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Table of Contents
Introduction to Adobe Illustrator.....................................6 I. The Adobe Creative Suite 6............................................... 6 II. What can you do in Illustrator?........................................ 7 III. The Illustrator shape............................................................ 7 IV. Using Help............................................................................... 8 The user interface .............................................................9 I. Screen Contents.................................................................... 9 II. A first look at the Illustrator tool panel......................... 10 III. Panels sometimes referred to as palettes................. 11 IV. The View menu...................................................................... 12 Document basics...............................................................14 I. Opening a new document................................................ 14 II. Using Multiple Artboards................................................... 14 III. File Menu................................................................................. 14 IV. Preferences.............................................................................. 16 Creating simple shapes.....................................................17 I. What is an object in Illustrator?....................................... 17 II. Creating closed (regular) objects.................................... 17 III. Creating open path objects.............................................. 18 IV. Freehand drawing tools..................................................... 18 V. Hints that will help............................................................... 20 Working with objects........................................................21 I. Using the Object menu...................................................... 21 II. Aligning objects.................................................................... 22 III. Draw behind and inside..................................................... 22 Introduction to formatting...............................................23 I. Concepts.................................................................................. 23 II. Formatting tools and features.......................................... 23 III. Swatches.................................................................................. 23 IV. Gradients.................................................................................. 24 V. Strokes...................................................................................... 25 Transform tools..................................................................26 I. Basics of using the transform tools................................ 26 II. Rotate........................................................................................ 26 III. Reflect (found under Rotate tool)................................... 26 IV. Scale........................................................................................... 26 V. Shear (found under Scale tool)........................................ 27 VI. Reshape (found under Scale tool).................................. 27 VII. Free Transform ...................................................................... 27 VIII. Extras......................................................................................... 27 Appearance panel.............................................................28 I. Concepts.................................................................................. 28 II. Appearance panel................................................................ 28
Working with layers...........................................................29 I. What is a layer?...................................................................... 29 II. Working with layers............................................................. 29 Introduction to type..........................................................31 I. Basics......................................................................................... 31 II. Creating point type.............................................................. 31 III. Creating area type................................................................ 31 IV. Creating type on a path...................................................... 32 V. Converting type to a graphic object.............................. 33 VI. Type formatting tips and tricks........................................ 33 Formatting text..................................................................34 I. Common text operations................................................... 34 II. Character panel options..................................................... 34 III. Paragraph panel options.................................................... 35 IV. OpenType panel.................................................................... 35 V. Other advanced formatting.............................................. 35 Placing and modifying area type.....................................38 I. Illustrator - NOT a word processor.................................. 38 II. Importing text files into area type objects ................. 38 III. Linking overflow text.......................................................... 38 IV. Other features for area type objects.............................. 39 V. Manipulating type careful which tool you use!... 39 VI. Text shortcuts and advice.................................................. 40 Selection techniques.........................................................41 I. Selection tools....................................................................... 41 II. Selection menu...................................................................... 41 Reshaping paths................................................................42 I. Anchor points......................................................................... 42 II. Simple reshaping skills....................................................... 42 III. Pen tools and existing paths............................................. 43 Drawing with the Pen tool................................................44 I. Creating straight lines......................................................... 44 II. Creating continuous curves.............................................. 44 III. Creating combinations....................................................... 44 IV. Uses for Pen tool skills......................................................... 45 Importing images into Illustrator....................................46 I. Placing graphics in an Illustrator document............... 46 II. Linked vs. embedded graphics........................................ 46 III. Managing linked graphics................................................. 47 IV. Clipping masks...................................................................... 47 Adding Effects....................................................................48 I. Adding effects........................................................................ 48 II. The Effect menu.................................................................... 48 III. Clipping masks...................................................................... 49
Combining shapes.............................................................50 I. Definitions............................................................................... 50 II. Menu commands that make compound paths......... 50 III. The Pathfinder panel........................................................... 50 IV. Shape Builder Tool (new in CS5)...................................... 51 Mapping Artwork to 3D Objects......................................52 I. Apply 3D effect to object................................................... 52 II. Map artwork to 3D object................................................. 52 Using Color.........................................................................53 I. Purpose: to develop good color habits........................ 53 II. Color models (how color is created).............................. 53 III. Printing colors on paper..................................................... 53 IV. Problems for RGB colors that are printed in CMYK... 53 V. Viewing colors on screen................................................... 54 VI. Recommendations............................................................... 54 VII. Illustrator features for working with color................... 54 Modifying paths ................................................................57 I. Pencil tools.............................................................................. 57 II. Eraser tool................................................................................ 57 III. Scissors tool............................................................................ 57 IV. Knife tool.................................................................................. 57 V. Warp Tools............................................................................... 