The Adobe Illustrator CS Wow- P12 potx

Once Cohen had assembled a palette of graphic style swatches, she could alter the look and feel of the artwork by simply applying a variety of graphic styles to selected paths.. This gra

Scratchboard Art

Using Multiple Strokes, Effects, and Styles

Overview: Apply multiple strokes

to simple objects; offset strokes;

apply effects to strokes; create and

apply graphic styles.

The original scratchboard art consists of simple

primitive shapes

To offset a path's Stroke from its Fill, select the

Stroke in the Appearance palette and apply Free

Distort and Transform from the Effect >Distort &

Transform menu

Artist Ellen Papciak-Rose asked consultant Sandee Cohen

if there was a way to simulate scratchboard art in trator Cohen devised a way to transform Papciak-Rose'sartwork using Art Brushes, multiple strokes, and strokeeffects, which were then combined and saved as graphicstyles Once a series of effects is saved as a graphic style,you can easily apply that graphic style to multiple objects

Illus-to create a design theme Art direcIllus-tors may find thismethod helpful for unifying and stylizing illustrationscreated by a number of different artists

1 Applying Art Brushes and Fills To create a more

natu-ral-looking stroke, Cohen applied Art Brushes to simpleobjects supplied by Papciak-Rose Cohen used Charcoal,Fude, Dry Ink, Fire Ash, and Pencil Art Brushes (on the

Wow! CD) Select a simple object, then click on your

choice of Art Brush in the Brushes palette or in a Brush

Library (For more on Art Brushes, see the Brushes

chap-ter.) Next, choose basic, solid fills for each object

2 Offsetting a stroke To develop a loose, sketchlike

look, Cohen offset some of the strokes from their fills.First, highlight a stroke in the Appearance palette andapply either Effect > Distort & Transform > Free Distort

or Effect > Distort & Transform > Transform to manually

or numerically adjust the position of the stroke so that it

separates from the fill This gives the stroke the

appear-ance of a different shape without permanently changing

the path (You can further reshape the stroke by

double-clicking the Transform attribute in the Appearance

pal-ette and adjusting the offset of the Stroke attribute.)

3 Adding more strokes to a single path To add to the

sketchlike look, Cohen applied additional strokes to each

path First, she chose a Stroke attribute in the Appearance

palette and clicked the Duplicate Selected Item icon at the

bottom of the palette With the new Stroke copy selected,

she changed the color, as well as the choice of Art brush

She also double-clicked the stroke's Distort & Transform

effect in the Appearance palette and changed the settings

to move the Stroke copy's position Cohen repeated this

until she had as many strokes as she liked

To make a stroke visible only outside its fill, make sure

that the object is still selected, and simply drag the stroke

below the Fill in the Appearance palette

4 Working with graphic styles To automate the

styl-ing of future illustrations, Cohen used the Appearance

and Graphic Styles palettes to create a library of graphic

styles Whenever you create a set of strokes and fills you

like, click the New Graphic Style icon in the Graphic

Styles palette to create a new graphic style swatch

Once Cohen had assembled a palette of graphic style

swatches, she could alter the look and feel of the artwork

by simply applying a variety of graphic styles to selected

paths Using new colors sent by Papciak-Rose, Cohen's

graphic styles from an earlier scratchboard project were

re-colored to create the graphic styles used here The use

of graphic styles allows the artist or designer to create a

number of overall themes in a graphic style library, and

then apply them selectively to illustrations or design

ele-ments This work flow can also be used to keep a cohesive

look throughout a project or series

This graphic illustrates the individual strokes that Cohen combined to create the multiple strokes for the face object in the final illustration

Multiple Strokes applied to an object shown in the Appearance palette; appearance attributes saved in the Graphic Styles palette by clicking the New Graphic Style icon

Applying different graphic styles to objects can give the same artwork several different looks

Embossing Effects

Building an Embossed Graphic Style

Overview: Apply object-level effects

for highlights and shadows; build

appearances, save as graphic styles

and apply to layers.

