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Introducing Graphic Styles

From: Illustrator CS5 One-on-One: Mastery

Video: Introducing Graphic Styles

In this exercise, I am going to introduce you to the Graphic Styles panel, which allows you to save collections of dynamic effects as well as transparency settings, multiple fill and stroke attributes, basically anything that you can build up in the Appearance panel, and then you can reassign those graphic styles anytime you like. You can even mix and match them as we'll see in an upcoming exercise. I'm working inside a file called Graphic style collection.ai. It's found inside your 23_dynamic_effects folder. And to bring up the Graphic Styles panel, you go to the Window menu and you choose Graphic Styles.

Introducing Graphic Styles

In this exercise, I am going to introduce you to the Graphic Styles panel, which allows you to save collections of dynamic effects as well as transparency settings, multiple fill and stroke attributes, basically anything that you can build up in the Appearance panel, and then you can reassign those graphic styles anytime you like. You can even mix and match them as we'll see in an upcoming exercise. I'm working inside a file called Graphic style collection.ai. It's found inside your 23_dynamic_effects folder. And to bring up the Graphic Styles panel, you go to the Window menu and you choose Graphic Styles.

Now notice I was telling you that Graphic Styles allow you to save anything that you can collect inside the Appearance panel and so that you have very similar keyboard shortcuts, Shift+F6 for Appearance and Shift+F5 for Graphic Styles. So you can choose that command. You can also click on this icon right there. I'll go ahead and escape out of the menu. Notice there is a sort of prosaic collection of three squares. That indicates your Graphic Styles panel. So if you click there, you are going to bring up the panel. It may take a moment for the panel to populate because it has a bunch of graphic style thumbnails that it has to generate.

Now these are all graphic styles that ship along with Illustrator that I've collected inside of a single document. If you want to check out other graphic style libraries, you can go up to the flyout menu and choose Open Graphic Style Library and then select any of these libraries from the list. But once I've collected are some of the Artistic Effects, we've got some Texture, some Type Effects, some Illuminant Styles as well, but there's other libraries to choose from so you might want to check them out. Now the great thing about working from these predefined graphic styles is that it helps you learn even more about how to employ dynamic effects, because you can see what some of the Adobe designers have done with them, and then you can take off from there, so it's fairly inspirational.

Let's see how it works. I am going to go ahead and click on this big green rectangle and I'm going to apply RGB Brick to that rectangle. And it will totally override the pre- existing fill and stroke attributes, any other dynamic effects might have applied and so on. To see what's up, go to the Appearance panel and twirl open that Fill. Notice there is no Stroke, it's set to none, the Fill is set to the shade of red, and you have got a couple of Texturizer effects. Now Texturizer is one of the many Photoshop effects that reside in the bottom portion of the Effect menu.

In fact, it's all way down here under the Texture sub-menu, you've got the Texturizer command. And most of what we are going to be seeing here by the way are Filter Gallery effects, meaning that they all work inside the large Filter Gallery dialog box. I am going to go ahead and click on the first Texturizer, so we can get a sense of what's going on. It lays down this Brick Texture. Scaling is 104%. Relief, which is the amount of depth that we're seeing here is 11, and light is coming in from the top. So just bear that in mind because I am going to cancel out and show you the other Texturizer. It's almost identical.

I'll click on it, it's still Brick, the Scaling is the same, the Relief is a little lower, so we don't have quite as much contrast and then the light is coming in from the bottom-left. So it's basically a double lighting effect on this Brick texture. All right, so you can modify that if you want to. Just bear in mind if you decide to change the scaling, you are going to have to change that Scaling value that's associated with both of the Texturizer effects. I am going to cancel out. I am just going to change the color. So I am going to click on the Fill there and I can see my color here inside the Color panel. I am looking at the HSB sliders, and if you want to follow along with me, you click in the upper-right corner there to bring up the flyout menu and choose HSB.

Anyway, I want to dial in a slightly different brightness value. I am going to take the Brightness down to 50. I am going to leave Saturation at 75. And the reason these guys are updating on the fly is Illustrator is trying to convert to the nearest RGB color. And I'll go ahead and change the H value, the Hue value, to 15%, which will give us a little more of a brown background. All right, so far so good. I am going to switchover to the Layers panel and I'll click the upper-right corner of the white layer, and this time around I'm going to apply the RGB Stone style. And notice that you'll see a bunch of different progress bars fly by. That's because there is an awful lot going on with this effect.

I will press Ctrl+H or Command+H on the Mac in order to hide those selection edges. And you can see that, I guess we have kind of a Stone style. I'll go ahead and zoom in a little bit here, but it looks pretty darn cruddy, especially in front of my black skull paths. So I am going to take that white layer and just move it below black, like so. And then I'll go to the Transparency panel, which I have up on screen, and I will click on Normal and switch that blend mode to Overlay, so that we end up integrating the shadows and highlights from the Stone effect into that background Brick pattern.

And we will get something of a more naturalistic result once we get through the progress bars, because there is an awful lot of stuff being heaped on here. Now I am going to select this head rag layer right there by clicking in its upper-right corner, and I'm going to assign the Art Paper style, which is way at the top of the list. And that should be a pretty quick application. There's not that much going on this time. And I will click on the Blend Mode once again and change it from Normal to Color this time around, so that we just end up coloring that background wall because I wanted to look like the skull is painted into the brick, don't you know? And now I will click the upper-right corner of the black layer in order to select all the black paths.

And this time around I'm going to apply RGB Dirt. In case you are wondering why a lot of these textures say RGB, it's because they are dependent upon Filter Gallery filters, which only work in the RGB mode. They don't work in CMYK. Anyway I will go ahead and click on RGB Dirt, which if you're trying to find it is right next to the RGB Denim, and that will apply a handful of different filtering effects and of course Illustrator has to throw us a bunch of progress bars, also indicating that we are blending a bunch of different effects on-screen here. That looks pretty rough and cruddy, however we can modify the effect, you always can.

So go over to the Appearance panel and I'll tell you what we've got going on here. Notice that we have a couple of fills, no Stroke once again, but a very dark fill set to 84% Opacity in the Multiply Blend mode. And then we have this lighter kind of orange fill below which is opaque and it has a variety of different Filter Gallery filters assigned to it. Now you can play around with those filters if you want to by clicking on any of those links. However, what I am going to tell you, and then you can decide to trust me or not, is that this Fill doesn't make much of a positive contribution. And if it doesn't, if in effect is it really helping you out, then you should turn it off, because if you leave it on then you're just making the document that much more complicated.

So I am going to turn off the eyeball for that fill just to get rid of it, and then let's take a look at this Ocean Ripple. I'll go ahead and click, because Ocean Ripple is responsible for these various sort of beveled edges that we are seeing here. I will click on Ocean Ripple and all we see is this tiny little path outline here inside the preview. What in the world gives? We have all of those black outlines selected and yet we're just seeing a tiny fragment and it's much too tiny to gauge the quality of our effects. What do we do? Well, I am going to show you what's going on with this and how to solve this problem in the next exercise.

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This video is part of

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

134 video lessons · 28509 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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