I recently removed Adobe CS2 from my laptop to clear up some hard drive space (Note: you can legally continue to run older versions of Adobe CS even after you’ve upgraded, and it’s probably a good idea to keep your older versions unless you need the disk space). Well, today, I went to open a document that I had created prior to removing CS2, when lo and behold, Illustrator CS4 informed me that Century Old Style Std was missing. Now, I had created this document in Illustrator CS4, so it didn’t dawn on me right away that the removal of CS2 could be the source of the problem, so I wasted quite a bit of time trying to figure out how this font could have been deleted from my Windows>Fonts folder. As it turns out, it wasn’t deleted from there at all, because it was never there in the first place.

When installing Adobe CS2 on a Windows machine,  Open Type Fonts are stored in Program Files>Common Files>Adobe>Fonts (on a Mac they are stored in [Macintosh HD] /Library/Application Support/Adobe/Fonts/). As long as you leave the fonts there, you can upgrade to newer versions of Adobe CS products and the fonts will still be accessible. For example, upgrading to CS4 will not wipe out your CS2 fonts from this folder. HOWEVER, if at some point you decide to remove your older CS or CS2 versions, the uninstaller will remove the fonts associated with the Creative Suite version you are removing (I think this only applicable to CS and CS2 removal, but I’m not positive).

The easiest way to prevent this from happening is, of course, not to remove your older versions of Adobe CS. If you’re like me and you’ve already made that mistake, hopefully, you still have your CS or CS2 installation disks laying around (or better yet, you still have the older versions on another machine). To fix the situation, either completely reinstall your old CS version(s) or copy the missing fonts you need off another machine that you are LEGALLY running the older versions on (the Adobe Creative Suite license typically allows activation on 2 machines) and paste them into the folder mentioned in the paragraph above. Restart your Adobe application, and you should be all set.

Orange Peel Effect created in Adobe Illustrator

The following Adobe Illustrator tools/features will be used in this tutorial:

• Selection Tool
• Ellipse Tool
• Pen Tool
• Add Anchor Point Tool
• Delete Anchor Point Tool
• 3D Revolve
• Layers Palette

For this example, open a new 640px x 480px CMYK document in Adobe Illustrator.

Step One: Create Map Art

The first step toward achieving this effect, is to create and image map that we will later apply our revolved object, which will result in a spherical shape. In the Layers Palette, double-click on Layer 1 and name it “Map Art.”

We’ll start by creating a set of guides to help us draw our map art. Make sure you have your rulers visible (View>Show Rulers or Ctrl/Cmd-R) and that your guides are not set to locked (View>Guides>Lock Guides should be unchecked), and drag out 7 horizontal guides and two vertical guides and arrange somewhat like the guides in the image below. Select the guides using the Selection Tool and then use the Vertical Distribute Space option in the Align Palette to evenly distribute the vertical spacing between the 7 horizontal guides.

Select the guides and use the Align Palette to vertically distribute the horizontal guides evenly.

Once you have vertically distributed the guides, your guides should look similar to the image below. If you need to adjust the two vertical guides so that they look close to the image below, do so now. The placement of the vertical guides does not need to be exact, but it should look similar to the example image.

Your guide placement should look similar to these guides.

Once you have your guides in place, you can lock them (View>Guides>Lock Guides). Next, we’re going to activate the Pen Tool and create a series of diagonal lines. In this example, I’m using a orange stroke color (C=0 M=50 Y=100 K=0). For the first line, we’ll place our starting point at the upper-left intersection between the top horizontal guide and the left vertical. The end point will be the intersection of the second-most upper horizontal guide and the right vertical guide (see image below).

Use the Pen Tool and the guides to create a diagonal line

Now, using the intersections of our guides at starting and ending points for our lines, we’re going to create 5 more lines parallel to our first line and evenly distributed, as seen in the image below.

Using the guides create 5 more evenly distribute parallel lines.

Once you have all 6 lines drawn using the method above, simultaneously select all 6 lines and group them together (Object>Group or Ctrl/Cmd-G). With the lines grouped, set the stroke weight of the lines to 20pt.

With the grouped lines selected, set Stroke Weight = 20pt

Next, we want to expand our strokes into shapes. With the grouped lines still selected, go to Object>Expand and click “OK.” You now should have a group of six filled shapes.

Expand the strokes to shapes

If you look closely at our resultant shapes, you’ll see that the bottom-left corners extend past the left vertical guide and that the upper-right corners extend past the right vertical guide. We want the edges of our shapes to be flush with our vertical guides. To achieve this, we’ll start by using the Selection Tool to horizontally expand our group of shapes, so that the upper-left corners are aligned to the left vertical guide and the bottom-right corners are aligned to the right vertical guide. With the group of shapes selected zoom in to area indicated in the image below (using either the Navigator or the Magnifying Glass Tool).

Zoom in on the circled area.

Use the Selection Tool to drag the control point of the selection marquee until the upper-left corner is aligned with the left vertical guide.

Align the upper-left corner with the vertical guide.

Following the same method, zoom in on the right side of our grouped object.

Zoom in on the circled area.

Now, use the Selection Tool to drag to control point of the selection marquee until the lower-right corner is aligned with the right vertical guide.

Align bottom-right corners with vertical guide.

Now, we have our upper-left corners aligned to the left vertical guide, and our lower-right corners aligned to the right vertical guide, but what about the upper-right and lower-left corners that extend beyond the vertical guides? We’re going to take care of those, next. Activate the Add Anchor Point Tool (it is grouped with the Pen Tool; Keyboard Shortcut is +), and add anchor points at the intersections of the right vertical guide and the top of edges of each of our shapes.

Add anchor points at the intersection of the top edge of each shape and the right vertical guide.

On the left side of our shapes, we’re going to add anchor points at the intersection of the bottom edge of our shapes and the left vertical guide.

Add points at the intersection of the bottom edge and the left vertical guide.

Now, we’re going to activate that Delete Anchor Point Tool (Keyboard Shortcut -) and delete the far lower-left corner points on each of our shapes (these are the points that extend past the left vertical guide).

Delete the lower-left corner points from each shape.

Using the Delete Anchor Point Tool, move over to the right side of our grouped object and delete the upper-right corner points.

Delete the upper right corner points for each shape.

Once you’ve deleted the point extending beyond the vertical guides, the side edges of your shapes should be aligned with the vertical guides on each side.

