Step 1

Open a new document. On the toolbar, change Units to pixels. Create a 1001px circle using the Ellipse Tool (F7). Put the x, y coordinates position at (0, 0).

Make sure all this toolbars have been checked.

Fill the circle with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to -90°, and the Edge pad to 9%. Then, add one slider in the Gradient Slider. Set the color and position, Start Point at white, Added slider at 30% black; Position at 92%, and End Point at 40% black.

Step 2

Duplicate the circle using copy and paste. I suggest you do not use Command + D (Duplicate command). This is because we need the object position to remain at 0, 0. Change the circle size to 941px. Clear the Outline Color. Now fill the object with a Linear Gradient using the Fountain Fill Dialog (F11), change the Edge pad to 22%. Add a slider in the Gradient Slider. Now set the color and position, Start point at 20% black, Added slider at 70% black; position at 90%, and End point at 10% black.

Step 3

Duplicate the outer circle. Change the size to 921px, then fill with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Edge pad to 22%. Add two sliders in the Gradient Slider. Set the color and position, Start point at white, First slider at 10% black; position at 8%, Second slider at 70% black; position at 90%, and End point at 10% black.

Step 4

Duplicate the outer circle again. Change the size to 750px. Then fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Edge pad to 4%, then add three sliders. Set the color and position, Start point at white, First slider at 10% black; position at 37%, Second slider at 80% black; position at 50%, Third slider at 20% black; position at 76%, End point at 10% black. Open the Outline Color and change its thickness to 1 pt and fill it with a black color.

Step 5

Duplicate the latest circle, change the size to 720px, and fill it with a black color.

Step 6

Duplicate the latest circle, change the size to 700px, and replace the Outline Color with a white color.

Step 7

Use the Pen Tool to draw a vertical line in the middle of the circle. Then change the outline thickness to 1 pt, and fill it with a white color.

Duplicate the line, then rotate to 6°.

Repeat it again and again, but now rotate each line to 12°, 18°, 24°, 30°, 36°, 42°, 48°, 54°, 60°, 66°, 72°, 78°, 84°, and 90°. The result should look like that shown below.

Step 8

Select all lines, then duplicate them. Flip horizontally by clicking on Mirror. Delete the lines at 0°, 30°, 60°, 90°, 120°, and 150°.

Step 9

Duplicate the latest circle and change the size to 650px.

Step 10

Create a 20px circle, put the coordinate position at 0, 338. Fill with cyan color, then remove the Outline Color. Duplicate the circle, put the coordinate position at 0, -338. Fill with white color.

Now select both of them. Duplicate, then rotate to 90°. Change the cyan circle to a white color.

Duplicate again, rotate to 30°, then change the size to 15px.
Do the same, now rotate to 60°, 120°, and 150°.

Step 11

Now let’s put the numbers. To obtain a symmetrical result, duplicate the latest circle, change the size to 610px. Use the circle as a boundary and start typing your numbers. Type the numbers “1-12″ except number “3″. I used Kozuka Gothic Pro B for my font, but you can use your favorite font. For number “12,” “6,” and number “9,” the font size is 24, and the rest is 16.

Since each number has a different width, but the the same height, let’s set the y coordinate position for each number, so the numbers will have the same value with their opposite side. See the picture below, number “10″ and number “2″ have the same y coordinate position, ie 140px. Also, with the number “7″ and the number “5,” the y coordinate position is at -230px. Delete the boundary circle.

Step 12

On the empty field, create an 80 px by 60 px rectangle using the Rectangle Tool (F6). Draw a rounded rectangle using the Shape Tool (F10).

Put the rounded rectangle to the number three position, then fill with a black color. Open the Outline Pen Dialog by double-clicking on the Outline Color and set the width to 2 pt with the option Behind Fill checked, then fill with a white color.

Step 13

Duplicate the rounded rectangle and scale it to 90%. Remove the Outline Color, then fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to 90°, then add one slider in the Gradient Slider. Set the color and position, Start point at 30% black, Added slider at white; position at 51%, End point at 30% black. Next type the number in the middle. We’re done with the numbers.

Step 14

Let’s make the analog stopwatch. Duplicate the two latest circles and lines at 0°, 36°, 72°, 108°, and 144° (you need to redraw the line at 0° because it was deleted before), by holding down the Shift key and click the object one by one, use copy and paste. Select them all, then resize to 160px and change the Outline width to 0,5 pt. Resize the inner circle to 126px. Put it to a position shown below.

Step 15

Do the same now with the lines at 0°, 12°, 24°, 36°, 48°, 60°, 72°, 84°, 96°, 108°, 120°, 132°, 144°, 156°, and 168°. Always remember to use the x, y coordinates position to obtain symmetrical result. Put it to a position like pictured below.

Step 16

Now let’s make the stopwatch hand. In the empty field, create a rectangle using the Rectangle Tool (F6). Now right-click the object, choose Convert to Curves (Command + Q). Change the shape using the Shape Tool (F10). Create a circle and place it under the rectangle as shown. To combine the two objects, select them, then click Weld in the toolbar. Add a small black circle.

Place it in the middle of stopwatch. Size it to fit the stopwatch circle. Then, type the numbers.

Step 17

Create the Vertortuts logo under number twelve. It’s very easy, I know you can create the logo just by seeing it. Type “VECTORTUTS” under the logo. But you can use your own logo here if preferred.

Step 18

Let’s draw the hand hour. In the empty field, create a rectangle using the Rectangle Tool (F6). Then right-click the object, choose Convert to Curves (Command + Q). Change the shape using the Shape Tool (F10).

Create a circle and place it under the rectangle as shown. To combine the two objects, select them, then click Weld in the toolbar. Add a rectangle in the middle, using the Shape Tool (F10) to create the rounded rectangle, then fill it with a 40% black color. Group (Command + G) them all.

Place it in the middle of watch, rotate to 85°. Use guidelines to help you arrange the object position.

Step 19

Draw the minute hand. See Step 18, but now make it slimmer and longer than the hour hand. Fill it with a 30% black color.

Place it in the middle of the watch, rotate it to 310°. Use guidelines to help you arrange the object position.

Step 20

Last, draw the second hand. In the empty field, create a rectangle using the Rectangle Tool (F6). Then right-click the object, choose Convert to Curves (Command + Q). Change the shape using the Shape Tool (F10).

Create a circle and place it under the rectangle as shown. To combine the two objects, select them, then click Weld in the toolbar. Fill it with a red color, change the Outline Color with a red color too. Now add a small black circle.

Place it in the middle of the watch, rotate it to 192°. Use guidelines to help you arrange the object position.

Step 21

Now let’s make the steel strap. Create a 179 px by 291 px rectangle using the Rectangle Tool (F6). Then right-click the object, choose Convert to Curves (Command +Q). Change the shape using the Shape Tool (F10), shape the rectangle as shown. Fill with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to -90°.

Add seven sliders in the Gradient Slider. Set the color and position, Start point at 40% black, First slider at white; position at 3%, Second slider at 20% black; position at 11%, Third slider at white; position at 17%, Fourth slider at 20% black; position at 24%, Fifth slider at 50% black; position at 42%, Sixth slider at 20% black; position at 83%, Seventh slider at 20% black; position at 94%, End point at 30% black.

Place it at the top of the watch.

Fix it using the Shape Tool(F10).

Step 22

Duplicate it three times and put it to the position shown. For the first one, flip horizontally using Mirror, place the coordinate position at -296, 465. For the second one, flip vertically using Mirror, place the coordinate position at 296, -465. For the last one, flip vertically and horizontally using Mirror, place the coordinate position at -296, -465.

Step 23

Create a 411 px by 279 px rectangle using the Rectangle tool (F6), make sure the width is fit with the last object (see picture below). Draw a rounded rectangle using the Shape Tool (F10). Fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to 90°.

Add six sliders in Gradient Slider. Set the color and position, Start point at 50% black, First slider at 40% black; position at 48%, Second slider at white; position at 68%, Third slider at 20% black; position at 75%, Fourth slider at white; position at 86%, Fifth slider at 50% black; position at 93%, Sixth slider at 20% black; position at 99%, End point at 80% black.

Step 24

Duplicate the rounded rectangle, modify the Linear Gradient. Change the Angle to -90°. Add seven sliders in the Gradient Slider. Set the color and position, Start point at 40% black, First slider at 20% black; position at 12%, Second slider at 10% black; position at 23%, Third slider at white; position at 43%, Fourth slider at 10% black; position at 68%, Fifth slider at 20% black; position at 79%, Sixth slider at 30% black; position at 93%, Seventh slider at 50% black; position at 99%, End point at 50% black.

