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

The Twirl, Pucker, and Bloat tools


From:

Illustrator CS5 One-on-One: Mastery

with Deke McClelland

Video: The Twirl, Pucker, and Bloat tools

In this exercise, I am going to introduce you to the next three Liquify tools which are Twirl, Pucker, and Bloat. I have gone ahead and saved my progress as Repeatedly warped horse.ai, and as you may recall, my horse is selected, but I've hit the selection outlines. So it's ready for more warping anytime I like. But before I start, I want to darken up my horse. I want it to look pitch black against this blue background. So I will go over to the color panel, make sure that my fill is selected, and then go to the flyout menu and switch to CMYK. And then I will dial in 50% for the Cyan, Magenta, and Yellow values, and I'll leave the black value set to 100%, and now we've got a rich, black horse, which is just the way it ought to be.
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  1. 37m 22s
    1. Welcome
      45s
    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
      58s
    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
      33s
    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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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
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

The Twirl, Pucker, and Bloat tools

In this exercise, I am going to introduce you to the next three Liquify tools which are Twirl, Pucker, and Bloat. I have gone ahead and saved my progress as Repeatedly warped horse.ai, and as you may recall, my horse is selected, but I've hit the selection outlines. So it's ready for more warping anytime I like. But before I start, I want to darken up my horse. I want it to look pitch black against this blue background. So I will go over to the color panel, make sure that my fill is selected, and then go to the flyout menu and switch to CMYK. And then I will dial in 50% for the Cyan, Magenta, and Yellow values, and I'll leave the black value set to 100%, and now we've got a rich, black horse, which is just the way it ought to be.

I am going to switch to the Twirl tool, and I'll go ahead and Shift+Alt+Drag like so--Shift+Option+Drag on the Mac-- to create a big, huge brush, and I'll click on the horse's face just ever so briefly. And you can see I end up twirling the face in a counterclockwise direction: that's the default behavior. Well, that default behavior is for beans; that's awful behavior. So I am going to press Ctrl+Z, or Command+Z on the Mac, to undo that change, and I'll go up to the Twirl tool in this tear-off panel, double-click on it, and I am going to make a couple of changes.

First of all, I am going to turn Simplify off. So Detail and Simplify are independent tool settings, whereas these Global Brush Dimension settings here affect all the tools in kind. Now we've also got a new option here inside the Twirl Tool Options dialog box, and that's Twirl Rate, and currently it's way too fast. Now notice, by the way, you can either say that you want to twirl in a clockwise direction, which is a negative value, or a counterclockwise direction, which would be a positive value. I know that's not entirely intuitive, but that's the way it works.

What I am going to do is change this option to 1. So that would be 1 degree in some increment of time. I will go ahead and click OK, and now I will click on the horse's face again. And this time I get a much slower twirl rate, and I'm converting the horse into a kind of taper at this point. Now, let's say I want to restore the original horse face. As I click and hold, I can press and hold the Alt or Option key, and it will start twirling in the opposite direction. So you never Alt+Click or Option+Click with the Twirl tool in order to get it working, because that changes the brush size; instead, you either press and hold the Alt key or the Option key as you're already clicking, in which case I am starting to get this kind of duck face right there, or you can release your Alt or Option key--and I'm still clicking and holding, by the way--in order to twirl the horse face in the opposite direction-- whatever that direction maybe.

So now, we're going back to counterclockwise. And if I press Alt or Option, we're going to go clockwise again. Actually, at a certain point, we get this kind of seahorse face, which is pretty interesting; however, not even sort of what I want. But I just want you to have a sense of how that tool works. For our purposes, these tools next door are going to be a lot more useful: Pucker and Bloat. So let's start off with Pucker. I am going to zoom in here. Any place where you're losing some of your corner definition is a great place to employ the Pucker tool.

For example right here at the intersection of the neck and jaw, I wish that was a tighter intersection. So I am going to go ahead and Shift +Alt+Drag down left--that would be Shift+Option+Drag on the Mac--in order to get a much smaller brush, as you can see here, and then I'll click right there in that intersection. Now the problem is, well I just wiped it out, didn't I? One of the big problems is at this point that I've got too high of a setting, and I could demonstrate this even better if you'd like using the Bloat tool. So I will go ahead and grab the Bloat tool, which allows you to bloat details-- that is enlarge details-- inside of an illustration.

For example, if I wanted to bloat certain areas of the thigh, then I might click on them. Of course in this case I've given him either a tumor or a very strange knee. I don't want either of those two things, so I will press Ctrl+Z. The problem is that these tools are working much too quickly. So I am going to double-click on the Bloat tool, and I'm going to reduce the Intensity value down to no higher than 10% for this tool. When you do that, you're changing the Intensity value of course across the board, which is really irritating to me because you want to have independent intensity control over say the Bloat and the Warp tools, because the Warp tool works great at 50% and the Bloat tool works better at 10%.

But the fact of the matter is you're changing that Intensity setting for all of the tools at once. And now I am going to turn off Simplify once again, click OK, and now let's see if I can just make some minor modifications. Notice now, if I just click, I am just making small clicks here and there, I can increase the thickness of these legs, which is what I'm looking to do. And I've got lumps going here. Notice if I click outside of the horse, then I make him thinner at these locations, like so, so I am tucking those details up.

And then if I click inside the horse, I am shoving those details outward, which is pretty useful. I will also go ahead and do a number on the lips here, and see if I can get some of that lip action to go away, which is not really happening too well, but I made some progress there. I might want to increase the size of the jaws, like so, and actually that went ahead and restored some of the corner there at the intersection of the jaw and the neck. But again, you might also find that you want to use the Pucker tool, so I will go ahead and switch over to the Pucker tool, double-click just to make sure that the Intensity setting is still 10%. Yes, it is.

Simplify of course being a tool-by- tool control is back on, so I will turn it off. Click OK and let's see what I'm able to achieve there, actually much more subtle controls, which is nice, and then I can pinch the jaw back if I want to. Let's see if I can pinch these lips in. They are just bound and determined to be the sort of lumpy things right there. And then at this point I might have more luck with the Bloat tool if I kind of shove this area out just a little bit. That's looking actually way better I think. All right! Is there anything else that I need to take care of here? Generally speaking, I think things are looking pretty good.

I might want to go ahead and reestablish a little bit of a dip there by clicking outside the top of that wing using the Bloat tool and so forth. So knock yourself out; enjoy this as much as you want. In the next exercise, we're going to check out those final three Liquify tools, which are Scallop, Crystallize, and Wrinkle.

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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