Edges should now be aligned with the vertical guides.

Your resultant object should now look like this.

Edges on both sides should be aligned with the vertical guides.

Using the Add Anchor Point Tool, add a point to the top edge of the bottom shape just a little to the right of the midpoint between the left and right guides (see image).

Add an anchor point to the top edge of the bottom shape just to the right of the center.

Use the Delete Anchor Point to delete the two corner points on the right side of the bottom shape to get the resultant shape below.

Resultant shape after deleting the two corner points on the right side of the bottom shape.

Next, we’ll use the same method on the top-shape, only with the sides reversed. Add the new anchor point to the bottom edge of the top shape just to the left of the midpoint between the vertical guides, then delete the two left corner points.  This will create the appearance of a notch at the top and the base of your peel where the stem/core would have been.  You should now have a resultant object similar to the image below.

This is the resultant shape for our map art.

This is the final shape for our image map. Our next step is to drag our map art to the Symbols Palette to create a new symbol based on this object. (If the Symbols Palette is not visible go to Window>Symbols Palette.)

Drag the grouped object over into the Symbols Palette to convert it to a symbol.

When you drag the object into the Symbols Palette, the Symbol Options dialog box will appear. Give this symbol a name, such as Orange_Peel, and click “OK” (you don’t need to modify any of the other options for this example).

Name the symbol and click OK.

Since we are finished with our map_art, go ahead an lock the map_art layer and turn the visibility for it off.

Step Two: Using the 3D Revolve Effect

With our map art completed and converted to a symbol, we’re ready to create our shape that we will be applying the map art to. Create a new layer in the Layers Palette, double-click it, and name Orange_Peel. Activate the Ellipse Tool, and create a circular shape in the middle of the artboard (in this example, I created a circle with 125px radius).

Create a circular shape with the Ellipse Tool.

Activate the Direct Selection Tool and select the right control point on our ellipse/circle and then hit the Delete key (follow this method, and do not try to use the Delete Anchor Point Tool for this step).

Use the Direct Selection Tool to select the left point and then hit the Delete key.

You should now be left with a semi-circle path like the image below.

Resultant semi-circle path.

With this path selected, go to Effects>3D>Revolve. This will bring up the 3D Revolve Options dialog box.

3D Revolve Options

Click on the Map Art button to bring up the Map Art dialog box. At the upper-right of the Map Art Options box, there is a drop-down menu labeled Symbol, click on the drop-down box and select the Orange_Peel symbol that we just created. The symbol should appear below on the image map. Click on the Scale to Fit button in the lower-left to expand the symbol to fit the image map. Then check the checkboxes next to Shade Artwork and Invisible Geometry. The Shade Artwork option will create more of a sense of depth through shading, while the Invisible Geometry will make our shape invisible allowing only the map art to be seen.

Map Art Options: click on Scale to Fit, and check Shade Artwork and Invisible Geometry.

Click OK to return to the main 3D Revolve Options dialog box. You’ll notice that there are setting for rotation angles in the X, Y, and Z planes. These values will determine the perspective of your 3D object. You can either enter numeric values in the text boxes, or simply click and drag on the cube to modify its position. If you click on the More Options button on the 3D Revolve Options dialog box you can modify the lighting settings, modify the position and number of light sources, and modify the shading used. For simplicity’s sake, I’m going to leave these values at the default settings for this example. Feel free to experiment with these settings. Clicking on the Preview checkbox will give you a preview of what your resultant 3D shape will look like based on the current settings, but it can slow down performance when you start creating more complex shapes. When you are satisfied with your settings, click OK, and you should end up with a nice “orange peel” effect like the images below.

Orange Peel View 01

Orange Peel View 2 (modified angle)

Orange Peel View 3 (modified angle)

This should be a good example to get you started with using Map Art with the 3D Revolve Effect. Feel free to try out other art on the spherical shape. You can create new objects, like a beach ball, for instance, just by changing the selected symbol in the Map Art options.

Beach Ball created by simply changing the map art on the orange peel sphere.

Realistic clouds created in Adobe Illustrator

The following Adobe Illustrator tools will be used in this tutorial:

• Rectangle Tool
• Layers Palette
• Ellipse Tool
• Symbol Sprayer Tool
• Symbol Screener Tool
• Gradient Tool/Palette
• Symbol Palette

Let’s get started by opening a new document in Illustrator. For this tutorial, I’ll be using a 600px X 600px CMYK document. (This technique will work just fine with RGB on any size document.)

Step 1. Create the sky background

On your first layer, draw a square or rectangle that spanning the artboard, and fill it with your desired sky color. For this example, I used a linear gradient fill using Pantone 2727 U (converted to CMYK process color) as the starting color and Pantone 281 U (converted to CMYK process color) as the end color. If you’re using the same color scheme that I’m using, you should end up with a result similar to the image below. Again, the color and style of your sky background is entirely up to you.

Gradient fill used to create sky background

After you have your sky background created, use the Layers Palette (Windows>Layers or F7) to give the active layer a name, such as “Sky Background” and then lock the layer.

Step 2: Create Cloud Symbol

Our next step is going to be to create the key component of our clouds. We will be creating a symbol that we’ll add to the Symbols Palette. Our symbol will be comprised of 3 ellipses with radial gradient fills. Create a new layer in the Layers Palette and name it “Cloud Symbol Elements.”

Next, activate the Ellipse Tool, and we’ll get started with our first ellipse. Create a circle with the ellipse tool by holding Shift while dragging, or click and release the mouse to manually enter dimensions for the ellipse/circle. My first ellipse, in this example is about 130px X 130px. (The exact dimensions and placement of this and subsequent ellipses are up to you, but I’ll give you the dimensions and placement that I used for this example.) Once your first ellipse/circle is drawn, we’re going to use the Gradient Palette (Windows>Gradient or Ctrl/Cmd-F9) to create a radial gradient fill (set type = “radial”) with both the beginning and ending color stops being pure white. If you’re wondering why we would bother using a gradient when only one color is involved, you’ll see after the next step. On the gradient palette, select the color stop on the right and set its opacity to 0% (see image below).

Set the opacity of the color stop on the right to 0%.

