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Duplicating attributes and effects

From: Illustrator CS5 One-on-One: Advanced

Video: Duplicating attributes and effects

In this exercise, we're going to take all of those effects that is the entire Fill attributes, all the Stroke attributes and the nine dynamic effects that we've assigned to the SGT. HURPADURP here and we are going to duplicate them onto the stars. I've saved my progress Low raster resolution.ai and I'm calling it that because I want you to understand that, that Document Raster Effects Setting that we applied in the previous exercise is saved along with this specific illustration that's an illustration by illustration setting, it doesn't apply to all the open illustrations or anything like that, just one illustration at a the time, but all effects inside that illustration.

Duplicating attributes and effects

In this exercise, we're going to take all of those effects that is the entire Fill attributes, all the Stroke attributes and the nine dynamic effects that we've assigned to the SGT. HURPADURP here and we are going to duplicate them onto the stars. I've saved my progress Low raster resolution.ai and I'm calling it that because I want you to understand that, that Document Raster Effects Setting that we applied in the previous exercise is saved along with this specific illustration that's an illustration by illustration setting, it doesn't apply to all the open illustrations or anything like that, just one illustration at a the time, but all effects inside that illustration.

Now, I am going to select the red text and I am going to turn the Gradient back on because we wanted to apply it eventually here, we just didn't want to interfering with everything else we were doing. So I'll turn on the Gradient and it's going to take a moment to apply, so all those progress bars go by very quickly. Again, if we were working with a high resolution value that is where that Document Raster Effects Settings command is concerned, then that would have taken much-much-much longer to apply. In fact, very possible to program what is set there to set there and pretend it to hang up for a moment and that's not the kind of stuff we want.

So it's better to work in a low resolution as you're working through your effects. That does apply to the gradient by the way because once you apply the 3D Rotate effect to a gradient object, the gradient gets converted to pixels. All right, I'm going to go ahead and turn off that red static Fill, that solid Fill on the background because we don't need it and even some simple little modification like that, like turning off a solid fill causes a bunch of Progress bars to come up on-screen. So you've got to take it a little easy when you've got this much stuff going on. All right, now we want to duplicate all the stuff onto the stars.

The thing is, I like the fill that I have applied to the stars so far, this gradient and I didn't bother to save the gradient as a swatch, so I guess, I better do that. I'll go ahead and click on my stars in order to select them and then I'll move up to the Swatches panel and then I'll click on this little New Swatch icon. I'll call this Blue grad and then I'll click OK in order to create that new gradient swatch. All right, now that I've saved it off, because otherwise it would just totally go away and then you have to make it up again. Now I'm going to move over to layers panel.

I want you to notice something here inside the layers panel. Let's go ahead and collapse the Gradient panel for a moment, so we have a little more room. Notice these meatballs here. And we've talked about this before, but sometimes the meatballs are hollow, meaning that there is no dynamic effect applied, no special stuff going on and sometimes they're sculptural. They look like little volumetric meatballs and what that tells you is that there is some form of dynamic effect or transparency or there is a gradient in the case of these stars, that's the only thing that's going on, is that we have a gradient here and that will cause the sculptural meatball as well.

One of the things you can do is you can grab that meatball and drag it onto another object. So right now, SGT. HURPADURP here has all kinds of effects that are represented by that meatball. If I go ahead and grab the meatball and drag it onto the other meatball, then release that as my mouse button, look what happened. I went ahead and transferred all of those effects from one object to another object. I actually moved them off of the text down here and I moved them onto the stars. That's not what I want to do, I want to duplicate them. So I'll press Ctrl+Z, Command+Z on the Mac to reinstate the effects on the text and then I'll go ahead and press the Alt key or the Option key on the Mac and I'll drag this guy once again.

Notice now I have a little plus sign next to my cursor, that's because I have Alt or Option down. As soon as I release, then I go ahead and duplicate all of those effects which is awesome, just amazing, but you can do this. So we'll see when we discuss dynamic effects, there are other ways to work. You can save off a graphic style inside the Graphic Styles panel, but for now this works just fine. Now I am going to switch back to my Appearance panel and I'm going to change this Fill attribute right there, that's currently this gradient Fill. I'm going to change it from the red gradient to this new gradient that I just created Blue grad in order to switch that guy out now.

It's fairly possible that every single modification is going to invoke some Progress bars. So just be ready for that. However, here's what I also want you to do. I want you to turn off the Brown Stroke in order to get rid of it. And then let's change the White Stroke from white to this lighter shade of blue over here, that's cyan 85, magenta 50 and then both yellow and black are zero and we end up getting this effect here which I find to be quite pleasing actually. Next, I want to edit Pucker & Bloat. Before I do that though, I don't want Pucker & Bloat heaped on top of Rotate and Transform and all that other jazz.

So I'm going to turn these other effects off momentarily, so that we can focus exclusively on Pucker & Bloat because Pucker & Bloat, my experience is Pucker & Bloat and the path wigglers and 3D Rotate just do not get along. Not if you are trying to apply a path wiggler while 3D Rotate is applied. Whereas if you apply 3D Rotate after a path wiggler, that's okay and don't ask me why it works that way, but that has been my experience over time. Anyway, I'll go ahead and click on Pucker & Bloat, so we can change the setting and Preview is turned on which is nice.

I'm going to decrease the value which is going to increase the amount of puckery-ness going on on-screen and you can see that puckers, combined with stars, produce really interesting effects, so do bloats, by the way. You end up getting these flower effects right there. Anyway, I'm going to take this value down though to something -22, is what I came up with. Then I'll click OK. All right, next I'm going to go ahead and turn on 3D Rotate, so that we're rotating the stars as well here. And I'm going to click on 3D Rotate in order to bring up the Rotate Options dialog box and as opposed to turning on Preview and all that jazz, I'm just going to change this value.

I know I just want to change the Z-rotation, just little bit, the roll, so I'm going to change it to 1? and again that's what I figured out over time, but you can save yourself some hassle if you just center the value without turning on Preview, but if you really want to get a sense of how things work, turn on Preview and go to town. Have a lot of fun. Then click OK in order to apply that modification and next, turn on Transform because we do need to move the stars around a little bit. Currently, they're centered exactly where they need to be, but I do want to move them around virtually.

So I'll turn on Transform. I'll click on it to bring up the Transform Effect dialog box. I'm going to change the Horizontal Scale value to 92% and then I'll change the Vertical value to 100%, so reset that one. I'm going to change the Horizontal Move value to 54 points and then I'll turn on the Preview check box to see what I've done and gauge whether that works or not and it does. And then I'll go ahead and click OK in order except that modification. And then finally, I'm going to turn on the Drop Shadow in order to finish off that affect. So there you have it.

That's how you go about duplicating a group of fill and stroke attributes along with their dynamic effects onto a different object inside of Illustrator. Notice in this case we went from live editable text, which we could still edit if you want to and we took all of those effects and transferred them to static path outlines. That's perfectly acceptable. And then of course, we made a bunch of modifications in order to customize those effects.

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This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28269 viewers

Deke McClelland
Author

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

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