39 | So once again, we've got the first on Friday,
but we have a few more days in March as we
| | 07:44 | do in other months.
| | 07:45 | In order to fill them out, press the
T key to switch back to the Type tool.
| | 07:49 | Click after the 8 in 28 and press the Enter
key or the Return key on the Mac between each
| | 07:54 | one of the numbers that we need to add,
that is to say 29, 30, and 31, and notice that
| | 08:01 | 31 will drop onto the seventh
line of type inside of our table.
| | 08:06 | So that's why we've got a total of seven columns,
one for the days of the week and then a total
| | 08:11 | of six for the potential dates.
| | 08:14 | When you filled out March, go ahead and press
the Escape key in order to accept that change,
| | 08:19 | then scroll over to April here and press
the T key to switch back to the Type tool.
| | 08:23 | Now here is where things seemed
like they would be a total nightmare.
| | 08:27 | April of 2013 starts on Monday.
| | 08:31 | You might naturally conclude--especially if
you were working inside of a standard tabbed
| | 08:35 | table--that you would have to
re-enter all of these dates.
| | 08:40 | But because we're working in a table that
actually contains cells, we can make quick
| | 08:44 | work of things, and Illustrator
will automatically rewrap the numbers.
| | 08:47 | What you do is you click in front of the 1
in order to set the blinking insertion marker,
| | 08:52 | then you just press the Backspace key or
the Delete key a few times until you scoot the
| | 08:57 | 1 to Monday, then click after 28, press
Enter or Return, and enter 29 and then 30.
| | 09:04 | Press the Escape key in order to accept
that change, and now we need to do May.
| | 09:09 | So press the T key to switch back to the Type
tool, click in front of the 1, and press the
| | 09:13 | Backspace key just a couple of times.
| | 09:15 | This would be the Delete key on the Mac in
order to scoot the 1 under Wednesday, and
| | 09:20 | then we need to enter 29, 30, and 31.
| | 09:25 | Press the Escape key in order
to exit the text entry mode.
| | 09:28 | You can go ahead and click off your text
to deselect it and press Ctrl+0 or Command+0
| | 09:33 | on the Mac in order to zoom out there, and
then I'll press Ctrl+Y or Command+Y on the
| | 09:38 | Mac in order to switch back to the Preview Mode.
| | 09:41 | And that's how you fill out days of the week as
well as dates using multi-row and multi-column
| | 09:47 | tables here inside Illustrator.
| | 09:52 |
| | Collapse this transcript |
| 187 Branding your calendar with a field of logos| 00:00 | In this movie, I will show you how to add a
field of logos behind your calendar, represented
| | 00:05 | in our case by these gears with
these lightning bolts inside of them.
| | 00:10 | In order to follow along, we will need Illustrator CS6
or later because that version of the program
| | 00:15 | includes a new pattern maker
that accommodates hexagonal shapes.
| | 00:20 | I will go ahead and
switch to our calendar so far.
| | 00:22 | I will zoom in on this region
between January, February, and March.
| | 00:28 | If you're working along with me, then turn
on the logos layer here inside the Layers
| | 00:31 | panel which contains a couple of rudimentary
shapes that we're going to use to build the logo.
| | 00:36 | We'll come back to those in a moment.
| | 00:38 | We also need to add a hexagon behind these
shapes, so we can better see what's going on.
| | 00:43 | We'll do that by duplicating
one of the existing hexagons.
| | 00:46 | So, go ahead and click on one of
them with the Black Arrow tool.
| | 00:49 | And that selects all of them
because they are grouped together.
| | 00:51 | The easiest way to get to just
one of them is to ungroup them.
| | 00:55 | So, go up to the Object Menu and choose the
Ungroup command, or press Ctrl+Shift+G, or
| | 00:59 | Command+Shift+G on the Mac, then click off
the shapes to deselect them and click on one
| | 01:04 | of them again to select it.
| | 01:06 | Now go up to the Edit menu and choose the Copy
command or press Ctrl+C or Command+C on the Mac.
| | 01:13 | Select this red circle right
there in order to make it active.
| | 01:17 | And just to make sure everything is copacetic,
go over to the Layers panel, click on the
| | 01:21 | flyout menu icon, and confirm that
Paste Remembers Layers is turned off.
| | 01:26 | If it has a check mark in
front of it, choose a command.
| | 01:28 | If not, just press the Escape key.
| | 01:31 | And now that we know that we can paste
between layers, go up to the Edit menu and choose
| | 01:35 | the Paste in Back command, or you can
press Ctrl+B or Command+B on the Mac.
| | 01:40 | Now I will scoot this guy over a little bit
so that I can see its upper right-hand anchor
| | 01:45 | point, and I will drag it until it snaps
into alignment with the upper left-hand point.
| | 01:50 | And as soon as you see that hollow arrowhead,
just go ahead and release in order to move
| | 01:55 | the hexagon to the new location.
Now let's take a stab at the logo here.
| | 02:00 | One is this black lightning bolt that's
expressed as a standard path outline, and the other
| | 02:05 | is an everyday average circle.
| | 02:06 | We're going to build up this
circle to turn it into a kind of gear.
| | 02:09 | So, go ahead and click on a circle to select
it and then go up to the Window menu and choose
| | 02:15 | the Appearance command to
bring up the Appearance panel.
| | 02:18 | Now click on the word Fill there, and click
on its color swatch and change it to white
| | 02:23 | in order to produce this effect here.
We need a new fill.
| | 02:26 | So go ahead and click on the Add New Fill icon
in the bottom-left corner of the Appearance panel.
| | 02:32 | Change its color to black this time around.
| | 02:34 | We want this black fill to be
inset inside of the white one.
| | 02:37 | So, go up to the Effect Menu, choose Distort &
Transform, and choose the Transform command
| | 02:43 | and dial in Scale values of 75% apiece,
and then turn on the Preview check box.
| | 02:49 | You'll see that black circle grow smaller.
| | 02:52 | Now click OK in order to apply that effect,
then click on the new fill to select it and
| | 02:58 | click on the little page icon at the bottom
of the panel to create a copy of it and then
| | 03:02 | click on the Fill Color and change it to white.
| | 03:06 | Click on the word Transform in order to return
to the Transform Effect dialog box and change
| | 03:11 | both of the Scale values to 64%
and turn on the Preview check box.
| | 03:16 | You can see that scales the white circle
inside of the black lightning bolt. Now click OK.
| | 03:23 | In order to create a gear, we need to cut
half circles into the outline of this larger
| | 03:28 | circle, and one way to pull that off is to add a
dotted stroke, which is what I am going to do right now.
| | 03:35 | So, click on the Stroke swatch here at the
top of the panel and change its color to black
| | 03:40 | and dial in a Line Weight value of 13.5 points.
It's just a value that I found to be useful.
| | 03:47 | Now click on the word Stroke in order to bring
up the Stroke panel, turn on Dashed Line right
| | 03:52 | there, and change the Dash value to 0
and change the Gap value to 20 points.
| | 03:58 | You'll end up with this series of
these very skinny spikes around the circle.
| | 04:04 | Because we have a Dash value of 0, we don't
really have any perceivable dashes, but we
| | 04:10 | can turn them into perfect circles if we
like by changing the Cap setting from Butt Cap
| | 04:15 | to Round Cap, and then we end
up with this dotted outline.
| | 04:19 | Now, if you end up with this effect where
the dots don't align with each other properly
| | 04:23 | over here on the right-hand side, then you
want to switch from this first icon which
| | 04:28 | preserves the exact Dash and Gap links,
which is not right for our purposes, and we could
| | 04:33 | figure out what the exact Gap value needs
to be by calculating the perimeter of the
| | 04:39 | shape and then doing the math if we wanted
to, or we could just go ahead and click on
| | 04:44 | this Align icon which does the work for us.
| | 04:47 | Now that we've got those circles, we
need to somehow turn them into holes.
| | 04:52 | This is a pretty easy
thing to pull off, actually.
| | 04:54 | What you want to do is Shift-click on the
lightning bolt to select it as well and then
| | 04:59 | go up to the Object menu and choose the Group
command, or press Ctrl+G or Command+G on the Mac.
| | 05:05 | Now that we've combined these two path outlines
into one, we can drop out the blacks and preserve
| | 05:10 | the whites by clicking on the word Opacity
up here in the Control panel and then changing
| | 05:15 | the Blend Mode from Normal to Screen, which
ends up producing this unfortunate effect here.
| | 05:22 | Now, what should have happened is the black
should have totally disappeared, as it did
| | 05:26 | in the case of the lighting bolt, and then
the whites should remain visible, but these
| | 05:31 | black gear blobs here, we
shouldn't be able to see them at all.
| | 05:35 | And that's because I applied
a weak black to the circle.
| | 05:38 | So, what we need to do is enter the Group
Isolation Mode by double-clicking on either
| | 05:43 | of these path outlines.
| | 05:45 | You can see now that the lightning bolt is
nice and black, but the Black Fill and Stroke
| | 05:49 | attributes assigned to the
circle are this sort of medium gray.
| | 05:54 | Go ahead and switch to the Color
panel so you can see the CMYK values.
| | 05:58 | Basically, because it's set to the Screen
Mode, the black ink is dropping out, but cyan,
| | 06:02 | magenta, and yellow are not dropping out at
all because they are set to the equivalent
| | 06:06 | of white where those
particular plates are concerned.
| | 06:10 | So we're not digging through this bluish hexagon in
the background because it doesn't contain any black.
| | 06:16 | What we need to do is go ahead
and crank all these values up.
| | 06:20 | I am going to go ahead and click on the fill,
and then I will just crank up the Cyan value,
| | 06:25 | and you can see that we're adding Cyan to
this color, and then I will crank up Magenta,
| | 06:30 | and I'll crank up Yellow, and now we've
got a real black that's going to cut a hole.
| | 06:36 | Now I will switch to the
Stroke attribute to make it active.
| | 06:38 | And I am just going to click on its swatch
because I've already created a rich black in advance.
| | 06:42 | And a rich black is one that contains Cyan,
Magenta, Yellow, and Black inks, and in this
| | 06:46 | case it contains 100% of all four.
| | 06:50 | If I go ahead and press the Esc key in order
to leave the Group Isolation Mode, I end up
| | 06:55 | cutting circular holes in a larger circle
in order to create gears, which is the exact
| | 07:00 | effect I'm looking for.
Now let's get to work on a pattern.
| | 07:03 | I'm going to click on this
larger hexagon to select it.
| | 07:07 | You still want the Appearance panel up.
| | 07:08 | Go ahead and click on the fill and its color
swatch and then change the color to this guy
| | 07:13 | right there, Logo spot, because this
represents the spot in which the logos occur.
| | 07:19 | Now I'll go ahead and click on this first stroke here,
which is the one along the outside of the hexagon.
| | 07:24 | As things stand, this stroke is
centered along the perimeter of the hexagon.
| | 07:29 | We need to scoot it inward, because
otherwise it will create alignment problems when we
| | 07:33 | create the final pattern.
| | 07:35 | So click on the word Stroke right there,
Change the Align Stroke option to the second icon
| | 07:40 | Align Strokes to Inside, and that will
go ahead and move that stroke inward.
| | 07:44 | Then change the Line Weight to half
of what it is now, which is 1 point.
| | 07:49 | Now that we have everything set up the way
we need it, go ahead and marquee these three
| | 07:53 | shapes like so to select them.
| | 07:54 | I am going to zoom out just a little bit here, and I'll go
up to the Object menu, choose Pattern, and choose Make.
| | 08:01 | You will probably get this alert message
that's telling you that Illustrator has added the
| | 08:05 | pattern to the Swatches panel.
Go ahead and click OK.
| | 08:09 | Let's change the name of this pattern to
Logo Tile and then drop down to this next option
| | 08:15 | and change it from Grid to Hex by Row.
| | 08:18 | Notice this version of the hex looks just
like our larger hex, that is it's aligned
| | 08:23 | up right instead of on its side.
So, go ahead and choose Hex by Row.
| | 08:27 | We end up with this perfectly aligned effect here by
virtue of the fact that we scooted that stroke inward.
| | 08:34 | Now you can press the Esc key in order to
accept the creation of that pattern and press
| | 08:39 | Ctrl+0 or Command+0 on the Mac to zoom out.
| | 08:42 | Now I am going to switch back to the Layers
panel, twirl open the Logos layer, and turn
| | 08:47 | off these existing objects here, because
we don't need them, but we do need the Logos
| | 08:51 | layer to be active.
| | 08:53 | Switch to the Rectangle tool, which you
can get from the Shape tool flyout menu.
| | 08:56 | And the easiest way to create this background
rectangle so it's in exactly the proper location
| | 09:02 | is to press Shift+O in order to switch to
the Artboard tool, and that way we can see
| | 09:07 | that the Width and Height values
are set to 1224 and 900 points.
| | 09:12 | We need to match those values exactly.
| | 09:14 | So now I will press the Escape key in
order to switch back to the Rectangle tool, and
| | 09:19 | I will go up to the View Menu and
choose Smart Guides to turn them on.
| | 09:23 | If you already have a check mark next to
your Smart Guides, you can just leave it turned
| | 09:26 | on, then you want to click right there at
the upper-left corner of the artboard and
| | 09:31 | dial in those exact values we saw just a
moment ago, a width of 1224 points and a height of
| | 09:36 | 900 points, and then click OK in
order to create that new rectangle.
| | 09:42 | Now go up to the Control panel, click on the
very first color swatch, and select Logo Tile
| | 09:48 | from the Swatches list.
| | 09:50 | We end up getting this repeating swatch pattern,
which is great, but it's not properly aligned.
| | 09:54 | I am going to go ahead and zoom in here,
and you can see that we've got some alignment
| | 09:58 | problems that we need to take care of.
| | 10:01 | Assuming the rectangle is still selected,
what you want to do is double-click on the
| | 10:05 | Black Arrow tool to bring up the Move dialog
box, turn off Transform Objects, and now just
| | 10:11 | Transform Patterns will be turned on.
| | 10:13 | You want the Preview check box
turned on so you can see what's happening.
| | 10:17 | Change the Horizontal value to -7 and
change the Vertical value to -7 as well, and that
| | 10:23 | scoots the pattern inside of the rectangle
without scooting the rectangle itself,
| | 10:27 | and now we have perfect alignment.
So, click OK in order to accept that change.
| | 10:33 | Now I will just go ahead and zoom out from the
illustration so that we can see the entire thing.
| | 10:39 | And that, friends, is how you add a
repeating pattern of logos set inside hexagons that
| | 10:45 | exactly represents the year 2013 on a single artboard
so that you can scale it to absolutely any size you like.
| | 10:53 |
| | Collapse this transcript |
| 188 Crafting an Infinity symbol to match a specific font| 00:00 | Hey, gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:04 | This week I'll show you how to create a custom infinity
character to match a specific font inside Adobe Illustrator.
| | 00:11 | Now you may wonder why in the
world you'd want to do such a thing.
| | 00:13 | Well, for one, it's a great exercise, and I'll
show you some terrific uses for the Width tool.
| | 00:18 | But also, most fonts, even big whopping fonts
like Adobe Caslon which ships along with most
| | 00:26 | versions of the Creative Suite,
don't include an infinity symbol.
| | 00:30 | So we've got the usual letters and numbers
and then we've got a whopping bunch of symbols
| | 00:35 | here, including punctuation marks, and we've
got these money things right there and then
| | 00:40 | ligatures and some math stuffs and some
accented characters, and just for laughs we have
| | 00:46 | a bunch of ornaments as well.
| | 00:48 | But there isn't any
infinity character whatsoever.
| | 00:52 | Now you do have an infinity character in a
font like symbol, so you can go ahead and
| | 00:56 | plop that in if you want.
| | 00:57 | There it is small, there it is big, and
it's surrounded by Adobe Caslon Pro.
| | 01:01 | Well, it's not a match at all, right?
| | 01:03 | This symbol is going to match
maybe Times and that's about it.
| | 01:07 | Now Illustrator also lets you take a single
character of type from the Character Panel
| | 01:11 | and rotate it, so we could take the number 8 and
rotate it 90 degrees, and it's going to look like this.
| | 01:16 | But it's not quite right because the thin
part should be thick and the thick part should
| | 01:20 | be thin, so the solution of course is
to draw our own custom infinity symbol.
| | 01:26 | Doesn't it look just absolutely great?
Here, let me show you exactly how it works.
| | 01:32 | Alright, here is final infinity symbol so
you can see it on screen, and I would say
| | 01:36 | that it's nearly a work of perfection.
| | 01:39 | And we're able to achieve
this effect using the Width tool.
| | 01:43 | So I am going to start things off by switching
back to Uniform up here in the Control Panel
| | 01:48 | so we have a uniform stroke.
| | 01:50 | And I'll just go ahead and reduce
its line weight to 4 pt for now.
| | 01:53 | We'll come back to it.
| | 01:55 | So I'll switch to this document I created
where I was just trying to evaluate these
| | 01:59 | Adobe Caslon numbers, both small and large here.
Then I grabbed an 8 and I rotated it 90 degrees.
| | 02:08 | And it doesn't look anything
like an infinity symbol, right?
| | 02:10 | Doesn't look like it
belongs as part of this font.
| | 02:12 | It just looks like an 8 that fell over.
| | 02:15 | So I went ahead and converted the 8 to
outlines by going up to the Type menu and choosing
| | 02:21 | the Create Outlines command, and then I filled
it with red in order to create this compound path.
| | 02:28 | Then I went ahead and drew a single
path outline that loops around like so.
| | 02:33 | I did cheat a little bit in
order to draw this path outline.
| | 02:36 | You can just trace through the center of
the character if you want to or I'll press the
| | 02:40 | A key to switch to the White Arrow tool,
and then I'll click on these anchor points, so
| | 02:44 | I'll click on this one, and then there
should be another one right about there.
| | 02:47 | I'll Shift-click on it just to give you a
sense of how I was able to figure out what
| | 02:52 | the placement of the
final anchor point should be.
| | 02:54 | I went up to the Object menu, chose
the Path command, and chose Average.
| | 03:00 | And then I left the Axis set to Both as by
default, clicked OK, and notice that finds
| | 03:04 | the location of the final anchor point for me.
So I was able to do a lot of the work that way.
| | 03:10 | But this technique is less about drawing the
primitive infinity path outline and more about
| | 03:14 | how to take that path outline and convert
it into a variable weight character that's
| | 03:20 | going to work with a Serif font,
specifically of course, Adobe Caslon.
| | 03:25 | And that presents something of a challenge
when you're working with the Width tool, because
| | 03:28 | while the Width tool does a great job of accommodating
open path outlines, not so great when it comes
| | 03:34 | to closed path outlines.
| | 03:35 | So I'll press the V key to switch to the
Black Arrow, click on the path in order to select
| | 03:39 | it like so, and I am going to increase the
line weight up here in the Control Panel to 24 pt.
| | 03:45 | And then I'll grab my Width tool,
which you can get by pressing Shift+W.
| | 03:49 | And the whole idea behind the Width tool,
in case you don't know, is that it allows
| | 03:53 | you to adjust the width on a point-by-
point basis across a stroked outline.
| | 04:00 | In this case I'm making the top thin, as you can
see here, because that's the way it works with Caslon.
| | 04:07 | If you take a look at these numbers here,
you'll see for example with a 9, that the
| | 04:11 | thick portions of the path are associated
with the vertical segments and the thin areas
| | 04:16 | are associated with the horizontal segments, as a general rule.
Obviously it varies. It's not a mechanical font after all.
| | 04:24 | It's ultimately a work of art.
| | 04:26 | So I want these vertical segments to be thick,
so I'll go ahead and make this guy thicker,
| | 04:30 | and then I want to create a thin width point
right there and I want to create another thin
| | 04:35 | width point at this location, but this is
an example of a width point that Illustrator
| | 04:39 | already created for me in advance.
| | 04:41 | So I'll just go ahead and manipulate its
handles like so, and I've got another one down here
| | 04:46 | that Illustrator handily created for me.
| | 04:48 | And then I don't want this
guy to be thick like this.
| | 04:52 | I want it to be thin, so I'll go ahead and drag this
in, and this time actually it worked out pretty well.
| | 04:57 | Sometimes what can happen--if I go ahead and
drag this guy down--is you can end up separating
| | 05:02 | what are understood to be the endpoints from each
other, and you end up kind of making a mess of things.
| | 05:09 | If you can avoid that, just don't do it.
| | 05:10 | I am going to press Ctrl+Z or Command+Z on the Mac a
couple of times in order to restore the thin stroke there.
| | 05:15 | And I want to create a thick stroke right
there, but I already had a width point at
| | 05:19 | that location, so I'll undo that change,
and I'll drag these little handles.
| | 05:23 | So this is part of the problem when
working directly on a closed path outline.
| | 05:27 | It can get pretty confusing.
| | 05:28 | Alright, now I am going to make some
numerical adjustments to my width points.
| | 05:32 | I am going to double-click on this guy right there
in order to bring up the Width Point Edit dialog box.
| | 05:37 | The Total Width should be 24 pt, so I'll enter
it, press the Tab key, that gives me two Sides
| | 05:42 | of 12 pt each, that's
exactly what I want, I'll click OK.
| | 05:46 | And then this guy right here,
I'll double-click on him.
| | 05:48 | He should be 10 pt and press the Tab key.
That gives me 5 on each side, perfect, click OK.
| | 05:54 | This guy should be 24, so I am
just alternating between 24 and 10.
| | 05:59 | It is all I am doing here.
| | 06:00 | I'll double-click on this one and change him
to 10, because you can see just by dragging
| | 06:05 | with a tool I don't get exacting results.
| | 06:07 | Click OK for that, double-click on this point,
change it to 10, click OK, double-click on this guy.
| | 06:14 | And there is two right next to each other.
I hate when Illustrator does this.
| | 06:17 | I am going to select the top one and then
press the Backspace key or the Delete key
| | 06:21 | on a Mac in order to get rid of it.
| | 06:23 | And then I'll double-click on this guy,
I'll change it to a Total Width value of 24 pt,
| | 06:29 | and it ends up looking like that.
| | 06:31 | And then I'll double-click on this
guy and change it to 10 and click OK.
| | 06:35 | I've got another duplicate
right there, I don't want that.
| | 06:38 | Which one is the right one?
| | 06:39 | Let's double-click, not
that guy, so he is selected.
| | 06:43 | I'll press the Backspace key or the Delete
key on a Mac to get rid of it, then I'll press
| | 06:46 | the V key to switch away from the Width tool,
and I'll click off my path in order to deselect it.
| | 06:53 | And that looks pretty good, but it's a little
lumpy in places, and I think we can do better.
| | 06:57 | But it does provide me with the basics of
what I need to achieve here, but I can make
| | 07:03 | it better, and here's how.
| | 07:05 | I'll go ahead and click on the
path once again to select it.
| | 07:08 | Then I'll go up to this Variable Width
Profile option in the Control Panel, click on it,
| | 07:13 | and click on this little Add to Profiles icon,
and I'll call this guy, let's say Roughly
| | 07:19 | infinite, because I guess that's
what it is so far, and click OK.
| | 07:23 | Where you're going to have better luck is
taking this profile and then applying it to
| | 07:29 | an open path outline, like this guy right
here, and that way you can get a sense of
| | 07:33 | what it really looks like.
| | 07:34 | So I'll click on this open path and then
I'll go up to the Variable Width Profile option
| | 07:39 | in the Control Panel, scroll down to the one
I just created, and it looks like three lumps.
| | 07:43 | Okay, that's something now, I know that.
| | 07:45 | I'll go ahead and click on it in order to
apply it, doesn't look like anything applied
| | 07:48 | to the line, and that's because
the Stroke Weight is set to 1 pt.
| | 07:51 | That would be the maximum
thickness of the stroke.
| | 07:55 | So I'm going to change it to 24 pt and
press the Enter key or the Return key on a Mac.
| | 07:59 | And now I can see that we've got some
regular placement of these lumps right here.
| | 08:06 | And it looks like they are associated with
the half point and the quarter points, so
| | 08:10 | why don't we add those points just so
we know exactly where things should be?
| | 08:14 | By going up to the Object menu, choosing Path,
and then choosing the Add Anchor Points command,
| | 08:19 | which will add a point
right to the center there.
| | 08:21 | And now we want two more points on either
side, so go up to the Object menu, choose
| | 08:24 | Path, and choose Add Anchor Points again.
And let's do it a third time.
| | 08:29 | Go to the Object menu, choose Path,
and then choose Add Anchor Points.
| | 08:34 | And now that we have points at every significant
location, I'll press Shift+W to switch back to my Width tool.
| | 08:40 | Turns out that width point was
exactly where it needs to be.
| | 08:43 | Notice you can drag them back and forth.
| | 08:45 | This guy is a little bit off,
so I'll drag him into alignment.
| | 08:48 | This guy is just a tiny bit off, so I'll
go ahead and drag him to this location.
| | 08:54 | Let's make sure that guy is the right
width, 10 pt, it is okay, Cancel out.
| | 08:58 | Is this guy in the right location, he's not.
| | 08:59 | So drag him over, and he
looks like he's dead on.
| | 09:02 | He needs a little bit of adjustment like so.
| | 09:05 | And then we've got an extra one right here,
press the Backspace key or the Delete key
| | 09:09 | on a Mac to get rid of it
after clicking on it, of course.
| | 09:12 | Here's one of our problems, even though
we're working on a closed path outline, the Width
| | 09:16 | tool always sees things in terms of endpoints.
| | 09:19 | There is a point at which the variable width
stroke starts and a point at which it ends,
| | 09:22 | and we weren't able to gain
control over those points.
| | 09:25 | So I'll double-click on that first endpoint
and increase the Total Width value to 10 pt,
| | 09:30 | click OK, and then do the same thing on final
width point, which is also off, so I'll change
| | 09:35 | its Total Width value to 10 pt.
| | 09:37 | And now notice that we have this little bit
of a flare right here, we need to address that.
| | 09:42 | So I'll double-click more or less right
there in the center in order to set another point
| | 09:47 | and bring up the dialog box and change the
Total Width value to 10 pt, click OK, do the
| | 09:51 | same thing over here on the other
side, change its value to 10 pt.
| | 09:55 | See how precise and exacting we can be more
when we're working on an open flat path outline
| | 10:00 | like this right here?
| | 10:02 | We still have a little bit of bending, so
I am going to double-click right there in
| | 10:06 | order to set another point, come back up to
10 and click OK, and let's set one right about
| | 10:12 | there too and bring him up to 10 pt as well.
| | 10:16 | Let's go ahead and save that off as a
Variable Width Profile by clicking on the option up
| | 10:19 | there in the Control Panel, clicking on
the little Add To Profiles icon, and we'll go
| | 10:23 | ahead and name this More infinite, because
I think I've done a better job this time.
| | 10:29 | Now I'll click OK in
order to accept that change.
| | 10:33 | Let's go ahead and scroll back up to my
infinity symbol that I was working on, and I'll press
| | 10:38 | the V key in order to
switch to the Black Arrow tool.
| | 10:40 | I'll go ahead and select the path by clicking
on it, then I will assign my most recent Variable
| | 10:46 | Width Profile which is More infinite.
| | 10:49 | Click More infinite to assign him and you
can see it's a subtle difference, but it does
| | 10:54 | make a difference, and we do
have a much smoother result.
| | 10:56 | If I press Ctrl+0 or Command+0 on a Mac in
order to zoom out, you can see that this infinity
| | 11:01 | symbol better matches the
other numerals inside Adobe Caslon.
| | 11:06 | I'll finish things off by switching back to
that large version of the infinity symbol,
| | 11:11 | click on it to select it.
| | 11:13 | I'll go ahead and apply that
same profile More infinite.
| | 11:17 | You can see that these profiles are saved
as preference settings along with Illustrator
| | 11:21 | so they translate between different documents.
| | 11:23 | They are not saved along
with a document, in other words.
| | 11:26 | That's way too thin, so I'll take the Line
Weight value up to 76 pt, and I end up with
| | 11:31 | this final nearer perfect infinity symbol
thanks to my ability to modify and assign
| | 11:38 | Variable Width Profiles here inside Illustrator.
| | 11:42 | Alright, next week we're in Photoshop,
though it's not necessarily going to look like it
| | 11:46 | because we're going to be creating works of op
art from scratch, including this one right here.
| | 11:54 | It hurts to look at it and then this more
subdued sort of building-scape or whatever.
| | 12:00 | Deke's Techniques each and every week,
from scratch I tell you. Keep watching.
| | Collapse this transcript |
| 189 Op art experiment 1a: Inflated checkers| 00:00 | Hey gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:04 | This week is all about op art, that is
optical art, the art of optical illusion.
| | 00:10 | If you don't know what I'm talking about
just type in O-P-A-R-T into Google exactly as you
| | 00:16 | see it here, and you'll end up getting all
kinds of hits, and you'll go, oh yeah, that stuff.
| | 00:22 | It's really trippy junk, and we're going
to create it from scratch inside Photoshop.
| | 00:26 | So we're going to start things off with this
checker pattern here, which you will create
| | 00:30 | and then we're going to turn it into
this work of optical illusionary messiness.
| | 00:37 | Doesn't it just hurt your brain to look at it?
Here, let me show you exactly how it works.
| | 00:42 | Alright, here's our final piece of op art
just so you have a chance to see it on screen.
| | 00:47 | We'll start things of by creating the
checker pattern, and you do that by going up to the
| | 00:50 | File menu and choosing the New command.
| | 00:53 | I'm going to dial in a Width and Height value of
400 pixels apiece, so we're working in Pixels here.
| | 01:00 | The Resolution doesn't matter.
| | 01:01 | You want your Color Mode to be set to Grayscale,
that way you'll have a less humongous image
| | 01:06 | once you're done here.
| | 01:07 | And you want the
Background Contents to be White.
| | 01:10 | Then go ahead and click OK.
| | 01:12 | With the Rectangular Marquee Tool selected,
go up to the Options bar and change the Style
| | 01:17 | from Normal to Fixed Size and then go ahead and
dial in Width and Height values of 200 Pixels each.
| | 01:24 | Next, go ahead and click in the upper left-
hand corner of this image, tap the D key just to
| | 01:29 | make sure that your foreground color is black,
and then press Alt+Backspace or Option+Delete
| | 01:33 | on the Mac in order to
fill the selection with black.
| | 01:37 | Then switch over to the Move Tool, which
you can get by pressing the V key, and go ahead
| | 01:41 | and Alt-drag or Option-drag the selection
down into the right so that it snaps into
| | 01:45 | alignment with the bottom
right corner of the image.
| | 01:48 | Then press Ctrl+D or Command+D
on a Mac to deselect the image.
| | 01:52 | That way you can define the
entire thing as a pattern.
| | 01:55 | And you do so by going up to the Edit menu
and choosing Define Pattern and then just
| | 01:59 | go ahead and name this guy
Checkers and of course click OK.
| | 02:04 | Now let's make a new image to hold the
checkers as well as the final piece of op art.
| | 02:08 | Go up to the File menu and once again
choose the New command, and this time we want to
| | 02:12 | dial in a Width value of 4800
Pixels and a Height of 3000 Pixels.
| | 02:17 | That just ensures that we have a very high
resolution image to work with so that we're
| | 02:21 | going to get the best results possible.
| | 02:24 | You want the Color Mode to be set Grayscale, once
again, so that your image doesn't become too huge.
| | 02:29 | And then you can make the
Background Contents anything you want.
| | 02:31 | White is just fine.
Now click OK in order to create that image.
| | 02:36 | Now here inside the Layers panel, drop down
to the black/white icon and press and hold
| | 02:41 | the Alt key or the Option key on the
Mac and then choose the Pattern command.
| | 02:46 | And go ahead and name this new
pattern layer checkers and then click OK.
| | 02:50 | Now you want to select the
checkers pattern from the list.
| | 02:53 | Most likely it'll be selected by default.
| | 02:56 | And then you want to dial in a Scale value
of 50% in order to get the best results, then
| | 03:01 | click OK in order to create that layer.
| | 03:04 | Now we need to modify this layer using the
Free Transform command, and that means we
| | 03:08 | need to convert it to a Smart Object.
| | 03:11 | So go up to the Layers panel flyout menu and
choose the Convert to Smart Object command.
| | 03:16 | Then go up to the Edit menu and choose the
Free Transform command, or you can press Ctrl+T
| | 03:21 | or Command+T on the Mac.
| | 03:24 | Then go up to the Options bar and click on
the Warp icon over here on the right-hand
| | 03:28 | side in order to enter the Warp mode and then
change the Warp setting over here on the left
| | 03:33 | side of the Options bar from Custom to
Inflate, which is one of the lower options.
| | 03:40 | And change the Bend value from its
default setting which is 50% to -100%, like so.
| | 03:46 | And that's going to end up not only pinching the
checkerboard pattern in word, but it reduces its size is well.
| | 03:52 | Now press the Enter key or the Return key on the
Mac a couple of times in order to apply the effect.
| | 03:57 | Now we're going to need more checkers to work
with here, which means we need to expand the
| | 04:01 | size of the Smart Object.
| | 04:03 | So go over to this checkers layer here inside
the Layers panel and double-click on its thumbnail
| | 04:08 | in order to open the Smart Object.
| | 04:10 | If you get this warning, just go ahead and click
OK in order to see the Smart Object open on screen.
| | 04:16 | Then go up to the Image menu and choose the
Canvas Size command and make sure the Relative
| | 04:21 | checkbox is turned off.
| | 04:23 | I want to double the size of my canvas, and
the easiest way to do that is to switch from
| | 04:27 | Pixels in my case to Percent and then dial
in Width and Height values of 200% each and
| | 04:34 | then go ahead and click OK, and that gives us
a lot more checkerboard pattern to work with.
| | 04:40 | Then go ahead and close the Smart Object
and click on the Yes button here on the PC or
| | 04:44 | the Save button on the Mac in order to save
your changes back inside the original file.
| | 04:49 | Now first, it's not going to look like
you've really made much difference here, but you
| | 04:52 | have added a lot more checkers to the pattern,
it's just that they are smaller now as well.
| | 04:57 | So what we need to do is revisit the Free
Transform command, and the easiest way to
| | 05:01 | do that is to just press Ctrl+T or Command+T
on the Mac, then go up to the Options bar here,
| | 05:07 | turn on the little chain icon between the
Width and Height values and change either
| | 05:11 | the Width value or the Height value to 100% in
order to increase the size of the checkerboard
| | 05:16 | pattern so that it fills the entire canvas
and then press the Enter key or the Return
| | 05:21 | key on the Mac a couple of
times in order to apply that change.
| | 05:24 | Now at this point, I want to pinch the
checkerboard pattern even further, and the easiest way
| | 05:29 | to do that would be to going under the Filter menu,
choose Distort and then just choose the Pinch Command.
| | 05:34 | And that way we're throwing on a dose of pinch on
top of that Inflate effect that we applied earlier.
| | 05:40 | The problem is if you apply pinch at this
point, then you're going to run into problems
| | 05:44 | later because this filter has a hard
time working on very high resolution images.
| | 05:49 | The better approach is just to escape out
of there and then go ahead and put this Smart
| | 05:54 | Object inside yet another Smart Object by
going over to the Layers panel flyout menu
| | 05:59 | and then choosing Convert
to Smart Object once again.
| | 06:03 | Now I'll press Ctrl+T or Command+T on the Mac
to, once again, enter the Free Transform mode.
| | 06:08 | Click on the Warp icon over here in the
Options bar in order to switch to the Warp mode.
| | 06:12 | There is currently no warp applied because
we've got a Smart Object inside of another
| | 06:17 | smart object, so change the Warp style from
Custom, once again, to Inflate and then again
| | 06:23 | change the Bend value to -100% in
order to create this effect here.
| | 06:28 | Now that's pinching things so far that we're
revealing the canvas, so switch back to the
| | 06:32 | Transform mode by clicking again on the
Warp icon on the right side of the Options bar
| | 06:38 | and then click on the little chain icon
between the Width and Height values and change either
| | 06:42 | the Width or Height value to 200% this time
around and then press the Enter key or the
| | 06:47 | Return key on a Mac a couple of
times in order to apply that change.
| | 06:52 | Now that effect might take a moment to apply,
just so you know, because this is getting
| | 06:56 | to be a computationally-intense file.
| | 06:59 | Now I want to show you what I was
talking about with Pinch and the other filters.
| | 07:02 | I'll go ahead and click on the Filter menu
and then choose Distort, and you can see now
| | 07:06 | that Pinch is dimmed along with Spherize and
a few others, and that's because it just can't
| | 07:11 | handle files that have
this high of a resolution.
| | 07:15 | The next thing we need to do,
though, is Spherize this artwork.
| | 07:19 | But in order to gain access to the command,
we're going to need to apply it as a static effect.
| | 07:23 | So I'll go ahead and escape out of the
Filter menu, and I'll create a raster copy of this
| | 07:28 | Smart Object by pressing Ctrl+A or Command+A
on a Mac to select the entire image and then
| | 07:33 | press Ctrl+Alt+J or Command+Option+J to
bring up the New Layer dialog box, and let's just
| | 07:39 | go ahead and call this guy Raster and click OK.
| | 07:42 | And you can see that we now have a raster
version of the artwork as indicated by the
| | 07:46 | fact we don't have this little Place icon in the
bottom right corner of the New Layer thumbnail.
| | 07:51 | Alright, now we need to draw a circular
selection right smack dab in the middle of the artwork.
| | 07:57 | In order to find the middle the artwork,
the easiest thing to do is to press Ctrl+T or
| | 08:01 | Command+T on the Mac, yet again, to enter
the Free Transform mode, then press Ctrl+R
| | 08:06 | or Command+R on a Mac to bring up the rulers,
and drag a horizontal guide from the top ruler
| | 08:11 | and drop it right there at the center point and you can
see that target right there in the center of artwork.
| | 08:16 | And then drag a vertical guide out from the
left ruler and drop it at the center point as well.
| | 08:22 | Now if you're not seeing your guidelines,
then you'll need to press Ctrl+Semicolon or
| | 08:25 | Command+Semicolon on the Mac to make them
visible, and then you can press the Escape
| | 08:29 | key in order to leave the Transform mode and
press Ctrl+R or Command+R on a Mac to hide the rulers.
| | 08:36 | Now I'm going to switch from the Rectangular
Marquee Tool to the Elliptical Marquee, and
| | 08:41 | then I'll drag outward from the center of the
art, and as I drag, I'll press the Shift+Alt
| | 08:47 | keys or the Shift+Option keys on the Mac, and that ensures
that I'm creating this circle from the center outward.
| | 08:52 | And I want my Width and Height values--
which you can see in the little heads-up display
| | 08:56 | there above into the right of my cursor-- I want
those values to be 2400 Pixels apiece or thereabout.
| | 09:02 | And after you've created this selection, then
go up to the Select menu, choose Modify, and
| | 09:08 | choose Feather, and then dial in a
Feather Radius value of 300 pixels.
| | 09:13 | So we want a whopping value
for this effect, then click OK.
| | 09:17 | Now all we need to do is apply the Spherize
filter by going up to the Filter menu, choosing
| | 09:22 | Distort, and choosing Spherize,
which is now available to us.
| | 09:26 | And you want to crank that Amount value up to
100% and make sure that Mode is set to Normal.
| | 09:32 | And you should see this nice little sphere
in the bottom-right corner of the dialog box
| | 09:36 | and then click OK in order to apply the effect.
| | 09:40 | Now we want to apply it twice more, so go
up to the Filter menu and choose Spherize,
| | 09:45 | or you can press Ctrl+F or Command+F on the
Mac to repeat that last filter, and then press
| | 09:50 | Ctrl+F or Command+F on the
Mac to repeat it a second time.
| | 09:54 | So we've applied Spherize a
total of three times to the art.
| | 09:59 | Now I'll go ahead and press Ctrl+D or Command+D
on a Mac in order to deselect the image and
| | 10:03 | I'll press Ctrl+Semicolon or Command+Semicolon
on the Mac in order to hide my guides, and
| | 10:08 | I'll press the F key a couple of times
in order to enter the full screen mode.
| | 10:13 | And that, friends, is how you create a
stunning piece of op art in the form of this bulging
| | 10:18 | checkerboard pattern here inside Photoshop.
| | 10:22 | If you're a member of the lynda.com online
training library, I have a follow-up movie
| | 10:26 | in which I show you how to take this pattern of lines
and turn it into what I'm calling opartexperiment1b.
| | 10:34 | If you're waiting for next week's free movie,
I'll show you how to create the universal
| | 10:37 | gender symbols that are known as man and woman
inside Adobe Illustrator using nothing but strokes.