With our radial gradient fill applied, our ellipse should now fade from white to transparent. On the same layer, duplicate the existing ellipse either in the layers palette or by copying (ctrl/cmd-C) and pasting in front (ctrl/cmd-F). With the Selection tool, move the newly created duplicate ellipse over to offset it from our original ellipse. In our example, I shifted the new ellipse over to the right about 50px and down about 20px. How you offset the second ellipse is, again, arbitrary, but you don’t want it set too far off from the original that there is no overlap of the gradients. (In this example, the “centers” of the ellipses/circles should not be offset further than 50px either up/down or left/right.)

Duplicate the original ellipse and offset the duplicate from the original.

Since we will be using these shapes as the basis for our clouds, we don’t want our symbol to be completely symmetric, so let’s modify our duplicate ellipse a bit. I have reduced the height of my duplicate ellipse to about 80px and rotated it -23°, using the Selection Tool.

Ellipse with height reduced to 80px and rotated -23°

Next, we are going to repeat the process that we just went through with another duplicate ellipse. Copy and paste to front another duplicate of our original ellipse. This time I offset the ellipse 40px to the right and 7px down from our original ellipse. I then reduced the height to 110px, increased the width to 170px, and then rotated the ellipse 67°.

The third ellipse is modified and offset to create an even more asymmetric shape.

The last thing I want to do before we create our cloud symbol, is to slightly modify our original ellipse, so that I don’t have a completely “circular” edge. With the original ellipse/circle selected, I want to decrease the height slightly down to about 110px.

Decrease the height of the original ellipse to 110px.

Now, we are ready to create our cloud symbol. (As has been the case throughout this tutorial, the dimensions and angles of my ellipses are somewhat arbitrary, so feel free to try your own combinations and of ellipses.)

With the Symbols Palette open (Widows>Symbols Palette or Ctrl/Cmd-Shift-F11), use the Selection Tool to select all three ellipses simultaneously and drag them over to the Symbols Palette.

Select all three ellipses and drag them to the Symbols Palette.

After you drag the ellipses over the Symbols Palette and release the mouse button, the Symbol Options dialog box will come up. Give your symbol a name (like “Cloud Symbol”) and set the Type: to “Graphic.” You can set the registration point of the symbol to where ever you prefer, in this case I have selected the center point, but it really won’t make a huge difference in this particular application of how we will be using the symbol.

Name the symbol and set its type to "Graphic." You can also specify the registration point for the symbol.

After you have entered the name, set the symbol type, and selected a registration point, click “OK,” and your new symbol should now be visible in the Symbol Palette. Since our symbol is comprised of white and transparent fills, the thumbnail for our symbol will appear “blank” in the Symbols Palette, since the default thumbnail background is white. Fear not, though, our symbol is there safe and sound.

The thumbnail for our cloud symbol might appear to be blank, but it is still there.

Step 3: Build Cloud Foundation

Now that our symbol has been created, we can lock and hide the “Cloud Symbol” layer using the Layers Palette.

Next, we are ready to start building our clouds, using the Symbol Sprayer Tool (keyboard shortcut Shift-S). First, let’s access the Symbolism Tool Options by double-clicking the Symbol Sprayer Tool icon in the main toolbar. For this example, we’re going to set Diameter to 110px. The Diameter will determine the size of each instance of our symbol. We want to set the Intensity (which is the number of instances of the symbol that is added per click) to 1 (leave the control method as “Fixed”). Since we will be building each of our clouds from a number of instances of our “Cloud Symbol,” we’ll set the Symbol Set Density to the highest value of 10 to limit the spacing in between each instance of the symbol. The rest of the settings can remain at their default values for this example.

Set Diameter to 110px, Intensity to 1, and Symbol Set Density to 10 in the Symbolism Tool Options.

Once you have adjusted the Symbolism Tool Options, click “OK.” We want to add a new layer to draw our first cloud on, so create a new layer in the Layers Palette and name it something like “Cloud 01.” We can now start using the Symbol Sprayer to build our first cloud. Using mouse-clicks (or a tablet/stylus), begin adding instances of the symbol to create the foundation for your first cloud (see below).

Use the Symbol Sprayer Tool to add an instance of the "Cloud Symbol."

Add more instances to build the foundation of your cloud.

Continuing adding symbol instances until you achieve your desired cloud shape.

Next, we are going to use the Symbol Screener Tool to adjust the opacity of some of the instances of our cloud symbol. We can access this tool by clicking and holding the mouse button over on the Symbol Sprayer Tool icon in the main toolbar to bring up the Symbol Tools.

The Symbol Screener Tool

With the Symbol Screen Tool activated, click and release on instances of the Cloud Symbol whose opacity you wish to decrease (holding down the Alt key while using the Symbol Screener Tool will increase the opacity of a symbol instance).

Adjust the opacity of symbol instances by clicking on them with the Symbol Screener Tool.

Feel free to experiment with this tool to achieve your desired results. I like to decrease the opacity on the symbols toward the outside of the main cloud shape. Then, I’ll pick a few spots elsewhere to decrease the opacity. I mainly use a trial-and-error approach. Remember, you can add opacity back to an instance, by holding the Alt key.

Step 4: Creating a Shadow Symbol

We’ve got a decent foundation for a cloud, but clouds much like anything we see are affected by light and shadows, so to give our clouds the illusion of depth, we want to create some shadowing effects. There are several ways to go about doing this (I hope to do a tutorial on another technique using transparency/opacity masks in conjunction with the cloud symbol, in the near future), but in this example we are going to create an alternate cloud symbol for shading purposes. To do this, we’ll start by creating a duplicate of our cloud symbol in the Symbols Palette by dragging our original Cloud Symbol icon to the New Symbol icon at the bottom of the Symbols Palette (see below).

Drag the Cloud Symbol to the New Symbol icon to duplicate it.

This will create a duplicate symbol named “Cloud_Symbol 1.” We want to rename this symbol to “Cloud_Shadow_Symbol.” To do this we click on the menu button on the Symbols Palette and select Symbol Options.

Click the menu button and select Symbol Options.

Rename the duplicate symbol to Cloud_Shadow_Symbol.

Now, that we have our duplicate symbol renamed, we want to edit it, so that we can create some shadow effects with it. To edit a symbol, simply double-click on the symbol in the Symbols Palette. The symbol will open up on its own isolated artboard where we can edit it. In the case of our cloud symbol, since it is white and isolated on a white background, we won’t be able to see any of the objects that comprise the symbol until we select them with the Selection Tool. Create a selection marquee over the symbol artboard, by clicking and dragging with the Selection Tool to select our three ellipses.

