The Adobe Illustrator CS Wow- P15

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The Adobe Illustrator CS Wow- P15

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The Adobe Illustrator CS Wow- P15: Sharon Steuer is the originator of The Illustrator Wow! Books. When not working on Wow! books, Sharon is a painter, illustrator, columnist for, and the author of Creative Thinking in Photoshop: A New Approach to Digital Art. She lives in Connecticut with her cats, Puma and Bear, and radio star husband, Jeff Jacoby. She is extremely grateful to her co-authors, editors, testers, Wow! team members (past and present), Adobe, and Peachpit for making this book possible....

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  1. Judy Stead (Photoshop) This personal piece, entitled Altered States, work was visible. Using the Charcoal Art Brush, began as a scanned marker sketch placed as a Stead added texture to the hair. She then template (see the Layers chapter). In Illustra- printed the composition (shown above right) tor, Judy Stead worked in RGB color mode so onto newsprint drawing paper using an inkjet she could access the Effect >Artistic filters that printer. She colored specific areas of the draw- are available only for RGB images. Stead traced ing, such as the hair, with pastels. After scan- the template using a Wacom tablet, with a 3 pt ning the drawing into Photoshop, she applied round Calligraphic brush (Diameter set to Pres- further enhancements using a variety of sure; Roundness and Angle Fixed). She applied Photoshop brushes, adjusting their size, flow, Effect>Artistic>Rough Pastels (choosing a can- and blending mode. With these brushes, she vas texture and varying the other options) to applied large areas of color to the background, give a hand-drawn appearance to the lines that as well as to both sides of the face. On separate make up the facial contour. Next, she blocked layers, using Photoshop brushes with various in large areas of color with filled shapes drawn shapes, textures, opacity, and flow, she added with a 3 pt round Calligraphic brush, setting to the drawing until she was satisfied with the the opacity to Multiply, so the underlying line end result. Chapter 12 Illustrator & Other Programs 395
  2. Timothy Donaldson (Photoshop) Lettering artist Timothy Donaldson takes objects, applied blurs and drop shadows and delight in the difficulty people have associating adjusted transparency. Some of these Photo- his abstract calligraphy, like Ducal (above), with shop treatments can also be achieved using the artwork made with Illustrator. Donaldson cre- Effect menu and the Transparency palette. (See ated every element of the piece using default the Transparency & Appearances and the Live or custom Illustrator Art brushes. He drew each Effects & Graphic Styles chapters for more on object on its own layer. Later, when he opened the Appearance and Transparency palettes and the layered artwork in Photoshop, he selected the Effect menu.) 396 Chapter 12 Illustrator & Other Programs
  3. April Greiman (Photoshop) April Greiman, of April Greiman Made in Space, took advantage of Illustrator's ability to pro- with the Photoshop image, she saved it as a duce resolution-independent vector graphics PSD file. The PSD file was imported into Illustra- when creating this large wall mural for the Cafe tor and text was added. The text was created & Fitness Center at Amgen. Greiman began on several layers with varying opacities. The with source photos and original images. In Pho- size of the Illustrator image was 21 inches x 5 toshop, she combined the images, adjusted the inches, and the final mural measured 36 feet hue, saturation, and opacity and made adjust- x 11.3 feet. The pixels in the Photoshop image ments with levels and curves. A variety of filters were greatly distorted when enlarged to the were applied to the images, such as Gaussian final mural size. This desired pixelated effect Blur, Motion Blur, Ripple, and Noise. Greiman was combined with crisp text that Illustrator knew that when the image was enlarged, the can produce at any magnification. The final pixelated effect would enhance the image, just image was output from Illustrator and printed as she wanted. When Greiman was satisfied directly on vinyl. Chapter 12 Illustrator & Other Programs 397
