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More from Peachpit Visit the Store. New Riders Voices That Matter Capturing the best from leading-edge graphic designers, photographers, and business visionaries. Suitable for beginner through intermediate levels. Classroom in a Book Project-based learning to help you learn the features of Adobe software quickly and easily. About the Author Sharon Steuer has been teaching, exhibiting, and writing in the digital art world since Don't have a Kindle? About the author Follow authors to get new release updates, plus improved recommendations.
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You may also like. Fiction Illustrated Trade Paperbacks Books. Nonfiction Illustrated Trade Paperbacks Books. Trade Paperbacks Books. The illusion of organic chaos and randomly placed elements requires some control, and separating sections with just a few layers, descriptively named, made all the difference as he worked. He could lock all the layers to prevent moving artwork already in place, and turn off visibility for some layers in order to concentrate on just one region without distraction.
He created the illusion of depth and distance by placing small waves behind the big waves, yet kept each set of waves accessible by putting the smaller waves on a layer beneath the big waves.
Rudmann sandwiched the man and his boat on a layer between the large and small diamond-shaped waves, and the big splash came last. After Rudmann drew the outlines for the boat and the man, he used the Pen tool to freely draw open paths for the dripping water on the man, and a few stripes to signify his bucket. So that he could fill the interior white areas where these paths overlapped, he turned them all into a Live Paint Group. See the Rethinking Construction chapter for more on using Live Paint.
To design a mock-up of a web app for www. He was able to hide and show layers to see how the design of different pages looked when viewed in different sequences. To see more layers at once, he changed the default row height and turned off thumbnail display in the Layers panel. In the Layer Options dialog, name the sublayer. Repeat this for each of the sublayers you need. Gordon completed the mock-up of the Home page by creating artwork on each of the sublayers.
With the first master layer completed, Gordon created master layers for other pages in his mock-up. To make the Layers panel easier to navigate at a glance, give each master layer and its sublayers a unique color in the panel. For the master layer, double-click to the right of its name in the Layers panel and pick a color from the Color menu in the Layer Options dialog.
For the sublayers, Shift-select them and choose Options for Selection from the panel menu. After Gordon completed mock-ups for each of the pages, he made all master layers visible in the Layers panel by choosing Show All Layers from the panel menu.
This provided a preview of what users would see moving from one page to another, assuring that the design of the pages were compatible.
A layer name without a black triangle in front of it is empty. Let Illustrator do the walking Illustrator can automatically expand the Layers panel and scroll to a selected object within hidden layers; just select an object in your artwork and click the Locate Object icon. For this map of downtown Dixon, Illinois, cartographer Steven Gordon built complex appearances and applied them to objects, groups, and layers.
Gordon developed a set of appearance attributes that applied a soft vignette and blue fill to a shape representing the river. Gordon first drew the outline of the water with the Pen tool and then gave the path a medium-blue fill. To accentuate the shoreline, he applied a dark Inner Glow effect. To do this he opened the Appearance panel and clicked on the Fill attribute.
Gordon started by deselecting all objects and clicking the Clear Appearance icon to eliminate the attributes for the river he had created previously. Next, add a second stroke by clicking the Add New Stroke icon in the Appearance panel. Because the new stroke has the same attributes as the first stroke, select the bottom of the two strokes and change it to a darker color and a 3-pt width.
If you apply a style like the cased streets to a selection of paths, the outline of a path will overlap and interrupt the outlines of paths below it. If you apply a style to a group of paths instead, the style will surround the group, merging strokes where they overlap. Now make sure that Group is highlighted in the Appearance panel and apply your new cased streets style. To start, Klema made a new document with the same dimensions as those of the constructed gate 80" tall by 44" wide.
Start by creating a guide in the exact middle of the document. Next, activate Smart Guides from the View menu this will help position the cursor over the exact middle of the document. From the Reflect dialog, choose Vertical as the Axis and click on the Copy button. Klema turned to the Rectangle, Arc, Ellipse, and Pen tools to draw the different objects in his illustration.
For the inner arch, Klema selected the Arc tool hidden under the Line Segment tool and double-clicked its icon to bring up the Arc Segment Tool Options dialog. Next, he clicked on the center guide and dragged down and to the left until the arc was shaped the way he wanted. Depending on the shape of the arc you need, you may have to draw it wider or longer.
Next, extend the arc downward as a straight line by selecting the Pen tool, clicking the bottom endpoint of the arc, and then Shiftclicking below to complete the straight line. Duplicate the extended arc using the Reflect tool and the center guide, just as you did in the previous step with the guides.
