آموزش ترفند طراحی دوبعدی ایلوستریتور Illustrator CC Dashes and arrowheads

00:01:23  What I want to do is create some guides

00:01:25  that will help demonstrate how things have gotten off,

00:01:29  where these letters are concerned,

00:01:30  as a function of that 20-point stroke.

00:01:33  And so I'll go ahead and press Control + R,

00:01:36  or Command + R in a Mac, in order to bring out my rulers.

00:01:39  And I'll drag a horizontal guide down

00:01:41  from the top ruler so that it snaps into alignment

00:01:44  with the top anchor point in the f,

00:01:47  which by the way notice aligns perfectly

00:01:49  with the top anchor point in the h,

00:01:52  and yet we're not seeing that alignment

00:01:53  because 10 points, that is half of that stroke,

00:01:56  pops up on the edge of the f,

00:01:59  whereas it just abruptly ends at the top of the h.

00:02:02  All right, now I'll go ahead and drag out

00:02:04  another horizontal guide from that top ruler,

00:02:07  so that it snaps into alignment

00:02:09  with the bottom of the f.

00:02:10  And notice even though that bottom anchor point

00:02:13  in the f is precisely aligned with

00:02:15  the bottom anchor point in the e,

00:02:17  we're not seeing that alignment.

00:02:19  And that's because the bottom of the f ends abruptly,

00:02:22  whereas half of that stroke continues around

00:02:24  the bottom of the e.

00:02:26  We have an even bigger problem

00:02:28  where the bottoms of the b and d are concerned,

00:02:31  because notice here as a function

00:02:34  of this half-a-line weight,

00:02:36  that's dropping down below the curved portions

00:02:39  of both letters, we're covering up the stems,

00:02:42  which come down just as far.

00:02:44  So what I'm gonna do,

00:02:45  just to make my point that much more obvious,

00:02:47  I'm gonna scroll over here just a little bit,

00:02:50  and I'm gonna hide the rulers by pressing Control + R,

00:02:52  or Command + R on a Mac.

00:02:54  And then I'll go up the the view menu, choose Guides,

00:02:56  and choose the Lock Guides command to turn it off,

00:03:00  and then I'll marquee this bottom guide right there,

00:03:03  and I'm gonna make a copy of it ten points down

00:03:06  by pressing Shift + Alt + Down Arrow,

00:03:08  that would be Shift + Option + Down Arrow on the Mac,

00:03:10  so that we now have a guide that's aligned

00:03:13  to the bottom of the curved portions of these letters.

00:03:16  And now I'll click on this top guide to select it,

00:03:19  and I'll press Shift + Alt + Up Arrow,

00:03:22  or Shift + Option + Up Arrow on the Mac,

00:03:24  in order to create a guide at the perceived top of the f.

00:03:28  All right now I'll go ahead

00:03:28  and click off the guide to deselect it,

00:03:30  and I'll return to the View menu,

00:03:32  choose Guides, and then choose Lock Guides

00:03:35  to turn the command back on,

00:03:36  and that way I won't mess up my guidelines.

00:03:39  All right now I'll return to the Select menu

00:03:41  and choose letters

00:03:43  in order to select all the letters in the document,

00:03:45  and I'll click on

00:03:46  the word Stroke up here in the Control panel,

00:03:48  and I'll switch to the Projecting Cap,

00:03:51  just so we can see what kind of difference it makes.

00:03:53  And notice that it goes ahead and extends

00:03:55  the crossbar here on the f quite nicely,

00:03:58  so that we have some nice sharp transitions,

00:04:01  but we have a few problems here in the g,

00:04:03  as well as the other letters

00:04:05  such as the d, and the b,

00:04:07  that have multiple subpaths

00:04:08  that are intersecting each other.

00:04:10  However, notice that all the letters

00:04:12  are rising to the occasion right here.

00:04:15  So we can see that the projecting cap

00:04:17  is extending all the way to that top guideline

00:04:20  as well as all the way down to the bottom guideline

00:04:23  which means that we have some decent stems

00:04:26  for our b and d in particular.

00:04:29  But what's gonna work out better all the way around,

00:04:31  is to click on the word Stroke once again

00:04:33  and switch to the Round Cap

00:04:35  in order to produce this rounded effect here.

00:04:38  That does leave us with a problem however.

00:04:40  Notice if I go ahead and scroll over here,

00:04:43  we're missing an edge down here on the left side of the h,

00:04:46  and we also have a sharp corner

00:04:48  over here on the right side of the letter e.

