Adobe Illustrator CS Classroom in a Book

by Adobe Creative Team, Sandee

• ISBN13: 9780321193803
• ISBN10: 0321193806
• Edition: 1st
• Format: Paperback
• Copyright: 2003-10-13
• Publisher: Adobe Press

Summary

How often have you wished you had access to the team behind your favorite software--in this case, Adobe Illustrator--so that you could really pick their brains about all of its coolest features? With this book, you do. In these pages the Adobe Creative Team gives you a guided tour of the graphics powerhouse, Illustrator CS. Best of all, it does so at your pace. Whether your beautifully designed graphics end up in print, the Web, broadcast video, or even cell phone displays, this book shows you how to get them there--easily, elegantly, and efficiently. You'll find step-by-step, project-based lessons in all of Illustrator's key features, including those that are new to CS: powerful new type tools, the Scribble Effect, hundreds of professionally designed templates, support for 3D graphics, and more. Each chapter contains a project that builds on your growing knowledge of the program, and a companion CD includes all the files needed to complete the book's lessons.

Author Biography

The Adobe Creative Team is made up of designers, writers, and editors who have extensive, real-world knowledge of and expertise in using Adobe products. They work closely with the Adobe product development teams and Adobe's Instructional Communications team to come up with creative, challenging, and visually appealing projects to help both new and more experienced users get up to speed quickly on Adobe software products.

