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Editing envelopes

From: Illustrator CS4 Beyond the Basics

Video: Editing envelopes

One of the great things about working with envelopes is that they are non-destructive. That means that I can actually apply these distortions to my effects without worrying about losing the editability of my original artwork. In fact, at any time that I'm working with an envelope I can always go back to my original piece of artwork and make modifications as necessary. So let's take a close look at how we actually edit an envelope after we have created it. I'm working with this document here called the edit_envelope. I'm going to select both the objects that are here. Now in this particular example I already have taken this particular artwork here and I brought it to the front of the stacking order. So remember that when I use the Envelope > Make with Top Object command, it doesn't mean that the object need to sit physically on top of it as it appears here but it needs to actually sit at the top of the object stacking order inside of Illustrator.

Editing envelopes

One of the great things about working with envelopes is that they are non-destructive. That means that I can actually apply these distortions to my effects without worrying about losing the editability of my original artwork. In fact, at any time that I'm working with an envelope I can always go back to my original piece of artwork and make modifications as necessary. So let's take a close look at how we actually edit an envelope after we have created it. I'm working with this document here called the edit_envelope. I'm going to select both the objects that are here. Now in this particular example I already have taken this particular artwork here and I brought it to the front of the stacking order. So remember that when I use the Envelope > Make with Top Object command, it doesn't mean that the object need to sit physically on top of it as it appears here but it needs to actually sit at the top of the object stacking order inside of Illustrator.

You can easily see that at any time by the way by just going to the Layers panel, choosing over here and twirl down and seeing that my Path now sits above the text object in the stacking order. I'm going to close my Layers panel. I'm going to take these two objects that I have selected, I'm going to choose Object > Envelope Distort > Make with Top Object. So now my text has been forced and distorted to fill the shape of the path that I selected. So now let's look about modifying the actual envelope itself. Now we are dealing with envelopes here we have two specific entities in play. First of all, I have the actual envelope itself. We refer to the Path that we use for the top object here as the envelope itself. Then in addition we have the content of the envelope, those are the elements that we brought into the envelope that are now distorted.

Now when I'm working inside of Illustrator, I now and really only working with the envelope itself, the artwork that I use inside of that, in other words the distorted artwork is not something that I could actually touch itself, I can only work with the actual envelope and I can do that simply by using my Direct Selection tool. I'll select that right here and I can modify any of the anchor points here on this path. For example, I can take this one and stretch it out and also the artwork or the contents of my envelope have now been updated to fill the shape that I have now modified. Let me press Undo. Let's say I now actually realize that I want to change some of the text in there. The client just called up, instead of the word SURF they want to word Surfer inside of there. So how can I do that? Well I'm actually going to go ahead and use my Regular Selection tool to select my entire envelope. I'm now going to go over here to the control panel. I notice that I have two icons here. One is called the Edit Envelope and one is called, the Edit Contents. In fact, this works very similar to the way that masking works inside of Illustrator. When I'm working with a mask I can either work with the mask itself or the content inside the mask and I can toggle between them.

Well here inside of Illustrator, I can do the same by clicking on these buttons. Right now by the default I'm always working with the envelope itself, but if I want to modify the content, I'll click on this button called Edit Contents. Now notice that I can actually have the text selected, I'll take my Type tool here and double click to modify the words and I'll type in S-U-R-F-E-R for SURFER and now I'll simply click on my Regular Selection tool. Notice now I modified the contents of my envelope. Now I'll go back to choose the envelope itself and now I have been able to make that particular change.

In fact, you can easily see this again by looking at the Layers panel. So I'm going to go over to the Layers panel. Let's open that up. I see now that I have Layer 1, I have an envelope. That's all I really have in this particular piece of artwork right now. In fact, the document does not even show that I have a text object that has the letters S-U- R-F-E-R inside of it because that's "hidden" inside of the envelope itself. So if I want to modify those contents of the envelope, I would come over here and click on this button to edit the contents or alternatively I could also go through the Object menu, go to where it says Envelope Distort and choose to Edit the Contents. The keyboard shortcut is Command+Shift+V or Ctrl+Shift+V if you are on the PC. So I'm going to choose that option, notice that right now this little twirl down next to the Envelope, if I click on that I can see that the text called SURFER now exists inside of that.

