Adobe illustrator cs4- P14 pptx

To apply this effect, select a vector object on the artboard, and choose Effect > 3D Rotate to open the 3D Rotate Options dialog box.. Mapping Artwork to 3D SurfacesOne of the features t

The most important part of this exercise is to try to visualize where the invisible axis is When you think of a barbell, you may think of it as you normally see it—lying on the ground in a horizontal format Because the Illustrator Revolve effect always uses a vertical axis, you had to think of the barbell as standing on its side Once it’s created, you can use the track cube

to rotate it into any position or orientation you need

The examples you’ve tried so far should help fuel your creativity and give you the information you need to create complex 3D objects on your own

The Importance of Applying 3D Eff ects to Groups

When applying any 3D eff ect, it’s important to understand its limitations so you can fi gure out how to make it

do what you want Previously in this chapter, we stated that the Illustrator 3D eff ects have two main limitations: 3D objects cannot intersect each other, and each 3D object lives in its own 3D world Hence, each object main- tains its own individual vanishing point or invisible axis Basically, multiple objects in your document cannot share a single vanishing point, share the same perspective, or revolve around the same axis.

If you were paying attention in Chapter 5, “Organizing Your Artwork,” you remember that eff ects produce a diff erent appearance when applied at the group or layer level instead of at the object level Because 3D is a live eff ect, the same rules for how groups work apply here as well If you apply a 3D eff ect at the group level, all objects inside that group can share the same vanishing point or perspective.

In the example of the barbell you just created, you were able to create a single axis that all the objects shared

by grouping all the objects together before applying the 3D eff ect Had you selected the objects in the fi le and applied the 3D Revolve eff ect without fi rst creating a group, the result would be diff erent and not what you

would expect (Figure 11.46).

Figure 11.46 If you take the same barbell

example but skip the step that collects all the shapes within a single group, the result

is quite diff erent.

LOOKING INSIDE THE 3D EFFECT 365

Applying the 3D Rotate Effect

The Revolve effect doesn’t add dimension to an object Rather, the effect

allows you to position a 2D object in a 3D space Basically, the 3D Rotate

effect does the same as the 3D Extrude effect without adding any depth To

apply this effect, select a vector object on the artboard, and choose Effect >

3D Rotate to open the 3D Rotate Options dialog box The settings for this

3D effect are identical to those we’ve already discussed, although take note

that the 3D Rotate effect is limited to far fewer options (Figure 11.47)

Most notably, you can specify only the Diffuse Shading or No Shading

option, there are no bevels, and there is no support for artwork mapping

(which we’ll cover next)

The 3D Rotate effect can be useful for applying distortion to artwork, such

as making artwork look as if it’s mounted on a billboard It also enables you

to add perspective to your artwork

Figure 11.47 Although

there is a More Options button in the 3D Rotate Options dialog box, you’ll

fi nd it doesn’t really off er that much.

Mapping Artwork to 3D Surfaces

One of the features that really sets the Illustrator 3D effect apart from the 3D effects in other vector applications is the ability to map 2D artwork onto the surface of a 3D object This method of combining 2D and 3D graphics

is called artwork mapping.

So that you understand what artwork mapping really is, let’s take a closer look at a 3D cube As we discussed earlier in the chapter, a 3D cube has six surfaces Each of these surfaces is treated as a separate entity, and artwork

mapping is the process of placing artwork on these surfaces (Figure 11.48).

You need to know a few facts before working with artwork mapping:

• Artwork must fi rst be defi ned as a symbol before it can be mapped to a 3D surface This is actually pretty cool because as you modify a symbol, you will see it automatically update on any 3D surfaces Refer to

Chapter 9, “Drawing with Effi ciency,” for detailed information on how

to create and modify symbols

• You can’t map (wrap) a single symbol across multiple surfaces of a 3D object If your 3D object has multiple surfaces, you can map symbols

to each side individually (Figure 11.49).

Figure 11.48 Starting

with a normal square, a 3D

Extrude eff ect produces a

cube with six surfaces When

2D artwork is placed onto

these surfaces, the result is

a 3D object with artwork

mapping.