  4. Lance Hidy (Photoshop) Illustrator Lance Hidy photographed hands holding a book several times until he had a "natural" pose. He scanned the photograph and, in Photoshop, lightened the shadows and other dark tones in the image before print- ing it. On this print, Hidy drew outlines of the hands directly using a fine-tipped pen. Then he scanned the marked print and placed the resulting TIFF file in Illustrator as a tracing tours and details of the hands as he traced with template. He was able to clearly follow the con- Illustrator's Pencil tool. 398 Chapter 12 Illustrator & Other Programs Chapter 12 Illustrator &
  5. David Pounds (Photoshop) David Pounds used to do much of his creative the Eyedropper tool, with the Shift key, to pick work in Photoshop, but he can now work up color from various layered versions of the almost exclusively in Illustrator, due to recent photograph in Photoshop (the Eyedropper tool improvements to the program. In this illustra- in Illustrator now allows for greater range of tion, Pounds used Photoshop to make different color sampling options, much like Photoshop). versions of the photo in order to accentu- Whenever he wanted to create another varia- ate various details. For instance, he created tion of his photo in order to accentuate a miss- a posterized version (Image >Adjustments > ing detail, he created that version in Photoshop Posterize) to help him see the image as areas of (using Levels, for instance). He then chose color. He also created a few versions using Lev- Select > All, and Copy. Moving back to Illustra- els (Image >Adjustments > Levels) to accentuate tor, he created a new layer for this version and specific details of the image. He opened his used Paste in Front ( -F /Ctrl-F), which placed layered .psd file in Illustrator, then set up layers the new version of the photo in perfect align- for tracing the photo with closed paths. Using ment with the previous variations of the same- the Pen tool, he created closed shapes and used sized Photoshop file. Chapter 12 Illustrator & Other Programs 399
  6. Ron Chan (Photoshop) Illustrator Ron Chan began this illustration for elements and added textures to lend a more the Catellus Web site by employing many of organic look the illustration. Similar results the same Illustrator techniques described in can be achieved using Effect menu commands, his "Cubist Constructs" lesson (in the Drawing with transparency and opacity masks (see the & Coloring chapter). After drawing and filling Transparency & Appearances and Live Effects & objects with color, Chan brought the artwork Graphic Styles chapters for help with effects, into Photoshop, where he selected individual the Transparency palette, and opacity masks.) 400 Chapter 12 Illustrator & Other Programs
  7. Louis Fishauf / Louis Fishauf Design Limited (Photoshop) For this image about e-commerce, Louis Fish- Illustrator-drawn objects as compositional auf brought Illustrator objects into Photoshop, elements in Photoshop, Fishauf also used the where he created transparency and blurring objects to create underlying glows (done with effects. Fishauf filled the credit card and house Photoshop's layer effects). To see how similar front objects with white in Illustrator. Then he effects can be achieved using transparency, pasted them into the Photoshop file and built opacity masks, and live effects in Illustrator, see gradation layer masks to simulate progres- the Transparency & Appearances and Live Effects sive transparency in the objects. Besides using & Graphic Styles chapters. Chapter 12 Illustrator & Other Programs 401
