Adobe Illustrator CS4 bible phần 6 doc

352 Putting Illustrator to Work Part II CROSS-REF CROSS-REF For more on the Direct Selection tool, see Chapter 6. OpenType and TrueType combine the screen and printer fonts into one file — if you can choose any of these font types in Illustrator, you can create outlines from them. Illustrator locates the font file and uses that information to create the outlines. After you convert type to outlines, you can apply gradients to its fill, and you can apply patterns to its fill, which you can preview on-screen. You can also apply patterns to nonoutline type by click- ing a pattern in the Swatch panel for the file or stroke of the character. FIGURE 9.37 Type converted into outlines can result in some cool effects. CAUTION CAUTION Although you can undo Create Outlines, be forewarned that you can’t convert back to type in case you make a spelling error or want to change the font or any other type attribute. You can convert all forms of type, including individual type, type on a path, area type, and type containers to outlines. TIP TIP Creating outlines out of type is also very useful when you want to send the file to be outputted and the person doing the output doesn’t have the font you’re using. Simply use the Create Outlines option before you send the file, and it prints just fine. (This is not advised for 4-point type or smaller, as described later in this chapter.) The process of creating editable type outlines has many uses, including distorting mild-mannered characters into grotesque letters. More practical uses for editable type outlines include making type-based logos unique, arcing type (where one side is flat and the other is curved), special effects and masking, and avoiding font-compatibility problems. 13_345191-ch09.indd 35213_345191-ch09.indd 352 10/24/08 11:57:11 AM10/24/08 11:57:11 AM 353 Working with Type 9 Initially, when type is converted into outlines, individual characters are turned into compound paths. This ensures that holes in letters, such as in a lowercase a, b, or d, are transparent and not just white-filled paths placed on top of the original objects. CROSS-REF CROSS-REF For more on warp effects, see Chapter 11. For more on compound paths, see Chapter 12. Distorting characters for special effects After letters have been turned into outlines, there’s nothing to stop you from distorting them into shapes that resemble letters only in the most simplistic sense of the word. The results of letter distortion usually aren’t all that eye-pleasing, but they can be fun. Few things in life are as pleasing as taking a boring letter Q and twisting it into the letter that time forgot. Or fiddling around with your boss’s name until the letters look as evil as your boss does. Or adding pointed ears and whiskers to a random array of letters and numbers and printing out several sheets of them with the words “Mutant kittens for sale.” When modifying existing letters, use the Direct Selection tool. Select the points or segments you want to move and then drag them around to your heart’s content. This can be great practice for adjusting paths, and you might accidentally stumble onto some really cool designs. Type outlines provide you with the flexibility to manipulate letters to turn an ordinary, boring, let- ters-only logo into a distinct symbol embodying the company’s image. Outlines are flexible enough that there really are no limits to what can be done with something as simple as a word of type. Masking and other effects Standard type or type that has been converted into outlines can be used as a mask or filled with a placed image or any objects, as shown in Figure 9.38. FIGURE 9.38 This shows masking an image. 13_345191-ch09.indd 35313_345191-ch09.indd 353 10/24/08 11:57:12 AM10/24/08 11:57:12 AM 354 Putting Illustrator to Work Part II For outlined words to work as a single mask, you must first change them into a compound path. Usually, individual letters of converted type are changed into individual compound paths, whether the letter has a hole in it or not. For masks to work properly, you must select the entire word or words you want to use as a mask and then choose Object ➪ Compound Path ➪ Make or press Ctrl+8 (Ô+8). This changes all the selected letters into one compound path. After the words are a compound path, place them in front of the objects to be masked, select both the words and the masked objects, and then choose Object ➪ Clipping Mask ➪ Make or press Ctrl+7 (Ô+7). TIP TIP In some third-party (non-Adobe) and shareware typefaces, making a compound path out of a series of letters can produce results where the holes aren’t transparent. This issue is usually one of path direction, which can be corrected by selecting the inner shape (the hole) and changing the direction with the path direction buttons on the Attributes panel (accessed by choosing Window ➪ Attributes). CROSS-REF CROSS-REF For more on masks, see Chapters 7 and 12. Avoiding font conflicts by creating outlines If you ever give your files to a service bureau or to clients, you’ve probably already run into some font-compatibility problems. A font-compatibility problem usually means that the place you gave your file to doesn’t have a typeface that you used in your Illustrator document or that it has a dif- ferent version of the same typeface with different metrics. This is a problem to which there’s no great solution, and the trouble seems to be worsening as more font manufacturers spring up. And then there are shareware typefaces, some of which resem- ble Adobe originals to an uncanny