© The Author(s), under exclusive license to APress Media, LLC, part of Springer Nature 2022
J. HarderPerspective Warps and Distorts with Adobe Tools: Volume 2https://doi.org/10.1007/978-1-4842-8829-0_5

5. Working with Shape Warp (Liquify) Tools

Jennifer Harder1  
(1)
Delta, BC, Canada
 

Chapter Goal: Discover how to use the Illustrator Shape Warp Liquify tools correctly and discover that some tools are similar to what is found in Photoshop under Filter ➤ Liquify, though this filter is not required for this book.

Illustrator has a collection of eight tools in the Toolbars panel that are dedicated to warping strokes or the entire vector shape or object. They are the Width, Warp, Twirl, Pucker, Bloat, Scallop, Crystallize, and Wrinkle tools. Refer to Figure 5-1.
Figure 5-1

Width and Liquify tools in the Toolbars panel

Maybe you have used these tools before but did not know how to modify their options; let’s look at that next.

Note

You can find the projects for this chapter in the Chapter 5 folder.

Project: Warped Mandala Design

Open the mandala_width_shape_warp_start.ai file and save a copy of the file so that you can practice. Refer to Figure 5-2.
Figure 5-2

Mandala design and the original design in the Layers panel

In this example, we have some original artwork on a locked layer. To preserve the original artwork so that you can refer to it as you did in Chapter 4, use the Selection tool and drag the layer over the Create New Layer button. You can do this any time you want to create a new variation of the file. Then, lock your original layer, turn off its visibility, and select and unlock your copy layer so that you can work with the tools. Refer to Figure 5-3.
Figure 5-3

Creating a copy layer of the pattern in the Layers panel

In this example, the paths are currently a grouped object. Object ➤ Ungroup some of the paths so that you can select each path. We will start by selecting one of the lines and using the first tool. Using the selection tool, I selected the line above the orange point. Refer to Figure 5-4.
Figure 5-4

Selecting a line on the pattern

Width Tool (Shift + W)

The Width tool is used for stroke-width adjustment of the variable-width profile found in the Control panel and is used while the path or line is selected, after you use the Pen tool, Pencil tool, Paintbrush tool, or Line Segment tool to create a stroke. Refer to Figure 5-5.
Figure 5-5

Width tool and different tools in the Toolbars panel used to create lines

Once you select the line with the Selection tool, you can look at the current variable-width profile. Refer to Figure 5-6.
Figure 5-6

Control panel for the line segment when selected with the Selection tool

The default variable-width profiles are stored and saved in the Control panel, after the stroke weight and next to brush definition. Currently, it is set to the default of Uniform. However, from the dropdown list you can see six other options. Refer to Figure 5-7.
Figure 5-7

Default variable-width profiles in the Control panel

When you select another variable-width profile, like Width Profile 1, the line updates to that new profile. Refer to Figure 5-8.
Figure 5-8

Variable width applied to the line

Note

Use the Hand tool (spacebar) and Zoom tool if you need to see this area more closely. Refer to Figure 5-9. On your computer the preview of the variable width profile may vary slightly so refer to the names if you are unsure which to choose.

Figure 5-9

Use the Zoom tool when you need a closer look at the lines

Now, select the Width tool, click on a point on the line, and drag outward from that point to alter the width on that part of the line’s path widening the stroke. Refer to Figure 5-10.
Figure 5-10

Use the Width tool to select and widen parts of your line

You are now creating a custom variable-width profile.

Click another point and hold down the Alt/Option key; drag on the left or right side if you need to adjust one side at a time. Refer to Figure 5-11.
Figure 5-11

Widen only one side of the line with the Width tool

Alt/Option-drag on the center of the point to create a copy of the point.

Note

Hold down the Ctrl/CMD key if you need to move the stroke, and then release it to return to the Width tool. In this case, just leave the stroke where it is. Refer to Figure 5-12.

Figure 5-12

Use the Ctrl/CMD key with the Width tool when you need to move the line, and the pointer changes

To edit the width point further, you can double-click on a point to enter the Width Point Edit dialog box. Refer to Figure 5-13.
Figure 5-13

Double-click on a point when the pointer changes, and enter the Width Point Edit dialog box

In the dialog box, set the Width Options for Side 1 and Side 2. The width is adjusted proportionately when the link is enabled. You can set the Total Width field, as well as select the Adjust Adjoining Width Points checkbox. Click OK to commit or the Cancel button to exit. Refer to Figure 5-13.

Note

Once a width point is created, you can enter the dialog and delete the width point.

You can also drag a width point to move it up or down on the line or path. Hold down the Shift key to move it and several points along the path. Pressing Alt/Option + Shift will create a width point copy and move that point at the same time. Refer to Figure 5-14.
Figure 5-14

Make edits to the width point and move it on the path

In this case, I added several width points to create a wavy line. Feel free to experiment and add your own custom width points. Refer to Figure 5-15.
Figure 5-15

The final line created with the Width Point tool

Then, using the Control panel, you can preview the new custom variable-width profile and save it by clicking the Add to Profiles button. Rename or keep the default profile name, and click OK in the Variable Width Profile dialog box to exit. Refer to Figure 5-16.
Figure 5-16

Adding a variable-width profile to the Control panel using the menu and dialog box

Now it is added to the bottom of the list. Refer to Figure 5-17.
Figure 5-17

The custom variable-width profile is added to the menu

Note

If you do not want to save this profile, you can delete it. Refer to Figure 5-18.

