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Notes and Tips: - Take your time. I completed lessons in times the suggested durations. Sure, I could have raced through each lesson, but that isn't the point.
My objective was to learn AI-CS6 by taking the time to explore each lesson and experiment with the features. The lessons and examples are rich in content. Many of the instructions are specific where every word is important. Skimming the text doesn't work. This is nice because it allows the user to experience any lesson in any order or to refer back to any lesson.
It became obvious as I progressed through the lessons. The examples are so crucial to the book and learning AI-CS6. As other reviewers have indicated, the link to download the files is located on the last few pages. I had no problems finding the fifteen zip files but the 'Download All' button didn't work for me. Even with clicking the download button for each of the fifteen files, I had the files in a minute.
I had two reactions to this first example: 1 AI is an amazing software app for illustrations. Fortunately, the fifteen actual lessons are very well-designed and instructive.
Great job creating an indispensable guide to learning AI-CS6! One person found this helpful. I purchased this book as one of the texts to a web based design course. It comes with a CD of lessons.
Each chapter has a different "project" to complete with step-by step directions. The instructions are detailed. At times there is a little too much detail and it becomes repetitive. But, you really do get many of the concepts mastered pretty quickly through the repetition. By the end of chapter three you will definitely know a lot about working with the views of the art boards It probably won't satisfy someone who wants to look up a feature and see all the possibilities for using it one one page.
It's not designed like that. It's designed to be "a Classroom in a Book. If you have not been exposed to Illustrator yet, it's not the type of software you learn by "tinkering". It does so much. There are hidden gems throughout the program. You really need something like this book to get you going. See all reviews. Top reviews from other countries.
Can be a bit daunting for a beginner. It's a good book. Its scope is wide, even from the get-go techniques are relatively advanced and complex as it tries covering many of the functions of Illustrator you may not even have known about despite having used it before.
Still, I'm not sure that their approach is the best from a pedagogical standpoint, or certainly not for absolute beginners as the projects may seem a bit daunting. Still, I am not going to subtract more than one star for whatever shortcomings I may feel the book has, for it is still the best one-volume cover-most-bases tutorial book on Illustrator I have had the pleasure to read.
It did help me to get started, it did teach me many basic skills as well as more advanced ones when I was starting out, and it did help me overcome that overwhelming sense of not knowing where to begin the first time you sit down and try to figure out how to do anything in Illustrator.
Especially if you are entirely new to vector graphics too. I know this will no longer be the latest edition, but I am sure newer editions are equally good, if not better, and it's a series of books I therefore can recommend wholeheartedly.
I have to be honest - I hate Illustrator. But I think it is mainly down to the fact that I grew up studying and working in Photoshop and the free download of PhotoFiltre. I had to work out Illustrator as I am studying web design at college, even though we can use other elements we were asked to produce various things in Illustrator, so willingly I ran towards Amazon to find a book that would teach someone who has no idea what they are doing, and transform them into a magician at Illustrator.
After a few reads I managed to create various things, it was helpful. I have managed to swiftly drop Illustrator and run in the opposite direction to my friend Photoshop, but I know when the time comes oh and it will come - that this book on my shelf will get me there.
Being a non-professional person who has basic previous experience, I bought this book as a way to broaden my knowledge of Illustrator mainly for hobby purposes but with a view to possibly doing some future web based design work for friends or family. Currently about 3 or 4 chapters into this book and so far so good. I bought the kindle version so as you can imagine the clarity of some of the images is less than you would expect from a paper book, however the instructions and downloadable content are easy to follow.
Looking forward to working through the projects and possibly looking at more books in the range for other Adobe software such as Photoshop. Seems to be best how to Illustrator CS6 book available.
The exercises starts off well although the first one is very hard - to provide you a taster of every thng. However the later exercises around the halfway mark doesn't seems to be proof read as they don't replicate the same results as shown in the book.
You have to work it out yourself like moving the layers around. It is like that with all the second half of the exercises.
This book could have be very good. Report abuse. Teaching is an art! This book fails at times to deliver succinctly. Also the information is all over the place because it is not exactly teaching you a particular website to build like other web site do but giving you tons of information that you may not need. I can understand that this can be in fact useful but I wanted to see more working examples because it can otherwise get boring to read.. Customers who viewed this item also viewed. Report an issue.
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Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Oh My Gosh! Top Contributor: Fantasy Books. Verified Purchase. I bought this book and a handful of others about CS6 when I was playing at being an artist. I've seen some other students create wonderful illustrations in class. Creating great art takes some skill and talent. I spend too much time reading and watching fantasy and science fiction.
What happened to the work Christine Beauregard? I always looked forward to seeing her new work. Other than that I love love love the "Wow Illustrator" books including the current version.
This is one series of computer "how-to" books unlike Photoshop that older versions do not go out of style. In fact, just recently, I looked up a cool method of making circular flowers from WOW CS2 that I can't find anywhere else including tutorials on the web. Makes sense as some information is basic to the software and has to be presented.
But each version, including this one, presents the new tools with not only instructions on how to use them but adds relevant artwork from professional in the field. That's why I miss Beauregards' work. I'm sure she uses the "draw inside" tool a lot. All of my WOW illustrator books are heavily marked.
If you are a beginner I suggest, as they do in the book, to get either Golding's basic book or follow tutorials on adobe. They finally added tools that seem we've been needing forever such as: "draw inside" no more clipping masks, yeah!!!