Use the Selection Tool to select and highlight the "invisible" ellipses.

Now, that we have all three ellipses that comprise our symbol selected, we are going to use the Gradient Palette to change our gradient from white to a 30% gray (C=0, M=0, Y=0, K=30). To do this click on each color stop, and set the color value to C=0, M=0, Y=0, K=30 (if you have a swatch for this particular color you can also drag it from the Swatch Palette to the color stop on the Gradient Palette).

Set each color stop to 30% gray (C=0, M=0, Y=0, K=0)

Once you have set the gradient color stops to the new color value, you can exit out of the Edit Symbol mode, by double clicking outside the artboard with the Selection Tool. You should now be able to see a gray colored icon for the Cloud_Shadow_Symbol in the Symbols Palette.  Important: make sure that you set BOTH color stops to the same color for this step.

The Cloud_Shadow_Symbol should now have a visibly gray icon in the Symbols Palette.

Using the Layers Palette, within your Cloud 01 layer, double-click the Symbol Set and rename it “Cloud 01 Foundation” and the lock it (not the entire layer, just the Cloud 01 Foundation). This will prevent any unwanted editing of our finished cloud foundation, for now.

Rename the symbol set to "Cloud 01 Foundation" and lock it.

Now, we can start adding shadows to our foundation with our newly created Cloud Shadow Symbol. We can add the shadows on the Cloud 01 layer, with no worries, since we locked our cloud foundation for the time being. Let’s start by selecting the Symbol Sprayer tool, and double-clicking it on the main toolbar to bring up the Symbolism Tool Options. We want to decrease out diameter a bit for our shadow symbol. In this example, I’m going to decrease the diameter down to 80px.

Decrease Diameter to 80px in the Symbolism Tools Options.

Now, we will start adding some instances of our “shadow” symbol on top of the cloud foundation. Generally, with clouds, we add shadowing around the bottom portions of the clouds, and the bottoms of any “protusions” in the cloud body. Where you add shadowing is up to your artistic discretion.

Add instances of the Cloud Shadow Symbol to your cloud foundation.

As we did with the cloud foundation, we can use the Symbol Screener to adjust the opacity/transparency of each symbol instance to increase the realism of the cloud appearance.

Use the Symbol Screener Tool to adjust the shadow opacity/transparency.

Once you’ve achieved your desired shadowing, go ahead and double-click the Symbol Set in the Layers Palette and name it “Cloud 01 Shadows.” At this point you can unlock “Cloud 01 Foundation” and select and group it with “Cloud 01 Shadows” (Object>Group or Ctrl/Cmd-G).

Group the the cloud shadows and cloud foundation together.

With both symbol sets grouped, you can move your shadowed cloud around and place it wherever you wish on your artboard, resize it, rotate it, etc. Simply follow this same technique to create more clouds on their own layers to create an image like this.

Realistic clouds created entirely in Adobe Illustrator

Once you’re comfortable using this technique, try using some of the other Symbol Tools (such as the Symbol Sizer Tool and the Symbol Spinner Tool) to modify your symbol instances for even more realistic results.

Tools/Functions Used:

• Rectangle Tool
• Gradient Palette
• Expand Function
• Transform Palette
• Brushes Palette
• Brush Tool and/or Pen Tool

When asking “How do I apply a gradient as a stroke?” you’ll often be told that the solution is as simple as expanding your stroke into a shape (select your path, and use either Object>Expand or Path>Outline Stroke) and then applying your gradient. This is all fine and dandy, unless you expect that your gradient is going to following the curvature of your original stroked path.

Outlined stroke filled with a gradient vs. stroke with gradient brush applied

Our first step is to use the rectangle tool to create a square (hold Shift when using the rectangle tool to constrain the proportions to a square). This square is going to be the “template” for our brush, so the final size of the square is important. In this example, the final size of my square is going to be 10px X 10px. I’ll explain why the size of the square is important in a little bit. For now, I will use a larger square, so that you can see what’s going on.

Use the rectangle tool to draw a square

With our rectangle drawn, we will now select a gradient that we want to create a gradient brush with. For this example, I will be using the Spectrum gradient from the Spectrums Swatch Library (in Illustrator CS4, from the Swatch Palette, Open Swatch Library>Gradients>Spectrum).

Spectrum gradient

You can use this method for any gradient you wish, the steps are the same regardless of your gradient. Once you have chosen a gradient to use, select your square, and:

1. Set the Fill on the square to your desired gradient
2. Set the Stroke on the square to Transparent (No Stroke)

Gradient fill with no stroke

At this point, we want to have our Brushes Palette open, if it is not already open go to View>Brushes (F5 keyboard short cut).

Brush Palette

To create our gradient brush, we are going to select our square and drag it over into the brush palette and specify it as a new Art Brush. However, there are a few steps we have to take before we can do this. If we were to attempt to drag the square into the palette at this point, Illustrator would give us the option to specify our brush as a new Art Brush, but we would then receive the following message.

Gradients cannot be used in an Art Brush!

We cannot convert our square to an Art Brush because it contains a gradient. Fortunately, we can get around this problem and still maintain the appearance of our gradient, by expanding our gradient into individual shapes. To do this, select your square, and from the main menu select Object>Expand to bring up the Expand dialog box. In the Expand dialog box, you need to make sure that “Expand Gradient To” option is set to “Specify: 255 Objects.” The default for the number of objects to expand your gradient to should be 255. What this number specifies is the number of objects/shapes used to create the appearance of our gradient after it has been expanded into a series of objects. The higher you set this number the closer your expanded gradient will appear to its original gradient appearance. However, setting this number too high can cause some serious performance issues, so if you’re going to experiment with altering this value, try to use the lowest number of objects necessary to achieve your desired gradient appearance. (Note, if you select “Expand Gradient To Gradient Mesh” you will get the error message above when trying to create a new Art Brush.)

Expand Dialog Box - Set Expand Gradient To Specify 255 Objects

Now that our gradient has been expanded, we need to make sure that we don’t have any other elements that would prevent our gradient square from being converted to an Art Brush. When we expanded our gradient, Illustrator created a Clipping Mask around our object. We need to remove this before we can create our Art Brush. With our gradient square still selected, from the main menu select Object>Clipping Mask>Release (Ctrl-Alt-7 keyboard short cut).

