Attaching Gradient Mesh to Perspective Grid

Is this possible?
I am using Adobe Illustrator CS5. I have created a gradient mesh brain and would like to place it on a perspective grid. When I select the gradient mesh and choose "Object", "Perspective", the option "Attach to Active Plane" is not select-able. (see screenshot)
How to I attach a gradient mesh object to a perspective grid? I have tried expanding, but the same problem exists.
Thanks in advance for any help.

Thank you for your comment. I have changed the location of the widget to the bottom left now so you can see it in the screenshot.
As you can now see I have selected the right-most (orange) plane, yet the problem still exists. I can't select "Attach to Active Plane" from the Perspective menu. I have also tried dragging the mesh with the perspective selection tool, but nothing happens...

Similar Messages

  • Gradient Mesh - distorted segments with no anchor points

    I often run into very strange behaviour with the Gradient Mesh tool, where a line segment becomes heavily warped (kinked, looped or with a hard angle in it) that has no anchor points or control handles to account for the distorted line segment. I've only seen this happen with the Gradient Mesh tool. In my most recent occurrence of this issue I have what should be a gently curved segment between two flat control points, and instead there's this massive "kink" in it that has a hard angle and nearly a loop that has nothing at all to do with the anchor points. There are no anchor points in-between these two (I started with a rectangle and just started adding and manipiulating points).
    Anyone else know what I'm talking about and have a workaround or solution? Or even an explanation of why this occurs might make me less frustrated.
    t

    Thanks for the response, Mike. I checked the surrounding points as a matter of first-line diagnosis, and nothing explains this distortion.
    In the image above you can see a "hump" which is not accounted for by any of the handles. The position of both control handles on each side of the segment would indicate a concave segment. The anterior handle of the circled point surprisingly has no effect whatsoever on the segment it is attached to - it is unclear to me what segment it is then controlling.

  • Can the Gradient Mesh Tool "web" be converted to an object to create 3D looking graphics?

    I am attempting to make a similar graphic with this 3D  appearance , using AI CS5.1
    The nature of how the gradient mesh tool appears would achieve the desired effect.
    I am trying to find a way, to capture and/ or add a stroke to the gradient mesh framework (seen in red) and/or save the mesh as an object.
    Suggestions, thoughts, work-arounds most appreciated.
    Thank you.
    ~design_element

    Assuming you're not going to do some very precise scientific studies, you may want to create rectangular grids and experiment with Envelopes (located in the Object menu).

  • Can I use CC Perspective grid "in reverse" -- for inside of a room

    Hello
    Using windows cc 2014 (most recent update).
    I want to draw the inside of a room using the perspective grid if possible.
    I see how it's done using a exterior of a building.  But I need it for inside of a room.  See attached mockup.
    I know I've seen a cc tutorial somewhere showing how to use perspective inside a room.  But can't seem to find it today.
    Any suggestions and/or links?
    Thanks
    Rowby

    with your perspective grid visible, select the "perspective grid tool" from the tool palette or press Shift+P. with that tool drag on the bottom controller of the vertical grids across to the opposite side so that the 2 vertical grids cross each other

  • Gradient Mesh within Path!

    How can I apply a gradient mesh within the path, instead of outside as in the diagram ?

