From the course: Deke's Techniques (2018-2021)
941 Shading to your cat’s eye in Illustrator
From the course: Deke's Techniques (2018-2021)
941 Shading to your cat’s eye in Illustrator
- Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. Today, we're going to take our cat's eye, set against some grayish reptile-like scales that we created over the course of the last three weeks by the way, so good job everyone. And we're going to add some vector based shading here inside Illustrator. Here, let me show you exactly how it works. All right, here's the final version of the shaded cat's eye just so you have a chance to see it open inside Illustrator and here's the artwork from last week. Now, if you're seeing these very thin jagged white outlines around each one of the rough scales, that's a screen artifact by the way and to get rid of it, you go up to the view menu and choose view using CPU, which switches the preview engine over to your computer central processing unit and that is slower incidentally, however, in our case, it's also going to deliver smoother results. All right, now what we want to do is click on the scales layer in order to make it active here inside the layers panel and we're going to create a new layer by dropping down to the little plus icon in the bottom right corner. In previous versions of Illustrator, that used to be a tiny page icon and then you want to press the alt key or the option key on the Mac and click on it in order to force the display of the layer options dialog box and I'll go ahead and call this guy shading and change the color to this guy up here near the top of the menu, light red, and then I'll click okay. All right, now I'm going to zoom up by pressing control minus or command minus on a Mac and notice our blend from last week is extending well outside of the red blue boundary. That's exactly what we want. And now we want to create a big radial gradient that also encompasses the entire red bleed boundary and we're going to do that by placing the radial gradient inside an ellipse. And so I'll go ahead and click and hold on a rectangle tool or whatever tool is the occupant of the shape tool slot and I'll choose the ellipse tool from the fly out menu. Now you want to click any old place inside the document in order to bring up the ellipse dialog box and these are the values we're looking for incidentally. A width value of 1,650 points, and a height of 1300 points just happens to work out very nicely for this illustration at which point I'll click okay and we end up in my case with the big, huge white ellipse. Now it's obviously in the wrong location. We want it to be centered on the art board and to make that happen you want to click on the word align up here in a horizontal control panel. If you're not seeing the horizontal control panel go to the window menu and choose control. In any event, once you're seeing that panel, click on the word align, and then you want to change align to to align to art board right there and now, click on these two icons, horizontal align center, which will center that ellipse horizontally, and then vertical aligne center, which will center that ellipse vertically. And now notice that the ellipsis is so big that it encompasses the entire red bleed boundary which is what we want. All right, now I'm going to press control plus or command plus on the Mac to zoom in. Now depending on the speed of your computer, you may have something of a delay each time you apply an operation and that's because we've got this complex blend on a scales layer, as well as all these dynamic effects on both the scales and eye layers. So there's a lot of computation for Illustrator to be performing on the fly. All right now, go up to the window menu and choose the gradient command in order to bring up the gradient panel. Make sure, this is very important, that your fill is selected here inside the panel. We don't want the stroke to be on top. That would be a mistake. So switch to the fill and then go ahead and click on a second type option radial gradient in order to apply a default radial gradient like so. Notice it goes from white in the center to a kind of weak black at the outside edge. It's weak because it's a hundred percent black ink without any cyan, magenta or yellow, even though we're working in the RGB color space, we want that to be a pure black. And so what you want to do is make sure your swatches panel is available on screen. If it's not, you would choose the swatches command from the window menu and then grab black right here, drag it, and drop it onto that final color stop so that it's absolutely pure black like so. Now grab it again, black, that is, the black color swatch, and drag it and drop it onto the first color stop so that the entire gradient is black and then you want to do that again. Go ahead and grab black and dragging and drop it to any old location toward the center of the gradient, and then change that location value to 60% and then shift tab to the opacity value and change it to 0% so that the gradient is going from black at the center to transparent to black along the outside. Now we can't really see the black in the center because the eyes in a way. So what we need to do is select the first color stop right there and reposition it. So we're going to move it outward a little bit by changing the location value to 30% at which point we'll end up with this effect right here. All right, now I want to add a couple of drop shadows behind the eye. And so what we're going to do is, we're going to select the eye object on the eye layer and then we're going to paste it onto this new layer right here. And so we can see what we're doing, I'll click on a stroke tab to hide the gradient panel. Gives us more room to work here inside the appearance