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Visualizing the revolve axis

From: Illustrator CS4 Beyond the Basics

Video: Visualizing the revolve axis

When using the 3D Revolve effect inside of Illustrator, it's really important to be able to visualize exactly where the axis is going to be, and that's why whenever I work with 3D Revolve, I always draw a guide in my document. I don't need to, the guide does not act to the axis itself, it's simply a way for me to identify, in my head, where that particular axis is going to be, and that's because I always draw the profile of my object on the right-side of that particular guide, and doing so on my head I can easily see where the object is going to revolve around. So I'm going to click on this object right here. I'm going to go to the Effect menu, choose Revolve, and I can see that right away, if I click on the Preview button, that I create that frisbee look. Now, I'm going to click OK here, because I really want to bring home the point that Illustrator itself is working with a two-dimensional artboard. That means that what I'm working with on the artboard itself is always 2D. If I want to revolve or rotate or do any kind of adjustments in the 3D space, I need to have my artwork selected, and I need to, from the Appearance panel, choose the Edit to 3D Revolve Effect.

Visualizing the revolve axis

When using the 3D Revolve effect inside of Illustrator, it's really important to be able to visualize exactly where the axis is going to be, and that's why whenever I work with 3D Revolve, I always draw a guide in my document. I don't need to, the guide does not act to the axis itself, it's simply a way for me to identify, in my head, where that particular axis is going to be, and that's because I always draw the profile of my object on the right-side of that particular guide, and doing so on my head I can easily see where the object is going to revolve around. So I'm going to click on this object right here. I'm going to go to the Effect menu, choose Revolve, and I can see that right away, if I click on the Preview button, that I create that frisbee look. Now, I'm going to click OK here, because I really want to bring home the point that Illustrator itself is working with a two-dimensional artboard. That means that what I'm working with on the artboard itself is always 2D. If I want to revolve or rotate or do any kind of adjustments in the 3D space, I need to have my artwork selected, and I need to, from the Appearance panel, choose the Edit to 3D Revolve Effect.

As soon as this dialog box is open, I'm now able to use these settings to adjust how the artwork looks in a 3D space. For example, I can rotate it or I can adjust how it looks in this particular area. But I'm going to click on Cancel for a second here, go back to where it was before. Let's not use the Appearance panel, let's say I actually rotate or make a change to the object on my artboard. Now remember, Illustrator's artboard is 2D, so any change that I make inside of Illustrator now on the artboard is happening to the 2D artwork that appears right here, and specially in the case of Revolve, where I make changes, it may also adjust where that axis is.

So for example, right now I know that my axis is on the left most part of the object, which creates this really nice frisbee effect. But what would happen if I ask you, rotate this piece of artwork here on my artboard, say maybe I wanted to do the same effect, I wanted to rotate the frisbee a little bit? Well, let's see what happens. I am going to switch to my Rotate tool. I'm actually going to click once and drag to go ahead and change the rotation of this frisbee; maybe I want to have it on an angle. As soon as I release the mouse however, Illustrator automatically reapplies the live effect and I get this cone shape. Now, it may look pretty cool what I'm seeing here inside of Illustrator, but it's obviously not the shape that I intended, and that's because what I have done here is I have actually adjusted the two-dimensional underlying artwork that adjusts how the 3D artwork looks.

Additionally, because I have rotated the object, I have also now changed where the axis is. Remember, the axis is always going to be the left most part of the object. Well, where is that point right now? If I were to use my Arrow tool right here to drag on a new guide, I could see that the left most part of the object is right here. Here is the center right now of where that cone is created. So by rotating the artwork on the artboard itself what I have done is I have changed the dynamic of what my object looks like, and by doing so I have also redefined where the axis is in that particular object. So the key to getting a full grasp over the capabilities of the Revolve effect inside of Illustrator is to really be able to visualize and understand exactly where that axis is. Once you have defined the axis, once you know where that axis is going to be, it's very easy for you to also extrapolate outwards from that, and create the 3D shapes that you need.