    Gradient Mesh should be renamed "Gradient Grid." The patches are ordered as if in rows and columns. While trying to get familiar with (in order to actually get practical use out of) Gradient Mesh:
    1. Don't start with random shapes. Start with geometric prmitives that can be intuitively divided into columns and rows. (First a rectangle, then other shapes).
    2. Add your MeshPoints and pay attention to what happens. Try to discern the "logic" of what it is doing. If something occurs that you can't predict, back up a step and start over.
    3. When you think you have enough "grid cells" to fill with the colors you want, then carefully move the individual MeshPoints about to distort the original shape into the shape that you actually want.
    For example: How many of you would thnk the rotation of a bounding box would have a bearing on what happens when you add a MeshPoint? Those who don't, try this:
    1. Rectangle Tool: ShiftDrag a square.
    2. AltShiftDrag a copy of it rightward.
    3. Rotate the second square 45 degrees.
    4. AltShiftDrag a copy of it rightward.
    5. With the third rectangle selected: Object>Transform>ResetBoundingBox.
    6. MeshTool: click in the middle of each rectangle.
    Now, would you have understood that about Mesh Grads by just trying to use it on any arbitrarily-shaped path?
    I'm just saying: This feature is NOT intuitive. So you need to be systematic in your exploration of it if you every want to make effective use of it. Just jumping right in with converting arbitrary shapes to Mesh Grads (or Mesh Envelopes) is parallel to trying to use Illustrator effectively without reading the documentation.
    JET

  • Smooth Curves with Gradient Mesh???

    Hi everyone! For a school project I was to render an everyday object and I chose a pepper. I created the pepper with the mesh tool and also rendered it with the gradient mesh, now my instructor says that I need to have really smoothe curves but I have way too many anchor points so I don't know how to fix the curves. He said I might have to restart but please someone help me. I don't want to redo the whole thing.
    Thank you.
    Eagerly waiting for help.

    You don't actually need to redo it in order to reduce the number of grid lines. With the gradient mesh tool it's possible to delete them.
    Although I wouldn't consider this "way" too many. But you've got a problem with the dark spots in the upper right corner. It's too small to see the details there, but it looks like the grid lines overlap each other. try and fix that and then check if the points at the border are colored euqally.

  • Creating gradient mesh object, object turns into gradient mesh object w/ white fill

    Creating gradient mesh object, object turns into a gradient mesh object w/ white fill automatically.
    I would like this to be a stroke object as I cannot see the picture that I am trying to recreate.
    Illustrator is not allowing me to change the white fill into a stroke after I create the gradient mesh object.
    Here is the image when I try to create the gradient mesh object, I do not have the white fill option chosen and the image still
    becomes a white fill gradient mesh object.
    Please can anyone help??
    Thank you.

    Sure. A gradient mesh won't have strokes. It will always have fills. If you want no fill, you need to set the opacity of a single mesh point to 0%. But you actually don't want to do that for the complete grid, because it will be very time consuming to adjust this back to 100 percent for every single meshpoint when coloring them.
    Instead the usual setup is with the two layers. This allows you to see the gridlines and the template. Then you first adjust the grid (color doesn't matter for this). Then you pick up the colors from the template to color the single mesh points. From time to time you switch into preview to admire your work.

  • Concave perspective grid

    Hi,
    I am trying to familiarize with the perspective grid and I could not find similar topics already addressed anywhere, so I'm posting my question here.
    All the tutorials I have seen, and also all the examples, refer to a "convex perspective grid" that is typically the drawing of a cube seen from outside (like a building seen standing in front of it on the other side of the street).
    What about a cube seen from inside?
    For example, let's say I have arworks that represent paintings to be nailed on the wall of a room, and artworks representig the carpets to be laid on the floor.
    Can I use the perspective grid to represent the inner walls of the room?
    I understand that any given plane of the perspective grid extends beyond the visible grid itself, so I can draw "towards me" in a way that the external-right wall is the internal-left and so on, but I am struggling to get the results I expected.
    Is there any better way to do it?
    thanks a lot,
    Cristiano.
    (BTW, I tried to attach an example image, but I get "That type of image is forbidden"... no matter what imaeg extension I try bmp/png/gif/jpg, how do you attach images here?)

