The Many Uses of Illustrator


Look all around you.

Billboard signs along the side of the highway, packages of cereal and groceries at the supermarket, navigation icons on a Web site, posters announcing an exhibit at a museum, advertisements throughout magazines and newspapers, logos and artwork on t-shirts and sportswear, animated cartoons and feature films, user interfaces on your computer and cell phones . . . all of theseand moreare created with the help of Adobe Illustrator.

Illustrator is used by creative individuals who want to express their creativity in print, on the Web, in video, and on wireless devices. The program itself is distributed in many different languages, and you can find millions of Illustrator users across the globe. Of course, with such a diverse user base, Illustrator itself is used and applied in many ways. To get an idea of what I mean, take a look at how some creative professionals use Illustrator and how this book can help them.

The Adobe Illustrator CS2 WOW! Book, by Sharon Steuer (Peachpit Press, 2006), contains numerous examples of how some of the world's most talented artists are using Illustrator today. Refer to the color insert of this book to see an excerpt from it.



Creative Genius: The World of Graphic Design

It's difficult to define a graphic designer because the title itself encompasses so many different types of design. For the most part, graphic designers specialize in a particular field of design like corporate, advertising, direct mail, or even typography. Graphic designers work on a variety of projects and usually have experience with several programs including Photoshop and InDesign or QuarkXPress.

For these kinds of users, Illustrator serves as a creative springboard for designs such as logos and type treatments, ad storyboards and campaigns, spot illustrations, maps, charts, and general design elements.

If you're a graphic designer, you'll find the following chapters most helpful as you read through this book:

  • Chapter 3: Objects, Groups, and Layers (page 69)

  • Chapter 4: Advanced Vectors (page 99)

  • Chapter 6: Typography (page 181)

  • Chapter 7: 3D and Other Live Effects (page 211)

  • Chapter 8: Mixing It Up: Working with Vectors and Pixels (page 285)

  • Chapter 9: Graphs, Distortion, and Blends (page 323)

Telling a Story: Illustration and Animation

To an animator or an illustrator, Adobe Illustrator is an empty canvas waiting to come alive. In a world of animated feature films and TV shows, it's easy to understand the benefits of drawing characters and animations directly on a computer. Its ability to repurpose art for almost any need makes Illustrator the perfect environment for creating animations and illustrations.

Adobe didn't name their product Illustrator without reason. Artists create illustrations for children's books, magazine covers and articles, packages, and a variety of other products, and they use Illustrator to take advantage of the high quality and precision available in the program. A variety of tools like gradient meshes, blends, and even 3D, allow illustrators to translate the images they see in their mind into reality.

If you're an animator or an illustrator, you'll find the following chapters most helpful as you read through this book:

  • Chapter 2: Vectors 101 (page 31)

  • Chapter 3: Objects, Groups, and Layers (page 69)

  • Chapter 4: Advanced Vectors (page 99)

  • Chapter 5: Brushes, Symbols, and Masks (page 147)

  • Chapter 7: 3D and Other Live Effects (page 211)

  • Chapter 8: Mixing It Up: Working with Vectors and Pixels (page 285)

  • Chapter 10: Illustrator and the Web (page 361)

  • Chapter 12: Saving and Exporting Files (page 417)

Interactive Experience: Interface and Web Design

Web designers have a language all their own, which includes acronyms like HTML, XML, SVG, SWF, GIF, JPEG, PNG, and CSS. Illustrator supports these and other Web-specific technologies, giving Web designers access to the formats in which they need to deliver their designs. Taking advantage of Illustrator's object-based design environment, Web designers can lay out precise navigation elements, buttons, and entire pages.

In today's fast-paced world, everyone needs a presence on the Web. However, businesses find that they also need to provide content in print format. By creating art in Illustrator, Web designers can easily use that art for both Web and print layouts, thus reducing the need to re-create art for each medium.

If you're a Web designer, you'll find the following chapters most helpful as you read through this book:

  • Chapter 5: Brushes, Symbols, and Masks (page 147)

  • Chapter 7: 3D and Other Live Effects (page 211)

  • Chapter 8: Mixing It Up: Working with Vectors and Pixels (page 285)

  • Chapter 10: Illustrator and the Web (page 361)

  • Chapter 12: Saving and Exporting Files (page 417)

  • Appendix A: Automation with Illustrator (page 457)

Tomorrow's Trends: Fashion and Apparel Design

If you're thinking about bathing suits while it's snowing outside, you're either dreaming about going on vacation or you're a fashion designer. What type of clothes you design may directly correlate to the seasons of the year, but designing apparel is also a highly creative field that demands the most of a designer. Illustrator's object-based approach to design makes it easier to work with body shapes, apparel guidelines, and product labels.