Klema connected the bottom endpoints of the two extended arcs with the Pen tool, creating a single object. After drawing all the objects in his design, Klema printed the full illustration and separate illustrations of each of the gate parts he used the Tile option in the Print dialog because the pieces were bigger than his printer paper.
The prints served as templates that he traced on the wood so that he could precisely cut out the individual pieces of the gate. He used the full-sized illustration as a guide for assembling the gate parts into the finished sculpture. She chose the Transform effect to duplicate and scale her art so that changes made to her original plan would automatically be updated in the scaled version.
She then noted the width of her artboard 2. In order for the Transform effect to duplicate art to other artboards as new objects are added to it, all the art has to be within a master layer, and the master layer itself must be targeted. Once an effect is properly applied to a targeted master layer, any objects added to the layers within will automatically inherit that effect see the warning Tip Getting targeted to move.
To check everything was working properly for the transform, she enabled Preview. Once Wigham saw that her artwork du-plicated and scaled properly, she clicked OK. When her plan was finished, she drew an art-board around the scaled artwork and printed it. She turned off the visibility for the first instance.
She next drew an 11"x17" artboard roughly 20 points to the left from the other side of her master artboard so the master was now between the two scaled versions.
She double-clicked on the Transform effect to open the dialog, and this time played with the settings in the dialog until her drawing filled the page.
She saved this as another Graphic Style. With both Transform effects in the Appearance panel, she toggled their visibility each time she needed one scaled version or another. Coghill starts cartoon logo creation with the character art, using the more organic creation tools such as the Pen tool, various Brushes, the Width tool, and the Shape Builder tool.
Once the vector art for the character is complete, he then designs the full logo using the Type tool and multiple Shape tools. He includes the Pen and Selection tools in both environments. One at a time, he click-drags each desired tool from the default Tools panel onto his new custom panel. He repeated this process for his desired custom tools and workspace panel arrangement for the logo design aspect of the creation process. Coghill can then work in a customized vector art environment suited perfectly to the task at hand and switch between the toolsets with ease.
The Type tool lets you click to create a Point type object, click-drag to create a box for an Area type object, or click on a path to create Path type. See the CC section later in this chapter for how you can convert Point type to and from Area type.
Click within any existing type object to enter or edit text. To scale Point type, use the Selection tool to select the type and drag on one of the handles of the bounding box.
Both the type and the bounding box scale together. Use modifier keys as you would with any object to constrain proportions or scale from the center. To scale the bounding box and the type, choose the Free Transform tool E before dragging on the bounding box handles. Create a custom container for Area type by constructing a path with any tool. With a closed path, choose either of the Area Type tools and click on the path not inside the object to place text within the confines of the path.
Use the Direct Selection tool to distort a container object for Area type by grabbing an anchor point and dragging on it, or reshape the path by adjusting direction lines. The text within your Area type object will reflow to fit the new shape of the confining object. Create Path type by clicking on a path with the Type tool; the path become unstroked and unfilled, and is ready to receive text.
Set Baseline Shift to 0 in the Character panel, and move the path until the type is where you want it on the page. Gordon A Path type object has three brackets—the beginning bracket, which has an in port; a center bracket; and an end bracket, which has an out port.
Use the center bracket to control positioning the type along the path. To position type on a path, hover your cursor over the path until the cursor turns into an upside down T. Dragging the center bracket along the path moves the type toward the beginning or end. Dragging across the path flips the type to the other side of the path.
For example, type running outside of a circle will flip to the inside. To automatically reflow type along a path, use the Direct Selection tool to reshape the path. Choose different Type on a Path effects such as Rainbow or Stair Step , enable Flip to automatically flip type to the other side of the path, set the alignment of type relative to the path, and use a Spacing control to adjust the type as it moves around a curve.
If you try to set Path type on a circle, and the text is set to Align Center, the text will be forced to the bottom of the circle. Your text will now be centered between the two handles, on top of the circle.
To manually flip type on a path to the other side of the path, select the type and drag the center handle the thin blue line perpendicular to the type across the path, as indicated by the red arrow above.
To scale the text frame alone, Direct-Select it first. Then use the Scale tool, or scale it manually using the bounding box. To enlarge an Area type object or a Path type object on an enclosed path, allowing for more text, use the Selection tool to grab the object by a bounding side, and drag to resize it.