Table of Contents

Getting Started	p. 1
About Classroom in a Book	p. 1
Prerequisites	p. 1
Installing the program	p. 2
Installing the Classroom in a Book fonts	p. 2
Copying the Classroom in a Book files	p. 2
Restoring default preferences	p. 2
Additional resources	p. 4
A Quick Tour of Adobe Illustrator	p. 5
Getting started	p. 6
Creating a basic blend	p. 8
Creating a symbol	p. 10
Creating a clipping mask	p. 13
Using the align feature	p. 15
Using the pathfinder feature	p. 16
Creating a clipping mask	p. 17
Using the new 3-D effect	p. 17
Cloning the crayon	p. 20
Changing the color of the crayon	p. 20
Applying transparency	p. 21
Creating the crescent shape	p. 22
Adding live effects	p. 24
Getting to Know the Work Area	p. 29
Getting started	p. 30
Viewing artwork	p. 33
Changing the view of artwork	p. 36
Using Adobe online services	p. 46
Review questions	p. 47
Review answers	p. 47
Selection Basics	p. 51
Getting started	p. 52
Using the Selection tool	p. 52
The Direct Selection tool	p. 54
Exploring on your own	p. 62
Review questions	p. 63
Review answers	p. 63
Creating Basic Shapes	p. 67
Getting started	p. 68
Setting up the document	p. 69
Using basic shape tools	p. 70
Drawing the pencil shape	p. 70
Drawing the piece of stationery	p. 76
Drawing with the Rectangular Gird tool	p. 77
Decorating the stationery border	p. 81
Tips for drawing polygons, spirals, and stars	p. 83
Painting the logo	p. 84
Copying and scaling shapes	p. 87
Review questions	p. 89
Review answers	p. 89
Drawing with the Pen tool	p. 93
Getting started	p. 94
Creating straight lines	p. 97
Creating curved paths	p. 98
Building a curve	p. 100
Curves and corner anchor points	p. 104
Creating the pear illustration	p. 107
Editing curves	p. 117
Finishing the pear illustration	p. 119
Exploring on your own	p. 122
Review questions	p. 125
Review answers	p. 126
Painting	p. 129
Getting started	p. 130
Filling with color	p. 131
Stroking with color	p. 134
Building custom swatches	p. 137
Copying paint attributes	p. 142
Copying appearance attributes	p. 143
Saturating a color	p. 145
Painting with patterns and gradients	p. 145
Painting with a Pattern brush	p. 147
Review questions	p. 149
Review answers	p. 149
Applying Transparency and Blending Modes	p. 153
Getting started	p. 154
Changing the opacity of an object	p. 154
Changing the blending modes	p. 156
Isolating the blending	p. 157
Using an opacity mask	p. 159
Editing an opacity mask	p. 163
Exploring on your own	p. 165
Review questions	p. 166
Review answers	p. 166
Working with Layers	p. 169
Getting started	p. 170
Creating layers	p. 173
Locking layers	p. 176
Viewing layers	p. 178
Pasting layers	p. 180
Creating clipping masks	p. 182
Merging layers	p. 184
Applying appearance attributes to layers	p. 186
Exploring on your own	p. 190
Review questions	p. 191
Review answers	p. 191
Transforming Objects	p. 195
Getting started	p. 196
Scaling objects	p. 197
Rotating objects	p. 201
Distorting objects	p. 202
Shearing objects	p. 204
Positioning objects precisely	p. 207
Reflecting objects	p. 209
Changing the perspective	p. 210
Using the Free Transform tool	p. 211
Making multiple transformations	p. 213
Exploring on your own	p. 215
Review questions	p. 223
Review answers	p. 223
Working with Placement and Order of Objects	p. 227
Getting started	p. 228
Creating custom guides	p. 232
Creating the vector logo	p. 236
Applying the warp and pathfinder features	p. 237
Arrangement and object order	p. 240
Putting the logo together	p. 244
Exploring on your own	p. 245
Review questions	p. 245
Review answers	p. 245
Applying Appearance Attributes, Styles, and Effects	p. 249
Getting started	p. 250
Using appearance attributes	p. 251
Copying, applying, and removing styles and appearances	p. 263
Saving and printing files with transparency effects	p. 266
Exporting and importing flattening settings	p. 275
Exploring on your own	p. 275
Review questions	p. 277
Review answers	p. 277
Working with type	p. 281
Getting started	p. 282