00:04:51  Now to demonstrate why we're having this problem on the h,

00:04:54  I'll press the A key to switch to the white arrow tool,

00:04:56  then I'll go ahead and click off the letter,

00:04:58  and I'll select this anchor point

00:05:00  as well as these other three.

00:05:02  So in other words I'm clicking on this anchor point

00:05:04  and then I'm Shift + clicking on the other three.

00:05:07  And now I'll press Shift + Right Arrow

00:05:09  to nudge those points to the right.

00:05:10  And you can see what we really have here

00:05:12  is a corner at this location.

00:05:15  And now that I've moved the points over,

00:05:17  we've reestablished this miter join,

00:05:20  but as soon as I move things back

00:05:22  we lose the miter join because our miter limit is too low.

00:05:26  And as soon as you have two segments

00:05:27  that are right on top of each other like this,

00:05:29  then it doesn't matter what you set the miter limit to,

00:05:32  your corner is gonna get beveled.

00:05:34  All right so to take care of this problem,

00:05:36  I'll return to the Select menu

00:05:37  and chose the letters command,

00:05:39  and then I'll click on the word Stroke.

00:05:41  Obviously the miter join is not gonna work out for us.

00:05:44  You could try a bevel join,

00:05:46  but it's not gonna have any effect on the h,

00:05:48  and it's just gonna slightly clip the corner on the e.

00:05:51  What we really want is the nice Round Join,

00:05:54  which is gonna give us a round corner on the e,

00:05:56  and it's gonna totally take care of our problem

00:05:58  here on the h, after which point,

00:06:00  I'll just go ahead and press the Escape key

00:06:02  to hide that panel,

00:06:03  and I'll press Control + zero, or Command + zero,

00:06:05  to center my zoom.

 

آموزش ترفند طراحی دوبعدی ایلوستریتور Illustrator CC Making practical use of caps and joins

 

 

 

 

در این فیلم، من به شما یک کاربرد ساده اما کاربردی کلاه نشان می دهم و می پیوندم که به ما اجازه می دهد که این شکل گرد را در اینجا در پایین این سند ایجاد کنیم. و همچنین شما را به فرمان Save Selection معرفی می کنم. خوب، بنابراین آخرین بار که ما این سند را دیدیم، ما به طوری که به بی نهایت بنفش نزدیک می شدیم. اما آنچه که من می خواهم بتوانم انجام دهم این است که در حالیکه همه آنها را انتخاب می کنید، در این نامه ها به سمت پایین حرکت کنید. و این چیزی است که من می توانم انجام دهم اگر من یک لحظه برای صرفه جویی در انتخاب من. بنابراین من با فشار دادن کنترل 0، یا فرمان 0 بر روی مک، برای متن سند روی صفحه شروع می شود. و سپس من به جلو بروید و این نامه را مانند این که با استفاده از ابزار فلش سیاه رنگ می کند، ببرید. حالا، بگذارید بگویم من میخواهم این انتخاب را برای استفاده بعدی ذخیره کنم، یعنی می خواهم این واقعیت را حفظ کنم که این نامه ها انتخاب شده اند، بنابراین می توانم هر وقت که بخواهم، دوباره به آنها برگردم. در این صورت، من می خواهم به انتخاب منو بروید و انتخاب گزینه ذخیره انتخاب کنید. و من فقط پیش می روم و این نامه ها را انتخاب کرده و OK را کلیک کنید. و اکنون متوجه میشوید، اگر نامههای خود را برای لغو انتخاب آنها بردارم و سپس به جلو بروید و به آسانی روی A و B بنشینید، من میتوانم تمام این نامهها را دوباره انتخاب کنم، فقط با بازگشت به منوی انتخاب و انتخاب آنچه که در حال حاضر آخرین دستور در منو، نامه ها. و این کار را ادامه خواهد داد و هر یک از نامه ها را در سند بازنویسی می کند. خوب، اما در حقیقت، من در اینجا کمی کوچکتر شده ام. آنچه من می خواهم انجام دهم این است که راهنمایی هایی را انجام دهم تا نشان دهم چطور چیزهایی را که در آن این نامه ها به عنوان عملکرد این ضربه 20 نقطه ای مورد توجه قرار گرفته اند، نشان می دهد. بنابراین من به جلو بروید و Control R یا Command R را روی یک مکینتاش فشار دهید تا حاکمان من را به ارمغان بیاورند.

 

 

00:01:38  And I'll drag a horizontal guide down from the top ruler

00:01:41  so that it snaps into alignment with the top anchor point

00:01:45  in the F,

00:01:46  which, by the way, notice,

00:01:48  aligns perfectly with the top anchor point in the H.

