How to draw lines in Illustrator. Adobe Illustrator Tools

Stroke palette.

Located in the Window menu. Allows you to edit the outline of an object.

Thickness strokes are specified in points (In CIS countries, 1 point = 0.3759 mm.)

Alignment stroke relative to the contour/line (that is, the stroke can be of any thickness, but the outline is always thin). Alignment types: Stroke at the center of the line, Stroke inside the line, Stroke outside the line. Alignment only works for closed objects.

Changing the ends and joints of a line.

Cut ends Creates a path with a stroke with square ends.

Rounded ends Creates a path with a stroke with semicircular ends. Projecting ends Creates a path with a stroke with square ends extending half the line width beyond extreme point lines. This option ensures that the stroke thickness is the same in all directions relative to the line. Corner joints Creates a path with a stroke with sharp corners.
Rounded joints Creates a path with a stroke with rounded corners. Beveled joints Creates a path with a stroke with square corners.
Slice- This is a switch between a cut (angular) joint and a beveled (square) joint. Variable from 1 to 500. Default is 4, which switches the program from a cut joint to a beveled joint when the length of the point is four times the thickness of the stroke. A value of 1 for the bevel limit corresponds to a beveled joint.

Creating dotted lines. To do this, check the Dashed line checkbox on the palette and set the numerical values in the Stroke and Gap fields. If the line is uniform along its entire length, then it is enough to set the values only in the first two fields. In addition, you can set different Ends and Joints of the line, then you can make a line consisting not only of squares, but also of lines.

Homework 1 Sunny:

draw a circle without fill, but with a stroke
make the outline dotted
and make it sooooo thick, you should get diverging rays
Well, put a circle in the middle
the result is sunshine

In order to later be able to edit all this by direct selection, for example, click the Object - Expand menu.

Homework 2.

Download a video on working with brushes. Today we have a practical part of working with brushes. As you will see, there are 3 types of brushes and all with their own settings, so we will continue to study them next week.

Hotkeys for the lesson:

A- direct selection tool
G- gradient tool
Shift— selection of several objects

Teams:

An object— Disassemble Allows you to parse complex objects into simpler ones (in our case, these are brushes).
Object - Path - Clear Removes open lines, points, empty text objects

You can work with one object from a group:

ungroup everything
or 2 clicks on an object in a group, if there are many groups (like mine) then click 2 times until we reach the desired object

Results of the week

videocast from the meeting. Topic: creative.

QUESTION:

When I click copy (when we set the angle), I have one seed, not several.

In order to repeat the last transformation (rotation, for example), there is a menu command Object - transformation - repeat transformation (ctrl + D), which is what I do in the video.

The Path tool will be the most difficult tool to learn in Illustrator. It usually takes weeks to learn, and beginners are often confused when trying to figure out how it works. So don't give up and practice every day and soon you will be able to draw a figure of any complexity.

Drawing Straight Lines

Select the Pen tool and click once to add the first key point. Move the mouse to the next position and click again to create a second point. The two points will connect to each other. Keep doing this until you have a W shape like the one in the picture. To draw a new line, click on the Selection tool (black arrow icon), then click on the Pen tool again.

Closing a Path

To close the path, click on the starting point.

Drawing a Wavy Line

Click on the line and drag to make the line curved.

Changing Path Directions

Click and drag to create a curved line. Without releasing the mouse, hold down Alt/Option and drag up to change the direction of the path.

Drawing a Circular Path

Click and drag to create a curved line. Continue creating key points, at the end click on the starting point to close the path.

Adding Key Points

Using the Pen tool, place the pointer where you want to add a point. A plus sign will appear next to the pointer, click on the line to create a new key point.

Removing Key Points

To delete a point, move the Pen tool close to it. A minus sign will appear next to the pointer. Click on a point to delete it.

Converting Key Points

To convert a wavy key point to an angular one, place the Pen tool next to it and hold down Alt/Option. The Pen tool will change to an arrow. Click on the wavy point to turn it into an angular one. Click and drag the point again to convert it back to wavy.

Moving key points

Select the Direct Selection tool and click on the key point you want to move. Click and drag to change its position

Changing the Direction of Key Points

Using the Pen tool, you can easily change the direction of key points. Hold Ctrl/Command to change the Pen tool to the Direction Selection tool. Select the key point you want to edit. The point handler will appear. Now release Ctrl/Command and hold Alt/Option to change it to the Convert Anchor tool. Click and drag to change direction.