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This video is part of

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Illustrator CS4 Beyond the Basics

137 video lessons · 29212 viewers

Mordy Golding
Author

 
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  1. 2m 4s
    1. Welcome
      1m 41s
    2. Using the exercise files
      23s
  2. 33m 20s
    1. Introducing Live Paint
      38s
    2. Drawing in Illustrator
      4m 21s
    3. Creating a Live Paint group
      2m 54s
    4. Using the Live Paint Bucket tool
      3m 17s
    5. Using Live Paint with open paths
      2m 29s
    6. Detecting gaps in Live Paint groups
      4m 17s
    7. Adding paths to a Live Paint group
      3m 41s
    8. Using the Live Paint Selection tool
      5m 44s
    9. Releasing and expanding Live Paint groups
      2m 55s
    10. Understanding how Live Paint groups work
      3m 4s
  3. 49m 36s
    1. Introducing the trace options
      39s
    2. Setting expectations: Live Trace
      2m 26s
    3. Using the Live Trace feature
      1m 51s
    4. Understanding how Live Trace works
      5m 41s
    5. Making raster-based adjustments
      5m 52s
    6. Tracing with fills, strokes, or both
      2m 55s
    7. Making vector-based adjustments
      6m 12s
    8. Adjusting colors in Live Trace
      4m 39s
    9. Using Photoshop with Live Trace
      5m 22s
    10. Releasing and expanding Live Trace artwork
      2m 58s
    11. Saving and exporting Live Trace presets
      2m 36s
    12. Tracing in Batch mode with Adobe Bridge
      1m 35s
    13. Turning an image into mosaic tiles
      2m 28s
    14. Tracing an image manually
      4m 22s
  4. 1h 24m
    1. Introducing 3D
      33s
    2. Setting expectations: 3D in Illustrator
      2m 53s
    3. How fills and strokes affect 3D artwork
      4m 43s
    4. Applying the 3D Extrude & Bevel effect
      6m 25s
    5. Applying a bevel
      5m 40s
    6. Showing the hidden faces of a 3D object
      4m 49s
    7. Applying the 3D Revolve effect
      5m 22s
    8. Visualizing the revolve axis
      3m 5s
    9. Applying the 3D Rotate effect
      1m 35s
    10. Adjusting surface settings
      9m 33s
    11. Understanding the importance of 3D and groups
      3m 24s
    12. Preparing art for mapping
      10m 19s
    13. Mapping artwork to a 3D surface
      14m 21s
    14. Hiding geometry with 3D artwork mapping
      4m 0s
    15. Extending the use of 3D in Illustrator
      8m 7s
  5. 44m 37s
    1. Introducing transformations and effects
      32s
    2. Using the Transform panel
      12m 37s
    3. Repeating transformations
      5m 23s
    4. Using the Transform Each function
      3m 48s
    5. Using the Convert to Shape effects
      5m 49s
    6. Using the Distort & Transform effects
      5m 12s
    7. Using the Path effects
      6m 58s
    8. Using the Pathfinder effects
      4m 18s
  6. 28m 23s
    1. Introducing graphic styles
      33s
    2. Applying graphic styles
      10m 8s
    3. Defining graphic styles
      8m 46s
    4. Previewing graphic styles
      2m 10s
    5. Modifying graphic styles
      3m 30s
    6. Understanding graphic styles for text
      3m 16s
  7. 22m 49s
    1. Introducing advanced masking techniques
      32s
    2. Understanding clipping masks
      7m 15s
    3. Using layer clipping masks
      6m 30s
    4. Creating opacity masks
      8m 32s
  8. 1h 6m
    1. Introducing color
      40s
    2. Considering three types of color swatches
      7m 7s
    3. Managing color groups
      2m 58s
    4. Understanding the HSB color wheel
      3m 57s
    5. Understanding color harmonies
      2m 57s
    6. Using the color guide
      3m 54s
    7. Limiting the color guide
      3m 17s
    8. Modifying color with the Recolor Artwork feature
      6m 25s
    9. Using the Edit tab to adjust color
      5m 44s