  8. Filip Yip (Photoshop) Filip Yip began by drawing Illustrator objects and organizing them on many separate layers (so each object would remain on its own layer when he later exported them to Photoshop). He decided on the overall color scheme, col- ored the shapes, and added blends. Yip then exported his Illustrator objects into Photoshop Airbrush tool, adjusted the transparency, and in order to add transparency, feathering, and applied the Add Noise filter. Blurring effects lighting effects. The artwork (shown above (such as Gaussian Blur) were used to highlight right) was exported as a Photoshop PSD file. In details of the image. To further soften the Photoshop, Yip was able to easily manipulate blends, Yip also applied the Fade Brush Tool the illustrator objects, since they were on sepa- (Edit >Fade Brush Tool >Fade > Dissolve) in the rate layers. He enhanced the blends with the Dissolve mode. 402 Chapter 12 Illustrator & Other Programs
  9. Chris Spollen (Photoshop) Chris Spollen often creates his col- lage-like illustrations by weaving back and forth between Illustra- tor and Photoshop. He always starts with thumbnail pencil sketches (below right), which he scans and places as a template in Illustrator (see "Digitizing a Logo" in the Layers chapter). He then creates his basic shapes and elements in Illustrator. While some of his illustrations do end up being assembled in Illustra- tor, this piece, "Hot Rod Rocket," was finalized in Photoshop, with many of the objects becoming "Illustrator/Photoshop hybrids" (such as his white clouds on an angle, which began as simple Illustrator shapes). In order to control his layers in Photoshop, Spollen moved one or more selected Illustrator objects at a time into a single layer in Pho- toshop using drag-and-drop. Spollen then reworked the shapes in Photoshop using the Paintbrush and Airbrush tools. He also adjusted the opacity. The 3D-looking rocket originated as a scanned toy "rocket gun," while the moon began as a scanned photo. "Hot Rod Rocket" received an Award of Merit in the Society of Illustrator's Show. Chapter 12 Illustrator & Other Programs 403
  10. Bryan Christie (Photoshop, MetaTools Infini-D) Bryan Christie assembled this mechanical bug with Illustrator and later integrated Photoshop and Infini-D, a 3D modeling program. The 3D shapes, such as the leg joints and circuit boards, were first drawn in Illustrator as an outline without detail or color, and then imported into Infini-D and extruded into 3D shapes. To map nally drawn in Illustrator onto the wing shape the color and the details of the circuit boards, in Infini-D. To complete the mechanical bug, Christie drew and colored the circuitry in Illus- he rendered the artwork in Infini-D, opened trator. He then exported the artwork as a PICT it in Photoshop to make minor touchups (such and mapped it onto the 3D shapes in Infini-D. as color correction and compositing separately Christie created the transparency of the wing rendered elements), and finally converted the by mapping a grayscale image that was origi- entire image into CMYK. 404 Chapter 12 Illustrator & Other Programs
  11. Eliot Bergman (Photoshop and Alias Sketch!) Bergman created this illustration for a trade objects and as a basis for a color map. Berg- magazine advertisement with a combination man used the Gradient tool to create the back- of 2D and 3D programs. He took advantage ground, and he used a combination of the Star of the precision possible with Illustrator to tool (hidden within the Rectangle tool) and the draft sections, plans and profiles of objects Filter>Distort>Pucker and Bloat filter to create before importing them into Silicon Graphics the starbursts. Bergman imported the artwork Alias Sketch!, a 3D modeling program. He also into Sketch! where he created 3D objects by made color and bump maps in Illustrator, then extruding and lathing individual items. After retouched them in Photoshop. For this illustra- rendering a rough preview image, Bergman tion, the first step was to draft the layout of added the final maps, colors and lights. He the pinball machine in Illustrator. The elements brought the finished rendered image into in this design served both as a template for 3D Photoshop for retouching. Chapter 12 Illustrator & Other Programs 405