| | 10:44 | Deke's Techniques, each
and every week, keep watching.
| | Collapse this transcript |
| 190 Op art experiment 1b: Rounded windows| 00:00 | In this movie we are going to create this piece
of Op Art entirely from scratch inside Photoshop.
| | 00:05 | Naturally, the first thing that we need to
do is create the Window Pattern, so go into
| | 00:09 | the File Menu and choose the New Command and dial in a
Width value of 450 Pixels and Height value of 400 Pixels.
| | 00:18 | Resolution doesn't matter, you want the Color
Mode to be Grayscale, the background content
| | 00:23 | should be White, then go ahead
and click OK to create that file.
| | 00:27 | Now assuming that you have got a Rectangular
Marquee Tool selected here in the toolbox,
| | 00:31 | go ahead and switch the Style from Normal
to appear in the Options Bar to Fixed Size and
| | 00:36 | dial in a width value of 400
Pixels and height value of 200 Pixels.
| | 00:42 | And then go ahead and click in the upper-left corner
of the image in order to create this selection right there.
| | 00:48 | So notice that it doesn't extend quite all
the way over to the right-hand side, and that's
| | 00:52 | going to allow us some space between windows.
| | 00:55 | Now tap the D key to make sure you foreground
is black and press Alt+Backspace or Option+Delete
| | 01:00 | on the Mac in order to fill the selection
with black and then press Ctrl+D or Command+D
| | 01:05 | on the Mac to deselect the image.
| | 01:07 | And you might as well go ahead and switch
the Style back to Normal so that you can use
| | 01:12 | Rectangular Marquee Tool normally in the future.
| | 01:15 | Now I will go to the Edit Menu and choose
to Define Pattern, and we will go ahead name
| | 01:19 | this new pattern Windows and then click OK.
| | 01:23 | Now to create the actual file, press Ctrl+N or
Command+N on the Mac to bring up the new Dialog Box.
| | 01:29 | This time we want the Width value to be 4800
Pixels and the height value should be 3000 Pixels,
| | 01:35 | that's just going to give
some predictable results.
| | 01:37 | The Resolution value,
once again, doesn't matter.
| | 01:40 | You want your Color Mode to be Grayscale so
that you don't end up with a ginormous file,
| | 01:44 | and background contents of white is just fine,
then go ahead had click OK to create the file.
| | 01:51 | Now let's create new Pattern Layer by
pressing the Alt key or the Option key on the Mac and
| | 01:55 | clicking the little circular black/white
icon at the bottom of the Layers Panel and
| | 01:59 | then choose the Pattern Command.
| | 02:01 | And because you have the Alt or Option key
down, that brings up the new layer Dialog Box.
| | 02:05 | Let's go ahead and call this
layer Windows and click OK.
| | 02:09 | And then you want to select that
windows pattern from the bottom of the list.
| | 02:12 | It should be the last pattern you see.
| | 02:15 | And then change the scale value to 25% in
order to create this effect here then click OK.
| | 02:21 | Now at this point, we are going to have to
apply some warping to the layer, which means
| | 02:25 | we need to convert the Pattern Layer to a
Smart Object, by going up to the Layers panel
| | 02:30 | flyout menu and choosing
Convert to Smart Object.
| | 02:33 | Then go up to the Edit Menu and choose the
Free Transform command, or you can press Ctrl+T
| | 02:39 | or Command+T on the Mac.
| | 02:41 | Now I click the Warp icon over here at the
right side of the Options Bar in order to
| | 02:45 | enter the Warp Mode and change the Warp option
on the left side of the Options Bar from Custom
| | 02:50 | to Bulge and then dial in a Bend value of 90%.
| | 02:55 | If you go much higher than that, you are going to
get a little bit of distortion around the edges.
| | 03:00 | And then press the Enter key or the Return key a
couple of times in order to apply that transformation.
| | 03:06 | Next, we want to scoot the effect over,
and we'll do so using a Filter called Offset.
| | 03:11 | So go up to the Filter menu and
choose Other and choose the Offset command.
| | 03:16 | And because we are working with a smart object, we
will be applying the offset as an editable smart filter.
| | 03:21 | And then dial in a Horizontal value of -1275 pixels,
which will go ahead scoot these building over to the left.
| | 03:30 | And you want the Vertical value to be zero.
| | 03:33 | Make sure that Wrap around is turned on down
here at the bottom of the dialog box and then
| | 03:37 | click OK in order to apply that effect.
| | 03:41 | If you zoom in, you'll find that your crease
may not look exactly the way you want it to.
| | 03:46 | In my case, it's actually
coming out quite nicely.
| | 03:50 | But if it doesn't in your case, or you just
want to be sure that we have a nice white
| | 03:54 | seam right down here through the center,
then go ahead and create a kind of sliver layer.
| | 04:00 | So press Ctrl+Shift+N or Command+Shift+N on
the Mac to bring up the new layer dialog box
| | 04:05 | and call this new layer
sliver and then click OK.
| | 04:09 | And now you want to dial in some new marquee
values, so go ahead and change the style up
| | 04:13 | here in the Options Bar to Fixed Size once again.
| | 04:16 | And change the Width
value to 4 pixels, that's all.
| | 04:21 | And then increase the Height value to the
height of the image, which is 3000 Pixels, and
| | 04:25 | press the Enter key or
the Return key on the Mac.
| | 04:27 | And now click right here with this location
in order to create a selection that's just
| | 04:31 | a little wider than that white line and
press Ctrl+Backspace or Command+Delete on the Mac
| | 04:37 | in order to fill the selection with white.
| | 04:40 | Then press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 04:43 | And if you like, go ahead and restore your
Style to Normal up here in the Options Bar.
| | 04:47 | I'm going ahead and zoom out here.
| | 04:50 | The next thing we want to do is create
that rounded bit of building in the foreground
| | 04:54 | over here on the left-hand side.
| | 04:56 | And we are going to base that
building on the exiting windows layer.
| | 04:59 | So go ahead and click on it to select it
and then Alt-drag or Option-drag it to the top
| | 05:03 | of the Layers panel in order
to create a copy of that layer.
| | 05:07 | And then grab the Smart Filter, just drag it
down to the trash here in order to get rid of it.
| | 05:13 | Now let's go ahead and take this top layer
and move it to the left by pressing the Ctrl
| | 05:17 | key or the Command key on the Mac as well
as the Shift key and dragging this guy over
| | 05:22 | to the left like so.
| | 05:24 | Now, obviously, it's not the
size, we need to scale it.
| | 05:27 | So press Ctrl+T or Command+T on the
Mac to enter the Free Transform Mode.
| | 05:32 | And you want select this middle right
reference point up here in the reference point matrix
| | 05:36 | on the far left side of the Options Bar in
order to make it active so that we are scaling
| | 05:41 | the building with
respect to its right-hand side.
| | 05:44 | And then turn on the link between W and H
values up here, and through trial in error,
| | 05:50 | I came up with a Scale value of 236%.
| | 05:54 | Now go ahead and press the Enter
key in order to accept that value.
| | 05:58 | And I also want the scoot
the X value just a little bit.
| | 06:01 | I'm going to change this value to 1366 pixels.
| | 06:05 | Once again I figured this out through trial
and error just by dragging the darn thing around.
| | 06:09 | And then I will press the Enter key or the Return key
a couple of times in order to apply that transformation.
| | 06:15 | Now it may take a few moments for of the
transformation to apply because this image is getting quite
| | 06:20 | large and it's computationally intensive.
| | 06:24 | And with that, we finish off the effect, so
I'll go ahead and press the F key a couple
| | 06:27 | of times in order to enter the full screen mode.
| | 06:31 | And the result is a compelling piece of the
black and white Op Art created in record time
| | 06:36 | really, here inside Photoshop.
| | Collapse this transcript |
| 191 Building a universal ISOTYPE man with strokes| 00:00 | Hey, gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:04 | Now very possibly you've never heard of Otto
and Marie Neurath, but their efforts influence
| | 00:08 | the efforts of every graphic
artist and designer working today.
| | 00:12 | Now I know that sounds like a
big claim, but here's the deal.
| | 00:15 | Back in the 1930s, they pioneered this thing
called Isotype which stands for the International
| | 00:21 | System of Typographic Picture Education.
| | 00:24 | And the idea was this, instead of representing
common concepts using words, which vary from
| | 00:30 | one language to another and therefore somebody
is not going to understand, we represent these
| | 00:34 | concepts using stylized pictograms.
| | 00:38 | And by way of example, I have these two here, man and
woman, which you probably see on an almost daily basis.
| | 00:44 | Now, while these modern variations aren't
the work of Otto and Marie's team,
| | 00:48 | it's safe to say they
wouldn't exist without Isotype.
| | 00:52 | Now we are going to creating these pictograms in
Illustrator by stroking these two vertical paths.
| | 00:59 | So everything you see here is a result of
strokes, partially because it's entertaining,
| | 01:04 | also however, because it allows us
to get the proportions exactly right.
| | 01:07 | We are going to start off with the
man symbol because it's easier to make.
| | 01:11 | And then we'll move on to the
woman symbol in the next movie.
| | 01:14 | Here, let me show you exactly how it works.
| | 01:18 | All right, here are the universal male and
female symbols, just so you can see where we are going.
| | 01:23 | We are going to start off inside of this
illustration, and you can see it just contains two path
| | 01:28 | outlines each relegated to an independent layer.
In this movie we'll build the male symbol.
| | 01:33 | So I'll go ahead and select this first path
outline here, the one over on the left-hand side.
| | 01:37 | Then I'll go to the Window menu and choose the
Appearance command to bring up the Appearance
| | 01:41 | panel, which allows me among other things to
stack multiple fills and strokes on top of each other.
| | 01:47 | We are going to start by creating the right leg.
| | 01:50 | I'll do that by clicking on the word Stroke
right there and I am going to change the Line
| | 01:54 | Weight value to 28 points and then Round
Cap in order to create this effect here.
| | 02:01 | Then what you want to do with your Stroke
selected here inside the Appearance panel,
| | 02:06 | go up to the Effect menu, choose Distort and
Transform and then choose the Transform command
| | 02:11 | which will allow us to move the
stroke independently of the path outline.
| | 02:15 | Go ahead and turn on the Preview checkbox
so you can see what you are doing and change
| | 02:18 | the Vertical Scale value to 70% like so.
| | 02:22 | And then go ahead and select the bottom
point inside this little reference point matrix,
| | 02:27 | which is located on the right side of the dialog
box in CS5 and earlier, but it's over here in CS6.
| | 02:32 | I'll go ahead and turn it on.
| | 02:34 | And then I'll change the
Horizontal Move value to 19 points.
| | 02:38 | Finally, you want to make sure that
Scale, Strokes & Effects is turned off.
| | 02:42 | If you don't see that checkbox, don't worry about it, but
if you do see it, go ahead and turn the checkbox off.
| | 02:47 | So you are scaling the virtual path that Illustrator is
stroking here, but you are not scaling the line weight itself.
| | 02:53 | Then go ahead and click OK in
order to accept that change.
| | 02:57 | And notice here in the Appearance panel if
you twirl open the Stroke by clicking on this
| | 03:01 | little twirly triangle, then you should see
a Transform effect assigned to that stroke.
| | 03:06 | Now that we have created the right
leg, it's easy to create the left leg.
| | 03:10 | All you do is make sure the Stroke is
highlighted and then click on the little Page icon at
| | 03:14 | the bottom of the Appearance panel
to create a duplicate of that stroke.
| | 03:18 | Then click on its transform, this is a new
stroke, notice that we have two of them now.
| | 03:22 | Click on this guy's Transform effect in
order to bring up the Transform Effect dialog box
| | 03:27 | and change the Horizontal value from +19 points
to -19 points and then turn on the Preview checkbox
| | 03:33 | and you'll see two legs, then click OK.
| | 03:37 | Now to create the body, go ahead and click
on the Stroke to make it active, that most
| | 03:41 | recent stroke at the top of the stack, click
on the little page icon in order to duplicate
| | 03:45 | it and change its Line Weight to 66 points.
| | 03:49 | You also want to click on the word Stroke
in order to bring up the Stroke panel and
| | 03:53 | then set the Cap back to a Butt Cap so
that we get rid of those rounded edges.
| | 03:58 | Now click on the word Transform in order
to bring up the Transform Effect dialog box.
| | 04:02 | Go ahead and tab down to the Vertical Scale
value and change it to 40%, and then you want
| | 04:06 | to change the Horizontal Move value to 0
and the Vertical Move value to 54 points.
| | 04:12 | Go ahead and select this top point inside
this little reference point matrix, again,
| | 04:16 | it's over here on the right-hand side in CS5
and earlier and turn on the Preview checkbox
| | 04:21 | and you'll see this little
body right there, now click OK.
| | 04:26 | Now one of the things about the universal
symbols is that everything about them is rounded,
| | 04:30 | even the joint between the
legs right here rounds upward.
| | 04:34 | And so we need to add another
stroke, this time a white stroke.
| | 04:37 | By clicking on one of the 28-point strokes, one
of the legs there and then you want to Alt-drag
| | 04:42 | or Option-drag it to the top of the stack
in order to create a copy of it like so.
| | 04:47 | Click on the little color swatch in order
to bring up the Swatches panel and change
| | 04:51 | the stroke to white, then reduce the Line
Weight to 10 points, and click on the word Transform
| | 04:57 | in order to once again bring up
the Transform Effect dialog box.
| | 04:59 | Go ahead and click the center point in this
reference point matrix in order to scale the
| | 05:04 | stroke with respect to its center.
| | 05:06 | And then change the Vertical Scale value to
20%, change the Horizontal Move value to 0,
| | 05:11 | and change the Vertical Move value to 54,
and then to see the effect, go ahead and turn
| | 05:16 | on the preview checkbox and you can see that we
have a little bit of roundness between those two legs.
| | 05:20 | Now click OK in order to apply that affect.
The next step is to create the arms.
| | 05:26 | I am going to base the arms on the legs, so I
am going to go ahead and select the bottommost
| | 05:29 | stroke in the stack and then Alt-drag or Option-drag it to
the top of the stack in order to create a copy of that stroke.
| | 05:36 | I'll change its Line Weight
to 24 points this time around.
| | 05:40 | Go ahead and click on Transform, as always,
to bring up the Transform Effect dialog box.
| | 05:44 | You want to go ahead and reset that reference point
matrix to the center point, that's very important.
| | 05:49 | And then I came up with these values, I'll
go ahead and change the Vertical Scale value
| | 05:53 | to 26% and I'll dial in a Horizontal Move
value 55 points and a Vertical Move value of -18.
| | 06:01 | And then if you turn on the Preview checkbox,
you should see this distended arm sitting
| | 06:05 | over here on the right-hand side, now click OK.
| | 06:08 | As with the left leg, it's very easy to
create a left arm based on this existing one, so
| | 06:12 | I'll just go ahead and click on the stroke
to make it active and then click on the little
| | 06:16 | Page icon at the bottom of the
Appearance panel to make a copy of it.
| | 06:19 | Now click on Transform and just change the
Horizontal Value from +55 to -55, turn on
| | 06:26 | the Preview checkbox, and
you've got yourself another arm.
| | 06:29 | The next step is to create the shoulders,
and this is actually the trickiest step of
| | 06:34 | them all, because so far the math has worked in our
favor and everything's aligned exactly as it should be.
| | 06:40 | Even if things appear not to be precisely
aligned on screen, they actually are, as we'll see.
| | 06:45 | But the shoulders, pretty darn difficult to
get them into alignment without just fussing
| | 06:48 | around with them, which is what I ultimately did
so I'll just show you the settings I came up with.
| | 06:52 | I'll go ahead and click on this top stroke
to make it active, click on the little Page
| | 06:56 | icon and at the bottom of the panel in
order to create a copy of it, click on the word
| | 07:00 | Transform in order to bring up
the Transform Effect dialog box.
| | 07:03 | Let's go ahead and turn on the Preview
checkbox, and I will change the angle to 90 degrees,
| | 07:08 | which goes ahead and rotates the stroke so
that it's perpendicular to the path outline.
| | 07:13 | Now I ended up setting the Vertical Scale
value to 28% and I came up with a Horizontal
| | 07:18 | Move value of zero and a Vertical Move value of -56
in order to come up with the shoulders right there.
| | 07:25 | Now go ahead and click the OK button and
then we want to change the Line Weight value.
| | 07:30 | The Line Weight that I came up with that
best matched the other strokes is 59.5 points.
| | 07:38 | So again, where the shoulders are
concerned, this is all trial and error.
| | 07:41 | Now we need to create some white
negative space underneath the arms.
| | 07:44 | So go ahead and click on this 24-point
stroke, which represents the right arm.
| | 07:50 | Alt-drag or Option-drag it to the top of the
stack like so in order to create a copy of it.
| | 07:54 | And I will click on this color
swatch and change it to white.
| | 07:58 | And change the Line Weight to 10 points,
just like the gap between the legs.
| | 08:03 | And then go ahead and click on Transform and
I dialed in a vertical value of 24% and then
| | 08:10 | we want the Horizontal Move value to be 38
points and the Vertical Move value to be -16 points.
| | 08:15 | And then if you turn on the Preview checkbox,
you'll see the stroke aligned underneath the right arm.
| | 08:21 | Now I will go ahead and click OK.
| | 08:23 | We need to do the same thing at the left side, so
go ahead and click on the stroke to make it active.
| | 08:27 | Click on the little Page icon at the
bottom of the panel to make a copy of it.
| | 08:30 | Click Transform to bring up the Transform
dialog box, and then just change the Horizontal
| | 08:35 | value from 38 points to -38 points and turn on the
Preview checkbox and we end up with this affect here.
| | 08:41 | Now click OK.
| | 08:43 | Now the only thing missing is his head, and
we are going to create the head as a fill.
| | 08:47 | So go ahead and grab the fill at the
bottom of the stack and drag it up to the top of
| | 08:51 | the stack, like so, so that the
fill is sitting on top of the strokes.
| | 08:55 | Then click on the little color swatch there,
which appears as a little red slash to indicate
| | 09:00 | transparency and change it to black.
| | 09:03 | Now you are not actually going to see anything change
because you're trying to fill an open straight path outline.
| | 09:09 | However, we can make this look quite different
here by clicking on the fill to make it active
| | 09:14 | and then going up to the Effect menu, choosing
Convert to Shape, and then you want to choose Ellipse.
| | 09:20 | And notice that we get this
big huge ellipse on screen here.
| | 09:23 | I don't want it to have a relative size, I
want it to have an absolute size, so go ahead
| | 09:27 | and switch to Absolute--your Preview
checkbox should be turned on by the way--and dial in
| | 09:31 | Width and Height values of 52 points apiece.
| | 09:34 | You are not only going to see the circle,
it's sitting right there in the center of
| | 09:39 | the path, we need to move it up.
| | 09:41 | So go ahead and click OK and
then to move the fill upward,
| | 09:45 | make sure it's selected here inside the
Appearance panel and go up to the Effect menu, choose
| | 09:49 | Distort and Transform, and
choose the Transform effect.
| | 09:53 | And then dial in a Vertical Move value of -122 points,
and where are these move values concerned by the way?
| | 10:00 | Positive horizontal values move things to the
right, negative values move them to the left.
| | 10:05 | Positive vertical values move things down,
negative vertical values move them up, which
| | 10:10 | is a little counterintuitive,
but that's the way it works.
| | 10:13 | Then go ahead and turn on the Preview
checkbox and you see that head pop upward.
| | 10:18 | Then go ahead and click OK in
order to accept that effect.
| | 10:23 | Now that you've drawn this guy as a series of
crazy attributes, here's a thing to bear in mind.
| | 10:27 | If you grab your Rotate Tool and then you
go ahead and rotate the path outline, then
| | 10:33 | it's going to fall apart, and that's because of
all those dynamic transform effects that we assigned.
| | 10:38 | So if you want something that's a little
more concrete, a little more flexible, that you
| | 10:41 | can also manipulate as a path outline--
| | 10:44 | then I'll first press Ctrl+Z or Command+Z
on a Mac to undo the rotation, and then I'll
| | 10:48 | switch back to Layers panel--
| | 10:49 | take the man layer here and Alt-drag or Option-
drag him upward to above the woman layer in order
| | 10:56 | to make a copy of him.
| | 10:57 | And then double-click somewhere on that later
in order to bring up Layer Options dialog box.
| | 11:02 | I'll rename this layer paths, and
I'll change the color to grass green.
| | 11:07 | Of course, you can go your own way, if you like.
| | 11:10 | Then I'll click OK, I am going to turn off
the original man layer so I don't end up harming
| | 11:16 | it, and here are the four steps required to
convert all these strokes to path outlines.
| | 11:21 | Step number one is to go up to the
Object menu and choose Expand Appearance.
| | 11:25 | And that will go ahead and give you a bunch of
stroked paths as well as this fill path at the top.
| | 11:31 | The next thing you want to do is convert all
of the strokes to fill path outlines, by going
| | 11:35 | back to the Object menu, choosing Path, and
then choosing Outline Stroke, and you will
| | 11:40 | end up with this effect here.
| | 11:42 | Now you want to go ahead merge all these
path outlines according to their colors.
| | 11:46 | And you do that using an obscure
pathfinder operation, and here is how you get to it.
| | 11:51 | You go to the Window menu and then you choose the Pathfinder
command in order to bring up the Pathfinder panel.
| | 11:58 | And then this guy right
here is the one we want, Merge.
| | 12:00 | Go ahead and click on the Merge icon in order
to merge those paths together, and then finally
| | 12:06 | what you want to do is go up to the Object
menu and choose the Ungroup command in order
| | 12:11 | to ungroup these path outlines.
| | 12:13 | The reason we want to ungroup them is because we've got
a lot of white paths that are nested inside the black ones.
| | 12:18 | So go ahead and press the V key to switch
back to your Black Arrow Tool, click off the
| | 12:23 | path outlines to deselect them and click on
one of these white path outlines to select
| | 12:28 | it and then go up to this icon on the far
right side of the Control panel, and notice
| | 12:34 | that it says Select Similar Objects?
| | 12:36 | Go ahead and click the down pointing
arrowhead next to it and choose Fill Color, and that
| | 12:40 | will select all of the
paths that have white fills.
| | 12:44 | Press the Backspace key or the
Delete key on a Mac to get rid of them.
| | 12:48 | Now he is not entirely perfect, if you click
on this black path outline here, you'll see
| | 12:52 | that most everything associated with the
body and the legs and the arms works out great.
| | 12:57 | The only tiny problem is around the shoulders.
| | 13:00 | So if you press the Ctrl+Spacebar keys,
that's Command+Spacebar on a Mac, in order to get
| | 13:05 | your Zoom Tool and then just
drag around this little area.
| | 13:08 | You'll see that we've got this
little divot right there in the shoulder.
| | 13:11 | If that bothers you, press the A key to
switch to the White Arrow Tool, click off the path
| | 13:15 | outline to deselect it, and click on that
little anchor point right there to select
| | 13:19 | it and press the Backspace key or the
Delete key on the Mac to get rid of it.
| | 13:23 | And then go up to the Object menu,
choose Path, and choose Join.
| | 13:28 | And that will join those two previous end
points right there with a new straight segment.
| | 13:32 | And now you just want do the same thing to
the other side of the shoulder, so I will
| | 13:36 | just go ahead and zoom out here and then Ctrl+Spacebar-drag
or Command+Spacebar-drag in a Mac around this left-hand shoulder.
| | 13:44 | Then just go ahead and marquee around this
point in order to select it, press the Backspace
| | 13:47 | key to get rid of it, go back to the Object
menu, choose Path, and choose Join once again.
| | 13:54 | I'll go ahead and zoom back out here, and
now if I grab my Black Arrow Tool, once again,
| | 13:59 | and I marquee these two paths in order to
select them--might as well go ahead and group
| | 14:03 | them together by going to the Object Menu
and choosing the Group command--and now if
| | 14:07 | I switch to my Rotate Tool, I can go ahead and rotate
this guy any way I want and he holds up just fine.
| | 14:15 | But as it so turns out, I
don't want him to be rotated.
| | 14:17 | And that, folks, is how you create the
universal sign for the male gender, by heaping a bunch
| | 14:22 | of strokes onto a path
outline here inside Illustrator.
| | 14:26 | Seriously, who thought creating the plain
old man symbol here could be so much fun?
| | 14:31 | Now if you are a member of the lynda.com
online training library, then I have a follow-up
| | 14:35 | movie in which we copy the dude over onto
the other vertical line and turn him into
| | 14:41 | a lady, which is more than just adding a dress, it's also
lifting the arms, so it looks like she's trying to fly.
| | 14:47 | Now if you are waiting for next week's free
movie, Valentine's Day is what like 3 weeks
| | 14:51 | away and these two look to me like they have
so much in common, I figure we ought to scoot
| | 14:56 | them together and have them fall in love, once
again, just using strokes inside of Illustrator.
| | 15:02 | Deke's Techniques, each
and every week, keep watching.
| | Collapse this transcript |
| 192 Building a universal ISOTYPE woman with strokes| 00:00 | In this movie, I will show you how to create
the universal symbol for female, and we will
| | 00:04 | do so just as we did in the previous movie by
combining a bunch of strokes on a single path outline.
| | 00:10 | And then we will expand those strokes
to create these final path outlines here.
| | 00:13 | We'll go ahead and switch over to the
document that contains the male symbol, then I will
| | 00:19 | switch to my Layers panel and turn off the
paths layer which contains the expanded version
| | 00:23 | of the paths and then turn on the man layer
which is the one that contains the strokes.
| | 00:28 | Now I will marquee this path with
the Black Arrow Tool to select it.
| | 00:32 | Many of these attributes are going to work
just as well for the female symbol as they
| | 00:36 | did for the male symbol, including
the legs and head and so forth.
| | 00:40 | So it's going to be easiest if we use
the male symbol as the starting point.
| | 00:44 | I am going to save off all the attributes
by going up to the Window menu and choosing
| | 00:48 | Graphic Styles and then inside the Graphic
Styles, you want to press the Alt key or the
| | 00:53 | Option key on the Mac and click on the
little page icon at the bottom of the panel.
| | 00:58 | Because you have Alt or Option down, that
forces the display of this dialog box, that
| | 01:02 | way I can go ahead and name
the style and then click OK.
| | 01:05 | Now I will select the right-hand path, the
one of the woman layer, and I will click on
| | 01:09 | that Graphic Style I just made in
order to assign all those attributes.
| | 01:14 | Now I will hide the Graphic Styles Panel.
| | 01:17 | To gain access to the attributes, you go
to the Window menu and choose the Appearance
| | 01:21 | command, and now you can see this series of
strokes here, so we have got two strokes down
| | 01:25 | at the bottom for the legs, we have got
this guy right there, that's the body.
| | 01:29 | A few of these we want to turn off
for the moment, especially the arms.
| | 01:33 | So I'm going to go ahead and turn off both
the 24-point black strokes as well as the
| | 01:38 | two 10-point white
strokes at the top of the stack.
| | 01:41 | These shoulders are going to work out pretty
well, but they need to be a little narrower
| | 01:45 | for the female symbol.
| | 01:47 | So I will twirl open this 59.5-point
stroke and then I'll click on Transform in order
| | 01:53 | to bring up the Transform Effect dialog box,
and I will reduce the Vertical value to 24 points.
| | 01:59 | And then I will turn on the Preview checkbox,
which makes the shoulders a little narrower.
| | 02:02 | Now you may wonder why in the world does the
Vertical value affect the horizontal attribute
| | 02:07 | of the stroke, and the reason is
because it's rotated 90 degrees.
| | 02:11 | I will go ahead and click OK
in order to accept that change.
| | 02:15 | The next thing we want to do is
convert the body here into a dress.
| | 02:19 | And because it's a triangular shape,
our best bet is going to be an arrowhead.
| | 02:23 | So I will go ahead and
twirl this 66-point stroke open.
| | 02:28 | And then I will change its line
weight from 66 points to a mere 4.5 points.
| | 02:33 | So you can see this thin stroke right there.
| | 02:35 | Now I will click on the word Stroke
in order to bring up the Stroke panel.
| | 02:39 | I will change its first Arrowhead option to
Arrow 7 in order to assign an arrowhead to
| | 02:45 | the top of the stroke.
| | 02:46 | Now at this point, we can't really see it,
and that's because it's hidden by the shoulders.
| | 02:50 | So I will go ahead and temporarily turn off
the Transform effect here just so we can see
| | 02:55 | what's going on, and there is the
arrowhead right there at the top of the path.
| | 02:59 | Now we want it to be much bigger than this,
and we want it to consume the entire stroke.
| | 03:03 | So I will click on the word Stroke once again.
| | 03:06 | Anytime you want an arrowhead to consume its
entire stroke so that you're not seeing any
| | 03:11 | line, you want to change the Scale value
under that arrowhead to 1000%, and that ends up
| | 03:17 | giving us a very big arrowhead indeed.
| | 03:20 | Now we are going to transform
it using that Transform effect.
| | 03:23 | Of course, I need to turn it back
on in order to see it in action.
| | 03:27 | And then I will click on the word Transform
to bring up the Transform Effect dialog box.
| | 03:30 | And I will turn on the Preview
checkbox just so I can see what I'm doing.
| | 03:34 | And I'll also select this center point inside
the reference point matrix, which is located
| | 03:39 | on right side of the
dialog box in CS5 and earlier.
| | 03:43 | Now I will change the Horizontal Scale value to 34%,
and I'll take the Vertical Scale value down to 60%.
| | 03:51 | Now we need to scoot this dress shape upward.
| | 03:54 | So I will go ahead and change
the Vertical Move value to -108.
| | 03:57 | Now if you look carefully, you'll see that
the arrowhead's not quite centered on the
| | 04:02 | path outline, which is why I took
the Horizontal value down to -1.
| | 04:07 | With that dress intact, go ahead and click OK.
| | 04:09 | Obviously, it shouldn't exceed all the way
into the woman's head here, so we need to
| | 04:13 | cut it off under the shoulders by adding
another stroke, and I'll do that by clicking on this
| | 04:18 | 10-point white stroke, which
represents the negative space between her legs.
| | 04:22 | I will click on the little page icon at the
bottom of the Appearance panel to create a copy of it.
| | 04:27 | Then I will change Line Weight of the
lower of the two strokes to 84 points.
| | 04:31 | I'll go ahead and click on Transform in
order to bring up the Transform dialog box, turn
| | 04:36 | on the Preview checkbox, and change the Angle value to
-90 degrees, also change the Vertical Scale value to 28%.
| | 04:45 | And then finally, I'll change
the Vertical Move value to -124.
| | 04:49 | And that goes ahead and places the stroke
approximately at this position here, which
| | 04:54 | covers up the top of the
arrowhead. Now I'll click Ok.
| | 04:58 | Now the negative space between the legs
extends too far into the dress, so what we want to
| | 05:03 | do is twirl closed this 84-point stroke
and twirl open this 10-point stroke and click
| | 05:08 | on its Transform and change the Vertical
value to 97 points and then turn on the Preview
| | 05:14 | checkbox and we end up with this effect here.
| | 05:17 | Now go ahead and click OK.
The next thing we need to do is create the arms.
| | 05:21 | So this guy right here is the right arm, and this
is the space between the right arm and the body.
| | 05:27 | Obviously, we need to
rotate both of those paths.
| | 05:30 | And it's going to be easier to create the
left arm based on those rotated paths, so
| | 05:34 | I am going to go ahead and take the two
strokes that remain hidden, this top one and then
| | 05:39 | I'll Ctrl-click or Command-click on
this 24-point stroke to select it as well,
| | 05:43 | and I am going to get rid of them by clicking on the
little trash icon at the bottom of the Appearance panel.
| | 05:49 | Now with this 24-point stroke twirled open,
I will go ahead and click on its Transform
| | 05:54 | effect to once again visit
the Transform Effect dialog box.
| | 05:57 | I will change the Vertical Scale value to 32%,
and then I'll change the Horizontal and
| | 06:03 | Vertical Move values to 61.5
and -22 respectively.
| | 06:10 | Then finally, I am going to
change the Angle value to 18 degrees.
| | 06:14 | These are just settings I came
up with through trial and error.
| | 06:17 | Now I will turn on the Preview checkbox, and
you can see that we end up with this rotated arm.
| | 06:22 | So assuming you have the same
effect I do, go ahead and click OK.
| | 06:26 | Now we want to twirl open this top 10-point
white stroke, click on its Transform Effect,
| | 06:32 | and change the Vertical value to 60% and then
change the Horizontal and Vertical Move values
| | 06:38 | to 60 points and 28 points apiece.
| | 06:40 | And now I will go ahead and turn on the
Preview checkbox so we can see what we've got.
| | 06:45 | It's a vertical line at this
point, we want it to be angled.
| | 06:47 | So I will go and change the Angle value to that same
angle that we used for the arm, which is 18 degrees.
| | 06:53 | And we end up with this
effect here. Now click OK.
| | 06:57 | Now we need to make a copy of both
those paths in order to create the left arm.
| | 07:01 | So go ahead and click on the 24-point black
stroke in order to select it and then Ctrl-click
| | 07:06 | or Command-click on the 10-point white
stroke at the top of the stack and then press the
| | 07:11 | Alt key or Option key and the Mac and drag this
guy all the way up the top of the list like so.
| | 07:15 | And you will go ahead and make a copy
of both of those strokes as you see here.
| | 07:20 | Let's twirl some of these guys closed,
so things are a little less confusing.
| | 07:24 | I will drag this 24-point stroke so that's
sitting directly on top of the other one.
| | 07:29 | And then I will twirl it open because I
need to change its Settings, click on Transform
| | 07:34 | in order to bring up the
Transform Effect dialog box.
| | 07:37 | And all you need to do in order to convert
the right arm into a left arm is change the
| | 07:42 | Horizontal Move value to negative and change
the Angle value to negative as well and then
| | 07:48 | turn on the Preview checkbox and you can see
that we end up with a left arm that's exactly
| | 07:52 | symmetrical to the right one.
| | 07:55 | Now click OK and we will do pretty much the
same thing for the white 10-point stroke at
| | 07:59 | the top here, click on its Transform,
change its Horizontal Move value from positive to
| | 08:04 | negative, and change its Angle value from
positive to negative as well, turn on the
| | 08:09 | Preview checkbox so we end up
with this effect here, then click OK.
| | 08:14 | Now that we have finished off the effect, we
might as well save it off as another graphic style.
| | 08:18 | We will go back to the Window menu, choose
the Graphic Styles command, and then I will
| | 08:23 | Alt-click or Option-click on the little page
icon at the bottom of the panel and go ahead
| | 08:27 | and name this new style Female and click OK.
| | 08:32 | Just as with the male style, this
thing falls apart if you rotate the path.
| | 08:36 | And just to show you what I mean, I will
go ahead and select the Rotate Tool and drag
| | 08:41 | around inside the window and
everything completely falls apart.
| | 08:45 | So if you want something that's going to hold up
better, you want to convert these strokes to filled paths.
| | 08:50 | So I will go ahead and press Ctrl+Z or
Command+Z on the Mac to undo that change.
| | 08:53 | Then I will switch back to the Layers panel.
| | 08:55 | I will turn on the paths layer and I will
Alt-drag or Option-drag this little blue square
| | 09:01 | up onto the paths layer like so, and that will go
ahead and make a duplicate of the female symbol.
| | 09:07 | Now I will turn off both the
woman and man layers below.
| | 09:11 | Now to convert these strokes to paths, you start by
going to the Object menu and choosing Expand Appearance.
| | 09:16 | That gives you a bunch of different
strokes path outlines, as you can see here.
| | 09:21 | Then you convert those strokes to filled
paths by going back to the Object menu, choosing
| | 09:25 | Path and then choosing Outline Stroke.
| | 09:28 | The next step is to merge all these path
outlines with each other according to their colors
| | 09:33 | by going up to the Window menu
and choosing the Pathfinder command.
| | 09:37 | And then inside the Pathfinder panel, you
want to click on this icon right here, Merge.
| | 09:42 | That will go ahead and produce this effect here.
| | 09:45 | Now you want to ungroup the paths so that you
can get rid of the excess white path outlines.
| | 09:51 | You do that, of course, by going up to the
Object menu and choosing the Ungroup command.
| | 09:55 | Go ahead and press the V key to switch back to your
Black Arrow tool, and click off the paths to deselect them.
| | 10:01 | Just marquee around this general area here in
order to select this path around the woman's
| | 10:05 | head, and now you want to go up to the
Select Similar Objects icon on the far right side
| | 10:10 | of the Control Panel, click on the down-
pointing arrowhead next to it, and choose Fill Color.
| | 10:15 | If it's already selected, as it is in my case,
then go ahead and click on the icon in order
| | 10:20 | to select all the white paths and press the Backspace
key or the Delete key on the Mac to get rid of them.
| | 10:25 | Now we have got just these two path outlines
here, one for the body, and one for the head,
| | 10:30 | and at this point we might as well go ahead
and group them together by going to the Object
| | 10:34 | menu and choosing the Group command.
| | 10:37 | Now of course, if I was to switch back to
my Rotate Tool by pressing the R key and drag
| | 10:41 | around inside the illustration, you can see that I
am rotating this symbol without having it fall apart.
| | 10:47 | I want to leave it up right though, so I
will just go ahead and press Ctrl+Z or Command+Z
| | 10:50 | on the Mac and then I will press Ctrl+Shift+A or
Command+Shift+A in order to deselect my artwork.
| | 10:57 | And that's how you create the universal
symbol for female by building up a bunch of strokes
| | 11:01 | on a single path outline including an
arrowhead for the dress here inside Illustrator.
| | Collapse this transcript |
| 193 Drawing an ISOTYPE couple in love| 00:00 | Hey gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:03 | Now you might remember the two
Isotype symbols from last week.
| | 00:08 | Well, Valentine's Day is just two weeks
and two days away--a little friendly reminder
| | 00:13 | by the way--and so I figured
these two, you just look at them.
| | 00:16 | They have got so much in common.
| | 00:18 | We had to just scoot them
together and let the sparks fly.
| | 00:21 | And we are going to do so.
| | 00:22 | We are going to create everything here including the
little heart using just Strokes inside of Illustrator.
| | 00:28 | Here, let me show you exactly how it works.
| | 00:31 | All right, here is the final version of the hand-holding
gender symbols, just so you can see them on screen.
| | 00:36 | I'll switch over to the most recent version
of my document in which the two symbols are
| | 00:41 | not holding hands, and I am going to turn
off that paths layer and I am going to turn
| | 00:46 | on the woman and man layer here inside the
Layers panel, and I am going to select all
| | 00:51 | the objects on this layer as well by
pressing Ctrl+A or Command+A on the Mac.
| | 00:54 | Then I am going to create a new layer on
top of the paths layer by clicking on it, and
| | 00:59 | then I'll Alt-click or Option-click on the
little page icon at the bottom of the layers panel.
| | 01:03 | Let's name this layer hands, and I'll change the
color of the layer to Violet, and then I'll click OK.
| | 01:10 | Now I am going to make copies of the selected
objects by Alt-dragging each one of the color squares.
| | 01:16 | So I'll Alt-drag or Option-drag the red
square first, and then I'll Alt-drag or Option-drag
| | 01:21 | the blue square second, and you can see that that goes
ahead and makes copies of both male and female symbols.
| | 01:27 | Now I'll go ahead and turn off those two bottom
layers so that just the hands layer is selected.
| | 01:31 | That's very important, if you don't want to
run the risk of messing up the previous paths.
| | 01:35 | Now I'll go ahead and marquee the left-hand
path to select it, and then I'll switch to
| | 01:39 | the Appearance Panel by going to the
Window menu and choosing the Appearance command.
| | 01:44 | We just want to edit a couple of strokes here
for now, including this 24-point stroke right
| | 01:49 | there which represents the right arm--that is to say
his left arm--and we want to make it bend outwards.
| | 01:55 | So I'll go ahead and twirl that stroke open,
click on Transform, and dial in a few new values here.
| | 02:02 | I'll increase the Vertical Scale value to 32%,
and then I'll change the Horizontal Move
| | 02:07 | value to 64 points, and I'll change the
Vertical Move value to -22, and then I'll change the
| | 02:12 | angle to 18 degrees, so it matches the angle
of the woman's arm, and I'll turn on the Preview
| | 02:17 | checkbox and you can see
we get this effect here.
| | 02:20 | Now that ends up misaligning it with the other strokes,
but we'll take care of that problem in a minute.
| | 02:25 | Go ahead and click OK and then click in the
lower of the two 10-point white strokes in
| | 02:30 | order to make it active, and we want to make
a copy of it by dropping down to the little
| | 02:34 | page icon at the bottom of the Appearance
panel and clicking on it and then twirl open
| | 02:39 | the copy and click on its Transform
effect and then dial in these values.
| | 02:43 | We want the Vertical Scale to be 60%, we
want the Horizontal Move value to be 63 points,
| | 02:49 | the Vertical Move value should be 28 points, and finally,
I am going to dial in an Angle value of 18 degrees.
| | 02:55 | These are all values I came up
with through trial and error.
| | 02:58 | Now I'll turn on the Preview checkbox, and
you can see we get this nice effect here.
| | 03:02 | Still got a problem with the shoulder, so
I'll click OK, twirl all these strokes closed,
| | 03:08 | and then twirl open the 59.5-point stroke which
represents the shoulders and click on its Transform effect.
| | 03:15 | The shoulders are tricky, and you are
just going to have to feel your way through.
| | 03:19 | So I came up with a Vertical Scale value of 26.7%,
which if I turn on the Preview checkbox,
| | 03:26 | you can see that shrinks the shoulders horizontally
because it rotated 90 degrees, and now I am
| | 03:31 | going to go ahead and nudge the shoulders
over to the left just a little bit by dialing
| | 03:35 | in a Horizontal Move value of -1.5, and
we end up with this effect here. Click OK.
| | 03:42 | Now at this point he's reaching for her,
but she's too far away for them to hold hands.
| | 03:47 | So I am going to move both the paths together,
and I'll do that by double-clicking on the
| | 03:51 | Black Arrow Tool here inside the toolbox to
bring up the Move dialog box, and I'll change
| | 03:55 | the Horizontal Value to 20 points and I'll leave the Vertical
value set to zero points, like so. Now click OK.
| | 04:02 | That moves him closer to her,
but she's still a little far away.
| | 04:05 | So I'll go ahead and marquee around her in
order to select the right-hand half, double-click
| | 04:10 | on the Black Arrow Tool once
again to bring up the Move dialog box.
| | 04:14 | That moves her farther away from the guy,
which is not what we're looking for at all.
| | 04:18 | So I'll dial in the Horizontal Move value,
this time of -20 points, and that goes ahead
| | 04:22 | and scoots them together. Click OK.
| | 04:25 | We still need to create the heart, and we
are going to do so using a bunch of strokes,
| | 04:28 | and I am going to assign those strokes to
the guy, so I'll go ahead and marquee the
| | 04:33 | left-hand path and I am going to zoom in on this path as
well so that I can get a better idea of what's going on.
| | 04:41 | With the path selected, I'll go ahead and
click on the top fill here in the Appearance
| | 04:45 | panel to make it active, and I am going to
twirl closed those shoulders there, and now
| | 04:49 | I'll make a copy of that fill by clicking
on the little page icon at the bottom of the
| | 04:53 | Appearance panel, and I am going to change the
color of this fill to red and that gives him a red head.
| | 04:58 | That's not what we want.
| | 04:59 | We need to move it into a
different position and scale it.
| | 05:02 | So I am going to twirl this fill open and click
on Ellipse to bring up the Shape Options here.
| | 05:07 | I am going to dial in a Width and Height value
of 22 points apiece, Absolute should be turned
| | 05:13 | on, and if so, you'll end up with
an effect like this. Then click OK.
| | 05:18 | Now we need to scoot it over.
| | 05:20 | So I'll click on the word Transform there
in order to bring up this dialog box, I'll
| | 05:24 | dial in a Vertical Move value of -128, and
I'll change the Horizontal value to 65 points.
| | 05:32 | If I turn on the Preview checkbox, that
goes ahead and scoots this shape out here.
| | 05:36 | And now I'll click OK in
order to accept that effect.
| | 05:39 | Now we have got a little bit of a problem
going on here, because the female path is
| | 05:44 | in front and so that stroke that I am using
to cover up the top of the black arrowhead
| | 05:48 | that represents the dress is also covering
up a little bit of this incipient heart here.
| | 05:54 | So I need to move him to the front, and I'll
do that by right-clicking and choosing Range
| | 05:58 | and then choosing Bring to Front, just
the simplest way to make that happen.
| | 06:03 | Now let's make a copy of that red circle by
clicking on the Red fill at the top of the
| | 06:08 | Appearance panel, and I'll click on the little page
icon at the bottom of the panel to make a copy of it.
| | 06:13 | I'll twirl the copy closed, I'll twirl
open the original, click on transform in order
| | 06:18 | to bring up the Transform Effect dialog box,
and I'll just change this one value, Horizontal
| | 06:23 | Move value to 87 points and turn on the Preview
checkbox, and we end up with two circles. Now I'll click OK.
| | 06:30 | Now we need to create the triangular
bottom to the heart using an arrowhead.
| | 06:35 | So I'll go ahead and twirl closed the Red fill.
| | 06:37 | I'll click in the Black fill to make it active,
then I'll just click on this Add New Stroke
| | 06:41 | icon in the bottom left corner of the
Appearance panel, and I'll dial in a Line Weight value
| | 06:46 | of 4 points, and I'll go ahead and change
the color of the stroke to red once again,
| | 06:51 | because it's part of the heart, and then
I'll click on the word Stroke, and I'll change
| | 06:56 | the end arrowhead so the second arrowhead
option to Arrow 1, which has a little bit
| | 07:02 | of curvature as you can see.
