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The answers to these questions are important at the document creation stage because they will determine which settings you use to create the document.

To begin creating a new document in Illustrator, do one of the following: From the Start workspace in Illustrator, click the Create New button Figure 2.

Figure 2. Presets in this category use the RGB color mode, with Raster Effects set to 72 ppi, and use pixels as the default unit of measurement. Web: Includes documents at common web page sizes for desktop computer screens. These presets use the RGB color mode, with Raster Effects set to 72 ppi, and use pixels as the default unit of measurement.

Print: Includes common print paper sizes such as letter, legal, and tabloid. These presets use the CMYK color mode, with Raster Effects set to ppi, and use points as the default unit of measurement. Documents created from this category use the RGB color mode, with Raster Effects set to 72 ppi, and use points as the default unit of measurement.

Start by selecting the Print category at the top of the New Document dialog box. Give the postcard a name by entering it at the top of the Preset Details section to the right of the New Document dialog box. In the Preset Details section, change the units to inches and enter 7 in the Width field and 5 in in the Height field.

Click the Create button. Because you provided a name when defining the new document, that is the default name used when saving the file. Although Illustrator provides several file formats in which you can save the document, the Adobe Illustrator format.

Illustrators draw various types of artwork, designers create logos, other artists create technical drawings The point is that not everyone uses Illustrator in the same way, and therefore each person has her own style of working and her own preferences for how she likes the program to behave.

Click Units to choose your preferred unit of measurement Figure 2. Because you chose inches when creating the document, that is the unit that is currently chosen from the General menu. Note that you can choose the units used for Stroke and Type independently.

Click User Interface to change the appearance of the program. Illustrator uses the Medium Dark Brightness setting by default. This setting controls the darkness of the main interface elements. Select the Brightness setting that makes sense for you. Illustrator uses the GPU graphics processing unit on the graphics card in your computer to draw data to the screen faster if Illustrator supports it.

Illustrator allows you to disable the graphics card which can be useful for troubleshooting by deselecting GPU Performance. You can also deselect Animated Zoom if you prefer to zoom using the Marquee method in Illustrator. Click OK to close the Preferences dialog box. Adding Guides For our postcard, we need a nice, even border around all the sides of the card as well as a gutter in the middle of the card to divide objects horizontally.

If your project contains objects that need to be aligned just so, or that should be a specific distance from other objects, the Guides feature in Illustrator is your friend. In order to add guides to a document, you need to display the rulers. Rulers are doubly beneficial. Not only do they allow you to create guides, but they also let you change the unit of measurement for a document. Rightclick the left or top ruler to open a menu listing the units available Figure 2.

Choose the unit that you wish to use, and it becomes the default unit of measurement for the document. Drag from the top ruler down into the document to create a guide. Position the guide so that it is about.

Drag out a second guide, but position it about. Using the Selection tool, select the top guide, then enter. Repeat for the bottom guide but enter 4. Drag out guides from the ruler along the left side of the Document window to. Drag another vertical guide onto the document from the left ruler and position it at 3. Select the guide at the center of the document.

In the Transform panel, enter —. Illustrator calculates the measurement and creates a copy of the guide at the calculated value. Repeat these steps to create a horizontal gutter in the middle of the postcard. These are all created using different shape tools, and you can see them by clicking and holding on the currently selected shape tool Rectangle is the default Figure 2.

Start by selecting the Rectangle tool. Then drag from the intersection of the guides in the upper-left corner of the postcard to the intersection of the guides in the middle of the postcard Figure 2.

The fill of an object is the color that an object is filled with, whereas the stroke is the border or frame of the object. Click an orange color to apply that color to the selected shape. Using the Selection tool, hold down Option macOS or Alt Windows and drag the rectangle down to the lower-left quadrant of the postcard. Using the Swatches panel, change the color of the second rectangle to yellow.

In addition to the powerful shape tools, you can use the Shaper tool to draw the shape that you want by hand and Illustrator will generate a perfect shape for you. Select the Shaper tool. On the right side of the postcard, use your mouse to draw a rectangle.

When you let go of the mouse, the rectangle will be created with a default fill and stroke Figure 2. Using the Fill and Stroke indicators at the bottom of the Tools panel, change the fill to a green color and the stroke to None.

None refers to removing a stroke or fill from an object and is represented by a red slash in the Swatches panel, Control panel, and Properties panel to represent no color applied. Using the Selection tool, resize the rectangle to fill the two quadrants on the right side of the postcard.

Note that when you resize an object, by default the object will snap to the guides, making it easy to resize the shape to the correct size. Live Shapes are shapes that can be dynamically adjusted after creation.

In the case of an ellipse, you can change the start and end point, creating a sort of Pac-Man shape or a pie wedge. In the case of a polygon, you can change the number of sides in the polygon dynamically. In the case of a rectangle, you can dynamically adjust the corners of the shape after creation, making it easy to round corners on the object.

Select the orange rectangle with the Selection tool. Drag any of the widgets away from the corner, and notice that all of the corners of the shape become rounded.

Option-click macOS or Alt-click Windows a widget to change the type of corner applied to the shape. Drag the widget back to the corner to remove the adjustment.

In this example, we want to affect only some of the corners of the shape, not all of them. Using the Direct Selection tool, click the anchor point of the topleft corner of the shape. Now drag the widget away from the corner and notice that only that corner is changing.

