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A better way to wrap text

From: Illustrator CS4 One-on-One: Advanced

Video: A better way to wrap text

All right gang, now for a little bit of Text Wrapping. I have gone ahead and saved my progress so far as Integrated imagery.ai and we have got this wonderful filigree that is popping up and integrating the imagery into the artwork and hiding the separate shoulder and all that jazz, but it is also encroaching on our very important ad copy. So, I want to apply a kind of Text Wrap. Well, you can either do it Illustrator's way or you can do it your way and I'm going to show you both ways inside of this exercise. So, let's start things off by just clicking on this element that we have added here.

A better way to wrap text

All right gang, now for a little bit of Text Wrapping. I have gone ahead and saved my progress so far as Integrated imagery.ai and we have got this wonderful filigree that is popping up and integrating the imagery into the artwork and hiding the separate shoulder and all that jazz, but it is also encroaching on our very important ad copy. So, I want to apply a kind of Text Wrap. Well, you can either do it Illustrator's way or you can do it your way and I'm going to show you both ways inside of this exercise. So, let's start things off by just clicking on this element that we have added here.

And I'm going to ahead and zoom in, so that we can inspect it a little more closely and now you go up to the Object menu and you choose Text Wrap and you choose Make and then you just let the Text Wrap thing happen. So, it will go ahead and draw a path outline, notice that around the text and that will go ahead and cause the text to wrap around this little outline here. See the outline that is running outside the spiral, the text will wrap around that, only I appear to be lying because the text is just set in there.

We can answer that question, why is the text just sitting there? By going up to the Object menu, choosing Text Wrap and choosing Text Wrap Options, which not only allows you to change the offset, which is the distance between this boundary right there and the object itself. So, I could raise it to like 12 points, turn on Preview, so I can see what that does and that's going to move the Text Wrap Offset outward like so, but it is not going to move the text because this object must be above the text, the same group to wrap. This order can be set in the Layers panel.

Well, how bogus is that, anyway I'll cancel out. Now, I'll go ahead and press Shift+Tab to bring back the Layers palette and apparently, what we need to do? We need to grab this guy, this Compound Path that we are working with here and we need to dump it into the Text layer. Then that's going to force the wrap as we can see. There is two problems with that. I don't want it in the Text layer and also I have skunk control over what's going on. Inside of InDesign you can go ahead and grab your White Arrow tool and you can grab that Offset boundary and you can drag its points around. In our case we can't do anything like that. Now, we can move the actual points inside of the spiral and that would force the Text Wrap to move, but otherwise, we have to have a Text Wrap boundary that's equidistant all the way around the object from the object itself and that's just no good. That just doesn't give you the kind of control you need because in order to get pharmacy on the right line we would need to move some of the other text farther out and sometimes things just don't look right.

I am going to click off of my Path for a moment, so nothing selected. You can see the text that rises above an object and text that falls below an object and then text for example, that's to the left of an object and so on, they appear to be spaced differently and that's because uniform Text Wrap just does not tend to work on extremely complicated objects like this. So, what do you do, while you press Ctrl+Z or Command+Z on the Mac a few times, until you return the object to its original layer and you get rid of the Text Wrap, I recommend you change no the object.

Go ahead and deselect that, but rather you modify the boundary of the area text object. So, here is how I'm going to work. I'm going to click off of everything in order to deselect it and then I'm going to move my cursor over a little bit because I remember the area text boundary was right about here and I'll click on the segment and sure enough I went ahead and selected it, with the White Arrow tool once again and now press the Backspace key or the Delete key on the Mac to get rid of it. Notice now you lost a wall for your area text. You would think it go just flying out the right hand side now, but it doesn't, because Illustrator is always by default just going ahead and adding a virtual connection between the last two end points there. All right, now I'll once again click off the text and hopefully I can get -- notice this little purple square that is showing me that that's the text object because it is appearing on the Text layer which is set to violet and now, I'll go ahead and drag it over and I'm pressing the Shift key as I'm performing this drag to move it to this location right there.

All right, I'm going to go ahead and twirl close this top filigree layer just so that it is not distracting me over there on the right side of the screen. Now, I have a total four points describing this partial outline here and Illustrator is connecting these two end points on the fly, which is why the text has moved inward a little bit. Now, get your Pen tool and you can edit that text boundary while it has text inside of it. I'm going to drag from this location like so and then I'm going to drag up here in order to add another anchor point in the form of a smooth point.

I might go ahead and press the Ctrl key or the Command key on the Mac and move things around a little bit, except that, I want to grab the image itself. So now we are at the point where it is probably a good idea to lock a few things down. So, I'll go ahead and undo that accidental movement there and I lock down the Image layer and lock down the top filigree and I lock down the base filigree, so that only text is open like so. All right, now let's see if we can switch back to the Text layer and if we can somehow find that thing that we created there, I think it is around this location here, there it is.

You can also press Ctrl+Y or Command+Y, if you think that's going to be helpful to switch to the Outline mode. It is still fairly confusing and chaotic. But anyway, I'll press Ctrl+Y or Command+ Y again. Actually a great thing to do would be to Ctrl-click or Command- click on this eyeball in front of the text and then you could easily see where the line is because you wouldn't be seeing all the other outlines, just the one for the text object. Fantastic, there it is. Now, I'll go ahead and get my Pen tool again and I'll Alt+drag or Option+drag in order to create a cross point.

I will drag from this location in midway and I'll press Alt or Option in order to change the direction of that control handle and then I'll drag from this location like so and then press Alt or Option to change the direction of this control handle and now I'll drag like this in order to create a smooth point with big old control handles like so. I might go back and edit this one by pressing the Ctrl key or the Command key on the Mac and dragging upward just a little bit and then we are pretty much done. At this point I think we could just go ahead and -- well I'll just be fancy.

I will Alt+drag or Option+drag like so and then I'll drag from this location to knock the word would down to the next line. Now, let's see how it looks by Ctrl or Command-clicking on that eyeball again in front of text to see what in the world kind of Text Wrap we end up getting and I actually think this is pretty cool. I'll go ahead and click off and zoom out from my illustration. So that's a way to get extremely comforting control over how the text wraps inside of your illustration and it is totally editable, of course.

At any time you could go back with your White Arrow tool there, you can hunt down those points like this one. I went ahead and clicked on a segment in that case and I'll lift this point, so that the word patented goes to a different line and we get an effect like that. Then I click off and see if I like the result and not so much actually. I kind of liked it the way it was before. I think I'll stick with that. All right, so anyway, hey! I can change my mind, they are vectors and they are great. In the next exercise I'm going to show you a little meta tip that has very little to do with importing images into Illustrator, but everything to do with previewing the appearance of your trimmed art work. Stay tuned.

Show transcript

This video is part of

Image for Illustrator CS4 One-on-One: Advanced
Illustrator CS4 One-on-One: Advanced

149 video lessons · 21463 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
      42s
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
      51s
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time
      58s

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