List of Figures


Chapter 1: Introducing Illustrator CS and Its Interface

Figure 1-1: Zoomed in, the hand is revealed to be composed of identically sized square pixels with a different color assigned to each pixel.
Figure 1-2: Each bird, and each element in each bird, is defined by a set of curves.
Figure 1-3: Illustrator artwork is scalablewith no loss in resolution, and no increase in file size .
Figure 1-4: On the top is an open path, and on the bottom is a closed path. Each path has three anchor points.
Figure 1-5: Displaying an entire document in the Illustrator window
Figure 1-6: Zooming in and zooming outviewing the same illustration in two windows
Figure 1-7: The Window menu displays or hides the Toolbox and Illustrators palettes.
Figure 1-8: Separating docked palettes
Figure 1-9: The Rectangle tool tearoff includes shape tools for several other shapes .
Figure 1-10: Tearing off a set of tools from the rather overly complex Toolbox
Figure 1-11: The default tools displayed in Illustrators Toolbox
Figure 1-12: Sizing the gradient that will be the background for a CD sticker using the Free Transform tool
Figure 1-13: Touching up a Pen tool curve
Figure 1-14: Line segments, arcs, spirals and grids
Figure 1-15: Rotating and reflecting an image
Figure 1-16: Changing an images appearance using the liquify tools
Figure 1-17: Using the Symbol tools to create, apply, and manipulate multiple instances of an object
Figure 1-18: Measuring angle and distance within the shell
Figure 1-19: The Path Typetool flows text around the drawing, and the Area Type tool is used to fill the figure with lyrics.
Figure 1-20: Basic shapes, such as the rectangle and circle, form the basis of many elements of professional graphic design projects.
Figure 1-21: Resizing an illustration using the Scale tool dialog box
Figure 1-22: Drawing with the Pencil tool
Figure 1-23: Generating a bar graph
Figure 1-24: The fence, the steps, and the Slinkys are step blends. The path and the doorway were generated with smooth blends.
Figure 1-25: The Scissors tool breaks up paths, the Knife tool cuts through objects.
Figure 1-26: The bottom tools in the toolbox control stroke and fill color along with viewing modes

Chapter 2: Set Up Your Project

Figure 2-1: Creating a new document
Figure 2-2: Only objects on the artboard print.
Figure 2-3: Using the RGB Color palette to select a color
Figure 2-4: Defining colors using CMYK modethe selected color is pure cyan
Figure 2-5: Defining general preferences
Figure 2-6: A low auto tracing gap setting will produce more accurate conversion from bitmap to vectors.
Figure 2-7: Setting units of measurement for a typical print output project
Figure 2-8: Smart Guides showing that an anchor point has been selected
Figure 2-9: Grid lines help constrain the size of objects in the illustration.
Figure 2-10: Custom guides (in red) help size a folding business card.
Figure 2-11: Defining a zoom area in the Navigator palette

Chapter 3: Import Artwork

Figure 3-1: Using a scanned bitmap (gray and black) as a model for drawing (in color)
Figure 3-2: The onion is an imported Photoshop (PSD) file, and the text was created in Illustrator.
Figure 3-3: Importing a Photoshop file as a linked image
Figure 3-4: The Auto Trace tool converts larger sections of the bitmap to a single path when a high gap setting is used.
Figure 3-5: Using a bitmap as a non-printing template
Figure 3-6: Drawing over a template
Figure 3-7: The Links palette shows a list of placed files. Double-clicking on a link opens the information panel.
Figure 3-8: Defining link update options

