Adobe illustrator cs4- P1

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Adobe illustrator cs4- P1: Good designers have many tools at their disposal. Especially in an environment where most designers have other powerful graphics applications, it can be diffi cult to choose which one to use for a particular task. For example, a designer can apply soft drop shadows in Photoshop, Illustrator, and InDesign—is one application any better than the others for this?

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Real World ® adobe illustr ator ® cs4 mordy golding
® ® Real World Adobe Illustrator CS4 Mordy Golding Peachpit Press 1249 Eighth Street Berkeley, CA 94710 510/524-2178 Fax: 510/524-2221 Find us on the web at www.peachpit.com. To report errors, please send a note to errata@peachpit.com. Peachpit Press is a division of Pearson Education. Real World Adobe Illustrator CS4 is published in association with Adobe Press. For the latest on Adobe Press books, go to www.adobepress.com. Copyright ©2009 by Mordy Golding. Project Editor: Karyn Johnson Development Editor: Robyn G. Thomas Production Coordinator: Cory Borman Copy Editor: Kim Wimpsett Proofreaders: Liz Welch, Doug Adrianson Composition: Myrna Vladic, David Van Ness Indexer: Jack Lewis Cover Design: Charlene Charles-Will Cover Illustration: Von R. Glitschka Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, elec- tronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the pub- lisher. For information on getting permission for reprints and excerpts, contact permissions@peachpit.com. Notice of Liability The information in this book is distributed on an “as is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit Press shall have any liabil- ity to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Adobe Illustrator is a trademark of Adobe Systems Incorporated in the United States and/or other coun- tries. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark or claim, the designations appear as requested by the owner of the trademark. All other product names and services identiﬁed throughout this book are used in editorial fashion only and for the beneﬁt of such com- panies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other afﬁliation with this book. ISBN-13: 978-0-321-57355-1 ISBN-10: 0-321-57355-2 9 8 7 6 5 4 3 2 1 Printed and bound in the United States of America
This book is dedicated to my wife, Batsheva, who continues to support me in everything I do. The words in this book belong to her just as much as they do to me.
ACKNOWLEDGMENTS There are two people who I need to thank ﬁrst, even though words can’t really describe the gratitude I owe for their sincere friendship. Sharon Steuer and Sandee Cohen helped me establish myself in the Adobe Illustrator com- munity, and for that I am eternally grateful. After months of writing, I look back and realize how much work has gone into this book, and I have a new appreciation for the team at Peachpit Press. Thanks to Nancy Ruenzel, Marjorie Baer, Nancy Davis, Charlene Charles- Will, Sara Jane Todd, and the folks at Adobe Press. I want to personally thank Kim Wimpsett for copy editing this book and Cory Borman, David Van Ness, and Myrna Vladic for their work in production. A man is lucky to have an editor, but for this book, I’ve been blessed with two. Karyn Johnson has proven to be a friend ﬁrst and an editor second. Robyn Thomas has expertly guided this book to its completion. The high quality of this book is to Karyn’s and Robyn’s credit. A tremendous note of thanks is extended to Barbara Obermeier, who ably assisted in updating several chapters in this book. I am also extremely grate- ful to have had the opportunity to work once again with my good friend and colleague Jean-Claude Tremblay. JC tirelessly tech edited this book and offered wonderful advice. I learn from him as much as he does from me. If you think publishing a book is a huge undertaking, I can assure you that producing an application like Illustrator is an even greater task. Special thanks go to the entire Illustrator team for their concerted efforts and speciﬁcally to David Macy, Terry Hemphill, Teri Pettit, Ian Giblin, and Brenda Sutherland for their personal assistance and advice. Thanks also to Thomas Phinney, John Nack, Michael Ninness, Lynn Grillo, Noha Edell, Whitney McCleary, Stacy Sison, Jane Brady, Bill Perry, Julieanne Kost, and the always-entertaining Russell Brown for their continued friendship. I’m lucky enough to count a number of professional authors and educators among my friends. Thanks to David Blatner, Deke McClelland, Bert Monroy, Claudia McCue, Michael Murphy, Scott Citron, Brian Wood, and Barry Anderson, who continue to share advice, support, and funny anecdotes over the occasional drink.
I reserve a personal note of appreciation for my friend Von Glitschka, who created the wonderful illustration that appears on the cover of this book. Von is an extremely talented artist who still longs for FreeHand even as he embraces Illustrator. Finally, I want to thank my entire family for their encouragement and sup- port. Your collective words, smiles, and hugs help me keep my focus on the most important things in life. Speaking of important things, Simcha, go get your Gemara—let’s learn.