Release the clipping mask

Once the clipping mask is released, it might appear as if your square has changed to a solid fill color, as seen in the image below.

Square after clipping mask is released

Fear not, what you’re seeing the selection highlights of all of the shapes that our expanded gradient are made up of. There are so many of them that when the square is selected, the highlight color for the layer that our square is on, appears as a solid color. If you deselect the object, you will see that all of our gradient elements are still there just as they were before we released the clipping mask.

Earlier, I said the size of our square was going to come into play. The reason that the size of the square is important is that the size of the square when we drag it into the brush palette will determine the size of our brush when set at 1pt. When we set up are Art Brush, we can specify the width as a percentage of our original square, but to save us from calculating a percentage width (in the event that you have some arbitrary values for height and width), we will go ahead and set our square to the width that we want our brush to be at 1pt. To do this, we select our square and set the height and width to 10px using the Transform Palette, Widow>Transform (Shift-F8 keyboard short cut).

Set the Width and Height to 10px with the Transform Palette

Now, we’re finally ready to drag our square to the Brushes Palette. Click on the square and hold the mouse-button down and drag it over to your Brushes Palette. When you see a “+” symbol next to your mouse pointer you can release the mouse button (see below).

Drag the "gradient square" to the Brushes Palette

When you release the mouse button, the New Brush dialog box will appear. Select “New Art Brush” from the options and click “OK.”

New Brush dialog box

The Art Brush Options dialog box will automatically pop-up after you click “OK” on the New Brush dialog box. We can name our brush here. I’ve chosen to name my brush “Spectrum Brush” for this example. You’ll notice an option for “Width,” as well. We can leave this at 100%, since we already set our brush width to 10px when we used the Transform Palette. Leave the “Proportional” option unchecked. What it does is essentially sets the width of your brush stroke equal to the length of your stroke, and this isn’t really what we’re after with this particular brush. For the “Direction” option, select the icon that looks like an “up arrow.” This is the “Stroke from bottom to top” option (see image below for examples of each Direction option). We will leave the flip and colorization options at the default settings (none) for this brush.

Art Brush Options dialog box

Art Brush Direction examples

Once you’ve got your options selected in the Art Brush Options dialog box, click “OK,” and your new “gradient brush” will appear in the Brushes Palette! You can delete the gradient square that we used to create our brush at this point. The put your new brush into action, click on it in the Brushes Palette if it is not already selected and then select the Brush Tool or Pen Tool to try it out! You can also apply this brush to shapes created with the Shape Tools by selecting a shape and then click on the brush in the Brushes Palette. It probably won’t take you long to notice some oddities in these kinds of brushes. Sharp corners and tight curves tend not to work so well with a “gradient brush.”

When and when not to use this kind of brush

Keep in mind, since these brushes are comprised of expanded gradients, excessive use of them in a document will likely bog down Illustrator. Remember, we used 255 objects to create the appearance of the spectrum gradient, so there is “a lot going on” when we use this brush, as compared to more simple brushes. Have fun with them, but don’t overuse them to the point that Illustrator decides to takes a long nap on you, when you’re in the middle of a project that you haven’t saved for a while.

Tools focused on:

• Pen Tool

Paths are created in Adobe Illustrator using Bezier curves, which are comprised of control/anchor points. The Pen Tool is used to define control points and Bezier handles (or “curve handles”). which define the curvature of a path between each control point.

An example of an open path in Adobe Illustrator

Control points are created by clicking the mouse button and setting a point. If the mouse button is simply clicked and released, no handles will accompany the control point, so there will be no curvature as a result of that particular control point. However, if you hold the mouse button down when you click to create a control point and drag the mouse, you will create Bezier handles (or curve handles), which will define a curvature in the path between the control point and the points directly adjoined to that control point. To illustrate this method, take a look at the image below, which follows the steps to create an open path similar to the one in example above.

Steps to drawing an open curved path with the Pen Tool

1. Move the cursor to the position where you wish to start your path.
2. Click the mouse button and drag in the direction you wish to create Bezier handles (in this example we drag directly downward), then release the mouse button when you’re handles are in their desired location.
3. Move the cursor to the position where you wish your next point to be.
4. Click the mouse button and drag in the direction you wish to create your handles (in this example we drag directly upward).
5. Move the cursor into position to create your final point.
6. Click and drag (downward in this example) to create your handles.

You’ll notice that the anchor points act like tangent points along the curves based on the handles. If you’re a beginner to the Pen Tool, practice using different angles and lengths with your Bezier/curve handles to see how they affect your path. The length and angle of each handle (typically, two for each point) can actually be modified independently using the Convert Anchor Point Tool, but we’ll save that for another day. (You can also independently modify the length of one handle, while maintaining the 180° angle between its opposing handle using the Direct Selection Tool.)

Stay tuned for more information about the Pen Tool along with some examples and tutorials in up-coming posts.

RSS Icon created in
Adobe Illustrator

This is second part of the “Creating an RSS icon” tutorial. In Part 1, we used the basic Shape Tools along with the Pathfinder – Divide option to create an “outline” of an RSS icon. This tutorial will focus on using strokes and fills to bring some color to our RSS icon.

(Note: “Cmd” should be substituted for any instance of “Ctrl” for Mac users.)

Tools used:

• Selection Tool
• Swatch Palette
• Gradient Palette
• Appearance Palette
• Stroke Palette

We’ll start with the RSS icon that we created in Part 1. Open your file from Part 1 or  download the RSS icon file (.AI). Once you have the file open, you should have an illustration that looks similar to the image below. Your active “Fill” at this point should be “Empty” (or transparent) and your active “Stroke” should be black. Fills are colors or gradients that we “fill” our shapes with, while Strokes are the colors applied to the paths (or “outlines”) that bound our shapes. The active Fill is indicated in the main toolbar as the solid rectangle at the bottom of the toolbar, while the active Stroke is indicated by the hollow rectangle next to the active Fill icon. Whichever icon appears “on top” is activated and can be changed by selecting a new color either in the Swatch Palette or by using the Eyedropper Tool (not covered in this tutorial). So if the Fill icon (solid rectangle) is on top of the Stroke icon (hollow rectangle) selecting a new color will modify the Fill color and vice-versa. The small rounded line segment with arrow heads at each end next to the Fill and Stroke icon will change the Fill color to the current Stroke color and vice-versa.

