Linear Gradient

When you look at the Gradient panel you will find on the right the current active gradient. In this example, it is a linear gradient, and it is the one that is applied to the fill of the shape. Refer to Figure 8-9.

Linear Gradient Fill and Stroke

From the dropdown list of current gradients within the document, you can select another gradient to switch to. This will then update the current gradient for both the fill and the selected object. I used Fading Sky. Refer to Figure 8-10.

You can then select the stroke in the Gradient panel and use the same menu to change that as well to a different gradient. Then the stroke is updated on the selected shape. I used White, Black. Refer to Figure 8-11.

You can then use the Reverse Gradient button, located below the current fill and stroke, to swap either the selected stroke or fill gradient’s direction. This will update on the selected shape. Refer to Figure 8-11 and Figure 8-12.

Note

To swap the gradients between fill and stroke you need to use the Toolbars panel as you do with solid fills (Shift+ X).

Now select the fill gradient, for the moment, and look at the options to the right in the Gradient panel. Not all options are currently available. Refer to Figure 8-13.

Type: Currently, the selected type of gradient is linear; a linear gradient follows a straight horizontal, vertical, or angled line. One color stop flows to the other; we will look at how to adjust that in a moment. There are two other types of gradients, radial and freeform, which we’ll look at later in this chapter. Refer to Figure 8-14.

Edit Gradient: When this button is clicked it automatically brings up the Gradient tool settings annotator on the selected object. The button also temporarily disappears from the panel, and the focus in the panel is only on this fill gradient, not the stroke. Refer to Figure 8-15.

Gradient Tool (G)

The Gradient tool’s annotator allows us to move and modify the gradient angle using the various handles. In this case, we are editing the fill. These same settings will be reflected in the Gradient panel as well.

Note

If you cannot see the annotator, go to View ➤ Show Gradient Annotator.

For example, drag on the right-side black square point handle of the Gradient tool to stretch or scale the gradient, or on the left-side black circle to move the gradient by dragging on the starting point either inside or outside of the rectangle. Refer to Figure 8-16.

When the pointer turns to a rotation cursor near the black square end you can rotate the gradient on the end point as well, and this rotation is noted in the Gradient panel under the Angle section. You can also drag out the gradient at a new angle and starting point with the annotator. Refer to Figure 8-17.

Likewise, you can adjust the angle (-180°,0°,180°) in the Gradient panel using the text box or dropdown list, and that will be reflected in the Gradient tool for the selected shape. Refer to Figure 8-18.

For the fill’s linear gradient in the Gradient panel, you can set the colors of the Gradient annotator slider using the circular slider color stops currently seen here in blue in the gradient panel. In the middle of them is the diamond shaped mid point slider. The control how a gradient start, stops and transitions. Refer to Figure 8-19.

You can alter a gradient sliders color swatch stop by double-clicking on it so that you can view the current swatches in the Swatches panel, and then you can select a swatch to alter the gradient. In this case I used C=15, M=100, Y=90, K=10. Refer to Figure 8-20.

Note

To add a new color you can also use your color or color picker (eyedropper) options. Refer to Figure 8-20.

In this case, the current selected color stop has an opacity of 100% and is sitting at the far left location of 0% in the panel, though because of the angle the color will show up on the right side of the rectangle. Refer to Figure 8-20 and Figure 8-21.

However, if you click on the other blue color on the right side of the panel, you will see that it has an opacity of 0% and is at the location of 100%, as seen on the upper far left of the rectangle due to angle. In the panel you can double-click on this color to change it, but because the color is faded to an opacity of 0% and location of 100%, the color change may not be that noticeable on a white Artboard. Refer to Figure 8-22.

In this case, set the Opacity option to 100%, and then you can see the red and blue, or set it between the range of 0% and 100% for a gradual fade. Refer to Figure 8-23.

In this case, I changed the Opacity setting to 20%. Refer to Figure 8-23.

Note

Clicking on the eyedropper next to the Opacity and Location fields is the same as when you select the eyedropper when you double-click to find a new swatch. This allows you to use a color-picker eyedropper to select a color from an object on the Artboard for the selected color stop. Press the Esc button to exit the color picker and continue working with the Gradient panel and Gradient tool. Refer to Figure 8-23.

The white diamond-shaped slider between the two colors in the Gradients panel allows you to move the midpoint between the two colors to a new location. When it is selected, it changes to black. You can see this change on the shape too when the Gradient tool is active, and you can adjust these same settings while on the shape by moving the annotator circular color stop sliders away from the start and end points and moving the diamond midpoint as well. Refer to Figure 8-24.

A gradient slider needs a minimum of two colors. You can add more by clicking just below the gradient when the pointer adds a plus icon. This adds a new color that you can set to a new color swatch when you double-click on it. Then you can set a new opacity and location for it as well. Refer to Figure 8-25.

You can then adjust the diamond midpoint sliders in between the stops as well to a new location. You can set more color sliders as well. To remove them either drag them off the gradient or, when they are selected, click the Trashcan icon (Delete Stop). Refer to Figure 8-26.

