Learning Vector Illustration with Adobe Illustrator: … Through Videos, Projects, and More 9781350047914, 9781350047891

Citation preview

x

Introduction Greetings! And welcome to an adventure in vector graphic creation. On the pages herein you will find direct instruction on achieving vector fluency. This book has been built to instruct the newbie. You needn’t have any experience with vector graphics—or the pen tool—to move ahead quickly with this book. Chapters are organized to build upon one another and sectioned for quick jumps ahead. Screen captures will guide you visually through the process. And Label Assignments will challenge you to apply the chapter’s content to creating portfolio pieces. In my 24-year teaching of vector graphics at the university level, I have perfected the methods held within these pages. Through the step-bystep Label Assignments, I have been able to instruct new designers quickly and efficiently, instilling the basic vector drawing skills in rapid succession. Since you are working on achieving fluency in vector graphics, I’ll make an assumption that you are primarily a visual learner, with hands-on experience a close second. Consequently, this book has been built around screenshots and videos for your better instruction. As a

9781350047891_txt_app_CC19.indd 10

learner used to technology at your fingertips, I venture to say, you probably have (or want) two screens as well as your phone with you while learning. Great! We’re going to use all of that. You’ll have access to downloadable or streaming video demonstrations. You’ll be able to employ your smartphone to instantly access the instructional videos in the pages of the book. Simply point your phone’s camera at the QR codes to unlock the knowledge within the images. And lastly, follow along the breadcrumb trail of screenshots to render beautiful results. If you are like me, you may doodle ideas all the time. Well, now those drawings are not lost. Use Adobe’s smartphone application Capture to bring your sketches, marks, and color palettes promptly into Illustrator’s Library. Also, as a keen observer, you probably see design that inspires within your environment. Capture the type that you see and let Adobe lead you to type choices just like that which you captured. The world of design is faster and more accessible than ever. I sincerely hope you enjoy your dance (#vectordancing) through the world of vectors: may it lead to a lifetime love of learning and design.

1/22/21 9:50 AM

Introduction

The structure of a chapter The text starts with a list of the topics covered followed by the skills you will acquire by completing the chapter. Then, an overview sets up the content of the chapter. The chapters are then divided into sections, in case you are searching for a specific topic. Within the chapter you will find ample screenshots, step-by-step instruction, demos, and videos you can access. Chapters typically close with three assignments—a beginner assignment,

9781350047891_txt_app_CC19.indd 11

xi

a more advanced assignment, and the Label Assignment. Feel free to try one or all of the challenges. Reference the work of students found within the chapters to guide your expectations to the successful completion of each assignment. Marvel at the works of professional designers from across the globe, challenging your illustration practice to a high level. The more illustrations you complete the stronger your skills and portfolio will be.

1/22/21 9:50 AM

The International Roster of Mercyhurst University Students

Dorus Verwiel Isometric, p. 232

PA, USA

Netherlands Lindenwood University Students MO, USA

David Popomeya Gradient & Blends Mexico

Madelyn Testa-Basmajian & Cheryl Bradshaw Graphs, pp. 238, 252 PA, USA

Victor Escandell Shape, p. 78

Eltipo Type, p. 164 Belgium

Spain

Lucas Suancha Color, p. 98 Colombia

9781350047891_txt_app_CC19.indd 12

1/22/21 9:50 AM

f

Featured Professional Artists

Yevheniia Lisova Color, p. 24

Shunsuke Satake Pattern Design, p. 186

Ukraine Omar Aqil 3-D Extrude, p. 235

Japan

Pakistan

Deni Dessastra Line Art, p. 50 Indonesia

9781350047891_txt_app_CC19.indd 13

1/22/21 9:50 AM

xiv

List of artists Omar Aqil be.net/omaraqil Pakistan

Yevheniia Lisova instagram.com/jnlart/ Ukraine

Deni Dessastra behance.net/the-sastra Indonesia

Shunsuke Satake naturalpermanent.com behance.net/shunsukesatake instagram.com/shunsuke_satake Kobe, Japan

Eltipo www.eltipographic.com Instagram: @eltipographic Antwerp, Belgium Victor Escandell www.victorescandell.com Spain Heather Miller Kanazawa [email protected]

9781350047891_txt_app_CC19.indd 14

Lucas Suancha www.behance.net/josuan Colombia Dorus Verwiel behance.net/DorusVerwiel www.dorusverwiel.nl facebook.com/dorus.verwiel Hertogenbosch, Netherlands

1/22/21 9:50 AM

9781350047891_txt_app_CC19.indd 15

1/22/21 9:50 AM

xvi

Interface and the basics

1 9781350047891_txt_app_CC19.indd 16

1/22/21 9:50 AM

Interface and the basics Topics covered: • Workspace options • Navigation • Tool names, functions, quick keys chart • Getting started: document set-up and layers • Formats for saving your work

By the end of this chapter, you will be able to: • Select a workspace appropriate to your end purpose. • Reference Panels, Dialog Boxes, and Tools by their proper or industry-accepted names. • Start using quick keys for basic functions. • Set up and navigate a document. • Navigate, create, and command Layers. • Save files in native .AI format as well as the proper format for end use.

1

9781350047891_txt_app_CC19.indd 1

1/22/21 9:50 AM

2

Interface and the basics

Overview Welcome to Adobe Illustrator® where gorgeous illustrations are created through mathematical means— vectors. So you have launched the program and may be confronted with the New Document dialog box.* If you are not looking at this image (Figure 1.1), then go to File > New (Command + N) and a similar dialog box should appear. It may not have recent items depending on whether or not you have opened or worked in the program as of yet. A simple once-over of this dialog box tells us that we can create new documents or access Recent or Saved documents. If you look at the top of the box, you can see that Recent is highlighted. As you glances across that same line at the headers, you see Saved, Mobile, Web, Print, Film and Video, and Art and Illustration. The end use for the item you are working on will dictate

the choice you make here. You can see from reviewing the Recent Item squares that seven out of eight of the last documents I made were for print and one was for video. Note that the measurements listed on the squares are different for print vs. video. The same can be said for Web and Mobile. Take a second to click on the headers and see the different formats and measurements available as templates. Let’s visit the Print header (Figure 1.2). Please note the standard paper sizes available to utilize. Currently, the measurement is set to points. To change the unit of measurement, visit the right side of the dialog box and press* on Points. Here, there is a selection of units of measurement— Points, Picas, Inches, Millimeters, Centimeters, and Pixels. Please choose the measurement that makes the most sense to you (Figure 1.3). This book will

Figure 1.1 This should be one of the first things you see once you’ve opened Illustrator. It is the New Document dialog Box. If you do not see it, visit the File menu > New > Document.

9781350047891_txt_app_CC19.indd 2

1/22/21 9:50 AM

Overview

utilize inches for consistency. Scroll to select Inches then release your mouse. All measurements are now in inches. Let’s talk more about the right side selections. First, name the document Practice by clicking on Untitled and typing. Then, select a standard paper size or type in a custom page size in the Width and Height boxes. If you select a standard page template different from the one that was initially selected, the measurements may revert back to points. Simply change it back to inches. Next is page orientation, either vertical (portrait) or horizontal (landscape). Then there is Artboards and the number 1, this can be set as high as you need it to go. Or, Artboards can be added on the fly once in the document. Bleed* is the next area. When designing, one should always have a little more art than what the viewer

3

sees on the page. This over spill is known as bleed. It helps when printing on commercial presses to prevent white lines around the work. If you require a bleed or not will depend on the end function of your design. For educational reasons, let’s set a bleed that is the same all around the page. This can be done easily if the chain link icon is depressed and then the top arrow is clicked twice. Color Mode* is chosen based on the end use of the document. CMYK* is for print and RGB* for on screen, any screen. Since there is a bleed, and print is the header, leave it in CMYK. The More Setting button launches an additional dialog box. Many of the settings are redundant and a few are settings you should NOT mess with. Feel free to look. I recommend against changing anything. Finally, click on Create!

Figure 1.2 When selecting a document size for your project be sure and consider the end use. Here you’ll see there are four options— Mobile, Web, Print, Film & Video. We are working in Print for this title. This selection affects presets such as measurements and color mode.

9781350047891_txt_app_CC19.indd 3

1/22/21 9:50 AM

4

Interface and the basics

Dialog box: A panel of commands that must be dealt with before another task can be initiated. Press: Hold down the mouse. Press and drag: Hold down the mouse and move the cursor. Click: Depress the mouse and release. Points, Picas: A system of measurements where 6 pica = 1 inch and 12 points = a pica. Drop-down menu: Bar in a Panel or dialog box that lists choices. Bleed: Intentional spill over of artwork beyond the page size, for use when printing on a commercial press. Figure 1.3 The preset details allow for you to set up the perfect sized page, number of artboards, bleed, and the color mode.

9781350047891_txt_app_CC19.indd 4

1/22/21 9:50 AM

Interface

5

Interface Your interface should look something like the one pictured below (Figure 1.4). If it does not, go to the top menu bar and select Window > Workspace > Essentials Classic. Also, make sure that Application Frame and Control have a check next to them. This indicates they are on. Essentials Classic is the foundational interface that allows for a variety of applications. Each of the listed Workspaces will bring up panels on the right of the screen that are needed for the application. Feel free to page through and see how the interface changes. At the bottom of the Workspace submenu you will see three commands set off by an embossed line—Reset, New Workspace, Manage Workspace. Reset is where you go if you have “lost” panels and toolbars. It will put

CMYK: A color system or mode utilized for printing; acronym standing for Cyan, Magenta, Yellow, and Key (or Black). This is an additive color mode meaning colors are added to create different hues up to black. RGB: A color system or mode used for screen or web usage; acronym stands for Red, Green, and Blue. This is a subtractive color mode meaning color is taken away to create different hues down to black. Essentials Classic: The foundational interface that supports a variety of design solutions.

Figure 1.4 Upon entering the paste-up board, your page will represent as the white rectangle. There are many toolboxes and panels to manage. The Window > Workspace > Choose your Workspace allows you to only keep open that which you need. To start, utilize Essentials Classic.

9781350047891_txt_app_CC19.indd 5

1/22/21 9:50 AM

6

Interface and the basics

things back to where you started. As one becomes more adept at Illustrator®, one may develop a preferred workspace. New Workspace is where one can save settings to customize your interface. Something to think about for later. Once out of the Window > Workspace menu, let’s tour the application interface from top to bottom, left to right. 1

2

3

9781350047891_txt_app_CC19.indd 6

Menu bar: The white bar at the top of the page. Left hand corner always orients the user as to where they are. In this case, Illustrator CC. File, Edit, Object, Type, Select, Effect, View, Window, and Help all relate to Illustrator. The right side has your general settings such as Wifi and charge, etc. AI document bar: The left side has close the document (red dot), minimize the document (yellow dot), or document on and open (green dot). Next are short cuts to Bridge and Adobe Stock. And on the far right is the short cut to selecting your workspace. It says Essentials. The search box allows one to search for stock images in Adobe stock. Control Bar: This bar changes with the selection of a tool and an item on the picture field. Very

important to navigating and affecting selections. 4 Tool Bar: Down the left-hand side of the Application Frame, these are the tools for creating art. Next in this chapter, each tool and its function will be noted. 5 Gray Background: This is the desk or paste-up board your white paper is sitting on. Things on the gray area do not normally print out unless they are A) in the bleed zone or B) certain settings or tools are selected. 6 White rectangle with red outer edge: The white rectangle is your page. The red outer edge is the bleed mark. Note there is a little bit of gray desktop between the red and the edge of the white page that is for part of your image to bleed off the page. 7 Panels: Down the right side of the Application Frame there are a series of icons. These represent Panels that manage more in-depth settings. Panels are put together in clusters. Note in the picture the Layers panel is activated while the Asset Export and Artboards panels are in the same cluster but not active. Clicking on a top tab will make a Panel active. Panels will be covered in various chapters.

1/22/21 9:50 AM

Tool bar

7

Tool bar The toolbar (Figure 1.5) has several handy features. Like other panels and bars, if you hover over the tool, its name will appear. Also, on many of the tools in the lower right-hand corner there is a little triangle of white. That triangle or arrow indicates there are more related tools nested with the default tool. Below is a rundown of every tool and its function. The letters (in parentheses) are the keyboard letters that will take you to that specific tool. A word of caution, don’t hit the letter when you are in type mode. You will just type the letter versus calling up the tool. 1 2

3 4

5

6

Selection tool: picks up objects; home or default tool (V) Direct Selection tool: picks up individual points on an object or line (A) a. Group Selection tool: picks up more than one point Magic Wand: selects by color (Y) Lasso Selection tool: press and drag to biomorphically select an area (Q) Pen Tool: create vector drawings through a system of points and tangents* (P) a. Add a point b. Subtract a point c. Change a point from corner to curve and vice versa Curvature Tool: automatically creates curvilinear lines versus the default corner point

9781350047891_txt_app_CC19.indd 7

7

8

Type Tool: use to generate type (T) a. Area Type tool b. Type on a Line tool c. Vertical Type tool d. Vertical Area Type tool e. Vertical Type on a Line tool f. Touch Type tool Line Segment tool: creates straight lines when dragging the cursor a. Arc Line tool: creates curves when dragging the cursor b. Spiral tool: creates spirals when dragging the cursor

Figure 1.5 Here is the tool bar exploded so that you may see where all the different variations of tools are kept. In this area we attempt to familiarize some of the tasks that different tools do.

1/22/21 9:50 AM

8

Interface and the basics

c. Rectangular Grid tool: lays down a rectangular grid d. Polar Grid tool: lays down a polar grid 9 Rectangle tool: press and drag to create a rectangle; depress the shift key, press and drag to create a square (M) a. Rounded Rectangle tool: creates a rectangle with rounded corners b. Ellipse tool: creates ovals when pressing and dragging; circles with the depressed shift key (L) c. Polygon tool: click on the paste-up board once to set the number of sides for your multi-sided shape d. Star tool: click on the paste-up board once to set the number of points and the indent. The higher the number the deeper the indent. e. Flare tool: puts a gleam on a shape; lens flare 10 Paint Brush tool: free-flowing line creator that can have various brushes applied to it (B) a. Blob Paint Brush tool: one way to color in shapes or create biomorphic shapes 11 Shaper tool: creates interactions between two shapes such as unifying the shapes, “punching out” the overlap, or deleting overhanging portions; a more recent tool that replaces some of the functions in the Pathfinder panel a. Pencil tool: freeform line creation b. Smooth tool: ease or smooth a curved line

9781350047891_txt_app_CC19.indd 8

12

13

14

15

c. Path Eraser tool: erases paths d. Joiner tool: connect two independent lines to create a shape Eraser tool: freeform deletion a. Scissors tool: with this tool, select two points or spots on a shape to cut it apart (C) b. Knife tool: freeform press and drag across a shape to cut it apart Rotate tool: spin a selection (R) a. Reflect tool: mirror a selection Scale tool: enlarge or reduce a selection through dragging or double click on the paste-up board to execute mathematically (S) a. Shear tool: skew a selection through pressing and dragging the cursor b. Reshape tool: pull and push on lines to distort a shape Width tool: distort the thickness of a line by pulling on the “sides” or width of the line a. Warp tool: distorts a shape b. Twirl tool: spins the area covered by the cursor in a swirling fashion; cursor size can be set c. Pucker tool: pulls lines in between points d. Bloat tool: puffs lines out between points e. Scallop tool: arcs lines between points f. Crystallize tool: starbursts the area covered by the cursor; cursor size can be set g. Wrinkle tool: adds points to a line and waves or

1/22/21 9:50 AM

Tool bar

16

17

18

19

20

“wrinkles” the line of the shape selected and covered by the cursor; cursor size can be set Free Transform tools: select an object to spin, scale, or distort. Once an object is selected and this tool is selected, the following subset of tools will appear: a. Constrain tool: click on this tool to restrain distortions proportionately b. Free Transform tool: spin, scale, or distort (E) c. Perspective tool: place an object in perspective without using the perspective grid d. Free Distort tool: push, pull, and distort freely Shape Builder tool: similar to the shaper tool and Pathfinder panel. Drag the cursor over two or more selected shape to join into one larger shape. a. Live Paint tool: good for dumping color on traced imagery b. Live Paint Selection tool: selects areas to paint Perspective Grid tool: turn on the perspective grid to create illustrations in perspective a. Perspective Selection tool: snap selected items to the selected plane on the perspective grid Mesh tool: used to create invisible mesh points where shapes acquire gradient mesh attributes (U) Gradient tool: select a shape, press and drag across the shape to apply a gradient. Use the gradient panel to apply settings

9781350047891_txt_app_CC19.indd 9

21

22

23

24

9

to the gradient such as additional colors, change colors, direction, linear or radial gradients. (G) Eyedropper tool: selects color through clicking on the object/ area with the eyedropper cursor (I) a. Measure tool: press and drag over an area to measure, the Info panel will be automatically launched to provide measurement details Blend tool: select two shapes, click on blend tool to morph one to the other across the space between them (W) Symbol Sprayer: utilizing the symbol panel, select a symbol to spray from the cursor a. Shift: shift the relationship between symbol iterations b. Scrunch: close the relationship between symbol iterations c. Size: scale up and down the individual symbols d. Spin: rotate the individual symbols e. Stain: change symbol coloration f. Screen: decrease opacity of symbols g. Style: utilize a preformatted graphic style from the Graphic Styles panel to alter the appearance of previously sprayed symbols Column Graph tool: horizontal bar graph creator from data entered or imported (J) a. Stacked Column Graph: horizontal stacked graph creator

1/22/21 9:50 AM

10

Interface and the basics

b. Bar Graph: vertical bar graph c. Stacked Bar Graph: vertical stacked graphs d. Line Graph: lines connect entered data points to show changes in input e. Area Graph: lines connect entered data points and fill the space below those points to show changes in input f. Scatter Graph: good for randomized numerical data g. Pie Chart: divides an ellipse/circle into segments equalling 100 or a whole h. Radar Graph: See the chapter on graphs, where our author states they have never used this. Ever. 25 Artboard tool: places the interface into Artboard mode allowing the addition/subtraction of pages 26 Slice tool: segments web content into rectilinear “slices” for use in web creation programs a. Slice Selection tool: allows the selection of an individual slice 27 Hand tool: transforms the cursor into a hand that will move the view of the paste-up boards through the pressing and dragging of the cursor (H) a. Print Tiling tool: select an area for printing not based on the page layout 28 Zoom tool: magnify or reduce the view of the paste-up board (Z) 29 Fill: the interior color of a shape (X) 30 Swap Fill and Stroke: click on this icon to exchange the colors between the fill and stoke settings.

9781350047891_txt_app_CC19.indd 10

31 Stroke: a line or the outline of a shape 32 Return to Default Fill and Stroke 33 Recent Color, Gradient, or none () (/) 34 Draw Normal, Draw Behind, Draw Inside 35 Change Screen Mode (F) New as of Illustrator CC19 is the opportunity to customize or create your own personal toolbars. You can order the tools how you wish. You can eliminate tools you never use. You can create specialized toolbars for specific tasks. Let me introduce you to this function, even though I recommend that you wait until you are familiar with the tools and the program before you begin rearranging the toolbar. Let’s make a Drawing toolbar (Figure 1.6). To create a new toolbar configuration, click on the ellipses (. . .) at the bottom of the toolbar. Then, visit the hamburger (three lines in the top right-hand corner) menu (Figure 1.7) to reveal our options, one of which is New Toolbar. Select New Toolbar. Once you have selected New Toolbar, a dialog box for naming your toolbar will appear. I am creating a toolbar designed just for drawing, thusly I am naming it “Drawing Toolbar” (Figure 1.8). Once you have named the new toolbar, a small tab with a plus sign will appear with the tool list off to the right (Figure 1.9). Once a tool is dragged to the new toolbar, all sequential tools should be dragged below it. This will trigger a blue line indicating where the additional tool will be placed (Figure 1.10). You may drag as many or as few tools you feel you will need in this custom toolbar. I ultimately dragged six tools, all related to how I draw, into the new toolbar (Figure 1.11).

1/22/21 9:50 AM

Tool bar

11

Figure 1.8 When creating a custom toolbar you will be prompted to name it.

Figure 1.9 In order to start creating your new toolbar, tools must be dragged from the All Tools List to the plus sign.

Figure 1.6 See the ellipse, it is outlined because it has been depressed in order to reveal the column of tools to the right of the toolbar.

Figure 1.7 Visit the hamburger menu in the upper right of the toolbar to reveal the pop out menu. Here is where you can select New Toolbar.

9781350047891_txt_app_CC19.indd 11

Figure 1.10 Note the blue line under the Pencil tool. This is indicating where the Path Eraser tool will be placed.

Figure 1.11 Here is my mini toolbar of six drawing tools. If I wish to add more tools, I simply press on the ellipse at the bottom of the toolbar.

1/22/21 9:50 AM

12

Interface and the basics

Getting started One panel that should always be up is the Layers panel. This panel will be where different layers are created to hold various assets. Working with the Layers panel allows you to lock items in place, turn visuals on and off by clicking on the eye icon, and change the order of an image. The default name of the first layer is “Layer 1.” This can be changed by clicking once on the name in the Layers panel and waiting for it to highlight with a box around it. Once that appears, rename the layer “Background.” To make an object on the page, select a creation tool. I recommend the Pen tool, third tool on the left of the toolbar. Let’s make a triangle (Figure 1.12). Bring the cursor onto the white of the page. Click to place a point. Do that two more times to create the corners of the triangle and then return to the first point and

click on that to close the shape. Now there is a triangle with a black stroke and a white fill on the artboard* or page. That is the first way to use the Pen tool. More will be covered in the “Taking shape and making marks” chapters. To move the triangle, return to the Selection tool (V) or the arrow in the upper left-hand corner of the toolbar. Once you have selected the tool, return to the triangle. Depress the mouse while on the form and the form is selected. Drag it around the page to test how the mouse moves objects. Now, release. With the triangle still selected, as indicated by the pale blue lines around the form, proceed to the fill box in the toolbar (Figure 1.13). Double-clicking on the fill box will bring up a Color Picker dialog box. The rainbow color scale allows for the broad selection of color.

Figure 1.12 Double-clicking on the fill box in the Tool panel will bring up a Color Picker dialog box. The rainbow color scale to the right of the color field allows for a broad selection of color. The numbered areas allow you to create colors if you know their build.

9781350047891_txt_app_CC19.indd 12

1/22/21 9:50 AM

Getting started

Once in the Color Picker dialog box, the selection of the color can occur by clicking in the large square of gradient color. Note as you click on different areas of the select Color dialog box the numbers on the right change as does the small rectangle of color next to the OK button. The numbers represent the color build.* For this application, pay attention to the CMYK color build. It reads: 60.6.94.0. This is the formula printers use to create the selected green. For housekeeping purposes I write those numbers down until a final color swatch has been decided upon. Depress the OK button once a color has been decided upon. This selects the color and adds it to your Swatches panel. If your shape was selected, you will see it applied to the shape.

Note in the application how the fill boxes on the toolbar and the control bar have changed to the selected color. Visit the control bar and press on the arrow next to the black frame that represents the stroke color (Figure 1.14). This will bring up the Swatches panel. Change the color of the stroke (or outline of the shape) by clicking on one of the swatches. The thickness of the stroke can also be altered by changing the numeric in the next box—the larger the number, the thicker the stroke. Try 6 point.

Figure 1.13 Note how in the toolbar and the control bar there are green swatches that match the triangle. This indicates where you can easily change the fill color of an object.

9781350047891_txt_app_CC19.indd 13

13

Artboard: The white pages on a typically gray background. Color Build: the color model used in the document; either CMYK or RGB.

Figure 1.14 Now take note of how the picture frame near the green swatch is pink like the outline of the selected triangle. These are the locations that control the color of strokes or lines.

1/22/21 9:50 AM

14

Interface and the basics

Saving work Now let’s save the document. In spite of having named the document, it is not technically saved. Were the document to crash, Illustrator does do a good job of retrieving the document the next time it is launched, but don’t rely on that. Proactive saving requires a visit to the File menu (Figure 1.15). Note in the file menu there are saving options: Save: brings up the “Save” dialog box Save As: brings up the “Save As” dialog box Save a Copy: same as above with “Copy” added to the file name

Figure 1.15 In the File dropdown menu there are many selections. Some will be familiar from other software titles. Here is where you save your documents in accordance with your needs.

9781350047891_txt_app_CC19.indd 14

Save as a Template: when creating multiple files with the same settings, use a Template to save the common assets and settings Save Selected Slices: used for saving rectangular web assets “Save” will auto save to the last folder you were in. “Save As” will allow you to choose where to save the document. Take a moment to tour the Save As dialog box. From the top down: Name of the file with an auto suffix indicating the file type. Do NOT delete the suffix. While the file may work on the computer it was created on, it will NOT be recognized on others. . . and sometimes not even on the original unit. Next is the “Tags” box that allows you to color-tag or “Flag” the document you are saving. Then there are icons to select how to view your file directory; a drop-down* menu to select from, and a Search box. On the left there are some broad locations to select from. In the center are the contents of the folder listed in the drop-down menu. At the bottom is the Format drop-down menu. In the AI (Adobe Illustrator) Save As dialog box a file can be saved as native (.AI), Encapsulated Postscript (.EPS), a Template (.ait), a Portable Document File (.PDF), and two kinds of SVG. Save this file as “Practice” in the native or .AI format (Figure 1.16) in a folder where you will keep your practice documents for this book. If

1/22/21 9:50 AM

Saving work

15

you have not, create one. Click on Desktop in the left column then the button at the bottom entitled “New Folder.” Name the New Folder “AI Practice Docs.” Note how the dropdown menu changes to reflect the creation of the new folder. Click the “Save” button on the bottom right.

More on saving vs. exporting

Figure 1.16 To save the work you have been doing, change the name at the top to read “Practice.ai” or “your name_practice.ai.” AI is the ending for Adobe Illustrator, which is a format. Looking under the Format dropdown menu, there is a variety of choices for saving your document. See the chart for further explanation.

†

For every use there is a format; every format is not for every use. Below is a grid outlining regularly used format information as well as suffix, usage, save or export, and notes:

Format Native Portable Document File Scalable Vector Graphics Encapsulated Post Script

Suffix .AI .PDF

Usage Working file Universal viewing

Save/Export Save Save

Special Notes Can be imported into INDD Can be editable or non-editable

.SVG

Web

Save

.EPS

Print

Save

Template Portable Networks Graphics Joint Photographic Experts Group Photoshop

.AIT .PNG

Working file Word and online

Save Export

.JPG or .JPEG .PSD

Online

Export

Working file

Export

Tagged Image File Format AutoCAD Drawing

.TIFF

Print

Export

Remains a vector graphic; good for scalability on the web†; logo usage For importing into INDD; nonresolution based; meaning the file will not be translated into pixels For reuse in Illustrator Maintains transparency; resolution dependent Resolution dependent; lossy (loses color information) To open in Photoshop; resolution dependent (becomes raster/pixel based) Resolution dependent

.DWG

Working file

Export

https://css-tricks.com/using-svg/

9781350047891_txt_app_CC19.indd 15

1/22/21 9:50 AM

16

Interface and the basics

Printing your document Just as in many other programs the Print command is under the file menu. Once chosen, the Print dialog box will appear (Figure 1.17). Let’s review the basic settings that appear on the General area of the Print dialog box. The first box is the Print Preset. Should you wish, you can create different print presets for jobs that you do often. Right now the preset is set to Default. Thusly, all the settings you see currently in this dialog box are the default settings. The next line is the Printer line. Currently it is set to my default printer. When you press on this dropdown menu, if you have other printer choices, they will show up for you to select. The PPD line will only show up as necessary and, again, you will

have a drop-down to select the proper Postscript Printer Driver (PPD). As you can see in the screenshot (Figure 1.17), the Copies area is selected. This allows you to set the number of prints that you wish. Default is 1. Should you have more than one page, the Collate and Reverse Order check boxes will be available to you. The next area to review is the Artboards area. In the Default settings the radial button for All is selected. But, just as in other programs, there is an option to select your page range. In this case there are ten pages to choose from. Typical page protocols apply. For example, if you wish to print pages 1 through 5, type 1–5. If you want all but page 3, then you would type 1–2,4–10. Thusly eliminating page 3. Below the

Figure 1.17

9781350047891_txt_app_CC19.indd 16

1/22/21 9:50 AM

Printing your document

Range area is a check box for Ignore Artboards. This setting, as seen in the screenshot (Figure 1.18), allows you to print a selection of work. This could be items you set off the artboards or this could be two pages simultaneously. This could also be the whole document if you apply scaling and reduce the size. There are many uses for the Ignore Artboards setting. Next to Ignore Artboards is Skip Blank Artboards. Great for paper saving, this setting works when artboards are active and helps you not have to remember which artboards may be blank. The next grouping of commands in the dialog box pertains to Media Size. The default is to let the printer driver select the page size. This will be based off of the size of your artboards. With the default being US Letter. When you press on the drop-down menu there are other options (Figure 1.19). These include European and American page sizes. The list is quite extensive and worth a scroll through. Most of your printing will probably stick to whatever your default printer has to offer. Directly below the Media Size area is the Orientation. Default is Auto Rotate. When unchecked, the default to portrait will occur, which may or may not work for your pages (Figure 1.20). As shown in the screenshot, the beverage label does not work on the portrait level. It requires a landscape paper. Easily enough, you can select a horizontal paper from the icons and the little preview window will show the difference (Figure 1.21). There is an advantage to Auto-rotate. If your

9781350047891_txt_app_CC19.indd 17

17

Figure 1.18 “Ignore artboards” print setting.

Figure 1.19  Media size refers to the paper you will be printing on.

Figure 1.20 Default portrait does not work for this image. Adjust orientation to horizontal or landscape for better output.

1/22/21 9:50 AM

18

Interface and the basics

document has differently sized and oriented artboards the program will read and rotate the paper accordingly. The next large section is called Options. Here you can print hidden layers. You can offset your artboard to have the art off to the side by changing the XY axis. And lastly, you can scale your printouts—very handy for proofing large projects. Also within that area is the ability to “tile” which allows one to print large projects to size and piece them together. To offset the XY axis you may type a value in the X and/or Y box as I have done in the screenshot (Figure 1.22). Here, 3 inches is entered. The other way to change the location of the page you are printing is to place your cursor over the preview image and press and drag it to the preferred location. This will automatically update the XY settings. A word of

caution, this will affect all pages in the document. Page through to be sure it is your desired result. Otherwise, print the page individually. Scaling is set as default to Do Not Scale or 100%. This too is a drop-down menu with choices as shown in the screenshot (Figure 1.23). Custom is one setting that you may find you use frequently. Once selected, the W and H boxes are activated and you can scale your work proportionally (with the link selected) or disproportionately (with the link broken) (Figure 1.24). Another option for large artboards is to tile your work either the “full page” or just the “imagable area.” The program will automatically set up the tiling and the preview of how many pages it will be will appear in the preview window. You can also manually tile by working the XY

Figure 1.21

9781350047891_txt_app_CC19.indd 18

1/22/21 9:50 AM

Printing your document

axis to print just the area you have concerns about. That process is a one-page-at-a-time process. To the left of the General setting area is a menu, next in line is Marks and Bleeds. Click on Marks and Bleeds to select and the dialog box will change as seen in the Marks and Bleeds screenshot (Figure 1.25). When you select “All Printer’s Marks” your art will offset on the page and half of the printer’s marks

19

will show. The other half do not fit on the page. Trim marks tell the printer where to cut the artwork. Registration marks help a printer line up the different printing plate to build the full-color art. Color bars are for calibration. And Page Info helps with knowing if there are additional pages in a job. Along with the Printer’s Marks often comes the need to print using the Document’s Bleed Settings. This

Figure 1.22 Offsetting the X-axis by 3 inches moves the artwork, in this case, off the page.

Figure 1.23 Illustrator allows you to custom scale your artwork.

9781350047891_txt_app_CC19.indd 19

1/22/21 9:50 AM

20

Interface and the basics

allows for color to run off the edge of a page as necessary. This will prevent situations where you have a white sliver along your final printed work. If your art/design has an all-white background, bleeds are not necessary. When printing off my home printer, I often use trim marks and bleeds only. It helps for creating mock-ups.

Next on the menu is Output. This is an area that a prepress person will work in. They will choose how the impression prints. For our intent and purpose, “Emulsion UP,” the default is most likely the setting you will need (Figure 1.26). Should you be a prepress person, you would be able to change from composite to separations. This would allow you to

Figure 1.24 Note with the width set to 50% and a broken link, the artwork appears squished. There may be a time for this. I have yet to use a squished graphic.

Figure 1.25 Marks and bleeds screenshot.

9781350047891_txt_app_CC19.indd 20

1/22/21 9:50 AM

Printing your document

print the individual colors in the Cyan, Magenta, Yellow, and Black build. There are a great many prepress books that can take you through this should it be of interest for screen printing and such. Suffice to say, it is not the average person’s issue. The next menu is the Graphics area (Figure 1.27). These again are settings that are beyond the scope of this book. But nonetheless, you should be aware of their existence. Color management has good default selections. But sometimes, depending on output type, you will need to make changes. Under the first drop-down menu, Color Handling, there are two choices—let Illustrator handle or let PSPrinter handle—the default being Illustrator. However, if you are having a color issue, you can try letting the PSPrinter handle it and see which color printout turns out better. Just remember which printout is which. The next drop-down menu is Printer profile. The default is sRGB IEC61966-2.1. I never change this. Your prepress person might tell you to set it different or just take care of it themselves. As you can see from the screenshot there are quite a few options available to the pressperson (Figure 1.28). The final drop-down menu is Rendering Intent (Figure 1.29). Relative Colorimetric is the default. When you hover over the drop-down menu selection it will describe when to use which of the four settings. While Relative Colorimetric is the default, if you are working with

9781350047891_txt_app_CC19.indd 21

21

Figure 1.26 Output dialog box settings are primarily for prepress.

Figure 1.27 Graphics dialog box settings are primarily for prepress.

1/22/21 9:50 AM

22

Interface and the basics

photographic resources one of the other selections might be better depending on the gamut of your image—see Chapter 4 for more on gamut. After Color Management comes Advanced Settings. These in particular I leave for my prepress person or their instructions. Last in the Menu area is the Summary (Figure 1.30), that will take all of your settings into one place for your review.

At the very bottom of the Print dialog box you will find Page Set-up and Set-up. Depending on your printing arrangement, you may have to enter the set-up area to select black and white versus color printing as well as back-to-back printing. Once your settings are to your liking, simply click the Print button to send your artwork to the printer of your choosing.

Figure 1.28 There are many Printer Profiles. Be sure when working with a press that you inquire as to which setting to select.

9781350047891_txt_app_CC19.indd 22

1/22/21 9:51 AM

Printing your document

23

Figure 1.29 Rendering Intent provides a description for the different settings. These are worth the read as they can assist you in improving your output.

Figure 1.30 Summary menu selection within the Print dialog box. An excellent way to recap your chosen selections.

9781350047891_txt_app_CC19.indd 23

1/22/21 9:51 AM

24

Interface and the basics

Featured Artist Yevheniia Lisova https://www.instagram.com/jnlart/ Yevheniia Lisova’s work is the perfect start to a book on vector graphics. Her forms begin as geometric and with an artist’s expert handling take on personality. She utilizes the best of the program’s functions

such as transparency, blending, symbols, textures, and brush strokes. The first of many professional artists to be featured, Yevheniia’s work provides a sense of the possibilities and playfulness of vector graphics.

Figure 1.31 Chilling, Yevheniia Lisova, JNL Art, ©2019

9781350047891_txt_app_CC19.indd 24

1/22/21 9:51 AM

Featured Artist: Yevheniia Lisova

25

Figure 1.32 Thailand Holiday, Yevheniia Lisova, JNL Art, ©2019

Figure 1.33 Pirate Boy, Yevheniia Lisova, JNL Art, ©2019

9781350047891_txt_app_CC19.indd 25

1/22/21 9:51 AM

26

Making marks

2 9781350047891_txt_app_CC19.indd 26

1/22/21 9:51 AM

Making marks Topics covered: • Simple mark making • Commanding vectors • Width tool and its brethren • Nesting strokes (Appearance menu) • Brushes • Independent projects to engage in: Stick figure party; Wild, wild life • Project pages: six lines on the label

By the end of this chapter, you will be able to: • Utilize, effectively, the proper line making tools for the job, including: Line Segment, Paintbrush, Pencil, and Pen. • Manipulate points using the Direct Selection tool. • Manage Beziér Curves* to create precision arches. • Apply a stroke. • Choose the cap style through the Stroke panel. • Customize lines. • Create lines with varying widths through applying the Width tool. • Use the Appearances menu to nest various strokes to one line. • Set the stroke color. • Trim a stroke. • Alter strokes through various tools. • Express various descriptive words through the application of stroke, brushes, width, and other morphing tools.

27

9781350047891_txt_app_CC19.indd 27

1/22/21 9:51 AM

28

Making marks

Overview By now you are familiar with the interface and tools available in Illustrator. So, let’s talk about making marks. Figure 2.1 by Kamila Kunka provides us with an example of line work in Illustrator. Illustrator differs from her sister application Photoshop in that Illustrator works with vectors* and Photoshop works with pixels.* Whereas one can use a sweeping motion with the cursor to make a line

in Photoshop and Illustrator using the Pencil, Brush, and Line Segment, there is a difference in how the line is constructed. Those tools in Illustrator will drop points and connect them with line segments to make a continuous line. However, the Pen tool does not work that way. It uses the “point and click” method to place points precisely. Let’s start simply.

Vectors: denotes a type of graphical representation using points and straight lines to construct the outlines of objects. Pixels: a minute area of illumination on a display screen used by raster-based programs such as Photoshop to create images. Beziér curves: Named after the French mathematician Pierre Bézier, Bézier Curves employ at least three points to define a curve. The two endpoints of the curve are called anchor points. The other points, which define the shape of the curve, are called handles, tangent points, or nodes. Anchor points: define the path by controlling the angle of a corner, or the shape of a curve.

9781350047891_txt_app_CC19.indd 28

Figure 2.1 Parrots line art, Kamila Kunka, Lindenwood University, 2018.