Drawing the Old Key

After learning the basics of the Pen tool, let's put our knowledge into practice by drawing the shape of an old key. For proper angles, hold Shift before adding key points to maintain 90 degrees.

Final Illustration

Here is the final illustration.

Techniques for Using the Pen Tool

Use the minimum number of key points needed to create a shape Place key points where there is a change in line/bend direction Use the Alt/Option or Ctrl/Command hotkeys to quickly change editing tools Hold shift to lock the path while adding new keys points at 45 degree increase

As noted in previous lessons, Vector graphics based on vector contours - on geometric primitives, on figures built from primitives and various curves. All of them are vector Bezier curves, named after the French mathematician Pierre Bezier, who first used them when modeling the body of a passenger car.

Today Bezier curves are used in all modern programs, working with vector graphics, and Illustrator is no exception. The main advantage of using them is that there is no need to remember every point of the curve - it is enough to know, firstly, the coordinates of its beginning and end, and secondly, the mathematical formula that describes the curve. The result is complete freedom of transformation vector images without any loss of quality.

Any vector path consists of one or more curvilinear segments (as an exception, segments can also be rectilinear), each of which is an elementary Bezier curve. At the beginning and end of each segment there are so-called reference points (Fig. 1), which are of two types: smooth and corner. A smooth anchor point connects two curves without a bend, and a corner anchor point is located on the bend between two curves (Fig. 2). By default, anchor points are created smooth, but their type can be easily changed using the tool Convert Anchor Point(Angle) from group Pen(Feather). In addition, each segment has guide lines defined by guide points that define the angle of inclination and curvature of the curve. You can change the shape of a segment by moving anchor points or guide points. In the end, thanks to the endless movements of points and transformations of individual segments, any most bizarre vector contour can be formed.

You can create and edit contours using tools from groups Pencil(Pencils Pen(Pen), as well as tools Brush(Brush), Spiral(Spiral) and Arc(Arc). In addition, the graphic primitives discussed in Lesson 1 are rectangles ( Rectangle), rounded rectangles ( Rounded Rectangle), ellipses ( Ellipse), polygons ( Polygon), stars ( Star) and glare ( Flare), created using the appropriate tools, are also contours. However, the main tool for creating Bezier curves is Pen, which provides maximum capabilities for both creating and editing them.

When creating contours, you often have to change the scale of the image, increasing it while drawing small parts and reducing when creating large ones. To quickly change the scale, it is more convenient to use key combinations: Ctrl+“+” (in case of zooming in) and(when it decreases).

If you select a large scale, the image will not fit on the screen and you will have to move around it. Using scroll bars for this is inconvenient, so it is much better to press the spacebar for this purpose (the cursor takes the form of a hand) and move the image. When you release the spacebar, you will return to normal operation.

Creating outlines using tools from the Pencil group IN this group Pencil tools included: (Pencil) designed for drawing arbitrary lines, Smooth (Smooth), which softens the shape of the outline, and Erase

(Eraser), used to remove individual fragments of a contour. The features of using the first and last of them are reminiscent of the use of similar tools in other graphics packages - with the only difference being that they are focused on processing contours. For example, let’s create an arbitrary image with a pencil (Fig. 3). The fact that this is a contour will be indicated by the appearance of numerous reference points. Let's select a suitable option for the image border - in this case we took the option Rustic Pen from the palette

Styles (Pencil) designed for drawing arbitrary lines,(Fig. 4). (Pencil) designed for drawing arbitrary lines, To evaluate the contour smoothing capabilities of the tool , draw a contour with sharp corners, for example as in Fig. 5. Select the created path and activate the tool, if necessary, adjust its settings (this can be done by double-clicking on the tool in the tool palette and changing the parameter values Fidelity(Accuracy) and

Smoothness (Smooth), which softens the shape of the outline, and(Smoothness) pic. 6 and begin to methodically draw along the border of the contour with sharp edges. You will have to do this until the result satisfies you (Fig. 7).