Make sure the shape properties are being displayed by clicking the panel menu icon and choosing Show Options if the menu includes Hide Options, that means all of the options are already being displayed. Deselect Link Corner Radius Values to prevent all corners from changing at the same time.

In the Transform panel, click the Corner Type icon for the upper-left corner and choose Round from the options; then change its Corner Radius value to. Repeat steps 3 and 4 and change the lower-left corner of the yellow shape and then change both corners on the right side of the green shape Figure 2. Being able to get around and focus on specific objects is key to being able to work efficiently and in a timely manner.

Knowing how to use Illustrator without being able to navigate a document effectively is like memorizing a map of where you live but not knowing how to ride a bike or drive a car. It becomes a limitation. I often watch users work, and they squint to see a certain area of their document.

Use the Zoom tool! Select the Zoom tool in the Tools panel. To use the Zoom tool, do one of the following: If Animated Zoom is enabled, place the mouse cursor over the center of the object that you want to zoom in on and drag to the right to zoom in on the object Figure 2. Zoom in as much as you want. To zoom out, drag to the left. To zoom out, hold down Option macOS or Alt Windows and click to zoom out incrementally or drag to create a small marquee area to zoom out.

Zoom back in to another area of the document. Although you could use the scroll bars on the right and bottom of the Document window, you can pan more efficiently using the Hand tool. Select the Hand tool and drag in your document to a new area. To quickly get back to a view of the entire document, you can use a popular keyboard shortcut. Believe it or not, you can perform these functions without ever selecting the tools in the Tools panel.

Instead, you can use some keyboard combinations to achieve the desired result. This allows you to spend more time working and less time selecting tools in Illustrator.

Keeping the keys held down, drag in the document to zoom in to the desired area. Drag to pan to a different area of the document. Pretty cool! If it does, you can simply ignore it and zoom in on the desired element. If this bothers you, you can change the keyboard shortcut for Spotlight by choosing System Preferences from the Apple menu and then clicking Keyboard. In the Keyboard preferences pane, click Shortcuts and select Spotlight from the list on the left side of the dialog box.

Illustrator contains powerful functionality for creating and styling text. For this postcard, we will add a few paragraphs to convey the message and to achieve we hope the marketing objective for the project. As a Creative Cloud subscriber, you have access to the Portfolio version of the Typekit library, which contains more than 5, fonts of varying styles for you to choose from.

To use Typekit, you simply need an Internet connection. Log into Typekit using your Adobe ID and password. This will display the Typekit web page in your default browser. For this project, you can choose any font that you wish. Feel free to browse the Typekit site and explore the various fonts that are available to you for activation.

An alert will appear when your fonts have been synced, and depending on your notification Preference settings a notification pop-up window may open to let you know that the fonts have been synced to your computer. Point type is created by simply clicking anywhere in the document with the Type tool. Illustrator will automatically insert the text Lorem ipsum, but you can change that to whatever you wish. If you switch to the Selection tool and drag a handle on the bounding box that surrounds the type object to change the shape of the box, the text will change shape to match.

You can scale point type proportionally by holding Shift as you drag one of the handles. Point type is typically best used for a more artistic type of work. The second type of type object that Illustrator creates is called an area type object. Area type objects are created by dragging with the Type tool to define a shape. Text that you type into this shape flows to fill the shape.

Illustrator inserts Lorem ipsum into this object as well Figure 2. Area type is best used when your text needs to fit within a given area and must be structured in paragraphs. Return to Illustrator and select the Type tool. Click in the orange rectangle in the upper-left corner of the artboard to create a point type object. Using the Type tool, drag across the yellow rectangle to create an area type object slightly smaller than the yellow rectangle. Type the text Slice them, and put them in your reusable water bottle!.

Select the text that you created in the previous step, and in the Properties panel, open the top menu in the Character section the Font Family menu. Click the TK button at the top of the menu to filter out non-Typekit fonts, and then choose Abril Fatface Regular from the list of fonts Figure 2. With the text still selected, use the Font Size controls on the Properties panel to change the size to 15 pt.

Go back to the first type object that you created, which is currently a point type object. The text will be easier to work with if this is an area type object, so select the text with the Selection tool and double-click the circle that protrudes from the right side of the object Figure 2.

The point type object is converted to an area type object. Select the text using the Type tool. Change the font to Abril Fatface Regular and set the point size to 21 pt.

Switch to the Selection tool and change the size of the area type object so that the word Lemons wraps to the second line. Select the word Lemons with the Type tool and change the font style to italic, the size to 44 pt, and the leading to 37 pt.

Adjust the type object using the Selection tool so that the text fits within the box. Change the text color to white. Set the font to Myriad Pro Regular, the size to 9 pt, and the leading to 11 pt. Position this toward the bottom of the yellow rectangle.

Adjust the objects on the postcard as you see fit and to make things appear the way that you want them. We could find lemon artwork from a variety of sources, but we can fairly easily create a clean, modern-looking lemon by using some basic shapes in Illustrator. Make sure nothing in the artwork is selected; then select the Fill color box in the Properties panel. Open the Swatches panel and select a nice, lemony yellow swatch.

Select the Ellipse tool , and then Shift-drag on top of the green rectangle on the right side of the postcard to draw a perfect circle.