panel. But here's the thing, if I go ahead and switch to my black arrow tool the one Illustrator calls the selection tool even though it has a keyboard shortcut by the way of V which is an upside down arrow incidentally, now click on the eye in order to select it. Now, what I want to do is copy and paste it but I want to get rid of all its appearance attributes and so if I were to go to the window menu and choose the appearance command you can see that we have a ton of fills accompanied, each one's accompanied, that is to say, by some dynamic effects and so to clear all that stuff, you'd go to the flat menu icon right here click on it and choose clear appearance and that will get rid of the fill and stroke. Every single fill and stroke attributes gone. However, if I were to try to apply a drop shadow to this, it would disappear, and that's because notice the word path right here, it has a dashed underline that tells us that we have an opacity mask and then see what's up there, I would click on the word opacity up here in the control panel and I would note that we have an opacity mask. I can release it by clicking on a release button but if I do that then I've got the mask as well as the eye shape and then I need to delete that opacity mask and so forth. It's a lot of steps. So here's a better way to work. I'll go ahead and undo that last operation so that we bring back the eye. We don't want it to go away and then click on the word opacity. Click on the opacity mask thumbnail right here in order to switch to the opacity mask. Notice that de-selects the eye and if I were to go ahead and click on it once again to select it, now notice here inside the appearance panel, that all but one of those fill attributes disappears and we've jettisoned the dynamic effects and the word path does not have a dashed underline, and that's because here inside the opacity mask this object just has a white fill and nothing more. So now what you want to do is go up to the edit menu and choose the copy command or you have that very standard keyboard shortcut of control C or command C on the Mac and click on the word opacity again and click on the colorful thumbnail right there in order to switch back to the actual artwork. And now notice if I were to click to dismiss that panel that I've regained all of my appearance attributes and the word path has a dashed underline. All right, be that as it may, I'm going to switch back to the layers panel here and I'm going to turn off the eye layer just so we can better see what we're doing, then click on a shading layer. Now just to make sure the coast is clear here, you want to click on the fly out menu icon and make sure paste remembers layers is turned off. You do not want that command to be turned on at which point go up to the edit menu and choose paste in front or you have that very old school keyboard shortcut of control F here on a PC or command F on the Mac, which is going to paste the copy of that white path outline so we don't have all that folderol. We just have a static path outline and nothing more at which point you want to click on the first color swatch up here on the far left side of the control panel and change that fill to black so we end up with this effect here, and it's all in the name of creating a drop shadow behind the eye. And here's the thing in Illustrator, at least the way things are right now, your path outline has to have a fill in order to support a drop shadow. All right, now I'm going to switch back to the appearance panel here. Just make sure that path is selected. You don't want, for example, the stroke to be selected or something like that and then drop down to the FX icon in the bottom left corner of the panel, choose stylize and choose drop shadow. And these are the settings I'm looking for. So I want the mode set to multiply. You want to click on a color swatch right there and just make sure that the RG and B values are all set to zero so that we're applying a black drop shadow then click okay. And I'm looking for an X offset value of zero points, Y offset of 20 points and a blur of 30 points at which point click okay in order to create that drop shadow as we're seeing right here. Now, I want to double the power of that drop shadow. Under certain circumstances you might be able to apply a second drop shadow to the same path outline, but if you do that then you're going to magnify the size of the drop shadow. It's going to become absolutely huge. So what we want to do instead is go to the edit menu and choose a copy command, control C or command C on the Mac, and then return to the edit menu and choose paste in front, control F or command F on the Mac, and that's going to effectively double the drop shadow. So we've got a drop shadow sitting on top of a drop shadow at which point, switch back to the layers panel and turn the eye layer back on then go up to the select menu and choose de-select or you can press control shift A or command shift A on the Mac and notice that we have this wonderful darkness around the cat's eye at which point, just to make sure the eye is safe, go ahead and click in the second column in order to lock it down. And that is at least one way to add some dramatic shading to your cat's eye artwork here inside Illustrator. If you're a member of LinkedIn Learning, I have a follow up movie in which we further shade our cat's eye with the help of some variable width strokes subject to Gaussian blur, not inside Photoshop, mind you, but here in Illustrator. If you're looking forward to next week, that's when I reveal why in the world. I set a cat's eye against the reptile-like scales in the first place and that's because this isn't a cat's. It's psych, secretly a dragon's eye! Deke's Techniques each and every week. If you can key what.