Tool

works in the usual way: to erase individual fragments of a contour, you just need to move the eraser along the erased fragment. Draw, for example, an ordinary star (Fig. 8), and then try to carefully remove the contour points at its vertices with an eraser (Fig. 9). Pen Creating contours with the Spiral and Arc tools Spiral In the vast majority of cases, a tool is used to draw curved contours . The exception is the formation of a spiral and the simplest arc, for which there are specialized tools(Spiral) and Pen Arc

(Arc). You can draw exactly the same spiral and arc with a tool Spiral and draw an arbitrary spiral on the sheet by moving the mouse over the free space while holding down the left button (Fig. 10). Set the stroke color ( Stroke), empty fill color ( Fill) and use a suitable calligraphy brush - in this case the brush is taken 10pt Oval(Fig. 11).

Creating paths using tools from the Pen group

Pen(Pen) this is the most important tool for working with paths, and it includes three more tools: Add Anchor Point(Pen+), Delete Anchor Point(Feather–) and Convert Anchor Point(Corner). The first is responsible for adding new anchor points, the second is for removing them, and the third converts anchor points from one type to another.

When creating and editing a curve, you need to quickly switch from one pen tool to another, using keyboard shortcuts. Overall the tool Pen selected by pressing a key P, and then: Add Anchor Point by pressing a key «+» , Delete Anchor Point keys «-» , A Convert Anchor Point keys Alt.

Straight and broken lines

To draw straight segments, just specify the end and start points, which will be connected by a straight line. In this case, the formation of each subsequent point will automatically create another segment, forming a broken line with the previous one.

Select a tool Pen, click at the first point of the path, then at the second, etc. - several reference points will be created, which the program will automatically connect with straight segments (Fig. 12). Before creating the first point, a cross automatically appears at the mouse marker icon, which means that you are starting to draw a new path, and the absence of a cross indicates the continuation of the started path. To complete the contour, click on the tool again Pen in the tool palette or while holding down a key Ctrl Click the left mouse button to the side of the contour - a cross will again appear next to the pointer, signaling that you can start a new contour.

To draw strictly vertical or horizontal lines or lines lying at an angle of 45°, you should create new anchor points while holding down the key Shift(Fig. 13). In this case, Illustrator, depending on the position of the new anchor point, independently decides which of the listed lines you wanted to draw.

If you are creating a closed contour, place the last point exactly at the location of the first point of the contour - the contour automatically ends, and then you can immediately begin drawing the next one. You can determine whether you have successfully installed the marker by its appearance: when the marker hits exactly the first anchor point, a circle icon appears next to it, symbolizing the completion of the contour.

Now try to draw an arrow. First with the tool Pen create a contour in the form of a segment (Fig. 14) and use the command Filter>=Stylize>=Add Arrowheads(Filter=>Styling=>Add arrow) with the parameters presented in Fig. 15. After this, paint over the arrow in a suitable manner(Fig. 16).

If you refuse to fill the arrows by setting the parameter Fill option None, then a number of transformations can be applied to the created arrow and obtained from a straight arrow various options curvilinear arrows. For example, use the filter ZigZag on command Filter=>Distort=>ZigZag(Filter=>Distort=>Zigzag) with the same parameters as in Fig.

17. The result is shown in Fig. 18.

Rice. 18. Examples of curved arrows (original arrow and two variants of distorted arrows) Interesting types of curvilinear arrows can be obtained by applying filters Pucker&Bloat And Twist from the filter group Distort. In addition, internal fragments of arrows white can be painted over by selecting them individually with the tool Direct Selection Fill(Fig. 19) and setting for them in the tool palette a suitable color option for the parameter

(Fig. 20).

Rice. 19. Selecting arrows (on the left - the entire arrow is selected with the Selection tool, on the right - individual fragments of the arrow are selected with the Direct Selection tool)

Rice. 20. Image of arrows after processing them with filters and filling individual fragments

Smooth curves Pen When drawing a Bezier curve with the tool

(as when creating a segment), the end points are specified and the direction of the tangent and the radius of curvature are additionally determined, as a result of which the points are connected not by a straight line, but by a curved line. Shift.

Rice. 21. The first stage of drawing a curve (constructing the first reference point)

Now move the pointer to another location (this will be the second anchor point), press the left mouse button again and move the mouse pointer in different directions, carefully observing the shape of the resulting line. The further you draw the pen, the larger the arc will be. Please note that the curve may or may not have a bend, depending on which direction you move the pointer. The convexity or concavity of the curve also depends on the direction of movement.