These new tools have cut my workload in half. For that reason, I bought this one. I should not have! There is some new information, but not enough to warrant the purchase.
If you do not have the earlier version, than I recommend this book. I teach computer illustration in the community college and this book gave me some great ideas for exercises for the students. This is more of an idea book than a how-to book. Have been reading this series since CS2 edition.
Steuer is one of the premier writers for this industry. The book provides examples and techniques I've not found anywhere else. Well laid out and rich in details. Production value of the book could be better. The book cover is not glossy or even very well constructed.
Also far fewer pages from earlier editions. Cost saving measures, I'm guessing, but don't let it detract you from buying this book. Read Steuer for her content, not for the quality of production. One person found this helpful. Its a decent book to learn from. The exercises are lame. I teach Illustrator, so I need to have good reference books, sources for my own training.
I live in an isolated area, so I've gotten most of my training from books. I have purchased all versions of this book way back to the beginning and gotten something new out of each one. This is powerful knowledge that really helps you to understand how to work with Illus.
Learn to work like a professional. Not for beginners, but the Wow books beat all the others when it comes to Illustrator. Believe me, I teach and I've purchased them all.
These are my secret weapon. Good basic information applicable to several older versions as well. Not what I expected. Hard to follow and I am familiar with illustrator. See all reviews. Top reviews from other countries. I will qualify this feedback by restating the 'for me' aspect. I was seeking a book that would walk through the features of Illustrator CS6 and explain how to add that 'Wow' factor.
Unfortunately this book does not deliver in the way that meets my needs. I do not use Illustrator frequently and whilst I have mastered some of the basics I just do not have the time, nor the artistic talent, to develop the output demonstrated in this work! Having said that I am sure that if your are brimming with artistic talent waiting to be applied to digital artwork this book has plenty within it to stimulate your 'artistic bent'.
Each Chapter is accompanied by a printed Gallery of finished illustrations that should inspire the reader - each illustration in the gallery has a brief explanation of how the image was created. Book - but if you have buckets of artistic talent then this book could be just what you are looking for! I'm always a bit disappointed with Wow!
Perhaps it's the title raising my expectations that I will see something absolutely amazing, and then finding examples of what are actually very basic techniques inside can be rather underwhelming. That said, it's not a bad book. It does show some nice things. Not very advanced technically, but at least useful for getting one's own creative juices flowing with a bit of inspiration.
If you wish to learn anything more specific, going online is a better way to find tutorials for Illustrator techniques. This is a book which has something new to teach an experienced Illustrator user on nearly every page.
It is not for beginners and won't teach you about the wide range of facilities in Illustrator, the 'Classroom in a Book' is much better for that.
adobe illustrator cs6 classroom in a book lesson files download - BANDOL T2 36 m2 in Villa PRIVATE POOL GARDEN
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Versone 8e46ae4c In the Save As dialog box, leave the name as BoutiqueArt. Artboards are like pages in Adobe InDesign. A checkmark next to the Smart Guides menu item means they are on. Move the pointer into the upper-left part of the artboard see the red X in the figure. Press and drag down and to the right. When the gray measurement label next to the pointer shows a width of approximately 10 inches and a height of 7 inches, release the mouse button.
The shape will be selected. When the pointer changes , drag it into the approximate center of the artboard. When the gray measurement label shows a value of approximately 0. Shapes you create can have a stroke border and can also be filled with a color.
You can apply and edit swatches, which are the colors that come with each document by default, and create your own colors. In the panel that opens, make sure that the Swatches option is selected at the top to show the default saved colors, called swatches. While you can use the default swatches, you can also create your own colors and save them as swatches to reuse them later. Click OK to save the change you made to the swatch. You can press the Escape key to do this.
A stroke is the outline border of artwork such as shapes and paths. There are a lot of appearance properties you can change for a stroke, including width, color, dashes, and more. In the panel that appears, click the Color Mixer button at the top to create a custom color.
Click the New Swatch button at the bottom of the panel to save it as a swatch. The blue color should now be showing in the Swatches panel as a saved swatch.
Type Background, and press Return or Enter to change the layer name. Currently, the rectangle you created is on this layer. Press Return or Enter to change the layer name. By creating multiple layers in your artwork, you can control how overlapping objects are displayed. In the document, artwork on the Content layer will be on top of the artwork on the Background layer since the Content layer is above the Background layer in the Layers panel.
Click the Fill color box. In the panel that appears, make sure the Swatches button is selected at the top of the panel, and click to select the blue swatch you created in a previous step.
Press the Escape key to hide the panel. Press Return or Enter to accept the size change. Click the arrow to the left of the Montserrat font name to show the font styles circled in the following figure. It may take some time for the font to be activated. Click Montserrat Light to apply it. Press Return or Enter to accept the change. Click to make the text capitals.
The Shape Builder tool is an interactive tool for creating complex shapes by merging and removing simpler shapes. When a menu of tools appears, release the mouse button. Select the Ellipse tool in the menu that appears. See the figure for roughly how big to make it. Press Return or Enter to hide the panel. Drag to create a small rectangle on top of the ellipse. See the first part of the following figure. A temporary vertical magenta guide may appear when they are aligned.