I am going to choose View. I'm going to turn on over here my Smart Guides. When I mouse over this I'll see the original text that's there which does make it a little bit easier to modify your artwork. This doesn't only happen with text. If I have other artwork that I'm distorting inside of an envelope, that will appear in the same way when Smart Guides is turned on. So if I want to go back to original way that I had it where, just had the word SURF, I may go here and just simply double-click on my text object. Let me go ahead and just delete those two letters that are there, take my Regular Selection tool and double-click to exit my Isolation mode there and now I'm back to having this particular shape here.

There is something that is really important to know, it's very easy to forget that you are now still inside of this Envelope Editing Content Mode, you are not anymore editing the envelope itself but the content and as such you will notice that when you start working elsewhere inside of Illustrator, you may find that certain commands are not available. That's because you are now inside of this mode, where you are editing the content of your envelope. So you always want to make sure that you come out of this mode, you exit out of this mode. You want to make sure that you will select your artwork, go back to the Object menu choose Envelope Distort and then choose to Edit the Envelope.

Again you could also do that through the icons that appear here inside of the control panel.

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This video is part of

Image for Illustrator CS4 Beyond the Basics
Illustrator CS4 Beyond the Basics

137 video lessons · 29161 viewers

Mordy Golding
Author

 
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  1. 2m 4s
    1. Welcome
      1m 41s
    2. Using the exercise files
      23s
  2. 33m 20s
    1. Introducing Live Paint
      38s
    2. Drawing in Illustrator
      4m 21s
    3. Creating a Live Paint group
      2m 54s
    4. Using the Live Paint Bucket tool
      3m 17s
    5. Using Live Paint with open paths
      2m 29s
    6. Detecting gaps in Live Paint groups
      4m 17s
    7. Adding paths to a Live Paint group
      3m 41s
    8. Using the Live Paint Selection tool
      5m 44s
    9. Releasing and expanding Live Paint groups
      2m 55s
    10. Understanding how Live Paint groups work
      3m 4s
  3. 49m 36s
    1. Introducing the trace options
      39s
    2. Setting expectations: Live Trace
      2m 26s
    3. Using the Live Trace feature
      1m 51s
    4. Understanding how Live Trace works
      5m 41s
    5. Making raster-based adjustments
      5m 52s
    6. Tracing with fills, strokes, or both
      2m 55s
    7. Making vector-based adjustments
      6m 12s
    8. Adjusting colors in Live Trace
      4m 39s
    9. Using Photoshop with Live Trace
      5m 22s
    10. Releasing and expanding Live Trace artwork
      2m 58s
    11. Saving and exporting Live Trace presets
      2m 36s
    12. Tracing in Batch mode with Adobe Bridge
      1m 35s
    13. Turning an image into mosaic tiles
      2m 28s
    14. Tracing an image manually
      4m 22s
  4. 1h 24m
    1. Introducing 3D
      33s
    2. Setting expectations: 3D in Illustrator
      2m 53s
    3. How fills and strokes affect 3D artwork
      4m 43s
    4. Applying the 3D Extrude & Bevel effect
      6m 25s
    5. Applying a bevel
      5m 40s
    6. Showing the hidden faces of a 3D object
      4m 49s
    7. Applying the 3D Revolve effect
      5m 22s
    8. Visualizing the revolve axis
      3m 5s
    9. Applying the 3D Rotate effect
      1m 35s
    10. Adjusting surface settings
      9m 33s
    11. Understanding the importance of 3D and groups
      3m 24s
    12. Preparing art for mapping
      10m 19s
    13. Mapping artwork to a 3D surface
      14m 21s
    14. Hiding geometry with 3D artwork mapping
      4m 0s
    15. Extending the use of 3D in Illustrator
      8m 7s
  5. 44m 37s
    1. Introducing transformations and effects
      32s
    2. Using the Transform panel
      12m 37s
    3. Repeating transformations
      5m 23s
    4. Using the Transform Each function
      3m 48s
    5. Using the Convert to Shape effects
      5m 49s
    6. Using the Distort & Transform effects
      5m 12s
    7. Using the Path effects
      6m 58s
    8. Using the Pathfinder effects
      4m 18s
  6. 28m 23s
    1. Introducing graphic styles
      33s
    2. Applying graphic styles
      10m 8s
    3. Defining graphic styles
      8m 46s
    4. Previewing graphic styles
      2m 10s
    5. Modifying graphic styles