Switch to the Direct Selection tool the circle to select it. Drag down on the anchor point to elongate the circle, turning it into somewhat of an egg shape a lemon shape, really Figure 2. Select the Ellipse tool again and draw a horizontal oval at the top of the lemon shape, slightly protruding from the top of the lemon Figure 2.

Select the Rounded Rectangle tool. Draw a horizontal rounded rectangle above the oval that you drew previously, making it slightly narrower than the oval and protruding from the top of the oval. Using the Rectangle tool, draw a vertical rectangle that protrudes from the top of the lemon shapes and extends a bit from the top.

Use Figure 2. Switch back to the Selection tool, and click the rectangle. Drag one of the widgets toward the center of the rectangle to round the corners of the rectangle. Adjust until you like the way that it looks Figure 2. Using the Rounded Rectangle tool, draw a small rounded rectangle at the bottom of the lemon, partially overlapping the edge of the larger shape.

Switch to the Ellipse tool and draw a small, horizontal oval overlapping the bottom edge of the rounded rectangle that you drew in the previous step Figure 2. Be creative! But if you want some guidance, use the figures in this section of the book as a reference. Open the Swatches panel, select Stroke, and select a dark green color. Select the Width tool. Starting at the midpoint of the squiggly line, drag away from the line at a right angle to it.

The Width tool varies the weight of the stroke of a path or a variable-width stroke at the point where you drag. You can use the Width tool to create amazing organic shapes very easily. With the Selection tool, select the leaf shape that you just drew. This puts a copy of the leaf directly on top of the original one. With the pasted leaf path still selected, change the stroke color to white.

Using the Width tool, adjust the width point that you added previously and reduce the stroke width of the white stroke, creating a highlight on the leaf of the lemon Figure 2.

Using your mouse, draw a rough representation of a triangle and then let go of the mouse Figure 2. You should notice that upon releasing the mouse button, Illustrator creates a perfect triangle for you to use. Set the stroke of the triangle to None and the fill to white. Using the Selection tool, rotate the triangle by hovering over the corners of its bounding box and dragging the triangle to the desired angle.

You can hold down Shift as you rotate to snap the rotation angle to degree increments. You can scale the triangle proportionally by Shift-dragging a handle. Size and position the triangle to replicate the finished postcard in Figure 2. Make a copy of the triangle for the second instance of the triangle.

You finished your first project using Adobe Illustrator! Every project you create from here on will use the skills that you learned in this chapter as a foundation on which you can build and learn. Use the Shape Builder tool. Add and format text. Create and modify swatches. Convert text to outlines. Use the Color Guide panel to create swatches. Use the Pathfinder panel to modify objects. Chapter ACA Objectives For full descriptions of the objectives, see the table on pages pages — Think of an artboard as the working area in a document.

Each item could live on its own artboard. That would be more appropriate for a true page layout application such as Adobe InDesign. Often during the design process, you may not always know how big your artboard should be.

Start by creating a new document in Adobe Illustrator. In Video 3. With a new document created, you can modify the artboard in a number of ways. You can do any of the following: Select the Artboard tool corners of the artboard. Figure 3. To create a new artboard, click the New Artboard icon in the Control panel or the Properties panel or at the bottom of the Artboards panel Figure 3.

Selecting an existing artboard in the Artboards panel first will define the dimensions that will be used for the new artboard created. This can be helpful if you want to create a second artboard with the exact same artwork on it but you plan to modify the artwork on the copied artboard.

Select the Artboard tool and Option-drag macOS or Alt-drag Windows the artboard to where you would like the new artboard positioned. This will make a copy of the artboard. As you add more artboards to a document, the default artboard names are simply Artboard 1, Artboard 2, and so on. To rename an artboard, do one of the following: Double-click the name of the artboard in the Artboards panel, type a new name, then press Return macOS or Enter Windows Figure 3. Type a new name in the Name field; then click OK.

Rename the artboard in the Properties panel directly when the Artboard tool is selected. For our business card project, we need a background element that will serve as the foundation for the card.

Using the Rectangle tool, click anywhere on the artboard to display the Rectangle dialog box. Enter 3. With the new rectangle created, set the stroke to none and the fill to a color of your choice. Position the rectangle anywhere on the artboard.

Select the rectangle using the Selection tool, and then switch to the Artboard tool. This resizes the artboard to make it the exact size of the selected artwork. Name the Artboard Front in the Control panel or the Properties panel.

Select the Selection tool to switch focus away from the artboard. Save the document as Business Card. Thanks to the power of Illustrator, we can create this art quite easily. Adding Bleed to the Card Before we go too far, you should realize that the design for the card has the halfpipe shape extending to the edge of the card. Because a printing press and most desktop printers for that matter are unable to print ink to the edge of a piece of paper, the artwork needs to be printed on a larger piece of paper, with the artwork extending past the edge of the project.

Then after printing, the card can be trimmed down to the final size, creating the desired end result for the project.

The distance the printed artwork needs to extend beyond the actual project is called bleed. Press the Tab key to exit the field, and all of the bleed values should update to the same value Figure 3. Using the Selection tool, extend the sides of the rectangle so they snap to the bleed guides that appear on each side of the artboard. This provides adequate bleed for the artwork. Select the rectangle with the Selection tool and double-click the Fill indicator at the bottom of the Tools panel to display the color picker.

