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Adobe premiere pro certification. Some changes are being done in the main layout of the software, which increases the user experience. While writing provides his bread, commercial illustration supplements the bread with butter.

He paints and draws to escape and relax, but finds his greatest source of joy with his wife Shannon, a glass artist, and their gorgeous 9-year-old daughter Fiona. Please visit: www. Additional contributing writers and editors: Our line-editor Eric Schumacher-Rasmussen has been writing and editing copy since long before it was his job.

Raymond Larrett is a designer, illustrator, cartoonist, and most recently publisher. For over 20 years Gary Ferster has been a freelance illustrator and animator www. George Coghill is a cartoon-style illustrator who specializes in cartoon logos and cartoon character design. His art can be seen at CoghillCartooning. Gustavo Del Vechio is a designer, teacher, and author of books on Adobe Illustrator published in Brazil in Portuguese.

For a thorough listing of the WOW! Book for CS6 and CC contains much to inspire users at all levels, it has been designed and tested for intermediate through professional-level users of Adobe Illustrator. Lessons in this book are designed to help you master techniques while you create your own art along the way. Lessons are kept deliberately short to encourage the use of this book within the confines indicates you can look for featured artwork related of a supervised classroom.

Look for the WOW! You can icon overlapping a purple recidentify CC introductions, lessons, and galleries by the tangle at the top of a page; for Introduction and lesson sections the rectangle will be in the upper corner of the page, while on Gallery pages the rectangle will be a purple banner across the entire top of the page. Shortcuts and keystrokes Please start by looking at the WOW! The WOW!

Keyboard language differences 13 This book assumes English as the user language, but we realize that many of you are from other countries and use keyboards adapted to your own language. Keeping up-to-date To keep up with the latest CC features and updates, make sure to visit us at www.

A critical Appearance panel setting Illustrator initially launches with an application default that could inhibit the way Illustrator experts work. One of the most powerful features of Illustrator is that, when properly set, you can easily style your next object and choose where it will be in the stacking order by merely selecting a similar object. But in order for your currently selected object to set all the styling attributes for the next object you draw including brush strokes, live effects, transparency, etc.

The book progresses in difficulty both within each chapter, and from chapter to chapter. Every chapter starts with a brief, general universal introduction that applies to CS6 and CC, followed by a dedicated CC section. The red arrows, with artwork have been added to emphasize or further explain a concept or technique.

Tip boxes Look for these gray boxes to find Tips about Adobe Illustrator. Most WOW! Feel free to start with almost any chapter, but be aware that each technique builds on those previously explained, so you should try to follow the techniques within each chapter sequentially.

The Mastering Complexity chapter is packed with lessons dedicated to advanced tips, tricks, and techniques, and most will integrate techniques introduced in the earlier chapters. The Gallery pages consist of images related to techniques demonstrated nearby. Each Gallery piece is accompanied by a description of how the artist created that image, and may include steps showing the progression of a technique detailed elsewhere. Illustrator CC subscribers will also be directed to the Adobe site for more information regarding Creative Cloud services that are included with their subscription.

Glossary, a listing of the artists featured in this book, and a General Index. The best way to learn to create with Illustrator is to examine complex art created by professionals.

Many of the artists have allowed us to post their works for you to pick apart. Please contact the artists find their contact info in the Artists appendix to request permissions beyond personal exploration.

Thanks to Von Glitschka for allowing us to feature his wonderful art on the cover. Special thanks to Jean-Claude Tremblay, our amazing technical editor. We are so lucky to have JC advising us on every technical detail of this project. Also blessedly returning are several veteran WOW!

Also returning as contributing WOW! One of the most important features of this project is our incredible team of dedicated WOW! Thank you Eric Schumacher-Rasmussen for master-juggling all the myriad edits. Big thanks as well to Darren Meiss for proofreading, and Jack Lewis for the index.

Thanks to Doug Little at Wacom and the folks at Astute Graphics for keeping us up to date with their great products. Thanks also to lynda. Congrats to our official kibitzer, Sandee Cohen vectorbabe.

And last but not least, tons of love and thanks to my wonderful family and friends. The tab will spring open to let you drop the object in place. The frame contains all the panels and documents, and everything you can do in AI takes place within the frame. Note: You should turn off the Application Frame when using an extended monitor setup or during video projection.