57 VI. Object..Path menu................................................................ 57 Image Trace (CS6 Only) and Live Trace.............................59 I. Image Trace............................................................................. 59 II. Live Trace................................................................................. 60 Introduction to Live Paint.................................................61 True Perspective Drawing................................................62 I. Illustrator CS5 finally gives you the tools!.................... 62 II. Perspective Grid basics....................................................... 62 III. Drawing new objects in perspective............................. 62 IV. Add already drawn objects to perspective.................. 62 The Swatches Panel...........................................................63 I. Review of Swatches panel menu commands............. 63 II. Swatch patterns..................................................................... 63 The Graphic Styles Panel...................................................65 I. Purpose..................................................................................... 65 II. Using the Graphic Styles panel........................................ 65 III. To create a style..................................................................... 65 IV. To edit a style.......................................................................... 65 V. Style libraries.......................................................................... 65 The Brushes Panel.............................................................66 I. Paintbrush basics.................................................................. 66 II. Customizing brush strokes................................................ 66 III. To create your own custom brush.................................. 67 IV. Other hints for using brushes........................................... 68 4
The Blend Tool...................................................................69 I. Live Blends - general info................................................... 69 II. To create a live blend........................................................... 69 III. Special features..................................................................... 69 The Mesh tool ...................................................................70 I. What is it?................................................................................. 70 II. Using the Mesh tool............................................................. 70 III. Creating a Mesh with a menu command..................... 70 IV. Editing the gradient mesh shape.................................... 70 Symbol Tools......................................................................71 I. Definition of a symbol......................................................... 71 II. Symbol vs. scatter brush.................................................... 71 III. Using symbols........................................................................ 71 IV. Modifying a set...................................................................... 71 V. Other Symbol tools.............................................................. 72 VI. Making and editing symbols............................................ 72 Web Graphics.....................................................................73 I. Good practices ...................................................................... 73 II. File..Save for Web & Devices.............................................. 73 III. Using slices ............................................................................. 74 IV. Creating vector graphics for the web............................ 74 V. Other kinds of Illustrator integration............................. 75 Using Graphs......................................................................77 I. Developing a graph............................................................. 77 II. Styling the graph.................................................................. 77 Paragraph and Character Styles.......................................78 I. Definitions............................................................................... 78 II. Create a paragraph or character style........................... 78 III. Apply a paragraph or character style............................ 78 Align and Distribute..........................................................79 I. Align or distribute to selection........................................ 79 II. Align or distribute to key object...................................... 79 III. Align or distribute to artboard......................................... 79 IV. Precise distribution.............................................................. 79 Document Info and Metadata..........................................80 I. Document Info....................................................................... 80 II. Metadata ................................................................................. 80 Transparency and Blend Options.....................................81 I. Transparency ......................................................................... 81 II. Blending Modes.................................................................... 82 Actions, Scripts, Variables.................................................84 I. Actions...................................................................................... 84 II. Variables................................................................................... 84
d. Special brush effects including art, calligraphy, patterns, bristles, and scattered objects 3. Anchor point: a connector that defines where each part of a path starts and ends an open path will have two endpoints 4. Segment: the section of a path between anchor points 5. Center point: a point in the middle of a closed shape B. Other concepts regarding the Illustrator shape 1. Text is an object just like a circle or square (it can have stroke/fill and special effects applied) 2. An Illustrator path can be reshaped by moving the anchor points or segments, adding or deleting anchor points, or combining with other shapes into a more complex object
OVE
Menu bar Application bar Control panel Application frame Toolbar/box Scratch area Artboard Dock (Panels)
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J. For viewing 1. Hand: alternative to scrolling 2. Zoom: increases/decreases the view K. Bottom of the tool panel 1. Current fill/stroke information 2. Last used color, gradient, or none (transparent fill or no line) 3. Draw mode normal, behind, inside 4. Screen modes: for viewing window with/without menus and scroll bars
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1. Context-sensitive panel that changes according to the object (and/or tool) currently selected 2. Editing options associated with the object are displayed so that the user can quickly perform common tasks without having to look for commands in menus or other panels 3. Normally docked below the menu bar but may be docked to the bottom of the screen or torn off and floated
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8. Look at two different windows of the same document with the Window..New Window menu (can be used to look at two different magnifications of the same document simultaneously) D. Using Rulers 1. View..Show/Hide Rulers: displays a horizontal and vertical ruler (keyboard shortcut: Control/Command R) 2. Can choose rulers for individual artboards or to span across all artboards (global) E. Using Guides 1. Nonprinting guides assist in alignment of objects you decide where to place the Guides 2. To create: click and drag down/over from ruler 3. View..Guides..Hide Guides will turn off the display of guides 4. View..Guides..Lock Guides can be turned on to be sure the guides dont move accidentally 5. To delete: either View..Guides..Clear Guides or select an unlocked guide with the Selection tool and hit the delete/backspace key F. Using the Grid 1. View..Show/Hide Grid: displays a nonprinting graph paper grid, which can be magnetized to align a series of objects 2. Choose Illustrator/Edit..Preferences..Guides & Grid to customize the grid dimensions. 3. Turn on View..Snap to Grid when creating objects for a strong magnetized pull that aligns objects to the grid pattern 4. Turn off the Snap to Grid feature to disable the magnetized feature even if you hide the grid, the magnetized feature will still be in effect G. View..Show/Hide Bounding Box: displays bounding box around a selected object (can be confusing when turned off ) H. View..Snap to Point magnetizes the cursor position to anchor points and guides when dragging objects (turn off the view of the bounding box if aligning the corner points of a rectangle) I. Using Smart Guides 1. As soon as you start drawing, Smart Guides will display many kinds of information a. Whether you are on an anchor point or a path b. The position of your location c. Whenever you align to an important part of another shape in the artboard, such as a center or an edge. It almost removes the need for special alignment tools. 2. View/Hide..Smart Guides turns this feature on and off (keyboard shortcut: Control/ Command U) J. Advanced users will find options to view pixels for web graphics and prepress views for color management, transparency, and overprinting