Draw a new rectangle between the two vertical guides that you created. Extend the bottom of the rectangle about two-thirds down from the top of the business card and extend the top way above the top of the business card, as shown in Figure 3. With the rectangle still selected, drag one of the corner widgets toward the center of the rectangle to round the corners of the shape.

Using the Selection tool, select both of the shapes. Switch to the Shape Builder tool and hover over the artwork. The job of the Shape Builder tool is to create new shapes from existing shapes. Using the Shape Builder tool, if you drag across several areas, the tool will merge those areas together into one. While holding Option macOS or Alt Windows , drag across the shape of the rounded rectangle, including the area that is partially overlapping the brown rectangle.

This punches out the shape of the rounded rectangle from the brown rectangle, producing a half-pipe shape for the business card Figure 3. At this point in the project, we no longer need the guides that we created earlier. Using the Type tool, drag to create an area type object that is roughly half the width of the card but centered at the top within the open area of the half-pipe.

Lorem ipsum text appears in the area type object. Change the font of the text to Fresno Black. In the Character panel, change the size of the word Session to 48 pt and the size of the word Sk8shop to 32 pt. Select the word Sk8shop and adjust the leading value to decrease the space between the lines of text until the text is visually appealing.

Adjusting Kerning and Tracking Kerning and tracking, although similar, are actually two different adjustments. Kerning is the adjustment of the space between two adjacent characters. To kern a pair of characters, select the Text tool and click between the characters you want to adjust to place the insertion point, and then adjust the kerning value.

Typically as text increases in size, the space between the characters gets disproportionately larger than what is visually pleasing. In cases like this, kerning is used to adjust the text. Tracking, in comparison, is the adjustment of the space between characters over a range of text. To track a range of text, select the text using the Type tool and then adjust the tracking value.

Using the Type tool, click between the first S and e in the word Session. In the Character panel, click the up and down arrows in the kerning adjustment field to increase or decrease the space between the pair of characters.

NOTE When using the keyboard shortcuts to adjust kerning and tracking, keep in mind that the keyboard increment defined in the Type section in Illustrator Preferences controls the amount of kerning applied with each tap of the arrow key.

Click between the e and the s or simply press the Right Arrow key on your keyboard to jump to the next pair of characters and adjust the kerning to the desired amount.

The adjustment of kerning is a visual and often subjective decision. You want the characters to look like they belong together.

Using the Type tool, select the word Sk8shop and adjust the tracking in the Character panel by clicking the up or down buttons next to the tracking field to increase the space between the characters in the selection Figure 3.

We want the Sk8shop text to be approximately the same width as the Session text above it. Using the Type tool, select all of the text in the area type object and click the Align Center button in the Control, Paragraph, or Properties panel.

Using the Selection tool, tidy up the area type object to make it as small as possible but still contain the text. Doing this helps to keep the document clean and makes it easier to work with objects in the document. Swatches give you the ability to consistently apply the same color to different objects, and when swatches are defined as global swatches, you gain the added control of having objects update when you change the color of the original swatch. After that, we need some other colors that complement the brand color.

Illustrator is going to help us pick colors that work well with the initial swatch. Open the Swatches panel. Click the panel menu in the upper-right corner of the panel and choose New Swatch Figure 3. In the New Swatch dialog box, you should see the initial values of the last color that you used. So if you ever decide to change the color values of the swatch, all of the objects in your project that have that color applied will update automatically to match.

Click the trash can at the bottom of the Swatches panel to delete those swatches that are not being used.

Open the Harmony Rules menu to the far right of the Base Color swatch to see the available choices. Harmony rules define relationships between colors that look good together. This adds all of the swatches from that harmony rule to the Swatches panel Figure 3. Click the first nonglobal swatch in the group that you just added to the Swatches panel, and then Shift-click the last one to select all of the nonglobal swatches.

From the Swatches panel menu in the upper-right corner of the panel, choose Swatch Options. All of the swatches in the group that you just added should now contain a triangle in the lower-right corner. During the initial design phase, it was determined that it might look interesting if the first S in the word Session weaved through the other letters of the word. Using the Selection tool, select the area type object and apply the Violet color to the fill of the text.

This converts the text to paths, and the text is no longer editable. Zoom in on the first S of the word Session and, using the Direct Selection tool, click the anchor point at the upper right of the letter S. Shift-click the anchor point below the first anchor point Figure 3. Drag the selected anchor points to the right to extend the shape to the right edge of the letter N in Session. To keep the anchor points aligned to their original location, hold down the Shift key on your keyboard as you drag.

Select the logotype group using the Selection tool to make it active. Hover over the logotype group and click once to convert the logotype to a Live Paint group. Notice that now every component of the overlapping shapes becomes an element that you can apply a different color to by clicking. Each enclosed area in a Live Paint group is called a face, and the boundaries between faces are edges. Open the Swatches panel and click the New Swatch icon at the bottom of the panel to create a new swatch based on the Violet swatch.

Hold down Shift and drag any of the sliders to the right to adjust all of the sliders at the same time. This maintains the hue of the color but increases or decreases the saturation. When you have a darker version of the Violet swatch, rename the swatch to Violet Dark, and then click OK. With the Live Paint Bucket tool still active, click every letter of the word Session except the first S and then click the top portions of some of the letters to create the appearance of the first S shape interleaving between the characters Figure 3.