Figure 11.49 To create the

appearance of artwork that

wraps around multiple sides

of an object, you have to

create multiple symbols

and map each section

separately.

LOOKING INSIDE THE 3D EFFECT 367

• When rendering a 3D object, Illustrator uses corner anchor points to

defi ne a new surface Smooth anchor points will not defi ne a new surface

When drawing your art, carefully specifying where corner or smooth

anchor points appear on your path gives you greater control over how

many surfaces are created and where they appear (Figure 11.50).

• Stroked objects make things more complicated As you learned earlier

in the chapter, objects with fi lls and strokes applied result in an object

that has many more surfaces, which makes it diffi cult to work with

When you’re creating a 3D object that will have artwork mapped to it,

it’s best to avoid using stroked paths

• Although the 3D effect in Illustrator produces vector results,

some-times the 3D effect has to rasterize mapped artwork If your mapped

artwork contains gradients or raster images (such as those placed from

Photoshop), Illustrator renders them at the resolution that is set in the

Figure 11.50 By using

cor-ner anchor points at certain points on the path of this profi le of a water bottle, you can specify several surface areas to which you can map art.

Document Raster Effects Settings dialog box Even if your mapped art contains a high-resolution Photoshop fi le, Illustrator resamples it to match the resolution set in the Document Raster Effects Settings dialog box For best results, make sure the resolution setting in this dialog box

is high enough for your output needs Refer to “Massaging Pixels in Illustrator” in Chapter 7 for more information about the settings in this dialog box

Specifying Mapped Artwork

To map artwork onto the surface of a 3D object, you must fi rst apply a 3D effect to an object Then, from either the 3D Extrude & Bevel Options dia-log box or the 3D Revolve Options dialog box, click the Map Art button to

open the Map Art dialog box (Figure 11.51) If the Preview check box in

the resulting Map Art dialog box isn’t selected, select it so you can see what your mapped artwork will look like as you adjust it

Before you can map art onto your object, you have to choose onto which surface of the object you want to place your artwork At the top of the Map Art dialog box, the buttons with arrows allow you to navigate or step through each of the surfaces of your object As you step through each sur-face, Illustrator displays the selected surface in the center of the Map Art dialog box In addition, Illustrator tries to help you identify the selected

surface by highlighting it with a red outline on the artboard (Figure 11.52)

Depending on the color of your object, this red outline could be helpful, or

it could be barely visible

Figure 11.51 The Map Art

button appears directly

below the Cancel button in

the 3D Revolve Options or

3D Extrude & Bevel Options

dialog box.

LOOKING INSIDE THE 3D EFFECT 369

The surface that appears in the Map Art dialog box is shaped as if it is laid

fl at You’ll notice as you step through the different surfaces on your object

that some show a light gray background whereas others show a dark gray

background Some surfaces may even show a background that is dark gray

only in certain areas This is Illustrator letting you know which surfaces, or

which parts of a surface, are not visible or are hidden from view (Figure

11.53) As you would expect, if you choose to use the track cube to view

your object from a different perspective, the shaded surface areas in the Map

Art dialog box update accordingly

Once you’ve chosen the surface you want to map art onto, use the Symbol

pop-up menu to choose a symbol The selected symbol appears on the

sur-face area in the Map Art dialog box with a bounding box You can drag the

symbol to position it to your liking on the surface, and you can also drag the

Figure 11.52 Illustrator

tries to help you tify each of the surfaces, although the alignment of the red outlines isn’t always perfect on the artboard.

iden-Figure 11.53 This surface,

which is the section that connects the body and neck of the water bottle, has both shaded and non- shaded sections.