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Document basics
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d. When you save an Illustrator file you can set the following options: i. Version - specifies the version of Illustrator with which you want your file to be compatible. Older formats dont support all the features in the current version of Illustrator, but an out-of-date printer will be able to open the file! ii. Fonts - Subset fonts when percent of characters use is less than: supposedly this allows you to specify when to embed the entire font (as opposed to just the characters used in the document) based on how many of the fonts characters are used in the document. Dont believe it for a minute! If the font isnt installed on the machine that opens your file, there will be a font substitution. Either outline your type or send the font with the Illustrator file. iii. Create PDF Compatible File - select this option if you want the Illustrator file to be compatible with other Adobe applications. iv. Include Linked Files - embeds files that are linked to the artwork. v. Embed ICC Profiles and Use Compression leave checked vi. Save each Artboard to a Separate File appears only when saving to a previous version of Illustrator vii. Transparency for use if saving to version earlier than Illustrator 9 2. EPS graphics a. Professional EPS clipart that you may have purchased b. Considered a universal vector file type that exports to any vector graphic or desktop publishing program c. Common usage: open EPS graphic from within Illustrator and make custom edits to clipart 3. PDF files a. Universal PostScript snapshot of any document that can be viewed/printed using the free Adobe Reader (or Acrobat), without installing special fonts and/ or programs b. Common usage: save a second copy of the Illustrator document as PDF for email or to send to a professional printer 4. FXG, SVG, or SVGZ - superior XML-based vector formats, but not yet commonly used C. Printing documents 1. File..Print menu (a beginners look) a. Displays preview of output on page - can adjust placement of artwork with grabber hand b. Many settings can be adjusted, but defaults usually work well at home c. All artboards, an individual artboard, or a range of artboards can be printed on separate pages - the default behavior d. All artboards can be printed on one page by selecting Ignore Artboards
EPS clipart
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2. Documents with complex effects, gradients, gradient mesh, drop shadows, and transparency are an enormous amount of extra work for PostScript printers. When working in the CIS lab, follow these instructions: a. File..Save a Copy and create a copy of the file as a PDF document b. Open the PDF file using Adobe Acrobat or Acrobat Reader, not Illustrator! c. File..Print the document: click on the Advanced print option and then select the Print as Image feature D. Other File menu commands a. File..Revert sets the current document back to the last saved version b. File..Export saves a copy of the Illustrator document as a legacy file (CS) or other popular file formats (ex: jpg, png, Photoshop, AutoCad) c. File..Save for Web is very similar to Photoshops Save for Web function d. File..Save for Microsoft Office creates a PNG file which is compatible with Word e. File..Document Color Mode changes between RGB and CMYK color (useful if you want to eventually save two copies of the document for both screen and print use)
IV. Preferences
A. Mac users - Preferences is found in the Illustrator menu B. Windows users - Preferences is found at the bottom of the Edit menu C. Preferences.. User interface adjusts the User Interface Brightness (the CS6 interface is very dark by default) D. There are many other useful options that we will investigate as we proceed
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2. Create by clicking a. Radius 1: distance from the center to the outer point b. Radius 2: distance from the center to the inner point c. Points: number of points for the star (3-1000) D. Lens flare
1. Similar to lens flare in photographs looks best when placed over a dark object 2. Click and drag - creates central object and rays; must click again to add other rings to object 3. Click - draws entire object and brings up dialog box to control all aspects of it
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c. Scatter (brush parts scatter around the path) d. Bristle (new in CS5, gives painterly effect) e. Pattern (can have different art for corners and sides) 2. Choose the type of brush in the Brushes panel a. To choose other brushes that come with Illustrator, click on the Brush Libraries menu button in the lower left corner of the Brushes panel b. Once a brush from a library is used, it installs itself on the main Brushes panel 3. Drag to create the shape with the Paintbrush tool 4. Alternatively, the stroke of an existing shape can be selected and then formatted by clicking on any brush in the Brushes panel B. Pencil 1. Click and drag to create a freeform object 2. Creates a freeform line that can be an open or closed shape. To close a shape, depress the Option/Alt key when dragging 3. By default fill is None. Can add fill if desired 4. To add to an open pencil line after it has been created (and is still active), choose the Pencil tool and position it over the end of the line, then click and drag to continue. This will work even if pencil is not exactly on top of the line 5. To erase a portion of a path (open or closed), select the object and use the Path Eraser tool to erase the unwanted portion 6. To smooth an active bumpy or congested shape, drag over the shape with the Smooth tool (works on any type of object) or use the Object..Path..Simplify menu 7. To completely remodel the existing curves of a selected shape, drag over the shape with the Pencil tool C. Blob brush 1. Creates a free form closed object excellent for artists! 2. Somewhat confusing, the object is filled with the stroke color (or the fill color if the stroke is set to none), but, when selected, that color of the object becomes the fill color, with no stroke color. 3. Drawing with the same color adds to the original object; using a different color starts a new object. D. Eraser Tool 1. Erases all parts of an object, not just path (see Path Eraser tool under Pencil tool) 2. Select object with Selection tool, then select Eraser tool and drag over portion of object to be erased 3. Remaining portions will heal, that is, have original stroke applied to edges where erasure took place 4. To erase through all objects on the artboard, have nothing selected when using the Eraser tool
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document by double-clicking any part of the group with the Selection tool. Double-clicking outside the group will return to normal mode e. Nested groups are permissible and common in complex artwork! 5. To ungroup and work with individual objects, select the group with the Selection tool and choose the Object..Ungroup menu
draw normal
draw behind
draw inside
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Introduction to formatting
I. Concepts
A. The fill and stroke of any object (even text) can be formatted with a solid color. B. Any object can also be formatted with additional Swatch panel features 1. Gradient: a blend of one color to the next 2. Pattern: a wallpaper piece of art created in Illustrator 3. Both gradients and patterns can be applied to both fill and stroke in CS6 C. An objects stroke can also be formatted with brushes found in the Brushes panel
III. Swatches
A. A swatch is a pre-defined sample designed to save time in choosing colors, gradients, or patterns
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B. To view the Swatches panel, choose the Window menu 1. The default Swatches panel has an initial set of swatches, but each document can include custom swatches 2. Small buttons at the bottom of the Swatches panel provide shortcuts for common tasks, such as accessing Swatch libraries, modifying swatch options, making new swatches, etc. 3. The fly-out menu of the Swatches panel provides even more options, including displaying the swatches in different views and orders C. Methods to create a new swatch for the current document 1. Drag the the thumbnail of the active fill/stroke color in the Color panel (or the Tool panel) to the Swatches panel 2. Select an object, activate either the fill or stroke icon in the Color panel (or the tool panel), then click on the New button at the bottom of the Swatches panel D. To delete a swatch, drag it to the Trash Can icon at the bottom of the Swatches panel. Clean up the panel to display only used colors with the Select All Unused menu item in the fly-out menu
IV. Gradients