The panels you want handy in order to create a bristle brush painting are probably different from what you need when creating a technical illustration or the layout for a series of brochures. Switch workspaces by choosing its name. Note that any changes to a workspace, such as a panel opened or moved, are temporarily saved when you quit Illustrator so that Illustrator reopens right where you left off. To restore a workspace to its original configuration, select the workspace and choose Reset workspace name from the submenu.

The Control panel docks to the top or bottom of the screen. Look for the double-headed arrow when hovering over an edge to see if the panel can be dragged in that direction. Double-click on the top gray bar to collapse a free-floating panel to an icon. Only one item in a column of panel icons can be open, but one from each column can be open simultaneously and will remain open until you manually close it by clicking on its double arrow in the upper right corner. In that case, clicking anywhere outside a panel that was opened from an icon will close it for you.

Using New Document Profiles When you create a New Document Profile, you can establish not only the size, color mode, and resolution of your document, but also whether or not that document includes specific swatches, symbols, graphic styles, brushes, and even what font is chosen as the default. By saving this to the New Document Profiles preset folder along with your other user Library presets, the document appears in the New Document dialog.

In order to be consistent with other Adobe programs, new documents by default use Artboard rulers and set the origin point at the upper left corner, instead of the lower left. Documents created in older versions will still open with Artboard rulers active and the origin point in the upper left, but if you switch to the Global Ruler, the origin point will be at the legacy lower left corner, as it was when the document was originally created. If you need to work with legacy positioning, switch to Global Rulers with your legacy documents to see the old 24 x,y coordinates.

You can still change the location of the origin point by dragging from the upper left corner of the rulers to the desired location, but you can give each artboard its own origin point when you choose Artboard Rulers. You can apply guides globally or to individual artboards. To place a non-global guide with the Artboard tool selected Shift-O , drag a guide from the ruler to the active artboard, being careful to drag right over the board, not between it and another. If you drag a guide in between the artboards, it will place the guide across all artboards.

If you intend to use several guides in a project, you should probably create separate layers for specific sets of guides. By keeping guides on named layers, you not only can easily control which guides are visible at any time, but also how the global locking, visibility, and clearing of guides is applied. CC has enhanced guide placement. Any unlocked guide can be changed into a regular, editable path by targeting the guide and, again in the context-sensitive menu, choosing Release Guides.

Guides not targeted will not be converted. Smart Guides, which can be powerful aids for constructing and aligning objects as you draw, are helpful enough to become an essential part of your workflow.

Once you hide the selection edges paths and anchor points , all path edges in that file will remain hidden until you show them again—and that hidden state is saved with your file! Illustrator also offers a Perspective Grid and a Pixel Grid. Of course you can double-click to the right of the layer name at any time to access Layer Options and edit the name or other settings. Once you exit isolation mode, the other layers and groups will once again appear in the Layers panel.

Using isolation mode Isolation mode is a quick way to isolate selected objects so you can work on them without accidentally affecting other objects. The next time you want to edit an object, group, or layer, use isolation mode instead of locking or hiding things that are in the way. In addition to you choosing to enter isolation mode, Illustrator will also at times automatically place you into a special form of isolation mode, such as when editing symbols, creating patterns, or working with opacity masks.

Isolation mode focuses your attention as you create and edit various types of objects. If you have isolated an object or group, you can expand the isolation to the sublayer or layer that the object is on by clicking on the word for that layer in the gray bar.

As long as isolation mode is active, anything you add to your artboard will automatically become part of the isolated group. Remember that other types of objects—such as blends, envelopes, or Live Paint objects—exist as groups, and isolation mode works for them, too. In addition to using isolation mode on groups, you can also use it on almost anything—layers, symbols, clipping masks, compound paths, opacity masks, images, gradient meshes, and even a single path.

The next time you think you have to enter Outline mode, or lock or hide objects to avoid grabbing other objects, try isolation mode 26 instead. If instead you apply an effect to a targeted group, layer, or sublayer, then the effects are easy to remove simply target that level again.

When a group, layer, or sublayer has an effect applied to it, any new objects placed into that level will immediately acquire those effects. GORDON Steven Gordon at Cartagram applies drop shadows to his map icons: left original; middle after selecting ungrouped objects or all objects on a layer and applying an effect it ap-plies to each object sepa-rately ; right after tar-geting the layer or select-ing the group and apply-ing the effect it applies to the bounding paths only Copy and paste techniques When you copy an object, Illustrator offers a number of power options for how the objects are pasted, including Paste in Front, Paste in Back, Paste in Place, and Paste on All Artboards.

