Create an Ominous Jar of Purple Ooze

Beef up your Illustrator skills while creating an ominous jar of purple ooze. In this tut you will find handy tips and techniques for illustrating glass, chrome and toxic ooze.

Step 1

Start by using the Ellipse Tool (L) to draw an oval.

Step 2

Fill the oval with a nice looking linear gradient using the Gradient Tool (G.)

Step 3

We’ll make a lip around the edge of the top by stacking two ovals on top of each other. In the Pathfinder pane click Minus Front. Make sure you have the original oval off to the side as we’ll need to use it later

Step 4

This is what your result will be.

 

Step 5

Make another two copies of the original oval and again use the Pathfinder’s Minus Front option to create another larger crescent shape.

Step 6

Using the Rectangle Tool (M) draw a series of rectangles. Distribute them so that they are equally spaced.

Step 7

Place the rectangles over the crescent shape that you just created and click Divide in the Pathfinder.

Step 8

Ungroup and delete the extra shapes around the edge that you don’t need. Fill each square shape with a subtle linear gradient.

Step 9

Using the original oval, copy and paste another instance of it and adjust the gradient so that it is perfectly vertical. We’ll use this new oval as the background for the entire cap.

Step 10

Place the series of squares over the last oval (with the completely vertical gradient) and adjust the squares’ transparency to about 30%. Now you can use the original oval as well as the crescent shape and place all your elements on top of each other to form the whole cap.

Step 11

Give the top edge of the cap a highlight by using a condensed crescent shape, fill the crescent with a linear white to transparent gradient.

Step 12

Starting with two ovals and a rectangle, create the glass part of the jar. Select the three shapes and in the Pathfinder click Unite.

Step 13

Once your shapes are united into one, select it and go to Object > Path > Offset Path. Enter -5px and click OK.

Step 14

Using the Pencil Tool (N) draw an arbitrary shape that represents the top surface of the liquid.

Step 15

Select the inner smaller shape and the liquid shape, in the Pathfinder click Divide. Ungroup and delete all the shapes besides the liquid surface and the area below that.

Step 16

Select the outermost glass jar shape and go to Effect > Stylize > Inner Glow. Select Multiply for the Mode, select an Opacity of about 25% and give it a blur of about 15%.
Note: your glass jar should have a white fill in order for your Inner Glow to show up. You will also need to set the glass shape to multiply (in the Transparency Palette) so that when you add a colored background behind that jar, the white shape will look clear.

Step 17

Looking closely you’ll notice that the jar has a slight highlight on the upper left glass area. Start with the main glass shape and subtract the oval shape from it to obtain the shape selected below. Give the shape a radial gradient that goes from white to transparent at the edges.

Step 18

Draw a rectangle and apply an inner glow. Set this shape to Multiply so it blends with the background that we’ll add later.

Step 19

Position the rectangle in the middle of the jar and make the left and right sides flush with the inner shape of the jar (see guides.) Move it to the back of all the other objects by going to Object > Arrange > Send to Back.

Step 20

Fill the bottom liquid area with a linear purple gradient. Ensure that your jar has darker colors on the right since the light source is coming from the left.

Step 21

Give the surface of the liquid a radial gradient. To enhance the appearance, condense the gradient so that it forms more of an oval. Mimic the shape of the cap’s oval with your gradient. Move the highlighted area to condense the gradient.

Step 22

Small details go a long way. Having said that, use two shapes identical to the liquid surface to create a thin edge that will act as a highlight for the edge of the liquid surface. Select both shapes and in the Pathfinder click Minus Front.

Step 23

Position the highlight over the edge of the liquid and give it a white to transparent linear gradient.

Step 24

Add some strategically placed shadows (like under that cap) to enhance the realism. To add individual shadows draw a loose oval shape using the Pencil Tool and fill it with a purple gradient. Set the shape to Multiply in the Transparency Palette.

Step 25

Go to Effect > Stylize > Gaussian Blur and enter a value of about 25.

Step 26

Create ominous floating chunks inside the liquid with the Pencil Tool. Fill it with a linear gradient that goes to complete transparency.

Step 27

Using the Pen Tool (P) draw the shape shown below.