Fashion designers can create symbol libraries of repeating objects like motifs, buttons, buckles, and zippers. Illustrator can also create pattern fills and simulate shading and realism using transparency effects.

If you're a fashion designer, you'll find the following chapters most helpful as you read through this book:

  • Chapter 2: Vectors 101 (page 31)

  • Chapter 3: Objects, Groups, and Layers (page 69)

  • Chapter 4: Advanced Vectors (page 99)

  • Chapter 5: Brushes, Symbols, and Masks (page 147)

  • Chapter 8: Mixing It Up: Working with Vectors and Pixels (page 285)

Thinking Outside the Box: Package Design

If you're good at reading upside-down text, you just might be a package designer. That's because most package designs are created flat on one sheet, with different panels facing different directions. Once printed, the entire package is folded up so that it appears visually correct. Package designers use Illustrator to define spot colors, place images from Photoshop, and apply trapping settingsall in an effort to grab a potential buyer's attention.

Due to production requirements, package designers often need to be able to make minute adjustments to colors and artwork. By building files in Illustrator, these designers can control nearly every aspect of the file and meet their deadlines.

If you're a package designer, you'll find the following chapters most helpful as you read through this book:

  • Chapter 3: Objects, Groups, and Layers (page 69)

  • Chapter 4: Advanced Vectors (page 99)

  • Chapter 5: Brushes, Symbols, and Masks (page 147)

  • Chapter 6: Typography (page 181)

  • Chapter 7: 3D and Other Live Effects (page 211)

  • Chapter 11: Prepress and Printing (page 387)

The Science of Design: Art and Print Production

Production artists are a separate breed (I would knowI'm one of the them); to them, everything in a file matters. Illustrator is a tool that allows production artists to dig deep into graphics files and make the edits and changes that are necessary to print a file correctly. Whether for producing or using spot colors, overprint commands, transparency flattening, or generally cleaning up paths and shapes, production artists have come to rely on Illustrator. Because it can be used to open and edit generic EPS and PDF files (and many other file formats), Illustrator has become a utility that is a required tool for art production.

If you cringe at the thought of an RGB file with overprints, transparencies, and spot colors, then you're certainly a production artist. You might not care much about how to create nice brush strokes, but you care about simplifying paths so that they print faster.

If you're a production artist, you'll find the following chapters most helpful as you read through this book:

  • Chapter 3: Objects, Groups, and Layers (page 69)

  • Chapter 5: Brushes, Symbols, and Masks (page 147)

  • Chapter 8: Mixing It Up: Working with Vectors and Pixels (page 285)

  • Chapter 10: Illustrator and the Web (page 361)

  • Chapter 11: Prepress and Printing (page 387)

  • Chapter 12: Saving and Exporting Files (page 417)

  • Appendix A: Automation with Illustrator (page 457)

The Melting Pot of Design: Creativity for Everyone

If you didn't identify with any of the titles I've listed so far, that's perfectly okay. In fact, it's nearly impossible to list all of the kinds of people who use Illustrator every day. Because Illustrator has so many uses, the people who use it are very diverse. They may include doctors, lawyers, architects, signage and environmental designers, video and film specialistseven a restaurant owner who is designing a menu cover.

The important thing to realize is that Illustrator is for everyone who wants to express their creativity, and that makes for one big happy family!

Where Did Illustrator Come From?

Our past is what helps define our future. Whether you're new to Illustrator or a veteran who has been using it for years, it helps to better understand the history behind a product that helped redefine the graphics industry.

In the 1980s, during a time when the personal computer was beginning to take the world by storm, Apple Computer introduced the Macintosh with an "affordable" laser printer called the Apple LaserWriter. What made the LaserWriter so remarkable wasn't so much the price (around $7,000 at that time), as the technology that was hidden inside of itAdobe PostScript, a computer language that enabled the LaserWriter to print beautiful graphics.

John Warnock, one of the founders of Adobe Systems, invented PostScript and was trying to find a way to make more money selling it. Although PostScript was cool, graphics still had to be created by entering line after line of computer code. John needed a way to have people create PostScript files visually, and that's how Illustrator was born. In early 1987, using the Bézier curve as the basis for vector graphics, Illustrator 1.1 was introduced with much success. Now, nearly 20 years later, Adobe Illustrator continues to thrive and help those in the design community innovate.





Real World Adobe Illustrator CS2
Real World Adobe Illustrator CS2
ISBN: 0321337026
EAN: 2147483647
Year: 2003
Pages: 147
Authors: Mordy Golding

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