Table of Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv Chapter One: Creating and Managing Documents . . . . . . . . . . . . . . . . . 1 Exploring the Welcome Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Creating New Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Creating Your Own New Document Proﬁles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Setting Up Your Document. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Using Multiple Artboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Navigating Within a Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Modifying Artboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Handling Artboards and Legacy Workﬂows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Using Multiple Artboard Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Viewing Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Using Overprint Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Using Pixel Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Using Rulers and Guides. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Using Smart Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Deﬁning Custom Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Working with Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Creating Meaningful Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Chapter Two: Selecting and Editing Artwork . . . . . . . . . . . . . . . . . . . . . 27 Selecting Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Making Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Setting Your Selection and Anchor Display Preferences . . . . . . . . . . . . . . . . . . . . 30 Using the Direct Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Using the Group Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Using Alternative Selection Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Making Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Using the Bounding Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Living by the Numbers with the Transform Panel . . . . . . . . . . . . . . . . . . . . . . . . 37 Working with the Transformation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Transforming Multiple Objects at Once . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Exploring the Power of the Transform Again Feature . . . . . . . . . . . . . . . . . . . . . . 41 Exploring the Pathﬁnder Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Combining Shapes with Shape Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Changing Paths with Pathﬁnders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
TABLE OF CONTENTS vii Aligning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Distributing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Distribute Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Distribute Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Working with Tools of Mass Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Painting with Distortion: The Liquify Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Getting Into Shape: Envelope Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Creating Transitions with Blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Creating a Blend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Editing a Blend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Releasing and Expanding Blends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Chapter Three: Technical Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Drawing Primitive Vector Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Using Closed-Path Shape Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Using Open-Path Shape Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Drawing by Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Drawing and Editing Free-Form Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Mastering the Pen Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Adding and Deleting Anchor Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Using the Reshape Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Cutting Paths with the Scissors and Knife Tools . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Creating Compound Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Performing Advanced Path Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Working with the Join and Average Commands . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Using the Outline Stroke Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Exploring the Offset Path Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Simplifying Vector Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Using the Split Into Grid Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Removing Unnecessary Elements with the Clean Up Feature . . . . . . . . . . . . . . 92 Chapter Four: Creative Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Drawing with Live Paint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Using Live Paint to Color Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Releasing and Expanding Live Paint Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Merging Live Paint Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Using Live Paint to Edit Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Drawing with the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Unleashing the Power of Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
viii TABLE OF CONTENTS Exploring the Illustrator Brush Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Applying Brush Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Deﬁning a Calligraphic Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Deﬁning a Scatter Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Deﬁning an Art Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Deﬁning a Pattern Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Modifying Brush Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Expanding Brush Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Drawing and Erasing with Ease . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Using the Blob Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Using the Eraser Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Using Gradient Mesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Adding Pizzazz with the Flare Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Drawing a Vector Lens Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Editing a Vector Lens Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Chapter Five: Organizing Your Drawing . . . . . . . . . . . . . . . . . . . . . . . . 133 Understanding Appearances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Understanding Attributes and Stacking Order . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Targeting Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Applying Multiple Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Expanding Appearances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Enhancing Appearances with Live Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Applying a Live Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Editing a Live Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Working with Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Adding a Soft Drop Shadow to a Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Adding a Stroke to a Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Using Isolation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Working with Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Using the Layers Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Understanding Object Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Using Layers and Appearances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Putting It All Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Chapter Six: Coloring Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 Creating and Using Color in Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Using the Color Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Using the Swatches Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