Step 25

Create a 202 px by 162 px rectangle using the Rectangle tool (F6), but now smaller by about 50% from before. Draw a rounded rectangle using the Shape Tool (F10). Fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to -90°.

Add six sliders in the Gradient Slider. Set the color and position, Start point at 50% black, First slider at 30% black; position at 7%, Second slider at 10% black; position at 15%, Third slider at 10% black; position at 28%, Fourth slider at white; position at 39%, Fifth slider at 10% black; position at 70%, Sixth slider at 30% black; position at 89%, End point at 10% black.

Step 26

Arrange the position like shown below. Remember to use x,y coordinates position to get symmetric result. Order the large rounded rectangles to the back of page (Command + End).

Select them all. Use the Simplify command in the toolbar. The small rounded rectangle will trim the large one.

Select the small rounded rectangle, change the height scale to 95%, place it at the center between the two large rectangles. The result should be like this:

Place it at the top of the watch.

Fix it using the Shape Tool (F10). Do not use the Simplify command. The Simplify command will change the gradient.

You can Group (Command + G) the steel strap, then duplicate it. Flip it vertically using Mirror and place it at the bottom of the watch as shown.

Step 27

In the empty field, create a rectangle using the Rectangle Tool (F6), use the Shape Tool (F10) to create the rounded rectangle. Fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to 90°.

Add two sliders in Gradient Slider. Set the color and position, Start point at black, First slider at 90% black; position at 26%, Second slider at white; position at 63%, End point at 90% black.

Duplicate the rounded rectangle seven times. For each rounded rectangle, modify the gradient randomly. Group (Command + G) them.

Step 28

Create a rectangle using the Rectangle Tool (F6). Then right-click the object, choose Convert to Curves (Command + Q). Change the shape using the Shape Tool (F10) as shown. Fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to 230° and Edge pad to 5%.

Add three sliders in Gradient Slider. Set the color and position, Start point at white, First slider at 20% black; position at 30%, Second slider at white; position at 50%, Third slider at 10% black; position at 70%, End point at 60% black.

Arrange the object with the rounded rectangle.

Order the object to the back of page (Command + End). Select them all and use the Simplify command in the toolbar.

The result should be like this:

Place it at the right side of the watch, order it to back of page (Command + End). Select the object and the outer circle of the watch, then use the Simplify command in the toolbar.

Step 29

Next create a rectangle using the Rectangle Tool (F6). Then right-click the object, choose Convert to Curves (Command + Q). Change the shape using the Shape Tool (F10) as shown. Fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to 5° and the Edge pad to 3%.

Add three sliders in the Gradient Slider. Set the color and position, Start point at 50% black, First slider at 30% black; position at 47%, Second slider at 10% black; position at 61%, Third slider at white; position at 69%, End point at 10% black.

Place it like shown below. Fix it and Order it to back of page (Command + End). Select the object and the outer circle of the watch, use the Simplify command in the toolbar. Duplicate the object and flip vertically.

The result should be like this:

Step 30

Now create a 38 px by 74 px rectangle using the Rectangle Tool (F6). Fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to -90°. Add six sliders in the Gradient Slider. Set the color and position, Start point at 40% black, First slider at 10% black; position at 11%, Second slider at 20% black; position at 24%, Third slider at 90% black; position at 42%, Fourth slider at 20% black; position at 61%, Fifth slider at white; position at 77%, Sixth slider at 10% black; position at 90%, End point at 50% black.

Step 31

Now create a 47 px by 103 px rectangle using the Rectangle Tool (F6). Draw a rounded rectangle using the Shape Tool (F10). Fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to -90°.

Add six sliders in the Gradient Slider. Set the color and position, Start point at 40% black, First slider at 10% black; position at 11%, Second slider at 50% black; position at 28%, Third slider at 90% black; position at 37%, Fourth slider at 50% black; position at 47%, Fifth slider at white; position at 77%, Sixth slider at 10% black; position at 90%, End point at 50% black.

Step 32

Create a 96 px vertical line with three point (see the picture below) using the Pen Tool. Modify the object using the Shape Tool (F10). Fill it with a Linear Gradient using the Fountain Fill Dialog (F11). Change the Angle to 50°.

Add three sliders in the Gradient Slider. Set the color and position, Start point at black, First slider at 40% black; position at 29%, Second slider at 10% black; position at 58%, Third slider at 70% black; position at 78%, End point at 80% black.

Step 33

Put the three of them at the same y coordinate position, arrange them as shown. Then rotate about 25° and Group (Command + G) them.

Place it at the right side of the watch like shown below. Order the object to the back of page (Command + End). Select the object and the outer circle of the watch, use the Simplify command in the toolbar. Duplicate the object and flip it vertically.

The result should be like this:

Your wristwatch is done.

Final Image

After adding a simple gradient background he final image is below. Use coordinates positioning and other simple techniques to create great results.

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Tutorial Details

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• Program: Adobe Illustrator CS3
• Difficulty: Beginner
• Estimated Completion Time: 30 minutes

Introduction

Illustrator has plenty of tools, panels, and commands that make our work much easier. Among them, however, there are several outstanding ones that I personally consider the most important features of this program. They include brushes, the Appearance panel, Effects, and, of course, transformation.

Knowing transformation is knowing a lot – it gives you power you may never even thought about. So today we’ll try to learn everything about transformation in Illustrator. This topic is especially useful for beginners, but intermediate users may also find interesting facts here.

Section 1. Transformation Terms: What is…

Before we learn how to transform, let’s first understand what every term related to transformation means. This way we’ll better know how every tool works.

Transforming

The term transformation originates from the late latin word “transformation” (metamorphosis). Transforming an object is typically changing its position or shape, or both. Of course, it seems obvious and easy enough, but this simple operation is capable of altering your image drastically.

There are many types of transformations altering various parameters (position, size, angle, etc.), they can be performed both separately or together at the same time. Transformation applies to one or more objects that are already selected with the Selection Tool (V).

Bounding box

The object in your document may be of diverse shapes, but the algorithms of transformation apply to all of them equally. It is because the program has a unified system of transformation, whether we speak of ellipse, spiral, or rectangle. Every object has a so-called bounding box, which is the area with borders drawn around it.

The borders touch the left-most, right-most, top-most, and bottom-most points of an object. It includes four corner points and four sides, equally important in transformation. The bounding box allows to easily transform any object. It is usually visible by default, but you may want to turn it off (Shift + Command + B).

Point of Transformation

The bounding box usually includes a central point indicated – it is not necessarily the central point of an object, as it is calculated from the box borders. If you don’t see the center, try opening the Attributes panel (Command + F11) and click the Show center icon. By default, this central point of an object is considered a point of transformation, or reference point. This means, that when an object is for example scaled up, the center will remain in place, while all other points change position.

Still, while performing transformation, we can change the transformation point. In this case the new point we choose (in relation to the initial shape of an object) will remain in place. I want to emphasize, that a reference point may be assigned in any part of your document, not just within your object.

Moving

A major type of transformation is moving. Although many Illustrator users don’t even know about it, move is a transformation. Moving an object means changing its coordinates, so the position is altered – hence, moving is transforming.

This is the most popular way to transform, as we always move objects from one place to another. Moving is usually based on the central point of an object, and the transformation point is not changed. Moving is measured in points, pixels, or other distance units that are set in Preferences (Command + K).

Scaling

Scaling is altering the size of an object. There are many ways of scaling an object in Illustrator, but all of them change the size of an object. Any transformation point may be assigned while scaling. On two-dimensional graphics there are two axes, so the object may be scaled in two directions.

It is possible to scale it separately (horizontally or vertically) – in this case the shape and proportions of object will be changed. Proportional scaling will constrain the object’s shape, transforming simultaneously in two directions. Scaling is measured in percents, starting from 100% as the initial object size.

Rotating

Rotating is changing the object’s angle. Varying from 0 to 360 degrees, we can rotate the object from the initial position on a virtual imaginary circle. Depending on the point of transformation we assign, the diameter of this virtual circle may be altered. If we leave the transformation point on the default center of the object’s bounding box, then the object will rotate around itself. There are many ways of rotating an object, entering a needed angle. Rotation is measured in degrees from -360 to 360.

