Basic Highlights Making Highlights with Transparent Blends Overview: Create your basic objects and a light-colored highlight shape; use blends to make the highlights; scale the highlights to fit. The original objects (locked in the layers palette) shown with the basic highlight shape The highlight objects before blending (the outer object is set to 0% Opaque in the Transparency palette); after blending in 22 steps; the blend shown at actual size The final blend in place and shown in a "regis- tration" circle for easy scaling on other bubbles Using transparency, highlights are now as simple as creating a blend in the correct highlight shape. For help creating smooth contoured blends, see "Unlocking Real- ism" in the Blends, Gradients & Mesh chapter. 1 Creating your basic objects and determining your basic highlight shape and color. Artist Sharon Steuer created this "Bubbles" image using overlaying transpar- ent radial gradients (to see how she created the hill, see "Rolling Mesh" in the Blends, Gradients & Mesh chapter). She modified an oval with the Direct-selection tool to create her basic highlight shape. After creating your main objects, make a light-colored highlight object on top. Use the Layers palette to lock everything except the high- lighted object (see the Layers chapter for help). 2 Creating the highlight. Select the highlight shape and Copy, choose Edit > Paste in Back, then Object > Lock. Now, select and shrink the front copy (for scaling help see the Zen chapter). Choose Object >Unlock All, then set the Opacity of this selected outer object to 0% in the Transparency palette. Select both objects, then with the Blend tool, click on one anchor point of the outer object, then Option/Alt-click on the corresponding anchor point of the inner object and specify the number of blend steps (Steuer chose 22 steps). Steuer scaled copies of her high- light blend (with a "registration circle") for each bubble. 274 Chapter 8 Transparency & Appearances Nancy Stahl Nancy Stahl created a soft, airbrushed look throughout her illustration for The Illus- trator 9 Wow! Book cover by using opaque-to- transparent blends, as described in the "Basic Highlights" lesson oppo- site. Shown bottom left are the steps Stahl used in creating the hat band: the first two figures in the first diagram show her custom Pattern Brush and that brush applied to a path (see the Brushes & Symbols chapter for help with brushes), third down shows the opaque- to-transparent blends on top of the brushed path, next are the brush and blends masked, at bottom is that masked group on the hat colors, with the brushed path set to a Multiply mode with a 65% Opacity (Transparency palette). At bottom right is the gondolier with and without the opaque- to-transparent blends. Chapter 8 Transparency & Appearances 275 Tiffany Larsen In this Illustration about Mardi Gras nightlife, artist Tiffany Larsen combined a posterized look with layers of subtle transparency to create depth and atmosphere. Larsen typically uses two colors in her illustrations. The primary color, of multiple shades, creates texture. The secondary color (red) is used as a highlight, and is limited to one or two shades and simple blocks of color. Here, Larsen also introduced a third color (turquoise) within the transparent smoke swirls. She applied varying opacities of 10%-30% using the opacity slider in the Trans- parency palette, all with the Blending mode set to Normal. The complex layering of transparent smoke over the solid blocks of color heightens the energy of the composition. 276 Chapter 8 Transparency & Appearances Louis Fishauf Louis Fishauf created the holiday glow that radiates from his mischievous Santa by using Illustrator's Gaussian Blur effect, the Trans- parency palette, and one of a set of custom art brushes. Fishauf created the background by drawing a large circle with a purple radial gradient and applied a 25 pixel radius Gauss- ian Blur. He selected the Star tool and drew a shape. He then selected Blur>Gaussian from the Effect menu, setting the Opacity to 25%. To create the illusion that the orbiting streak fades into the distance behind Santa, and to add a sense of depth to the entire image, Fish- auf applied an art brush he created with short tapered ends to a 0.36 pt white stroke. He then integrated the streak into the image by giving it an opacity of 34% with the Lighten mode. As for St. Nick, Fishauf constructed the globe-like body, legs, arms, head, and hat from gradient- filled objects. He then made copies of these and pasted them behind the original set of objects, applying to each a white Fill and white Stroke