    Thanks, that's what I was looking for. Though I have to admit it took me a half hour to get it to work.
    And it's still clunky to work with. I don't think I'll be using it much.
    And I haven't been able to summon that dialog you show. I've tried double clicking everything with either Grid tool selected. I'm just not seeing it.
    Thank you, anyway. I wouldn't dare using the Perpective Tool without this feature.
    About the Free Transform Tool:
    What I meant was I'd like to be able to freely distort any object or group in order to make a faux perspective.
    When you select an object and summon the Free Transform tool you can stretch any corner independent from the other corners using a secret keyboard shortcut which I can't remember anymore. I hate how so many functions are hidden behind secret keyboard presses in order to make something work.
    Actually, I just found it in my notes. With the Free Transform Tool you have to start moving a corner, then, and only after you started to drag you can press the Command (or Control) and then you can stretch that point. I made a sample below. I should have made it into a group of objects so it was clearer what was happening.
    Anyway, imagine this: say you have a simple rectangle. With the Direct Selection Tool you can move any corner without disturbing the other 3. That's what I'm looking for. I'd like to do that with any object or group. The problem is when you use the Direct Selection Tool to do it, the Bounding Box resets after every move. If you distort it too much, the corner points in the bounding box quickly become harder to use because they are so distant from the "corner" of the object which they are controlling.
    In Corel DRAW it's so amazing simple rather than the clunky steps I have to go through to do it in Illustrator (as in the video).

  • Bristle brush merge to single gradient mesh object?

    Hi there, I'm hoping someone might be able to help.
    I'm using the bristle brush to create some organic highlighting on my objects. Since the file gets too large & unmanageable, I tried thinking of other ways to reduce it down to just one gradient mesh object. I've seen suggestions of converting the bristle brush strokes to Raster, but I need this to be scaleable.
    I've attached an image that shows an example of the bristle brushed object (painted inside an object), the outline view and the crazy Expanded view.
    Any suggestions on how to combine this into one gradient mesh object? Any other ideas? I can't seem to find anything in the forums or on the web that addresses this.
    Thanks so much!
    Lisa

    THis is nearly automatic:
    Not that I would advise to create a mesh like this, but for this kind of structure quite OK.
    Made on a Mac

  • Illustrator CS6 to CS4: White lines along edges of semi-transparent gradient meshes

    Hi,
    I recently invested in CS6 Production Premium and I've just tested legacy support by saving an Illustrator CS6 image in CS4 format.
    The image contains a number of semi-transparent gradient meshes used for highlights.
    Having loaded the saved CS4 .ai file in CS6, white lines appear along my semi-transparent gradient meshes (see the attached screenshot).
    What's happening is that the anchor points with 0% opacity in CS6 suddenly have 100% opacity when I load the saved CS4 files in CS6.
    Is this a known error?
    If so, how/where do I report it?
    Here are the relevant CS6 and CS4 files:
    http://snk.to/f-chcig8s9
    P.S. There are no white lines when I save the image in CS5 format and load it in CS6.

    The image contains a number of semi-transparent gradient meshes used for highlights.
    CS4 doesn't support semi-transparent gradient meshes. So they are simulated by using opacity masks. The masks are generated atuomatically from the meshes in the file, so they have the exact same size, which causes the fringes. If you would create this manually, you would make the opacity mask slightly larger in order to avoid fringes.

  • Need help with adding shadows to a shape (gradient mesh?...blur tool?)

    Hello. I'm an Illustrator novice, as you will be able to tell from my question. I'm somewhat familiar with the gradient mesh tool as well as the raster effects that Illustrator CS3 offers, but I can't figure out how to use them to do what I have to do.
    Here's my situation. I'm creating a logo design. It is a musical note with a flame coming off of it. I want to add the appearance of the shape having shadows (yellow for the light areas, and red for the shadowed areas).
    I can't get the gradient mesh tool to work because I'm assuming the shape is too complex. I understand that I could probably just create a bunch of different gradient mesh areas and just try to mesh them together, but is this necessary? ...and is chopping my shape into mulitple sections really the best method ? (it sure doesn't seem like the logical solution).
    Then I tried using Illustrators blur effects. I'm concerned to even use them for a logo design, because the "blur" effect is raster, and with a logo; it's probably not wise to use anything raster, correct? Anyway...i can't get it to work. I created a shape using the pen tool to replicate the shape of the shadow. When i blur it, the blur is visable outside the original logo shape. I don't know how to make it stop at the path edge. Does anyone know how?
    If anyone can please help me here, I would be more than grateful. I realize these questions probably stupid ones, but I just can't seem to figure out how to do this, despite reading tutorials and watching numerous youtube videos on the gradient mesh tool; I can't seem to figure out how to adapt it to my situation.
    Here is the image I created in Photoshop. I am trying to duplicate it in Illustrator CS3.
    [URL=http://img515.imageshack.us/my.php?image=surefiremusicnote.jpg][IMG]http://img515.ima geshack.us/img515/9348/surefiremusicnote.jpg[/IMG][/URL]