That will work well for a heart.
| | 07:06 | The arrowhead is way at the bottom of the
guy here, but because I want the arrowhead
| | 07:10 | to consume the entire stroke, I'm going to
change its Scale value, that is the second
| | 07:14 | value here to 1000%, and we end up with this ginormous
arrowhead, and now you can click off to hide the panel.
| | 07:22 | We need to make it smaller, so I'll go the
Effect Menu, choose Distort & Transform, and
| | 07:27 | choose the Transform effect, and then I'll
dial in Horizontal and Vertical Scale values
| | 07:33 | of 19% and 12% apiece and I'll turn on the
Preview checkbox so you can see what kind
| | 07:37 | of difference that makes, and now I'll
change the Horizontal Move value to 76 points, and
| | 07:43 | I'll change the Vertical Move value to -77.6--
ends up working best here--and then I'll press
| | 07:50 | the Tab key in order to invoke that change.
| | 07:53 | And we end up with an arrowhead that more than
consumes the space that we are devoting to the heart.
| | 07:59 | So we'll need to use another
stroke in order to crop this area away.
| | 08:02 | Go ahead and click OK to accept that
arrowhead and then click on one of the red fills in
| | 08:07 | order to make it active and click on the
little page icon in order to create a copy of it,
| | 08:13 | then click on the bottommost of these fills
and change the color from Red to White, and
| | 08:18 | you also want to go ahead and twirl the
fill open and click on the word Ellipse there.
| | 08:22 | We are not going to want an Ellipse this time,
instead we are going to want to switch it
| | 08:25 | to a Rectangle, so go ahead and choose Rectangle
from the Shape pop-up menu, and then the values
| | 08:31 | we want are a Width of 82 points and a Height
of 28 point, and we end up with this effect here.
| | 08:38 | Now click OK.
| | 08:39 | Now to move it into a better position, click
on Transform in order to bring up the Transform
| | 08:44 | Effect dialog box and change the Horizontal Move
value to 76 and the Vertical Move value to -134.
| | 08:52 | Then I'll turn on the Preview checkbox, and
you can see that that does a nice job of cropping
| | 08:57 | away the extra portion of the arrowhead, but we are
left with a little bit of a hole between the circles.
| | 09:02 | So go ahead and click OK and click on the
white fill to make it active and then go ahead
| | 09:07 | and click on the little Page icon at the
bottom of the panel to make a copy it, exchange the
| | 09:11 | color of this fill to Red this time around.
| | 09:14 | Obviously, we've got some work to do here,
so I'll click on the word Rectangle in order
| | 09:19 | to bring up the Shape Options dialog box.
| | 09:21 | I'll change the width value to 26 points, and I'll
change the Height value to 12 points. Then click OK.
| | 09:28 | And now click on the word Transform in order
to bring up the Transform Panel for the final
| | 09:33 | time, and we are okay with the Horizontal
Move value of 76 points, but we want to change
| | 09:39 | the Vertical Move value to -122 points and
then turn on the Preview checkbox in order
| | 09:45 | to see the results of that change.
| | 09:47 | Now click OK in order to accept the effect,
and we now have a heart created entirely from
| | 09:53 | fill and stroke attributes.
| | 09:55 | Just to play it safe, I am going to go ahead
and bring up my Graphic Styles panel by going
| | 09:59 | to the Window menu and choosing Graphic
Styles, and I'll Alt-click or Option-click on the
| | 10:04 | little page icon to bring up this dialog box,
and I'll go ahead and call this guy Hand holder
| | 10:09 | and then I'll click OK and now we can apply
these attributes to any other path outline we like.
| | 10:16 | Now, of course, things are going to fall
apart with this part if I were to rotate it.
| | 10:21 | For example, if I press the R key to
switch to the Rotate Tool and then drag, you can
| | 10:25 | see that everything goes haywire.
| | 10:26 | So if I want to keep things more
flexible, I'll need to expand the effect.
| | 10:31 | I'll go ahead and press Ctrl+Z or Command+Z
on the Mac to undo that change, switch back
| | 10:35 | over to the Layers panel, and make a copy of
the hands layer by dragging it and dropping
| | 10:40 | it onto the little page icon at the bottom of
the panel, and now I'll double-click somewhere
| | 10:44 | inside this layer and I'll go ahead and
rename it love, and then I'll change the color from
| | 10:48 | Violet to Gold, then I'll click OK.
| | 10:52 | Now I'll turn off the original hands layer
so that we are protecting the original paths,
| | 10:56 | and I'll press Ctrl+A or Command+A on the
Mac to select all of my artwork, press the
| | 11:01 | V key to switch back to my Black Arrow Tool, and I'll
go up to the Object menu and choose Expand Appearance.
| | 11:07 | Now we need to convert all these
strokes to filled path outlines.
| | 11:09 | So go up to the object menu, choose
Path, and then choose Outline Stroke.
| | 11:15 | Now we want to go ahead and merge
all the paths according their colors.
| | 11:18 | So go to the Window menu, choose Pathfinder,
and then inside the Pathfinder panel you want
| | 11:23 | to click on the Merge icon in
order to produce this effect here.
| | 11:27 | Now we need to get rid of the extra garbage.
| | 11:30 | So go up the Object menu and choose the Ungroup
command, and finally, you just want to marquee
| | 11:34 | around one of these white
shapes like so to select it.
| | 11:37 | If I go up to the Select Similar Objects icon
on the right side of the Control Panel, click
| | 11:42 | the down-pointing arrowhead, change it to
Fill Color, and then click on the icon in
| | 11:47 | order to select all the shapes that are
filled with white and press the Backspace or Delete
| | 11:51 | key to get rid of them, and now if you
twirl open the love layer, you will see that you
| | 11:56 | have got a heart on top, two black
circular heads, and then look, they are so in love
| | 12:01 | their two bodies are merged
together as a single path out.
| | 12:05 | Now we do have some garbagy paths down here,
as you can see, these three lowest paths.
| | 12:11 | If you want to get rid of them, just
meatball one and Shift+meatball the other two--that
| | 12:15 | is to say click on their circles to select
them and then press the Backspace key or the
| | 12:19 | Delete key on the Mac to get rid of
those as well--and that's it, folks.
| | 12:24 | That's how you create
two gender symbols in love.
| | 12:27 | All right, so much for the Isotype couple.
I wish them the very best.
| | 12:32 | Love can be a dangerous
game, even for a pictogram.
| | 12:36 | Next week we'll take up with a couple of
other universal symbols, namely woman and man, and
| | 12:43 | we'll combine them into a series of Andy Warhol-like
silkscreen treatments, a lot of cool stuff going on here.
| | 12:50 | Deke's Techniques, each
and every week, keep watching.
| | Collapse this transcript |
| 194 Creating a Warhol-style silkscreen effect| 00:00 | Hey, gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:03 | This week begins a look
at the work of Andy Warhol.
| | 00:06 | Specifically, we'll be creating these
Warhol-like silkscreen/serigraph variations,
| | 00:13 | and we'll be doing so in Photoshop.
| | 00:15 | Now there are all kinds of websites and
apps out there that allow you to automatically
| | 00:19 | convert images into Warhol
effects...they're no good.
| | 00:23 | Even though Warhol fervently believed in automation--
his studio was called the factory after all--and
| | 00:29 | apparently in his last couple of years he
used a Commodore Amiga, which for you youngsters
| | 00:34 | was a precursor to the Mac.
| | 00:35 | He was still a human being and so we're going
to use our human skills to convert this portrait
| | 00:42 | photo from Olly of the Fotolia image library
into this Warhol treatment right here, complete
| | 00:48 | with canvas texture in the midtones.
Here, let me show you exactly how it works.
| | 00:55 | All right, here is the basic
Warhol effect that we're going for.
| | 00:58 | It's extremely high contrast with all
kinds of clipped shadows and highlights.
| | 01:02 | Notice also that we've got this kind of
irregular canvas texture going on inside of the midtones.
| | 01:07 | It's called Portrait shot #1b.psd because
in the final variations image here, she is
| | 01:15 | 1a, she is 1b, and she
is 1c for what it's worth.
| | 01:19 | Anyway, I am going to switch over to the base
image, which is a portrait shot from the Fotolia
| | 01:24 | image library, about which you
can learn more at fotolia.com/deke.
| | 01:29 | Let's go ahead and then convert this to a
high contrast black and white image by pressing
| | 01:33 | the Alt key or the Option key on a Mac and
then you want to click on this black and white
| | 01:37 | circle at the bottom of the Layers panel
and choose the Black and White command.
| | 01:42 | And go ahead and name the layer B&W or something
like that and turn on this checkbox, use previous
| | 01:47 | layer to create a clipping mask so that
you're affecting the photograph independently of
| | 01:51 | the rest the image, then click OK.
| | 01:55 | The whole idea behind the Warhol
factory was we're producing automated artwork.
| | 02:00 | So let's just work with a preset here and
the preset that works best for this image
| | 02:04 | is High Contrast Red Filter and
we end up with this effect here.
| | 02:08 | Next, press the Alt or Option key again,
click the black/white icon at the bottom of the
| | 02:13 | Layers panel and choose the Levels command which
will allow us to increase the contrast of the image.
| | 02:18 | Go ahead and call this layer contrast, and
once again turn on the checkbox and then click OK.
| | 02:25 | This time around you want to increase the
black point value underneath the histogram to 40.
| | 02:30 | Tab your way over to the white point value--
which is the third one--and change it to 160 and
| | 02:34 | then press Shift+Tab to go back to the midtones
value and change it to 2 to dramatically expand
| | 02:40 | the midtones inside the image.
| | 02:42 | So we're clipping the heck out of the highlights,
clipping the shadows as well, and then breathing
| | 02:46 | some life into the remaining midtones.
Now go ahead and hide the Properties panel.
| | 02:51 | The next step is to add some texture to those
midtones, and I've already included a texture
| | 02:56 | layer inside this image, once
again from the Fotolia image library.
| | 03:00 | You can go ahead and turn it on, back out
from the image a little bit because we're
| | 03:04 | going to want to transform this texture.
And the idea is right now it's too linear.
| | 03:10 | If you zoom in on it you can see that
we've got a bunch of perpendicular lines.
| | 03:15 | That's not what you're going to
see in a real stretched canvas.
| | 03:17 | It's going to kind of wave around.
| | 03:19 | Again, I am going to zoom out, and just so
I can change my mind later on if I want to,
| | 03:23 | I am going to convert this guy to a Smart
Object by bringing up the fly-out menu and
| | 03:28 | choosing the Convert to Smart Object Command.
| | 03:31 | Then go up to the Edit menu and choose Free
Transform, or you can press Ctrl+T or Command+T on the Mac.
| | 03:37 | And we'll start things off by switching over
to the Warp Mode, which you can get by clicking
| | 03:42 | on this little Warp up here in the Control
panel and then change the Warp setting to Arch.
| | 03:48 | And we end up with this effect here.
I really want it to go at a different angle.
| | 03:51 | So what I did was I switched out of the Warp
Mode for a moment and then I dragged inside
| | 03:57 | the image window in order to rotate the image
like so, so I am dragging outside the bounding box.
| | 04:03 | And I'm ultimately looking for an angle of
about 94 degrees, so something along these
| | 04:10 | lines is going to work out just fine.
| | 04:13 | That ends up with a layer that's a little
too high, so I'll go ahead and drag it down
| | 04:17 | so that it covers at least most of the image,
and then I'll switch back to the Warp Mode
| | 04:21 | by clicking in the Warp icon once again,
and now notice this handle that allows you to
| | 04:26 | change the bend of the warp.
| | 04:28 | I'm going to drag it over to the left
until my Bend value is close to -27% up here
| | 04:36 | in the Control panel, and I've got -26.7.
That's going to work out just fine.
| | 04:41 | Then you want to switch back out of the Warp Mode again
because we need to move this layer around a little bit.
| | 04:46 | So, click on the Warp icon and then just drag
inside of the bounding box to move the layer
| | 04:52 | to a better location so that it covers up
all of the image, and then press the Enter
| | 04:57 | key or the Return key on a Mac in order
to apply that transformation and warp.
| | 05:02 | Now we want to go ahead and clip this
texture layer inside the photograph.
| | 05:08 | So press the Alt key or the Option key on the
Mac and click on the horizontal line between
| | 05:12 | the texture layer and the contrast layer,
and you'll end up with this slight clipping
| | 05:16 | here and then you want to change the Blend
Mode from Normal here in the top left corner
| | 05:21 | of Layers panel to Overlay in
order to produce this effect.
| | 05:26 | And now if I go ahead and zoom in, you can
see that we have this wonderful canvas texturing
| | 05:31 | going on inside the midtones of her face.
| | 05:33 | And now you want to paint a bunch of
vivid colors on independent layers.
| | 05:38 | And in the name of
expediency I've done that in advance.
| | 05:41 | So I'll go ahead and twirl open this color
fills group right there, and you can see at
| | 05:45 | the top of the stack I have this layer
called eyes, and I just went ahead and painted it
| | 05:49 | directly on top of the layer.
| | 05:50 | That is it's on an independent layer, as you
can see, but I'm painting over of the contents
| | 05:55 | of the layers below just so I
can keep track of what's going on.
| | 05:59 | And the eyes are actually bigger than her eyes,
so it's not only permissible to go outside
| | 06:04 | the outlines, it's preferable.
| | 06:05 | That's what you want for
a classic Warhol effect.
| | 06:09 | Next I'll turn on the eyelids layer, and you can
see that we've got these vivid green eyelids here.
| | 06:13 | I've got these pink lips
as well on the lips layer.
| | 06:17 | And if I zoom out a little bit so that we
can see the shirt, I've got this shirt layer
| | 06:20 | right there, that's painting it a dark purple.
| | 06:24 | I'll go ahead and scroll down the list to
this face layer and turn it on, and I want
| | 06:28 | you to see something about the face.
| | 06:30 | This is a color that I just went ahead and lifted
from her face for this specific effect, by the way.
| | 06:35 | But I'll go ahead and zoom in here and you
can see that I've got all these lumps around
| | 06:40 | my brushstrokes, and this is all
brushwork that I applied using the Brush Tool.
| | 06:44 | But if I were to press the B key to switch
to the Brush Tool and then right-click inside
| | 06:48 | the image, I want you to notice that
the Hardness value has cranked up to 100%.
| | 06:52 | I am using one of the
standard circular brushes here.
| | 06:56 | I'll go ahead and press the
Escape key to hide that panel.
| | 06:59 | The reason we're getting the
lumps is because of the Spacing value.
| | 07:03 | And you get to the Spacing value by going
up to the Window menu and choosing the Brush
| | 07:06 | command, and it's this guy right here.
| | 07:09 | By default it's cranked up to 25%, which
gives you these lumps all over the place.
| | 07:15 | If you don't want the lumps, which you don't, then you
reduce the Spacing value to about 10% works out nicely.
| | 07:21 | And what's happening here is Photoshop
is laying down a bunch of blobs of paint.
| | 07:26 | The lower you go with the Spacing value,
the more processor-intensive the operation is,
| | 07:30 | so the brushstrokes might
start slowing down, but not at 10.
| | 07:34 | They are going to work just fine.
So go ahead and close that panel.
| | 07:37 | Now I'm not terribly concerned by the
lumps because I've got another layer here.
| | 07:41 | And I painted this one using
a pressure sensitive tablet.
| | 07:45 | I'll go ahead and turn it on, it's the hair
layer, and so I just went ahead and painted
| | 07:49 | in some very thick snake-like hair patterns
using a pressure sensitive tablet once again,
| | 07:54 | a Wacom Intuos as it just so happens.
| | 07:57 | And in order to smooth things out in the face,
I dragged the hair layer on top of the face
| | 08:02 | layer in order to produce this effect here.
| | 08:05 | Now let's go ahead and mix these colors along
with the original image, and you do that by--in
| | 08:09 | this case--twirling closed this color fills
group so that we can better see the layers below.
| | 08:16 | And you want to initially paint
these layers in front of the image.
| | 08:18 | That's the easiest way to work, but when all is said and
done, these layers need to go to the back of the stack.
| | 08:23 | And the easiest way to move the group to the
back of the stack is to press a keyboard shortcut,
| | 08:28 | which is Ctrl+Shift+Left Bracket,
that's Command+Shift+Left Bracket on the Mac.
| | 08:33 | You could also drag the group down the stack, but my layer
thumbnails are so large that that's difficult to do.
| | 08:38 | Anyway, notice that moves the entire group just above
the background and below the layer with the photograph.
| | 08:44 | I'll now click on the layer with the
photograph in order to select it and I'll change the
| | 08:48 | Blend Mode for that layer to Multiply,
which will go ahead and drop out the whites and
| | 08:54 | merge the blacks and the midtones
and so forth into the colors below.
| | 08:59 | I want the Background to have a color as well, so I'll
go ahead and click on that Background to make it active.
| | 09:04 | And then I'll go to the Color panel--
notice I'm working with my HSB values.
| | 09:07 | To get to them, you go to the fly-
out menu and choose HSB Sliders.
| | 09:11 | And I wanted a kind of vivid magenta, so
the values I came up with were 300 for the Hue
| | 09:16 | value, a Saturation of 50,
and a Brightness value of 65.
| | 09:22 | And then I'll press Alt+Backspace or Option+Delete on
a Mac in order to fill the background with that color.
| | 09:28 | Now at this point it struck me
that the hair shouldn't be blonde.
| | 09:31 | I want it to be blue like her eyes.
| | 09:33 | And it's a very easy matter once you've established your
base color layers to change your colors anytime you like.
| | 09:39 | So I'll go ahead and twirl open this color
fills group once again, and because I want
| | 09:44 | to lift the color from the eyes layer, I'll
go ahead and click on it to make it active
| | 09:48 | and then I'll press the eye key
to switch to the Eye Dropper Tool.
| | 09:51 | You can also get to it from the Toolbox.
| | 09:54 | Now by default, you're going to lift the
merged version of a color, which means you may not
| | 09:58 | get the pure color of the eyes
depending on where you click.
| | 10:02 | So go up to the Control panel and change the
Sample option to Current Layer and then you
| | 10:07 | can click anywhere inside the eye, even in
the pupil in order to lift that shade of blue.
| | 10:13 | Then go ahead and scroll down a list of the
hair layer, click on it to make it active,
| | 10:17 | and press the keyboard shortcut Shift+Alt+Backspace
or Shift+Option+Backspace on a Mac in order
| | 10:23 | to fill the hair with that blue.
| | 10:25 | And by virtue of the fact you have the Alt or the Option
key down, you're filling with the foreground color.
| | 10:29 | By virtue of the fact that you have the Shift key
down, you're respecting the layer's transparency,
| | 10:34 | so you're only filling in the
brushstrokes and nothing more.
| | 10:38 | Now at this point you can stop if
you want to, this is the base effect.
| | 10:42 | However, in researching Warhol paintings, I
found that most of them include some borders
| | 10:47 | around the sides, which are borders
left over from the screen printing process.
| | 10:51 | They are essentially happy accidents.
| | 10:54 | If you scroll up the list, go ahead and
twirl closed the color fills group and go all
| | 10:58 | the way at the top of the stack, you'll see
this layer called frame, which is another image
| | 11:02 | from the Fotolia image library.
| | 11:04 | I am going to go ahead and click on that
frame layer to make it active and change its Blend
| | 11:08 | Mode from Normal to Multiply.
| | 11:11 | And notice I also have this layer
mask that I've created in advance.
| | 11:15 | And what that does is it just gets rids
of some of the garbage on the interior.
| | 11:18 | But before I apply it, I want to clip the
base photograph, that is the model herself,
| | 11:24 | so that she fits exclusively inside the frame.
| | 11:27 | So I'll go ahead and click on
the woman layer to make it active.
| | 11:30 | I'll switch to the Lasso Tool,
which you can get by pressing the L key.
| | 11:34 | And you want to press the Alt key or the
Option key on the Mac and keep that key down so that
| | 11:39 | you can create a polygonal selection outline
and click in the bottom right corner and then
| | 11:43 | click in the top right corner like so,
click over here in the top left corner.
| | 11:47 | You don't have to be all that careful up
here at the top of the image, but you do have to
| | 11:50 | be pretty careful down here at the bottom.
| | 11:52 | So click in the bottom left corner and then go
ahead and click right about over here someplace
| | 11:59 | and release the Alt or Option key in
order to complete the selection outline.
| | 12:04 | Then with the woman layer selected, drop
down to the Add Layer icon at the bottom of
| | 12:08 | the Layers panel and click on it.
And that will clip her inside of that frame.
| | 12:13 | Now let's go back to that frame layer and
turn the layer mask on by Shift-clicking on
| | 12:19 | the layer mask thumbnail.
| | 12:20 | And you can see I've done a fair amount of
work in terms of masking away the interior
| | 12:24 | of this layer, but it's not tough work.
| | 12:27 | If you Alt-click or Option-click on the
layer mask to view it by itself, you can see that
| | 12:31 | it's just a bunch of sloppy
brushwork that I applied here.
| | 12:36 | So I'll Alt-click or Option-click
again in order to restore that layer mask.
| | 12:40 | Now the fill layer should not exceed outside the
frame either, that is the purple color of her shirt.
| | 12:47 | So I'll go ahead and zoom in
on this bottom right corner.
| | 12:51 | And I'll zoom pretty far in and then I'll
scroll down the list, twirl back open that
| | 12:54 | color fills layer, scroll all the way
down to the shirt layer to make it active.
| | 12:58 | You could apply a layer mask if you want to,
to mask this area away, but it's not really
| | 13:03 | tough stuff, so why not just go
ahead and erase it using the Eraser Tool?
| | 13:07 | I'll right-click inside the Image window so
you can see once again the Hardness is cranked
| | 13:11 | up to 100%, the size is 45 pixels in my
case--you can go your own way, of course.
| | 13:16 | And if I bring back the Brushes panel, I've
reduced the Spacing value to 10%, which is
| | 13:21 | definitely going to help us out.
| | 13:23 | Now I'll go ahead and hide that panel and
I'll click right about there and then I'll
| | 13:26 | Shift-click lower down
and I'll Shift-click again.
| | 13:30 | And by virtue of the fact that I'm Shift-clicking, I
am connecting my click points with straight segments.
| | 13:34 | All right, now I'll click there and Shift-
click right about there, and I am going to have to
| | 13:38 | do a fair amount of Shift-clicking to
make my way all the way over, because
| | 13:42 | after all, I'm zoomed way in.
| | 13:45 | Something you want to note here is notice
that I'm not clicking around here because
| | 13:49 | that would make a big mess of things.
| | 13:51 | I'm positioning my circular brush
cursor right next to the frame outline.
| | 13:56 | Now I'll press Ctrl+0 or Command+0 on a Mac
in order to zoom out for my image and I'll
| | 14:00 | press the F key a couple of times in order
to switch to the full screen mode and zoom
| | 14:05 | on in and you can see this high saturation,
high contrast Warhol effect, more automated
| | 14:11 | than ever, thanks to the
multi-layer power of Photoshop.
| | 14:15 | All right, so it's all very well and
good to come up with one treatment.
| | 14:19 | But Warhol himself would
have never stopped there.
| | 14:22 | He would have created two or perhaps three
different treatments, or more likely than
| | 14:27 | not he would have also created
treatments four, five and six.
| | 14:32 | And that's exactly what we'll be doing
next week, I'll show you how to create all six
| | 14:36 | of these treatments inside of Photoshop.
| | 14:38 | Deke's Techniques, each and
every week, keep watching.
| | Collapse this transcript |
| 195 Creating a series of Warhol-style variations| 00:00 | Hey gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:04 | Now we're just two days away from Valentine's Day
with all of its romance and bitter disappointment,
| | 00:10 | and who can think of a better way to
celebrate Valentine's Day than to create a sextet of
| | 00:16 | you and your loved one rendered as classic
Andy Warhol-like silkscreen/serigraph variations,
| | 00:23 | and we'll be doing so in Photoshop.
| | 00:25 | So we'll take last week's effect
and we'll create two variations on it.
| | 00:29 | First of all, we'll start with these classic
Marilyn colors and this out of register hair,
| | 00:34 | and then we'll pull off something Warhol never dreamed
of with these radiant highlights inside the woman's face.
| | 00:41 | Here, let me show you exactly how it works.
| | 00:44 | All right, I'll start things off with this
establishing shot of all the variations, which
| | 00:50 | I just find to be helpful at the outset.
| | 00:51 | We're going to start with this one
at the bottom, which is this one here.
| | 00:55 | I'll call it variation 1c.
| | 00:58 | And it's the one that features the yellow
hair out of registration with the other colors.
| | 01:03 | So we'll start things off with the variation
that we created in a previous movie, and notice
| | 01:08 | that I have this collection of colors on
the swatches layer, and these are the colors
| | 01:12 | I will use in the image.
| | 01:13 | Now this turns out to be the most time
consuming part of creating one of these Warhol effects,
| | 01:18 | is choosing the colors in the first place,
because it involves a lot of experimentation.
| | 01:23 | But I can offer you this advice, keep
your palette garish, high contrast and small.
| | 01:29 | Notice I have just five colors at work here.
| | 01:32 | So what I am going to do here in order to
apply these colors is twirl open the color
| | 01:36 | fills group down here at the bottom of the stack
and then click on the eyes layer to make it active.
| | 01:41 | Start things off by tapping the D key in order
to establish the default colors and then press
| | 01:46 | Ctrl+Shift+Backspace or Command+Option+Delete
on a Mac in order to fill the eyes with the
| | 01:52 | background color, which is white.
| | 01:54 | Now I'll press the I key to switch to the
Eye Dropper tool, which you can also get at
| | 01:58 | this location inside of the toolbox, make
sure that Sample is set this time to All Layers
| | 02:04 | as by default, and then click on this shade of red,
the very first color swatch, in order to lift it.
| | 02:10 | Now, click on the eyelids layer in order to
make it active and press Shift+Alt+Backspace
| | 02:15 | or Shift+Option+Delete on a Mac in order to
fill the eyelids with red, then do the very
| | 02:19 | same thing with the lips layer.
| | 02:22 | Select the layer and then press
Shift+Alt+Backspace or Shift+Option+Delete.
| | 02:26 | Now click on the shirt layer to make it
active and then click in a shade of green to lift
| | 02:30 | it and press Shift+Alt+Backspace
or Shift+Option+Delete on a Mac.
| | 02:35 | Now go ahead and scroll down to the face
layer to make it active, click on this hot pink,
| | 02:40 | and press Shift+Alt+Backspace or Shift+Option+Delete
to fill the face with this garish color.
| | 02:46 | Now click on the background to make it active,
click in the dark blue swatch to make it the
| | 02:50 | foreground color, and this time you don't
have to press the Shift key because we're
| | 02:54 | not respecting any transparency associated
with this layer, because it doesn't have any,
| | 02:59 | so just press Alt+Backspace or Option+Delete on Mac
in order to fill the entire background with that blue.
| | 03:05 | Now select the hair layer and we want to
make it that classic Marilyn hair Warhol yellow.
| | 03:11 | So click in the yellow color swatch to lift it and
then press Shift+Alt+Backspace or Shift+Option+Delete
| | 03:16 | to make the hair yellow.
| | 03:18 | Never mind the fact that it makes no sense that
these dark shadows would be associated with blonde hair.
| | 03:23 | That kind of ironic contrast
was typical of Warhol's work.
| | 03:27 | But we do want to offset these colors so they appear out of
registration, also of course indicative of his artwork.
| | 03:34 | So go ahead and press the Ctrl+Shift keys
or Command+Shift on the Mac and with those
| | 03:39 | keys down press the right arrow key three
times in a row and press the up arrow key once.
| | 03:45 | Now if you wanted to save off this effect,
most likely what you'd do is scroll back up
| | 03:48 | the list, turn off the Swatches panel, and
then save out this variation not using the
| | 03:53 | Save command, but rather by choosing Save
As so you don't ruin your original image.
| | 04:00 | Now let's check out the next
variation which I'll call 1a.
| | 04:03 | It features these colorized shadows
as well as these radiant highlights.
| | 04:09 | I'll go ahead and switch over to the base
image, this time I've applied the colors in
| | 04:12 | advance, because I figure you get
the idea where that's concerned by now.
| | 04:17 | If you are working along with me,
make sure the woman layer is selected.
| | 04:21 | And then what I want to do is I want to fill
that layer with the same color that I am using
| | 04:24 | for the hair, which is this guy right there.
| | 04:27 | So I'll go ahead and click inside that
second to last swatch, and I'll check out the HSB
| | 04:32 | values here inside the Color panel,
there is 0, 50, and 75 respectively.
| | 04:36 | With that in mind, I'll drop down to the fx icon
at the bottom of the panel and choose Color Overlay.
| | 04:42 | That goes ahead and fills in the entire
layer with red by default, so I'll go ahead
| | 04:46 | and click on the color swatch.
| | 04:48 | And I'll dial in those values I lifted a
moment ago, which are 0 for the Hue value,
| | 04:53 | 50 for Saturation, and then 75 for
Brightness, and now I'll click OK.
| | 04:58 | We want to use this color in order to
brighten up the darkest shadows inside of this layer.
| | 05:04 | So go ahead and change the
Blend Mode from Normal to Screen.
| | 05:09 | That ends up brightening up not only the layer
that we're working on, but all of the clipped
| | 05:14 | layers as well, and that includes the black
and white and levels adjustment layers, as
| | 05:18 | well as that texture layer.
| | 05:20 | What that means is when all of those layers are combined
together, we end up getting this over-brightening effect.
| | 05:26 | If you want to drop that out, go ahead and
click on Blending Options here on the left
| | 05:31 | side of the dialog box and turn on this
check box, Blend Interior Effects as Group, and
| | 05:37 | that's going to settle down
everything outside of the shadows.
| | 05:42 | Now you may wonder, well, why is it that
this shade of red which is assigned to the hair
| | 05:47 | when assigned to the shadows
ends up producing a darker color?
| | 05:51 | And that's because we have the Blend Mode set to
Multiply, so it's actually burning into itself.
| | 05:55 | If I were to change the Blend Mode to Darken,
we'd end up getting that flat color right
| | 06:00 | against the hair, which is actually a
pretty cool effect, which is why I am showing it
| | 06:05 | to you, but not the one that I'm looking for.
| | 06:08 | So I'll go ahead and switch back to Multiply,
I actually want to darken up this effect,
| | 06:12 | so I'll switch back to Color Overlay, click
on this red color swatch, and I'll dial in
| | 06:17 | a darker Brightness, 50% this time around.
| | 06:20 | I want it to be infused with a little more
color so I'll take the saturation value up
| | 06:24 | to 100%, then I'll click OK to accept the
color and I'll click OK inside the Layer Style
| | 06:29 | dialog box to accept the effect.
| | 06:32 | Now to create those luminance and highlights,
we're going to lift those from the base image
| | 06:37 | using the Calculations command.
| | 06:39 | The first thing you need to do is Alt-click
or Option-click on the eyeball in front of
| | 06:44 | the photographic layer and then turn off the
effects as well so that we end up seeing that base image.
| | 06:51 | Also Shift-click on the layer
mask thumbnail to turn it off.
| | 06:54 | Now go up to the Image menu and choose the
Calculations command, which allows you to
| | 06:59 | blend two channels together.
| | 07:01 | You want both of these layer options to be
set to Merged so that you're lifting your
| | 07:06 | mask from the merged version of the
composition, then change the second Channel option here
| | 07:12 | to Blue and turn on the Invert checkbox.
| | 07:16 | And then finally, change the Blending setting,
which is the Blend Mode to Difference, in
| | 07:21 | order to create this psychedelic effect here.
| | 07:24 | Now click OK and what you've done is you've
created a new channel here inside the Channels
| | 07:28 | panel, so go ahead and switch over to the
panel, scroll down the list, and you can go
| | 07:33 | ahead and rename this channel highlights if
you like, because that's what it's going to be.
| | 07:38 | Doesn't look like it so far, but it will as
soon as you press Ctrl+I or Command+I on a
| | 07:42 | Mac in order to invert the image.
| | 07:45 | Next, press Ctrl+L or Command+L on a Mac
to bring up the Levels dialog box and change
| | 07:51 | that black point value, the first value under
the histogram to 100, and that's it, then click OK.
| | 07:58 | Now we need to convert these highlights to
a layer and you do that by pressing the Ctrl key
| | 08:02 | or the Command key on the Mac and clicking
on the highlights channel, and that goes ahead
| | 08:07 | and converts what's white in the channel to
a selection and what's black to de-selection.
| | 08:12 | Now click on the very top item here, RGB,
to switch back to the composite image, return
| | 08:18 | to Layers panel, Alt-click or Option-click
on the eye in front of the photographic layer
| | 08:23 | in order to turn on all of the layers in the
image, then turn on the Effects and Shift-click
| | 08:28 | on the layer mask to turn it back on.
| | 08:31 | Now I want you to twirl open the color
fills group right here and go ahead and click on
| | 08:36 | the eyes layer at the top of the stack in
order to make it active and then press Ctrl+Shift+N
| | 08:42 | or Command+Shift+N in order to
bring up the New Layer dialog box.
| | 08:45 | Let's go ahead and call this
layer highlights and click OK.
| | 08:49 | And I want to fill the selection with the
background color, so I'll go ahead and click
| | 08:54 | with my Eye Dropper tool, either in the
background or in that final color swatch as I am doing
| | 08:59 | here in order to lift that pale yellow.
| | 09:02 | And then press Alt+Backspace or Option+Delete
to fill the selection with that color.
| | 09:07 | And now press Ctrl+D or Command+D
on a Mac to deselect the image.
| | 09:11 | I don't want to see the highlights in front
of the hair, so I'll go ahead and grab the
| | 09:15 | hair layer and move it to the top of the group by pressing
Ctrl+Shift+Right bracket or Command+Shift+Right bracket
| | 09:21 | on the Mac, or if your layer thumbnails aren't
this large and you can see more layers
| | 09:26 | at a time, you can just go ahead and
drag it up to the top of this group.
| | 09:30 | Then finally, we don't need those wide eyes this time
around, so just go ahead and turn off the eyes layer.
| | 09:36 | And then I'll go ahead and turn off the
swatches layer as well and press the F key a couple
| | 09:41 | of times in order to switch to the
full screen mode and zoom on in as well.
| | 09:46 | And here is the final version of this
particular variation with the colorized shadows and the
| | 09:51 | radiant almost metallic highlights.
| | 09:54 | Now, Warhol himself would have never stopped
at two variations, he would have created at
| | 09:59 | least six, that way he'd make more money.
| | 10:02 | He said so himself many, many times, which
after all is what makes him the consummate
| | 10:07 | American artist, which is why if you're a member
of the lynda.com online training library--speaking
| | 10:13 | of money--we'll take this guy also
captured by Olly of the Fotolia Image Library
| | 10:18 | and we'll make not just one, not just two,
check this one out, I just love this one,
| | 10:24 | but three different Warhol inspired variations.
| | 10:27 | If you're waiting for next week's free movie,
I'll show you how to combine all of your variations,
| | 10:32 | whether Warhol inspired or otherwise into a single
document so every image is precisely aligned.
| | 10:38 | Deke's Techniques, each
and every week, keep watching.
| | Collapse this transcript |
| 196 Adding Warhol-style background variations| 00:00 | In this movie, we are going to take on some
advanced Warhol variations, specifically those
| | 00:05 | that are applied to the male model.
| | 00:08 | So we'll start off with this guy up here,
and you can see that all the variations on
| | 00:12 | the male portrait include these specialized
backgrounds in large part because compositionally
| | 00:18 | he takes up a smaller area of the square.