Chapter 4: Draw with the Pencil and Brush Tools

Figure 4-1: A complex drawing based on Pencil-drawn objects
Figure 4-2: Stroke is set to red, and fill is set to None
Figure 4-3: The low fidelity value and high smoothness settings mean that the Pencil tool will draw smooth curves that do not adhere closely to the path you draw with your mouse or drawing tablet.
Figure 4-4: The drawing on the left, produced with a low fidelity value, is more jagged than the one on the right, produced with a higher value.
Figure 4-5: Drawing with the Pencil tool
Figure 4-6: Redrawing a selected line segment using the Pencil tool
Figure 4-7: Smoothing out rough edges in a drawing with the Smooth tool
Figure 4-8: Touching up a scanned and traced drawing by deleting a section of the curve with the Erase tool
Figure 4-9: Dragging on an anchor point with the Direct Selection tool to alter a path
Figure 4-10: Generating a spiral from the Spiral dialog box
Figure 4-11: Generating a grid with irregularly spaced rows and columns
Figure 4-12: Viewing the Brushes palette
Figure 4-13: Adding a floral brush to the Brushes palette
Figure 4-14: A leaf brush was used for this drawing.
Figure 4-15: Setting stroke at 10 points
Figure 4-16: Butt, round, and projecting caps on strokes
Figure 4-17: The stroke and fill colors of the object clicked on with the Paint Bucket will be assigned from the selected circle in the upper left corner.
Figure 4-18: The sky was selected, then the Eyedropper was used to borrow the fill from the ball.

Chapter 5: Work with Shapes

Figure 5-1: Look closelythe bulk of this illustration is composed of stars and other shapes.
Figure 5-2: Drawing a square and generating many squares using shift and the tilde key
Figure 5-3: Defining a rectangle by entering width and height values
Figure 5-4: Rotating a polygon as you draw
Figure 5-5: The Radius 2 value for this sharply pointed star is much smaller than the Radius 1 value.
Figure 5-6: The glittering star is created by placing a smaller star ( rotated ) on top of a larger star. A similar technique was used to provide gleam in the jewel setting. Other ring elements were created with polygons and ellipses.
Figure 5-7: Adding flare to space
Figure 5-8: Using one shape to trim another with the Pathfinder palette
Figure 5-9: A quick tour of the Pathfinder tools
Figure 5-10: Choosing Pathfinder options
Figure 5-11: Generated vs. expanded shapesnote the missing and changed anchors in the expanded versions.
Figure 5-12: Cutting shapes with the Knife tool

Chapter 6: Draw with the Pen Tool

Figure 6-1: Three clicks and youre ondrawing a corner with the Pen tool
Figure 6-2: Closing a path with the Pen tool
Figure 6-3: Generating a smooth anchor as you draw with the Pen tool
Figure 6-4: Generating a wavelike curve with the Pen tool
Figure 6-5: Shortening a direction line to make a curve shallower
Figure 6-6: Changing the radius of a curve by rotating a direction line
Figure 6-7: Reducing the number of anchors with the Simplify dialog box. The original set of anchors is illustrated in red, the resulting set in blue.
Figure 6-8: Converting a smooth anchor point to a corner anchor point
Figure 6-9: Adjusting the control points on a converted anchor
Figure 6-10: Extending a line with the Pen tool
Figure 6-11: Horizontal averaging on two points in a path
Figure 6-12: Cleaning up stray anchor points prepares the file for print or export

Chapter 7: Scale, Skew, and Rotate

Figure 7-1: Grouping selected objects
Figure 7-2: Selecting within a group with the Group Selection tool
Figure 7-3: The bounding box enables quick-and-dirty resizing and rotating.
Figure 7-4: The height-to-width ratio is maintained as the squirrel is resized with bounding box.
Figure 7-5: Using the rotation cursor with a bounding box
Figure 7-6: Quick mirroring with the bounding box
Figure 7-7: Using the shift key with the Scale tool to change only width while maintaining the original height
Figure 7-8: Rescaling around a point fixed by the Scale tool
Figure 7-9: The rescaled fish with unchanged stroke now has proportionally thicker lines.
Figure 7-10: Defining rotation for a selected objectthe negative value in the Angle box indicates that the bird is being rotated counterclockwise
Figure 7-11: The bird is being rotated around a defined fulcrum point.
Figure 7-12: The Reflect and Shear tools work on the objects in a cohesive way, while the Reshape tool works on individual elements of an object.