00:01:51  And yet, we're not seeing that alignment

00:01:53  because 10 points, that is half of that stroke,

00:01:56  pops up on the edge of the F,

00:01:59  whereas it just abruptly ends at the top of the H.

00:02:02  Alright, now, I'll go ahead and drag out

00:02:04  another horizontal guide from that top ruler

00:02:06  so that it snaps into alignment with the bottom

00:02:09  of the F.

00:02:10  And notice, even though that bottom anchor point in the F

00:02:13  is precisely aligned with the bottom anchor point in the E,

00:02:17  we're not seeing that alignment,

00:02:19  and that's because the bottom of the F ends abruptly,

00:02:21  whereas half of that stroke continues around the bottom

00:02:24  of the E.

00:02:26  We have an even bigger problem

00:02:27  where the bottoms of the B and D are concerned,

00:02:31  because notice here,

00:02:32  as a function of this half-align weight,

00:02:35  that's dropping down below the curved portions

00:02:38  of both letters,

00:02:40  we're covering up the stems,

00:02:42  which come down just as far.

00:02:44  So what I'm going to do,

00:02:45  just to make my point that much more obvious,

00:02:47  I'm going to scroll over here just a little bit

00:02:49  and I'm going to hide the rulers by pressing

00:02:51  Control R or Command R on a Mac,

00:02:53  and then I'll go up to the View menu,

00:02:55  choose Guides,

00:02:56  and choose the Lock Guides command

00:02:58  to turn it off,

00:02:59  and then I'll marquee this bottom guide right there,

00:03:03  and I'm going to make a copy of it 10 points down

00:03:05  by pressing Shift, Alt, down-arrow,

00:03:07  that would be Shift, Option, down-arrow on a Mac,

00:03:10  so that we now have a guide that's aligned to the bottom

00:03:13  of the curved portions of these letters.

00:03:16  And now, I'll click on this top guide to select it,

00:03:19  and I'll press Shift, Alt, up-arrow

00:03:21  or Shift, Option, up-arrow on a Mac,

00:03:23  in order to create a guide at the perceived top

00:03:26  of the F.

00:03:27  Alright, now I'll go ahead and click off the guide

00:03:29  to deselect it,

00:03:30  and I'll return to the View menu,

00:03:32  choose Guides, and then choose Lock Guides

00:03:34  to turn the command back on.

00:03:36  And that way, I won't mess up my guidelines.

00:03:39  Alright, now I'll return to the Select menu

00:03:41  and choose Letters in order to select all the letters

00:03:45  in the document.

00:03:46  And I'll click on the word "stroke" up here

00:03:47  in the Control Panel,

00:03:48  and I'll switch to the Projecting cap,

00:03:50  just so we can see what kind of difference it makes.

00:03:53  And notice that it goes ahead and extends the crossbar

00:03:55  here on the F quite nicely so that we have some

00:03:59  nice, sharp transitions,

00:04:00  but we have a few problems here on the G,

00:04:02  as well as the other letters such as the D and the B

00:04:06  that have multiple sub-paths

00:04:08  that are intersecting each other.

00:04:10  However, notice that all the letters

00:04:12  are rising to the occasion right here.

00:04:14  So we can see that the Projecting cap

00:04:16  is extending all the way to that top guideline

00:04:19  as well as all the way down to the bottom guideline,

00:04:22  which means that we have some decent stems

00:04:25  for our B and D in particular.

00:04:28  But what's going to work out better all the way around

00:04:30  is to click on the word "stroke" once again

00:04:32  and switch to the Round cap

00:04:35  in order to produce this rounded effect here.

00:04:37  That does leave us with a problem, however.

00:04:40  Notice if I got ahead and scroll over here,

00:04:43  we're missing an edge down here on the left side

00:04:45  of the H,

00:04:46  and we also have a sharp corner over here

00:04:48  on the right side of the letter E.

00:04:51  Now, to demonstrate why we're having this problem

00:04:52  on the H,

00:04:53  I'll press the A key to switch to the white arrow tool,

00:04:56  then I'll go ahead and click off the letter,

00:04:58  and I'll select this anchor point as well

00:05:00  as these other three.

00:05:02  So in other words, I'm clicking on this anchor point,

00:05:04  and then I'm Shift-clicking on the other three,

00:05:07  and now I'll press Shift, right-arrow to nudge those points

00:05:10  to the right,

00:05:10  and you can see what we really have here

00:05:12  is a corner at this location.

00:05:14  And now that I've moved the points over,

00:05:17  we've reestablished this miter join,

00:05:20  but as soon as I move things back,

00:05:22  we lose the miter join because our miter limit is too low.

