AxoTools is not a 3D application, but tries to assist illustrators in achieving a 3D look the best it can. Simple shapes are pretty straightforward, but complicated shapes can wind over and under each other like an Escher drawing. In that case, AxoTools evaluates the paths and makes its best guess on correctly stacking the pieces.
When a path is extruded, AxoTools creates closed paths for fillable areas and open paths of multiple stroke weights. To make things more easily edited, the pieces are organized into groups. In the Layers panel, you can expand these groups to find the pieces you may want to edit. Compound paths contain elements nested inside of other elements, so things get a bit more complex.
The front surface is named as a “cap,” and is placed above all of the edge pieces. The edges, which give it depth, are divided into surfaces. Each surface is composed of fillable “panels,” stroked “paths” that follow the original path’s shape, and “connector” pieces for corners that connect the front cap to the rear cap (the rear cap and hidden surfaces may or may not be drawn depending on your Extrude panel settings).
This is not an animation, but a screen recording right out of Adobe Illustrator! Each face of this dodecahedron is a live Transformation object created from the same pentagon shape, with movements and rotations added in the AxoTools Transformations panel.
Sure, it’s unlikely you’ll ever need a shape like this, but we often need art rotated away from our usual three planes. This demonstrates how, whether it’s a skylight, an instrument panel, or graphics on a milk carton, that task is now a whole lot easier!
You can download this file from the link at the end of this post and with AxoTools installed, even in demo mode, examine how this crazy “disco ball” was built.
Each facet is made from a pentagonal path, turned into a live object that specifies its movements and rotations. The orientation is set relative to the current AxoTools projection, so in the AxoTools Projection panel you can adjust the settings with the dial controls to see the dodecahedron rotate as a unit in real time!
When Ron Kempke built this, he used his math superpowers to determine the angles and offsets.
But fear not! For those who would rather not break out a scientific calculator, it’s possible to let Illustrator do most of the heavy lifting. First, make a copy of your base pentagon to create some guide art. Imagine the dodecahedron as two “tulip” shapes placed face-to-face. We know that the shape across the “shoulders” of the tulip would be equal to five segments equal to the width across the base pentagon. That will allow us to draw a top view of the shape.
The offset from the base pentagon to the section at the shoulders tell us the foreshortening of the slope of each “pedal.” Draw vertical guides this distance apart. Draw a vertical line from the base of the pentagon to the height of its shoulders. Rotate this line until its width matches the offset distance in the top view. Measure the angle of this line (26.56° in this case) for use in the Transformation objects later. Draw a horizontal guide at the top of this rotated line.
Copy the pentagon and rotate the copy 180°, then position it so each pentagon’s tip and shoulders match as shown below. Select the pentagons and scale them vertically, using the foreshortened height of the rotated line as a guide.
This art, of course, isn’t a real side view, since the upper and lower pieces would be horizontally scaled and sheared differently. We’re only interested in finding the foreshortened vertical dimensions in order to create our Transformation objects.
With these principles in mind, click the link below to download Ron’s file and examine the settings in each piece.
The new Transformations panel allows you to add a series of rotations and movements to art. The resulting art is then projected to any of eight orientations shown at the bottom of the panel. Items in the list can be edited and rearranged as needed. Enter a value or drag the dial control to watch your art rotate or move in real time.
When you’re done, you can leave the object as-is in your illustration, click the Expand button to convert it to editable art to color and stylize it, or click the Release button to revert to the original art.
Your live Transformation object can be projected to your axonometric view, where items will appear correctly projected, with offset distances mathematically scaled to place them correctly into your illustration.
Artwork oriented to an axonometric view updates as you adjust your current projection. If, for example, you’re adding a skylight or control panel that’s angled 15°, you need only enter the 15° rotation and AxoTools orients it into whichever plane you need.
This is not a true 3D application, but uses time-tested mathematical formulas to orient your art to match whatever view you need, all within Adobe Illustrator. Illustrations with components that tilt, turn, swivel, and spin are now easier than ever. No more guesstimating to scale and place artwork! There’s much more information at the new online documentation page.
Sometimes we run into jobs that require variations of artwork where we start with a sample, and once approved, the customer provides the remainder of the information. This often means duplicating what we have and embarking on a tedious process of changing the parts that are different. If the text needs more than one style, re-applying fonts, weights, colors, etc., can become time consuming. Here’s a way to streamline that process using the TextSync plugin.
Say we’re doing a series of information on various states. Let’s start with Minnesota, using a state outline and an area text object. Since the text frame may shrink or grow from one state to another, it’s probably a good idea to go to the Type menu and set the Area Type Options to enable Auto Size.
In this first example, we set the state name to a larger size, bold, and add a color. Assign a character style (I called it “State”). Assign the remaining text another style (in this case “info”). Select the capital city of St. Paul and change its formatting, then assign a style. Next, the term “Vikings” will change for other states, so select it and assign a new style, even though the actual formatting doesn’t change from the text surrounding it. Last, assign a character style to the text of the beer name.
In the Layers panel, duplicate the layer and give each a descriptive name. With nothing selected, export all of the text of the document with the menu command File > TextSync > Export Text Objects… You’ll see a dialog prompting you to create a text file to save the data in. At this point your document contains a hidden index correlating the text objects to each line item of the file. Because of the way the text is broken into blocks according to its formatting, it’s probably easiest to edit it in a spreadsheet application such as Microsoft Excel. Here’s what our sample’s file looks like:
The first column contains the ID of each text object. Do not change or delete these! The “<p>” at the beginning of column C represents a paragraph break. Similarly, a tab character would be indicated with a “<t>” notation. You can see here that it’s helpful to not include the return character in the formatted state text, so that it stays in the column we won’t edit.
