Adobe Illustrator CS5 bible PHẦN 3 doc

Chapter 4: Understanding Drawing and Painting Techniques 109 l Direction. This option lets you choose from four directions. The directions are relative to how you drag the Paintbrush. l Flip. This option lets you flip your object along or across the path. l Colorization. You have four Colorization choices in the Method pop-up menu: None, Tints, Tints and Shades, and Hue Shift. The key color is the color that the colorization uses as a base. Colorization and colorization tips can be found later in this chapter. FIGURE 4.34 The Art Brush Options dialog box allows you to create your own Art brush. Creating tiles using the Pattern brush The Pattern brush repeats a tiled object along a path. The Pattern brush can have tiles to display the sides, inner corner, outer corner, beginning, and end. If you think of a Pattern brush as you would a regular pattern tile but keep in mind the corners, you’ll have no problem creating your own interesting Pattern brushes. Figure 4.35 shows an example of one of the Pattern brushes. These are your choices in the Pattern Brush Options dialog box, as shown in Figure 4.36: l Name. Type a new name or change an existing name (up to 30 characters). l Scale. This option allows you to increase or decrease the size of the pattern relative to its original size. 08_584750-ch04.indd 10908_584750-ch04.indd 109 6/3/10 7:44 PM6/3/10 7:44 PM Part I: Illustrator Basics 110 l Spacing. This is the space between each tile of the pattern. l Tile buttons. This is where you choose which of the five tiles you want to create. l Flip. This option lets you flip the pattern along and/or across the path. l Fit. In this option, you can choose Stretch to fit, Add space to fit, or Approximate path. Stretch lengthens or shortens a tile to fit your object. Add space adds a blank space between the tiles to fit the path proportionately. Approximate path makes the tile fit as close to the original path without altering the tiles. l Colorization. You have four Colorization choices in the Method popup menu: None, Tints, Tints and Shades, and Hue Shift. The key color is the color that the colorization uses as a base. Colorization and colorization tips can be found later in this chapter. The list in the Pattern Brush Options dialog box allows you to choose from four existing patterns instead of the selected artwork: None, Original, Polka Dot Pattern, and Waves Pattern. Any pattern in your document is listed here. FIGURE 4.35 The Pattern brush draws a stroke by using a repeating pattern. 08_584750-ch04.indd 11008_584750-ch04.indd 110 6/3/10 7:44 PM6/3/10 7:44 PM Chapter 4: Understanding Drawing and Painting Techniques 111 FIGURE 4.36 The Pattern Brush Options dialog box allows you to create some very interesting brushes. Painting with the Bristle Brush The Bristle Brush tool attempts to mimic a realistic “natural edge” brush with soft brush edges. It works in a very similar fashion to the Calligraphic Brush. “Attempts” because it doesn’t really enable a natural brush look, but rather a slightly fuzzy, blurred, out-of-bounds look to your art- work. If you want that sort of look, the Bristle Brush is most definitely for you, but Illustrator has never been a tool for natural media artists, and that doesn’t change because of this tool (in fact, it will cause Painter aficionados to roll their eyes repeatedly while waiting for the slower-than-molasses effect to rasterize on-screen). Figure 4.37 shows a Bristle-brushed word (hint: don’t use a fill for text after you’ve outlined it . . . just a 1-point stroke). FIGURE 4.37 Created by outlining type, setting the Fill to None and the Stroke to 1 pt., and then applying a generic Bristle Brush. 08_584750-ch04.indd 11108_584750-ch04.indd 111 6/3/10 7:45 PM6/3/10 7:45 PM Part I: Illustrator Basics 112 Here are your choices for customizing a Bristle Brush (these options are all available in the Bristle Brush options dialog box, shown in Figure 4.38): l Name. Type a new name or change an existing name (up to 30 characters). l Shape. Pick from one of ten different brush shapes. l Size. The width of the brush (at 1 pt. stroke). l Bristle Length. This controls how accurate the brush is. l Bristle Density. How sharp the blurry edge is. l Bristle Thickness. This is the amount of detail in the “roughness” of the edges. l Paint Opacity. This controls the opacity level of the brush. l Stiffness. This controls how far from the edges the brush edge strays. FIGURE 4.38 The Bristle Brush options dialog box Making a custom brush You can customize a brush in several ways. If you like a brush but not all aspects of it, you can duplicate that brush (by choosing Duplicate Brush from the Brushes panel menu) and edit its options to make it as you like. To edit a brush, double-click the brush, choose Brush Options from the popup menu, or click the Brush Options button at the bottom of the Brushes panel. You can also create a brush by choosing New Brush from the pop-up menu or clicking the New Brush but- ton at the bottom of the Brushes panel. This displays a dialog box asking you to choose the type of brush you want to create. Note You can create a Calligraphic brush by filling in the text fields of the Calligraphic Brush dialog box. To create any of the other brushes, you must have your art drawn first and then choose New Brush. 