When you are satisfied with the appearance of the created curve, release the mouse button (Fig. 22). In this case, along with the curved segment, guide lines limiting it will appear on the screen, which are necessary only to determine the shape of the curve, but are not printed (Fig. 23). You can get a strictly vertical, horizontal, or 45° guide line by holding down the key while moving the mouse Shift.

Rice. 22. Second stage of drawing the curve (constructing the second reference point)

Then you need to form the next section of the curve by placing the next reference point and obtaining the desired segment, etc. To complete the outline, click on the tool again Pen in the tool palette or while holding down a key Ctrl left-click away from the outline. To create a closed contour, place the last point exactly at the location of the first point of the curved contour. Then the curved contour can be filled with a suitable color, gradient or other filling options (Fig. 24).

The created curvilinear outline can also be designed using brushes - like ordinary calligraphic ones ( Calligraphic), and discrete ( Scatter), artistic ( Art) or patterned ( Pattern) (Fig. 25). The most interesting results come from using artistic brushes.

Rice. 25. Examples of curved contours designed different types brushes

Selecting Segments and Paths

To select a separate curve segment, you can use the tool can be painted over by selecting them individually with the tool(Partial selection) by clicking on the desired segment or anchor point. Depending on the type of segment or contour and the location of the click, either all the anchor points of the contour will be selected, or only the control points and lines of the segment, or nothing at all (Fig. 26).

Rice. 26. Results of selecting different contours with the Direct Selection tool: in the case of selecting a curve, clicking on a segment resulted in this segment being selected; when selecting a star, a click was made inside it - as a result, all its anchor points were selected; When selecting a triangle, a click was made at one of the vertices - only this vertex was selected

You can also circle the desired segment with the tool Direct Select Lasso(Partial lasso) (Fig. 27).

Rice. 27. Selecting internal anchor points with the Direct Select Lasso tool

As can be seen from Fig. 26 and 27, selected control points are displayed as filled squares, and unselected ones are displayed as empty ones. To add more contour fragments or entire contours to the selected elements, you need to hold down the key while selecting Shift.

If you need to select the entire contour or several contours completely, then it is faster to do this with the tool Selection(Highlight), enclosed in a so-called dimensional container (Fig. 28). Selected contours can be easily moved, rotated, scaled, transformed, filters applied to them, etc. (Fig. 29).

Now let's try to take advantage of the possibilities of creating, selecting and simply transforming curvilinear contours when creating a simple image, for example, the well-known Kolobok from a fairy tale. First, draw a circle and fill it with a radial gradient (Fig. 30). Then using the tool Gradient, move the center of the radial gradient by clicking the mouse at the intended point (Fig. 31).

Set for option Fill option None, select the stroke color Stroke and draw a mouth with a tool Pen(Fig. 32, 33). Then use the same Pen tool to create a dimple in the corner of the mouth (Fig. 34). If the dimple turns out to be a little larger or smaller than you wanted, then immediately use the tool Scale and adjust its size (Fig. 35). Without deselecting the drawn dimple, double-click on the Reflect tool, in the window that opens, select the vertical reflection option (Fig. 36) and click on the button Copy The dimple will be copied. Select a new dimple with the tool Selection

and move it with the cursor to the other side of the mouth, if necessary, adjust the position of the first dimple in the same way (Fig. 37). After this, draw Kolobok’s eyes and curl of hair (Fig. 38). Rice. 32. Appearance

curve depicting Kolobok's mouth, with guide lines

Transform a selection or path

Draw an arbitrary contour in the form of a closed broken line (Fig. 39) and try to turn it into a curved one. To do this, move the mouse pointer to one of the anchor points and press the key Alt After this, the mouse pointer will look like a thick black arrow, then click on the anchor point (the anchor point will turn from a corner one to a smooth one) and move it appropriately (Fig. 40). Exactly the same result can be achieved without pressing a key Alt, but then you should go to the tool palette, select a tool Convert Anchor Point(corner) and perform the same manipulations to transform the corner reference point into a smooth one and move it.

Creating new anchor points

New anchor points are easy to create using the tool Add Anchor Point(Pen+). For example, click it on any part of the newly created curved segment, which will lead to the appearance of a new anchor point and two of its guides (Fig. 41).