You can use Edit ➤ Undo to undo that last step and add back the stop you deleted. Refer to Figure 8-27.

Once a gradient is complete it can be saved in the Swatches panel from the Gradient menu by clicking on the dropdown menu Add to Swatches icon. Refer to Figure 8-28.

Once you have created a linear swatch you can double-click on it in the Swatches panel and rename it. I called mine Red Yellow Blue Gradient. Click OK to commit the name. Refer to Figure 8-29.

Linear Gradient Strokes

When the gradient stroke is selected in the Gradient panel, you have access to some other options for the stroke itself. Gradient strokes are more apparent with a larger stroke weight. Refer to Figure 8-30.

By default, the stroke is set to Apply Gradient within Stroke. Refer to Figure 8-31.

However, it can also be set to Apply Gradient Along Stroke for a more beveled effect. Refer to Figure 8-32.

Or Apply Gradient Across Stroke, for a more rounded frame edge. Refer to Figure 8-33.

Tip

You can use your Stroke panel if you want to create a dashed gradient stroke. Refer to Figure 8-34.

For the stroke in the Gradient panel, you can use all the other settings, adjust the angle, alter the gradient’s color, as well as set new stops with different opacities and circular slider stop locations and move the diamond midpoint sliders. Refer to Figure 8-35.

However, when you select the Gradient tool, you will notice that the Gradient tool annotator is not available for strokes, only fills.

Note

You can also apply a linear fill gradient with the Gradient tool across multiple selected paths and then drag across them to create a unifying origin point and angle for all. Shift-drag to constrain the angle to 45° increments. Refer to Figure 8-36.

As you scale, the object the gradient is in will scale as well.

One way to get around this issue would be to create a gradient on a separate path with the Gradient panel. And then create another path with no fill over the top. Then, select both and create an Object ➤ Clipping Mask ➤ Make. Then you could scale one path separate from the other using the Direct Selection tool and then the Selection tool. Otherwise, you must use your Gradient tool and its annotator to drag out a new gradient. Refer to Figure 8-37.

Project: Blowing in the Wind, Part 6, Adding Linear Gradients

In this part of the project of the girl at the farm, we will first begin by adding linear gradients to parts of the scenery. Refer to Figure 8-38.

Open Landscape1_6_start.ai. Save a copy if you want to follow along. In this case the gradients have already been added to the Swatches panel, and I have named them so that it will be easy for you to apply them to the various parts of the landscape. Refer to Figure 8-39.

Also, there are some new layers that have been added to the Layers panel. I will explain those later. For now, leave them locked and their visibility turned off as you work. Refer to Figure 8-40.

Select and unlock the layer Mountains and Foreground. Refer to Figure 8-41.

Now, with the Selection tool, select the mountain on the right and make sure that you have the Appearance panel active. Refer to Figure 8-42.

Now, as you did in Chapter 7, select the green fill, and this time replace it with the gradient that I called Right Mountain Gradient. Refer to Figure 8-43.

The gradient is now updated on the mountain.

Look at the setting in the Gradient panel. It is a linear gradient consisting of three color stops and two midpoints, and the angle is at 0°. This will make it appear that light is coming from the sun. We will fix the sun later in the chapter. Refer to Figure 8-44.

Now, with the Selection tool, select the middle mountain. Refer to Figure 8-45.

This time, using the Appearances panel, for the fill choose the gradient that I called Middle Mountain Gradient. You can see the two color stops in the Gradient panel, and it too has an angle of 0°. Refer to Figure 8-46.

We could also add a third gradient to the mountain on the left, or even to the green ground or gray foreground. But for now, we will leave them at the current solid swatches. However, we will enhance that more in Chapter 11 when we add effects. For now, lock your Mountains and Foreground layer. Refer to Figure 8-47.

Now select and unlock the Background layer. The sky is boring, so we will use a gradient to make it appear more like a sunrise or sunset, since the sun is lower on the horizon. Refer to Figure 8-48.

With the Selection tool, select the blue sky and use the Appearance panel to change the blue fill to the gradient that I called Background Sky. Refer to Figure 8-49.

This sky needs a bit of correction, as the color has moved to the wrong angle. Refer to Figure 8-50.

While the sky is selected, go to the Gradient panel. You can see this gradient has a bit of opacity for the red and moves from a red-pink to blue. Now change the angle from 0° to 90°. Refer to Figure 8-51.

This is better, but the light is still a bit too high for me on the horizon. You are going to fix that with another gradient on another layer. You can lock the Background layer for now. Refer to Figure 8-52.

Select the new layer called Atmosphere, make it visible, and unlock it. Currently, it is a blank layer with nothing on it. Refer to Figure 8-53.

Make visible your Guides layer as well, but do not select it. Stay on the Atmosphere layer for now. Refer to Figure 8-54.

Using the Rectangle tool with a white fill and stroke of none, drag out a rectangle that goes down two-thirds of your image. Refer to Figure 8-55.