00:05:26  And as soon as you have two segments

00:05:27  that are right on top of each other like this,

00:05:29  then it doesn't matter what you set the miter limit to.

00:05:32  Your corner is going to get beveled.

00:05:34  Alright, so to take care of this problem,

00:05:36  I'll return to the Select menu

00:05:37  and choose the Letters command,

00:05:39  and then I'll click on the word "stroke."

00:05:41  Obviously, the miter join is not going to work out for us.

00:05:44  You could try a bevel join,

00:05:45  but it's not going to have any effect on the H,

00:05:48  and it's just going to slightly clip the corner on the E.

00:05:51  What we really want is a nice round join,

00:05:53  which is going to give us a round corner on the E,

00:05:56  and it's going to totally take care of our problem

00:05:58  here on the H.

00:05:59  After which point, I'll just go ahead and press

00:06:01  the Escape key to hide that panel,

00:06:02  and I'll press Control 0 or Command 0 to center my zoom.

 

آموزش تکنیک طراحی دوبعدی ایلوستریتور Illustrator CC Caps, joins, and miter limit

 

 

 

 

در این فیلم، ما نگاهی به سه عنصر دیگر از سکته مغزی در Illustrator خواهیم رساند: Caps، Joins و Miter Limit. و همه آنها بر اساس این مفهوم استوار است که Illustrator کمتر درباره وزن کل خط نگران است و بیشتر از دو قسمت وزن خط در هر دو طرف خطوط مسیر نگران است. در مورد ما توجه کنید که من یک خط مستقیم با دو نقطه انتهایی دارم و وزن خط من 200 امتیاز است. بنابراین، به عبارت دیگر، 100 نقطه وزن خط در سمت بالا مسیر و 100 نقطه خط خط زیر مسیر. حالا، من به جلو بروید و بر روی کلمه Stroke کلیک کنید، در اینجا در کنترل پنل کلیک کنید و گزینه Cap capture را در اینجا مشاهده کنید؛ این سه گزینه به ظاهر سکته مغزی در نقطه انتهایی تاثیر می گذارد. آنها فقط بر خطوط مسیر باز می شوند. به طور پیش فرض، Butt Cap انتخاب شده است، به این معنی که سکته مغزی به طور ناگهانی به پایان می رسد. شما دو گزینه دیگر برای شما نیز وجود دارد. شما Round Cap را که قصد داریم پیش برویم و سکته مغزی را در اطراف نقطه انتهایی قرار دهیم، به شکل یک دور در نظر می گیریم همانطور که در اینجا می بینیم. آنچه که ما اساسا داریم، یک دایره در نقطه انتهایی است، با شعاع برابر با نیمی از وزن خط، به عبارت دیگر، 100 امتیاز. چه اتفاقی می افتد سکته مغزی در این مورد گسترش می یابد، 100 نقطه فراتر از نقطه پایان در هر دو جهت است. گزینه دیگری شما یک چرخه طراحی است که پیش می رود و مربع را از آن نقطه انتهایی می گیرد. باز هم، به سمت خارج، نیم وزن خط،

 

  or in our case, 100 points from either end point.

00:01:37  Once again bear in mind, that the Cap Option

00:01:40  only effects open paths;

00:01:41  it has no effect on closed path outlines.

00:01:44  I'm going to go ahead and turn this layer off,

00:01:47  and turn the next layer angle on.

00:01:50  I'll go ahead and click on its path outline to select it.

00:01:53  The next row of options, control the joins.

00:01:56  The joins effect the appearance

00:01:59  of corners in a path outline.

00:02:01  If your path doesn't have any corners,

00:02:03  as in the case of a circle, then you won't see any effect.

00:02:06  I'll once again click on the word Stroke,

00:02:09  up here in the Control Panel,

00:02:10  and notice these corner options right here,

00:02:13  they do indeed control the appearance of corners

00:02:16  in the path outlines, but each of the icons

00:02:18  themselves, are labeled Join.

00:02:21  By default, we have a Miter Join,

00:02:23  meaning that the stroke extends all the way

00:02:25  out until it meets its other side,

00:02:27  and you end up with a sharp corner.

00:02:30  Your other options are a Round Join,

00:02:33  in which case Illustrator goes ahead

00:02:35  and wraps half the line weight around that corner point

00:02:39  as we're seeing right here.

00:02:40  Again, we now have a corner that's made up of a circle,

00:02:44  with a radius of half the line weight,

00:02:46  which in our case, is again, 100 points;

00:02:49  or you can switch to a Bevel Join which is going to

00:02:53  go ahead and slice off that corner.