08_584750-ch04.indd 11208_584750-ch04.indd 112 6/3/10 7:45 PM6/3/10 7:45 PM Chapter 4: Understanding Drawing and Painting Techniques 113 To create your own brush design, first create the object that you want to use. Next, select all the parts of the object that you want as a brush and then choose New Brush from the Brushes panel’s popup menu. Then choose the type of brush you want to create. The Brush Options dialog box opens, and you see your new design there. Now all you have to do is set the rest of the options, and you’re ready to use your new brush. Understanding colorization tips The Tips button in the Art, Scatter, and Pattern Brush dialog boxes displays a dialog box explain- ing the different colorization options. Figure 4.39 shows the Colorization Tips dialog box, which has four areas of colorization: None, Tints, Tints and Shades, and Hue Shift. To see how the Colorization options work, first create four copies of a brush. For the first copy, use the default of None. For the next three copies, change the stroke color (you won’t see anything happen yet). Double-click the second copy and then choose Tint. Apply the stroke when asked to do so in the dialog box. The color should change at this point. Double-click the third copy and then choose Tints and Shades. Double-click the last copy and then choose Hue Shift. All the copies should look different. FIGURE 4.39 The Colorization Tips dialog box provides visual examples of the various colorization options. 08_584750-ch04.indd 11308_584750-ch04.indd 113 6/3/10 7:45 PM6/3/10 7:45 PM Part I: Illustrator Basics 114 Checking out the Brush libraries The Brush library that displays when you choose the Brushes panel is the default library. You have additional libraries from which to choose. Adobe has really come up with some cool brushes for your creative pleasures. The other libraries are found under the Window menu, as shown in Figure 4.40. To use a brush from another Brush library, choose the brush you want from the scrolling list. Figure 4.41 shows just one of the many libraries that are included with Illustrator. FIGURE 4.40 The Brush Library submenu in the Brushes palette contains many different libraries. 08_584750-ch04.indd 11408_584750-ch04.indd 114 6/3/10 7:45 PM6/3/10 7:45 PM Chapter 4: Understanding Drawing and Painting Techniques 115 FIGURE 4.41 The Brush libraries include a variety of interesting brushes you can use. 08_584750-ch04.indd 11508_584750-ch04.indd 115 6/3/10 7:45 PM6/3/10 7:45 PM Part I: Illustrator Basics 116 Using Variable Width Strokes Another way to simulate using brushes is by using the Variable Width tool (shown in Figure 4.42) on any existing stroke. FIGURE 4.42 The Variable Width tool To use the tool, select it and then click on any selected stroke. As you drag away from the stroke, you’ll see the width of the stroke change at the point. Figure 4.43 shows how useful this tool is in conjunction with the Arc tool for creating a banana. FIGURE 4.43 The Banana-making tool, also known as the Variable Width tool, banana-izing a path Summary Illustrator’s drawing tools provide you with many powerful methods of quickly creating artwork. In this chapter, you learned the following important points about using these tools: l Illustrator includes four anchor point types: straight corner points, combination corner points, smooth points, and curved corner points. l Edit curves with the control handles. l Curves are based on the Bézier principle. 08_584750-ch04.indd 11608_584750-ch04.indd 116 6/3/10 7:45 PM6/3/10 7:45 PM Chapter 4: Understanding Drawing and Painting Techniques 117 l Use the Pencil tool to create paths quickly. l Use the Smooth and Path Eraser tools to edit your paths. l Although the Pen tool is the most difficult to learn, it yields the smoothest results. l The Paintbrush tool creates a free-formed stroked path. l A pressure-sensitive tablet can mimic hand-drawn art. l The Line Segment tool can create straight lines. Other tools grouped with the Line Segment tool let you create arcs, grids, polar grids, and spirals. l The Scatter Brush repeats objects along a path rotated and sized differently. l The Art Brush stretches an object to the length of the path. l The Pattern Brush repeats a pattern on a path. l You can create a new brush in the Brushes panel. 