1/22/21 9:51 AM

Simple mark making

29

Simple mark making Launch Illustrator and create an A-4 or Letter size new print document. Select the Pencil tool from the toolbox. Note your cursor will change shape, to a pencil. Press and drag the pencil cursor across the page to create a series of connected points. Depending on how you dragged your cursor will depend on whether or not the points are Beziér Curves* or anchor points.* Returning to the toolbox, choose the Direct Selection tool. Click on the various points that make up your line to see which have handle bars* and which do not. Note that points that make a curve have handle bars. Press and drag the Direct Selection tool cursor on the handle bar ends to see how the line you have created changes through the movement and extension of the handle bars. Making the handle bars shorter makes the curve less rounded. Extending a handle bar creates wild bends in the line. Should you lose a handle bar, direct select a point and visit the control panel to the “Show Handle Bars” icon (Figure 2.2). Press and drag on the point itself and you relocate the line. Press and drag on the line itself and it will extend and contract as the cursor moves. You may have noted that the line is thin and black—provided your default settings are still active. Looking at the bottom of the toolbox

9781350047891_txt_app_CC19.indd 29

Figure 2.2 The Control panel “Show Handle Bars” icon.

Handle bars: the lines you see extending from a curve point as you drag are called Handles or Handle bars. Stroke: a line, border, or frame of an object. Points: a unit of measurement where 12 points equal a pica; 6 picas equal an inch; the standard measurement for type. Dialog Box: a small area on screen, in which the user is prompted to provide information or select commands. Dialog boxes must be dealt with before moving on. Drop-down Menu: a graphical control element, similar to a list box, which allows the user to choose one value from a list. Hue: color.

at the two larger boxes will tell you what color your stroke* and fill are set to. The picture frame box represents the stroke color. The other box, which may have a red line through it, represents the fill. To change the color of the line click on the picture

1/22/21 9:51 AM

30

Making marks

frame to select it, then click twice to bring up the Color Picker (Figure 2.3) dialog box.* Clicking in the large leftside field will select the color’s tint or shade. Moving the middle rainbow slider will change the hue.* The numbers on the right side represent formulas for various colors. More on this in Chapter 4: Color. For now, select a color and click on “OK.” Back on the page, we now have a line in the selected color. Let’s continue to manipulate using the Control bar settings. Using the Selection tool to select the line, you will note the Control bar setting change to those of Path. From right to left, there are miniature fill and stroke icons to click on for changing color. Next, there is the word “Stroke.”* If you click on the word “Stroke”

you will get a submenu with some choices. Many of these choices are redundant to that which is in the Control bar. Here, or in the Control bar (Figure 2.4), you can set the point* size of the stroke—the higher the number the thicker the stroke. Make the stroke 8 points or more that way you can see the next settings—the Variable Width Profile drop-down menu* (Figure 2.5). As the name implies, the Variable Width Profile changes the line width from broad to narrow based on some pre-loaded width profiles. The next drop-down menu, “Brush definitions,” will alter the overall texture of the line you have created. There are many “Brush Libraries” with various brush styles. They can be accessed by clicking on the “Brush Libraries” icon in the lower left corner of the Brush Definition drop-down menu. When you click on or select a library, an additional panel will open with more brush options. Depending on the Brush Definition, color may be affected. More on this in Section 4: Brushes.

TIP: THE LINE DID NOT CHANGE COLOR! Figure 2.3 Once the fill or stroke swatch is double-clicked, this color picker will appear.

Figure 2.4 This is the Control panel for a path also known as a line or stroke.

9781350047891_txt_app_CC19.indd 30

If your line did not change color, it was not selected. Choose the Selection tool from your toolbox and select the line. Return to the picture frame icon, double-click and, now, select a color; then select “OK.” Voila! Color applied.

1/22/21 9:51 AM

Simple mark making

31

Figure 2.6 Blending Modes create various interactions between twocolored forms or lines. See the Blending Modes chart for details.

Figure 2.5 Variable Width drop-down menu.

“Opacity* is the next setting in the Control bar. Clicking on the word “Opacity” will extend the drop-down menu that contains settings affecting the transparency of the color. All of the commands in this drop-down menu require the interaction of two items, such as a line and a box. When opacity of a line is reduced from 100% the colors underneath that line show through as the line color “opacity” fades. “Blending Modes*” are also housed in this menu (Figure 2.6). Blending Modes create unique interactions between two overlapping items when the top item is selected and the Blending Mode is applied. See the Blending Mode chart (Figure 2.7).

9781350047891_txt_app_CC19.indd 31

Opacity: the condition of lacking transparency or translucence; opaqueness. Blending Modes: in digital image editing are used to determine how two layers are blended into each other. The default blend mode in most applications is simply to hide the lower layer with whatever is present in the top layer. Masking or Clipping: layer masks use values of gray to assign levels of transparency to specific portions of a layer or group of layers while clipping masks use the transparency of one layer to define that of a different layer or group of layers.

1/22/21 9:51 AM

32

Figure 2.7 The Blending Modes chart.

Making marks

“Make a Mask*” is an additional command in the Opacity drop-down menu. This application also requires two items as the top object will “Clip*” the bottom item. More on this in Chapter 3: Taking shape. To experiment, select the Rectangle tool from the toolbox. Press and drag a rectangle over the top of the line you have drawn. Now, set the fill color with a different color that your line by going to the fill icon

Isolation Mode: lets you “isolate” an object, group, or layer so that you can work on the object, group, or layer without fear of accidentally changing the surrounding artwork.

9781350047891_txt_app_CC19.indd 32

and double clicking. When you are done coloring the rectangle, get your Selection tool. Select the rectangle by clicking on the object. Click on

TIP: DON’T LIKE WHAT YOU JUST DID? UNDO! Command + z (control + z on a PC) will undo infinite number of moves. So, if you apply a stroke you dislike, UNDO! UNDO too many times: REDO or Command + Shift + Z (control + y on a PC). Both commands are found under the Edit menu item.

1/22/21 9:51 AM

Simple mark making

the Object menu bar > Arrange > Send to back. Now your line is on top of the rectangle. Select the line and experiment with the Blending Mode drop-down menu settings. Reference the adjacent image for different effects. Note: In order for the effect to occur, one must select the top-most image and then apply the Blend Mode to that image. The next two Control bar commands affect the fill of an object. When applied to a line, the Style setting will fill the line. This will appear awkward as the line is not a closed form. The program will “make up” an invisible line that connects the first and last point in the most efficient manner. The color wheel next to Style “recolors” the style artwork. This will be explained in more depth in Chapter 4: Beyond the default swatches. The Transform panel will resize, relocate, rotate, and shear your selected item. These commands are redundant to tools in the toolbar. Feel free to explore or wait until Chapter 3: Taking shape, where the tools will be revealed. The next-to-last icon is the Isolate Selected Object button. This will put your page in isolation mode* where only the selected object will be at full opacity and able to be manipulated. This is helpful in very complex (i.e., many-layered) designs/ illustrations. To escape, see the tip box “Escaping isolation mode.” The last icon, Selects Similar Objects, has a drop-down menu that allows you to specify what similarities to base the selection on. The default is “All.” To use this option, imagine a complex illustration where most of the strokes are set to black and

9781350047891_txt_app_CC19.indd 33

33

they need to be changed to medium brown. After selecting one exemplar with a black stroke setting, then apply Selects Similar Objects based on stroke color. One can then change the stroke to a medium brown. Time saved! Don’t like it? UNDO = Command + z. The Paintbrush tool works in the same manner as the Pencil tool and Line Segment tool. In fact, the Control bar remains identical. But, as for the Pen tool, that needs its’ own section and a clean sheet of paper. Using the keyboard “Command + a” “selects all.” Then hit the keyboard delete button to clear the page.

TIP: ESCAPING ISOLATION MODE When in isolation mode, take the time to observe the interface. You will notice there is a new gray bar across the top of your screen area, below the menu and Control bar. It will say the following: < layer < object you isolated You can click up the first arrow to exit. You may need to click twice.

1/22/21 9:51 AM

34

Making marks

Commanding vectors

Figure 2.8 Anchor points have no handle bars. Beziér curves rely on handle bars to direct the curve.

The Pen tool does not create a line through pressing and dragging the cursor. It relies on user engagement by clicking for points or pressing and dragging for Beziér Curves. It is a precision tool that allows for greater user control. Mastering the Pen tool requires a little practice that is improved by turning on the Grid—Menu bar > View > Show Grid or Command + Apostrophe(‘). Now, with a clean page and a grid, let’s connect some points. The grid has slightly thicker lines for one-inch increments. Using your pen tool, start at the intersection of two thicker grid lines by clicking. Move your cursor diagonally to the next intersection of two thick lines and click. Continue back and forth in this manner until you have about five top points. See the Anchor Point and Beziér Curve image for an example. To end the line, hold down the Command key on the keyboard and click away from the line. The line will be deselected and drawing will break at that last point dropped.

9781350047891_txt_app_CC19.indd 34

Pick the Selection tool from the toolbox and select your line by clicking on it. Observe the Control bar. It is the same as it was for the other line creation tools. Feel free to experiment with applying color, profiles, and opacity. Now let us create a wavy line using Beziér Curves (Figure 2.8). Pick the Pen tool from the toolbox. Find a place on your page where you can make another line similar in length and width to the zigzag line you first created. Press and drag up towards the top of your page about 3 picas (1/2 an inch or 1 centimeter). Move about 6 picas (1 inch or 2 centimeters) to the right of your initial point. Press and drag down towards the bottom of the page about 3 picas. You have just created a curve. You probably noted that the program automatically connected your first point to your second point. See the sidebar for further information on when points connect.* Proceed to the next inch and press and drag toward the top of the page 3 picas. Repeat this action but pull to the bottom of the page. Do this about seven times. This creates a wavy line. To end the line, as before, press on the Command key on the keyboard to change your cursor to an arrow and click off the line. Let’s look at the line more closely. Use the Selection tool to select the whole line, the Control bar (Figure 2.9) will be the same as it is with previously drawn lines. Use the Direct Selection

1/22/21 9:51 AM

Commanding vectors

tool and select a point. The Control bar will be different. Now, Anchor Point control icons appear, which allow for points to be converted from Beziérs to anchor points and vice versa. Next control is for deleting anchor points. And then there is the “Cut a path at the anchor point” icon. Guess what it does? It will split apart your line based on what anchor point you have currently chosen. The remaining icons all command the location of a point. Using your Direct Selection tool, select a point. Pull on the handle bar. Note how the arch elongates in the direction you extended the handle bar. Push the handle bar back noting how the arch reduces as the handle bar reduces. Swing the handle bar left and right, noting the changes to the curve shape. The handle bar action is the key to creating precise vector drawings. Using the Pen tool replicate the wave drawing (Figure 2.10). This will require drawing waves using Beziér

35

*Note: When creating curves or shapes with the pen tool, the points automatically connect with a line from one point to the next. If the points are not connecting, it is because you have deselected the initial point. When a point is active and you drop another point, they will connect.

curves then altering the handle bars by retracting the left side handle bar. The Direct Selection tool will come into play also as you move points into place to achieve the desired result. Now, use your Pen tool skills to draw an infinity symbol using just two points. (See Figure 2.11 below.) Be sure you have the regular Pen tool selected and not one with a plus or minus which are used to add and subtract points accordingly. Note that this is a closed object meaning you can fill the object with a color properly. More on closed objects in Chapter 3.

Figure 2.9 When an anchor point has been directly selected, the Control panel will supply these options.

Figure 2.10 Wave drawing. When making “waves,” it is a combination of anchor points and Beziér Curves.

9781350047891_txt_app_CC19.indd 35

Figure 2.11 An infinity symbol is just an “8” on its side. To draw it, pull the handle bars in opposite directions and end by clicking on the point you began with.

1/22/21 9:51 AM

36

Making marks

Width tool and its brethren Once you are confident in mark making, it is time to manipulate those marks using various tools. The focus tools of this section are the Width, Warp, Twirl, Pucker, Bloat, Scallop, Crystalize, and Wrinkle tools. They are all found nested in the Width tool that is the eighth tool on the right side of the toolbox below the rotate tool. (See infinity image.) Let us return to the infinity drawing. Selecting the infinity, change the line width to 10 point. Now, pick the Width tool from the toolbox. On the left side of the infinity shape, press and drag away from the line (Figure 2.12): the stroke will become thicker. On the right side of the infinity shape, press and drag towards the line: it will narrow. This is how the Width tool works. To explore the Width tool and its brethren (Figure 2.13) more, duplicate one of your lines created in Section 2. Do this by holding down the Option key on the keyboard while using the Selection tool to drag a copy of the selected line out from it. Do this eight times. Once you have eight lines on your page, click off of the lines on the page so that none of the lines are selected. Now, select a line individually; return to the toolbox to select a new tool from the Width tool group by pressing on the Width tool to reveal the other tools in the group. Apply

Figure 2.12 The line width tool allows you to create calligraphic lines—thick and thin—without a need for a pressure sensitive pad.

9781350047891_txt_app_CC19.indd 36

the different tools to different lines to experience the results (Figure 2.14). Note, when applying the Width tool brethren, the longer you click/press on a line with a tool the more effect it will have. Also note, holding down the Option key [Alt on PC] on the keyboard and then moving your cursor out will make the tool larger; conversely, moving the cursor in will make it smaller. Remember “Command + z” [Control + z on a PC] will undo your actions. See the Width Tool brethren chart for the results of applying these tools. These tools can also be compounded. Meaning, more than one tool can be applied to a line.

Figure 2.13 Width tool and its brethren.

Figure 2.14 Width tool brethren chart. The application of the Width tool and its brethren requires a light hand at first. Take your time and see what different effects you can create.

1/22/21 9:51 AM

Nesting strokes

37

Nesting strokes More than one stroke can be applied to a line. This can be done using the Appearance panel. Visit the Menu bar > Windows > Appearance (Figure 2.15). Create a line on a clean page. Color that line and give it weight. While the line is active, look at the appearance menu. You will note any changes made in the Control bar appear here. With the line selected, click on the Appearance panel submenu* in the upper right corner of the panel. Select “Add New Stroke.” Or, click on the stroke icon in the lower left corner of the Appearance panel. Set your new stroke’s color and width in the Appearance panel. Make the width smaller than your first stroke setting. Make your color different than your first stroke setting. By placing the larger stroke below the smaller stroke,

both strokes are revealed. See below for a line with multiple strokes applied to it. Note the order of the strokes in the panel. This methodology makes for great precision when dealing with overlapping lines. It is fun to experiment with the width on the various stroke settings. The Width tool can be applied to one of the stroke’s settings by selecting that stroke in the appearance menu. Note that the other tools alter the “Line” versus the “Stroke” and therefore affect all the stroke settings.

Submenu: like a drop-down menu but found in the panel of the program indicated by three stacked lines. Also referred to as a Hamburger menu.

Figure 2.15 The Appearance panel is quite handy. It allows one to add additional strokes and fill to the selected item. Note here how the double stroke requires the bottom stroke to be larger.

9781350047891_txt_app_CC19.indd 37

1/22/21 9:51 AM

38

Making marks

Brushes Lines can be more than just flatcolored strokes on a page. There are many brush variations to be had. These brushes can be attached to any line created by a Brush, Pen, or Pencil. In the Control bar there are some basic brushes instantly available. Here, I have drawn a line using the Paintbrush tool (Figure 2.16). In my Control panel, I can set the stroke color, point size, contour, and brush. Note how the choice of profile has the line narrowing from 8 point to a much skinnier dimension. This brush mark is at 100% opacity but does not have to be. The lower the opacity the more layered your brushes will appear when they overlap—much like a water color painting or marker rendering.

Figure 2.16 As part of the Control panel for a path, there are some basic brushes present to be sampled. More brushes are available by clicking on the library in the lower left-hand corner.

9781350047891_txt_app_CC19.indd 38

There are many more brushes to be explored. See the next image to find where they are buried and how to retrieve them. In order to explore additional brushes, start at the Control bar Brushes command (1). Pressing on that menu will reveal the library of brushes (2) in the lower left corner. I have chosen to investigate the artistic brushes (3) and slid over and down to the specific subsection of “Artistic Paintbrush” collection (4) (Figures 2.17 and 2.18). This opened a Brush panel with many options, of which one was selected indicated by the double line around it (5). Since I had my stroke selected, it converted to the new Brush selection. I also changed the contour of the brush. Please take the time to investigate in this area to get an idea of what is available and how different brushes react to changes in point size, contour, and opacity. See the following page(s) for the different standard collections that come with the program. Note, not all the panels are fully open as indicated by the presence of scrollbars (Figures 2.19–2.23). Altering or “Customizing” brushes is an advanced activity that we will cover next. Many brushes’ color, thickness, and contour can be readily changed while others require entering into a Brush Options dialog box. To enter into the Brush Options dialog box, double-click on the brush sample in the Control bar panel (Figure 2.24).

1/22/21 9:51 AM

Brushes

39

Figure 2.17 First, click on the Path setting; then press on the library in the lower left-hand corner. Then, visit a selection in the submenu and slide over to the subgroup, and finally, a panel of visual options will appear.

Figure 2.18 The Artistic Brush panels.

Figure 2.19 The Arrow Brush panels.

9781350047891_txt_app_CC19.indd 39

1/22/21 9:51 AM

40

Making marks

Figure 2.20 Decorative Brush panels.

Figure 2.21 Border Brush panels.

Figure 2.22 Image and Art Brush panels.

9781350047891_txt_app_CC19.indd 40

1/22/21 9:51 AM

Brushes

41

Figure 2.23 Grunge and Hand Drawn Brush panels

It will bring up a dialog box such as this: Figure 2.24 Brush Options dialog box. Should you want to change the settings on a Brush, double click on the Brush sample.

9781350047891_txt_app_CC19.indd 41

1/22/21 9:51 AM

42

Making marks

You will notice there are various settings that enable the user to change the direction of a stroke, how it can be colored, and how thick the stroke is when initially drawn on paper. These settings are very helpful if you desire to create a larger variety of strokes. When you have made changes I recommend that you rename the brush by adding a “.2, .3, .4, etc.” to the end of the brush name. This will remind you that this is a

variation of a brush originally packed with the program. Creating your own brush is also easy enough (Figure 2.25). Moving left to right, create a line with the brush tool. Apply various iterations of strokes to the line by using the Appearance menu as discussed on page 37. Here you see that I have added three brush strokes to one line. To make this line a reusable brush, drag it into the Brushes panel.

Figure 2.25 More than one Brush can be applied to a single path. Visit the Appearance menu to do so.

Figure 2.26 After creating a multibrush, it can be saved by dragging it to the Brushes panel. This Brush is being saved as an Art Brush.

9781350047891_txt_app_CC19.indd 42

1/22/21 9:51 AM

Brushes

Select “Art Brush” for the type of Brush created (Figure 2.26). Click “OK” to get the Brush dialog box. In the Brush dialog box there are many setting to experiment with. First things first, name the Brush. “Leave Lines” is the name of this particular series of strokes (Figure 2.27). The first setting to work with is the width. “Fixed” is shown here. In addition to “Fixed” there are options for “Pressure” which is tremendous when working with a tablet. Stylus wheel, Tilt, Bearing, and Rotation are other options. For the “Brush Scale Options” I prefer the setting “Stretch to fit the stroke length.” This will have the brush artwork elongate to cover the length of a brush stroke. Scale proportionately can have the brush appear quite large if the line is long. The direction reads pretty clearly as we drew in a left to right manner, we then choose the left to right arrow. Feel free to experiment with all of these

43

settings. Some will result in comical results, others, happy surprises. Colorization refers to the effect choosing a color will have on the Brush you have created. The default is none. Other options include: Tint, Tint and Shade, and Hue shift. Tint and Tint and Shade will effect the opacity of the lines drawn with the Brush setting. Hue shift allows for the user to select a color and the line will adopt some of the color attributes. Again, experimentation is a great educator here. The final options regard flipping the line and the line overlap at a corner. The default is what is pictured here. One thing to remember about brushes that you create in a document is that those brushes are resident in that document alone. When you create a new document, the brushes you dragged into the brush palette will not be present.

Figure 2.27 Art Brush options look a lot like the Options panel to adjust any of the brush strokes.

9781350047891_txt_app_CC19.indd 43

1/22/21 9:51 AM

44

Making marks

Still more line tools We’ve colored lines, put different effects on lines, and even applied brushes. What more could there be? Tons. But here’s a few tools that will also enhance your brush interaction. Let’s first look at the tools found under the Pencil tool (Figure 2.28). They are the Smooth tool, the Path Eraser tool, and the Join tool. The Smooth tool works by stroking over a line you created. It then can relieve some of

Figure 2.28 Pencil tool and friends.

Figure 2.29 This is what the Join tool looks like when swiping from the end of one line to the beginning of the other line.

9781350047891_txt_app_CC19.indd 44

the bumpiness of said line. It does so by eliminating excess points. The Path Eraser tool is just that. It can be used to erase a line that has been drawn too far. The Join tool connects two vector paths by swiping from one line end to another line end. Lines need not be active (Figure 2.29). Results can be unpredictable, but they can always be adjusted by using the Direct Selection tool to move a point, the handle bars being pushed or pulled, or the Smooth tool finessing the edge. There are additional tools under the Pen tool as well (Figure 2.30). They are the Add Anchor Point, Delete Anchor Point, and the Anchor Point Tool. On a selected line you can see the various anchor points. Sometimes, when using the Pencil tool, anchor points are dropped in an odd way. You can eliminate extra anchor points through the Delete Anchor Point tool. Simply select the tool and click on the anchor point you wish to delete. Simply hitting “delete” on the keyboard can separate your line. Using the Delete Anchor Point tool preserves the line. Sometimes a line doesn’t arch or fold the way you intended, the Add Anchor point tool or the Anchor Point tool can be of assistance. Adding an anchor point allows you to place a Beziér Curve or corner point where there isn’t one. The Anchor Point tool allows you to convert an existing anchor point to a corner or Beziér Curve.

1/22/21 9:51 AM

Still more line tools

45

Figure 2.30 Additional Pen tools.

Next to the Pen tool in the Essentials toolbox is the Curvature tool (Figure 2.31). This tool is handy if you are creating a biomorphic form. Simply click to drop your first point then click and drag for your second point. This will create an arc of your choosing. Then, as you click subsequent points, they too will be arced as your second point was. To change direction of the curve, simply press and drag with the tool. The difference between this and the standard Pen tool is that the Curvature tools default is to create Beziér Curves versus the Pen tool that drops anchor points without a curve unless you press and drag.

To break apart a line, there is the Scissors tool found under the Eraser tool (Figure 2.32). Simply select the Scissors tool and click on a line—active or not. The line will split where you clicked. You must use the Selection tool to pick up the separate pieces of the line, but rest assured that the line has been split. That wraps up “mark making” as a solo endeavour. To experiment with mark making in an expressive way, try your hand at the “Stick figure party” exercise. It will help marry technical skill with artistic and semiotic expression. Feeling more adventurous? Try your hand at “Wild, wild life.”

Figure 2.31 The Curvature Tool.

Figure 2.32 The Scissors tool.

9781350047891_txt_app_CC19.indd 45

1/22/21 9:51 AM

46

Making marks

EXERCISE: STICK FIGURE PARTY Goal: Create nine unique expressions using your newly honed mark-making talents to represent nine stick figure party-goers.

REQUIREMENTS: 11 x 17” page in Illustrator Nine stick figures (black is a reasonable start) Application of various settings for expression PARTY-GOER EXPRESSIONS: Unapproachable Silly Drunk Sexy Shy Nervous Artistic Grumpy Blue Crazy Graceful Arrogant Goth

TIPS:

TO UNGROUP:

To apply the same brush to a whole stick figure, select every line that makes up the figure by holding down the Shift key and clicking on the lines and forms in the figure. Once all the lines are selected, visit Object in the menu bar and scroll down to Group. Or you can use the keyboard shortcut of “Command + g” (Control + g on PC). Now, your figure is one group and can be easily moved about the page as a unit.

Object > Ungroup, or Command + Shift + g (Control + Shift + g on PC)

If you desire different strokes for the different parts of your stick figure, apply the settings to each individual line before grouping the figure.

9781350047891_txt_app_CC19.indd 46

1/22/21 9:51 AM

Exercise: Stick figure party 47

STEPS: 1. Open Illustrator, create a new document, “Tabloid,” in a horizontal aspect. 2. Using the Line Segment tool, create nine stick figures of uniform weight of 4 point. 3. Select an expression and alter one of your stick figures. You may, but are not limited to, change size, weight, color, position, width, or Brush; you may use any of the tools discussed in this chapter. 4. See below for student examples and commentary. 5. Be sure to save your document regularly as instructed in Chapter 1 on page 14. RUBRIC: Grade

A-B+

B-C+

C-D+

D-F

F>

Creates nine unique, yet recognizable characters utilizing a wide variety of the introduced skills and tools

Creates seven unique, yet recognizable characters utilizing many of the introduced skills and tools

Creates seven unique, yet recognizable characters; could be more inventive with the skills and tools

Creates six or less unique, recognizable characters; relies too heavily on one particular tool or skill.

This is more hang-man than “Hang out, man.” Return to “go” and work on your skills.

SAMPLE STUDENT WORKS:

Figure 2.33 Kimberly Carden’s stick figures remain mostly black but the line attitude and special brushes help for ease of identification. Kimberly Carden, Stick Figure Party, Mercyhurst University, 2018.

Figure 2.34 Jaron Page’s line work is far more colorful and, again, the line attitude speaks volumes. Jaron Page, Stick Figure Party, Mercyhurst University, 2018. Figure 2.35 Matthew Mellish has a consistent style to each of his line figures, and through layering of brushes and application of color, his work really sings. Matthew Mellish, Stick Figure Party, Mercyhurst University, 2018.

9781350047891_txt_app_CC19.indd 47

1/22/21 9:51 AM

48

Making marks

EXERCISE: WILD, WILD LIFE Goal: To illustrate an animal of the artist’s choosing through simple line, calligraphic line, and specialized brushes to demonstrate mastery of the line tools.

REQUIREMENTS: A picture of the animal of choice Horizontal 11 x 17”, Tabloid page, or three vertical letter pages STEPS:  1. Place the image of the animal in Illustrator through File > Place.  2. Place the image to the left on the page.  3. Lock the layer that the animal picture is on.  4. Create a new layer for drawing the first animal.  5. Using a standard stroke (1 point black) create the essence of the animal in line.  6. Once completed, duplicate twice the layer the first drawing is on.  7. Lock one layer of the basic animal drawing.  8. Take one of the copies of the animal drawing and move it next to the basic line drawing.  9. Take the third copy and drag it to the right of the other two drawings. 10. Lock the third copy. 11. Now, using the Line Width tool, visit the second copy and create a calligraphic rendering of the animal by enlarging the lines at appropriate points. (Remember Command + z to undo). 12. Once copy two is complete, lock that layer 13. Unlock the layer of the third basic animal drawing. 14. Select multiple lines by clicking on the line while holding the Shift key. 15. Select a Brush setting to apply to selected lines. 16. More than one “fancy” Brush maybe used. EXTRA CREDIT: Create a fourth basic animal drawing. Using your multiple stroke-per-path knowledge, create a custom stroke that optimizes your animal. Apply this stroke set to some or all of your animal. Color can be included.

9781350047891_txt_app_CC19.indd 48

1/22/21 9:51 AM

Exercise: Wild, wild life

49

RUBRIC: Grade

A-B+

B-C+

C-D+

D-F

Expectations

Three distinct images that express a characteristic of the animal; use of Beziér Curves is apropos or non-use of Beziér is intentional and apropos. Use of the Width tool is successful. Brushes represent various surfaces.

Three distinct images are created. Beziér command is nascent. Width tool applied. Brush applied.

Two to three distinct images are present. More study of the animal was needed to properly connote the chosen animal. Width tool was attempted. One Brush applied.

Less than three images are present. Animal is not adequately rendered. Use of tools and brushes leave much to be desired.

SAMPLE STUDENT WORKS:

Figure 2.36–2.38 Parrots Line Art, Kamila Kunka, Lindenwood University, 2018.

Figure 2.39 One Bird Three Styles, Ikechi Oji, Lindenwood University, 2018.

9781350047891_txt_app_CC19.indd 49

1/22/21 9:51 AM

50

Making marks

Featured Artist Deni Dessastra Studio: The-sastra in Indonesia www.behance.net/the-sastra I decided to work as a freelance illustrator after finishing my diploma degree majoring in advertising over ten years ago. My main inspirations are God, Nature, and something wild (myth). I always keep motivating myself

by browsing, and also I love to ride in the night through my city on my scooter. Deni’s use of line is contemporary and varied. As an artist, consider how different weights create depth and texture. Don’t be afraid to double up the line.

Figure 2.40 The Chemistry Between Us ©DeniDessastra

9781350047891_txt_app_CC19.indd 50

1/22/21 9:51 AM

Featured Artist: Deni Dessastra

51

Figure 2.41 Tiger Clan ©DeniDessastra

Figure 2.42 Rhino ©DeniDessastra

9781350047891_txt_app_CC19.indd 51

1/22/21 9:51 AM

52

Taking shape

3 9781350047891_txt_app_CC19.indd 52

1/22/21 9:51 AM

Taking shape Topics covered: • Ellipses, Rectangles, Polygons. . . oh my! • Rotate, Reflect, Scale, and Skew tools • Compound Shapes (Shape Builder, Pathfinder) • Applying basic color settings • Why make a shape a symbol? • Exploring effects • Freehand shapes

By the end of this chapter, you will be able to: • Command all the basic shape tools. • Make shapes using the Shaper tool. • Create a shape and turn it into a Symbol. • Utilize the Symbol tools to manipulate symbols. • Use the Shape Builder and the Pathfinder panel to combine shapes in various ways. • Morph shapes through the use of other tools such as Skew, Reflect, Scale, and Rotate. • Colorize a shape and its outline. • Apply styles to a shape. • Create unique freehand shapes. • Apply Blending Modes between two or more shapes.

53

9781350047891_txt_app_CC19.indd 53

1/22/21 9:51 AM

54

Taking shape

Ellipses, Rectangles, Polygons. . . oh my! The next tool to attend to is the Rectangle tool. Nested beneath the Rectangle are the Ellipse, Polygon, Star, and Flare tools. All which create shapes—closed forms that can be filled with color. With a new or cleared document page, select the Rectangle tool. Bringing the cursor over to the white page, press and drag to create a rectangle. To create a square, hold down the Shift key on your keyboard and then press and drag, releasing the mouse button first then the Shift key. The color, or lack of color, of your form is set by the large fill and stroke buttons at the base of the toolbar. Using the Selection tool (V), select one of the shapes you have created. Click on the fill button and make it a color you desire by clicking the cursor and selecting the “OK” button. Then, visit the top Control bar. The fill color is present there also as is the stroke or frame button. Change the stroke, the line around the form, here. Note that there is a default set of colors. To choose a selection of colors, return to the toolbar and double-click on the frame button there. Now there is a uniquely colored shape on the page.

9781350047891_txt_app_CC19.indd 54

To monitor the appearance of a particular form, go to Window > Appearances. This launches the Appearance menu that records what fill, stroke, and effect have been applied to a selected form. Multiple strokes can be added to the frame here. Simply use the submenu in the upper right corner of the panel to click on “Add a stroke” (Figure 3.1). Then, look at the list of settings; you are looking for the stroke setting at the bottom of the list. Select that stroke and set the width of it larger than the strokes above it (Figure 3.2). Now the second stroke is peeking out from behind the first stroke. To change the stroke relationship, visit the stroke menu as covered in Chapter 2. Take the time to utilize each of the shape tools: playing with their settings, holding down the Shift key, and changing the fill and stroke. In the end, create a page something like what is pictured on the next page (Figure 3.3). It’s a parade of shape options. Be sure and explore applying the Shift key versus not applying it.

1/22/21 9:51 AM

Ellipses, Rectangles, Polygons. . . oh my!

55

Figure 3.1 In order to add a second stroke to the triangle, you must have applied a first stroke as we have here. Then you can open the Appearance menu and select “Add a new stroke.”

Figure 3.2 Here in the Appearance menu, the order of various elements is important to note.

Figure 3.3 The basic shapes found in Illustrator are pictured here, with the final “shape” being the lens flare applied to the triangle.

On the page there should be a rectangle, oval (ellipse), circle, star, square, and polygon with a lens flare. There is yet another way to create a shape—the Shaper tool. Go to the toolbox and select the Shaper tool. Returning to the page, loosely draw the same shapes below the ones

9781350047891_txt_app_CC19.indd 55

that currently exist (Figure 3.4). One draws by pressing and dragging the mouse. The cursor will mirror your mouse movement. The newly drawn shapes appear from your crude approximations of the above shapes. Note that the shapes appear in basic black and gray but can be altered

1/22/21 9:51 AM

56

Taking shape

to look as the shapes above them. Simply visit the toolbar and select the Eyedropper tool. Holding down the command key select the shape you wish to change then release the Command key and, using the eyedropper (Figure 3.5), click on the

shape of your choice. The shape has acquired the appearance of the shape the eyedropper sampled. There is no advantage to one or the other way of drawing, simply preference. Both objects ultimately function the same.

Figure 3.4 Now recreate the shapes using the Shaper tool. Find what you like.

Figure 3.5 Using the eyedropper, grab the settings from one drawing by click on the image and then drop the setting by clicking on the “naked” object.

9781350047891_txt_app_CC19.indd 56

1/22/21 9:52 AM

Compound shapes

57

Compound shapes Let’s practice by creating a daisy button (Figure 3.6). You could attempt to use the Pen tool, or the Brush tool, or the Shape tools. None of these selections would be wrong. Some might be neater that others, some might be easier than others. Let’s create a head-on daisy icon with the ellipse tool then make it one continuous object.

PATHFINDER EASILY CREATES COMPOUND SHAPES The Pathfinder panel (Figure 3.7) allows an illustrator to build complex shapes from the simple shapes found in the toolbar. The advent of the Shape Builder tool has, in recent editions, minimized the need for the Pathfinder. However, sometimes the Pathfinder panel is just easier.

Figure 3.7 The Pathfinder panel is pictured here.

Figure 3.6 This is what we wish to achieve.

First, select the Ellipse tool. Holding down the Shift key, create a center circle. Then, starting at the top (12 o’clock) create an elliptical petal (Figure 3.9). Be sure to overlap the petal and the center. Return to the toolbox and pick the Selection tool. Holding down the Option key, pull a copy of the petal from the first ellipse by pressing and dragging. Then, using the built-in Rotate tool, go to

9781350047891_txt_app_CC19.indd 57

Pathfinder works with two overlapping shapes to create new shapes. It can unite, divide, subtract the front or the back, intersect, and exclude. In the case of the daisy, select all the petals and center and Unite or Merge. For a demo of all the actions, see the video connected to Figure 3.8 below.

Figure 3.8

1/22/21 9:52 AM

58

Taking shape

pick it from the toolbox. Then return to the shapes on your page. Holding down the Command key, press and drag around the whole object in order to select every petal (Figure 3.10). Now, release the Command key and, using the Shape Builder tool, squiggle over each part of the form, changing the texture of the fill to denote they are selected. Once all are selected, release. The form should all be one (Figure 3.11).

Figure 3.9 Here’s how to start.

the “corner” of the ellipse. The cursor will turn into an arced left/right arrow. This allows one to rotate an object without changing tools. Rotate the petal slightly as shown. Holding down the Option key and perform this action three more times. Arrange the ellipses to form one quarter of the petals. Now, holding down the Shift key, select all four petals. Then press Command + c followed by Command + v (Copy/Paste). Use the built-in Rotate tool to rotate the group into place. Once they are in place, use Command + v (Paste) again. Move and rotate this final group into the last empty petal area. On the page should be a complete stylized daisy form. To make this daisy all one object we can use the Pathfinder* (Figure 3.7) or the Shape Builder tool. To utilize the Shape Builder tool, first

9781350047891_txt_app_CC19.indd 58

Figure 3.10

Figure 3.11 Unified daisy.*

1/22/21 9:52 AM

Compound shapes

59

The alternate way to unite all the members of this daisy is to select all of the forms and, using the Pathfinder, click on “Unite.” For a more icon or button look, draw a rounded square around the completed daisy (Figure 3.12). Round the corners to your liking by pulling on the inner circle icon. Pulling the circle towards the center of the square rounds the corners more. Next, arrange the box and daisy by sending the rounded rectangle to the back. Select the square then visit Menu > Object > Arrange > Send to back.

For the daisy to “punch out” of the rectangle, select both objects. Utilize the Shape Builder tool and, while holding down the option key, click the daisy with the Shape Builder tool. Note that the daisy fuses with the rectangle and become negative. Just as the cursor had a negative sign next to it when the Option key is depressed. Finally, select the button and set the stroke to 3 points using the Stroke panel on the right side of the screen (Figure 3.13).

Figure 3.12 Shape Builder tool will be necessary to punch out the daisy from the square.

Figure 3.13 Add a 3-point black line to the art.

9781350047891_txt_app_CC19.indd 59

*Note: save a copy of this daisy for future exercises.

1/22/21 9:52 AM

60

Taking shape

Tools that alter shapes The Rotate, Reflect, Shear, and Scale tools can be used to manipulate shapes in those ways (Figure 3.14). First, select the object to be manipulated. Then, utilizing the tool of choice, press and drag the mouse. Typically, an outline of the shape will appear, providing the answer to what the shape will look like under the current situation. To use a more exacting approach, each tool has a dialog box accessed by double-clicking on the tool. In the dialog boxes, mathematical settings will allow for exact manipulations such as degree of rotation, percentage of size, or degree of reflection. Figure 3.14 The Rotate tool is in the toolbar. Beneath it you can find the Shear tool. Play with the results of each to get a feel for the tools. Command + z to undo anything too crazy.

Figure 3.15 Selecting the daisy button, venture to the Menu > Effect area. Visit SVG Effects and apply an effect to your art. These effects can be compounded also.

9781350047891_txt_app_CC19.indd 60

1/22/21 9:52 AM

Special effects

61

Special effects Let’s have more fun with the button and create a professional bevelled look. Selecting the daisy button, venture to the Menu > Effect area. Visit SVG Effects (Figure 3.15) and apply an effect to your art. Effects compound, meaning if one effect is applied, then another, they both remain active. To counteract this, test them one at a time and Command + z to undo before applying another. The SVG effects are represented here in order. All other effects can be compounded also. For instance, the

art below has an outer glow set on it and is now being fitted for the scribble effect (Figure 3.16). Note the low contrast between the golden glow and the original background color of light gray. That to can be changed after exiting the Scribble Options dialog box (Figure 3.17). This is just one of millions of FX combinations (Figure 3.18). See the chart on the following page for a primer on the various effects (Figure 3.19).