Press the Right Arrow or Left Arrow key on your keyboard until the color above the cursor is a lighter shade of the violet color and then apply the light color to the top portion of the letters in between the darker ones. Give the tiny piece in the top-right corner a fill of None Figure 3. Using the Type tool, drag in the lower-left corner of the business card from the intersection of the guides up and to the right to create an area type object.

By default the area type object is filled with lorem ipsum text, but the text is selected by default. Type a name, a position, and an email address.

You can make it up if you wish, or you can follow along with the example used in the video. Change the font to Proxima Soft Light or another font of your choosing, and set the size to 10 pt and the leading to 11 pt. Set the alignment of the text to Align Left. Change the color of the text to the Dark Violet swatch that you created and set the contact name to bold or semibold.

Open the Paragraph panel to change the paragraph settings. Select the contact name and increase the Space After Paragraph value to add a bit of space paragraph spacing to make the name stand out. Using the Selection tool, Option-drag macOS or Alt-drag Windows the area type object to the right side of the business card. So maybe adding an element to make it more obvious would help. Select the Pen tool and, somewhere off to the side of the business card in the white space, click once with the Pen tool to create an anchor point.

Hold down the Shift key and click to the right of the first anchor point to create another anchor point. A line segment is drawn between the two anchor points. Move the mouse up and to the right a bit, and click once again to create one last anchor point three anchor points total and a second line segment Figure 3.

Press the Escape key on your keyboard to terminate drawing with the Pen tool. Set the fill color to None and the stroke color to the Dark Violet swatch. Using the Ellipse tool, Shift-drag to draw a circle beneath the skateboard deck profile.

Make the circle about the size of a skateboard wheel. If necessary, switch to the Selection tool and position the wheel at an appropriate location in relation to the skateboard deck. Set the fill color of the wheel to Dark Violet. Using the Selection tool, copy the first wheel by Option-dragging macOS or Alt-dragging Windows the wheel to the right at an appropriate location.

Move the skateboard onto the half-pipe. Select the Rotate tool and click the edge of the wheel as shown in Figure 3. This establishes the point of transformation of the object using the Rotate tool. Now move the cursor to the other end of the skateboard and drag to rotate the skateboard. Rotate it until the other wheel is the same distance from the surface of the half-pipe as the first wheel.

Using the Selection tool, fine-tune the position of the skateboard so that it looks convincing Figure 3. Save your document. Feel free to tweak the design and make additional adjustments on your own. Group and ungroup objects. Work in isolation mode. Use the Appearance panel. Create and work with graphic styles. Work with layers. Set type on a path. Create a pattern swatch. Normally, however, it would make sense to add an additional artboard to the document containing the front of the card that we created in Chapter 3.

That will give you a completed file. Or you can create a new file, as shown in the video. The Appearance panel in Adobe Illustrator CC is incredibly powerful and allows you to create complex appearances from simple, basic paths.

Set the width to 3. This is the size of a standard business card with bleed. Conversely, you can save a copy of the front of the business card that you created in Chapter 3 and simply add another artboard to the document using the same specifications.

With the file created or the artboard added, you can begin to draw the streets of the area where the skate shop is located. Feel free to follow along with the streets that are drawn in the video, or be creative and come up with your own street configuration for the business card.

Keep in mind, however, that the streets that were drawn in the video were done in a way so that other techniques can be learned later in the chapter. So have fun and enjoy learning how to manipulate paths in Illustrator!

This circle will represent a traffic circle on the map. Using the Ellipse tool, Shift-drag to draw a perfect circle on the artboard. Set the stroke color to black and the stroke weight to 5 pt. Note that the traffic circle itself is not a complete circle. Illustrator has two powerful tools for splitting paths: the Knife tool and the Scissors tool.

You can find both of these tools by pressing and holding the Eraser tool Figure 4. Figure 4. The result is two new closed paths. The Scissors tool, by comparison, can be used on both open and closed paths.

Click the spot on the path where you want to cut it. If you clicked an open path, the result is two new open paths. If you use the Scissors tool on a closed path, the result is an open path. Using the Scissors tool, click the ellipse in the lower-left portion of the circle to cut the path at that location.

Click again on the far right of the ellipse with the Scissors tool to cut the path at that location as well. Using the Line tool , drag from the lower-left open end of the ellipse down and to the left, extending the path past the bleed guide on the artboard. Draw another line from the right open end of the ellipse and Shift-drag to the right, extending the line again past the bleed guide. Joining Paths We want to join our straight street lines to the traffic circle shape the ellipse.

Illustrator offers several ways to join two ends of open paths together. One method is the Join command. The Join tool takes into account the shape of the paths being joined and attempts to create a more natural connection between the paths.

Select the Join tool Shaper tool. Scrub with the mouse over the endpoints of two line segments where the ellipse and line meet. When you release the mouse, the two endpoints will be joined together Figure 4. Repeat step 2 for the other endpoints where the line segment and ellipse meet. Using the Line tool, continue drawing more straight lines to represent the cross streets as well as a diagonal street in the upper-right corner.

Once again, you can follow along with Video 4. Drawing Curved Streets There are many ways to draw curved paths in Illustrator. You can use the Pen tool, but until you have some practice, using it can be a bit challenging.