ranging from 5 points to 7.26 points. A Gaussian Blur was applied to these objects, along with a uniform opacity of 68%. The gift box, computer, and Christmas tree each received individual glows. Fishauf added even more visual interest by adding a Drop Shadow to Santa's face and beard. Santa's list was cre- ated from a set of white Strokes, behind which Fishauf pasted a white-filled shape with an Opacity set to 50%, and a second copy of the shape with a gradient fill set to Lighten mode for a subtle modeled effect. Chapter 8 Transparency & Appearances 277 Basic Appearances Making and Applying Appearances Overview: Create appearance attributes for an object; build a three-stroke appearance, save it as a style, and then draw paths and apply the style; target a layer with a drop shadow effect, create symbols on the layer, then edit layer appearance if needed. On the left, the lake with blue fill and stroke; on the right, the lake with the Inner Glow added to the appearance attribute set Appearance palette displaying the finished set of attributes (Cordon used the Appearance pal- ette so that he could create a single path for the lake that contained a fill and the coastline stroke above it) Complexity and simplicity come together when you use Illustrator's Appearance palette to design intricate effects, develop reusable styles and simplify production workflow. In this location map of Chicago, Illinois, cartographer Steven Gordon relied on the Appearance palette to easily build appearances and apply them to objects, groups and layers. 1 Building an appearance for a single object. Gordon developed a set of appearance attributes that applied a coastline, vignette and blue fill to a path symbolizing Lake Michigan. To begin building appearance attributes, open the Appearance palette and other palettes you might need (Color, Swatches, Stroke, and Transparency, for example). Gordon began by drawing the outline of the lake with the Pen tool and giving the path a 0.75 pt dark blue stroke. In the Appearance palette, he clicked on the Fill attribute and chose the same dark blue he had used for the stroke. To give the lake a light-colored vignette, he applied an inner glow to the Fill attribute (Effect > Styl- ize > Inner Glow). In the Inner Glow dialog box, Gordon set Mode to Normal, Opacity to 100%, Blur to 0.25 inches (for the width of the vignette edge), and enabled the Edge option. He clicked the dialog box's color swatch and chose white for the glow color. 278 Chapter 8 Transparency & Appearances 2 Creating a style. Until Illustrator 9, you created a "pat- terned" line like an interstate highway symbol by overlap- ping copies of a path, each copy with a different stroke width. Now you can use the Appearance palette to craft a multi-stroked line that you apply to a single path. First, deselect any objects that may still be selected and reset the Appearance palette by clicking the Clear Appearance icon at the bottom of the palette (this eliminates any attri- butes from the last selected style or object). Next, click the Stroke attribute (it will have the None color icon) and click the Duplicate Selected Item icon twice to make two copies. Now, to make Gordon's interstate symbol, select the top Stroke attribute and give it a dark color and a 0.5 pt width. Select the middle attribute and choose a light color and a 2 pt width. For the bottom attribute, choose a dark color and a 3 pt width. Because you'll use this set of appearance attributes later, save it as a style by drag- ging the Object icon at the top of the palette to the Styles palette. (Double-click the new style's default name in the palette and rename it in the dialog box if you want.) 3 Assigning a style to a group. Draw the paths you want to paint with the new style you created above. Then choose Select All and Group. To get the three levels of strokes to merge when paths on the map cross one another, click on Group in the Appearance palette and then apply the interstate style you just saved. 