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