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Expanding and filling brush outlines


From:

Illustrator CS5 One-on-One: Mastery

with Deke McClelland

Video: Expanding and filling brush outlines

I have saved the results of the previous exercises as Violet zigzags.ai, and at this point we are going to return to our original large-format fabric tag project. And as you may recall, here is the Garment tag.ai file, which represents the final version of illustration. And it includes this floral treatment--believe it or not, that's what it is--with a red tile pattern attached up here at the top of the artwork and down here at the bottom as well. And that's a combination of an art brush working hand in hand with the tile pattern, not a pattern brush, by the way.
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  1. 37m 22s
    1. Welcome
      45s
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
      58s
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
      33s
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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Watch the Online Video Course Illustrator CS5 One-on-One: Mastery
13h 5m Advanced Jan 28, 2011

Viewers: in countries Watching now:

In Illustrator CS5 One-on-One: Mastery, the third and final part of the comprehensive Illustrator One-on-One series, author and industry expert Deke McClelland shows how to take advantage of the wide array of dynamic effects in Illustrator CS5. Deke explores Illustrator’s powerful Gradient Mesh feature, great for creating photorealistic airbrushing effects. He also covers graphic styles, the liquify tools, envelope-style distortions, the new Bristle Brushes, 3D text, and perspective drawing. Exercise files accompany the course.

Topics include:
  • Working with dynamic effects
  • Placing artwork as a Photoshop Smart Object
  • Creating and editing a Gradient Mesh
  • Distorting artwork with an Envelope Mesh
  • Using the Calligraphic, Art, and Scatter Brushes
  • Creating an intricate Pattern Brush
  • Importing and graphing data
  • Creating a complex pictograph
  • Drawing and editing a perspective shape
  • Working with the new Perspective Grid tool
  • Using the 3D Revolve effect
  • Creating 3D type with Extrude & Bevel
  • Recording and playing automated actions
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Expanding and filling brush outlines

I have saved the results of the previous exercises as Violet zigzags.ai, and at this point we are going to return to our original large-format fabric tag project. And as you may recall, here is the Garment tag.ai file, which represents the final version of illustration. And it includes this floral treatment--believe it or not, that's what it is--with a red tile pattern attached up here at the top of the artwork and down here at the bottom as well. And that's a combination of an art brush working hand in hand with the tile pattern, not a pattern brush, by the way.

But to pull it off, I have to go ahead and expand the art brush to its core path outlines, and that's something that you can do to any brush inside of Illustrator, including the bristle brushes, which we'll discuss in the future. So let me show you how that works. I'm going to switch to my last saved version of this illustration, which I call Better letterstrokes.ai, and I am going to go ahead and select this top path outline right there. And I'll bring up a Brushes panel and scroll down this list of art brushes, and we transition, notice that, from those sort of natural media brushes to these various floral brushes. And for example there's this one here, Floral Stem. That's one of the ones that Illustrator CS5 automatically includes with a new document.

If you apply it, you get a unidirectional, sort of floral treatment here--that is to say it starts on one side, ends at the other. If you wanted it to be symmetrical, then you would have the divide the path in the middle and then go ahead and flip the version of the art brush that's applied to the right-hand path. However, Illustrator also ships with a handful symmetrical brushes, so I am going to bring up the Brushes panel, and I am going to move up to Floral Bulbs. Now it doesn't look like any great shakes here, but once we apply it to this particular path, we get this kind of strange, crab-like creature, which I absolutely love. I think works great with this artwork.

So now I am going to go ahead and hide the Brushes panel, and I'm going to increase the thickness of this brush a little bit by increasing that Stroke value to 1.2. Now the next thing I would like to do is apply a tile pattern, and I was telling you you can assign tile patterns to strokes inside of Illustrator, but when you're working with black art brushes, it just doesn't hold up. You can colorize a black art brush by assigning one of the solid fills, such as green. We have already seen that. However if you try to assign red wedges, for example, which is what I'm looking for here, it just doesn't work, you go back to black.