A. Definition: a swatch of different colors blending from one to another B. To apply a gradient, select the object, determine if stoke or fill is active, and 1. Click on any Gradient swatch 2. Note: CS6 allows you to fill a stroke with a gradient, but earlier versions do not. In earlier versions of Illustrator, to apply a gradient to a stroke you must a. Select the object b. Choose the Object..Path..Outline Stroke menu to convert the stroke into a closed object c. Choose the gradient from the Swatches panel as the fill color for the newly created object 3. To fill type with a gradient a. Convert first into outlines with the Type..Create Outlines menu b. Each character is an individual object that can be filled with a gradient c. Can use Gradient tool to drag across and apply gradient to all text C. To create a simple custom gradient 1. Click on a simple two-color gradient in the in the Swatches panel and then open the Gradient panel 2. Choose the starting color from the Color/Swatches panel and drag it on to the left color stop of the Gradient bar at the bottom of the panel 3. Choose the ending color from the Color/Swatches panel and drag it on to the right color stop of the Gradient bar at the bottom of the panel 4. Move the diamond on the top of the Gradient bar to adjust the midpoint of the color transition
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5. Click at the bottom of the Gradient bar to add new color stops if desired Drag a color stop off of the Gradient bar to delete it 6. Select whether the gradient is linear (i.e. left to right) or radial (inside to outside) 7. To save the gradient, drag the gradient display box to the Swatches panel 8. The CS6 Gradient Panel has new features a. Buttons to apply a gradient to a stroke in various ways - within, along, and across the stroke b. Control for the aspect ratio of an elipse (circle to oval) D. The Gradient tool 1. Select Gradient tool and then select the shape. The last used gradient is applied. 2. A bar appears across the object that has many controls associated with it. a. When you mouse over the bar, color stops appear. You can modify them in the same way you modify gradients from within the Gradient panel. b. The bar can be moved, rotated, and changed in length. 3. You can change from a linear to radial gradient (and vice versa) using the Gradient panel. 4. A radial gradient can be squashed - that is, have it aspect ratio changed - using either the Gradient tool or Gradient panel
V. Strokes
A. The Stroke panel controls the characteristics of a stroke, e.g., weight (thickness) 1. Cap: format for end points on an open path 2. Corner: format for corner anchor points within a path 3. Align Stroke: positions the stroke on the inside, outside, or middle of the path 4. Dashed line: creates custom dashes and gaps can fit dashes to shape with Align dash option 5. Arrowheads: can choose from many pre-sets 6. Profile: can choose variable width pre-sets B. Width tool 1. Pre-sets are also available in Control panel 2. Can apply variable stroke width manually by clicking on anchor points and dragging or by clicking on segment to establish new anchor points and then dragging 3. Can increase/decrease width at any point on just one side of path by holding Alt/Option
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Transform tools
II. Rotate
A. Rotates an object around a fixed point that you specify B. A 180% rotation turns the object upsidedown C. Select the object, choose the Rotate tool, drag the tool to rotate the object manually or double-click on the tool to access the dialog box 1. Positive value: counterclockwise 2. Negative value: clockwise 3. Copy: leaves the original object and makes a copy on top of original 4. Can opt to rotate just the object or object and pattern fill
3. Alt-click to change the origin point - this repositions the rotation axis AND brings up the dialog box where you can make a copy of the original object (easiest way to create symmetry)
IV. Scale
A. Purpose: resizes selected objects (either bigger or smaller) B. Drag inward towards the origin point to make the object smaller C. Drag outward (away) from the origin point to make the object bigger
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D. Dragging diagonally with the Shift key scales the object proportionately E. Scale tool dialog box options 1. You can also scale the weight of the stroke and fill patterns 2. Uniform scaling will scale object proportionately
VIII. Extras
A. Object..Transform Each modifies a series of selected objects relative to their individual origin points (instead of all together) B. When working with an object formatted with a Swatch pattern, if you hold the ~ (tilde) key while dragging, the pattern fill will transform instead of the shape C. Most transformation operations work on text D. To make an object into a series of objects in a circle (creating a wreath): 1. Create the first object and select it with the Selection tool 2. Using the Rotate tool, Alt/Option+click to establish the center of the circular pattern and bring up the Rotate dialog box 3. Specify the angle of rotation (i.e. for 10 objects, 360/10 = 36) and click Copy 4. Choose the Object..Transform..Transform Again (Control/ Command+D) to make additional copies E. Transform panel 1. Includes proxy for origin point and various transformation options 2. Menu command off the side of the panel includes flip horizontal/vertical options 3. To preview: see the changes on the screen before you apply them. Hitting the tab key will redraw the screen as you experiment with different values
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Appearance panel
I. Concepts
A. Appearance attribute: ...a property you can edit at any time without changing the basic structure of the object to which it is applied. (Adobe Illustrator User Manual) B. Analogy: Cinderella turned into a princess at the ball but reverted to the old Cinderella at midnight when she lost her appearance attributes (clothes, horses and carriage) C. Examples of appearance: stroke, fill, transparency, and effects D. Appearance panel: lists classification (path/type/placed image) and basic editable attributes of selected object
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E. Working with the entire layer 1. To hide a layer: click on the eyeball 2. To lock the contents of a layer: click in the box next to the eyeball 3. To apply a format to all objects within a layer: a. Click on the circular target icon for the layer (the donut) b. Apply a format it will apply to all objects in the layer 4. To display only the layers (and not their contents): choose Panel Options... from the Layers menu and check the option to Show Layers Only 5. To change the stacking orders of layers: a. The order in which the layers occur in the Layers panel determines the stacking order (By default, the first layer is listed at the bottom, the last layer is on the top) b. Drag the layer name to a different position in the Layers panel c. Stacked objects within the layer retain their original stacking order, but they can be rearranged in the same manner simply drag one sub-layer to another position 6. To remove a layer: select it in the Layers panel and then click on the Trash Can
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Introduction to type
I. Basics
A. Point type: a limited amount of text that begins where you click and does not word wrap B. Area type 1: drag to create a text area and begin to type - word wrap occurs C. Area type 2: type inside a container that already exists - word wrap occurs D. Path type: type that follows a path E. Vertical point, area, or path type: type that goes down instead of across F. Place (import) a text file
1. Careful! If you click on the path of an existing object, you will create area type 2. Consider entering the point type in a vacant area, then moving with the Selection tool to the proper position later C. Type your text 1. Youll need to hit Return/Enter to go to a new line 2. Vertical type columns advance to the left when the Return/Enter is typed 3. When finished a. Choose the Selection tool to activate the text block for moving, scaling, and formatting all characters in the point type object or b. Click in a vacant area (with the Selection tool!) to deselect the text object
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C. Hints to improve the looks of area type: 1. Choose a small type size and activate the Paragraph panel to choose the justify feature to eliminate a ragged right edge 2. To give text a background color, you must select the text container only. This can be done by using the Direct Selection tool and clicking on the path of the container -- the shape surrounding the text. If the text is selected by accident, the color selected will change the text, not the background. 3. The Type..Area Type Options menu you can create a text offset from the edge of the path 4. If there is more text than shape available, a small icon will appear on the lower right corner of the shape when the object is enlarged, the remaining text will display 5. If you cut or copy the type out of a text object and paste it elsewhere, it will take on the characteristics of point type (the text will resize, not the container and word wrap will not work)
typ e
