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Illustrator CS4 Beyond the Basics

The Warp effect vs. envelope distortion


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Illustrator CS4 Beyond the Basics

with Mordy Golding

Video: The Warp effect vs. envelope distortion

As with almost anything inside of Illustrator, there are multiple ways to achieve a similar looking effect. For example, in this document called warps_envelopes, I actually have two pieces of artwork. I have distorted them, but they appear as if the distortion is exactly the same. But we also know that when we try to apply different types of features or effects inside of Illustrator, depending on the methods or the features that we use, we have certain pros and cons or certain benefits through one over the other. Now in this example, I had actually applied the same exact type of effect using two methods. On the top here I have used the Warp effect. This is the live effect that appears in the Effect menu. When I click on this object, I can take a look over here in my Appearance panel. I see that I have the Warp:Arc effect now applied to this particular object. We close the Appearance panel here.
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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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Illustrator CS4 Beyond the Basics
9h 42m Intermediate Apr 03, 2009

Viewers: in countries Watching now:

Covering a wide range of topics, from advanced masking to chart creation, Illustrator CS4 Beyond the Basics reveals a whole new level of power, creativity, and efficiency with Illustrator. Instructor Mordy Golding explores how to work with Live Paint groups, get the most out of the Live Trace feature, and take advantage of Illustrator’s wide range of effects. He also discusses advanced transformation techniques, powerful 3D functionality, and important color concepts. Exercise files accompany the course.

Topics include:
  • Tracing artwork both automatically and manually
  • Mapping artwork to complex 3D surfaces
  • Using pressure-sensitive distortion tools
  • Recoloring artwork across a document
  • Using Excel data to create charts and graphs
  • Understanding how transparency really works
  • Creating high-quality, press-ready PDFs
  • Building efficient files with graphic styles
Subject:
Design
Software:
Illustrator
Author:
Mordy Golding

The Warp effect vs. envelope distortion

As with almost anything inside of Illustrator, there are multiple ways to achieve a similar looking effect. For example, in this document called warps_envelopes, I actually have two pieces of artwork. I have distorted them, but they appear as if the distortion is exactly the same. But we also know that when we try to apply different types of features or effects inside of Illustrator, depending on the methods or the features that we use, we have certain pros and cons or certain benefits through one over the other. Now in this example, I had actually applied the same exact type of effect using two methods. On the top here I have used the Warp effect. This is the live effect that appears in the Effect menu. When I click on this object, I can take a look over here in my Appearance panel. I see that I have the Warp:Arc effect now applied to this particular object. We close the Appearance panel here.

Let me show you now, if I click on the bottom object here, even though it looks almost identical to the one on top, I can see that it has somewhat of a different appearance here when I select it. This was actually distorted using something called an envelope. So let's take a moment to understand the benefits that I get by working with these two different elements. If I'm working with the topmost object here, which has been applied as a live effect, then I know that I can save this element as a graphic style that I can easily apply it to other objects. I also know this particular effect can be applied either to a fill, or a stroke attribute, or just one of the attributes in a particular object, and I can also apply them to an overall group or to individual objects. I also know that we can easily edit this effect by opening up the Appearance panel, clicking on the item in the Appearance panel, and seeing the settings; or I can simply delete it by removing that item from the Appearance panel.

However, one of the downsides is that though if I want to make adjustments to individual parts of the artwork; and I'll de-select this here for a moment here; let's say I wanted this part of the 'l' to come just a little bit down over here. It's very difficult for me to make adjustments into how the artwork itself is actually distorted. Yes, I can get this overall arc shape, but I can't have any of the elements in here deviate from that. Well, let's take a closer look here at how envelopes works inside of Illustrator. If I click on this object over here, notice that I have this outline over here with different segments here. What this actually is, is something which is called a Mesh inside of Illustrator. It's similar in concept to the way that Gradient Mesh works, something else we'll cover later on in this movie title.

But the mesh elements itself gives you more control over the distortion of the interior of my artwork. For example, in this case here if I wanted to somehow distort just this area here of the 'r', I could go ahead and choose my Mesh tool and add additional mesh points to this mesh. By moving this around, I can now choose to distort the inner parts of this artwork. I could add many, many more mesh points to really control exactly how that piece of artwork should get distorted. Now as we'll learn both of these methods, whether using Warps or envelopes, are both non-destructive. I still have the ability to go back and edit my original piece of art, if I want to. Let me go back to working with my regular Selection tool. As I click on this object, you will also notice that when I go ahead and I use this particular method here of an envelope, I do have the ability in the control panel to make certain adjustments. These adjustments would normally have to be made if I had applied a Warp effect through the Appearance panel.

When I'm working with envelopes, I do have some of those capabilities right here in the control panel. It's a little bit easier to get to. So overall, I broil down to this one thing. When you want to apply a quick distortion, something as very simple as maybe to logos, to text, so on and so forth, the Warp effect gives you an easy way to quickly apply that particular kind of adjustment. However, if you really want to go in and control every little aspect of your distortion, then the envelopes offer you far more control. In fact, as we'll learn, there are three types of envelopes inside of Illustrator. You have the ability to apply an envelope using another object, you have the ability to apply an envelope using a Warp effect, and you also have the ability to apply an envelope using a mesh. Now that we understand the difference between warping and enveloping, we can begin to learn how to control the very powerful envelope feature inside of Illustrator.

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