Figure 3.16 This is an example of compounding an effect.

9781350047891_txt_app_CC19.indd 61

1/22/21 9:52 AM

62

Taking shape

Figure 3.17 Colors need tweaked? Select the fill swatch in the Appearance menu to bring up the color picker. Figure 3.18 Scribble daisy with an outer glow.

Figure 3.19 The effects chart. See setting below each action.

9781350047891_txt_app_CC19.indd 62

1/22/21 9:52 AM

Special effects

63

BLEND TOOL CONNECTS TWO SHAPES The Blend tool is below the Gradient tool in the Essentials toolbar. It allows a designer/ artist to connect and morph one shape into another. Simple enough. There are fun things you can do with the Blend tool. Take our friend Ollie here (Figure 3.20). This cute ostrich character’s body was created using two circles and two ellipses. Hover over him to see a blip of his creation. The basics of the blend tool are to connect two forms. They can be very different or just different in one aspect. They will then create a new and exciting form made of many duplicates of the original forms with small changes. Here’s how it works: Draw two shapes (Figure 3.21). Deselect the shapes. Retrieving the Blend tool, drag between the two shapes from edge to edge (Figure 3.22). Double-click the Blend tool in the toolbox to get the settings (Figure 3.23). Turn on preview and explore. You can set the number of steps (Figure 3.23). Once exited, you can use the Direct Select tool to select part of the blend group (Figure 3.25). With a shape selected, change the color. Now direct select the path of the transition. You can add a point or change the point just as with any other line/stroke.

Figure 3.20 Ollie, the Blend tool wonder.

Selecting the whole object(s), you can apply effects (Figure 3.26). Now when you see perfect shapes flowing in a line you may think, “Blend tool.” Enjoy the play (Figure 3.27)!

9781350047891_txt_app_CC19.indd 63

1/22/21 9:52 AM

64

Taking shape

Figure 3.21 1. Draw two shapes.

Figure 3.22 2. Using the Blend tool, click on one side of the first shape and then a side of the second shape.

Figure 3.23 3. Explore. This is a low number of steps.

Figure 3.24 4. Direct select a form and change color.

9781350047891_txt_app_CC19.indd 64

1/22/21 9:52 AM

Special effects

Figure 3.25 Direct select the blend path and curve it.

65

Figure 3.26 Select the whole group and apply an effect. Here, Roughen is applied.

Figure 3.27 Enjoy the Play! Add points to the path.

9781350047891_txt_app_CC19.indd 65

1/22/21 9:52 AM

66

Taking shape

Objects as symbols Symbols are vector designs that have been housed in the Symbols panel for “spraying” more than one onto the paste-up board. There are symbols that come with AI. There are symbol collections that can be downloaded, most notably the IAN Symbol Library for Scientific Application (http://ian. umces.edu/symbols/). And, there are user-generated symbols—those made by you. Symbols can be spun, scrunched, shifted, stained, screened, and styled using the Symbol tools in the toolbar. Let’s make the daisy a symbol and test these tools for effect. Simply take the original daisy,* prior to being made a button, and drag it with your Selection tool to the Symbols panel. The Symbols panel is indicated by a spade. This will trigger the Symbol Options panel (Figure 3.28).

*MISSING THE ORIGINAL DAISY? Simply take a copy of the daisy button. Visit the Appearance panel and select the fx clicking on the garbage can in the lower right-hand corner to remove the fx. Then, with the Direct Selection tool, select one of the corner points on the outside of the daisy icon box. Click “Delete” on your QWERTY keyboard. Then click delete a second time. What remains should be the original daisy without a rounded box.

9781350047891_txt_app_CC19.indd 66

Figure 3.28 Drag your daisy to the Symbols panel to create your own symbol. Can’t find the Symbol panel? Check the Window menu.

Here is where the symbol is named and set to movie clip and dynamic. This will allow for inclusion of “DaisyMay” in animations. See the related image for the proper settings. Click “OK.” Before spraying the daisy, be sure to create a new horizontal page to work on. Once the daisy is a symbol, it can be selected in the Symbol panel and then sprayed with the Symbol Sprayer tool. Spray a swoop of daisies (Figure 3.29) releasing the mouse and resuming to create breaks in the line of daisies.

1/22/21 9:52 AM

Objects as symbols

67

Next, test the Symbol Scruncher tool (Figure 3.31). Normally the tool will bring instances of the symbols together when a selected group is clicked on. Add the Option key, a modifier key, and the symbols will separate from one another.

Figure 3.29 Using the Symbol Sprayer you can now spray multiple symbols on the page. The longer you press down on the mouse the more symbols sprayed in that area.

Now returning to the Symbol Sprayer tool, press on the tool and scroll to the right of the tools where there is a bar with a small arrow. Click on that arrow to unhitch the Symbol Sprayer tool as shown in the below image. Select the Symbol Shifter tool (Figure 3.30) to move the daisies around. If the cursor is too small, click on the close bracket key to enlarge the cursor. To reduce the cursor size use the open bracket key.

Figure 3.30 Spray too many symbols in one area? Reach for the Symbol Shifter. It will spread apart the cluster of symbols by pressing the tool over them.

9781350047891_txt_app_CC19.indd 67

Figure 3.31 Scatter your daisies too loosely? Use the Symbol Scruncher to squeeze the symbols closer together.

Next, the Symbol Sizer (Figure 3.31) will allow resizing of the symbols with a press of the mouse. Place the cursor over the symbol to be enlarged and press. The longer you press the larger the result. To shrink, add the Option modify key to the mix—hold Option and press.

Figure 3.31 For variation in size, utilize the Symbol Sizer. Placing the cursor over the selected symbol and clicking will enlarge the symbol and its strokes.

1/22/21 9:52 AM

68

Taking shape

With a symmetrical symbol, the next tool will hardly show a difference. It is the Symbol Spinner tool. When the cursor is placed over an instance of a symbol and pressed, an arrow will appear indicating the direction the symbol will turn to. This is very useful when creating an image that needs to show motion. Try it. The results will be very negligible, but the technique begs to be practiced. Before using the next tool, the Symbol Stainer tool, be sure and have a fill color selected. This will allow for “staining” of symbols. The longer one presses on a symbol, the darker the stain. Watch the cursor size, as smaller symbols may require a reduced size cursor in order to isolate them from other symbol instances. Also try changing the color of the fill to create a variety of effects. The Symbol Screener tool (Figure 3.32) fades the appearance of selected instances of a symbol through, again, cursor pressure. The longer the cursor is depressed the more faded the instance will appear. In the case of over-fading an instance, simply hold down the Option modifier key and click where the symbol is. Color will be raised again.

The final tool in this array is the Symbol Styler (Figure 3.33). Before styling, go to Window > Graphic Styles (Figure 3.34) to open the Graphic Styles panel. There are a few default styles in the panel for use. Once the Symbol Styler tool is selected, simply select a default graphic style and click on a symbol instance. The style of the symbol will change. Now, there are far more styles than first appear in the Graphic Style panel. With the cursor, press on the “library” icon in the lower left-hand corner of the Graphic Style panel. This reveals various libraries of styles. Simply select one to open the panel. To use a style from a library, press and drag the style into the Graphic Style panel. Now that style is ready to be applied.

Figure 3.33 Launch the Graphic Styles window in order to have a selection of styles to apply to various symbol iterations.

Figure 3.32 The Symbol Screener will apply color to the forms. The longer you hold down the screener, the more faded the color will appear.

9781350047891_txt_app_CC19.indd 68

1/22/21 9:52 AM

Objects as symbols

69

Figure 3.34 Here’s a close-up of the Graphic Style panel. Currently it holds default style. You will soon be able to add your own styles to this panel.

Graphic Styles are simply fill, pattern, and line settings that have been captured. Users can create their own styles; much in the way symbols are created. Simply apply various fills and line settings to an object. Then drag that object to the Graphic Styles panel (Figure 3.35). The applied settings are stored here as a graphic style. Double-click on that style to name it for ease of use later. To take the use of symbols farther, they can be separated and

then used as individual objects. Select the symbol group and visit the Object menu bar choosing, with your cursor, “Expand.” The Expand dialog box (Figure 3.36) will appear. Choose “Object” only. Then, with the group still selected, return to the Object menu and select “Ungroup.” Now each daisy is an individual object permitting other manipulations to be applied. Word of caution: once the symbols are expanded and ungrouped, the symbol tools will not work on them.

Figure 3.35 Create your own styles much in the way symbols are created. Simply apply various fills and line settings to an object. Then drag that object to the Graphic Styles panel.

9781350047891_txt_app_CC19.indd 69

Figure 3.36 The Expand Command is useful for separating objects from their confines. Here it will take a group of symbols and make them individual objects. They will no longer be symbols and thusly cannot be edited as such.

1/22/21 9:52 AM

70

Taking shape

Freehand forms Geometrics and the Shape Builder tool help a designer create iconic imagery fast for use in infographics and other applications. However, organic imagery that mimics the artist’s hand requires different tools. The Pencil tool is effective for creating more biomorphic shapes. On a new page, or document, in Illustrator, select the Pencil tool. Check the fill and stroke settings, returning them to the default white fill and black stroke. The difference between a shape and line, as practiced in Chapter 2, is closing the form by returning to the starting point, literally. Let’s set about making biomorphic leaves for our icon flower. First, it would be beneficial to see what different leaves look like. Searching the internet will most likely bring up

a variety of responses, many of which will have copyrights attached to them. Consequently, it is recommended to use a free image site such as Pixabay. com or RGBstock.com. Conveniently, just such an image exists. Using File > Place will launch a dialog box. Find the black_eyed_susan file in your resource folder. Click on “Place” in the lower right hand corner. Now your cursor is loaded with the image. Where you click next is where the upper left hand corner of the picture will start. So, click roughly 1.5” left of the center of the page (Figure 3.37). Should it drop in the wrong place, simply visit the toolbox and pick the Selection tool, then mouse over to the picture. Press down on the mouse and hold while you move the mouse to reposition the picture.

Figure 3.37 To place a photo in Illustrator visit File menu > Place. It will bring up a dialog box that will let you find your saved photo. Once you select and approve your photo, you will be back in Illustrator and your cursor will be full. To control the size that the picture comes in at, press and drag while holding the Shift key.

9781350047891_txt_app_CC19.indd 70

1/22/21 9:52 AM

Freehand forms

Note in the Control Bar this placed image is embedded, not linked. See the definition box on the next page for an explanation of the differences and benefits.

71

Once the picture is placed, lock the layer it is on (Figure 3.38). Then create a new layer—by clicking on the Layer panel submenu—for drawing your leaves. Figure 3.38 Lock the first layer with the photo resource on it. Then, using the submenu, create a new layer.

Now select the Pencil tool from the toolbar. It can be found under the Shaper tool. With the Pencil tool selected, return to your page. Mentally select a leaf to “trace”—to draw over with the pencil. The pencil works by pressing down on the mouse, pen, or pad and moving along the edge of your leaf. Note: where your start your line is where you will finish your line thusly making a shape (Figure 3.39). Note the cursor changes as you approach the starting point—a small circle appears next to the pencil. This means you have closed the drawing loop and can release your mouse pressure. Because there is a difference in the shades of green, part of the leaf is not included. That would be a separate shape and could be added if desired.

9781350047891_txt_app_CC19.indd 71

Figure 3.39 Select a leaf to outline. Do so with the Pencil tool.

1/22/21 9:52 AM

72

Taking shape

LINKED FILES VS. EMBEDDED FILES Linked files refer to an image whose preview has been placed in a document. This preview of the image serves as a “link” back to the actual file. Embedded files are those that are actually physically part of the document they are placed in. Why Link? Pro: It keeps the AI file small, especially good if you are going to just delete the image anyway. Con: You must keep track of the original imported file. It must stay in relation to the AI file it sits in relationship to. Why Embed? Keeps all your resources in one AI file. No need to keep track of the original imported file. Still can be deleted.

Now for color. With the leaf form selected, you may choose any of the default swatches. For more intense color instruction refer to Chapter 4: Color: Beyond the default swatches. The leaf’s fill and stroke can be different shades. The stroke can be different thicknesses and any of the brushes could be applied. Note: the sample is filled with green and outlined in purple (Figure 3.40). Also, the Variable Width Profile 1 and Brush Definition CharcoalFeather were applied. Once you have worked in Illustrator for a while, realism can be achieved. But, after all, this is an illustration, and the “real”ness is perhaps not the point. This leaf can also be dragged to the symbol panel (Figure 3.41) and sprayed as a symbol. Then scrunched, spun, scaled, stained, etc. to create a unique field of leaves (Figure 3.42).

Figure 3.40 Now color your leaf. Turn off Layer 1 to see your leaf more clearly. Using the Control panel at the top of the interface, select a green for the leaf fill. Then select a shadow color for the stroke. I then selected a pen profile and a brushstroke. I chose purple in honor of Pierre Bonnard’s use of cool color to recede and warm to advance. Shadows should recede. You can select as you wish.

9781350047891_txt_app_CC19.indd 72

1/22/21 9:52 AM

Freehand forms

Figure 3.41 Make the leaf a symbol and create a flurry of them. Scrunch them to overlap; stain them to create darks and lights; spin them to show new leaves reaching for the sun.

Creating, combining, and editing multiple symbols, then releasing them to further individual edits, allows for the rapid creation of imagery. Once symbols are released, special effects can be added. In this example, an outer glow in black set to multiply has been added (Figure 3.43). This creates the illusion of space between the individual elements of objects in the illustration. A duplicate of the Gerber daisy symbol has been placed on its own layer with the opacity reduced to 30%, creating a ghosted image. For more intricate color options proceed to the next chapter: Color: Beyond the default swatches.

9781350047891_txt_app_CC19.indd 73

73

Figure 3.42 Now add a Gerber daisy to the mix. This is the one that comes with the program. You can add your own daisy. Or even more than one. Play!

Figure 3.43 This last example has an outer glow applied to the various symbols. It adds an interesting papery depth to the work.

1/22/21 9:52 AM

74

Taking shape

EXERCISE: EMOJI SYMBOLS Goal: We’ve all seen and maybe even used the various smiling emoji faces and the steaming pile of poop that have been part of pop culture fame. How many times have you gone to the emoji library only to find the emoji you want doesn’t exist? This assignment is to create an emoji symbol using your newly developed skills from this and previous chapters. To practice, select some emojis to copy. Visit https://emojibase.com to view emojis.

STEPS: 1. Create a new print document with one page, horizontal or vertical, standard size such as A3 or Letter. a) Begin by observing the emojis found at emojibase.com. b) Select one to copy. c) Work larger than the emoji you are selecting. It can always be reduced. d) Start with the largest shape first to establish your background. Pay close attention to the fill color and the outline (Figure 3.44). e) Now, add details such as eyes and a mouth in the case of a face. Fill appropriately. f) To keep all elements together, using your selection key, press and drag around the image and “Group” or Command + g. 2. Try another, more complex emoji. 3. Once you have replicated a few emojis, it’s time to create one of your own. Ideas for that include your pet or favorite food. Choose something you know well. 4. Simplify the outer shape or shapes of the pet or food to create a more iconic image versus a realistic image. 5. Set the fill and the outline. 6. If needed, connect various simple shapes to make one more complex shape. 7. Work from the largest details to the smallest detail. 8. When complete, group the elements.

9781350047891_txt_app_CC19.indd 74

1/22/21 9:52 AM

Exercise: Emoji symbols

75

EXAMPLE:

Figure 3.44 Steps 1–3 represent the stages to developing an emoji approach to a complex form. Think geometry.

RUBRIC: Grade

9781350047891_txt_app_CC19.indd 75

A-B+

B-C+

C-D+

D-F

Forms equate to the original picture; line and color are apropos; details are just enough for identification; work is grouped

Forms need a little more customization; or, color and line need work; or, too many or too few details

Two of the items in the B/C+ area are applicable.

Try a simpler item. This one did not work for you.

1/22/21 9:52 AM

76

Taking shape

EXERCISE: LOGO DESIGN Goal: Create nine different logo solutions for a mobile business. Mobile businesses are all the rage—food trucks, dog groomers, nail salons, etc. Create a company of your own.

STEPS: Set up your document: 1. Create a four-page, letter-sized document in Illustrator. See below for the content to be created on each page (Figure 3.45). a. Page 1: Pictorial Investigations: Create four different iconic images for possible use. You may try out different strokes and brushes on the designs for different effects. Ultimately, one of these will need paired with type b. Page 2: Abstract Marks: You should have three of these options. These are non-literal interpretations of your business. The final selection from this grouping will also need paired with a type c. Page 3: Emblems: Selecting from your abstract or pictorial marks, have two images that you can test as Emblem Marks. Typesetting (Chapter 6) and a background are necessary for this to meet the emblem requirements. d. Page 4: Top design from each category for a total of three winning solutions. Selecting one from your abstract, one pictorial mark, and one emblem. Pair the pictorial and abstract with type for a complete corporate signature. 2. Starting on page 1 and working on only black and white, use the geometric tools, Pathfinder, Shape Builder, and the Shaper tool to create various images relating to your business. 3. Consider the various stroke settings and effects that you can apply to the forms to make more interesting imagery. 4. On page 2, work on images and strokes that evoke the feelings of your company. Visually depict, using various strokes and forms, the positive associations with your line of business. 5. Page 3 can be built off the various solutions from the previous two pages. Simply select the icon or form and copy it., placing it on page 3. Once the icon or form is on page 3, create a complementary background for the image to be placed on and integrate type for an effective signature for the business. 6. Be sure to save your document regularly as instructed in Chapter 1. Figure 3.45 is a sample start of a document for Tippy Toes, a mobile pedicure and manicure company.

9781350047891_txt_app_CC19.indd 76

1/22/21 9:52 AM

Exercise: Logo design

77

DEFINITIONS Logo: the figurative element of a corporate signature. Signature: the logo and corporate typeface combined. Pictorial Marks: recognizable icons often, but not always, in a simplified form.

Figure 3.45 Page one has “literal” illustrations of toes, feet, and flip-flops. Page two has flowers or fans relating to a spa day. Page three takes type seriously, adding in pictures as apropos for emblem logo design. Page four awaits a successful winning logo. Show us what you’ve got!

Abstract Marks: forms that represent a feeling, emotion, or non-figurative representation. Emblems: logos that include a background. Type is often inseparable from this type of design.

RUBRIC: Grade

A-B+

B-C+

C-D+

D-F+

F>

Page 1 More than four different iconic images are developed.

Four different iconic images are developed.

Four iconic images are developed with some repetition.

Less than four iconic images are developed.

Images are not appropriate to the task.

Page 2 More than three different abstract images are developed.

Three different abstract images are developed.

Three abstract images are developed with some digression.

Less than three images are developed.

Images are not appropriate to the task.

Page 3 More than two emblems are developed. Each with a unique ground and form placement.

Two emblems are developed. Each with a unique ground and form placement.

Two emblems are developed.

Less than two emblems are developed.

Images are not appropriate to the task.

Final Page

Creates three unique yet recognizable final logos depicting apropos styling. Missing type face.

Creates two unique yet recognizable final signatures depicting apropos styling, type face, and relationships.

Creates two unique yet recognizable final logos depicting apropos styling. Missing type face.

Tippy Toes are not in tip-topcondition. Try again.

Creates three unique yet recognizable final signatures depicting apropos styling, type face, and relationships.

9781350047891_txt_app_CC19.indd 77

1/22/21 9:52 AM

78

Taking shape

Featured Artist Victor Escandell www.victorescandell.com Simple forms need not be boring. In Victor Escandell’s work, there is a strong organic feel to all the shapes he employs. Don’t

lose your hand just because you are on the computer. Utilize the Pencil tool, or Capture, to render shape and form with a unique sense of you.

Figure 3.46 El Tesoro de la Laguna, ©victorescandell

9781350047891_txt_app_CC19.indd 78

1/22/21 9:52 AM

Featured Artist: Victor Escandell

79

Figure 3.47 Sinsonte, ©victorescandell

Figure 3.48 Untitled, ©victorescandell

9781350047891_txt_app_CC19.indd 79

1/22/21 9:52 AM

80

Color: Beyond the default swatches

4

9781350047891_txt_app_CC19.indd 80

1/22/21 9:52 AM

Color: Beyond the default swatches Topics covered: • Color Modes • Color books • Making a Swatch, Color Groups, and Color Theme • The Color Guide • Basic Gradient tool • Sneak peek at Gradient Mesh

By the end of this chapter, you will be able to: • Know the difference between RGB and CMYK and when to use them. • Understand additive and subtractive color models. • Create new Swatches and new swatch groups. • Investigate Color Themes and apply to various art works. • Utilize the Color Guide for applying and editing color to existing artwork. • Apply a gradient using the Gradient tool.

81

9781350047891_txt_app_CC19.indd 81

1/22/21 9:52 AM

82

Color: Beyond the default swatches

Color Modes When not properly introduced to color on the computer, it can be tricky. The first step in this chapter is to introduce Color Modes, when they are used, what they consist of, and how to set up your document properly from the start based on your end use. When you first open Illustrator to create a new document, immediately you are confronted with a choice that has many implications. Choosing print or video is not just a matter of getting the right page size and guides. It also selects the Color Mode you will be working in. Color Modes include: •

•

•

•

RGB: Red, Green, Blue: used for online or on screen—TV, computer, or phone. CMYK: Cyan, Magenta, Yellow, Key (Black): used for print purposes. HSB: Hue, Saturation, Bright: scientific approach, but remember you still have to either print OR post. Grayscale: Black and white and all the shades of gray in between.

RGB is an additive Color Mode which, simply put, means that as your numbers go higher your colors move lighter towards white. CMYK is a subtractive Color Mode in that one takes away color (lower numbers) to approach white. Analog painting is also subtractive (https://worqx.com/color/color _systems.htm).

9781350047891_txt_app_CC19.indd 82

So far, there is little reason to care. But, let me share this image with you (Figure 4.1):

Figure 4.1 This is a color gamut. It shows the range (gamut) of colors that a particular design output can display. We can see billions of colors. Color Film and a Color Monitor can display a lot of colors, but not the same colors. See where the lines intersect and where they do not overlap. Printing, depending on the stock you choose, prints even less colors. This should help explain why sometimes you see the color on screen (RGB) but it fails to print out from the Inkjet printer (CMYK). Clearly, you should be thinking about the end uses of your work as it has ramifications on color selection. https:// worqx.com/color/color_systems.htm

Color Books One might wonder, how do we get some of the brighter colors or other colors in print when CMYK falls short? There are two ways around the problem: Hexachrome printing and spot color. Hexachrome printers have six colors, adding orange and green to CMYK. This permits additional colors to be built. Spot color, often referred to as Pantone color, has thousands of dynamic colors

1/22/21 9:52 AM

Color Modes

to round out where CMYK may fall short. This can include specialty inks such as metallics and neons also. It is important when choosing a corporate color that one is attentive to the Pantone color for the corporation. Can the corporate color be built from CMYK and RGB? Will it work for all the uses, print to video to uniforms that the company with need it for?

•

•

Pantone color

•

There are tangible Pantone books one can purchase to select corporate colors from (www.pantone.com). These books are also available on the computer in Illustrator in the swatches submenu. Simply go to Open Swatch Library > Color Books > Pantone + Solid (coated or uncoated) (Figure 4.2). There are clearly many Pantone resource books to look at. Let’s decipher which books to use when:

•

•

•

PANTONE + CMYK Coated: These are CMYK builds of Pantone colors for shiny paper. This will let you know what the CMYK version of the solid color you chose will look like. Note: They may not match too well. PANTONE + CMYK Uncoated: CMYK build on non-glossy paper,

•

•

83

think bond or newsprint. Note: These will be even duller than the coated builds. PANTONE + Color Bridge Coated: This book demonstrates how Pantone colors can be reproduced on coated paper. PANTONE + Color Bridge Uncoated: This book demonstrates how Pantone colors can be reproduced on uncoated paper. PANTONE + Metallic Coated: This is where you can select silver and gold and many other shiny metallized colors. Note: Using on an uncoated stock will create a faint pearlization to the ink. PANTONE + Pastels & Neons Coated: Here’s where to shop for your soft or intensely vibrant color swatches. PANTONE + Pastels & Neons Uncoated: Here’s where to shop for your soft or intensely vibrant color swatches. Note: It has been my experience that on uncoated paper the neon still sings brightly. PANTONE + Premium Metallics Coated: Please note metallics can cost more plus, in large quantities, can add weight to a final printed piece. Figure 4.2 To open a Swatch Library visit the hamburger menu in the Swatches menu. Open Swatch Library > Color Books > and a whole lot of choices.

9781350047891_txt_app_CC19.indd 83

1/22/21 9:52 AM

84

Color: Beyond the default swatches

•

PANTONE + Solid Coated: This is where you start. Find the color and swatch number you wish to test. Create a test sheet of a variety of color options and print before moving on. You need to know what color the swatches print out as. Even though it says solid, the only way for you to test it is on a CMYK or hexachrome printer. Note: In the greens and blues, the color difference can be more than it appears on screen. PANTONE + Solid Uncoated: The duller version of the coated colors. See above.

•

Other color books •

•

ANPA Color: ANPA, a palette of 300 colors specified by the American Newspaper Publishers Association News Media Alliance “Commonly used for newspaper applications. The ANPA-COLOR ROP Newspaper Color Ink Book contains samples of the ANPA colors. Commonly used for printing projects in Japan. For more information, contact Dainippon Ink & Chemicals, Inc., in Tokyo, Japan.” (palette.com). HKS BOOKS: Used for printing projects in Europe. Each color has a specified CMYK equivalent. You can select from HKS E (for continuous stationery), HKS K (for gloss art paper), HKS N (for natural paper), and HKS Z (for newsprint). HKS is an abbreviation of three German color manufacturers: HostmannSteinberg Druckfarben, Kast + Ehinger Druckfarben and H. Schmincke & Co. (palette.com).

9781350047891_txt_app_CC19.indd 84

Spot color system in Japan •

•

•

TOYO 94 Color Finder: Another color system competitive with Pantone, primarily in Asia (http:// www.toyoink.com). TOYO Color Finder (newer version): Another color system competitive with Pantone, primarily in Asia (http://www.toyoink.com). DIC Color Guide: Another spot color system common in Japan—it is based on Munsell color theory (https://munsell. com/about-munsell-color/ how-color-notation-works/).

Odd ones out •

•

TRUMATCH: “Provides predictable CMYK color matching with more than 2000 achievable, computer-generated colors. Trumatch colors cover the visible spectrum of the CMYK gamut in even steps. The Trumatch Color displays up to 40 tints and shades of each hue, each originally created in four-color process and each reproducible in four colors on electronic imagesetters. In addition, four-color grays using different hues are included.” (Palette.com) FOCOLTONE: “Consists of 763 CMYK colors. Focoltone colors help avoid prepress trapping and registration problems by showing the overprints that make up the colors. A swatch book with specifications for process and spot colors, overprint charts, and a chip book for marking up layouts are available from Focoltone. For more information, contact Focoltone International, Ltd., in Stafford, United Kingdom” (Palette.com).

1/22/21 9:52 AM

Other items in the Swatch Library

85

Other items in the Swatch Library Beyond the color books there are other offerings in the Swatch Library. Many of them are swatch palettes developed from the area they are named after. For example, FOOD consists of palettes based on foods. Exceptions to these other palettes are the swatches that relate

9781350047891_txt_app_CC19.indd 85

to the World Wide Web. Visibone and Web will both supply 216 web-safe colors from when the web had trouble interpolating other colors. The difference is in how the swatches are arranged. These are a nice throwback but not necessary these days.

1/22/21 9:52 AM

86

Color: Beyond the default swatches

Making a swatch, a group, and a theme Like most Adobe programs there are many ways to go about any task you wish to perform. The same goes for creating a color swatch. Some designer/illustrator types like to create their swatches right off the bat and group them right away. Other individuals like to click on the fill square at the bottom of the toolbar and create a color when they need a color. Either way can work. To create organized swatches immediately, go to the swatch submenu and choose New Swatch or New Color Group. One will create a swatch and place it with the other swatches while creating a color group and will keep your swatches organized and separate. If you create a series of swatches that you wish to then put in to a color group, create a folder in the Swatch panel and drag and drop the swatches in it. Now, if you’re more of a “create the color when you need it” kind of artist, you can certainly do so. When your illustration is part way along you can select your art by pressing and dragging with the move tool around your artwork. Then, go to the swatches submenu, and select “Add used colors”. Every color you created will be added to the swatch panel. You can then create a “New Color Group” folder in the swatch panel and drag all your swatches to it.

9781350047891_txt_app_CC19.indd 86

Swatches can also be created in the Color panel and then dragged to the Color Group Folder of your choice. The main caution that I have when creating swatches is that you are sure of the color model that you created them in. Being a compulsive person, I tend to even name my swatches with the color formula number so as to know how the colors were built. So, a CMYK color swatch would be named with four sets of numbers separated by periods—##.##.##.##. Likewise, an RGB build would be named with three sets of numbers separated by periods—###.###.###.

Changing Color Groups Often when creating within a brand there is need for artwork to work in several different color groups or palettes. The good news is that changing the colors of an artwork can be automated. Let’s start with the beverage label design in its original colors (Figure 4.3). A sister label needs designed for a different flavor. In the Swatches menu, create a New Color Group. Consider colors that would represent Pumpkin Ale. You can investigate themes in the Color Theme panel (Figure 4.4) or in the Swatch Library or go it on your own from your color knowledge.

1/22/21 9:52 AM

Making a swatch, a group, and a theme

87

Figure 4.3 This is the basic label as it stands. We would like to create a sister label to it—a PumpKing Ale. This will require the change of color, pattern, and text. Visit the web for a short video on how to execute these changes.

Figure 4.4 You can investigate themes in the Color Theme panel or in the Swatch Library or go it on your own from your color knowledge.

The Color Theme panel pulls themes from https://color.adobe.com. Should the Color panel ever not load, one can visit the site and “explore” various color palettes other designers have saved or “create” color palettes based on various scientific color arrangements, such as analogous and triad. To apply the newly created color palette, first create a new artboard using the artboard tool. Return to the Move tool then copy the artwork,

9781350047891_txt_app_CC19.indd 87

pasting it on the new artboard. Or, when in the artboard tool hold down the Option key to pull a duplicate artboard from the artboard already present. Artwork and all will duplicate. Once you have a second version of the label you can select it by pressing and dragging around the whole piece of art. In the Color Guide panel (Figure 4.5) you will see all of the colors currently comprising that piece of art. Under the submenu in the Color Guide panel, select “Edit Colors.” On the right of the Edit Colors dialog box, note the color palette you selected is there. Choose it and the colors automatically pair up with the colors on the left side of the dialog

Figure 4.5 Once you have a second version of the label you can select it by pressing and dragging around the whole piece of art. In the Color Guide panel you will see all of the colors currently comprising that piece of art. Under the submenu in the Color Guide panel, select “Edit Colors.”

1/22/21 9:52 AM

88

Color: Beyond the default swatches

New in CC 21: Change your palette based on an image.

Figure 4.6 To change up the color pairings simply drag the colors around to reassign. Your artwork will follow suit. Thusly you can adapt your color to the intended object.

Figure 4.7 Color is very flexible. Unsatisfied with the palette you initially created? Click on the “Edit” button directly over the central striped or rainbow circle.

9781350047891_txt_app_CC19.indd 88

box (Figure 4.6). They may not be paired the way a designer would want but they pair nonetheless. To change up the pairings simply drag the colors around to reassign. If you are not seeing your artwork change color, in the lower left-hand corner of the dialog box is a “Recolor Art” check box. Make sure it is checked. Now you can monitor in real time. If you are unsatisfied with the palette you’ve created or wish to tweak the colors, click on the Edit button located to the left of the Assign button in the dialog box to edit your color palette (Figure 4.7). To tweak the whole palette, begin moving the circles. Note they move in unison. If you wish to alter a specific circle of color, click on the link symbol on the right hand side of the spectrum. Now, you can move the circles individually for subtle and not so subtle color adjustments. Notice how your swatches, as well as your artwork, will change to match the color decisions you are making. Once you are happy with the color reassignment, select “OK.” I recommend that you save your work immediately as you have just made many moves and changes. Then you can change the flavor and other language details of the label to match the new flavor of beverage.

1/22/21 9:52 AM

Gradient and Gradient Mesh

89

Gradient and Gradient Mesh Additional color options include gradients and gradient mesh applications. Gradients can add subtle details to backgrounds and strokes creating the suggestion of the play of light. Standard gradients can be linear or radial. They all start as black and white, horizontal or vertical, depending on what direction you pull the Gradient tool across the selected form. In this example, the Gradient tool was pulled horizontally (Figure 4.8) across the selected oval shaped background. The default settings have appeared (Figure 4.9).

Launching the panel for the gradient means a visit to the Window menu. Within the panel there are fill and stroke boxes. Above that there is a Gradient Preview. To the right of that is the gradient type—linear or radial. Below the type is stroke settings, angle, aspect ratio, and the Gradient Slider. First, set the angle to 90º in order to change the gradient to a vertical gradient (Figure 4.10).

Figure 4.8 This is a standard linear gradient being pulled across the oval. The angle will be changed as well as the colors.

Figure 4.9 Here is the gradient with the Gradient panel. Note the linear, 0 degrees, and the gradient band. These are all item that can be changed.

9781350047891_txt_app_CC19.indd 89

1/22/21 9:52 AM

90

Color: Beyond the default swatches

Figure 4.10 When 90 is entered in the angle box, the gradient rotates 90 degrees counter-clockwise.

Next, the Gradient Slider permits one to change the colors, where they blend, and any additional colors (Figure 4.11). By clicking on the small boxes below the slider the swatches menu comes up. This permits you to blend any two or more swatches together. The center diamond atop the Gradient Slider sets where the blending takes place (Figure 4.12). It will appear between any two colors to set the transition. Additional colors can be added by clicking immediately below the Gradient Slider. The angle can be adjusted to align the gradient differently than strictly vertical or horizontal. Here, the light glow has been angled to appear behind the Amber Ale banner (Figure 4.13). Now, the Gradient Mesh on the other hand can create the appearance of form to an otherwise flat shape (Figure 4.14). Extended discussion of the Gradient Mesh can be found in Chapter 8: Gradient Mesh. For a preview, use Blippar® over the Roxy Amber Ale image with the mesh applied. In conclusion, there are quite a variety of ways to fill or stroke any shape. The key is to do it in the right color mode for the final output. As we have seen, there is a visual difference between RGB versus CMYK, and, a different end use.

Figure 4.11 Here is an example of the color swatches pop-up so that the green can be adjusted.

9781350047891_txt_app_CC19.indd 90

1/22/21 9:52 AM

Gradient and Gradient Mesh

91

Figure 4.12 The colors of the gradient can be changed by pressing on the swatches below the Gradient bar. Also, the gradient can be shifted by moving the diamond that rests on top of the Gradient bar.

Figure 4.13 Check out the Gradient bar now! Additional swatches have been dragged from the Swatch panel and dropped on the Gradient bar. The diamonds are pulled close to the bright color to make the appearance of a glow. And the angle has been changed to angle with the Amber Ale banner.

Figure 4.14 Another color gradient option is known as a gradient mesh. This method of mesh making can create the illusion of volume on the 2D surface. In this example, Roxy gets a snout. The white about her eyes and the shadow near her nose is generated through the application of a gradient mesh. For more on gradient mesh, check out Chapter 8.

9781350047891_txt_app_CC19.indd 91

1/22/21 9:53 AM

92

Color: Beyond the default swatches

EXERCISE: LABEL ASSIGNMENT 1 For independent projects, students could colorize their logo or sign from the last chapter. For a more cumulative approach, students should create a beverage label which will allow them to investigate a color palette; create a color group in CMYK mode; and then apply their palette to the strokes and forms that they have already created.

In order to demonstrate your command of the various skills learned up to now and the techniques available in Illustrator, you will create a beverage label with the following elements present: Multiple stroke applications (six lines minimum) A custom pattern that utilizes the pattern tool (Chapter 7) Three styles of type (skip ahead a Chapter 6 for “more on type”) A logo (Chapter 3) A flavor wordmark (Chapter 6) Ingredients or the ATF alcohol warning (Chapter 6) A color palette (Chapter 4) Then, a second label will be created where ONLY the following will change: The pattern (Chapter 7) The flavor wordmark (Chapter 6) The color palette (Chapter 4) Your beverage may be any of the following: Soda Beer Wine Water Iced tea Tea bags Coffee PARAMETERS: Develop a new label series Develop your own new brand and logo

9781350047891_txt_app_CC19.indd 92

1/22/21 9:53 AM

Exercise: Label assignment 1

93

STEPS: 1. Research into the beverage area of choice and collect inspiration on a Pinterest board (20 images) 2. Choose a label to deconstruct. Labelling each element and explaining how it was created. 3. 12 label sketches are required that include each of the aforementioned required elements 4. Vector file master 5. Duplicate a second page for the second label See below for the split column rubric. Items listed above in the discussion equal what is in the center column. If a student exceeds the requirements through application or mad skills, they earn an improved grade on the right. If the student’s work falls short, they will have diminished their grade. Marks are then made to the left. For student examples of various labels, see the next four pages. RUBRIC: Less than a C+

Basic design work C+

Better than a C+

Just 1 point lines?

Multiple strokes present

Creative application of: stroke settings.

Overly simple

Custom pattern

Creative elements:

Three types, not necessarily working well together

Multiple type applications

Coordinated and contemporary type selections

Bitmapped standard

Corporate logo

Original to you

Just type

Flavor wordmark

Can work as a stand-alone element in ads

Hyphens and a hot mess

Ingredients/ATF warning

Proper typesetting

A bit of a cacophony of color

Color palette

Flexible and uses one of the scientific color models

Awkward

Coordinating second flavor

A third coordinating flavor

Less than or poor quality/ relevance

20 research images

More than. . . and relevant

Less than or poor quality

12 sketches

More than 15 sketches

Incomplete

Two final labels that are coordinated and printable

Complete + one additional label

Not real perceptive as to how the label was constructed

Deconstruction of an existing label

Insightful, shows additional knowledge

9781350047891_txt_app_CC19.indd 93

1/22/21 9:53 AM

94

Color: Beyond the default swatches

EXAMPLES: ssic Blend Cla

DEJA BREW TEA CO.