Figure 5-18

You can delete the profile from the Control panel’s Variable-Width Profile menu

Or, reset the entire profile list back to the default profile. If you click Reset, you will get the following message. Click OK if you want to remove all custom profiles you created. Refer to Figure 5-19.
Figure 5-19

You can reset the profiles from the Control panel’s Variable-Width Profile menu

However, this will not remove the custom profile from the line itself, only from the list.

In this case, keep the custom profile in the list and select some other lines with the Selection tool to apply the new variable-width profile. Increase the stroke weight to about 12pt so for each line you can see the variable-width profile clearly. Refer to Figure 5-20.
Figure 5-20

Adjust the stroke weight so that you can see the custom variable-width profile

Additional Work with Line Segment Tool and Stroke Panel

You can also access the variable-width profile from the Stroke panel. Make sure to set the panel’s menu to Show Options if you cannot see them all. Refer to Figure 5-21.
Figure 5-21

Stroke panel with Show Options enabled

With the Selection tool, click off the Artboard to deselect and then click on a single line again. Refer to Figure 5-22.
Figure 5-22

Select the line with the Selection tool

In the Profile area, you can now flip the profile of the line either side-to-side or up-and-down to adjust its direction. Refer to Figure 5-23.
Figure 5-23

Adjust the direction of the profile using the Stroke panel

This is often more apparent on less symetrical profiles. Refer to Figure 5-24.
Figure 5-24

Changes in profile orientation using Flip Along or Flip Across

Using this area of the Stroke panel ensures that your profiles all move in the direction that you intend. In this case, I wanted the wider area of the line profile to be more toward the inside. So, I clicked on each line and adjusted the Flip Along option for my profile in the Strokes panel until they all matched, with the wider part of the line pointing inward. Refer to Figure 5-25.
Figure 5-25

Lines currently selected are adjusted with the Stroke panel’s profile options

In the Stroke panel, for your own lines or stroke paths, besides changing the stroke weight and variable-width profile, you can also do the following:

Cap end for your line: Butt, Round, and Projecting caps. Refer to Figure 5-25 and Figure 5-26.
Figure 5-26

Caps added to lines using the Stroke panel

Corner: Miter Join, Round Join, Bevel Join with a Miter Limit (1–500), when reduced, makes the corner less pointy. Miter Limit only applies to Miter and is not available to Round or Bevel Joins. Refer to Figure 5-25 and Figure 5-27.
Figure 5-27

Corner options added for Miter, Round, and Bevel with Miter Limit raised and lowered using the Stroke panel

Align Strokes: to Center, Inside, or Outside. For open paths, by default it is set to Center, and I usually leave it at that setting. However, if you are combining strokes using the Appearance panel, as we will be using in Chapters 8 and 11, you could have some strokes overlap on the inside and outside of the closed path, creating a unique stripe. Refer to Figure 5-25 and Figure 5-28.
Figure 5-28

Align strokes to Center, Inside, and Outside using the Stroke and Appearance panels

Dashed Line: When the checkbox is enabled, set a dashed line with Dash and Gap settings. This can be further adjusted with the stroke cap settings or by adding varying point sizes to dashes and gaps. Refer to Figure 5-29.
Figure 5-29

Variations of dashed lines are created using the Stroke panel options

You can also select “Preserves Exact Dash Gaps and Lengths” or “Adjust Dashes and Corners to End Paths, Adjusting Lengths to Fit.” Refer to Figure 5-30.
Figure 5-30

Additional dash line settings and the results they produce with dashes and gaps

Uncheck the Dashed Line checkbox if you want to return to a solid line.

Arrowheads: By default, your arrowheads are set to “none.” However, you have 39 other options that you can select from the dropdown list for the start and end of your path, and you can also swap the order. Refer to Figure 5-31.
Figure 5-31

Arrowhead settings in the Strokes panel

Scale: The arrowheads can also be scaled by a factor or percentage (1–1000%) for the start and the end, and this scale factor can be linked via the link icon, or unlinked and scaled separately. Refer to Figure 5-32.
Figure 5-32

Arrowheads Scale and Align settings in the Stroke panel

Align: You can extend the arrow tip beyond the end of the path or place the arrow tip at the end of the path. Refer to Figure 5-32.

Note

You can used dashed lines with arrows as well. Refer to Figure 5-33.

Figure 5-33

Arrowheads with dashed lines

Brushes Definition for the Current Variable-Width Profile

Once you create a variable-width profile, you can enhance it further with brush definitions. These same default definitions are stored in the Brushes panel. Returning to my white line in the mandala project, and selecting it with the Selection tool, you can see that it is set to a brush definition of Basic. Refer to Figure 5-34.
Figure 5-34

Setting brush definitions with the Control panel

From the dropdown list, you can select another brush definition. Refer to Figure 5-35.
Figure 5-35

Brush definition dropdown list in the Control panel

However, depending on the brush selected, it may not only reset the stroke weight, but also the variable-width profile and its orientation, which you then may have to reset in the Control panel. Also, not all brush definitions will work well with your custom width profile, so you may have to experiment. Or use Edit ➤ Undo (Ctrl/CMD+Z) a few times, or the History panel, to get the settings back to what they were previously.