| | 00:20 | And then we'll move along to this lower left
guy in which we have got some textual variations,
| | 00:26 | and then finally, we'll take on the lower
right guy in which the colorized shadows don't
| | 00:32 | interact in the least
with the rest of the colors.
| | 00:36 | Let's go ahead and switch over to this guy,
this is the first of the variations, it's
| | 00:40 | just shows are large so
you can see what's going on.
| | 00:42 | I'll go ahead and switch over to
the base version of this composition.
| | 00:46 | You can see that I've gone ahead and
created some swatches, just so you can get a sense
| | 00:51 | for the Color Palette, but of course I have
already assigned those swatches in advance.
| | 00:56 | Now what I could do is take this final swatch,
this dull shade of green and apply it uniformly
| | 01:00 | to the background by pressing the I key to
switch to the Eye Dropper tool and then clicking
| | 01:05 | in that shade of green and then I'll press
Alt+Backspace or Option+Delete on the Mac
| | 01:10 | in order to fill the background with that color.
| | 01:13 | You can see that that leaves us
with a pretty weak composition overall.
| | 01:17 | So I am going to press Ctrl+Z or Command+Z
on the Mac in order to undo that change.
| | 01:22 | What I want is a more textured
background like this one right here.
| | 01:26 | I created it by painting with Wacom tablet
both with the Brush tool and with the Eraser tool.
| | 01:31 | Let me show you how that can look if you
don't have a pressure sensitive stylus.
| | 01:36 | You can still end up getting
some pretty decent results.
| | 01:39 | So I'll go ahead and turn off this layer
and create a new one by pressing Ctrl+Shift+N
| | 01:44 | or Command+Shift+N on the Mac and I'll just call
this painterly back or something like that and click OK.
| | 01:52 | Now grab the Brush tool, which you can get
by pressing the B key, and I am just going
| | 01:56 | to dial in bright red by changing Hue value
to 0 degrees and the other two values to 100%.
| | 02:03 | I'll right-click inside the image window in
order to bring up my Brush panel and notice
| | 02:08 | this guy right here,
Round Fan Stiff Thin Brussels.
| | 02:12 | That's the brush that I used, so go
ahead and click on it in order to select it.
| | 02:16 | It's one of the bristle brushes that came
along recently inside Photoshop, and then
| | 02:21 | you want to bring up the Brush panel which you
can also get by choosing brush from the Window menu.
| | 02:25 | These are the values that I dialed in.
| | 02:27 | You can see them all listed inside this
flat fan layer, but I changed Bristles to 20%,
| | 02:34 | then I took Length up to 100%, I changed the
Thickness value to 30%, increased the Stiffness
| | 02:40 | value to 100%, and left the Angle value set to zero,
and you can see that you get this little preview here.
| | 02:46 | Now you can hide the Brushes panel, increase
the size of your brush just by pressing the
| | 02:51 | Right Bracket key a few times, and then
brush inside the image window like so.
| | 02:55 | We are not trying to create anything.
| | 02:57 | Obviously, we are not even trying
to get gestural inside of this image.
| | 03:02 | All you are trying to do is just fill in
most of the areas with brush strokes and leave
| | 03:07 | a bunch of holes as well, not too big of holes, typically
because you don't want to call attention to them necessarily.
| | 03:13 | You just want to provide some
painterly texture inside of this background.
| | 03:18 | And then if you care to, you
can get expressive as well.
| | 03:21 | But if you decide to get expressive, you should
do so with the Eraser tool, that is you should
| | 03:25 | erase expressive holes
inside your painted layer.
| | 03:29 | So to get a sense of what I mean, go ahead
and select the Eraser tool and I'll right-click
| | 03:33 | inside the image window, and notice that
the Hardness value is set to 100%, that's what
| | 03:37 | you want, and I've got my Size
value cranked down to 6 pixels.
| | 03:41 | If you were working with a pressure sensitive
tablet, you would want a higher value, but
| | 03:45 | because I'm not, I'm going with this value
here and then I'll just go ahead and paint
| | 03:50 | some fairly awkward looking brushstrokes because
it's hard to do anything decent with a mouse,
| | 03:55 | but we're just looking for some
gestural stuff here and there.
| | 03:58 | And we want some variation, too, so you
probably want to press Left Bracket key a few times
| | 04:03 | in order to reduce the size of the brush
and then paint in a few thinner holes as well.
| | 04:07 | And the nice thing about working with
holes like this as opposed to painting with red
| | 04:12 | and then painting with white is now I
can change the color to anything I like.
| | 04:16 | So if I press the I key to switch back to
the Eye Dropper tool and click inside that
| | 04:21 | dull green color swatch, and then I can
press Shift+Alt+Backspace or Shift+Option+Delete
| | 04:26 | to fill this layer complete
with all of its holes with green.
| | 04:29 | Anyway, I don't want to use that
layer because I created it using a mouse.
| | 04:33 | I'll go ahead and turn on this layer that
I created with a pressure sensitive tablet
| | 04:37 | instead, which looks a heck of a lot better.
| | 04:39 | I'll select the layer and then I'll press
Shift+Alt+Backspace or Shift+Option+Delete
| | 04:43 | on the Mac to fill it with green.
| | 04:46 | I also decided to colorize
the shadows in this image.
| | 04:49 | So I'll go ahead and click on the
portrait layer, which is called man.
| | 04:52 | Then I'll drop down to the fx icon and I'll
choose Color Overlay, go ahead and click on
| | 04:57 | the Color Swatch and dial in Hue value of
260, Saturation value of 100%, and then the
| | 05:04 | Brightness of 50%, click OK, and change the Blend Mode
to Screen so that you're brightening up those shadows.
| | 05:12 | Switch to Blending Options over here in
the left-hand list, and we want to get rid of
| | 05:16 | those extra highlights outside of the shadows
and you can do that by turning on Blend Interior
| | 05:20 | Effects as Group, then
click OK to accept the effect.
| | 05:24 | You may be saying to me we already saw
that in the previous movie, if you watched the
| | 05:28 | previous movie, but the reason I am showing it to
you again--albeit under different circumstances--
| | 05:33 | is because I forgot to apply the color to the
frame effect, which means that we've got a
| | 05:37 | black frame combined with this dark blue ink,
if you will, and if this were actually silk
| | 05:44 | screen or a lithograph, then all of
this stuff would be on the same plate.
| | 05:48 | And so it would have gotten inked the same way,
which means what I need to do is right-click
| | 05:52 | on this fx icon, associate it with the
man layer, and choose Copy Layer Style.
| | 05:56 | That will get both the effect, and the fact that
I turned on that Blend Interior Effects checkbox.
| | 06:02 | Now I'll right-click on the frame layer,
and because I'm working with the small screen,
| | 06:06 | I get this two-column menu.
| | 06:07 | I'll go ahead and choose Paste Layer Style
in order to paste the blue onto the frame
| | 06:12 | so that we have better continuity
where this composition is concerned.
| | 06:16 | So that's that effect. I'll go ahead and
switch over to the next one in which we have this
| | 06:20 | wonderful textural interaction going on, as well as
these red paint strokes coming into the guy's face.
| | 06:26 | Here is how I achieved this effect.
| | 06:28 | We'll start inside of this
version of the composition here.
| | 06:32 | This time around, my color palette
includes just four swatches as you see here.
| | 06:37 | So here is how I achieved the texture effect.
| | 06:39 | First thing I did was scroll up to the frame
layer here, click on it to select it and press
| | 06:44 | Ctrl+J or Command+J on the
Mac to make a copy of it.
| | 06:47 | Now I want to move it to the bottom of the
stack, so I'll press Ctrl+Shift+Left bracket
| | 06:51 | key or Command+Shift+Left bracket on
the Mac to move it behind the background.
| | 06:55 | Then I'll Shift-click on the Layer mask
thumbnail in order to turn it off and I'll click on
| | 07:00 | the Flat Fan layer to make it active and
then I'll go ahead and change its Blend Mode to
| | 07:05 | Multiply, so I end up
with this interaction here.
| | 07:08 | I decided I wanted to infuse this
background frame with some color, so I clicked on it
| | 07:12 | to make it active, then click on the fx
icon and choose Color Overlay once again.
| | 07:17 | I'll click on the red color swatch to bring
up the Color Picker dialog box, and then I'll
| | 07:22 | reduce the Saturation value to 50% and take
the Brightness value down to 75%, click OK,
| | 07:28 | and now I'll change the Blend Mode from Normal to
Overlay just to get a sense of how things would look.
| | 07:33 | That wasn't quite the effect I was looking
for, so I tried out Hard Light instead and
| | 07:38 | ended up with this much better
effect here. Now I'll click OK.
| | 07:43 | So the idea is that by starting with this
painterly background, you can blend it with
| | 07:46 | any kind of textural effect you like.
| | 07:49 | Then I start playing around with my other color
fills and I came across an unexpected effect here.
| | 07:55 | We'll go ahead and twirl open the Color
Fills group, click on the face layer, and changed
| | 07:59 | the Blend Mode from Normal to Overlay, and I ended up
with what I have to admit is this happy accident here.
| | 08:08 | The final effect is this one here in which
we create these highly saturated shadows that
| | 08:14 | don't interact at all with the other colors, and I'll
show you exactly how that works in the very next movie.
| | Collapse this transcript |
| 197 Creating opaque colored shadows| 00:00 | In this movie, I'll show you how to create
the final Warhol variation on the male portrait,
| | 00:05 | which includes some additional depth in the
background as well as these colored but opaque shadows.
| | 00:12 | Go ahead and switch over this base version
of the composition, which includes this very
| | 00:17 | small palette of colors shown in
the upper left corner of the image.
| | 00:20 | I'll go ahead and scroll down to the bottom
of the Layers panel, and I'll click on the
| | 00:24 | background layer to make it active and then
I'll press the I key to switch to my Eye Dropper
| | 00:29 | tool, make sure that Sample is set to All
Layers up here in the Control panel, and then
| | 00:33 | click in the yellow swatch, the second one
from the left, then press Alt+Backspace or
| | 00:38 | Option+Delete in order to
fill the background with yellow.
| | 00:42 | Now we have a couple of different
colors going on in the background.
| | 00:46 | Now I'll click on the Flat Fan layer to
make it active, and in order to give it just a
| | 00:50 | little bit of painterly depth, I'll click
on the fx icon and I'll choose Inner Shadow
| | 00:57 | and that will bring up
these default settings here.
| | 01:00 | The black shadow doesn't look right at all,
so I'll click on the color swatch in order
| | 01:04 | to bring up the Color Picker dialog box, and
then I'll move my eye dropper cursor out into
| | 01:08 | the image window and click on that
medium green background in order to lift it.
| | 01:13 | Even though that's the same shade of green
that's already at work in the background,
| | 01:16 | because the Blend Mode is set to Multiply by
default, we end up getting these darker interactions.
| | 01:22 | Now I'll click OK in order to accept that effect,
and I'll increase the Opacity value to 100%.
| | 01:27 | A Distance value of 5 pixels is fine.
You want the Choke to be set to 0%.
| | 01:32 | Tab to the Size value and press Shift+Up arrow in
order to increase it to 15 pixels and then I'll click OK.
| | 01:38 | And you can see that it appears as if the yellow--even though
it's in back of the green layer--is a little bit raised.
| | 01:45 | Now I'll click on the man layer in order to make it
active, and I want to infuse these shadows with red.
| | 01:51 | I'll try out that same approach that I showed
you in the past couple of movies, I'll click
| | 01:56 | on the fx icon at the bottom of the panel
and choose Color Overlay and I do want this
| | 02:02 | exact shade of red, that is to say if I
click on the color swatch, the Hue value is set
| | 02:06 | to 0 degrees, the Saturation is 100%,
and the Brightness is 100% as well.
| | 02:11 | Go ahead and click OK and I'll change
the Blend Mode as in the past to Screen.
| | 02:17 | And that ends up producing too bright of
an effect outside of the shadows, as you can
| | 02:21 | see here, so I'll click on Blending Options
over in the left-hand list and then turn on
| | 02:27 | Blend Interior Effects as Group,
which has done the trick in the past.
| | 02:31 | However, if I click OK in order to accept
that change, you can see that we get these,
| | 02:36 | well, I would say unfortunate interactions
in the white areas of the hair as well as
| | 02:42 | in the white portions of the eyes.
| | 02:44 | Now you may or may not find that to
be exactly what you're looking for.
| | 02:47 | If not, and you want these shadows to be uniformly
this bright shade of red throughout, here is what you do.
| | 02:53 | Go ahead and turn off the Effects that are
assigned to the man layer, then click on the
| | 02:57 | color fills group in order to make it active.
| | 03:00 | Press and hold the Alt key or the Option key
on the Mac and click the black/white circle
| | 03:04 | at the bottom of the Layers
panel and choose Solid Color.
| | 03:08 | Then go ahead and name
this layer white and click OK.
| | 03:12 | Inside the color picker dialog box, just go
ahead and drag to the upper left corner of
| | 03:17 | the color field in order to fill the
layer with white and click OK once again.
| | 03:22 | Now scroll up to the top of the list and
turn off the swatches layer so that we're seeing
| | 03:27 | just the shadows, that is to say the shadows
associated with the male model, as well as--
| | 03:32 | if I press Ctrl+0 or Command+0 on the Mac to zoom out slightly
--those associated with the framing effect as well.
| | 03:40 | With nothing but the shadows visible, switch
over to the Channels panel, and let's convert
| | 03:44 | those shadows to a selection outline by pressing the
Ctrl key or the Command key on a Mac and clicking on RGB.
| | 03:51 | That will go ahead and select the
white regions and deselect the black ones.
| | 03:56 | That's the opposite of the effect we want,
so go up to the Select menu and choose the
| | 04:00 | Inverse command, or you can press
Ctrl+Shift+I or Command+Shift+I on a Mac.
| | 04:05 | Now switch back to the Layers panel and
turn off the frame layer, then scroll down the
| | 04:09 | list and turn off that man layer,
as well as the layer of white.
| | 04:14 | Now scroll back up to the top of the list
and click on the swatches layer, and we're
| | 04:18 | going to create a new layer to house our opaque
shadows by pressing Ctrl+Shift+N or Command+Shift+N
| | 04:24 | on a Mac, and then call this
layer color outlines and click OK.
| | 04:29 | Now let's go ahead and lift that shade of
red, and the easiest way to do that is to
| | 04:32 | bring back the swatches for a moment.
| | 04:34 | I still have my eye dropper active, so I'll
click in that final swatch in order to load
| | 04:39 | the bright red as a foreground color.
| | 04:41 | Turn off the swatches layer, make sure the
color outlines layer is still selected and
| | 04:45 | that you still have a selection outline at work,
and then press Alt+Backspace or Option+Delete
| | 04:50 | on the Mac in order to
fill this selection with red.
| | 04:54 | Now if you press Ctrl+D or Command+D on a Mac, you can
see that we are left with these absolutely opaque shadows.
| | 05:01 | Press the F key a couple of times in order to fill
the screen with the image, and I'll zoom in as well.
| | 05:07 | And this is the final version of the composition,
complete with the multicolor and slight depth
| | 05:12 | in the background, as well as these bright opaque
shadows and texture patterns, here inside Photoshop.
| | Collapse this transcript |
| 198 Assembling multiple variations into a single comp| 00:00 | Hey, gang, this is Deke McClelland,
welcome to Deke's Techniques.
| | 00:04 | This week, I am going to show you how to take
those Andy Warhol style variations that we've
| | 00:09 | been creating over the past couple of weeks,
and we are going to combine all six of them
| | 00:13 | into a single Photoshop document so that
every single image is precisely aligned and not
| | 00:19 | a single pixel is clipped and the canvas is
exactly precisely the size it needs to be.
| | 00:25 | Here, let me show you exactly how it works.
| | 00:29 | We will start things off in
Photoshop's companion program, Bridge.
| | 00:33 | So if you are working inside Photoshop, go up
to the File menu and choose Browse in Bridge.
| | 00:38 | Then if you are working along with me, you
want to direct the Bridge to the contents
| | 00:42 | of today's folder, and you will find all six
of the Warhol variations, starting with
| | 00:47 | Portrait shot #1a and ending with Portrait shot #2c.
| | 00:51 | Go ahead and click on the first and Shift-click
on the last in order to select all six,
| | 00:56 | and then go up to the Tools menu, choose Photoshop,
and choose Load Files into Photoshop Layers.
| | 01:02 | Now bear in mind that these
are all multi-layered images.
| | 01:06 | We don't want all those layers, and the great
thing about Load Files into Photoshop Layers
| | 01:11 | is that it goes ahead and flattens each one of the files and then
assigns it to an independent layer, and it looks like this.
| | 01:18 | Bridge will automatically switch you over
to Photoshop, and you'll see some activity
| | 01:22 | over here inside the Layers Panel as
Photoshop flattens each one of the layered files
| | 01:28 | and then adds it to the
larger variation composition.
| | 01:31 | So we now have a total of six layers if you
scroll through them here inside the Layers
| | 01:36 | Panel, once again, that are all
lumped directly on top of each other.
| | 01:40 | We need to give ourselves more room to work.
| | 01:42 | So go up to the Image menu and choose the
Canvas Size command and then you want to turn
| | 01:47 | the Relative check box off and switch from
Pixels or whatever unit of measurement you
| | 01:52 | are working in to Percent.
| | 01:55 | Now we know we have a total of six variations,
so we need to make room for them, that is
| | 01:59 | 3 wide and 2 deep and you do that by
changing the Width value to 300% and then tab your
| | 02:06 | way to the Height value and change it to 200%
and that translates to 3 by 2, which is a total of 6.
| | 02:15 | Now I'll go ahead and click in the upper
left corner of the Anchor Matrix so that we will
| | 02:19 | expand the canvas to the right as well as down, and
then click OK, and we end up with this effect here.
| | 02:26 | Now you want to press Ctrl+0 or Command+0
on the Mac to zoom out and press Ctrl+A or
| | 02:32 | Command+A on the Mac to select the entire image.
| | 02:35 | Now go to the Layers Panel and click on
Portrait shot #1b, which should be the second layer
| | 02:40 | down and switch to the Move Tool, which
you can also get by pressing the V key.
| | 02:45 | Now the great thing about the Move Tool is
when you have a selection outline active,
| | 02:50 | you can use these Align icons up here in the
Options bar in order to align a layer to the selection.
| | 02:56 | So in our case, what we want to do is click
on this final Align icon, which is Align right
| | 03:00 | edges, and that goes ahead and moves
the second portrait shot to the far right.
| | 03:05 | Now click on the next layer down, again,
inside the Layers Panel and go up to the Options
| | 03:10 | bar and click on this guy right there,
Align bottom edges in order to scoot that third
| | 03:15 | variation to the bottom, and then click on Align horizontal
centers in order to center it inside the canvas.
| | 03:23 | Now you want to move to the next image down,
which you can do by clicking on it or you
| | 03:27 | can press Alt+Left Bracket--that would be
Option+Left Bracket on the Mac--just in case
| | 03:31 | you are looking for a keyboard shortcut.
| | 03:33 | And for this guy, all you need to do is click
this icon, Align horizontal centers, in order
| | 03:39 | to move them into the proper position.
| | 03:42 | Both of the next layers need to be moved to
the bottom, so click on one and then Shift-click
| | 03:46 | on the other, so these are the bottom two layers in
the stack which are called Portrait shots #2b and #2c.
| | 03:53 | And then go up to the Options bar and
click on this icon, Align bottom edges.
| | 03:58 | It's going to look like it's not
necessarily working, but it's moving them both into
| | 04:02 | a coincident location, so in other words,
they're both on top of each other down here in the
| | 04:06 | lower left corner of the canvas.
| | 04:09 | Then click on the final layer, the one at
the bottom of the stack, #2c, and go up to
| | 04:13 | the Options Bar again and click Align right edges
to move it to the proper position. We are done!
| | 04:20 | Press Ctrl+D or Command+D on the Mac.
| | 04:22 | I'll press Shift+F to switch to the Full
Screen mode, and then I'll go ahead and zoom in,
| | 04:27 | scroll down a little bit as well.
| | 04:30 | And those are my final six variations
combined and perfectly aligned using a combination
| | 04:36 | of Bridge working together with Photoshop.
| | 04:40 | Now in case it's not obvious, you can use
this trick for combining any forms of variations
| | 04:45 | or different photographs, as long as each
one of the images is exactly the same size.
| | 04:51 | I know, now I tell you, if you are waiting
for next week's free video, we are going to
| | 04:54 | switch over to Illustrator, and I'll show you
how to create this pattern of size changing,
| | 05:00 | color changing, inset circles,
perfect for your next shower curtain.
| | 05:04 | Deke's Techniques, each
and every week, keep watching!
| | Collapse this transcript |
| 199 Creating a pattern of unique inset circles| 00:00 | Hey, gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:03 | This week, really exciting stuff.
| | 00:05 | I am going to show you how to create this
pattern of size-changing, color-changing inset
| | 00:10 | circles inside Illustrator, and we will be doing
so by blending groups, whole groups of circles.
| | 00:17 | And then we will group those blends and
then we will turn around and blend those groups
| | 00:21 | of blended groups, which I know sounds like
so much nonsense, but it's totally possible
| | 00:26 | and really powerful as well.
| | 00:28 | Now, if you're a member of the lynda.com online
training library--and by the way, if you're not, how come?
| | 00:34 | Because you can get 7 days free
right now by going to lynda.com/deke.
| | 00:39 | But if you are, then you have access to an
exercise file that contains a single circle,
| | 00:44 | but it got me thinking, why not show you how to
create that file for yourself, if you want to?
| | 00:49 | So all you got to do is create an artboard
that measures 612 points wide by 420 points
| | 00:55 | tall, and then you want to create this
little circle here, that's 43 & 1/3 points in both
| | 01:00 | directions and then set its center point,
which you can do from the Transform panel
| | 01:05 | to X:44, Y:42 also in points.
| | 01:09 | And once you've done that, you
can follow along with me here.
| | 01:12 | Let me show you exactly how it works.
| | 01:15 | All right, here is that pattern of size
changing circles, just so you can see it on screen.
| | 01:20 | I am going to switch over to this document
which contains one and only one circle, the
| | 01:25 | base circle for the design, and I will go ahead
and click on it with a Black Arrow tool to select it.
| | 01:31 | Notice that my Fill is active here inside the Color panel,
so every color I apply will affect the Fill.
| | 01:37 | I am going to switch over to the Swatches
panel by going to the Window menu and choosing
| | 01:42 | the Swatches command, and then I'll apply
one of the default swatches which is
| | 01:48 | C=20, M=0, Y=100, K=0, which colors
the circle a kind of chartreuse.
| | 01:54 | Now I'll double-click at the Scale tool
in order to bring up the Scale dialog box.
| | 01:58 | Set the Uniform value to 90% and then click
on the Copy button in order to create a smaller
| | 02:04 | copy of the circle, and let's go
ahead and fill that guy with white.
| | 02:09 | Then double-click on the Scale tool again--
or because it's selected, you can just press
| | 02:13 | the Enter key on a PC or the Return key on
the Mac and dial in a Uniform value of 68%
| | 02:19 | and click on the Copy button.
| | 02:21 | Let's go ahead and fill that guy with that
same shade of chartreuse that we applied earlier.
| | 02:26 | Now I am going to switch back to the Black
Arrow tool, which you can get by pressing
| | 02:29 | the V key, and I am going to click
on the outermost circle to select it.
| | 02:34 | Now I ended up experimenting with exactly
where to put this next circle inside the document,
| | 02:39 | but now that we know, we are just going to
dial in an exact value by double-clicking
| | 02:43 | on the Black Arrow tool at the top of the
Toolbox and dialing in a Horizontal value
| | 02:48 | of 524 points and then change
the Vertical value to zero points.
| | 02:53 | And if you turn on the Preview check box,
you will see that that moves the circle
| | 02:57 | over to this location here.
| | 02:58 | Next, click the Copy button to create a copy
of this shape, and let's fill this one with
| | 03:04 | this next shade of green which is C=50, M=0, Y=100,
K=0, which as you can see, is definitely
| | 03:10 | giving us more of a grass green.
| | 03:13 | Now let's switch back to the Scale tool, double-
click on it to bring up the Scale dialog box, and
| | 03:18 | I will go ahead and move it over so that we
can see what we are doing, change the Uniform
| | 03:22 | value to 50%, and then click on the Copy button,
and go ahead and fill that circle with white
| | 03:29 | and then double-click on the Scale tool
again to bring up the Scale dialog box and dial
| | 03:34 | in a Uniform value of 62% and click on the
Copy button and go ahead and fill that one
| | 03:40 | with that same shade of
green we applied a moment ago.
| | 03:44 | Now I am going to press the V key to switch
to my Black Arrow tool, I will click on the
| | 03:48 | outermost circle to select it, and I will go
ahead and press the Enter key or the Return
| | 03:52 | key on the Mac in order to bring up the
Move dialog box, change the Horizontal value
| | 03:57 | to zero points this time around and dial in a
Vertical value of 336 points, and that will move
| | 04:04 | the circle down to the lower right corner.
| | 04:06 | Then go ahead and click on the Copy button
to create a copy of it, and let's fill this
| | 04:11 | guy with this shade of green, the next one
over, C=75, M=0, Y=100, K=0 in order to assign
| | 04:18 | a kind of emerald green.
| | 04:20 | Then double-click on the Scale tool, because
we need to create a couple more copies here
| | 04:24 | and dial in a Uniform value of 20% this time.
| | 04:28 | We are going for a very small
circle and then click the Copy button.
| | 04:32 | Go ahead and fill that guy with white, then
double-click on the Scale tool again, dial
| | 04:38 | in a Uniform value of 36%, and click Copy and go ahead
and fill this guy with that darker shade of green like so.
| | 04:47 | Now we need to create a shape in the bottom
left corner, and it's going to be that same
| | 04:50 | shape that you see in the top right corner.
| | 04:52 | Press the V key to go ahead and select the
Black Arrow tool, marquee the shapes, and
| | 04:58 | then go up to the Object menu and choose
the Group command to group them together,
| | 05:03 | and with the Black Arrow tool selected, press
the Enter key or the Return key on the Mac
| | 05:08 | and dial in a Horizontal value of -524 points this time,
| | 05:12 | leave the Vertical value set to 336 points,
and you'll move that shape into
| | 05:17 | alignment with the circles
above it and to the right.
| | 05:20 | Now click on the Copy button in
order to make that final set of circles.
| | 05:25 | Now we need to group these other guys.
| | 05:27 | So go ahead and marquee these shapes, press
Ctrl+G or Command+G on the Mac to group them
| | 05:32 | and marquee these shapes as well, and press Ctrl+G
or Command+G on the Mac to group them as well.
| | 05:39 | Now it's time to blend the shapes.
We will start by blending in rows.
| | 05:43 | So I will go ahead and marquee these two
groups at the top of the document and then go to
| | 05:48 | the Object menu, choose Blend, and choose Make.
| | 05:52 | Notice you also have this keyboard shortcut
of Ctrl+Alt+B or Command+Option+B on the Mac
| | 05:57 | and that goes ahead and blends
between the two groups like so.
| | 06:02 | Now the circles are a little tight.
We will take care of that in a moment.
| | 06:05 | Now what you want to do is select the
bottom two shapes, and really the easiest way
| | 06:09 | to do that is to go up to the Select menu and
just choose Inverse, and that will reverse
| | 06:14 | the selection so the guys at the bottom are
now active, and all I used is that keyboard
| | 06:18 | shortcut, Ctrl+Alt+B or Command+Option+B on the
Mac to create a blend between those two shapes.
| | 06:24 | Now press Ctrl+A or Command+A on the Mac in
order to select all the shapes, and the easiest
| | 06:30 | way to edit a blend is to double-click on
the Blend tool which is located toward the
| | 06:34 | bottom of the Toolbox, and that will
bring up the Blend options dialog box.
| | 06:39 | Go ahead and turn on the Preview check
box and change Spacing to Specified Steps.
| | 06:44 | You will probably see a default value of 11.
| | 06:48 | Go ahead and select that value and press the
Down arrow key to reduce it to 10, and that
| | 06:54 | gives us better spaced circles, then click OK.
| | 06:58 | Now what I'd like to be able to do at this
point is blend between the two blends by going
| | 07:02 | up to the Object menu, choosing
Blend, and then choosing Make.
| | 07:07 | But if you do that, you are just going to
connect the upper right group of circles to
| | 07:10 | the lower left group and you are going to end up
with this pattern of circles in a shape of a Z.
| | 07:16 | We don't want those, so I will press Ctrl+Z
or Command+Z on the Mac to undo that change.
| | 07:22 | What we need to do
instead is break up the blends.
| | 07:25 | We don't really want to lose
these blends long-term, necessarily.
| | 07:29 | You might want to come back to them.
| | 07:31 | You might want to go ahead and make a copy
of this circles layer, just by going to the
| | 07:35 | Layers Panel fly-out menu and choosing
Duplicate Circles in order to make a copy there.
| | 07:41 | And now I will double-click on an empty
portion of that layer to bring up the Layer Options
| | 07:45 | dialog box and I'll call this one final blend, and then
I'll change its Color to Gold and then I'll click OK.
| | 07:55 | And now you want to turn off your bottom
circles layers so you don't make a mess of it, and
| | 07:59 | then with all the objects on this final
blend layer selected, go up to be Object menu and
| | 08:06 | choose the Expand command, and
that will bring up this dialog box.
| | 08:10 | Both Object and Fill should be selected.
| | 08:12 | Assuming they are, go ahead and click OK,
and what you now have is two groups of circles
| | 08:18 | that you can blend between, and all you do
to create that blend is once again press the
| | 08:23 | keyboard shortcut Ctrl+Alt+B
or Command+Option+B on the Mac.
| | 08:28 | Then finally, we want to loosen up the vertical
circles a little bit, so double-click on the
| | 08:32 | Blend tool icon in the Toolbox to bring up
the Blend Options dialog box, turn on the
| | 08:37 | Preview check box, change
Spacing to Specified Steps.
| | 08:41 | This time Illustrator has
automatically selected 7 steps.
| | 08:44 | I'll go ahead and click inside that value
and press the Down Arrow key to reduce the
| | 08:48 | number of steps to 6, at which point we
get much better spaced circles, and now I'll
| | 08:54 | click OK to accept that change and I will
press Ctrl+Shift+A or Command+Shift+A on the
| | 08:59 | Mac to deselect the artwork.
| | 09:02 | And that's how you create a simple but elegant pattern
of size- and color-changing circles here inside Illustrator.
| | 09:11 | If you are a member of the lynda.com
online training library, then I have a follow-up
| | 09:14 | movie in which I show you how to take our
pattern of green circles and warm them up like so.
| | 09:20 | Now this isn't just a matter of modifying
the colors and allowing the blends to update
| | 09:24 | automatically, because after all, we have
this region of static green circles in the
| | 09:28 | middle, and I will show
you exactly how it works.
| | 09:32 | If you're waiting for next week's free movies,
why then, we are going to take another look
| | 09:36 | at op-art, this time inside of Illustrator.
| | 09:37 | I will show you how to create this effect
here, which is going to drive the editors
| | 09:41 | nuts, because it's going to create all
kinds of compression problems, because I refuse
| | 09:46 | to stop moving the page.
| | 09:47 | I will also show you how
great this awesome effect.
| | 09:51 | Deke's Techniques each and
every week, keep watching!
| | Collapse this transcript |
| 200 Changing a static blended color scheme| 00:00 | In this movie, I show you how to adjust the
color scheme of our circle pattern from the
| | 00:05 | shades of green to these warm colors here.
| | 00:08 | It involves a little-known command that
allows you to blend colors inside of Illustrator.
| | 00:14 | Works great in so far as I've been able to
test it inside of CS5 and earlier, little
| | 00:19 | problematic in CS6, but I've
got some workarounds up my sleeve.
| | 00:25 | So we will start off in this document here.
| | 00:28 | Because we're working inside of groups, you
are going to want to switch to the White Arrow tool,
| | 00:30 | which you get by pressing the A key.
| | 00:33 | It's the second tool down in the Toolbox,
and then Alt-click or Option-click on this
| | 00:38 | outermost chartreuse circle in the upper left
corner, and then go over to this Select Similar
| | 00:44 | Objects icon, click on the down-pointing
arrowhead and choose Fill Color, and that should go
| | 00:49 | ahead and select both the chartreuse circles.
| | 00:52 | Now let's change their
color inside the Swatches panel.
| | 00:55 | Bear in mind that my Fill is active and so
I will just click on CMYK yellow to recolor
| | 01:01 | those circles, and you can see that
Illustrator automatically redraws the blend vertically,
| | 01:07 | because it is a blend vertically, but it does
not automatically redraw the blend horizontally,
| | 01:13 | because that's a fixed group.
We will come back to that in a moment.
| | 01:17 | Then I'll Alt-click or Option-click on this
lower left circle, go back up to my Select
| | 01:22 | Similar Objects icon, click on it on the
far right side of the Control panel to select
| | 01:28 | a total of four circles, these two down here,
and these two in the upper right corner as
| | 01:32 | well, and let's change them to this
default shade of orange which is C=0, M=35, Y=85, K=0,
| | 01:40 | in order to achieve this effect here.
| | 01:43 | Again, the blends are updating vertically
but not horizontally, and then Alt-click or
| | 01:47 | Option-click on this lower right circle and
revisit the Select Similar Objects icon and
| | 01:53 | click on it, and that will select those two
circles down there, and then let's go ahead
| | 01:58 | and change the color of these circles to
this swatch, which is C=0, M=90, Y=85, K=0,
| | 02:05 | and we end up with this effect here.
| | 02:07 | Now to blend the color of the static shapes,
using your White Arrow tool you want to press
| | 02:12 | the Alt key or the Option key on the Mac and draw a
very slim marquee across the top of these circles.
| | 02:18 | Notice that I'm not extending down into
the white circle on the far left side here.
| | 02:24 | You want to keep your marquee up like that,
and then release and you should select just
| | 02:29 | the colored circles across the top.
| | 02:31 | And because it's a pain in the neck to
select these circles, what I recommend you do is
| | 02:35 | go up to the Select menu and choose the Save
Selection command, and then go ahead and name
| | 02:41 | these guys Big top or something along those
lines, because they are the big top row circles
| | 02:46 | and click OK, and that way you can
reselect those circles anytime you like.
| | 02:51 | This is a great function here, by going out
to the Select menu and choosing Big top and
| | 02:55 | this selection will be
saved along with the document.
| | 03:00 | Now I am going to go up to the Edit menu,
choose Edit Colors, and choose this command
| | 03:05 | right there, Blend Horizontally, which is
going to blend between the horizontal extremes,
| | 03:10 | and it should work brilliantly,
especially in CS5 and earlier.
| | 03:14 | However, here inside CS6 it doesn't work at all.
So here is the workaround.
| | 03:21 | What we need to do is
recolor all the green circles.
| | 03:25 | Alt-click or Option-click on any white circle,
then go over to the Select Similar Objects
| | 03:30 | and click on it to select all the white circles.
| | 03:33 | Then go up to the Select menu and choose
Inverse to select all the non-white circles and then
| | 03:39 | Shift+Alt-click or Shift+Option-click on
every single circle that's not green, so that's
| | 03:47 | going to be two circles apiece in
each of the corners of your document.
| | 03:52 | We also want to deselect the spine, which is the
path of the blend in the center of the document.
| | 03:57 | So Shift+Alt-click on it as well, and you
should end up with just the green circles
| | 04:02 | selected, and now let's change
your Fill color to anything you want.
| | 04:05 | Any old swatch will do.
| | 04:07 | I am going to go ahead and assign this purple
just so that we can see it very clearly, and
| | 04:11 | then I will click off the
circles to deselect them.
| | 04:15 | Now let's try the blend again by going up
to the Select menu and choosing Big top, so
| | 04:19 | we select all the big top circles.
| | 04:22 | Then go to the Edit menu, choose Edit Colors
and choose Blend Horizontally, and this time
| | 04:27 | we ought to get the desired effect.
Now we need to select the inner circles here.
| | 04:33 | Again, the easiest way I found to select them
at this point is to Alt-click or Option-click
| | 04:38 | on any one of them in the top row here.
| | 04:41 | Click on Select Similar Objects, and that
will select all the purple circles up at the
| | 04:45 | top and down here at the bottom.
| | 04:47 | Then what you want to do is switch to the
Lasso tool--which we probably don't use very
| | 04:52 | often inside Illustrator, but it can be handy--
press the Alt key or the Option key on the Mac in
| | 04:57 | order to deselect an area, and then drag around
the circles like so, and you want to completely
| | 05:03 | encompass them in order to completely deselect
those circles down there at the bottom of the screen.
| | 05:08 | Now I will switch back to the White Arrow
tool and Shift+Alt-click or Shift+Option-click
| | 05:14 | on the Mac on each of the small circles that
are yellow over here on the left inside and
| | 05:19 | orange over on the right-hand side.
| | 05:21 | Go up to the Select menu and choose Save
Selection, and let's go ahead and call this selection
| | 05:27 | Small top this time around, and now
let's see if we can blend these guys.
| | 05:32 | So go up to the Edit menu, choose Edit Colors,
and choose Blend Horizontally and that ends
| | 05:37 | up working up brilliantly, very nice! Now
I am going to select all the bottom circles
| | 05:42 | here by pressing the Alt key or the Option
key of the Mac and drawing a slim selection
| | 05:48 | like so, and that will go
ahead and select all those guys.
| | 05:51 | Let's go ahead and save them off by going to
the Select menu and choosing Save Selection,
| | 05:57 | and I'm going to call this one Big bottom
and click OK, and now we want to blend them
| | 06:03 | by going up to the Edit menu, choosing
Edit Colors, and choosing Blend Horizontally.
| | 06:08 | Incidentally, Blend Front to
Back should work just as well.
| | 06:12 | We should end up getting the same effect.
| | 06:15 | The only thing left to do is to
blend those little circles at the bottom.
| | 06:18 | You are still armed with your White Arrow tool,
Alt-click or Option-click on any one
| | 06:23 | of the purple circles, any one of the real
ones, not the ones in the blend, and then
| | 06:27 | go up to Select Similar Objects in the far
right side of the Control panel and click on it.
| | 06:32 | Shift+Alt-click or Shift+Option-click on this
orange circle, as well as this tiny red circle
| | 06:38 | right there in order to select it.
| | 06:40 | Let's go ahead and Save off the selection by
going up to the Select menu, choose Save Selection.
| | 06:45 | We will call this one Small bottom and click OK.
| | 06:50 | And for the last time, go up to be Edit menu,
choose Edit Colors, and your choice either
| | 06:55 | Blend Front to Back or Blend Horizontally,
in order to produce this effect here.
| | 07:00 | Now I will press Ctrl+Shift+A or Command+Shift+A
on the Mac to deselect my artwork.
| | 07:05 | And that, friends, is how you change out a
blended color scheme using the Blend Colors
| | 07:10 | commands which are available under
the Edit Colors submenu in the Edit menu.
| | Collapse this transcript |
| 201 Op art experiment 2a: Undulating pattern| 00:00 | Hey, gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:03 | This week, I'm going to show you how to
create some more Op Art inside Illustrator.
| | 00:08 | We're going to start off with these very basic
path outlines, and then we are going to convert
| | 00:13 | them into this wonderful seamlessly
repeating tile pattern right here, just the kind of
| | 00:19 | thing that permanently damage your eyesight.
| | 00:22 | After all, isn't that every graphic artist's dream?