Her

DEJA BREW

Green

TEA CO.

Deja Brew Tea Company, LLC Omaha, NE 68157

b a l Te a

U

CAFFEINE FREE

Green Tea Green tea is a type of tea that is made from Camellia sinensis leaves that have not undergone the same withering and oxidation process used to make oolong teas and black teas. Green tea originated in China, but its production and manufacture has spread to many other countries in Asia.

Brewing Instructions For the best tea drinking experience, bring fresh water to a boil. Place the tea bag in the cup and pour hot water over the bag. Let it steep for 1-3 minutes or to desired taste. For iced tea, add 2 or more bags.

All Natural Ingredients Green tea, allspice, clove, clove bud oil, cardamom oil, tannins, theanine, plant pigments, alkalinity, fluorine, and saponins.

HERBAL SUPPLEMENT

25 Bags

ssic Blend Cla

DEJA BREW TEA CO.

Her

DEJA BREW Deja Brew Tea Company, LLC Omaha, NE 68157

b a l Te a

Chamomile U

Chamomile Tea Chamaemelum nobile commonly known as chamomile (also spelled camomile), Roman chamomile, English chamomile, garden chamomile, ground apple, low chamomile, mother's daisy or whig plant,is a low perennial plant found in dry fields and around gardens and cultivated grounds in Europe, North America, and in Argentina.

Brewing Instructions For the best tea drinking experience, bring fresh water to a boil. Place the tea bag in the cup and pour hot water over the bag. Let it steep for 1-3 minutes or to desired taste. For iced tea, add 2 or more bags.

All Natural Ingredients Chamomile, natural vanilla and honey flavors with other natural flavors, licorice root

CAFFEINE FREE

HERBAL SUPPLEMENT

25 Bags

ssic Blend Cla

DEJA BREW TEA CO.

Her

DEJA BREW Deja Brew Tea Company, LLC Omaha, NE 68157

b a l Te a

Lavender U

Lavender Tea Lavender -- Lavandula angustifolia or Lavandula officinalis -- is a shrub known for its pleasant aroma and bright purple flowers. It is native to the mountainous regions of the Mediterranean, but is now cultivated throughout the world, particularly in the United States, Australia and southern Europe. Used in potpourri, cloth sachets, soaps and shampoos, it is also prepared as a tea, which has traditionally been used for medicinal purposes.

Brewing Instructions For the best tea drinking experience, bring fresh water to a boil. Place the tea bag in the cup and pour hot water over the bag. Let it steep for 1-3 minutes or to desired taste. For iced tea, add 2 or more bags.

All Natural Ingredients Natural honey flavor, organic lavender flavor, organic lemon myrtle flavor, organic vanilla flavor

CAFFEINE FREE

HERBAL SUPPLEMENT

25 Bags

Figure 4.15 Deja Brew Tea Co., loose tea. Designer: Kimberly Carden, 2018. School: Mercyhurst University.

9781350047891_txt_app_CC19.indd 94

1/22/21 9:53 AM

Mtn.

Top offee

C

Mtn.

He may not have been the best, but this stout might be.

65

10%

Listen...He discovered the new world 500 years before columbus. what are you waiting for?

9781350047891_txt_app_CC19.indd 95

IMPERIAL Stout

70

Double IPA

9%

GOVERNMENT WARNING: (1) According to the Surgeon General, women should not drink alcoholic beverages during pregnancy because of the risk of birth defects. (2) Consumption of alcoholic beverages impairs your ability to drive a car or operate machinery, and may cause health problems.

Mtn.

GOVERNMENT WARNING: (1) According to the Surgeon General, women should not drink alcoholic beverages during pregnancy because of the risk of birth defects. (2) Consumption of alcoholic beverages impairs your ability to drive a car or operate machinery, and may cause health problems.

Exercise: Label assignment 1 95

Figure 4.16 Mountain Top Coffee, coffee. Designer: Jillian Marcellin, 2018 School: Mercyhurst University.

Italian Caffè

100% Whole Bean Coffee

Coffee Top

Peruivan Urambamba

100% Whole Bean Coffee

Coffee Top

Brazilian Espresso

100% Whole Bean Coffee

Figure 4.17 Local Ghost Beer, beer. Designer: Timothy Weisgerber, 2018 School: Mercyhurst University.

1/22/21 9:53 AM

96

Color: Beyond the default swatches

eaea aat tSS a e a TTe

H CH ON T

O

HO

H

P

EA

E

BE

NE

Y

ACH

Sea t a a Te

NOLUL

U

Figure 4.18 Tea at Sea, iced tea. Designer: Matthew Mellish, 2018 School: Mercyhurst University.

9781350047891_txt_app_CC19.indd 96

1/22/21 9:53 AM

Exercise: Label assignment 1

97

Figure 4.19 Wild Moose Brew Co., beer. Designer: Patricia Shullick, 2018 School: Mercyhurst University.

9781350047891_txt_app_CC19.indd 97

1/22/21 9:53 AM

98

Color: Beyond the default swatches

Featured Artist Lucas Suancha Lucas Suancha for Jolusuro www.behance.net/josuan Upon viewing Lucas’s Natives Series, I knew it needed to be shared. The Natives Series creatively use line to tell the story of surfaces and environments. They masterfully use color and gradients to express intensity.

Figure 4.20 Natives: Bison Chieff. ©Lucas Suancha

9781350047891_txt_app_CC19.indd 98

And their form is excellent. There is so much to see on each character, yet there is an immediacy of that character. Take the time to examine the work closely and see the decisions that Lucas has made to make the work sing.

Figure 4.21 Natives: Wind Spirit. ©Lucas Suancha

1/22/21 9:53 AM

Featured Artist: Lucas Suancha

Figure 4.22 Natives: Wolf Warrior. ©Lucas Suancha

9781350047891_txt_app_CC19.indd 99

99

Figure 4.23 Inside. ©Lucas Suancha

1/22/21 9:53 AM

100

Sketches alive! Bringing your traditional skills into Illustrator

5 9781350047891_txt_app_CC19.indd 100

1/22/21 9:53 AM

Sketches alive! Bringing your traditional skills into Illustrator Topics covered: • Placing your scanned or captured sketches • Introducing the Live Trace control bar • Live Paint Bucket tool • Employ your cellphone with Adobe Capture

By the end of this chapter, you will be able to: • Import a picture into Illustrator. • Use Live Trace to render an image into vector art. • Apply color to an image through Live Paint. • Utilize Adobe Capture to acquire hand-drawn images to the Documents Library. • Know some of the plug-ins used by expert professionals for more precision rendering.

101

9781350047891_txt_app_CC19.indd 101

1/22/21 9:53 AM

102

Sketches alive! Bringing your traditional skills into Illustrator

Overview You may find drawing in Illustrator lacks an organic feel. And, you’d be right; after all, it is a mathematical method to drawing. But there are a few ways around this issue that can achieve the organic feel you might be after. One way is to scan your handdrawn image and use Image Trace. Another is to use Adobe Capture® available for smartphones. Also, there are other software plug-ins available to improve the quality of the image trace such as VectorScribe®. Lastly, you can hand trace any image you bring in to achieve organic perfection. Let’s create some images together that utilize each of these methods for your evaluation.

9781350047891_txt_app_CC19.indd 102

In order for us to explore the various methods, you will need to have a drawn image. Since we are working on a beverage label, I recommend that you draw an ingredient in, or flavor of, your beverage. Try drawing it using various substrates (surfaces) and various media (marker, pencil, paint, etc.) Each of these substrate/media combinations will create a different feel and thusly will scan, photograph, or capture differently.

1/22/21 9:53 AM

Image Trace

103

Image Trace First you will need to scan or photograph your simple sketch. Then place the image file into Illustrator by visiting File > Place and selecting the scanned image. For demonstration purposes, my image is that of a hops bud (Figure 5.1), one of the ingredients of Roxy’s Ale. It was drawn with a marker on a napkin. Once your image is in Illustrator, the control bar will contain the Image Trace commands and settings (Figure 5.2). Let’s take a look at those.

FILE NAME—The name of the file is important. If it is not embedded as the original resource file, it needs to be maintained in relationship to the Illustrator file it is placed in. RESOLUTION—How good is your resource? Resolution applies to any raster picture brought into Illustrator. EMBED vs. LINK—Allows you to embed the file so that you needn’t maintain the original file relationship. IMAGE TRACE PRESET—12 options for image tracing. See the following section for a discussion of options. ISOLATE THE IMAGE—The mask button from which no discernible difference happens. IMAGE EDITING—Cropping this image will take you to the original file’s resident program. If it is a scan or photo, not previously edited in Photoshop, then it will open in Preview.

Figure 5.1 The raw image.

Figure 5.2 When placing any image to Illustrator the image trace settings will appear in the control bar.

9781350047891_txt_app_CC19.indd 103

SCREEN THE IMAGE—Opacity lightens an image creating a sheer effect. This is sometimes handy when trying to see how an imported image may interact with other images on the page.

1/22/21 9:53 AM

104

Sketches alive! Bringing your traditional skills into Illustrator

Image Trace presets Presets allow for quick results. . . relatively so. Meaning, some presets take longer than others. Results vary based on the imported file’s makeup. Our black and white sketched ingredient/flavor will most likely make out best with Black and White Logo (Figure 5.3), Line Art, or Technical Drawing depending on the nature of the line work of your original art. The simplest way to tell which to use is to consider the resource and apply the preset. If you do not like the results, Command + z is always an option. Also, once traced, a small menu icon entitled the “Image Trace Panel” (Figure 5.4) will appear near the image trace. The icon opens the settings for each of the presets allowing for preview, a change in sensitivity with a threshold slider, and a wholesale change of the preset.

Figure 5.3 Under the Image Trace are some preset selections that will trace art in a certain way. Evaluate your art and the result you desire when making your selection. Know that there is an Image Trace panel that will allow for increased or decreased sensitivity.

9781350047891_txt_app_CC19.indd 104

Figure 5.4 Did the Black and White mode pick up just enough information, or too much, or too little? The Image Trace panel settings can be adapted to your desired result.

When one places an image in Illustrator, whether it is embedded or not, there will be a white box around the image if the image is not rectilinear. You can see that the hops has the white around the image. When traced as a Black and White Logo, both the black and the white become shapes. This is evident by the red wire outlines around all of the form (Figure 5.5). To be rid of the white box around the traced image, use the Direct Select tool, selecting a corner point. Once the corner point is selected, press the delete key on the keyboard (Figure 5.6). It will begin to delete the background rectangle. Hit delete a second time and the rest of the rectangle will disappear (Figure 5.7). That will leave a black and white image. Note the white centers of the hops bud in my sample did not delete but remain white (Figure 5.8). If I select and delete the white forms there will be solid black beneath the white circles. If I desire the white to be a hole instead, allowing for the green to show through, I need to employ the Pathfinder panel (Figure 5.9).

1/22/21 9:53 AM

Image Trace

Some notes about the different presets. High fidelity photo takes a bit of time depending on your processor. It will translate the imported image into a very intricate paint-bynumbers style image. This is a very intensive process. Low fidelity photo steps the results back a little. This setting interpolates a bit of the data and is less detailed. Three (3) Colors posterizes the resource image based on the three most dominate colors in the image. Six (6) Colors does just the same, but with—you guessed it—six colors. And, of course, 16 Colors creates a posterized/ paint-by-numbers effect. Shades of Gray reduces an image to the range of grays. Black and White Logo works well on bold black and white images. Sketched Art will allow for grays. Silhouettes creates blockish forms with little detail from the supplied art. Line Art translates one’s drawing into vector lines as does Technical Drawing. It is recommended that you consider your resource art when choosing between presets.

105

Figure 5.5 The resulting image trace. Note the red wire outlines. Yours may be a different color based on what layer you are on.

Figure 5.6 Using the Direct Selection tool, click on the corner anchor point to select and hit delete on the keyboard. Hitting delete a second time will get rid of the background square.

Figure 5.7 The background square is gone but the white centers still exist. These can be colored in with Live Paint if desired.

9781350047891_txt_app_CC19.indd 105

1/22/21 9:53 AM

106

Sketches alive! Bringing your traditional skills into Illustrator

Figure 5.8 Here, one center white piece is selected.

One might assume that the fourth Shape Mode, Exclude, would do the trick. Nope. One must first expand the image, then press and drag over the image to select all of the black and the white shapes. Select the first Pathfinders option—Divide. After that, using the Direct Select tool, one can select the white shapes and press delete on the keyboard to delete the white and create a hole in the black art (Figure 5.10). All-in-all much of the organic feel of the black and white art has been retained. Some professional illustrators are not satisfied with the quality of Image Trace. For them, and those like them, there are purchasable plug-ins that retain even more data points for an even finer attention-to-detail.

Figure 5.9 After selecting both the white and the black forms, utilize the Pathfinder to divide. Then, with the Direct Selection tool, click on the white and delete.

Figure 5.10 Now that you have deleted all of the white centers, this is what your image would look like.

9781350047891_txt_app_CC19.indd 106

1/22/21 9:53 AM

Live Paint

107

Live Paint Found under the Shape Builder tool in the toolbox, Live Paint is a manner of coloring traced images. It is fastest to open the Color Picker panel and position it near where you are painting. Think of it as a paint palette, much as you would in real time. Select the artwork that you wish to paint. Then, with the Live Paint Bucket tool selected, position the arrow of the tool over the item that you wish to paint and click. Note that it is the arrow that distributes the color and not the drop off the paint bucket (Figure 5.11). If this icon is confusing, depress caps lock on your keyboard and the icon will change to a crosshair. This may help with landing the color where you want it more effectively. Hovering above the Live Paint Bucket tool is a color swatch. This let you see what color you are working with and, also, the color before and after that swatch (Figure 5.12). When a detailed Live Paint group is selected, sometimes it is hard to see if you have colored all the little bits and pieces. Holding down the Command key eliminates the points from the lines and allows a better view of the item, great for checking that all items have been attended to. A final note about Live Paint, it doesn’t affect stroke color. One must return to the Selection tool to work with stroke settings (Figure 5.13).

9781350047891_txt_app_CC19.indd 107

Figure 5.11 Live Paint relies on the arrow to distribute paint, not the drop from the paint bucket.

Figure 5.12 Here’s an example of painted centers.

Figure 5.13 Here, the outlines have been painted a darker green. Note the topper is not a closed form so it cannot be live painted.

1/22/21 9:53 AM

108

Sketches alive! Bringing your traditional skills into Illustrator

Adobe Capture and Illustrator Adobe Capture® is a free smartphone application that “captures” images, patterns, color palettes, typography, materials, and brushes. The application will allow you to edit the captured resource and export it to the library of either Photoshop, Illustrator, or in some cases, Sketch. Much of

the organic nature of a drawing can be retained by keeping smoothing off when rendering. Once on your computer, launch Libraries—Window > Libraries—to retrieve your images. Then you can select the image and click on the paste-up board to drop a copy on your page.

Figure 5.14 This drawing is in green pencil on medium quality drawing paper.

9781350047891_txt_app_CC19.indd 108

1/22/21 9:53 AM

Shapes

109

Shapes The default screen after the launch of the app is the camera where you can capture shapes. Shapes permits one to photograph a drawing with their phone with a slide and a click of the button (Figure 5.15). The image will only be as good as one’s resource drawing. I recommend drawing on a variety of surfaces with a variety of media to get the feel for how Capture will render work. The grittiness of an image depends on the media and surface. It can also be controlled through the slider that reads the image. The camera will pick up as much detail or as little detail as you choose. Adjacent is the green hops resource image (Figure 5.14). When capturing the resource image, the slider was pulled to the right about 66% of the way to darken the final image or “Shape” but retain a bit of the crunchiness of the media. The shape is captured and presented in Edit mode. There is an

option to erase any extraneous details with the Eraser tool in the lower lefthand corner (Figure 5.16) or to draw in any missing elements with the Brush tool. Once the cursory cleaning of the image is complete, Crop allows you to close in on the image (Figure 5.17). Once the picture is cropped, Smooth finesses the edges of the image. The Off/On at the bottom of the Smooth screen turns smoothing “off” or “on.” Smoothing will render the image with smoother external lines. Always check between the two images to see which is preferred (Figures 5.18 and 5.19). Figure 5.16 Once the picture is where you want it to be, you hit the button which will bring you to this screen. Using your finger, you can erase any noise or draw in anything missing.

Figure 5.15 This is the Capture application at work. Note the slider below the picture. This allows the user to pick up more or less detail of the image.

9781350047891_txt_app_CC19.indd 109

1/22/21 9:53 AM

110

Sketches alive! Bringing your traditional skills into Illustrator

Once finished with the editing select Save from the upper right corner. The image will be saved to your library and your interface will return to the “Capture Image Camera.” In order to name the image, return to the Library by clicking on the

Figure 5.17 Using your finger, move the corners in to crop the image as desired. Note that not cropping saves extraneous details that equal wasted data. Figure 5.20 After you have clicked on the “X”, this Options menu will appear. With your finger, select or click on the desired option.

9781350047891_txt_app_CC19.indd 110

“X” in the lower left corner. Select the image you wish to name by clicking on the image. A menu will appear over the image (Figure 5.20). There will be the option for you to rename the image. Select “Rename” and enter the new name (Figure 5.21).

Figure 5.18 This is an example of a captured image with the smoothing off.

Figure 5.19 This is an example of a captured image that has been smoothed. Note that smoothing seems to only affect the outer edge of the image.

Figure 5.21 Should you select “Rename”, the QWERTY keyboard will appear and you can name your image asset.

1/22/21 9:53 AM

Patterns

111

Patterns When in Pattern mode there is a menu across the top with many important options (Figure 5.22). The first option, a small palette, allows one to capture an image in color, grayscale, or black and white (Figures 5.23 and 5.24). The second option, a square box, controls whether the pattern will be bitmap or vector (Figure 5.25). One can arrange the resource image in various patterns—pie, diagonal, diamond, smaller pie slice, and brick—by utilizing the third image (Figures 5.26 and 5.27). Lastly, the resource can even be adjusted for exposure, highlight, and shadow (Figures 5.28 and 5.29). This is symbolized by the intersecting circle icon. Holding the phone steady while exploring all of this would be brutal.

Figure 5.23 This is the pattern in color.

9781350047891_txt_app_CC19.indd 111

Figure 5.22 When you enter the Pattern Capture mode the phone’s camera images whatever you are aiming at. Note the top bar with the four icons. These allow you to edit control your resources.

Luckily, when you tap on the image field it will freeze the resource image and allow for you to further explore the aforementioned options. The large central button at the bottom of the preview changes to have a check mark inside of it. When you click on the button, the application enters the Edit mode where the resource image can be angled to create different pattern effects (Figures 5.30 and 5.31). Once satisfied with the edit, click “Save” in the upper right corner. The pattern is now in the library.

Figure 5.24 This is the pattern in black and white.

Figure 5.25 Icon two allows you to choose between pixel or vector results.

1/22/21 9:53 AM

112

Sketches alive! Bringing your traditional skills into Illustrator

Figure 5.26 Icon three allows you to select the arrangement of your resource image—diamond.

Figure 5.27 Icon three allows you to select the arrangement of your resource image—small pie.

Figure 5.29 Here, the shadows are being adjusted through the use of the slider. Note that all three adjustments can be employed to perfect your pattern.

Figure 5.30 Once the large white button has been pressed, there is still one more option to address and that is the angle at which your resource image sits.

9781350047891_txt_app_CC19.indd 112

Figure 5.28 The fourth and final icon allows you to affect the exposure, highlight, and shadow of your resource image.

Figure 5.31 Changing the angle of the resource picture has dramatic effect on the final outcome. Don’t like the new arrangement? Click on the icon in the lower right-hand corner to undo.

1/22/21 9:54 AM

Colors

113

Colors Colors capture reads any image framed in your phone’s camera or from your saved images. It finds the five most dominate colors creating a color palette for use in either Adobe product—Photoshop or Illustrator. Once the resource is captured one can alter, enhancing or subduing a color, through a series of sliders and popular color formats. When Colors is first launched, all the collected palettes are listed along with a framed picture or camera (Figure 5.32). Clicking on the camera will activate the camera on the smartphone and begin to read its’ surroundings. Clicking on the framed picture will provide a menu with selections to choose from that include camera roll, Creative Cloud,

Figure 5.32 From your library screen of the Colors area, you can access the camera or various input options.

9781350047891_txt_app_CC19.indd 113

Lightroom, stock, and files (Figure 5.33). I have selected a picture of my desk and a painting by Heather Miller Kanazawa. The application is reading the shadows, the desk, and the painting and providing the top five colors (Figure 5.34). I really like the touches of orange and pink that are stowed in this painting. So, I click on the top overlapping circles button to expose an Edit mode for saturation, exposure, and highlight (Figure 5.35). This allows me to select saturation where the color pickers rearrange to include some orange You’ll note that there is a slider to control the saturation. This is true of exposure and highlight also. These settings can be stacked upon one another or used individually. Once satisfied with the

Figure 5.33 Five options for even more items to build a palette.

Figure 5.34 From my camera roll is a photo of Heather Kanagawa’s work that contains subtle color I wish to capture.

Figure 5.35 After click on the double circle icon at the top of the screen, I can modify the saturation, exposure, and highlight to pick up the surprising colors present in the resource image.

1/22/21 9:54 AM

114

Sketches alive! Bringing your traditional skills into Illustrator

picker selection, click on the circle with a check inside of it at the bottom of the screen. Now comes editing. The palette is captured and ready for editing. Note that the default edit mode is RGB. Other modes include CMYK, LAB, HSB, and IMAGE. Remember, the screen that is projecting the palette is RGB. Consequently, RGB will have the best fidelity. Even though the Edit mode is RGB there are four sliders (Figure 5.36). The fourth slider is for brightness. The color being edited has a white bold frame around it. The hexidecimal code for that particular color is also displayed below the palette. The colors do subtly change when moving over to CMYK mode (Figure 5.37). Referring back to Chapter 4, greens are better represented by RGB versus CMYK. The result is a narrowing of the green

Figure 5.36 After clicking the checked circle button the palette is captured and ready for adjusting via sliders and Color mode, should you need to make further adjustments.

9781350047891_txt_app_CC19.indd 114

Figure 5.37 Clicking on RGB will provide additional choices of alternate color models.

gamut in the CMYK mode. Note, the six-digit hexidecimal code still remains the same. If you are still not satisfied with the palette, select Harmonies. Here, you can move the picker dots to tweak the color (Figure 5.38). Note: if you change the black slider below the picker, it will affect all the selections. The palette button on the Harmonies page also allows for editing the scientific way with such palette options as Analogous, Monochromatic, and Complimentary (Figure 5.39). Once satisfied with the palette, select Save. The interface will revert back to the camera. To name your palette, click on the “X” in the lower left-hand corner to return to the library. Here is where one names the color theme, moves it to the proper Library, and exports or shares it.

Figure 5.38 Selecting Harmonies will bring up the Color Picker allowing for additional editing by repositioning the “dots.”

Figure 5.39 Clicking on the small palette in the corner nets the options of changing up the palette through scientific relationships.

1/22/21 9:54 AM

Brushes

Brushes

Figure 5.40 Capturing my scribbles. Note that my paper is showing marking from the other side. Not to worry, the Refine setting eliminates the background noise.

Brushes in Capture are best used to capture unique lines, blobs, or textures that can later be used as brush lines in artwork created in Sketch, Photoshop, and Illustrator. After creating various marks on paper, use the Capture camera to photograph the various marks (Figure 5.40). Note, when it comes to cropping the marks, the program works with left and right moving lines best. Do not worry about other marks being on the screen, cropping will happen next. The crop marks will automatically appear once you snap the picture of the mark you are interested in (Figure 5.41). Note where the head and tail are located, right and left. Using your finger, close the crop rectangle as close as possible around the desired mark. Since my

Figure 5.41 Once you snap the picture, the Edit screen appears. This is where you crop to the desired line. If the line is not centered, the picture can be moved around.

9781350047891_txt_app_CC19.indd 115

115

mark was close to the edge of the page, I moved the picture up to center the line I am interested in because the crop marks do not move around the page (Figure 5.42). The Style menu is next. But first, you may want to jump to Refine (Figure 5.43). Refine lets you select the background and rid the brush of the gray or yellow background by tapping on the background of the image you cropped. Now return to the Style menu and you can better see what your brush is doing. There are many different style brushes that the resource image can be converted to. See the long list of choices (Figure 5.44). Especially pay attention to the bottom where the applications are. This is where you set

Figure 5.42 Here, the line I desire is moved to the center and the crop marks are being adjusted.

Figure 5.43 Refine removes pesky backgrounds through a tap of the finger on the background area.

1/22/21 9:54 AM

116

Sketches alive! Bringing your traditional skills into Illustrator

what application you would like the brush to go to. Note that based on the application you select, the available styles and settings will alter. So, select the application first—Sketch, Fresco, Photoshop, or Illustrator— then work with the styles and settings available for that final destination. Once you have styled the brush, be sure to check out settings next. Settings finesse the brushes’ interaction with the page. See Figure 5.45 for all the different settings available. When you are finished with all the adjustments, click Save and the brush will be delivered to your default

Figure 5.44 Styles apply the Brush options. Select the end application to adjust the Style resource in different ways. Scroll to see all your options. These are the styles for Sketch.

Figure 5.45 Settings finesse how the brush reacts to the page, pressure, beginning, and ending.

9781350047891_txt_app_CC19.indd 116

library where you can return to name it and place it in the desired library.

Downloading your assets To access the materials, images, patterns, palettes, and brushes you have captured to Illustrator on your computer, simply launch Illustrator. The image you have captured will appear in your library. Simply visit the Library panel. Press on the drop-down menu. And, then, select the library you wish to have appear (Figure 5.46). If your libraries do not appear, then your application may not be in sync. In order for the library to be in sync, an active internet connection is necessary. The library will post a message if the internet or Creative Cloud is not connected. It will say “Something went wrong initializing Creative Cloud Libraries” (Figure 5.47). Often a simple quit and relaunch of the application will sync your phone library with the desktop library. If they do not sync, use the keyboard shortcut Command + Option + r when relaunching the application. This relaunches Creative Cloud and all items related to Creative Cloud, including Libraries. Once the libraries are in sync, resources will appear in the library of Illustrator. To the left, see all the items created and the brushes. To get a hops image on an artboard simply press and drag the image to the artboard. It may come in rather large. Proceed to scale as normal. To utilize the brushes, double click on the brush and then check the Brushpanel to see that it has appeared (Figure 5.48).

1/22/21 9:54 AM

Brushes

117

HELP! MY LIBRARIES WON’T SYNC. First, save your work in all your Adobe products that you have open. Then, use the keyboard shortcut Command + Option + r to relaunch the application. This relaunches Creative Cloud and all items related to Creative Cloud, including Libraries (https://helpx.adobe.com/ creative-cloud/kb/creative-cloud-libraries-paneldoesn-t-load-in-desktop-products.html).

Figure 5.47 Fear not, simply reboot your application. Be sure and save your work first!

Figure 5.46 The library on your desktop or laptop will contain all the work executed in Capture once the libraries are in sync.

Figure 5.48 To utilize the brushes, double click on the brush and check the Brush panel or the control bar to see that it has appeared in the brush preview. The next object/line drawn will utilize the brush created in Capture.

9781350047891_txt_app_CC19.indd 117

1/22/21 9:54 AM

118

Sketches alive! Bringing your traditional skills into Illustrator

Advanced level plug-ins Below are two different plug-in packages that can extend your command of Illustrator’s vectors and Beziérs helping to streamline your workflow. My top picks are selected from “17 Best Plugins for Adobe Illustrator” by CreativeBloq. com. There are plenty of plug-ins for special effects and the like. These plug-ins are attentive to the actual functionality of Illustrator. First up is Vector Scribe by Astute Graphics. As described by Astute Graphics, VectorScribe is a plug-in made up of a diverse range of the most useful tools that seamlessly integrates into Adobe Illustrator. Think of it like a vector Swiss army knife that helps you edit vectors, create shapes, corners, and measurements. Thirty seconds with the video found on https:// astutegraphics.com/software/ vectorscribe/ and you can see why expert illustrators utilize this plug-in package.

9781350047891_txt_app_CC19.indd 118

Second is XtreamPath 2 by CValley. Xtream Path 2 is a plug-in software for Adobe Illustrator. Drag, stretch, push, and pull. . . you can do a lot with paths using Xtream Path 2! You no longer have to be constrained to control points when editing paths. It allows you to drag anywhere on a path and edit only the exact location you want. Editing paths in Illustrator is much more flexible than ever before. Visit https://www.cvalley. com/products/xtreampath2/ to get an overview of how Extream Path 2 can help your vector editing. It was the aim of this chapter to provide the beginner vector artist with the resources to create or retain the organic nature of art. Between the native Illustrator resources, some additional Capture tools, and perhaps some purchased plug-ins, it is my wish that one’s work in Illustrator can mimic the hand of the artist.

1/22/21 9:54 AM

Exercise: Graphics 88

119

EXERCISE: GRAPHICS 88 Goal: To explore various substrates, media, and mark making through the rendering of an animal multiple times. It is through multiple drawings that an understanding of a form comes, the final 88 should all be viable images. Mistakes and missteps should be retained in an envelope and do not become part of the final collection.

REQUIREMENTS: Large format printout of the exercise grid or a piece of poster board Index cards Various substrates Various media—wet, dry, computer Various tools, traditional to experimental Glue Ultimately, Illustrator STEPS: 1. Chose an animal that you wish to visually investigate 2. Using the tips down the left side of the worksheet, execute 88 images of the animal you have chosen to investigate. 3. To easily work anywhere, consider using index cards or substrates cut to smaller sizes to sketch upon. This also helps eliminate “mistaken” or poor drawings. 4. Use Capture to capture brushes and work in Illustrator directly. 5. As you work, consider the vocabulary of design such as: principles, elements, cropping, overlapping, intersection of form, gestalt, positive and negative space, line, shape, form, color, composition, pattern, and texture. 6. Also consider the media, the tool, and substrates used and how to handle or apply it. 7. Pick your best/most unique sketch to take to the computer and develop further.

9781350047891_txt_app_CC19.indd 119

1/22/21 9:54 AM

120

Sketches alive! Bringing your traditional skills into Illustrator

EXAMPLES:

Figure 5.49 Alicia Rogers, Art 225 Computer Illustration, Mercyhurst University, 2018, Kiwi.

Figure 5.50 Alicia Rogers, 225 Computer Illustration, Mercyhurst University, 2018, Quirky Kiwi.

9781350047891_txt_app_CC19.indd 120

1/22/21 9:54 AM

Exercise: Graphics 88

121

Figure 5.51 Curtis Waidley, 225 Computer Illustration, Mercyhurst University, 2018, Ram.

Figure 5.52 Qadry Ismail, 225 Computer Illustration, Mercyhurst University, 2018, Vesper.

9781350047891_txt_app_CC19.indd 121

1/22/21 9:54 AM

122

Sketches alive! Bringing your traditional skills into Illustrator

Figure 5.53 This is the work sheet for 88 animals. Find it on the teacher’s resource page that coordinates with this book.

9781350047891_txt_app_CC19.indd 122

1/22/21 9:54 AM

Exercise: Graphics 88

123

RUBRIC: Earn a point per drawing; deductions are from the average of this rubric and the work you created. 10 9.5 9 >

8.5 8>

7.5 7

Area

Excellent

Very Good

Good Average

Below Average Poor

Principles of Design + overlapping, cropping, illusionary space, size, direction, space, and position; positive and negative space, closure, continuation, and texture.

Shows creative application of:

Strong application of:

Needs more of:

Lacks creativity in:

Zeitgeist

Majority of markings or handling of the media reflect a contemporary design sense and/or personal sense and/or a timeless sense.

Over half of the markings or handling of the media reflect a contemporary design sense and/or personal sense and/or a timeless sense.

Neither dated nor ground breaking.

Lacks a sense of the era or continuity.

Content

Creative (unusual and a wide variety) use of the methodology provided. Clear indication of research, observation, mind mapping, Metaphor, Cliché, planning, and understanding.

A bit on the allto-obvious side but good variety of interpretation.

Dig deeper, pretty aesthetically pleasing with content and understanding is better.

Well there are drawings of ___________ animal. Where’s the creativity?

9781350047891_txt_app_CC19.indd 123

1/22/21 9:54 AM

124

Sketches alive! Bringing your traditional skills into Illustrator

10 9.5 9 >

8.5 8>

7.5 7

Color

Creative application welldeveloped; key to the greater gestalt; good value range; purposeful and controlled; limited or all inclusive, real and experimental.

Decent variety and application, more creative than “realistic”. But not as purposeful as an excellent piece.

Realistic use of color; needs more tonal values; range weak or random.

You know you have more than the eight crayons from first grade. . . go there! Value range needs work.

Techniques

Variety of media, application, and techniques; experimental and traditional, includes 3D representations or unified technique executed in a unique way.

Some missteps but a good earnest investigation.

Nothing unusual, 3D, or fresh but a good handle on the standard resources.

There is more to life than (insert your media here) ____________.

Craft

Appropriatelyadhered.

Clean/”messy” stapled, glued, taped, riveted, sewn, etc.. . .

Fine, standard and well executed.

Clean up your craft! Appropriate use of media and clear interpretation necessary to be a good illustrator.

Research

Visited a zoo or habitat where the animal could be observed and photographed first hand.

Googled many pictures of your animal and created a Pinterest or paper file.

Some pictures.

No Pictures.

9781350047891_txt_app_CC19.indd 124

1/22/21 9:54 AM

Exercise: Card and gift

125

EXERCISE: CARD AND GIFT

GOAL: Elements to be designed include: two cards & envelopes, pattern design, palette, and “character” or “style” application to coffee mug, wrapping paper, etc. Cards will be printed.

REQUIREMENTS: •

Research into card lines at Target, Hallmark Gold Crown, Carlton Cards, online at Blue Mountain, Hallmark, and American Greetings to name a few options.

•

Moodboard will be developed to guide design choices.

•

Character will be developed and consistent from card to card (see Figures 5.49–5.52).

•

Color palette will be developed.

•

Repeating patterns and elements to flatter the style will be designed.

•

Text can be original or utilized from other “undeveloped” cards.

•

Fully developed type—interior and exterior.

•

Name/Logo of your card line.

STEPS: •

Research as noted above and on the grade sheet

•

Decide on card styles on your mood board

•

Character driven: animal, personalities, the “players” of your cards

•

Pattern & texture

•

Card visual “vocabulary”

•

Signs and symbol

•

Typography choice

•

Pick tradition(s) to “tackle”: Birthday, Christmas, New Years, Anniversary, Thank you, Weddings, Hanukkah, Ramadan, Valentines, etc.

•

16 sketches of outside of cards

•

Utilizing different layouts

•

Arrangement of elements

•

Work with design elements

•

Stay within type parameters

•

Choose two options to enlarge and further explore

•

Refine final, developing:

9781350047891_txt_app_CC19.indd 125

1/22/21 9:54 AM

126

Sketches alive! Bringing your traditional skills into Illustrator

•

Card theme

•

Palette (CMYK!)

•

Design elements (e.g., polka dots, curly-q’s, stripes, organic patterns, etc. appropriate and corresponding to the card theme)

•

Type style and placement

•

Connect card designs through a unified pattern, color, and type palette

•

Apply style elements to two items to form a “family” of goods

•

Giftware mug: consider style of mug—travel, cappuccino, tall, standard, etc.

•

Gift wrap: tissue or wrapping paper; bags or box

Figure 5.54 Qadry Ismail, 225 Computer Illustration, Mercyhurst University, 2018, Cards by Q: Vesper.

Figure 5.55 Curtis Waidley, 225 Computer Illustration, Mercyhurst University, 2018, Lil’ Ram.

9781350047891_txt_app_CC19.indd 126

1/22/21 9:54 AM

Exercise: Card and gift

127

RUBRIC: Final Grade: Line Name: Artist: ____ 36% Research: photocopies, printouts, purchases, ideas, brainstorming, sketching, moodboard Research items_____/6 (Depth & breadth of card selections and imagery/instructions explored; Pinterest collection) Brainstorming _____/6 (Themes, Zeitgeist: What is popular, what do you do that is meaningful? What is unique? You and your style will link up with others. Do not discount that.) Moodboard development ____/12 (Create a cohesive collection through theme, color, and element application) Card Sketches _____/12 (16+ arranging and emphasizing different aspects, exploring use of different styles, additional sketches for remaining cards) _____ 14% Technical Skills: Proper Creation of graphics_____/8 (Appropriately smooth or crunchy vector rendition of art.) Timeliness of delivery_____/6 (Preparedness with design advancement every class, meet your deadlines) _____ 50% Art/Design: Development of palette and pattern_____/10 (Pattern created appropriately in Illustrator, design elements & principles, original = your work) Design of the two cards and envelopes_____/25 (Readability/legibility of image/type, palette, works as a line, understood by client, creative = beyond expectations) Typographic Layout & Choice ____/15 (Appropriate voice, engaging active type) ____ /100

9781350047891_txt_app_CC19.indd 127

1/22/21 9:54 AM

128

Sketches alive! Bringing your traditional skills into Illustrator

EXERCISE: LABEL ASSIGNMENT 2 In order to demonstrate your command of the various skills learned up to now and the techniques available in Illustrator, you will create a beverage label with the following elements present: •

Multiple stroke applications (six lines minimum) (Chapter 2)

•

A custom pattern that utilizes the pattern tool (Chapter 3)

•

Three styles of type (Chapter 6)

•

A logo (Chapter 6)

•

A flavor wordmark (Chapter 6)

•

Ingredients or the ATF alcohol warning (Chapter 6)

•

A color palette (Chapter 4)

•

A mascot (Chapter 5)

Then a second label will be created where ONLY the following will change: •

The pattern

•

The flavor wordmark

•

The color palette

Your beverage may be any of the following: •

Kool-Aid

•

Fruit juice

•

Flavored water (sparkling or still)

•

Soda

•

Beer

•

Wine

•

Malt beverage

•

Iced tea

•

Tea bags

•

Coffee

Chapter 5 parameters: •

Develop a new label series

•

Develop an animal mascot for your beverage (see Graphics 88 exercise)

9781350047891_txt_app_CC19.indd 128

1/22/21 9:54 AM

Exercise: Label assignment 2

•

129

Try it on different substrates with different tools; Use Adobe Capture, a camera, or a scanner to transfer your art onto your computer; place in Illustrator on its own layer; Live Trace; Expand; Live Paint to colorize

STEPS: •

Research into the beverage area of choice and collect inspiration on a pinterest board (20 images)

•

Choose a label to deconstruct. Labelling each element and explaining how it was created.