TABLE OF CONTENTS ix Working with Libraries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Adding Color with Fills and Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Applying Fills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Applying Strokes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Getting Inspired with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Using the Color Guide Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Limiting the Color Guide Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Tapping In to a Community Around Color with Kuler . . . . . . . . . . . . . . . . . . . 195 Modifying Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Recoloring Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Converting Art to Grayscale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Performing One-Click Color Fixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Viewing Color on the Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Controlling Color Management Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Prooﬁng Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Previewing Contrast for Color Blindness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Understanding Book Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Chapter Seven: Working with Live Effects. . . . . . . . . . . . . . . . . . . . . . . 219 Combining Features and Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Deconstructing the Effect Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Is It Vector, or Is It Raster? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Massaging Pixels in Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 Convert to Shape: Changing for the Better . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Applying the Convert to Shape Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 What If…You Apply the Convert to Shape Effect to Text? . . . . . . . . . . . . . . . . . 226 Crop Marks: Cut Here, Please . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Distort & Transform: Transforming Your Design . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Distortion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Transform Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Paths: Drawing Outside the Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Pathﬁnder: Creating Complex Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 What If…You Combine Offset Path and Pathﬁnder Effects on a Group? . . . . . 233 Rasterize: Creating Vectors That Act Like Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 What If…You Apply the Rasterize Effect to a Raster Image? . . . . . . . . . . . . . . . 236 Stylize: Now You’re Stylin’! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 The Add Arrowheads Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 The Feather Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 The Inner Glow and Outer Glow Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
x TABLE OF CONTENTS The Round Corners Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 The Scribble Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 What If…You Apply the Scribble Effect to Multiple Fills? . . . . . . . . . . . . . . . . . 242 SVG Filters: Applying Technical Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Warp: Choosing Your Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Applying Photoshop Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 A Gallery of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Chapter Eight: Working with Typography . . . . . . . . . . . . . . . . . . . . . . . 249 Working with Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Working with Point Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Working with Area Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Converting Text to Editable Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Getting Global Text Support with Unicode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Understanding the Way of the Font. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Introducing OpenType. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Finding Glyphs and Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Using the Find Font Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Specifying Character and Paragraph Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Using the Character Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Using the Paragraph Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Setting Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Deﬁning Text Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 Working with Area Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Creating and Editing Text Threads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Setting Area Type Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Achieving Perfect Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Putting Type on a Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Working with Path Type with Closed Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Setting Path Text Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Wrapping Text Around Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Editing Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Using Find and Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Displaying Invisible Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Checking Spelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Working with Legacy Text and Backward Compatibility . . . . . . . . . . . . . . . . . . . . . 278 Opening Legacy Illustrator Files in Illustrator CS4 . . . . . . . . . . . . . . . . . . . . . . . 279 Updating Legacy Text in an Open Document . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Saving Illustrator CS4 Files to Illustrator Legacy Versions . . . . . . . . . . . . . . . . . 282
TABLE OF CONTENTS xi Chapter Nine: Drawing with Efﬁciency . . . . . . . . . . . . . . . . . . . . . . . . . 283 Saving Space and Time with Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Working with Symbols and Instances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Having Fun with the Symbolism Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Looking Behind the Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Creating Clipping Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Organizing Masking with Layer Clipping Masks . . . . . . . . . . . . . . . . . . . . . . . . 300 Seeing Through Objects with Opacity Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Using Graphic Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Deﬁning a Graphic Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Editing a Graphic Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Adding a Graphic Style to an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Using Automation with Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Recording and Playing Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 Scripting in Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Using Automation When Releasing Final Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Cleaning Up Messy Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Generating a List of Used Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Collecting Necessary Support Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Chapter Ten: Drawing with Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Exploring the Anatomy of a Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 Creating a Graph in Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Choosing a Graph Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Specifying Graph Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Formatting Data in the Graph Data Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Customizing Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Using Graph Designs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Instantly Colorizing a Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Ungrouping a Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Raising the Bar with Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Combining Multiple Graph Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 Chapter Eleven: Exploring the World of 3D . . . . . . . . . . . . . . . . . . . . . 333 3D in Illustrator: What It Is and What It Isn’t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Looking Inside the 3D Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Using Fills and Strokes and the 3D Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 Editing a 3D Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 Applying the 3D Extrude & Bevel Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