Chapter 8: Create and Edit Text

Figure 8-1: Creating text in Illustrator
Figure 8-2: Creating text constrained by a predefined text box
Figure 8-3: Replacing dashes (but not ellipses) with smart characters for selected text only
Figure 8-4: Skipping text in locked and hidden layers
Figure 8-5: Selecting a boldface font
Figure 8-6: Viewing a full range of available fonts to replace an existing font
Figure 8-7: Inserting a glyph
Figure 8-8: The Webdings symbol set has frequently used symbols.
Figure 8-9: Consistency in appearance can be maintained even in multilingual documents by assigning the same OpenType font to all text.
Figure 8-10: Inserting a glyph from the Kozuka Minchu Pro font set
Figure 8-11: Choosing between alternative options for the @ symbol

Chapter 9: Format Type

Figure 9-1: Assigning type size in the Character palette
Figure 9-2: Double-spacing is created by setting leading at twice the font size.
Figure 9-3: 100 percent kerning pushes the r back next to the B
Figure 9-4: Positive and negative tracking regulate horizontal spacing. Negative tracking is much more frequently used and tends to make type more readable.
Figure 9-5: Horizontal and vertical scaling compresses or stretches type
Figure 9-6: Rotated text is combined here with extreme negative tracking and kerning to push together letters that have been separated by rotation.
Figure 9-7: The effect of outlining on the Impact font is enhanced with a high horizontal scale value (of 200%).
Figure 9-8: Paragraph alignment options allow for justification with left, right, or center alignment (not shown) for the last line in a paragraph.
Figure 9-9: A positive Indent Left Margin setting is combined with a negative Indent First Line value to create the bulleted list paragraph format.
Figure 9-10: In this text box, hidden characters are displayed to make it easier to manage spacing.
Figure 9-11: Setting a tab with a leader
Figure 9-12: Defining a character style
Figure 9-13: Applying a character style
Figure 9-14: Outlined text can be edited like any path or shapebut not with Type tools

Chapter 10: Flow Text

Figure 10-1: Text is used both to outline and to fill this illustration.
Figure 10-2: Flowing vertical text along an arc
Figure 10-3: The overflow text icon indicates that there is more text than fits in the text box.
Figure 10-4: Preparing a text box to flow text into
Figure 10-5: Flowing text from one box into another
Figure 10-6: Preparing to wrap text around an object
Figure 10-7: Automatically wrapped text flows around an object.
Figure 10-8: The tracking for the expanded headline has been increased to 189 percent, almost doubling the spacing between words and characters to fill the text box.
Figure 10-9: Editing a path to alter the flow of text within it
Figure 10-10: Resizing a text box with the Free Transform tool transforms both the size and shape of the text box and the size and shape of the text.
Figure 10-11: Using the Area Type tool to enter type in an object
Figure 10-12: Two-column text in a text area
Figure 10-13: You can use normal typing techniques to enter type on a selected path.
Figure 10-14: Moving text along a path
Figure 10-15: New path type effects in Illustrator CS
Figure 10-16: Entering vertical type

Chapter 11: Combine and Arrange Objects

Figure 11-1: Selecting all the objects in one of the birds with the Lasso tool
Figure 11-2: Selecting a set of objects with the same fill color with the Magic Wand tool
Figure 11-3: Selecting a saved selection
Figure 11-4: Smart Guides identify the 135 degree angle at which the fish is being moved
Figure 11-5: Locating the fish exactly 2 inches from the left edge of the page using the x coordinate in the Info palette
Figure 11-6: Defining grid spacing every 0.5 inch
Figure 11-7: Smart Guides combine with the Snap To Point option to make it easy to align two anchors exactly.
Figure 11-8: Both alignment and distribution are used to line up and evenly space the onions.
Figure 11-9: Defining spacing options
Figure 11-10: Its sometimes easier to select objects and bring them forward in Outline view.