•

12 label sketches are required that include each of the aforementioned required elements.

•

Vector file master

•

Duplicate a second page for the second label.

See below for the split column rubric. Items listed above in the discussion equal what is in the center column. If a student exceeds the requirements through application or mad skills, they earn an improved grade on the right. If the student’s work falls short, they will have diminished their grade. Marks are then made to the left. For student examples of various labels, see the assignment pages in Chapter 4. RUBRIC: Less than a C+

Basic design work C+

Better than a C+

Just 1 point lines?

Multiple Strokes present

Creative application of:

Overly simple

Custom pattern

Creative elements:

Three types, not necessarily working well together

Multiple type applications

10 tips applicable

Bitmapped standard

Corporate logo

Original to you

Just type

Flavor wordmark

Can work as a stand-alone element in ads

Hyphens and a hot mess

Ingredients/ATF warning

Proper typesetting

A bit of a cacophony of color

Color palette

Flexible and uses one of the scientific color models:

Awkward

Coordinating second flavor

Clear relationship but still dynamic

Less than or poor quality/ relevance

20 research images

More than. . . and relevant

Less than or poor quality

12 sketches

More than

Incomplete

Two final Labels that are coordinated and printable

Complete

Not real perceptive as to how the label was constructed

Deconstruction of an existing label

Insightful, shows additional knowledge

9781350047891_txt_app_CC19.indd 129

1/22/21 9:54 AM

130

Type in Illustrator

6 9781350047891_txt_app_CC19.indd 130

1/22/21 9:54 AM

Type in Illustrator Topics covered: • Introducing the Type tools • Introducing the Glyph, Character, and Paragraph panels • Envelopes: Warp, Mesh, Top Object • Style sheets • Creating outlines. Why?

By the end of this chapter, you will be able to: • Understand the Control panel settings for a greater understanding of type. • Utilize the Glyph, Character, and Paragraph panels. • Create and manage Character and Paragraph Styles. • Warp type to create custom shapes. • Outline type to build custom typographic looks.

131

9781350047891_txt_app_CC19.indd 131

1/22/21 9:54 AM

132

Type in Illustrator

Managing type Type in Illustrator is somewhat relatable to type in common word processing programs. Starting from the Tool panel (Figure 6.1) there is Type tool, Area Type tool, Type on a Line, Vertical Type, Vertical Area Type tool, Vertical Type on a Line, and the Touch Type tool. The bar on the right of the pop out menu allows one to disengage the Type tools to an independent toolbar. The regular Type tool allows you to click anywhere on the artboard and type (Figure 6.2). If you press and drag the Type tool, a text box is created to the size the mouse was dragged to. You then return to the top right corner of the text box to type. The cursor will turn to the I-beam when it is in a place that you can type.

Prior to setting about your document, a visit to the Preferences is in order. There are some important preferences settings under the Illustrator CC drop-down menu > Preferences > Type (Figure 6.3).

Figure 6.1 The drop-down menu from the Type tool.

Figure 6.2 From the top left down: Type tool, then Area Type, and finally Type on a Path. And the top right down: Vertical Type tool, Vertical Area Type tool, and lastly, Vertical Type on a Path.

9781350047891_txt_app_CC19.indd 132

1/22/21 9:54 AM

Managing type

133

Figure 6.3 The bottom four check boxes are important for navigating type in your document.

The bottom four checked boxes are of universal interest. Font* preview lets you control the size of the fonts in your type drop-down menu. The next two options—Enable Missing Glyph* Protection and Highlight Substitute Fonts—are the settings that enable pink highlighting to happen when a font or glyph is missing. I recommend leaving this setting on especially when using fonts downloaded for free from the internet. There are many free fonts that do not come with a full set of

glyphs and these settings will alert you to the missing glyphs. The final setting in this panel is “Fill New Type Objects with Placeholder Text.” This is the setting that allows a text box or line to be filled with “Ipsum Lorem” or Greeking.* I also recommend leaving this box engaged otherwise, as a designer new to Illustrator, it is common to accidentally drop little text boxes all over the layout. So, let’s lay down some text and examine the Character control panel settings (Figure 6.4).

Font: in this case refers to any typeface at any size. Unlike the traditional definition where font means typeface of a certain size. Glyph: a letter, number, or punctuation form that is part of a font set. Greeking: Ipsum Lorem Text or Placeholder Text. Fake text believed to resemble the Greek language designed to fill empty textboxes. Perfect for when your client hasn’t delivered the copy yet.

9781350047891_txt_app_CC19.indd 133

1/22/21 9:55 AM

134

Type in Illustrator

Figure 6.4 Once the Type tool has been selected the Control bar will display these settings. Fill: the color of the text. Stroke: can be added to text for artistic purposes. It is not necessary but can serve to make bold text when a typeface does not have that style available. Stroke size: counted in points, there are 72 points to an inch. Opacity: the transparency of an object. Recolor Artwork: does just that. Character panel: Drops down the Character panel with all the settings for the highlighted text. Typeface: often referred to as “font.” It is the family of type selected. Type style: the members of a typeface family such as, Bold, Italic, Condensed, etc. Font size: the point size of the selected text. 12 point is the default setting. Paragraph panel: Drops down the Paragraph panel with all the settings for the highlighted text. Alignment: the flush of a paragraph such as Flush Left, Flush Right, Centered, or Justified. Transform panel: allows one to apply angle, skew, and other uncommon specialized settings. Align Art panel: will regiment selected text boxes if clicked on. By reading the control panel from left to right, one can know a lot about the box of type selected on the artboard. Such as, the “Lorem Ipsum” box on the artboard which contains black text with no stroke at 100% opacity. It is set in Myriad Pro at 12 point and aligned left—the default settings. For more settings, let’s examine the Character and Paragraph panels.

On the next page is the Character panel (Figure 6.5). Let’s further define the settings listed here. The Paragraph panel (Figure 6.6) appears above with its submenu or “Hamburger” menu exposed. Another basic panel to utilize is the Glyph panel (Figure 6.7) found under the Type menu. This panel reveals all the glyphs available in a given typeface. Shown here is Myriad Pro which is a robust typeface with uppercase, lowercase, numerals, Greek, Cyrillic, Romance languages, ligatures*, and punctuation. Most free typefaces will not have nearly as many glyphs. Some typefaces will have hidden images in the glyphs. Basically,

9781350047891_txt_app_CC19.indd 134

the Glyph panel is a handy tool for exploring your typographic options.

Type menu Let’s explore the Type menu (Figure 6.8) top to the bottom. The “More from Adobe Fonts” option allows the user to connect to typefaces from the Adobe website—fonts.adobe. com. This is no longer a purchase service for typefaces. The cost of the fonts is included in your Adobe CC membership. Typefaces can be searched by style, weight, width, x-height*, contrast and more. Font, Recent Font, and Size are all self-explanatory. Glyphs we discussed earlier in the chapter.

1/22/21 9:55 AM

Managing type

Alignment options: Left, Right, Center, Justified Left, Justified Center, Justified Right, or Justified. Right indent: right side inset. First line indent: set the first line in or out depending on the right indent setting. Space before: space between hard returns. Left indent: left side inset. Space after: space between hard returns. Roman hanging punctuation: optically aligned type setting that pushes punctuation outside of the text box to visually square up the text.

Figure 6.6 This panel deals with more global settings for complete paragraphs.

9781350047891_txt_app_CC19.indd 135

135

Figure 6.5 The Character panel allows one to customize type by changing highlighted text in accordance with the settings on this panel. Typeface: the type family. Size: measured in points, 72 points equals an inch. Kerning: the space between two letters. Vertical scale: the height of letters. Can be adjusted to appear condensed by lowering the percentage. Can misalign the typeface weight. Baseline shift: Nudges up or down the highlighted letter(s). All caps: exactly what it says. Small caps: creates lower caps about 80% the height of the actual cap. The percentage can be controlled in the preferences panel. Snap to glyph: Lets you align artwork precisely with the text. Options include: • Align to baseline: Line up items to the bottom of the text. • Align to x-height: Line up items to the height of the lowercase letters, specifically the “x.” • Align to glyph bounds: Snap to the top, bottom, left, or right side of the bounding box. • Proximity guides: Snap to guides that are near the baseline or x-height. • Angular guide: Snap to the angles of a glyph. • Align to anchor point: Snap to an anchor of a glyph. Superscript & Subscript: set type smaller and up (super) or down (sub) from the baseline. Underline: a holdover from word processing. Good for book or movie titles within body text. Cross out: a holdover from word processing. Angle: the tilt of a letter. Horizontal scale: the width of a letter relative to its height. Will appear wider the higher the percentage. Mimics extended type. Misaligns weight. Tracking: the letter spacing of a group of glyphs. Leading: the space from baseline to baseline of type. Type style: styling equals Bold, Italic, Condensed, etc. Not all typefaces have all styles to choose from.

Figure 6.7 Want to know what options you have or don’t have with a chosen font? Visit the Glyph panel to see what your typeface of choice has to offer. Not all typefaces are created equal. Some are missing numbers, punctuation, or ligatures.

1/22/21 9:55 AM

136

Type in Illustrator

The next section of commands relates to the various type tools. The “Convert to Area Type” command also changes to the “Convert to Point Type” command. It will vary your type setting between area and standard paragraph type. The “Area Type Options” (Figure 6.9) contains various settings for type in an area. See the screenshot below. A designer can set the rows and columns, inset the text from the edge of the form, as shown here, and manipulate the baseline settings. As always, there is the ability to preview the work and to select “Cancel” if you change your mind. If you hit “OK” instead, there is always Command + z to undo. “Type on a Path” (Figure 6.10) has various settings that affect the way your type sits in relation to the path it is attached to. If you are unfamiliar with the settings select “Type on a Path.”

Figure 6.8 From the Menu bar you can access the same information as the Type panel and some additional items.

Figure 6.9 In the Area Type Options panel, typesetting issues unique to area type can be handled. Things such as “Inset Spacing” where designers can bring their text in from the edge of the form for better design.

Figure 6.10 Type on a Path Options panel allows the designer to arrange the type like a ribbon (skew) or above or below the line (flip) and manage the spacing of text.

9781350047891_txt_app_CC19.indd 136

1/22/21 9:55 AM

Managing type

137

CAPTURING A FONT ON THE FLY See a typeface you like out in the real world? Simply use Adobe Capture on your smartphone to capture the type. The app will then pair your found typography with many near variations of typefaces found on fonts.Adobe. com. See the interface below: Figure 6.11 Find a resource bit of type anywhere in your environment.

Figure 6.12 Select the boxed area that best represents your font selection. Then click on the check mark.

Figure 6.13 After clicking on the check mark, the Adobe Font interface will be brought up. Selections of like fonts will be shown.

Figure 6.14 Scroll to find your favorite (or best matching) option. Check the box to select.

Figure 6.15 Return to Illustrator to find the font activated!

9781350047891_txt_app_CC19.indd 137

1/22/21 9:55 AM

138

Type in Illustrator

Ligatures: letter sets developed in fine quality typefaces that mitigate glyph issues such as “fi” where the tittle* sits awkwardly on the beak of the “f.” Tittle: dot on the “i” or “j.” X-Height: the height of the lowercase letters in reference to the uppercase letters; affects readability and size of a font. Adobe Font integration: With direct integration with Adobe Fonts, designers can now access the 14,000+ fonts that come with a Creative Cloud membership directly within Illustrator CC19. You can preview fonts in your design without activating them, and if you like what you discover, it takes just one click to activate and license that font—all at no charge as part of your Creative Cloud membership.

Visit the Type Menu and scroll down to “Area Type Options.” Here you can preview the effects as the Effect drop-down menu contains the same settings as the “Type on a Path” pop out menu. The “Align to Path” will shift the type up and down off of the path depending on what part of the type is selected—Ascender, Descender, Baseline, or Center. “Spacing” refers to letter spacing and can come in handy if your type is breaking oddly on a path. “Flip” is probably the most popular of all the line settings. If type is ever upside down on a path, “Flip” will turn the type to the other side of the path. Threaded text relates to linked text boxes. The next series of commands relate to fitting text in the text box created. “Fit Headline” will track a

9781350047891_txt_app_CC19.indd 138

selected line of text to fit in the text box versus running out of the box. “Resolve Missing Fonts” is a handy command for when you open a new document and are confronted with the pink highlight of missing or broken font connections. Typically, the application will bring up the issue of missing fonts when opening a document and ask you to resolve the broken or missing fonts. You may not be prepared to do that at that time and can return to it later using this command. Why do fonts break? Usually because of operator error. Meaning— all fonts are computer specific. If one moves to a new computer and has not packed or downloaded the fonts to the new computer, a break will happen. Consequently, when creating a logo for a client one should always convert

1/22/21 9:55 AM

Managing type

139

Figure 6.16 The Smart Punctuation panel handles professional typesetting. Here is where the quotes will be set properly (smart quotes). The extra space after a period (.) is automatically inserted. When available, beautiful ligatures are activated. There is also a hierarchy of dashes that this panel can manage.

the type to outlines so as to render the file usable by those who do not have the fonts loaded on their computer. In essence, the type becomes an object and will have to be edited as such. The “Find Font” command is the “Find and Change” of Adobe Illustrator. One can locate a selected typeface and change it to a different face using this command. “Change Case” is another command that relates to word processing commands. It allows one to change to uppercase, lowercase, title case, or sentence case. “Smart Punctuation” (Figure 6.16) adjusts typesetting so that text is set expertly using ligatures, reader’s quotes, and smart spaces among other settings as seen in the screen shot of the panel. “Optical Margin Alignment” is another expert setting that hangs the punctuation outside

9781350047891_txt_app_CC19.indd 139

of the textbox for a better visual alignment. “Create Outlines” is used to change type into a vector object. This is advantageous for logo creation and for further creative manipulation of type forms. See Figure 6.17 below for an example of how type is converted and how it is made from vectors (Figure 6.18). More on this later in the chapter. Figure 6.17 An example of type in a type box.

Figure 6.18 Create outlines and the type is now an object. Note how the points are on the letterforms.

1/22/21 9:55 AM

140

Type in Illustrator

The final command in that area is “Optical Margin Alignment.” This is another location that enables the user to “hang” punctuation to create a more optically balanced paragraph form. The next three commands each come with their own submenu. Let’s deconstruct them. The “Insert Special Character” command (Figure 6.19) leads us to symbols, hyphens and dashes, and quotation marks. Many of the symbols this submenu brings up can be typed using special keyboard commands. Until one masters those commands, it is handy to have this option. See a list of the keyboard commands below. Bullet: Command + 8 = • Copyright symbol: Option + g = © Ellipsis: Option + ; = . . . Paragraph symbol: Option + 7 = ¶ Registered trademark: Option + r = ® Section symbol: Option + 6 = § Trademark symbol: Option + 2 = ™ Em dash: Shift + Option + - = —

En dash: Option + - = – Double left quotation marks: Option +[=“ Double right quotation marks: Shift + Option + [ = “ Single left quotation marks: Option +]=‘ Single right quotation marks: Shift + Option + ] = ‘ Quotation marks are automatically taken care of in the Preference panel explored earlier. If “Smart Quotes” are deactivated then these commands come in handy. Reasons that smart quotes might be deactivated may include designing a layout that requires many inch and feet indicators. “Insert White Space Character” (Figure 6.20) allows one to control the space after a glyph. An em space is larger than an en space and the keyboard commands for either are present right on the menu. Hair or thin spaces are handy when using periods not at the end of a sentence as computers are set up to leave extra space after a period. In typewriter days one would place two spaces after a period. This practice is no longer necessary.

Figure 6.19 Where do I find © or ®? What about professional quotation marks? They are all here—the bottom of the Type menu. Use them enough and the keyboard commands will be one with your fingers!

9781350047891_txt_app_CC19.indd 140

1/22/21 9:55 AM

Managing type

141

Figure 6.20 Sometimes you need to manage the spacing.

“Insert Break Character” (Figure 6.21) places a return after a word. This return is not a “hard” return that is normally used at the end of a paragraph. Therefore, when one sets up type styles and has space before or after a paragraph, a “hard” return is required. The “Forced Line Break” breaks a line where the designer wants the break without invoking typesetting associated with a “hard” return. This is particularly handy when a word is oddly hyphenated. It allows a designer to move the offending word to the next line without invoking tracking, hyphenation rules, or spacing. The last command in this cluster of menu options is “Fill with Placeholder Text.” I recommended earlier in the chapter that, under the Preference menu, one should let this automatically happen. If one opted out of that preference and wished to use placeholder text or Greeking, this is the menu command that will allow one to do so.

The last two menu options are “Show Hidden Characters” and “Type Orientation.” Hidden characters are invisible glyphs such as spaces (#) or paragraph/line returns (¶). If type appears odd and the source cannot be located, turning on hidden characters can reveal hidden type commands that may be effecting type behavior. Type Orientation flips type from horizontal to vertical. This lets a designer test if they would like type set vertically in one stroke of a key. This can also be undone easily with Command + z.

Type as object When you use the Move tool to pick up a box of type, the control panel changes (Figure 6.22). It is not the same as when you highlight text to change type settings. Many of the settings are the same—fill, stroke, opacity, character, and paragraph settings. However, it is the last three settings that do change—envelopes, align, and transform. Figure 6.21 Sometimes you need to force a line to break.

Figure 6.22 Using the Move tool to pick up a box of type and relocate it means the Control bar will change again. Note what is now available to you as explained in this section.

9781350047891_txt_app_CC19.indd 141

1/22/21 9:55 AM

142

Type in Illustrator

Envelopes Envelopes are likened to the manipulations of word art. In this case, the manipulations are much better and, thankfully, lack the propensity for rainbow coloring. There are three kinds of envelopes: Make with a Warp, Make with a Mesh, and one found under an Envelope menu command—Make with Top Object. “Make with a Warp” (Figure 6.23) will be somewhat familiar to word processing users in that the Style dropdown menu has a variety of envelope options that can be previewed (Figure 6.24). The Bend, Horizontal, and Vertical settings can all be previewed as one investigates (plays) with the settings to the see results. “Make with a Mesh” creates a net over top of the word or words selected with the Move tool (not the Type Selection tool). This net can have as many or as few anchor points as you choose. The default is four. In the screenshot you will see I have changed those setting to three as four was too many points (Figure 6.25).

Figure 6.24 There are many envelopes to choose from. And, there are further options for distortion in the Warp Options dialog box. Click preview and test those sliders for what they can do.

Figure 6.23 Lovers of word art remain calm. Yes, you can bend type into many different forms using the envelope settings. Always ask yourself “Why?” first.

9781350047891_txt_app_CC19.indd 142

1/22/21 9:55 AM

Envelopes

143

Figure 6.25 Not satisfied with the standard envelope? An Envelope Mesh lets you customize the type distortion.

Figure 6.26 Here the type has a mesh over it of three columns by three rows. With the Direct Selection tool you can move the mesh points to form an original shape.

Figure 6.27 When involved in a mesh, the Control bar is here to help. Take special note that there is a “Reset Envelope Shape” should you need it.

Once one has the number of columns and rows set, select “OK.” Then, using the Direct Select tool, you can move the anchor points and the handle bars to alter the type form however you choose (Figure 6.26). Playing with a piece of sample text will go far to enhance your understanding of how a mesh works. Don’t avoid this opportunity as “Mesh” also occurs when manipulating color gradients. The better you understand finessing the points of the mesh, the better you can shade a complex rendering. And, there is always the failsafe of Command + z, or the

9781350047891_txt_app_CC19.indd 143

Control panel (Figure 6.27) in this case. You should note the “Reset Envelope Shape” command—the “undo” for meshing nightmares. Also in the Control panel is the option to add columns or rows to your mesh. “Make with Top Object” is a command that I find very useful. It requires the text and a second object (step 1) that you have drawn. You then lay the object “on top of” the text using Object > Arrange > Bring to Front to ensure that the object is on top. Then, with both the text box and the top object selected (step 2), which you can do by clicking on each while

1/22/21 9:55 AM

144

Type in Illustrator

Figure 6.28 1. Text next to a bowtie shape.

Figure 6.29 2. The bowtie is now placed on top of the type.

Figure 6.30 3. Once both elements are selected, go to the Object menu bar and visit Envelope Distort selecting “Make with Top Object.” If nothing happens, the object is not on top.

Figure 6.31 Result: Voila! Here is the bowtie Lorem in three easy steps.

holding down the Shift key, you visit the Object menu—Object > Envelope Distort > Make with Top Object. Voila (Result)! To edit text once it has been set in an envelope, simply double-click

9781350047891_txt_app_CC19.indd 144

on the type and the screen will enter “Isolation Mode” highlighting the type you are working on. This allows for correction of misspelled words, kerning, tracking, and typeface changes.

1/22/21 9:55 AM

Envelopes

Once you are sure of the text setting, usually after a client has approved the final artwork, you can expand the envelope text and it will be an object no longer tied to a typeface. A word of caution, I usually do this in a copy of the final document as clients or myself sometimes change their mind. It is much easier to visit an early final than recreate the same envelope result. Here is a sample of beautiful envelope work created by Mercyhurst student Abigail Staub, a typographic self-portrait (Figure 6.32). Use of envelopes need not mimic the cheesy results of a word processing program. They can be elegant and truly dynamic.

145

Type as object As alluded to in the last section, type can be transformed into an object. This is very exciting as it allows for various effects to be applied to type to create unique individual results. Many people desire to create bevelled type, dimensional type, scribbly type, and many other special effects. Once a typeset piece of text is converted to an object, effects may be applied. 3D Extrude and Bevel options are found under the Effect menu > 3D (Figure 6.33). To view the panel as shown, click on “More Options.” The default of the panel has a more turned “Position” and “No Bevel” applied. Note that upon entering the panel,

Figure 6.32 Typographic Self-Portrait. Abigail Staub, 220 Typographic Foundations, Mercyhurst University, 2018.

9781350047891_txt_app_CC19.indd 145

1/22/21 9:55 AM

146

Type in Illustrator

“Preview” will be turned off. Because this is an intense tool, fill in some settings first, then hit “Preview” to see the results. Having the panel render on the fly can result in a crash if you do too much too fast. Every typeface, every color, every shading, from every angle will create a different effect. The variations are infinite. Again, this is a great panel to play in, creating a variety of results (Figures 6.34 and 6.35). Here are just a few. See pages 148 and 149 for a chart of some of the filter options to investigate. When exploring the Bevel tool, I often will copy the object/text to another document and explore there to minimize the amount of items for the screen to redraw. This is a personal workflow preference that might serve you well also.

When reviewing examples three (Figure 6.36) and four (Figure 6.37), they may seem the same. Upon closer inspection you may notice that the gold stroke does not overlap in an awkward way in number four. The Pathfinder > Union was applied to create a more pleasing interaction. For a quick understanding of various special effects that could be applied to your headline type, see the “fancy” type on pages 148 and 149. Using Blippar, hover over the samples for the complete settings. One seemingly obvious item to note is that bevelling, extruding, scribbling, and all manner of special effects are best applied to display type in limited quantity. These are not body text settings. Save them for headlines, brands, and text over 30 point.

Figure 6.33 Type converted to outlines can be manipulated many ways. Here ROXY is being bevelled to create a special word mark for the beverage bottle.

9781350047891_txt_app_CC19.indd 146

1/22/21 9:55 AM

Envelopes

147

Figure 6.34 1. Here’s ROXY bevelled with shadow and light play.

Figure 6.35 2. Here’s ROXY with a white outline and bevel.

Figure 6.36 3. There is a subtle difference between this example and number four. It can be seen by looking at the “X” overlap onto the “O”. Here it is overlapping.

Figure 6.37 4. Here I have used Pathfinder > Union on the forms and you will notice that the gold of the “X” no longer digs into the “O”.

9781350047891_txt_app_CC19.indd 147

1/22/21 9:55 AM

148

Type in Illustrator

Body text and style sheets

Figure 6.38–6.61 Using your camera scroll over each fancy type trick to learn the settings used to create the effect.

If one is familiar with InDesign, this next area may be redundant. Style sheets are macro programs that are embedded in both InDesign and Illustrator to handle the typesetting of large quantities of body text. These specialized control boxes allow a

9781350047891_txt_app_CC19.indd 148

designer to set type, down to the hyphenation rules, for continuity from text box to text box. These controls are great for multi-page documents or series of documents. For large amounts of body text, I recommend the use of InDesign.

1/22/21 9:55 AM

Body text and style sheets

9781350047891_txt_app_CC19.indd 149

149

1/22/21 9:55 AM

150

Type in Illustrator

First, you must have body text to work with. I am using a simple box of Ipsum Lorem or Greeking. I will now select my text and enter the Paragraph Style Options panel (Figure 6.62). The Paragraph Style Options panel will change all of the text from hard return to hard return. Whereas the Character Style Options panel will only affect the type one has highlighted. If you take a second to read the general settings shown below, you will see that nothing has been

assigned to this selection of text. Let’s go through the left-hand menu and assign some attributes to this paragraph. “Basic Character Formats” (Figure 6.63) allows one to set the type family, style, size, leading, kerning, tracking, and case. It is a mirror of the Character panel. In this sample we can see that the “Normal Paragraph Style” has been set to Bodoni 72, Book, 14/18 with normal kerning and tracking, upper- and lowercase.

Figure 6.62 The Paragraph Style Options panel with standard settings.

Figure 6.63 Under the “Basic Character Formats,” the typesetting from the Control panel appears. So why do it here? Here you are making a repeatable style sheet that allows the type information to be saved and applied with one click to other type.

9781350047891_txt_app_CC19.indd 150

1/22/21 9:56 AM

Body text and style sheets

In the “Advanced Character Formats” (Figure 6.64) area, one can adapt the horizontal and vertical scale, shift, and rotate characters. These settings are normally found in the Character Type panel under Options. As you can see, none of these advanced settings have been applied. As a traditional designer, I seek out type that is extended or condensed rather than corrupt a typeface with these settings. The

151

weight of the letters can be thrown off by over applying the horizontal and vertical scale. Under “Indents and Spacing” much can be done to enhance the readability of text (Figure 6.65). Left alignment may be seen as a bit traditional, but for large amounts of text, it is most readable to the western eye. A left indent has been applied with a negative first line indent. This gives the effect of a hanging indent.

Figure 6.64 Advanced Character Settings include scaling, shifting, and rotating. I use Baseline Shift quite a bit. I eschew scaling as I believe if you want a tall or wide typeface, find one. Using these setting can lead to a bit of font ugliness.

Figure 6.65 Indents and spacing hosts the Paragraph settings. My favorite thing is first line indents. I often like to use outdents which are a combination of left indent and a first line indent as shown here.

9781350047891_txt_app_CC19.indd 151

1/22/21 9:56 AM

152

Type in Illustrator

Great for lists and stories that have an interview format. No right indent or space before has been applied. Space after has been applied to indicate the beginning of a new paragraph. Hard returns should not be used between paragraphs as they can be affected by various type settings. The space before and after remain constant. Tabs is a wonderful and underutilized area (Figure 6.66). As you can see, there are a variety of tab options, the most important to note is the tab based on a period. This allows for the proper alignment of money in a long list of figures. If you have another

reoccurring glyph you would like to align on, note there is a grayed out box that will awaken when the “align on a period” tab is chosen. Here a simple tab of .5” has been inserted. The other special setting to note is that of a leader. The leader box allows one to set a right-facing tab and have a series of glyphs lead to the tab. This is most commonly found in a table of contents where periods are aligned to lead one’s eye to the proper page number. Composition (Figure 6.67) seems to have little to offer but there is one very important element to good typesetting here—Roman Hanging

Figure 6.66 The default tabbing is .5”. But that can be changed and here is where to do so. Also, leader is an option. What that is is an opportunity to use a repeated symbol to lead the eye. Think table of content’s periods (. . .. . .. . . . .page #).

Figure 6.67 The composition area seems weak. BUT, the very important Roman Hanging Punctuation is here. This is especially important when working with larger type and punctuation.

9781350047891_txt_app_CC19.indd 152

1/22/21 9:56 AM

Body text and style sheets

153

Figure 6.68 Controlling hyphenation is very important to readability. In fact, hyphenation can be completely turned off by unchecking the box. I prefer to manage it by choosing fewer hyphens and unchecking “Hyphenate Capitalized Words.”

Punctuation. This should always be applied. You will have to check the box as it is not automatically applied. Hyphenation (Figure 6.68) settings allow you to control when and if Hyphenation is applied. The default is “Words Longer Than 6 Letters” and a wide Hyphenation Zone. Personally, I feel hyphenation should be few and far between so as to not create “ladders”* or “stair step”* effects. Again, in traditional typesetting, these are frowned upon. One can always manually insert a hyphen if needed. There again, I advise caution as when reshaping

the type box, the hand inserted dash will remain. Here I have upped the number of letters a word must have to be hyphenated and narrowed the zone. Each text will demand its own Hyphenation Zone based on text box size, font size, and personal preference. Since my text is left justified, I have not changed the settings within this style option. When setting justified text (Figure 6.69), as stated in the Hyphenation Zone, it will depend on text box size, font size, and personal preference. The one word of caution is to avoid “Rivers”* when

Figure 6.69 Justifying type can lead to a great many typographic sins: ladders, rivers, stair steps. This area allows the designer to control how much word spacing, letter spacing, and glyph spacing. It is also the place where the “Auto Leading” is set. I prefer wider leading on reading text and will often change it slightly—130%.

9781350047891_txt_app_CC19.indd 153

1/22/21 9:56 AM

154

Type in Illustrator

justifying text. This can be achieved through careful application of word and letter spacing. Character color (Figure 6.70) allows one to change the text to any color on the fill and the stroke. A word or two of advice here: Consider readability of the color one is choosing. Take care to consider the contrast between the background and

the text. Do not apply a stroke to body text as it is too small to effectively render that. If one requires thicker text, find an appropriate typeface with the bold styling. Headline text is a different story. Here you will see I have chosen a blue ballpoint pen— mainly to demonstrate the panel rather than for any special effect.

Figure 6.70 Tired of black text? Here’s your chance to experiment with other colors. Think readability. Magenta type is hard to read. Trust me, you only make that mistake once.

Figure 6.71 Want to control type down to just what you highlight? That’s what character styles do. They only apply their settings to text that is highlighted.

9781350047891_txt_app_CC19.indd 154

1/22/21 9:56 AM

Body text and style sheets

OpenType Features should be explored if using an OpenTypeface.* As this is a beginners’ vector book, we will not be covering OpenType here. Once the settings are to your liking, which you should be able to see through the application of the Preview checkbox, press “OK.” Note, you can return to this Paragraph Style at any time and change any settings. Any type that has that style applied will automatically update. This is the power of using style sheets! Auto updates and universal changes, hooray! Character Style Options allow for automation of specific specialized typesetting. The difference between the Paragraph and Character styles is quite simple. Paragraph style effects change from hard return to hard return i.e., a paragraph. Character style effects change only the highlighted text. That can be one letter, one word, or a whole line. In the New Character Style control panel (Figure 6.71), there are settings for Basic Character, Advanced Character, Color, and OpenType features. In this example I am creating a style named “First Sentence” and changing the font style to bold and the case to all caps. Again, these changes can be seen before approving through checking the Preview box as long as you have some type selected. In the sample you can see the application of the “First Sentence”

9781350047891_txt_app_CC19.indd 155

155

Ladders: when multiple lines of a paragraph have hyphenations creating a ladder effect. This is not desirable. Stair step: when the end of a paragraph’s lines align to create a stair step effect. River: when, through the justification of a paragraph, internal white spaces are created aligning to create “rivers” of white. OpenTypeface: an extension of Microsoft’s TrueType® fonts containing postscript font outlines (Adobe.com).

style sheet (Figure 6.72). Note that it changed two sentences because I over-selected. To remedy, simply highlight the section you do not want “First Sentence” to affect and select “Normal Character Style” (Figure 6.73). For the final result of applying style sheets to a body of text, see Figure 6.74. If you are creating a series of labels, posters, or brochures that should use the same style sheets, only create them once. Then, click on the cloud emblem in the lower left-hand corner of the Styles menu to upload to your library. This will make the styles available to any new document—a terrific enhancement for faster workflow.

1/22/21 9:56 AM

156

Type in Illustrator

Figure 6.72 Here I created a character style that is entitled “First Sentence.” So, I highlight my first sentence and click on the character style to apply it. There you have it. Except, why is sentence two changed also? Well, I highlighted it. Remember, character style affects all of what is highlighted.

Figure 6.73 To fix my mistake of changing the second sentence, I simply highlight the second sentence and click on “Normal Character Style” and it reverts to the original settings.

Figure 6.74 Here is the Normal Style and the Character Style applied to a large block of text. Should I want to change something such as character color, I edit the style sheet and all the text will change automatically.

9781350047891_txt_app_CC19.indd 156

1/22/21 9:56 AM

Exercise: Glyphs

157

EXERCISE: GLYPHS Start with a popular typeface of your choice, such as Verdana, Times, Bookman, etc. Create a glyph that blends with the alphabet and stands for a particular meaning founded in texting such as LOL, TTFN, TTYL, OMG, etc.

GOALS: Blends well with original alphabet Useful SUPPLIES: Print out of original Alphabet at 120 points using a quote of your choice Fine-point black felt pen or sharp pencil Ruler Tracing paper French curve (optional, useful to follow the curves of the type when tracing) STEPS: 1. List options that your glyph could represent. 2. Utilize tissue paper to trace common forms within the alphabet. 3. Use tissue paper to create variations of the glyph through tracing elements of the alphabet. 4. Create a page in Illustrator. 5. Using your tracings as a guide, type the glyphs that contain elements used in your creation. Type each glyph in its own text box. 6. Create outlines of the glyphs. 7. Using the Pathfinder and Shape tools, eliminate, unite, and combine various pieces of type to create your glyph. 8. Create a new page and fill with the typeface at 120 points. 9. Copy your glyph and insert within the alphabet. RUBRIC: Range

15         12

10         8

5>

Qualities

15> Well drawn; seamless insertion; well-chosen symbol to develop. 12> one glitch in the above list.

10> marginally drawn, not to the standard of 12. 8> Over drawn, outstanding from its surroundings.

Poorly drawn, inserted, and off-chosen.

9781350047891_txt_app_CC19.indd 157

1/22/21 9:56 AM

158

Type in Illustrator

EXERCISE: LYRIC PORTRAIT: LEGIBILITY VS. READABILITY Starting with the quote chosen by you, design a typographic arrangement that encompasses one or more of the typographic techniques discussed or demonstrated in class and listed in the article and/or the video. You are experimenting with readability, voice, and type poetry. Before beginning work, review samples (Figures 6.70–6.72). Utilize these samples to guide your own work, collect pieces that inspired you.

GOALS: To manipulate typography for artistic expression. To gain experience within Illustrator. To manipulate typographic voice and color. To work in a contemporary mode and recognize influences. REQUIREMENTS: Favorite Quote. A selfie of sufficient size to import into Illustrator. Whatever size paper is appropriate to the voice you are using. Push the boundaries of legibility. Utilize “the canon” of Graphic Design to inform your work Create a typographic portrait from your quote using modern and concrete poetry techniques. Work in black and white; only apply color for specific effect. STEPS: 1. Look at modern (print, communication arts, graphics, How Magazine, Chapter 3) or historical (concrete poetry, library books on design) typography. 2. Select three influences from your research. These works will be reflected in your design. 3. Create four sketches (small plans) on the back of this sheet that reflect your goal for your design. 4. Launch Illustrator and create a new document. 5. Save as > Last name_lyrics.ai. 6. Manipulate your layouts to express the voice of the quote and reflect your influences. 7. Utilize the Control panel or menu to set the type.

9781350047891_txt_app_CC19.indd 158

1/22/21 9:56 AM

Exercise: Lyric portrait

159

8. Record/write down the stages of design (research, sketch, roughs, final) and type specs to present them in class and hand in. 9. Save your file on your computer but also be sure to back-up on an external drive— cloud or terra. 10. Save as the smallest sized PDF when it is time to drop box for critique. OTHER FACTORS: Use the Tabloid (11 x 17”) paper in vertical or horizontal arrangement. Trim or enlarge your design to further express the quote (meaning the page can be larger, narrower, rounder, etc.) RUBRIC: Points

50 (A)

45 (B)

40 (C)

30 (D)

20 (F) 10>

Outcomes

Real risktaking in the readable/ legible area, variety or repetition is used. Type voice is reinforced by form and layout. Works like poetry versus advert headline; concrete poetry influence(s) attached; stages of design/ type specs attached (handwritten specifications acceptable).

All the qualities of 50 except more room for risk, although beyond the status quo.

Too legible, predictable. Type mundane, need for further exploration. Or, part of your meaning is lost in the design rather than enhanced; or missing type, notes, research, and/ or influence.

Too legible, predictable. Type mundane, need for further exploration. Or, part of your meaning is lost in the design rather than enhanced; AND missing type notes, research, and/ or influence.

Method does not support the intended voice or too muddled to be discerned. Missing more than one requirement. Not well explored. Just one hot mess.

9781350047891_txt_app_CC19.indd 159

1/22/21 9:56 AM

160

Type in Illustrator

EXAMPLES:

Figure 6.75 Lyric Self-Portrait, Lauren Alfieri, ART 220 Typographic Foundations, Mercyhurst University, 2018.

Figure 6.76 Lyric Portrait, Massimo Buscema, ART 220 Typographic Foundations, Mercyhurst University, 2018

9781350047891_txt_app_CC19.indd 160

1/22/21 9:56 AM

Exercise: Lyric portrait

161

Figure 6.77 Lyric Portrait, Savannah Ciciarelli, ART 220 Typographic Foundations, Mercyhurst University, 2018.

Figure 6.78 Lyric Self-Portrait, Kristian Trebilcock, Art 220 Typographic Foundations, Mercyhurst University, 2020.