4 Assigning appearance attributes to an entire layer. By targeting a layer, you can create a uniform look for all the objects you draw or place on that layer. Create a layer for the symbols and click the layer's target icon in the Layers palette. Then select Effect > Stylize > Drop Shadow. Each symbol you draw or paste on that layer will be auto- matically painted with the drop shadow. Later, you can modify the drop shadows by clicking the layer's targeting icon and then double-clicking the Drop Shadow attribute in the Appearance palette and changing values in the pop-up Drop Shadow dialog box. On the left, the interstates with the Style ap- plied to the individual paths; on the right, the interstate paths were grouped before the Style was applied Top, targeting the layer in the Layers palette; bottom, the Appearance palette showing the Drop Shadow attribute (double-click the attri- bute to edit Drop Shadow values) Chapter 8 Transparency & Appearances 279 Floating Type Type Objects with Transparency & Effects Overview: Create an area type object, key in text; add a new fill attribute in the Appearance palette; convert the fill to a shape; change transparency and add an Effect. Left, the Selection tool selected; right, the Type tool selected The type object after clicking with the Selection tool (the background photograph has been hid- den in this view) The Appearance palette after selecting the fill attribute and applying white to it Using the Convert to Shape effect, you can create an area type object with transparency and effects that will save you from making and manipulating two objects (a type object and a rectangle with transparency and effects below it). For a virtual guide to Bryce Canyon National Park, Steven Gordon created a transparent area type object with a hard-edged drop shadow that pro- vided information for each of the Park's most popular hiking trails. 1 Making the area type object. Start by selecting the Type tool, dragging it to create an area type object, and then keying in your text. When you have finished typing, click on the Selection tool (the solid arrow icon) in the toolbox. This deselects the text characters while select- ing the type object, preparing the object (rather than the characters) for editing in the next step. 2 Creating a new fill and converting to a shape. Open the Appearance palette and select Add New Fill from the palette menu. Drag the new Fill attribute below Charac- ters in the palette. The Fill attribute will be automatically deselected when you move it in the palette so you'll need to click on it again to select it. Next, apply a light color to it (Gordon chose white from the Swatches palette). Now choose Effect > Convert to Shape > Rectangle. In the Shape Options dialog box, control the size of the rectangle around your type object by modifying the two Relative options (Extra Width and Extra Height). To make the 280 Chapter 8 Transparency & Appearances shape wrap more tightly around his area type object, Gordon keyed in 0 inches for the Extra Width and Extra Height options. 3 Adjusting transparency and adding a drop shadow effect. Gordon designed each trail information box to incorporate transparency and a drop shadow, so its text would float above, but not obscure, the background photograph. To adjust the transparency of the shape you converted in the previous step, first ensure that the type object's Fill or Rectangle attribute is selected in the Appearance palette. (If either attribute is not selected, then the transparency changes you're about to make will also affect the text characters.) Open the Transparency palette and adjust the transparency slider or key in a value (Gordon chose 65% for transparency). Instead of creating a soft drop shadow, Gordon opted to make a hard-edged shadow. To create this shadow, make sure the Fill attribute is still selected in the Appear- ance palette. Choose Effect > Stylize > Drop Shadow and in the Drop Shadow dialog box set Color to black, Blur to 0, and then adjust the X Offset and Y Offset sliders so the shadow is positioned as far down and to the right as you wish. 4 Editing the area type object. As you continue working, you may decide to resize the type object you originally created when you dragged with the Type tool. (This is different than editing the Shape Options dialog values to change the size of the transparent rectangle around the type object, as you did previously). To resize the object, click on the Direct Selection tool and then click on the edge of the type object you want to drag in or out. Because the transparent drop shadow shape was formed using the Convert to Shape effect, it is "live" and will automatically resize as you resize the type object. Similarly, if you edit the text by adding or deleting words, the type object will resize, causing your transpar- ent drop shadow shape to resize automatically. The Shape Options dialog box with the Relative options edited Left, the Appearance palette with the transpar- ency attribute selected; right, the Transparency palette The Drop Shadow dialog box The Direct Selection cursor when it nears the edge of an area type object Getting an edge It can be hard to click the edge of a type object that has a drop shadow. To easily find the