TIP It’s easier if you create your symbols at the correct size before you map them to a surface; this way, you won’t have to worry about getting just the right size or position in the Map Art dialog box

handles to resize it (Figure 11.54) As you adjust the position of the symbol,

you will see the preview update on the actual 3D object on the artboard Alternatively, you can use the Scale to Fit button at the bottom of the Map Art dialog box to have Illustrator resize your symbol to fi t to the surface, although it does so nonproportionally

Once you’re happy with the size and position of your symbol on the selected surface, use the arrows at the top of the dialog box to navigate to another side to map additional symbols, as needed At any time, you can click the Clear button to remove a symbol from a selected surface, or you can click the Clear All button to remove symbols from all surfaces at once

By default, Illustrator calculates shading and lighting only for the actual face of a 3D object, not artwork that is mapped to a 3D surface Illustrator does this purely for performance reasons We mentioned earlier that Illustrator uses blends to calculate shading, and the process of breaking down intricately mapped artwork and shading each element with blends takes quite a bit of processing However, to get a realistic appearance, most likely you will want your mapped artwork to be shaded, even if it takes a bit longer to do so Selecting the “Shade Artwork (slower)” check box forces Illustrator to shade both the surface of your object and the mapped artwork

sur-Figure 11.54 You can move

and rotate a symbol so that

it appears as you need it to

on the surface of the object.

NOTE A surface can

contain only one

sym-bol If you want multiple art

items to appear on a single

surface, you have to defi ne

a single symbol with all the

elements in it

LOOKING INSIDE THE 3D EFFECT 371

This setting applies to the entire object, and you don’t need to turn it on for

each individual surface

The last setting in the Map Art dialog box is the Invisible Geometry check

box; invisible geometry is a slightly technical phrase When this option is

selected, Illustrator hides the actual 3D object on your artboard and displays

just the mapped artwork The result is a symbol that appears to fl oat in space

A good example of when this setting might be useful is when you want to

make text appear as if it were wrapped around a sphere (Figure 11.55).

When you’re happy with your artwork mapping settings, click OK to accept

the settings in the Map Art dialog box, and then click OK to close the 3D

dialog box

What If…You Add Transparency to 3D?

Throughout this entire book, you’ve seen how transparency is integrated

into the Illustrator feature set with features such as soft drop shadows and

opacity masks You might ask yourself, “What if I added transparency to a

3D object?” After all, wouldn’t it be cool to make a 3D object that was also

transparent so that you could see right through to the back of the object?

Have no fear—as if the 3D effect weren’t cool enough, you can also create

transparent 3D objects—but you’ll have to address two issues in order to get

transparency and 3D to work together

Figure 11.55 You can map

artwork around a sphere (left), and by using the Invisible Geometry option in the Map Art dialog box, you can hide the sphere leaving just the artwork (right).

Applying Transparency

As you learned earlier in the chapter, before Illustrator applies a 3D effect to

an object, it breaks the object down into its components (fi lls and strokes) In that process, transparency attributes are tossed out, and just the appearance remains For example, if you set an object to 50% opacity, the 3D effect sets the object to a 50% tint of that color, but you won’t be able to see through to what’s behind the object The trick is that you have to sneak transparency into the 3D effect without letting the effect know about it You can accomplish this

in one of two ways:

• If you have a single object that you’re working with, you can target just the fi ll of the object in the Appearance panel and then change the

Opacity value (Figure 11.56).

• Alternatively, you can create a group (you can create a group of one object, if you’d like) If transparency is applied to any object within a group, that transparency makes it through the 3D effect unscathed

Drawing Hidden Sides

Another useful nugget of information that you learned earlier is that, by default, Illustrator renders only the parts of a 3D object that are visible To speed up the rendering process, Illustrator doesn’t bother drawing the sides of

a 3D object that are hidden from view Well, this presents a problem if you’re creating an object that is transparent and you expect to see through the front

of the object to the back side After all, if Illustrator isn’t drawing the hidden side of an object, how does Illustrator know what the back side of the object looks like? The answer is that you have to force Illustrator to draw the hidden

NOTE If your symbol

contains transparency

or overprint settings, those

will not interact with the 3D

object itself For example, if a

symbol uses a blending mode

and you mapped that symbol

to a 3D object, you wouldn’t

see the symbol multiplying

with the 3D shape, because

the appearance is limited to

the symbol itself

Figure 11.56 When you’re

using the Appearance panel,

targeting the fi ll allows you

to apply transparency to just

the fi ll and not the entire

object.