Adding type to a document	p. 285
Sampling type	p. 285
Changing the character size	p. 286
Reshaping text with an envelope	p. 287
Creating columns of type	p. 290
Changing character attributes of placed text	p. 293
Changing paragraph attributes	p. 295
Saving and Using Styles	p. 296
Wrapping type around a graphic	p. 298
Typing along a path	p. 299
Creating type outlines	p. 300
Creating type masks	p. 302
Saving your file for electronic distribution	p. 305
Review questions	p. 307
Review answers	p. 307
Blending Shapes and Colors	p. 311
Getting started	p. 312
Creating a gradient fill	p. 313
Adjusting the direction of the gradient blend	p. 317
Adding colors to a gradient	p. 318
Creating smooth-color blends	p. 322
Blending intermediate steps	p. 323
Modifying the blend	p. 324
Combining blends with gradients	p. 326
Exploring on your own	p. 328
Review questions	p. 329
Review answers	p. 329
Working with Symbols	p. 333
Getting started	p. 334
Creating a symbol	p. 335
Using the Symbolism tools	p. 339
Editing symbols	p. 340
Updating a symbol	p. 341
Using the Symbols palette as a database	p. 343
Mapping a symbol to 3D artwork	p. 344
Exploring on your own	p. 349
Review questions	p. 349
Review answers	p. 350
Working with Brushes and Scribbles	p. 353
Applying brushes to paths	p. 354
Getting started	p. 354
Using Art brushes	p. 355
Using Scatter brushes	p. 361
Applying a scatter brush to paths	p. 363
Changing the color attributes of brushes	p. 364
Using a fill color with brushes	p. 369
Using Calligraphic brushes	p. 371
Using Pattern brushes	p. 374
Creating brushes	p. 377
Applying the Scribble effect	p. 383
Exploring on your own	p. 387
Using a brush library	p. 388
Review questions	p. 388
Review answers	p. 389
Creating Airbrush Effects	p. 393
Getting started	p. 394
Setting Smart Guides preferences	p. 395
Painting with the Mesh tool	p. 396
Applying colors to the mesh	p. 399
Highlighting a mesh object	p. 401
Editing mesh points	p. 402
Reflecting mesh objects	p. 405
Modifying mesh lines	p. 406
Warping a mesh	p. 409
Applying transparency to a mesh	p. 412
Review questions	p. 416
Review answers	p. 416
Using the 3D Effect	p. 419
Getting started	p. 420
Creating a banner logo with the Warp effect	p. 421
Using Brushes for decoration	p. 424
Turning the artwork into symbols	p. 426
Creating the 3D cylinder	p. 428
Using the 3D Extrude effect	p. 428
Using the 3D Rotate effect	p. 441
Exploring on your own	p. 442
Review questions	p. 443
Review answers	p. 443
Printing Artwork and Producing Color Separations	p. 447
Printing: An overview	p. 448
About printing devices	p. 449
About color	p. 451
Getting started	p. 452
Color management	p. 453
Printing black-and-white proofs	p. 454
Soft-proofing colors	p. 455
Using the Document Info command	p. 456
Creating color separations	p. 457
Working with two-color illustrations	p. 466
Creating a trap	p. 470
Overprinting objects	p. 472
Review questions	p. 475
Review answers	p. 476
Combining Illustrator Graphics and Photoshop Images	p. 479
Combining artwork	p. 480
Vector versus bitmap graphics	p. 480
Getting started	p. 482
Placing an Adobe Photoshop file	p. 483
Duplicating a placed image	p. 485
Adjusting color in a placed image	p. 487
Masking an image	p. 489
Sampling colors in placed images	p. 494
Replacing a placed image	p. 495
Exporting a layered file to Photoshop	p. 496
Exploring on your own	p. 498
Review questions	p. 499
Review answers	p. 499
Creating a Web Publication	p. 503
About Web format and compression options	p. 504
Getting started	p. 507
Slicing artwork for Web pages	p. 509
Exporting flat-color artwork	p. 515
Exporting continuous-tone and gradient artwork	p. 524
Linking slices to URLs	p. 528
Saving your Web page as an HTML file with images	p. 533
Creating a Flash animation from symbols	p. 535
Exploring on your own with Adobe Photoshop	p. 539
Review questions	p. 546
Review answers	p. 546
Working with Version Cue	p. 549
Index	p. 557
Table of Contents provided by Ingram. All Rights Reserved.

