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

Illustrator CS5 One-on-One: Mastery

with Deke McClelland

Video: The Scallop, Crystallize, and Wrinkle tools

In this exercise, I am going to show you the final three Liquify tools, which are Scallop, Crystallize, and Wrinkle. I've gone ahead and saved my progress as Beautifully My horse is still selected. You can see that, because the group object is meatballed here inside the horse layer. But I've hidden my selection edges, so we can better see what we re doing. Now each one of these tools gives you a pretty good idea of what it's going to do: the Scallop tool is going to add these bumpy edges to a shape; the Crystallize tool is going to create spiky edges; and then the Wrinkle tool is going to wave those edges back and forth.
Expand all | Collapse all
  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

Start your free trial now, and begin learning software, business and creative skills—anytime, anywhere—with video instruction from recognized industry experts.

Start Your Free Trial Now
please wait ...
Watch the Online Video Course Illustrator CS5 One-on-One: Mastery
13h 5m Advanced Jan 28, 2011

Viewers: in countries Watching now:

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

The Scallop, Crystallize, and Wrinkle tools

In this exercise, I am going to show you the final three Liquify tools, which are Scallop, Crystallize, and Wrinkle. I've gone ahead and saved my progress as Beautifully My horse is still selected. You can see that, because the group object is meatballed here inside the horse layer. But I've hidden my selection edges, so we can better see what we re doing. Now each one of these tools gives you a pretty good idea of what it's going to do: the Scallop tool is going to add these bumpy edges to a shape; the Crystallize tool is going to create spiky edges; and then the Wrinkle tool is going to wave those edges back and forth.

But to really see the tools work, I need to increase the Intensity value. So I am going to double-click on the Scallop tool to bring up the Scallop Tool Options dialog box and I'm going to reset that Intensity value back to 50%, and I will click OK. Now drag down a large area of the horse, and I want you to see something. I am going to go ahead and zoom in. We did get a kind of scalloped effect, but it really varies depending on where you drag. So I'll go ahead and undo that modification by pressing Ctrl+Z and replant here. If you position the center of your cursor outside the thing that you're scalloping, like so, and then drag, then you're going to create these round, scalloped edges going outward.

However, I'll press Ctrl+Z, Command+Z on the Mac, to redo this. If you drag on the inside of your shape, the scalloped edges are going to go inward. So they're always going toward that crosshair in the center of the cursor. As a result that I am creating the scalloped edges inward, I'm actually creating spikes going outward. Let's go ahead and compare that to the behavior of the Crystallize tool here. If I drag with my center point outside the shape, then I am going to force these spikes inward, like so, and I am going to create these kind of scalloped edges going the other direction, going out from the horse.

However, we've really forced the gaps between the scalloped edges in. Now I will go ahead and press Ctrl+Z to undo that change, and I will drag with the center crosshair inside of the path outline, and I go ahead and force those spikes outward. So just bear that in mind as you work, because what folks tend to do when they're working with these tools is get kind of sloppy and do this number, where you start on the inside and then go to the outside and you end up with these kinds of wacky effects here where you have some spikes that are crossing over. You typically want to avoid that effect.

Something else I am going to show you here. I will leave that weirdness in place for a moment. I want to show you that the Scallop and Crystallize tools are effectively opposites of each other. If you double-click on the Scallop tool, you can see what I mean. Notice down here we have these check boxes that say, Brush Affects in Tangent Handles. What in the world does that mean? First of all, tangent handles is another one of Adobe's terms for control handles. We've already seen them bounce around in terms of that terminology. In means the control handle that's coming into the anchor point; Out means the control handle that's going out from the anchor point.

So in this case we are changing the position of control handles, but we are not changing the position of anchor points. If you'd like to modify your anchor points, then you have to turn off at least one of these check boxes and then anchor points becomes available. As soon as you turn it on, the other one becomes dimmed, because--and I have no idea why this is-- but you can only have two out of three of these check boxes on at a time. So as soon as you turn one off, then you've got another one that you can turn on, but as soon as you turn on two, then the third one becomes dimmed. Just notice what I wanted you to see there is the Scallop tool by default is affecting just the control handles and not the anchor points. Cancel out.

Whereas if you double-click on the Crystallize tool, it's affecting just the anchor points and not the control handles at all. You can modify those settings if you want to. I don't see much point in it frankly, because basically with enough work you've got to turn the Crystallize tool into the Scallop tool, and who needs two Scallop tools? But I just wanted you to see what's going on there. Now I am going to switch over to the Wrinkle tool, and I'll drag along these edges, and notice that I am wrinkling them. So I am introducing some very horrible, ugly wrinkles in my opinion, but there they are, and that's what you do.

I am going to press Ctrl+Z a couple of times in a row. What I propose we do where the horse is concerned, especially in the mane and tail areas, is that we add a little bit of additional texture with the Crystallize tool. So I am going to double-click on the Crystallize tool icon there, and I am going to change the Intensity to 10%, and I might even increase the size of my brush by Shift+Alt+Dragging up-right. That would be Shift+Option+Drag in the Mac. And then I'll just kind of click here and there inside the mane in order to introduce some spiky action there.

And I might do the same kind of around the ears. That's too much, isn't it? I will press Ctrl+Z a couple of times, but Shift+Alt+Drag down-left in order to get a smaller cursor and try out this number here, and that's looking pretty good. I just want him to have a little bit of spiky hair upfront. And then you can do the same if you want to. You can just do sort of little drags along the wings just to introduce a little a bit of sort of variable action. You're going to also introduce a ton of anchor points as you do this, but complexity isn't really our problem where the horse is concerned; that is to say it was already extremely complex in the first place.

So we are not really introducing anything new. I might do the same thing in the tail. I will just introduce a little bit of spiky action there as well and maybe along the bottom of the romp and underneath the horse as well--wherever you feel like a few spikes ought to go. That's probably a little bit too much on the legs, but I'm looking for some variability, and I think that looks pretty good. Maybe under the jaw a little bit, and I just did that thing where I moved my center point from the inside to the outside; that's no good. I want to keep it on the inside, so I am spiking out like that.

This way he has got a little bit of sideburn action. So that's how those tools work. That's sort of entertaining where the horse is concerned. These tools become incredibly useful where this background star is concerned, and I'll show you just what we can accomplish in the next exercise.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Mastery .

Expand all | Collapse all
please wait ...
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."
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.

Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

* Estimated file size

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.

Mark all as unwatched Cancel


You have completed Illustrator CS5 One-on-One: Mastery.

Return to your organization's learning portal to continue training, or close this page.

Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member ?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any page and choose Site preferences from the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Learn more, save more. Upgrade today!

Get our Annual Premium Membership at our best savings yet.

Upgrade to our Annual Premium Membership today and get even more value from your subscription:

“In a way, I feel like you are rooting for me. Like you are really invested in my experience, and want me to get as much out of these courses as possible this is the best place to start on your journey to learning new material.”— Nadine H.

Thanks for signing up.

We’ll send you a confirmation email shortly.

Sign up and receive emails about and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from

Sign up and receive emails about and our online training library:

Here’s our privacy policy with more details about how we handle your information.

submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.