A. Create an open or closed path and choose the Type on a Path tool C. Type! The shape/path/object will lose its fill/stroke formatting D. To move the position of the characters on the path 1. Choose the Selection tool and click on the text 2. Drag the I-beam to the desired position (this can be tricky ... be patient) or drag it to the inside of the path
pa
th, t y
B. Move the mouse over the shape and then click on the path (edge) of the object
pe
E. The regular Type tool can be used to create type on a path, but you must hold down Alt/Option to set the cursor on a closed path F. You cant have two different text blocks on the same path. How to simulate top and bottom text on a circle (example to right) 1. Create the original circle 2. Make a duplicate copy of the circle and move it aside you will eventually stack 2 separate type paths on top of each other 3. Create the path type for the top of the circle 4. Create the path type for the bottom of the circle, select it with the Selection tool, and reposition it inside and on the bottom of the second circle (using I-beam) 5. Choose Type..Type on a Path..Type on a Path Options and change Align to Path to Center or Ascender, whichever looks better; can also Change Spacing 6. AND/OR choose the Character panel menu to Show Options 7. Change the Set the baseline shift setting to move the text outside the circles 8. Align the centers of the two circles of text G. Special path type effects are available using the Type..Type on a Path menu
on a
a on
path, ty pe on a
I-beam
ath
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Formatting text
1 2 3 5 7 8 10 11
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5. Kerning: used to tighten/loosen the space between letters with the insertion point between characters - useful for large headlines or awkward positions of type on a path (negative value tightens; positive value loosens) 6. Tracking: used to tighten/loosen spacing between each character in a selected group - useful for paragraphs with the last word on a line by itself 7. Height and Width: modifies dimensions of selected characters 8. Baseline adjustment: adjusts vertical position of text relative to the baseline (the path where characters rest) 9. Character rotation: rotates each individual character
r o t a t e
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10. Change case, super and sub-script, underline and strike-through 11. Language declaration: if you select text and declare its language, then the spell checker will offer suggestions and flag text based on that language 12. Anti-aliasing method C. Note: the Character panel contains formatting that can be applied to groups of characters (from one character to several words to all characters in an area type object) or future characters typed at the position of the insertion point
2 4 5 7
3 6
5. Spacing before the paragraph (preferred to hitting the return/enter twice for block style paragraphs with a blank line of space in between) 6. Spacing after the paragraph choose either space before or space after, not both! 7. Toggle hyphenation for paragraph
1 2 3
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2. Choose features from the dialog box 3. Another handy feature is the Roman Hanging Punctuation menu on the Paragraph panel to adjust the position of area type quotes outside of the path B. Type..Type Orientation..Vertical flips placed area type inside its container C. Type..Legacy Text manually adjusts paragraphs of area type to the improved text composition engine to better flow text into multiple-line paragraphs (same engine is used in Adobe InDesign) D. Type..Find Font: search and replace for font (i.e. Garamond into Palatino) 1. The dialog box provides list of what fonts are used in the document (top area) 2. You specify which typeface (at the bottom of dialog box) is going to replace the selected font in top of dialog box 3. The replacement font can be a font currently used in the document or from all fonts in the entire operating system 4. Global (change all) or individual replacements allowed E. Type..Glyphs: show all glyphs (symbols) of a font for inserting into text 1. Select font and style at bottom of the panelLimit the amount of glyphs displayed with the Show menu at the top of the panel 2. OpenType fonts will display a more extensive list (up to 65,000 glyphs) of symbols for the typeface, including a. Ligatures (fl, ff where two characters merge together) b. Stylistic alternatives (Q instead of Q) c. Ornaments ( ) d. Fractions ( instead of 1/2) 3. Double click on the desired symbol to insert it into the document you can leave this panel open while you enter and edit text F. Text Wrap: where area type jumps away from a graphic 1. Position a graphic above the area type (wont work with point type) 2. The graphic must be in the same layer as the text that will wrap around it 3. Select the graphic with the Selection tool (its selection square will activate on the Layers panel) 4. Choose the Object..Text Wrap..Make Text Wrap menu a. Specify an offset value to distance the graphic from the text b. Invert Wrap puts the text inside of the path instead of around it 5. Object..Text Wrap..Options sets the text distance from the vector object
When you open an older Illustrator document, you will be asked to convert the legacy text.
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6. Object..Text Wrap..Release Text Wrap is an undo feature 7. In addition to working with a placed raster graphic, text wrap will work with Illustrator paths and text 8. You may find it beneficial to convert text to outlines when creating a drop cap effect (a large letter that intrudes into a paragraph of text) 9. Embedded vector graphics sometimes work better than linked graphics because the shape of the path is always used in the text wrap instead of the rectangular shape around linked graphics. This will work with transparent gifs and Photoshop graphics with clipping paths and transparent backgrounds
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1. A small red + will appear in the lower right corner out port to indicate there is overflow text 2. Resize the area type object using the Selection tool to drag on a standard bounding box handle or 3. Draw or link to another object that will hold the rest of the text and create threaded text
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D. When all text is flowed, the in and out ports indicate the following: 1. A hollow port indicates either the beginning of end of the story (entire unit of text) 2. An arrow () port indicates that the area type object is linked to another object 3. Choosing the View..Show Text Threads menu displays how the text objects are linked to one another
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2. Selecting text with one of the Type tools allows you to change the format of a subset of characters, e.g., one word or one letter C. Transforming text 1. Resizing point type with the Selection tool resizes the text 2. Resizing an area type object with the Selection tool resizes the shape containing the text, not the text itself 3. Selecting area type with the Selection tool and then rotating the object using that tool will alter the container , not the type 4. Selecting area type with the Selection tool and then using the Rotate tool applies the transformation to the object and the type
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Selection techniques
I. Selection tools
A. Selection tool: selects the entire object including all anchor points 1. Be careful of objects with no fill youll have to click on the path/stroke to select 2. Shift+click or dragging a marquee over portions of objects selects multiple objects B. Direct Selection tool: selects part of an object 1. If you click on the fill of an object, you select all the points just like the Selection tool 2. The pointer provides clues as you approach a path: a hollow square next to the pointer selects an anchor point and a filled square selects a path 3. If you click on the edge of an object and select the segment, its anchor points activate and curves show direction lines (if it is a curved segment) 4. If you click on an anchor point, it becomes active (solid square) and the other anchor points show as hollow squares 5. You can shift+click or drag a marquee to select multiple segments and anchor points 6. Turning on View..Smart Guides provides text labels for anchor points and paths C. Group Selection tool: selects objects and groups within a group (the first click selects an object, the second click its group, the third click the group above, etc.) D. Lasso tool: selects anchor points and segments E. Magic Wand tool: selects objects with similar characteristics. Double-click the tool for choices of what to select (fill color, stroke color, etc.)
anchor path
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Reshaping paths
Vector graphic programs provide support for drawing Bzier curves. Named for the French mathematician Pierre Bzier, a Bzier curve is a curved line defined by a mathematical formula. Bzier developed this system when working as a senior engineer at the Renault car company.