Excerpts

It looks obvious until you try it. IEEE Software My flight was waiting on the runway when the captain made an announcement. "We''ve had some trouble with the plane''s air conditioning system. In a plane, the air conditioner controls the oxygen levels so we need to make sure it''s working before we can take off. Restarting the air conditioning unit hasn''t worked, so we''re going to power down the aircraft and power it back on. These modern airplanes are all computer controlled, you know, so they''re not very reliable." The pilot powered down the airplane, powered it back upessentially, rebooted the airplaneand our flight continued without incident. Needless to say, I was especially glad to deplane at the end of that particular trip. The Best of Times, the Worst of Times The best software organizations control their projects to meet defined quality targets. They accurately predict software delivery dates months or years in advance. They deliver their software projects within budget, and their productivity is constantly improving. Their staff morale is high, and their customers are highly satisfied. A telecom company needed to change about 3,000 lines of code in a code base of about 1 million lines of code. They made their changes so carefully that a year later no errors had been found in operation. Their total time to make the changesincluding requirements analysis, design, construction, and testing--was 9 hours. A team developing software for the United States Air Force committed to a one-year schedule and a $2 million budget even though other credible bids for the project had run as high as two years and $10 million. When the team delivered the project one month early, the project manager said the team''s success arose from using techniques that have been known for years but that are rarely used in practice. An aerospace company develops software for companies on a fixed-price basis. Three percent of its projects overrun their budgets; ninety-seven out of a hundred meet their targets. An organization that committed to achieving outstanding quality attained an average of 39 percent reduction in its post-release defect rate every year for a period of 9 yearsa cumulative reduction of 99 percent. In addition to these notable successes, software pumps billions of dollars into the economy every year, both directly through sales of software itself and indirectly through improved efficiency and through creation of products and services that are made possible only with software''s support. The practices needed to create good software have been well established and readily available for 10 to 20 years or more. Despite some amazing triumphs, however, the software industry is not living up to its full potential. There is a wide gulf between the average practice and the best, and many of the practices in widespread use are seriously outdated and underpowered. Performance of the average software project leaves much to be desired, as many well-known disasters will attest. The IRS bumbled an $8 billion software modernization program that cost the United States taxpayers $50 billion per year in lost revenue. The FAA''s Advanced Automation System overran its planned budget by about $3 billion. Problems with the baggage handling system caused a delay of more than a year in opening Denver International Airport. Estimates of the delay''s cost ranged as high as $1.1 million per day. The Ariane 5 rocket blew up on its maiden launch because of a software error. The B-2 bomber wouldn''t fly on its maiden flight because of a software problem. Computer-controlled ferries in Seattle caused more than a dozen dock crashes, resulting in damage worth more than $7 million. The state of Washington recommended spending more than $3 million to change the ferries back to manual controls. Many projects that are lower profile than these are equally troubled. Roughly 25 percent of all projects fail outright,12 and the typical project is 100 percent over budget at the point it''s cancelled. Fifty percent of projects are delivered late, over budget, or with less functionality than desired. At the company level, these cancelled projects represent tremendous lost opportunity. If projects that are ultimately cancelled could be shut down at 10 percent of their intended budgets rather than 200 percent, imagine what a company could do by redirecting those resources at projects that were not ultimately cancelled. At the national level, cancelled projects represent prodigious economic waste. A rough calculation suggests that cancelled software projects currently impose about a $40 billion drain on the United States economy. When projects succeed, they can still present risks to the public safety or welfare. A project lead at Lotus received a call from a surgeon who was using a spreadsheet to analyze patient data during open-heart surgery. Newsweek magazine printed pictures of soldiers using Microsoft Excel on laptop computers to plan operations, and the Excel technical support team has received calls from the battlefield during active military operations. The Purpose of This Book Software development can be predictable, controllable, economical, and manageable. Software isn''t usually developed that way, but it can be developed that way. This book is about the emerging profession of software engineeringand professional software practices that support economical creation of high-quality software. The essays in this book address questions like these: What is software engineering? How does software engineering relate to computer science? Why isn''t regular computer programming good enough? Why do we need a profession of software engineering? Why is engineering the best model for a software development profession? In what ways do effective practices vary from project to project (or company to company), and in what ways are they usually the same? What can organizations do to support a professional approach to software development? What can individual software developers do to become full-fledged professionals? What can the software industry as a whole do to create a true profession of software engineering? How This Book Is Organized The parts in this book progress from looking at the trade of computer programming as it exists today to exploring the profession of software engineering as it might exist in the future. Part 1, The Software Tar Pit, explains how the software field got to be the way it is. There are many valid reasons why the software field came to its current state. Understanding those reasons should be used to accelerate, not delay, the changes needed to make successful projects an everyday habit. Part 2, Individual Professionalism, looks at the steps individuals can take on their own to achieve higher levels of software professionalism. Software projects are so complex that numerous key factors cannot be addressed effectively at the individual level. Part 3, Organizational Professionalism, digs into the organizational practices needed to support more professional software projects. Part 4, Industry Professionalism, examines steps that must be taken by the software industry at large to support professionalism at the individual and organizational levels. What I''ve Learned Since 1999 Professional Software Developmentis an updated and significantly expanded edition of my 1999 book, After the Gold Rush. Since 1999, I''ve learned several lessons that are reflected in this new edition: Licensing of software developers is