Here, let me show you exactly how it works.
| | 00:28 | All right, Here is the final Op Art
pattern just so you can see it on screen.
| | 00:33 | These seams that we're seeing between the tiles are
not really there, they are just screen display artifacts.
| | 00:39 | And I will demonstrate by the end of this movie
that the result is an absolutely seamless pattern.
| | 00:44 | I will go ahead and
switch over to this file here.
| | 00:47 | These are the base objects; I've got
a couple of diamonds as you can see.
| | 00:52 | And I also have these waving paths that are just
two anchor points apiece that I drew using the Pen tool.
| | 00:59 | And a thing to bear in mind is that one
set needs to fit inside of the other like so.
| | 01:06 | And as long as you do that, then
everything is going to work out.
| | 01:10 | I am going to start with these paths.
| | 01:12 | And the first thing that you need to do if
you are working along with me, is go ahead
| | 01:16 | and select these upper wavy paths with the
Black Arrow tool, and then grab the Reflect
| | 01:21 | tool from the Rotate tool flyout menu, and
Alt or Option-click on one of the bottom anchor
| | 01:27 | points in order to bring
up the Reflect dialog box.
| | 01:31 | Change the Axis to Horizontal and then click on the
Copy button in order to create a copy of those paths.
| | 01:37 | You also want to grab your Direct Selection
tool, and marquee around these two coincident
| | 01:43 | anchor points right there, taking care
not to select either of the outer paths.
| | 01:48 | Then go up to the Object menu, choose Path,
and choose Join, or as we will be doing in
| | 01:54 | the future, you can just press the
keyboard shortcut, Ctrl+J or Command+J on the Mac.
| | 02:00 | And that goes ahead and fuses
those two anchor points into one.
| | 02:03 | Now, I am going to marquee
these two anchor points here.
| | 02:05 | Once again, they are coincident,
one right on top of the other.
| | 02:08 | And I will press Ctrl+J or Command+J on
the Mac to fuse them together as well.
| | 02:13 | Now, I will press the V key to switch back to my
Black Arrow tool, and I will marquee these two paths.
| | 02:18 | And you can see that I end up selecting
this entire sort of brace like object here.
| | 02:25 | And now, I will switch back to the Reflect
tool, and I will press the Alt key or the
| | 02:29 | Option key on the Mac, and click
on one of these top anchor points.
| | 02:33 | This time I will switch the Axis to Vertical
and once again click on the Copy button in
| | 02:38 | order to create a copy.
| | 02:39 | Now, we are starting to
encroach upon these Path outlines here.
| | 02:44 | So I will switch back to the Black Arrow tool, and I
will just drag them out of the way for the meantime.
| | 02:49 | And then you want to marquee just partially
here, these outer path outlines in order to
| | 02:55 | select both of them; there are two of them
one on top of the other, and now press Ctrl+J,
| | 02:59 | or Command+J on the Mac to
fuse them into a single path.
| | 03:03 | Then I will click on this guy and Shift-click
on this one, the two halves of the inner path,
| | 03:08 | and I will press Ctrl+J or Command+J on
the Mac to fuse them together as well.
| | 03:14 | Now, you want to go ahead and center
these three paths including the diamond.
| | 03:19 | So, go ahead and marquee them with the
Black Arrow tool, go up to the Align option, and
| | 03:24 | make sure that it's set to Align to
Selection, down here in the lower-right corner.
| | 03:29 | Then click on each of the center options;
Horizontal Align Center, and then Vertical
| | 03:34 | Align Center in order to
center the shapes like so.
| | 03:38 | The next thing you want to do is click off
the shapes to deselect them, and then click
| | 03:42 | on the diamond to select it independently.
| | 03:46 | And now, double-click on the Scale tool icon here inside
the Toolbox in order to bring up the Scale dialog box.
| | 03:52 | Tab your way to the Horizontal value, and
change it to 150 and then tab to Vertical,
| | 03:58 | and change it to 130% in
order to produce this effect here.
| | 04:03 | Then click on the Copy button in
order to create a copy of the diamond.
| | 04:06 | Now, I will press the V key to switch back to
the Black Arrow tool, and select this interior
| | 04:12 | diamond, we need it to be in front.
| | 04:14 | So you can right-click on it, choose Arrange,
and then choose Bring to Front, which also
| | 04:19 | has a keyboard shortcut of Ctrl+Shift+Right Bracket
or Command+Shift+Right Bracket on the Mac.
| | 04:24 | I mentioned that because I will be
using that in the future as well.
| | 04:29 | Now marquee all four of these paths; notice that
they have no fill, but they do have a black stroke.
| | 04:35 | Press Shift+X in order to switch them.
| | 04:39 | And then we want to select the outside paths
in case of both this big wavy thing and the
| | 04:44 | central diamond, the outermost of
both of them and change them to white.
| | 04:49 | The easiest way to do that is to press Ctrl+Y or
Command+Y on the Mac to switch to the Outline Mode.
| | 04:54 | Click off the shapes to deselect them.
| | 04:57 | Click on this outer shape to select it, Shift-
click on this outer diamond to select it, and go
| | 05:03 | ahead and click on the first swatch up here
on the Ctrl Panel, and change it to white.
| | 05:08 | Now, you can press Ctrl+Y or Command+Y on
the Mac to switch back to the Preview Mode,
| | 05:14 | go ahead and marquee these two curving
paths in order to select them, then go up to the
| | 05:19 | Object Menu and choose the Group command,
or press Ctrl+G or Command+G on the Mac.
| | 05:25 | Then click on the inner diamond Shift-click
on the outer one to select both of them, and
| | 05:29 | I will press Ctrl+G or Command+G on
the Mac to group those two as well.
| | 05:34 | So, we've got two groups at work;
the big paths, and the little diamonds.
| | 05:39 | Now, once again marquee them in order to
select them all, and we are going to blend between
| | 05:43 | the two groups by going up to the Object Menu,
choosing Blend, and then choosing Make, which
| | 05:49 | has a keyboard shortcut of Ctrl+Alt+B
or Command+Option+B on the Mac.
| | 05:54 | And I know I keep mentioning these shortcuts,
but as I say, I am going to use them in the future.
| | 05:59 | Now, we need more steps in this.
Right now we just have one step.
| | 06:02 | To change the steps, the easiest way is to
double-click on the Blend tool near the bottom
| | 06:06 | of the Toolbox, to bring up the Blend
Options dialog box, turn on the Preview check box,
| | 06:12 | change Spacing to Specified Steps.
| | 06:14 | And let's go ahead and nudge the Steps value up
until we get to 6, and we end up with this effect here.
| | 06:21 | Now go ahead and click OK to create the blend.
| | 06:24 | Now, press the V key in order to switch
back to my Black Arrow tool, and I am going to
| | 06:29 | drag this guy up and to the left
just to get him out of the way.
| | 06:32 | Now, we need to create the other half of the Op
Art effect, and we'll do so in much the same way.
| | 06:38 | We'll start with these two paths right there,
and we'll flip them by grabbing the Reflect
| | 06:43 | tool, and then I will Alt-click or Option-click
on one of these top anchor points, change
| | 06:49 | the Axis once again to Horizontal so that
you're flipping the shapes upward like so,
| | 06:55 | and then click on the Copy
button to make copies of the paths.
| | 06:58 | We need to go ahead and fuse the anchor points
together, so get your White Arrow tool, which
| | 07:03 | you can get by pressing the A key, and then
I will Ctrl+Spacebar-drag around this area,
| | 07:08 | that's a Command+Spacebar-drag
on the Mac just to zoom in.
| | 07:12 | And I will go ahead and marquee these two
anchor points right there, and press Ctrl+J
| | 07:17 | or Command+J on the Mac to join them.
| | 07:19 | You can see they're joined because now
we've got a miter corner right there.
| | 07:23 | And then I will marquee these two guys and press
Ctrl+J or Command+J on the Mac to join them as well.
| | 07:29 | Now, let's go ahead and zoom out, which I
am doing by pressing Ctrl+0 or Command+0 on
| | 07:34 | the Mac, and I will press the V key in
order to get my Black Arrow tool and I will just
| | 07:38 | go ahead and select these
guys and move them down like so.
| | 07:43 | With them selected, switch back to the
Reflect tool, and Alt-click, or Option-click on one
| | 07:48 | of the left-hand anchor points here, change
the Axis to Vertical this time around, click
| | 07:53 | on the Copy button, then press the V key to
switch back to the Black Arrow tool, partially
| | 07:58 | marquee the tops of these paths, press Ctrl+J
or Command+J on the Mac to fuse them into
| | 08:03 | one, click on this guy, Shift-click on
this one to select them, and then press Ctrl+J
| | 08:08 | or Command+J on the Mac to
fuse them together as well.
| | 08:11 | All right, now let's grab all three of
these paths here including the diamond.
| | 08:16 | Let's center them by going up to the Align
option, clicking on it up here in the Control
| | 08:20 | Panel, and then clicking on Horizontal
Align Center, and then Vertical Align Center,
| | 08:26 | so that they are in alignment with each other,
click off the shapes, and click on the diamond
| | 08:30 | to select it, double-click on the Scale
tool in order to bring up the Scale dialog box.
| | 08:35 | And this time, you want to change the
Uniform value to 190% and click on the Copy button
| | 08:41 | in order to select it.
| | 08:42 | All right, I will switch back to the Black
Arrow tool, click on the central diamond,
| | 08:46 | it needs to be in front
of the one we just created.
| | 08:49 | So, I am going to press Ctrl+Shift+Right Bracket
or Command+Shift+Right Bracket on the Mac
| | 08:54 | in order to bring it to front.
| | 08:57 | And now for the coloring and blending, I am
going to go ahead and marquee all these shapes
| | 09:01 | like so, press Shift+X in order to fill them
all with black, and get rid of their strokes.
| | 09:07 | Then I will press Ctrl+Y or Command+Y on the
Mac to switch to the Outline Mode, Shift-click
| | 09:12 | on this inner path to deselect it, Shift-click
on the inner diamond to deselect it as well,
| | 09:17 | go up to the Control Panel and click on
the first swatch and change it to white.
| | 09:22 | And now press Ctrl+Y or Command+Y on the
Mac to switch back to the Preview Mode.
| | 09:27 | Now we need to group them in pairs.
| | 09:29 | So, marquee these two paths, just partially
to select them, and press Ctrl+G or Command+G
| | 09:34 | on the Mac to group them.
| | 09:36 | Click on the central diamond, Shift-click
on the white one, and then press Ctrl+G or
| | 09:40 | Command+G on the Mac to
group them together as well.
| | 09:43 | Now, marquee both groups to select them, and press
Ctrl+Alt+B, Command+Option+B on the Mac to blend them.
| | 09:50 | Now, you can see we get one step by default.
| | 09:52 | I am not going to change the steps yet because I want
to change the shape of this blend just a little bit.
| | 09:59 | If I switch over to the final version of the
Illustration, and zoom in just a little bit
| | 10:05 | here, you can see that the diamond blends to a
larger diamond, and then to the curving shape.
| | 10:12 | So, I need to create that larger diamond first, and
I can create it inside the existing blend like so.
| | 10:18 | Switch back to my document in progress.
| | 10:20 | Press the A key to switch
to the White Arrow tool.
| | 10:23 | Go ahead and click off the path outlines to
deselect them, and then Alt-click or Option-click
| | 10:29 | twice on that central diamond to select the entire
diamond group, so you should have both diamonds selected.
| | 10:37 | And then you want to copy them just by
pressing Ctrl+C or Command+C on the Mac.
| | 10:41 | Now, I am going to click off the shapes to
deselect them, and you want to make sure to
| | 10:46 | Alt-click or Option-click to select that
entire white diamond, and then double-click
| | 10:51 | on the Scale tool in order to bring up the Scale
dialog box here, and this time we are going
| | 10:56 | to apply some very large non-uniform values.
| | 11:00 | The Horizontal value should be 540%, and
the Vertical value should be 507% in order to
| | 11:07 | create this effect here. Just click OK.
| | 11:10 | Now, you want to press and hold the Ctrl key
or the Command key on the Mac to temporarily
| | 11:14 | get to White Arrow tool, press and hold
the Alt key as well, or the Option key
| | 11:18 | on the Mac, and click on the
that central black diamond.
| | 11:22 | Then release the keys in
your back to the Scale tool.
| | 11:25 | Double-click on the Scale tool to bring up
the Scale dialog box, change the Horizontal
| | 11:29 | value to a whopping 940%, and then change the
Vertical value to 870% to get this effect here.
| | 11:38 | Then click OK.
| | 11:39 | Now, press the A key to switch back to your
White Arrow tool, and Alt-click or Option-click
| | 11:45 | on that selected central black diamond in order to step
up the hierarchy, and select the entire diamond group.
| | 11:53 | And then go up to the Edit Menu and choose
the Paste in Front command, or you can press
| | 11:58 | Ctrl+F or Command+F on the Mac, and that
goes ahead and pastes the little diamond group
| | 12:03 | inside of the same blend, which is why we
get another step at this location right here.
| | 12:08 | Now, press the V key to switch
back to the Black Arrow tool.
| | 12:12 | Go ahead and marquee some portion of
the blend to select the entire thing.
| | 12:15 | We need to add a few steps, so double-click
on the Blend tool to bring up the Blend Options
| | 12:20 | dialog box, turn on the Preview check box,
change the Spacing value to Specified Steps,
| | 12:26 | press the up-arrow key a couple of times in
a row to increase the value to 3, and we end
| | 12:31 | up with this effect here. Now click OK.
Now, let's align and duplicate our objects here.
| | 12:37 | I am going to get my Black Arrow tool, grab
this guy, and just move him down, so he is
| | 12:42 | in a more reasonable location.
| | 12:44 | I will marquee this guy, the newest one,
and I am going to zoom way in here, and press
| | 12:50 | Ctrl+Y or Command+Y on the Mac
to switch to the Outline Mode.
| | 12:53 | And I'll go ahead and drag this anchor point
until it snaps into alignment with the bottom
| | 12:59 | of the inner or curvy shape right there.
| | 13:02 | Then I will drag that anchor point again so it
snaps into alignment with the other bottom point.
| | 13:07 | That's what I want to do
is split the difference.
| | 13:09 | So now I will double-click on the Black Arrow tool,
which records my last changes, and apparently,
| | 13:15 | the position is off just slightly
horizontally, but I don't care about that.
| | 13:18 | So I will change the Horizontal value to 0,
and I will change the Vertical value to a
| | 13:23 | negative version of half of its current state,
which is -1 and then I will press the Tab
| | 13:28 | key and I end up splitting the
difference, as you can see here.
| | 13:31 | Now, I will click OK in
order to accept that change.
| | 13:35 | Let's go ahead and zoom out here, and get
the Black Arrow tool, go ahead and marquee
| | 13:40 | both these guys and drag them down a little bit.
| | 13:44 | Click off the shapes to deselect them, click on this guy
to select him, and notice my bounding box is turned off.
| | 13:49 | This is very important.
| | 13:50 | If you go to the View Menu and you see Hide
Bounding Box, then you want to go ahead and
| | 13:55 | choose the command to get rid of the darn thing.
| | 13:57 | Go ahead and click on this guy to select to
drag from the left-hand anchor point until
| | 14:02 | it snaps into alignment right there.
| | 14:05 | And if you can see, we are forming a kind
of diamond in the center, and now press the
| | 14:09 | Alt key or the Option key on the
Mac in order to create a duplicate.
| | 14:13 | Now, we want to scroll up just a little bit,
so we can see the bottom of this guy, click
| | 14:17 | on him to select him, drag the bottom
anchor point until it snaps into alignment right
| | 14:21 | there, and press the Alt key or the Option key
on the Mac in order to create a duplicate of it.
| | 14:26 | So, you can see that there is this diamond
shape overlap of all four of these objects.
| | 14:32 | Now, I will go ahead and zoom out by
pressing Ctrl+0 or Command+0 on the Mac.
| | 14:38 | And if I press Ctrl+Y or Command+Y on the
Mac in order to switch to the Preview Mode,
| | 14:42 | you can see this wild thing that we've created.
Now we need to turn it into a pattern.
| | 14:47 | Easiest way to do that, and this is going to
work in either CS5 or CS6, it doesn't hinge
| | 14:52 | on the new pattern-making feature.
| | 14:54 | I am going to marquee this guy and Shift-
marquee this guy, so that they are both selected.
| | 14:59 | Then go up to the Object Menu, choose Hide,
and choose Selection, which will go ahead
| | 15:05 | and hide those two objects.
| | 15:07 | Then press Ctrl+Y or Command+Y on the
Mac to switch back to the Outline Mode.
| | 15:11 | Go ahead and get your Rectangle tool, and
I will zoom in just a little bit here,
| | 15:15 | so I have a little more clarity.
| | 15:17 | You want to go to the View Menu and
make sure your Smart Guides are turned on.
| | 15:20 | They aren't in my case, so I will go
ahead and choose the command to turn them on.
| | 15:25 | And you want to drag from here, this
outermost left-hand anchor point right there,
| | 15:30 | down to this right-hand anchor point in the second
occurrence of this object in order to create
| | 15:36 | this rectangular shape right there.
It's still selected.
| | 15:39 | So, go up to the Control Panel and change
the first swatch to None and make sure the
| | 15:44 | second swatch is set to None as well.
| | 15:47 | The easiest way to send the shape to the back
of the stack, which is where it needs to be,
| | 15:50 | is to press Ctrl+Shift+Left Bracket,
that's Command+Shift+Left Bracket on the Mac.
| | 15:57 | Now go up to the Object menu and choose Show All
so that you can see those hidden objects,
| | 16:02 | and then press Ctrl+Y or Command+Y on a
Mac to switch back to the Preview Mode, press
| | 16:06 | Ctrl+A or Command+A on the Mac to select
everything in the Illustration at this point.
| | 16:12 | Press the V key to switch to your Black Arrow
tool, and just drag any one of the path outlines
| | 16:17 | like so, and drop it into the Swatches Panel.
| | 16:22 | Then press Ctrl+Shift+A, very important,
Command+Shift+A on the Mac to deselect your objects.
| | 16:28 | Click on that little tile pattern right there, go up to the
Swatches Panel flyout menu, and choose Swatch Options.
| | 16:35 | That's just the easiest way to rename it,
and then just call it Op Art or whatever you
| | 16:39 | want to, and then click OK.
| | 16:42 | Now turn off the Blends layer. We have made
the pattern, and now turn on the Pattern layer,
| | 16:47 | press Ctrl+0 or Command+0
on the Mac to zoom out.
| | 16:50 | I have already drawn a rectangle for you
in advance, so just go ahead and select it.
| | 16:54 | It covers the entire artboard.
| | 16:56 | And then go up to the first swatch in the
Control Panel and fill the shape with Op Art,
| | 17:02 | and we end up with this effect here.
| | 17:04 | If you ask me, it's a little too big, and
it's not centered, and all this other stuff,
| | 17:08 | so here is how you center
the pattern and scale it.
| | 17:12 | Double-click on the Black Arrow tool in
order to bring up the Move dialog box, and change
| | 17:16 | both of these values to 0, so that we're not
creating any movement at first, and then turn
| | 17:22 | off Transform Objects, turn off that check box,
and that will automatically turn on transform
| | 17:27 | pattern, so that we are transforming the
pattern independently of the object itself.
| | 17:32 | And now you can increase the
Horizontal value to 10 points, looks good to me.
| | 17:36 | I am just trying to make sure that the pattern
is centered on that center point of the rectangle.
| | 17:41 | I will change the Vertical value
to let's say -48. Now, click OK.
| | 17:49 | To scale the pattern inside the shape, double-
click on the Scale tool, and you should see Transform
| | 17:55 | Objects is still turned off,
Transform Patterns in turned on.
| | 17:58 | You want Scale, Stokes, and
Effects to be turned off by the way.
| | 18:02 | Go ahead and change Uniform value to 50% and
we end up with this effect here. Now, click OK.
| | 18:09 | As I mentioned at the outset, you
may see outlines around your tiles.
| | 18:13 | We don't want to see your tiles,
this should be a seamless pattern.
| | 18:16 | So, press Ctrl+Shift+A, Command+Shift+A on
the Mac in order to deselect the artwork.
| | 18:19 | You have one of two options.
| | 18:21 | One is to print the artwork, and gauge
whether you are seeing any patterns, you shouldn't,
| | 18:25 | it should print just fine.
| | 18:27 | The other, just so you can see here on screen
how well it's going to work, is to go to the
| | 18:31 | File menu, choose Export, and then change
the File format to TIFF, and then go ahead
| | 18:38 | and save the file as anything you like.
| | 18:39 | Notice I've created a file
called Rasterized op art.
| | 18:42 | I will go ahead and click
on the Save button, however.
| | 18:46 | You want the Color Model to be Grayscale because we
don't have any color going on inside this document.
| | 18:50 | So, there is no sense in going with CMYK,
which is going to make your file way bigger.
| | 18:54 | The Resolution should presumably be high; Anti-
aliasing is set to Art Optimized by default, that's fine.
| | 19:00 | You want LZW Compression to be turned on, as
lossless compression is really a good thing.
| | 19:05 | I've already done this in advance.
| | 19:08 | So I will just show you what it looks like
by going up to the File menu and choosing
| | 19:11 | Browse in Bridge, and then assuming that
you're looking at today's Exercise Files folder,
| | 19:18 | you'll see if I will call Rasterized op art.tif,
just go ahead and double-click on it to open
| | 19:22 | it inside of Photoshop, and as you
can see, there is not a seam inside.
| | 19:27 | I will just go ahead and press the F key
a couple of times in order to switch to
| | 19:31 | the Full Screen Mode, so you
can see the entire thing.
| | 19:34 | I realize it's a little difficult
to look at, but you have to admit,
| | 19:38 | it's an extraordinary Op Art pattern that you
can really only create inside Adobe Illustrator.
| | 19:46 | Ow, ow, ow. If you're a member of the lynda.com
online training library, then I have a follow-up
| | 19:52 | movie in which I show you how to take this
collection of circles inside Adobe Illustrator
| | 19:58 | and turn it into this full on classic Bridget Riley
effect right here; Op Art, it's wicked cool stuff.
| | 20:06 | If you're waiting for next week's movies,
I am going to show you how to develop the
| | 20:09 | perfect castle photograph including not only how
it should have looked, but how it could have looked.
| | 20:15 | I captured this image.
I don't pretend to be a photographer.
| | 20:18 | This is a reflection of the
immense power of Camera Raw.
| | 20:22 | Deke's Techniques, each
and every week, keep watching!
| | Collapse this transcript |
| 202 Op art experiment 2b: Concentric rings| 00:00 | In this movie, we're going to take these
four circles, and we're going to transform them
| | 00:04 | into this classic Op Art effect, and
we'll be doing so in Illustrator, by the way.
| | 00:09 | So, I'll start things off with
these circles, as you can see here.
| | 00:13 | I started by drawing a really big circle,
and then I transformed it a couple of times
| | 00:18 | to 50% its previous size, and then I finally
created one that's 15% of the size of this guy.
| | 00:26 | And then I ended up moving him around into
locations that end up looking good for the final effect.
| | 00:32 | Now, the first thing you need to do is take
these two inner circles here and copy them.
| | 00:37 | So, go ahead and select them with the Black
Arrow tool, then press Ctrl+C or Command+C
| | 00:41 | on the Mac to make copies.
| | 00:44 | And then I want you to marquee these two
shapes right here if you're working along with me.
| | 00:49 | Then go up to the Object menu,
choose Blend, and choose Make.
| | 00:53 | And notice we have a keyboard shortcut of
Ctrl+Alt+B, or Command+Option+B on the Mac,
| | 00:58 | which I'll be taking advantage of in the future.
| | 01:00 | That will give you one
blended circle, as you can see here.
| | 01:04 | That's obviously not enough.
| | 01:05 | The easiest way to modify a blend is to go
to the Blend tool toward the bottom of the
| | 01:10 | Toolbox and double-click on it, and then
I'm going to turn on the Preview check box,
| | 01:15 | switch Spacing to Specified Steps.
| | 01:18 | I'm going to increase this value to 9, and we
end up with this effect here. Then click OK.
| | 01:24 | Now, you want to press the V key to switch
back to the Black Arrow tool, and go ahead
| | 01:29 | and select this circle right there.
| | 01:31 | And then go up to the Edit menu and choose
Paste in Back, or press Ctrl+B or Command+B
| | 01:37 | on the Mac in order to paste the copies of
these two circles right here in back of the
| | 01:42 | final blend that we'll be creating.
| | 01:44 | Now we want to blend these shapes by
pressing Ctrl+Alt+B, or Command+Option+B on the Mac.
| | 01:49 | Again, we get one blended circle.
| | 01:52 | In order to add some more, double-click on the
Blend tool to bring up the Blend Options dialog box.
| | 01:57 | Turn on the Preview check box, change
Spacing to Specified Steps, and press the Up Arrow
| | 02:02 | key in order to increase the number of
steps to 5, as you see here. Then click OK.
| | 02:08 | Finally, switch back to the Black Arrow tool,
click off the shapes to deselect them, click
| | 02:14 | on this guy, which is the unblended version
of this inner circle, and then Shift-click
| | 02:19 | on the tiny circle to select it, and once
again, press Ctrl+Alt+B or Command+Option+B
| | 02:25 | on the Mac to blend between them.
| | 02:27 | Then double-click on the Blend tool icon in
order to bring up the Blend Options dialog box.
| | 02:32 | Turn on the Preview check box, change the
Spacing to Specified Steps, and this time--
| | 02:38 | I just happened to figure this out through
trial and error--we need an even number of steps.
| | 02:42 | So, I'm going to take this value up to 8
in order to produce this effect here.
| | 02:48 | Then you want to go ahead and click OK.
| | 02:50 | Now, the next step is to break up the
blends and to assign an alternate color scheme.
| | 02:56 | And anytime you're thinking of busting up a blend,
it's always a good idea to make copies of the originals.
| | 03:02 | Press Ctrl+Shift+A or Command+Shift+A on
the Mac in order to deselect the artwork, and
| | 03:06 | then I'll go to the Layers Panel flyout menu and choose
Duplicate Blends in order to make a copy of this layer.
| | 03:12 | I'll turn off the original so I don't make
a mess of it, then I'll double-click on this
| | 03:17 | new layer in order to bring up
the Layer Options dialog box.
| | 03:21 | I'll go ahead and name this layer
Expanded and change the Color to Gold.
| | 03:27 | Of course, you can go your own
way here, but these are my settings.
| | 03:30 | Now, click OK in order to accept that change.
| | 03:33 | And now what we need to do is press the V
key to switch back to the Black Arrow tool.
| | 03:38 | Go ahead and press Ctrl+A at this point,
Command+A on the Mac to select all of your artwork.
| | 03:43 | And you may recall that we've got
duplicates of this circle and this circle.
| | 03:46 | So, what I'm going to do to identify them is press
the M key in order to switch to my Rectangle tool.
| | 03:53 | Then I'm going to drag from here to here
like so, just to identify the circle at the left
| | 04:01 | side and the right side of this
rectangle as having duplicates.
| | 04:05 | That will help me in a minute.
| | 04:07 | Now I'll go ahead and grab my Black Arrow
tool and marquee all of the circles like so.
| | 04:11 | I don't want to select the rectangle.
| | 04:14 | Then I'll go up to the Object menu
and choose the Expand command.
| | 04:17 | That will bring up a dialog
box that you can safely ignore.
| | 04:21 | We want to expand everything.
So just go ahead and click OK in order to do so.
| | 04:26 | Now that ends up resulting in a group.
We need to get rid of it.
| | 04:29 | So, go up to the Object menu and choose the
Ungroup command, or you can press Ctrl+Shift+G
| | 04:35 | or Command+Shift+G on the Mac.
Now let's get rid of those duplicate circles.
| | 04:40 | Press Ctrl+Shift+A, or Command+Shift+A on
the Mac in order to deselect the artwork.
| | 04:44 | Click on this circle on the right side of
the rectangle, Shift-click on the circle on
| | 04:48 | the left side of the rectangle, Shift-click
on the rectangle as well because we only needed
| | 04:52 | it for identification purposes.
| | 04:54 | Then press the Backspace key or the Delete
key on the Mac to get rid of the duplicates.
| | 04:59 | Now press Ctrl+A or Command+A on
the Mac to select all of the artwork.
| | 05:03 | Notice that we have no
fill and we've got a stroke.
| | 05:07 | Let's reverse that by pressing Shift+X,
so now everybody is filled with black.
| | 05:13 | We want every other circle
filled with white, however.
| | 05:16 | This is the tedious step.
| | 05:18 | We want to deselect all the
circles that should remain black.
| | 05:21 | So, press the Shift key, and then click
on this circle, and this guy and so forth.
| | 05:27 | So you want to hold the Shift key down
throughout this deselection experience.
| | 05:32 | As you can see here, I am clicking on
every other one of the concentric circles.
| | 05:39 | You should end up with the
innermost circle still selected.
| | 05:42 | Now, go up to your Control Panel, click on
the very first swatch, and change the color
| | 05:47 | to White in order to produce this effect here.
| | 05:50 | And we now have our central
piece of dimensional Op Art.
| | 05:54 | So, it looks as if this region of the circle is
rising, and then it's sinking back in toward the center.
| | 06:01 | Now, we want to create some distorted
lines around the outside of the art.
| | 06:05 | So, go ahead and back out
a couple of clicks there.
| | 06:09 | I'm going to create a new layer by clicking on
my blends layer and then pressing Ctrl+Alt+L
| | 06:14 | or Command+Option+L on the Mac, which will
create a new layer in back of the old one
| | 06:19 | and allow me to name it too.
| | 06:21 | And I'm going to leave the Color set to Green, and
I'm going to call this one Lines and then click OK.
| | 06:28 | Now you want to go ahead and
grab your Rectangle tool once again.
| | 06:31 | Go up to the View Menu and make
sure that Smart Guides are turned on.
| | 06:35 | In my case, they aren't.
So, I'll go ahead and choose the command.
| | 06:38 | And then you want to drag a rectangle that's the
entire width of the artwork and 10 points high.
| | 06:45 | And I've ended up creating a bar that's 10.1 points
high, and it's not exactly what I want.
| | 06:51 | So, I'm going to go ahead
and zoom in a little bit here.
| | 06:54 | Press the Backspace key or the Delete
key on the Mac to get rid of that guy.
| | 06:58 | And instead of dragging, I'll just click
in this upper-left corner of the artboard.
| | 07:03 | The Width should be 612 points, that's fine,
but the Height needs to be exactly 10 points
| | 07:07 | if we want the black and
white lines to be the same width.
| | 07:11 | And now I'll go ahead and click OK in order to
create that bar, and it should be filled with black.
| | 07:16 | So, I'll go ahead and change the fill color
up here in the Control Panel to Black like so.
| | 07:21 | I'll press the V key to
switch to my Black Arrow tool.
| | 07:24 | By the way, this is going to work best
if you've got the Bounding Box turned off.
| | 07:29 | So, if you go to the View Menu and you see
Hide Bounding Box, please go ahead and choose it.
| | 07:35 | Then drag this guy by its bottom-left point
all the way down, I'm pressing the Shift and
| | 07:40 | Alt keys as I drag, that's
Shift+Option on the Mac.
| | 07:44 | And that way, I constrain my drag with the
Shift key, and of course Alt or Option goes
| | 07:49 | ahead and makes a copy
of that rectangle like so.
| | 07:53 | Now, Shift-click on the top
rectangle, so both of them are selected.
| | 07:57 | And once again, press Ctrl+Alt+B or Command+Option+B
on the Mac in order to blend between them.
| | 08:03 | What we're seeing here is a series of blended
bars that are adjacent to each other, that's
| | 08:09 | why we now have a black background.
| | 08:11 | That's not what we want.
So go ahead and double-click on the Blend tool.
| | 08:15 | Turn on the Preview check box, change
Spacing to Specified Steps, and the number of steps
| | 08:19 | we're looking for is 23.
| | 08:22 | And that's because the height of the artboard is 500 points,
and so we want gaps of 10 points in between.
| | 08:28 | So, if you do the math, you want
to keep those two original copies.
| | 08:31 | All together, we want 25 bars.
But we just need 23 in between.
| | 08:37 | Go ahead and click OK in
order to accept that change.
| | 08:40 | Now, to warp the bars, go up to the Effect
Menu, and choose Warp, and then choose Squeeze.
| | 08:49 | You want to max out your Bend value to 100%
and switch from Horizontal to Vertical.
| | 08:55 | Then if you turn on the Preview check box,
you'll end up with this effect here.
| | 08:59 | Now, go ahead and click OK.
| | 09:01 | Now, the bars no longer fit the artboard,
so we're going to have to scale them.
| | 09:05 | And the easiest way to do that is to return
to the Effect Menu, choose Distort & Transform,
| | 09:10 | and choose the Transform command.
| | 09:13 | The values that work best are 200% for
both the Horizontal and Vertical Scale values.
| | 09:18 | And if I turn on the Preview check box,
you can see what ends up happening there.
| | 09:23 | Now, I'll go ahead and click OK
in order to accept the effect.
| | 09:26 | I'll also press Ctrl+Shift+A, or Command+Shift+A
on the Mac in order to deselect my artwork,
| | 09:32 | and I'll go ahead and zoom in as well.
| | 09:35 | And that's how you create a classic piece
of Op Art that includes concentric
| | 09:39 | black and white rings here inside Illustrator.
| | Collapse this transcript |
| 203 Developing a dramatic castle in Camera Raw| 00:00 |
Hey, gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:04 |
The purpose of this movie is to show you how to
develop a dramatic castle photograph inside of Camera Raw.
| | 00:10 |
We are going to start off with this one
here that I captured using a Canon Mark III of
| | 00:15 |
the Dunguaire Castle in County Clare, Ireland.
| | 00:18 |
I like the composition, but
it's obviously washed out.
| | 00:22 |
So we are going to apply a series of
discrete selective nondestructive modifications in
| | 00:27 |
Camera Raw in order to achieve
this much improved effect here.
| | 00:31 |
Here, let me show you exactly how it works.
| | 00:36 |
So here I am looking at the final version of
the castle as a very large thumbnail inside
| | 00:40 |
Adobe Bridge, and that's where
we are going to start things off.
| | 00:44 |
So I will scroll down to this uncorrected
version of the photograph, click on it to
| | 00:48 |
select it, and then press Ctrl+R or Command+R
on the Mac in order to open this DNG file
| | 00:54 |
inside of Camera Raw.
| | 00:56 |
Most likely the first thing you're going
to want to do with just about any photograph
| | 00:59 |
is switch over to the Lens Correction tab.
| | 01:02 |
Then regardless of which version of Camera
Raw you are working with, click on the Profile
| | 01:06 |
tab here and then turn on Enable Lens Profile
Corrections, and that will automatically correct
| | 01:13 |
for this 17-40 millimeter lens that
I used to capture this photograph.
| | 01:18 |
So it ends up brightening the vignette a
little bit and it un-distorts the photo as well.
| | 01:23 |
Now if you are working in Camera Raw 6
which ships with Photoshop CS5, then you'll find
| | 01:28 |
a check box down here that
says Remove Chromatic Aberrations.
| | 01:31 |
Go ahead and turn it on.
| | 01:32 |
If you're working in ACR 7 which ships along
with Photoshop CS6, then you want to switch
| | 01:38 |
to the Color tab and then turn
on this check box right here.
| | 01:42 |
Let me give you a sense of what it does.
| | 01:44 |
I am going to zoom in on this flagpole right
there and I will go ahead and take it in to
| | 01:49 |
200% and scroll down a little bit, and if you
look extremely closely this photo is actually
| | 01:54 |
in pretty darn good shape, but we have a little
bit of a purple edge in one side of the flagpole
| | 01:59 |
and a little bit of a cyan edge on the
other side and you can get rid of those aberrant
| | 02:04 |
colors just by turning on that
check box and notice that they go away.
| | 02:08 |
Again, the effect is
pretty slight, but it's there.
| | 02:11 |
Press Ctrl+0 or Command+0 on the Mac in
order to zoom the image out and then I'll switch
| | 02:16 |
back to the Basic Panel.
| | 02:18 |
Your options are going to vary depending on
whether you're using ACR 7 as I have here,
| | 02:23 |
or ACR 6 which ships with Photoshop CS6.
| | 02:26 |
So I will run through the ACR that
is Adobe Camera Raw 7 stuff first.
| | 02:30 |
I will click inside this Temperature
setting here and I want to warm things up.
| | 02:34 |
I generally like to warm my photographs up.
| | 02:36 |
So it's entirely up to
you which direction you go.
| | 02:38 |
But I am going to press Shift+Up Arrow in
order to take that Temperature value up to
| | 02:42 |
5900 degrees and that will compensate by that cool
light source by warming things up ever so slightly.
| | 02:48 |
Then you want to take
the Tint value down to +15.
| | 02:51 |
At least that's what I came up with, just to
give some of the green back to the grass here.
| | 02:57 |
Now I'm going to take this Contrast value--and this is
just for those of you using Camera Raw 7, by the way.
| | 03:03 |
I am going to take the Contrast value up to 70.
| | 03:06 |
Then I am going to tab my way down to the
Clarity value, take it up to 40 and then increase
| | 03:11 |
the Vibrance value to 25.
| | 03:14 |
Now that ends up over-brightening the stones
here that are turning white, to crank things
| | 03:19 |
down just a little bit, press the Alt key
or the Option key on the Mac and drag this
| | 03:23 |
Exposure slider triangle ever so slightly
to the left until you take that value down
| | 03:29 |
to -0.15, and the fact the you have the Alt or
Option key down allows you to see the clipped
| | 03:35 |
pixels, notice as I increase the
Exposure value I am seeing more clipping.
| | 03:38 |
Anyway, I will go ahead
and take it down to -0.15.
| | 03:43 |
Now if you want a similar effect inside
Camera Raw 6, that is the version that ships along
| | 03:47 |
with Photoshop CS5, here's what you do.
| | 03:49 |
I will go ahead and switch to
that version of the software.
| | 03:53 |
So again, here's inside the Basic Panel. You
want to take the Temperature value up to 5900
| | 03:57 |
if you are working along with me, and
then take the Tint value down to +15.
| | 04:01 |
And of course by the way, these
values just work for this image.
| | 04:05 |
Every image that you open inside of Camera Raw
is going to need its own special custom treatment.
| | 04:11 |
Now I will go ahead and take the Contrast
value up to 75, and I will take the Clarity
| | 04:16 |
value up to 75 as well and then
take the Vibrance value up to 25.
| | 04:21 |
Now that leaves us in need
of some exposure adjustments.
| | 04:23 |
So I will once again Alt-drag or
Option-drag this Exposure slider.
| | 04:27 |
This time I'm dragging it slightly to the
right until I increase the Exposure value
| | 04:32 |
to +0.35 and then to compensate for that overly
bright castle I am going to take the Brightness
| | 04:39 |
value down to 25 in order
to create this effect here.
| | 04:43 |
So it's not identical to the effect that I am achieving
inside Camera Raw 7, but it's very, very similar.
| | 04:48 |
I am going to switch back to Camera Raw 7
for the rest of this here, because from here
| | 04:53 |
on out the instructions are identical
regardless which version of Camera Raw you are using.
| | 04:58 |
Switch to the Detail tab for starters here,
and I'm going to zoom in on this portion of
| | 05:03 |
the image right there just because it has
a good variety of detail and I want it to
| | 05:08 |
appear at 100% zoom size.
| | 05:10 |
I am going to take that Amount value up to 100%
and I'll leave the Radius value set to 1.0.
| | 05:17 |
I am going to take the
Detail value down, however.
| | 05:20 |
Notice if you crank up this Detail value
what's happening is you are sharpening stuff that
| | 05:25 |
doesn't even really exist
inside of the actual scene.
| | 05:30 |
The result is that you're creating these kind
of wormhole patterns inside the image, which
| | 05:35 |
I almost never find to be desirable, which is why I
am going to just take that Detail value down to 0.
| | 05:40 |
Now we do have some noise inside the image.
| | 05:43 |
So I will take the Luminance volume up to 50 and
then I will take the Luminance Detail down to 25.
| | 05:48 |
I will take the Luminance Contrast value
up to 50 and a Color value of 25 and a Color
| | 05:53 |
Detail value of 50 are just fine,
and we end up with this effect here.
| | 05:58 |
If you want to get a sense for what's happened,
I will go ahead and zoom in even farther here,
| | 06:03 |
and I will press the P key in order to
turn off these modifications I've made.
| | 06:07 |
So we had more noise inside the image, less
sharpness as well, and then if I press the
| | 06:11 |
P key to turn the Preview back on
we end up with this effect here.
| | 06:15 |
The last thing I want to do is switch over
to the HSL/Grayscale tab, and I'm going click
| | 06:21 |
on Saturation and I will press Ctrl+0 or Command+0
on the Mac so I can take in the entire image.
| | 06:26 |
Now what I want to do is bring out the
saturation of the building itself as well as the sky.
| | 06:33 |
Most of the good color inside the
building is located here inside the oranges.
| | 06:36 |
So notice if I crank up the Oranges value
we increase the saturation of the castle.
| | 06:41 |
If I take that value down, I am
going to decrease the saturation.
| | 06:45 |
What I am looking for is
an Oranges value of +50.
| | 06:48 |
You can also bring out more saturation
inside the castle if you crank up the Yellows, but
| | 06:52 |
in my opinion that creates
a highly undesirable effect.
| | 06:55 |
So I will take that back down 0.
| | 06:57 |
Now the sky is live inside the
blue range, not surprisingly.
| | 07:00 |
So if I were to crank up the blues we end
up with this pretty bad effect right there.
| | 07:05 |
Notice we are bringing out all kinds of
color noise inside of the clouds over here on the
| | 07:10 |
right-hand side of the image.
| | 07:11 |
So instead, I'll just take that
Blues value up to +35 like so.
| | 07:17 |
Now we want to bring this corrected image
into Photoshop and we want to bring it in
| | 07:21 |
as a Smart Object just in case we want to revisit
the settings later, as we will in future movies.
| | 07:26 |
To do that, go ahead and press the Shift key
and that will change the Open Image button
| | 07:31 |
right here into an Open Object button and
then go ahead and click on Open Object in
| | 07:37 |
order to open the image as a
Smart Object inside of Photoshop.
| | 07:40 |
Now this is a very large image.
| | 07:42 |
So you can expect it to
take a little time to open.
| | 07:45 |
Now I want to give this
image a kind of white border.
| | 07:47 |
So the first thing I am going to do is
create a new layer by clicking on the little Page
| | 07:51 |
icon at the bottom of the Layers Panel.
| | 07:54 |
Now I am going to convert this layer to a
background by going up the Layer menu, choosing New,
| | 07:58 |
and choosing Background from Layer, and that
creates this white background behind the image itself.
| | 08:06 |
Now I will go ahead and click on the Smart
Object layer which contains the photograph of course.
| | 08:10 |
Press Ctrl+T or Command+T on the Mac in
order to enter the Free Transform mode so that we
| | 08:15 |
can scale this image, and these are just
some modifications that I came up with.
| | 08:19 |
Again, this isn't necessary the kind of thing
you want to do with every image, but I wanted
| | 08:23 |
this thing to have a nice even white border.
| | 08:26 |
So I went ahead and clicked on this
Link icon between the W and H values.
| | 08:31 |
Then I will select the W value.
| | 08:32 |
I accidentally increased it just a little bit.
