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Exploring the Appearance palette


Illustrator CS4 One-on-One: Fundamentals

with Deke McClelland

Video: Exploring the Appearance palette

In this exercise I'm going to introduce you to our sample project file and we are going to inspect one of the objects inside the Appearance palette, so that you can see just the amazing things you can accomplish with the Appearance palette. I also want to show you a way in which it's been newly enhanced inside Illustrator CS4. And I'm going to show you this really amazing text formatting attribute that I think you want to be aware of. All right, so I've got two files open here inside of Illustrator. One is called One-eyed petroglyph.jpg. You can open pixel-based image files inside of Illustrator if you want to, and that's what I have done here. And this is a photograph of a petroglyph. I believe it's an Anasazi petroglyph that features this giant one-eyed creature with these arms akimbo. That's what I'm imagining them to be anyway.
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  1. 42m 8s
    1. Welcome to One-on-One
      1m 58s
    2. The Welcome screen
      3m 3s
    3. Creating a new document
      5m 6s
    4. Advanced document controls
      4m 43s
    5. Saving a custom New Document Profile
      8m 46s
    6. Changing the document setup
      4m 21s
    7. Special artboard controls
      4m 58s
    8. Accepting artboard changes
      2m 19s
    9. Saving a document
      4m 33s
    10. Closing a document
      2m 21s
  2. 1h 0m
    1. Adobe Bridge
    2. Opening an illustration
      4m 45s
    3. Modifying an illustration
      6m 27s
    4. Saving changes
      4m 58s
    5. Introducing Adobe Bridge
      8m 41s
    6. The all-important file type associations
      3m 20s
    7. Navigating inside Bridge
      4m 23s
    8. Previewing and collecting
      5m 55s
    9. Using workspaces
      6m 41s
    10. Customizing a workspace
      6m 14s
    11. Cool Bridge tricks
      8m 17s
  3. 1h 4m
    1. Preferences, color settings, and workspaces
    2. Keyboard increments
      5m 12s
    3. Scratch disks
      3m 48s
    4. Changing the user interface and setting Appearance of Black
      4m 14s
    5. Best workflow color settings
      9m 17s
    6. Synchronizing settings across CS4
      3m 2s
    7. Working inside tabbed windows
      7m 6s
    8. Organizing palettes
      5m 4s
    9. Saving a custom workspace
      4m 12s
    10. Zooming and panning
      4m 19s
    11. Using the Zoom tool
      3m 3s
    12. Navigating the artboards
      5m 5s
    13. Nudging the screen image
      3m 3s
    14. Scroll-wheel tricks
      2m 8s
    15. Cycling between screen modes
      4m 35s
  4. 1h 22m
    1. The Wedjat (or Eye of Horus)
    2. The line tools
      2m 57s
    3. Introducing layers
      5m 10s
    4. Creating ruler guides
      6m 18s
    5. Creating custom guides
      5m 16s
    6. Snap-to points
      5m 25s
    7. Organizing guides
      5m 44s
    8. Making a tracing template
      3m 42s
    9. Drawing a line segment
      4m 29s
    10. Drawing a continuous arc
      5m 28s
    11. Drawing a looping spiral
      6m 5s
    12. Cutting lines with the Scissors tool
      6m 20s
    13. Joining open paths
      7m 31s
    14. Aligning and joining points
      6m 34s
    15. Drawing concentric circles
      4m 41s
    16. Cleaning up overlapping segments
      5m 34s
  5. 1h 4m
    1. The anatomy of a shape
      1m 1s
    2. Meet the shape tools
      3m 5s
    3. The traceable Tonalpohualli
      2m 52s
    4. Drawing circles
      4m 38s
    5. Enhanced Smart Guides
      4m 1s
    6. Aligning to a key object
      4m 29s
    7. Creating polygons and stars
      5m 4s
    8. Using the Measure tool
      3m 47s
    9. The Select Similar and Arrange commands
      3m 56s
    10. Rectangles and rounded rectangles
      6m 8s
    11. The amazing constraint axes
      5m 26s
    12. Grouping and ungrouping
      3m 35s
    13. Flipping and duplicating
      4m 12s
    14. Combining simple shapes into complex ones
      5m 24s
    15. Cutting and connecting with Scissors and Join
      3m 31s
    16. Tilde-key goofiness
      2m 53s
  6. 1h 41m
    1. The ingredients of life
    2. Fill and Stroke settings
      4m 22s
    3. Transparency grid and paper color
      5m 47s
    4. The None attribute
      5m 4s
    5. Color libraries and sliders
      3m 39s
    6. Industry-standard colors
      4m 38s
    7. Using CMYK for commercial output
      6m 39s
    8. Using RGB for the web
      7m 23s
    9. Color palette tips and tricks
      7m 18s
    10. Creating and saving color swatches
      4m 35s
    11. Trapping gaps with rich blacks
      6m 46s
    12. Filling and stacking shapes
      5m 39s
    13. Dragging and dropping swatches
      5m 0s
    14. Paste in Front, Paste in Back
      4m 54s
    15. Filling shapes inside groups
      5m 28s
    16. Pasting between layers
      4m 41s
    17. Joins, caps, and dashes
      6m 50s