Chapter 12: Create Blends

Figure 12-1: The fence and steps were generated with step blends, while the subtle shading on the door was created with a smooth blend.
Figure 12-2: A smooth blend was generated between the larger, lighter-colored part of the door and the darker part to create a 3-D impression .
Figure 12-3: The fence is a 13-step blend.
Figure 12-4: Blending with four stepsliterally!
Figure 12-5: This illustration is blended along a curved path. The top version is oriented to the path and the bottom one to the page.
Figure 12-6: The two steps will be blended, creating intermediate steps that change size and location.
Figure 12-7: Generating a blend using options you define
Figure 12-8: Adjusting one object in a blend to change the blend
Figure 12-9: Preparing a smooth blend to create a shadow effect
Figure 12-10: By blending a smaller, darker shape with the doorway you can create a shadow effect.
Figure 12-11: Blending from one specific anchor to another
Figure 12-12: With the spine of the blend selected, the fence is being reshaped with the Pencil tool.
Figure 12-13: Preparing to generate a blend and attach it to the curved line
Figure 12-14: Sometimes blending works best when you ungroup objects and blend each individual component of a drawing.
Figure 12-15: The flowers were generated by a blend that was then expanded so that the middle flower could be resized.

Chapter 13: Clip with Masks

Figure 13-1: The rectangle acts as a clipping mask over the map to constrain it to the proper size.
Figure 13-2: The circle will be used as a clipping mask on the flower.
Figure 13-3: The clipping mask object must be on top of the object to be cropped.
Figure 13-4: The masking object loses all fill and stroke characteristics and simply acts to constrain the display of the masked object.
Figure 13-5: Editing a mask interactively
Figure 13-6: The gradient-filled rectangle will eventually provide a fill for the text.
Figure 13-7: Type with a gradient fill
Figure 13-8: Releasing a mask
Figure 13-9: Using a bitmap image (the onions) as a clipping mask fill for text
Figure 13-10: Editing type filled with a clipped bitmap
Figure 13-11: Defining crop marks

Chapter 14: Trip Out with Effects and Filters

Figure 14-1: Applying the drop shadow effect
Figure 14-2: Removing the drop shadow from the type
Figure 14-3: Adding effects from the Distort & Transform menu
Figure 14-4: Stretching the paintbrush with the interactive Free Distort effect
Figure 14-5: Assigning pucker to generate a star
Figure 14-6: Rasterizing a vector object
Figure 14-7: Defining an arrowhead at the endpoint of a path
Figure 14-8: The Inner Glow effect is added to the inside of the selected mango path.
Figure 14-9: Distorting text with a lower arc effect
Figure 14-10: Bells generated from a single curve using the 3-D rotate effect
Figure 14-11: his curve will be wrapped around to generate a bell.
Figure 14-12: Converting a pattern into a symbol in preparation for integrating it into a 3-D object
Figure 14-13: Revolving the curve generates a bell. This object is rotated on three axes as well.
Figure 14-14: Adding a mapped symbol to a 3-D object
Figure 14-15: Selecting a 3-D effect for editing in the Appearance palette
Figure 14-16: Extruded type vanishes toward a point above and to the left of the text.
Figure 14-17: Experimenting with extrusion depth
Figure 14-18: Experimenting with beveling options
Figure 14-19: Applying drop shadows to an imagefilter vs. effect
Figure 14-20: The filter and effect drop shadows look similar; the real difference is in how the underlying path is handled.
Figure 14-21: Adjusting a set of colors
Figure 14-22: Blending colors with a filter
Figure 14-23: Checking out a bitmap filter

Chapter 15: Bend with Envelopes and the Liquify Tools

Figure 15-1: Cramming an elephant into an envelope shape
Figure 15-2: No real animals were harmed or mistreated in warping the squirrel into a flag.
Figure 15-3: Using an Envelope Distort menu option generates a new path, while a warp effect does not transform the underlying path.
Figure 15-4: Distorting a section of the fish interactively with the Warp toolpart of the liquify set of tools
Figure 15-5: Animal rights activists release the squirrel from the warping shape.
Figure 15-6: Editing the path of the original squirrel shape. The warped squirrel shape is still visible in the background while the paths and anchors of the original are edited.
Figure 15-7: Experimenting with warp options
Figure 15-8: Preparing to use the circle as an envelope for the bird
Figure 15-9: Applying envelope distortion to type
Figure 15-10: Mesh point color blending is even more powerful than gradient fills.
Figure 15-11: Generating a mesh with the Make with Mesh menu command
Figure 15-12: Dragging on a mesh point to reshape the lemon
Figure 15-13: The liquify tools
Figure 15-14: The seven liquify tools combine to create a face.

