ADOBE ILLUSTRATOR CS2 REVEALED PHẦN 6 doc

ILLUSTRATOR 7-8 Working with Filters, Gradient Meshes, Envelopes, and Blends Saturate and desaturate an illustration 1. Open AI 7-2.ai, then save it as Saturation. 2. Select all, click View on the menu bar, then click Hide Edges. 3. Click Filter on the menu bar, point to Colors, then click Saturate. 4. Click the Preview check box, drag the Intensity slider all the way to the right, then click OK. Your work should resemble Figure 8. 5. Click Filter on the menu bar, point to Colors, then click Convert to Grayscale. Every object is filled with a shade of gray, as shown in Figure 9. 6. Click View on the menu bar, then click Show Edges. 7. Deselect all by clicking the artboard. 8. Save your work, then close the Saturation document. You used the Saturate filter to intensify the color of an image. You then used the Convert to Grayscale filter to remove all chromatic color from the illustration, thereby creating the effect of a black-and-white image. FIGURE 8 Illustration with saturated colors FIGURE 9 Illustration with the Convert to Grayscale filter applied Lesson 1 Work with Filters ILLUSTRATOR 7-9 Apply the Pucker & Bloat and Twist filters 1. Open AI 7-3.ai, then save it as Pucker and Bloat. 2. Select the large orange square, click Filter on the menu bar, point to the first Distort menu, then click Pucker & Bloat. 3. Type 85 in the text box, then click OK. TIP A positive value produces a bloat effect; a negative value produces a pucker effect. 4. Select the gray circle, click Object on the menu bar, point to Path, then click Add Anchor Points. 5. Click Filter on the menu bar, then click Pucker & Bloat at the top of the Filter menu. The Pucker & Bloat dialog box opens with the settings last used. 6. Type -75, then click OK. Your work should resemble Figure 10. 7. Select the blue circle, then apply the Add Anchor Points command twice. 8. Open the Pucker & Bloat dialog box, type 180 in the text box, then click OK. 9. Click Filter on the menu bar, point to the first Distort menu, then click Twist. 10.Type 90 in the Angle text box, then click OK. Your work should resemble Figure 11. 11.Save your work, then close the Pucker and Bloat document. You applied the Pucker & Bloat filter in varying degrees to each object, producing three distinctly different effects. You also applied the Twist filter. FIGURE 10 The orange shape is bloated, the gray is puckered FIGURE 11 The blue circle with added anchor points and the Bloat and Twist filters applied Bloat Pucker Bloat & Twist LESSON 2 Working with a Mesh Object The Mesh Tool and the Create Gradient Mesh command can be used to transform a basic object into a mesh object. A mesh object is a single, multicolored object in which colors can flow in different direc- tions, and colors transition gradually from point to point. Meshes exceed the ability of simple radial and linear gradients for applying color blends to objects and are very effective for adding contrast and dimension. When you create a mesh object, multiple mesh lines crisscross the object, joined at their intersections by mesh points. Mesh points are diamond-shaped and work just like anchor points, with the added functionality of being able to be assigned a color. When you assign a color to a mesh point, the color gradates out- ward from the point. The area between four mesh points is a mesh patch. You can apply color to all four mesh points simultaneously by apply- ing the color to the patch. Work with this method to apply broad color changes to the object. Mesh points can be added, deleted, and moved along the mesh line without alter- ing the shape of the mesh. Anchor points are also part of the mesh, and they function as they do on simple paths. Just as with simple paths, you can manipulate the anchor points’ direction lines to alter the shape of the mesh. Figure 12 shows an example of a mesh object. Creating a Mesh Object You can create a mesh object from any path. You cannot create a mesh object from compound paths or text objects. You can create a mesh object with the Mesh Tool or by applying the Create Gradient Mesh command. Generally, you’ll be happiest using the Create Gradient Mesh command, which What You’ll Do In this lesson, you will create and manipu- late a gradient mesh to add dimension to basic shapes. ▼ ILLUSTRATOR 7-10 Working with Filters, Gradient Meshes, Envelopes, and Blends WORK WITH GRADIENT MESHES Lesson 2 Work with Gradient Meshes ILLUSTRATOR 7-11 creates a mesh object with regularly spaced mesh lines and mesh points. The Create Gradient Mesh dialog box is shown in Figure 13. The Mesh Tool adds a mesh point and its intersecting mesh lines where you click. The tool is most effective when you want to add a particular mesh point (say, for a highlight) to an existing mesh. The Create Gradient Mesh command is always the best choice when converting complex objects. Once a mesh object has been created, it can- not be converted back into a simple path. Complex mesh objects are a memory drain and may affect your computer’s perform- ance. When creating mesh objects, keep in mind that it’s better to create a few simple mesh objects than a single complex one. FIGURE 12 Elements of a mesh object FIGURE 13 Create Gradient Mesh dialog box Mesh line Mesh point (with red applied) Mesh patch (with yellow applied) Direction lines ILLUSTRATOR 7-12 Working with Filters, Gradient Meshes, Envelopes, and Blends Create a gradient mesh 1. Open AI 7-4.ai, then save it as Circle Mesh. 2. Select the circle, click Object on the menu bar, then click Create Gradient Mesh. 3. Type 2 in the Rows text box and 2 in the Columns text box, then click OK. 4. Deselect, then click the edge of the circle with the Direct Selection Tool . 