The Pencil tool is easy to use, because it allows you to use the natural movements of the mouse to generate a path. You can then further refine the path by using the Smooth tool. Using the Pencil tool, draw a curved snake-like line that goes from the top left of the artboard down to the lower right of the artboard, as shown in the video Figure 4.

Using the Smooth tool, trace over the curved line that you drew in step 1 to remove extra anchor points and to smooth out the path. Feel free to do it more than once. Go ahead and draw another curved line extending from the angled path in the upper-right corner of the card down to the bottom middle of the card. Draw two more curved lines that extend out from the traffic circle: one from the top of the circle to the upper-left corner of the card and another from the left side of the circle, down and to the left.

There are some areas of the card where the lines overlap other lines and extend too far into other areas. Follow along in the video and use the Eraser tool to remove those areas that extend too far and to tidy up the map in order to achieve the appearance you want. Grouping elements is a great way to connect elements so that when you select any of the objects within a group, they will all be included in the selection.

Sometimes you can just select everything you want to work with in the document and go from there. More often than not, though, you want to select only certain items. Select one of the lines streets in Illustrator using the Selection tool.

Notice that every object in the document that has a black stroke is now selected. This makes it easy to adjust properties of items that have similar appearances. Then, whenever you want those elements selected again in the future, just choose Select and choose the selection that you named saved selections are listed at the bottom of the menu. Click one of the curved paths with the Selection tool and then Shift-click the other curved paths to select all the curved paths in the map.

All the selected objects are grouped together. Click one of the straight paths with the Selection tool and then Shift-click the other straight paths.

Click any path in the original group and then Shift-click any path in the second group to select both groups at the same time. This creates a nested group groups inside of another group. Open the Layers panel to get a better idea of how the groups are structured Figure 4.

Working with Groups Within the Layers panel, you can double-click the name of the group and enter a more appropriate name to make it easier to identify later. There are better ways to work with items in a group without having to ungroup them. One method is by using the Group Selection tool. Using the Group Selection tool, clicking an object will select it as you would expect to happen with the Direct Selection tool.

If you click the object again, however, it will select the group of which the object is a member. Click again, and it will select the next group that the group is a member of if it is a member of or nested within another group. Keep the Group Selection tool in mind when you need to work with elements of a group or nested groups. Isolation mode provides a way of editing the contents of a group without having to ungroup the group. Using the Selection tool, double-click an item on the artboard that you wish to edit.

This is where naming the groups can be very beneficial. Double-click an item within one of the groups. Go ahead and move items around. Edit and adjust them; you can even switch tools to modify the elements to your liking. Click the left arrow in the isolation mode bar until it disappears.

Click the gray area of the isolation mode bar to the left of the named objects. Double-click the canvas or a blank area of the artboard. Isolation mode is useful for more than just editing groups. The Appearance panel allows you to modify and add to the visual appearance of an object. For example, using the Appearance panel you can add multiple fills and multiple strokes, as well as various effects to a single object or path.

Video 4. Using the Selection tool, select one of the streets paths on the map. The Appearance panel will show Path at the top of the panel, indicating that a path is currently targeted, and the appearance of the targeted path will be indicated below.

In this case we see a 5 pt black stroke and a fill of none. At the bottom of the Appearance panel, click the Add New Stroke button to add a second stroke to the selected path. The stacking order of the items in the Appearance panel is the same as the stacking order of objects in a document. The topmost items will appear in front of the items below. Select the bottom stroke in the Appearance panel and then click the stroke color and change it to cyan; then change the Weight value to 6 pt Figure 4.

You can even add more strokes if you wish! Graphic styles are essentially sets of Appearance panel properties that you save so that all of those properties can be reapplied to other objects quickly and easily. Begin by selecting the object that you applied the appearance attributes to in the previous section.

By default, the Graphic Styles panel contains a few graphic styles that you can apply to objects. Drag the selected object that contains the appearance attributes and drop it on the Graphic Styles panel Figure 4.

The Appearance panel will always provide a behind-the-scenes view of what is actually applied to the selected object s. In the Graphic Styles panel, click the Streets graphic style to apply the appearance attributes defined within to the selected paths of the streets. Notice that all of the streets are now formatted using the same appearance attributes defined in the graphic style Figure 4.

Updating a Graphic Style One of the powerful aspects of a graphic style is that you can adjust the appearance of all objects with a graphic style applied by updating the graphic style. This allows you to make appearance changes to objects in a document with just a couple of clicks! With the Selection tool, select one of the street paths on the back of the business card. Open the Swatches panel, and open the Swatch Libraries menu found in the lower-left corner of the Swatches panel Figure 4.

Choose Other Library and then navigate to the file that you saved for the front of the business card and click Open. All the swatches from that other file will appear in a new panel. Click the folder icon to the left of all the swatches that you just displayed in the new panel to add those swatches to the Swatches panel of the business card back file. Close the panel that you opened in step 3 since you no longer need it. Apply the lavender swatch third from the left to the top stroke in the Appearance panel, and apply the black swatch to the bottom stroke.

Open the Graphic Styles panel, and while holding Option macOS or Alt Windows , drag the path that contains the new appearance and drop it on top of the graphic style in the Graphic Styles panel Figure 4.

That street needs to end where it meets the diagonal street. So, using your tool of choice, cut the path so that it abuts the diagonal line, as shown in Figure 4. The video uses the Eraser tool, but you can use any tool that you wish. Begin by drawing a rectangle just big enough to cover the triangular area of the card in the upper-right corner and extend it beyond the edge of the artboard.