      3m 30s
    6. Understanding graphic styles for text
      3m 16s
  7. 22m 49s
    1. Introducing advanced masking techniques
      32s
    2. Understanding clipping masks
      7m 15s
    3. Using layer clipping masks
      6m 30s
    4. Creating opacity masks
      8m 32s
  8. 1h 6m
    1. Introducing color
      40s
    2. Considering three types of color swatches
      7m 7s
    3. Managing color groups
      2m 58s
    4. Understanding the HSB color wheel
      3m 57s
    5. Understanding color harmonies
      2m 57s
    6. Using the color guide
      3m 54s
    7. Limiting the color guide
      3m 17s
    8. Modifying color with the Recolor Artwork feature
      6m 25s
    9. Using the Edit tab to adjust color
      5m 44s
    10. Using the Assign tab to replace colors
      8m 37s
    11. Making global color adjustments
      2m 17s
    12. Using Recolor options
      7m 3s
    13. Converting artwork to grayscale
      3m 23s
    14. Simulating artwork on different devices
      3m 18s
    15. Accessing Kuler directly from Illustrator
      2m 7s
    16. Ensuring high contrast for color-blind people
      2m 42s
  9. 53m 19s
    1. Introducing transparency
      40s
    2. Understanding transparency flattening
      2m 31s
    3. Exercising the two rules of transparency flattening
      10m 53s
    4. Understanding complex regions in transparency flattening
      4m 50s
    5. Exploring the transparency flattener settings
      8m 37s
    6. Using transparency flattening and object stacking order
      6m 39s
    7. Using the Flattener Preview panel
      6m 31s
    8. Creating and sharing Transparency Flattener presets
      2m 25s
    9. Working within an EPS workflow
      5m 3s
    10. Understanding the Illustrator and InDesign workflow
      5m 10s
  10. 50m 1s
    1. Introducing prepress and output
      23s
    2. Understanding resolutions
      8m 27s
    3. Discovering RGB and CMYK "gotchas"
      5m 42s
    4. Using Overprints and Overprint Preview
      7m 43s
    5. Understanding "book color" and proofing spot colors
      8m 1s
    6. Collecting vital information with Document Info
      2m 28s
    7. Previewing color separations onscreen
      1m 12s
    8. Making 3D artwork look good
      2m 16s
    9. Seeing white lines and knowing what to do about them
      2m 41s
    10. Creating "bulletproof" press-ready PDF files
      3m 45s
    11. Protecting content with secure PDFs
      2m 48s
    12. Using PDF presets
      2m 47s
    13. Moving forward: The Adobe PDF Print Engine
      1m 48s
  11. 35m 43s
    1. Introducing distortions
      27s
    2. Using the Warp effect
      4m 20s
    3. The Warp effect vs. envelope distortion
      3m 48s
    4. Applying the Make with Warp envelope distortion
      2m 45s
    5. Applying the Make with Mesh envelope distortion
      2m 41s
    6. Applying the Make with Top Object envelope distortion
      3m 45s
    7. Editing envelopes
      5m 0s
    8. Adjusting envelope settings
      4m 2s
    9. Releasing and expanding envelope distortions
      1m 44s
    10. Applying envelope distortions to text
      1m 27s
    11. Using the liquify distortion tools
      3m 5s
    12. Customizing the liquify tools
      2m 39s
  12. 28m 56s
    1. Introducing blends
      32s
    2. Blending two objects
      6m 18s
    3. Adjusting blend options
      5m 47s
    4. Blending anchor points
      5m 36s
    5. Blending three or more objects
      2m 9s
    6. Replacing the spine of a blend
      4m 32s
    7. Reversing the direction of a blend
      2m 15s
    8. Releasing and expanding a blend
      1m 47s
  13. 46m 54s
    1. Introducing charts and graphs
      35s
    2. Setting expectations: Graphs in Illustrator
      3m 19s
    3. Creating a chart
      8m 2s
    4. Importing data
      3m 34s
    5. Formatting data
      5m 1s
    6. Customizing a chart
      10m 21s
    7. Combining chart types
      2m 40s
    8. Creating graph designs
      6m 0s
    9. Styling and updating graphs
      5m 33s
    10. Ungrouping graphs
      1m 49s
  14. 26m 36s
    1. Introducing Gradient Mesh
      23s
    2. Understanding the Gradient Mesh feature
      9m 34s
    3. Using Gradient Mesh to add contoured shading
      6m 14s
    4. Using Gradient Mesh to create photorealistic effects
      10m 25s
  15. 8m 18s
    1. Introducing flare effects
      25s
    2. Drawing a lens flare
      3m 28s
    3. Modifying a lens flare
      1m 27s
    4. Using a mask with lens flares
      2m 58s
  16. 29s
    1. Goodbye
      29s

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