5. Select the center mesh point, then click a yellow swatch in the Swatches palette. 6. Move the center mesh point to the green X, as shown in Figure 14. 7. Move the direction lines at the top, bottom, left, and right of the circle’s edge, as shown in Figure 15. (continued) FIGURE 14 Mesh points can be moved, just like anchor points FIGURE 15 The shape of the mesh is manipulated by direction lines Lesson 2 Work with Gradient Meshes ILLUSTRATOR 7-13 8. Click the Mesh Tool , then click the blue X. TIP Press [Shift] while you click the Mesh Tool to add a mesh point without changing to the current fill color. 9. Click the white swatch in the Swatches palette to change the color of the mesh point to white. 10.Click the Selection Tool , deselect, then hide Layer 2. Your work should resemble Figure 16. 11.Save your work, then close the Circle Mesh document. You applied a gradient mesh to a circle with the Create Gradient Mesh command, changed the color of a mesh point, then moved the mesh point. You then used the Mesh Tool to expand the mesh. You changed the color of the new mesh point to white to add a highlight to the sphere. FIGURE 16 Gradient meshes add dimension to an object ILLUSTRATOR 7-14 Working with Filters, Gradient Meshes, Envelopes, and Blends FIGURE 17 Selecting a mesh point FIGURE 18 Mesh points can be moved without changing the shape of the mesh Upper-left mesh point A mesh point relocated on a mesh line Manipulate a gradient mesh 1. Open AI 7-5.ai, then save it as Heart Mesh. 2. Select the heart, click Object on the menu bar, then click Create Gradient Mesh. 3. Type 4 in the Rows text box and 4 in the Columns text box, then click OK. 4. Deselect, then click the edge of the heart with the Direct Selection Tool . 5. Click the upper-left mesh point, as shown in Figure 17, then change the mesh point color to 10% black, using the Color palette. mesh point. 6. Click the Mesh Tool . 7. Press and hold [Shift], then drag the mesh point along the mesh path to the left, as shown in Figure 18. (continued) Lesson 2 Work with Gradient Meshes ILLUSTRATOR 7-15 8. Repeat Steps 5-7 for the upper-right mesh point, then deselect so that your work resembles Figure 19. 9. Click the Direct Selection Tool , press and hold [Shift], then select the 20 mesh points and anchor points along the edge of the heart. TIP Mesh points appear as diamonds and have the same properties as anchor points, with the added capability of accepting color. 10.Apply a black fill to the selected mesh points. The selected anchor points are unaffected. Your work should resemble Figure 20. 11.Deselect, then select the three mesh points at the lower third of the heart, then apply a 60% black fill so that your work resembles Figure 21. 12.Select the mesh point at the center of the heart (between the two 10% black highlights). compare your work to Figure 22. 14.Save your work, then close the Heart Mesh document. You applied a gradient mesh to a heart shape, then created highlights by changing the color of two mesh points. Next, you relocated the high- light mesh points without changing the shape of other mesh points to add contrast and dimension to the artwork. FIGURE 19 The mesh, reconfigured on both sides of the object FIGURE 20 Selecting mesh points Mesh points at the edge of the object are filled with black FIGURE 21 Mesh points are like anchor points, with the added functionality of accepting color assignments Three interior mesh points, darkened FIGURE 22 Meshes offer the ability to manipulate gradients precisely What You’ll Do ILLUSTRATOR 7-16 Working with Filters, Gradient Meshes, Envelopes, and Blends FIGURE 23 An envelope created using a top object LESSON 3 Defining Envelopes Envelopes are objects that are used to distort other selected objects; the dis- torted objects take on the shape of the envelope object. Imagine that you have purchased a basket- ball as a gift, and you want to wrap it with paper that has a polka-dot pattern. If these were objects in Illustrator, the basketball would be the envelope object, and the sheet of wrapping paper would be the object to be distorted. Figure 23 is a good example of what an envelope distortion looks like. You can make envelopes with objects that you create, or you can use a preset warp shape or a mesh object as an envelope. You can use envelopes with compound paths, text objects, meshes, and blends. Powerful effects can be achieved by apply- ing envelopes to linear gradient fills or pattern fills. In this lesson, you will create envelope distortions in three ways: using a top object, using a mesh, and using a warp. ▼ Resulting envelope effect Object to be used as an envelope Objects to be distorted WORK WITH ENVELOPES Lesson 3 Work with Envelopes ILLUSTRATOR 7-17 Creating Envelopes with Top Objects, Meshes, and Warps You create an envelope by using the Envelope Distort command on the Object menu. The Envelope Distort command offers you three options for creating an envelope: Make with Warp, Make with Mesh, and Make with Top Object. The top object is the topmost selected object. Warps are simply 15 premade shapes to choose from, to use as your top object. Warps are especially useful when you don’t want to draw your own top object. The envelope in Figure 24 was created using the Flag warp. Meshes are the same as gradient meshes made with the Mesh Tool. Creating an envelope with a mesh allows you to apply a mesh to multiple objects, which is not the case when you create a mesh using the Create Gradient Mesh command or the Mesh Tool. The envelope in Figure 25 was created using a mesh. Applying Envelopes to Gradient and Pattern Fills Envelopes can be used to distort objects that have linear gradient fills or pattern fills, but you must first activate the option to do so. In the Envelope Options dialog box, you can check the Distort Linear Gradients or Distort Pattern Fills check box to apply an envelope to either of the fills. Figure 26 shows the options in the Envelope Options dialog box. FIGURE 24 An envelope created using a warp FIGURE 25 An envelope created using a mesh FIGURE 26 Envelope Options dialog box Select to distort linear gradients Select to distort pattern fills [...]