The size should be about W: 14 in by H: 5.6 in and with the reference point in the center sitting at X: 7 in and Y: 2.8 in, as seen in the Properties panel in the Transform area. Refer to Figure 8-56.

Now choose your Selection tool, and in the Appearance panel change the Fill setting to the gradient I called Atmosphere. Refer to Figure 8-57.

Hide the Guides layer for now so that you can see the gradient better. Refer to Figure 8-58.

The gradient does make the mountains appear more distant, but it is currently in the wrong direction. Using the Gradient panel, change the angle from 0° to 90°. The transparency of the gradient is now at the bottom, giving some atmosphere at the top and covering some of the pinkness of the sky. Refer to Figure 8-59.

We will add more details to this area in Chapter 11 so that the mountains stand out more, but I think adding this atmosphere does make the mountains appear more distant and causes the girl to stand out more in the picture.

Lock the Atmosphere layer for now. Refer to Figure 8-60.

To add some interest to the sky, I added a few clouds using symbols that I found in my Window ➤ Symbol Libraries ➤ Nature. I then clicked on the Symbols Cloud 1, 2, and 3 and added them to my Symbols panel. Refer to Figure 8-61.

I then entered Symbol Editing mode by double-clicking on each cloud in the Symbols panel. When I selected the cloud, I altered the gradient with the Gradient panel, adding a bit of pink with another color stop to the bottom of the clouds. Refer to Figure 8-62.

The same gradient was used for each cloud at an angle of -89.6883°.

After I made my changes, I exited Symbol Editing mode for each symbol by clicking on the left-pointing arrow next to the instance name below the ruler. Refer to Figure 8-63.

If you make visible the Clouds layer you can see how I placed and scaled my clouds using the Selection tool after dragging them out of the Symbols panel onto the layer. Refer to Figure 8-64.

Some clouds go off the Artboard, and some are larger than others to make them appear different.

At this point, lock your layers and save your copy of the document.

We will look at the next type of gradient and then continue the project from there.

Radial Gradient

Continuing with the Gradient panel, the next type of gradient available is the radial gradient for both stroke and fill. This time it takes on a more circular appearance, with color moving from the inside origin to the outside end point.

Create a new document if you want to practice with the Gradient panel before we start the next part of the project. Refer to Figure 8-65.

What you have learned about the linear gradients in regards to color stops, midpoints, opacity, and location you can also apply to the radial gradient, so refer to that section for more details. However, I will point out a few key differences.

Radial Gradient Fill

You can reverse the order of the gradients for the fill and stroke when you click on the Reverse Gradient button. However, to swap them from fill to stroke use Shift + X. Refer to Figure 8-65 and Figure 8-66.

Gradient Tool (G)

When you click on the Edit Gradient button or Gradient tool, the radial gradient annotator for the fill is set for a circle shape, indicated by the dotted ring. The color stops and midpoint sliders are also available. Refer to Figure 8-67.

Like with the linear gradient options, you can scale or increase the range of the gradient with the end of the square point, currently on the right. Refer to Figure 8-68.

On the left handle, or circular origin point, you can drag and adjust the angle of the starting point. Refer to Figure 8-69.

You can also rotate, using the rotation circle, when the pointer changes on the black square end point to the rotation cursor. Refer to Figure 8-70.

You can use the circle to scale the rotation by dragging on the white point with the black center. Refer to Figure 8-71.

Or you can use the larger black point to scale the radial gradient to make it more elliptical, which alters the aspect ratio. Refer to Figure 8-72.

This settings for the angle (-180°,0°,180°) and aspect ratio of the radial gradient is then shown in the Gradients panel. Refer to Figure 8-73.

Aspect ratio (0.5%–32767%): Can also be set using the text box or dropdown list of preset settings. Refer to Figure 8-74.

Note

You can also, with the Gradient tool and annotator, drag out a new origin location for the gradient to start from within the object. Refer to Figure 8-75.

Once you create a radial gradient, you can then store it in the Swatches panel using the Add to Swatches button in the dropdown menu of the Gradient panel. Refer to Figure 8-76.

Like the linear gradient, once you have created a radial swatch you can double-click on it in the Swatches panel and rename it. Click OK to commit the name. Refer to Figure 8-77.

However, if you switch to another gradient from the radial gradient and then select the radial gradient again in the Swatch panel you will lose the angle and aspect ratio when you apply it. This information is not stored in the Swatches panel, and it would in that case be better to store that information as a graphic style in that panel. We will look at that panel more closely in Chapter 11 when we need to save appearances that we created. Refer to Figure 8-78.

Radial Gradient Stroke

Like the linear gradient stroke, you will not have access to the Gradient tool’s annotator, but you can use the Gradient panel to set the same three settings for your stroke, including angle and aspect ratio. Refer to Figure 8-79.

Note

Some radial gradient strokes will show up better when the gradient is fill or stroke reversed.