08_584750-ch04.indd 11708_584750-ch04.indd 117 6/3/10 7:45 PM6/3/10 7:45 PM 08_584750-ch04.indd 11808_584750-ch04.indd 118 6/3/10 7:45 PM6/3/10 7:45 PM [...]... long, thin points 133 Part I: Illustrator Basics You can also specifically design a star by clicking with the Star tool to display the Star dialog box, as shown in Figure 5. 13, where you can type the number of points and both the first and second radius of the points FIGURE 5.12 Press the tilde (~) key as you drag with most drawing tools to create some interesting designs FIGURE 5. 13 The Star dialog... orients itself with the document and the document window For example, the bottom of a rectangle aligns parallel to the bottom of the document window But what if you want to draw shapes that are all angled at 45 degrees on the page? Well, one possibility is to rotate them after you draw them by using the Transform Each command or the Rotate tool Better yet, you can set up your document so that every... as you have the Rectangle tool selected, dragging with it in the document window produces a new rectangle Note Press the tilde (~) key while drawing with the Rectangle tool (as well as all the other shape tools) for a mindbending, super-insta-duplication effect Just be prepared to press Ctrl+Z (Ô-Z) afterward to undo the mess 1 23 Part I: Illustrator Basics FIGURE 5.2 Click and drag to the opposite corner... and type the dimensions The steps that follow also apply to the other basic shape tools in Illustrator To draw a rectangle of an exact size, follow these steps: 1 Click and release the Rectangle tool where you want to place the upper-left corner The Rectangle dialog box, as shown in Figure 5 .3, opens FIGURE 5 .3 Use the Rectangle dialog box to specify the exact dimensions of a rectangle 124 Chapter 5:... rectangles to look less computery A tiny bit of corner rounding (2 or 3 points) may be just what you need Before getting into how to actually draw rounded rectangles, it helps to understand how Illustrator sets the roundness of your corners It performs this feat in one of three ways: l Using the most recently drawn rounded-corner rectangle Illustrator sets the corner radius value using the dimensions of... current rounded rectangle’s corner radius value but also changes the radius in the General Preferences dialog box Illustrator uses this corner radius for all subsequently drawn rounded rectangles until you change the radius value again 125 Part I: Illustrator Basics Now that you understand how Illustrator works when you draw rounded rectangles, the next step is to learn how to draw one You can create a... doesn’t have ink bubbles or splotches at the corners? A nine-pointed star? Drawing these objects and then coloring them in Illustrator is so easy and so basic that after a few weeks of using Illustrator, you never have to draw a shape by hand again without wincing—and maybe even shuddering Illustrator exemplifies the true power of object-oriented drawing programming No matter what you draw, you can adjust... preview you see on-screen, as shown in the next figure continued 135 Part I: Illustrator Basics continued Apply your changes 5 Add any extras, such as a drop shadow, text, and so on My end result is shown in the final figure And there you have it! A work of art! Working with the Flare Tool The Flare tool is more than a welcome complement to Illustrator s amazing tools Housed with the Rectangle tool, the... very different appearance Filling and Stroking Shapes One of the most powerful features of Illustrator is its ability to color objects In Illustrator, you can color both the fill and the stroke of the paths that you create The fill is the internal portion of a shape, while the stroke is the edge of a shape 138 Chapter 5: Creating Objects, Graphs, and Symbols Using fills The fill of an object is the... Style section FIGURE 5.19 A stroke knocks out a fill by one-half the weight of the stroke, as shown on the right circle FIGURE 5.20 The Paint Style section of the Tools panel 1 43 Part I: Illustrator Basics When you first start Illustrator, the Fill icon is in front of the Stroke icon This means that any changes made in the Color or Swatches panels affect the fill When the Fill icon is in front of the . FIGURE 4 .39 The Colorization Tips dialog box provides visual examples of the various colorization options. 08_584750-ch04.indd 1 130 8_584750-ch04.indd 1 13 6 /3/ 10 7:45 PM6 /3/ 10 7:45 PM Part I: Illustrator. Ctrl+Z ( Ô-Z) afterward to undo the mess. 09_584750-ch05.indd 1 230 9_584750-ch05.indd 1 23 6 /3/ 10 7:47 PM6 /3/ 10 7:47 PM Part I: Illustrator Basics 124 FIGURE 5.2 Click and drag to the opposite. panel. 08_584750-ch04.indd 11708_584750-ch04.indd 117 6 /3/ 10 7:45 PM6 /3/ 10 7:45 PM 08_584750-ch04.indd 11808_584750-ch04.indd 118 6 /3/ 10 7:45 PM6 /3/ 10 7:45 PM 119 CHAPTER Creating Objects, Graphs,