We will look at brush definitions and variable-width profiles later in this chapter, and in a bit more detail in Chapter 8, where we’ll learn how brushes can be used with transparency.

Tip

If you want to change any of these strokes into a path, you can use Object ➤ Path ➤ Outline Stroke, and they will no longer be a single line segment. Use Edit ➤ Undo if this was not your intent. Refer to Figure 5-36.

Figure 5-36

Turning a line into an outline stroke object

Shape Warp (Liquify) Tools

The next set of tools affects the fill direction of the path, whether open or closed. If you used the Liquify filter in Photoshop, you should already be familiar with the Forward Warp tool, Twirl Clockwise tool, Pucker tool, and Bloat tool as far as how they affect a photograph. However, Illustrator has a few additional tools.

Note

These tools will alter the shape permanently, which is why we are working on a copy of the object. If you make a mistake while warping, use Edit ➤ Undo (Ctrl/CMD+Z). Refer to Figure 5-37.

Figure 5-37

When creating a new design, always work on a copy to preserve the original artwork

Warp Tool (Shift + R)

The Warp tool is used for basic warps of a path. As you drag over the object either left to right or up and down, you can alter the warp direction of the path. Refer to Figure 5-38.
Figure 5-38

Warp tool in the Toolbars panel

Make sure to select a path first with the Selection tool, and then select the Warp tool, so that you do not accidentally warp the other paths around it.

In this case, I have selected the path for the black ellipse that goes around the outside of the mandala pattern. Refer to Figure 5-39.
Figure 5-39

Use the Selection tool to select the ellipse before using the Warp tool

Now, with the Warp tool, drag the area between the colorful points and the triangles on the edge of the circle. Use Ctrl/CMD++ if you need to get in closer with your Warp tool, and then drag outward, expanding the shape and adding more points. Refer to Figure 5-40.
Figure 5-40

Drag the path inward or outward, using the Warp tool to alter the path

Then, try this on another area of the path, dragging inward.

Warp Options
You can access the Warp Tool Options dialog box by double-clicking on the tool in the Toolbars panel. This can offer you more control over the warp. Refer to Figure 5-41.
Figure 5-41

Warp Tool Options dialog box

In the dialog box, in the Global Brush Dimensions section, you can alter the following settings:

  • Width: This controls the width of the brush, in this case in inches. However, depending on what increments you set the rulers to, this may appear as points (pt). Or, you can set it by points from the dropdown list; 100 points or 1.3889 inches is the default. Refer to Figure 5-42.

Figure 5-42

The Warp Tool Options dialog box settings for the Width and Height fields can be adjusted using the text box or via the dropdown list for alternative increment settings

  • Height: This controls the height of the brush, in this case in inches. However, depending on what increments you set your rulers to, this may appear as points (pt). Or, you can set it by points from the dropdown list; 100 points or 1.3889 inches is the default. Refer to Figure 5-42.

  • Angle: (-180°, 0°, 180°) By default, the angle is set to 0°, but you can type in a different angle or choose one from the dropdown list. In this case, I left it at 0°. Refer to Figure 5-43.

Figure 5-43

Warp Tool Options dialog box settings for Angle field using text box or dropdown list, as well as Intensity settings

  • Intensity: This ranges from 1% to 100% and controls how fast the brush reacts to the pressure or length of time the mouse is held down, as we will see with other Shape Warp tools. By default, it is set to 50%, which I find is a good speed for the Warp tool, but too fast for other Liquify tools. Refer to Figure 5-43.

  • Use Pressure Pen: If enabled, it will gray out the Intensity field, and you will have to rely on the pressure of your stylus pen. If you do not have a pen, then make sure to leave this unchecked so that you can use your mouse instead. Refer to Figure 5-44.

Figure 5-44

Warp Tool Options dialog box with pressure pen enabled and disabled

Then, you can set the following Warp tool options:

  • Detail: When enabled, you can set the range from 1 to 10; the default is 2. If disabled, the path adds fewer points when the brush is dragged. Only a slight warp occurs. Refer to Figure 5-45.

Figure 5-45

Warp Tool Options dialog box with Detail checkbox disabled, and results produced

  • Simplify: When enabled, you can set the range from 0.2 to 100; the default is 50. If disabled, the path adds many points when the brush is dragged. Refer to Figure 5-46.

Figure 5-46

Warp Tool Options dialog box with Simplify checkbox disabled, and results produced

These two options can add more points to the path, though if the path is already basic, as in the case of the ellipse, it appears to have little effect on adjusting the sliders for warping the shape, so I will just leave it at the default settings with both options enabled. Refer to Figure 5-47.
Figure 5-47

Warp Tool Options dialog box with Detail and Simplify checkboxes enabled, by default

  • When Show Brush Size is enabled, you can see the size of your brush as you work outside the dialog box. Refer to Figure 5-48.