Note that none of these are affected by the ruler origin, but are positioned in the same relative position to the upper left corner of the artboard. The Appearance panel also can replace a number of separate panels, making it an indispensable hub for a productive and efficient workflow. In the Appearance panel with a group or layer targeted, double-clicking on Contents reveals object-level attributes.

With a text object, double-click on Characters to see the basic text attributes. You can also add additional strokes or fills to the object, apply effects and access effect dialogs, choose whether or not the next object you draw will have the same appearance, or construct a new graphic style to save for future objects. Decoding appearances A basic appearance does not include multiple fills or strokes, transparency, effects, or brush strokes. More complex appearances are indicated by a gradient-filled circle in the Layers panel.

Unless an effect is applied at the level of a layer or a group, you might not see the filled circle icon until you expand your view of the layer to locate the object that has the effect applied. Drawing with Appearances Whether or not your new object will have the same attributes as your last-drawn object depends upon settings in the Appearance panel menu. Any other attributes from your last-drawn object are ignored. Graphic styles and the Appearance panel A graphic style consists of all the attributes applied to an object, group, or layer.

Save a current appearance by clicking the New Graphic Style button you can also drag the thumbnail from the Appearance panel, or drag the object itself to the Graphic Styles panel. And then, of course, you can print or export to PDF any combination of the artboards that you want into one multi-page PDF, even one with multi-sized pages. Artboard configurations can be saved as part of a New Document Profile.

It will be added to the same row as the current artboard, but you can rearrange the artboards later. Enabling Smart Guides can help with precise manual alignment. Or select the Artboard tool and change its name in either the Control panel or in the Artboards Options dialog. The name is listed in the Artboards panel and in the list of artboard panels in the status bar Artboard Navigation, located at the bottom right of the document window.

However, be aware that the order of artboards in the panel determines the order in which artboards print or are ordered when saved as a multi-page PDF. In the Position area of Artboard Options, choose the reference point from which artboards get resized. To activate it, click on the artboard with the Selection tool or click on its name in the Artboards panel. Now just update the symbol to update all instances of it used on any artboards. To resume typing into an image text block, press Shift-Return.

Try it! What does pt mean? If your document is using that unit, you can just enter that numeric value into fields. To enter the value and unit use 1pt, but do not include the parentheses. Why use New Window? You can view the same art separately, and in different View modes Preview, Outline, Overprint, or Pixel , or with different Proof Setups including for color blindness , or Zoom levels. Use Arrange Documents on the Application bar to organize them or to make edges hidden or visible.

Most choices from the View menu are saved with the file along with the new windows. Most of the time, you can run Illustrator CC without being connected to the internet or logged into your Creative Cloud account. However, some options require that you are both online and signed into Creative Cloud.

Adobe Add-ons is the new online marketplace for plug-ins, scripts, and other assets offered through the Adobe Exchange 35 The Creative Cloud app displaying update status; the Creative Cloud pop-up menu Behance Your subscription includes membership in Behance.

Typical of sharing sites, terms of service may claim the right to use images posted to Behance without permission or compensation. By default the Creative Cloud app installs an icon on your Apple menu bar, or your Windows taskbar, and launches when you log in to your computer. However, you can change this behavior from the Preferences command in its pop-up menu.

Sync your settings and assets If you have more than one computer, Sync Settings is a Creative Cloud feature that lets you use your Cloud storage to quickly copy your workspaces, shortcuts, preferences, presets, and assets such as swatches and brushes from one computer to another. Enable the settings you want to transfer, then select what to do if a conflict arises between settings on your machine and settings stored in the Cloud.

You can then choose Sync Settings Now in Preferences, or you can sync any time a document is open by clicking on the Sync Settings icon in the bottom left corner of a document window. Just remember that Sync Local means your local settings become top dog, uploading settings to the Cloud, while Sync Cloud downloads settings from the Cloud to your computer.

You can also simply choose to overwrite the 36 oldest file with the newest, wherever it is. Use the file for backup, or to share settings with others without using the Cloud. To access tools hidden beneath others, first use the tear-off panel to make all those tools visible. To remove a tool from the panel, first make sure you have a document open, then simply drag the tool off the panel and release when you see the minus sign added to your cursor. You can create multiple custom Tools panels and have multiple Tools panels open at the same time.