Mirroring

Mirroring, or reflecting, is a more complex way of transformation. It flips the object in any direction, reflecting it from the axis we need. We can simply flip an object vertically or horizontally, or insert any other angle. It also rotates it depending on the axis and transformation point.

This transformation (shown below) results in a mirror reflection of the original object, when we assign the point where mirror stands. Keep in mind, that symmetric object won’t change after reflecting. Reflection is measured in degrees.

Shearing

Another complex transformation type is shearing. It means skewing an object (or, more precisely, it’s bounding box) according to one axis, around an assigned point. The slant is varied from horizontal or vertical axis to any angle. Shear may be preformed with many tools and commands. It is measured in extent of slant in degrees and shear angle in degrees.

Free Transform

The last transformation type is free transform – as it follows from its name, this method allows to freely transform the object by several parameters at once. This means that position, size, angle, and slant may be changed simultaneously, combining several types of transformation in one.

Section 2. Transforming with Tools

Using Appropriate Transform Tools

The most popular way of transformation is using appropriate tools from the Tools panel. There are several transformation tools that change different parameters of a selected object. Let’s analyze all of them.

Move

The Move Tool (V) is combined with the Selection Tool and presents a familiar black arrow. The easiest way of moving is, actually, moving a selected object manually by dragging it to the desired position. However, oftentimes we need precise positioning when simple dragging doesn’t work. In this case we can move the object from the dialog of the chosen tool – in this case, the Move Tool.

Click the tool in the Tools panel twice, and you’ll get a dialog where all options can be entered. For the Move tool, it includes either horizontal and vertical move in any units (according to rectangular coordinates), or if you like polar coordinates more, you can enter distance and angle to move the object precisely. You may insert both positive and negative numbers. Also you may want to press the Copy button in the dialog to create a moved object duplicate. The transformation point is not changed here.

Scale

The Scale Tool (S) looks like a small rectangle being scaled up. To scale a selected object, simply drag the handles of its bounding box (eight white squares). For horizontal scale, drag horizontally, and for vertical scale, drag vertically. For both, drag the corner handles, and to constrain the proportions press Shift. By default, the central point is the point of transformation, but you can fix it in a different position by simply clicking a place you need before transforming an object.

However, if you need to scale the object precisely, double-click Scale in the Tools panel and enter the needed numbers in the dialog. You can choose wether to insert percent for uniform (proportional) scaling, or enter separate numbers for horizontal and vertical scaling. Again, it is possible to press Copy to duplicate an object while scaling. Oftentimes when you need to scale the object from the dialog, you also want the default transformation point changed. Simply Alt-click where you want the new point to sit, and the dialog will open.

Rotate

The Rotate Tool (R) is a small circular arrow. To rotate an object, select it and drag it in the needed direction. As the default transformation point is in the object center, it will be rotated around itself. You can assign different reference points by clicking in the needed place prior to rotating. Also you may want to know that holding Shift allows you to rotate on the angles divided by 45, such as: 45, 90, 135, 180, and so on.

Of course, if you need a precise angle, double-click Rotate in the Tools panel and insert a degree in the dialog. Positive numbers rotate counter-clockwise, and negative numbers rotate clockwise. You may press Copy to duplicate an object while rotating. To change the transformation point from the object center to any other place, Alt-click to assign the new point and open the dialog.

Reflect

The Reflect Tool (O) is a small mirrored triangle hidden under the Rotation Tool. To reflect a selected object, just drag it to the needed direction. The default reference point is in the center, so the object will be reflected around the axis that intersects it’s center. To use exact horizontal or vertical axes for mirroring, hold down Shift. To change the transformation point, as usual, click where you want to place it before transforming.

Again, for precise reflection, double-click Reflect in the Tools panel and insert an axis you need in the dialog. Yo can choose Vertical or Horizontal axes for perfect symmetry, or enter a custom angle. To duplicate an object while reflecting, press Copy. To change the transformation point from the object center to any other place, Alt-click to assign the new point and open the dialog at the same time.

Shear

The Shear Tool looks like a little slanted rectangle and is hidden under the Scale Tool. To shear a selected object, drag anywhere in the needed direction. The transformation point will be fixed in the center. To shear along a horizontal axis, drag horizontally, and to shear along a vertical axis, drag vertical. To constrain an object’s width or height, or to shear along axes slanted by a 45-divided degree, hold down Shift. As with other transformation tools, assign different reference points by clicking in the needed place prior to shearing.

For a precise angle, double-click Shear in Tools panel and insert the shear amount in degrees and axis in the dialog. Press Copy to duplicate an object while skewing. To change the transformation point from the object center to any other place, Alt-click to assign the new point and open the dialog.

Using the Black Arrow/Direction Selection Tool

As I already mentioned, the Selection Tool (V) is used for Move – the first and most important type of transformation. Still, this tool can also be used to manually perform some other transformation methods. We can easily change not only the object’s position, but it’s size and angle.

Scale

To scale with the Selection Tool (V) select an object and simply drag the handles on it’s bounding box (white squares in the corners and on the sides). The object will be scaled in the direction you drag.

If you want to constrain the proportions, hold down Shift to scale in both directions while dragging the corner handler. The reference point is not considered in this case, so the object will be transformed according to the direction you drag without any fixed transformation point specified. You cannot determine the reference point, but if you want to fix a central point while scaling an object with the Selection Tool, hold down the Alt button.

Rotate

To rotate with the Selection Tool (V), select an object and place the cursor over any corner handle of its bounding box. When the little double arrow appears, you can rotate the object in any direction and angle.

In order to keep the exact angles (45, 90, and so on), hold down Shift – the object will snap to this angle while rotating. The reference point can not be changed while rotating with the Selection Tool, so the object will be rotated around itself with the transformation point in the center.

Reshaping and Distortion Tools

Besides the transformation tools described above, Illustrator has some extra tools that can alter object shapes in other various ways. They not only change one object parameter, like position, size, or angle, but they can distort and reshape it drastically. Let’s briefly take a look at these tools.

Free Transform Tool

The Free Transform Tool (E) allows to transform the object freely – it combines all transformation tools into one, including: move, scale, rotate, reflect, and shear. Also, it allows one to perform perspective distortion. Basically, with this tool you can drag handles on the object’s bounding box in any direction, unlike with other transformation tools.

To rotate or scale, simply place the cursor near the handle you need on the object bounding box and perform the transformation just like with the appropriate tools. To reflect an object, drag from the handle on one side to the opposite one, while holding Shift. Finally, to shear the object with the Free Transform Tool, move one of the side handles to the needed direction, while holding down Command + Alt.

To drag one corner handle separately, press the mouse key over the corner and then press Command after this – now you can reposition it as you distort the object. To constrain the horizontal or vertical baseline while dragging a handle, hold down Shift. If you want to drag two handles symmetrically to distort in perspective, drag a corner handle while holding down Alt + Command + Shift.

Reshape Tool

Reshape Tool is hidden under the Scale and Shear tools. It also allows one to transform an object its own specific way. To my mind, it works much like scaling but considers anchor points while transforming. When you select an object and choose the Reshape Tool, you can move any existing anchor point on the object by dragging it to the desired position. However, the result will be reshaping the entire object proportionally with no need to tweak every point separately. This effect of this tool can be only seen on open paths.

Warp Tool Group

A group of tools worth mentioning are the Warp Tools group (Shift + R). Although these tools do not transform object in the usual way, they still deform the shape significantly, so I think we can briefly overview them. Within this group, there are eight tools that affect the shape of an object locally in various ways. From warp to wrinkle, to bloat, to pucker, they add anchor points and segments to the object deforming it drastically.

Section 3. Transforming with Menu

We’ve learned how to use the transformation tools to change the object’s parameters – position, size, angle, shape, and others. Still, in Illustrator there are always multiple ways of doing one action. Let’s try to perform transformation with appropriate menu commands: Object > Transform.

Usual Transformation

All the usual transformation types we observed (move, scale, rotate, reflect, and shear) can be performed with appropriate menu commands from Object > Transform.

They work just like the tools described above, only you can’t change the reference point from the object’s center, and transformations can’t be performed manually. When you access the submenu (for example, Object > Transform > Scale) the dialog pops-up similar with one of the appropriate tools. Simply insert the desired parameters and press OK to apply or Copy to duplicate an object.

Transform Again

The most important shortcut about transformation, to my mind, is Object > Transform > Transform Again feature (Command + D). This command repeats the last transformation applied with the same parameters, be that move, scaling with altered reference point, or rotation with duplicating.