Give the new rectangle a stroke of None and fill with a green color to represent a grassy area. Use whatever green color you wish, and create a new swatch from that color and name it Grass Green.

Select the green rectangle and the diagonal path using the Selection tool. Select the Shape Builder tool , and while holding Option macOS or Alt Windows , click the lower-left corner of the rectangle to remove that part of the rectangle Figure 4. Layers help to isolate and manage the objects in the document, making it easier to control them.

The Layers panel shows you the stacking order depth order of the objects in a document. Just as objects have a stacking order in a document, so too do the layers themselves. Double-click Layer 1 and rename the layer Streets.

Option-click macOS or Alt-click Windows the Create New Layer button to create a new layer and display the Layer Options dialog box so that you can name the layer while you create it. Type Landmarks in the Name field and click OK. Drag the Landmarks layer below the Streets layer to change the stacking order of the layers Figure 4. At this point, all of the objects in the file are on the Streets layer since that is the original layer that we started with.

Using the Selection tool, select the green triangle in the upper-right corner of the card. That blue square is in the Layers panel selection column and indicates that the selected object is currently on the Streets layer. Drag the blue square down and drop it on the Landmarks layer Figure 4. The square is now on the Landmarks layer and the bounding box around the green triangle, as well as the path that makes up the triangle, is now red because the Landmarks layer was assigned the red color by default when it was created.

The card is really taking shape! However, the streets on the map now overlap one another, which is not how those streets actually look. In the Layers panel, click the far right of the Streets layer to select all of the paths on that layer. In the Appearance panel, choose Clear Appearance from the panel menu. This removes any appearance attributes from the selected objects, essentially setting the stroke and fill to none Figure 4.

Using the Appearance panel to target an object also selects the object and selecting an object also targets it. In the Layers panel again, click the small circle the target icon to the right of the Streets layer in the targeting and appearance column of the Layers panel to target the objects on the layer Figure 4. In the Graphic Styles panel, click the Streets graphic style to apply the graphic style to the entire layer this time instead of the individual paths streets. Notice that the street intersections show a more natural merging of the paths because the style is applied to the entire layer as a whole instead of the individual paths Figure 4.

Any path that you now draw on the Streets layer will inherit the appearance attributes applied to the layer, making the process of adding more streets to the map incredibly easy and efficient. Understanding the concept of targeting will give you the ability to harness the power of Illustrator when creating your own designs.

Use whatever names you wish and have fun with your map! Begin by creating a new layer in the Layers panel and name that layer Street Names. Make sure that this layer is the topmost layer in the Layers panel because we want the street names to appear on top of all the other elements of the card. With the Street Names layer active, click anywhere on the card using the Type tool to create a new point type object on the card.

Now type the name of your first street. In the video we used Franklin Street, but you can use whatever name you prefer. We need the text to fit within the bounds of the street, so using the Properties, Control, or Character panel, change the font and size of the text to something that looks appropriate. In the video we used Myriad Pro at 6 pt.

Position the text on top of one of the streets. Type a new name for the copy of the street and position it over a different street. Repeat the previous steps until you have a name for all of the horizontal, vertical, and diagonal streets on the card Figure 4. Using the Selection tool, select the two curved streets on the map. This makes a copy of the selected objects on the Street Names layer Figure 4. Select one of the copied curved paths to make it active.

Now, using the Type On A Path tool , click the selected curved path to convert it to a path type object and to apply default text to the path. Begin typing a new street name to replace the default text. Note that the text follows the shape of the path. To flip the type over the path, use the Selection tool to drag the middle bracket across the path. To adjust the location of the type on the path, switch to the Selection tool and drag the bracket at the end of the path toward the text to shorten the type on the path object Figure 4.

Then drag the middle bracket to slide the type along the path to a new location Figure 4. To adjust how the text aligns to the path, select the text using the Type On a Path tool and then adjust the baseline shift value in the Character panel.

Repeat the previous steps to add a name to the other curved street on the map, and then save the file. Although you could manually draw the texture of the pattern each time, patterns save you a lot of time and provide powerful control over the appearance of those items. Make sure the Landmarks layer is active and begin by drawing a circle using the Ellipse tool. Position the circle inside the traffic circle in the upper-left corner of the card.

This ellipse represents a grassy area inside the traffic circle. A dialog box opens, alerting you that a new pattern has been added to the Swatches panel.

At this point you are in Pattern Editing mode, as indicated by the isolation mode bar at the top of the screen. Anything you draw in this mode will become part of the pattern. Using the Line tool, draw a vertical line from the top to the bottom of the pattern tile. Set the stroke weight to 4 pt and the color to green. Change the color of the duplicated object to a lighter shade of the original green color.

Enter Grass Pattern for the name Figure 4. Exit Pattern Editing mode by pressing the Esc key on your keyboard. The pattern will be saved in the Swatches panel. Applying the Pattern to the Grassy Areas of the Map Once a pattern is created, you can apply it to any object that you wish.

A pattern swatch behaves like any other swatch in Illustrator. It can be applied to the fill or stroke of an object. Select the ellipse in the middle of the traffic circle. Select the fill of the object and select the pattern swatch in the Swatches panel that you just created.