  12. Tom Willcockson / Mapcraft (Bryce) Cartographer Tom Willcockson visited the cam- the contour JPEG and generated a 3D terrain pus of William Paterson University to acquire image. Then he imported the base map JPEG photographs, building floor plans and other and draped it across the terrain. He rendered materials. Then in Illustrator, he built a base the image and exported it as a JPEG, which map of the campus roads, rivers, vegetation he placed on a template layer in Illustrator. areas, building outlines and other features. He traced the streets, building footprints and After scanning a contour map, Willcockson other features in Bryce-rendered perspective drew closed contour lines, filling them with view. Willcockson drew the buildings, and then gray shades based on elevation. He exported added trees and shrubs as Scatter brush objects two JPEG images to serve as source images in from a brush library he had created for other Bryce: the grayscale contour layer and the base maps. (See the Brushes chapter to learn about map artwork. In Bryce, Willcockson imported using scatter brushes for map symbols.) 406 Chapter 12 Illustrator & Other Programs
  13. Joe Jones: Art Works Studio (Ray Dream Studio, Bryce, Photoshop) In this World War II tribute entitled "West Field separate layers with the Pen tool. Then Jones Yardbird," Joe Jones used Illustrator artwork brought the artwork into Photoshop where as components in building the 3D model in Ray he applied edge treatments and simulated the Dream Studio, and as texture maps to cover effects of weathering by painting onto the art. the model in Bryce. To start the artwork that Then he flattened and saved the files. In Bryce, would serve as texture maps for the metal Jones imported and mapped the images onto panel seams, window masks, rivets and other the modeled plane parts. In all, he filled the elements of the model, Jones drew objects on scene with nearly 3000 Illustrator objects. Chapter 12 Illustrator & Other Programs 407
  14. Artists Erik Adigard, see M.A.D). Kenneth Batelman Sandee Cohen 128 Birch Leaf Drive 33 Fifth Avenue, #10B Adobe Systems, Inc. Milford, PA 18337 New York, NY 10003 345 Park Avenue 888-532-0612 212-677-7763 San Jose, CA 95110-2704 408-536-6000 see also Laurie Szujewska, Ted Alspach, Mordy Golding, Eliot Bergman Scott Grouse Min Wang, Brenda Sutherland, 362 West 20th Street 755 W. Cummings St. Julie Meridian, Teri Pettit New York, NY 10011 Lake Alfred, FL 33850 863-956-8891 Agnew Moyer Smith, Inc. Bruce Brashear 503 Martindalc Street 124 Escanyo Drive Shayne Davidson Pittsburgh, PA 15212 South Sanfrancisco, CA 94080 Medical Illustration & Graphics 412-322-6333 650-588-3388 1301 Granger Ave. Ann Arbor, MI 48104 734-994-6223 / 734-998-6140 Bjorn Akselsen, sec Ice House Press Christopher Bucheit/Design Time extl33 & Design P.O. Box 2152 La Crosse, WI 54602 608-796-0885 Jen Alspach Rob Day & Virginia Evans 10 State Street, Suite 214 Newburyport, MA 01950 Christopher Burke 508-465-1386 Ted Alspach 4408 Chad Court Adobe Systems, Incorporated Ann Arbor, MI 48103-9478 Timothy Donaldson 345 Park Ave., Mailstop Wl 1 313-996-1316 Domus Crossheads San Jose, CA 95110 Colwich Staffordshire ST180UG John Burns England suite John Burns Lettering & Design 01889 88 20 43 1593 Parkway Drive Jack Anderson, see Hornall Anderson Rohnert Park, CA 94928 707 585-7604 Kevan Atteberry Linda Eckstein P.O. Box 40188 Peter Cassell 201 W. 70th St. #6G Bellevue, WA 98015-4188 1185 Design New York, NY 10023 206-550-6353 411 High Street 212-721-0821 Palo Alto, CA 94301 650-325-4804 Eve Elberg 60 Plaza Street East, Suite 6E Karen Barranco www. Brooklyn, NY 11238 323-848-2090 718-398-0950 David Cater 510-232-9420 Mindi Englart 145 Cottage Street Rick Barry New Haven, CT 06511 DeskTop Design Studio Ron Chan 203-752-1959 1631 West 12th Street 24 Nelson Ave. Brooklyn, NY 11223 Mill Valley, CA 94941 Virginia Evans, see Day & Evans 718-232-2484 415-389-6549 Gary Ferster Jennifer Bartlett K. Daniel Clark 756 Marlin Ave., Suite 4 Girvin Strategic Branding & 3218 Steiner Street Foster City, CA 94404 Design San Francisco, CA 94123 650-577-9696 1601 2nd Ave. The Fifth Floor 415-922-7761 Seattle, WA 98101 206-674-7808 Artists Appendix