To lengthen a path for Path type, use the Direct Selection tool to select the last anchor and drag the path longer, or use the Pen tool to start drawing more of the path from the last anchor, then drag the end bracket to the new end of the path. Click on the artboard to create a new text object the same size and shape as the original this works nicely for custom shapes , or drag to create a rectangular text object of any size. The new text object is threaded linked to the original, flowing text into the second.
Alternatively, you can select the object and click once on either the in port or the out port. Then click on the other end of the thread to break the link. Making one text block of many To join separate Area text boxes or Point type objects, select all the text objects with any Selection tool and copy.
Then draw a new Area text box and paste. Text will flow into the box, in the stacking order in which it had appeared on the page. These wrap objects affect only Area type objects that are both within the same layer, and directly beneath it in the Layers panel, and do not affect Point type or Path type.
The selected attributes define the new style. After first applying a style, to remove all overrides click again on the plus beside the Paragraph style name. In CC you can also use the Touch Type tool. Avoiding formatting overrides When your project calls for several text objects using the same font, consider using a custom paragraph style. Created properly, this prevents Illustrator from applying the default, [Normal Paragraph Style], to all your new text and then adding formatting overrides to apply your specific font attributes.
Using the Control panel, you will merely be creating formatting overrides that must then be cleared in order to apply a different font with different attributes. See more about profiles in Your Creative Workspace. Using the Appearance panel you can apply multiple strokes to characters, run type along a curve, use envelopes to distort type, and even mask with live, editable type.
The Single-line Composer applies hyphenation and justification settings to one line of text at a time, but this can make multiple lines look ragged. The Every-line Composer determines the best combination of line breaks across an entire paragraph of text.
Double-click the tool to specify in Eyedropper Options which attributes will be picked up or applied with the Eyedropper tool. For a one-step method, select the type object with appearance attributes you want to change, and then move the Eyedropper tool over the unselected type object that has the attributes you want and click on it. Alternatively, the Eyedropper tool works in another mode: sampling and applying.
A small T means it is in position to sample or apply text attributes. To copy text formatting from one object to another using the Eyedropper tool, position it over an unselected type object.
When it angles downward to the left, click the type object to pick up its attributes. In applying mode, it angles downward to the right, and looks full. To apply the attributes that you just sampled, move the cursor to the text you want to change and click. A simple click will apply the sampled attributes to the whole paragraph; you can also drag the cursor to apply the attributes only to the specific text you dragged over.
See the previous chapter for more details about working with the Appearance panel. The appearance of stroked text To stroke type without distorting the characters, select the type using a Selection tool not a Type tool , select Add New Stroke in the Appearance panel, then move this new stroke below the Characters.
With the text object you can add another fill click on the Add New Fill icon in the Appearance panel. Now there is another listing of Stroke and Fill, in the Appearance panel, but this time they are positioned above the Characters line in the panel.
If you reveal the Stroke and Fill for the type by doubleclicking the Characters line in the panel, you return to character editing; reselect the type object with the Selection tool to return to editing the type object rather than its characters. When you add a new Stroke or Fill to the type object, its color and effects interact with the color of the characters.
All the strokes and fills applied to type are layered on top of those listed below including on top of the stroke and fill you see listed when you double-click Characters in the panel. So if you add a new fill to the type object and apply white to it, the type appears white the white fill of the type object is stacked above the black default fill of the characters.
With the Type tool, click to place the insertion point, then double-click the character you want in the Glyphs panel to insert it in the text. However, this action could cause the type to reflow, so you might want to keep a copy of the original handy as a reference if you need to edit the type. If the file is very old, updating legacy type might be a multi-step process. Adobe first updates type to be compatible with the changes that were made in CS, and then updates for any changes thereafter—for example, updating Type on a Path created prior to CS4 to the current behavior of Type on a Path.
Following in this section are some of the more advanced features of artboards, which will help you work productively and maintain consistency within a project. Scaling artboards is enhanced in CC. Managing artboards Many features are available to help you work with artboards according to more specialized needs.
If you select the Artboard tool to accomplish these tasks, use the Esc key to return to the tool you were using. Working with artboards Rename artboards by double-clicking on their name in the panel.
Exporting and printing multiple artboards All artboards in a file share the same print options, including color mode, bleed settings, and scale, and you can choose to print either to a PDF file or to a printer. In the Print dialog, print artboards as separate pages the default , or ignore artboards and tile the artwork.