Then change the curvature of the path by dragging the created anchor point while holding down the key Alt, as, for example, in Fig. 42. Thus, by adding new reference points, changing their types and immediately moving the points and changing the degree of curvature of the segments, you can transform the original contour beyond recognition in a matter of seconds (Fig. 43).

If you need to add an anchor point exactly in the center between two selected anchor points, it is better to use the command Object=>Path=>Add Anchor Points(Object=>Outline=>Add anchor points).

Moving anchor and guide points

You can change the shape of a path by dragging selected points (anchors or guides) using the Left Arrow, Right Arrow, Up Arrow, or Down Arrow keys, or with the mouse, after activating the tool can be painted over by selecting them individually with the tool. can be painted over by selecting them individually with the tool Or you can do without choosing a tool Ctrl: if you hold down the key while moving

, then the result will be the same. Direct Select Lasso Try moving the internal anchor points of the previously created star, having first selected them with the tool (Fig. 27), using the down arrow key (Fig. 44). And then add a filter for greater effect. Twist (team Filter=>Distort=>Twist

Filter=>Distortion=>Bend) with a bend angle of 50°, as a result of which the star will turn into a kind of flame (Fig. 45). can be painted over by selecting them individually with the tool when the key is pressed Shift(you need to click not on the entire circle, but on its anchor points) - as a result, the circle will not only be selected, but it will have guide lines (Fig. 47). Now the tool Pen when the key is pressed Alt drag and drop corner points the bottom guide so that the circle turns into an ellipse, narrowed at the bottom (Fig. 48). To transfer points symmetrically, it is better to first enable the grid tool Restangular Grid, focusing on the nodes of which, it will be easier to determine the required positions of the guide points. Then select the resulting curve with the tool Selection and squeeze. Fill the outline with a suitable gradient (Fig. 49).

Make two copies of the created outline, reduce them in size, change the fill and place them on the original image (Fig. 50) - this will be the first eye of the spider. Selection Select all elements of the eye with the tool , for convenience, combine them into a group with the command Object=>Group (Object=>Group) and use the command Effect=>Warp=>Twist (Effect=>Deformation=>Bending) with such parameters, for example, as in Fig. 51. Then duplicate the eye, making a mirror copy of it horizontally using the tool Reflect

(Fig. 52). Now let's start drawing the head. Create a circle and, without removing the selection, place it in the background - to do this, right-click on the circle and select the command from the context menu Edit=>Arrange=>Send to Back Pen(Edit=>Place=>Send to Back) (Fig. 53). Then change its shape with the tool

in the same way as when editing the eye (Fig. 54), and paint with a suitable gradient (Fig. 55). Pen Draw the body of the spider, move it to the background and fill it with a gradient. Then the tool create the first leg in the form of a regular polyline, selecting the desired parameter for it Stroke width value ( (Effect=>Deformation=>Bending) with such parameters, for example, as in Fig. 51. Then duplicate the eye, making a mirror copy of it horizontally using the tool Weight Selection). Make a horizontal mirror copy of the leg using the tool and move it appropriately. Select both legs using the tool and make two copies of them using the commands Edit=>Copy

(Edit=>Copy) and Shift, apply a filter Roughen team Filter=>Distort=>Roughen(Filter=>Distortion=>Roughness) with approximately the same parameters as in Fig. 57. The result is shown in Fig. 58.

Removing anchor points

If necessary, unsuccessfully created points (or points remaining from deleted contours) can be deleted with the tool Delete Anchor Point(Pen–), clicking it on any of the points on the outline.

In addition, when working with the tool Pen Due to incorrect mouse clicks, isolated anchor points often appear, which, of course, also need to get rid of. This can be done at any stage of image preparation (in other words, it is not at all necessary to accidentally place a reference point and immediately delete it) using the command Object=>Path=>Clean Up(Object=>Outline=>Clear) with the parameters presented in Fig. 59.

Rice. 59. Setting up the Clean Up command to remove all isolated points

If during the creation of a contour unnecessary anchor points appear on it (which in the course of further work can complicate the process of converting it), then they can be deleted with the command Object=>Path=>Simplify(Object=>Path=>Path Simplification). However, when using this command, you should optimally select the accuracy of the curve ( Curve Precision) And limit angle smoothing ( Angle Threshold), so that the shape of the contour remains unchanged or at least with minimal changes (Fig. 60, 61).