edge, choose View >Outline. Now the selectable edge will display as a black line. Chapter 8 Transparency & Appearances 281 Tinting a Scan Using Transparency Effects & Simplify Path Advanced Technique Overview: Place an EPS image and its clipping path; tint the image using the clipping path, blending modes and Opacity; reduce a path's anchor points using Simplify; use Isolate Blending to prevent double shadows. The grayscale leaf scan; the outline selection converted to a path in Photoshop and desig- nated as a clipping path (the small hole in the leaf has been included in the path, making it a compound clipping path in Illustrator) Drawing the russet-colored rectangle into the compound clipping path group; targeting the rectangle path and specifying a Multiply blend- ing mode and opacity of 50% Diane Hinze Kanzler enhanced her original salamander illustration using transparency effects and Simplify to make her image more unique and naturalistic. 1 Scanning and placing an image and its clipping path. If you don't have access to Photoshop, place a grayscale image with a simple outline shape and manually create your own clipping path (see the Advanced Techniques chapter for help). To add a bit of nature to her illustra- tion, Kanzler scanned a real oak leaf in grayscale mode in Photoshop. To create a clipping path for the leaf, she used Photoshop's Magic Wand tool to select everything except the leaf (using the Shift key to add the hole to her selection) then chose Select >Inverse. To convert the leaf selection into a clipping path, Kanzler chose from the Path pop-up menu (in order): Make Work Path (with .5 Tolerance), Save Path, and Clipping Path (with a 4 Flat- ness). To preserve the clipping path, she used Save As and chose Photoshop EPS format, then in Illustrator she chose File > Place to place the EPS leaf, disabling the Link option to embed the scan and its clipping path. 2 Tinting the scan. Kanzler used the leafs clipping path to tint her scan. First, in the Layers palette she located the scan's <Group>, expanded it and clicked the scan <Image>. She then drew a russet-colored rectangle above the scan (bigger than the leaf). She targeted this rectangle 282 Chapter 8 Transparency & Appearances in the Layers palette, then set a Multiply blending mode with 50% Opacity in the Transparency palette. 3 Adding a shadow. To create a shadow, Kanzler began by copying her clipping path. She then clicked the New Layer icon, and moved this new layer below the leaf's layer. After moving your new layer below your image, paste your copied outline in proper registration by first turning off Paste Remembers Layers (from the Layers palette pop-up menu), then choose Edit > Paste in Front ( -F /Ctrl-F). Kanzler then chose a new fill color for the outline and used Arrow keys to offset its position. 4 Creating a simpler shadow. In order to minimize the overall size of her file, Kanzler wanted to create a simplified shadow for her salamander. In the Layers palette, she selected the salamander outline path by clicking to the right of the target circle. She then made a copy of the selected outline to a layer below by drag- ging the colored square to the layer below while hold- ing Option /Alt. After choosing a color for the shadow, Kanzler simplified the shape by choosing Object > Path > Simplify, and set the Curve Precision to 82%, thus reducing the path from 655 to 121 path points, while still maintaining the shape's overall look. She then offset the salamander's shadow. Kanzler selected all the objects in the leaf file, cop- ied, and switched to her salamander illustration. Then with Paste Remembers Layers still on, she pasted. Using the Layers palette, she moved the leaf layers below the salamander layers, and targeted her salamander shadow object. In the Transparency palette, she set a Multiply blending mode for the shadow. To prevent a "double shadow" effect where shadows overlapped, Kanzler used Isolate Blending. She selected and grouped (Object > Group or -G /Ctrl-G) the sala- mander shadow with the leaf group—but not the leaf shadow. She targeted this new group, then clicked Iso- late Blending in the Transparency palette. Using a copy of the leaf's clipping path to create an offset shadow on a layer below the leaf scan Simplifying the salamander's shadow object path (left: before; right: after Simplify) Assigning a blending mode to the salamander's shadow in the final, combined illustration Using the Transparency palette's Isolate Blending feature to prevent an overlapping shadow effect Chapter 8 Transparency & Appearances 283 [...]