You can also apply the radial gradient, with the Gradient tool, across multiple selected paths and then drag across them to create a unifying origin point and angle. Shift-drag to constrain the angle to 45° increments. Refer to Figure 8-80.

As you scale the object the gradient will scale as well.

Tip

One way to get around this issue would be to create a gradient on a separate path with the Gradient panel. Then create another path with no fill over the top, then select both and create an Object ➤ Clipping Mask ➤ Make. Then you could scale one path separate from the other, using the Direct Selection tool and then the Selection tool. Or use the Gradient tool and its annotator to drag out and scale the gradient. Refer to Figure 8-81.

Project: Blowing in the Wind, Part 6, Adding a Radial Gradient

With the current copy of the file Landscape1_6_start.ai still open, continue with the project of the girl at the farm, and this time we will add a radial gradient to the sun. It will make the sun appear more real, as if light were coming out of it, and not just a yellow ellipse. Refer to Figure 8-82.

Adding the Radial Gradient to the Sun

Select and unlock the Sun layer. Refer to Figure 8-83.

With the Selection tool, select the sun. Refer to Figure 8-84.

Now use the Appearance panel to set the fill color to the radial gradient that I called Sun. Refer to Figure 8-85.

The sun should now have a nice glow to it. Also, the five color stops have varying opacity settings of 100%, 100%, 50%, 20%, and then 0%. You can see how for many color stops that I used in the Gradient panel the angle is at 0° and the aspect ratio is at 100%. But because I used an ellipse shape, some of the gradient is cut off at the top and bottom, which is what I wanted, and some of the design goes off the Artboard. Refer to Figure 8-86.

I then locked my Sun layer again and previewed the result. Refer to Figure 8-87.

Save the document at this point. Later in this chapter, I will talk about a few more areas on other layers, in relation to gradient mesh and then transparency.

One other final note I will mention about the benefits of the Appearance panel is if you have multiple gradients with transparency, you can overlap them within the Appearance panel to blend them together. Refer to Figure 8-88.

Freeform Gradient

The last type of gradient in the Gradient panel is the freeform gradient. It can only be applied to the object’s fills and not its strokes. However, the path can be open or closed even if the freeform gradient is applied to the fill. Closed paths, I find, are best. Freeform also does not use the Gradient tool or its annotator. Refer to Figure 8-89.

Create a new document if you want to practice with the Gradient panel before we start the next part of the project.

This is a newer gradient type in Illustrator and in many ways is similar to the Mesh tool, which we will look at next. However, if you want smooth, airbrushed gradients for skin to create a 3D effect, then you may find this tool useful. Refer to Figure 8-90.

To use the freeform gradient, you can start with a shape that already has a solid or gradient fill. It does not really matter, as the freeform gradient is going to choose its own set of points that you can modify. While the path or shape is selected, using the Gradient panel, set Type to Freeform Gradient. Refer to Figure 8-91.

Working with the freeform gradient is simlar to working with the Puppet Warp tool, seen in Chapter 4.

Currently, four points are drawn in the square. This setting allows you to add and edit color points. Refer to Figure 8-92.

You can select one of the points and change the color stop using the Gradient panel. To do that you can either in the panel, Double-click in the stop or double-click on a selected stop found on the actual shape, to access the swatches. Refer to Figure 8-93.

From the menu, as with the other gradients, you can use the eyedropper tool (color picker) to copy a color from another shape, or use the Colors panel to find a color, then use the Esc key to exit. Refer to Figure 8-93.

A selected stop can be removed by clicking on the Trashcan icon. Or, while the stop is selected, press the Backspace/Delete key, or drag it outside the path. Use Edit ➤ Undo to add the stop back right away. Refer to Figure 8-94.

The Gradient menu also allows you to adjust the opacity (0%–100%) and spread (0%–100%) for the color stop using the dropdown lists. Another way to adjust the spread is to, while the color stop is selected, drag on the black-and-white point of the spread radius and pull outward; this will change the spread setting in the Gradient panel. Refer to Figure 8-95.

You can also move a stop to a new location by dragging on the center of the stop. Refer to Figure 8-96.

To add additional stops, you can click somewhere in the freeform gradient and then edit the new stops. Refer to Figure 8-97.

The other draw setting in the freeform gradient is Lines. This allows you to create gradient color points over a line segment. Refer to Figure 8-98.

It’s a bit like working with connect the dots and the curvature tool, in that you can click to add color stops that are connected or connect color stops that are already present in the freeform gradient, creating a curved path, or hold down the Alt/Option key to create a straight path and the Shift key to keep the path at a set angle. You can click on the original point to close the path. Refer to Figure 8-99.

To keep the path open and create a new path, press the Esc key. Refer to Figure 8-100.

Color stop points that are part of a line do not allow you to set a spread setting. If you find that one of your single points has lost its spread setting, you may need to delete it and create a new point. Refer to Figure 8-101.

Return to the Draw Points setting when you want to move or edit the points without creating more lines. However, you can still click and add points to the lines. Refer to Figure 8-102.