That's not what I want.
| | 08:35 |
So I will select the value
and change it to 90% like so.
| | 08:39 |
Now I'm going to change positioning of
this image by clicking on the upper left point
| | 08:43 |
inside this little Reference Point Matrix
and I will change the X value to 133 pixels,
| | 08:48 |
by the way, and I will change the Y value to
102 pixels in order to produce this effect here.
| | 08:54 |
It might seem like I'm going in a kind of strange
direction here, but it will make sense in just a moment.
| | 08:59 |
So press the Enter key or the Return key on the
Mac a couple of times in order to apply that change.
| | 09:05 |
Then we will crop the image by going up to the
Image menu and choosing the Canvas Size command.
| | 09:10 |
The great thing about the Canvas Size
command is it always ensures a nondestructive crop
| | 09:16 |
when you're working with layered images.
| | 09:18 |
Now in my case, I am going to
turn off the Relative check box.
| | 09:21 |
These are just some trial and
error values I came up with.
| | 09:23 |
I will select this upper left square down
here in the Anchor area and I will change
| | 09:28 |
the Width value to 5368 and then
change the Height value to 3558.
| | 09:35 |
Now click OK in order to accept that change.
| | 09:38 |
You will get this alert message telling you
that you might end up clipping away some pixels.
| | 09:43 |
That's absolutely not true.
| | 09:45 |
So just click the Proceed button in
order to apply that nondestructive crop.
| | 09:48 |
Now, at this point things
get a little interesting.
| | 09:52 |
We have some manual labor in front of us.
| | 09:54 |
The idea is that we want to mimic this little
bit of white border up here at the top down
| | 09:59 |
here at the bottom, and we want to mimic this
white border on the left over on the right-hand side.
| | 10:04 |
So what you need to do is press Ctrl+1 or
Command+1 on the Mac in order to zoom in to 100%,
| | 10:09 |
and then scroll to the upper left corner of the
image either manually or just by pressing the Home key.
| | 10:15 |
That's a lot easier way to do it, and then
exactly select this area at the top, this
| | 10:20 |
white area using the rectangular marquee.
| | 10:22 |
And if you're working in CS6, it will tell you
that the height of your selection is 102 pixels.
| | 10:28 |
You just need to remember that.
| | 10:29 |
Now let's find the width of this left hand
area by dragging across it and it turns out
| | 10:33 |
to be 133 pixels, so fair enough.
| | 10:36 |
Now we can we can use that information by
pressing the End key to go down to the lower
| | 10:41 |
right corner of the image, and when I'm
talking about the Home and End keys, those are the
| | 10:45 |
keys over there by the numerical
keypad on a full-size keyboard.
| | 10:50 |
Now I will go ahead and drag outward from
the lower right corner of the image like so
| | 10:54 |
and I'm just going to drag all the way up until
I scroll to the top right corner of the image.
| | 11:00 |
I'll keep an eye on that Heads-Up Display
right there, and I will drag outward until
| | 11:04 |
I see that the Width value is
133 pixels, which is what I want.
| | 11:08 |
I don't care what the
Height value is at this point.
| | 11:10 |
Now press the Alt key or the Option key on
the Mac and click the Black/White circle at
| | 11:14 |
the bottom of Layers Panel and then choose
Solid Color and by virtue of the fact that
| | 11:19 |
I had the Alt or Option key down, that
forces the display of the New Layer dialog box.
| | 11:23 |
I will just go ahead and call this layer
border and then I will click OK, and now I'll change
| | 11:28 |
the color to white by dragging that little
circle to the top left corner of the color field
| | 11:33 |
and I will click OK in order to dismiss the
Color Picker dialog box, and I have gone ahead
| | 11:38 |
and filled in this region with white now,
because the selection that I had a moment
| | 11:42 |
ago has been automatically
converted to a layer mask.
| | 11:46 |
Now you want to click on the Layer
Mask Thumbnail to make it active.
| | 11:49 |
Press the End key once again to scroll down
to the lower right corner of the image and
| | 11:53 |
now drag from that lower right corner using
the rectangular marquee once again, and drag
| | 11:58 |
all the way over to the left until
you see the far left side of the image.
| | 12:04 |
Then you want to make sure that the height
of this selection is 102 pixels, and you've
| | 12:09 |
got to be zoomed into 100% in order to
get these values to work out exactly right.
| | 12:13 |
As soon as that happens, in my case you can
see that the foreground color is white and
| | 12:18 |
if you want to make sure that's the case you
can just press the D key in order to switch
| | 12:22 |
to the default masking colors in this case,
and then press Alt+Backspace or Option+Delete
| | 12:27 |
on the Mac in order to fill
the selection with white like so.
| | 12:31 |
Now I will click off the selection to
deselect it and I will press Ctrl+0 or Command+0 on
| | 12:35 |
the Mac in order to zoom out.
| | 12:37 |
And that, friends, is how you develop a
dramatic photograph of a castle in Camera Raw as well
| | 12:43 |
give it an even white
border here inside Photoshop.
| | 12:48 |
If you're a member of the lynda.com online
training library, then I have a follow-up
| | 12:52 |
movie in which I show you how to take our
version of the photograph so far and artificially
| | 12:57 |
color both the sky and the castle using
the Adjustment brush inside Camera Raw.
| | 13:03 |
If you're waiting for next week's technique,
I will show you how to take this very same
| | 13:07 |
photo and turn it into a weathered black and white print,
reminiscent of the old days of film photography inside Photoshop.
| | 13:16 |
Deke's Techniques, each
and every week, keep watching!
| | 13:21 |
| | Collapse this transcript |
| 204 Artificially coloring a photo in Camera Raw| 00:00 |
In this movie I will show you how to
artificially color an image inside of Camera Raw, and as
| | 00:05 |
a result we will be able to convert this
version of this castle photograph into this high color
| | 00:11 |
variation here, which I think comes off
as a fairly stunning eye-catching effect.
| | 00:16 |
I'll start where I left off in the
previous movie, and by the way, if you have access
| | 00:20 |
to the sample files and you're working along
with me, make sure that you open the version
| | 00:24 |
of this image that corresponds
to your version of Photoshop.
| | 00:28 |
In my case, it's CS6.
| | 00:30 |
Now, because I went ahead and saved off the
image as a Smart Object, I can double-click
| | 00:35 |
on the Smart Object layer here inside the Layers Panel
in order to open the image directly inside Camera Raw.
| | 00:41 |
Now, the first thing we want to do is switch
over to the HSL/Grayscale Panel and then click
| | 00:46 |
on the Luminance tab in order to gain
access to these subjective color sliders.
| | 00:52 |
And I'm going to increase the Luminance of
the Oranges to 50%, and then I'll take the
| | 00:56 |
Yellows up to 100% so we
have a very bright castle.
| | 00:59 |
Then I'll tab my way down to the Blues value and
take it down to -85%, which darkens up that sky.
| | 01:07 |
This serves as a good jumping off point.
| | 01:10 |
Now what I'd like you to do is
switch over to the Detail Panel here.
| | 01:14 |
If you zoom in on a portion of the sky
just by dragging around it with the Zoom Tool,
| | 01:19 |
and also press Ctrl+Alt+0 or Command+Option+0
on the Mac in order to zoom into 100%, notice
| | 01:26 |
if I take this Color Noise value down here to 0,
we've got a ton of color noise inside this image.
| | 01:32 |
Now, this color noise is going to get worse
when we artificially color the image, so what
| | 01:37 |
I recommended at this point is that you go
ahead and crank this Color value up to 100%,
| | 01:43 |
and then you take the Color Detail value down to 0, so
that we're not maintaining any color detail whatsoever.
| | 01:49 |
Now, normally I wouldn't go with such a
radical pair of values here, because you'd end up
| | 01:54 |
with your color bleeding into different areas.
| | 01:57 |
However, because we'll be artificially
coloring the entire image, it really doesn't matter.
| | 02:03 |
I'll go ahead and press Ctrl+0 or
Command+0 on a Mac to zoom back out.
| | 02:07 |
The tool that we're going to use to artificially color
this image is this guy right there, the Adjustment Brush.
| | 02:13 |
Now, you might get away with a graduated
filter which is a lot easier to apply, it involves
| | 02:18 |
less work, but it's a lot
more generalized as well.
| | 02:21 |
I want the castle to come off as being very
warm indeed, and I want the sky to be extremely
| | 02:28 |
blue, and I don't want the colors to
bleed between the sky and the castle.
| | 02:33 |
So if that's what you're looking for, then
the Adjustment Brush is the tool of choice.
| | 02:36 |
Notice that it has a keyboard shortcut of K.
| | 02:39 |
All right, I'll go ahead and scroll down
this list here, and what you want to do is click
| | 02:45 |
on the Plus sign for color in order to
establish a warm color and nothing more.
| | 02:50 |
Notice that goes ahead and
zeroes out all the other values.
| | 02:53 |
Note that I have the Size for my brush set
to 10 and the Feather is set to 50, Flow is
| | 02:58 |
set to 50, and Density is 100.
| | 03:01 |
I also have the Auto Mask check box turned
on, which is going to help me significantly.
| | 03:07 |
Now what you want to do is start painting
inside the castle like so, and it's not at
| | 03:12 |
first going to appear like it's making any
difference, and that's because we're applying
| | 03:16 |
a very subtle change at this point.
| | 03:17 |
What we want is to see the mask as
we're painting it, that's very important.
| | 03:22 |
So turn on the Show Mask check box.
| | 03:24 |
Notice as I paint in here we're getting this
wide overlay and it appears that I might be
| | 03:29 |
lighting up the sky slightly right there,
that is to say the mask is sliding into the
| | 03:33 |
sky, which I don't want.
| | 03:35 |
But because there's so much white in the sky
we're going to have a better time seeing what
| | 03:39 |
we're doing if we change the color of the mask.
| | 03:41 |
And you do that by clicking
on this little White swatch.
| | 03:44 |
And I'm going to change the color to Red, and I
am going to change the Opacity to 100%, like so.
| | 03:51 |
Leave Color Indicates set to
Affected Areas and then click OK.
| | 03:56 |
And now we no longer have the ambiguity we had
before, we can see exactly which areas we're masking.
| | 04:02 |
Now I'm going to drag through this area here,
and notice that you want to drag through the
| | 04:05 |
areas with that Plus sign
in the middle of the cursor.
| | 04:09 |
That will mean that every once in a while
you jump outside the lines, but otherwise
| | 04:12 |
you're not going to paint in the
areas that you want to capture.
| | 04:16 |
I'll go ahead and paint through this area as well,
and this is just a manual painting process, by the way.
| | 04:21 |
It takes a fair amount of
scrubbing around in order to get it right.
| | 04:25 |
If you end up going outside the lines as I
just did there and painting in a little bit
| | 04:30 |
of sky, then what you want to do is go up
to the flyout menu in the upper right corner
| | 04:35 |
of this Adjustment Brush Panel and make sure
that Separate Eraser Size is turned off, that
| | 04:41 |
will give you the best results in this case.
| | 04:44 |
And then you want to press the Alt key or
the Option key on the Mac in order to switch
| | 04:47 |
to the Eraser on the fly and then
paint away those areas of red in the sky.
| | 04:53 |
I'm going to paint this guy back in a little bit.
We want to make sure that we're filling
| | 04:58 |
in as many gaps as possible.
| | 05:00 |
If you end up missing a very bright highlight
or a very dark shadow, don't worry about that
| | 05:05 |
too much, you can leave those alone, because they're
not really going to get infused with much color anyway.
| | 05:11 |
So I'll just keep painting my way over here.
It's a fairly laborious process, of course.
| | 05:15 |
And I'll paint up this wall of
the castle and up into this region.
| | 05:20 |
And I don't really need to worry about the
flagpole, because it's very bright, it's not
| | 05:24 |
going to matter if we
infuse it with color or not.
| | 05:28 |
This looks actually pretty darn good.
| | 05:30 |
You can be as fussy as you want,
cover as much area as you like of course.
| | 05:35 |
Once you finish, go ahead and turn off the
Show Mask check box so you can once again
| | 05:39 |
see the image, and then click on this Color Swatch right
there in order to bring up the Color Picker dialog box.
| | 05:44 |
And by the way, all of these instructions
work exactly the same in Camera Raw 6, which
| | 05:50 |
ships with Photoshop CS5 or Camera Raw 7,
which ships along with Photoshop CS6.
| | 05:57 |
And I'm going to go ahead and reduce the Hue
value to 30, and then I'm going to take the
| | 06:01 |
Saturation value up to 66 in
order to create this effect here.
| | 06:06 |
And notice by the way, you're not replacing
colors inside the image rather you're infusing
| | 06:12 |
this area with color.
| | 06:15 |
So in our case the Hue value of 30 degrees equates to
Orange, as you can see up here in this color field.
| | 06:21 |
And notice even if I were to crank that
Saturation value up to 100%, we are still left with all
| | 06:26 |
kinds of Hue variations
going on inside the castle.
| | 06:30 |
That is too much, however, so I'm going to
back it off to 66% as before and then click OK.
| | 06:36 |
Now, ideally we'd have the option of inverting
our existing mask in order to capture the sky,
| | 06:42 |
but that's not something Camera Raw allows us to do.
You have to manually paint in another mask.
| | 06:48 |
And you do so by selecting this New option
right there and then you want to just start
| | 06:53 |
painting once again, this time inside the sky.
| | 06:56 |
Now, I'm going to go ahead and turn Show Mask
back on so we can see what in the world we're
| | 07:00 |
doing, and so we can keep track of whether we're painting
into the building here, which is going to happen.
| | 07:07 |
You are going to end up painting
into the building a little bit.
| | 07:09 |
But that's okay, we'll just go back
and erase those areas in a moment.
| | 07:13 |
I'll paint around the flagpole, and Camera
Raw, as you can see, does a good job of not
| | 07:17 |
selecting that flagpole, which is a good
thing, because I don't want to color it.
| | 07:21 |
And then I'll just paint
around this figure down here.
| | 07:24 |
That's the part that's a little bit difficult
to tell if you're not masking, because after
| | 07:28 |
all the figure is wearing a red coat.
| | 07:31 |
But I'm pretty confident that
she's out of the picture here.
| | 07:33 |
Now, at this point I do have some bleeds
going on into the castle, so I'll Alt-drag over
| | 07:39 |
this region here, that would
be an Option-drag on the Mac.
| | 07:41 |
I want to Alt-drag or Option-drag down this
portion of the castle as well, and then you
| | 07:47 |
want to Alt-drag or Option-drag over these shadows in
this wall of the castle over here on the right-hand side.
| | 07:54 |
Now, we also have some drift over in this
far right area, including around this metal
| | 07:59 |
mesh, which is housing a light that lights
this castle at night. That looks good!
| | 08:05 |
Now I'll just go ahead and fill in the rest
of the sky and you do that just by scrubbing
| | 08:09 |
around with a brush.
| | 08:09 |
If you like, you can make your brush bigger
by pressing the Right Bracket key a few times.
| | 08:14 |
But I'm just going to stick with my current brush
here and paint up like so into this region as well.
| | 08:21 |
Now it looks like I've missed a little sky
right there, but if I paint it in, then I
| | 08:25 |
end up getting a little bit of the castle,
and if I Alt-drag up the castle, that looks
| | 08:30 |
like I've got what I want.
| | 08:32 |
Now I'll turn off the Show Mask check
box so I can better see what I'm doing.
| | 08:36 |
That's not the color I want, so I'll go ahead
and click on this Color Swatch and I'll dial
| | 08:40 |
in a Hue value of 240, which is blue, by the way.
| | 08:44 |
That gives us way too much blue, as you can
see right here, so I'll take the Saturation
| | 08:48 |
value down to 25% and then I'll click OK.
| | 08:51 |
Now, I want the sky to appear a little more dramatic,
so I'm going to increase the Contrast value to 100%.
| | 08:56 |
You'll have to scroll up to that value
to find it, and then I'll also
| | 09:01 |
increase the Clarity value to 100% as well.
| | 09:04 |
These are the same values that you'll work
with inside of Camera Raw 6, even though the
| | 09:09 |
order of the options is a little different.
| | 09:12 |
Now I'll just go ahead and click OK
in order to accept that final effect.
| | 09:17 |
You may have to wait a few moments
for Photoshop to apply your changes.
| | 09:21 |
Now I'll go ahead and zoom in slightly on
the image here and I'll press the F key
| | 09:24 |
a couple of times in order to
switch to the Full Screen Mode.
| | 09:28 |
And that's how you take a standard
development of a photograph and transform it
| | 09:32 |
into a high saturation, artificially-colored
variation inside Camera Raw.
| | 09:37 |
| | Collapse this transcript |
| 205 Creating an antique photo effect in Camera Raw| 00:00 | Hey, gang, this is Deke McClelland.
| | 00:02 | Welcome to another special
Irish edition of Deke's Techniques.
| | 00:06 | If you're a regular viewer of this thing,
you may recall the Dunguaire Castle which
| | 00:10 | I captured in County Clare, Ireland,
and then caged inside of Camera Raw.
| | 00:16 | In today's movie, we're going to take this
very same image, and we're going to apply
| | 00:19 | a kind of antique photo effect
once again inside Camera Raw.
| | 00:23 | We'll balance the luminance levels to create the sepia tone,
and we'll add some film grain, and vignetting as well.
| | 00:29 | Now for me personally, this image reminds
me of a past life in which I was the rich
| | 00:36 | and powerful king of this
very castle, true story.
| | 00:41 | Here, let me show you exactly how it works.
| | 00:45 | All right, here's that antique photo
effect, just so you can see it on screen.
| | 00:50 | We're going to start off with
this full-color photograph.
| | 00:53 | And because I went ahead and expressed the
photo as a Smart Object, I can revisit my
| | 00:58 | Camera Raw settings just by double-clicking on the
Smart Objects thumbnail here inside the Layers Panel.
| | 01:03 | Now, if you're working along with me, the
next thing you want to do is go over to the
| | 01:06 | Basic Panel flyout menu and choose Camera Raw
Defaults, just to zero out all these values down here.
| | 01:13 | And then the only change I am going to make
here inside the Basic Panel is to take
| | 01:16 | the Contrast value up to +35.
| | 01:19 | Otherwise, we're going to do the work inside of
other panels, starting with this guy right here.
| | 01:25 | Go ahead and switch to HSL/Grayscale, and
then turn on the Convert to Grayscale check box
| | 01:31 | in order to dial in a custom black-and-white
image based on these luminance ranges right here.
| | 01:37 | So, for example, let's say I want to
increase the brightness of the reds,
| | 01:40 | I would just go ahead and
take this Reds value up.
| | 01:43 | Now, there's only one item inside this image
that's red, and that's the coat associated
| | 01:48 | with this tiny figure in the lower
left corner of the photograph.
| | 01:51 | If I take the Reds value down to -100, she grows very
dark, and if I take the value up, she grows lighter.
| | 01:58 | I am going to take the value up to +66.
| | 02:00 | Now, I will take the Oranges value up to 100
in order to brighten the castle, and I will
| | 02:05 | brighten it even more by taking
the Yellows value up to 100 as well.
| | 02:10 | At this point, I wanted to darken
some of the greens inside the grass.
| | 02:12 | So, I will take the Greens value down to -66.
| | 02:16 | There are no Aquas, and you can always test
out whether there is anything going on in
| | 02:21 | the Luminance range just by
dragging that slider around.
| | 02:25 | If you see nothing changing, then you
might as well just zero out the value.
| | 02:29 | Now, I'd like to darken up the sky, and I
can do that by reducing the Blues value as
| | 02:33 | you can see here, and I want to
make it that radically dark, however,
| | 02:36 | so I will take the value down to -50.
| | 02:39 | And there are no Purples, and there are no
Magentas, so I will just go ahead and zero
| | 02:43 | out those values as well.
| | 02:45 | Now, to infuse the image with a little bit
of color in order to create the effect of
| | 02:49 | a sepia tone, go ahead and switch to
the Split Toning Panel right here.
| | 02:54 | Now, you're not going to see any changes to
your image until you increase both of the
| | 02:59 | Saturation values, the one for the
highlights, and the one for the shadows.
| | 03:02 | I am going to start by changing this first
Saturation value to 20%, and then I will increase
| | 03:07 | the second Saturation value to 50%.
I am not interested in this pinkish effect.
| | 03:12 | So, I will change the Hue associated with
the highlights to 50, which is very nearly
| | 03:17 | yellow, just on the orange side.
| | 03:20 | And then I will change the Hue associated
with the shadows to 45 degrees in order to
| | 03:25 | produce this effect here.
| | 03:27 | I want to adjust the balance a little bit,
that is, the balance between what is considered
| | 03:31 | to be shadows and what's
considered to be highlights.
| | 03:34 | If you drag the slider triangle to left, then
more regions of the image will be considered
| | 03:38 | shadows, and therefore you
will get this high saturation.
| | 03:42 | If you drag this slider to the right, then
more the image is considered to be highlights,
| | 03:47 | and so you get the lower saturation value.
| | 03:50 | I want the Balance value to be 66,
so I will go ahead and change it to that.
| | 03:55 | Now, switch over to Lens Corrections, because
we cleared the Lens Corrections I had already
| | 04:00 | applied, and go ahead and turn on
Enable Lens Profile Corrections.
| | 04:05 | And if you're working inside Camera Raw 6
which is included along with Photoshop CS5,
| | 04:09 | then you'll want to turn on the check box
down here at the bottom of the panel as well.
| | 04:13 | In Camera Raw 7, it's located here inside the Color
Panel, and it's called Remove Chromatic Aberration.
| | 04:19 | Wherever it is, turn it on, and
then switch over to the fx icon.
| | 04:23 | This is where we're going to add the
film grain and the vignetting, by the way.
| | 04:26 | And the values that I came up
with were an Amount of 75%.
| | 04:31 | And then I took the Size up to 50%
so that we have some chunky noise.
| | 04:35 | Go ahead and press Ctrl+Alt+0 or Command+Option+0
on the Mac just so that you can see this
| | 04:41 | film grain emerge on screen here.
| | 04:44 | I increase the Roughness value to 75%
in order to produce this effect here.
| | 04:48 | Now, I will go ahead and zoom out by
pressing Ctrl+0 or Command+0 on the Mac.
| | 04:53 | And finally, what we want to
do is add some vignetting.
| | 04:55 | So I will change the Amount value to -25%, which
ends up producing a dark vignette around the corners.
| | 05:02 | All the other values are
fine as set to their defaults.
| | 05:05 | However, I did decide to change the Style
from Highlight Priority to Color Priority.
| | 05:10 | It doesn't make a huge difference.
| | 05:12 | But, you will see a slight
change on screen. And that's it.
| | 05:16 | I will go ahead and click OK in order
to apply that effect from Camera Raw.
| | 05:20 | Now, the final thing that I decided to do was
apply a little bit of sharpening to this grain,
| | 05:25 | just to emphasize it ever so slightly.
| | 05:28 | And I did that by going up to the Filter Menu and
choosing Sharpen and then choosing Smart Sharpen.
| | 05:35 | And these are the values I
came up with, by the way.
| | 05:37 | I will go ahead and click on a portion of
the image so that we can see the Sharpening
| | 05:41 | applied here inside the dialog box.
| | 05:43 | So, this is how the image
looks without the sharpness.
| | 05:47 | This is what it looks like
with some additional sharpening.
| | 05:50 | Notice that I've set the Amount value to 200%,
the Radius is set to 2 pixels, and I went
| | 05:54 | with the Lens Blur setting right here
just because I like the way it looks.
| | 05:58 | Now, you want to leave More Accurate turned
off, otherwise if you turn that check box
| | 06:02 | on, you'll end up with a sort of
wormy effect which is no good.
| | 06:06 | So, turn it off and then click OK.
| | 06:10 | Because I applied the Smart Sharpen to a Smart
Object, Photoshop has expressed it as a smart
| | 06:15 | filter, which means we can edit
the settings anytime we like.
| | 06:17 | Now, we don't really
need this filter mask here.
| | 06:19 | So, I am just going to right-click on it and
choose Delete Filter Mask to tidy up the Layers Panel.
| | 06:25 | And then I will double-click on this little
slider icon in order to bring up the Blend
| | 06:28 | Options dialog box, click on this little detail
once again in order to zoom in on that region
| | 06:33 | inside the dialog box.
| | 06:35 | And I am going to reduce the Opacity value
to 66%, just to take a little bit of edge
| | 06:40 | off that sharpening effect.
And now click OK in order to apply that change.
| | 06:46 | I will go ahead and zoom in on my image a
little bit, and then I'll press the F key
| | 06:50 | a couple of times in order to
switch to the Full Screen Mode.
| | 06:53 | And that's how you take a full-color digital
photograph, and render it out as a kind of
| | 06:59 | antique film photo using a combination
of Camera Raw and Photoshop.
| | 07:05 | If you're a member of the lynda.com online
training library, I have a follow-up movie
| | 07:09 | in which I show you how to take
our antique photo effects so far.
| | 07:13 | We'll bring it in the Photoshop, add this
frame as well as some layer effects, and we'll
| | 07:17 | ultimately achieve this weathered
old black and white print photo.
| | 07:22 | If you're waiting for next week's free
technique, I will show you how to draw this immensely
| | 07:27 | popular suicidal pig-fighting bird cartoon,
your very own custom Grumpy Bird--
| | 07:35 | that's my generic brand--inside Adobe Illustrator.
| | 07:38 | Deke's Techniques each and
every week, keep watching.
| | Collapse this transcript |
| 206 Adding a weathered old-photo frame effect| 00:00 | In this movie, we're going to take this ancient
photo effect and we're going to add some frayed
| | 00:05 | and tattered edges in order to
create this weathered old photo here.
| | 00:08 | We're going to start things off inside of
this image which is a hand-drawn frame effect
| | 00:13 | from the Fotolia Image Library, about which you can
learn more and get special deals at fotolia.com/deke.
| | 00:21 | So what we want to do is take this frame
effect which I've scaled so it fits the image, and
| | 00:26 | we want to move it into the
ancient photo effect composition.
| | 00:29 | And you do that by making sure your
Rectangular Marquee tool is active up here at the top
| | 00:34 | of the toolbox, and then you right click
inside the image and choose Duplicate Layer.
| | 00:39 | I'm going to go ahead and call this layer
temp and I am going to change the document
| | 00:43 | to Old sepiatone simulation.psd, which is
my image in progress, and I'll click OK.
| | 00:48 | Now, we'll go ahead and switch over to that
image and you can see that the frame is in place.
| | 00:53 | Now, we're no longer going
to need this border layer.
| | 00:55 | So you can go ahead and select it and then
press the Backspace key or the Delete key
| | 00:59 | on the Mac to get rid of it.
| | 01:00 | Now, we want to transfer the black portions
of the frame effect to an independent layer,
| | 01:05 | and you do that by switching over to the
Channels Panel, and then press the Ctrl key
| | 01:09 | or the Command key on the Mac, and click on RGB,
or any of the independent channels.
| | 01:15 | And that goes ahead and loads
the white area as the selection.
| | 01:18 | We want to select the black area instead.
| | 01:20 | So, go up to the Select menu, and choose the
Inverse command or you can press that keyboard
| | 01:25 | shortcut, Ctrl+Shift+I or
Command+Shift+I on the Mac.
| | 01:28 | Now, switch over to the Layers Panel, and I
will turn the temp layer off for a moment,
| | 01:33 | and then I'll press Ctrl+Shift+N or Command+Shift+N
on the Mac in order to create a new layer.
| | 01:38 | I will call this guy Frame, and
I will go ahead and click OK.
| | 01:42 | Now tap the D key to establish the
default foreground and background colors.
| | 01:47 | Press Ctrl+Backspace or Command+Delete on the
Mac in order to fill the selection with white.
| | 01:52 | Now, you can press Ctrl+D or Command+D on
the Mac in order to deselect the image.
| | 01:57 | Go ahead and turn the Frame layer off for
a moment, and now turn the temp layer on.
| | 02:01 | So, what we want to do is mask the
photograph, so it doesn't go outside the frame.
| | 02:05 | An easiest way to create such a mask is to
switch from the Quick Selection tool to the
| | 02:10 | Magic Wand tool in this flyout menu,
and then go up to the Options bar.
| | 02:15 | By default, the Tolerance is set to 32,
which is just fine for this effect, but you want
| | 02:19 | to turn off the Anti-alias check box.
| | 02:22 | Make sure that Contiguous is turned on, that's very
important, and then click in the area outside the frame.
| | 02:28 | Now go up to the Select Menu and once again
choose the Inverse command, so that just
| | 02:33 | the area inside the frame is selected.
| | 02:35 | Go ahead and turn that temp layer off and
turn the frame layer on so that we can see it.
| | 02:40 | What we want to do is choke that
selection inward ever so slightly.
| | 02:44 | So go up to the Select Menu, choose
Modify, and then choose Contract.
| | 02:50 | I found for purposes of this composition
that a value of 2 pixels worked out great.
| | 02:55 | So now go and click OK in order to
scoot that edge inward ever so slightly.
| | 03:00 | Now, click on the photographic layer to select
it, and then drop down to the Add Layer Mask
| | 03:05 | icon at the bottom of the Layers Panel, and click
on it, and you'll end up with this effect here.
| | 03:11 | We no longer need the temp layer, so go
ahead and select it, and press the Backspace key
| | 03:14 | or the Delete key on the Mac to get rid of it.
| | 03:17 | Now, with the photograph selected, let's go
ahead and give it a drop shadow so that we
| | 03:21 | can see the edges of the weathered old photo,
by clicking on the fx icon and choosing
| | 03:28 | Drop Shadow from the bottom of the list here in CS 6--it's
going to be at the top of the list in CS5 and earlier.
| | 03:34 | Now what you want to do is dial in a color.
| | 03:37 | So, as opposed to creating a black drop shadow,
we'll create one that matches the sepia tone
| | 03:42 | by dialing in a Hue value of 45 degrees, a Saturation
of 100%, and we want a Brightness of 15%.
| | 03:48 | Now, go ahead and click OK, and you can see, by
the way, that this is a very dark shade of brown.
| | 03:54 | Click OK to accept it, increase the Opacity
value to 100%, tab your way to the Angle value,
| | 03:59 | and change it to 145 degrees, that's what I
came up with anyway, and then I want a Distance
| | 04:04 | value of 15 pixels, and a Size
value of 75 pixels.
| | 04:09 | Now, that doesn't result in
enough shadow for my taste.
| | 04:13 | So I went ahead and clicked inside the Spread
value right there, and pressed Shift+Up Arrow
| | 04:18 | in order to increase it to 10%,
and we end up with this effect here.
| | 04:22 | Now go ahead and click OK.
| | 04:24 | Now, I love the way this frame effect fits
the image with the exception of this vertical
| | 04:29 | line going down nearly through
the center of the photograph.
| | 04:32 | I'd like to move it off into the right.
| | 04:35 | I am going to start by selecting my Rectangular
Marquee tool which you can get by pressing
| | 04:40 | the M key, and now I will go ahead and
zoom in on the top portion of this image.
| | 04:44 | You want to see the image at the 100% view size in
order to get the best sense of what's going on.
| | 04:49 | Now, start drawing your rectangle marquee
right about here, so it's aligned to the inside
| | 04:55 | edge of the top of the frame and go ahead
and drag over, so it's about this wide and
| | 05:00 | then keep dragging down, so that you auto-scroll
the image, until you get to the very bottom
| | 05:06 | of the composition like so.
| | 05:09 | Once you arrive at this point
here, go ahead and release.
| | 05:12 | Now, that's going to create a little bit of
a hitch right there at that location, but
| | 05:17 | that's going to look fine.
| | 05:19 | Now, press the Alt key or the Option key on
the Mac, and drag around this area in order
| | 05:23 | to deselect it, so that we
leave these little details alone.
| | 05:27 | This looks good to me.
| | 05:28 | Now, I will go ahead and press Ctrl+0 or Command+0
on the Mac to zoom out, and we want to move
| | 05:34 | this crease to a new layer, and the easiest
way to do that is to click on the frame layer
| | 05:39 | to make sure it's active, we need that, and then press
Ctrl+Shift+Alt+J, that's Command+Shift+Option+J on the Mac.
| | 05:47 | And that will jump this selection
to a new layer without copying it.
| | 05:50 | So we're going to move it instead.
| | 05:52 | I am going to call this new
layer crease, and then click OK.
| | 05:56 | So now, if you turn off the crease layer,
you can see that we've deleted the crease
| | 06:01 | from the frame layer behind it.
| | 06:02 | All right, I will go ahead and
turn the crease layer back on.
| | 06:05 | I am going to want to scale and rotate this crease,
and anytime you want to apply a transformation
| | 06:11 | like that, you want to go ahead and convert
the layer to a Smart Object first so you're
| | 06:15 | applying a nondestructive transformation
and you can always change your mind later.
| | 06:20 | To do that, go up to the Layers Panel
flyout menu, and choose Convert to Smart Object.
| | 06:25 | Now that we have a Smart Object, we can
apply a nondestructive transformation by going
| | 06:29 | up to the Edit Menu and choosing Free Transform,
or you can press Ctrl+T or Command+T on the Mac.
| | 06:35 | I fussed around with this to try to figure out
what worked best, but here's what I came up with.
| | 06:39 | I changed the Width value to 50%, so we're
making the crease a little bit skinnier, and
| | 06:45 | then I will tab over to the rotate
value here and change it to 66 degrees.
| | 06:51 | Now I will drag this guy down until it cuts
across the top portion of this doorway right here.
| | 06:56 | I also want to align this gap
with this crease right there.
| | 07:01 | I'm nudging this layer by
pressing the arrow keys on the keyboard.
| | 07:06 | This looks pretty good to me.
| | 07:07 | So I will just go ahead and press the Enter
key or the Return key on the Mac in order
| | 07:10 | to accept that change.
| | 07:12 | Now, let's enhance these creases so that they
look like they're actually part of the photograph.
| | 07:17 | And so I am going to click on this frame layer
to make it active and Shift-click on crease,
| | 07:22 | so both layers are selected.
| | 07:24 | Then I will press Shift+7 in order
to reduce the Fill value to 70%.
| | 07:29 | Now, if you're working in Photoshop CS6 or
earlier, you're going to have to apply that
| | 07:34 | Fill setting to each layer
independently, just so you know.
| | 07:37 | Now I will click on the Frame layer to select
it, and I will drop down to the fx icon,
| | 07:43 | and I will choose Outer Glow.
| | 07:45 | Now, I'm really looking for an outer shadow,
and that's going to be a combination of changing
| | 07:50 | the color and the Blend Mode as follows.
| | 07:51 | I will go ahead and click on that color swatch
to bring up the Color Picker dialog box,
| | 07:56 | and I will dial in that same color I used a moment
ago, that is, Hue 45 degrees, Saturation 100%,
| | 08:03 | Brightness 15%, and then I will click OK.
| | 08:06 | Now, I will change the Blend Mode from Screen
to the darkest of the darkening modes which
| | 08:12 | is Linear Burn, and we end
up with this effect here.
| | 08:15 | Now, I want it to be a little more diffused,
so I will take the Size value up to 100 pixels,
| | 08:21 | and we get this all too dark effect.
| | 08:25 | So now I will go ahead and reduce the Opacity
value to 25%, and we end up with these little
| | 08:31 | bits of burn around the edges like so.
| | 08:34 | Now, what I'm looking for is a
little variation to the opacity.
| | 08:39 | So, I don't want the Opacity to be uniformly
70% all the way around the frame, in other
| | 08:44 | words, and I will achieve that effect, that is
we'll vary the opacity by applying a Gradient Overlay.
| | 08:52 | So go ahead and select Gradient Overlay to
turn it on and bring up its settings, and
| | 08:56 | then change the Style option to Radial
in order to produce this effect here.
| | 09:01 | I'm also going to change the Scale value to 150%
which is actually by the way its maximum setting.
| | 09:08 | I will change the Blend Mode from Normal to Screen
so that we're uniformly brightening the frame.
| | 09:14 | Now you can see it's more opaque in the
corners than it is along the inside edges.
| | 09:19 | Now, that's a little bit too much opacity,
so I am going to take the Opacity value here
| | 09:23 | down to 50%, and then I will click OK.
| | 09:27 | Now, we want to duplicate those layer effects
onto the crease layer, so press the Alt key
| | 09:32 | or the Option key on the Mac and drag
the fx icon and drop it on crease like so.
| | 09:37 | Now, it becomes evident that we have some
problems here on the outside edges, so I will
| | 09:42 | go ahead and zoom in on this edge so
you can see what I'm talking about.
| | 09:45 | We want to mask away this area right there,
and we want to do so as precisely as possible.
| | 09:50 | Here is how that works.
| | 09:52 | First of all, go ahead and load the selection
for the frame layer by Ctrl-clicking on its
| | 09:56 | thumbnail, that would be Command-clicking
on the thumbnail on the Macintosh side, and
| | 10:01 | then select the crease layer to make it active,
and drop down to the Add Layer Mask icon at
| | 10:05 | the bottom of the panel and Alt-click
or Option-click on it.
| | 10:09 | And that way you're masking away
everything that's associated with the frame layer.
| | 10:13 | That ends up giving us a pretty
harsh transition as you can see.
| | 10:17 | So, with the Layer Mask selected, which it
ought to be by default, go up to the Filter
| | 10:22 | menu, choose Other and then choose Maximum,
which is going to expand the maximum
| | 10:27 | luminance level which is white.
| | 10:28 | That will go ahead and scoot those edges inward,
and we're looking for Radius of 1 pixel, which
| | 10:34 | is the lowest Radius value you can apply.
| | 10:36 | Now go ahead and click OK in
order to accept that change.
| | 10:40 | Then I will zoom out here a little bit.
| | 10:42 | And armed with my Rectangular Marquee tool,
I will go ahead and select this region.
| | 10:47 | Assuming that your background color is black,
which it should be by default, press Ctrl+Backspace
| | 10:52 | or Command+Delete on the Mac in
order to mask that area away.
| | 10:55 | Now, we need to do the same
thing for this edge down here.
| | 10:59 | So, go ahead and scroll to it, and then select this
region, and press Ctrl+Backspace or Command+Delete
| | 11:05 | on the Mac to get rid of it.
| | 11:07 | Then I clicked in order to deselect the image,
and notice that we don't have the best transition
| | 11:13 | right here at this location, things brighten up inside
the crease, and that's because of our gradient overlay.
| | 11:18 | So, double click on it in order to revisit
its settings for the crease layer and then
| | 11:24 | reduce the Opacity value to 25% and click OK.
| | 11:29 | And we end up with this pretty
darn smooth transition right here.
| | 11:33 | Now, if you press Ctrl+0 or Commands+0 on the Mac in
order to zoom out, you will see the final effect.
| | 11:38 | I am going to go ahead and zoom it in a little
bit by changing the Zoom value to 20% on this
| | 11:42 | screen, and I will press the F key a couple
of times, so that we can see the entire image.
| | 11:47 | And that, friends, is how you convert an
ancient photo effect, the one that we started with
| | 11:52 | right here, to a frayed and tattered,
weathered old photo like this one inside Photoshop.
| | Collapse this transcript |
| 207 Drawing an Angry Birds-like character| 00:01 | Hey, gang, this is Deke McClelland.