  15. Louis Fishauf Laurie Grace Ice House Press & Design 47 Lorne Ave. 860-659-0748 Pattie Belle Hastings Kettleby, Ontario BJ0rn Akselsen Canada LOG 1 JO 266 West Rock Ave. 905-726-1597 Adele Droblas Greenberg New Haven, CT 06515 AD Design & Consulting 203-389-7334 202 Sixth Ave. Suite #2a New York, NY 10013 Lisa Jackmore Mark Fox 212-431-9132 13603 Bluestone Court 415-258-9663 Clifton, VA 20124 April Greiman 703-830-0985 620 MoultonAve. No. 211 David Fridberg Los Angeles, CA 90031 Miles Fridberg Molinaroli 323-227-1222 Jared Schneidman Design 4401 Connecticut Ave., NW 16 Parkway Suite 701 Katonah, NY 10536 Washington, DC 20008 914-232-1499 202-966-7700 Wendy Grossman see also Guilbert Gates Grossman Illustration Guilbert Gates 355 West 51st Street Dave Job/ 145 West 12th/Apt 2-5 New York, NY 10019 15 King St. New York, NY 10011 212-262-4497 Putnam, CT 06260 212-243-7853 860-928-1042 see also Jared Schneidman Design Brad Hamann Brad Hamann Illustration & Frank Jonen Tim Girvin Design Haupstrasse 15 Girvin Strategic Branding & 41 West Market Street 65510 Idstein Design Red Hook, NY 12571 Germany 1601 2nd Ave. The Fifth Floor 845-758-6186 studio voice 49-6126 9581 81 Seattle, WA 98101 fax 49-6126 9581 83 206-674-7808 Steve Hart Mordy Golding TIME / Editorial Art Dept Joe Jones Adobe System, Incorporated 1271 Sixth Avenue / Rm 2440 D Art Works Studio 345 Park Ave., Mailstop Wl 1 New York, NY 10020 802 Poplar St San Jose, CA 95110 212-522-3677 Denver, CO 80220 303-377-7745 Janet Good Pattie Belle Hastings, see Ice House Industrial Illustrators, Inc. Press & Design P.O. Box 497 Harrison City, PA 15636-0497 Rick Henkel, see Agnew Moyer Smith Diane Hinze Kanzler 800-683-9316 Kurt Hess, see Agnew Moyer Smith John Kanzler 424 Adams Road Lance Hidy Greenfield, Ma 01301 2 Summer St. 413-773-7368 Steven H. Gordon Merrimac, MA 01860 800-210-0711 Cartagram, LLC 978-346-0075 136 Mill Creek Crossing Madison, AL 35758 Kaoru Hollin 256-772-0022 Andrea Kelley Andrea Kelley Design John Hornall, see Hornall Anderson 530 Menlo Oaks Drive Menlo Park, CA 94025 Caryl Gorska Hornall Anderson Design Works 650-326-1083 414 Jackson Street / Suite 401 1008 Western Ave., Suite 600 San Francisco, CA 94111 Seattle, WA 98104 415-249-0139 206-467-5800 see also MAX Artists Appendix 409
  16. Marc LaMantia Rob Magiera David Nelson 64 Macdougal Street Apt 5 Noumena Digital Mapping Services New York, NY 10012 9636 Ruskin Circle 721 Grape St. 212-677-6907 Salt Lake City, UT 84092 Denver, CO 80220 801-943-3650 303-333-1060 Tiffany Larsen Rob Marquardt Gary Newman Design Toast Design 2447 Burnside Rd 300 First Ave North, Suite 150 Sebastapol, CA 95472 Minneapolis, MN 55401 Adam Z Lein 612-330-9863 3 Woodlands Ave Elmsford, NY 10523 MAX Ann Paidrick 914-347-1710 246 1st Street/Suite 310 5520 Virginia Ave. San Francisco, CA 94105 St. Louis, MO 63111 415-543-1333 314-351-1705 see also Caryl Gorska Joe Lertola TIME / Editorial Art Dept Greg Maxson 1271 Sixth Avenue / Rm 2442 116 W.Florida Ave Ellen Papciak-Rose New York, NY 10020 Urbana, IL 61801 In The Studio 212-522-3721 217-337-6069 inthe studio Randy Livingston Bona Fide Design Yukio Miyamoto Tom Patterson 206 Ernest Street 3-8 Matuba-cyo National Park Service Washington, IL 61571 Tokorozawa-shi Media Development 309-745-1126 Saitama-ken 359-0044 Japan Harpers Ferry Center +81-42-998-6631 Harpers Ferry, WV 25425-0050 Patrick Lynch 304-535-6020 Yale University C/AIM 47 College Street / Suite 224 index_e.html New Haven, CT 06510 html 203-737-5033 Scott McCollom 808 N. Kaufman St. Daniel Pelavin M.A.D. Seagoville, TX 75159 90 Varick Street, Suite 3B Patricia McShane & Erik Adigard New York, NY 10013-1925 237 San Carlos Ave. Patricia McShane, see M.A.D. 212-941-7418 Sausalito, CA 94965 415-331-1023 Bert Monroy Cher Threinen-Pendarvis 11 Latham Lane 4646 Narragansett Ave. Ma Zhi Liang Berkeley, CA 94708 San Diego, CA 92107 510-524-9412 619-226-6050 Todd Macadangdang Joachim Muller-Lance John Pirman 348 Arco St. 125 A Stillman St. San Jose, CA 95123 San Francisco, CA 94108 represented by 408-536-6373 Gerald & Cullen Rapp 212-889-3337 Brad Neal Thomas • Bradley Illustration David S. Pounds Jacqueline Mahannah & Design 7 Greenmoor Medical and Biological Illustration 411 Center St. / P.O. Box 249 Irvine, CA 92614 Gridley, IL 61744 949-733-0226 309-747-3266 Elizabeth Margolis-Pineo margolispineo concept, copy & davidpounds design 138 Glenwood Avenue Bradley Neal, Thomas Neal Dorothy Remington Portland, ME 04103 see Thomas • Bradley Illustration Remington Designs 207-773-8447 632 Commercial Street San Francisco, CA 94111 415-788-3340 410 Artists Appendix