This useful feature allows one to create very interesting effects – for instance, from a simple object transformed again several times we can get a nice flower. Transform again can be really helpful in many cases, so just remember this shortcut: Command + D.

Reset Bounding Box

We’ve already spoken about the bounding box and its role in transformation. It represents a rectangle touching object borders from four sides (top, bottom, left, and right). However, you may notice that the bounding box is oftentimes altered when the object is transformed – for instance, after rotation by 45 degreed the bounding box will no longer be a perfectly positioned rectangle, as the angle will be changed.

Still, you may face a need to change the view of bounding box back to frontal rectangle with horizontal and vertical sides. To do it, go to Object > Transform > Reset Bounding Box. It will be changed back to the default rectangle, while the object remains rotated by 45 degrees.

Transform Each (Several Objects)

As you may have guessed, it is possible to transform not only one separate object, but a group of objects. To do it, simply select all the objects you need (holding down Shift will add an object to selection).

However, in this case the virtual bounding box will be drawn around all the objects. This means that, for instance, rotation will be performed as if it was one large object, according to the bounding box. Still, we sometimes need to transform all the selected objects separately – say, rotate them. Here is when Transform each works best.

Select all the objects you need and go to Object > Transform > Transform Each (Alt + Shift + Command + D). You’ll see a dialog with numerous parameters. All the transformation methods are combined there, so you may enter horizontal and vertical move, horizontal and vertical scale, rotation angle, reflection along X or Y axis, and also change a transformation point from center to any bounding box handle in a little proxy on the right. All selected objects will be transformed separately, and you can also press Copy to duplicate them. Another useful feature is the Random checkbox, check it if you want objects to transform randomly.

Transform Each (One Object)

I want to mention one more creative way of using the Transform Each command. Remember the Transform again feature? Unfortunately, it memorizes only one last transformation applied – move, scale, reflect, etc. But sometimes we want to make a series of object copies with a few kinds of transformation applied to each. For example, ten rectangle copies rotated by 10 degrees and scaled down to 90% each. We won’t be able to repeat both transformation methods with Command + D to achieve this effect, as rotation and scaling are two separate steps.

But here is a trick – select the object and run it through the Transform Each command, enter all parameters and press Copy – this command combines all four transformation methods still being considered a single step. Now you can transform the object again for as many copies as you need.

Section 4. Important Keys and Shortcuts

Like most graphic programs, Illustrator has plenty of secret shortcuts to make your work easier. Transformation has numerous helpful keys and shortcuts worth memorizing.

Transform Tools Shortcuts

Almost every transform tool has a key. To remind you again, let’s remember all of them: Move Tool (V), Scale Tool (S), Rotate Tool (R), Reflect Tool (O), Free Transform Tool (E), and Warp Tools group (Shift + R). Shear and Reshape tools don’t have default hot keys, but you can easily assign them shortcuts in Edit > Keyboard shortcuts (Alt + Shift + Command + K).

Transform Helpful Keys

Although we already mentioned this, I think it might be helpful to remind again – while transforming manually with specific tools, you might want to use special modifier keys for changing some parameters. They work almost equally for every transformation tool you use, so remember these simple modifiers, as they will save you time and make the transformation process easier.

Section 5. Transforming with Panel

Besides the transformation tools and menu, there is another way of transforming objects in Illustrator. The entire panel is dedicated to it – Transform panel (Shift + F8). Keep in mind, that the Transform panel works with entire objects or groups of objects, and that here absolute measurements are used, unlike with the transform tools or menu, where we use relative measurements.

Reference Point

The Transform panel has a small proxy that indicates a transformation point. There are nine possible positions – center, fours corners, and four centers of the object bounding box sides. You can choose any of these points for reference, but you can’t fix another random transformation point with the Transform panel. The position chosen will indicate the starting point for calculations while transforming with the panel.

Position

To change the position of an object (or move) with the Transform panel, you can insert the needed values in X and Y fields. You can see the numbers in these fields – they show the coordinates of the object’s reference point. X indicates the horizontal coordinates of the object (or, more specifically, chosen reference point), while Y shows vertical coordinates in your document. Simply enter new numbers in the appropriate units (measurement units may be changed in Edit > Preferences > Units & Display performance). Keep in mind, that in Adobe Illustrator the origin of coordinates by default is positioned in the bottom-left corner of the document.

Size

To change the size of the object (or scale) with the Transform panel, enter the desired numbers in the W and H fields. W means width of object, and H is it’s height. The values in these fields indicate the initial width and height of your object in chosen units (pixels, points, inches, etc.). Enter new numbers to scale the object, or click the chain icon to constrain proportions and enter only one value, as the other one will change proportionally.

Angle

To change the angle of an object (or rotate) with the Transform panel, insert the needed angle in the appropriate Rotation field, or select the angle from the drop down menu. The object will be rotated around the point, assigned in the proxy. After rotation, the angle will be changed back to 0 automatically.

Slant

To skew an object (or shear) with the Transform panel, choose the angle in the Shear field, or insert the value you need manually. The object will be sheared around the point, assigned in the proxy. Skewing with the panel, however, is less flexible than with the appropriate tool. After shearing, the angle will be changed back to 0 automatically.

Reflect

To mirror an object (or reflect) with the Transform panel, go to the panel flyout menu and choose Flip horizontal or Flip vertical. The selected object will be reflected along the axis going through the chosen transformation point. Flip horizontal reflects horizontally – using vertical axis. Flip vertical reflects vertically – using horizontal axis.

Useful Options

In the flyout menu of the Transform panel you can choose Scale Strokes and Effects if you want all the strokes and effects applied to a selected object to be transformed along with object itself. Also you may choose to either transform objects or patterns applied to it as a fill, or both. The same options can be chosen in every transformation tool we learned above – simply by checking the appropriate checkbox in a tool dialog.

Section 6. Transforming Separate Elements

When speaking about transformation, we considered separate objects or groups of objects. However, transformation may be applied to parts of one object, like anchor points or segments. This does not apply to the Transform panel, as it only works with entire objects.

Transforming Segments

Just like entire objects, segments may be transformed in Illustrator with the appropriate tools or menu commands. To do it, select a segment of the object (the part of path between two anchor points) with the Direct Selection Tool (A) – white arrow. Now you can use the transformation tools or menu commands (move, scale, rotate, reflect, and shear) to change the shape of the segment. Keep in mind, however, that for moving a segment you should use the Direct Selection Tool – simply drag it where you need, or press Enter to insert exact move values.

Transforming Anchor Points

The same rules apply to anchor points. To transform an anchor point, select it with the Direct Selection Tool (A). Now you will see the handles – the guides attached to the point that condition a direction of the path. The transformation will be applied to these handles. Use the transform tools or menu commands to change their direction. Again, don’t use the Selection Tool (V) for moving points, as it only works with entire objects – choose the Direct Selection Tool to move anchor points. The Transform again feature also works with separate elements, also reference point can be changed just like with entire objects.

Section 7. Dynamic Transformation

All the transformation methods we described above are so-called destructive methods – they change the shape of an object. There are, however, ways of altering an object with non-destructive transformation. This is done with Illustrator Effects. This transformation embodiment can be applied to entire objects only, it does not work with separate points or segments.

Advantages of Effects

Adobe Illustrator Effects allows one to apply transformation or any other change as a style, when the initial object shape is kept intact. In this case all effects are shown in the Appearance panel (Shift + F6) and are fully editable. You can duplicate, delete, change settings of any effect applied to the object in the Appearance panel. If you want to apply all the effects applied to an object, go to Object > Expand. There are plenty of outstanding effects in the Effects menu, but we’ll only learn how to work with Transform effect in this tutorial.

Transformation Effect

In the Effect > Distort & Transform > Transform is hidden an important transformation command. It’s a dialog that looks pretty much like the Transform Each window – the same options for scale, move, rotate, flip, and random. All usual transformation tools are combined here in one effect. The only one field we didn’t see before is number of copies. Here you cam enter how many copies of the object you want transformed.

Enter all the settings you need for every field and apply – the effect will be shown in the Appearance panel. Now you can go back any second and tweak the settings of the Transform effect, changing dynamically any parameter. The interesting fact is that the initial object shape is not altered – you can check it in outline mode (Command + Y). Moreover, you can apply several transformation effects with different settings to one object.