At the top, making the screw slots (on the left,

the rectangle and on the right, the rectangle

with Round Corners Effect): at the bottom, an

enlarged view of the composite appearance

The Drop Shadow options pop-up dialog box;

edit the X and Y Offset fields to adjust the

position of the shadow and highlight (check the

Preview box to see the effect as you work)

Resizing appearances

If you plan to resize an Illustration

that contains appearances with

stroke values, be sure to apply

the appearances to objects, not

to layers Illustrator may fail to

re-scale stroke values in

1 Applying the drop shadow effect Start the license

plate by drawing the background shape, circles, curvesand other linework While technically not a raised sur-face, the four screw slots still require highlights andshadows to convey the impression of dimension To cre-ate a slot, draw a rectangle and then Fill with White andStroke with None Use the Round Corners Effect (Effect >Stylize > Round Corners) to give the object a more ovalshape To cast the plate's shadow on the edge of the slot,select the slot rectangle and apply the Drop Shadow Effect(Effect >Stylize >Drop Shadow) In the Drop Shadowdialog box, choose black for color, Blur 0, and Offset upand to the left (using negative numbers for "X" and "Y"offsets) Then click OK Repeat the drop shadow effect tomake the highlight, except choose a light color and Off-set down and to the right (using positive numbers) Tofurther tweak the drop shadows (modifying their color

or width, for example), simply double-click the attributename "drop shadow" in the Appearance palette (Win-dow > Appearance) and edit the values in the dialog box

2 Building multiple appearances Alspach took another

approach to embossing by building a sophisticated

graphic style in which transparency and multiple offset

strokes simulate highlights and shadows

To make the license plate lettering, type the characters

in a sans serif font and convert them to outlines (Type >

Create Outlines) Ungroup the characters, select a

char-acter and set its Fill to orange To make the first

emboss-ing highlight, select the orange Fill appearance attribute

in the Appearance palette (Window > Appearance) and

copy it by clicking the Duplicate Selected Item icon at the

bottom of the palette Now, select the lower Fill attribute

in the palette, choose white from the Color palette and, in

the Transparency palette, set Opacity to 25% and

blend-ing mode to Screen Then, choose Effect > Transform >

Distort & Transform to offset it up and to the left by

edit-ing the Move fields (negative Horizontal and positive

Ver-tical) Make two more copies of this white Fill attribute by

once again clicking the Duplicate Selected Item icon

Off-set each copy farther up and to the left by double-clicking

the Fill's Transform attribute and editing the Move values

in the Transform dialog

To start the shadows, first duplicate the lowest white

Fill Now select the bottom white Fill and set its color to

black, Opacity to 50%, and blending mode to Multiply

Double-click the Fill's Transform attribute and edit the

Move values to offset it down and to the right Copy this

shadow and offset it farther down and to the right When

you have finished, the Appearance palette will display six

Fill attributes for the object

3 Creating and applying a graphic style Alspach turned

the appearance set into a graphic style by dragging the

Appearance palette's preview icon and dropping it in the

Graphic Styles palette He then applied the graphic style

to the layer with the number characters You can achieve

the same embossing look by applying the graphic style to

selected character outlines or to a group composed of the

character outlines

Appearance palette showing the appearance preview icon (top left), and the target of the ap- pearance (Object)

Move values in the Transform Effect dialog box

to offset Fill attribute up and left

Close-up view of the embossed letter characters with the multiple highlight and shadow strokes that progressively hide the background artwork

Blurring The Lines

Photorealism with Blends and Effects

Overview: Trace a placed image;

draw objects and fill them with

col-ors sampled from the image; create

blends; rasterize objects and apply

Gaussian Blur.

The original composite photograph (made from

separate images in Photoshop) placed on a

template layer

All of the objects Brashear drew for the

illustra-tion, displayed in Outline View

Using a technique he calls "Pen and Eyedropper," artistBruce Brashear reproduces photographs in Illustrator

by tracing a placed image and filling objects with colorssampled from the image (see Brashear's Vector Photos in

the Drawing & Coloring chapter to learn about this

nique) In this illustration, Brashear expands his nique by employing blends and Gaussian blurs to capturethe subtleties of candlelight and reflections

tech-1 Placing an image, and drawing and coloring objects.

After beginning a new file, Brashear placed an image of

a candle and flame on a template layer (File >Place) Hetraced the shapes for the candle, wick, flame and halousing the Pen tool For a complex object like the candleflame or the candle wick, you may need to create severalobjects or blends to completely illustrate its different col-ors or shapes (Brashear created 11 objects for his candleflame) To fill your objects with colors from the image onthe template layer, select the Eyedropper tool, select anobject, and Shift-click in the image to sample its color