    18. Fixing strokes and isolating edits
      7m 12s
    19. Creating a pattern fill
      4m 57s
  7. 1h 50m
    1. The power of transformations
      1m 20s
    2. From primitive to polished art
      2m 42s
    3. Using the Blob brush
      5m 46s
    4. Resizing the brush and erasing
      4m 15s
    5. Selection limits and methods of merging
      6m 39s
    6. Cloning and auto-duplicating
      6m 45s
    7. Customizing keyboard shortcuts
      3m 7s
    8. Moving by the numbers
      5m 15s
    9. Using the Reshape tool
      7m 47s
    10. Modifying, aligning, and uniting paths
      7m 14s
    11. Using the Offset Path command
      4m 43s
    12. Styling and eyedropping
      5m 29s
    13. Making a black-and-white template
      2m 27s
    14. Scale and clone
      4m 57s
    15. Enlarge and stack
      5m 46s
    16. Positioning the origin point
      6m 59s
    17. Using the Rotate tool
      3m 55s
    18. Using the Reflect tool
      4m 15s
    19. Series rotation (aka power duplication)
      6m 48s
    20. Rotating by the numbers
      6m 12s
    21. Transforming the tile patterns
      7m 52s
  8. 2h 4m
    1. Next-generation text wrangling
    2. Placing a text document
      5m 38s
    3. Creating a new text block
      6m 1s
    4. Working with point text
      3m 57s
    5. Selecting the perfect typeface
      5m 44s
    6. Scaling and positioning type
      8m 57s
    7. Leading, tracking, and lots of shortcuts
      5m 54s
    8. Adjusting pair kerning
      6m 55s
    9. Eyedropping formatting attributes
      3m 54s
    10. Flowing text from one block to another
      8m 28s
    11. Creating and applying a paragraph style
      7m 39s
    12. Rendering the text in graphite
      5m 55s
    13. Creating a scribbly drop shadow
      5m 17s
    14. Advanced formatting and bullets
      7m 43s
    15. Setting Area Type options
      4m 57s
    16. Justification and the Every-line Composer
      5m 52s
    17. OpenType and ligatures
      7m 19s
    18. Fractions, numerals, and ordinals
      9m 7s
    19. Swashes and small caps
      5m 40s
    20. The amazing Glyphs palette
      8m 12s
  9. 1h 18m
    1. Points are boys, handles are girls
      1m 20s
    2. Placing an image as a tracing template
      6m 56s
    3. Drawing a straight-sided path
      6m 8s
    4. Moving, adding, and deleting points
      6m 50s
    5. Drawing spline curves with Round Corners
      9m 7s
    6. Smooth points and Bézier curves
      8m 29s
    7. Defining a cusp between two curves
      6m 59s
    8. Replicating and reshaping segments
      8m 31s
    9. Converting anchor points
      7m 55s
    10. Deleting stray anchor points
      5m 1s
    11. Separating and closing paths
      5m 43s
    12. Eyedropping template colors
      5m 55s
  10. 1h 40m
    1. Paths never rest
      1m 34s
    2. Exploring the Appearance palette
      9m 54s
    3. Snip and Spin
      8m 3s
    4. Adding a center point
      4m 12s
    5. Keeping shape intersections
      3m 42s
    6. Lifting fills and selecting through shapes
      5m 54s
    7. Saving and recalling selections
      6m 20s
    8. Rotating is a circular operation
      8m 32s
    9. Lassoing and scaling points
      5m 28s
    10. Using the Transform Each command
      4m 11s
    11. Using the Magic Wand tool
      8m 1s
    12. Eyedropping live effects
      9m 58s
    13. Merging strokes with a compound path
      6m 50s
    14. Selecting and scaling independent segments
      7m 59s
    15. Scalloped edges with Pucker & Bloat
      5m 16s
    16. Expand before you merge
      4m 17s
  11. 1h 26m
    1. The new pleasures of printing
    2. Outlines and artboards in CS4
      7m 35s
    3. Setting trim size and bleed
      7m 17s
    4. Creating custom dynamic crop marks
      3m 41s
    5. Working with the Separations Preview palette
      7m 42s
    6. Trapping an object with an overprint stroke
      8m 20s
    7. Placing multiple artboards into InDesign
      5m 17s
    8. Working with the Print Tiling tool
      4m 56s
    9. Setting the General Print options
      6m 9s
    10. Setting printer marks
      5m 16s
    11. PostScript-only output and graphics
      9m 10s
    12. The Color Management options
      6m 56s
    13. Adjusting the Flattener settings
      7m 32s
    14. Setting the Raster Effects resolution
      5m 33s
  12. 1h 32m
    1. Illustrator does pixels
    2. Illustrator, PDF, and Save As formats
      8m 15s
    3. Saving an illustration for the web
      6m 13s
    4. Saving a continuous-tone JPEG image
      10m 2s
    5. Saving a high-contrast GIF graphic
      6m 27s
    6. The versatile PNG format
      4m 45s
    7. Saving a scaleable Flash (SWF) graphic
      11m 0s
    8. Opening and placing an Illustrator file in Photoshop
      12m 44s
    9. Exporting a layered PSD from Illustrator
      12m 57s
    10. Exporting to Microsoft Office and PowerPoint
      7m 24s
    11. Sharing with InDesign, Flash, and Photoshop
      12m 12s
  13. 1m 4s
    1. Until next time
      1m 4s