But you can choose the media, such as screen or slide, ignoring the actual artboard size—this is useful for presentations. Or you can scale the artwork to fit your media, among many other features found in the Print to PDF dialog. Scale them to fit your print media if desired.
If your media is landscape-oriented, Auto-Rotate is disabled. The Split Into Grid command followed by Convert to Artboard can divide the artwork into media-sized rectangles for you.
If you lose your alignment, just click the little Magnet button on the Tabs panel, and the panel will snap back into alignment. If you open a file without the correct fonts loaded, Illustrator warns you.
You can still open, edit, and save the file. Illustrator remembers the fonts you were using. Double-click on the circle to convert Point type hollow circle to Area type solid circle or vice versa. Point type top indicated by a hollow widget, converts to Area type bottom , indi-cated by a solid widget 89 Touch Type transformations Illustrator combined the onscreen interactivity of the Transform bounding box with the ability to use the Character panel to individually rotate, scale, and position characters, and came up with the Touch Type tool find it in the Tools panel with the Type tools [Shift-T], or click the button in the Character panel.
The tool is designed to work with any input device including your fingers on touch-enabled devices , but there are some limitations to what you can do with it. Unlike using the Character panel to rotate and scale characters, the Touch Type tool directly affects only one character at a time. Characters added within a word will take on any transformation of the character preceding them, unless you first select a following character, effectively replacing it with a new glyph, then type it in again.
Using the Search field for fonts Before CC, the search field in the Control and Character panels allowed us to type the first few letters of a font name, and Illustrator would immediately jump to the first exact match in our font list. If we opened the list box, we could then continue to scroll through the list of fonts to find other results manually.
Now we have added choices to make it easier to search. The list then automatically opens to the first word match if there is one , plus all the rest that have a matching string, and only matching results are in the list. When you have a string in the font search field, clicking on the alphanumeric character X at the right clears the field for a new search. If you just want to browse in the Control panel without searching, the list also indicates if any additional styles of a font are available by displaying a down-pointing triangle.
Twirl it open to see all the styles contained in that font family. Substituted fonts in your document will be highlighted in pink. Depending upon your subscription, the number of fonts you can have synced at the same time may be limited. Number of Pages. Dimensions Item Length. Item Height. Item Width. Item Weight. Table of Content. Copyright Date. Target Audience. Dewey Decimal. Dewey Edition. Shipping and handling.
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Adobe Illustrator WOW! Book for CS6 and CC, The: Steuer, Sharon: : Books
- Adobe Illustrator WOW! Book for CS6 and CC, The
Book is updated to help intermediate through advanced students get up to speed on the more creative features of Illustrator and efficiently integrate workflow updates and improvements. With its practical, yet beautiful examples, this book focuses on real-world tips, tricks, and techniques extracted from the artwork of many of the world's best Illustrator artists.
This 14th edition of the book will help students harness the most powerful creative features of Adobe Illustrator CS6 and CC including the latest release , from painting and generating objects with raster brushes, to creating complex repeating patterns, and inserting Illustrator objects into an editable 3D perspective grid. They'll learn how to incorporate the vast array of feature enhancements designed to improve object and text creation and editing, including Live Corners, Live Rectangles, the new Path Reshaping functions, and the Touch Type tool.
In addition, they'll discover how to add automatic corners to pattern brushes, apply gradients to strokes, prepare artwork for animation and the web, and use Image Trace to transform raster art to vectors.
Through real-world step-by-step lessons and stunning artwork, students will be inspired to master even the most challenging aspects of Adobe Illustrator. Vehicles Jacqueline McCann. Birds Camilla De La Bedoyere. Robots Andrea Mills. Underneath the Earth's Crust. Look What Vehicles Can Do! Surprising Facts about Pirates Philip Steele.
I Can Do Magic. Look What Robots Can Do! Look What Dinosaurs Could Do! About Sharon Steuer Sharon Steuer has been teaching, exhibiting, and writing in the digital art world since In between publishing projects, Sharon is a full-time artist working in traditional and digital media, often posting tutorials about her art practice in her "Digital Art Studio" column on CreativePro. She lives in San Francisco with the love of her life, her sound and radio professor husband Jeff Jacoby jeffjacoby.
She is extremely grateful to have this opportunity to get the WOW! Find links to her online digital art courses at sharonsteuer. The Adobe Illustrator Wow! Sharon Steuer. From the brand. How did we get our start? Peachpit Press has been training and inspiring creative people since Who are our books for? What makes us unique?