Result from using the command Simplify Path may be more effective. Create a polygon (Fig. 62), apply a filter to it Pucker and Bloat team Filter=>Distort=>Pucker and Bloat(Filter=>Distort=>Wrinkle and Blow) with parameter value Pucker and Bloat 74% (Fig. 63) and then filter (team(Filter=>Distort=>Bend) with a rotation angle of 190° (Fig. 64). Object=>Path=>Simplify Notice how many unnecessary anchor points appeared in the created outline.

Now use the command

(Object=>Path=>Path simplification) with parameters, for example, as in Fig. 65. As a result, we obtain a reduction in the number of reference points by more than half while completely maintaining the appearance of the contour (Fig. 66).

Rice. 63. Appearance of the contour after applying the Pucker and Bloat filter

Rice. 65. The final view of the resulting image with many extra control points Splitting a path(Scissors). The technology for splitting a contour is simple: you need to select the contour and click with scissors at the reference point or at the point in the segment where you need to make a cut. Clicking on a segment creates two new anchor points on top of each other, and clicking on an anchor point causes a new anchor point to appear on top of it.

To visually familiarize yourself with the features of cutting a contour, create an arbitrary polygon with an even number of corners (Fig. 67). Consistently selecting with the tool can be painted over by selecting them individually with the tool each even point, drag it approximately as in fig. 68. Then use scissors to make cuts in each even (in this example, convex vertex) - for this you will have to select the desired reference point of the contour with a tool each time Direct Selection, and then click on it with the tool Splitting a path(Fig. 69). And after that, let’s move on to purely decorative aspects: first increase the width of each of the resulting triangular contours by dragging their internal vertices (Fig. 70), then use the command Filter=>Distort=>Pucker and Bloat(Filter=>Distort=>Wrinkle and Blow) with parameter value Pucker and Bloat–26% fig. 71 and then apply a filter Filter>=Distort>=ZigZag(Filter=>Distort=>Zigzag) with the parameters presented in Fig. 72. The image obtained after this will resemble Fig. 73. The result will become even more interesting when reuse teams Filter>=Distort>=Pucker and Bloat with parameter value Pucker and Bloat 48% (Fig. 74).

Rice. 68. Appearance of the image after moving the even anchor points

Rice. 71. Appearance of the contour after applying the Pucker and Bloat filter

Aligning anchor points

Quite often the problem arises of placing contour reference points strictly horizontally or vertically. Create, for example, an arbitrary polyline (Fig. 75). Select the top three anchor points and use the command Object=>Path=>Average(Object => Contour => Average (Fig. 76). Then do a similar operation with the lower anchor points, and then the broken line will take the form as in Fig. 77.

Rice. 77. The result of aligning all anchor points of the contour horizontally

Let's try to evaluate the possibilities of aligning points on specific example creating a schematic sketch of a palm tree. First draw a star (Fig. 78). Select with tool Direct Select Lasso inner anchor points of the star and align them to the center with the command Object=>Path=>Average(Object=>Outline=>Average (Fig. 79), and then apply the effect Effect=>Warp=>Rise(Effect=>Deformation=>Flash) with the required parameters (Fig. 80). The resulting result may resemble the image in Fig. 81. Expand the resulting image as desired, slightly Gaussian blur with a blur parameter of 1 pixel using the command Effect=>Blur=>Gaussian Blur(Effect=>Blur=>Gaussian Blur). Apply a filter ZigZag team Filter=>Distort=>ZigZag(Filter=>Distortion=>Zigzag) with, for example, parameters such as in Fig.

82. And finally, draw the trunk (Fig. 83).

Rice. 78. Original image of a palm tree Have you ever delved into the nuances of working with effects in Adobe Illustrator ? Do you know how powerful this tool is? Do you know how, for example, to give an image the effect of a “hand-drawn” drawing? Read this article and learn efficient work

with Illustrator effects.

Arrows

Let's start with the main Add Arrowheads effect. Use the Pen Tool or Line Segment Tool to draw a straight line. Go to Effects > Stylize > Add Arrowheads and customize the arrow style.