Step 28

Give the shape a radial gradient the goes from white to transparent. Make the center of the gradient substantially farther away from the shape so the reflection looks subtle.

Step 29

Create the reflection on the top of the cap by drawing an arbitrary shape using the Pen Tool. Pay attention when drawing the shape so that it’s smooth with no abrupt angle changes.

Step 30

Layer the reflection on top of the oval and click Divide in the Pathfinder. Delete all the other shapes besides the center grey area.

Step 31

Place the grey shape over the top of the cap and give it a linear white to transparent gradient. Feel free to add more reflections where desired.

Step 32

I’ve decided to darken up the right side of the jar even more. To do this simply draw a a tall rectangle shape and give it a linear gradient that goes from purple to transparent. Give it a gaussian blur and set the mode to Multiply in the Transparency Palette.

Step 33

Create the background by drawing a rectangle and filling it with a yellow to green radial gradient.

Step 34

Give the rectangle rounded corners by going to Effect > Stylize > Rounded Corners.

Step 35

Draw an oval to create the main shadow for the jar, give it a drop shadow by going to Effect > Stylize > Drop Shadow. In the Drop Shadow dialog select Multiply and set the X and Y Offset to a low amount. Apply a blur of about 8% and select a purple color.

Step 36

Position the shape behind the other objects.

Step 37

To create an even more believable illustration, we’ll add another shadow. Using the Pencil Tool draw a shape similar to the one below. Give it a radial gradient that goes from transparent to purple and to transparent again.

Note: Anything that’s filled with white becomes transparent when the shape is set to Multiply in the Transparency Palette. So, in the example below, the right-most color is actually white but becomes transparent because the overall shape is set to Multiply. You can use either technique (either using white or adjusting the swatch to transparent) to achieve the result, the choice is yours.

Step 38

Give the shadow a gaussian blur to complete the illustration.


That’s it! You’ve just learned how to create a sweet jar of purple ooze. The fun doesn’t stop here, once you’ve made the perfect ooze jar you can get creative and design a label for your concoction. Enjoy!

Illustrator CS5 Variable Width Stroke Tool: Perfect for Making Tribal Designs!

Adobe Illustrator CS5 features a slew of fantastic new tools and functionality, but the one that jumped out at me and really grabbed my attention was the Variable Width Stroke Tool. The concept was great. And when I actually put it to use – the experience was even greater than my expectations. In part one of this two part series we’ll be creating a tribal design and improving our Illustrator work flow along the way.

Width Point

You know a tool is a winner when you find yourself immediately putting it to use in your daily work flow. It only takes seconds to master the Variable Width Stroke Tool and the results are beautiful!
This tutorial will start by reviewing the basic functionality. Then, I’ve got some wonderful real-world examples of how you can put this tool to use. We’ll be creating tribal designs in today’s tutorial. In the last part of this series, we’ll be making gestural drawings and digital inking with this new tool. I promise that by the time you finish reading this series you’ll have a new best friend: Mr. Variable Width Stroke Tool.
Okay, let’s start with the basics. How do you use this thing? Start by using your normal Pen Tool and just make some lines; curved, straight, whatever. It doesn’t matter.

Next, let’s select our Variable Width Stroke Tool. If you simply hover over your line with this tool – you’ll see that it gives you a little dot on the line. This lets you know that it is ready to affect the correct line, and it also lets you know where on the line you’ll be adding (or subtracting) width from your stroke. Adobe refers to these as Width Points.

Let’s dive right in; click-drag your mouse. What happens? The width of your line suddenly grows at the point that you had selected. What an aptly named tool! The Variable Width Stroke Tool adjusts the width of the stroke; brilliant!
Now hover your tool over a different part of the line; click-drag again. What happened this time; the same thing, amazing! In this way you can create and control specific spots on your line and the weight of each.
You’ll notice that some nodes will also act as Width Points on your line. Specifically, the nodes at the ends of your line and nodes that represent a sharp corner (nodes without any Bezier handles) will also act as width points. So, you’ll need to not only add width point to your lines, but also adjust the width of your line at each sharp-corner node. You’ll find that the controls are relatively easy to use.