2 Making a halo from blends, rasterizing it, and ing a blur to it Brashear's soft, round halo behind the

apply-flame was created with blends and several effects To

begin a halo, draw at least two objects to blend (Brashear

made five objects to serve as transitional color blends

in the image's halo) Next, fill each object with a color

sampled from the placed image using the Eyedropper

tool Then, select the objects and choose Object > Blend >

Make To set the complexity of the multi-step blend that

Illustrator creates, choose Object >Blend > Blend Options

(or double-click the Blend tool icon in the Tools palette)

In the Blend Options dialog box, click the pop-up menu,

select Specified Steps and enter a high enough number

to provide a sufficient transition of shapes or colors (the

number you choose sets the steps between each pair of

objects, not the total steps for the whole multi-step blend)

If you need to reshape the halo, click on anchor points

with the Direct Selection tool and move the points or

their Bezier handles Finish by drawing a background

rectangle and filling it with a color that will contrast with

the colors in the halo blend

While blends can soften the shape and color

transi-tions between objects, you can further soften the

appear-ance of your halo by applying a Gaussian Blur Because

applying a raster effect to a complex blend can tax your

computer's processor, consider rasterizing the blend

before applying the blur (Note: because rasterizing

art-work will prevent it from being further edited, save a

copy of it in case you need it later.) To rasterize, select

the black background rectangle and the multi-step blend

you created previously and choose Object > Rasterize In

the pop-up Rasterize dialog box, set Resolution to a value

that suits the size or medium of your illustration's display

or publication; also, set Anti-aliasing to None Be sure to

review the Illustrator Basics chapter for guidance on

set-tings that affect the quality of exported Illustrator files

with raster objects and effects

When you're ready to apply the blur, select the

rasterized object and choose Effect >Blur > Gaussian

Blur In the Gaussian Blur dialog box, move the slider to

the right or enter a number in the Radius field (Brashear

The background and five halo objects (each halo object shown here with magenta stroke for demonstration)

The multistep blend with 12 blend steps tween each of the five original component objects

be-Above, the rasterized object created from the multi-step blend; below, the Object >Rasterize dialog box

Top, the Gaussian Blur dialog box; bottom, the

rasterized object following blurring

The original yellow candle flame tip on the left;

on the right, the original flame tip and a copy

that was scaled smaller and filled with

yellow-white

On the left, an elongated copy of the original

candle flame tip in front of the yellow and white

tips; in the middle, the yellow and white tips are

blurred; on the right, the blurred flame tips after

being masked

applied a blur with a 20 pixel radius to his halo's blend)

If you want to change the blur later, simply select theblurred object and double-click Gaussian Blur in theAppearance palette, and enter another Radius value

3 Blending, blurring and masking the flame Brashear

observed that the orange tip of the flame in the graphic image was hard-edged along the sides but gradu-ally blurred near the tip You can achieve this visual effect

photo-in Illustrator with a blur and a clippphoto-ing mask Start byselecting the object you drew as a triangular flame tip.Then select the Scale tool and click on the bottom-leftpoint of the tip, then click on a point or line on the otherside of the tip and drag inward while pressing the Option/Alt key to create a smaller copy of the object Fill the copywith a yellow-white color With the copied object stillselected, click on the bottom-left point with the Scale tool,click on a point or line opposite it and Option-drag/Alt-drag a new outline that is taller but not wider than theother tip objects Next, select the first two tip objects andchoose Effect > Blur > Gaussian Blur; in the pop-up Gauss-ian Blur dialog box, set the Radius to 1.0 pixel To finish,select the blurred tips and the unblurred tip (the secondcopy you made) and choose Object >Clipping Mask >Make As a result, the blur is confined to the edges of theclipping mask (but spreads through the empty area at thetop of the masking object)

The two faces of Rasterize

When you apply Effect > Blur >Gaussian Blur to a vector object, Illustrator automatically rasterizes the paths

"live" (using the parameters found in the Effect >

Document Raster Effects Settings dialog) This doesn't happen with the Filter version of the Gaussian Blur, however You need to convert your vector object to a raster object using Object > Rasterize before you can apply the Gaussian Blur filter Remember that unless you undo the rasterization, your vector object will be permanently changed to raster—so make a copy first!

Ted Alspach

Ted Alspach used the

Flare tool to create an air

of mystery in this mock

movie poster The Flare

tool simulates a lens flare

in a photograph by

cre-ating a halo, rays, and

rings around an object.

Alspach selected the Flare

tool (found in the

Rect-angle tool pop-up menu),

clicked and dragged to set

the halo size, then

click-dragged again to set the

distance and direction

of the rings, while using

the Arrow keys to adjust

the number of rings He

colored some elements

(such as the type) a light

shade of gray to give the

flare an illusion of greater

brilliance In addition to

the click-drag method,

components of the flare

can be modified using the

Flare Options dialog box.