... perspective view Lein used the Acrobat 5 PDF maker to create a PDF of the graph When he opened the PDF in Illustrator, the graph transparency to 30% To fit the image within retained all of the shapes as vector objects and the pie chart, Lein created a clipping mask from the type as outlines Lein then placed a photo- the circle and edge of the pie chart (See the graphic image on a layer below the pie chart Advanced... that reveals the contents of the envelope the artwork you placed You can edit the artwork directly or even drag other paths into the in the Layers palette When you're finished editing the contents, choose Object >Envelope Distort >Edit Envelope There are two other types of envelopes, and they're closely related Both of them use meshes to provide even more distortion control One of them is called... targeted To fix this, target the group the objects are in, then apply the EFFECT>PATHFINDER>HARD MIX AND SOFT MIX Pathfinder effect To avoid the Hard Mix and Soft Mix change the color of the areas where the objects overlap, in order to simulate transparency (see the Tip at right) Also see "SandeeCs Soft Mix Chart" on the Wow! CD, and see the Pathfinder Palette chart in the Drawing & Coloring chapter... window and you can either to a selected surface, it may be scale the art by dragging the handles on the bounding because it's being mapped to box or make the art expand to cover the entire surface the inside of the surface by clicking the Scale to Fit button Note that as you click through the different surfaces, the selected surface will be highlighted in your document window • If the object has a stroke,... envelope is a container in the shape you created, which appears in the Layers palette as You can edit the path of the envelope as you would any other, and the artwork inside will update to conform to the shape To edit the contents of the envelope, you need to choose Object >Envelope Distort >Edit Contents If you then look at the Layers palette, you'll notice that the now has a disclosure... you've made the opacity mask, the object and its mask are linked together (moving the object will move the mask with it) To edit the object's path, click on the artwork thumbnail in the Transparency palette and use any of the path editing tools; to edit the mask, click on the mask thumbnail Edit the gradient using the Gradient palette or the Gradient tool Top, brain with overlying lobe; bottom left, lobe... you can on the object itself than by the simply click on the Map Art button and choose one of flattened proxy in the mapping the available symbols from the menu You can specify dialog box which of your object's surfaces the artwork will map onto • Even the red highlight can fool by clicking on the left and right Arrow keys The selected you If the symbol isn't mapping surface will appear in the window... select the desired appearance attributes, and then either click the New Graphic Style icon on the bottom of the Graphic Styles palette or drag the appearance thumbnail from the Appearance palette to the Graphic Styles palette The color mode (color space) is also stored with the Graphic Style To apply a graphic style, simply select an object—or target a group or layer—and click on a thumbnail in the Graphic... Selecting the stroke in the Appearance palette, "Texas" and then chose a calligraphic font that he chose a dark blue color To further customize included swash capital letters (Apple Chancery) the title, Gordon selected the pale blue fill in He adjusted kerning to fine-tune the spac- the Appearance palette, offset the fill and dis- ing between characters With the text object torted the fill's edges using the. .. double-clicking on the warp listed there Like any other effect, a warp can be applied to just the fill or just the stroke—and if you edit the artwork, the warp updates as well Since warps are effects, you can include them as a graphic style, which can then be applied to other artwork (More on graphic styles later in this chapter.) Envelopes While warp effects do a nice job of distorting artwork, there are times . changing values in the pop-up Drop Shadow dialog box. On the left, the interstates with the Style ap- plied to the individual paths; on the right, the interstate paths were grouped before the Style was. typing, click on the Selection tool (the solid arrow icon) in the toolbox. This deselects the text characters while select- ing the type object, preparing the object (rather than the characters). to color the rest of the mesh to match the cloud image. To reshape parts of the grid to follow the contours of the clouds, Cassell clicked mesh points with the Mesh tool and dragged them. Where