The nodes that are acting as Width Points will all start with their width set to that of the line (typically, 1pt). So, if you want your line to start and end in a perfect point, with no flat tip, you’ll need to use the tool to adjust that. Also, you’ll notice that if your line has no stroke applied, the Variable Width Stroke Tool will not work.
By default, the Variable Width Stroke Tool will expand the width of a stroke equally on either side of your vector path. But they give you control over that too! Just hold down your Alt key, and you will only affect one half of the line’s width. Give this a quick test.

Like I said, it only takes a few moments to master this tool.
One way to take fine control over these width points is to double-click on one. A dialog window will pop up with all the details of your Width Point: Side 1 width, Side 2 width and Total Width. You can make adjustments or simply delete the point if you want to remove it.

Make Some Sweet Frickin’ Tribal DesignsNow that we’ve gotten the basics of the Variable Width Stroke Tool down, let’s make some sweet frickin’ tribal designs. You’ll be amazed at how quick and easy this is.

Step 1: Create a Base Vector Pattern

The first step, which admittedly is the most difficult part of the process, is to create your base vector path designs. You can start by just making a grid. Or perhaps you start with Illustrator’s Spiral Tool, and then add some lines extending off the spiral, or you can study other tribal designs and try to make something similar. I’ll admit, there is a fine art to this. So, you may need to study some tribal designs and then practice for some time on this first step.
Here are some samples of a few I made – broken down into steps. This visual will help you understand this first step better, as it shows the process I went through to create the basic design.

Step 2: Use Your Variable Width Stroke Tool to Thicken Your Lines

Here is where you jump in with your Variable Width Stroke Tool. I covered the basics of how to use this tool earlier, which is good to review before jumping into this tribal design. Typically, the paths in a tribal design start at a point, thicken in the center, and end in a point. If there are nodes on my paths, I’ll usually edit the width of those points first. Then, if I need to add more Width Points, I will.Below are the same base vector shapes with a step-by-step application of the Variable Width Stroke Tool.

Here are my patterns after I’ve used the Variable Width Stroke Tool. It looks pretty good huh? It doesn’t take much work to make some awesome tribals when you’ve got the Variable Width Tool in your holster.

Step 3: Expand Your Strokes to Paths

Next we need to Expand Appearance. This will convert the strokes to shapes. This is simple, just select your tribal pattern and click Edit > Expand Appearance. You’ll see that the simple path has now been converted into a shape. Here is the before and after of this step.

Step 4: Make it Look Woven

If you look at a bunch of tribal designs you’ll notice that there are sections of the shapes that are knocked out. The look that you’re after is similar to basket weaving. Your paths should look woven together. If you look at old Celtic tribal patterns you’ll see they do a wonderful job of this. Here are a few samples.

To chop these out, first pick the spots where you want to remove sections of your shapes. I’ll show you my mental plan by making some rough pink shapes, though, normally I just do this in my head.

Now, to chop out these sections of your shapes, you COULD create little shapes – like I did in pink, and then use your Pathfinder > Subtract Tool. But there is a quicker, easier way!
First, use your Selection Tool and while holding down the Alt key, click-drag the shape that is perpendicular to the spot you’re trying to subtract. What you’re accomplishing when you do this is you create a copy of the shape you’ve selected. Move it into position. Then select it, and the shape beneath it and use the Pathfinder > Subtract tool.

I know this is a little confusing, so – here’s a visual:

Now, repeat this process as you chop-out segments of each of your shapes. Here are the results after I’ve chopped out all the weaving pieces!

Step 5: Apply a Warp

One easy step you can take to add a bit more character to these paths is to use the Filter > Warp Tool. You can add a bulge, arc, arch, whatever. This works particularly well when you’ve used straight lines to make your tribal design – as I did on the middle pattern. To apply a warp filter to your pattern, select all your paths, group them, Then select Filters > Warp (then select a warp). Play around for a bit with these warp tools and see if anything looks good.
Here is my middle design with warping applied.

OK, if you’ve applied a warp to your design, you have to Expand Appearance before you proceed. To do this select your pattern, then click Edit > Expand Appearance > Expand Path. That’s it; fun, fast and easy.