    Thanks Steve and Jet. I've spent the lasts 2 hours calling around to different print shops in hope that I can maybe trade labor for insight into their printing process. Problem is there seems to be a lack of 4 color offset printing companies who also offer spot colors. I really wish I had the money to take a class, but when I do, I will. I just contacted a few freelance designers who seem to have a lot of print work in their portfolios. Maybe they can teach me a thing or two, and in return I can drop them a few bucks or help them with something.
    Jet, you've got me very concerned here. What do you mean by "It's not just a matter of selecting colors; it's also a matter of selecting the number of inks necessary to render them in the various reproduction methods in which the mark will be used"? Are you just stating the importance in using swatch books (Pantone)?
    You mention the importance of a design being rendered in different forms (apparel, signs, promotional items..). So how should I go about doing this? Lets say a client wants a "mark" printed on all of the things you stated. Is it my duty to find out what printer they will be using before I submit design files to them? Is it the job of the designer to contact the print shop and get their profiles for different prints (glossy paper prints, matte paper prints, t-shirt printing, vehicle graphic printing)? This is all very time consuming, so should there not be extra charges when dealing with setting up different print settings for particular print jobs?
    I've read the blogs of some successful logo designers. David Airey for example just submits his logo design to his client in eps form I believe (plus any requests). Should he be submitting a separate file for each intended use, or is this the job of the client and printer to work out?
    You've got me extremely worried that I am going to really deal someone a bad hand here. As far as I know, this hasn't happened yet; but I'm glad you have me concerned. The sad part is that I do have a 2 year degree in graphic design and I didn't learn one thing about printing and it's association with color. The little I have learned is from the internet. I've checked out Amazon(dot)com for a good book on learning about color and print, but there seems to be a lack of recently written books (with reviews) regarding the subject. Can you recommend any?
    I started doing freelance work because people would ask me to design a t-shirt for them, or a flyer for their small business. So I did. Now I have more people requesting my services. It's hard to turn down the money, especially in these times. But at the same time, I don't want to cause major headaches for anyone either. Until recently, I had no idea the complexity of the design to print process. Just 3 days ago, I purchased a monitor calibration device and my first set of Pantone guides. They should arrive shortly. I know, don't laugh.
    My lack of knowledge regarding this whole thing has really got me questioning what I am doing. I figured all i really needed to know in Illustrator was to use the pen tool, since my use of Illustrator has been strictly for shaping logos.
    There are just so many questions I have, and all can't be answered through a google search. I really don't like wasting your time with my ignorance, but I do appreciate your assistance. It takes some time for my little brain to absorb all of this, but I have been reading all I can from the endless tutorials and forum discussions available on the web. The problem I've found is that alongside the large amount of great info on the web, there is seemingly an equal amount of contradictory or partially inaccurate info as well. which only confuses me more. For example, most people say to design in cmyk for print (300dpi higher or vector). A rep from Pantone told me to create my designs using Pantones color swatch groups. Why would I want to start in Pantone? Don't all of their colors cost extra money (spot colors require a new printer plate and ink to be set up). Starting in cmyk seems like a more logical approach. Is he just trying to sell me Pantone?
    Sorry for my redundant question regarding the concern for non-single colored paths not being able to join. You obviously answered my question with your example.
    For your time, I would like to show my appreciation. If you wouldn't' mind leaving your paypal address, I can send ya a couple/few bucks. Books are great, but they can't answer all questions. Forums like this one are really very helpful and a great learning tool. I do realize I have to continue educating myself as much as possible. I'm not going to give up, that's for sure.
    So, do you work for Adobe, or are you a graphic designer? Do you have a website with tutorials or a book I can buy lol?
    It would be great to be able to see a walkthrough in the design process of a successful designer and the proper methods of designing for different forms of print.