Here, you can adjust the

diameter, opacity, and

brightness of the flare's

center, as well as the

fuzziness of the halo, the

number of rays, and the

flare's crispness.

Taking care of the Flare

The Flare tool is unusual in that it's the only tool that sometimes

requires a two-step process When the "Rings" option is checked, you must click-drag to establish the center, and then click or click- drag again to determine the length and direction of the path along which the rings are drawn If "Rings" is unchecked, drawing

a Flare is a one-step process Many people don't realize the fault two-step process and click away onto something else before completing their flare.

de-Warps & Envelopes

Using Warping and Enveloping Effects

Making sure that the flag artwork is grouped.

Note: The Appearance palette shows

informa-tion for the currently targeted (not just selected

or highlighted) object in the Layers palette

The Flag Warp applied to a not-fully-grouped

flag artwork The stripes are grouped, but the

stars and the union (blue field) are separate

objects

With Preview enabled, experiment with the

Warp Options settings

After the tragic events of September 11, 2001, consultantSandee Cohen wanted to make some flag decorations forher Web site She used Illustrator's Warping and Envelop-ing effects to mold copies of a basic rectangular flag into awaving flag and a bow tie

Warps are the easier of the two methods to stand and use Simply choose one of the 15 preset shapesfrom the Warp menu and adjust the shape using thesliders in the Warp Options dialog box

under-Envelopes let you use any path, warp preset, or meshobject to shape and mold your artwork into almost anyform imaginable You can further manipulate the shapeusing the envelope's anchor points

Although Warps and Envelopes leave original artworkunchanged, only Warps can be saved as graphic styles

1 Group clip art for use with Warp effects Cohen

started with a standard United States flag from a clip artcollection First, she made sure that the flag artwork was

a grouped object by selecting the flag artwork (which alsotargets it in the Layers palette) and checking its descrip-tion in the Appearance palette If the artwork is not agrouped object, then the effects will not be applied to theartwork as a whole, but rather to each of the paths indi-vidually (as shown in the sidebar)

2 Make a copy of the flag artwork and apply a Warp effect Next, Cohen made a duplicate copy of the flag by

Overview: Group clip art for use

with Warp; apply Warp; save Warp

effect as a graphic style; apply

Enve-lope using a shaped path; add a

shad-ing effect usshad-ing a mesh.

selecting it and, holding down Option/Alt, dragging it

to a position below the original While the duplicate was

still selected, Cohen chose Effect > Warp > Flag to bring

up the Warp dialog She enabled the Preview checkbox in

the Warp dialog box so she could preview the effect her

settings would have on the artwork Cohen set the

Hori-zontal Bend slider to -42% to create the first stage of her

waving flag effect, and clicked OK to apply the Warp She

then applied a second Warp effect to the flag artwork, to

complete her waving flag With the artwork still selected,

she chose Effect > Warp > Arc and, with Preview enabled,

set the Horizontal Bend slider to 40%

Note: In the Warp dialog box, you have access to the full

library of Warp shapes no matter which warp you chose

from the Effect > Warp menu Simply click and drag on the

style pop-up menu in the Warp dialog box to access any of

the Warp shapes As long as Preview is enabled, you can

then experiment with each Warp shape and settings to see

how each will affect your artwork before you apply one.

To remove a Warp effect, target your artwork Then,

in the Appearance palette, select the Warp and either

click on, or drag your selection to, the Trash button

3 Save your Warp effect as a graphic style Once you

are pleased with a particular Warp effect or effects that

you have achieved, you can easily save the effects as a

graphic style for application to other artwork Begin by

targeting the artwork that you applied your warp(s) and

other effects to in the Layers palette Then Option-click/

Alt-click on the New Graphic Style button at the bottom

of the Graphic Styles palette to create and name your new

graphic style If the appearance you save as a graphic style

has no fill or strokes, the thumbnail for the graphic style

you created will be blank When this happens, choose

either the Small or the Large List View (from the Graphic

Styles palette pop-up menu) to view the graphic styles by

name To apply a graphic style, simply target the object,

group, or layer, and then click on the graphic style in the

Graphic Styles palette

Applying a second Warp effect Because Warps are live effects, the original flag artwork (seen here as an outline in light blue because the artwork is still selected) remains unchanged

Removing Warp effects from the artwork by highlighting the effects in the Appearance palette, and then clicking on the Trash button to delete them

To create a new graphic style, target your artwork, then Option-click/'Alt-click the New Graphic Style button, and give your new graphic style a name

Applying a Warp effect graphic style to a grouped object

With Envelope Options fidelity set too low, red

color in the lower right corner of the upper

figure spills outside the bow tie shape When

the fidelity is set to 99% the artwork conforms

much more closely to the envelope shape.