Figure 5-48

Warp Tool Options dialog box with Show Brush Size checkbox enabled and info message

Note

The info area lets you know that the brush size may be interactively changed by holding down the Alt/Option key before clicking with that tool. What this means is that when outside the dialog box, while the Alt/Option key is held down, you can drag the brush inward and outward to scale its width and height disproportionally. In addition, if you hold Alt/Option + Shift while you drag, you can size the width and height proportionately, and this setting can affect the other shape liquify brushes as well. Then release those keys to begin using the new brush size. Refer to Figure 5-48.

  • Click Reset to reset the brush, or OK to commit the settings, or Cancel to exit without saving the option changes. Refer to Figure 5-48.

I often work with the default brush or even a smaller brush size to make little edits to the path, as a larger warp brush can affect the whole shape and overwhelm it.

In this case, I used the default brush size and continued to warp the circle path. Refer to Figure 5-49.
Figure 5-49

Design with Warp tool applied to the ellipse

Twirl Tool

The Twirl tool is used for basic clockwise or counterclockwise twirls over the path, achieved as you hold down the mouse button and drag in some direction. The longer you hold down the mouse, the more intense the twirl. By default, it twirls counterclockwise. Refer to Figure 5-50.
Figure 5-50

Toolbars panel Twirl tool applied to a selected shape, twirling counterclockwise

However, if you hold down the mouse button and then add the Alt/Option key, you can switch to a clockwise twirl. Be sure to release the mouse button first before the Alt/Option key, or you will switch back to a counterclockwise twirl. Refer to Figure 5-51.
Figure 5-51

With the Twirl tool twirling clockwise

Make sure to first select the path with the Selection tool, and then select the Twirl tool, so that you do not accidentally twirl the other paths around it. In this case, I selected one of the small ellipses on the edge of my path, but found the default brush to be a bit too large and the twirl too fast. So, I need to modify it to get a smaller, slower twirl. Use Edit ➤ Undo if you need to reset your shape. Refer to Figure 5-52.
Figure 5-52

Selecting a shape with the Selection tool; however, the brush size is too large, and the intensity is too fast, making for an undesirable twirl

Twirl Options
You can access the Twirl Tool Options dialog box by double-clicking on the tool in the Toolbars panel. There, you can better control the twirl. Refer to Figure 5-53.
Figure 5-53

Twirl Tool Options dialog box

Note

Many of the settings here for Global Brush Dimensions and Show Brush Size are the same as for the Warp tool options, so you can refer to that section for more details.

However, at this point I will reduce the brush size to about 20pt, or 0.2778 in, and the intensity down to 10%, so that the twirl will move slowly, and I will have more control when I hold down the mouse key and will not overwhelm the shape. Refer to Figure 5-54.
Figure 5-54

Twirl Tool Options dialog box Global Brush Dimensions settings

I will now point out the twirl options. Refer to Figure 5-55.
Figure 5-55

Twirl Tool Options dialog box default Twirl Options settings

  • Twirl Rate: Controls whether the spin is counterclockwise (0°–180°) or clockwise (-180°–0°); by default it is set to 40°, which is a counterclockwise spin. Refer to Figure 5-56.

Figure 5-56

Adjusting the Twirl Rate setting to move clockwise or counterclockwise produces different results

  • Detail: When enabled, you can set it in the range from 1 to 10; the default is 2. If disabled, fewer points are added to the path when the brush is dragged. Only a slight warp occurs. Refer to Figure 5-55 and Figure 5-57.

Figure 5-57

Results of twirl with Detail disabled and Simplify enabled

  • Simplify: When enabled, you can set the range from 0.2 to 100; the default is 50. If disabled, many points are added to the path when the brush is dragged or held down. Refer to Figure 5-55 and Figure 5-58.

Figure 5-58

Results of twirl with Detail enabled and Simplify disabled

  • Click the Reset button to reset the Brush, or OK to commit the settings, or Cancel to exit without saving option changes. Refer to Figure 5-59.

Figure 5-59

Twirl Tool Options dialog box to reset settings, click OK, or click Cancel

In this case, I kept the default settings for the twirl options, with Detail and Simplify enabled, but, as mentioned earlier, I adjusted the brush’s width and height to 20pt and the intensity to 10% and clicked OK. Refer to Figure 5-54 and Figure 5-55.