degree of accuracy. All this leads to a great deal of confusion and frustration for the average Illustrator user. But there’s a way around this problem — at least most of the time. Convert your typefaces into outlines before you send them to other people with other systems — they don’t need your type- faces for the letters to print correctly. In fact, converted letters aren’t really considered type any- more, just outlines. TIP TIP Save your file before converting the text to outlines and then save it as a different file name after converting the text to outlines. This allows you to do text editing later on the original file, if necessary. Understanding hinting Most Type 1 fonts have hinting built into them. Hinting is a method for adjusting type at small point sizes, especially at low resolutions. Although hinting is built into the fonts, when those fonts are converted into paths via the Create Outlines command, the hinting functionality is gone. This is part of the reason that type converted to outlines can look heavier than it does otherwise. 13_345191-ch09.indd 35413_345191-ch09.indd 354 10/24/08 11:57:13 AM10/24/08 11:57:13 AM 355 Working with Type 9 Creating outlines shouldn’t cause that much of a problem when the type is to be output to an imagesetter because the high resolution of the imagesetter makes up for the loss of hinting. However, very small type — 4 points or less — could be adversely affected. NOTE NOTE Converting typefaces to outlines removes the hinting system that Adobe has implemented. This hinting system makes small letters on low-resolution (less than 600 dpi) devices print more accurately, controlling the placement and visibility of serifs and other small, thin strokes in characters. Type at small point sizes looks quite different on laser printers, although it retains its shape and consistency when it’s output to an imagesetter or an output scanner system. Understanding Other Type Considerations When you’re using type in Illustrator, remember these things if you want to get good results:  Ensure that the person you’re sending the Illustrator file to has the same fonts you have. It isn’t enough just to have the same name of a font; you need the exact font that was cre- ated by the same manufacturer.  Try not to mix TrueType fonts with PostScript fonts. This usually ends up confusing everyone involved.  If the person you’re sending Illustrator files to doesn’t have your typeface, select the type in that font and then choose Type ➪ Create Outlines or press Ctrl+Shift+O (Ô+Shift+O).  If you’re saving your illustration as an EPS file to be placed into another program and you’re not going to open the file, you can choose Include Document Fonts in the EPS Save dialog box. This forces any fonts used in the illustration to be saved with the illus- tration and allows the illustration to print as a placed image from within another program or to print from Illustrator as a placed EPS. The same goes for PDF files. Summary Text can be an important part of Illustrator documents. Understanding how Illustrator handles text-related issues is vital to getting the best results. In this chapter, you learned about the follow- ing important topics in this area:  Individual type has one point as its anchor, and the type is aligned to that point.  There are four ways to put type on a page: individual type, type containers, area type, and type on a path.  Type containers exist within a rectangle drawn with the Type tool.  Type can be selected all at once by clicking the path (or point) of the type with the Selection tool. 13_345191-ch09.indd 35513_345191-ch09.indd 355 10/24/08 11:57:14 AM10/24/08 11:57:14 AM 356 Putting Illustrator to Work Part II  Individual characters, words, and paragraphs can be selected by using any of the type tools.  Area type is type that exists within the confines of any path.  Type on a path is type that runs along the edge of a path.  The Character panel, accessed by pressing Ctrl+T (Ô+T), contains all the character- specific information about selected type and can be used to change that information.  Tracking and kerning remove or add space between groups or pairs of letters, respectively.  The Paragraph panel contains all the paragraph-specific information about selected type and can be used to change that information.  Most of the options used to control type can be found in the Type menu.  Type can be set to wrap around selected paths by using the Text Wrapping feature.  Type can be set to jump from text block to text block by threading text blocks together.  The Tabs panel is used to set tabs for text areas.  If you have both the screen font and the printer font of a Type 1 typeface, or if you have an OpenType or TrueType font installed, you can convert the font into outlines via the Create Outlines command.  After type has been changed to outlines, you can use those outlines as a mask or fill those outlines with gradients or patterns. 