  • How I can improve my gradient mesh tools?

    Hello there,
    I would like to know if I can go faster to do a photorealistic with a mesh tools, cause point by point....
    It's a bit hard, or do you have a tutorials on i Can go faster to do my pictures fast as I can do it.
    Thanks.

    ... and even if you decide not to use the plugin, make sure to read its introduction. It will teach you a lot about gradient meshes:
    http://vectorboom.com/load/web_roundups/mesh_tormentor_plugin_complete_guide/13-1-0-18

  • Problems printing placed gradient mesh graphics

    CS3 Illustrator and InDesign. Whenever a drawing is created in Illustrator using gradient mesh, and placed into an InDesign document, our printer (Ricoh Aficio 2232C with postscript) all the gradient mesh areas print from InDesign as solid black. I have tried changing every print setting I can think of, but it always comes out the same.
    There are workarounds of course (like saving the illustration as a tiff) but I'd like to work with the original file if possible. Any ideas in how I can proceed in fixing this?

    I wouldn't worry too much about trying to keep the original file intact. ... Of course you should, but there is nothing wrong with making a version "specially for print". It takes some discipline in that you have to edit the original file and always remember to save a flattened copy to update in your document.
    You have to consider there are printers out there (the guys with the weathered faces and hot lead-resistant calluses, not the buzzing, ink-eating and paper spitting type -- okay, maybe they do that as well) with older RIP software or hardware that may have similar problems with very (very) complicated graphics. It's better to play safe than to re-make your image until it can just be processed by your own local printer.

  • Is there a way view the internal lines of perspective grid?

    It would be very beneficial to view all of the internal lines of the sectioned rectangular prism that the perspective grid consists of. This is a standard workflow for drawing 3 dimensional objects. Without this, it is very difficult to draw accurately.
    Essentially this but in perspective mode:
    http://mathforum.org/workshops/sum98/participants/sanders/IsomGrid.html
    This doesn't appear possible to in CS5. Please specify if this is not the case and if it is possible in CS6.

    Do you mean doing this?
    You have toi use the proxy to select the different planes and shift key if you are drawing to that plane but on the grid's base in this case the top of the cube.

  • Use of Perspective Grid (One Point)

    I'm new to Illustrator and finding my way around. I found one of the tutorial examples referencing this article on the use of a perspective grid to create a graphic:
    http://www.intraligi.com/project/adobe-illustrator-cs5-pre-release-programm.html
    Looking at page 4 and seeing how he has the grid set up, I'm unable to create this same grid. For one thing, when I go to View > Perspective Grid > Define Grid, under Grid Color & Opacity, the Right Grid is greyed out. Also, I can't get the horizontal grid lines to extend all the way to the vanishing point, like he's showing in the example.
    Can someone please tell me what I'm missing here and why I can't recreate the perspective grid shown?

    GlennM_ wrote:
    I think I got it now how he created the grid that he used. I believe what he did was use a 2 point Perspective Grid, and then moved the vanishing points so that they were (almost) together, creating a single point.
    I can create the same effect this way and that looks like how he did it.
    I don't think so, they just moved the grid easy enough to do with the grid tool
    Grab th circular end of the guide with the grid tool and drag.

Maybe you are looking for