I then selected the circles around the edges with the Selection tool, one at a time, then—using the Twirl tool while holding down the mouse button—gave each a slight twirl near the edge of the shapes. Refer to Figure 5-60.
Figure 5-60

Select a shape with the Selection tool and then use the Twirl tool with the new settings

Only through practice will you find the ideal twirl, and each twirl may be slightly different. If you make a mistake, use Edit ➤ Undo and try again. Refer to Figure 5-61.
Figure 5-61

The result of using the Twirl tool on the outer circles

Pucker Tool

The Pucker tool is used for basic squeezing or pinching of the object and path inward as you hold down the mouse button and drag in some direction. The longer you hold down the mouse, the more intense the pucker. Refer to Figure 5-62.
Figure 5-62

Using the Toolbars panel Pucker tool on the selected star triangle

Make sure to first select the path with the Selection tool, and then with the Pucker tool, so that you do not accidentally pucker the other paths around it. In this case, I selected one of the triangle star shapes. However, the default width and height will be too large, and the default intensity is too fast. Use Edit ➤ Undo if you need to reset your shape. Refer to Figure 5-63.
Figure 5-63

Use the Selection tool to select a path first, and then use the Pucker tool. If the brush is too large and the intensity is too high, you will get an undesirable result

Pucker Options
You can access the Pucker Tool Options dialog box by double-clicking on the tool in the Toolbars panel. Refer to Figure 5-64.
Figure 5-64

Pucker Tool Options dialog box

Note

Many of the settings here for Global Brush Dimensions and Show Brush Size are the same as for the Warp tool options, so you can refer to that section for more details.

However, at this point I will reduce the brush size to about 50pt, or 0.6944 in, and the intensity down to 10%, so that the pucker will move slowly. I will have more control when I hold down the mouse button and will not overwhelm the shape. Refer to Figure 5-65.
Figure 5-65

Pucker Tool Options dialog box Global Brush Dimensions settings

I will now point out the pucker options. Refer to Figure 5-66.
Figure 5-66

Pucker Tool Options dialog box, default pucker options

  • Detail: When enabled, you can set the range from 1 to 10; the default is 2. If disabled, fewer points are added when the brush is dragged. Only a slight pucker occurs and the center shrinks. Refer to Figure 5-66 and Figure 5-67.

Figure 5-67

Results of pucker with Detail disabled and Simplify enabled

Figure 5-68

Results of pucker with Detail enabled and Simplify disabled

  • Simplify: When enabled, you can set the range from 0.2 to 100; the default is 50. If disabled, many points are added to the path when the brush is dragged or held down. Refer to Figure 5-66 and Figure 6-68.

  • Click Reset to reset the brush, or OK to commit the settings, or Cancel to exit without saving option changes. Refer to Figure 5-69.

Figure 5-69

Pucker Tool Options dialog box to reset settings, click OK, or click Cancel

In this, case I kept the default settings for the pucker options, with Detail and Simplify enabled, but, as mentioned earlier, I adjusted the brush’s width and height to 50pt and intensity to 10% and clicked OK. Refer to Figure 5-65 and Figure 5-66.

I then selected each triangle star with the Selection tool, one at a time. Then, using the Pucker tool and holding down the mouse button, I gave each a slight pucker in the center. Refer to Figure 5-70.
Figure 5-70

Select a shape with the Selection tool and then use the Pucker tool with the new settings on that shape

Only through practice will you find the ideal pucker, and each will be slightly different, depending on how long you hold down your mouse. If you make a mistake, use Edit ➤ Undo and try again. Refer to Figure 5-71.
Figure 5-71

The result of using the pucker tool on select star triangles. However some are left unselected and unchanged

Bloat Tool

The Bloat tool is used for basic expansion of the object and path outward as you hold down the mouse button and drag in some direction. The longer you hold down the mouse, the more intense the bloat. Refer to Figure 5-72.
Figure 5-72

Using the Bloat tool on a selected grouped object

Make sure to first select the path with the Selection tool, and then select the Pucker tool, so that you do not accidentally bloat the other paths around it. In this case, I selected the small star grouped shape in the center of my pattern. However, the default width and height will be too large, and the default intensity is too fast. Use Edit ➤ Undo if you need to reset your shape. Refer to Figure 5-73.
Figure 5-73

When the Bloat tool is used with too large a brush and too high an intensity, you can get undesirable results

Bloat Options
You can access the Bloat Tool Options dialog box by double-clicking on the tool in the Toolbars panel. Refer to Figure 5-74.
Figure 5-74

Bloat Tool Options dialog box

Note

Many of the settings here for Global Brush Dimensions and Show Brush Size are the same as for the Warp tool options, so you can refer to that section for more details.

However, at this point I will reduce the brush size to about 50pt or 0.6944 in, and the intensity down to 10% so that the bloat will move slowly. Now I will have more control when I hold down the mouse button and will not overwhelm the shape. Refer to Figure 5-75.
Figure 5-75

Bloat Tool Options dialog box Global Brush Dimensions settings

I will now point out the bloat options. Refer to Figure 5-76.
Figure 5-76

Bloat Tool Options dialog box default bloat options

  • Detail: When enabled, you can set the range from 1 to 10; the default is 2. If disabled, fewer points are added to the path when the brush is dragged. Only a slight bloat occurs, and the center expands. Refer to Figure 5-77.

Figure 5-77

Results of bloat with Detail disabled and Simplify enabled

  • Simplify: When enabled, you can set the range from 0.2 to 100; the default is 50. If disabled, many points are added to the path when the brush is dragged or held down. Refer to Figure 5-78.

Figure 5-78

Results of bloat with Detail enabled and Simplify disabled

  • Click Reset to reset the brush, or OK to commit the settings, or Cancel to exit without saving option changes. Refer to Figure 5-79.