  17. Javier Romero Steven Stankiewicz Jean-Claude Tremblay Javier Romero Design Group Illustrator Instructor & Prepress (JRDG) Technician Westport, CT stevenstankiewicz 7180 Des Erables 203-256-0934 Montreal (Quebec) Judy Stead H2E2R3 741 Lake Catherine Drive Jared Schneidman Design Maitland, FL 32751 Jean Tuttle 155 Katonah Ave. 407-310-0051 Jean Tuttle Illustration Katonah, NY 10536 800-816-0460 914-232-1499 Sharon Steuer c/o Peachpit Press Trina Wai Mike Schwabauer 1249 Eighth St. 5027 Silver Reef Dr. Hallmark Cards, Inc. Berkeley, CA 94710 Fremont, CA 94538 2501 McGee, Box 419580, MD 142 800-283-9444 Kansas City, MO 64141-6580 Min Wang, see Adobe Systems, Inc. 816-545-6948 Barbara Sudick California State University Timothy Webb Dept. of Communication Design Tim Webb Illustration Max Seabaugh, see MAX Chico, CA 95929 305 W. Maywood 530-898-5028 Wichita, KS 67217 Robert Sharif 316-524-3881 2791 Lexford Ave. Laurie Szujewska San Jose, CA 95124 shoe yev ska design 7045 Toma Lane Penngrove, CA 94951 Alan James Weimer 707 664 9966 67 Bliss St. Charles Shields Rehoboth, MA 02769-1932 Shields Design Clarke W. Tate 508-252-9236 415 East Olive Ave. Tate Studio Fresno, CA 93728 P.O. Box 339 / 301 Woodford St. 209-497-8060 Gridley.IL 61744-0339 Ari M. Weinstein 312-453-0694 Mitch Shostak Studios 57 East 11th Street New York City, NY 10003 Hugh Whyte 212 979-7981 Thomas-Bradley Illustration Lehner & Whyte & Design 8-10 South Fullerton Ave. Steve Spindler 411 Center Street / P.O. Box 249 Montclair, NJ 07402 Steve Spindler Cartography Gridley, IL 61744 201-746-1335 1504 South St. 309-747-3266 Philadelphia, PA 19146 Tom Willcockson 215-985-2839 Threinen-Pendarvis see Pendarvis Mapcraft Cartography 731 Margaret Drive Kathleen Tinkel Woodstock, IL 60098 MacPrePress 815-337-7137 Christopher Spollen 12 Burr Road Moonlightpress Studio Westport, CT 06880 Filip Yip 362 Cromwell Ave. 203-227-2357 877-463-4547 Staten Island, NY 10305 718-979-9695 Ivan Torres 12933 Ternberry Ct. Tustin, CA 92782 Ma Zhiliang, Ma Zhi Liang 714-734-4356 see alphabetized under Ma Nancy Stahl 470 West End Ave, #86 New York, NY 10024 212-362-8779 Artists Appendix 411
  18. Resources Adobe Systems, Inc. Barney's Mac Software GifBuilder 345 Park Avenue Border San Jose, CA 95110-2704 Barney Hilken 408-536-6000 +44 (0) 1204 697223 hot door 45, Mason Street CADtools, Perspective, MultiPage Horwich, Bolton, BL6 5QP, UK 101 W. McKnight Way, Suite В AGFA Grass Valley, CA 95949 prepress, production 1-888-236-9540 Agfa Corp. Cartesia Software 100 Challenger Road Digital Maps Ridgefield Park, NJ 07660 PO Box 757 Macromedia 201-440-2500 Lambertville, NJ 08530 FreeHand, Director, Flash MX 800-334-4291 (x3) 600 Townsend Street San Francisco, CA 94103 Ambrosia Software, Inc. 800-989-3762 SnapzPro.SnapzProX CDS Documentation Services PO BOX 23140 Printer of this book Rochester, NY 14692 2661 South Pacific Highway Pantone, Inc. 800-231-1816 Medford, OR 97501 color matching products 541-773-7575 590 Commerce Blvd. Carlstadt, NJ 07072 Apple Computer Comnet Co., Ltd. 866-PANTONE ColorSync, QuickTime LogoSpruce FoldUP!3D 800-767-2775 Professional design plug-ins for Illustrator procreate (see Corel Corporation) Sannomiya Grand Building 8F Aridi Computer Graphics 2-2-21 Isogamidori, Chuo-ku Strata Digital Art Kobe 651-0086 Japan Strata3Dplus P.O. Box 797702 Fax: 1-877-804-2912 (US only) 567 S. Valley View Dr./Suite 202 Dallas, TX 75379 St. George, Utah 84770 972-404-9171 800-678-7282 Corel Corporation procreate Painter, Bryce Artlandia, Inc. 1600 Carling Ave. TruMatch, Inc. Artlandia