9781350047891_txt_app_CC19.indd 161

1/22/21 9:56 AM

162

Type in Illustrator

EXERCISE: LABEL ASSIGNMENT 3 In order to demonstrate your command of the various skills learned up to now and the techniques available in Illustrator, you will create a beverage label with the following elements present: Multiple stroke applications (six lines minimum) (Chapter 2) A custom pattern that utilizes the Pattern tool (Chapter 7) Three styles of type A logo (outline type) A flavor wordmark (create a style to be used on multiple flavors) Ingredients or the ATF alcohol warning (paragraph style) A color palette (Chapter 4) Then a second label will be created where ONLY the following will change: The pattern The flavor wordmark The color palette Your beverage may be any of the following: Soda Beer Wine Malt beverage Iced tea Tea bags Coffee PARAMETERS: Develop a new label series Develop your own new brand and logo STEPS: Research into the beverage area of choice and collect inspiration on a Pinterest board (20 images). Choose a label to deconstruct. Labelling each element and explaining how it was created. 12 label sketches are required that include each of the aforementioned required elements.

9781350047891_txt_app_CC19.indd 162

1/22/21 9:56 AM

Exercise: Label assignment 3

163

Vector file master Duplicate a second page for the second label. See below for the split column rubric. Items listed above in the discussion equal what is in the center column. If a student exceeds the requirements through application or mad skills, they earn an improved grade on the right. If the student’s work falls short, they will have diminished their grade. Marks are then made to the left. For student examples of various labels, see the assignment pages in Chapter 4. RUBRIC: Less than a C+

Basic design work C+

Better than a C+

Just 1 point lines?

Multiple Strokes present

Creative application of:

Overly simple

Custom pattern

Creative elements:

Three types, not necessarily working well together

Multiple Type applications

10 tips applicable

Bitmapped standard

Corporate logo

Original to you

Just type

Flavor wordmark

Can work as a stand-alone element in ads

Hyphens and a hot mess

Ingredients/ATF warning

Proper typesetting

A bit of a cacophony of color

Color palette

Flexible and uses one of the scientific color models

Awkward

Coordinating second flavor

Clear relationship but still dynamic

Less than or poor quality/ relevance

20 research images

More than. . . and relevant

Less than or poor quality

12 sketches

More than

Incomplete

Two final labels that are coordinated and printable

Complete

Not real perceptive as to how the label was constructed

Deconstruction of an existing label

Insightful, shows additional knowledge

9781350047891_txt_app_CC19.indd 163

1/22/21 9:56 AM

164

Type in Illustrator

Featured Artist Eltipo www.eltipographic.com @eltipographic Based in Antwerp, Eltipo is an all-round independent designer who specializes in both hand-drawn and computer vectorized lettering, illustration, and graphic design.

His works are a merger of a diverse skill set, with influences of different subcultures such as extreme sports, tattoo art, motocross, sign painting, and graffiti, translated into different media.

Figure 6.79 36 days of Type 2018, ©eltipo, 2018. Figure 6.80 Casual Depth, ©eltipo 2018.

9781350047891_txt_app_CC19.indd 164

1/22/21 9:56 AM

Featured Artist: Eltipo

165

Figure 6.81 Casual Depth close-up, ©eltipo 2018.

Figure 6.82 36 days of Type 2017, ©eltipo, 2017.

9781350047891_txt_app_CC19.indd 165

1/22/21 9:56 AM

166

Pattern vs. symbol

7 9781350047891_txt_app_CC19.indd 166

1/22/21 9:56 AM

Pattern vs. symbol Topics covered: • Introduce Pattern Making panel • Multiple fills in the Appearance menu • Standard available patterns • Additional Symbol tool notes • Masking

By the end of this chapter, you will be able to: • Create various patterns from one resource image. • Apply multiple fills to create unique interactions. • Review the Symbol tool. • Fill shapes with patterns or symbols through masking. • Manipulate resource patterns to create your own unique take on standard resources.

167

9781350047891_txt_app_CC19.indd 167

1/22/21 9:56 AM

168

Pattern vs. symbol

Overview Pattern and symbol work create wildly rich visual environments (Figure 7.1). They allow artists to layer work within a form and move it freely. Symbols allow for consistent rendering of a form. While we covered symbol basics

in Chapter 3: Mark making, we will add to that knowledge in this chapter. There may also be times when one would like to fill an object with an irregular design. This is where masking comes in handy.

Figure 7.1 Muddy Paws Greetings. Leah Weingartner, 225 Computer Illustration, Mercyhurst University, 2017.

9781350047891_txt_app_CC19.indd 168

1/22/21 9:56 AM

Patterns

169

Patterns Regular repeating images or elements are best managed using illustrator’s Pattern Making tool. Start first by creating a square space using guides (Figure 7.2). Here I have created a 1.5” x 1.5” square using the guides. Within this square I will arrange my elements making sure that nothing

goes beyond the edge of the guides (Figure 7.3). Then, selecting all of the visual elements that I wish to be part of the pattern, I will drag them to the Swatches panel. The pattern’s name will default to New Pattern and a number. Take the time to name your patterns by clicking on the words (Figure 7.4). The pattern is now named Hoppyness. When I draw a rectangle and select “Hoppyness” the rectangle will fill with the default pattern arrangement. A relatively simple process with an attractive appearance (Figure 7.5).

Figure 7.2 Set up your guide lines to create a 1.5” x 1.5” square.

Figure 7.4 Once pleased with the arrangement of the pattern elements, drag the resources to the Swatches panel and name.

Figure 7.3 Once your guides are in place, arrange the contents within the square.

9781350047891_txt_app_CC19.indd 169

1/22/21 9:56 AM

170

Pattern vs. symbol

Figure 7.5 Next, draw a rectangle and choose your newly created pattern as fill.

Figure 7.6 From under the Windows menu, the Edit Pattern panel will let you try different pattern configurations. Visit the hamburger menu on the top right to select “Edit Pattern.”

Figure 7.7 Traditional pattern arrangement is in a grid pattern, but there are other arrangements to explore.

9781350047891_txt_app_CC19.indd 170

To edit the pattern, bring up the Pattern Options panel from under the Windows menu (Figure 7.6). When the panel first opens it will list the last pattern worked with but all the controls will be grayed out. In order to edit you must select “edit pattern” from the hamburger menu on the right. Once you have selected to edit pattern, the settings will activate. Observe that the default pattern or “Tile Type” setting is “Grid.” The “Edit Pattern” isolation mode shows you what the pattern looks like with the resource art at 100% and the repeat art at a lower opacity (Figure 7.7). I have my opacity set at 70%. This may be altered by checking “Dim Copies to:” and setting the percentage. I find that different patterns need different percentages to see the difference. I also find I don’t really need much dimming as the main art is boxed in blue. Additional settings include the height and width of the original art space. This changes the safe space around your original art. When you choose to make the measurement smaller than the actual art you will create an overlap that you can also manage. See the Overlap style about three-fourths of the way down the panel. Note, you also have the option to move the tile with the art or not by simply checking the box below height and width. Returning to Tile Type, let’s look at the options available. Brick by Row (Figure 7.8) and Brick by Column (Figure 7.9) stagger the art, like bricks, either horizontally or vertically. And, again, you can play with the spacing to create pleasing arrangements.

1/22/21 9:56 AM

Patterns

Hex by Column (Figure 7.10) and Hex By Row (Figure 7.11) are also options. Here is where overlap will most likely happen as we built our art in a square, so the overlap is likely. You can adjust very simply using the height and width settings. See the next two images for an example of changing these settings. In the first example I have changed the height and width to provide an optically pleasing equal spacing around the art (Figure 7.12). In the second image, the space has been reduced to create a dense overlapping pattern (Figure 7.13). At some point you will find the proper arrangement of the resource art and want to save the changes. Be sure and name your new pattern with a related name so as to connect these as related patterns. When you “Save a Copy” of a pattern, that copy is frozen in that arrangement (Figure 7.14). If you continue to edit you are editing on the original pattern. In order to retain the original grid pattern and have a copy, “Save as a Copy” then “Cancel.” The original is then preserved and the copy also exists, as you can see in the Swatches panel (Figure 7.15). Below I have applied each of the patterns to a rectangle. Plus, pictured in Figure 7.16 is the original art. There is more fun to have with patterns. If you want a pattern with more depth, say a background color or to combine it with another pattern, simply select a rectangle and open the Appearance menu. Below you will see the Appearance menu and one fill (Figure 7.17). Down in the lower left-hand corner of the Appearance panel there are three icons—stroke, fill, and fx.

9781350047891_txt_app_CC19.indd 171

171

Figure 7.8 Here the pattern arrangement is Brick by Row.

Figure 7.9 Here the pattern arrangement is Brick by column.

Figure 7.10 Here is an arrangement that is Hex by Column with some overlap.

1/22/21 9:56 AM

172

Pattern vs. symbol

Figure 7.11 Here the pattern arrangement is Hex by Row.

Figure 7.12 In this arrangement, the width and height have been adjusted to remove the overlap.

Figure 7.13 In this arrangement, the width and height have been adjusted to enhance the overlap.

9781350047891_txt_app_CC19.indd 172

Figure 7.14 If you find a variation that you wish to keep, “Save” the pattern and name it related to the first pattern.

Figure 7.15 Now there are two Hoppyness patterns available.

Figure 7.16 Both Hoppyness patterns are displayed with the original resource images in the upper left corner.

1/22/21 9:56 AM

Patterns

By clicking on the fill icon, the second from the left, you will add a second fill (Figure 7.18). Note that the second fill will default to the last fill applied but you can change that. Simply select the bottom fill swatch and press on it, a small arrow with a drop down of the Swatches menu will appear. Select a different swatch. Shown here is one of the solid greens with its opacity then set to 50%. To get to the opacity setting, click on the arrow next to the word “Fill.” The settings for that fill will appear below in a drop-down style. Opacity is the only default change represented. In our next example, you will see how to get to additional settings. You needn’t contain your additional fills to just flat color. One can combine multiple patterns. As shown here, those patterns can also interact in various ways (Figure 7.19). By double-clicking on opacity, a small submenu will appear. The opacity can be set here as well as blending modes. In order for this simple black and white pattern to blend more appropriately with my top-most pattern, I have applied Color Dodge to colorize the black and white pattern. Note: in order for the blending modes to work, you must have a solid background fill below that of the fill that you are applying the color mode to. If you are not getting results, check the order of your fill layers and drag them into proper relationship. Returning to our label project, I can use my multiple pattern background for the outer label wrap (Figure 7.20).

173

Figure 7.17 Create more depth with your pattern work by adding additional fills to the rectangle. This is done through visiting the Appearance menu.

Figure 7.18 Here the rectangle has one fill applied.

Figure 7.19 There is no limit to the combinations. This rectangle has three fills, two are patterns and one solid. See the Appearance menu for the order and the special setting on one of the patterns.

Figure 7.20 Testing the new pattern with the label design.

9781350047891_txt_app_CC19.indd 173

1/22/21 9:56 AM

174

Pattern vs. symbol

Seamless patterns You may want to create a pattern that is interconnected from left to right and top to bottom. This takes a little planning and manipulation. The easiest example of that is a plaid or linear pattern. To proceed, one would again create a 1–2” square out of guide lines. Then, lay down a variety of line widths and colors. To ensure that the lines are straight, utilize the Shift key, holding it down whilst drawing the lines. Begin with the vertical lines (Figure 7.21), being sure not to extend the line beyond or shy of the guide

Figure 7.21 When creating a plaid, make sure that all of your lines are straight and end in the same place.

lines. Then create the horizontal lines (Figure 7.22), here they are also set at 50% opacity to create a plaid-like look. Then, as before, press and drag to select the resources (lines). Drag them into the Swatches panel. Create a rectangle and apply the plaid as the fill. If you have overextended or come up shy with any of the lines, it will show here. Return to your resource and correct using the Direct Selection tool. See the glitch in the horizontal line circled in red (Figure 7.23). You may fix this or leave it as I have. It is the result of coming up shy with one of the lines.

Figure 7.22 When creating the second lines of a plaid, opacity is a good setting to use to create a woven look.

Figure 7.23 Pictured here is the original resource with a flaw circled. See the application rectangle to see how the flaw manifests.

9781350047891_txt_app_CC19.indd 174

1/22/21 9:56 AM

Patterns

Standard patterns Along with a designer’s ability to create a pattern are some standard Illustrator patterns. To view the available patterns, open the Swatches panel. In the lower left corner of the panel appears the book icon (Figure 7.24). Pressing on the book icon reveals swatch books. Within each book are collections of related individual swatches. The Pattern Book has collections entitled: Basic Graphics, Decorative, and Nature. By selecting one of those books, the individual swatch groups are listed.

175

Selecting a group spawns another panel with the group’s related individual swatches. See the adjacent chart for a visual list of available standard swatches (Figure 7.25). When considering the Basic Graphic patterns, one should consider the history of graphic design. In the pre-computer days of design, images were created through a series of films with patterns printed on them. Those dot/line/texture patterns represented different shades of gray. Usually those shades were 10% through 90% with a new pattern at 10% intervals. Now, on the computer, images are still created using dots; however, they are far finer dots. And when printed on an ink jet printer, they are in what is referred to as a stochastic—or scattered— arrangement versus the traditional regimented lithographic arrangement most readily seen in printed Sunday comics or in the work of Roy Lichtenstein. These collections of Basic Graphic dots, lines, and textures can be used to create interesting grayscale imagery (Figure 7.26).

Figure 7.24 Default patterns are available in Illustrator.

Figure 7.25 All these patterns are available and can also be altered to create different, new, or original patterns.

9781350047891_txt_app_CC19.indd 175

1/22/21 9:56 AM

176

Pattern vs. symbol

Try and think of these patterns as jumping off points. Just as when we created your own patterns, they can be edited through the Pattern Maker to make the pattern your own. They can also be layered with other patterns through the use of multiple fills under the Appearance menu. Blending modes can be applied to the fills creating even more variations of the original.

To best become familiar with these resources, visit the end of the chapter’s assignments area. The first independent design project is to utilize the patterns to create a grayscale portrait.

Figure 7.26 Pattern can be used to create interesting textural designs. For a video tutorial for this illustration, see page 181.

9781350047891_txt_app_CC19.indd 176

1/22/21 9:56 AM

Symbols and masking

177

Symbols and masking The difference between a symbol application and a pattern seem fairly obvious. Patterns are regular, repeated application of a select group of images. Symbols are individual instances of an image that are grouped and related through the Symbol Sprayer. As discussed in Chapter 3, Section 6: Symbols, these instances of a symbol can, at the most basic level, be scrunched, tinted, scaled, etc. Symbols and patterns can be used together to create interesting combinations. Just as patterns can be masked; so can symbols—or any other vector image—be masked to create a unique fill. One just has to expand and ungroup the symbol collective. Remember this symbol group (Figure 7.27) from Chapter 3? Let’s mask these familiar symbols. What you will need to create is a shape that you would like to fill with the daisy collective. I’m thinking a profile. Let’s resource that. Open up the Glyphs panel found under the Type menu. Select Webdings as the font in the lower left corner. Open the Glyphs panel so all the glyphs can be viewed (Figure 7.28). There is a silhouette of a head speaking. Select that glyph. Now proceed to get the Type tool from the toolbox. Click on your paste-up board to lay down a text point. Now return to the Glyphs panel and double-click on the silhouette. There will be a 12-point version of the silhouette on your paste-up board where you placed your text box. Visit the Control panel and change the point size to 300 (Figure

9781350047891_txt_app_CC19.indd 177

7.29). The pictogram of the silhouette should be a nice size. Note that it is a solid black form. This is necessary as the fill of the flower symbols will ultimately fill the black space. Using the Move tool, select the pictogram and return to the Type

Figure 7.27 Remember these from Chapter 3: Taking shape? For this next exercise we are going to use these to fill in a form.

Figure 7.28 Here’s the Glyph panel with the head selected and then appearing on the page.

1/22/21 9:57 AM

178

Pattern vs. symbol

Figure 7.29 Flowery thoughts? Require a head filled with flowers. Resource the head form from Glyphs > Webdings.

Figure 7.30 Once outlines are created (Figure 7.29), you can enlarge the vectorized head to overlay the spray of daisies.

Figure 7.31 To rid your resource of the shout lines use the Direct Select tool to individually select the lines and hit delete on the keyboard.

9781350047891_txt_app_CC19.indd 178

menu selecting “Create Outlines.” This will translate the silhouette into an object (Figure 7.30). Now, using the Selection/Move tool, while holding down the Shift key, pull the corner of the silhouette to make it considerably larger—roughly 4–5” tall. The head needs to be enlarged and the shout lines removed. To do so, first “Create Outlines” of the glyph. Now to get rid of the shout lines. Pick the Direct Selection arrow from the toolbox, return to the silhouette. Click on one of the black shout lines and hit delete on your keyboard (Figure 7.31). This should clear that shout line. If the whole image disappears, Command + z to get it back. Click on the white space of the page, then click on the shout line to select only it and hit delete. Do the same for the other two lines until there is just the head remaining. Symbol groupings will not take to being a clipping mask fill. Consequently, you have to select the daisy symbol cluster and apply Object > Expand, then Object > Ungroup. This will render the symbols as individual objects that can then become a fill. Using the Selection tool, press and drag around the silhouette and the flower symbols. You should see all the bounding boxes of the images selected (Figure 7.32). If you do not, check that the layer that houses the daisy symbols is unlocked and try again. Once everything is selected, visit the Object menus > Clipping mask > Make (Figure 7.33). And, Voila! There’s a head full of daisies (Figure 7.34). When you deselect, or click off, the head you’ll notice that there are some significant gaps in the fill (Figure 7.35) that might impede readability. This can be adjusted by holding down the

1/22/21 9:57 AM

Symbols and masking

Figure 7.32 1. Place the head image on top, then select all of the flowers and the head.

Figure 7.34 3. The Mask is now applied.

Command key and clicking with the Selection tool to move the daisies into place (Figure 7.36). Once that task is finished, the combination of silhouette and daisies is complete and readable (Figure 7.37). If a background color is desired, one must release the clipping mask, draw a rectangle larger than the clipping object, and select it along with all the other objects. Then, select Clipping Mask. If one attempts to fill the group with color through the Appearance menu, the clipped images will change color. As shown here, masks (Clipping Masks) can take any closed shape and can contain many different images.

9781350047891_txt_app_CC19.indd 179

179

Figure 7.33 2. Visit the Object menu > Clipping Mask > Make.

Figure 7.35 4. When deselected, I noticed that there are some gaps that might better be filled.

Figure 7.36 5. Adjust the flowers by holding down the Command key and clicking with the Selection tool. Then the fill will be selected, and the flowers can be moved.

Figure 7.37 The final is a more pleasing result with the flowers adjusted.

1/22/21 9:57 AM

180

Pattern vs. symbol

Summary Patterns and symbols offer designers opportunities to automate and control resources with greater aplomb. They also create smaller files and reproducible results. And, when combined, can lead to beautiful results as seen in the Barber National Institute Scarf Project. Student artist Kimberly Carden combined a pattern of small tulips in the background and applied a sprinkling of larger symbols

over top of the pattern to energize the arrangement of elements (Figure 7.38). Artists and illustrators would be wise to consider this new frontier of product design through sites like Redbubble, Threadless, and Zazzle to create their own line of coordinated products as illustrated here by Ximena Rengifo’s proposal for a line of cards and gifts entitled, “Sweet Friends & Co.” (Figure 7.39).

Figure 7.38 Kimberly Carden & SAM, 225 Computer Illustration, Mercyhurst University, 2018 Barber National Institute Scarf Promotion, 2018.

     

Figure 7.39 Ximena Rengifo, Sweet Friends & Co., 225 Computer Illustration, Mercyhurst University, 2017.

9781350047891_txt_app_CC19.indd 180

1/22/21 9:57 AM

Exercise: Grayscale portraiture

181

EXERCISE: GRAYSCALE PORTRAITURE Grayscale image-making with standard and custom Illustrator patterns (Figure 7.41).

GOALS: To investigate supplied resources. To customize standard resources to create unique solutions. To study the tints and shades of a resource image. To become nimble with assigning fills, multiple fills, and blending modes. REQUIREMENTS: 11 x 17” artboard Resource image translated to grayscale Standard pattern sets from Illustrator.

Figure 7.40 The original image.

Figure 7.41 The resulting final portrait.

9781350047891_txt_app_CC19.indd 181

1/22/21 9:57 AM

182

Pattern vs. symbol

STEPS: 1. Create an 11 x 17” document (Print > Tabloid)

Figure 7.42 Create a 10 point value scale from Illustrator patterns, combination of patterns, and your own original patterns. See below and the videos for instructions. Be conscious of where the shades will be used and create appropriate patterns.

2. Investigate the standard patterns available in Illustrator. 3. Draw 10, 1” squares side-by-side across the top or bottom of your artboard. 4. Create grayscale fills from 10%–90% using the standard patterns (you may modify, layer, or blend any standard resource). 5. Consider your image’s textures also for a higher level of execution. 6. Import your black and white image. 7. Size the resource image to 11” wide and its proportional height not to exceed 17”. 8. Lock that layer. 9. Create a new layer named 90%. 10. Draw shapes over the darkest areas of the pictures and fill with your darkest fill by selecting or using the eyedropper to sample your 90% pattern (see video example). 11. When completed, lock that layer. 12. Proceed from 90% to 10% (Option: Place each new percentage on its own layer). 13. Periodically turn off the resource picture layer to view your progress. 14. Move unsatisfactory forms to a “rejected forms” layer that you create. (Note: the reason for this is you might change your mind. Having them on their own layer makes them retrievable.) 15. When completed, print out. (Tweak, then print out again, etc. until satisfied.)

9781350047891_txt_app_CC19.indd 182

1/22/21 9:57 AM

Exercise: Grayscale portraiture

183

RUBRIC: Grayscale Portrait Rubric

4     3.5

3.45      3

2.95    2

1.95    1

.95   >   0

Excelling

Very Good

Competent

Needs work

Unsatisfactory

Grayscale development

Clear delineation between percentages; texture also a factor; original patterns developed.

Delineation between percentages; texture mostly considered; some patterns developed.

Delineation between percentages. No new patterns developed. Texture not an issue.

More delineation needed between percentages; no patterns developed; texture a problem.

Grayscales mixed up; textures inappropriate; no patterns developed.

Individual grayscale application

Expertly and consistently applied; artistic decisions made with regard to intensity and detail.

Consistently applied with some artistic decisions evident.

Consistently applied; more editing of forms needed; more artistic decisionmaking would enhance the final product.

Some confusion with gray application; artistic decisionmaking faulty.

Grays erratically applied; artistic decision-making not evident.

Forms

Well-drawn and divided or overlapped forms.

Forms are well drawn for the most part. Division or overlapping could be improved in spots.

Forms are readable. Not creative with division or overlap.

Forms need more distinction between corner and curve areas; simple division.

Work needed in the use of Pen, Pencil or Blob tool; poor rendering.

Overall aesthetic

Consistent and appropriately edited with strong evidence of artistic decisionmaking.

Edited with some inconsistencies. Some artistic decision making.

Complete but lacking in the area of artistic decisionmaking.

Mostly complete. No artistic decisionmaking; straight out copy.

Incomplete and/or poorly copied/ rendered.

9781350047891_txt_app_CC19.indd 183

1/22/21 9:57 AM

184

Pattern vs. symbol

EXERCISE: SCARF DESIGN GOAL: Utilizing an artwork either created by you, famous, or produced by a child, create a two pattern solutions from the resource art or your interpretation of the resource art. Art will be used to create scarves, both square (Figure 7.38) and long. The dimensions of which are: 36 x 36”* and 16 x 72”

SPECIFICATIONS: Product Long scarf Square scarf

Size in Pixels 10800px x 2400px 7500px x 7500px

Size in Inches 72” x 16” 50” x 50”*

DPI 150 150

*Will print as 36” x 36” but art should be for the 50” x 50” scarf.

REQUIREMENTS: Work should be fashionable. Two different approaches should be used to your subject. RUBRIC: Overall approach to the project: 40 points Integration of fine artwork 10 9 8 7 6 5 4 3 2 1 Recognizable but integrated Reiterative Expansion of Fine Artwork 10 9 8 7 6 5 4 3 2 1 Additional items such as borders, etc. Nothing expanding the work Fashionable? 10 9 8 7 6 5 4 3 2 1 Recognizes the Color of the Year “Pretty” Just what you were given/ Pantone predications Divergent results for each scarf 10 9 8 7 6 5 4 3 2 1 Two radically different responses A bit too similar Scarf design 1: 30 points Technical execution 10 9 8 7 6 5 4 3 2 1 Well executed Glitches Hot mess

9781350047891_txt_app_CC19.indd 184

1/22/21 9:57 AM

Exercise: Label assignment 4

185

Individuality 10 9 8 7 6 5 4 3 2 1 Stands apart from other design Reiterative Unique fashionable inclusion 10 9 8 7 6 5 4 3 2 1 Border, overlap, blending mode, etc. Reiterative Scarf design 2: 30 points Technical execution 10 9 8 7 6 5 4 3 2 1 Well executed Glitches Hot mess Individuality 10 9 8 7 6 5 4 3 2 1 Stands apart from other design Reiterative Unique fashionable inclusion 10 9 8 7 6 5 4 3 2 1 Border, overlap, blending mode, etc. Reiterative

EXERCISE: LABEL ASSIGNMENT 4 Beverage Project Pages: Create a pattern or a symbol for your label background. Suggestions include: Much like the logo assignment images can include: flavor-related images, abstract forms, a glyph made from brand initials (remember to “create outlines”).

a e S t a a Te

P

EA

E

BE

ACH

aa e T e T

H CH ON T

9781350047891_txt_app_CC19.indd 185

HO

1/22/21 9:57 AM

NO

186

Pattern vs. symbol

Featured Artist Shunsuke Satake naturalpermanent.com behance.net/shunsukesatake instagram.com/shunsuke_satake After working as a graphic designer for an advertisement production company in Hyogo Prefecture, he became an independent graphic designer in 2007. Since then, Shunsuke has been working as a freelance illustrator. The main work is the creation of illustrations and characters used in advertisements, books, etc. The motif is mainly people and animals used by clients focusing on parenting, education, and family fields. He is known as the “Running Illustrator” as he runs marathons. Shunsuke is also a part-time lecturer at Kyoto Art and Design University since 2011.

Figure 7.43 Forest, © Shunsuke Satake, 2018.

Figure 7.44–7.47

9781350047891_txt_app_CC19.indd 186

1/22/21 9:57 AM

Featured Artist: Shunsuke Satake

187

Figure 7.48 Christmas. © Shunsuke Satake, 2018.

9781350047891_txt_app_CC19.indd 187

1/22/21 9:57 AM

188

Gradient Mesh

8 9781350047891_txt_app_CC19.indd 188

1/22/21 9:57 AM

Gradient Mesh Topics covered: • Introducing the Gradient Mesh tool • Contouring • Underpainting • Sharper adjustments

By the end of this chapter, you will be able to: • Investigate the Gradient Mesh application of color for contour colorization. • Create an underpainting to tint and shade a form. • Adjust handle bars to create sharper designations in the gradient.

189

9781350047891_txt_app_CC19.indd 189

1/22/21 9:57 AM

190

Gradient Mesh

Overview Earlier in the Chapter 4 on color, the gradient was explored. In this chapter, the gradient will be pushed and pulled to create shaped gradients for detailed artwork. We will look at simple gradient mesh, freeform gradient, deconstruct a gradient mesh project, and then create a more complicated gradient mesh. When viewing the photograph of the mountains (Figure 8.1), one

can imagine recreating this image in gradients. The gradual changes from one color to another bespeak of gradient work. When colors run the full length of a form you can be sure that it is a fill of a gradient. It is when colors are cornered, fade before the end of the shape, or fade in both the horizontal and the vertical axis, that there is evidence of a gradient mesh at work.

Figure 8.1 Resource photo for the first gradient exercise.

9781350047891_txt_app_CC19.indd 190

1/22/21 9:57 AM

Simple gradient illustration

191

Simple gradient illustration The image of mountains is a simple gradient problem to solve. When approaching this work, one must decide to work front to back or back to front and adjust the sensitivity of the Pencil tool. Set up your document to have two pages (Figure 8.2). On each page have a copy of the original picture. Then, select the Pencil tool and double-click on it. This will launch your Pencil Tool Options dialog box (Figure 8.3). To create craggy mountaintops requires that the Pencil tool have accuracy to the line you are creating. Consequently, one must slide the Fidelity slider to the “Accurate.” You can return to reset this for future illustrations as needed. Select “OK.” Next, create a layer named “front mountain.” Then lock the resource picture layer. Now we are ready to work from the front to the back of the image. Trace the front most dark mountain. Then, fill with a linear

gradient adjusting from a horizontal to a vertical arrangement (Figure 8.4). You’ll note that I did not go to the bottom of the mountain. You can choose whether or not to go to the bottom of the mountain. Just remember to adjust where the blend occurs as it is in the top Figure 8.3 Double-click the Pencil tool to access the Pencil Tool Options panel. To retain the craggy mountains, slide the Fidelity bar to “Accurate.”

Figure 8.2 Two-page document with the resource photo locked on a layer.

9781350047891_txt_app_CC19.indd 191

1/22/21 9:57 AM

192

Gradient Mesh

Figure 8.4 First mountain is a vertical gray to black gradient.

Figure 8.5 Once the gradient is assigned, change the angle of the gradient by -90 degrees and then double click on the swatch button to choose a dark gray. Once the gray is chosen, adjust the gradient diamond closer towards the gray.

Figure 8.8 Mountain four: note the angle used to create the specific look.

Figure 8.9 Mountain five: simple right left gradient.

Figure 8.6 Mountain two: solid gray.

Figure 8.10 Mountain six: gray to coral vertical gradient

Figure 8.7 Mountain three: note the number of points when Fidelity is turned up to accurate.

Figure 8.11 Mountain seven: small, but important for faithfulness to the original image.

9781350047891_txt_app_CC19.indd 192

1/22/21 9:57 AM

Simple gradient illustration

Figure 8.12 Mountain eight: Be sure and raise the coral to peak from behind the gray mountain.

193

Figure 8.14 Mountain ten: Fidelity is in the details. This little guy is necessary.

Figure 8.15 Mountain 11 is the last of the simple gradient solutions.

Figure 8.13 Mountain nine: lots of coral here.

Figure 8.16 Create a coral box on its own layer. Lock those below.

one-third of the shape if you draw the whole mountain (Figure 8.5). Each mountaintop has a different angle and a different slider of color. Over the next 10 images you can follow along and create the mountain illustration using the gradient setting shown (Figures 8.6–8.15).

9781350047891_txt_app_CC19.indd 193

Now we must move to mimicking the sky. Here’s where a mesh comes in handy. To work on the sky you must first establish a layer and then a box on that layer filled with the overall sky color (Figure 8.16).

1/22/21 9:57 AM

194

Gradient Mesh

Figure 8.17 Click to place mesh lines where the lighter color needs to be inserted.

Figure 8.18 Select more than one mesh point by holding down the Shift key. Then assign an appropriate lighter, or yellower, shade of coral.

Then you will select the Gradient Mesh tool from the toolbox. Observe the original pictures and where the streaks of lighter clouds appear. This is where mesh lines should run. Click on the edge of the box to lay down a mesh line (Figure 8.17). The above lines are the mesh configuration that I began with. Now select multiple mesh points (Figure 8.18)—those are anchor points in the mesh that are white and diamond shaped. Hold down the Shift key to select multiples. Once they are selected color maybe applied. The color in this work is rather subtle and may require amplifying to work effectively. Once the mesh points are colored, the handle bars can be adjusted to narrow the color to a swipe of lighter peach. This is achieved by pulling the handle bars above the mesh points that were just colored (Figure 8.19). Those mesh points are then turned to extend left to right. The sharper

9781350047891_txt_app_CC19.indd 194

the angle the sharper the edge of the gradient will be. You may have to add more mesh lines. You may need to lighten the color of the streaks. This is the tricky part of the gradient mesh. Just remember that in this context you are seeing both the original picture and the vector drawing (Figure 8.20). Most of the time the viewer will only see your final result. Perfection may not be the goal. The goal may be realistic without being exact. Next, let’s insert a sun. This is a simple circle with a linear gradient (Figure 8.21). Here it is on the same layer as the sky, but it can also be on its own layer right above the sky layer. In the final art the mesh point (Figure 8.22) colors have been exaggerated for reproduction purposes. Once satisfied, I can return to the mesh and reduce the opacity or change the color for a more subtle final sky.

1/22/21 9:57 AM

Simple gradient illustration

195

Figure 8.19 To create a more linear gradient effect, pull the handle bars on the mesh points to a sharp right as shown above.

Figure 8.20 Continue to create lighter sky lines referencing the resource image.

Figure 8.21 The sun has a vertical gradient also. See above for the settings.

Figure 8.22 The left side intensity of the gradient mesh is for reproduction purposes. Once you have approximated the sky, you may choose to turn down the color a bit.

9781350047891_txt_app_CC19.indd 195

1/22/21 9:57 AM

196

Gradient Mesh

Freeform Gradient A wonderful new addition to Illustrator CC19 is the Freeform Gradient. Select and double-click on the Gradient tool and the Gradient panel will pop up. In the panel there are three gradient types. We have worked with the linear gradient in the mountainscape. Under type there is also a Radial Gradient and the Freeform Gradient. In the image here you can see that a Radial Gradient has been applied to the stroke and a Freeform Gradient applied to the fill. The Freeform Gradient is applied through points or lines allowing the illustrator to pinpoint exactly where they would like a color to travel. In this example, a fall leaf has been drawn. Points were used in various regions of

Figure 8.23 Gradient panel and Freeform Gradient filled leaf.

the leaf to recreate a fall leaf (Figure 8.23). To best see how this works, use Blippar to view the short creation video as screen capture does not adequately capture the points and how to move, delete, and change the color. As you have witnessed, the use of the Freeform Gradient is quite easy. Some users have experienced a remnant pale blue color on the screen in areas that are left white. While I have seen this in other’s screen captures, I have not yet experienced the phenomena. My recommendation is to make sure that you have assigned each of your points a color, remembering that there are four points applied at the beginning. You can delete those you do not want. Just as when editing the gradient in point mode, you can add points. Just for fun I made the leaf a symbol; sprayed and spun it (Figure 8.24). Enjoy and explore the many possibilities of the Freeform Gradient.

Figure 8.24 The creation of the Freeform Gradient filled leaf inspired me to create a symbol from it. Spray and spin it on the page to create drifting leaves. The highlighted leaf is a new leaf with a different Freeform Gradient on its way to being a symbol also.

9781350047891_txt_app_CC19.indd 196

1/22/21 9:57 AM

Underpainting

197

Underpainting When we observe the salt shaker image (Figure 8.25), there are various uses of the gradient and gradient mesh. Many of the gradients fade and curve irregularly and are off from center. These are definite signs of the presence of a gradient mesh. When viewing the salt shaker, there are numerous forms that have varying shades of gray. They also use opacity to create the transparency to the gradients. Let’s deconstruct or recreate this salt grinder to better understand the gradient mesh as underpainting.

First, get the forms down in place. There are flat forms and rotated forms to be attentive to. Let’s start with the overall exterior form that is built from other simpler forms, the Pen tool, and the Shape Builder tool. The detail of all the forms can be seen by applying a “Select All” to the original art (Figure 8.26). Once you observe the forms, lock the layer that the original art is on and create a new layer. On the new layer, create the outline of the overall form using smaller shapes (Figure 8.27), the Pen tool and the Shape Builder (Figure 8.28).

Figure 8.25 Creative Commons Licensed salt shaker art. Let’s deconstruct to learn about gradient mesh as underpainting.

Figure 8.26 “Select All” to reveal the shapes within the final form.

9781350047891_txt_app_CC19.indd 197

1/22/21 9:57 AM

198

Gradient Mesh

Figure 8.27 Recreating the shaker with simple forms joined by the Shaper tool.

Figure 8.29 Metallic Color Library

9781350047891_txt_app_CC19.indd 198

Figure 8.28 How the form should look after applying the Shaper tool.

Once the basic form has been created, a gradient mesh can be applied to begin to color the various areas mimicking the original art. To acquire the colors to apply to your shaker, visit the Color Libraries opening the Metal area (Figure 8.29). In the Metal collection your will see various color folders that match the colors used in the original shaker art. Double-click on those folders to copy them to your Swatches panel. To begin with the gradient mesh, select the bottom shape and visit the Object menu > Create Gradient Mesh. A Gradient Mesh dialog box will appear asking how many columns and how many rows. This applies to the net that will be created

1/22/21 9:57 AM

Underpainting

over the shaker form. You can always add additional “lines” after if there isn’t enough. Also, the dialog box will ask about appearance: Flat, Center, and Edge. Each of these selections distributes the fill color accordingly. Flat provides overall color. Center places color in the center and fading outward (Figure 8.30). Edge places the color along the edge fading to the center. Depending on the fill color, that will determine which option you will select. As always, if you select “Preview,” you can decide by seeing which selection makes most sense. To use the mesh, get the Direct Select arrow from the toolbox. Click on an

199

anchor point. After clicking on an anchor point, any color can be applied and will show up as a diffuse dot of color. To create a line of color select a series of dots in sequence applying the same color as show here. The application color is coming from a study of the original shaker art (Figure 8.31). Reference the original and, selecting anchor points, color the mesh in using a variety of metal swatches. When completed, observe the work. I found that my work seemed a bit dark, so I visited the appearance panel and applied an 85% opacity to the fill (Figure 8.32).

Figure 8.30 Select a mesh point and then select a color.

Figure 8.31 To create a line of color, select multiple points and apply color.

9781350047891_txt_app_CC19.indd 199

Figure 8.32 Underpainting too dark? Visit the Appearance menu and turn the opacity down.

1/22/21 9:57 AM

200

Gradient Mesh

Once the lower part of the salt shaker is completed, apply the same technique to the upper part of the salt shaker. To create large blocks of color, you can click in the center of a mesh group and the anchor points around that square will be activated. This is known as a “Mesh Patch.” Then, when applying color, a larger area will be colored. The top of the shaker appears more green. To edit a swatch, double click on the swatch and turn up the green by dragging the sliders to the more green application. Be sure to match the color being created with the color present in the original image. When the top is completed, proceed to the center bars and ball. The center bars are more of a simple gradient. And the ball on top merely needs a highlight which can be achieved through the selection of one point (Figure 8.33). Once finished with these steps, you will have create the “underpainting” of the design (Figure 8.34). This technique blocks in the color in large swashes to create a loose overall feel to the work.