You can also use the Gradient panel to delete a selected stop, or you can use the Backspace/Delete key.

The freeform gradient stops will be visible again, and you can continue to edit them. Refer to Figure 8-104.

Like linear and radial gradients, the freeform gradient will scale with the path when selected with the Selection tool. To move one freeform gradient to another shape, select the shape and then use the Eyedropper tool in the Toolbars panel, then click on the freeform gradient you want to copy. Refer to Figure 8-105.

The freeform gradient gets removed if you click on another gradient type, and you need to Edit ➤ Undo right away so you do not lose your original settings. Refer to Figure 8-106.

Where can you store these gradients? Because they are not considered a swatch and are more like a patterned graphic, I find the best way to store these freeform gradients once applied to a path is in the Symbols panel. Refer to Figure 8-107.

Another option could be to store them in the Graphic Styles panel, which we will look at in Chapter 11.

Freeform Gradient Example

While I did not use the freeform gradient in the current landscape project that we are working on in this chapter, if you would like to see an example of one, you can refer to my Chapter 6 example, wolf_girl_blend.ai. Refer to Figure 8-108.

The wolf is made of various linear and radial gradients, and the girl’s hair is as well. The skin on her face, nose, under the chin, and neck are actually several different freeform gradients. Refer to Figure 8-109 and Figure 8-110.

You can study this file if you like, for your own reference, if you plan to create a similar kind of portrait. I achieved accurate highlights when I worked from a scanned picture that I kept on a separate layer in Illustrator to refer to. Then I made some alterations afterward to the freeform gradient. Now you can create illustrations of your models with flawless skin.

However, don’t expect to get this type of project done all in one evening, as you may need to play with the colors and move the points around until you get the level of realism you are looking for. You may also need to draw separate paths as I did to get all the right shading.

Tip

If you’re not sure on your own project how to get the right skintone colors, you can add color groups to your Swatches panel from Window ➤ Swatch Libraries ➤ Skintones. I then clicked on the color group folders that I needed to add them to my Swatches panel. Refer to Figure 8-111.

In my case, I originally worked with Skin Tone 2 and Skin Tone 3 color group folders and then made modifications. However, you may require different skintones for your project.

Additional ideas for using the Gradient panel and Gradient tool can be found here:

https://helpx.adobe.com/illustrator/using/gradients.html

Create Gradient Mesh

Highlight area of (0%–100%) is a white highlight. The lower the percentage, the less highlight appears; 0% is no highlight.

Choose an option and click OK. Refer to Figure 8-121.

Often, when using the mesh tool, it’s best to keep the number of points as few as possible for fast redrawing with Illustrator. Refer to Figure 8-121 and Figure 8-122.

To make one of your linear or radial gradients into a mesh, you can choose Object ➤ Expand, choose Expand Gradient to Gradient Mesh, and click OK. Refer to Figure 8-123.

This transforms the gradient into a complex gradient mesh. However, be aware that it works better with linear than radial gradients, and you may get some unusual results. Refer to Figure 8-123.

How to Separate the Gradient Mesh from a Path

If you need to remove a gradient mesh from a copy of the original, you can select the entire mesh with the Selection tool. Refer to Figure 8-124.

Select Object ➤ Path ➤ Offset Path.

In the Offset Path dialog box, enter 0 for the Offset, leave the other options at the default settings, and then click OK. Refer to Figure 8-125.

You will then have created a path object copy without a mesh. You can then select, with the Selection tool, the mesh and Backspace/Delete the original mesh if you do not want to keep it. Refer to Figure 8-126.

To review more about gradient meshes you can visit:

https://helpx.adobe.com/illustrator/using/meshes.html

In Chapter 9, the Mesh tool will be used again for another kind of warp.

Project: Blowing in the Wind, Part 6, Working with the Mesh Tool on Flowers

Continuing with the project of the girl at the farm, we are now going to edit some flowers, using the Mesh tool to create petals with multiple colors for some poppies that we will later add to a copy of the Landscape1_6_start.ai file that you have been working on. For now, set that file aside.

Open flowers_mesh_start.ai and save a copy if you want to follow along. Refer to Figure 8-127.

I created a file to draw some poppies in that I plan to add to my landscape picture later. I made the file the same size as my landscape document so that I could get the size and placing figured out right away, However, for your own projects you may have to scale the flowers afterward with the Selection tool while you hold down the Shift key or use one of the Transform tools that I talked about in Chapter 3.

If you look at the Layers panel, you will see that there are several layers. I did that to keep organized so that I didn’t apply the Mesh tool to the wrong layers and could also go back a step if something with the Mesh tool did not turn out as expected. Refer to Figure 8-128.

The Mesh Finals layer’s visibility is currently turned off as we will look at that layer later. For now, just select the unlocked layer called Poppies.

While the leaves in the image have already had a linear gradient applied to them, the poppy’s petals and branches are a solid color and do not appear very three-dimensional. Refer to Figure 8-129.