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Watch the Online Video Course Illustrator CS4 One-on-One: Fundamentals
16h 48m Beginner Feb 06, 2009

Viewers: in countries Watching now:

Adobe Illustrator has long been a popular vector–based drawing program, but for many the learning curve is steep. In Illustrator CS4 One-on-One: Fundamentals, author and leading industry expert Deke McClelland shows users how to get in to the Illustrator mindset and overcome this learning curve. He covers the application's key features in a new way, making it simple and easy to master Illustrator. Deke teaches viewers how to use the core drawing and shape tools, the transformation and reshaping features, text, and the Pen tool. He also explains how to export and print. Even if learning Illustrator has been a struggle in the past, this training can help make sense of it. Exercise files accompany the course.

Topics include:
  • Creating continuous arcs and looping spirals
  • Building with geometric shapes
  • Selecting, placing, and scaling type
  • Creating spine curves with round corners
  • Using the new Blob brush to quickly draw and merge paths
  • Working with flattener and raster effects
  • Saving illustrations for the web
Deke McClelland

Exploring the Appearance palette

In this exercise I'm going to introduce you to our sample project file and we are going to inspect one of the objects inside the Appearance palette, so that you can see just the amazing things you can accomplish with the Appearance palette. I also want to show you a way in which it's been newly enhanced inside Illustrator CS4. And I'm going to show you this really amazing text formatting attribute that I think you want to be aware of. All right, so I've got two files open here inside of Illustrator. One is called One-eyed petroglyph.jpg. You can open pixel-based image files inside of Illustrator if you want to, and that's what I have done here. And this is a photograph of a petroglyph. I believe it's an Anasazi petroglyph that features this giant one-eyed creature with these arms akimbo. That's what I'm imagining them to be anyway.