RSS icon outline with black stroke and no fill

Our first step is going to be to set up some Color Swatches for our icon. To make things easier, we’re going to clear our Swatch Palette of any unused color swatches. If your Swatch Palette is not visible, activate it through Window>Swatches. Click the menu button at the upper-right of the Swatch Palette (see image below) to bring up its menu options. Click on “Select Unused Swatches” to select all the swatches in your current palette that are not in use.

Select unused swatches.

With your unused swatches selected, click on the “Delete” icon (the small trashcan at the bottom-right) on the Swatch Palette. You should now have a “cleaned-up” Swatch Palette to work with (black and white swatch, along withe Registration swatch, should be the only swatches remaining in your Swatch Palette. Next, we are going to add the color swatches which will use on our RSS icon. Start by clicking on the “New Swatch” icon on the Swatch Palette (see below).

Add a new swatch

Clicking the New Swatch icon will bring up the New Swatch dialog box.  All of our swatches will use Color Type: Process Color and Color Mode: RGB. You can leave the Global checkbox unchecked, as well. We will name our first swatch “RSS_Dark_Fill” and it will have values of R: 212; G: 60; B: 39.

New Swatch Dialog Box - RSS_Dark_Fill

When you have the values entered, click “OK” and your new swatch will appear in the Swatch Palette. Repeat this process for the following swatches:

• RSS_Light_Fill (R: 245; G: 130; B: 4)
• RSS_Outer_Stroke (R: 193; G: 63; B: 39)
• RSS_Inner_Stroke (R:243; G: 133; B: 54)

Once you have added these swatches, your Swatch Palette should look similar to the image below.

Swatch Palette with RSS color swatches

Next, we want to create a Gradient Swatch using some of the color swatches that we just created. Click on the Gradient Palette (Window>Gradient or Ctrl-F9). To make the gradient active click on the Gradient Swatch in the upper-right (see image below).

Click the gradient swatch to make the gradient active

This should bring up the Color Stops on the current gradient beneath the Color Ramp of the Gradient Slider in the middle of the palette. The gradient Type should be Linear for this gradient.

Gradient Palette with 2 color stop gradient

Move your cursor underneath the color ramp of the Gradient Slider, and you should notice that a small “+” symbol will appear next to the cursor arrow when you are not directly over a color stop. Click your mouse button when the “+” icon is visible next to your cursor/mouse pointer to add a new color stop.  You sould now have three color stops (from left to right: white, grey, black).  Click on the the middle color stop (grey). Values should appear for Opacity and Location. We are going to keep the Opacity values at 100% for all three of our color stops. However, we want to set the Location value for our middle color stop to 50%. This will place the color stop perfectly centered between the two end color stops.

Set the Location of the middle color stop to 50%

Now, we are going to apply two of the color swatches we created earlier to our gradient. To do this we simply double-click on the color-stop that we want to apply a color to. Double-clicking a color stop will bring up a Color Stop Swatch Palette, which we can select our color stop color from.

Double-click color stop and select a color swatch from the palette

For both end color swatches (the white and black color stops), we are going select RSS_Dark_Fill. For the middle swatch, we are going to use RSS_Light_Fill. After you have assigned these colors to your color stops, your gradient palette should look like the image below.

Gradient Palette - RSS Icon Gradient

Our gradient is now defined, and should appear as the Active Fill in our main toolbar.

Active Fill = our new gradient

We can now add this gradient as a swatch to our Swatch Palette. Click the “New Swatch” icon in the main Swatch Palette to bring up the New Swatch dialog box and name the new swatch, “RSS Gradient.”

New Swatch - RSS Gradient

We now have all of the swatches we need to start adding color to our RSS icon!

Swatch Palette with RSS Gradient Swatch added

Using the Selection Tool (black arrow in the upper-left corner of the main toolbar or keyboard shortcut V) we are going to select our rounded rectangle, by clicking on the path/edge of the shape.

Use the Selection Tool to select the rounded rectangle

Making sure that the Fill icon is active (in front of the Stroke icon), click on the RSS Gradient swatch in the Swatch Palette to fill the rounded rectangle with the gradient.

Gradient-filled rounded rectangle

Our gradient should now fill the rounded rectangle, but we want the gradient to be at a -45° angle. Currently, it is positioned at 90 °. We can modify this value of the angle in the Gradient Palette.

Set the angle of the gradient in the Gradient Palette

Your rounded rectangle should now look like the image below. (Note: The Gradient Tool is also another way to apply gradient fills and adjust gradient angles, but it is outside the scope of this tutorial, so I will save it for another day.)

Rounded rectangle with gradient at -45° angle

Next we will fill the remaining three objects with white. First select the top-most object using the Selection Tool, by clicking on the edge/path of the object.

Select the upper-most curved object using the Selection Tool

With the upper-most curved object selected, hold Shift in, and select the remaining two unfilled objects by clicking on their edges/paths. Hold Shift down until you have all three objects selected. We do not want to use the marquee selection method that we used in Part 1 for multiple selection. Since the rounded rectangle is now filled, using the marquee selection method will select the rounded rectangle, as well, if the marquee selects any part of the stroke OR fill of the shape. This is why we use the method of holding down Shift and select each object by clicking on its path. (If you accidentally, select the rounded rectangle also, you can deselect it by clicking it, as long as you hold Shift down while doing so.)

Multiple objects selected using the Selection Tool while holding Shift

When you have all three objects simultaneously selected, click on the white swatch in the Swatch Palette to fill these objects with white.

Shapes with white fill color

You’ll notice that all of our shapes still have a black outline or Stroke. For our white-filled shapes, we don’t want a stroke of any kind, so with all three shapes still selected (if you accidentally deselected them, just follow the same method for multiple selections we just used) now click on the Stroke icon on the main toolbar to bring it in front of the Fill icon and make the Stroke active. You can set the stroke to “None” by clicking the small white square with the red line through it in the row of small squares underneath the Fill and Stroke icons on the main toolbar (see image below).

Activate Stroke and set it to None

Once you have set the stroke of our three white shapes to None, you should have the following illustration.

Objects filled with white and Stroke set to None

We’re almost there, but we still have a few steps to go, and another palette to introduce. Our rounded rectangle is not quite finished. We currently have a black stroke with a weight of 1pt. We need to add some color to the border of our rounded rectangle. Use the Selection Tool to select our rounded rectangle (remember that you can click on either the stroke/edge or the fill to select it, now). Stroke should still be activated (the Stroke icon should still be above Fill icon on the toolbar), so we can select a new color for the stroke of the rounded rectangle by clicking on one of our swatches in the Swatch Palette. We’re going to select RSS_Outer_Stroke for our stroke color.