xii TABLE OF CONTENTS Applying the 3D Revolve Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Applying the 3D Rotate Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Mapping Artwork to 3D Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 Specifying Mapped Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 What If…You Add Transparency to 3D? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 What If…You Blend 3D Objects? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 What If…You Apply a 3D Effect to a Graph?. . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 Chapter Twelve: Working with Images . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Placing Raster-Based Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Placing an Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Placing Native Photoshop Files (PSD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 Working with Placed Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 Using Template Layers to Manually Trace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381 Managing Placed Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 Additional Links Panel Functionality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 Getting Faster Access to Image Settings with the Control Panel . . . . . . . . . . . . 387 Converting Rasters to Vectors Using Live Trace . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 Tracing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Exploring the Live Trace Preview Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 Tweaking to Get the Perfect Trace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Editing Live Trace Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 Exploring an Alternative to Trace: Object Mosaic . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Turning Vectors into Rasters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 Working with Adobe Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 Going from Illustrator to Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 Going from Photoshop to Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 Chapter Thirteen: Web and Mobile Design . . . . . . . . . . . . . . . . . . . . . . 413 Two Approaches to Web Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 Maximizing Image Quality on the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 Dithering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 Antialiasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Creating Perfect Web Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 Antialiasing and the Pixel Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 Slicing Up the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426 Any Way You Slice It… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Editing Slice Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
TABLE OF CONTENTS xiii Exporting Pixel-Based Images with Save for Web & Devices . . . . . . . . . . . . . . . . . 430 Choosing the Right Image File Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 Specifying Additional Image Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 Adding Interactivity and Creating Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Creating Image Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Animation: Making It Move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Designing Speciﬁcally for Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Working with Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 Bringing Your Artwork into Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 Exporting Vector-Based Images with Save for Web & Devices . . . . . . . . . . . . . . . . 445 Choosing the SWF File Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Choosing the SVG File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Using Adobe Device Central . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Future Web Workﬂows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 Chapter Fourteen: Saving and Exporting Files . . . . . . . . . . . . . . . . . . . 453 Saving Files from Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 The Native Illustrator (.ai) Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 The Encapsulated PostScript (.eps) Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 The Portable Document Format (.pdf) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 The Flex Exchange Graphic (.fxg) Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478 The Scalable Vector Graphics (.svg, .svgz) Format . . . . . . . . . . . . . . . . . . . . . . . 480 Exporting Files from Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483 The Bitmap (.bmp) Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 The Targa (.tga) Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 The Portable Network Graphic (.png) Format . . . . . . . . . . . . . . . . . . . . . . . . . . 485 The AutoCAD Drawing (.dwg) and AutoCAD Interchange File (.dxf) Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . 488 The Windows Metaﬁle (.wmf ) and Enhanced Metaﬁle (.emf ) Formats . . . . . . 489 The Flash (.swf ) Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489 The Joint Photographic Experts Group (.jpg) Format . . . . . . . . . . . . . . . . . . . . 492 The Macintosh PICT (.pct) Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 The Adobe Photoshop (.psd) Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 The Tagged Image File Format (.tif) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 The Text Format (.txt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 Choosing File Formats Based on Workﬂow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 Print Workﬂows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 Web Workﬂows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Other Workﬂows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
xiv TABLE OF CONTENTS Chapter Fifteen: Prepress and Printing . . . . . . . . . . . . . . . . . . . . . . . . . 499 Printing from Adobe Illustrator CS4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500 Exploring the General Print Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500 Exploring the Marks and Bleed Print Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505 Exploring the Output Print Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506 Specifying Color Separations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507 Exploring the Graphics Print Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Exploring the Color Management Print Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . 511 Exploring the Advanced Print Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512 Deﬁning Print Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 Learning the Truth About Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 Understanding Transparency Flattening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514 Does My File Contain Transparency?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523 Printing with Conﬁdence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526 Understanding Overprints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528 Why Overprint? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529 Handling the Limitations of Overprints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530 Previewing Overprints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530 Handling Transparency Effects That Disappear or Print as White Boxes . . . . . 531 Appendix: Application Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535 The General Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536 The Selection & Anchor Display Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540 The Type Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541 The Units & Display Performance Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543 The Guides & Grid Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544 The Smart Guides Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545 The Slices Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 The Hyphenation Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547 The Plug-ins & Scratch Disks Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548 The User Interface Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548 The File Handling & Clipboard Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550 The Appearance of Black Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
xv INTRODUCTION Because I’ve been the product manager of Adobe Illustrator, people frequently approach me who, prior to attending a demo or workshop on Illustrator, either thought they had no need for the program or were under the impres- sion it is used only for designing logos. The truth is, Illustrator is essential to a broad range of professionals and hobbyists, and it has an incredible number of uses—so many that it’s hard to deﬁne exactly what Illustrator does. Features such as transparency, 3D, Live Trace, Live Paint, gradient mesh, live effects, professional typography, Flash animation, and now multiple artboards and the Blob Brush tool have all redeﬁned how people use Illustrator every day. It’s certainly not the same program it was 10 years ago. My goal with this book is threefold: to teach new users how to take advan- tage of the technology, to help experienced users learn about features that have changed, and to give power users the understanding they need to push themselves and produce reliable ﬁles. I love showing people all the cool and productive things you can do with the product, and nothing makes me happier than seeing a designer crank out a totally awesome design using Illustrator. Throughout this book, I share my thoughts, experiences, and knowledge about Illustrator so that you can have fun with it, sharpen your skills, and make it work for you.