The goal is to understand how to create and edit the shapes. They come in different shapes and sizes! Move the pointer to roughly where you see the red X in the middle part of the following figure. Press the Shift key, and drag across the two shapes to combine them. Release the mouse button and then the key. Click and release to start drawing a shape see the first part of the following figure. Move the pointer away see the second part of the figure.
Move the pointer away and notice the path curving in different ways as you move it. The anchor points you add control the shape of the path. When the pointer shows a small circle next to it , click to close the path, creating a shape. Move the pointer over the point, and double-click to make it a corner as well. You now have all of the artwork you need to make the acorn. In Illustrator, there are a number of ways to move, rotate, skew, scale, and more—in other words there are many ways of transforming artwork so you can get it just the way you want.
Click the top of the acorn shape you created in a previous section. Drag across the bottom of the artwork in a U shape to erase part of it. After releasing the mouse button, you will see the resulting shape. When it looks good, release the mouse button and then the key. You can use the Shape Builder tool to fix that. Move the pointer where you see the red X in the following figure.
Drag across the top shapes to combine them. Make sure not to drag into the bottom shape. Symbols are useful because they can help you save time and can save on file size as well. You will now create a symbol from the acorn artwork.
Click the New Symbol button at the bottom of the panel to save the selected artwork as a symbol. If a warning dialog box appears, click OK. The artwork now appears as a saved symbol in the Symbols panel, and the acorn on the artboard you used to create the symbol is now a symbol instance.
Also, the figure shows dragging the third symbol onto the artboard. When the rotate arrows appear, drag to rotate the acorn. A Quick Tour of Adobe Illustrator Release 7 Click to select one of the other acorns and rotate it in the opposite direction. In the dialog box that appears, click OK. You can now edit the original acorn artwork and any changes you make will show in the three instances you dragged from the Symbols panel. After typing in the last value, press Return or Enter to make the change and also close the panel.
Click in the Visibility column to the left of the Background layer name to show the rectangle on the Background layer. An arrow is pointing to the button in the previous figure. You can drag the Gradient panel by the title bar at the top to move it around. Click the panel menu icon , and choose CMYK. Press Return or Enter after typing in the last value to make the change and hide the panel.
Click the X at the top of the Gradient panel to close it. That way, you can focus on other artwork. Click the Content layer name so that any new artwork you add will be on the Content layer and above the content on the Background layer.
Make sure that the Link option in the dialog box is not selected, and click Place. Click to place the hand-lettering image. It was created by Danielle Fritz www. To learn more about Adobe Capture, visit www. With the Swatches option selected at the top of the panel, click the blue color you created previously to apply it. The Shift key constrains the proportions as you scale. When you see a width of approximately 8. You can apply brush strokes to existing paths, or you can use the Paintbrush tool to draw a path and apply a brush stroke simultaneously.
If you find that you only drag one, simply drag the other artwork into place. Click a lighter red path in the tail of the squirrel to select a group of paths. You can see what to select in the following figure. Move the pointer over a brush in the list, and you will see its name in a tool tip. The brush artwork is scaled on the path based on the stroke border weight. Any content you apply an alignment to will now align to the edges of the artboard. Presenting your document Everything but the active artboard is hidden from view.
The area around the artboard is replaced by a solid color, usually black. If there were more artboards like multiple pages in Adobe InDesign , you could press the right or left arrow key to navigate between them. To turn it off, press the Escape key. The workspace consists of the Application bar, menus, toolbar, Properties panel, Document window, and other default panels.
Vector graphics are made up of lines and curves defined by mathematical objects called vectors. You can freely move or modify resize vector graphics without losing detail or clarity because they are resolution independent. An example of vector artwork. Editing vector artwork. Vector graphics maintain crisp edges when they are resized, printed to a PostScript printer, saved in a PDF file, or imported into a vector-based graphics application.
As a result, vector graphics are the best choice for artwork, such as logos, that will be used at various sizes and in various output media. Illustrator also allows you to incorporate bitmap images—technically called raster images—that are made up of a rectangular grid of picture elements pixels. Each pixel is assigned a specific location and color value.
Pictures you take on your phone camera are considered raster images. Raster images can be created and edited in a program like Adobe Photoshop. This is something you will do at the start of each lesson in this book to ensure that the tools function and the defaults are set exactly as described in this lesson. With Illustrator open, you will see the Home screen showing resources for Illustrator, and more. The Reset Essentials command ensures that the workspace, which includes all of the tools and panels, is set to the default settings.
This command fits the whole artboard into the Document window so you can see all of it. When Illustrator is fully launched and a file is open, the menus, Application bar, toolbar, and panels appear on the screen. The arrangement of these elements is called a workspace. When you first start Illustrator, you see the default workspace, which you can customize for the tasks you perform.
You can create and save multiple workspaces—one for editing and another for viewing, for example—and switch between them as you work. Application bar B. Panels C. Toolbar D. Document window E. Status bar Below, the areas of the default workspace are described: A. The Application bar across the top by default contains application controls, the Workspace Switcher, and Search.
On Windows, the main menu bar items appear inline with the Application bar—see the following figure. Panels help you monitor and modify your work. Certain panels are displayed by default in the panel dock on the right side of the workspace, and you can display any panel by choosing it from the Window menu. The toolbar contains tools for creating and editing images, artwork, page elements, and more.