Figure 5-79

Bloat Tool Options dialog box to reset settings, click OK, or click Cancel

In this case, I kept the default settings for the bloat options, with Detail and Simplify enabled, but as mentioned earlier, I adjusted the brush’s width and height to 50pt and intensity to 10% and clicked OK. Refer to Figure 5-75 and Figure 5-76.

I then selected the center group star with the Selection tool, then with the Bloat tool, holding down the mouse button. This created a slight bloat in the centers of the shapes. Refer to Figure 5-80.
Figure 5-80

Selecting the grouped object with the Selection tool and using the Bloat tool with the new settings applied

Only through practice will you find the ideal bloat, and each will be slightly different, depending on how long you hold down your mouse. If you make a mistake, use Edit ➤ Undo and try again.

Scallop Tool

The Scallop tool is used for adding sharp angles by dragging off of the object and path inward, or by holding down the mouse button and dragging in some direction. The longer you hold down the mouse, the more intense the scallop; in some ways, it is similar to the Pucker tool. Refer to Figure 5-81.
Figure 5-81

Using the Scallop tool from the Toolbars panel on a point of a colorful grouped star object

Make sure to first select the path or grouped paths with the Selection tool, and then select the Scallop tool, so that you do not accidentally scallop the other paths around it. In this case, I select the large grouped colorful star. I will then try scalloping some of the points. But first I will adjust the scallop options. Refer to Figure 5-82.
Figure 5-82

Select the grouped eight-point star object with the Selection tool

Scallop Options
You can control the scallop via the Scallop Tool Options dialog box, which you can access by double-clicking on the tool in the Toolbars panel. Refer to Figure 5-83.
Figure 5-83

Scallop Tool Options dialog box

Note

Many of the settings here for Global Brush Dimensions and Show Brush Size are the same as for the Warp tool options, so you can refer to that section for more details.

In this case, I left the brush’s width and height at 100pt, or 1.3889 in, but lowered the intensity down to 10% so that the speed of the scallop was not too fast. Refer to Figure 5-84.
Figure 5-84

Scallop Tool Options dialog box Global Brush Dimensions settings

I will now point out the Scallop Options section. Refer to Figure 5-85.
Figure 5-85

Scallop Tool Options dialog box scallop options at default settings

  • Complexity: Range of 0–15; can be set using the textbox or its dropdown list. The higher the number, the greater the number of scallop points; by default it is set to 1. Refer to Figure 5-85 and Figure 5-86.

Figure 5-86

Scallop options applied to point at different levels of complexity

  • Detail: When enabled, you can set the range from 1–10; the default is 2. If disabled, fewer points are added to the path when the brush is dragged. Only a slight scallop occurs but is not very noticeable. I keep it enabled. Refer to Figure 5-87.

Figure 5-87

Scallop Tool Options dialog box with setting of Detail disabled and enabled

  • Brush Affects Anchor Points: This setting, by default, is disabled. It becomes enabled when either the Brush Affects In Tangent Handles checkbox or Brush Affects Out Tangent Handles checkbox is disabled. Refer to Figure 5-88.

Figure 5-88

Scallop Tool Options dialog box with various checkboxes enabled and disabled, producing various results

When enabled, it can cause a more rounded scallop. Refer to Figure 5-89.
Figure 5-89

The scallop appears more rounded when only the Brush Affects Anchor Points option is enabled

  • Brush Affects In Tangent Handles: Can be used separately or in combination with the Brush Affects Out Tangent Handles option. The scallop pulls inward and is more uneven. Refer to Figure 5-90.

Figure 5-90

Brush Affects In Tangent Handles produces a more lopsided scallop

  • Brush Affects Out Tangent Handles: Can be used separately or in combination with the Brush Affects In Tangent Handles or Brush Affects Anchor Points, but not both. The scallop pulls inward and is more uneven but is the mirror image of the In Tangent Hand Option. Refer to Figure 5-91.

Figure 5-91

Brush Affects Out Tangent Handles produces a more lopsided scallop

  • Click Reset to reset the brush, or OK to commit the settings, or Cancel to exit without saving options changes. Refer to Figure 5-92.

Figure 5-92

Scallop Tool Options dialog box to reset settings, click OK, or click Cancel

In this case, I clicked the Reset button and lowered the intensity to 10%. Refer to Figure 5-92 and Figure 5-93.
Figure 5-93

Scallop Tool Options dialog box with current settings

I then selected the colorful group star with the Selection tool, and then the Scallop tool. I held down the mouse button and gave a slight scallop to some of the points on the star. I used the smart guides to keep near the path of an underlying ellipse shape as a guide. Refer to Figure 5-94.
Figure 5-94

Select the grouped star object with the Selection tool and use the Scallop tool with the new settings

Each scallop will be slightly different, depending on how long you hold down your mouse. If you make a mistake, use Edit ➤ Undo and try again. Refer to Figure 5-95.
Figure 5-95

The results of using the Scallop tool on four of the grouped stars points

Crystallize Tool

The Crystallize tool is used for adding sharp angles while dragging the object and path outward, or as you hold down the mouse and drag in some direction. The longer you hold down the mouse, the more intense the crystallization. In some ways, it is similar to the Bloat tool. Refer to Figure 5-96.
Figure 5-96