Welcome to Deke's Techniques.
| | 00:04 | Today I'm going to show you how to draw your very own
absolutely original Ang--Grumpy bird inside Adobe Illustrator.
| | 00:14 | In this movie, we'll start things off by combining
this red circle with the magenta ellipse above it.
| | 00:20 | Then we'll apply some dynamic effects, and in the end,
we'll create the new purple bird's pear-shaped body.
| | 00:27 | Here, let me show you exactly how it works.
| | 00:30 | All right, here is the final bird,
just so you can see him on screen.
| | 00:34 | I'm going to switch over to this file here and
you can see that I've drawn a few shapes in advance.
| | 00:40 | The shapes I will be working with, for starters
here, are this big red circle and this magenta
| | 00:46 | ellipse, and together they are going to
make up this purple bird body right here.
| | 00:52 | Start by clicking on the big red
circle if you're working along with me.
| | 00:55 | If not, go ahead and draw your own big red
circle and then go up to the Effect menu,
| | 01:00 | choose Warp and choose Shell Lower.
| | 01:03 | I just figured this stuff out through trial
and error by the way, because it's not always
| | 01:08 | evident what each one of these guys is
going to do until you enter this dialog box.
| | 01:12 | So you can always change your mind
once you select one of the Warp options.
| | 01:17 | Anyway, Shell Lower is what we want.
| | 01:19 | Then you want to go ahead and make sure
Horizontal is selected and change the Bend value to 4%
| | 01:24 | and then tab your way down to the
Vertical Distortion value and change it to 6%.
| | 01:30 | And to get an idea of what that looks like,
go ahead and turn on the Preview check box
| | 01:33 | and you can see we now have a
kind of dumpy body for this bird.
| | 01:38 | I'll go ahead and click OK in
order to accept that change.
| | 01:43 | Now we need to address the feathers.
| | 01:44 | So go ahead and select his top magenta
ellipse and then go up to the Effect menu,
| | 01:49 | choose Distort & Transform, and
choose the Transform command.
| | 01:52 | And the idea here is I want three feathers in all, and I'm
going to generate them dynamically using this command.
| | 01:58 | So I'll change the Rotate value to -30 degrees.
| | 02:01 | Then you can turn on the Preview
check box to get a sense of what that looks like.
| | 02:04 | I actually want this feather to rotate around
the bottom of this ellipse, so I'll go ahead
| | 02:09 | and click on the bottom point in
this little reference point matrix.
| | 02:14 | This item by the way in Illustrator CS5
and earlier is located over here on the
| | 02:18 | right-hand side of the dialog box.
| | 02:21 | Now we want to create a couple of copies,
so click in the Copies option and press the
| | 02:24 | Up Arrow key a couple of times in order to create a
total of three feathers as you see here. Now click OK.
| | 02:30 | Now of course, they don't look like
feathers at this point, so we'll warp them by going
| | 02:34 | up to the Effect menu, choosing Warp, and
as I say if you don't know where you're going
| | 02:39 | with the Warp function, just select
any old thing, like I could select Arch.
| | 02:44 | Then go ahead and turn on the Preview check box and
see that I'm not accomplishing a lot at this point.
| | 02:49 | I'll go ahead and turn up that value and see
what happens, and obviously this is what I want.
| | 02:53 | So I'll go ahead and change the Style in this
case from Arch and I could just fiddle around
| | 02:58 | here to figure out what's going to work.
| | 02:59 | But I'm going to select Shell Upper and we
don't want nearly that big of a Bend value
| | 03:05 | of course, because that would end up
giving us a very bad effect indeed.
| | 03:09 | I'll go ahead and reduce the Bend value to 5%,
and then I'll tab my way down here to the
| | 03:14 | Vertical Distort value which is
still at 6%, and I'll change it to 0%.
| | 03:19 | So we want 5 for Bend, we want Horizontal
selected as well, and then both of the Distortion
| | 03:25 | values should be set to 0%.
| | 03:27 | Now I'll go ahead and click OK
in order to accept that change.
| | 03:30 | And then finally, go back to the Effect menu,
choose Warp and choose Flag, and most likely,
| | 03:36 | Illustrator is going to ask you if you really want
to apply another heaping helping of the same effect.
| | 03:41 | So in other words, any Warp effect is considered
by Illustrator to be a repetition of the last one.
| | 03:46 | We do want this, so go ahead
and click Apply New Effect.
| | 03:50 | And this time, you want to
select the Vertical value right there.
| | 03:53 | Change the Bend value to 20%, and to see what
that looks like, turn on the Preview check box
| | 03:57 | and you can see that goes ahead and
waves these feathers a little bit.
| | 04:00 | And then we also want to change the Vertical
Distort value to -10% which you could do by
| | 04:05 | pressing Shift+Down Arrow, if you like, and then go
ahead and click OK in order to accept that change.
| | 04:12 | Now we want to select both of
these shapes and group them together.
| | 04:15 | So assuming that the Black Arrow tool is active,
go ahead and Shift-click on the outline for
| | 04:20 | this red blob of a body here.
| | 04:23 | Depending on your settings--your Preference
Settings--you may have to fish around for it.
| | 04:26 | Notice that as soon as you see a little
square next to the Black Arrow key, that means that
| | 04:31 | you're actually hovering over the outline
of that circle, then go ahead and Shift-click
| | 04:35 | to select it, and then go up to the Object
menu and choose the Group command or press
| | 04:40 | Ctrl+G or Command+G on the Mac.
That groups them together.
| | 04:44 | Now we need to change their fills, so
they're not different from each other.
| | 04:48 | We want the fill to be purple, of course.
| | 04:49 | So click on the first color
swatch up here in the Control panel.
| | 04:53 | And assuming that you're working inside of
a web document, which I am, then you'll be
| | 04:57 | able to find this shade of purple in your swatches
even if you're not working from the same sample file.
| | 05:03 | It's this guy right here, the one that
begins R=147 and then G=39 and B=143.
| | 05:09 | Go ahead and select that guy as the fill
and you'll end up with this effect here.
| | 05:13 | Now we need to add some other items to the
bird's body, and they are found inside of
| | 05:18 | this bird layer here inside the Layers panel.
| | 05:20 | So again, if you're working along with me,
go ahead and twirl open that bird layer
| | 05:24 | and scroll down the list and
you'll see this layer called rear.
| | 05:28 | Go ahead and turn it on,
that is make it visible.
| | 05:32 | Click on its little meatball, the circle there
in order to select it, and I want to go ahead
| | 05:36 | and use the same shade of purple
but blend it in with the existing bird.
| | 05:41 | I'll do that by clicking on the word
Opacity up here in the Control panel and changing
| | 05:44 | the Blend Mode from Normal to Screen and I end
up getting this brightening effect right there.
| | 05:51 | Now let's say you want
some additional interaction.
| | 05:53 | This is one of the funny things about
Illustrator is that you can blend Blend Modes
| | 05:58 | with each other in order to achieve
still different effects.
| | 06:01 | And so in this case, what I did was I
switched over to the Appearance panel which you can
| | 06:05 | get by going up to the Window menu and
choosing the Appearance command and then click
| | 06:10 | on the Fill item right there inside the Appearance
panel, click on its Opacity option, and change
| | 06:17 | it from Normal to Multiply.
| | 06:19 | So in other words, you're blending Multiply
and Screen together in order to create your
| | 06:23 | own custom effect and we end up
getting this interaction here.
| | 06:27 | And for those of you who know a thing or
two about blend modes, this is different than
| | 06:31 | what you'd get if you just applied
Overlay or Hard Light or one of those.
| | 06:36 | Now we need to establish
the shadows and highlights.
| | 06:39 | So switch back to the Layers panel and then
notice down here in the list, in your twirled
| | 06:44 | open bird layer, you're going to find this
item called shad, go ahead and turn it on
| | 06:50 | and click on one of the outlines to select it.
It's a group of two overlapping ellipses.
| | 06:55 | I want to cut the front ellipse out of the
back one, and to make that happen, you want
| | 06:59 | to go up to the Object menu
and choose the Ungroup command.
| | 07:03 | Then go up to the Window menu and choose
Pathfinder in order to bring up the Pathfinder panel,
| | 07:09 | and you want to click on this
guy right here, Minus Front.
| | 07:11 | However, we want to keep this
interaction as dynamic as possible.
| | 07:16 | And to do so, you want to press the Alt key
or the Option key on the Mac and then click
| | 07:21 | on that second icon, and you end up
creating what's known as a compound shape
| | 07:26 | so that you can change the placement of
these shapes anytime you like.
| | 07:28 | You can go ahead and close the Pathfinder
panel for now, and then go up to the Opacity
| | 07:34 | up here in the Control panel and change it to 33%
in order to create these shadows right here.
| | 07:39 | Now, clearly, they are
exceeding the outline of the bird.
| | 07:43 | We're going to take care of that problem in
just a moment, but first we're going to add
| | 07:46 | the highlights, and you do that by turning
on this high item inside the Layers panel
| | 07:51 | and then go ahead and click on the target
right there, little meatball to the right
| | 07:55 | of the word high in order
to select these two shapes.
| | 07:57 | Once again, they are grouped together, so
I'll just press Ctrl+Shift+G or Command+Shift+G
| | 08:01 | on the Mac in order to ungroup them.
| | 08:03 | And the only reason I grouped them, by the way,
is just so that if you're working along with me,
| | 08:06 | you could easily find them.
| | 08:08 | But we don't want them to be grouped to
pull off this effect, instead we want to bring
| | 08:12 | up the Pathfinder panel again, which for me
is located right here, otherwise you can choose
| | 08:16 | the Pathfinder command from the window menu, and
again you're going to Alt-click or Option-click
| | 08:21 | on Minus Front in order to subtract
the front ellipse from the back one.
| | 08:26 | And for those of you who are not working
along with me, in other words, you don't have the
| | 08:29 | sample file, these are just
ellipses, so they are very easy to draw.
| | 08:32 | All right, now I want to change the fill
of these items to that shade of purple.
| | 08:38 | My fill is active, I can see that up here
in the Swatches panel. If yours isn't, then
| | 08:41 | you would just press the X key in order to
make it so, and then you want to go ahead
| | 08:45 | and assign that same shade of purple
that we've been using R=147, G=39, B=143.
| | 08:50 | Go ahead and click on it assign it as the
fill and then I want to change the blend mode
| | 08:56 | and I'll do that by clicking in the word
Opacity up here in the Control panel and changing
| | 08:59 | the Blend Mode setting from Normal to
Screen in order to produce this effect.
| | 09:04 | We need the highlights to extend into the feathers as well,
and here is how we're going to make that happen.
| | 09:09 | Go ahead and press the A key in order to
switch to the White Arrow tool and press Ctrl+Y
| | 09:14 | or Command+Y on the Mac in order to switch to the
Preview mode, so you can see the base path outline.
| | 09:20 | So everything we're doing here is dynamic,
which means it's hard to find these outlines.
| | 09:24 | Now what I want you to do is Alt-click or
Option-click on this narrow ellipse that represents
| | 09:30 | the feathers, and that will go ahead
and select the entire path outline.
| | 09:33 | Now you can press Ctrl+Y or Command+Y on
the Mac to switch back to Preview mode, and we
| | 09:38 | want to create a copy of this item by going up
to the Edit menu and choosing the Copy command.
| | 09:42 | Of course, you can just press
Ctrl+C or Command+C on the Mac.
| | 09:47 | Now what I want you to do is return to the Layers
panel and notice this top item inside the bird layer.
| | 09:53 | It's a compound shape, you want to twirl
it open so that you can see the two ellipses
| | 09:57 | inside that compound shape, and now go ahead
and target the bottom two of those ellipses
| | 10:03 | in order to select it and then revisit the
Edit menu and choose Paste in Front, or you
| | 10:09 | can press Ctrl+F or Command+F on the Mac in
order to paste that ellipse along with all
| | 10:14 | of its dynamic effects, so all three of
the feathers into this compound shape.
| | 10:19 | So that's a beautiful thing about compound shapes,
they can accommodate dynamic effects as well.
| | 10:25 | That turns the feathers
into one big huge highlight.
| | 10:27 | As you see here that's not what we want,
we just want highlights along the edges,
| | 10:31 | so we're going to have to create
a copy of that ellipse offset.
| | 10:35 | But before we do, you want to bring up the
Pathfinder panel and Alt-click or Option-click
| | 10:42 | on Unite, just to make sure that that option
is applied, and it's very important that you
| | 10:47 | Alt-click or Option-click on that item
because you're working inside of a compound shape.
| | 10:52 | Now what we want to do is double-click in
the White Arrow tool at the top of the Toolbox
| | 10:56 | or you can just press the Enter
key or the Return key on the Mac.
| | 11:00 | That brings up the Move dialog box.
| | 11:01 | I want you to change the Horizontal
value to -8 and the Vertical value to -1.
| | 11:07 | Assuming the Preview check box is on, you can
see that moves the feathers over to the left
| | 11:10 | and up very slightly.
| | 11:12 | Now you want to click on the Copy button
in order to create a copy of those feathers.
| | 11:16 | These need to be set to Minus Front.
| | 11:18 | So return to the Pathfinder panel however
you want to get there and press the Alt key
| | 11:23 | or the Option key on the Mac--again, you have
to have that key down--and click on the Minus Front
| | 11:27 | icon in order to apply it.
| | 11:30 | Now at this point, we have a little bit of
extra highlight over here on left side of the bird.
| | 11:35 | To get rid of that, go ahead and grab your
Pen tool, which you can get by pressing the
| | 11:39 | P key and just click around this area like so to
draw a general path outline around that highlight.
| | 11:46 | So you don't have to be very careful,
just make sure you cover it all up.
| | 11:49 | Then press the V key in order
to select the Black Arrow tool.
| | 11:52 | Click on the shape
outline in order to select it.
| | 11:55 | Go up to the Edit menu
and choose the Cut command.
| | 11:59 | Then just go ahead and
scroll down the Layers panel.
| | 12:00 | You're still wanting to work
inside of this compound shape.
| | 12:04 | Go ahead and click on the bottommost ellipse
inside the shape and then return to the Edit
| | 12:09 | menu and choose Paste in Front or press Ctrl+F or
Command+F on the Mac, and you paste that guy into place.
| | 12:15 | Now bring up the Pathfinder panel.
| | 12:17 | Probably, you're going to see this little
bug where Illustrator thinks Minus Front
| | 12:21 | is applied when clearly it's not.
We're not cutting a hole at all here.
| | 12:26 | So what you need to do is Alt-click on Unite
or Option-click on the Mac and then Alt-click
| | 12:31 | or Option-click on Minus Front.
| | 12:33 | So you just have to switch back and forth
between the two and you should get this effect
| | 12:37 | here where you're really cutting a hole.
| | 12:41 | Now at this point, we've this ginormous mask,
right, with all these highlights and shadows
| | 12:45 | and this rear end of the bird extending
outside of the body of the bird, we don't want that.
| | 12:50 | So we're going to create what's known as an
Opacity Mask, and to do that you need to go
| | 12:55 | ahead and select that bottommost purple group.
| | 12:57 | So I'm going to twirl close my compound
shape, and then you want to go down to the bottom
| | 13:02 | of this bird layer, and go ahead and target
that group right there by clicking on its meatball.
| | 13:08 | Go up to the Edit menu once
again and choose the Copy command.
| | 13:12 | Now go ahead and target the top shape in
layer, and this time I'm just going to press Ctrl+F
| | 13:17 | or Command+F on the Mac in
order to paste that shape in front.
| | 13:20 | We want it to be a static path outline, so
go up to the Object menu and choose Expand
| | 13:25 | Appearance in order to draw real path
outlines around these dynamic effects.
| | 13:31 | And then go back to the Pathfinder panel.
| | 13:34 | Notice Minus Front is still on,
here inside Illustrator CS6 anyway.
| | 13:38 | That's not what's going on at all.
| | 13:40 | You want to just click, do not press the Alt
or Option key this time, just click on that
| | 13:45 | first icon Unite in order to
fuse these shapes together.
| | 13:50 | Now we have the thing that's going to serve as an
opacity mask, but we need to move it into the mask.
| | 13:54 | So press Ctrl+X or Command+X on the Mac in
order to cut that path outline, and then you
| | 14:00 | want to target the bird layer, so go ahead and
click on its meatball for the bird layer itself.
| | 14:05 | So you're selecting the entire layer and then
you want to bring up the Transparency panel,
| | 14:10 | and to do that, go up to the Window
menu and choose the Transparency command.
| | 14:14 | Now in my case, the Transparency
panel is already up on screen.
| | 14:18 | You do, however, want to increase its size.
| | 14:21 | So go ahead and expand it by clicking on the
little up/down arrow icon a couple of times
| | 14:25 | next to the word Transparency so that
you see this option right there, Make Mask.
| | 14:30 | Now go ahead and click on it in
order to create a black opacity mask.
| | 14:34 | And because it's black, that means
everything on this layer is now transparent.
| | 14:39 | Go ahead and click on that Opacity Mask
thumbnail right there, and then you want to press
| | 14:45 | Ctrl+F or Command+F on the Mac to paste
that purple bird into the mask.
| | 14:49 | Now purple doesn't really serve us
very well where mask is concerned.
| | 14:53 | So we need to change the fill for the bird
from purple up here in the Control panel to
| | 14:58 | white, and you'll end up carving away all of
that excess stuff outside of the bird body.
| | 15:06 | Now we need to return to our composition.
| | 15:08 | Notice that we don't have access to it anymore
inside the Layers panel because we're working
| | 15:11 | inside the Opacity Mask, but you can easily
return back to your illustration by clicking
| | 15:17 | on this little purple icon right there,
that represents the layer in progress.
| | 15:21 | Now what you want to do is in my case I
need to collapse the Transparency panel because
| | 15:25 | it's taking up too much room, and then I'll
go ahead and meatball this top item inside
| | 15:30 | the bird layer and I'll press Ctrl+F or Command+F
on the Mac in order to paste a copy of that
| | 15:35 | purple bird back into place.
| | 15:38 | I'm going to change its Fill to None this
time around and I'll change its Stroke to
| | 15:42 | Black and I'll go ahead and increase
the Line Weight value to 6 points.
| | 15:47 | Now, if you have any problems with your miters
not being nice and sharp like this, then click
| | 15:52 | on the word Stroke and increase the Limit value
right there to something like 40, should work nicely.
| | 15:57 | But in my case, didn't need to, it
worked out fine in the first place.
| | 16:02 | Now I'll press Ctrl+Shift+A, Command+Shift+A
on a Mac, and there you have it.
| | 16:05 | That is how you create a volumetric cartoon
body, complete with shadows and highlights
| | 16:11 | here inside Illustrator.
| | 16:14 | If you're a member of the lynda.com Online Training
Library, I have two--count them--two follow-up movies.
| | 16:20 | In the first one, I show you how to stroke
an entire layer inside of Illustrator in order
| | 16:25 | to create that thick stroke around the
body and the bacon tail, and in the second one
| | 16:30 | I show you how to draw this
classic snarling cartoon face.
| | 16:34 | If you're waiting for next week's
movie, this is an ambitious one.
| | 16:37 | I'm going to show you how to draw this radiant cheerful
cartoon background, once again inside Adobe Illustrator.
| | 16:44 | Deke's Techniques each and
every week, keep watching.
| | Collapse this transcript |
| 208 Stroking an entire layer in Illustrator| 00:00 | All right, gang, in this movie we're going
to add the bacon tail to the bird, and we're
| | 00:04 | also going to create this thick
outline around the entire thing.
| | 00:07 | So notice that a thin outline, at least
comparatively so, distinguishes the bird body from the tail,
| | 00:14 | and then we have a thicker stroke, twice
as thick, that encompasses the entire bird.
| | 00:19 | So let me show you how that works, and
it's a matter by the way of stroking an entire
| | 00:23 | layer which is something that
you can do inside Illustrator.
| | 00:27 | So I will go ahead and switch over to the
illustration that we created in the previous movie.
| | 00:33 | Notice if you're working along with me and
I've got this layer called bacon right here,
| | 00:36 | go ahead and turn it on, and all it is,
is this, just a thin horizontal rectangle.
| | 00:42 | I am going to go ahead and zoom in on it
here so that we can see it more closely.
| | 00:47 | And what I want to do is create a
total of five strips for my bacon.
| | 00:52 | First thing you want to do is go to the
View menu and make sure that the Bounding Box
| | 00:56 | is turned off, because that
thing just gets in the way.
| | 00:58 | So if you're seeing Hide Bounding
Box, go ahead and choose the command.
| | 01:01 | If you see Show Bounding Box,
then don't worry about it.
| | 01:05 | With your Black Arrow tool active, go ahead
and drag from this top-left corner point and
| | 01:11 | drag it down until it snaps into
alignment with the bottom-left corner point.
| | 01:16 | And if you need help with the alignment, you
can press the Shift key, you definitely want
| | 01:20 | to press-and-hold the Alt key, or the
Option key on the Mac so that you're seeing that
| | 01:24 | Double White Arrow cursor that shows you that
you're snapping, and you'll be copying the shape as well.
| | 01:30 | So, as soon as you see that cursor, go ahead and
release, and you'll end up with this additional rectangle.
| | 01:36 | Now, all you need to do is press Ctrl+D or
Command+D on the Mac three times in a row,
| | 01:41 | so one, two, three to
duplicate the white stripes.
| | 01:44 | Now, we don't want all of them to be
white, because that won't make any sense.
| | 01:48 | So, go ahead and click on the edge of this
rectangle to select it, and Shift-click on
| | 01:54 | the edge of this rectangle, and you just have to
feel your way around in order to find them there.
| | 01:58 | But you want the second rectangle
and the fourth one to be selected.
| | 02:02 | And then click in the first Color Swatch on
the far left side of the Control panel, and
| | 02:06 | change the color to this guy right there,
the one that begins R=193, G=39, B=45.
| | 02:12 | And these are default swatches that
are included with any web document.
| | 02:15 | This is a screen illustration after all.
| | 02:18 | Now, go ahead and marquee all five of these
shapes, just partially marquee them like so.
| | 02:23 | And if you're working along with me, the reason
you're not selecting anything in the background
| | 02:27 | is because that back
layer right there is locked.
| | 02:31 | And now you want to go up to the Object
menu and choose the Group Command, or of course
| | 02:34 | you can just press Ctrl+G
or Command+G on the Mac.
| | 02:38 | Now we want to wave the tail, so go up to
the Effect menu, choose Warp, and choose Flag.
| | 02:44 | And that will bring up the Warp Options dialog
box with the Style set to Flag, you can change
| | 02:49 | that anytime you like of course.
| | 02:51 | We want Horizontal to be turned on, and
you want to change the Bend value to 30%,
| | 02:56 | and now I am going to change the Vertical
Distort value to -20%, and I will click OK.
| | 03:03 | It appears, I should have turned on the
Preview check box because it appears that I have done
| | 03:06 | the opposite of what I wanted to do.
| | 03:08 | But that's no problem, you can change the
dynamic effect anytime you like by going up
| | 03:12 | to the Window menu and choosing Appearance
which will bring up the Appearance panel,
| | 03:17 | and notice that you will see this item
right there, Warp Flag, just go ahead and click
| | 03:20 | on it in order to revisit that option.
| | 03:22 | I didn't want the Vertical value to be set to -20%
is what it should be, but Illustrator took it down to -19.
| | 03:30 | I want the Horizontal value instead to be
set to -20, Vertical 0%, turn on the Preview
| | 03:36 | check box, and you should end up with this
effect here which is exactly what I am looking for.
| | 03:40 | I will go ahead and click OK.
| | 03:42 | Now, I want a little bit of horizontal
wave associated with his tail as well.
| | 03:46 | So, I'll go back to the Effect menu,
and choose the second command, Flag...
| | 03:51 | which tells me that I
will revisit the dialog box.
| | 03:55 | Illustrator is going to grump at me and say do
you really want to apply that same effect over again?
| | 03:59 | The answer is Yes.
So, go ahead and click on Apply New Effect.
| | 04:02 | And this time, switch to the Vertical
radio button, change the Bend value to -4%, and
| | 04:08 | then change both of the Distortion values to 0%.
| | 04:13 | And just to confirm that everything is cool,
turn on the Preview check box and sure enough,
| | 04:17 | we get a tiny bit of gentle vertical wave.
| | 04:20 | Go ahead and click OK in
order to accept that effect.
| | 04:24 | Now, I will press Ctrl+0 or
Command+0 on the Mac to zoom out.
| | 04:28 | And in order to stroke the entire bird body
along with bacon tail, I need to bring the
| | 04:34 | bird body down onto this layer.
| | 04:37 | I'll go ahead and click on this shape
right there which represents the stroked outline
| | 04:43 | around the entire bird body.
| | 04:45 | And then I'll go up to the Edit menu and
choose the Copy command, or you can press Ctrl+C,
| | 04:50 | Command+C on the Mac.
| | 04:51 | Let's go ahead and return to Layers panel for
a moment, and let's select the bacon object.
| | 04:56 | And the easiest way to do that is to click
in the upper-right corner of the bacon layer,
| | 05:00 | that's going to select everything on that layer.
| | 05:03 | And we want to paste this new
object in back of the bacon strip.
| | 05:08 | And to do so, we need to make sure that
Illustrator isn't paying attention to what layers
| | 05:13 | the copied items came from in the first place.
| | 05:16 | So click on the fly-out menu icon, and just make
sure that Paste Remembers Layers is turned off.
| | 05:21 | If you see a check box, go ahead and choose
command, if you don't, don't worry about it,
| | 05:25 | and then go up to the Edit menu and choose
Paste in Back, or press Ctrl+B or Command+B
| | 05:30 | on the Mac in order to paste that
shape in back of the bacon tail.
| | 05:33 | And that does a great job of inflating the stroke
of the bird but it doesn't stroke the bacon at all.
| | 05:39 | So what we're going to do is just leave
that guy there as a placeholder, and notice he
| | 05:43 | has got a black stroke and no fill.
| | 05:44 | Just press Shift+X in order to swap it to,
so he has got a black fill and no stroke.
| | 05:49 | And really, we don't care what color the
fill is, we just want to make sure that
| | 05:52 | there is no stroke there whatsoever.
| | 05:54 | Now, go back to the Layers panel and click
on that circular target to the right of the
| | 05:59 | word bacon, and that will target the entire
layer as you can see up here on the far left
| | 06:03 | side of the Control panel, you
can see that the layer is active.
| | 06:06 | Now, switch back to the Appearance panel.
| | 06:09 | And we want to go ahead and add a stroke to
this layer by clicking on the Add New Stroke
| | 06:12 | icon in the bottom-left
corner of the Appearance panel.
| | 06:16 | And now, just make sure that Stroke is set
to Black. By default it's set
| | 06:20 | to a weak black, which is not what we want.
| | 06:22 | We want the Red, Green, and Blue values to
all be 0, and then change the Line Weight
| | 06:27 | value to 6 points, like so.
| | 06:28 | And you'll end up getting this catastrophic
mess here which obviously is not what we want.
| | 06:33 | Make sure the Stroke is active, very important.
| | 06:36 | Then, in order to fuse all these objects together
where the stroke is concerned, go up to the
| | 06:41 | Effect menu, choose Pathfinder, and choose Add.
| | 06:45 | And that will go ahead and give you this
effect here, which is almost perfect except
| | 06:50 | for the fact that we've got some
weird lines inside the bacon tail.
| | 06:54 | I will go ahead and press Ctrl+Shift+A or
Command+Shift+A on the Mac in order to deselect
| | 06:58 | that layer, and then I am going to go ahead,
and zoom in here so we can see what's up.
| | 07:04 | Basically, Illustrator is perceiving some
sort of tiny little gaps between the various
| | 07:10 | rectangles that make up the bacon
tail, and it's trying to stroke them.
| | 07:14 | Here's what you've got to do.
| | 07:15 | Press the A key to switch to the White Arrow
tool, and then press Ctrl+Y or Command+Y on
| | 07:20 | the Mac in order to switch to the Outline Mode so
that you can see where the rectangles really reside.
| | 07:26 | Then, if you're working along with me, I
want you to press the Alt key or the Option key
| | 07:30 | on the Mac, and partially marquee
these bottom four rectangles like so.
| | 07:37 | And now what you can do is press Ctrl+Y or
Command+Y on the Mac in order to switch back
| | 07:40 | to the Preview Mode because now you can see the
outlines, and you know where the rectangles are.
| | 07:45 | Press Ctrl+K or Command+K on the Mac to bring
up the Preferences dialog box, and just make
| | 07:49 | sure the Keyboard Increment is
set to 1 point as by default.
| | 07:54 | Once it is, go ahead and click OK, and then press the
Up arrow key in order to nudge those shapes together.
| | 07:59 | And you're going to see that you get a little
bit of a corner edge right there on the outside
| | 08:05 | of the bacon tail on the far left side,
that's just something you can either live with
| | 08:09 | or you can switch to a rounded cap if you want to.
But I am just going to live with it.
| | 08:13 | Now, you want to deselect this top rectangle
by Shift+Alt-clicking or Shift+Option-clicking
| | 08:19 | on it with just the bottom three rectangles
selected, press the Up Arrow key again
| | 08:24 | in order to nudge them up.
| | 08:26 | Then, Shift+Alt-click, or Shift+Option-click
on the third rectangle to deselect it, press
| | 08:30 | the Up Arrow key in order to nudge those
bottom two rectangles up, and then Shift+Alt-click
| | 08:36 | or Shift+Option-click on that fourth
rectangle to deselect it, and press the Up Arrow key
| | 08:41 | to nudge up that final
portion of the bacon tail.
| | 08:44 | All right, and that's it!
| | 08:46 | We'll press Ctrl+0 or Command+0
on the Mac in order to zoom out.
| | 08:50 | And that, friends, is how you create not only
a bacon tail--not necessarily something you're
| | 08:55 | going to need on a regular basis--but how
you can fuse two shapes together, so one has
| | 09:00 | a thin outline next to another, and you
have a thick outline around all of the shapes,
| | 09:06 | by stroking an entire
layer here inside Illustrator.
| | Collapse this transcript |
| 209 Drawing a classic snarling cartoon face| 00:00 | All right, in this movie we are going to
create the bird's cartoon face, complete with the
| | 00:04 | attitude and these eyes that are tracking
you constantly, just like the Mona Lisa's.
| | 00:10 | So I am going to switch over to my document
in progress here and turn on this face layer
| | 00:15 | which contains an assemblage of path
outlines that I've drawn in advance.
| | 00:19 | For the most part, they are
pretty simple, as you can see.
| | 00:22 | We've got some circles and ellipses that
obviously I drew with the Ellipse tool.
| | 00:27 | We have these menacing eyebrows that I drew
by clicking at four points with the Pen tool.
| | 00:31 | The hardest thing to draw is the beak, and I
am going to show you how I went about making
| | 00:35 | that, because it really is that thing that
conveys the attitude of the bird and you can
| | 00:39 | see it's just three anchor
points, so there is not much to it.
| | 00:42 | We'll start by pressing Ctrl+Shift+A or Command+Shift+A
on the Mac just to make sure that guy is deselected.
| | 00:48 | Anytime you're thinking of drawing with the
Pen tool, especially if you are going to draw
| | 00:51 | Bezier curves, then the first thing you want
to do is switch to the White Arrow tool just
| | 00:56 | by pressing the A key if you like.
| | 00:57 | And that way when you press the Ctrl or
Command key in order to gain temporary access to the
| | 01:02 | Arrow tool, you'll get the White Arrow tool
which will do you some good instead of the
| | 01:06 | Black Arrow tool which will
do you no good whatsoever.
| | 01:08 | Now I am going to switch to the Pen tool and I am
going to zoom in even farther and here's what I did.
| | 01:14 | I started by dragging to create a smooth
point and then I dragged up here to create another
| | 01:19 | one and I can see that my curvature is too
shallow, so now I can press the Ctrl key or
| | 01:23 | the Command key on a Mac to temporarily
access my White Arrow tool, because that's the last
| | 01:28 | Arrow tool that was selected and I'll go
ahead and drag this guy up here, or I'll drag this
| | 01:32 | control handle over, like so.
| | 01:34 | When I can drag these points in the place
a little better and Alt+Drag or Option+Drag
| | 01:38 | at that last anchor point to convert it to
a cusp point so that I have control handles
| | 01:42 | going off in different
directions and I'll drag at this location.
| | 01:46 | And that looks pretty good, so in mid-drag
I'll just press the Alt key or the Option
| | 01:50 | key on a Mac in order to change the angle
of that control handle to about there and
| | 01:56 | then I'll finish things up by pressing the
Alt key, I still have it down or the Option
| | 01:59 | key on the Mac and dragging from that first
anchor point in order to create this effect.
| | 02:05 | In terms of tracing the previous beak, I can't
really see what I am doing when I've got this fill.
| | 02:09 | I'll go ahead and press the V key to switch
back to the Black Arrow tool--it's just going
| | 02:12 | to make things more convenient--and I'll click on
the path outline so the entire thing is selected.
| | 02:17 | And now I'll change the Fill, the first
swatch up here in the Control panel to None, and I
| | 02:22 | will change the Line Weight to something like
let's say 1 point and might as well make it white
| | 02:27 | just so I can see what it looks like
inside of the existing black path outline.
| | 02:33 | Now press the Enter key or the
Return key on the Mac to hide that panel.
| | 02:36 | Press the A key in order to switch back to
my White Arrow tool and I will marquee this
| | 02:40 | top point right there in order to select it
and I'll just drag it so it snaps into alignment
| | 02:45 | with the previous anchor point--the one that
I drew in advance--and I'll go ahead and do that
| | 02:49 | with the other anchor points.
| | 02:50 | Obviously, I didn't have this template to
work from when I drew the original bird beak,
| | 02:54 | but I have it now and I just want to match
it as closely as possible and give you a sense
| | 02:58 | for how you go about manipulating these
anchor points and control handles in case you don't
| | 03:03 | have a lot of experience with it. B here
is the big trick, for those of you who are
| | 03:08 | interested in conveying attitude in your
cartoons whether they are birds or otherwise.
| | 03:13 | I went ahead and lifted this edge of the
mouth like so as you can see here so that we've
| | 03:19 | got a ton of curvature right there at this
location and then I take it down on this other side.
| | 03:23 | So that's just one way to convey menacing
attitudes, there is all sorts of different
| | 03:28 | ways to convey emotions with beaks or
mouths or what have you, but I just wanted you
| | 03:32 | to see how I created that shape, so you didn't
feel ripped off that I created it in advance.
| | 03:36 | All right, now I am going to press the V key
to switch to the Black Arrow tool, click on
| | 03:40 | that shape that I just drew in order to
select it and press the Backspace key or the Delete
| | 03:44 | key on a Mac in order to get rid of it
because I already created it in advance.
| | 03:48 | Now let's use this top beak in order to
create the bottom one, by clicking on it to select
| | 03:52 | it and then I'll will switch here in the
Toolbox from the Rotate tool to the Reflect tool
| | 03:58 | and you want to Alt-click or Option-click on
that bottom anchor point right there in order to
| | 04:03 | bring up the Reflect dialog box.
| | 04:06 | Turn on the Preview check box so you can see
what you are doing and most likely by default
| | 04:09 | you'll notice that the beak
goes in the wrong direction.
| | 04:13 | We need to flip it across a horizontal axis.
| | 04:15 | So go ahead and select Horizontal, even though
it's a vertical flip, that's just one of those
| | 04:19 | things in the Illustrator.
| | 04:21 | Now that you see that the beak flips in the
right direction, go ahead and click on the
| | 04:23 | Copy button in order to create a copy of it.
| | 04:26 | Now this lower beak should be in back of
the upper one, so just press Ctrl+Left Bracket
| | 04:31 | or Command+Left Bracket on a Mac
to move it back one step.
| | 04:35 | Now we need to scale it and rotate it into
place and normally you would do that just
| | 04:40 | by dragging with the Scale and Rotate tools, but I just
happen to know the specific values we are looking for.
| | 04:45 | So go ahead and switch to the Scale tool and
Alt-click or Option-click on that exact same
| | 04:49 | target point right there in order
to bring up the Scale dialog box.
| | 04:53 | For our purposes we want the horizontal value
to be 85% and the vertical value to be 100%,
| | 04:58 | turn on the preview check box and you
should see this effect right there.
| | 05:02 | Now I'll go ahead and click on the OK button
and then go ahead and switch from the Reflect
| | 05:06 | tool back to the Rotate tool and then Alt-click
or Option-click on that same point once again
| | 05:11 | to bring up the Rotate dialog box, change
the angle to 6 degrees and when you press
| | 05:15 | the Tab key assuming that the Preview check box is
turned on, you'll see that beak rotate in the place.
| | 05:21 | Now click on the OK button in order to apply
that effect, and finally I want to change the
| | 05:25 | Fill of this beak to the next darkest
orange which is R=247, G=147, B=30 again,
| | 05:33 | that's a default swatch that's included with
all web documents like this one here.
| | 05:37 | It just so happens that this bird has teeth,
it's just one of those things in cartoon world
| | 05:43 | and those teeth by the way are conveyed by
a white ellipse in back of the beak's shape.
| | 05:48 | Press the V key to switch
back to the Black Arrow tool.
| | 05:50 | We are going to work on the eyes
here and I might as well zoom back in.
| | 05:55 | I want to rotate these eye bags into the
proper place and this one eye bag will serve for
| | 05:59 | both eyes and you'll see that in just a moment.
| | 06:01 | We are going to do this by applying a dynamic
effect, but first I want to go ahead and blend
| | 06:06 | the eye bag into the shapes and back of it.
| | 06:08 | Notice we have a couple of light grays, one for
the fill, and the slightly darker gray for the stroke.
| | 06:13 | We are merge them into the background, burn
them in by clicking on the word Opacity up
| | 06:17 | here in the Control panel and switch the
Blend Mode from Normal to Multiple and you end up
| | 06:22 | with this stunning effect right here.
| | 06:25 | Now let's apply a dynamic effect by going to
the Effect menu, choosing Distort and Transform,
| | 06:30 | and choosing the Transform command.
| | 06:33 | Once again, I figure this out through trial
and error, but I just happen to know that
| | 06:35 | I want the angle value for Rotate to be set
to -20 degree and I want the Horizontal Scale
| | 06:40 | value to be 80% and the
Vertical Scale value to be 90%.
| | 06:44 | Now I'll turn on the Preview
check box and we get this effect here.
| | 06:48 | Nowadays that it's no longer aligned to
the eye properly, you could experiment with a
| | 06:52 | different reference point setting here, I
could switch to the left-hand point for example,
| | 06:57 | but that doesn't really do the trick.
| | 06:59 | So I'm going to switch back to the central
point, and if you are working along with me
| | 07:03 | it's essential you do that, and we'll
just use these Move values instead.
| | 07:06 | And I came up with a Horizontal Move value
of -7 which goes ahead and scoots the shape
| | 07:12 | to he the left and a Vertical Move value of
3 points, which scoots the shape down like so.
| | 07:18 | Now I'll click OK in
order to accept that change.
| | 07:21 | Now at this point you can see the path outline,
so you can easily select it by dragging from
| | 07:27 | this right anchor point right there, until
it snaps into alignment with the right-hand
| | 07:32 | anchor point associated with the left-hand
eye, and you'll see that it snaps into alignment
| | 07:37 | when you get that little white arrowhead.
| | 07:39 | Once you can feel the snap, go ahead and
press the Alt key or the Option key on a Mac and
| | 07:44 | release in order to
create a copy of that ellipse.
| | 07:47 | Now it's at the wrong angle for this eye,
so you need to switch to the Appearance panel
| | 07:52 | and my Appearance panel is just
next door to the Layers panel.
| | 07:54 | if you can't find yours, you can choose
the Appearance command from the Window menu.
| | 07:58 | Then click on the word Transform right there, in
order to bring up the Transform Effect dialog box.
| | 08:02 | I am going to dial in a few new values here,
change the Horizontal Scale value to 100%,
| | 08:07 | the Vertical Scale value should be under 120%,
then change the Rotate value to 50 degrees.
| | 08:13 | And then finally, turn our Preview check box
so you can see the effect we are getting.
| | 08:17 | Again, it's not aligned properly so we need
to adjust the Move values, and I came up with
| | 08:23 | a Horizontal Move value of 3 points and a
Vertical Move value of 8 points to achieve
| | 08:27 | this effect right here.