Related tools are grouped together. The Status bar appears at the lower-left edge of the Document window. Getting to Know the Work Area Getting to know the toolbar The toolbar on the left side of the workspace contains tools for selecting, drawing and painting, editing, and viewing, as well as the Fill and Stroke boxes, drawing modes, and screen modes. Notice that the name Selection Tool and keyboard shortcut V are displayed in a tool tip. Press and hold until a tools menu appears, then release the mouse button.
Click the Group Selection tool in the menu to select it. Any tool in the toolbar that displays a small triangle contains additional tools that can be selected in this way. Click the arrow at the right edge of the hidden tools panel to separate the tools from the toolbar as a separate floating panel of tools, so you can access them easily.
Each click selects the next hidden tool in the tool sequence. The tools return to the toolbar. In the figures in this lesson, the toolbar is a single column by default.
The toolbar is now floating in the workspace. Getting to Know the Work Area 8 Drag the toolbar to the left side of the Application window using either the solid bar at the top of the toolbar or the dashed line just below the solid bar.
When the pointer reaches the left edge, a translucent blue border, called the drop zone, appears. Release the mouse button to dock the toolbar neatly into the side of the workspace. Finding more tools In Illustrator, the default set of tools that appears in the toolbar does not include every available tool.
A panel appears that shows all of the available tools. You can drag any of the remaining tools into the toolbar, where you can then select and use them.
The tool is highlighted in the toolbar. If you hover the pointer over a tool like the Ellipse tool, which is nested within the Rectangle tool, the Rectangle tool will highlight, showing you where it is. To add it to the toolbar, drag the Shaper tool onto the Rectangle tool.
The Shaper tool will now be in the toolbar until you remove it or reset the toolbar. Later in the lessons, you will add tools to learn more about them.
Drag the Shaper tool onto the panel. When a minus shows next to the pointer , release the mouse to remove the Shaper tool from the toolbar. The Properties panel displays properties for the active document when nothing is selected. It also displays appearance properties for content you select. With nothing selected in the document, the Properties panel shows the current document properties as well as program preferences.
You can change the size, position, color, and much more for the selected artwork. Words that are underlined in the Properties panel will show more options when you click them. The Properties panel once again shows document properties and program preferences when nothing is selected. Working with panels Panels like the Properties panel give you quick access to many of the tools and options that make modifying artwork easier. All of the panels available in Illustrator are listed alphabetically in the Window menu.
A checkmark to the left of the panel name indicates that the panel is already open and in front of other panels in its panel group. If you choose a panel name that is already selected in the Window menu, the panel and its group either close or collapse. The Layers panel is grouped with two other panels—the Properties panel and the Libraries panel.
They are all part of the same panel group. Getting to Know the Work Area This hides the panel names and collapses the panel dock to icons only.
To open a panel that is collapsed as an icon, you can click a panel icon. Choose Align from the Window menu to open the Align panel and the other panels grouped with it by default. Panels you open that do not appear in the default workspace are free-floating. That means they are not docked and can be moved around.
You can dock freefloating panels on the right or left side of the workspace. When a blue highlight appears around the entire panel dock, release the mouse button to dock the panel in the group. Aside from adding panels to the dock on the right, you can also remove them. Scaling the Illustrator interface When you launch Illustrator, it identifies your screen resolution and adjusts the application scale factor accordingly.
You can scale the user interface of Illustrator based on your screen resolution to make the tools, text, and other UI elements easier to see. As you make changes, like opening and closing panels and changing their position among other things , you can save that particular arrangement as a workspace—and switch between them while you work. Illustrator comes with a host of other workspaces that are tailored to a variety of tasks. Similar to the Properties panel, it offers quick access to options, commands, and other panels relevant to the currently selected content.
In workspaces, you can create groups of panels that are stacked on top of others. That way, a lot more panels are showing.
When you choose a previous workspace to switch to, it remembers any changes you made, like selecting the Libraries panel. You can also arrange the panels the way you like and save your own custom workspace. In the New Workspace dialog box, name the workspace with a new, unused name. When a blue highlight appears around the entire panel dock, release the mouse button to dock the Artboards panel and add it to the existing panel group.
Select the workspace name, and click the Delete Workspace button. The name of the workspace could be anything, as long as it makes sense to you. Using panel and context menus Most panels in Illustrator have more options available in a panel menu, found by clicking the panel menu icon or in the upper-right corner of a panel. These additional options can be used to change the panel display, add or change panel content, and more.
Click the panel menu icon in the upperright corner, and choose Small List View from the panel menu. Because the options in the panel menu apply only to the active panel, only the Swatches panel view is affected. In addition to the panel menus, context-sensitive menus display commands relevant to the active tool, selection, or panel. Usually the commands in a context menu are available in another part of the workspace, but using a context menu can save you time.
Then, right-click to show a context menu with specific options. Adjusting the brightness of the user interface As with Adobe InDesign and Adobe Photoshop, Illustrator supports a brightness adjustment for the application user interface. This is a program-wide preference setting that allows you to choose a brightness setting from four preset levels. The magnification level, which can range from 3.
Using view commands View commands are found in the View menu and are an easy way to enlarge or reduce the view of artwork. Using the viewing tools and commands affects only the display of the artwork, not the actual size of the artwork.