... identifies hues based on the concept of a color wheel Because there are 360 degrees to a circle, the hues on the color wheel are numbered 0– 360 This is why you see a small degree symbol beside the H (hue) text box in the Color Picker dialog box The color wheel is represented in the Color Picker by the vertical color ILLUSTRATOR 8 -6 slider Move the triangles along the color slider and watch the number... General Preferences dialog box 6 Select the middle column of mesh points 7 Press and hold [Shift], press two times, deselect, then compare your screen to Figure 30 8 Save your work, then close the Envelope Mesh document You applied an envelope distortion with a mesh to a series of rectangles, then moved the mesh points to create a wave effect Lesson 3 Work with Envelopes ILLUSTRATOR 7-19 Create an envelope... blend between the same two colors, made with 2 56 specified steps ILLUSTRATOR 7-23 Manipulating Blends Once a blend is created, you can change its appearance by making changes to one or more of the original objects For example, using the Direct Selection Tool, you can select one of the original objects, then change its fill color, stroke color, or stroke weight Illustrator will automatically update the appearance... 12.Double-click the Blend Tool , change the Specified Steps to 2 56, then click OK 13.Click the heart, click the small pink circle in the center of the heart, then deselect The 2 56 intermediary steps blend the heart to the circle in both color and shape Your screen should resemble Figure 38 14.Save your work, then close the Blended Shapes document You used the Blend Tool to create a smooth blend and evenly... dimension to the heart ILLUSTRATOR 7- 26 Working with Filters, Gradient Meshes, Envelopes, and Blends FIGURE 39 Create a clockwise color blend A blend between two open paths 1 Open AI 7-10.ai, then save it as Clockwise Blend FIGURE 40 This color effect could not be reproduced with a gradient 2 Double-click the Blend Tool , click the Spacing list arrow, click Specified Steps, type 2 56 in the Spacing text... over the blend that does not exceed the perimeter of the blend 6 Select all, click Object on the menu bar, point to Clipping Mask, then click Make 7 Click the Selection Tool , deselect, then compare your image to Figure 41 FIGURE 41 The blended paths are masked by a circle 8 Save your work, then close the Clockwise Blend document The use of 2 56 specified steps improves the appearance of the blend Lesson... is reversed 5 Select all 6 Click Object on the menu bar, point to Blend, click Replace Spine, then deselect The curved path becomes the new spine for the blend, as shown in Figure 42 7 Save your work, then close the Blends on a Path document You reversed the stacking order of a blend, then reversed its spine You then replaced the spine with a curved path to create a 3-D effect ILLUSTRATOR 7-28 Working... 2-point black stroke to the mask 10.Deselect, save your work, compare your screen to Figure 44, then close the Chrome document You created blends between five paths, then masked the blend with text Lesson 4 Create Blends ILLUSTRATOR 7-29 C H A P T E R S U M M A R Y This chapter shows how fun Illustrator can be You can get carried away with applying filters, envelopes and blends to your objects These features,... hexadecimal (a numbering system based on 16) You can also access the Color Picker by double-clicking the Fill or Stroke buttons in the toolbox Many effects listed on the Effect menu are available only for documents in the RGB Color mode If you are working in CMYK Color mode, these effects will be unavailable If you apply one of these effects, and then convert the document to CMYK Color mode, you will lose... that your work resembles Figure 28 6 Save your work, then close the Envelope Top Object document You used a circle as the top object in an envelope distortion Because you cannot apply a fill to the circle after it’s been used to make the envelope, you filled a copy of the circle with a gradient, then positioned it behind the distorted objects to achieve the effect ILLUSTRATOR 7-18 FIGURE 28 A radial . with 2 56 specified steps A blend between two similar colors, made with the Smooth Color blend option ILLUSTRATOR 7-24 Working with Filters, Gradient Meshes, Envelopes, and Blends FIGURE 36 Manipulating. 37. (continued) FIGURE 37 The red and blue objects blended with five steps ILLUSTRATOR 7- 26 Working with Filters, Gradient Meshes, Envelopes, and Blends 6. Switch to the Selection Tool , then dese- lect the blend. 7 Tool , deselect, then hide Layer 2. Your work should resemble Figure 16. 11.Save your work, then close the Circle Mesh document. You applied a gradient mesh to a circle with the Create Gradient