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Liquifying the contents of an envelope

From: Illustrator CS5 One-on-One: Mastery

Video: Liquifying the contents of an envelope

In this exercise, we are going to use a couple of Liquify tools in order to modify the contents of our envelope, and we'll see how Illustrator responds to our modifications on the fly. I'm also going to show you an alternate method for editing the contents of an envelope inside the program. I have saved my progress as Almost perpendicular text.ai, found inside the 25_liquify_envelope folder. And I am going to go ahead and twirl open the background layer once again. We have got a bunch of guides at the top here, but toward the bottom of the layer is the envelope object. Another way to find the object-- and in this case I just went ahead and meatballed it--but another way to find that object is to press Ctrl+Y. If you're having problems locating it inside the Preview mode, you can press Ctrl+Y, or Command+Y on the Mac, to switch to the outline mode.

Liquifying the contents of an envelope

In this exercise, we are going to use a couple of Liquify tools in order to modify the contents of our envelope, and we'll see how Illustrator responds to our modifications on the fly. I'm also going to show you an alternate method for editing the contents of an envelope inside the program. I have saved my progress as Almost perpendicular text.ai, found inside the 25_liquify_envelope folder. And I am going to go ahead and twirl open the background layer once again. We have got a bunch of guides at the top here, but toward the bottom of the layer is the envelope object. Another way to find the object-- and in this case I just went ahead and meatballed it--but another way to find that object is to press Ctrl+Y. If you're having problems locating it inside the Preview mode, you can press Ctrl+Y, or Command+Y on the Mac, to switch to the outline mode.

And then notice the envelope is all you see; you don't even see the contents of the envelope when you're in the Edit Envelope mode. We see the horse and the starburst because they're not inside the envelope, but the text and the rectangle are hidden from us. Now I am going to press Ctrl+Y, Command+Y on the Mac, in order to switch back to the Preview mode. Now here's an alternate method. I was telling you, Ctrl+Shift+V, Command+Shift+V, what have you, goes ahead and switches back and forth between the Edit Envelope and Edit Contents modes. However, another way to work is to enter the Isolation mode.

And you can do that by double- clicking on that envelope, and then you'll be taken into Illustrator's Isolation mode, and you see that both rectangle and the text are now selected. And if I press Ctrl+Y, or Command+Y on the Mac, in order to switch to the Outline mode, there they are. There is the rectangle, and there is the text. All right, I will press Ctrl+Y, Command+Y, again in order to switch to the Preview mode. And this time, I want to use the Crystallize tool, so I am going to double-click on it because I want to modify a few settings. So, I am going to reduce the size of my brush to 100 pixels, both directions.

And I'm going to reduce the Intensity value to 10, and I might take the Complexity value up to 2, just to see what happens, and click OK. Now what I want to do is I want to introduce some kinds of blades of grass into my hills. So I'm going to start by dragging under the edge of that rectangle, and I get an error message, which is telling me that the selected artwork contains text, which must be converted to outlines before being used, which is outlandish. I am not going to do that; I don't even want to apply this tool to the text. But see, the text is selected, so that's a problem.

So I will press the V key in order to switch to my Black Arrow tool, click off everything to deselect it, and then go back to where I saw the rectangle, which was right there, and click on it in order to select it. And now, I'll go ahead and grab that Crystallize tool once again, and I will drag below that line, like so, so that I'm forcing all of the grass in a consistent direction, and then I will watch it update in the background, which is an awesome thing. Now if that's a little too much action for you, as it may well be--a little bit too much grass action, because it doesn't really look like grass, does it? We need to vary things up a little bit.

Then go ahead and double-click on the Crystallize tool. Let's take the Intensity value down to 5 and reduce that Complexity value down to 1. And then I will click OK. And I will take another swing at some of these areas. So I'm just doing short drags. This is time-consuming work, not because it takes you much effort to swipe at the grass a little bit like I am, but rather because you have to wait for Illustrator to update the effect in the background. So you just have to be patient with the program as it does its thing. So I'm just going to drag and keep dragging, and the more you drag, the more kind of crabgrass effect you are going to get, which is fine, because after all, this horse is galloping in a crabgrass environment.

I don't know what kind of prairie he is on, but it's blue, that's for sure. And so I guess we can have any kind of grass we want. Anyway, keep dragging until you're fairly happy. The other tool you might venture to use here is the Wrinkle tool. So, go head and click on the Wrinkle tool at this point, and let's see what happens if we just drag over some areas with the Wrinkle tool. And you probably won't see any sort of wild action going on, and here's why. Double-click on the Wrinkle tool and let's take the Intensity value back up to 50%. And I want you to notice something about the Wrinkle Options.

I believe these are the default settings. We have no Horizontal wrinkle; at least I don't, going on right now, because horizontal is set to 0%. So in other words, the wave is not going to happen horizontally; it's only going to happen vertically, which actually might lend itself to some good results. So in any case, if you want to get the same results I'm getting, make sure Horizontal is 0, Vertical is 100%. Click OK and then go ahead and drag along those grass particles again like so, and then release. And then we are going to have ultra-spiky, very random grass indeed.

All right, I think that's good. I am going to go ahead and escape out of this mode just by pressing the Escape key, so we go back to the full Illustration mode. Thing to bear in mind though is we have switched back to the Edit Contents mode as well. If you decide that you need access to your envelope and you want to modify the envelope distortion, then just press Ctrl+Shift+V, Command+Shift+V on the Mac. If you're ever curious where you are, just take a look at these icons up here in the control panel. Or, of course, just press Ctrl+Y, Command+Y on the Mac, to go to the Outline mode. You'll just see the envelope when you're in the Envelope Editing mode.

If I press Ctrl+Shift+V, or Command+ Shift+V on the Mac, then I will see my independent objects. So I am going to switch back to the Envelope Editing mode, and then I am going to press Ctrl+Y, Command+Y on the Mac, in order to switch to the Preview mode. There's one more modification I want to make. I am going to press the V key in order to switch back to my Black Arrow tool. Notice that I've got a bleed set up in this document just as I really would if I wanted a full bleed. So the edge of the artboard is this black border right here, and then the edge of the bleed is the red border.

But for screen purposes here, let's say I want to tidy things up; I don't want to see anything outside the artboard, because we have a bunch of clumsy details that are showing up there. Here is a little quick method for creating a mass that affects an entire layer. So I will go ahead and scroll down here inside my expose background layer, and notice I have got this object right there called trim size. I am going to drag it to the top of the stack--it's very important that it's at the top--and I am going to turn it on so you can see. And notice it's a white rectangle that's exactly the size of the artboard.

All right, next what you do--don't select it. You don't want to have anything selected in fact, so press Ctrl+Shift+A, Command+Shift+A on the Mac, to make sure nothing is selected. Then with this rectangle--which is going to do the clipping for you, at the end of the day here, you're only going to see the stuff inside that rectangle. Then go ahead and click on the layer itself. So you don't want to have anything selected; you want to click on the layer. Don't meatball it; just click on it here inside the Layers panel. Very important steps here, it's kind of wacky the way it works. And then you drop down here to the bottom of Layers panel, and you'll see this first icon is called Make/Release Clipping Mask. Click on it and that turns that top item in the layer--which is called trim size in our case--it turns it into a clipping mask for the entire layer and just that layer.

So just a little trick to bear in mind, a little meta-tip for you. In our next exercise, we are going to take another swing at distorting the horse, but this time we are going to do so inside of a free-form mesh.

Show transcript

This video is part of

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Illustrator CS5 One-on-One: Mastery

134 video lessons · 28159 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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