Chapter 16: Manage Colors and Gradients

Figure 16-1: Sampling a color with the Eyedropper tool
Figure 16-2: Applying the selected fill color using the Paint Bucket tool
Figure 16-3: Selecting all tiles with a fill and stroke color matching one tile
Figure 16-4: Choosing the CMYK color palette for an object that will be printed on an ink jet printer
Figure 16-5: Cyan, magenta , yellow, and black combine to make up the colors on the CMYK color palette.
Figure 16-6: Applying spot colors from a Pantone Process color set
Figure 16-7: The radial fill emanates from the inside of the flower and blends into a red on the outside of the flower.
Figure 16-8: Viewing pre-set gradient swatches
Figure 16-9: Assigning a selected gradient to the flower
Figure 16-10: Selecting a gradient color
Figure 16-11: Tweaking a gradient fill interactively with the Gradient tool
Figure 16-12: A multicolored background gradient
Figure 16-13: Generating a defined swatch from the selected gradient fill

Chapter 17: Adjust Transparency

Figure 17-1: The screen covering some of the fruits has partial transparency.
Figure 17-2: A 49-percent opacity is being applied to the circles and the star.
Figure 17-3: Grouping objects mitigates the impact of several transparent objects.
Figure 17-4: Opacity for the selected stroke is 86 percent, while opacity for the fill is 38 percent.
Figure 17-5: Transparency blends work like color lenses, tinting affected objects.
Figure 17-6: Preparing an object to serve as an opacity mask
Figure 17-7: Applying an opacity mask
Figure 17-8: The overlaying object both masks and applies transparency to the underlying object.
Figure 17-9: Defining a background color simulates the results of printing on colored paper.

Chapter 18: Use Brushes and Pattern Fills

Figure 18-1: The small brick pattern tiles throughout the object to which it was applied.
Figure 18-2: Each brick uses a single pattern fill. The concrete pattern is tiled in the background.
Figure 18-3: This pattern fill adapts as it goes around corners.
Figure 18-4: The Swatches palette
Figure 18-5: Viewing swatches as a list
Figure 18-6: Each brick uses the same fill, but the location of the fill has been moved.
Figure 18-7: Creating a swatch from text
Figure 18-8: Applying a text swatch pattern fill
Figure 18-9: Creating a swatch from the star
Figure 18-10: Applying the star pattern fill from the Swatches palette
Figure 18-11: Collecting objects in a bounding box
Figure 18-12: Applying a swatch created with a bounding box
Figure 18-13: The fill swatch tiles seamlessly to create the wooden roof.
Figure 18-14: Testing a pattern fill for seamless tiling before creating a swatch
Figure 18-15: Viewing brushes as thumbnails
Figure 18-16: Applying a brush stroke to a shape
Figure 18-17: Assigning a thicker stroke to a new basketball player brush stroke
Figure 18-18: Calligraphic strokes are affected by the shape of the brush.
Figure 18-19: Defining a thin, flat, angled calligraphic brush
Figure 18-20: Creating a new scatter brush
Figure 18-21: Defining the new scatter brush options
Figure 18-22: Defining an art brush from artwork on the artboard
Figure 18-23: Bending an art brush stroke along a path
Figure 18-24: Adding one of the pre-set pattern brushes to the Brushes palette
Figure 18-25: This pattern brush has three tilesyou can use up to five.
Figure 18-26: The first step in creating a pattern brush is to drag each tile into the Swatches palette.
Figure 18-27: Defining a straight line tile and a corner tile from artwork you added to your Swatches palette