Each time you choose a Zoom option, the view of the artwork is resized to the closest preset zoom level. The preset zoom levels appear in a menu in the lower-left corner of the Document window, identified by a down arrow next to a percentage. Using the Zoom tool In addition to the View menu options, you can use the Zoom tool and reduce the view of artwork to predefined magnification levels.
The artwork is displayed at a higher magnification, depending on your screen resolution. Notice that where you clicked is now in the center of the Document window. A minus sign — appears at the center of the Zoom tool pointer. With the Option or Alt key pressed, click the artwork twice to reduce the view of the artwork. Using the Zoom tool, you can also drag in the document to zoom in and out. The Zoom tool is used frequently during the editing process to enlarge and reduce the view of artwork.
Because of this, Illustrator allows you to select the Zoom tool using the keyboard at any time without first deselecting any other tool you may be using. The zooming is animated.
Drag from right to left to zoom out. If you decide to use these shortcuts in Illustrator, you may want to turn off or change those keyboard shortcuts in macOS System Preferences. GPU-accelerated computing offers faster performance across a broad range of design, animation, and video applications.
This feature is available on compatible macOS and Windows computers. To learn more about GPU Performance, visit helpx. Panning in a document In Illustrator, you can use the Hand tool to pan to different areas of a document. Using the Hand tool allows you to push the document around much like you would a piece of paper on your desk. This can be a useful way to move around in a document with a lot of artboards or when you are zoomed in.
As you drag, the artboard and artwork on it moves with the hand. As with the Zoom tool , you can select the Hand tool with a keyboard shortcut without first deselecting the active tool.
Hold down the spacebar on the keyboard to temporarily select the Hand tool, and then drag to bring the artwork back into the center of your view. Release the spacebar. Getting to Know the Work Area Viewing artwork When you open a file, it is automatically displayed in Preview mode, which shows how the artwork will print.
Illustrator offers other ways of viewing your artwork, such as outlined and rasterized. This is called Outline mode. Only the outlines of objects are displayed. You can use this view to find and select objects that might not be visible in Preview mode. Overprinting allows the color of artwork to print on top of the color of artwork underneath. For this example, the arms of the person in the boat are made semi-transparent or seethrough when Overprint Preview is on.
Pixel preview can be used to see how the artwork will look when it is rasterized and viewed onscreen in a web browser. An arrow is pointing to it in the figure. You can use artboards to crop areas for printing or placement purposes.
Multiple artboards are useful for creating a variety of things, such as multi-page PDFs, printed pages with different sizes or different elements, independent elements for websites, video storyboards, or individual items for animation in Adobe Animate or Adobe After Effects.
You can easily share content among designs, create multipage PDFs, and print multiple pages by creating more than one artboard. Illustrator allows for up to artboards within a single file depending on their size. Multiple artboards can be added when you initially create an Illustrator document, or you can add, remove, and edit artboards after the document is created.
Next, you will learn how to efficiently navigate a document that contains multiple artboards. Click Open to open the file. Notice that there are two artboards in the document that contain the front cover and inside design for a thank you card. Suppose that you want to create a four-page brochure. You can create different artboards for every page of the brochure, all with the same size and orientation. They can be arranged horizontally or vertically or in whatever way you like.
Getting to Know the Work Area 3 Select the Selection tool in the toolbar, and click to select the group of plants in the lower-right corner of the larger artboard on the right. When you select artwork, it makes the artboard that the artwork is on the active, or selected, artboard.
By choosing the Fit Artboard In Window command, the currently active artboard is fit into the Document window. The active artboard is identified in the Artboard Navigation menu in the Status bar in the lower-left corner of the Document window. You can use these to navigate to the previous and next artboards. Those arrows plus a few others also appear in the status bar below the document.
The Artboard Navigation menu and navigation arrows always appear in the Status bar below the document, but they appear in the Properties panel only when not in Artboard Editing mode, the Selection tool is selected, and nothing is selected. Using the Artboards panel Another method for navigating multiple artboards is to use the Artboards panel. The Artboards panel lists all artboards currently in the document and allows you to navigate between artboards, rename artboards, add or delete artboards, edit artboard settings, and more.
Clicking the artboard icon or to the right of the artboard name in the panel allows you to edit artboard options. The artboard named Artboard 1 is now fit in the Document window. Zooming and panning with the Navigator panel The Navigator panel is another way to navigate a document that has one or more artboards.
This is useful when you need to see all artboards in the document in one window and to edit content in any of those artboards in a zoomed-in view. It is in a free-floating group in the workspace. The red box in the Navigator panel, called the proxy view area, indicates the area of the document that is being shown. When the pointer becomes a hand , drag to pan to different parts of the artwork.
For the purposes of this lesson, ensure that it is toggled on. In Illustrator, all the workspace elements, like the panels, Document window, and tools, are grouped in a single, integrated window, called the Application frame, that lets you treat the application as a single unit. When you move or resize the Application frame or any of its elements, all the elements within it respond to each other so none overlap.
When you open more than one document in Illustrator, the Document windows appear as tabs at the top of the Document window. You can arrange the open documents in other ways, such as side by side, so that you can easily compare or drag items from one document to another. Each file has its own tab at the top of the Document window. These documents are considered a group of Document windows. You can create document groups to loosely associate files while they are open.
Otherwise, you could undock the Document window and create a new group. Release the mouse button to see the new tab order. This can be useful if you use the document shortcuts to navigate to the next or previous document.