SymmetryWorks Ottawa, ON Canada K1Z 8R7 Color Matching Software 2015 Barberry Cr. 1-800-772-6735 50 East 72nd, Suite 15B Champaign, IL 61821-5862 New York, NY 10021 Toll-free: +1 (888) 972-6366 800-878-9100 CValley, Inc. FILTERiT4.1 (demo included) Avenza Systems Inc. CAD-COMPO (information only) Ultimate Symbol MAPublisher Xtream Path (information only) Design Elements, clipart 124 Merton Street Suite 400 212 Technology Dr. Suite N 31 Wilderness Drive Toronto, Ontario Irvine, CA 92618 Stony Point, NY 10980 Canada M4S 2Z2 949-727-9161 845-942-0003 tel: 416-487-5116 fax 416-487-7213 sales: 800-884-2555 Dantz Virtual Mirror Corporation Retrospect Vector Studio, Retouch Brush Tools P.O. Box 6727 Bare Bones Software, Inc. San Rafael, CA 94903 BBEdit Dynamic Graphics Inc. 415-472-3359 P.O. Box 1048 Clip art, etc. Bedford, MA 01730 6000 N. Forest Pk. Drive 781-778-3100 Peoria, IL 61614 800-255-8800 QuickTime Enhanced Bezier Pen Tutorials for Illustrator, Photoshop, InDesign, FreeHand & Fireworks 4+ 412 Resources Appendix
  19. General Index 2D objects AD Design & Consulting, 409 and "Isometric Systems" lesson, extruding, 294-295 Adam Z Lein Gallery, 290 92-93 mapping artwork onto, 297 "Add & Expand" lesson, 86-87 and "Objective Colors" lesson, transforming to 3D, 293-294 Add Anchor Point tool, 10,43, 245 96-97 "3D—Three dialogs" tip, 293, 295 Add Anchor Points filter, 45, 47 .ai file extension, 3 3D effects, 293-297 Add New Fill command, 265 AI files, 3, 24, 386 adding columns to create, 351 Add New Stroke command, 190 AICB, 384, 385 applying multiple, 293 Add Pathfinder, 86-87 Airbrush tool, 402, 403 introduction of, xxi, 292 Add to Shape command, 85 airplanes, 232, 399, 407 lessons on, 316-319 additive colors, 29 .ait file extension, 3 "live" nature of, 294 Adigard, Erik, 48,408,410 Akselsen, Bjorn, 210, 408 and mapping of artwork, 297 Adjust Colors filter, 74-75 Alias Sketch!, 405 and New Art Has Basic Adobe Alice's Adventures Underground, Appearance option, 296 Acrobat. See Acrobat 194-195 preparing artwork for, 316 After Effects, 358 aligning programs for creating, 386 Color Picker, 30, 364 geometric objects, 11 "3D Effects" lesson, 318-319 contact information, 408 meshes, 351 3D Extrude & Bevel Options dialog Creative Suite, xx with Optical Margin Alignment extrusion settings, 316, 321, 322, Distiller, xxiii, 385 feature, xxiv 325 GoLive. See GoLive by snapping to point, 11, 92-93 rotating objects in, 295, 315 Graphics Server, 366 alpha channels, 363, 379 surface shading option, 297 Illustrator. See Illustrator CS alphabet poster, 200 3D modeling programs, 404,405 ImageReady, 361 Alspach, Jen, 130,408 3D objects See also 3D effects InDesign. See InDesign Alspach, Ted, 302, 306-307, 311,408 applying surface shading to, LiveMotion, 363 "Altered States" image, 395 296-297 Photoshop. See Photoshop Ambrosia Software, 412 choosing fill colors for, 295 PostScript. See PostScript American Express magazine, mapping artwork onto, xxi, 297 Premier, 358 170-173 revolving, 295, 318-319, 320, Reader, xxiii, 24 AMS, 92-93, 96 322,324 Streamline, 112,129,386 See also Agnew Moyer Smith rotating, 296, 324 SVG Viewer, 364 Anchor Point tools, 193 3D programs, 382, 386 Adobe Illustrator ClipBoard anchor points. See also endpoints 3D Revolve effect, 318-319, 320, See AICB adding/deleting, 10, 77 322, 323 Adobe Illustrator CS CD, 36, 37, 366 converting, 10 3D Ribbon effect, 183 Adobe Illustrator CS Scripting creating, 7 3D Rotate effect, 324 Guide, 37 dealing with excess, 77 3D StudioPro, 386 Adobe Illustrator CS User Guide defined, 6 "9 Lives" cat symbol, 82-85 See User Guide selecting, 12-13 216-color palette, 30, 359, 374 Adobe Illustrator Super Guide, The, snapping objects to, 9 1185 Design, 288-289,408 250 "Ancient 2000" CD, 105 1776 logo,214-215 Adobe Online, 35 Anderson, Jack, 408 Adobe Systems, 408, 409, 412 Andrea Kelley Design, 410 Angle Threshold setting, 77 А See also Adobe adoption announcement, 232 angles Acrobat After Effects, 358 for 3D Revolve effect, 295 antialiased artwork in, 386 AGFA, 412 for Bezier curves, 8 and crop areas, 386 Agfa PostScript Process Color constrain, 27, 92, 93, 95 Distiller, xxiii, 385 Guide, 97 gradient, 223, 353 and Illustrator CS versions, xx Agnew Moyer Smith, 408 for Miter joins, 75 Reader, xxiii, 24 and automatic updating of colors, animation and transparency, 262 227 exporting, 369-370, 373 actions, 35-36, 301, 330 contact information, 408 Gallery pages, 367, 371 Actions palette, 35-36, 37 Gallery page, 94 General Index 413