00:02:55  You may wonder, why Illustrator weights just

00:02:58  a little bit farther out than a corner point,

00:03:01  in order to do the slicing.

00:03:03  That's explained by this Imposition Layer right here.

00:03:06  I'll go ahead and turn it on, so that we can see

00:03:09  the calculation that Illustrator is running.

00:03:11  It's looking at the stroke as it's applied to each segment

00:03:15  independently, so as a result, the corners come out

00:03:18  a little bit, and then it connects the corners,

00:03:21  in order to create that Bevel Join right there.

00:03:24  I'm going to turn that layer off,

00:03:27  so that we can see the effects of the Miter Limit.

00:03:30  To get a sense for how that works,

00:03:32  I'll bring back up the Stroke Panel,

00:03:34  and I'll reset the Corner Option to the Miter Join,

00:03:37  like so, at which point we see this Limit Value,

00:03:41  as you can see right there.

00:03:43  I'm going to go ahead and zoom out,

00:03:45  and then I'll press the A Key

00:03:47  in order to select my white arrow

00:03:50  and I'll click on this Top Anchor Point.

00:03:52  I'll go ahead and drag it down while pressing the Shift Key,

00:03:55  so that I'm making the angle more acute and notice as I do,

00:04:00  that Miter Join goes flying farther out;

00:04:03  in this case, all the way out into the Pace Board.

00:04:07  But, if I keep dragging it down, at some point,

00:04:10  I'm going to lose the Miter Joint entirely

00:04:12  and Illustrator's going to substitute it with a Bevel Joint.

00:04:16  The idea is, your Miter has just gotten too long.

00:04:19  If you disagree, if you want to bring the Miter back,

00:04:22  then just go ahead and press the V Key to switch

00:04:25  back to the Black Arrow Tool,

00:04:26  and click on that Path Outline,

00:04:28  and the reason I'm having you do that,

00:04:30  is notice that when any one point in a path outline

00:04:33  is deselected, you don't see the Fill and Stroke options

00:04:36  up here in the Control Panel.

00:04:38  In order to see those options, all points in a path

00:04:41  have to be selected;

00:04:43  which you can accomplish of course,

00:04:44  by just clicking on the Path Outline with the Black Arrow

00:04:47  and that goes ahead and brings those Fill and Stroke

00:04:49  options back, at which point, I'll click on the word Stroke,

00:04:52  and I'll click in this Limit Value, and I'll press the

00:04:55  Up Arrow Key, a couple of times, and notice if I increase

00:04:58  the limit to 12 X, then I get my Miter Join back,

00:05:04  but I can once again lose that Miter, by pressing the A Key,

00:05:07  and marqueeing that end point right there,

00:05:09  and dragging it down a little more,

00:05:11  and notice the more acute the angle gets,

00:05:13  the more likely I am to lose that Miter.

00:05:16  Now, I'll just go ahead and zoom out a little more,

00:05:18  and maybe pan this art board to the right,

00:05:21  and I'll press the V Key to switch back to

00:05:23  the Black Arrow Tool.

00:05:24  I'll click on this Path Outline to select it,

00:05:26  I'll click on the word Stroke again

00:05:27  and now I'll click in this Limit Value,

00:05:29  and I'll just keep pressing the Up Arrow Key

00:05:31  until I see this Miter Joint come back,

00:05:34  which happens for me at 24 X.

00:05:37  What in the world does that mean?

00:05:39  It's 24 times half the line weight once again.

00:05:44  In our case, Illustrator is allowing the Miter Join

00:05:47  to extend 24 times 100, that is 2400 points

00:05:52  away from that corner point,

00:05:55  and if that's what you want, by all means you can go ahead

00:05:58  and accept that effect even though this is obviously

00:06:01  a pretty radical point.

00:06:03  In my case, I think I'll make things right again,

00:06:05  by pressing the A Key to get the White Arrow Tool,

00:06:07  Clicking the Stop Anchor point to select it

00:06:10  and then dragging up while pressing the Shift Key,

00:06:12  until I regain a semblance of my original Miter like so.

00:06:16  That's how you take advantage

00:06:18  of Caps, Joins and Miter Limits.

00:06:21  In the next movie, I'll show you a practical application.