LOOKING INSIDE THE 3D EFFECT 373

sides—you do this by turning on the Draw Hidden Faces option in the 3D

Extrude & Bevel Options or 3D Revolve Options dialog box

Once you’ve addressed the issues of transparency and hidden sides, you’ll

end up with a 3D object that is truly transparent (Figure 11.57) Adding

transparency to 3D objects opens new doors to creativity, such as when

creating transparent glass bottles and vases And don’t forget to throw some

artwork mapping in there as well If you map art to a transparent 3D object,

you’ll be able to see through to the art on the other side Now you’ve got to

admit—that’s pretty freakin’ cool, no?

What If…You Blend 3D Objects?

In Illustrator, you can select two objects and choose the Object > Blend >

Make feature to morph one vector shape into another This technique,

cov-ered in Chapter 2, can be useful for a variety of tasks including shading,

special effects, and object distribution However, what if you created a blend

using two 3D objects? Would the 3D effect morph as well, along with the

blend?

The answer is, yes, it will! If you apply a 3D effect to an object and then

duplicate that object (so you have two identical objects), you can create a

blend between them Because 3D is a live effect, you can edit the 3D effect

of one of the objects and change the position so you’re viewing the object

Figure 11.57 This martini

glass is transparent, allowing you to see what is inside.

from a completely different angle The blend will then update—and

gener-ate the intermedigener-ate steps (Figure 11.58).

Not impressed? Well, in Chapter 13, “Web and Mobile Design,” you’ll learn how to use blends to create instant Flash animations that you can put on your website That means you can create a box and have it rotate in space Hey, wait—don’t go running off to that chapter yet—we still have plenty of cool stuff to cover here

What If…You Apply a 3D Effect to a Graph?

In Chapter 10, “Drawing with Data,” you learned that a graph consists of a group of objects And because a 3D effect applied at the group level results

in all the objects in that group sharing the same effect, what happens if you apply a 3D Extrude effect to a graph? The answer is that you get a powerful

way to present numbers in an eye-catching manner (Figure 11.59) And if

you add transparency to a 3D graph—well, you can see where that might lead

At the end of the day, the 3D effect in Illustrator has many creative uses Now that you understand everything there is to know about 3D in Illustrator, the only limit is your own imagination

Figure 11.58 By creating

a blend between spheres

with mapped artwork, you

can create the illusion of the

sphere rotating.

Figure 11.59 Adding

3D eff ects to just about

anything, such as graphs,

for example, can turn

something ordinary into

something unique and

attention-grabbing.

Chapter

Twelve

Working with Images

There’s no velvet rope barring entry to the Adobe

Illustrator exclusive vector graphics club Pixels

are always welcome inside In fact, you’ve already

learned how certain live effects use pixels to

pro-duce their appearance In Illustrator, vectors and

pixels peacefully coexist, and you can benefi t by

combining both vectors and pixels (such as adding

a soft drop shadow to text) You shouldn’t feel you

have to choose only one graphic type or the other

Although Illustrator does have the ability to

sup-port pixels in some ways (as you’ll see throughout

this chapter), it in no way replaces the need for applications such as Adobe

Photoshop CS4 Quite the contrary; in this chapter, you’ll see how you can

bring pixel-based images from Photoshop into Illustrator documents You

will also learn how both Photoshop and Illustrator can work together by

enabling you to share editable content between them You can then focus

on producing the kinds of graphics you need by relying on the strengths of

each of these powerful applications

So, turn up the music and feel the pulsing beat of vectors dancing with

pix-els, because this chapter will also cover the Illustrator ability to assimilate

pixels and convert them into vector paths using a feature called Live Trace

375

P LACING R ASTER -B ASED F ILES

When creating designs and layouts in Illustrator, at times you will need to incorporate raster-based content, such as photographs Naturally, these images are neither created nor edited in Illustrator—raster-based applications such

as Photoshop take care of doing that However, you can place raster-based

content into your Illustrator fi le In fact, Illustrator works very much like a page layout application in this way

When you place an image, Illustrator can incorporate that image in the fi le

in two ways In the fi rst technique, Illustrator places a preview of the image

on your artboard, but the image fi le itself is not incorporated into the Illustrator fi le The image fi le exists as an external reference, separate from

the Illustrator fi le This technique is referred to as place-linking because the

image fi le is linked to the Illustrator document If you were to misplace the linked fi le, Illustrator would not be able to print the image

In the second technique, Illustrator places the actual image fi le in the Illustrator document and incorporates the image into the Illustrator fi le

This is referred to as place-embedding, where the image becomes part of

the Illustrator fi le

You can choose which technique you want to use when you physically place the fi le For a detailed explanation of the numerous benefi ts and caveats of using each technique, refer to the sidebar “Place-Linked Files and Place-Embedded Files.”