13_345191-ch09.indd 35613_345191-ch09.indd 356 10/24/08 11:57:14 AM10/24/08 11:57:14 AM 357 N o Illustrator book would be complete without discussing the how- tos of creating creative strokes, patterns, and textures with the Scribble effect. Sure, you can create these by simply drawing them, but Illustrator makes their creation a breeze. Illustrator allows you to create a pattern as well as save it for future use. We all have the desire to add some texture to make flat images pop up. The Scribble effect lets you add some sketchy or computery effects to an other- wise boring illustration, giving the drawing a loose, free, quality look. Using Creative Strokes In Chapter 4, I discuss how to apply strokes to paths, and in Chapter 5, I discuss all the attributes of a stroke and how to apply them to objects. In this chapter, you learn how to use strokes to create something spectacular. The ability to stroke a path in Illustrator is greatly underrated. Strokes can do more than just outline shapes and vary thickness and patterns. You can enhance illustrations with a combination of strokes, including easily creating a filmstrip or a railroad track with some stroke attribute changes. IN THIS CHAPTER Using the default patterns Creating your own patterns Understanding how transparency works with patterns Modifying existing patterns Putting patterns and gradients into patterns Transforming patterns Using Creative Strokes and Fills with Patterns 14_345191-ch10.indd 35714_345191-ch10.indd 357 10/24/08 12:05:52 PM10/24/08 12:05:52 PM 358 Putting Illustrator to Work Part II The first part of this section explains some of the greatest mysteries and unlocks some of the deep- est secrets that surround strokes. If that sounds at all boring, take a look at the figures in this chap- ter. I created most of them by using strokes, not filled paths. You create most effects with strokes by overlaying several strokes on top of each other. By using the Appearance panel’s popup menu to add a new stroke, you place an exact duplicate of the origi- nal path on top of itself. Changing the weight and color of the top stroke gives the appearance of a path that’s a designer, or custom, stroke. You can add strokes on top of or under the original stroke to make the pattern more complex or to add more colors or shapes. Stroke essentials Strokes act and work differently than fills. Remember these basic rules when using strokes:  Even distribution: The most important thing to remember when using strokes is that you should evenly distribute stroke-weight width on both sides of a path. In other words, for a stroke with a 6-point weight, each side of the stroke’s path should have 3 points of weight.  Using patterns in strokes: You can place patterns in strokes, and you can see the pat- tern on the stroke.  No gradients allowed: Due to PostScript limitations, you can’t use gradients to color strokes. The workaround for this is to choose Effect ➪ Path ➪ Outline Stroke so you can edit later to fill with a gradient. Choosing Object ➪ Path ➪ Outline Stroke creates path outlines around the width of the stroke. When you convert a stroke to an outline, it’s really an outlined path object, and you can fill it with patterns and gradients (both of which appear when previewing and printing).  Consistent stroke weight: Stroke weight never varies on the same path.  No stroke weight: A stroke with a color of None has no stroke weight.  Strokes and Pathfinder functions: Strokes are, for the most part, ignored when combin- ing, splitting, or modifying paths with the Pathfinder functions. Strokes are never consid- ered when the Pathfinder functions search for the locations of the paths. CROSS-REF CROSS-REF For more on gradients, see Chapter 7. For more on stroke weights as they relate to paths and objects, see Chapters 4 and 5. For more on the Pathfinder functions, see Chapter 6. 14_345191-ch10.indd 35814_345191-ch10.indd 358 10/24/08 12:05:53 PM10/24/08 12:05:53 PM 359 Using Creative Strokes and Fills with Patterns 10 Using the stroke charts The stroke charts in Figures 10.1 through 10.3 show how some of the basic stroke-dash patterns look with various options chosen, at different weights, and in different combinations. The great advantage of these charts is that you can find a style similar to the one you want and then modify it to suit your situation. The charts should help you determine when to use certain types of stroke pat- terns because some patterns work better than others with curves and corners. All the paths in the charts were taken from an original shape that included a straight segment, a corner, and a curve. The first chart, shown in Figure 10.1, consists of thirty-two 3-point stroke paths that have a variety of dash patterns and end and join attributes. The second chart, shown in Figure 10.2, shows eigh- teen 10-point stroke paths with similar attributes. These charts show stroke effects with only one path. The area in the middle of each path in the charts describes the path. The third chart, shown in Figure 10.3, contains paths that have been copied on top of the original by using the Appearance panel. To copy the path this way, select the path and then choose Add New Stroke from the Appearance panel’s popup menu. The paths are listed in the order that they were created. The first path is described at the bottom of the list. The first path is duplicated in the Appearance panel by choosing Add New Stroke from the popup menu and then given the paint style attributes of the item in the list. In the case of blended paths (the fourth one down in the first row of Figure 10.3), you need to copy the original line and then choose Edit ➪ Paste In Front or press Ctrl+F (Ô+F) rather than use the Appearance panel to duplicate the path (this keeps the paths in place). You can’t blend multiple paths in the Appearance panel because Illustrator reads the paths as one path. So, in the case of blends, invoke the Paste in Front option before blending. You can just select all paths and then choose Object ➪ Blend ➪ Make. TIP TIP To create some really great effects, such as a pearl necklace, you need to blend the paths. You can blend paths from one to another. Simply select the paths and then choose Object ➪ Blend ➪ Make. You can change the blend amount if necessary by choosing Object ➪ Blend ➪ Blend Options. CROSS-REF CROSS-REF For more on blends, see Chapter 12. When you create a stroke pattern, the original path is frequently selected in the Appearance panel and then copied on top of the original by using the Appearance panel’s popup menu (select the path and then choose Add New Stroke) several times. 