Bow tie path positioned above the flag artwork,

and selected, just before making the envelope

Applying the envelope, and the resulting

art-work

Using Edit >Paste in Front to create a duplicate

positioned directly over the original artwork

4 Use Envelope Options to maximize Envelope fidelity

Envelopes are more versatile in the ways you can shapeand manipulate them, but sometimes (especially whenthe shape you use to create the envelope is kinked ormakes sharp changes in direction) the artwork may notconform tightly to the envelope To minimize this prob-lem, set the Object >Envelope Distort >Envelope OptionsFidelity to 99% Note: Setting Fidelity to 100% createsmany more intermediate points along the deformed path,and is usually not necessary

Cohen used an Envelope to give her flag the shape of abow tie, and added some shading using a mesh

5 Apply Envelope using a shaped Path Cohen added

points to a circle and then distorted it into a shaped path To apply a shaped path of your own, place

bow-tie-it above your flag artwork, select both the flag and yourshaped path, and choose Object >Envelope Distort >Makewith Top Object

6 Add a shading effect with a mesh Next, Cohen added

a shading effect by using a mesh object on top of her bowtie flag Begin by creating a duplicate of the bow tie flag(Edit > Copy), then paste it in front of the first one usingEdit > Paste in Front to exactly align it over the original.With the duplicate still selected, choose Object > EnvelopeDistort > Reset with Mesh In the Reset Envelope Meshdialog box, make sure that Maintain Envelope Shape andPreview are both enabled Increase the number of Rowsand Columns until you are satisfied with the mesh grid interms of how you intend to shade it For her mesh, Cohenused 6 rows and 6 columns Click OK, and with the meshartwork still selected, choose Envelope > Distort > Release

to free the mesh from the flag Delete the flag artworkand keep the mesh object When a mesh object is releasedfrom an envelope, it is filled with 20% black Select themesh object, then with the Direct-select or Lasso tool,select points on the mesh grid and change their fill to ashadow color Cohen selected interior grid points and

gave them a value of white until she was satisfied with the

mesh's shading

Note: Multiple contiguous points and large areas in the

mesh are most easily selected using the Lasso tool.

To see the effect of the shading on the original bow tie

flag beneath the mesh, Cohen (with the mesh selected) set

the Blending Mode in the Transparency palette to

Multi-ply This applied the Blending mode only to the selected

mesh object, and not the whole layer

Finally, using the same enveloping and mesh

techniques described above, Cohen created a center for

the bow tie using a copy of some of the stripes and an

elongated rounded rectangle path

In this illustration, Cohen applied a U.S.

shaped path as an envelope to a US flag.

Cohen was not fied with the way the flag was enveloped

satis-by default, so she used the Mesh tool

to add mesh points

to the envelope She then moved the new mesh points manu- ally to adjust the flag artwork within the envelope outline.

3D look, Cohen added a shaded mesh over the country- shaped flag using the same techniques that she used to shade the bow tie-shaped flag

Using the Lasso to select multiple mesh points

Before and after applying a blending mode of Multiply to the shaded mesh object

Quick & Easy 3D

Simple 3D techniques

Overview: Draw or modify 2D

art-work, prepare artwork for 3D; apply

3D Effect; expand artwork and edit

objects to complete visual effects.

Some of the standard map symbols that Gordon

modified for the map symbol set

Left, the original tent artwork objects; center,

the white triangle selected; right, the tent after

subtracting the white triangle from the black

tri-angle and changing the fill color to green

Single-axis movements in 3D

In the 3D Extrude & Bevel Options

dialog, you click on a side of the

cube and drag to rotate artwork

using the X, Y, or Z axis If you

want to move the artwork by just

one axis, click instead on a white

edge of the cube and then drag.

