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

Vector vs. raster effects


Illustrator CS5 One-on-One: Mastery

with Deke McClelland

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Video: Vector vs. raster effects

In this exercise, we're going to take a bunch of layers, combine them into a single overarching layer, and then apply a drop shadow to that layer. And this is all in advance to my demonstration of how we're going to make a massive conversion to this piece of artwork using the scribble filter. Now, I've made a series of modifications to this artwork and I've saved it off as Abraham And there is the fair number of additional dynamic effects going on here. If you want to get a sense of how anything works, just go ahead and select it. For example, I'm going to zoom in on this dollar sign down here in the lower left corner and I'll click on it to make it active, like so.
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  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

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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

Vector vs. raster effects

In this exercise, we're going to take a bunch of layers, combine them into a single overarching layer, and then apply a drop shadow to that layer. And this is all in advance to my demonstration of how we're going to make a massive conversion to this piece of artwork using the scribble filter. Now, I've made a series of modifications to this artwork and I've saved it off as Abraham And there is the fair number of additional dynamic effects going on here. If you want to get a sense of how anything works, just go ahead and select it. For example, I'm going to zoom in on this dollar sign down here in the lower left corner and I'll click on it to make it active, like so.

And then I'll switch over to the Appearance panel and that's where you can examine how someone else's dynamic effects have been applied. Now, you will see way at the bottom here is a drop shadow and that's responsible for that thick edge right there on the lower right side. And then we've got a base stroke that's 2 points thick. So that's the larger stroke around the entire character. Up at top here, we have an inset stroke. So if you twirl it open you see that the stroke value is 0.5 points, so it's a hairline. And then I've use the Offset Path effect in order to move that stroke inward.

So if you click on Offset Path, you'll notice that I have an Offset value of -2 points. So it moves it inward, instead of outward. I'll cancel out of that. We've also got this green fill at the back, it's just above the stroke, and then in the middle is perhaps the most interesting effect. If I twirl open a fill, I've got a gradient. It's also offset inward 2 points. That's why it's contained inside of the thinner stroke, but in order to get that crosshatching effect I've assigned a filter called Graphic Pen. So if you turn off Graphic Pen you'll see a standard gradient.

It goes from black to white with a few gray steps in-between. And then with Graphic Pen turned on, it's converted exclusively to black or white. And then you can see that the blend mode here, the Opacity option, is set to Multiply. So that we're dropping out the whites and we're just keeping the blacks. Now, if you're interested how graphic pen works, all you have to do is click on it, but let me tell you where it comes from. I'm going to go up to the Effect menu and notice that the Effect menu is divided into two parts. You've got the Illustrator effects which are largely vector-based effects. Some of them are raster effects, meaning that they're ultimately converted to pixels.

And that's typically true of any of your Soft Filters, your Drop Shadow, and your Inner Glow, and Outer Glow, and so forth. They're ultimately going to be converted to pixels, but the idea is that all of these effects were designed for use inside Adobe Illustrator. Down here at the bottom are the Photoshop Effects. These were filters that were originally designed for Photoshop. They have found their way into Illustrator one way or other and they all result in raster effects. Everything they do gets converted to pixels on the fly. Now the one I used in this case is under the Sketch menu and it's this guy right there, Graphic Pen. Just so you know how to get to it.

Now, if you want to see how it works then go ahead and click on the Graphic Pen link here inside the Appearance panel that will bring up what's known as the Filter Gallery. And now you could change your settings if you like, for example, you could change the Direction of the strokes from Horizontal to Vertical like so if you want a different effect. You can also switch to an entirely different filter. There are more than 50 different filters available inside of this dialog box. So you could try out Note Paper or Halftone Pattern and see what they look like. None of them are going to produce an even similar effect what we have now, but there is still somewhat interesting. You might be able to get some traction along with some gradients.

Anyway, I'm going to click Cancel to cancel out of there. Just wanted you to have a sense of what's going on in the background. I'm going to zoom back out and I'm going to switch over to the Layers panel and I'm going to click on the white layer right there. I'm also going to press Ctrl+Shift+A by the way, Command+Shift+A on the Mac in order to deselect the artwork. So click on the white layer. Shift+ Click on this head rag layer right there. So that goes ahead and selects this range of four layers that contain the skull elements. And then go up to the layers panel fly- out menu and I want you to choose this command. It is called Collect in New Layer.

It takes all of those other layers and puts them in a new layer that has a color of black unfortunately. I don't find that to be very useful. So I'm going to double-click on that layer name and I'm going to call it skull elements or something like that. And I'm going to change the color to? I think Light Blue will work out nicely and then I'll go ahead and click OK. Now, I want you to go ahead and meatball that layer to select it. I'm going to press Ctrl+H or Command+H on a Mac in order to hide the selection edges. Then go up to the Effect menu, choose Stylize, and choose one of my other favorite dynamic effects. It's very useful, very practical, Drop Shadow right here.

And notice, if you loaded Deke keys, I've given you that one left over E shortcut which is Ctrl+Alt+E or Command+Option+E on the Mac. That brings up the drop shadow dialog box and these are the settings that I went with. So my color is set to black. You can click on the color swatch just make sure that everything is zeroed out here. We shouldn't have 5% for Saturation. Everything should be 0, 0, 0 all the way down the board. Click OK in order to accept that. I've got an X Offset value of 3, Y Offset value of 3 as well, a Blur value of 5 which I believe is the default setting.

The Opacity value is down at 50% and Mode is set to Normal, because since we're working with black we're going to get the exact same effect whether the mode is set to Normal or Multiply. Anyway, to see what it looks like turn on the Preview check box. You may see a few progress bars slide by and then you'll see this effect right here which helps to set off the skull from what is becoming an increasingly busy background. Now click OK in order to accept that effect. Now, I think that looks pretty good. The problem is this piece of artwork is beginning to look like a hodgepodge from seven different artists or something like that.

It's just been scrapped together from a bunch of clip art. So how in a world can we create something that's stylistically convergent? And the answer is the Scribble filter, as I'll demonstrate in the next exercise.

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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