Chapter 19: Work with Bitmap Art in Illustrator

Figure 19-1: The image is from Photoshop, the text from Illustrator.
Figure 19-2: Bitmap artwork degrades into visible pixels when enlarged, while the vector object (the type) does not.
Figure 19-3: Transparency can often be added to bitmaps to good effectsuch as the transparent bitmap sketch overlaid on text here.
Figure 19-4: Many effects and filters work for both bitmaps and vectors, but some apply differently.
Figure 19-5: The artistic effects and filters simulate different art media.
Figure 19-6: Applying a Gaussian blur to a bitmap
Figure 19-7: The brush stroke effects and filters
Figure 19-8: The distort effects and filters
Figure 19-9: The pixelate effects and filters
Figure 19-10: The Unsharp Mask dialog box
Figure 19-11: The sketch effects and filters
Figure 19-12: The texture effects and filters

Chapter 20: Arrange Illustrations with Layers

Figure 20-1: This illustration is broken into 13 layers.
Figure 20-2: Animals are protectedthe layer is locked to prevent editing.
Figure 20-3: Each individual layer can be either visible or hidden, locked or editable.
Figure 20-4: Naming a layer
Figure 20-5: Creating a new layer
Figure 20-6: Deleting a layer to edit the illustration
Figure 20-7: Duplicating a layer
Figure 20-8: Consolidating several layers into a single layer with sublayers
Figure 20-9: Generating new layers with sequencing
Figure 20-10: Making a project simpler by merging layers
Figure 20-11: All layers but the animals layer are in Outline view.
Figure 20-12: Locating the red half-ellipses in the Layers palette
Figure 20-13: Making all of the objects on the background layer 50 percent transparent
Figure 20-14: Using scanned artwork as a non-printing layer
Figure 20-15: Selecting all the objects on a layer

Chapter 21: Apply Graphic Styles, Symbols, and Actions

Figure 21-1: A watercolor style has been applied to the parrot on the right.
Figure 21-2: Checking out the graphic style libraries
Figure 21-3: Applying the RGB Brick style to all the bricks
Figure 21-4: Defining a style that includes a defined drop shadow, inner glow, and diffuse glow
Figure 21-5: Naming a style
Figure 21-6: Breaking a style link
Figure 21-7: Examining attributes associated with a style
Figure 21-8: Redefining a style to add new attributes
Figure 21-9: The second circle indicates that all objects on the layer are selected.
Figure 21-10: A selected layer with a style applied to the entire layer.
Figure 21-11: Exploring the Actions palette. The Transparency action is assigning 60-percent opacity.
Figure 21-12: The Save For Web GIF 64 Dithered action combines 18 menu and dialog box selections.
Figure 21-13: Beginning to define a new action
Figure 21-14: Saving an action
Figure 21-15: Renaming a swatch
Figure 21-16: The symbols palette
Figure 21-17: Replacing one selected symbol with another

Chapter 22: Print Illustrations

Figure 22-1: The U.S. Prepress Defaults setting reflects color settings used by many commercial print shops in the United States. Many other regional options are also available.
Figure 22-2: Choosing options for cropping a document
Figure 22-3: Applying a trap to overlapping objects
Figure 22-4: To prevent misregistration errors and blurriness , the top object will be overprinted on the background.
Figure 22-5: Process colors are indicated for separation in the Output area of the Print dialog box.
Figure 22-6: These crop marks do print but are trimmed off by your print shop as part of the publication process.

Chapter 23: Prepare Illustrations for the Web

Figure 23-1: Defining an 800 pixel by 600 pixel artboard for web design
Figure 23-2: Comparing an original image with three web export options
Figure 23-3: Exporting a logo to GIF format and constraining the color set to browser-safe colors
Figure 23-4: Lower compression creates a higher-quality web graphic with a slower download time
Figure 23-5: Defining a clickable area associated with a rectangle around an object
Figure 23-6: Defining a link target for a clickable object
Figure 23-7: Each button in this navigation bar is a separate layer, and each will become a separate frame in Flash.
Figure 23-8: Each mug shot has been defined as a separate slice.
Figure 23-9: Generating many slices from one object using guides
Figure 23-10: Saving a slice of an illustration as a medium-quality, progressive JPEG file
Figure 23-11: Defining PDF export options



How to Do Everything with Illustrator CS
How to Do Everything with Adobe Illustrator CS
ISBN: 0072230924
EAN: 2147483647
Year: 2002
Pages: 175
Authors: David Karlins

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