Cascading allows you to cascade stack different document groups. Tiling shows multiple Document windows at one time, in various arrangements. Do the same for the Document window on the right.
With documents tiled, you can drag artwork between documents, which copies that artwork from one document to another. Click the Consolidate All button to bring the documents back together. Click the 2-Up vertical button in the Arrange Documents menu. Finding resources for using Illustrator For complete and up-to-date information about using Illustrator panels, tools, and other application features, visit the Adobe website. Data recovery When you restart Illustrator after a program crash, you have the option of recovering work-in-progress files so that your hours of work are not wasted.
Review answers 1 You can choose commands from the View menu to zoom in or out of a document or to fit it to your screen; you can also use the Zoom tool in the toolbar and click or drag over a document to enlarge or reduce the view. In addition, you can use keyboard shortcuts to magnify or reduce the display of artwork. You can also use the Navigator panel to scroll artwork or to change its magnification without using the Document window. For example, you can press V to select the Selection tool from the keyboard.
Selected tools remain active until you click a different tool. This can be useful if you are working on multiple Illustrator files and you need to compare or share content between them.
In the Save As dialog box, name the file WildlifePoster. It will help you to better understand what vector artwork is all about. Using the Selection tool The Selection tool lets you select, move, rotate, and resize objects.
This should fit the artboard on the right into the Document window. The icon that appears next to the pointer as it passes over objects indicates that there is artwork under the pointer that can be selected. When you hover over an object, that object is also outlined in a color, like blue in this instance.
Smart Guides are temporary snap-to guides that help you align, edit, and transform objects or artboards. A bounding box with eight handles appears around the selected ellipse.
The bounding box can be used to make changes to content such as resizing or rotating. The bounding box also indicates that an item is selected and ready to be modified. The color of the bounding box indicates which layer the object is on. Notice that the ellipse on the left is now deselected and only the ellipse on the right is selected. Both ellipses are now selected, and a larger bounding box surrounds them.
Because both ellipses are selected, they move together. As you drag, you may notice that magenta lines appear. These are called alignment guides. As you drag, the objects align to other objects in the document. Measurement labels also appear because Smart Guides are turned on. In the dialog box that appears, click Revert.
Techniques for Selecting Artwork Selecting and editing with the Direct Selection tool Anchor point As you draw, you create vector paths that are made up of anchor points and paths. Anchor points are used to control the shape of the path and work like pins holding a wire in place. A shape you create, like a simple square, is composed of at least four anchor points on the corners with paths connecting the anchor points. Path One way to change the shape of a path or shape is by dragging its anchor points.
The Direct Selection tool lets you select anchor points or paths within an object so they can be reshaped. Click inside one of the larger green bamboo shapes to see the anchor points.
Notice that the anchor points are all filled with a blue color, which means they are all selected. Also notice the little white box next to the pointer. The small dot that appears in the center of the white box indicates that the cursor is positioned over an anchor point. The other anchor points in the shape are now hollow filled with white , indicating that they are not selected. Notice that when you select the new point, the previous point is deselected.
In the Illustrator preferences, you can adjust the size of those features. Move the pointer above and to the left of the leftmost beige ellipse and then drag across both ellipses to create a marquee that overlaps at least part of them. Release the mouse button. When dragging with the Selection tool , you need to encompass only a small part of an object to select it. Starting off the top left of the leftmost ellipse see the first part of the following figure , drag across just the top edges of the two ellipses and then release the mouse button.
Only the top anchor points become selected. Those are called direction handles, and they can be used to control the curve of the path. Make sure you drag the square anchor point and not the round end of one of the handles. Notice that you dragged the large blue-green shape, rather than selecting the animal shapes.
Locking objects prevents you from selecting and editing them. The selected shapes are temporarily hidden so that you can more easily select other objects. The stroke of an object is the outline border , and the stroke weight is the width of the stroke.
If you know that you may need to reselect a series of objects again, like the shapes you just selected, you can save that selection. Saved selections are a great way to easily make a selection later, and they are saved only with that document.
Selecting in Outline mode By default, Adobe Illustrator displays all artwork with their paint attributes, like fill and stroke border , showing. However, you can view artwork in Outline mode to display artwork so that the appearance is removed and only outlines or paths are visible. Outline mode can be useful if you want to more easily select objects within a series of stacked objects. If you click that X, you can select the shape. To select in Outline mode, you can click the edge of the object or drag a marquee across the shape to select it.
Notice that the artwork behind the eyes the bamboo is not selected. Press the Up Arrow key several times to move both shapes up a little bit.
Aligning objects Illustrator makes it easy to align or distribute multiple objects relative to each other, the artboard, or a key object. Aligning objects to each other One type of alignment is aligning objects to each other. This can be useful if, for instance, you want to align the top edges of a series of selected shapes to each other. Notice that all of the selected objects move to align to the horizontal center of the shapes.
Leave the objects selected for the next section. This can be useful when you want to align a series of objects and one of them is already in the perfect position. You specify a key object by selecting all the objects you want to align, including the key object, and then clicking the key object again. When selected, the key object has a thick outline indicating that other objects will align to it. Leave the shapes selected for the next section.
