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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'm going to show you how to add a bevel to the snowflake, and we're also going to lend the snowflake the appearance of being rendered in reflective crystal. And that's something I suppose you could do inside of Illustrator with enough work. It's just that it's so much easier to pull off inside of Photoshop. Photoshop tends to reign supreme where photorealistic effects are concerned. So what we're going to do here is we're going to back up a step. I want you if you're working along with me to go back to Kings with crowns.ai, because this is that version of the snowflake before we applied all the beveled stroke effects.
And I'm going to go ahead and marquee with my Black Arrow tool here inside the illustration window. Just make sure I select all of the grouped objects. You can also meatball the group here inside the layers panel, if you prefer. And then go up to the Edit menu and choose the Copy command, or press Ctrl+C or Command+C on the Mac. And what we've done, we've not only copied the core path outlines, but we've copied all the dynamic effects as well. Now I'm going to switch over to Photoshop and right now we're seeing that crystal rendering that I was telling you about, which we're going to create inside this exercise by the way, but I'm going to switch over to this graphic here without the snowflake. It's called Icy background.jpg.
And now I want you to go up to the Edit menu and choose the Paste command, or press Ctrl+V, Command+V on the Mac. Now you'll get this Paste dialog box and what you want to select is Smart Object. That's the only way that we're going to retain all that information, not only all the path outlines but the dynamic effects as well, and we'll keep everything dynamic here inside Photoshop. So click OK and you'll end up getting this bounding box around a jagged version of the snowflake. Don't worry about the jags for now. Just make some modifications up here in the Options Bar. Turn on that link between the Width and Height values and then change either one of them to 130%, is what I came up with. You can definitely go your own way on this if you want to.
And then I'm going to change the Rotate value to -10 degrees, which is the same as rotating the snowflake positive 10 degrees inside Illustrator. Anyway, having done that, I'll press the Enter key a couple of times, it's a Return key a couple times on the Mac, in order to render out that snowflake smart object. And so what Photoshop is doing is converting all of that vector information to pixels on-the-fly, but you still, as you'll see, you still have access to that original vector data. All right, now I'm going to drop down to the fx icon here at the bottom of the layers panel and I'll choose Bevel and Emboss, and I'm going to start off by roughing in the Highlight and Shadow colors.
So I'll click of the color swatch for Highlight mode, and the color I'm going to use is yellow, as if a yellow light was being cast onto the snowflake. So I'll dial-in 50 for the Hue value, and 75 for Saturation, and then 100 for Brightness, that is the HSB values right there. Then click OK. And in order to exaggerate the effect I'm going to increase the Opacity value to 100% and I'm going to change that Highlight mode from Screen to Linear Dodge. Now that's not going to appear to have much of any effect on that background image, but it will have an effect on the final.
All right, next I'm going to click on the Shadow mode color swatch, and this time I'm going to dial-in 220, that is, for the Hue value, and then for Saturation 70, and then finally for Brightness 30, for a very deep shade of blue. Click OK. Let's up the ante here by changing the mode from Multiply to Linear Burn. Again, you're not going to see much difference right now. It will make a difference in the future. I'll increase the Opacity value to 100%. All right, now to get more sort of crystal like effect here, I'm going to increase the Size value to 20 pixels so that we have a big embossing effect and I'm going to change the Technique from Smooth to Chisel Hard, so that we end up getting those chiseled edges right there.
And then next I'm going to drop down. I know I am moving all over this dialog box, but this is sort of the most logical order for this effect. I'm going to drop down to Gloss Contour, click on the down-pointing arrowhead, very important, not on the little flag icon right there, and then choose the second icon in the second row, which is called Ring, in order to change a contour of that Bevel effect inside the snowflake and turn on Anti-aliased just to soften up the edges a little bit. And then I'm going to change the Style from Inner Bevel, which locates all of the Bevel effect inside the snowflake, to Pillow Emboss, which does an opposite bevel outside the snowflake like this and it ends up creating a pretty terrific effect.
I'm going to zoom in to the 100% view size, which I'm doing just by pressing Ctrl+Plus or Command+Plus on a Mac. Notice how we have these tiny little lines that are being created between the Bevel and Emboss effects, and if that bothers you, they actually end up rendering out great when you print the image, but if that bothers you for now then you can take that Soften value and just nudge it up to 1 pixel, and then those guys will drop out a little bit. And that is my final effect by the way. Now I'm going to click OK in order accept that modification.
And this is that crystal beveled snowflake as rendered from Illustrator inside Photoshop as a smart object.
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