One thing that I have discovered while working with the Mesh tool is that when it creates a mesh the stroke around my path disappears. There is also no direct way of releasing the mesh afterward if I want to keep the original path. The only way to make a copy of paths, once they are a mesh, is to use the Object ➤ Path Offset method I mentioned earlier. But recreating color again takes time. So, once I established the base fill and stroke color of my poppies, I made sure they were on their own layer, which kept the paths and colors safe. Refer to Figure 8-130.

Then I dragged this Poppies layer over my Create New Layer button to create a copy. Refer to Figure 8-131.

The Copy layer is the one I used to work with my Mesh tool.

I locked the original layer and selected the Poppies copy layer instead. Refer to Figure 8-132.

Now I am going to show you how to color one of the poppies using the Mesh tool. However, you can continue to color the other poppies and their branches on your own. You can refer to the Mesh Finals layer by turning on and off the visibility of that layer if you get stuck. But your poppies do not have to look the same as mine—be as creative as you want to be. Refer to Figure 8-133.

We are going to work on the red poppy in this example, as well as its stem.

Petal 1

To begin on your Poppies copy layer, with the Selection tool select the lower petal. You may need to zoom in with Ctrl/CMD++, or use the Zoom tool or Hand tool (spacebar) to navigate closer to the flower, and as you work on other areas throughout the project. Refer to Figure 8-134.

Now select the Mesh tool and click to create a mesh point near the middle of the petal. Refer to Figure 8-135.

Note

If you are not exactly on the same point as myself, you can drag the mesh point with the Shift key to move it. This is good for moving mesh points near the edge of the petal without distorting the mesh, now that the stroke has disappeared but the red of the petal remains, as seen from the change in the Toolbars panel. However, because I kept my original layer some of that path’s stroke can still be seen below. Refer to Figure 8-135 and Figure 8-136.

Now, with the Mesh tool, click another point on the petal slightly to the right. Refer to Figure 8-137.

Add another mesh point on that same mesh line, but above. This creates a type of grid. Refer to Figure 8-138.

Now you will color the petal. Use the Direct Selection tool and click on the lower mesh point on the left. Using the Swatches panel to change the red swatch, click on the black swatch to add a shadow as you would with a gradient to create a transition from red to black. Refer to Figure 8-139.

The problem with 100% black is that it is trying to transition to the red, which is made up of CMYK (cyan magenta, yellow, and black), and so you get a gray mess and it does not look very vibrant. You can see that when you refer to the Color panel. Refer to Figure 8-140.

To create a richer black color, while the point is still selected, use the Colors panel to up the Cyan to 15%, Magenta to 100%, and Yellow to 100%, and leave the Black (K) at 100%. Refer to Figure 8-141.

That looks much better. Then save that color by clicking on the Swatches panel’s New Swatch button to add it to your swatch collection. Refer to Figure 8-142.

You can give the swatch a new name in the New Swatch dialog box or leave it at the default name and click OK. It is now added to the Swatches panel so you can apply it to the next point on your mesh. Refer to Figure 8-143.

Now, with the Direct Selection tool, select the next point to the right in the mesh and apply the red-black colored swatch again. Refer to Figure 8-144.

Then move on to the above two points on the left and right. Because this petal is below the other petals, to better access the hidden mesh points you may have to use View ➤ Outline (Ctrl/CMD+Y) to get a better selection of points, and then apply the color using the Swatches panel while in outline mode. In this case, I applied the same dark-red color to those points. Then, from the menu, select View ➤ Preview to exit and see the result. Refer to Figure 8-145.

Return to the Mesh tool. You can then twist and adjust the handles, using them if you want to get more curve or a three-dimensional result. Or use the Direct Selection tool and Anchor Point tool to make additional adjustments. Again, you can also use View ➤ Outline and View ➤ Preview to assist you as you alter the points, and in the end you should have grid or mesh similar to what is shown in the next figure. Refer to Figure 8-146.

Now continue with the other three petals.

Petal 2

First, select the petal with the Selection tool and then with the Mesh tool to add more points and lines to the mesh. Then, modify with the Mesh tool, Direct Selection tool, or Anchor Point tool.

The petal on the left, in my case, needed three clicks to create the mesh. Refer to Figure 8-147.

I did use the red-black swatch I created on the upper-left and lower-right points. Then I created a lighter red shade for the lower-left and upper-right points of the grid while they were each selected with the Direct Selection tool. I then used my Color panel’s sliders to make minor adjustments to the CMYK sliders, altering the red. Refer to Figure 8-148 and Figure 8-149.

Petal 3

The petal on the top requires three clicks with the Mesh tool to create the mesh. Refer to Figure 8-150.

Now adjust the points with the earlier mentioned tools and with the Direct Selection tool, and set the colors for each mesh point using the Swatches panel. I used the dark red in the upper-left and lower-right points, and for the lower-left point used a slight shade variation that I created with the Color panel. Refer to Figure 8-151.