Free Distort Effect

In the Effect > Distort & Transform > Free Distort there is an effect that works much like the Free Transform Tool we spoke about above. Here you’ll see a model of your object with a bounding box and four corner points. You can change the object shape freely by dragging corner points in any direction to distort it manually. Again, the effect is listed in the Appearance panel and does not affect the initial object’s shape.

Other Distort & Transform Effects

There are other interesting effects in Effect > Distort & Transform group that can alter the object’s visual appearance drastically. Pucker & Bloat drags object anchor points inwards or outwards on the distance you insert. Roughen, Tweak, and Zig Zag create nice random effects. Twist will twist an object to the desired angle. We won’t observe them in detail, but try them all to get familiar with these Transform effects.

Conclusion

Any topic in such a powerful program like Adobe Illustrator can be discussed for hours – you always find more secrets, tricks, and new features. It is especially true with Transformation – one of the most popular Illustrator features.

I tried to sum up everything I know about Transformation fundamentals in this tutorial, but I’m sure any of you can practice and find your own secret to transformations. Below is a simple abstract composition created with transformed geometric shapes – an example of how transformation can be applied in your artwork.

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Final Image Preview

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Tutorial Details

• Program: Photoshop CS4 and Illustrator CS4
• Difficulty: Beginner
• Estimated Completion Time: 1-2 hours

Step 1

Take a picture of yourself or of an other person.

Step 2

Open the photo in Photoshop, unlock the layer. Using the Pen Tool, create a path around yourself. After the path is completed, with the Pen Tool still active, right-click it within the image and select Make Selection. A new menu will pop up, set the Feather Radius to 0 px and press OK. Now you have the selection, and while it is still active, press the Add Layer Mask button, which is under the layers panel. Now the background of your photo should be white.

Step 3

Press the button Create New Fill or Adjustment Layer under the layers panel and then select Threshold. Now you will be creating the guides for black and gray paths in Illustrator. You will need one image with strong threshold settings and one with lower. Decrease the threshold lever until you have settings that you like. Then go to File > Save As and save the image in JPG format. Go back to Threshold and now increase the threshold settings so that you would get a much stronger effect and save out an image as well. And you are done with your work in Photoshop! Let’s jump back to Illustrator.

Step 4

Open up both of the images in Illustrator. Now select one of the images and copy it. Go to another image and press Command + B to paste it in the exact position.

Now select one of these images again, and in the top menu press the triangle located to the right of the Live Trace button (shown below). Select Tracing Options. A new window will appear, be sure to put a tick on Preview so that you can see how different settings affect your image.

I used these settings: 4px Blur, 4px Path Fitting, and 1000px Minimum Area. And, after you are satisfied with the results, press Trace and then Expand.

Do the same for other image as well.

Step 5

Create a rectangle path and fill it with color, then just place it in the bottom of all the layers as your background color. You should now have two groups, make one of these invisible by unchecking eye next to it. Now, in the visible group, delete all the white paths, as they won’t be needed. Again, you will need to repeat the process for the other group.

Step 6

Select all of the paths of the group which had a higher Threshold Level and change their color to gray. Make sure this gray group is under the black group. Grab the Pen Tool, draw a new path around the face, and fill it with white. Place this path above the background layer.

Step 7

This step will be the most time consuming and the most creative one. You will need to select each path and clean it up. I started with the black paths. Best way to clean them is to Grab the Pen Tool and delete unnecessary points in the paths. With less points, paths will be way easier to control. I also created a new path for the nose, except I didn’t use any fill color, instead I applied a stoke fill. After the black the group was finished, I did the same for the gray group.

Step 8

All you have left to do is to add a few details to your vector portrait, like the white path for the eyes and the lips.

Conclusion

Using this technique, you can create a lot of realistic vectors rapidly, and they don’t have to be black and white, you can add as many colors as you like. Using exactly the same technique, I have created a t-shirt as well.

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Final Image Preview

Below is the final image we will be working towards. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS4
• Difficulty: Beginner
• Estimated Completion Time: 1 hour

Step 1

Create a new document that is 800 px by 400 px. It can be RGB or CMYK &mdash your preference. For this tutorial, I’ll be using RGB values to specify colors. Now draw a rectangle the size of the artboard and fill it with black (R=0, G=0, B=0). Lock the layer and create a new one above it.

Step 2

Choose the Line Segment Tool (\), click on the background and specify a 0&deg line, about 100px long. I’m using a bright green for the stroke (R=0, G=255, B=0).

Step 3

Select the line, and go to Effect > Stylize > Scribble. Enter the following numbers in the dialog box.

Step 4

Before proceeding, make a copy of the scribbled line, and set it aside. Always keep a copy of the line containing the live effect. Select the original scribbled line, and go to Object > Expand Appearance.

Step 5

With the expanded scribble still selected, choose the Free Transform (E) tool. Click the upper right handle of the bounding box, then hold down the Command + Shift + Alt keys. Then drag the corner downward, so that the object transforms in perspective, narrowing on the right side. It may take a few tries to get the hang of it &mdash remember to click the corner before holding down the modifier keys.

Step 6

Drag the transformed scribble to scrunch it up a bit. This is the first beat of the waveform.

Step 7

Draw a new line as before, then go to Effect > Distort & Transform > Zig Zag. Enter the following values in the dialog.

Step 8

Go back to the Effects menu, and this time select Warp > Fish. A 50% Horizontal bend will give the line a diminishing effect.

Step 9

As before, make a copy of the zig-zagged and warped line. Expand the effects on the original (Object > Expand Appearance). Now take the Convert Anchor Point Tool (Shift + C) and click once on the left-most point of the line. Use the Direct Selection tool (A) to drag that point upward.

Step 10

Now slide this line over to meet the first scribbled line.

Step 11

Go back to the scribbled line copy you made in Step 4. Make another copy of it and set it aside. Click the Scribble effect in the Appearance panel to edit the effect. Be sure to check the Preview box, then just experiment with changing the values. You still want it to look like a spike in the waveform, but not identical to the first one.

Continue as before, expanding then free-transforming the scribble. Do the same with the zig-zag line copy, and line them up with the previous objects. Select all, then make sure the stroke weight is the same on each line. You should now have the basic waveform constructed.

Step 12

Now let’s add some finishing touches. Click on the “Waveform” layer in the Layers panel, and drag it to the Duplicate icon to make a copy.

Now select everything on the original “Waveform” layer and go to Effect > Blur > Gaussian Blur. Enter 20 to 30 pixels. You may wish to rename this layer “Blur.”

Make one more layer, this time above the “Background” layer. Choose the Rectangular Grid Tool, and click on the top left corner of the background. Make the size the same as the artboard/background, then enter values for the horizontal and vertical dividers. Change the stroke weight to .25 points. And your done!

After completing this tutorial check out another tutorial on Vectortuts+ that covers using the Scribble Effect as well.

Variations

This technique has many applications. Experiment with the Scribble settings to create an ECG (electrocardiogram) effect, a multi-channel audio waveform, or just an electric abstract background.

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Final Image Preview

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Tutorial Details

• Program: Adobe Illustrator CS3
• Difficulty: Beginner
• Estimated Completion Time: 30 minutes

Below is the final image we will be working towards.

Step 1

Use the Pen Tool (P) to draw the following path. You will need it for the marker itself as well as for its cap. Set the Width to approximately 5 mm and the Height to approximately 12 mm.

Step 2

Use the Convert Anchor Point Tool (Shift + C) to round the two corners as seen below.

Step 3

Duplicate your path (drag it to the side while pressing the Alt key). Then use the Direct Selection Tool (A), select the two lower Anchor Points of the duplicated path and stretch the shape to a Length of approximately 70 mm.

Step 4

Use the Pen Tool (P) to draw the tip of the marker. The Height is approximately 20 mm. Select both elements of the marker and group them (Command + G).

Step 5

Select the cap (the first path), place it next to the tip of the marker and flip it horizontally (Object > Transform > Mirror).

Step 6

Select the Add Anchor Points Tool (+) and add two new Anchor Points to the path: one at the left side and one at the top. Then use the Direct Selection Tool (A) to move the upper-left Anchor Point as seen below.

Step 7

Remove all outlines and fill the shaft of your marker with a light gray (K=10) and the tip and cap with red.

Step 8

Use a black and bold Sans-serif font for the text of the imprint. You could even add additional elements like a barcode if you want. Placing it vertically and adjusting its size at this stage is useful.

Step 9

Group (Command + G) all elements of the imprint and drag and drop it into the Symbols Palette to create a new symbol.