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Contents
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860 Using an iPad as a Sidecar drawing tablet11m 37s
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861 Introducing Adobe Fresco for the iPad15m 27s
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862 Adobe Fresco paints halftone patterns9m 37s
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863 Live brushes in Adobe Fresco9m 36s
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864 Using oil brushes in Adobe Fresco5m 54s
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865 Masking layers in Adobe Fresco9m 47s
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866 Repurposing and inverting masks5m 25s
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867 Vector brushes in Adobe Fresco9m 7s
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868 Opening Fresco art in Photoshop8m 32s
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869 Customizing the Auto Color command6m 51s
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870 Camera Raw 12: Panoramas with fill edges9m 38s
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871 Developing your panorama in Camera Raw5m 53s
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872 Healing with Clone Source plus Diffusion8m 8s
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873 The improved Simplify command in Illustrator 20207m 25s
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874 Filling in any post-Simplify gaps4m 27s
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875 Posterizing colors, in the style of "Hair"11m 54s
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876 Recoloring art with the Paint Bucket tool5m 34s
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878 Adjusting your poster art dynamically6m 15s
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877 Posterizing colors nondestructively9m 8s
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879 Hiding the Filmstrip in Camera Raw4m 35s
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880 Making an awful photograph awesome10m 14s
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881 What if Rembrandt had painted sea lions?4m 43s
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882 Recolor a freeform gradient in Illustrator4m 58s
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883 Recoloring a gradient using a color group3m 24s
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884 Faking a GoPro over-under shot10m 20s
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885 Developing your over-under in Camera Raw4m 41s
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886 Drawing a 3D metal star in Illustrator14m 25s
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887 Rendering the 3D star in heavy metal5m 51s
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888 Creating a Wonder Woman 1984 poster effect9m 5s
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889 Creating the Wonder Woman displacement map15m 5s
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890 Masking your Wonder Woman11m 39s
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891 Creating a metadata template in Bridge9m 24s
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892 Streamlining a multi-use metadata template9m 29s
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893 The Photoshop 2020 freeform Warp enhancements12m 32s
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894 Applying a freeform Warp to a Smart Object7m 54s
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895 Rescuing a frame from a GoPro movie7m 49s
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896 Filling gaps with Content-Aware Fill7m 5s
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897 Two images are better than one13m 8s
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898 Blending images with a hand-drawn vignette4m 44s
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899 Creating a photographic painting12m 37s
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900 Drawing a gradient sphere as a 2D shape9m 49s
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901 Turning a sphere into a colorful pool ball7m 51s
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902 Changing a pool ball from solid to stripes8m 22s
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903 Rotate versus Transform Each in Illustrator9m 36s
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904 Recoloring your pool balls8m 20s
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905 Drawing a pool cue in Illustrator15m 43s
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906 Rotating with precision accuracy7m 28s
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907 Repeating a face so it shares a common eye11m 20s
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908 Continuous rainbow faces in Photoshop5m 42s
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909 Masking in the natural colors of the lips6m 8s
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910 Flipping a face to create new identities9m 8s
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911 Hand painting a symmetrical layer mask4m 18s
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912 Two ways to colorize with gradients6m 9s
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913 Two ways to mask gradient effects6m 40s
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914 Lantern tile: Type 1, onion7m 53s
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915 Lantern tile: Type 2, traditional6m 33s
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916 Lantern tile: Type 3, scallop4m 30s
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917 Quickly change the number of steps in Illustrator8m 22s
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918 Creating a blend inside a blend7m 44s
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919 Reversing the stacking order in Illustrator4m 32s
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920 Turning a blend into a repeating pattern12m 16s
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921 Recoloring a blended pattern5m 8s
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922 Precisely sizing any polygon in Illustrator9m 19s
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923 Creating a beveled, equilateral triangle11m 46s
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924 Turning a triangle into a Mercedes star9m 7s
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925 Adding a ring around the Mercedes star7m 57s
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926 Precisely sizing stars in Illustrator10m 20s
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927 Let's review that star technique5m 25s
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928 Creating real artwork with basic shapes9m 55s
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929 Making a face of triangles in Illustrator10m 18s
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930 Painting with gradients and translucency10m 34s
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931 More advanced gradients in Illustrator6m 52s
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932 Combining translucent vectors with a photo5m 30s
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933 Using the dynamic Free Distort filter9m 3s
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934 Combining dynamic effects in Illustrator6m 4s
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935 Creating a Halloween cat’s eye in Illustrator14m 35s
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936 Combining multiple gradient fills and effects8m 28s
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937 Tracing a photo with primitives in Illustrator11m 31s
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938 Halftone pattern and Zig Zag in Illustrator13m 5s
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939 Adding dynamic highlights to your cat’s eye10m 29s
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940 Blending reptile-like scales in Illustrator13m 42s
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941 Shading to your cat’s eye in Illustrator10m 53s
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942 Shading with variable-width strokes9m 10s
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943 Turning your cat’s eye into a dragon’s eye10m 40s
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944 Clearing the Photoshop Home screen5m 5s
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945 Hiding a single Home screen thumbnail3m 29s
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946 Clearing the Illustrator Home screen4m 4s
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947 A new way to unlock stuff in Illustrator5m
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948 Another way to unlock stuff in Illustrator2m 47s
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949 The new Line tool in Photoshop 202110m 43s
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950 Fixing a broken candy cane pattern4m 58s
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951 Creating a candy cane rhinoceros in Photoshop10m 4s
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952 Warping a pattern around an object4m 2s
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953 Adding some rippling, reflective ice shadows8m 35s
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