I. Anchor points
A. Paths are made up of anchor points connected by straight or curved (smooth) segments 1. Smooth anchor point: has a pair of direction lines (handles) that smooth anchor move as one unit 2. Corner anchor point a. Number of direction lines vary b. None: connects two straight lines One: connects curve and straight line Two: connects two curve segments that can be altered independent of each other direction lines move independently
none one two point direction lines (handles) curve segment
B. You can change how your anchor points and direction lines (handles) display. Go to Illustrator/Edit..Preferences..Selection & Anchor Display. A useful option is Highlight anchors on mouse over, which works with the Direct Selection tool. C. Direction handles at the end of the direction lines control the shape of the curve(s) 1. If you rotate the direction handle, you change the angle of the curve into the anchor point 2. If you drag (pull) on the direction handle, you change the length of the direction line and the height of the curve
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4. A pinched curve can also be made using only the Direct Selection tool - select the anchor point, hold down Alt/Option, and drag direction line C. To add a new anchor point 1. Select the object to look at the existing anchor points 2. Choose the Add Anchor Point tool and click on the edge of the object 3. If you click on a curve, youll create a smooth anchor point. If you click on a straight line segment, youll create a corner anchor point D. To delete an anchor point 1. Select the object to look at the existing anchor points 2. Click on an anchor point with the Delete Anchor Point tool E. Pen tool tricks 1. In fact, you can do all the above using just the regular Pen tool! You can add and delete anchor points by clicking the Pen tool on a segment ( to add) or on an anchor point (to delete). If you hold the alt/option key, the Pen turns into the Convert Anchor tool. 2. Need to add on to the end of an existing open shape? You can add new segments on the fly by clicking/dragging on the endpoint with the Pen tool and then continue creating the active shape (the Pencil tool works well too)
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B. To create on the fly 1. Create the first complete segment with 2 anchor points using the Pen tool a. Click if you are creating straight line segments b. Click and drag if you are creating curve segments 2. For straight line segment > curve segment: click and drag on the second anchor point to create a direction line, then click to create the curve segment 3. For curve segment > straight line segment: click on the second anchor point to eliminate half of the direction line and then click to create the straight line segment 4. For a pinched curve: with the Option/Alt key depressed, drag on one direction point to create an independent direction line, then create the next curve segment
Template layers are essential when a sketch or scan needs to be traced using the Pen tool even Live Trace would have trouble with this longhorn steer! Hint: when tracing use as few anchor points as possible 12, 3, 6, 9 oclock Adjust curves after basic shape is made
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3. A raster object is treated like any other object and can be moved, scaled, rotated, and transformed, but Illustrator cannot directly modify the pixels in the image or add a fill or stroke (however, an object can be drawn around the image to simulate a frame) 4. The imported file will be placed according to the following rules: a. If nothing is selected, the file will be placed in the center of the artboard b. If the Type tool is active in some text, the graphic will be placed inline, as if it is another character in the text
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3. Embedded vector graphics (such as EPS) are special they are translated directly into Illustrator as vector objects and arent listed on the Links panel 4. Embedded raster graphics show a special embedded symbol in the Links panel
embedded graphic
4. Edit original: opens linked graphic in its original program, e.g., Photoshop for editing 5. The fly out menu off the side of the Links panel contains features to sort files
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Adding Effects
I. Adding effects
A. Effect definition: live (editable) appearance attributes B. Before you begin with effects 1. Many effects create special raster effects (i.e. drop shadow, glow, feather) that generate pixels instead of vector data 2. Check the Effect..Document Raster Effects Settings menu to see if resolution is correct high for print, low for screen C. Popular effects for paths and type objects 1. Effect..Distort & Transform: Pucker & Bloat, Roughen, Tweak, Zigzag 2. Effect..Stylize: Arrowheads, Drop Shadow, Inner/Outer Glow, Feather, Scribble 3. Effect..3D: Extrude & Bevel 4. Effect..Warp: Arc, Arch, Wave 5. Effect..Effect Gallery - a huge selection of effects can be previewed and applied D. Some effects work well with vector objects, not raster objects, and vice-versa E. Effects can be expanded to permanently alter the path using the Object..Expand Appearance menu F. Effects can be added not only to objects but also to layers and groups G. In early versions of Illustrator, effects could be applied only to RGB documents, but now either color mode is fine
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E. You could even convert a vector object to a raster object and then apply an effect. The results could be subtly or vastly different 1. Select the object and choose the Object/Rasterize... menu 2. Apply one of the effects that is appropriate for raster objects
original
roughen effect
mosaic effect
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Combining shapes
I. Definitions
A. Simple path: As you draw, you create a line called apath. A path is made up of one or more straight or curvedsegments.Most shapes are simple paths, however, Illustrator can combine paths in various ways, which can result in other simple paths or compound paths. B. Compound path:contains two or more paths that are modified so that holes appear where paths overlap. When you define objects as a compound path using the Pathfinder panel, all objects in the compound path take on the paint and style attributes of either the top-most or the bottom-most object in the stacking order. C. Note: when objects are simply grouped, they do not actually combine with one another. Each path keeps its own formatting and can be selected individually. Most commonly, the purpose of grouping is to keep a collection of objects organized and easy to manage.
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3. If an odd number of shapes overlap, it gets pretty crazy 4. The stroke and fill of the front object is used for the resulting shapes (except for Minus Front); although grouped, the parts of the end result are simple paths 5. If you hold Alt/Option as you click on a Shape Mode, you create a live shape, the parts of which can be moved/edited using the Direct Selection tool 6. When you are satisfied with the result, re-select all the live shapes and click on the Expand button to make your changes permanent F. Using Pathfinders Divide, Trim, Merge, Crop, Outline, Minus Back 1. Divide: cuts the overlapping parts of all stacked objects into smaller individual shapes with all paths recognized a. Keeps fill/stroke of original shapes b. Any type of straight line or pencil path will divide an object c. Groups the result 2. Trim: removes hidden parts of stacked objects and converts visible parts into individual shapes a. Keeps fill but eliminates stroke formatting b. Groups the result 3. Merge: functions like Trim but merges objects of the same color that touch one another a. Keeps the fill, but eliminates the stroke b. Groups the result 4. Crop: functions like Trim and then uses the topmost object as a mask (cookie cutter). a. Keeps the fill, but eliminates the stroke b. Groups the result 5. Outline: deletes all but faint outline (stroke) in color of original objects a. Used for trapping, ensuring that printing works correctly b. Groups the result 6. Minus Back: subtracts back object(s) from front object (opposite of Minus Front)
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Using Color
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VI. Recommendations
A. Use all RGB colors and imported graphics made in RGB mode when creating an Illustrator document intended for viewing on the screen. In older versions of Illustrator you should also use RGB when applying effects to imported raster images B. Use all CMYK colors and imported graphics made in CMYK mode when creating an Illustrator document that will go to a print shop for output. In addition, use spot colors when possible and use the Press Quality preset when creating a PDF file C. You will probably be able to use the RGB color mode if printing only to your home inkjet printer. Strangely, the inkjet printer is considered an RGB device and does its own RGB > CMYK conversion, which is a little closer to the RGB gamut D. When creating an Illustrator graphic for use in another document, e.g., an InDesign brochure, ask what color mode is needed sometimes you might have to create two different versions of the file, RGB and CMYK