Placing an Image

You can place a raster fi le into an Illustrator document using one of three methods You can either place a fi le, open it directly, or drag it right onto your artboard Each method has its own benefi ts; your task is to determine which one you will use

Method One: Placing a File

When you already have a fi le open and you need to place an image into your document, this method offers the most options and is one of the most com-monly used ways to place a fi le:

PLACING RASTER-BASED FILES 377

1 From an open document, choose File > Place, and navigate to a raster

fi le on your hard drive or server

2 In the Place dialog box are three check boxes (Figure 12.1) Select one

of the following options:

• Select the Link check box to place-link the fi le (deselecting the

Link check box place-embeds the fi le)

• Select the Template check box to have the image automatically

placed on a template layer

• Select the Replace check box to have the image replace one that

is already selected on the artboard

3 Click the Place button to place the fi le into your document

Method Two: Opening a File

Choose File > Open, choose a raster fi le on your hard drive or server, and

then click the Open button Illustrator creates a new letter-sized document

and places the image in the center of it When you’re opening a raster fi le in

this way, the image is always place-embedded in your Illustrator document

The document takes on the color mode of the image

Method Three: Dragging a File

From Adobe Bridge, from the Finder on Mac OS, or from any Windows

Explorer window, drag a raster fi le right onto your Illustrator artboard

You can also select multiple fi les and place them all at once (Figure 12.2)

Using this method, Illustrator place-links the fi les To place-embed images

while dragging them into your document, hold the Shift key while

dragging the images

TIP See “Using Template Layers to Manually Trace” later in this chapter for more information

on creating a template layer

Figure 12.1 When placing a

fi le, you can control whether

an image is place-linked by selecting the Link check box

in the Place dialog box.

Figure 12.2 When you’re

dragging several images at once from Bridge, an icon indicates the placement

of multiple fi les into your Illustrator document.

Place-Linked Files and Place-Embedded Files

When placing an image into Illustrator, you can choose to have the image linked to your document or embedded within it Each method has its own benefi ts, and which you choose depends on your needs and your workfl ow When you place-link an image, a preview of the image appears in your layout, but the actual image exists in a completely separate fi le At all times, Illustrator needs to know where this fi le is Otherwise, Illustrator won’t be able to print the fi le correctly In fact, if you were to save your Illustrator fi le and send it off

to someone else (such as a service provider, for example), you would have to send the external linked image along with the fi le If you have several linked images in your document, you have to keep track of many fi les In contrast,

a place-embedded fi le exists in your Illustrator document, and therefore, the original external image that you placed is no longer required When you send the document to another user, the image travels along with the single Illustrator fi le.

Images—especially high-resolution ones—feature hefty fi le sizes When you choose to embed a placed image, the fi le size of the image is added to the size

of your Illustrator fi le For example, if your Illustrator fi le is 1 MB in size and you place-embed a 30 MB image into your document, the size of your Illustrator document grows to 31 MB When you place-link an image, however, the fi le is never added to your document, so the Illustrator fi le stays at 1 MB.

Although managing multiple fi les and fi le size is an issue that will aff ect your decision to link or embed image fi les, one of the main reasons you will choose

to link a fi le rather than embed it is so you can easily update the image when necessary When you place-link a fi le, the image you see in your layout is a preview of the fi le that really exists elsewhere When you make an adjustment

to the original image (say, in Photoshop), the preview in your layout updates

to refl ect those changes Illustrator even has a feature called Edit Original that assists in this process of updating linked images (see “Managing Placed Images” later in this chapter) However, if you place-embed an image, you can

no longer update that image easily.