Let’s select cell B1 and change the state name to Illinois. Now tab to column F and change Vikings to Bears, then change the beer name in column H, then make changes for Wisconsin in row 2.
Now we’ll import this back into our Illustrator document. We can save this file out as tab-delimited text and in Illustrator, select it with the menu item File > TextSync > Import Text Objects… A faster way, though, if you’re editing the text file on the same computer as your Illustrator file, is this:
Select the data
Copy the data to the clipboard
In Illustrator, press the Alt or Option key as you select the menu item to import.
Your text will update with formatting preserved, because the tabs in the exported file represent the areas where formatting changes. That’s why we gave the football team its own character style, even though the characters didn’t really change. If we replace the state outlines to match, we’ll get something like this:
To change the text formatting, you need only double-click the character style in the Character Styles panel and change the specifications there, and the text with that style will update everywhere in the document.
You’ll probably find this most useful for when you have many labels with similar formatting, or using layers with different specifications for different products.
If you have one or more text objects selected when you export, only the selected objects will be exported. With nothing selected, everything is exported. If text files are imported with no IDs or IDs that don’t correlate with existing text objects, new text objects will be created, one for each line of text. This can be useful for importing files with lists of callouts to be added.
Please keep in mind that each “chunk” of text represents what’s known internally in Illustrator as a text run. Each text run ends and a new one begins where the formatting changes. TextSync doesn’t support specific format changes, but was created to allow the contents of many formatted callouts to be exported and edited outside of Illustrator, then updated in their original locations with minimal effort.
I hope this saves you as much time as it’s saved me. Remember, it comes with 100 trial uses to import and export to test if it’s useful for you.
Holy mackerel (as Wisconsin governor Tony Evers — and I — would say), it’s sure been a while since the free Illustrator scripts here were updated. The old version 10 scripts are still there, along with 31 updated for Illustrator 2020 and 2021. I’ve recently retired, but there’s no reason the scripts can’t continue working for others! They’re AppleScripts for Macs, but that’s what I knew best and what I worked on at the magazine publisher.
There aren’t any wiffy design effects. It’s more a collection of in-the-trenches workhorse scripts that got me through a lot of mundane tasks. Here’s an example. Revising old maps or illustrations can get complicated when text styles change from one year to the next, or from one publication to another. When I created the templates for each title they included character styles for callouts, figure numbers, titles, cities, states, copyright, etc. When reusing older art, there were different approaches one could take with the help of a few scripts.
I’d typically start with a new document using a template, then copy and paste the old art into the new document. With everything still selected, choose the script “re-apply char styles” so, for example, the old-styled text would be updated to the current font specs. The script first hides all unselected text so all you see is the new stuff. Next it updates selected text to defined styles, and the updated text is then hidden as well. At this point, the remaining text needs to be assigned one of the standard character styles. This eliminates the problem of straggler callouts that show up later in an oddball font or size. Now you can show the hidden art and make adjustments as needed. More often than not, the art needed to be scaled to fit a different size or shape, so after scaling, the selected text can have its standard font size restored in one fell swoop.
The templates I made include sample text showing all of the character styles, as well as graphic bits with symbols and graphic styles. Sometimes it was simpler to copy these samples to older art (saved under a new file name) and run the script “redefine char styles from selection.” The selected sample art can now be deleted, then run the script “find unstyled text” to select and apply standard styles to any style stragglers.
If a script is not quite what you need, I’d encourage you to open it in a script editor and experiment with modifying it.
If you’ve checked the About Box of the AxoTools update for Illustrator 25.1, you may have seen a Documentation button that leads to a preview of an upcoming feature, compound rotations through a Transformations panel.
If you’d like to try the latest beta builds, please contact me at beta @ rj-graffix.com and let me know your user name as registered at the rj-graffix.com website. You can also join in the conversation in the beta section of the new forum if you ask to be included in that group.
Update: All plugins are now updated for Adobe Illustrator 2021 v. 25.1. 🙂
Adobe released Illustrator v. 25.1, which changed the specifications for loading plugins on macOS (Windows users are unaffected). Even major plugin publishers were not notified ahead of time and all have been scrambling to update their plugins. I’m expecting new tools very soon that will allow me to recompile all plugins, compatible with the new specs.
For Windows users, older plugins could cause Illustrator to crash on quit when running v. 25.1.
Those of you who have had Graffix plugins for Adobe Illustrator for a while know that version updates and even new features are almost always free. In fact, every update since 2014 has been free, and although some significant updates are currently in progress, none are planned to require an additional payment.
When new features, improvements to existing features, or just addressing issues that occasionally arise, I like to get fixes and improvements in the hands of users as soon as practical.
On the other hand, I realize that unzipping the download, then navigating through the file system to place the plugin in Illustrator’s Plug-ins folder is a hassle. Illustrators have too much to do to be saddled with busywork like this!
When I rebuilt my plugins using Hot Door’s CORE libraries in 2014, I was encouraged that it had built-in almost all the tools I needed to automatically install updates (key word: almost). A fellow developer recently alerted me to an approach that finally made the last piece of this process possible. Some of the plugins available for download now have the auto-install system added, and the rest of the plugins will be updated as well in the near future.
When the new plugins fetch an update, they will automatically install it, and move the “read-me” doc file to a “Graffix plugins” folder located in your Documents folder. I only wish I could have enabled this sooner!
IMPORTANT UPDATE: The auto-install, I found out too late, only works reliably on Mac systems, and then only when the Plug-ins folder has its permissions set to read/write for everybody. Current plugins test for the known limits and, if necessary, will send a link to your browser to download as it used to. If you’ve already downloaded a plugin with auto-install, you’ll have to manually download an update from the site. I sincerely apologize for the inconvenience. Please remember, I’m just an illustrator like you who’s figured out how to write plugins, and that limited experience sometimes shows.