 

آموزش تکنیک طراحی دوبعدی ایلوستریتور Illustrator CC How strokes align to path outlines

 

 

 

در این فیلم ما بحث خواهیم کرد که چگونه خطوط مسیر را به خطوط مسیرشان برسانند. در ابتدا به نظر می رسد که کمی، اما مبهم است، اما به قلب چگونه سکته مغزی در داخل Illustrator کار می کند. عنوان این سند را "راهنمای 220 x 420" ذکر کنید. آنچه در اینجا داریم، سه راهنمایی مستطیلی است که هر یک از آنها 220 نقطه و 420 نقطه بلند را اندازه گیری می کند. اکنون که میخواهم انجام دهم، یک ابزار مستطیل را کلیک کنید و آن را نگه دارید تا منوی ابزار «شکل» را بیرون بیاورم و ابزار بیضی را انتخاب میکنم و سپس مکان من را در اینجا قرار میدهم مرکز این مستطیل و من قصد دارم کلید Alt یا کلید Option را بر روی Mac و کلیک کنید. سپس در داخل جعبه محاوره بیضی من قصد دارم مقدار عرض را تعیین کنم نه به 220، بلکه به 200 امتیاز و من قصد دارم مقدار ارتفاع را به 220 و نه به 400 امتیاز بگذارم. به عبارت دیگر، هر دو مقدار عرض و ارتفاع 20 کمتر از عرض و ارتفاع مستطیل است. من روی «OK» کلیک میکنم تا این بیضی را از مرکز بیرون بیاورم.

 

00:01:05  I'm going to go up to the line weight value,

00:01:07  click the down pointing arrowhead and change the line weight

00:01:10  to 20 points, just as we saw in the previous movie.

00:01:13  I'm also going to change the color of that stroke to that

00:01:16  same shade of purple, just for the sake of demonstration,

00:01:19  R 102, G 45, B 145.

00:01:23  I'm going to get rid of the fill, just so it doesn't

00:01:25  get in our way, by clicking on the first swatch

00:01:28  and selecting none.

00:01:30  Now let's duplicate the shape a couple of times

00:01:33  by first switching to the black arrow tool,

00:01:35  which of course you can get by pressing the V key

00:01:38  and then I'm going to drag the center of this ellipse

00:01:40  over to the right until it snaps into alignment with the

00:01:44  rectangular guide line.

00:01:45  Now I'll press the 'Alt' key or the 'Option' key on a Mac

00:01:48  and if you're doing things right you should see a

00:01:51  double white arrow head, which tells you that you're

00:01:53  snapping and that you're going to create a duplicate

00:01:56  of this ellipse.

00:01:57  Then go ahead and press Ctrl+D or Command+D on a Mac

00:02:01  in order to create another duplicate of that shape.

00:02:05  Now I'll go up to the 'Select' menu and choose the 'All'

00:02:08  command, or press Ctrl+A or Command+A on a Mac

00:02:11  to select all three of these shapes.

00:02:13  I'm going to zoom in as well and I want you to see

00:02:17  that they exactly fill their rectangles.

00:02:21  You might think, 'Well, gosh Deke, that's really

00:02:23  entertaining, but why is this important?'

00:02:26  What's happening here is that the stroke is exactly

00:02:29  centered on the path outline and so,

00:02:31  because it measures 20 points thick,

00:02:34  it extends 10 points (that's half of 20 points)

00:02:36  outside the ellipse, and the other 10 points

00:02:39  into the ellipse.

00:02:41  As a result we're filling that 20 point gap between

00:02:44  each one of these shapes and we're doing so exactly.

00:02:48  If I were to turn off the guides layer for a moment

00:02:51  and then I was to zoom in on the inner section

00:02:54  of these two ellipses you can see that they

00:02:57  exactly touch each other.

00:02:59  That's because there's a 20 point gap between

00:03:01  the two ellipses and in both cases we have 20 point strokes

00:03:05  which extend 10 points to the left from the right shape

00:03:09  and 10 points to the right from the left shape.

00:03:12  You can modify that if you like.

00:03:15  I'll go ahead and zoom out just a little bit by pressing

00:03:17  Ctrl + - a few times.

00:03:19  To modify the alignment you click on the word 'Stroke'

00:03:22  up here in the control panel to bring up the stroke panel

00:03:25  and you drop down to this 'Align Stroke' option.

00:03:28  Notice that by default it's set to 'Align Stroke to Center'.

00:03:31  You can, if you like, set it to 'Align Stroke to Inside',

00:03:34  in which case all 20 points of the strike is going to move

00:03:37  to the inside of that path outline and none of the shapes

00:03:41  will touch each other as we're seeing right here.

00:03:43  Or, you can set it to 'Align Stroke to Outside'

00:03:47  in which case the entire 20 points of that stroke is

00:03:50  going to go outside the path outline and in our case

00:03:53  because each one of the ellipses is 20 points away from

00:03:56  it's neighbor, the strokes are going to entirely overlap

00:04:00  at this location.