Now click OK in order to apply that change.
| | 08:34 | Now it seems to me that a cartoon bird as
aggressive as this one should have an arched eyebrow.
| | 08:39 | So go ahead and click on the
right-hand eyebrow shape right there.
| | 08:43 | Go to the Effect menu, choose Warp, and then
choose Arch and make sure that the Horizontal
| | 08:49 | radio button is selected as by default.
| | 08:51 | And then change the Bend value to 20%,
both of the distortion values should be set to 0%,
| | 08:56 | turn on the Preview check box, and you end up
with this wondrous effect here. Now click OK.
| | 09:03 | The one remaining problem is that the eyes
aren't looking at us, which sometimes is okay.
| | 09:08 | Oftentimes I'll go ahead and select this right-hand
pupil for example here and press Shift+Up
| | 09:13 | Arrow in order to move
that shape 10 points upward.
| | 09:15 | Oftentimes that's a great cartoon effect
and it makes the bird look absolutely insane.
| | 09:21 | But if you're trying to get the animal to
look directly at you, then you just need to
| | 09:24 | scoot these pupils around.
| | 09:25 | In my case I press Shift+Up Arrow,
and now I'll press Shift+Left Arrow.
| | 09:29 | It doesn't look like it's looking at us
and that's because the other pupil is looking
| | 09:32 | in a different direction, and so you need
to get both the pupils lined up in order
| | 09:38 | for things to look right.
| | 09:39 | So I'll go ahead and click on this left
hand pupil in order to select it, and then I'll
| | 09:43 | press Shift+Right Arrow in order
to move it into the proper location.
| | 09:48 | The bird is a little cross-eyed but there is
no doubt that he is looking directly at us.
| | 09:54 | Press Ctrl+0, Command+0 on
a Mac in order to zoom out.
| | 09:58 | Notice how the beaks are puckering outward.
| | 10:00 | Let's say that you want one beak to converge
into the other smoothly and here's what you do.
| | 10:05 | Press the A key to switch to the White
Arrow tool and click on this segment in order to
| | 10:10 | select it and then grab this control handle
right there and drag it slightly to the right,
| | 10:16 | like so and then press the Shift key
in order to snap it into alignment.
| | 10:20 | Keep that Shift key down so that you now have
a perfectly vertical control handle and then
| | 10:25 | release the mouse button and then release
the Shift key and now let's do the same thing
| | 10:29 | for this bottom beak.
| | 10:31 | Go ahead and click on this left-hand segment
to select it and then grab this control handle,
| | 10:36 | drag it to the right ever so slightly and
press and hold the Shift key in order to snap
| | 10:40 | it into alignment and then go
ahead and release it as well.
| | 10:44 | Now we really are done with the bird's face, so I
will press Ctrl+0 or Command+0 yet again to zoom out.
| | 10:50 | And that, friends, is how you create a
cartoon bird complete with an aggressively
| | 10:55 | grumpy face here inside Illustrator.
| | Collapse this transcript |
| 210 Drawing a radiant, cheerful cartoon background| 00:00 | Hey gang! this is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:04 | Remember the custom grumpy
bird that we created last week?
| | 00:07 | Well, this week we are
going to give him a background.
| | 00:10 | Now, this is a pretty ambitious
project, but it's a lot of fun.
| | 00:14 | We are going to start things off with these
simple objects, just three ellipses and this
| | 00:18 | tall rectangle, and we are going to transform
them into this radiant, cheerful cartoon background
| | 00:24 | that features these rays of line at the top,
as well as a couple of flowers and a shadow
| | 00:29 | to go behind the bird, in order to create this final
version of the artwork inside Adobe Illustrator.
| | 00:36 | Here, let me show you exactly how it works.
| | 00:40 | All right, here's the final version of
that bird background, just so you can see what
| | 00:44 | a stunner it is onscreen.
| | 00:45 | We are going to start off inside of this
document, and if you are working along with me, the
| | 00:49 | first thing I want you to do is turn off all
the layers except for the Back layer, and the
| | 00:53 | easiest way to do that is to just drag along
this column of eyeballs, from bacon up to face.
| | 01:00 | And then go ahead and click on
the Back layer to make it active.
| | 01:03 | And now I am going to press Ctrl+Minus or
Command+Minus on the Mac in order to zoom out, so that we
| | 01:07 | can see the background from a
distance. That gives us some room to work.
| | 01:10 | We are going to start
things off with the grass here.
| | 01:13 | So I will go ahead and click
on that green grass rectangle.
| | 01:16 | Just the rectangle.
| | 01:17 | That's the same width as the artboard and 100 points
tall. And it's filled with a solid shade of green.
| | 01:23 | Then I'll go up to the Window menu and choose
the Appearance command to bring up the Appearance
| | 01:27 | panel. And the first thing we need to do here
is lay down the various stratus of the grass,
| | 01:33 | because you can see in the final version of
the artwork that we have green grass progressing
| | 01:36 | towards a sort of chartreuse at the top.
| | 01:39 | And we're going to lay those shades of grass down
as independent fills, all assigned to the same path.
| | 01:45 | With the paths selected, go ahead and drop
down to the Add New Fill icon in the lower-
| | 01:49 | left corner of the Appearance panel, and now
grab that new fill which is appearing at the
| | 01:54 | top of the stack and drag it down to the
bottom of the stack, like so. You can go ahead
| | 01:58 | and twirl closed the top fill and the stroke if you
like, because we are not going to be using those.
| | 02:03 | We are, however, going to be using this fill
right there, so click on that bottom fill
| | 02:07 | to make it active and then click on the
color swatch. And notice inside of this document
| | 02:11 | I have gone ahead and included some
swatches inside of this group called Grass colors.
| | 02:16 | I will go ahead and hover over them so those of
you who don't have the sample document can see him.
| | 02:21 | This next shade of green R=150, G=200 and
B=0, in case you feel to need to dial it in.
| | 02:29 | I'll go ahead and select that color.
| | 02:31 | That doesn't change the appearance of the rectangle
onscreen because this fill is in the background.
| | 02:36 | To make the fill larger, which is what we
want to do, go ahead and make sure it's active,
| | 02:40 | so click on it and then go up to the
Effect menu, choose Distort & Transform, and then
| | 02:45 | choose the Transform command.
| | 02:47 | Tab down to the Vertical
option and change it to 120%.
| | 02:51 | If you turn on the Preview checkbox, you can
see, that make the fills taller in both directions.
| | 02:55 | We just want to raise it upwards, so go ahead
and select that bottom point in the reference
| | 02:59 | point matrix right there.
| | 03:01 | It's located on the right side of the dialog box
in Illustrator CS5 and earlier. And then click OK.
| | 03:07 | Now let's make a duplicate of that fill, and
you can see, if you twirl the fill open, you
| | 03:10 | should see a transform effect assigned to it.
| | 03:13 | You can make a duplicate of the fill by
clicking on it, in order to make sure it's selected,
| | 03:16 | and then click on the little Page icon at
the bottom of the Appearance panel, and that
| | 03:20 | will create a duplicate, like so.
| | 03:22 | Go ahead and twirl closed the top one
for now and twirl opened the bottom one.
| | 03:27 | Click on this color swatch, and this time
we are going to change it to the next swatch
| | 03:30 | in the list here, inside of the same group,
which is R=160, G=220, and B=60. So those are,
| | 03:38 | by the way, the red, green, blue values.
| | 03:40 | Go ahead and select that guy and then
click off the panel to hide it and click on the
| | 03:44 | word Transform to the bring up the Transform
Effect dialog box and just change that Vertical
| | 03:48 | value to 140%. Turn on the Preview checkbox and you
can see that raises it incrementally, and then click OK.
| | 03:56 | Now we need to make another duplicate, so
click on the Fill item to select it, click
| | 04:00 | on the little Page icon at the bottom of the
panel to make a copy of it, twirl closed that
| | 04:04 | top fill, click on the bottom one, change
its color this time to this final swatch, which
| | 04:09 | is R=210, G=240, B=50, and that will go
ahead and assign that chartreuse color, and then
| | 04:16 | click on the word Transform, change the
Vertical value, not surprisingly, to 160 this time.
| | 04:20 | I just keep increasing this value by 20%.
| | 04:23 | Turn on the Preview checkbox, and you will
see that, comparatively, yellow fill rise up
| | 04:28 | in the background, then click OK.
| | 04:31 | Now here's where things get interesting.
| | 04:33 | What I want is to create these rolling hills, so I'll
switch back to the final version of the Illustration.
| | 04:39 | I want to raise up the grassy knoll here
| | 04:41 | on the left-hand side, and on the right hand
side I want it to dip down in the center,
| | 04:45 | and I want it to appear rounded as well.
| | 04:49 | So you might think if you have any experience
in Illustrator that the way to go is to apply
| | 04:52 | a Warp effect and that is where we will be
starting, but there is no wrap that really
| | 04:56 | gives us that effect by itself.
| | 04:58 | So I am going to switch over to my
Illustration in progress once again here,
| | 05:02 | twirl closed that fill for now, and click on the
word Path in order to make sure it's selected
| | 05:07 | so that we are applying the Warp effect
not to any single fill but to the entire path
| | 05:10 | outline. And then go up to the Effect menu,
choose Warp, and choose Arc Upper, which comes
| | 05:17 | the closet to giving us what we are looking
for. And you're just going to have the suspend
| | 05:21 | belief for now, because it's not going to look
right at all in just a moment, but choose the command.
| | 05:26 | And now I am going to change the Bend value
to -90 degrees. Make sure that the horizontal
| | 05:30 | radio button is selected, and then tab your way
down to the vertical distortion option and
| | 05:36 | change here to 50% and then turn on the Preview
checkbox, and you can see we end up getting this effect here.
| | 05:42 | We are getting these mountain shapes because
of the vertical distortion, and we are getting
| | 05:47 | this bend in the center here because the
Arc Upper style is set to such a ferociously
| | 05:51 | negative bend value.
| | 05:53 | Now I'll go ahead and click OK
in order to accept that effect.
| | 05:57 | Obviously, this is way too spiky
for what we're trying to accomplish,
| | 06:02 | so we need to round off the effect, and you
can do that by assigning a Round Corners effect.
| | 06:08 | So go up to the Effect menu,
choose Stylize, and choose Round Corners.
| | 06:13 | I've found that a Radius of 300 points ended
up working best. Again, you have to suspend
| | 06:18 | belief at this point.
| | 06:19 | I had to play around with these settings a
lot in order to figure this out, because if
| | 06:23 | you turn on the Preview checkbox, it's going to
look totally wrong. But this is the value we want.
| | 06:27 | So go ahead and click OK
in order accept that change.
| | 06:31 | So here is the problem so far.
| | 06:33 | We have assigned the effects in a wrong order.
| | 06:36 | What needs to happen is Round Corners
needs to come first and then wrap Arc Upper.
| | 06:41 | And even though everything else in
Illustrator works from the bottom on up--that is, this
| | 06:45 | bottommost fills actually
at the bottom of the stack--
| | 06:48 | where effects are concerned, the first
effect is at that top and the second effect is at
| | 06:52 | the bottom and so forth.
| | 06:54 | So here is the easiest way to solve the problem.
| | 06:56 | Go ahead and drag Wrap Arc Upper all the way
to the bottom of the stack, under the fill,
| | 07:02 | and do the same with the Round Corners.
| | 07:04 | Go ahead and drag it down just below
the Fill and above the Warp effect.
| | 07:09 | And that's not going to immediately change
the appearance of the rectangle--that is,
| | 07:13 | dragging Round Corners into a different
location--but it will matter in just a moment.
| | 07:17 | Now, the next thing I wanted to do is to
inflate the size of this knoll, and I will do that
| | 07:23 | using a Transform effect, by going up to
the Effect menu, choosing Distort & Transform,
| | 07:27 | and choosing Transform once again.
| | 07:30 | Go ahead and select that bottom point in the
reference point matrix and increase the Horizontal
| | 07:35 | value to 150% and then take the
Vertical Scale value up to 154.
| | 07:41 | Then turn on the Preview checkbox,
and you will see this effect here.
| | 07:44 | Now, things are still messed up, and we have
a bit of a gap down here at the bottom.
| | 07:49 | So to get rid of that gap, change the
Vertical Move value to 10 points, like so, and then
| | 07:54 | go ahead and click OK in
order to apply that effect.
| | 07:58 | And now, just to make sure everything reconciles
the way it needs to, drag that Transform effect
| | 08:04 | between Round Corners and Warp effect in
order to fill things out ever so slightly.
| | 08:10 | And even though that didn't make the biggest
difference, it will by the time we are done.
| | 08:13 | Now, at this point it dawned on me, this
knoll isn't nearly tall enough, and the only way
| | 08:19 | to really fix that problem that I've found was
to adjust the Position values associated with
| | 08:24 | each one of the incremental fills.
| | 08:26 | So I will go and start with this last fill
here, the yellowish one. Twirl it open and
| | 08:31 | then click on Transform in order
to bring up its Transform effect.
| | 08:35 | You might figure you could just go ahead
and change the Vertical scale value, but that
| | 08:38 | doesn't really give us the appearance we want.
| | 08:40 | I will go ahead and turn on the Preview
checkbox, and let's say I change that value to 250%
| | 08:45 | to take it up, and that reduces the
roundness of things, which is not what I want.
| | 08:50 | So I will go ahead and reset that value to
160% and instead, I will change the Vertical
| | 08:55 | Move value to -50 points, which actually moves
the fill upward, as you can see. And it changes
| | 09:01 | the shape of the entire knoll
because it's the topmost fill.
| | 09:06 | That's the effect I am looking for, so now
I will go ahead and click OK. And now we just
| | 09:10 | need to adjust the fills in between.
| | 09:12 | I will twirl this guy closed, twirl the next
one open like so, click on the word Transform
| | 09:17 | in order to bring up the Transform panel,
change the Vertical Move value this time to
| | 09:20 | -38 points, and then turn on the Preview
checkbox. And so negative vertical move values move
| | 09:27 | things upward; positive
values move them downward.
| | 09:31 | Now I will click OK in order to accept that
effect, twirl this guy closed, twirl this next
| | 09:35 | one open, click on its Transform, and
change the Vertical Move value for the final time
| | 09:40 | to -22 points and then turn on the
Preview checkbox to see our newest effect.
| | 09:46 | Click OK in order to accept that change.
| | 09:50 | That finishes off the grass, so I will
go ahead and zoom in on my illustration.
| | 09:55 | Now let's add the rays of light. But before
we do, switch over to the Layers panel and
| | 09:58 | twirl open the Back layer, and you can see
I have a couple of other items that I have
| | 10:03 | created in the background.
| | 10:04 | If you turn off the knoll for the moment,
which is just called Path, which is this guy
| | 10:08 | right there, turn it off, and then turn on
this compound shape down here at the bottom,
| | 10:12 | you can see that I have created a
collection of clouds, and all they are, by the way, is a
| | 10:17 | bunch of ellipses with this polygonal path
outline drawn in the background, just to fill
| | 10:22 | things out. And then I just went ahead and
combined them all into a single compound shape
| | 10:27 | from the Pathfinder panel.
| | 10:28 | We saw that in previous movies, but you
Alt+Click or Option+Click on the Unite icon.
| | 10:33 | I will press Ctrl+Shift+A or Command+Shift+A
on the Mac to deselect those clouds. And the
| | 10:38 | same holds true, by the way,
for these trees right here.
| | 10:41 | They are just a bunch of ellipses
with a rectangle of the bottom.
| | 10:45 | These little guys down here are independent
flower shapes that will come to you in a moment.
| | 10:49 | But I just want you to see what's going on.
| | 10:52 | I will turn the knoll back on here, this
shape near the top, and the next thing we want to
| | 10:56 | do is add some rays of light in the background.
| | 10:59 | We are going to do that by clicking on this
rectangle right there, and I will press Ctrl+0
| | 11:04 | or Command+0 on the Mac, just so
that we can see the entire thing.
| | 11:08 | It's this vertical bluish rectangle.
| | 11:10 | And we are going to spread it out to
create a couple of rays, as follows.
| | 11:14 | You start off by switching back to the
Appearance panel, just so we can see the effects build
| | 11:18 | up. Then go up to the Effect menu, choose the
Distort & Transform, and choose the Transform command.
| | 11:25 | And what we need to do here is to create a
couple of rectangles on either side of this one.
| | 11:29 | So change the Horizontal Move value to 200
points and then turn on the Preview checkbox,
| | 11:34 | and you can see that just moves it over to
the side. All we need to is create one copy,
| | 11:39 | and that way we have two versions of
this rectangle in different locations.
| | 11:44 | Now click OK. And because we want the other
copy of the rectangle to be symmetrical, we
| | 11:49 | might as well just take this guy and make a
copy of him, so click on Transform here in the
| | 11:53 | Appearance panel and then click on the little
Page icon at the bottom of the panel in order
| | 11:57 | to create a duplicate of it. Click on that
second Transform, change the Horizontal value
| | 12:02 | this time to -200 points, turn on the
Preview checkbox, and you can see we get another one
| | 12:07 | to the left-hand side
because copies is already set to 1.
| | 12:11 | Now I'll go ahead and click OK.
| | 12:12 | Next, what we want to do, turn these
rectangles into rays that are going out in different
| | 12:18 | directions, and that means applying a
vertical distortion, which you can apply using any
| | 12:23 | one of the warp effects;
doesn't matter which one you apply.
| | 12:26 | So go up to the Effect menu, choose Warp, and
then choose anything--it really doesn't matter.
| | 12:31 | I will just go ahead and choose
Arc, since it's the first command.
| | 12:34 | Turn on the Preview checkbox, and you can see
this is not the effect we want at all; this
| | 12:38 | is the last effect we applied.
| | 12:41 | Regardless of what style you are using,
you want to change the Bend value to 0%.
| | 12:46 | Then you want to tab your way down to the Vertical
Value and change it to -100, which is as low
| | 12:51 | as you can go, and you will end up with this
effect here, which is wrong, but we are going
| | 12:56 | to take care of that in just a moment.
| | 12:59 | The problem is that instead of all the rays
bending outward, they are bending independently,
| | 13:04 | and that's because the warp got
positioned in the wrong location.
| | 13:07 | Illustrator does this sometimes;
it doesn't always apply effects sequentially.
| | 13:11 | So what you need to do is grab that Warp effect
to drag it to the bottom of the stack in order
| | 13:15 | to create this effect here. And you can see that
these rays are now bending dramatically outward.
| | 13:20 | That's too much, so we need to once again
transform the shapes by going up to the Effect
| | 13:26 | menu, choosing Distort &
Transform, and choosing Transform.
| | 13:29 | Most likely, Illustrator will ask you if you
really want to apply a new effect, since we
| | 13:33 | already have two transforms at work here,
but we do, so go ahead and click on the Apply
| | 13:37 | New Effect button and then change
the Horizontal Scale value to 45%.
| | 13:42 | That's all we need. And then turn on the Preview
checkbox and you can see that ends up tidying things up nicely.
| | 13:48 | Now click OK.
| | 13:50 | The final thing to do is to click on the word
Opacity down here at the bottom of the stack.
| | 13:56 | Change the blend mode from Normal to Overlay,
so we end up getting a little bit of interaction
| | 14:01 | up here at the top of the gradient, and then
change the Opacity value to 50% in order to
| | 14:06 | create this effect here.
| | 14:08 | Now I will press Ctrl+0 or Command+0 on the
Mac to zoom in, and I will press Ctrl+Shift+A,
| | 14:13 | Command+Shift+A on the Mac in
order to deselect my artwork.
| | 14:17 | Now, the final thing we want to do is create
these little flowers right here, and you may
| | 14:21 | figure the best way to do that is to draw
a star shape and then somehow make it bulbous.
| | 14:26 | But the easier way to approach these kinds
of shapes is to draw a single ellipse and
| | 14:30 | then transform it. So you'd rotate it
a total of six times in this case.
| | 14:34 | Let me show you what that looks like.
| | 14:35 | I will go ahead and select this right-hand
ellipse for starters here, and then I will
| | 14:40 | go up to the Effect menu, and this time I
might as well just choose that second Transform
| | 14:44 | command there, the one with the ...
so that we can easily access the command.
| | 14:48 | And you want to change both the scale values back
to 100%. You want the Move Values to be 0 apiece.
| | 14:55 | Go ahead and select the bottom point in the
reference point matrix, change the Rotate
| | 14:59 | value to 60 degrees.
| | 15:01 | Now turn on the Preview checkbox, and you can see that
goes ahead and rotates the ellipse to the left there.
| | 15:06 | Now click in the Copies option and press
the up arrow key until you fill up the flowers,
| | 15:11 | which happens at a value of 5. Now click OK.
| | 15:16 | Now I want the flower to
appear at a kind of jaunty angle.
| | 15:19 | So I will return to the Effect menu, choose
Transform again. Illustrator is going to grump at me.
| | 15:23 | I will just go ahead and
click on Apply New Effect.
| | 15:25 | I will change the Rotate
value this time to -15 degrees.
| | 15:28 | I will change the Vertical Scale Value to 90%.
| | 15:32 | You want to go ahead and click inside the
center point of the reference point matrix,
| | 15:37 | change the Number of Copies to 0, and then
turn on the Preview checkbox and you end up
| | 15:40 | with this effect here. Now click OK.
| | 15:43 | Now we want to turn the other ellipse into
a flower as well, and it would be nice if
| | 15:48 | I could just go ahead and copy the effects
that I have already assigned to this flower
| | 15:51 | over to this guy, which I can, and
you do that from the Layers panel.
| | 15:56 | So switch back to the Layers panel, go ahead
and scroll down the list here inside the Back
| | 16:01 | layer, and notice that the selected path, the
one over here on the left, is just called Path.
| | 16:06 | It appears at the top of the stack. And the other
one, this guy right here, is the next path down.
| | 16:12 | Notice it has a kind of volumetric meatball,
which means it has dynamic effects assigned
| | 16:16 | to it. And you want to go ahead and copy
those effects over to this one, and you do that by
| | 16:20 | pressing the Alt key or the Option key on
the Mac and dragging from this location to
| | 16:25 | here, and then releasing. And notice that
goes ahead and copies all those effects over.
| | 16:30 | Now I'll switch back to the Appearance
panel, and the great thing is, the first Transform
| | 16:33 | effect is exactly right, because the six-petal
flower is going to be the same regardless of its angle.
| | 16:39 | So all we need to do is change the second
transform by clicking on it, and I will change
| | 16:43 | Vertical Scale value this time to 80%, and
I will Rotate value to 30 degrees. And if
| | 16:50 | you turn on the Preview checkbox, you will
see that we end up getting a kind of skewed
| | 16:54 | flower this time around.
| | 16:56 | I will click OK, switch back to the Layers
panel, assuming you're working along with
| | 17:01 | me, and go ahead and turn on all those
layers once again, except for the top text layer.
| | 17:06 | The last thing we need to do is establish
this ellipse right here is the shadow
| | 17:10 | under the bird. Currently it's too dark, and
because it's filled with black, all we need
| | 17:14 | to do is change its Opacity value.
| | 17:16 | We don't have to change the Blend mode to
Multiple. So just go ahead and change the
| | 17:19 | Opacity value to 50% up here in
the center of the Control panel.
| | 17:24 | And I will press Ctrl+Shift+A or Command+Shift+A
on the Mac in order to deselect the artwork.
| | 17:29 | And that, friends, is a long, but comprehensive
look, how you create a dramatic cartoon background
| | 17:35 | here inside Illustrator.
| | 17:38 | If you're a member of the lynda.com online
training library, I have a follow-up movie in which
| | 17:43 | I show you how to stroke live editable
text inside of Illustrator, and notice that the
| | 17:48 | black stroke appears in back of the white
letters, to create this final version of the artwork.
| | 17:53 | I know, it seems like it'd be an
obvious operation, but it's not.
| | 17:58 | If you are waiting for next week's free movie,
I will show you how to take this generic wood
| | 18:03 | photograph and we will dress it up with
some synthetic water droplets created entirely
| | 18:08 | from scratch, inside Photoshop.
| | 18:11 | Deke's Techniques, each and every week.
| | 18:13 | You don't want to make me
angry, bud, so keep watching.
| | Collapse this transcript |
| 211 Stroking any kind of type in Illustrator| 00:00 | In this movie we will take these two text
objects that is to say the one on the left
| | 00:04 | and the one over here in the right, and we
will stroke the text, which is not an intuitive
| | 00:08 | operation inside of Illustrator,
but it can be accomplished.
| | 00:12 | Whether you're working with live editable
text or with text that's being converted to
| | 00:16 | path outlines as in our case.
| | 00:19 | I will go ahead and switchover to the final
version of the Illustration that we created
| | 00:23 | in the previous movie, and if you're
working along with me, go to the Layers panel and
| | 00:27 | turn on the Text Layer and you can
see that we have two text objects.
| | 00:31 | Now, as I say, I have converted them to path
outlines, as you can see, but what I am about
| | 00:36 | to show you works with
live editable text as well.
| | 00:39 | The only reason I haven't given you live
editable text is because you might not have these fonts,
| | 00:45 | and just so you know what these fonts are,
the one over here on the left is called Feast
| | 00:49 | of Flesh, you can look it up
online and download it for free.
| | 00:53 | The font over here on the right is Reporter, which
is a commercial font from Adobe, just so you know.
| | 00:59 | Anyway, I'm a twirl open my Text layer and
I will turn off that font's object, just so
| | 01:04 | we can focus on the text itself.
| | 01:06 | Then what you want to do is click on this
text here, over here on the left hand side
| | 01:11 | with a Black Arrow tool to select it.
| | 01:13 | This would work with live editable text as
well, and here are the steps you want to take.
| | 01:18 | When you're working with Path outlines, you
want to press Ctrl+H or Command+H on the Mac
| | 01:22 | just to hide them, so you can
better see what you are doing.
| | 01:25 | Then switch over to the Appearance panel,
which you can get by going up to the Window
| | 01:29 | menu and choosing the Appearance command.
| | 01:31 | And just to keep things as tidy as possible,
you want to get rid of the Fill that's currently
| | 01:36 | associated with this object.
| | 01:37 | And you do that by going up to the first swatch, up
here in the Control panel and changing it to None.
| | 01:42 | That will make the text disappear. That's okay.
| | 01:46 | Now you go back over to the Appearance panel and you
click on the word Group to make sure it's selected.
| | 01:52 | If you are working with the Type object,
you click on the word Type instead.
| | 01:56 | Then you want to drop down to the Add New
Stroke icon in the bottom left corner of the
| | 02:00 | Appearance panel and click on it, and that's going
to give you both a stroke and a fill as you see here.
| | 02:05 | I am going to go ahead and click in the word
Fill and change it to white, and then I will
| | 02:11 | click on the Stroke and let's make sure
that it's set to a nice rick black, by clicking
| | 02:15 | on the black swatch.
| | 02:18 | And then change the Line weight value to 5
points in order to thicken up that stroke.
| | 02:22 | Now obviously, that's totally wrong.
| | 02:25 | So what we need to do to get rid of those
jagged transitions right there is click on
| | 02:29 | the word Stroke and then set the Corner to
Round Joint, in order to get rid of those spikes.
| | 02:36 | That's still not the effect I am looking for.
| | 02:38 | What we want is the stroke behind the Fill.
| | 02:40 | And all you need to do to accomplish that
is drag the stroke down below the fill and
| | 02:44 | drop it into place and you
end up getting this effect here.
| | 02:48 | Now I will go and zoom out by
pressing Ctrl+0 or Command+0 on the Mac.
| | 02:52 | I want to go ahead and duplicate those
same settings over on to Abilities here.
| | 02:57 | So I will press the V key to confirm that
I have got the Black Arrow tool, and then
| | 03:01 | I will click on this text in order to select it, I am
not seeing the path outlines, because they are hidden.
| | 03:07 | But if I were to press Ctrl+H or Command+H on
the Mac, you can see that the text is selected.
| | 03:11 | I will go ahead and press Ctrl+H or Command+H
again, in order to hide those edges so I can
| | 03:16 | better see what I am doing.
| | 03:17 | And now I will switch back to the Layers
panel and I will take advantage of that same trick
| | 03:21 | that we saw in the previous movie.
| | 03:23 | Notice that the meatball is filled in and
sort of sculptural for the first text object,
| | 03:28 | that is the text in the upper
left corner of the document.
| | 03:31 | So I will go ahead and press the Alt key or
the Option key on the Mac and drag from that
| | 03:35 | meatball on to this one here, in
order to transfer all of those effects.
| | 03:41 | So the lack of fill associated with the
actual path outlines in this case, and the fill and
| | 03:48 | stroke attributes that are assigned with the
entire group, or again, if you were working
| | 03:52 | with the Type object, the
overall Type object itself.
| | 03:56 | I don't want a white fill in a black stroke.
| | 03:58 | I want the opposite.
| | 03:59 | So I will just go ahead and press Shift+X
in order to swap those attributes like so,
| | 04:05 | and then I will return to the Appearance panel,
I'll click on the Stroke, and I will change
| | 04:10 | its Line Weight this time to 3
points, and that is all there is to it.
| | 04:14 | What you want to do now is press Ctrl+H or
Command+H on the Mac in order to bring back
| | 04:18 | your selection edges.
| | 04:20 | Because whether you see the selection edges
or not, is a saved attribute of the document,
| | 04:25 | so you always want to turn them back on when
you're done, and then press Ctrl+0 or Command+0
| | 04:30 | on the Mac in order to center my zoom, and
I will press Ctrl+Shift+A or Command+Shift+A
| | 04:35 | on the Mac in order to deselect the text.
| | 04:38 | And that folks is how you stroke text in
Illustrator, whether it's expressed as live editable text,
| | 04:44 | or as in our case, text that's
been converted to path outlines.
| | Collapse this transcript |
| 212 Creating synthetic water droplets| 00:01 | Gang this is Deke McClelland.
| | 00:02 | Welcome to Deke's Techniques.
| | 00:04 | This week, I'll show you how to create
Synthetic Water Droplets inside Photoshop.
| | 00:09 | So, the wood grain in the background; that's an
actual photograph, but the droplets themselves
| | 00:13 | are 100% fabricated.
| | 00:15 | I am going to start off in this movie
by showing you how to create the drops.
| | 00:20 | Now you might look at this and say, well,
these don't look much like drops, they will.
| | 00:24 | And you can imagine that this kind of pattern might
adapt itself to all kinds of different situations.
| | 00:28 | You can create spots or contour lines, what
have you, everytime you follow these steps,
| | 00:34 | you're going to get different results.
| | 00:36 | And there's no drawing involved.
| | 00:38 | It's all a combination of three
filters, and two adjustment layers.
| | 00:42 | Here, let me show you exactly how it works.
| | 00:46 | Here's the final water drop effect,
just so you can see it on screen.
| | 00:50 | We're going to start off inside of this image.
| | 00:51 | It comes to us from the Fotolia Image Library,
about which you can learn more at fotolia.com/deke.
| | 00:56 | But really, any texture
background is going to work.
| | 01:02 | First thing we want to do is make the image
little bigger than it currently is, just so
| | 01:05 | you have some additional room to work.
| | 01:08 | So, I am going to go ahead and convert this
image to a Layer by double-clicking on Background,
| | 01:13 | here inside Layers panel and I'll just call
this guy wood and then click OK and now we
| | 01:18 | want to make the image bigger.
| | 01:20 | I'll go and zoom out, so that we
can see what I am talking about.
| | 01:23 | I'll go upto to the Image menu
and choose a Canvas Size command.
| | 01:27 | I am working in pixels as you can see here,
I've got the relative checkbox turned on,
| | 01:31 | and I am going to change the Width value
to 100 and then I'll tab to the Height value
| | 01:36 | and change it to 100 as well.
| | 01:38 | And that'll expand the canvas 100 pixels in each
direction; that is 50 pixels up, 50 pixels down and so forth.
| | 01:45 | Now I'll click OK.
| | 01:46 | Then you can see that extra room represented
by the transparency grid in the background.
| | 01:51 | Next, what you want to do is create a New
Layer by pressing Ctrl+Shift+N or Command+Shift+
| | 01:56 | N on the Mac and I'll call this layer grayness
because that's what it's going to be and then you click OK.
| | 02:02 | And now we want to fill this layer with
gray by going up to the Edit menu and choosing
| | 02:06 | the Fill command and change
Use to 50% Gray, very important.
| | 02:13 | And then the Blending options
are to be set to their defaults.
| | 02:15 | That is mode of Normal, Opacity 100%,
Preserve Transparency needs to be turned off, or else
| | 02:21 | we won't actually be able to do anything, then
click OK in order to create that field of gray.
| | 02:27 | Now we want to apply a couple of
filters, might as well apply smart filters.
| | 02:31 | So make sure the grayness layer is selected
here inside the Layer panel, then go to the
| | 02:35 | panels flyout menu and
choose Convert to Smart Object.
| | 02:39 | Now go up to the Filter menu, choose Noise
and choose Add Noise, and for this effect
| | 02:45 | you want to crank the amount value upto 50
%, Distribution should be set to Uniform, and
| | 02:50 | then you want the Monochromatic
checkbox to be on, then click OK.
| | 02:55 | The next step is to go back to the Filter
menu, choose Blur, and choose Gaussian Blur.
| | 03:01 | For this effect I am going to crank the
Radius value upto 28 Pixels, I'll show you that you
| | 03:05 | can vary this value in just a moment,
but for now 28 Pixels, I'll click OK.
| | 03:11 | Now we're going to need room inside of our
Layers panels, so I don't need this empty filter mask.
| | 03:16 | So, I'll just go ahead and right-click on it, and
choose Delete Filter mask in order to get rid of it.
| | 03:21 | So, the last thing this looks like at this
point is water drops, but we're going to change
| | 03:26 | that by pressing the Alt key or the Option
key on the Mac, and then you want to click
| | 03:30 | on this black white circle at the bottom of
Layers panel and choose the Threshold command,
| | 03:35 | because you have Alt or Option down, you'll
see the new layer dialog box, go ahead and
| | 03:40 | call this guy dropmaker and then turn on this checkbox,
Use previous layer to create Clipping Mask and click OK.
| | 03:47 | And then you want to change the
Threshold value here inside the Properties panel.
| | 03:50 | This would be the Adjustments panel inside
previous editions of Photoshop, go ahead and
| | 03:54 | raise it to 129 in order
to produce this effect here.
| | 03:58 | Now your drops may look different than mine,
because we're applying a random effect, that
| | 04:03 | is to say Add Noise applies a random effect.
| | 04:07 | And now I'll go ahead and
hide the Properties panel.
| | 04:10 | Now here's what I was
talking about with Gaussian Blur.
| | 04:12 | You can change that value by double-clicking on it
in order to bring up the Gaussian Blur dialog box.
| | 04:18 | And now notice if you dial in some of the
value, like I'll dial in 12, you're going
| | 04:22 | to end up with smaller water droplets.
| | 04:24 | So, whatever Radius value you dial in
here, will determine the size of the drops.
| | 04:29 | You might take this up to 36 and
I get big huge drops like you see.
| | 04:32 | Anyway, I am going to cancel out
because 28 was what I was looking for.
| | 04:37 | Problem at this point, I'll go ahead and zoom
in is that we have these jagged transitions.
| | 04:43 | We need to soften them up
and here's how you do that.
| | 04:45 | Go ahead and click on a
dropmaker layer to make it active.
| | 04:49 | The only way to pull this one off is with
the keyboard shortcut, Ctrl+Shft+Alt+E or
| | 04:53 | Command+Shift+Option+E on the Mac and that
goes ahead and copies everything that you're
| | 04:58 | seeing on screen, to new layer.
| | 05:00 | Then go ahead and rename this layer Blur,
because in just a moment it will be blurry.
| | 05:05 | To make it so, go up to the Filter menu and
choose Blur, and then choose Gaussian Blur
| | 05:10 | once again, and this time we're looking for
Radius value of 6 Pixels, that tends to work
| | 05:16 | out best, and then click OK.
| | 05:19 | And now that we've softened things up
dramatically, we need to reinstate some firm edges, and
| | 05:24 | you do that using a Levels Adjustment Layer,
so press and hold the Alt key once again,
| | 05:28 | or the Option key on a Mac, click the black white
circle at the bottom of Layers panel and choose Levels.
| | 05:35 | This time around you want to call this guy
Sharper, because that's the purpose this going
| | 05:38 | to serve, and turn on this
checkbox once again, and then click OK.
| | 05:43 | And now here inside this panel changed the
first input levels value to 120, and then
| | 05:50 | tab your way over to the final level's values,
so press the tab key twice and change that
| | 05:54 | white point to 145.
| | 05:56 | So, 120 at the beginning, 145 at the end,
you want to leave our gamma value set to 1.0
| | 06:02 | and you'll end up with this effect here.
| | 06:04 | Now I'll go ahead and hide the panel.
| | 06:07 | Now I am going to go ahead and zoom back
out and we want to load what we're seeing here
| | 06:11 | as a selection, that is to say.
| | 06:13 | We're going to select all the stuff that is
white and deselect the black stuff, and you
| | 06:16 | do that by switching over to the Channels
panel and then press the Ctrl key or the Command
| | 06:21 | Kay on the Mac and click on RGB.
| | 06:24 | Now return to the Layers panel, go ahead and
gather up these layers here, sharper through grayness.
| | 06:30 | So, click on one layer, Shift+Click on
the other to select that entire range.
| | 06:34 | Let's group them together by going up to
Layers panel flyout menu and choosing New Group from
| | 06:39 | Layers and I'll go ahead and name this guy
Intermediate, because these were the intermediate
| | 06:44 | steps, and then I'll click OK.
| | 06:47 | And now you can turn that group off.
| | 06:49 | We're done with it.
| | 06:50 | Now we want to reverse the selection,
because we want to select the stuff that was black
| | 06:55 | and you do that by going up to the Select
menu and choosing the Inverse Command, then
| | 06:59 | we want to create a New Layer by pressing
Ctrl+Shift+N or Command+Shift+N on the Mac,
| | 07:04 | and we'll call this guy
drops, and then click OK.
| | 07:08 | Now tap the D key to make sure you've got
your default colors, black as the foreground,
| | 07:12 | white as the background and then press Alt+
Backspace or Option+Delete on the Mac to fill the selection
| | 07:17 | with black, and then press Ctrl+D or Command
+D on a Mac in order to deselect the image.
| | 07:24 | Up here on the Styles panel I have loaded
up some styles in advance here, and if you
| | 07:29 | have access to the Exercise Files that are
included along with this course, then you
| | 07:34 | can load them up as well, by going to the
Styles panel flyout menu, and choosing Loads
| | 07:39 | Styles, and then navigate your way to this
folder and click on fluidstyles.asl and click
| | 07:45 | on the Load button, but I
have already done in advance.
| | 07:48 | And now I'll go ahead and apply one of these
styles, the first one, which is called Clear,
| | 07:52 | which creates a kind of clear liquid effect
as you're seeing here, and it's a combination
| | 07:57 | of various layer affects working together.
| | 07:59 | You can check out some of other ones too.
| | 08:01 | We've got Lemonade right here we've Orange
Soda, which creates very orange effect, indeed,
| | 08:08 | it's pretty over the top.
| | 08:10 | We've got Black Ink, if you want to check
that out, we have Radiator Coolant, which
| | 08:14 | creates a kind of blue liquid effect, this
guy right there is blurred out as if we've
| | 08:18 | spilled some wine on the wood.
| | 08:21 | We've also got Manhattan, the whiskey drink
that is to say, and then finally, we've got
| | 08:25 | this one called Crimson, which
creates this goulash effect here.
| | 08:30 | But the one I'm looking
for is this guy right there.
| | 08:33 | And that friends is how you create water
droplets absolutely from scratch, here inside Photoshop.
| | 08:40 | If you're a member of the lynda.com Online
Training Library, then I have a total of two
| | 08:45 | follow-up movies ready and waiting for you.
| | 08:48 | In the first one we take these black blobs
that constitute the water and we had a series
| | 08:53 | of layer effects in order to
create these high contrast reflections.
| | 08:58 | Next notice how the wood grain moves
directly through the water droplets.
| | 09:01 | It really ought to reflect; that is
distort around the droplets as in this case here,
| | 09:08 | and that is something
that I'll show you how to do.
| | 09:11 | If you're waiting for next week's free movie,
I'll show you how to take these harmless paint
| | 09:16 | splatters and turn them into something messy
like ink or something more sinister like blood.
| | 09:24 | Deke's Techniques, each and
every week, keep watching!
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