Select RSS_Outer_Stroke as our rounded rectangle stroke color

We’re getting close, but our final illustration needs something more. For our final illustration, we actually want to have two different colored strokes surrounding our rounded rectangle. We’re going to achieve this through the use of the Appearance Palette (Window>Appearance or keyboard shortcut Shift-F6). Our first step is going to be to increase the weight of our current stroke from 1pt to 20pt. Making sure that our rounded rectangle is still selected, click on the row in the Appearance Palette labeled Stroke, where it currently reads 1pt, and change the value to 20pt.

Set the stroke weight to 20pt in the Appearance Palette

Next, we want to set our stroke to be aligned to the outside of our shape (the default for Illustrator is to align the stroke to the center of path). To do this we will click on the word “Stroke” in the Appearance Palette to bring up the Stroke options menu, and click on the Align Stroke to Outside icon. (See image below.)

Align stroke to outside

Now, we want to duplicate our existing stroke. Making sure that the Stroke row is still selected in the Appearance Palette, click on the Duplicate Selected Item icon. (See image below.)

Click the Duplicate Selected Item icon to create a copy of the stroek

You should now see two rows listed as Stroke in the Appearance Palette. Using the methods we used on the first stroke, we want to set a new stroke color for our duplicate stroke (the one at the top of the list in the Appearance Palette). Click on the stroke color to bring up the Stroke Color Palette and select RSS_Inner_Stroke. Also, change the stroke weight from 20pt to 10pt (See image below.)

Set second stroke color to RSS_Inner_Stroke

By setting our stroke to be aligned to the outside and setting weight of the stroke on top to 10pt, we now can see the remaining uncovered 10pt “width” (20pt of the bottom stroke minus the 10pt stroke on top of it) of the bottom stroke. Your appearance palette should now look like this.

And more importantly, you should now have a final illustration that looks like this.

Final RSS Icon illustration

Congratulations! You just created a fully-scalable, vector-based RSS icon.

RSS Icon

This will be a simple Illustrator tutorial on how to design a basic RSS icon. Part 1 will only deal with creating the shapes (paths) needed for the icon. This tutorial is intended for Adobe Illustrator “beginners.”

Tools Used:

• Guides
• Rectangle Tool
• Rounded Rectangle Tool
• Ellipse Tool
• Pathfinder – Divide

Start by creating a new document in Illustrator. Since this type of icon is typically used for web applications, we will use RGB color mode. The dimensions of the document should be 600px by 600 px. (If you are using CS4, we will only be using 1 artboard.)

Now, that you have created a new document, make sure you have your Rulers visible. If they are not visible, you can turn them on using View>Show Rulers or with the keyboard shortcut Ctrl-R (substitute Cmd for Ctrl on Mac).

We are going to use Layer 1 for our guides, so double-click on Layer 1 in the Layers palette to bring up the Layer dialog box and name this layer “Guides.”

Layer options

Next we will set up our guides. For this step, make sure that “Lock Guides” is unchecked (View>Guides>Lock Guides or Alt-Ctrl-; ). A new guide can be created by clicking on the rulers at the top (for horizontal guides) or left (for vertical guides) of the page and then dragging the mouse across the artboard. The guide will be set at the position at which you release the mouse button. As long as you have “Lock Guides” turned off, you will be able to select your Guides with the Selection Tool (or Direct Selection Tool). When a guide is selected you can set the x and y positions of the guide either using the x and y value boxes on the Control toolbar (at the top of your screen, under the main menu) or by using the Transform Palette (Window>Transform or Shift+F8).

Setting Guide Position

We will be creating Guides using this method at the following values.

• x=25px  y=0px
• x=575px  y=0px
• x=0px  y=25px
• x=0px  y=575px
• x=175px  y=0px
• x=0px  y=175px
• x=125px  y=0px
• x=0px  y=125px

(note: The zero x-values for horizontal guides, and zero y-values for vertical guides are done for illustrative purposes. These values are actually arbitrary given the nature of guides.)

Once you have your guides set, your artboard should look something like this.

Guide Setup

Now that our guides are set, we can go ahead and turn on the “Lock Guides” option. Next, we will add a new layer by clicking on the “New Layer” icon in the Layers Palette. Double-click this layer to bring up the Layer Options and name it “Artwork.” We will be creating the paths for our RSS symbol on this layer.

Add a new layer and name it "Artwork"

Now we’re ready to start creating our paths. We’re going to start out with the the Rounded Rectangle Tool. The first thing we want to do is set a stroke color for our path, so that we can see what we’re creating. I’m going to select black as the stroke color, and keep the fill color empty (transparent), since we are really only just going to be drawing paths for this exercise. (See image below) We’ll get into fills, gradients, and stroke in Part II. After you set your stroke color to black, click on the Shape Tool icon in the toolbar. The Rectangle Tool is typically the default Shape Tool, but we want to use the Rounded Rectangle Tool. Anytime a shape tool other than the one you want to use appears as the Shape Tool (for example, a rectangle or another shape is there instead) click on that shape and hold down the mouse button and more shape options will appear.

Selecting the Rounded Rectangle Tool

Before we start drawing paths, we want to make sure that “Smart Guides” are turned on (View>Smart Guides or Ctrl-U). Smart Guides will facilitate positioning are objects in relation to the guides we created in our Guide layer.

With the Rounded Rectangle Tool selected click and release the mouse button anywhere on the artboard. This should cause the Rounded Rectangle Dialog box to pop-up where we can enter Width, Height, and Corner Radius values for our rounded rectangle shape. The rounded rectangle that we are going to create will have the following values.

• width=550px
• height=550px
• corner radius=20px

Enter these values into the Rounded Rectangle Dialog box and click “OK.”