14_345191-ch10.indd 35914_345191-ch10.indd 359 10/24/08 12:05:53 PM10/24/08 12:05:53 PM 360 Putting Illustrator to Work Part II FIGURE 10.1 Thirty-two 3-point stroke paths 14_345191-ch10.indd 36014_345191-ch10.indd 360 10/24/08 12:05:54 PM10/24/08 12:05:54 PM 361 Using Creative Strokes and Fills with Patterns 10 FIGURE 10.2 Eighteen 10-point stroke paths 14_345191-ch10.indd 36114_345191-ch10.indd 361 10/24/08 12:05:55 PM10/24/08 12:05:55 PM [...]... the Chinese Book of Patterns If that’s true, you can use Illustrator to create perfect patterns 369 10 Part II Putting Illustrator to Work The Pattern function in Illustrator is twofold First, you can fill or stroke any path with a pattern Second, you can edit existing patterns or create new ones from Illustrator objects The real strength of Illustrator s pattern features is that you can create patterns... want to return it to that original size, you must do the math and figure out what percentage you need to resize it — in this case, 66 .7% (100% ÷ 150% = 66 .7%) — or you could just use the Undo feature Typing 100% in the Scale dialog box leaves the selected objects unchanged Illustrator automatically creates a visible origin point, as shown in Figure 11.1, when you use any of the transformation tools Because... is the inner section of the train track 6 Select both paths by dragging a marquee around them with the Selection tool and then choose Object ➪ Path ➪ Outline Stroke This changes the paths into outlined paths because strokes can’t contain gradients 7 Fill the paths with a metallic gradient, as shown in Figure 10 .6 For more on applying gradients, see Chapter 7 366 Using Creative Strokes and Fills with... library is one of several sample libraries you can use in your Illustrator documents CROSS-REF For more on the move, rotate, scale, reflect, and skew functions, see Chapter 11 Creating custom patterns In addition to using the patterns provided with Illustrator, you can create custom patterns by following these steps: 371 10 Part II Putting Illustrator to Work 1 Create the artwork that you want to appear... dash patterns FIGURE 10 .6 Fill both paths with a metallic gradient FIGURE 10.7 Use the Pathfinder panel to create the rails 367 10 Part II Putting Illustrator to Work FIGURE 10.8 Add the stroke for the ties FIGURE 10.9 The final railroad track looks pretty realistic Creating a highway Figure 10.10 shows a stroke design that I discovered a few years back while I was playing with Illustrator It has the... patterns as well as apply them on-screen in almost any way imaginable A pattern in Illustrator is a series of objects within a rectangle that’s commonly referred to as a pattern tile When you choose a pattern in the Swatches panel, Illustrator repeats the selected pattern as necessary to fill the object, as shown in Figure 10.11 Illustrator places the pattern tiles together for you After you apply a pattern... corresponding pattern swatch in the Swatches panel Illustrator fills the path with the pattern you select Although there are a few different default fill patterns, each one can take on a whole new perspective if you use the various transformation functions — move, rotate, scale, reflect, and skew — on them The default patterns are stored in the Adobe Illustrator Startup file FIGURE 10.12 The Decorative_Classic... though Read on to learn how to apply these techniques to achieve truly amazing effects with strokes 363 10 Part II Putting Illustrator to Work FIGURE 10.4 The original 42-point stroke at the top and the final parallel stroke that results from overlaying new, smaller, contrasting strokes over existing ones 364 Using Creative Strokes and Fills with Patterns Creating a Filmstrip Stroke T he stroke examples... points × 17 points TIP 375 10 Part II Putting Illustrator to Work FIGURE 10.15 You can easily make a pattern from straight lines and then apply it to any object 3 76 Using Creative Strokes and Fills with Patterns Using diagonal-line and grid patterns Shading effects, such as hatched lines, are easily created with a diagonal-line and grid pattern Figure 10. 16 shows text shaded using a diagonal-line pattern... strokes Use fills to create half-stroked paths Patterns are a type of fill that provides texture to any path Illustrator supplies several default patterns You can transform these patterns in the same ways that you can transform other Illustrator objects You can use almost anything you create in Illustrator as a pattern, with the exception of masks, gradients, placed images, and other patterns You construct . gradient, as shown in Figure 10 .6. For more on apply- ing gradients, see Chapter 7. 14_345191-ch10.indd 366 14_345191-ch10.indd 366 10/24/08 12: 06: 07 PM10/24/08 12: 06: 07 PM 367 Using Creative Strokes. strokes. Creating cinematic celluloid 14_345191-ch10.indd 365 14_345191-ch10.indd 365 10/24/08 12: 06: 02 PM10/24/08 12: 06: 02 PM 366 Putting Illustrator to Work Part II Creating map elements Several. that’s true, you can use Illustrator to create perfect patterns. 14_345191-ch10.indd 369 14_345191-ch10.indd 369 10/24/08 12: 06: 11 PM10/24/08 12: 06: 11 PM 370 Putting Illustrator to Work Part II The