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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.
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 symbols.ai. 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.
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