Appearance

One of the best things about Illustrator is how easy it is to change designs. In the Appearance palette, click on Add Arrowheads, so you can easily change the style of our arrow. This effect is very useful for making diagrams.

No effect?

When working with an arrow without an effect, it will become distorted when its size is changed. With the effect, I can easily adjust the length of the arrow without distorting it.

Round corners

Draw a rectangle and go to Effects > Stylize > Round Corners. Enter a radius value.

Without the effect of rounded corners?

Rounded corners are one of my favorite effects. It helps you create cool icons. The beauty of the effect is that the rounded corners are not distorted when I stretch the object. Could you imagine how long it would take to round corners without this effect?

Zig Zag

Draw a straight line, go to Effects > Distort & Transform > Zig Zag. Enter segment size and frequency values.

Wavy line

Draw a straight line, apply the Zig Zag effect, select anti-aliasing, and you will get a symmetrical wavy line.

Badges

Draw a circle and apply a Zig Zag effect with the settings as shown below and you will get an icon shape.

Experiment with the Zig Zag parameters and you can get wavy circle, star, sea urchin shapes:

Pucker & Bloat , Draw a circle, go to Effects > Distort & Transform > Pucker & Bloat

enter -55% (Pucker) and you will get a diamond shape.

And this is how you can get a quite nice flower from the same polygon.

In the picture below I simple movements The mouse made 12 copies of objects (rotated by 30 degrees).

To do this, go to Effects > Distort & Transform > Transform…

Play with the settings and you can get some nice shapes:

Let's draw a Christmas tree and see what this effect will give us. Effects > Distort & Transform > Roughen….

The example below shows what you can achieve using the Scribble (Effects > Stylize > Scribble) and Roughen effects.

Freehand icons

If you use the same effect over and over again, it makes more sense to use graphic styles to save time and maintain consistency.

Set up all the effects you need, select an object and drag it to the Graphic Styles panel. The corresponding style will be created.

Now select the object you want to apply the style to. Click on the style you just created. If necessary, you can change the fill and stroke color and change the effect parameters. The text, by the way, will remain editable.

Conclusion

I showed only basic Illustrator effects. There are actually a bunch of other beneficial effects. Don't be afraid to explore the menus and experiment with effects (like Warp and 3D).

Tips for using Illustrator effects

Graphic Styles will save you time.
Apperance palette – in It allows you to change effect parameters and delete them on the fly.
Visibility in Apperance— you can turn a certain effect on and off (click on the eye icon) and observe its effect on the object.
Press D to quickly remove all effects.
Parse the design- if you want to convert the effect to curves, then go to Object> Expand Appearance. Note: After this, editing the effect will become impossible.

The purpose of the lesson

In this tutorial we'll look at several ways to create shading in Illustrator, which involve trimming the shading along a given path. We'll then apply what we've learned to create a three-dimensional pattern that consists only of paths.

Creating a Hatch

To create hatching (i.e. parallel lines, which are at equal distances from each other) several methods can be used. Let's look at some of them.

Duplicating lines

Move the line some distance while holding down the Opt/Alt key. This action will result in its duplication.

Now let’s use the illustrator hotkeys Cmd / Ctrl + D the required number of times to sequentially repeat the last action.

You can set a specific distance between hatch lines. To do this, select the line, then go to Object > Transform > Move..., set the horizontal or vertical offset value and click on Copy.

Now again we use the key combination Cmd / Ctrl + D to repeat the movement.

Let's create two lines, for this you can use the duplication technique as mentioned above.

Select both lines, then use Cmd / Ctrl + Opt / Alt + B to apply a blend effect to them.

To control the effect parameters, double-click on the Blend Tool (W) icon in the toolbar. We set the parameters we need in the dialog box that opens.

This method gives us more flexibility in obtaining shading compared to duplication. You can set the distance between lines or the number of steps of the effect.

In addition, you can change the shape of one or both lines, getting interesting effects.

In the image above, a Zig Zag effect has been applied to the right line (Effect > Distort & Transform > Zig Zag...). If you need to work with hatch lines in the future, then go to Object > Blend > Expand, then Object > Expand Appearance.

Finally, you can create shading using the Transform Effect. Select the line, then go to Effect > Distort & Transform > Transform... and set the necessary parameters such as offset and number of copies, observing the changes that occur.

Using Clipping and Opacity Mask

So we have a hatch and an object.