00:04:02  We'll end up, if I press the 'Escape' key and then press

00:04:05  Ctrl+0, Command+0 on a Mac, to zoom out,

00:04:08  we'll end up with this perfect overlapping effect

00:04:11  right here.

00:04:11  Notice, the reason I say it's so perfect, is because

00:04:15  the stroke that's associated with this path outline,

00:04:17  for example the center one, is not extending at all,

00:04:20  it's just touching the inside edge of both of it's neighbors

00:04:24  but it's not overlapping into the neighbors one whit.

00:04:28  One of the things you should know about aligning strokes

00:04:31  is that it only works with closed path outlines.

00:04:35  In other words, if I were to switch to the

00:04:37  white arrow tool here, which I can get by pressing the A key

00:04:40  and then I click on, let's say, this segment right here,

00:04:44  and were to select it independently of the others

00:04:46  and then I press the 'Backspace' key,

00:04:48  or the 'Delete' key on a Mac, that goes ahead and

00:04:51  opens up that path outline so that it begins at one point

00:04:55  and ends at another, at which point I lose that alignment.

00:05:00  Notice now that the stroke is once again centered

00:05:02  on the path outline?

00:05:04  That's just the way it is.

00:05:06  For example, if I were to switch back to my letters

00:05:09  right here, you can see that they're either

00:05:11  open path outlines, in the case of the C for example,

00:05:15  or they're compound paths.

00:05:18  Whenever you're working with open paths or compound paths

00:05:21  when you click on 'Stroke' you'll see that your

00:05:24  'Align Stroke' options are dimmed.

00:05:27  Whereas if I was to switch to the infinity symbol,

00:05:30  which is a closed path outline, notice that it has

00:05:34  complete and total continuity, there are no end points,

00:05:37  I'll go ahead and press the V key to switch to the

00:05:39  black arrow tool, I'll click on that path to select it

00:05:43  and then I'll grab my eye dropper near the bottom

00:05:45  of the tool box, which has a keyboard shortcut of I.

00:05:48  I'll go ahead and click on any one of these paths,

00:05:51  whether it's an open path or a compound path,

00:05:54  that'll go ahead and lift that purple 20 point stroke

00:05:57  at which point I'll go ahead and zoom in by

00:05:59  Ctrl+Spacebar clicking or Command+Spacebar clicking on a Mac

00:06:02  now if I click on the word 'Stroke' the 'Align Stroke'

00:06:05  option is once again active so that I can switch the stroke

00:06:09  to the inside or to the outside, like so,

00:06:12  or I can move it back so that it's centered

00:06:15  on the path outline.

00:06:17  This is going to be integral because most strokes

00:06:20  are centered on their path outline.

00:06:22  That''s because we have a lot of different kinds of

00:06:24  path outlines that are available to us in Illustrator.

00:06:28  You want to think in terms of half of that line weight.

00:06:32  It's not so much that we have a 20 point line weight

00:06:35  as we have a 10 point weight on the outside

00:06:38  and a 10 point weight on the inside.

00:06:41  I'll show you exactly why that matters

00:06:43  in the very next movie.

 

آموزش تکنیک طراحی دوبعدی ایلوستریتور Illustrator CC Adjusting the line weight

 

 

در این فیلم ما نگاهی به وزن خط می کنیم که ضخامت سکته را تعیین می کند. در حال حاضر، توجه داشته باشید در اینجا من مجموعه ای از کاراکترهای دست کشیده شده که هستند بر اساس این نامه ها در بالای سند، که در یک فونت به نام Adobe Caslon Pro تنظیم شده اند. حالا اگر فونت ندارید، و شما در نهایت دریافت هشدار فونت زمانی که شما این سند را باز کرده اید، نگران نباشید این کار بر روی تجربه شما تاثیر نمی گذارد. اکنون متوجه میشوید که هر یک از این حروف است که نیاز به بیش از یک طرح مسیر، مانند a و b و غیره

 

 

00:00:30  are created as compound paths.

00:00:32  And, you can see that's the case by

00:00:35  the appearance of the words Compound Path

00:00:37  up here in the control panel.

00:00:39  And, the reason compound paths are so useful, is that

00:00:42  they assure uniformity across fill and stroke attributes.

00:00:46  So, for example, take a look at the four paths that

00:00:49  currently make up this letter g,

00:00:51  they're all filled and stroked differently.

