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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 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 bloated.ai. 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.
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