Step-by-step explanations, timesaving techniques, savvy insider tips, and expert advice. More from Peachpit Visit the Store. New Riders Voices That Matter Capturing the best from leading-edge graphic designers, photographers, and business visionaries. Suitable for beginner through intermediate levels.
Classroom in a Book Project-based learning to help you learn the features of Adobe software quickly and easily. About the Author Sharon Steuer has been teaching, exhibiting, and writing in the digital art world since Don't have a Kindle? About the author Follow authors to get new release updates, plus improved recommendations. Brief content visible, double tap to read full content.
Full content visible, double tap to read brief content. NOTE from the author: Greetings all. Thank you! They'll learn how to incorporate the vast array of feature enhancements designed to improve object and text creation and editing, including Live Corners, Live Rectangles, the new Path Reshaping functions, and the Touch Type tool. In addition, they'll discover how to add automatic corners to pattern brushes, apply gradients to strokes, prepare artwork for animation and the web, and use Image Trace to transform raster art to vectors.
Through real-world step-by-step lessons and stunning artwork, students will be inspired to master even the most challenging aspects of Adobe Illustrator. Product Identifiers Publisher. Product Key Features Author.
Publication Name. Publication Year. Number of Pages. Dimensions Item Length. Item Height. Item Width. Item Weight. Table of Content.
Copyright Date. Target Audience. Dewey Decimal. Dewey Edition. Shipping and handling. Item does not ship to Finland. Item location:. Kentucky, United States. Ships to:. Change country: -Select- United States. To edit any part of this new object, use the Direct Selection tool or target it in the Layers panel and edit as a regular vector object.
You can even apply effects to the entire group, if you desire. You can also copy and paste artwork in Draw Inside mode, which will clip the artwork inside text, for example.
Learn more about working with clipping masks in the Mastering Complexity chapter. Toggle drawing modes You can use the keyboard shortcut Shift-D to switch between available modes.
Keep an eye on the changing icon to know which drawing mode you have selected. Try to get in the habit of switching to Normal mode Shift-D as soon as you no longer need to be in that special drawing mode. Compound paths and compound shapes are live and can easily be released to recover the original paths. Compound paths are used primarily to create holes in objects, whereas compound shapes provide more complex ways of combining objects. The Pathfinder panel icons perform operations very much like compound shapes, except that these operations are applied permanently—Undo is the only way to reverse the effects of a pathfinder operation.
If you wish to apply a live version of a Pathfinder command to a layer, type object, or a group, instead of using the Pathfinder panel, apply it from either the Effects menu, or the fx icon from the Appearance panel.
Compound paths or shapes? Use compound paths on simple objects for basic combining or hole-cutting. Use compound shapes on complex objects such as those made with additional effects and to fully control how your objects interact. Be aware that compound shapes can become too complex to print, or to be combined within some effects, and might have to be released returning objects to their original state or expanded which keeps the appearance, but breaks it apart permanently.
Compound paths A compound path consists of one or more paths that have been combined so they behave as a single unit. Compound paths can be used as a single mask, and they can create holes where the original objects overlapped think of the letter O , through which you can see objects.
Apply the fill color of your choice, and the inner object remains unfilled. To adjust one of the paths within a compound path, use the Direct Selection tool; or select the compound path and enter isolation mode. Pathfinder panel The Pathfinder panel includes the top row of Shape Modes icons and the lower row of Pathfinder commands. These permanent alterations to the objects allow you to, for example, apply the Intersect icon to selected objects so that you can pull apart and further edit the resulting pieces.
Note that the Trim and Merge commands can be applied only to filled objects. The Pathfinder panel contains two sets of icons: Shape Modes which combine shapes , and Path-finders which divide paths Left to right: two ovals the inner oval has no fill, but appears black because of the black fill of the larger oval behind it ; as part of a compound path the inner oval knocks a hole into the outer one where they overlap; the same compound path with inner oval, which was Direct-Selected and moved to the right to show that the hole is only where the objects overlap Compound shapes A compound shape combines objects with, or subtracts objects from, each other, while leaving the original objects intact.
You can make compound shapes from two or more paths or from other compound shapes, text, envelopes, blends, groups, or artwork with vector effects applied. Compound shapes take on the attributes of the topmost object in the selection. As long as you keep compound shapes live, you can continue to apply or remove Shape Modes and add a variety of effects to the compound shape as a unit, such as envelopes, warps, and drop shadows.