Steven Gordon was hired to design a set of contemporarymap symbols for Digital Wisdom, Inc that would besold as a clip-art set of map symbol artwork and Illustra-tor symbols (www.map-symbol.com) To make this setstand out from other map symbol sets and fonts, Gordonexplored Illustrator's new 3D Effect and found that itmade it easy to turn the ordinary into the unusual

1 Drawing artwork, visualizing 3D appearance, and using editing tools to prepare for 3D Gordon started

with some standard map symbol clip-art For the ing symbol, he modified the tent artwork by removingthe bottom horizontal object and applying a light greenfill to the remaining triangle When visualizing how theobject would look in 3D, Gordon realized that the whiteand green triangles would both be rendered as 3D objects;instead he needed the white triangle to form a hole in thegreen triangle that would become the tent He selectedthe white and green triangles and clicked the Subtractfrom Shape Area icon in the Pathfinder palette to punch ahole in the green triangle

camp-As you prepare artwork for the 3D Effect, refer to

the Drawing & Coloring chapter to review techniques

for making compound shapes by combining or cuttingobjects (as Gordon did to make the tent opening), andfor making compound paths (which may yield differ-ent results than applying a 3D Effect to separate artworkobjects) Also, change stroke attributes for caps, joins, andmiter limits to round off path intersections in the 3D ren-dering you'll create in the next step

2 Apply 3D Effect, modify Position controls to extrude

and rotate objects, and create a Style When you

fin-ish creating your artwork, make sure it is selected, and

then from the Effect menu, select 3D >Extrude & Bevel

In the 3D Extrude & Bevel Options dialog box, click the

Preview checkbox to see what your artwork will look like

using the dialog box's default settings

You can change the artwork's rotation by clicking on

the three-dimensional cube in the Position pane of the

dialog box and dragging until the artwork moves to an

orientation you like You can also fine-tune the position

by keying in values in the X, Y, and Z axes rotation fields

To change the amount or depth of the extrusion, use

the Extrude Depth slider in the Extrude & Bevel pane of

the dialog box To give the tent less depth than the default

setting (50 pt), Gordon dragged the slider to extrude by

40 pt To simulate perspective, drag the Perspective slider

to adjust the amount of perspective from none/isometric

(0°) to very steep (160°) Gordon used 135° for his

art-work When you are satisfied with your artwork's

appear-ance, click OK to render the object

Gordon converted the 3D appearance he had created

for the tent into a reusable style Refer to the Live Effects

& Graphic Styles chapter for instructions on creating and

modifying styles You can use a style for other artwork,

as way of providing a uniform 3D appearance for

sev-eral objects, or as a starting point for creating a new 3D

appearance for an object

3 Editing the artwork after using the 3D Effect After

applying the 3D Effect to the tent artwork, Gordon

decided to make color and shape changes to the artwork

To edit shapes or change colors of objects in the 3D

art-work, you must first expand the appearance by choosing

Object >Expand Appearance (Note: this will remove

the "live" editability of the artwork; it's safer to work

with a copy of the artwork instead of the original.) Once

expanded, ungroup the artwork (Object >Ungroup) and

select and edit its paths

Artwork in preview mode for several ments of the Position cube in the 3D Extrude &

adjust-Bevel Options dialog box

The 3D Extrude & Bevel Options dialog box with the settings Gordon used for the final version of the tent symbol

Left, the tent artwork after expanding the 3D artwork (Object >Expand Appearance); right, shapes after filling with different colors

Selecting and modifying one of the shapes to create the interior floor of the tent

3D Effects

Extruding, Revolving, and Rotating Paths

Overview: Create basic paths

work-ing with a custom template layer;

extrude, revolve, and rotate paths;

map artwork onto shapes.

The original pencil drawing, placed as a

tem-plate, and the vector shapes drawn over them

The original group of paths, selected and

re-volved as a group with the same settings

The wing shape drawn to follow the contour of

the hull and then extruded and rotated slightly

To complete this illustration, Brad Hamann created aset of basic paths and applied a series of live 3D effects tothem He then added lighting and mapped artwork to thecomponents

1 Planning ahead Because he would be rotating his

shapes, Hamann needed to draw only one side of thesymmetrical space cruiser Working over a pencil draw-ing he had scanned in Photoshop and placed on a des-ignated template layer, he drew one closed shape for thehull He divided it into sections using the Pathfinder tool

so he could color each part differently He filled the pathswith solid color and no stroke When revolved, a filledpath with no stroke will present the fill color as its surfacecolor A stroked shape that is revolved uses the strokecolor as its surface color, regardless of fill color

2 Applying the 3D Revolve effect to a group of shapes and extruding the wings Hamann chose to revolve