Notice that all of the selected shapes moved to align to the horizontal center of the key object. The selected content will no longer align to the key object. Next, you will make the spacing between the green shapes even. Click the Vertical Distribute Center button in the panel that appears. Techniques for Selecting Artwork Distributing moves all of the selected shapes so that their centers are spaced an equal distance apart.
Ensure that the Distribute Spacing value is 0 zero and then click the Vertical Distribute Space button. Distribute Spacing distributes the spacing between selected objects, whereas the Distribute Objects alignments distribute the spacing between the center points of selected objects.
The value you can set is a great way to set a specific distance between objects. As with setting a key object in the previous section, you can also set a key anchor point that other anchor points will align to. Press the Shift key and click to select the lower-left point of the same shape to select both anchor points second part of the following figure.
Other points will align to this point. The first anchor point selected aligns to the second anchor point selected. Aligning to the artboard You can also align content to the active artboard page rather than to a selection or a key object. Aligning to the artboard aligns each selected object separately to the edges of the artboard.
As of the writing of this book, there is no option in the Properties panel to align a single selected object to the artboard. If you see Hide Options in the menu, then you are all set. Any content you align will now align to the artboard.
Leave the Align panel open. The orange shape will be on top of the other artwork. Later, you will put it behind the other animal artwork. Working with groups You can combine objects into a group so that the objects are treated as a single unit.
This way, you can move or transform a number of objects without affecting their individual attributes or positions relative to each other.
It can also make selecting artwork easier. Because they are grouped together, all are now selected. When the pointer reaches the bottom of the artboard, release the mouse and then the key.
Techniques for Selecting Artwork Editing a group in Isolation mode Isolation mode lets you isolate groups so that you can easily select and edit specific objects or parts of objects without having to ungroup the objects. Next, you will edit a group using isolation mode. Click the Group button at the bottom of the Properties panel to group them together. To do that, press the Escape key. Click the Fill color box in the Properties panel on the right, and making sure the Swatches option is selected in the panel that appears, click to select a different green color.
Notice that the leaves are once again grouped, and you can also now select other objects. This enables you to edit objects in the group or to add new content without having to ungroup. Nesting is a common technique and a great way to keep associated content together. Shift-click the bamboo group to select it as well.
Click to select the leaves again, and notice that the leaf shapes are still grouped. This is a nested group. Nested within the Direct Selection tool in the toolbar, the Group Selection tool lets you select an object within a group, a single group within multiple groups, or a set of groups within the artwork.
Techniques for Selecting Artwork Exploring object arrangement As you create objects, Illustrator stacks them in order on the artboards, beginning with the first object created.
This ordering of objects, called stacking order, determines how they display when they overlap. You can change the stacking order of objects in your artwork at any time, using either the Layers panel or the Arrange commands. Choose Send To Back to send the shape behind all of the other shapes. I chose it three times. Selecting objects behind When you stack objects on top of each other, sometimes it becomes difficult to select objects that are underneath. When the measurement label shows a width of approximately 1.
The ellipse disappears but is still selected. It went behind the dark circle the eye because it was created before the eye shape, which means it is lower in the stacking order. This brings the smaller ellipse to the front of the stack, making it the topmost object.
This ellipse disappears like the other, but this time, you will deselect the ellipse and then reselect it using another method. Because it is behind the larger eye shape, you can no longer see the smaller beige ellipse. Explain two ways to get around this issue. Review answers 1 You can select an object that has no fill by clicking the stroke or by dragging a marquee across any part of the object. Also, using the Group Selection tool , you can click once to select an individual item within a group not discussed in the lesson.
Click again to add the next grouped items to the selection. Name the selection so that you can reselect it at any time from the Select menu. The object is not deleted. This lesson will take about 60 minutes to complete. You can set up a document for different kinds of output, such as print, web, video, and more, by choosing a category. For example, if you are designing a web page mock-up, you can select the Web category and select a document preset size.
The document will be set with the units in pixels, the color mode as RGB, and the raster effects to Screen 72 ppi —all optimal settings for a web document. The name will become the name of the Illustrator file when you save it later. At the bottom of the Preset Details section on the right side of the New Document dialog box, you will also see Advanced Options and More Settings you may need to scroll to see it. They contain more settings for document creation that you can explore on your own.
In the Save As dialog box, ensure that the name of the file is Postcard. Adobe Illustrator. That means it preserves all Illustrator data so you can edit everything later. The Document Setup dialog box is where you can change document options like units, bleeds, and more after a document is created. You will typically add bleed to artboards for printed artwork that needs to be printed all the way to the edge of the paper. Bleed is the term used for the area that extends beyond the edge of the printed page, and it ensures that no white edges show up on the final trimmed page.
Click OK. The red line that appears around the artboard indicates the bleed area. Shapes you create are composed of anchor points with paths connecting the anchor points.
A basic square, for instance, is composed of four anchor points on the corners with paths connecting those anchor points see the upper figure at right. A shape is referred to as a closed path because the ends of the path are connected.
Examples of closed paths. Endpoint A path can also be open with distinct anchor points on each end, called end points see the lower figure at right.
Both open and closed paths can be filled with color, gradients, and patterns. Endpoint Examples of open paths. Press the mouse button and drag down and to the right to create a rectangle that is taller than it is wider. It shows the width and height of the shape as you draw. When the pointer changes , drag the shape into the bottom half of the artboard, roughly centered horizontally. Change the Width to 1 inch and the Height to 0. Click OK to create a new rectangle.