  20. animation, continued Arrow keys, 96 applications, 363 lessons, 368-370, 372-373, adding/deleting points with, 11 mapping onto 2D/3D shapes, 297, 378-379 adjusting Flare tool rings with, 319,323 preparing artwork for, 368-369 311 masking, 256 previewing, 368-370, 370 adjusting Polar Grid tool circles/ See also masking; masks and Release to Layers command, dividers with, 344 organizing, 156,174 361 nudging aliased objects with, 375 preparing for on-screen display, repurposing print artwork for, offsetting outlines with, 283 358-359. See also Web 372 positioning letters with, 210 graphics techniques for extending, 379 positioning reflective masks with, previewing before printing, 34, 35 timesavers, 378 337 printing, 4 tools for working with, 153, 358, sliding objects along axes with, 93 scaling, 122 367, 378 specifying surfaces for mapping scanning/digitizing, 164-165 "Anti-antialiasing" tip, 375 with, 297 scattering copies of, 121 antialiasing, 25, 358, 374, 375, 386 stretching path segments with, selecting, 162 "Antiquing Type" lesson, 216-217 197 tracing, 126 appearance attributes, 16,263-264, tracking line of Point Type with, on Wow! CD, xvi 278-279, 302 203 Artwork mode, 7 Appearance palette, 263-264 "Art Brush" file, 153 Asian text options, 188 adding strokes to text with, 190 Art Brush Options dialog box, 205 athlete images, 153 applying multiple fills/strokes art brushes Atteberry, Kevan, 368-371,408 with, 189, 265 and animations, 153 Attributes palette, 100, 359-361 designing intricate effects with, applying to closed paths, 133 Auto Add/Delete function, 9-10 278 artwork for, 121 Auto Trace tool, 141, 386 disabling New Art Has Basic creating, 120-121 auto-tracing program, 112 Appearance option in, creating distortions with, 153 Avenza Systems, 412 xviii purpose of, 120-121 Average function, 14-15,45 editing warp effects in, 299 sources of, 133 Average-Join function, 47, 85 importance of, 264 Art Works Studio, 407,409 Average mode, 123 stacking order for, 265 Artboard averaging, 46,47 targeting elements in, 264 changing background of, 27-28 aviator, 399 using with type, 191-193 and page tiling, 4 Avion magazine, 242 appearances, 263-265 selecting artwork on, 162 В adding multiple fills/strokes to, setting up for page design, 202 80,264-265 transparency of, 254-255 applying, 263,279 Artistic brush libraries, 133 backups, 23 clearing attributes for, 264 artistic observation, 78 Bare Bones Software, 358, 360,412 copying, 264 Artistic_Paintbrush brush palette, Barney's Mac Software, 412 creating, 278 205 Baron, Cynthia, 360 icons for, 263 artists, 408-411 Barranco, Karen, 102,103,408 lessons on, 278-281 See also specific artists Barry, Rick, 225,408 moving, 264 Artlandia, 412 Bartlett, Jennifer, 207,408 reordering attributes for, 263 artwork baseball illustration, 334-335 resizing, 306 adding brushes to, 132-133 "Basic Appearances" lesson, 278-279 Apple Computer, 412 applying 3D effects to, 316-317 "Basic Transparency" lesson, Apple Display Calibrator, 28 background, 146-147 272-273 AppleScript, 36 copying and pasting, 383-384 batch optimization, 360 April Greiman Made in Space, 397 for creating brushes, 121 Batelman, Kenneth, 343,408 architectural drawings, 95, 228 for creating symbols, 123 BBEdit, 358, 360,412 Area type objects, 181-182,191,203, distributing to layers, 122 bear, 388 280-281 dragging and dropping, 383-384 beaver lodge logo, 86-87 Area Type Options dialog box, xxv, embedding vs. linking, 382-383 beetle, 367 182 expanding, 224 Bergman, Eliot, 405, 408 Area Type tool, 203 flattening, 159,258 Aridi Computer Graphics, 412 importing from other 414 General Index
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