    10. Using the Assign tab to replace colors
      8m 37s
    11. Making global color adjustments
      2m 17s
    12. Using Recolor options
      7m 3s
    13. Converting artwork to grayscale
      3m 23s
    14. Simulating artwork on different devices
      3m 18s
    15. Accessing Kuler directly from Illustrator
      2m 7s
    16. Ensuring high contrast for color-blind people
      2m 42s
  9. 53m 19s
    1. Introducing transparency
      40s
    2. Understanding transparency flattening
      2m 31s
    3. Exercising the two rules of transparency flattening
      10m 53s
    4. Understanding complex regions in transparency flattening
      4m 50s
    5. Exploring the transparency flattener settings
      8m 37s
    6. Using transparency flattening and object stacking order
      6m 39s
    7. Using the Flattener Preview panel
      6m 31s
    8. Creating and sharing Transparency Flattener presets
      2m 25s
    9. Working within an EPS workflow
      5m 3s
    10. Understanding the Illustrator and InDesign workflow
      5m 10s
  10. 50m 1s
    1. Introducing prepress and output
      23s
    2. Understanding resolutions
      8m 27s
    3. Discovering RGB and CMYK "gotchas"
      5m 42s
    4. Using Overprints and Overprint Preview
      7m 43s
    5. Understanding "book color" and proofing spot colors
      8m 1s
    6. Collecting vital information with Document Info
      2m 28s
    7. Previewing color separations onscreen
      1m 12s
    8. Making 3D artwork look good
      2m 16s
    9. Seeing white lines and knowing what to do about them
      2m 41s
    10. Creating "bulletproof" press-ready PDF files
      3m 45s
    11. Protecting content with secure PDFs
      2m 48s
    12. Using PDF presets
      2m 47s
    13. Moving forward: The Adobe PDF Print Engine
      1m 48s
  11. 35m 43s
    1. Introducing distortions
      27s
    2. Using the Warp effect
      4m 20s
    3. The Warp effect vs. envelope distortion
      3m 48s
    4. Applying the Make with Warp envelope distortion
      2m 45s
    5. Applying the Make with Mesh envelope distortion
      2m 41s
    6. Applying the Make with Top Object envelope distortion
      3m 45s
    7. Editing envelopes
      5m 0s
    8. Adjusting envelope settings
      4m 2s
    9. Releasing and expanding envelope distortions
      1m 44s
    10. Applying envelope distortions to text
      1m 27s
    11. Using the liquify distortion tools
      3m 5s
    12. Customizing the liquify tools
      2m 39s
  12. 28m 56s
    1. Introducing blends
      32s
    2. Blending two objects
      6m 18s
    3. Adjusting blend options
      5m 47s
    4. Blending anchor points
      5m 36s
    5. Blending three or more objects
      2m 9s
    6. Replacing the spine of a blend
      4m 32s
    7. Reversing the direction of a blend
      2m 15s
    8. Releasing and expanding a blend
      1m 47s
  13. 46m 54s
    1. Introducing charts and graphs
      35s
    2. Setting expectations: Graphs in Illustrator
      3m 19s
    3. Creating a chart
      8m 2s
    4. Importing data
      3m 34s
    5. Formatting data
      5m 1s
    6. Customizing a chart
      10m 21s
    7. Combining chart types
      2m 40s
    8. Creating graph designs
      6m 0s
    9. Styling and updating graphs
      5m 33s
    10. Ungrouping graphs
      1m 49s
  14. 26m 36s
    1. Introducing Gradient Mesh
      23s
    2. Understanding the Gradient Mesh feature
      9m 34s
    3. Using Gradient Mesh to add contoured shading
      6m 14s
    4. Using Gradient Mesh to create photorealistic effects
      10m 25s
  15. 8m 18s
    1. Introducing flare effects
      25s
    2. Drawing a lens flare
      3m 28s
    3. Modifying a lens flare
      1m 27s
    4. Using a mask with lens flares
      2m 58s
  16. 29s
    1. Goodbye
      29s

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