Let's place the object above the hatch lines, it should also be above the hatch lines in the Layers panel.

Select the object and hatch lines, then use the hotkey combination Cmd / Ctrl + 7 to create a Clipping Mask.

You can also create an Opacity Mask to limit the hatch lines. Fill the top object with white colors.

Select the object and hatch lines, then select Make Opacity Mask from the Transparency panel pop-up menu.

Trimming a hatch along the contour of an object

If the hatch lines are paths of variable thickness, then most often they should be cut along the contour of the object. This is where Adobe Illustrator users run into difficulties. I hope you won't have any problems solving this question after reading my tutorial.

Using the Shape Builder Tool

Note: The Shape Builder Tool is only available to users of Adobe Illustrator CS5 - CS6. Select the object and hatch lines. Take the Shape Builder Tool and, holding down the Opt / Alt key, move the cursor along the outer hatch lines by clicking on the mouse button.

Most likely, you will need to repeat this action several times and even delete individual strokes. It all depends on the complexity of the object to which the shading is to be applied.

The object's outline can now be removed.

Using Live Paint Bucket (method developed by seryozha)

Select the hatch and the object, then go to Object > Live Paint > Make

Double-click on the Live icon Paint Bucket(K) on the toolbar, which will open a dialog box with tool settings.

Check Paint Strokes. Select a different color for stroke, then move the cursor along the lines inside the object.

Some touches will have to be repainted separately. As in the previous method, this depends on the complexity of the object.

Now go to Object > Expand. Select one of the black lines, then go to Select > Same > Stroke Color

Click on Delete.

Using the Pathfinder panel and creating an Embossed Pattern (method developed by Anna Staroverova)

The methods described above are not well suited for trimming hatching along the contour of an object with a complex shape. Let's look at more universal method Using the Pathfinder panel and continuing this method, we will create a three-dimensional pattern that consists only of lines.

Step 1

So, we have an object with a complex shape, which represents a Compound path and hatching.

Let's duplicate the pattern and shading (Cmd / Ctrl + C; Cmd / Ctrl + F), we will need them later. For now, let's turn off their visibility in the Layers panel. With help Rectangle Tool(M) Create a rectangle that will cover all the hatching and lie below the pattern.

Step 2

Select the pattern and the rectangle, then click on Minus Front in the Pathfinder panel.

It is likely that as a result of these actions we will receive a group of several objects. We must have one Compound Path, so go to Object > Compound Path > Make or use the illustrator hotkeys Cmd / Ctrl + 8. Apply a stroke to the resulting compound path.

Step 3

Select the compound path and hatch lines, then click Outline in the Pathfinder panel.

Select one of the colored lines, then go to Select > Same >

We are left with only lines that do not have a stroke.

All we have to do is assign them a stroke of the desired color and thickness.

As you can see, this method works great and I find it the best. Now let's continue creating a three-dimensional pattern.

Step 4

Let's turn off the visibility of the hatched pattern and turn on the visibility of the pattern copy and hatching in the Layers panel.

Apply a stroke to the pattern, then select the pattern and hatching and click on Outline in the Pathfinder panel.

Select one of the colored lines, then go to Select > Same > Stroke Color and click on Delete.

Apply a stroke to the remaining lines.

Now we have external and internal shading of the pattern. I applied different colors to them for clarity.

Step 5

In the future we will have to work with shading inside the pattern, let's explore its paths. To do this, apply Arrowheads to them in the Stroke panel.

As you can see, we have a group of multidirectional paths.

To create an embossed pattern, all paths must be in the same direction. Unfortunately, it doesn't exist simple way turn the paths in one direction. So we'll have to do it manually. Take the Pen Tool (P) and click on the starting point of one of the “wrong” paths. Update from 02.24.13: Now this can be done automatically using the Paths script One Direction which you can download.

Press the P key to avoid continuing the edited path, then edit the direction of the next “wrong” path.

This is such a monotonous job: click + P + click + P +…. But we need to do this.

When the work is done we need to turn off the arrows in the Stroke panel.

Step 6

Now let's create a Pattern Brush that we will apply to the pattern's shading to create volume. Using the Pen Tool (P) we will create the path shown in the figure below. The thickness of the path should be equal to the thickness of the hatch, and the start and end points should lie on the same horizontal line.