xvi INTRODUCTION THE M ANY USES OF ILLUSTR ATOR Look all around you. Billboards along the side of the highway, packages of cereal and other gro- ceries at the supermarket, navigation icons on a website, posters announcing an exhibit at a museum, advertisements throughout magazines and newspa- pers, logos and artwork on T-shirts and sportswear, animated cartoons and feature ﬁlms, user interfaces on your computer and cell phones…all of these and more are created with the help of Illustrator. Illustrator is used by creative individuals who want to express their creativ- ity in print, on the web, in video, and on wireless devices. The program 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 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. Creative Genius: The World of Graphic Design It’s difﬁcult to deﬁne the job of a graphic designer because the title encom- passes so many different types of design. For the most part, graphic design- ers specialize in a particular ﬁeld of design such as corporate, advertising, direct mail, or even typography. Graphic designers work on a variety of projects and usually have experience with several programs including Adobe Photoshop and Adobe 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, and general design elements. If you’re a graphic designer, you’ll ﬁnd the following chapters most helpful as you read this book: • Chapter 1, “Creating and Managing Documents” (page 1) • Chapter 4, “Creative Drawing” (page 93) • Chapter 6, “Coloring Artwork” (page 165) • Chapter 7, “Working with Live Effects” (page 219)
THE MANY USES OF ILLUSTRATOR xvii • Chapter 8, “Working with Typography” (page 249) • Chapter 12, “Working with Images” (page 375) Telling a Story: Illustration and Animation To an illustrator or animator, Illustrator is an empty canvas waiting to come alive. In a world of animated feature ﬁlms and TV shows, it’s easy to under- stand the beneﬁts of drawing characters and animations directly on a com- puter. Its ability to repurpose art for almost any need makes Illustrator the perfect environment for creating animations and illustrations. Adobe didn’t name its 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, such as gradient meshes, blends, and even 3D, allow illustrators to translate the images they see in their minds into reality. If you’re an animator or an illustrator, you’ll ﬁnd the following chapters most helpful as you read this book: • Chapter 2, “Selecting and Editing Artwork” (page 27) • Chapter 3, “Technical Drawing” (page 67) • Chapter 4, “Creative Drawing” (page 93) • Chapter 6, “Coloring Artwork” (page 165) • Chapter 11, “Exploring the World of 3D” (page 333) • Chapter 12, “Working with Images” (page 375) • Chapter 13, “Web and Mobile Design” (page 413) Interactive Experience: Interface and Web Design Web designers have a language all their own, which includes acronyms such as HTML, XML, FXG, SWF, GIF, JPEG, PNG, and CSS. Illustrator sup- ports these and other web-speciﬁc technologies, giving web designers access to the formats in which they need to deliver their designs. Taking advantage
xviii INTRODUCTION 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. How- ever, 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 or interface designer, you’ll ﬁnd the following chapters most helpful as you read this book: • Chapter 2, “Selecting and Editing Artwork” (page 27) • Chapter 5, “Organizing Your Drawing” (page 133) • Chapter 7, “Working with Live Effects” (page 219) • Chapter 9, “Drawing with Efﬁciency” (page 283) • Chapter 12, “Working with Images” (page 375) • Chapter 13, “Web and Mobile Design” (page 413) Tomorrow’s Trends: Fashion and Apparel Design If you’re thinking about bathing suits while it’s snowing outside, either you’re 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. The object-based approach to design in Illustrator makes it easier to work with body shapes, apparel guidelines, and product labels. Fashion designers can create symbol libraries of repeating objects such as 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 this book: • Chapter 2, “Selecting and Editing Artwork” (page 27) • Chapter 3, “Technical Drawing” (page 67) • Chapter 4, “Creative Drawing” (page 93)
THE MANY USES OF ILLUSTRATOR xix • Chapter 6, “Coloring Artwork” (page 165) • Chapter 9, “Drawing with Efﬁciency” (page 283) • Chapter 12, “Working with Images” (page 375) 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 it appears visually correct. Package designers use Illustrator to deﬁne spot colors, place images from Photoshop, and apply trapping settings—all in an effort to grab a potential buyer’s attention. Because of 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 this book: • Chapter 1, “Creating and Managing Documents” (page 1) • Chapter 2, “Selecting and Editing Artwork” (page 27) • Chapter 6, “Coloring Artwork” (page 165) • Chapter 8, “Working with Typography” (page 249) • Chapter 9, “Drawing with Efﬁciency” (page 283) • Chapter 11, “Exploring the World of 3D” (page 333) • Chapter 12, “Working with Images” (page 375) • Chapter 15, “Prepress and Printing” (page 499) The Science of Design: Art and Print Production Production artists are a separate breed (I would know—I’m one of the them); to them, everything in a ﬁle matters. Illustrator allows production artists to dig deep into graphics ﬁles and make the edits and changes that