And then he has got this sort of tubular body and down here he's got the sort of Mickey Mouse shoes going on, and yet he is very old petroglyph, a non-western petroglyph. Meanwhile, over here on the right we have the sample file. This is the project file that we will be working inside of and it's called And obviously I created this Zorble character as a pretty derivative rip-off of this Anasazi one-eyed creature over here on the left-hand side. And we are going to be creating this corporate logo ourselves. It's kind of an evil corporate logo actually.

Anyway, let's go ahead and switch to the file, and I'm going to switch away the one-eyed petroglyph, so we will no longer have any memory of what a rip-off this piece of art is, and I want to show you something that's pretty remarkable. The Anasazi didn't have this. If I click on this rectangle in the background right here and you can tell it's selected, it's the contents of the Sand art layer right there. I'll go ahead and twirl open my Sand art layer and you can see there is just one path. That's it. That's the rectangle, end of story. And yet if I were to hide it for just a moment, notice that it contains a lot of information. It was responsible for all of those colors that were going on behind Zorble here.

So I'm going to turn it back on, make sure that it's selected by meatballing it right there, and let's take a look at what's going on inside the Appearance palette. So notice, I have several Fills going on. I've got a couple of strokes. So one 2-point white stroke is sitting on top of a six-point purple stroke right there, and here is the new thing inside of Illustrator CS4 that I'm so grateful for, we should have had it for years actually, this should have been available to us a long time ago but we finally have it eyeballs. And that may seem like a small thing that you can like turn and effect off and then you can turn it back on, but that's amazing, you used to have to throw away the Strokes and the Fills in the old days to get sort of a before and after preview. You had to drag them into the Trash Can and then undo that. In order to see the contribution that was being made by anyone of these attributes.

Now you have eyeballs and there are savable states. So if you go ahead and turn off an eyeball and then you were to save this illustration in the CS4 format, then it will keep track of which attributes are turned on and off. It's awesome. I have to tell you, it is so great. So for example, where the Fills are concerned, they are little harder to keep track of because the stroke is pretty obvious, we have got a two-point white stroke, sitting inside of a six- point violet stroke right there. But having a bunch of Fills stacked on top of each other, that's more of a mystery, so I'll just go ahead and turn these guys off right here, like so. And then we can see that we are starting off with a violet fill, nothing going on with it. It's just a standard everyday average fill. But then in front of that, we have this red fill. Notice that and if I twirl it open, I have got a transform effect applied just to that fill, and if you wanted to see what that transform effect look like, you would just click on this link here in order to bring up the Transform dialog box, and I was able to make this red fill smaller toward the bottom of this rectangle by reducing its size to 30% so that would move it actually to the bottom. Notice that it's linked to the bottom, this little origin guy right here, set to the bottom point.

So when it's scaling it down to 30% it's actually moving it toward the bottom of the rectangle, and if you want to see the contributions that are being made to these options you turn on the Preview checkbox. Now vertical is actually scooting it up upward. There is a little bit of a gap down here at the bottom, and if you wanted to scoot this fill even farther upward, you would increase that vertical value, like so, in order to move to farther and farther up. As we are seeing there, I could also make the vertical size of this stripe a little smaller. So everything was eyeballed, I just eyeballed things here inside of this dialog box. I'm going to click out of there, and we will see more about how you apply these live effects inside of Illustrator. You can do it directly from this fx icon down here. Another new option inside the Appearance palette and you can access all of these Appearance options and Transform is available right there. Distort and Transform, the Transform function, incredibly useful feature.

All right, then, I have got this yellow stripy pooh right here that's sort of this wave of a stripe, I'll show you that in just a second, and then down here is this Black Fill that's in back of my yellow text. And that also has a transform effect applied to it to make it nice and small. It's only 3.5% its normal height. And when I say its normal height, the height of the entire filled rectangles what we are working from. All right, so I'm going to twirl open this yellow guy right there and there is the transform. There is the tweak. I'm going to go ahead and show you tweak by clicking on it. We will turn on the Preview, and you don't want to do a horizontal tweak when you are doing a horizontal stripe like this. Because if you do this is what's going to happen, you are going to move outside of the boundaries.