00:00:54  But, if I go ahead and partially marquee those paths with

00:00:56  the black arrow tool in order to select them,

00:00:59  and then I go up to the Object menu,

00:01:01  choose Compound Path, and then choose Make,

00:01:04  Illustrator is going to adopt the fill and stroke

00:01:07  attributes of the rear-most shape,

00:01:09  which is this ellipse at the top of the g.

00:01:12  And, as a result, we end up with one set of

00:01:14  fill and stroke attributes,

00:01:16  which is why compound paths are routinely used in

00:01:19  the creation of text, whether hand drawn or otherwise.

00:01:23  All right, now, I'm goint to go ahead

00:01:24  and marquee these letters to select all of them.

00:01:26  Then notice up here in the control panel,

00:01:28  this value right next to the word Stroke,

00:01:31  that's the line weight.

00:01:33  Now, you should know,

00:01:34  Adobe calls this value the stroke weight,

00:01:36  but they are, by far, in the minority in that regard.

00:01:39  This attribute has been with us since the

00:01:41  days of traditional paste-up, which go back decades before

00:01:44  Illustrator ever appeared on the market.

00:01:47  And, it has been called line weight

00:01:49  literally for generations.

00:01:51  But whatever you decide to call it,

00:01:53  it affects the thickness of the stroke.

00:01:55  There's a few different ways to change the line weight.

00:01:57  One is to click on this up arrow icon,

00:02:00  which is going to incrementally increase the

00:02:02  thickness of the stroke.

00:02:03  You can also just click inside the line weight value

00:02:06  and press the up arrow key,

00:02:08  or you can even press and hold that key if you like.

00:02:10  You can also press the down arrow key in order to

00:02:13  incrementally reduce the thickness of the strokes.

00:02:17  If you want to increase or reduce the line weight in

00:02:19  larger increments then you can press shift

00:02:21  along with an arrow key,

00:02:23  either the up arrow key, in this case,

00:02:25  or the down arrow key.

00:02:27  Another way to work is to enter your own custom value.

00:02:30  For example, if I enter 15.33 and then press the enter key,

00:02:34  or the return key on the Mac,

00:02:36  then you can see that the line weight is accurate to

00:02:38  1/100th of a point.

00:02:41  Finally, you can select a preset by

00:02:43  clicking on this down pointing arrowhead

00:02:45  and choosing anything from 0.25 pts onward.

00:02:49  Notice, if I go ahead and choose this first option,

00:02:52  I'm going to have to zoom way in

00:02:54  in order to see these strokes.

00:02:56  And, I'm also going to have to

00:02:57  hide these points and segments by

00:02:59  going up to the View menu and choosing Hide Edges,

00:03:02  or you can press that keyboard shortcut of ctrl + h

00:03:05  here on the PC or cmd + h on the Mac.

00:03:08  Now notice, that even though we are

00:03:10  no longer seeing the points and the segments,

00:03:12  that these letters remain selected.

00:03:15  All right, I'll go ahead and press ctrl + z

00:03:17  or cmd + z on the Mac, to undo that move,

00:03:19  so that we can just take a look at

00:03:21  these line weights for a moment.

00:03:23  Now, notice that I am zoomed in all the way to 400%

00:03:26  and yet the lines are only taking up one pixel on screen.

00:03:29  That's because a quarter point line weight is

00:03:32  1/4 of 1/72 of an inch, which is to say

00:03:36  1/288th of an inch thick, which is about the

00:03:39  thinnest line that an output device can render.

00:03:42  Which is why this line weight is known as a hairline.

00:03:45  Another very thin and common line weight is

00:03:48  0.5 pts, that is to say, half a point.

00:03:51  Which is a little more likely to

00:03:52  survive the printing process.

00:03:54  But, I want some big, thick strokes.

00:03:56  So, I'm going to go ahead

00:03:58  and click this down pointing arrow head once again

00:04:00  and then choose 20 pts from the menu.

00:04:03  At which point we will end up with

00:04:04  these strokes right here.

00:04:06  Now I'll go ahead and bring back my points and segments by

00:04:09  pressing ctrl + h or cmd + h,

00:04:11  and now I'll press ctrl + 0 or cmd + 0 on the Mac

00:04:14  to zoom out.

00:04:16  And then, finally, I'm going to change the

00:04:17  color of these strokes by clicking on the

00:04:19  second swatch up here in the control panel.

00:04:22  Then I'll select this preset purple,

00:04:24  which is R102, G45, and B145,

00:04:28  in order to produce this effect here.

00:04:31  Now, I'll press the escape key in order to hide that panel.

00:04:34  That is how you adjust the

00:04:35  most fundamental element of strokes,

00:04:38  which is the line weight,

00:04:39  here inside Illustrator.