Bear in mind that your mesh and colors may flow slightly differently than mine, depending on how the mesh flows when you clicked to create it. You may have additional points that you want add color to and enhance the shading further later.

Petal 4

For the right-most petal, I clicked twice with the Mesh tool to create this grid in the upper area of that petal. Refer to Figure 8-152.

I applied my dark-red-colored swatch to those two points using my Direct Selection tool and the Swatches and Color panels. Refer to Figure 8-153.

Stem

To finish this poppy, select the stem with the Selection tool and click once on it with the Mesh tool about halfway up the stem. Refer to Figure 8-154.

To this point, with the Direct Selection tool, I applied a green swatch from the Swatches panel of C=90, M=30, Y=95, and K=30. This makes it match with the leaves. Refer to Figure 8-155.

You can then preview your completed poppy mesh and compare it to mine on the Mesh Finals layer. Refer to Figure 8-156.

If it’s not the same as mine, that is OK. You might like your poppy better. Then, keep on practicing on your Poppies copy layer with the Mesh Finals layer hidden. Refer to Figure 8-157.

Make Poppies and Group the Poppies

Make poppies that are blue, yellow, cream, peach, purple, and pink or orange, as they come in many colors. Refer to Figure 8-158.

Also, besides coloring the stems with a gradient mesh, you can color the unopened heads of the poppy with the mesh tool and the same green and lighter greens I used for stems to make them appear more rounded and give some highlights. Refer to Figure 8-159.

When you are done, make sure to save your work on this file.

Copy the Poppies

In my case, when I was done, I unlocked all the relevant layers that I had created. If you don’t want to use your flowers, you can use my Mesh Finals Layer as an alternative. Refer to Figure 8-160.

Unlock the layers Heads, Front Leaves, Mesh Finals, Poppies, and Back Leaves.

Then choose, from the menu, Select ➤ All (Ctrl/CMD+A) and then Object ➤ Group. Refer to Figure 8-161 and Figure 8-162.

This groups all the parts onto the top Heads layer. Refer to Figure 8-162.

Then choose Edit ➤ Copy (Ctrl/CMD+C) and return to your copy of the file Landscape1_6_start.ai.

Then unlock the layer called Poppies and select it. Refer to Figure 8-163.

Then choose Edit ➤ Paste In Place. Doing this should get the Poppies close to where you want them to be. But use the Selection tool to select the group if you need to adjust the positioning. Refer to Figure 8-164.

Save your document at this point and lock the Poppies layer.

Closed the other document flowers_mesh_start.ai with the original poppies you created; however, before you save that file, you may want to Edit ➤ Undo the last Group step so that the paths return to the original layers. Refer to Figure 8-165.

Add More Flowers and Grasses

Additionally, after I added the flowers to my Poppies layer, in the file Landscape1_6_start.ai I added a few additional symbols to the layer for grasses, seeds, rocks, some dandelions, and even a ladybug. Refer to Figure 8-166.

You can find many of these symbols in the Window ➤ Symbol Libraries ➤ Flowers and Nature folders. Refer to Figure 8-167.

I clicked on some of them and added them to my Symbols panel. Refer to Figure 8-168.

You can find the symbols that I added and edited in the Landscape1_6_final.ai file, and you can select and Edit ➤ Copy and Edit ➤ Paste those items into your own project, if you select them from my Poppies layer.

In your case, you may have to move some of the symbols around. Remember to use the Object ➤ Arrange menu on your selected items as required. Refer to Figure 8-169.

Lock your layers and save your document at this point. You can see how it is looking so far in my file Landscape1_6_final.ai. Refer to Figure 8-170.

We will now look at the Transparency panel and how it affects opacity and blending.

Project: Blowing in the Wind, Part 6, Examples of Working with the Transparency Panel

Come back to the project of the girl on the farm and your copy of the file Landscape1_6_start.ai.

While there are no actual steps that you need to do in this part of the project, I will just point out here that I created the symbols of the bushes and the posts on the bushes layer. Refer to Figure 8-204.

I then entered Symbol Editing mode through the Symbols panel when I double-clicked on the bush symbol. Refer to Figure 8-205.

Using the Direct Selection tool, I selected the group shadow’s center and then used the Transparency panel to set the blending mode of the shadow from Normal to Multiply. Refer to Figure 8-206.

The 79%opacity I had already set using the Control panel, but, as mentioned earlier, you can set it here as well. If we compare the blending mode of Normal to that of Multiply, we can see that even with the set opacity it darkens the shadow and gives it a richer color. Refer to Figure 8-206 and Figure 8-207.

You may also notice that within my groups one of the sub-levels is set to 85% opacity. This gives the bush area in the center a slightly transparent effect, so that you can see some of the shadows from the next row, as bushes are not entirely solid. This area can be hard to notice at first, but here it is in my sub-layers. Refer to Figure 8-208.

This just points out how different parts of a group can have different opacites as you build complex symbols.