But if I set that to 0 and then play with this vertical value, notice that I'm able to accomplish quite the wave with this tweak effect, this is yet another one of those effects that's available inside of that Distort Transform sub-menu right there. Anyway, that's why I don't expect you to memorize anything that's happening at this point, we are going to be discussing live effects in a later chapter much later in this series but you can't help, but sprinkle them throughout everything because they are so amazingly great. They are so great in fact that I have applied some to this text right here, to the logo, the Zorble logo right there. And you will notice that in addition to the Fill, which I moved on top of the stroke which is something you can do. When we take a look at special type effects, I'll be showing you this kind of stuff.

But we've got a fill on top of the stroke, if I twirl open the stroke, it also has a transform effect applied to it and that gives this text some dimension. Notice if I didn't have transform watch the text. If I turn off transform, the stroke would be centered around the letters, like so, thanks to the fact I'm just slightly nudging that stroke. It's moving downward with respect to the fill, and it's giving the text as I say a little bit of a bevel. So I'll click on it, just to show you, I'll click on Transform, it's just a one-point movement, one-point horizontal meaning that it's going one point to the right I believe, yes, and then it's going one point down as well, thanks to that -1 Vertical value. All right, anyway, that's all that's happening. I'm going to cancel onto that.

Now I was telling you there is a text formatting attribute I wanted to show, it's not that, it's not the stroke effect, as amazing as that is. I'm going to go ahead and zoom in on this little sort of technical detail down here, this little bit of legalese, and I'm Shift+ Tabbing away my palettes so that we can zoom in for a closer view, and I'm going to click on this text to select it. Now before I do actually, I'll click off of it for just a moment, I want you to see this. Do you see the punctuation, I'm going to go ahead and zoom in just a little bit. We've got punctuation that's hanging off the edges of the letter.

So this is force justify text, in other words, it's flush right and flush left all the way down the text, even the bottom line. But if I were to do a standard force justify, I'll show you what that would look like. I'll go ahead and click on the text to select it. I will press Ctrl+H or Command+H on the Mac. And I'm going to bring up the Paragraph palette from the Control palette up at the top of the screen. I'm going to click on this option and I'm going to turn off Roman Hanging Punctuation. This is what this would look like normally. Well, that's a total mess of course, let's just go ahead and get rid of a letter or two so that we can see that. I need to do a little bit of the screen refresh here. So wait one second, be patient with me, there we go! It would look like this where the comma and period are squished in and so the E looks like it's shoved out to the right. Whereas if I click on that text once again to select it, I press Ctrl+H or Command+H on the Mac in order to hide those selection edges, so we can't see them right now. But trust me, it is selected. And if I go to Paragraph once again, the force justify option, Justify all lines is turned on. If I go here and then choose Roman Hanging Punctuation, notice the difference, it goes ahead and sends the Roman Punctuation, standard everyday average punctuation that we use over the edge, over the right edge there, and as a result all the letters are perfectly lined up with each other. So remember that option can be very handy despite its oddball name.

All right, I'm going to escape out and I'm actually going to press Ctrl+Z or Command+Z on the Mac a couple of times until we restore our original text, and then I'll zoom out. So that is our document. This is the guy we are going to be working with. I'm going to press Ctrl+ H or Command+H on the Mac to bring back my selection edges. So I'm not confused in the future. Also going to press Shift+Tab to bring back my palettes. Now there are a couple of things I want you to do. Go to the Layers palette, and let's go ahead and twirl close that Sand art layer, and I call it Sand art because it looks like old style sand art, don't you know from the side.

All right, I'm going to turn off Articulates, which is the finished version of Zorble right here, the evil Zorble character. Turn them off and then I'm going to turn on other stuff, which is the beginning of the Zorble body, and then we've got this layer called Primitives, which is the beginning of the Zorble leg as you can see here, and also the big Zorble eye. And so just these first four layers here, Primitives, Other stuff, Text, and Sand art, I want you to turn those on and then join me in the next exercise.

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Fundamentals .

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Q: Adobe Bridge CS4 is not previewing files in the same way for me as it is in the tutorial. All I am seeing is a low-quality thumbnail of the image, not previews of each artboard.  Why is there a difference between the tutorial and what I am seeing?
A: There is a different view in the tutorial because the author used a beta version of Bridge during the recording. The final release of Bridge CS4 displays thumbnails as you describe.
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