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3. Other useful swatch libraries include web safe colors, custom sets of colors, and default swatches in case you open a document that has limited/no swatches 4. If you plan on using a swatch library frequently, choose Persistent on the library fly-out menu to have it open automatically when Illustrator starts up 5. To borrow swatches from another document, choose Swatch Library menu..Other Library and find the appropriate file 6. To save swatches for easy access in Illustrator, choose Save Swatch Library for AI on fly-out menu of the Swatches panel. The set can then be found under the User Defined fly-out of the Swatches Libraries. 7. To share document swatches with a different Adobe program, e.g., InDesign, use the Save Swatch Library for ASE item on the fly-out menu of the Swatches panel and create the .ase file. You can load this file in the other program using the Swatches panel fly-out menu command Load Swatches C. Color panel: for creating a new color 1. If the wrong color model is displayed (that is, something other than the declared color of the document), choose the panel fly-out menu or shift+click on the color bar to rotate through the color models (remember that document color mode always prevails colors will shift to that mode) 2. Select any color in the color bar with the Eyedropper, and then adjust color to exact specifications using the sliders 3. If you are working with a spot color, the Color panel allows you to select a tint of that color (tint is added white, not opacity) 4. Double-click on the fill or stroke icon in Color panel (or Toolbox) to display the Color Picker, which displays all color models and hexadecimal web colors D. Color Guide panel: still evolving 1. Find harmony rules (pre-defined color schemes) for a selected color 2. Define the base color by: a. Selecting a color from the Swatches or Color panel or Color Picker b. Selecting a color in the artwork with the Eyedropper tool 3. Select a harmony rule from the drop-down list a. Color set can be saved in Swatches panel by clicking on Save Color Group b. Colors can be limited to a certain library by selecting it from Limit Library list 4. Variation grid - find tints and shades of each color in the color scheme a. Grid that appears displays the selected set of colors down the middle of grid (under the arrow) b. Colors to right are tints of those colors; colors to left are shades (other options are cool/warm and vivid/muted) c. A selected object will be re-colored by clicking a swatch. You can also drag a swatch to an unselected object to recolor it
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E. Recoloring Artwork 1. Select the artwork (must be vector, cant recolor pixels); lock objects that you dont want to recolor 2. Click on Recolor Artwork button in Control panel or in the Color Guide panel, or Edit..Edit Colors..Recolor Artwork 3. The colors in the selected artwork become the colors available, but you can change to a harmony rule using any base color 4. In Assign view: a. Protect color by clicking on arrow b. Find color in artwork by clicking on magnifying glass and then clicking on color c. Combine original colors to have fewer - simply drag color row to another d. Limit colors to Swatch library (web safe, official company set, etc.) 5. In Edit view: a. Base color denoted by large circle b. Drag to change any color individually, or lock (chain link) to change all colors relative to position on color wheel -- around wheel for hue, in and out for saturation, slider for brightness c. Can usually click on Eyedropper to Get colors from selected artwork and start again, or simply Cancel 6. You may save any color group you like by clicking the Save Color Group icon. Double-click on any color group name to rename it F. Kuler: web hosted application for finding and sharing color themes. Select Window...Extensions...Kuler or go to http://kuler.adobe.com
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Modifying paths
I. Pencil tools
A. To use: drag over a selected path B. Pencil tool: alters (rewrites) any existing path C. Smooth tool: smooths curves on a path (changes curve and/or eliminates anchor points) D. Erase tool: erases sections of a path (even works on closed paths)
V. Warp Tools
A. Found under the Width tool B. Tools include: Warp, Twirl, Pucker, Bloat, Scallop, Crystallize, Wrinkle C. All tools work the same way: 1. Tool is nudged against the path (object can be selected or not) 2. Result is sometimes subtle, sometimes dramatic, and can be changed by doubleclicking on the tool to change the settings 3. All changes to objects are permanent
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G. Object..Path..Remove Anchor Points will delete all selected anchor points H. Object..Path..Divide Objects Below designates the top selected object as a slicer to divide paths into smaller pieces I. Object..Path..Split Into Grid turns any object into a rectangular grid that is drawn according to the values you enter into the dialog box J. Object..Path..Clean Up gets rid of stray points, unpainted objects and empty text paths
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5. Note: using the Image Trace panel is the preferred method 6. When satisfied, click the Expand button to make object into permanent path 7. To reset the image to its original condition, click Object..Image Trace.. Release 8. The result is often a very complex set of vector objects, but it is much better than in the Live Trace methodology. Often you can avoid using the Pen tool altogether!
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B. To use a pattern swatch 1. Select an object and note whether fill or stroke is active 2. Choose a pattern swatch from the Swatches panel or from a Pattern library patterns can be used in either fills or strokes 3. You can also drag a swatch to an unselected object. C. To edit a pattern swatch 1. In CS6, the methodology for edting a pattern swatch has changed. You simply double-click on the pattern swatch to open the Pattern Options dialog box and editing mode. (In previous versions, a sample of the swatch was dragged to the artboard, modified, and then saved.) 2. The pattern can be modified using many different controls in the dialog box. It can also be changed using normal path editing techniques - color, shape, etc. 3. When satisfied use Save a Copy from the isolation mode bar at the top of the screen. A warning will appear that any further changes will be made to the original, not the saved copy. Then exit by clicking Cancel. D. To make a new pattern swatch 1. Develop original art - paths, embedded raster graphics, clipping masks, text, etc. 2. Select the art and click Object..Pattern.. Make to enter pattern options mode, as you would to edit a pattern (or drag art to the Swatches panel and then double-click swatch to edit) 3. The significant improvement with CS6 is that you can use the Tile Type in order to make the swatch look professional. This was very difficult to do in previous versions of Illustrator. E. Other notes 1. When you format an object with a pattern fill/stroke, the internal pattern shapes cant be selected and edited 2. The Object..Expand menu converts the pattern format and turns the formatted object into a complicated mask 3. If you use a transform tool (i.e. Scale tool), double click on the tool select the checkbox to allow the object and pattern to transform together 4. Using the Rotate tool, hold the tilde ~ key down and drag to move the pattern around inside the shape 5. Any custom swatch pattern will be saved locally with the document and can be accessed by going to the Swatch Library menu, choosing Other Library, and seaching for the file
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V. Style libraries
A. Custom style libraries can be created B. Use the same set of skills that youve learned for swatches and brushes!
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G. To load other brush panels, choose the Window..Brush Libraries you can spend hours playing with all these creative brushes! 1. These brushes show up in their own panels 2. When you click on one of the brushes, it installs itself on the main Brushes panel
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2. Modifies grayscale and colored brushes (i.e. scatter) 3. Choose stroke color before you bring up the Options panel so you can preview what will happen 4. None and Tint (described above) a. Tints and Shades: maintains black and white with everything between getting tinted (useful for grayscale brushes) b. Hue Shift: maintains black, white and gray and tints key color (prominent color defined when the brush was created) useful for multicolored brushes
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The new spine made with a pencil stroke "squiggle" made an impressive difference on this simple blend of two stars!
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The Mesh tool can get you fantastic results, but it doesnt happen without hard work!