They behave like other panels—open one and it persists in the workspace until you decide to reset that workspace to its default configuration. The slider was restored by popular request. This also cancels dragging with the Selection, Direct Selection, and Print Tiling tools, and ends drawing an open path with the Pen tool.

Better guide creation To quickly create a guide at a specific location, double-click directly on the ruler at that location.

For instance, double-click on a horizontal guide to place a vertical ruler, or press Shift and double-click to force the guide to the nearest tick mark. Pressing the Esc key before completing the drag cancels creating guides, including dragging to change the 0 location of the x,y coordinates. Back by popular demand, the Opacity slider found in the Transparency, Control, and Appearance panels , replaces the CS6 list of presets The Pencil Tool Options dialog displaying the new Fidelity slider—also shared by the Paintbrush, Blob, and Smooth tools—plus a new preference for whether to toggle to the Smooth tool instead of drawing straight lines with the Pencil.

For more on this, see the CC section in the Rethinking Construction chapter introduction. If your Welcome screen is closed, you can look for it in the Help menu. He simplified the detail in the bridge to eliminate construction details that distracted from its design lines, and restricted the number of colors in keeping with posters of that period.

Critical to achieving the strong perspective favored by the client were the hand-drawn perspective guides Kimball placed on a layer above the artwork. A second set of guides marked the cable width. He organized the illustration with separate layers for the bridge itself, the highlights, shadows, and the sky.

He made extensive use of blending modes, opacity, and gradients to create highlights and shadows, while Gaussian Blur softened the clouds.

Your scan is now on a Template layer beneath the original layer. With the template as a guide, select Layer 1 the default layer in the Layers panel and with the Pen tool, using the scan as a guide, click to place anchor points that will connect with straight lines.

To draw horizontal, vertical, or diagonal lines while you trace, hold down the Shift key as you click with the Pen tool. Instead of being more precise, Sellers used her rough sketch as a guideline for a stylized interpretation of the Atlanta skyline. Illustrator offers several options to create curved paths.

To create curves using the Pen tool, instead of clicking to place a corner point attached to a straight line, you click and drag in the direction that the curve is heading, then click and drag on the other side of the bump of a curve this takes practice!

To adjust the curves, use the Direct Selection tool to drag its direction handles. Click the Convert icons in the Control panel to convert anchor points between corners and curves, and grab a direction handle with the Convert Anchor Point tool to hinge a smooth curve. To draw with the Pencil tool, double-click its icon to adjust Fidelity accuracy and Smoothness sliders in CC you adjust one Fidelity slider.

You can further control how smooth or detailed your paths are by zooming in or out before drawing or editing with the Pencil or Smooth tools.

Zoom out to create smoother lines fewer anchor points or zoom in for more accuracy. You can also redraw any selected path by drawing close to it with the Pencil tool you can adjust Within value in Options. To use it, click and drag a curved path. After drawing the arc, you can reshape its path as you would any curve, by using the Direct Selection tool to adjust handles and anchor points.

To speed up drawing, use ready-made geometric objects like rectangles and ellipses. Add paths and filled objects with the Pen or Pencil tools, or use the Pathfinder panel or Shape Builder tool to combine objects find out more about these tools in the Rethinking Construction chapter.

He defined a color group, created clusters along with the basic elements, and then layered all of them to form more complex imagery. He also created a Live Paint group in order to draw forms without having to draw each path as a closed object. By slowly building complexity from very simple beginnings, he was able to control the results he sought to capture his vision.

Rudmann began with the Pen tool 48 P , sketching the structure that would tell the story. Since he was going to create the water from a single diamond shape he would modify, he only needed to sketch the proportions and placement of his elements.

He used the Artboard tool Shift-O to adjust the artboard to fit the composition. He next auditioned his basic elements, coloring them, and combining some of them into larger elements. He selected his final choice of four colors and saved them as a color group Boat by clicking the New Color Group icon in the Swatches panel. To keep the process of building up the art from basic elements as fluid as possible, he found a method that minimized working with panels, and allowed him to keep his attention on the artboard.

Selecting a diamond or cluster of diamonds that he wanted to duplicate and modify, he copied, used Paste in Front or Back , and then used the Free Transform tool E. He often ungrouped his clusters to freely modify and randomize a cluster by transforming some of the individual diamonds. Despite working freely, Rudmann needed to be able to access portions of the image for modifications. 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.

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