So what you need to do is expand that stroke so that you have filled path outlines and then assign the tile pattern as a fill instead. And you do that by going up to the Object menu and choosing the Expand Appearance command, and that goes ahead and expands the brush and converts it to path outlines. And there you go, and that's the way you expand any brushed path inside of Illustrator. All right, now I am going to go ahead and assign to the fill this time, so I clicked on the fill swatch up here in the control panel and I'm going to assign red wedges. That doesn't look right at all but, just bear with me for a moment.

Now I meant to go ahead and assign that same art brush to this bottom path, but I forgot, so let's do it now. I will go ahead and click on the bottom path, go up to the Brushes panel, and click on that same guy, Floral Bulbs. It, however, is not a reflected version of the top line. Notice that, they look different than each other. So I am going to have to increase the Stroke value. That's of course necessary, so I will increase that value 1.2 once again. But this sort of slab right here is at the bottom instead of being kind of at the top. Do you know what I mean? They just don't look like reflected versions of each other, and that's not what I'm looking for.

So in order to fix that, your drop down to Options of Selected Object because you can always flip an art brush, as well as a pattern brush, across its path outline. So I will go ahead and do that by clicking on Options of selected object, and then notice you have Flip Along, which in this case because we have a symmetrical art brush, its not going to make any difference. I have got Preview turned on, so you can see the difference. I will click on Flip Along. No, nothing happens, and it did flip, but it's just that this one side flipped to the other side and as they say, they are both the same.

So I will turn off Flip Along and I will turn on Flip Across, and we end up getting exactly the effect I am looking for. Notice they are now reflected versions of each other. Okay, perfect. Click OK in order to accept that modification. Now, go up to that Object menu, choose the Expand Appearance command in order to convert that brush to path outlines, and then go ahead and fill it, once again, by clicking on the fill swatch up here in the control panel and selecting Red wedges. Now big problem, of course, the wedges are to too dinky. That is, the tile patterns are still very small. Here is what you've got to do.

Click on one, Shift+Click on the other so that they're both selected, and that way when you switch to the Scale tool that origin point is located right there in the center of the illustration where it needs to be so that everybody stays in Registration--that is, all the various elements of the tile patterns register with each other. Now I will go back to the Scale tool, double-click on it here inside of the toolbox. I want you to change Uniform value to 200%, make sure Patterns is turned on. The other two check boxes should be turned off. Turn the Preview check box on, so that he can confirm that you done the right thing, which I have, and now click OK in order to accept that modification.

All right, now I want to go ahead and set these paths off from their background, and I am going to do that using yet another art brush. This stuff gets so insidious, but you can just heap these effects on top of each other as much as you want. So now that I have these various filled path outlines, I am going to switch over to the Appearance panel, and notice that I have got a group going, actually a couple of groups. I am going to go ahead and add a stroke to them by clicking on the Add New Stroke icon, or of course you can press that keyboard shortcut Ctrl+Alt+Slash, or Command+Option+Slash on the Mac. Then I want to scroll up his list until I find a brush called Charcoal, not Charcoal Rough or Charcoal Soft or Charcoal Tapered, just plain old charcoal.

I will go ahead and click on it to make it active, and then I am going to change its color to green now that I know the stroke is active here inside the Appearance panel. I am going to click Opacity in the Appearance panel, and I am going to change the blend mode from Normal to Multiply. And then I am going to grab that stroke and drag it below the contents, so that the stroke is no longer covering up the fills, just like that. And then, check this out, I have this nice charcoal treatment up top, but it looks sort of ragged and weird down here at the bottom, so I am going to click off the shapes to deselect them, then I will click on this path right here in order to select the bottom group, and I am going to click on Options of Selected Object. It's very important, by the way, that your stroke is nailed here, so that Illustrator knows what in the world you are talking about.

Then go ahead and click on Options of Selected Object, and I want you to turn on and Flip Along and Flip Across, and that ends up delivering the effect that I am looking for. Then click OK, and the deed is done. And that is how you combine an art brush with the tile pattern and yet another art brush here inside Illustrator.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Mastery .


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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