I then adjusted the shadow on the four posts, including the symbol on the Artboard. They were set to a blending mode of Multiply as well, with an opacity of 78%. Refer to Figure 8-209.

After you have finished looking at the file you can lock the layer, but you do not have to save any changes. Refer to Figure 8-210.

Using Tools Such as Pen Tool, Paintbrush Tool, Blob Brush Tool, and Eraser Tool

Refer to Figure 8-219.

However, I will point out the basics here, and if you want to use any of the options in these tools then you need to double-click on them in the Toolbars panel to edit their dialog box settings. These could include Fidelity, Angle, Roundness, and Size of brush or eraser. Refer to Figure 8-220.

Like the Pen tool, after you create a stroke or objects with the Paintbrush tool or Blob Brush tool you can then select that area with the Selection tool and use either the Control panel to further edit colors, gradients, patterns, and opacity, or the Transparency panel to further adjust blending modes. We will look at an example of how I did that next. Refer to Figure 8-221.

Project: Blowing in the Wind, Part 6, Using the Brush Tool

We will continue with the project of the girl at the farm and your copy of the file Landscape1_6_start.ai.

I will just point out a few of the transparent brush strokes that I added to the girl when I constructed her.

You can unlock the Girl layer if you want to follow along. Refer to Figure 8-222.

As mentioned, the girl is made up of many paths and brush strokes. After using the Pen tool to construct the main parts of her, to add final details I used the Paintbrush tool, Blob Brush tool, and Eraser tool. These helped me to create many of her shadows and highlights. Refer to Figure 8-223.

Afterward, I selected these paths and then used the Control panel and Transparency panel to adjust the opacity and blending mode.

While selecting with the Direct Selection tool, let’s examine some key areas.

Let’s begin with the girl’s blond hair. In the Control panel, we can see that this is a yellow stroke. Refer to Figure 8-224.

The Opacity setting is at 100%, and I used a brush or brush definition of Watercolor Stroke 5. This is found in Window ➤ Brush Libraries ➤ Artistic ➤ Artistic_Watercolor, which I added to my Brushes panel when I clicked on it. Refer to Figure 8-225.

It is an art brush that was created from various gray shades, and because it has a colorization method of Tints, it picks up the yellow rather than remaining grayscale, giving painterly and hair-like effects. Refer to Figure 8-226.

If we were to take apart the brush, we would also discover that grouped areas of it also have an opacity of 85%, and this is what emulates the watercolor and transparent effect. Refer to Figure 8-227.

After the brush stroke was applied to the Artboard, I further enhanced it in the Transparency panel after selecting it, giving it a blending mode of Soft Light and blending it in with the rest of the hair. Refer to Figure 8-228.

This brush was used again on the girl’s pants and boots with different swatch colors and different opacities throughout. Refer to Figure 8-229.

However, the blending mode in the Transparency panel was kept at Normal. Refer to Figure 8-230.

To create areas of color for her cheeks, I used the Blob Brush tool to create a round area. Refer to Figure 8-231.

I then applied a linear gradient to this area using my Swatches panel as well as swatches from the Skintones library. See my Wolf Girl Freeform Gradient example earlier in this chapter if you need more details on this. I also set the angle to about 37.3° to adjust for the cheek. Refer to Figure 8-232.

The Gradient color stop in this example also has some opacity on the left and helps fade the color into the main part of the skin, giving the girl a pink cheek. I also applied a blending mode of Color Burn to the path using the Transparency panel. Refer to Figure 8-233.

Other areas on the face where I also used the Blob Brush tool with the same gradient were on the lips and ears. I left the blending mode at Normal for some areas and at Multiply for the top of the ear. Refer to Figure 8-234.

Lastly, another area where I used the Blob Brush and the Eraser tool was on the shadow, below the girl. Refer to Figure 8-235.

The Blob Brush tool, I find, is very good for creating a shadow area very quickly in a big area, as I do not have to spend time trying to figure out the angles or roundness of the strokes with the Pen tool. Once I create a Blob path, I like to select it and use the Eraser tool to smooth out large areas quickly. I find this similar to painting in Photoshop.

Though not required for this book, remember to check out my book Accurate Layer Selections Using Photoshop Selection’s Tools if you need more details on these brushes, as well as other related Illustrator tools. While building the girl in the original file and using these tools to add detail, I worked on separate layers, which made it easier to control the Brush and Eraser tools, and then later grouped the girl onto one layer as you did with the poppies.

Once I had the path for the shadow selected, I changed the fill to a gradient shadow fill using the Gradient panel. I then used the Transparency panel to set the blending mode to Multiply and the opacity to 47%. Refer to Figure 8-236.

Additional opacity adjustments were also added to shadows on the yellow boots and the dandelion ellipse. But no additional blending modes were applied. Refer to Figure 8-237.

Once you have finished looking at the Girl layer and the gradient and transparency options that were used, you can lock the layer, but don’t save any changes as we did not make any in this part of the project.

You can see our progress so far in the file Landscape1_6_final.ai. Refer to Figure 8-238.