Rounded Rectangle Dialog Box

You should now have a rounded rectangle somewhere on your artboard (depending upon where you clicked and release the mouse prior to the Rounded Rectangle dialog box appearing). We are now going to select the Selection Tool to position our rectangle with each of the four edges aligned to the guides we set at x=25px, y=0px; x=575px, y=0px; x=0px, y=25px; and x=0px, y=575px. The Selection Tool is the black arrow in the upper-left corner of the Illustrator Toolbar (keyboard shortcut V). With the Selection Tool click on any edge of the rounded rectangle (but NOT on one of the vertices/corners, see image below) and hold the mouse button down. You can now the drag the rectangle to any position on the artboard. Since we have Smart Guides enabled, you should notice that while you’re dragging the shape around, it will “snap” into position whenever an edge approaches one of your guides. Drag the rounded rectangle so that the edges approach the guides that we are trying to align to until it “snaps” into our desired position.

Positioning rounded rectangle with Selection Tool using Smart Guides

Once you have positioned the rounded rectangle, your artboard should look like this…

Positioned rounded rectangle

Next, we are going to use the Ellipse Tool to create a circle. The Ellipse Tool can be activated the same way we activated the Rounded Rectangle Tool. Click on the Shape Tool icon in the toolbar (which is currently the Rounded Rectangle Tool) and hold the mouse button down until the shape option pop up. Now, select the Ellipse Tool (the Ellipse Tool can also quickly be selected with the keyboard shortcut L).

With the Ellipse Tool selected, move your cursor over the intersection of the guides positioned at x=175 and y=175. Hold down the “Alt” key and click and release the mouse button. Holding down the “Alt” key causes the point at which we click the mouse button to be the center point of the ellipse/circle.

Create a circle center at x=175px and y=175px with the Ellipse Tool

Once you release the mouse button the Ellipse dialog box will appear, and you can enter width and height values for your ellipse. We will be using values of 100px for both width and height.

Ellipse Dialog Box

Note: While clicking and releasing the mouse button causes the Ellipse dialog box to appear, holding the mouse button down and dragging the mouse allows you to set the width and height of the mouse based on how far you drag the mouse from where you first clicked the mouse button. Releasing the mouse button will set your ellipse. Feel free to experiment with this technique, as well. For precise sizes, like we are using in this example, using the dialog box makes things easier. This click and drag technique works across the various different Shape Tools in Illustrator.

Enter 100px in for each value in the Ellipse Dialog Box and click “OK.” You should end up with the result below.

Resultant Circle

Next, we will be using the Rectangle Tool. It can be found in the same spot on the toolbar as the Ellipse Tool and the Rounded Rectangle Tool, by clicking and holding the mouse button over the Ellipse Tool until the Shape options pop-up appears or by using the keyboard short-cut M.

With the Rectangle Tool selected click and release anywhere on the artboard to bring up the Rectangle Tool dialog box. This will be very similar to the method we used for creating our rounded rectangle. Enter values of 375px for both width and height in the Rectangle dialog box and click “OK.”

You should now have a 375px x 375 px rectangle on your artboard. We are now going to select the Selection Tool to position our rectangle with the bottom-left corner at the intersection of the guides at x=125px and y=125px. Since we have Smart Guides enabled, you should notice that while you’re dragging the shape around, it will “snap” into position whenever an edge approaches one of your guides. Drag the rectangle so that the bottom-right corner approaches the intersection of the guides at x=125px and y=125px until it “snaps” into place. Once you have positioned the rectangle, you should have a resultant image that looks like this.

Positioning the rectangle

Now, that we’ve gone through the Rounded Rectangle Tool, the Ellipse Tool, the Rectangle Tool, and how to position objects with the Selection Tool. I’m going to pick up the pace a little bit. Next, we will be drawing 4 circles using the same method we used with the Ellipse Tool to draw our first circle. Our four circles will have the following dimensions:

1. 350px x 350px
2. 500px x 500px
3. 600px x 600px
4. 750px x 750px

Each circle will be centered at the intersection of the guides at x=125px and y=125px (the same position as the lower-left corner of our rectangle). Select the Ellipse Tool in the same manner you did before. Since we know we want each circle to be centered at a specific point, we will again hold the “Alt” key down and click and release the mouse button at the point (x=125px and y=125px) we want the circle to be centered upon. Enter each set of values above for each respective circle. You should end up with the following result.

Resulting Four Circles

You’ll notice that your circles are overflowing off the artboard. Don’t worry about this, as we are about to take care of any overflowing objects. Our next step is to simultaneously select the four circles that we just drew along with our rectangle. Select the Selection Tool, click and hold the mouse button and drag the cursor to create a selection marquee (see image below). With the Selection Tool, any shape that is intersected by the selection marquee will be selected.

Selecting Multiple Objects with the Selection Tool

With all four circles and our rectangle selected, we are now going to use Illustrator’s Pathfinder Tool (Window>Pathfinder or Shift-Ctrl-F9). We will be using the Divide option in the Pathfinder palette. In Illustrator CS4, Pathfinder seems to “Expand” compound shapes by default, but I believe older versions of Illustrator used to require holding down the “Alt” key while clicking the Pathfinder option. (This may vary depending on your version.) Click the “Divide” option to divide intersecting paths into separate shapes.

Using the Pathfinder Divide option (Expand compound shapes)

With our divided shapes still selected, we now want to use the Ungroup (Object>Ungroup or Shift-Ctrl-G) command to ungroup the separate shapes. We can also “turn off” or “hide” our Guide layer at this point, because we no longer need to use the guides we created. In the Layer Palette click on the icon that looks like an eye next to the layer named Guide. This will turn the visibility off for this layer, so that our layers are hidden. You can toggle the visibility of any layer on or off by this method.

Toggle Guide layer visibility off to hide the Guide layer.

After we have ungrouped the divided shapes, we can now select each one individually, by clicking on an “edge” or path with the Selection Tool, and delete the shapes we do not need. Selected objects can be deleted by hitting the “Delete” key.

First we will select the objects that are overflowing off the artboard.

Select and Delete Unwanted Shapes

Deleting the objects overflowing off the artboard should give you the following resultant.

Resultant after deleting overflowing objects

Using the images below as guidelines, delete the remaining three unwanted shapes. I have used the Selection Tool in the example images to create a selection marquee around part of each unwanted shape to give you a guideline for what shapes should be deleted.

Select and delete the remaining upper-right corner of the rectangle

Select and delete the "middle" ring fragment

Select and delete the remaing bottom-left corner of the rectangle

If you deleted the correct unwanted shapes, you should now have the shapes for an RSS symbol!

RSS icon outlines

Part 2 of this tutorial will walk-through applying stroke and gradient fills to our shape to achieve this…

RSS icon color

Stay tuned for Part 2!