The ellipse is filled with the striped pattern. To scale the pattern within the ellipse, do one of the following: Double-click the Scale tool and deselect Transform Objects and select Transform Patterns.

Type a scale value in one or more of the scale fields and click OK Figure 4. A mix of 6 project-based lessons, 8 hours of practical videos, and interactive quizzes prepares you for an entry-level position in a competitive job market.

Purchasing this book gives you access to valuable online extras. Follow the instructions in the book’s “Getting Started” section to unlock access to:. Editorial Design: Digital and Print is a comprehensive guide to the traditional and digital skills that …. The fast and easy way to learn to draw Drawing can enrich your life in extraordinary …. Features access to video tutorials! Designed to help architects, planners, and landscape architects use freehand sketching ….

Skip to main content. Start your free trial. Book description Adobe Illustrator CC is the most popular vector illustration application available.

 
 

 

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Book Overview: Hands on step by step tutorials How to create logos, illustrations, posters and more Explore the all new streamlined version of the Tools panel How to use the Shaper tool, Live shapes and Dynamic symbols How to create website assets and export them in multiple media formats The book also comes with online companion files and a web edition of the book.

It teaches you the basics, right into the hard stuff and you come away knowing quite a lot about the software. Authors: Jennifer Smith Published: Book Overview: Learn the basics and the essential skills of the program Feels like you have your own personal expert tutor teaching you Useful exercises to teach you the Illustrator workspace tools and options How to create illustrations and logos using vectors How to design dynamic artwork for different media devices How to develop special effects and styles for artwork and text How to use the new touch type and symbol tools How to use the kuler panel to create colours and apply gradients DVD does not come with the ebook, but can be downloaded after purchase.

Great book for beginners. Author: Sharon Steuer Published: More Info Sharon Steuer has been creating, writing and teaching digital art since the s. Book Overview: How to paint and generate objects with raster brushes Live corners, rectangles and reshaping paths The touch type tool Airbrush and neon effects Complex styles with multiple lines, fills and effects Building and modifying scenes in perspective and 3D Transforming raster art to illustrator vectors Preparing artwork for animation and the web Integrating Illustrator with Photoshop and other apps If you register the book online you gain access to artwork and special pdfs also!

Author: Hugo N Hansen Published: This is a wildcard for me. What to do Next? Why not try out some of the other posts while you’re here? You can also download Adobe Photoshop Elements Furthermore, you can research with new forms and results to style new vectors cases. This is a very program for developing scale able vector style i. You can protect the results of the designs, dark areas, blurs, etc without having affected the quality. Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students.

It is a vector graphics maker designed and developed by Adobe Inc in It is included as a part of the Adobe package, i. Furthermore, it is widely used by graphic designers for visual designs that combine shapes, text, and images. However, you can create different digital and printed artworks that include logos, icons, book covers, media post images, cartoons, business cards, and many more.

Illustrator’s most important use is its ability to create solid and quality artworks that are widely supported and used. As a guide, this will walk you through the basics, which will ignite your ability to think creatively using Adobe Illustrator. You will get a simplified breakdown of utilizing this application by showing the various areas and tools on this platform. Now that you have an idea of the amazing things you get to learn from this book, go ahead and grab your copy now rather than later.

Adobe Photoshop Lightroom Classic Classroom in a Book release contains 12 lessons that cover the basics and beyond, providing countless tips and techniques to help you become more productive with the program. Purchase of this book includes valuable online features.

Print and screen designers use it to create powerful artwork composed of shapes, color, and highly styled text. Illustrator is a necessary tool for anyone considering a career in the visual design or illustration field. Learn Adobe Illustrator CC by building cool creative projects that teach you how to: Design and illustrate a promotional postcard Style text to create a logotype for a business Combine illustrations and text to create infographics Trace a photograph to use in an eye-catching concert poster Design icons and graphics for a mobile device interface This study guide uses video integrated with text to help you gain real-world skills that will get you started in your career in graphic design using Adobe Illustrator CC and lays the foundation for taking the Adobe Certified Associate ACA certification exam in that field.

This eBook includes the following formats, accessible from your Account page after purchase:. EPUB The open industry format known for its reflowable content and usability on supported mobile devices. This eBook requires no passwords or activation to read. We customize your eBook by discreetly watermarking it with your name, making it uniquely yours.

A Web Edition is an online learning product that you view in your web browser while connected to the Internet. Some Web Editions include additional interactive features, such as videos, quizzes, or live code editing. Read the product description for more details. A Web Edition will be accessible from your Account page after purchase. Leading instructors prepare learners for a career in graphic design and for the Adobe Certified Associate Exam. This study guide uses text integrated with video to help you gain real-world skills that will get you started in your career in graphics, design, or illustration, and lays the foundation for taking the Illustrator ACA exam.

A mix of project-based lessons, practical videos, and regular assessments throughout prepares you for an entry-level position in a competitive job market. Adobe conducted research to identify the foundational skills students need to effectively communicate using digital media tools. Based on feedback from educators, design professionals, businesses, and educational institutions around the world, the objectives cover entry-level skill expectations for each topic. The ACA exams have proved to be highly successful; Adobe reports that the total number of exams taken worldwide has reached one million since To create this new product, Peachpit and Adobe Press have joined forces with team of outstanding instructors who have a great track record getting students certified: Rob Schwartz and his colleagues at BrainBuffet.

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