Step 10

Select the cap of your marker and revolve it (Effects > 3D > Revolve). Activate the preview and rotate it.

Step 11

Now select your marker and revolve it too (Effects > 3D > Revolve). After you rotated the marker press the Map Art Button. This will open a new window.

Activate the preview and click through the surfaces. Once the red grid of the desired surface is shown, select the imprint symbol from the left drop-down menu. Click the OK buttons to close the windows again.

Step 12

Once the marker is finished, select the Brush Tool (B) and draw a red line. Place it behind the marker (Object > Arrange > Send to Back) and open the Brushes Palette (Window > Brushes). Click on the icon for a New Brush and create a Calligraphic Brush. You can experiment with the settings, but I recommend choosing an almost round brush with little random values.

Step 13

If you want to put the cap on the marker, just replace it in the 2D view. Make sure to leave a small gap between the marker and its cap and group all three parts of the marker (shaft, tip and cap) before applying the 3D effect.

Conclusion

The final image is below and have fun creating your own markers.

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Final Image Preview

Below are the images we’ll be creating in this tutorial using the Appearance panel. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

• Program: Adobe Illustrator CS3/CS4
• Difficulty: Beginner to Intermediate
• Estimated Completion Time: 60 minutes

Introduction

The more you explore Adobe Illustrator, the more you’ll learn about it’s magic and get fascinated by it’s secrets. I oftentimes like to make up vector challenges for myself, and this time I wanted to create a flower in Illustrator with only one shape, using no brushes. That is a moment when the Appearance panel is everything – the perfect tool for managing your complex object. Today we will learn the magic of the Appearance panel, the ways to use it and its advantages, and then we’ll create several objects with it’s help to practice the skills.

Theoretical Part

Let’s start with theory, so that even beginners understand the secrets of multiple items and the Appearance panel.

1 – Where is the Appearance Panel?

The Appearance panel was introduced in the 9th version of Illustrator, and it was a very creative and smart developers’ decision to add this tool. It brought object modifications to the next level, opening new horizons for vector designers.

I suggest that you open up the Appearance panel to be able to access it at any moment. To bring it up, go to Window > Appearance, or press Shift + F6. You’ll see an ordinary Illustrator panel that looks rather simple, but you can’t even imagine what is hidden in it!

2 – What Appearance Means?

The Appearance panel is a place where all modifications of a particular object are listed and made. Actually, it applies not only to shapes, but to text, groups of objects, entire layers and so on. Therefore, any object on your artboard has some appearance, and it can be viewed in this panel. To access it, select the object and then go to the Appearance panel – and you’ll see it as a list of elements. Perhaps, you’ll see only stroke, fill, and default opacity shown there, if no other changes were made.

Important Note: Make sure an object is selected when you access the Appearance palette. When nothing is selected, this panel shows elements of the last selected objects, but nothing happens when you edit it.

3 – What is Shown There?

Of course, when I said “all modifications” are shown in the Appearance panel, I did not mean actually all of them. It is not similar with the History panel in Photoshop, so most of the actions you apply to the object are not listed there. Only modifications that alter the object appearance are written – that is why it is called Appearance (more like layer styles in Photoshop). Therefore, when you move the object, transform it with any transform tool, cut it, edit points, and so on – these actions have nothing to do with this palette. On the other hand, anything related to the object’s fill, stroke, opacity, blending mode, brushes or effects applied will always show in the Appearance panel.

4 – Appearance Possibilities

When the targeted object is selected, you see its fill, stroke, and its general opacity in the Appearance panel. However, you are able to add more fills or strokes to it (I’m not sure how many, but I’ve added up to 30 easily). Here is the biggest secret – multiple fills and strokes are very powerful! There are several ways of adding them in the Appearance panel:

1. Select either fill or stroke in a stack (depending on what you want to add) and press the small Duplicate Item icon. This way the copy will appear on top of the original, inheriting all of its parameters (type, color, opacity, mode, brushes, and effects).
2. Select either fill or stroke in a list and drag this element onto the Duplicate Item icon. Also you can choose Duplicate Item in the fly-out menu. These are equivalent to the previous method.
3. Go to the panel fly-out menu and choose Add New Fill or Add New Stroke, then a new fill or stroke will appear on top of all the other elements, and it will have no effects or brushes applied to it (however, it will inherit the color and type of the last chosen fill or stroke). If an item is selected in the stack, the new one will be added on top of the selected one.

This way, you can add many fills and strokes to any selected object. This also applies to other items in this panel, like live effects. It may not sound inspiring at the beginning, but consider this: there are two types of strokes (color and pattern) and three types of fills (color, gradient, and pattern), now multiply it by sixteen blending modes, one-hundred opacity levels, countless variety of stroke width and types (also plenty of effects) – and you’re starting to understand how many things that can be done with this panel!

5 – Changing Items

When you add a few more fills or strokes to an object, you can then alter their color and type by choosing the particular element from the list in the Appearance panel, then pick the color, gradient, or pattern in the Swatches panel.

For strokes you can change the width and type in the Strokes panel (Command + F10). Users who use the Illustrator CS4 version may pick the color or change the stroke width right in the Appearance panel, which is handy.

Of course, try altering opacity and blending modes of any item in the Transparency panel (Shift + Command + F10). To delete an item, simply drag it to the Trash icon. All the items in the Appearance panel are handled individually – only you can’t move or transform them separately with the usual tools.

6 – More Advantages

You can’t just take any particular fill or stroke and edit its points or transform it, because it is not a separate object but a part of the object appearance. However, there are ways of altering the shape of any item in the Appearance panel.

The Effects menu gives you enough amazing options for dressing object fills and strokes the way you like – either together, or separately. You can move and rotate the item using the Transform effect, turn it into another figure with Convert to Shape effect, offset the path applying the Offset Path effect, and many more great effects, such as: shadow, glow, and Photoshop filters like blur or texturizer. You have to try them to realize their power. Once applied to the item, effects are shown in the Appearance panel with the FX symbol.

7 – Order of Items

Another great thing about the Appearance panel is the possibility to change the order of items for any object. You can easily drag one element up or down in the stack to achieve the needed result. Moreover, you can do it with effects too. When the effect is applied to the entire object, it is positioned on a separate level in the Appearance panel. Still, you can drag it on any item to use it on particular fill or stroke.

Sometimes changing the order of items in the Appearance panel will result in a completely different outcome. In Illustrator CS4 version you also may hide items by clicking an eye icon on the left of it. I recommend you to visit this brilliant Vectortuts+ tutorial that explains a lot about the Appearance panel and the order of elements in it: Using Effects to Create a Cool Design.

8 – Where We Can Use It

Multiple strokes and fills, as well as other items in the Appearance panel, may appear very helpful and save plenty of time. You can use advantages of the Appearance panel in cases where several elements of similar shapes must be positioned on top of each other by simply adding a few additional fills with different parameters, rather then creating several separate object.

You can also use it to create multiple strokes on a single editable path rather then using a few copies of the same path. Also,the Appearance panel is great for creating evenly distributed copies of objects or it’s parts (fill or stroke) with the powerful Transform effect.

It is possible to create elements that are masked with the top items so that the background shows through, just like an opacity mask, with multiple fills or strokes only. You can even try using the Appearance for more complex objects, where every item has a different shape – in this case you’ll need to apply certain effects to achieve the result.

9 – Where We Can’t Use It

Unfortunately, although Appearance panel is very powerful, it has certain limitations, and not everything is possible to create with it on one object. By default, every fill and stroke added in the panel has exactly the same shape that the original object has. So, it may sometimes be hard to change the shape of items if you need to.

You can’t use Appearance panel to create elements with really different shape, as it’s not easy to present it with multiple fills on one object (but you can use it if you need a rectangle or ellipse, with the help of the Convert To Shape effect.

It’s impossible to make one object that consists of several elements of drastically different point amounts and type – as we can’t edit points of fills in the Appearance panel.

Also it may not be easy to create many elements positioned too far from each other or too randomly scattered. For all those situations it is better to create different objects, rather than trying to fit various elements in one object via the Appearance panel.

The image below shows fills with different shapes, point types, and scattered to randomly, which demonstrates these problems.

10 – Saving Effects

There is one more advantage of the Appearance panel that I love to use very often. Imagine you create a complex object, add many fills and strokes, apply effects and brushes, adjust opacity and blending – and the work is finally done. You then want to try this combination of items on other objects, while not spending so much time for modifications again.