Creating a rectangle by clicking is useful when you know the size of the shape you need. For most of the drawing tools, you can either draw with the tool or click to create a shape of a specific size. Editing the rectangles All of the shape tools, except for the Star tool and Flare tool, create Live Shapes.
Live Shapes have attributes such as width, height, rotation, and corner radius that are editable later, without having to switch from the drawing tool you are using, and are retained even if you scale or rotate the shape. Move the pointer over the middle point on the top of the rectangle.
Drag up to make it taller. When you see a height of approximately 3 inches in the measurement label the gray tool tip next to the pointer , release the mouse button and then the key. When you see rotate arrows , drag clockwise to rotate the shape.
As you drag, press the Shift key to constrain the rotation to increments of 45 degrees. Using Shapes to Create Artwork for a Postcard When an angle of shows in the measurement label, release the mouse button and then the key. Leave the shape selected. Select the Height H: value and type 0. The Constrain Width And Height Proportions setting is useful when you change either the height or the width and you want the other value to change proportionally.
The options in the Transform section of the Properties panel are useful for transforming selected shapes and other artwork in precise ways.
By default, shapes are filled with a white color and have a black stroke border. In the panel that opens, make sure that the Swatches option is selected at the top. Select a brown color to fill the rectangle. Press the Escape key to hide the Swatches panel before moving on. Rounding corners You can round all of the corners of a rectangle or individual corners, using several methods. If you are zoomed out far enough, the Live Corners widgets are hidden on the shape. The more you drag toward the center, the more rounded the corners become.
Ensure that Link Corner Radius Values is on an arrow is pointing to it in the figure , and click the up arrow for any of the Radius values as many times as you can until the value no longer increases the maximum radius value is achieved. If necessary, click in another field or press the Tab key to see the change to all corners.
You can choose between Round default , Inverted Round, and Chamfer. Select a darker brown color to fill the rectangle. With the shape still selected, double-click the lowerleft Live Corners widget. In the Corners dialog box, click the up arrow for the Radius value until the value stops changing the maximum value is reached. The Corners dialog box allows you to also set an extra option called Rounding for setting absolute versus relative rounding see the previous figure.
Absolute means the rounded corner is exactly the radius value. Relative makes the radius value based on the angle of the corner point. A magenta line will appear in the center of both shapes when they are aligned. Drawing on a grid for alignment The grid appears behind your artwork in the illustration window.
It does not print. The 1 Press and hold the mouse button on the Rectangle tool select the Ellipse tool. Drag to make an ellipse that has an approximate width of 0. After creating an ellipse, with the Ellipse tool still selected, you can move the shape by dragging from the center widget, transform the shape, and also drag the pie widget to create a pie shape.
A magenta guide will appear when the pointer is aligned with the horizontal center see the first part of the following figure. To draw the shape from the center, press the Option macOS or Alt Windows key and drag to create a circle that has an approximate width and height of 1 inch. Click the Group button in the Quick Actions section of the Properties panel to the right. Select a green color to fill the shapes in the group. As you drag, press the Shift key to create a perfect circle.
When the width and height are both roughly 0. Release the mouse button and then the key when the circles overlap a bit. Dragging the pie widget allows you to create a pie shape. After dragging the widget initially and releasing the mouse button, you will then see a second widget. The widget you dragged controls the start angle. The widget that now appears on the right side of the ellipse controls the end angle. Drag across all three circles to select them. Click the Fill color in the Properties panel, and make sure that the Swatches option is selected in the panel that appears.
To make a copy of the half circle, press Option macOS or Alt Windows and drag it into an empty area of the artboard. Strokes are visible outlines or borders of an object or path. You can easily change the color of a stroke or the weight of a stroke to make it thinner or thicker. In the Stroke panel, change the stroke weight of the selected rectangle to 2.
Click the Align Stroke To Inside button to align the stroke to the inside edge of the rectangle. It depends on the zoom level of your document. Creating a polygon Using the Polygon tool , you can create shapes with multiple straight sides.
By default, the Polygon tool draws hexagons a six-sided shape , and all shapes are drawn from the center. Polygons are also Live Shapes, which means attributes such as size, rotation, number of sides, and more remain editable after you create them. Hold down the Shift key to straighten the shape. The magenta alignment guides are also not showing, since the shape is not snapping to other content on the artboard.
Smart Guides can be useful in certain situations, such as when more precision is necessary—maybe you want to know how large the shape is—and can be toggled on and off when needed. You can still edit certain properties after the shape has been created. When the pointer changes to a rotate arrow , press and drag counter-clockwise.
As you drag, press the Shift key to constrain the rotation to 45 degrees. When you see an angle of 90 in the measurement label next to the pointer, release the mouse button and then the key. As you drag, press the Shift key to change the width and height proportionally together. Using Shapes to Create Artwork for a Postcard When the measurement label shows a height of approximately 0. Depending on how big your polygon was to start, you will make it either larger or smaller in this step to match the width we suggest.
Select the Width W: value and type 0. If you were to drag that widget, all of the corners would be rounded. You should now see Live Corners widgets in each corner. Click the Live Corners widget with an arrow pointing to it in the second part of the figure. Press the Shift key and click the three other widgets marked in the figure to select all four. Release the Shift key. You can tell that the widgets are now selected because they have a more filled appearance.
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