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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.
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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