There is a simple way to save the combination of all items in Appearance panel to apply to any other object. Simply select the object, open the Graphic Styles panel (Shift + F5) and press New icon. The Appearance will be saved as a graphic style (similar to Photoshop layer styles), you can name it and apply it to selected shapes.

Practical Part

If you read the explanation above carefully, you understand how invaluable the Appearance panel is for making work in Illustrator easier and more fun. Let’s apply the knowledge we gained by putting it into practice.

We’ll create five objects with the help of multiple fills in the Appearance panel, from the easiest to the more complex. We will be using the Appearance panel all the time, so make sure it is open in your document (Shift + F6).

We’ll implement primarily fills and effects today. In this tutorial we’ll use very few strokes and won’t be using brushes – multiple strokes were explained in the tutorial How to Create Roads and Rail Tracks on a Path, while brushes are so amazing that they will need a separate tutorial to cover in depth.

11 – The Sun: Beginning

Let’s create a new document in Adobe Illustrator – I made it 1200 px by 800 px in RGB mode, though you can choose other parameters. We’ll start from the easiest object – the sun. Create a circle (L) 100 px by 100 px, give it no stroke and a subtle yellow-to-orange radial gradient fill.

12 – The Sun: Adding Rays

Now, while the circle is selected, open the Appearance panel (Shift + F6) and add one more fill. We want to add rays to the sun, so we’ll apply the Pucker effect. But the only problem is that this effect will create rays depending on amount of points in the shape.

We have only four points – not enough for sun rays. So go to Object > Path > Add Anchor Points, this command adds four more points. Now we can choose the bottom fill and go to Effects > Distort & Transform > Pucker & Bloat, and move the slider to the left about 130% – the rays are ready.

13 – The Sun: Adding a Hole

Although the sun looks nice already, I decided to add one more element to it – it is not necessary, but it gives a creative detail to the object. Honestly, the real reason I add this step is because I want you to learn one trick with the Transparency panel.

We will make a hole in the sun, so that the background is visible. Select the sun and add one more fill on top. It’s color does not matter, so I changed it to black. Now go to Effects > Distort & Transform > Transform, and reduce both the horizontal and vertical scale to 50%. You’ll have something similar to the image below – not very pretty, but be patient.

14 – The Sun: Finalizing

Now, with top black fill chosen, open the Transparency panel (Shift + Command + F10) and reduce its Opacity to 0%. It will become invisible. Go back to the Appearance panel, and choose the topmost line that says Path, and back in the Transparency panel check the Knockout group option. The top black fill will knock out all the bottom fills, and the background will show through!

This Transparency panel option works for groups where objects with 0% Opacity serve as masks, although this trick affects separate objects as well. I also altered the main fill (second) moving the yellow gradient slider to the right to make the transition faster.

The sun is ready! All its elements are actually Appearance items, while the shape remains a simple circle. We applied three fills to this shape, one effect, and Transparency options. You can check it in outline mode (Command + Y). Now you may want to save this combination of effects as a graphic style – name it “sun.”

15 – Clouds: Main Shape

Let’s move to another object – the clouds. First, we’ll create the basic cloud shape with the Ellipse Tool (L). Create several ellipses so that they form the image we need. Don’t make them big – my resulted cloud was 180 px by 90 px.

Now unite ellipses into a single path by pressing the Add button in the Pathfinder panel, press Expand (or simply Alt-press the Add button to unite and the Expand with one click). Change the fill color to a light blue (#AFEBF9) and the stroke to a vivid blue (#57E0FF) at 1 pt wide.

16 – Clouds: Volume

Now we’ll use a simple trick to add dimension to the cloud. Add one more fill in the Appearance panel and change it to a default white-to-black gradient. Change the gradient angle either in the Gradient panel (Command + F9) or with the Gradient Tool (G) to -90 (from top to bottom). Now go to the Transparency panel and change the fill blending mode to Overlay.

17 – Clouds: Softening

To make the cloud more cloudy, let’s soften it’s edges. With the shape selected, choose the topmost line in the Appearance panel saying Path (make sure the effect applies to the entire shape, rather than to any one particular fill) and go to Effects > Stylize > Feather, and enter 10 pt. Now the effect appears in the bottom of the Appearance panel, and you can change the settings any moment. The cloud looks much better now.

18 – Clouds: Duplicating

I’ve mentioned before in the Theoretical section that we can make copies with the Appearance panel. Let’s duplicate the cloud. Again, with the entire shape selected (topmost Path line in the Appearance panel), go to Effects > Distort & Transform > Transform, and change the Horizontal Move to -60 pt, and Vertical Move to 30 pt. Check Preview and enter 1 for the number of copies. If you like the outcome, apply the effect.

19 – Clouds: More Copies

We could make more copies in the last step transform effect, but they would look too evenly distributed. We better apply one more effect to create more clouds.

Again, with the entire shape selected go to Effects > Distort & Transform > Transform (in the prompt window click Apply New Effect). This time, change the Horizontal Move to 70 pt and Vertical Move to 30 pt. Also enter 1 for copies, and reduce both the Vertical and Horizontal Scale to 90%. If you are happy with result, apply the effect.

The clouds are ready! They are nice and soft, and there are several copies, while the shape remains simple. All the effects we see are just magic tricks of the Appearance panel. Here we used two fills, one stroke, and several effects. You can save it as graphic style to apply to other shapes later – name it “clouds.”

20 – Daisy: Beginning

We’ll proceed with creating another object – let’s make a daisy. Create a circle (L) 40 px by 40 px. Fill it with a blue radial gradient going from a lighter (#00A6E0) to darker shade (#345197) of blue.

Now select the fill in the Appearance panel and go to Effects > Distort & Transform > Transform, here enter 60% for the Vertical Scale and 145% for the Horizontal Scale. Leave the other sliders intact, but make sure to choose the middle-bottom point in the little proxy on the right to assign the point of transformation. Apply the effect and the petal is ready!

21 – Daisy: Petals

Again, with the only fill selected, go to Effects > Distort & Transform > Transform, choose Apply New Effect. Here enter 100% for both the Vertical and Horizontal Scale, leave the middle-bottom point in the proxy, and type 45 for the angle. For the number of copies enter 7 and apply the effect. Now we have eight petals for our daisy.

22 – Daisy: More Petals

Now we’ll make another row of petals. Duplicate the only fill we have in the Appearance panel – you’ll get two of the same fills. Choose the bottom copy and double-click the top Transform effect line. We’ll edit it so that these petals are visible under top ones.

Change the Vertical Scale to 80% and Horizontal Scale to 180%, now you’ll see the bottom petals. Still, they are not positioned properly, so let’s rotate them. With the bottom fill selected, again go to Effects > Distort & Transform > Transform, choose Apply new effect. The only parameter we need here is Angle – change it to 22,5, while the number of copies we need is 0, and transformation point we need now is central. Apply the effect and see the result.

23 – Daisy: Center

Now, add new fill using the fly-out of the Appearance panel. This way the new fill will be added with no effects, as when you copy the existing one. Apply a yellow-to-orange gradient to it.

Now again go to Effects > Distort & Transform > Transform, you only need to move it a bit down, so change Vertical Move to -20pt and apply (enter 0 for copies and central point for proxy). Now add a subtle shadow to this fill (Effect > Stylize > Drop shadow), use orange for the color and change X and Y shift to 1 pt.

24 – Daisy: Texture

To complete the central part of the daisy, duplicate the top yellow fill and change the fill from gradient to pattern texture – I chose the Mezzotint pattern (Window > Swatches Libraries > Patterns > Basic graphics > Textures). You can try other pattern from this library – the only demand we have is we need a random texture here.

Now simply change blending mode of the texture fill to Overlay in the Transparency panel – and you’ll have nice textured surface. Just keep in mind that the pattern fills are as powerful as other items in the Appearance panel.

25 – Daisy: Finalizing

You probably noticed that the new texture fill has drop a shadow effect left from duplicating. We don’t need it here, but don’t delete it. Take the drop shadow line on the top pattern fill and drag it down to the first blue fill. This way we just moved the effect from one item to another.

Now double-click it and just change the shadow color from orange to blue. Now duplicate it by dragging it to the New button in the Appearance panel. Drag it down to the bottom blue fill. Now all the items cast a subtle shadow.