To retain their appearance and keep them editable, paste them as vector Smart Objects to edit a Smart Object, double-click its thumbnail in Photoshop and it will open in Illustrator; when you save, it updates in Photoshop. Modifier keys for drawing For a long list of modifier keys to control how you draw with the geometric tools e. The higher the percentage, the more anchor points will remain, and the closer the new path will be to the original. The endpoints of an open path are never altered.
The higher the Angle threshold, the more likely a corner point will remain sharp. Reverse these steps to increase line weights. Using a stylus or your finger, click or tap on an icon, and if desired, drag the pivot point for rotation anywhere on the screen.
Keyboard shortcuts still perform as they used to, but now the touch interface is always displayed when you choose the Free Transform tool E. You can create the object with geometric tools Rectangle, Star, Polygon, etc. Use the Direct Selection tool to select an entire object and display the Live Corner widgets on every corner that is editable. You can reshape selected corners interactively by dragging on one of the visible widgets. If the entire path is selected, dragging on one widget modifies every corner equally.
To restrict your edits to only some corners, select corner anchors individually with the Direct Selection tool, or select them with the Lasso tool, but then switch back to the Direct Selection tool to display widgets again. Dragging on one widget alters all selected corner anchor points—when the limit for rounding is reached as the corner anchor meets another anchor, the corner paths turn red top. The Relative setting alters the corner shape bottom. With the Corners dialog, you can use numeric input for the corner radius, choose from three types—Round, Inverted Round, and Chamfer beveled —and whether the corner should be Absolute describing a mathematically precise arc between points, and a bit flattened , or a more natural Relative, which tends to extend the rounding in a manner you might draw by hand.
The special properties of Rectangles Rectangles, created only with the Rectangle or Rounded Rectangle tools, have some specific Live Corner features that become active only when the rectangle is selected and your active tool is the Rectangle, Rounded Rectangle, or the Selection tool.
However, if your Direct Selection tool is active, a Live Rectangle will look like, and can only be edited like, any other Live Corner object, making use of only those features found in the Corners dialog.
In the Layers panel, you can identify objects drawn with the Rectangle tool by looking for the sublayer name instead of the generic.
The icon will update to display the Corner Type you selected. Enable or disable Scale Rectangle Corners in either panel when you scale a rectangle with a Live Corner attribute already applied to it. Shape and Transform panels indicate dimensions, angle of rotation, corner types, and radii; the Transform panel also enables scaling corners.
You can disable this behavior in the panel menu. If you also hold the Shift key, your direction handles will be of equal length and perpendicular to the path. While dragging with the Pen tool, press the spacebar to relocate the current anchor point.
The Direct Selection tool will only display the Reshape cursor if at least one of the anchor points connected to the path segment has a direction handle connected to it. You also can use the Anchor Point tool formerly called the Convert Anchor Point tool , to reshape path segments by dragging directly on them. Gone is the Smoothness slider, and instead you have one Fidelity slider. By default, the Pencil tool now smooths a hand-drawn path, which can result in fewer anchor points.
However, you can double-click the Pencil tool to open Pencil Options where you can adjust the Fidelity slider from the most Accurate to the most Smooth. Choose Smoother options if you want fewer points and more graceful curves, If you are a seasoned Pencil user, you should be aware that there has been another change in the default behavior of the tool.
The CC Pencil tool now automatically closes a path when your end point is close to the start point. To keep the path from closing, zoom in so the distance between start and end appears farther apart.
Your Fidelity setting determines if the path joins with a smooth or corner point. Use Esc to end an open path When drawing with the Pen tool, press the Esc key to end the path, allowing you to draw another path without deselecting it or switching tools. To create many eye-catching stock illustrations like the one above, Ryan Putnam frequently uses the Pathfinder panel. Ryan Putnam created the body from two rounded rectangles.
To create the first object, he clicked on the Artboard with the Rounded Rectangle tool to open the Rounded Rectangle dialog. In the dialog, he set the dimensions of the rectangle to 3 in for Width, 3.
Putnam wanted the bottom corners of the body to be smaller, so he then created a second rectangle with the same dimensions, entered. With the Ellipse tool, Putnam drew a circle within the body object for the mouth. He then drew an encompassing rectangle halfway up from the center of the circle. He selected both, clicked the Minus Front command from the Pathfinder panel, and chose a brown swatch from the Swatches panel. To create the tongue, Putnam created two overlapping circles within the mouth shape, selected both, and used the Unite Pathfinder command.