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Symbol Tools
I. Definition of a symbol
A. A symbol is defined once in Illustrator, and all uses of it refer to the original (like a linked file or pointer) B. An individual copy of a symbol is called an instance C. A collection of symbols (applied with the Symbol Sprayer tool) is called a set D. Advantages: 1. A complex symbol can be used repetitively without bogging down the document 2. Using symbols reduces file size 3. Symbols are useful for web environments when exported as SWF or SVG
set
instance
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Web Graphics
I. Good practices
A. Develop graphic(s) with web in mind 1. Use Web document profile (RGB, 1024x768 px, 72 ppi, etc.) 2. Use View..Pixel Preview 3. Align objects to pixel grid a. Checkbox in New Document dialog box b. Transform panel checkbox (for already made objects) c. Transform panel flyout menu - Align New Objects to Pixel Grid d. Symbol options - Align to Pixel Grid checkbox 4. Use anti-aliasing (blurring edges for smoother display) appropriately a. Preferences..General..Anti-aliased Artwork turned ON by default b. When exporting to raster format, sometimes better to turn OFF B. Use Web panel preset (or develop your own set of favorite panels) C. Use web-safe colors (Adobe recommendation, most authors dont agree) D. Use web templates (must add swatches, symbols, etc.) E. Can build individual graphics or entire web page layouts in Illustrator
anti-aliasing off anti-aliasing on
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C. Ways to make slices 1. Manual slices, click and drag with Slice tool, finished with automatic slices 2. Use Guides to make slices - Object..Slice..Create from Guides 3. Object based slicing a. Select object (or several objects) b. Choose Object..Slice..Make c. If object is complex, it must be grouped before applying slice d. If object is modified, slice gets updated accordingly D. Remove slices - Object..Slice..Delete All or Object..Slice..Remove for just one slice E. Slice Select tool 1. Can be used in normal view to change dimensions of slice 2. Can also select object and then Object..Slice..Slice Options to get a jump on the specific settings for saving the object F. Apply settings to Slice Options 1. Select slice, then Object..Slice..Slice Options 2. Enter slice type, name, URL, alt, background G. Edit..Save for Web... 1. Select any slice with Slice Select tool and make modifications - such as size 2. 2-up allows you to compare original and optimized versions 3. Can save All Slices, All User Slices, Selected Slices 4. Images will save in images folder, given automatic names unless names were assigned in Slice Options dialog box
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4. Basic - the major thing to consider is Export As: a. AI File to SWF File - converts artwork to static swf file b. All Layers to SWF Frames - used for animations c. All Layers to SWF Files - each layer as separate static swf d. All Layers to SWF Symbols - self explanatory e. Artboards to Files - for use with multiple artboards 5. Advanced - controls for animations - Frame Rate, Looping, Animate Blends, Layer Order, Export Static Layers 6. If animation is desired: a. Multiple graphics must be available in same file b. Each object or group of objects must be on a separate layer c. If objects are in the same layer, choose from Layers flyout menu: Release to Layers (Sequence) or Release to Layers (Build) i. Sequence allows each object to be available individually in the animation ii. Build allows each object to stay in view throughout the animation d. Click on Web Preview button to test animation, then click OK to save. e. Double-click on file to test in Flash player 7. Blends can also be used for animation without having to Release to Layers. Simply click on Animate Blends checkbox
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Using Graphs
I. Developing a graph
A. Graphs communicate statistical information in a visual way B. Nine types of graphs available in Illustrator: column, stacked column, bar, stacked bar, line, area, scatter, pie, and radar all can be customized C. How to make a graph 1. Select any graph tool - can easily change the type of graph later on 2. Define the dimensions of the graph in any of the following ways: 3. Drag diagonally from the corner where you want the graph to begin to the opposite corner. Alt drag (Windows) or Option drag (Mac OS) to draw the graph from its center. Hold down Shift to constrain the graph to a square 4. OR click where you want to create the graph. Enter a width and height for the graph, and click OK. (Dimensions do not include labels and legend.) 5. Enter data for the graph in the Graph Data window (or copy/paste from existing spreadsheet) A. Entry text box B. Import data C. Transpose row/column D. Switch x/y E. Cell style F. Revert G. Apply 6. Click the Apply button or press the Enter key on the numeric keypad to populate the graph 7. The Graph Data window stays open until you close it. This allows you to easily switch between editing graph data and working on the artboard 8. Can also import data from existing spreadsheet, but data must be saved as a tab delimited .txt file D. To change the type of graph, close the Graph Data window, right click on the selected graph, and choose Type. A dialog box provides various options for the types of graphs.
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II. Metadata
A. Definition - a set of standardized information about a file, such as
author name, resolution, color space, copyright, and keywords applied to it.
B. Select File..File Info. The dialog box displays file properties, an edit history, copyright, and author information. The File Info dialog box also displays custom metadata panels. You can add metadata directly in the File Info dialog box. C. In most cases, the metadata remains with the file even when the file format changes (for example, from PSD to JPG). Metadata also remains when files are placed in an Adobe document or project.
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12. If the blend color (light source) is lighter than 50% gray, the artwork is lightened, as if it were screened. This is useful for adding highlights to artwork. If the blend color is darker than 50% gray, the artwork is darkened, as if it were multiplied. This is useful for adding shadows to artwork. Painting with pure black or white results in pure black or white. 13. Difference - Subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base-color values. Blending with black produces no change. 14. Exclusion - Creates an effect similar to but lower in contrast than the Difference mode. Blending with white inverts the base-color components. Blending with black produces no change. 15. Hue - Creates a resulting color with the luminance and saturation of the base color and the hue of the blend color. 16. Saturation - Creates a resulting color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no saturation (gray) causes no change. 17. Color - Creates a resulting color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the artwork and is useful for coloring monochrome artwork and for tinting color artwork. 18. Luminosity - Creates a resulting color with the hue and saturation of the base color and the luminance of the blend color. This mode creates an inverse effect from that of the Color mode.
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Scripts
A. When you run a script, your computer performs a sequence of operations. These operations may involve only Illustrator, or they may involve other applications, such as word-processing, spreadsheet, and database-management programs. B. Illustrator supports multiple scripting environments (including Microsoft Visual Basic, AppleScript, JavaScript, and ExtendScript). You can use the standard scripts that come with Illustrator, and you can create your own scripts and add them to the Scripts submenu. C. For more information about scripting in Illustrator, see the sample scripts and scripting documentation in the Adobe Illustrator CS6/Scripting folder.
II. Variables
A. In a collaborative environment, coordination between team members is essential to the success of a project. For example, in a company that creates websites, the web designer is responsible for the look and feel of the site, while the web developer is responsible for the underlying code and scripting. If the designer changes the layout of the web page, those changes must be communicated to the developer. Likewise, if the developer needs to add functionality to the web page, the design may need to be updated. B. Variable libraries enable designers and developers to coordinate their work through an XML file. For example, a designer can create a template for business cards in Illustrator and export variable data as an XML file. The developer can then use the XML file to link variables and data sets to a database and write a script to render the final artwork. This workflow can also be reversed, where the developer codes the variable and data set names in an XML file, and the designer imports the variable libraries into an Illustrator document.
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