The daisy is completed! It looks like a complex group of many objects, while it consists of a single shape – all the elements are made with Appearance panel. We applied four fills, including a pattern fill, and various effects to it. Again, save the object as a graphic style to use it later (but mind the size of the objects when applying it).

26 – Ladybug: Basic Shape

It’s time for a more challenging object – we’ll make a lady-bug now. Create an ellipse (L) 120 pt by 100 pt. Please, make it this exact size, as all future modifications will be based on it.

Leave the stroke 1 pt black, and change the fill color to red (#E21B25). Select the red fill in the Appearance panel, and add some inner shadow by going to Effects > Stylize > Inner Glow. Here change the color to red, Opacity to 50%, and Blur to 12 pt.

Add a new fill in the Appearance panel and change it to a white-to-black radial gradient. Now in the Transparency panel change its blending mode to Overlay to make the lighting.

27 – Ladybug: Adding Wings

Now we need wings – or, the border between them. We need a thin black path in the middle of the ellipse. Although it seems impossible, we’ll create this with effects.

Add new fill with no effects and black for the color color on top of the stack in the Appearance panel. Now go to Effects > Convert to shape > Rectangle. Here we can turn any shape into rectangle – what we need is a very thin (2pt) and 120 pt long rectangle. We can enter absolute dimensions (120 x 2 pt), but this way later, when the ladybug is saved as a graphic style and applied to another shape, this fill may not fit the shape if it has different size.

So I suggest that you enter a relative rectangle size: 0 pt extra for width and -49 pt extra for height. Finally, apply Effects > Warp > Arc to this fill, and reduce the bend to 15%.

28 – Ladybug: Making the Head

To add the head, create a new black fill in the Appearance panel without any effects. Now go to Effects > Distort & Transform > Transform, and reduce the new fill and move it so that it looks like a head: reduce the Horizontal Scale to 40%, Vertical Scale to 45%, and enter 50 pt for the Horizontal Move. The head is ready, the only thing we need to do is drag this fill from the top of stack to its bottom in the Appearance panel.

29 – Ladybug: Creating the Legs

The more difficult part of this object is its legs – it’s rather hard to create with fills. You can add six black fills, convert them to thin rectangles, and then transform separately. But I think this approach is very long, and I offer you a more creative method. We’ll use only one additional stroke for it – although I promised to use multiple fills only, I think you’ll forgive me this exception when you see this fun technique.

Add one black stroke to the object in Appearance panel. Now in the Stroke panel (Command + F10) adjust some parameters: change the width to 20 pt, make sure the Butt Cap icon is chosen, select Align Stroke to Outside icon, and check Dashed Line. Here, assign the following order: 2 pt stroke – 56 pt gap. Voila! The dashed stroke turned to six legs. However, if you have a different size of initial ellipse, you’ll have to choose the exact gap size yourself.

30 – Ladybug: Adding Dots and Finalizing

We’ve come to the most challenging element of the ladybug – the dots. Of course, we can create them by duplicating the head, fill six times and then transforming every dot manually to position them onto it’s body. But, again, I found a more clever way of adding dots that you might like. We will need just one more stroke for it – as long as we already used one.

Add one more black stroke to the object in the Appearance panel. Now uncheck the Dashed option in the Stroke panel for a minute, leave it 20 pt wide, but choose the Align Stroke to Center icon.

Now go to Effects > Distort & Transform > Transform, and reduce both the Horizontal and Vertical Scale to 65%. Go back to the Stroke panel, and check Dashed Line again. Here enter 1 pt for stroke and 37 pt for the gap. Finally, change the cap option to Round Cap – and the stroke turns to six nice dots! Again, this numbers work if the initial ellipse size is 120 pt by 100 pt, or you’ll have to choose the gap size manually.

The ladybug is ready – the only thing left here is to add a drop shadow to the entire object (dark red color and 50% for Opacity). It was not easy to make this object, and you can save the effects as a graphic style now. The object still remains a simple ellipse – check it in the outline mode (Command + Y). For this object, we used four fills and three strokes, and numerous effects.

31 – Rose: Beginning

Now we came to the last and most complex object in this series – the rose. Create the base for it – an ellipse 80 pt by 65 pt (please note, that all effects will be based on this size).

Make it no stroke and give it a pink radial gradient fill that goes from lighter pink (#E23770) to a darker shade (#BA0053). Now go to the Appearance panel and apply a Transform effect to make 4 copies of this petal, entering 72 for angle and choosing middle-bottom point in the proxy.

32 – Rose: Adding More Petals

Duplicate the fill by dragging it to the New icon in the Appearance panel, now go to Effects > Distort & Transform > Transform to apply a new transformation. Enter 85% for both Horizontal and Vertical Scale to reduce the petals, and insert 30 for Angle to rotate them. Make sure the center point is chosen in the proxy and apply.

Now to add even more petals, again duplicate the top fill in the Appearance panel, click the small arrow to show the effects applied to it, and double-click the bottom Transform effect. Change the transformation settings: enter 85% for both Horizontal and Vertical Scale to reduce the petals, and insert 30 for the Angle to rotate them. Make sure the center point is chosen in the proxy and apply.

33 – Rose: Center

To create the central part of the rose, add a new fill to it through the Appearance panel flyout menu. Change the gradient to yellow-to-orange, now go to Effects > Distort & Transform > Transform and reduce the Horizontal Scale to 50% and Vertical Scale to 60%, now change the Vertical Move to -30 pt, and apply. The fill will be scaled down and positioned in the center. Now go to Effects > Distort & Transform > Roughen, then enter 5% and Relative for Size, 10 for Detail, and Smooth for Points.

Now duplicate the top yellow fill and change the transform settings by double-clicking it in the Appearance panel. Change the Horizontal Scale to 30% and Vertical Scale to 40%, also change the direction of the colors in the gradient by dragging the yellow slider and holding Alt to the orange one, so that they change position. I’m not sure if a rose can have such a center, but in my fantasy it surely can.

34 – Rose: Creating the Stem

Add a new fill to the rose via the Appearance fly-out menu, and make it green. Now go to Effects > Convert to Shape > Rectangle, this time choose Absolute for the size at 4 pt Horizontally and 250 pt Vertically.

Now go to Transform effect and change only the Vertical Move to -200pt and apply. The last effect for the stem is Effects > Distort & Transform > Zigzag, then enter 2 pt for Size, check Absolute, enter 4 Ridges per segment, and choose Smooth Points. Lastly, drag the stem to the bottom of the stack in the Appearance panel.

35 – Rose: Making the Leaf

Let’s finish the flower with a leaf. Add a new fill to the rose, no matter where exactly. It may be on the bottom or on the top of the stack. Change it’s color to green, a little lighter shade than the stem.

Now transform it this way (of course, by going to Effects > Distort & Transform > Transform). Now enter 60% for Vertical Scale, insert 30 pt for Horizontal Move, -150 pt for Vertical Move, and enter 40 for the angle. Now this fill reminds me of leaf, if your initial object size was exactly like mine.

36 – Rose: Modifying the Leaf

With the last green fill chosen, go to Effects > Warp > Flag, choose Horizontal, and enter -20% for Bend to distort the leaf. Now in order to add dimension, apply some inner shadow: go to Effects > Stylize > Inner Glow, and change Opacity to 50%. Set the color to dark green and Blur to 10 pt. You can copy this fill now to add more leaves – only with edit Transform effect applied to it (Angle, Scale, and Move).

37 – Rose: Finalizing

The rose is almost ready, the only thing I wanted to add is a subtle Drop Shadow effect to the bottom yellow central part, and another one with the same parameters to the entire shape. Now it looks as though the flower is laying on a surface.

Voila! The rose is ready – this was the most complex object today, and nobody can tell that it is made with only one shape! It took eight fills and plenty of effects, as well as some patience, to create this flower. Save it as a graphic style and name it “rose,” but I can’t promise that it will look great on other objects without tweaking some settings.

Conclusion

Today we learned how to work with the Appearance panel, its secrets, advantages, and limitations. We put theory into practice by creating five different objects in the Appearance panel. We created nice cartoonish elements that consist of only one shape each, while they look like a group of various objects.

Some of them were rather simple, while others were challenging and a bit tricky, like the ladybug and rose. You can go on and continue the theme with some scenery or create your own objects with the Appearance panel. I hope both vector beginners and Illustrator maniacs (like me) found something useful in this tutorial.

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Here is a link to Part 1 of this tutorial A Comprehensive Guide to the Pathfinder Panel Part 1 and the video version Part 2 is below.