Use the Crystallize tool from the Toolbars panel on one of the selected grouped star’s points

Make sure to first select the path with the Selection tool and then select with the Crystallize tool, so that you do not accidentally crystallize the other paths around it. In this case, I select a large grouped colorful star again. I will try crystallizing some of the points. But first I will adjust the crystallize options. Refer to Figure 5-97.
Figure 5-97

Select the grouped star object with the Selection tool

Crystallize Options
You can control the Crystallize tool via the Crystallize Tool Options dialog box, which you can access by double-clicking on the tool in the Toolbars panel. Refer to Figure 5-98.
Figure 5-98

Crystallize Tool Options dialog box

Note

Many of the settings here for Global Brush Dimensions and Show Brush Size are the same as for the Warp tool Options, so you can refer to that section for more details.

In this case, I left the brush’s width and height at 100pts, or 1.3889 in, but lowered the intensity down to 10% so that the speed of the crystallization was not too fast. Refer to Figure 5-99.
Figure 5-99

Crystallize Tool Options dialog box Global Brush Dimensions settings

The crystallize options are the same as the scallop options, so you can refer to that section for more details. In this case, the setting can cause a bloating effect and does not pucker. I’ll just point out the differences. Refer to Figure 5-100.
Figure 5-100

Crystallize Tool Options dialog box, Crystallize Options section with default settings

  • Complexity: 0–15, can be set using the textbox or its dropdown list. The default setting is 1.

  • Detail: When enabled, you can set the range from 1 to 10; the default is 2.

  • Brush Affects Anchor Points: Unlike Scallop, this option is enabled by default.

  • Brush Affects In Tangent Handles: By default this setting is disabled.

  • Brush Affects Out Tangent Handles: By default, this setting is disabled.

  • Click Reset to reset the brush, or OK to commit the settings, or Cancel to exit without saving option changes. Refer to Figure 5-101.

Figure 5-101

Crystallize Tool Options dialog box to reset settings, click OK, or click Cancel

In this case, I clicked Reset and lowered the intensity to 10%, then clicked OK. Refer to Figure 5-99.

I then selected the colorful group star with the Selection tool, then with the Crystallize tool, holding down the mouse button and giving a slight crystallize to some of the remaining points on the star I had not yet altered. I used the smart guides to keep near the path of an underlying ellipse shape as a guide. Refer to Figure 5-102.
Figure 5-102

Select the grouped star object with the Selection tool and use the Crystallize tool on one of the points

Each Crystallize instance will be slightly different depending on how long you hold down your mouse. If you make a mistake, use Edit ➤ Undo and try again. Refer to Figure 5-103.
Figure 5-103

The results of using the Crystallize tool on four of the grouped stars’ points

Wrinkle Tool

The Wrinkle tool is used for smoothing angles of the object and path outward as you hold down the mouse button and drag in some direction. The longer you hold down the mouse, the more intense the wrinkle, and in some ways it is similar to the Warp tool. Refer to Figure 5-104.
Figure 5-104

Toolbars panel Wrinkle tool applied to one of the lines to warp it further

Make sure to first select the path with the Selection tool, and then select the Wrinkle tool, so that you do not accidentally warp the other paths around it. In this case, I am going to wrinkle some of the white lines. Select one of them to start. Refer to Figure 5-105.
Figure 5-105

Select the line with the Selection tool

Wrinkle Options
You can control the Wrinkle tool via the Wrinkle Tool Options dialog box, which you can access by double-clicking on the tool in the Toolbars panel. Refer to Figure 5-106.
Figure 5-106

Wrinkle Tool Options dialog box

Note

Many of the settings here for Global Brush Dimensions and Show Brush Size are the same as for the Warp tool options, so you can refer to that section for more details.

In this case, I left the brush’s width and height at 100pts, or 1.3889 in, but set the angle to -120° and lowered the intensity down to 10% so that the speed of the wrinkle was not too fast. Refer to Figure 5-107.
Figure 5-107

Wrinkle Tool Options dialog box with Global Brush Dimensions settings

However, I will point out the Wrinkle Options section. Many options are the same as those for the Scallop tool, so you can refer to that section for more details. However, two different options are Horizontal and Vertical. Refer to Figure 5-108.
Figure 5-108

Wrinkle Tool Options dialog box with Wrinkle Options section

  • Horizontal: 0%–100%; by default is set to 0. In this case I set it to 50% for a more defined wrinkle.

  • Vertical: 0%–100%; by default is set to 100%.

  • Complexity: 0–15, can be set using the textbox or its dropdown list. The default setting is 1.

  • Detail: When enabled, you can set the range from 1 to 10; the default is 2.

  • Brush Affects Anchor Points: By default is disabled.

  • Brush Affects In Tangent Handles: By default is enabled.

  • Brush Affects Out Tangent Handles: By default is enabled.

  • Click Reset to reset the brush, or OK to commit the settings, or Cancel to exit without saving option changes. Refer to Figure 5-109.