Selecting both the mouth copy and the tongue, he applied the Intersect Pathfinder command, and then chose a magenta swatch from the Swatches panel for the fill color. He rotated one tooth with the Selection tool by moving the cursor along the rectangle until he saw the Rotate icon and then dragged the tooth slightly to the right. Putnam then added a number of character features and details, such as a pt stroke for the lips, a circle for the back of the mouth, another pair of circles for eyes, and a rounded rectangle for the stick.
He then rendered the artwork and placed it back into Illustrator as a template. Seeking to create a lively and humanistic interpretation of a crowded city environment, he used the Pen tool for tracing and Live Paint to control coloring, so he could give each building its own personality.
Since he was using Live Paint, Del Vechio was able to draw open paths that would ultimately enclose the areas to be colored, instead of precisely stacking discrete objects atop one another and creating the fully closed paths that normal fills require. Paths that merely crossed over other paths created separate areas, and by drawing only enough paths to separate one area from another, he was able to draw more quickly and efficiently, using many fewer paths and layers.
He kept Smart Guides turned on to help signal him as each anchor and path properly lined up with the others. Even though the 3D model had curved lines, in order to create the slightly off-kilter look of an illustration, he used only straight segments except for the arched door and circular window. After tracing the artwork, he selected it all and clicked on it with the Live Paint Bucket tool hidden under the Shape Builder tool.
Once converted to a Live Paint group, the content of all the layers automatically moved into the top layer. Del Vechio next needed to select and delete a few unwanted segments.
While the Selection tool selects objects and the Direct Selection tool selects paths, he was able to use the Live Paint Selection tool to select, then delete, individual faces and line segments. Del Vechio created a small color group for each building. Using the Live Paint Bucket tool, he colored each building, cycling through colors in a group using the left and right arrow keys, and moving between color groups using the up and down keys.
He also assigned all the colors he created as Global swatches. If he later wanted to replace a color, he only had to replace the swatch itself and it would automatically update that color anywhere in the document.
After he filled the main areas of the buildings, he created a gradient for the lights in the windows. In order to paint some of the strokes but not all , he again opened the Live Paint dialog to enable Paint Strokes and disable Paint Fills.
He then selected all the Strokes and set their weight to None. With the Stroke weight set to 0. Although the strokes were now invisible, Live Paint would highlight them when his cursor passed over them.
Finally Del Vechio reset the Live Paint Bucket Options to Paint for both Fills and Strokes, then recolored some of the areas and edges to complete his whimsical cityscape. Ryan Putnam has a stock illustration portfolio full of hand-drawn illustrations.
Putnam found that using the new Blob Brush tool and his Wacom pen tablet, he could now easily create a hand-drawn look using Illustrator. Moreover, by using Live Paint, he could quickly fill his illustration with color. Putnam first created a tattoo sketch in Photoshop and placed it into Illustrator as a template.
Create your own sketch, scan it, or sketch directly into a painting program such as Painter or Photoshop. Locate your sketch, then enable the Template option and click Place see the chapter Your Creative Workspace for more on templates. Putnam wanted to create marks that were very true to his stylus gestures and had minimal smoothness. To create this effect with the Blob Brush tool, he first had to modify the default options. To do this, he double-clicked on the Blob Brush tool in the Tools panel.
Using these custom Blob Brush settings, Putnam began to trace the scanned sketch template into the layer above, varying his stylus pressure to re-create the hand-drawn style. To do this, Putnam double-clicked the Eraser tool from the Tools panel and changed the Diameter to 5 pt.
By setting up the Eraser tool with pressure-sensitive settings, he could move easily between the two tools by simply flipping the stylus around. Setting up default Eraser tool preferences and erasing with the Eraser tool 3 Filling areas with Live Paint. If Putnam used the regular Brush tool to trace his sketch, he would have had to create additional paths defining fill areas to color the drawing. To convert the illustration to a Live Paint Group, Putnam selected the illustration with the Selection tool, chose the Live Paint Bucket tool from the Tools panel, and on first click, the object became a Live Paint Group.
With the Live Paint Bucket tool, he hovered over the selected illustration to highlight areas to fill. With the left and right arrow keys, Putnam cycled through the swatches from the Swatch Panel until he found his desired color see the Color Transitions chapter for details on creating colors.
Once he found the color, he clicked in the area to fill. He repeated cycling through the swatches and filled in the other enclosed areas of the illustration. Putnam added additional features as needed.