Figure 8.33 To highlight the top ball, you could choose one mesh point and apply white to it.

9781350047891_txt_app_CC19.indd 200

Next step is to create more of the exact shapes and forms utilized in the salt shaker image. The kind of shapes will be rounded rectangles, ovals, custom pen shapes, and rectangles. There will be changes in opacity and application of feathering and blending modes. Finally, the top ball will be duplicated and then the details added. So, buckle up there’s a lot to do. Starting with the top of the salt shaker, the sharper internal forms need added along with the various highlights. First addition is the large rounded rectangle at the top of the shaker (Figure 8.35). This has a gradient and is set at 45%

Figure 8.34 By now the underpainting is complete. Note how the color is soft and blocked in where it is needed. Now to add finer details over top.

1/22/21 9:57 AM

Underpainting

opacity. Next, we add the rounded rectangle below (Figure 8.36). It too has the opacity reduced and its own gradient settings. Then we add some rectangular highlights to the right of the shaker. Note that the rectangle or window pane highlights are filled with a radial gradient and not a linear one (Figure 8.37). The opacity is also reduced on those shapes. The bold white highlights found all over the shaker can be added at any time BUT they should be on their own layer (Figure 8.38). Next, lets move to the grinder itself. This is comprised of two long, skinny rectangles with borders. It

201

should also be created on its own layer (Figure 8.39). Note, there is a small indent in the upper half of the shaft. This can be achieved but adding a point to the rectangle and then using the handle bars to turn the attitude of the anchor point. The top handle will need to retract and the bottom handle will be manually adjusted to provide just enough indent. Once you have completed

Figure 8.36 Here’s another rounded rectangle that needs added.

Figure 8.35 There is a large, rounded rectangle needed on the top of the shaker, use the Gradient box information to set your rectangle up.

9781350047891_txt_app_CC19.indd 201

Figure 8.37 Two very light rectangles exist on the right of the shaker.

1/22/21 9:57 AM

202

Gradient Mesh

this task on both sides of the shaft, it will be ready to be moved to Layer 2 where all the mesh work is. This is because the shaft has to be “sent to the back” to be “inside” of the shaker. To readily move the shaft, select both pieces and Edit > Cut. Then select Layer 2 (Figure 8.40)—make sure it is unlocked—go to Edit > Paste in Place. The shaft is now right where it should be. Using the keyboard Command + [, the object moves backward through the shapes every time you hit Command + [. Depending on how your piece is built will depend if you will need to click onto other shapes and send them to the back to get the shaft at just the right level. Once this is achieved it is time to add the salt. The salt is a pure white circle to which I then applied Effect > Distort & Transform > Roughen. Then I applied the Smooth tool to the top part of the circle to remove the rough

Figure 8.38 Don’t forget to create the bold white highlights also. They would work best on their own layer.

9781350047891_txt_app_CC19.indd 202

area there to mimic the original. The next step is to add the stars the artist has used to create the salt. An original symbol will need generated. To review, simply create a star shape, fill with 30% gray, and then drag into the Symbol menu. Name it. Leave it as a dynamic symbol. Click “OK.” Now the symbol can be sprayed. Once you have sprayed the symbol (Figure 8.41) the stars will need to be “Scrunched” and “Screened” and “Skewed.” Revisit the Symbol Sprayer tool to find the Symbol Scruncher and the Symbol Screener. First, scrunch the stars together around the shaft. Then, change to the Screener to fade the opacity of the stars most in the front. And finally, visit the toolbox Scale tool. Under the Scale tool is the Skew tool. This will allow you to tilt the aspect ratio of the star cluster so that it looks as if the stars are laying on the salt mound.

Figure 8.39 The shaft that goes through the center of the image is created using the Pen tool. It has a gray outline and a subtle indent.

1/22/21 9:57 AM

Underpainting

203

We’re not done yet. There needs to be more stars and they need to interact. Use the Selection tool to select the symbol group and duplicate (Figure 8.42). Then move the newly created group over top of the original star grouping. Then apply the Multiply Blending mode to create an interaction between the two groups

of stars (Figure 8.43). Remember that the blending modes are found under the Appearance menu for a particular object. Now that the star salt is in place, it is time to attack the upper grip of the salt shaker. Be sure and save your work as we move to the next challenge.

Figure 8.40 The shaft also needs to be sent backwards.

Figure 8.41 Create a five-pointed star in white. Drag it to the Symbol panel. Spray a selection of stars as seen in the original. Use the Skew tool to lay the stars down.

Figure 8.42 Once the first spray of stars are skewed to appear to lay down, select the group and duplicate.

Figure 8.43 Now, with the second batch of stars selected, visit the Appearance menu and utilize the blending modes and opacity to blend them with the first batch of stars.

9781350047891_txt_app_CC19.indd 203

1/22/21 9:57 AM

204

Gradient Mesh

The grip is the top black ball on the salt shaker (Figure 8.44). The first step is to duplicate the black ball and offset it slightly by pulling the bottom sphere down. Then, using the Rounded Rectangle tool, create an ovoid band around the center of this black form. After that, using the Blob brush, create the white and gray highlights on the lower ball. You may have to reduce the size of the Blob brush, to do so double-click on the Blob brush tool to open the dialog box (Figure 8.45). Size is highlighted in blue on the picture. These are the settings

I employed. Pressing “OK” you may now visit the layer with the knob or grip and freehand the forms. Do not worry if it takes a couple of times before you are happy with your lines. Just use Command + z to undo any missteps and try again. Once your blobs are happy, lock that layer and create a new layer titled “grip line.” A custom line is need to finish off the knob. To the side of your salt shaker you will need to draw a form using the Pen tool. See the sample on the next page to see the form that needs to be made (Figure 8.46). Once this is created,

Figure 8.44 To create the details on the ball top, draw a rounded rectangle. For the gray and white details, use the Blob brush.

Figure 8.45 To reset the Blob brush, double-click on the tool. You can readily size it under the default brush options.

9781350047891_txt_app_CC19.indd 204

1/22/21 9:57 AM

Underpainting

the fill should be changed to white (Figure 8.47). Then you are ready to create a custom line. Bring up the Brush panel and drag the white form into the Brush panel. A new Brush dialog box will appear. Select Pattern

Figure 8.46 To create a custom line, first create the form it will be built from.

205

Brush (Figure 8.48) from the options and that will take you to the Pattern Brush dialog box. The Pattern Brush Options dialog box (Figure 8.49) has a place to name the line you are creating and to set the line interaction. This is made a wee bit difficult by our form being white. Trust the process and follow the settings in the screenshot. When finished, click “OK.” Once back to your art board, get the Pen or the Pencil tool to draw a line across the rounded rectangle drawn earlier. Then select your newly create brush to fill it (Figure 8.50). It may appear too big (Figure 8.51) or too small. If so, visit the Control panel to scale the stroke up or down (Figure 8.52) as necessary. Use the original art as your guide for size.

Figure 8.47 Then fill the shape with white.

Figure 8.48 Bring up the Brush panel and drag the newly created form into the panel. The New Brush dialog box will pop up. Select Pattern Brush.

9781350047891_txt_app_CC19.indd 205

Figure 8.49 Once you click “OK” in the New Brush panel. The Pattern Brush dialog box will pop up. Here it shows what will happen on sharp turns and straight lines. Luckily, we only need to worry about one straight line.

1/22/21 9:57 AM

206

Gradient Mesh

Figure 8.50 Here is the custom brush in the Brush panel and the line across the top knob.

Be sure and save your work. Now observe the completed salt shaker next to the original (Figure 8.53). Note the differences in your hand versus the original artist’s work. As you learn more about Illustrator and spend more time working in the program, your abilities will improve and methods may change. This is a perfect exercise to note your skill set and where you can work to improve.

Figure 8.51 1 point setting.

Figure 8.52 .25 point setting.

Figure 8.53 Here the original salt shaker sits next to my deconstructed effort. Note that they are not exact, just darn close. Your skill level, hand, and approach will make any copy just that, a copy. However, it remains a very tried and true method for learning.

9781350047891_txt_app_CC19.indd 206

1/22/21 9:57 AM

Creating an original image with a Gradient Mesh

207

Creating an original image with a Gradient Mesh So far we have mimicked a photo and deconstructed an artist rendering. Next is creating original content. When using photograph resources for inspiration, be aware of copyrights. Pictures taken by others are theirs unless they are licensed under Creative Commons or you paid money to use them. I like to visit free stock sights such as Pixabay.com and rgbstock.com. Very often there are beautiful resource photos (such as those we used in this chapter) that are under a Creative Commons license. There are various Creative Commons licenses and you would do well to read up on them (https:// creativecommons.org/licenses). The license for the image I am going to use does not even require that I attribute the photo to the original artist and it is available for

commercial use. Now, this also means that there is zero exclusivity to this image. Meaning anyone can use it for almost any purpose. We are using it for visual inspiration. Let’s create our own mountainscape that mimics this image (Figure 8.54). First thing is to create a page in Illustrator. Then I place my inspiration image at the top and leave the bottom half of the page open for my own interpretation. Once the picture is placed, lock the layer and create a new layer. Using the Pencil tool, trace the blue background mountain (Figure 8.55). Using the Eyedropper, select the middle blue tone of the mountain for your fill swatch. Now select the mountain and visit menu Insert > Create a Gradient Mesh (Figure 8.56).

Figure 8.54 The original inspiration image.

9781350047891_txt_app_CC19.indd 207

1/22/21 9:57 AM

208

Gradient Mesh

Figure 8.55 Blocking in the blue mountain shape.

Figure 8.56 Using the Object menu > Create Gradient Mesh selection for an all-over mesh.

Figure 8.57 Sharper gradients require extenuated handle bars.

9781350047891_txt_app_CC19.indd 208

Once the mesh exists, using the Selection tool, move the object down to reveal the mountain. Once the peak is in view, it can be used as inspiration for the manipulation of mesh points. Select mesh points and color them white. Then use the handle bars to turn the mesh points in to create a curve (Figure 8.57). The farther the handle bars are pulled, the sharper the delineation between colors. This is where your artistic decision-making comes into play. It is not likely to ever be exactly like the photo. BUT, what kind of approximation can you achieve? If you pull too far, pick up the handle bar and push it back or Command + z. Practice is where we are at and the more practice the better, and more confident, your results will be. Continue to explore the mountainside. Move your art to reveal more of the shadows and crags. Note, create sharp edges by over arching and pulling on handle bars (Figure 8.58). The broken, craggy look, however, will be created with an overlay of a symbol from the Grunge set of symbols after the drifts and color patches have been created. Once the blue mountain has been roughed in (Figure 8.59), create another layer for the foreground rust mountain. This can be executed in three sections or as one large mountain body (Figure 8.60). The white snow drifts will be another layer that can be created, meshed, and manipulated for shadow and light. A word of caution, you will see from my “final” mesh work that I worked with one large mountain body. It did not afford the luxury of creating realistic streaking in the rock.

1/22/21 9:57 AM

Creating an original image with a Gradient Mesh

209

Figure 8.58 Both white and brown accents can be added.

Figure 8.60 Brown crags were created, mesh applied. White snow caps were added with soft gray shadows.

Figure 8.59 I have loosely roughed in some brown and white areas. I am not seeking photorealism, more using the mountain as a guide.

9781350047891_txt_app_CC19.indd 209

Also the mesh was awkward. My recommendation would be to work in three shapes to create more detailed streaking of color. Once the mountain mesh has been roughed in additional details maybe added. Creating another layer, I utilized the Symbol Sprayer to spray multiple instances of the Grunge symbol (Figure 8.61). Then I expanded and colorized the symbols appropriately. In cases where there was too much symbol, the Eraser tool was used to trim the symbol to the edge of the mountain.

1/22/21 9:57 AM

210

Gradient Mesh

This imagery is by no means realistic. Photorealism is an advanced level of art beyond the scope of this book. Also it is important to note, artist specializing in photorealism will attest that creation of photorealistic imagery takes days upon days. Do not be frustrated if the four hours you have devoted to this exercise does not yield a photorealistic result.

In conclusion, the command of the gradient mesh is a timeconsuming ordeal. However, the dividends that it brings to a work are priceless. As an artist, you must weigh time spent with end result. The scope and timeline of a particular assignment will command how much realism is called for. You learn how to balance the application of a gradient mesh and the price being paid by the client.

Figure 8.61 To get a crunchy feel, use the Grunge symbol. Spray liberally. Use the Symbol Scruncher to move them, and scale to resize the symbols also. Then expand the symbols and, using the Eraser tool, get rid of the cracking from where you don’t want it. You can also select individual symbols and color them white, brown, or gray-blue.

9781350047891_txt_app_CC19.indd 210

1/22/21 9:57 AM

Exercise: It’s in the cards

211

EXERCISE: IT’S IN THE CARDS Goal: Three playing cards will be developed using three different techniques available in Illustrator CC—3D Objects, Perspective Grid, and Gradient Mesh.

REQUIREMENTS: Styles: one each of 3D objects, Perspective Grid, and Gradient Mesh Dim: Proportionate enlargement of a typical Playing card which is 3.5 x 2.5” (for example 5 x 7”) STEPS: 1. Randomly select three playing cards from a standard deck of cards. 2. Sketch your cards, taking into account the required techniques of 3D, Perspective, and Pattern. 3. Consider stroke thickness and brush style. One point black strokes are a newbie design giveaway. Move beyond that! 4. Scan or capture your sketches to work from. 5. Place sketch in your .ai file and lock it on a layer. 6. Utilize layers to build different aspects of your files. 7. Create a multi-page Illustrator document WITH BLEEDS (.12”) to work on your cards. 8. Save multiple copies when working on your designs in case you need to return to a prior design state. 9. Example Gradient Mesh cards are found on the following page. RUBRIC: Grade scale for each card ________________ ______ out of 50 Excellent    V.G.    Ave.     Below     Poor Well developed form: 10 9 8 7 6 5 4 3 Beautiful Experimental  Functions as a whole Execution of Technique 10 9 8 7 6 5 4 3 Readable  Appropriate Utilizes a Tutorial No tech glitches Composition/organization 10 9 8 7 6 5 4 3 Appropriate Experimental Limited Needs work Color palette 10 9 8 7 6 5 4 3 Appropriate  Experimental  Limited  Muddy Needs work Concept 10 9 8 7 6 5 4 3 Original idea Inclusive of card meaning Lacking an idea NOTES FROM DESIGNER: NOTES TO THE DESIGNER:

9781350047891_txt_app_CC19.indd 211

1/22/21 9:57 AM

212

Gradient Mesh

EXAMPLES:

Figure 8.62 5 of Hearts,. Kimberly Carden, Mercyhurst University, 2018.

Figure 8.63 6 of Spades. Sara Fisanick, Mercyhurst University, 2018.

Figure 8.65 5 of Diamonds. Samantha Sherwood, Mercyhurst University, 2018. Figure 8.64 Queen of Hearts. Kira Kolb, Mercyhurst University, 2018.

9781350047891_txt_app_CC19.indd 212

1/22/21 9:57 AM

Exercise: Label assignment 5

213

EXERCISE: LABEL ASSIGNMENT 5 In order to demonstrate your command of the various skills learned up to now and the techniques available in Illustrator, you will create a beverage label with the following elements present: •

Multiple stroke applications (six lines minimum)

•

A custom pattern that utilizes the pattern tool (Chapter 7)

•

Three styles of type (Chapter 6)

•

A logo (Chapter 3)

•

A flavor wordmark (Chapter 6)

•

Ingredients or the ATF alcohol warning (Chapter 6)

•

A color palette (Chapter 4)

•

Utilize freeform gradient or a gradient mesh on one element of your label (Chapter 8) See the gradient mesh video attached to Figure 8.66.

Then a second label will be created where ONLY the following will change: •

The pattern (Chapter 7)

•

The flavor wordmark (Chapter 6)

•

The color palette (Chapter 4)

Parameters: •

Develop a new label series

•

Develop your own new brand and logo Stages of design for this project:

•

Research into the beverage area of choice and collect inspiration on a Pinterest board (20 images).

•

Choose a label to deconstruct. Labelling each element and explaining how it was created.

•

12 label sketches are required that include each of the aforementioned required elements.

•

Vector file master

•

Duplicate a second page for the second label.

Your beverage may be any of the following: •

Soda

•

Beer

•

Wine

•

Malt beverage

•

Iced tea

•

Tea bags

•

Coffee

9781350047891_txt_app_CC19.indd 213

Figure 8.66 Roxy is a 3 dimensional being. Learn to add gradient mesh to create simple cartoon dimension.

1/22/21 9:57 AM

214

3-Dimensions and perspective

9 9781350047891_txt_app_CC19.indd 214

1/22/21 9:57 AM

3-Dimensions and perspective Topics covered: • Extrude • Bevel • Rotate • Revolve • Map art • Perspective grid

By the end of this chapter, you will be able to: • Extrude and bevel objects and type. • Rotate forms. • Revolve half forms to create 3D objects. • Map artwork to a 3D object. • Create an environment in perspective. • Place objects on the perspective grid.

215

9781350047891_txt_app_CC19.indd 215

1/22/21 9:57 AM

216

3-Dimensions and perspective

Overview Observing Sarah’s fancy 4 of Clubs card (Figure 9.1), there are various items of a 3D nature—the condiment bottles, the cake plate, and of course the burgers. All of which masterfully use the Revolve setting found in Illustrator.

Earlier in Chapter 3 on Typography we spent some time with the Extrude and Bevel settings on typography. This time, using the same settings, we’ll apply the morphing to objects (Figures 9.21–9.34).

Figure 9.1 4 of Clubs. Sarah Fisanick, Mercyhurst University, 2017.

9781350047891_txt_app_CC19.indd 216

1/22/21 9:58 AM

Extrude and bevel

217

Extrude and bevel So we are making a beverage bottle. Let’s assume we have a metal bottle cap. We are going to extrude and bevel a circle and create a custom stroke to mimic the bottle cap creases (Figure 9.2). First, let’s make the ruffle as this requires creation of a brush that was taught earlier in the book. Begin by retrieving the Rectangle tool. The brush is created by four overlapping rectangles of varying percentages of gray (Figure 9.3). See the image below for the size of the art and the percentages of gray utilized. Once the final art has been created, drag and drop the art into the Brush panel to create a new pattern brush (Figure 9.4). Name your pattern brush “Bottle Cap Pattern Brush.” Make sure all the corners have been designed, then say “OK” (Figure 9.8). Create a circle and apply the brush (Figure 9.5). Once the brush is applied, go to Effect > Distort & Transform > Zig Zag (Figures 9.6 and 9.7). Once the crinkle is in place, add a circle that overlaps the center of the art (Figure 9.9). Once the circle is in place enter Effect > 3D > Extrude & Bevel. It will bring up the above pictured Options menu. The square form will need to be turned into place. You can either paw it into place with your cursor or you may enter the settings pictured. I have chosen the rolling

Figure 9.2 Final cap art before mapping.

Figure 9.3 Building the ruffle. First start with this pattern and drag it into the Brush panel.

Figure 9.4 Here is the custom brush within the panel.

(Inspired by: http://vectips.com/tutorials /customized-bottle-cap-vector/)

9781350047891_txt_app_CC19.indd 217

1/22/21 9:58 AM

218

3-Dimensions and perspective

Figure 9.5 Draw a circle and apply the new brush.

bevel, but you may prefer another. Feel free to experiment. To see the various bevel effects, check preview in the lower left corner. Once you are happy with the extrude and bevel, click “OK.” The work has some dimension but it does seem to need more. Adding gradient overlays can help. First, duplicate the ruffle layer and then expand the artwork (Figure 9.10). After the art is expanded use Pathfinder > Unite (Figure 9.11). This will create a solid form the same shape as the crinkled outer rim. Now, add a gradient (Figure 9.12). Note: the settings are at the same angle as the extrude and bevel to maintain the integrity of the light source. Once the gradient is in place, move it over to exactly cover just the crinkle shape. It will obscure the crinkle shape. Applying opacity and blending modes are called for. Visit the Appearance panel to call those settings up (Figure 9.13). Now the cap top seems to be a little flat. Perform the same exercise on it to overlap a gradient to enhance the light and

Figure 9.6

Figure 9.7 With the circle selected, visit the Effects panel > Distort & Transform > Zig Zag. Preview the result and click “OK.” Figure 9.8 In the Pattern Brush Option dialog box you will see that the corners have been determined for you and that the line is seamless.

9781350047891_txt_app_CC19.indd 218

1/22/21 9:58 AM

Extrude and bevel

Figure 9.9 Once the crinkle is in place, add a circle that overlaps the center of the art. And visit the 3D Extrude and Bevel Effect dialog box.

219

Figure 9.11 Here’s the Pathfinder with Unite depressed. The result is a dark gray form.

Figure 9.10 Copy and expand the ruffle then Pathfinder > Unite.

shade. The opacity setting this time may be a little lower. The gradient will be placed over the cap and the text. To decorate the cap you may take type from your delicious beverage label. Or you could map a pattern to the beveled cap. The above artwork has type simply placed on the cap. Mapping art is discussed in the next section. Figure 9.12 Now apply a linear gradient to the form to use as a shadowy overlay on the cap ruffle.

Figure 9.13 The cap itself will need a shadow. So, create a circle, applying the same gradient settings, and overlay on the circular cap.

9781350047891_txt_app_CC19.indd 219

1/22/21 9:58 AM

220

3-Dimensions and perspective

Mapping art

Figure 9.14 To add a pattern to the cap, you must map art. Remember, to map art, create your artwork and drag it to the Symbol panel. Then, select the cap form; visit the appearance menu; and click on the Bevel and Extrude settings. Once you are in the Bevel and Extrude dialog box you can select “Map Art” in the lower left-hand corner.

On a beveled or rotated form you have the option of mapping the art to the form. The first step before mapping is deciding what you wish to put on the form. That artwork must be turned into a symbol by dragging it into the Symbol panel (Figure 9.14). Once the art is in the Symbol panel return to the form that you wish to attach the art to. Select that form and visit the Appearance menu. Once there, click on the Extrude and Bevel settings. Then click on “Map Art.” You will then be able to pick the surface

to apply the symbol to (Figure 9.15). Here, surface two of three has been selected and the process of selecting a symbol is shown (Figure 9.16). Before jumping out of this area, be sure to use “Preview” to make sure you have selected the right surface. I also like to “Shade Artwork.” Once satisfied, click on “OK” (Figure 9.17). To get the hint of a pattern around the ruffle, I created a large circle, filled it with the same pattern, and overlaid the pattern onto the ruffle. Opacity was reduced. Now, I

Figure 9.15 When mapping art to the cap, first find the correct surface. Then you can select your artwork from the Symbol dropdown menu.

9781350047891_txt_app_CC19.indd 220

1/22/21 9:58 AM

Mapping art

decided, I still wanted the text over the mapping. The “Amber Ale” was hard to read so I outlined it in deep red on the outside edge of the vector as shown below (Figure 9.18). The type is dragged back onto the top of the cap. Depending on your artwork and text, you may have to

221

add outlines or a glow to the text to enhance readability. The cap really needs pattern on the ruffle also (Figure 9.19). As this is not beveled or extruded, I used a simple overlay and opacity to place the pattern on the ruffle. Voila! The final cap (Figure 9.20). Figure 9.16 Here is the symbol selected. With preview checked, I can view the symbol as it appears on the form.

Figure 9.17

Figure 9.18

Figure 9.19 Here is the pattern overlaying the ruffle. The opacity is set to 70%.

9781350047891_txt_app_CC19.indd 221

Figure 9.20 The final result.

1/22/21 9:58 AM

222

3-Dimensions and perspective

Revolving a bottle So, what is a cap without a bottle. . . lonely. Let’s make a bottle, mapping our label to the form. First things first—start a new document. This is an intensive exercise and it works better the less memory one is using. The new document should have two letter or A2 pages. On the first page, copy the art you wish to use as the label around the bottle. On the second page, the bottle itself will be created. To create a wonderfully symmetrical bottle, start by dragging out a guide to the center of the page. Then, using either the Pencil or Pen tool, draw half the bottle (Figure 9.21). I have found the pen tool to be far more exact which this task calls for. Make sure the start and end point hit exactly on the centered guide. With the half profile selected, make sure the stroke is colored. Then, proceed to the Effect menu > 3D > Revolve (Figure 9.22). Once in the Revolve Control panel you will notice many settings. To start, do nothing but check

Figure 9.21 Creating an item in 3D involves revolving a resource line. Here the line is half of a bottle. Drag a guide out to ensure that the start point and the end point of the line are aligned.

Figure 9.22 To revolve the line into a form, visit the Effect menu > 3D > Revolve.

9781350047891_txt_app_CC19.indd 222

preview. What you are seeing is because the default is to revolve from the left (Figure 9.23). Simply change the “Left Edge” to the “Right Edge” and the bottle will appear (Figure 9.24). It will only be as good as your original profile line. Trust that time spent on perfecting the profile line is time well spent. If the bottle is leaning too much for your taste, you may change the position by working with the angle cube in the 3D Revolve Options panel. When satisfied, click “OK.” In order to map any art to the bottle, the art will need to be dragged to the Symbol panel. Before dragging the art there, make sure all of the typography has been converted to outlines. This will save from potential difficulties later. Select the label art and drag to the Symbol panel (Figure 9.25). When mapping art to the bottle, various surfaces can be available. Often, the neck of the bottle is together with the body of the bottle. You may want to have the neck and label art together as one symbol. The only way to know if your bottle is that way is to look into the mapped art settings in the Revolve Control panel. Time to select the revolved bottle and, using the Appearance panel, double click on the “3D Revolve” attribute. This will reopen the Revolve Control panel rather than reapplying revolve. Once that panel is open, click

1/22/21 9:58 AM

Revolving a bottle

Figure 9.23 When you check the preview button, your first image might not be what you expected. This has to do with what edge is chosen. The line is revolving from the default left edge. Simply change “Left Edge” to “Right Edge” for a different result.

Figure 9.25 The bottle medallion, bottle label with pattern, and a swatch of plaid have all been dragged and dropped into the Symbol panel for potential use on the bottle through mapping.

9781350047891_txt_app_CC19.indd 223

223

Figure 9.24 Much better. From the right edge, the bottle form appears.

on “Map Art” in the lower left-hand side (Figure 9.26). This brings up another panel that breaks the object into various surfaces. See the upper right-hand corner. The number of surfaces cannot be controlled other than by redrawing the bottle. I drew the bottle three times before I was happy with the revolve results. This resulted in seven surfaces. Other editions of the bottle had 12 surfaces. Using the forward and back triangles, scroll through the surfaces to see how the program highlights the area that the map represents. My bottle had two potential front surfaces. Turns out Surface #6 is the surface where my label will show. I know this because I tested surface #3 with the Gerber daisy symbol and it did not show. When I tested surface #6 with the Gerber daisy, it did show. I made sure to “clear” the symbols before moving to a new surface.

1/22/21 9:58 AM

224

3-Dimensions and perspective

Once the label symbol shows up on the surface, the symbol can be moved to where it shows up best (Figure 9.27). It can be resized by hand (hold down the Shift key to maintain aspect ratio). The white area of the map usually represents the best viewing area or front. After the label symbol is properly in place, check “Shade Artwork.” Now click “OK” in all of the panels to exit the Revolve Control panel. Once out of the Revolve Control panel, you may wish to tweak the color of the bottle based on how the label looks. I chose to darken the brown, using the Appearance panel to do this (Figure 9.29). Figure 9.26 The Map Art button found in the 3D Revolve Options panel has been selected.

Figure 9.27 Note that here I am testing the result of the whole label being “mapped” to the bottle on Surface #6 of 7. You may have more surfaces on your bottle. You may have better or worse results. Mapping is a real trial and error experience.

9781350047891_txt_app_CC19.indd 224

Notes of caution: This may be a frustrating process. Your label symbol may not show up on the surface. This is why I used the Gerber daisy symbol to test the surface. If that default symbol shows up, but the symbol I made does not, my symbol is flawed. This means returning to the label (not the symbol) and checking the components. I might make part of the label a symbol to test that it is not the offending object. When creating this tutorial, I placed the label as a symbol three different times testing the dog, pattern, and oval separately. Finally, when I created a new document, I found success. For an easier and cleaner way to render your label on a 3D object, try Adobe Dimension®.

1/22/21 9:58 AM

Revolving a bottle

Also note, the render on the mapped label is nothing to write home about. It all depends on the complexity of your graphics. You can sometimes get better results from 3D mock-ups in Photoshop®. You may or may not have access to do this. Hence these instructions on how to execute 3D in Illustrator. In the final image Bottle close-up with cap (Figure 9.30), you can see some of the flaws of the 3-D render. It is yours to make a judgement call on whether or not this is a presentable enough render to utilize for your purposes. To add the bottle cap as it is in this image, Bottle close-up with cap, I took a grouped copy of the cap and used the Skew tool found in the toolbox under the Scale tool. I skewed and angled the cap then added a shadow by using the gradient fill in a copy of the ruffled edged cap shape. I also feathered the edges of the shadow. Then, using the Skew tool, I laid the shadow down.

225

Figure 9.28 Note that this is my second try to map the label to the bottle and it has turned out much better that the first attempt. Sometimes you have to go back and reload your artwork in the Symbols panel. Sometimes you need to start the whole document over and redraw the bottle. Sometimes you have to simplify the artwork to be mapped. Try any of these “tricks” to get your artwork to map beautifully.

Figure 9.30 Bottle close-up with cap. Figure 9.29

9781350047891_txt_app_CC19.indd 225

1/22/21 9:58 AM

226

3-Dimensions and perspective

Figure 9.31 6 of Hearts, Erin Glass, Mercyhurst University, 2017.

Figure 9.33 4 of Clubs, Caitlyn Padovano, Mercyhurst University, 2017.

Figure 9.32 6 of Hearts, Paul Mizia, Mercyhurst University, 2017.

Figure 9.34 8 of Diamonds, Kelsey Mader, Mercyhurst University, 2017.

9781350047891_txt_app_CC19.indd 226

1/22/21 9:58 AM

Perspective Grid

227

Perspective Grid Urgh! What is that weird grid that keeps turning on and what is it for? If it looks like this (Figure 9.35), then it’s the Perspective tool—a relatively handy tool for creating environments such as city streets and architectural creations. Should you not have had the pleasure of activating the Perspective grid, visit the View menu and scroll down to Perspective Grid > Show. The default grid is the 2-point Perspective tool complete with a ground and two sides. Once the grid is on, the widget (teardrop shape with a cube in it) in the upper left-hand corner of the screen shows which surface is active. In the below case it is the left-hand side of the grid. To draw on the grid, simply choose the side within the widget and retrieve the Rectangle tool. When the Rectangle tool is utilized with the Perspective tool, the rectangles will draw in perspective

and “stick” to the grid side you selected. Where the grid gets more challenging is attaching already created art to the planes. This is what the Perspective Selection tool is for (Figures 9.41–9.44). First, import the art you wish to attach to the Perspective Grid. It will come into the new document as a flat image—no perspective applied. Check the widget for the proper side to be selected (Figures 9.36 and 9.37). Then using the Perspective Selection Tool pick up the art you brought in. It will begin to angle to the side—that is, if the art is simple vectors. You’ll note, in the image below, that the gradient mesh work will not attach (Figure 9.38) to the Perspective Grid. Raster images will not attach either. The warning box below will pop up (Figure 9.39). In the warning itself, it tells us how to handle the issue—expand. Ungroup Figure 9.35 The default Perspective Grid can be activated by visiting the View Menu > Perspective Grid > Show. Change from 1-point, 2-point, or 3-point perspective under the same menu location.

9781350047891_txt_app_CC19.indd 227

1/22/21 9:58 AM

228

3-Dimensions and perspective

the art and, with the regular Selection tool, investigate all the aspects of your artwork. Edit > Expand will take care of the issue, except for Rasters and Gradient Mesh. Both of those object types will need to be “Image Traced.” In the case of Roxy’s head, it was image traced utilizing the 16 colors setting that proved to be just enough digital information but not too much for placing on the grid (Figure 9.40). For faster dexterity when working with the Perspective Grid, it pays to know the keyboard commands. See the side box for the short list. Also of note, there are three different Perspective Grids to choose from—1-point, 2-point, and 3-point. These can be found under the View > Perspective Grid > One, Two, and Three. One-point perspective provides a receding angle to a single point on the horizon. See Ashley Podrasky’s 5 of Spades card with the skeleton receding into the distance (Figure 9.41).

Widget—the small icon in the upper left-hand corner of the desktop that is utilized to select a side on the Perspective Grid.

Two-point perspective is the default perspective. See Kelsey Mader’s 4 of Spades where the counter is created using the Perspective tool (Figure 9.42). Three-point perspective is best demonstrated by our professional designer’s work—Dorus Verwiel’s Treehouses. Here, both the sides are visible, as well as the rooftops (Figure 9.43). Now that you have an understanding of both the 3D settings and the Perspective tool, one way to show off your knowledge is by creating playing cards that display your competencies. Also, find the assignment at the end of the chapter to recreate your favorite city’s street or your hometown city’s street in 2-point perspective.

Perspective Grid keyboard commands Turn the grid on/off Shift + Command + i Perspective Selection tool Shift + v Perspective Grid tool Shift + p

9781350047891_txt_app_CC19.indd 228

1/22/21 9:58 AM

Perspective Grid

229

Figure 9.36 Note, the Widget in the upper left corner is highlighted orange on the right side of the cube, consequently the rectangle “stuck” to the orange, or right side, of the grid.

Figure 9.38 Here I have used the Perspective Selection tool, found under the Perspective Grid tool in the toolbar. I have attached the Roxy’s Amber Ale to the left side of the grid, except for Roxy’s head. Gradient Mesh work cannot be attached to the grid. It must first be expanded in order to attach, Object > Expand.

Figure 9.37 Here, the blue side of the grid is selected in the Widget and a second rectangle was attached to the blue, or left side, of the grid.

Figure 9.39 This is the warning that will pop up when you have an object that cannot be placed on the Perspective Grid.

9781350047891_txt_app_CC19.indd 229

Figure 9.40 Once you expand any gradient mesh or other offending artwork, you can then attach it to the selected side of the grid.

1/22/21 9:58 AM

230

3-Dimensions and perspective

Figure 9.41 5 of Spades. Ashley Podrasky, 1- Point Perspective, Mercyhurst University, 2017.

Figure 9.42 4 of Spades. Kelsey Mader, 2-point perspective, Mercyhurst University, 2017.

Figure 9.43 King of Clubs. Hanna Schumacher, Mercyhurst University, 2017.

Figure 9.44 2 of Hearts. Leah Weingartner, Mercyhurst University, 2017.

9781350047891_txt_app_CC19.indd 230

1/22/21 9:58 AM

Exercise: My home

231

EXERCISE: MY HOME Goal: Utilize the Perspective Grid to render a 2-point perspective drawing of your hometown main street, the street you live on, or one of your college’s streets (Figures 9.45–9.48).

REQUIREMENTS: •

Research photos of your intended location from the proper angle.

•

11 x 17” or tabloid sized, horizontal layout.

•

Use of the Perspective Grid.

•

Color, line, and texture should tell the story of the place.

•

Minimum of three fully developed buildings.

ALTERNATE APPROACH:

STEPS: 1. Find your place through photography. Be sure and download your photos and print or upload to a Pinterest board for credit. 2. Create the horizontal, tabloid document and activate the Perspective Grid. 3. Start by laying in the rectangles first. Be sure and pay attention to which side is active through the widget. 4. Alter relationships of items only if it shows a more aesthetic arrangement.

You may also draw the flat fronts of various buildings and then use the Perspective Selection tool to attach the grouped art to the selected plane. Adjustments may still need to be made.

5. Build patterns and lines for use in your buildings. RUBRIC: Grade range

A–B+

B–C+

C–D+

D–F

Requirements

Research pictures and final work bare a strong resemblance. Artistic choices are in tune with the overall atmosphere. All requirements have been met.

Final work resembles the research pictures with some tweaks. Most artistic choices seem to be in tune with the atmosphere desired. All requirements met.

Final work is aesthetically pleasing, research images are absent or research images and final are not strongly related. Some artistic choices support the atmosphere being created. Most requirements met.

Missing research photos. Unrelated imagery. Artistic choices need more work. Only some requirements were met.

9781350047891_txt_app_CC19.indd 231

1/22/21 9:58 AM

232

3-Dimensions and perspective

Featured Artist Dorus Verwiel https://www.behance.net/DorusVerwiel www.dorusverwiel.nl https://www.facebook.com/dorus.verwiel My name is Dorus Verwiel; I’m a 58-year old illustrator and graphic designer from The Netherlands. Besides my work as an artist, I teach Digital and Graphic design at the Koning Willem 1 Art College in Hertogenbosch.

My specialty lies in working with Adobe Illustrator. I’ve worked in Illustrator for almost 30 years now and still there are new things to explore and new techniques to learn; I love working with vectors and the secrets they still hide for me. My ultimate tip for Adobe Illustrator: give every single anchor point the same attention. One single wrong-placed anchor point can ruin your curve and therefore your entire artwork. They’re all little babies who need attention!

Figure 9.45 Station, Dorus Verwiel, Koning Willem 1 Art College, 2018. © Dorus Verwiel Illustraties & Vormgeving for Brandevoort also: client: Itch, Helmond, The Netherlands

9781350047891_txt_app_CC19.indd 232

1/22/21 9:58 AM

Featured Artist: Dorus Verwiel

233

Figure 9.46 and 9.47 Google Architecture, Dorus Verwiel, Koning Willem 1 Art College, 2018. © Dorus Verwiel Illustraties & Vormgeving for Brandevoort also: client: Itch, Helmond, The Netherlands

9781350047891_txt_app_CC19.indd 233

1/22/21 9:58 AM

234

3-Dimensions and perspective

Figure 9.48 Dorus Verwiel, Treehouses, 2018, 3-point perspective. © Dorus Verwiel Illustraties & Vormgeving for Brandevoort also: client: Itch, Helmond, The Netherlands NB

9781350047891_txt_app_CC19.indd 234

1/22/21 9:58 AM

Featured Artist: Omar Aqil

235

Featured Artist Omar Aqil be.net/omaraqil Omar Aqil’s work is formed through a mixture of Illustrator, Photoshop, and Cinema 4D. He brings a unique perspective to working with 3-dimensions, creating innovative portraits that are influenced by cubism, sculpture, and 3-Dimensional digital

art. Spend some time reviewing the work and, once you have completed Chapter 9, imagine—or even try—to experiment with the application of 3D objects within an illustration. Your appreciation for this work will only grow.