Figure 5-109

Wrinkle Tool Options dialog box to reset settings, click OK, or click Cancel

I clicked OK after making my changes. Refer to Figure 5-107 and Figure 5-108.

I then selected the white line with the Selection tool, then with the Wrinkle tool. I held down the mouse button and gave a slight wrinkle to line. Later, I selected some of the other lines and wrinkled them as well to complete the pattern. Refer to Figure 5-110.
Figure 5-110

Select the line with the Selection tool and use the Wrinkle tool with the new settings

Each wrinkle will be slightly different depending on how long you hold down your mouse. If you make a mistake, use Edit ➤ Undo and try again. Here is the final result for me. Refer to Figure 5-111.
Figure 5-111

The result of using the Wrinkle tool on select lines, and then cleaning up using the Direct Selection tool to modify some of the points on the ellipse path

Tip

Afterward, you can always use the Direct Selection tool to modify individual points, or continue to warp and distort other paths on your own. Refer to Figure 5-111.

Save your document at this point. You can view my file, mandala_width_shape_warp_final.ai, for reference.

Note

It should be mentioned, as in Chapter 4, that like the Puppet Warp if you want to use these Warp Liquify tools on a symbol, you must first break the link with the symbols in the library before you can edit the group path. Refer to Figure 5-112.

Figure 5-112

Symbols will need to be broken before you can use the Liquify tools on them

We’ll look at symbols in Chapters 6, 12, and 13.

Note

For selected type, you need to convert the text to Type ➤ Create Outlines before you can use these tools. Refer to Figure 5-113.

Figure 5-113

Type will need to be in outlines before you can use the Liquify tools on them

We’ll look at type in Chapters 9 and 10.

Later, in Chapter 9 and 11, we will look at some less destructive ways of altering your objects with warps.

Project: Blowing in the Wind, Part 3

To continue with our project of the young girl at the farm, let’s make the lines in the field more organic looking by adding a variable-width profile and a brush definition to the strokes.

From this chapter’s folder, open the file Landscape1_3_start.ai. Save a copy (File ➤ Save As) of the file so that you can practice. Refer to Figure 5-114.
Figure 5-114

The current project with the Mountains and Foreground layer unlocked in the Layers panel

In this example, you will find the layer Mountains and Foreground unlocked; you need to select this layer so that you can edit it.

With your Selection tool, Shift + Click to select all eight lines in the field. Refer to Figure 5-115.
Figure 5-115

Use the Selection tool to Shift + Click on lines in the path

Now look at the Control panel. The Stroke weight field is blank because multiple stroke weights are selected, and that is OK. Refer to Figure 5-116.
Figure 5-116

Use the Control panel to see that multiple stroke weights have been selected

Now change the Variable-Width Profile field from Uniform to Width Profile 5. Refer to Figure 5-117.
Figure 5-117

Use the Control panel to set the Variable-Width Profile field

This will cause the lines to be thin on the ends but thicker in the middle.

Now, to make them look more organic, change the Brush Definition field from Basic to Charcoal-Feather. Refer to Figure 5-118.
Figure 5-118

Use the Control panel to set the Brush Definition field

You may notice, at this point, that your Stroke Weight and Variable-Width Profile fields may switch back to the default of 1 point and Uniform.

This will sometimes happen when you add a new brush from the Brushes panel that already has set width and profile options. Refer to Figure 5-119.
Figure 5-119

The Brush Definitions field resets the Stroke Weight and Variable Width Profile settings

In this case, it is better to add the brush definition first and then the variable-width profile, and lastly the stroke weight.

While all the lines are still selected, set the Variable-Width Profile setting back to Width Profile 5. Refer to Figure 5-120.
Figure 5-120

Reset the Variable-Width Profile field again in the Control panel for all selected lines

Click off the Artboard to deselect, and with the Selection tool select each line one at a time from left to right and reset the stroke weight. Refer to Figure 5-121.
Figure 5-121

Reset the Stroke Weight for each selected line:

  • Line 1: 8pt

  • Line 2: 6pt

  • Line 3: 5pt

  • Line 4: 4pt

  • Line 5: 3pt

  • Line 6: 3pt

  • Line 7: 2pt

  • Line 8: 1pt

Click off the Artboard to deselect and look at the lines for the field. We’re almost ready to plant those bushes! Refer to Figure 5-122.
Figure 5-122

The field with the updated rows is ready for planting

Lock the Mountains and Foreground layer for now and save your document. You can look at my file, Landscape1_3_final.ai, for reference. Refer to Figure 5-123.
Figure 5-123

Lock the layers when you are done with the project

Later, in Chapter 8, we’ll take a closer look at some of the brush strokes on the girl.

You can save and close any open projects at this point.

Summary

Illustrator’s Liquify tools allow you to alter or change the shape of single paths in grouped objects very quickly. With the Width tool, you can modify and stretch parts of a brush stroke on a shape that you can save as a preset and later access in the Control panel or Stroke panel. Next, we’ll look at another tool that can assist you in blending two shapes or symbols together and create a variety of morphed transitions.

..................Content has been hidden....................

You can't read the all page of ebook, please click here login for view all page.
Reset
52.15.135.63