Because Turton could draw directly on the tablet itself, and his paths would join automatically as they overlapped, he felt he had greater control over this kind of meticulous, but still freehand, pen-and-ink drawing, without having to interrupt the flow to create a new brush or adjust his stroke width.
He began a rough sketch with brush settings that most closely emulated natural pen strokes. He kept Fidelity and Smoothness at their lowest settings to be as true to his hand as possible in CC you adjust only one Fidelity slider, to most Accurate , and used a very fine, 2-pixel point.
As the file size grew, he began to lock layers he was happy with and to add more detail as the drawing progressed. This prevented strokes from merging and forcing constant re-renders of the drawing.
When he had completed most of the tiger, he unlocked the layers and merged them all. Part of the preliminary interview process was to take the Google Graphics Test. It can be any kind of animal, but most importantly, it should be original.
The first one was the Vegetarian Cheetah. It was initially done as a pencil sketch. After submitting my ten drawings and digital color paintings to Google this was a timed test I decided to create another version in Illustrator using the Blob Brush. I first started with just the merged bodies of the running cheetah with the quizzical head of a rabbit.
A week later I decided to add the background. I continued on using the Blob Brush since it helps to unify the similar colors. The Blob Brush provided the best means to merge the cheetah and rabbit together without going deep into the DNA code of both animals.
She used a photo of a maple she had grown herself from seed as the basis for her illustration. Experience has shown her that prepping a photo before tracing it helps produce the desired results. In Illustrator, choosing a palette to use in Image Trace both simplifies and colorizes a photo, but Stoppee has traditionally simplified first with a favorite third-party filter Topaz Simplify in Photoshop.
In this case, she chose the preset Painting Harsh-Color to intensify the natural colors. In Illustrator, she opened the file, selected it, and opened the Image Trace panel. There she enabled Preview and experimented with the different presets. Stoppee chose Accurate Fidelity with the default settings. A solid background in a matching color might solve the problem, but if not, you can do as Stoppee did and manually repair the holes with the Direct Selection tool.
Danka converts these traced illustrations into Live Paint objects and colors and recolors the elements. She brings in textures from Photoshop and changes the blending mode to Overlay. She brings in her texture a second time and uses Image Trace in color mode. Opening the images and textures in Photoshop, she combines some layers with Soft Light blending mode, while on others she runs her favorite filter: Minimum.
She integrates text in either English or Polish using fonts that simulate handwriting. Though her characters are vector-based and graphic in style, her final books end up rather painterly and richly textured. She reduced the Threshold setting for this dark photo in order to bring out a maximum range of contrast in the 2-color image, and she set Paths to their maximum accuracy.
To keep the grungy, angular detail throughout, she also set Corners to their highest for the least amount of smoothing, and moved the Noise setting to a minimum so the finest detail would be traced. From there, Gilbert opened the.
Graham enabled Preview to see the effects as she adjusted settings until paths and corners were simple and there were just a handful of grays. With Preview selected, her setting was automatically applied when she closed the Image Trace window. Graham placed this version in a locked layer as a template to trace over; she also kept a copy of the original photo on her artboard as an additional reference.
She created a dark global color so she would be able to specify various tints of the color as she drew. Graham double-clicked on the Blob Brush tool and, in the Blob Brush Options, she set Fidelity and Smoothness at their lowest settings in CC she adjusts only Fidelity, to most Accurate , specified an 8-pt brush size with an 8-pt variation, and selected Pressure.
She repeated the process using progressively darker tints, making a separate layer for each tint and gradually building the portrait Progressively Tinting. Occasionally she increased or decreased the Blob Brush size with the [ ] keys. When she zoomed into an area, either drawing with the Blob Brush, or adjusting a path with the Direct Selection tool, she could refer to the Navigator panel and easily see how the changes she made in a particular area affected the entire portrait, without having to constantly zoom in and out of the drawing.
To finish the portrait, Graham made custom art brushes with tapered ends directly above for the details such as the eyelashes and eyebrows. She used a Round Curve Bristle Brush to create the shadows behind the head.
To keep the outline distinct as he filled in the parts, he used the Pen tool to create a contour shape with a white fill and no stroke, and used it as a mask on the top layer. He selected the Paint-brush with a 1pt stroke to begin tracing Live Paint converts brushstrokes to basic strokes, so the Pen or Pencil tools will also work here.
Where necessary, he used the Pen tool to add and subtract anchor points, and the Direct Selection tool to adjust the paths.
Klema then traced another section of his scan. In this way, he developed all the filled shapes for his sculpture.
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