Illustrator CS5 One-on-One: Mastery
Illustration by John Hersey

Mapping symbols onto 3D surfaces


Illustrator CS5 One-on-One: Mastery

with Deke McClelland

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Video: Mapping symbols onto 3D surfaces

As you can see I have escaped out of the dialog box just so I can take a moment to save a progress file, and it's called Stem and I will go ahead and marquee that Half an apple once again. Go to the Appearance panel and click on 3D Revolve, in order to bring up 3D Revolve Options dialog box. I will click on Map Art, and we will see that the first surface is that right Half of the apple right there. So I will go ahead and bring up the symbol popup menu and then I will scroll down to the symbols that I created and click on right half. Notice that the symbol appears automatically aligned to that surface, and the reason they're so well aligned with each other is, because they're ultimately the exact same shape.
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  1. 37m 22s
    1. Welcome
    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
    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
    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

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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.

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
Deke McClelland

Mapping symbols onto 3D surfaces

As you can see I have escaped out of the dialog box just so I can take a moment to save a progress file, and it's called Stem and I will go ahead and marquee that Half an apple once again. Go to the Appearance panel and click on 3D Revolve, in order to bring up 3D Revolve Options dialog box. I will click on Map Art, and we will see that the first surface is that right Half of the apple right there. So I will go ahead and bring up the symbol popup menu and then I will scroll down to the symbols that I created and click on right half. Notice that the symbol appears automatically aligned to that surface, and the reason they're so well aligned with each other is, because they're ultimately the exact same shape.

However, that may not be the way it is for you. You may be trying to map very large pieces of artwork onto a surface, what have you. So you may need to scale the symbol. You can do so by dragging these bounding box handles right there. You can also drag outside of one of the corners to rotate that artwork. Or you can just go ahead and click on the Scale to Fit button, and let Illustrator do it automatically. Anyway, as I say in our case it's not necessary. So I will advance through the next surface which is that left half of the Apple. I will click on the Symbol popup menu, scroll down to the bottom, and turn on left half and then we will advance two surfaces to that core right there and I'll once again bring up the Symbol menu, scroll to the bottom, and click this time on core.

Now in this case my artwork isn't scaled to the right size, because after all I don't know how big that core is. So I just went ahead and drew any old rectangle. Illustrator has gone ahead and scaled it in this space, but I may need to do some further scaling by dragging these bounding box handles, like so. I just want to make sure it more or less covers up that surface. Again, I can click on the Scale to Fit button and let Illustrator do it for me. That looks pretty good to me. Now if I want a sense of what I've done just to confirm that I've done it all properly, then I turn on the Preview check box and let it rip.

So even though the Preview check box is off outside in the 3D Revolve Options dialog box, you can turn it on here inside the Map Art dialog box. I am now seeing all of my surfaces mapped exactly the way I would expect them to. There is no gaps notice this time. So whereas we had gaps between the red stroke and the gradient fill, when we had a gradient fill, we had those gray gaps going on. We don't see those gaps if we take the time to apply those gradients as symbols using the Map Art function. Now notice there is a couple of check boxes down here at the bottom.

We've got Shade Artwork. That's a pretty important one, because basically the idea, notice that Illustrator is shading the surfaces that I haven't mapped artwork onto. However, anything that I've mapped artwork onto is being covered up by the art. So we are not shading those areas at all. If you want to bring the symbols into the shading, then you need to turn on that check box and it's a good idea to at least check things out and see if you like the effect. Now it is very slow. The check box hasn't even responded to the fact I clicked on it. Now we are seeing a progress bar, which is nice, and now we are seeing the shading and the check box on.

I don't like it at all. I think it looks muddy and murky and pretty well awful. So I am going to turn that check box off, but I don't want to wait for another preview. So I am just going to turn the Preview check box off this time. Then turn the check box off. Notice that we also have this Invisible Geometry check box that just goes ahead and allows you to see through unmapped surfaces. We don't want that either. We don't want a hollow apple. So I will go ahead and click OK to accept those modifications. I don't need a preview. I'm pretty sure everything is just fine. I will click OK again, in order to escape the dialog box.

Then you wait for a progress bar and you will see the effect previewed inside the illustration window. Now I like the way this looks, but I don't love it. I do want some kind of shading going on. I didn't like what Illustrator came up with, so I am going to come up with something of my own and I will show you what that looks like. Switchover to layers panel, turn on the more layer; again, if you're working along with me, and then twirl it open, and notice that there is one hidden object called Shade. Go ahead and turn that object on, and all it is if I meatball it, you'll see that it's just an ellipse.

It's filled with radial gradient and the great thing about radial gradients inside of ellipse is, if you grab the Scale tool and you go ahead and scale this artwork and make it really narrow like this, you scale the ellipse along with it. So check it out. I will switchover to the Gradient tool and you can see that I now have an elliptical gradient. So it's far narrower than it is tall. So Illustrator has really gotten smart about the way it handles gradients in the last two versions. Anyway, I don't want that. So I will press Ctrl+Z, Command+Z on the Mac to undo that scale.

Press the V key to switch back to the Black Arrow tool, so I get rid of the gradient annotator. Now this is, if you check out the Gradient panel here, you'll see that this is a two color gradient theoretically. It's actually the exact same shade of brown repeated twice. So over here in the first color stop and the last color stop, the difference between the color stops is all opacity. So if I double-click in the second one, you can see that I've set the opacity to 0. The opacity of the first color stop by the way is 100%. Now then I want to create some interaction between this shape and the background, so I'm going to go up to Opacity here in the Control panel and I'm giving change the Blend mode from Normal to Hard Light.

That's the one that just ended up producing the best effect and I end up getting this effect right here. So a little bit of shading on the inside of that Apple and that's it. So I will go ahead and close at panel, and you know what, I am going to bring this object into the Apple layer. So I will drag that orange square down into the Apple layer, like so. Then I will go ahead and twirl close more and turn off that layer as well. You know what, that doesn't look quite right to me. That's too much color on the interior than Apple. So I think I will back off the Opacity. I am going to twirl open the Apple layer, because that's where the shade object is now, and click on it, that is meatball it to make it active.

Then I will go back up to my opacity value, and I'm going to reduce it to say 50% in order to achieve that effect. I think that looks much better. So this is what the interior of the Apple looks like without that shading, if I turn the shade object off, and this is what it looks like with that effect. So just a little bit of colorful shading to indicate sort of that browness toward the center of the Apple. In the next exercise we are going to customize the lighting effects that are applied to the exterior of the object.

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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