Figure 9.49 Omar Aquil, Joker, King, and Jack. Omaraqil© 2018.

9781350047891_txt_app_CC19.indd 235

1/22/21 9:58 AM

236

Graph tools

0 1 9781350047891_txt_app_CC19.indd 236

1/22/21 9:58 AM

Graph tools Chapter authors: Madelyn Testa-Basmajian, Director of Design, Fortune 200 Financial Company Cheryl Bradshaw, Senior Art Director, Fortune 200 Financial Company

237

9781350047891_txt_app_CC19.indd 237

1/22/21 9:58 AM

238

Graph tools

Creating graphs by Madelyn Testa-Basmajian Working for a financial company for many years we have created our fair share of graphs. While creating a graph is not difficult, knowing the right graph to use in order to showcase your data and knowing the best way to create them for editing later is key. We will start by looking at the most commonly used types of graphs and the best way to use them. Once you are familiar with the different kinds of graphs, we will show you how to prepare your data, import or input your data, and then

take that same data to create other graph types. Later in the chapter we will get into more specifics about how to size, style, and better understand the graph menus. As with all Adobe applications, there are multiple ways into each dialog box (key commands, right clicks, etc.). For the purposes of this chapter we will navigate you through the menu. Once you are more familiar with the tools, you will find your best way of getting where you want to go.

BIO—MADELYN TESTA-BASMAJIAN, DIRECTOR OF DESIGN, FORTUNE 200 FINANCIAL COMPANY Madelyn Testa-Basmajian is an award-winning art director with 20 years’ experience in print, brand, strategy, and communications. Earning an undergraduate degree from Edinboro University of Pennsylvania and a graduate degree from Marywood University with an MFA in advertising design, she has reached one of the highest creative levels in her field. She has had an accomplished career working for nonprofit organizations, an ad agency, and currently a Fortune 200 corporation. As a designer whose own work has been celebrated both nationally and internationally, she knows what it takes to create effective, outstanding communications that yield not only industry esteem—but results. Her seasoned background and her keen eye for a variety of aesthetics keeps her work fresh and new.

9781350047891_txt_app_CC19.indd 238

1/22/21 9:58 AM

Introducing graph types

239

Introducing graph types With the Illustrator graph tool, you can create many different types of graphs. But what type of graph do you use/need? We are going to take you through the different graph options offered in the Graph Type tool and explain which one tells the best story depending on your data. We will also show you step-by-step how to create four of the most commonly used graphs; pie, column/bar, line, and area.

Pie graph Pie graphs are best used to show a part of a whole (Figure 10.1). Data points represent pie pieces or portions of the full pie. You can use data points that are percentages or data points that are dollars amounts. They do not show changes over time, only

what make up the whole. Pie graphs only have one axis. It is the simplest of graphs, but often times the most impactful. Pie graphs cannot graph negative data points.

Column and bar graphs Column and bar graphs are best used to compare data. Column graphs show your data points vertically (Figure 10.2), while a bar graph shows your data points horizontally (Figure 10.3). The important thing to remember is column or bar graphs can show the comparison over time. They are best used to show greater changes over time. Column and bar graphs are charted on two axes. Column or bar graph will graph negative data points.

Figure 10.1 Sample of a pie graph.

9781350047891_txt_app_CC19.indd 239

1/22/21 9:58 AM

240

Graph tools

Figure 10.2 Sample of a column graph

Figure 10.3 Sample of a bar graph.

Stacked column or bar graphs Stacked column or bar graphs are the best of both the pie and the bar graphs. You can show parts of a whole in the stack and show a comparison over time in different columns or bars (Figures 10.4 and 10.5). The benefit of using a stacked graph is that it will show, at a quick glance, how data measures up against similar data points. Stacked graphs are great to use when you have many data

9781350047891_txt_app_CC19.indd 240

points to help you organize your data. Stacked column or bar graphs will graph negative data points.

Line graph Line graphs are used to show changes in data over time (Figure 10.6). Line graphs are better to use when you are showing smaller changes over time. Line graphs are also the easiest to show multiple sets of data. Line graphs will graph negative data points.

1/22/21 9:58 AM

Introducing graph types

241

Figure 10.4 Sample of a stacked column graph that can show parts of a whole and comparison over time.

Figure 10.5 Sample of a stacked bar graph.

Figure 10.6 Sample of a line graph.

9781350047891_txt_app_CC19.indd 241

1/22/21 9:58 AM

242

Graph tools

Area graph Area graphs are used to show changes in data over time like a line graph, but also show volume through shading below the charted line (Figure 10.7). You can show multiple sets of data in an area graph. Area graphs cannot show negative data points.

Scatter graph Figure 10.7 Sample of an area graph.

Scatter graphs are used to show how data points or plots relate or correlate with each other (Figure 10.8). They are constructed like a line graph, but do not connect. Scatter graphs show data that is non-linear. Scatter graph will graph negative data points. Between us, we have only created one scatter graph in our entire time working in financial services.

Radar graph

Figure 10.8 Sample of a scatter graph.

Radar graphs are useful in plotting measurement on three or more categories starting from the same point (Figure 10.9). These are also called web graphs. We had to look this one up—never used one in the financial world.

Figure 10.9 Sample of a radar graph.

9781350047891_txt_app_CC19.indd 242

1/22/21 9:58 AM

What makes sense for the story?

243

What makes sense for the story? When creating a graph, take a minute to consider what you are trying to show and what story you want to tell. We are almost always given too much information or too much data. As the creators of the graph, we have to take the time to understand what the most important points of data are, what we want to show, and how the content will be received best by the viewer. Too much data can be confusing. Too little data may tell a completely different story. Sometimes the simplest graph will tell the most compelling story. (See Best Practices: Data Can Lie for more information on skewing data.)

Set up the story We are going to show you how to create a simple pie graph for two months of expenses. We will then take the data from the pie graph and create a column graph. If that is not enough, we will show you how a stacked column graph looks with that

Figure 10.10 Sample data for monthly budget.

same data. Once we get the basics on the pie, column, and stacked column graphs, we will create a line and area graph using data for a yearly budget.

Outlining data All graphs must start with data (Figures 10.10 and 10.11). Whether you obtain this data from a reputable source or if the data is your own, always make sure that the data is true and correct. Graphs are only as good as the data used to build them. You may not always be lucky enough to have a data document

Figure 10.11 Sample data for annual budget.

9781350047891_txt_app_CC19.indd 243

1/22/21 9:58 AM

244

Graph tools

provided to you to create the graph, but if you do, the following tips are important to keep in mind as you begin to create your graphs. Be sure to source any data that is not yours.

How to place the data Illustrator has a particular way it wants the data. Data that includes dollar signs, commas, or percentages will not create a graph in Illustrator. The symbols must be stripped from the data file before it is imported or copy and pasted into Illustrator. Once you have a data file that is symbol free, the data can be copied

Figure 10.12 Graph tool.

Figure 10.13 Graph Type dialog box.

9781350047891_txt_app_CC19.indd 244

and pasted or manually input into the Data dialog box in Illustrator. Copying and pasting will be very useful when you are creating a more complicated graph with many more data points. Depending on the type of software you are pulling your data from, you may also be able to import your data directly into Illustrator. Make sure your data software is compatible with Adobe before you try this. Double click the Graph tool icon (Figure 10.12) to pull up the Graph Type dialog box (Figure 10.13). Select the type of graph you would like to create. Click OK (Figure 10.14). Draw a box. Once you have made your selection, a Data dialog box will pop up (Figure 10.15). Enter your prepared data here (Figure 10.16). You can manually enter each of your data points or you can copy and paste your prepared data into the box. If you have data software that is compatible with Adobe, you will be able to import the data directly into Illustrator. Remember: your data cannot contain symbols.

Selecting which graph type to use The type of graph you choose can make or break your data. It all depends on what data points you want to highlight. Knowing what to highlight is not as easy as it sounds. The previous section outlines what each of the graph types are best used for. In this section, we will take you through how to create the most common graphs. Take note of how each of the graphs highlights data differently. It will help you make better decisions about what graph to use and when.

1/22/21 9:58 AM

What makes sense for the story?

245

Figure 10.14 Click OK in the Type dialog box.

Figure 10.15 The Data dialog box.

Figure 10.16 Entering data in the Data dialog box.

9781350047891_txt_app_CC19.indd 245

1/22/21 9:59 AM

246

Graph tools

Parts of a whole

Figure 10.17 Graph tool

Figure 10.18 In the graph type dialog box select the pie icon.

9781350047891_txt_app_CC19.indd 246

You now have prepared data and are ready to create a pie graph of your budget (Figures 10.17–10.20). How do you take the data and create a pie graph? Follow these steps. Open a new document. Double-click the Graph tool icon to pull up the Graph Type dialog box. Select pie graph. Click OK. Draw a box. Once you draw a box, a data dialog box will pop up. Enter your prepared data here. You can manually enter each of your data points or you can copy and paste your prepared data into the box. If you have data software that is compatible with Adobe, you will be able to import the data directly into Illustrator. Remember: your data cannot contain symbols. Click the check mark in the upper right-hand corner of the Data dialog box. Your graph will appear. The data provided has yielded two pie graphs (Figure 10.21). Pie graphs do not show data over time. They only show parts of the whole. You have two months’ worth of budget data; therefore, you have two pie graphs, one for January and one for February. Let’s see how the data changes once we select a different graph type.

1/22/21 9:59 AM

What makes sense for the story?

247

BEST PRACTICES: ADDING DATA AFTER YOU ALREADY CREATED YOUR GRAPH

Figure 10.19 Click OK in the Type dialog box.

What happens if you miss a critical piece of information when inputting data? For example, you forgot to include the money left over having paid all the bills for the month. As long as you have not ungrouped the graph artwork, you are able to go back into the data and make any changes you may need to make. If you have ungrouped the data you cannot go back and edit the graph style, the data, or the design of the graph.

Figure 10.20 The Data dialog box.

Figure 10.21 The pies are created.

9781350047891_txt_app_CC19.indd 247

1/22/21 9:59 AM

248

Graph tools

Making a comparison Using the same data as above, change the type of graph to a column graph.

Column graph

Figure 10.22 Changing a pie graph to a column graph through the Object menu.

Figure 10.23 Column graph applied.

Click on the pie graph with the Selection tool. Select Object > Graph > Type. Once the type box appears, select “Column Graph” from the options provided (Figure 10.22). Click “OK.” The graph has reconfigured to a column graph. You can see how the column type of graph presents the data in a different way (Figure 10.23). The column graph shows the overall comparison of expenses for January and February and shows how the utilities differed from month to month. The data for each month is clustered together and separated by a tick mark. More about tick marks later in the chapter. You can also use a bar graph. Remember that column graphs are vertical and bar graphs are horizontal. Which graph you use is going to depend on your data. Column graphs are the most commonly used, but sometimes the data is compelling enough that using a bar graph will tell a better story. We included the bar graph version of the same data here (Figure 10.24). You decide which tells a better story.

Figure 10.24 Bar graph applied.

9781350047891_txt_app_CC19.indd 248

1/22/21 9:59 AM

Making a comparison

249

Stacked graph Using this same data, you can change the graph type one more time to a stacked graph. Stacked graphs are a combination of both the pie graph and the column graph. They really are the best of both worlds. You can see the parts of the whole, and how the data compares or differs from January to February (Figure 10.25). Click on the column graph with the Selection tool. Select Object > Graph > Type. Once the type box appears, select “Stacked Column” from the options provided. Click “OK.” Now you will see the columns have stacked themselves on top of each other. Instead of having a column for each data point, Illustrator has compiled the data for each month. Stacked column graphs are better to show comparisons that are greater over time. In this example, you can barely see the change between the expenses (Figure 10.26).

Figure 10.25 Stacked graph applied.

Figure 10.26 Stacked graph with data change to show difference.

BEST PRACTICES: COLUMN AND BAR GRAPHS ARE BEST USED TO SHOW GREATER CHANGES OVER TIME In Figure 10.26 we changed the cellular bill in February to be much higher than January. Now you can better see the change from month to month.

9781350047891_txt_app_CC19.indd 249

1/22/21 9:59 AM

250

Graph tools

Making a point Line chart We are going to use new data to demonstrate the next two graphs (Figure 10.27). The first is a line chart. Line charts are great to use when showing smaller changes over time. A personal expense budget for the whole year is our sourced data. We will need to import or input the new data. Open a new document. Select Object > Graph > Type. Once the Type box appears, select “Line Graph” from the options provided (Figure 10.28). Click “OK.” Draw a box in your document. The Data dialog box will pop up. Enter your prepared data here. You can manually enter each of your data points or you can copy and paste your prepared data into the box. If you have data software that is compatible with Adobe you will be able to import the data directly into Illustrator. Remember: your data cannot contain symbols.

Click the check mark in the upper right-hand corner of the Data dialog box. This graph requires the data to be input down the column instead of across the row. We will teach you tips on when to use the rows and when to use the columns for your data later in the chapter. For now, we will focus on the graph. You can see from the data that the changes in our monthly expenses are small, but you can clearly see that there is a change from month to month no matter how small it is.

Area graph You can also use an area graph to show changes over time. An area chart will also show volume through shading. This type of graph also shows changes over time and is best used for small changes. We often call area graphs mountain graphs. You will see why once we graph it (Figure 10.29). We will need to open a new document, and this time we will use

Figure 10.27 Annual budget data.

9781350047891_txt_app_CC19.indd 250

1/22/21 9:59 AM

Making a point

all the data available to us in the annual budget. Open a new document. Select Object > Graph > Type. Once the Type box appears, select “Area Graph” from the options provided. Click “OK.” Draw a box in your document. The Data dialog box will pop up. Enter your prepared data here. You can manually enter each of your data points or you can copy and paste your prepared data into the box. If you have data software that is compatible with Adobe you will be able to import the data directly into Illustrator. Remember: your data cannot contain symbols. Click the check mark in the upper right-hand corner of the Data dialog box. Just like the line graph, the area graph shows small changes in data and, like the stacked graph, the area graph layers the data on top of itself to show the volume of the data. Now that you have a better understanding of what each of the graphs looks like and does, we are going to explain how to style your graphs for your designs. Let’s face it, they are all pretty ugly right now. Let’s see how we can make them our own. You will learn how to size, style, and better understand the graph menus.

251

Figure 10.28 Line graph.

Figure 10.29 Area graph.

PRO-TIPS • Line and area graphs are best used to show smaller changes over time. • Graphs should never be put into perspective. • Illustrator will always let you know when something is wrong. • Don’t get frustrated. Creating a compelling graph is not easy. There is a lot of trial and error and investigation needed when building a graph.

9781350047891_txt_app_CC19.indd 251

1/22/21 9:59 AM

252

Graph tools

Manipulating graphs by Cheryl Bradshaw At this point, you should be able to strip down your data and select the right type of graph based on the story you want to tell. This

section will cover how to use the built-in Illustrator graph options to manipulate your data and apply design styles.

BIO—CHERYL BRADSHAW, SENIOR ART DIRECTOR, A FORTUNE 200 COMPANY “Being an analytical thinker at an art school, and a creative designer in Corporate America, I’ve stopped trying to fit in.” Able to bridge the gap between the analytical and creative, Cheryl is valued for her ability to make complex ideas simple and her holistic approach to story-telling and problem-solving. Earning her undergraduate degree from Temple University’s Tyler School of Art, Cheryl is an awardwinning designer, with 15 years’ experience in information design, marketing, brand, and strategy. With her love of art, design, and math, she found a natural fit as an Art Director focused in the insurance and financial services industries, working for an insurance communication agency and currently a Fortune 200 corporation.

9781350047891_txt_app_CC19.indd 252

1/22/21 9:59 AM

The Graph Data window

253

The Graph Data window To open the Graph Data window, select Object > Graph > Data. This is where you will place your data (Figure 10.30). You can type the data directly into the cells, copy your data from an electronic spreadsheet, or import your data from a text file. Import Data: Transpose row/column: switch the data in the rows and columns

Creating labels If you want to create a legend with Illustrator’s Graph tool, leave the top left cell blank. The contents in the top row will populate the legend. Note: Illustrator’s standard legend creates a rectangle next to the label. If you want to create your labels differently, you can eliminate the blank cell and top row contents, then Illustrator won’t generate the legend.

Cell: change the column width or the number of decimal places Revert: undo the changes you made to the data Apply: apply the changes you made to the data

Figure 10.30 Graph Data window.

9781350047891_txt_app_CC19.indd 253

1/22/21 9:59 AM

254

Graph tools

The Graph Type dialog box In this section we are going to review the Graph Type dialog box for the two most common graphs, column and pie graphs. As the Graph Type dialog box is very similar for a column and pie graph, the following description details a column graph, with indications where a pie graph is different.

9781350047891_txt_app_CC19.indd 254

Column graph To open the Graph Type dialog box, select your Column Graph. Select Object > Graph > Type. There are three options in the drop-down menu in the upper right corner, Graph Options, Value Axis, and Category Axis (Figure 10.31). Note: Pie Graph—As pie graphs do not have value or column axes, only the Graph Options section is available in the drop-down.

1/22/21 9:59 AM

Graph Options

255

Graph Options Under the Graph Options view there are three sections: Type, Style, and Options.

Within Type, you can change your graph type and select the location of your axis. For instance, if you originally selected a column graph, and wanted to change it to a bar graph, you could make that change selection here.

If you check the “Add Legend Across Top,” you can change the location of your legend from Illustrator’s default side position. “First Row In Front” and “First Column In Front” will only be used if your Column Width or Cluster Width is set to greater than 100%. “First Row In Front” will change which cluster sits on top. “First Column In Front” will change which column within the cluster sits on top.

Style

Options

Style modifies the following features on you graph. You have the ability to add a drop shadow. Though keep in mind, it will have a hard edge. You will need to use Illustrators tools to soften its appearance if you are going for a shadowy or feathered look.

For both bar and column graphs, the options that appear here will be the same. The percentages allow you to adjust the width of the individual columns and the width of the entire data cluster. For example, if you want no space between your columns within a cluster, change the Column Width to 100% (Figure 10.32).

Type

Figure 10.31 Graph Type dialog box with Graph Options view.

9781350047891_txt_app_CC19.indd 255

1/22/21 9:59 AM

256

Graph tools

Note: Pie Graph—The Options section provides different selections for pie graphs. In the Legend dropdown, you can choose to have a standard legend, no legend, or for a legend in the wedges. For a graph with multiple pies, the Position drop-down allows you to change the relationship of the pies (Figure 10.33). They can be Even (the same size), in Ratio (the size changes to match the data), or Stacked (layered on top of each other). The Sort drop-down allows you to change the order of the wedges in the pies. There is None (leaves the wedges as entered), First (sorts the first graphs by largest to smallest and the rest of the pies follow the same order), and All (sort each pie by largest to smallest and may not be the same for each pie).

Value Axis Under the Value Axis option, there are three sections: Tick Values, Tick Marks, and Add Labels (Figure 10.34).

Tick Values Here you are able to adjust the scale of the Value Axis (Figures 10.35 and 10.36). You can assign a new Minimum and Maximum for your Value Axis and change the number of Divisions. Illustrator’s default Minimum setting is zero for the Value Axis. But, if for the purpose of your story, it makes sense to start at a higher low point then zero, you can override the scale here by entering a different number. Figure 10.32 Changing column and cluster widths.

9781350047891_txt_app_CC19.indd 256

1/22/21 9:59 AM

Graph Options

257

Figure 10.33 Graph Type dialog box for a pie graph. Source: How to create graphs in Illustrator, https://helpx.adobe.com/ illustrator/using/graphs. html

Figure 10.34 Graph Type dialog box with Value Axis view.

Figure 10.35 Standard Value Axis.

Figure 10.36 Overridden Value Axis.

9781350047891_txt_app_CC19.indd 257

1/22/21 9:59 AM

258

Graph tools

BEST PRACTICES: DATA CAN LIE. Design is all about telling a story through visuals. As designers, we can shift how a story is perceived by design choices we make. It is important that we tell a compelling story with our data, but we need to ensure we display the data honestly. Changing the scale on a Value Axis of a column graph can skew how the data in the graph is perceived. The graphs below use the same data to tell their story. The only difference between them is that the Minimum setting in the Value Axis for figure 10.38 has been changed to 5.

Figure 10.37 2017 vs. 2018 sales comparison with Standard Value Axis.

Figure 10.38 2017 vs. 2018 sales comparison with overridden Value Axis.

You can see this has greatly reduced the size of the 2017 sales column, causing the 2018 sales column to look significantly greater than it actually is. Manipulating a graph in this manor can be perceived as skewing the graph’s data and is unethical. Depending on the industry, skewing data may put you, your company, or your client at risk.

Tick marks

Add labels

You are able to select if you want short, full-length, or no tick marks (Figure 10.38). The tick marks align directly to the numbers on your Value Axis. In the fillable area beneath, you have the ability to add additional tick marks per division. This can be helpful if you are plotting a significant amount of detailed information where greater accuracy is important.

This section will apply either a prefix (for example, $), or a suffix (for example, %) to your scale in the Value Axis (Figures 10.39 and 10.40).

9781350047891_txt_app_CC19.indd 258

1/22/21 9:59 AM

Graph Options

259

Figure 10.38 Tick mark options. Figure 10.39 Label prefix.

Figure 10.40 Label suffix.

9781350047891_txt_app_CC19.indd 259

1/22/21 9:59 AM

260

Graph tools

Category Axis In the Category Axis section, you will see that you have a similar set of options as you did in the Value Axis section—tick marks (Figures 10.41 and 10.42). You are also able to select if you want short, full-length, or no tick marks for the Category Axis. And just as in the Value Axis, you have the ability to add additional tick marks per division, if needed. Figure 10.41 Graph Type dialog box with Category Axis view.

BEST PRACTICE: MEASURE TWICE, DESIGN ONCE.

Figure 10.42 Category Axis tick marks.

Whether your graph is being used for print or digital media, it is important to determine the size at which you need to create your graph in Illustrator prior to its creation. A change in dimensions, specifically changing its ratio, gets complicated if you need to modify the size of the graph after it is designed. Whenever possible, create your graph to the exact size that it will be used. This way you know that the point size of your type and width of your rules are reproduced or rendered as you intended.

9781350047891_txt_app_CC19.indd 260

1/22/21 9:59 AM

Customizing your design with Illustrator’s tools

261

Customizing your design with Illustrator’s tools Now that we have reviewed how to customize the features within the Graph tool itself, it is time to learn how some of Illustrator’s other tools allow you to customize the design even further.

BEST PRACTICES: KEEP YOUR DATA INTACT. A graph, as an object, is a complex item consisting of many groups. As a result, designers who are unfamiliar with the Graph tool ungroup the graph as a way to manipulate the axes, rules, bars, or various other elements. However, ungrouping the graph breaks the link from the graph to the data. The data no longer exists as part of the Illustrator file. Then, if there is a change to the data, the graph needs to be recreated. While ungrouping the graph may have been a quick solution to edit the style of the design in the beginning, it adds wasted time in the long run if the content changes. And who has ever worked on a design that the client didn’t make a change to? The good news is, there is a tool in Illustrator that makes selecting and editing grouped items in graphs easier, the Group Select tool.

9781350047891_txt_app_CC19.indd 261

1/22/21 9:59 AM

262

Graph tools

The Group Select tool After creating a graph with your data and modifying your settings in the Graph dialog box, the last thing to do is to apply design styles to your graph. This is when the Group Select tool becomes very useful (Figure 10.43). To access the Group Select tool, click and hold the Direct Select tool (solid white arrow) in the toolbar. A Tool menu will open, and you can select the Group Select tool from that menu. The next few steps will walk you through selecting elements in your column graph. Here we have a column graph open.

With the Group Select tool active, we hover the cursor over your graph. On the first click, click down on one of your columns. Only that one column will be selected. On the same column, click again. Now, all the columns within the data set will be selected. With all columns in the data set selected, it is now easier to apply design styles to the group as a whole. Your last click will select the entire chart. Depending on your graph, you will click 3–5 times with the Group Select tool before the entire graph is selected. If you find that you’ve clicked one too many times, simply click off the chart to deselect, and begin clicking through again to select your desired graph element group. The Group Select tool works with all graph element groups: the axes, tick marks, legend, and labels.

Figure 10.43 Group Select tool.

9781350047891_txt_app_CC19.indd 262

1/22/21 9:59 AM

Applying design styles to graphs

263

Applying design styles to graphs Now that you know the easiest way to navigate through the graph elements, it’s time to customize your design. While deciding on design styles, take the time to consider the type of story you are telling, as we covered earlier in the chapter. Using subtle style for some elements and a bolder style for others will help simplify the experience for the viewer. Using the Group Select tool, select one graph element group at a time and modify the group’s design styles (Figure 10.44). The column graph elements you can modify are the: Value Axis labels (typically the y-axis in a column graph) Category Axis labels (typically the x-axis in column graph) Tick marks on both axes Columns Legend The pie graph elements you can modify are the:

Consider modifying the following design attributes for each graph element group: Fill color Stroke color Stroke weight Stroke style Transparency Typeface Type point size

BEST PRACTICES: CLARITY IS KING While all these elements, and more, can be modified, always remember that a simple design is often best. The success of any graph is measured by the ease of the viewer’s understanding. As we covered in earlier Best Practices, ensuring that the data is easily understood, and understood as intended, is the ultimate goal for any graph.

Category labels Pie wedges Legend (Remember: The legend may also be placed in the pie wedges instead of a standard legend.)

9781350047891_txt_app_CC19.indd 263

1/22/21 9:59 AM

264

Graph tools

Figure 10.44 Formatting a graph.

9781350047891_txt_app_CC19.indd 264

1/22/21 9:59 AM

Exercise: Infographic

265

EXERCISE: INFOGRAPHIC Goals: Utilizing the graph tools and independent research into the topic of your choice, develop an infographic that displays six relevant facts along with a call to action.

SUPPLIES: Research on a data-driven topic Moodboard for planning Pinterest for collecting examples of successful infographics Thumbnails to plan the arrangement of information Roughs to clarify the chosen arrangement Minimum of one graph-driven piece of information 11 x 17” or tabloid-sized output STEPS: 1. Begin by researching various topics of interest. Some suggestions include: sports, plastics pollution in our waters, bird migration and population, etc. 2. Collect six or more fact bits (factoids) that can be easily consumed and help tell the story you are crafting. 3. Be sure to cite your resources. 4. Investigate various ways to represent each factoid. 5. Sketch eight or more thumbnails arranging the representations. 6. Determine the best arrangement. 7. Practice the manner of representation based on your research into infographics. 8. Fill out the Photoshop moodboard (available online) selecting textures, color palette, typography, and inspiration images. 9. Proceed with the plan, creating an 11 x 17” (tabloid) sized infographic

9781350047891_txt_app_CC19.indd 265

1/22/21 9:59 AM

266

Graph tools

RUBRIC: Name: __________________  Infographic Development  Topic: _________________ Section A: Research and Practice Examples : ____________ / 10 pts •

Show on 1/2 of an 11 x 17” page—Five examples of what you find to be strong infographics.

Practice : ____________ / 10 pts •

Show on 1/2 of an 11 x 17” page—Five examples of infographic techniques (factoid illustration) (you make these in Illustrator).

Research : ____________ / 10 pts •

Provide sources of information with your chosen data highlighted (PDF or print).

Title + Factoids : 6 total @ 6 pts per = ____________ / 18 pts •

Based on your research write out the six factoids that you would like to represent (use notes area if necessary). 1. ________________________________________________________________________ 2. ________________________________________________________________________ 3. ________________________________________________________________________ 4. ________________________________________________________________________ 5. ________________________________________________________________________ 6. ________________________________________________________________________ Moodboard : 10 pts •

11 x 17” page—color swatch, font, and inspiration samples (use provided template).

Creative Process: 22 pts •

Thumbs (Four—side 1 of 11 x 17”): 8 pts

•

Infographic sketch (sketch it): (Two—side 2 of 11 x 17”): 8 pts

•

Critique (One): 6 pts

•

= ____________ / 22 pts

Section A Total = ____________ / 80 pts =============================================================== Section B: Infographic development—One at 11 x 17” portrait or landscape. Infographic requirements: •

Title + Main Object: ____________ / 14 pts •

Give your infographic a meaningful and inspiring title (4 pts).

•

Create a main character/object as a focal point for your infographic (10 pts).

9781350047891_txt_app_CC19.indd 266

1/22/21 9:59 AM

Exercise: Infographic

•

Data Visualizations (Six): 6 ea = ____________ / 36 pts • 1) 2) 3) 4) 5) 6)

•

Choose a fitting color palette (contemporary).

Typographical voice: ____________ / 5 pts •

•

Give your infographic a fitting background.

Color palette: ____________ / 5 pts •

•

Describe how you are going to illustrate each factoid (must include one graph): GRAPH : ______________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________

Background (environment, texture, color, etc.): ____________ / 5 pts •

•

267

Choose main and secondary fonts that are on trend and fitting to your message.

Source: ____________ / 5 pts •

In small type/simple font, list your sources at the bottom of the graphic.

Section B Total = ____________ / 70 pts =============================================================== Submission Checklist: •

Grade sheet

•

Examples

•

Practice elements

•

Research

•

Sketches •

Thumbs

•

Roughs

•

Critique (print)

•

Moodboard*

•

Infographic

Comments/Notes :

Total = ______________ / 150 *Moodboard: Photoshop file available online.

9781350047891_txt_app_CC19.indd 267

1/22/21 9:59 AM

268

Graph tools

EXAMPLES:

Figure 10.45 Perilous Plastic: the Agony of the Ocean Infographic, Demerise Eadie, ©2016, Mercyhurst University.

Figure 10.47 Olympic Taekwondo Infographic. Erin Jenkins, ©2018, Mercyhurst University.

Figure 10.46 Moodboard, Peter Stadtmueller, ©2018. A Photoshop digital file is available online on the book site.

9781350047891_txt_app_CC19.indd 268

1/22/21 10:00 AM

9781350047891_txt_app_CC19.indd 269

1/22/21 10:00 AM

270

Acknowledgments Dedication:

People of Mercyhurst:

Christopher Hopper Smeep.

Provost Leeanne Roberts—For the sabbatical that helped wrap this book up.

Personal thanks: Chris (and Roxy) Hopper—For being there through “the hard times and the good. I need to celebrate you baby. I need to praise you like I should.”—Fat Boy Slim Stephanie Langer—For your timeless friendship and making me sound good through ruthless editing. Madelyn Testa-Basmajian—For being my “go-to” designer and friend since grad school. Cheryl Bradshaw—For being a charts and data champ. Alex and Kathy Staniunas—For shaping me into the woman I am today, believing in me, and being proud of what I do no matter what. Dana and Sarah Staniunas— Because you’re my brother and all that other mushy stuff. To the Girls from “Yes”—Without “Yes” as a motto, I never would have risked doing this. Thank you ladies for your positive vibes.

9781350047891_txt_app_CC19.indd 270

Dean Christine Riley-Brown—For belief in me and my capabilities through all of this. Senior Lecturer Peter Stadtmueller—For being the raster to my vector; the web to my print; and knowing when to ask about the book and when not to; we are a sweet team of graphic ninjas. Professor Thomas Hubert—For taking on the chair while I ducked out to write. Thanks for always being a sounding board, a steady voice, and a friend and colleague. Students in the Graphic Design Program at Mercyhurst University—You inspire me daily with your interpretations of stories and assignments. See the sample work featured in the book. Your fresh eyes help me to see anew each and every day. For this, I am forever blessed and thankful. Faculty of Mercyhurst University—It’s the people that make the place. You model what it is to be scholars, teachers, authors, and good and faithful human beings with mercy and humor. Thanks for putting up with me all these years.

1/22/21 10:00 AM

Acknowledgments

SoMar Dance Troupe, Solveig, and Mark Santillano—For stuff you don’t even know about, yet. . .

The team at Bloomsbury: Louise Baird-Smith, Commissioning Editor—For taking a chance on an unknown professor an ocean away. Felicity “Leafy” Cummins, Senior Development Editor—For somehow always knowing when I needed to hear about the book’s progress; and for corralling my screenshots, lessons, and resources into a shiny new book. May it serve our readers well.

9781350047891_txt_app_CC19.indd 271

271

Design Team at Lachina—I write this beforehand knowing your design skills are prodigious. I can’t wait to see the beauty you have wrought. Thank you for your hard work, care, and skill. You create order from chaos.

Contributors: To all those whose work is held within these covers, thank you for your patience, your skills, and the gift of sharing your work with the greater world. Art matters. You matter.

1/22/21 10:00 AM

272

Index 2 of Hearts (Weingartner), 230 16 Colors, 105 36 days of Type 2017 (Eltipo), 165 36 days of Type 2018 (Eltipo), 164 3D Extrude and Bevel Effect, 145, 219 3-dimensions and perspective, 215 exercise, 231 extrude and bevel, 217–19 mapping art, 220–1 overview, 216 perspective grid, 227–30 revolving a bottle, 222–5 3D Revolve Options panel, 222, 224 4 of Clubs (Fisanick), 216 4 of Clubs (Padovano), 226 4 of Spades (Mader), 228, 230 5 of Diamonds (Sherwood), 212 5 of Hearts (Carden), 212 5 of Spades (Podrasky), 230 6 of Hearts (Glass), 226 6 of Hearts (Mizia), 226 6 of Spades (Fisanick), 212 8 of Diamonds (Mader), 226 A abstract marks, 77 Adobe.com, 137, 155 Adobe Font integration, 138 Adobe Illustrator® getting started, 12–13 interface, 5–6 New Document dialog Box, 2 overview of, 2–3 preset details, 2, 4 Print header, 2, 3 printing document, 16–23 saving work, 14–15 tool bar, 7–11 Advanced Character Formats, 151 AI (Adobe Illustrator) Save As (.AI), 14, 15 AI document bar, 6 Alfieri, Lauren, 160 Align Art panel, 134 alignment, 134

9781350047891_txt_app_CC19.indd 272

alignment options, 135 Align to Path, 138 all caps, 135 All Tools List, 11 Anchor points, 28, 34, 44 angle, 135 ANPA (American Newspaper Publishers Association), 84 Appearance menu, 42, 55, 173 Appearance panel, 37 Aqil, Omar, 235 Arc Line tool, 7 area graph, 10, 242, 250–1 Area Type Options, 136, 138 Area Type tool, 132 Arrow Brush panels, 39 art, mapping, 220–1 Artboards, 3, 13, 16–17 Artboard tool, 10 Art Brush Options, 41, 43 Art Brush panels, 40 Artistic Paintbrush, 38, 39 artists. See professional artists Astute Graphics, 118 AutoCAD Drawing (.DWG), 15 B Barber National Institute Scarf Project, 180 bar graph, 10, 239, 240, 249 Baseline shift, 135 Basic Character Formats, 150 Basic Graphic patterns, 175, 176 Bézier Curves, 28, 34, 44, 45 Bézier, Pierre, 28 Bevel tool, 146 Black and White Logo, 104, 105 bleed, 3, 4 Blending Modes, 31, 32 Blend tool, 9, 63–5 Blippar® (smartphone app), x, 90, 146, 148, 196 Bloat tool, 8, 36 Blob brush, 204 Blob Paint Brush tool, 8

1/22/21 10:00 AM

Index

Bonnard, Pierre, 72 Border Brush panels, 40 bottle, revolving the, 222–5 Bradshaw, Cheryl, 252 Brick by Column, 170, 171 Brick by Row, 170, 171 Brush Definition, 30 Brush dialog box, 42, 43 brushes, 38–43 sketches, 115–17 Brush Options, 41, 116 Brush panel, 117, 205, 206, 217 Brush Scale Options, 43 Brush tool, 57 bullet, 140 Buscema, Massimo, 160 C Capture® (smartphone app), x, 78, 102, 108 application at work, 109 brushes in, 115, 117 font, 137 Pattern mode, 111 card and gift, exercise, 125–7 Carden, Kimberly, 47, 94, 180, 212 cards (it’s in the), exercise, 211–12 Casual Depth (Eltipo), 164 Casual Depth close-up (Eltipo), 165 Category Axis, 260 Change Case, 139 Character panel, 134, 135, 150 Character Style Options, 150, 155 Character Type panel, 151 Chemistry Between Us (Dessastra), 50 Chilling (Lisova), 24 Christmas (Satake), 186 Ciciarelli, Savannah, 161 Click, 4 Clipping, 31 Clipping Mask, 179 CMYK color system, 3, 5, 82, 114 color changing color groups, 86–8 character, 154 exercises, 92–7 gradient and gradient mesh, 89–92 management in printing, 19–22 sketches, 113–14 Swatch Library, 85 Color Build, 13

9781350047891_txt_app_CC19.indd 273

273

Color Dodge, 173 color gamut, 82 Color Guide panel, 87 colorization, 43 Color Libraries, 198 Color Mode, 3, 5, 82–4 color books, 82–3 odd ones out, 84 Pantone color, 83–4 spot color system in Japan, 84 Color Picker, 114 Color Picker dialog box, 12, 13, 30 Color Picker panel, 107 Color Theme panel, 87 column graph, 239, 240, 248, 249, 254 Column Graph tool, 9 composition, 152–3 Constrain tool, 9 Control Bar, 6 Control panel, 30 copyright symbol, 140 Create Outlines, 139 CreativeBloq.com, 118 Creative Cloud, 113, 116, 117, 138 Creative Commons, 207 Creative Commons Licensed salt shaker art, 197 Crop, 109, 110 Cross out, 135 Crystallize tool, 8, 36 Curvature Tool, 7, 45 CValley, 118 D daisy button, 60, 61, 62 DaisyMay, 66 Data dialog box, 244, 245, 247 Decorative Brush panels, 40 Deja Brew Tea Co., 94 Dessastra, Deni, 50–1 Dialog box, 4, 29 Direct Selection tool, 7, 29, 34, 35, 105, 106, 143, 174, 178 Direct Select tool, 104, 106, 143, 178, 199, 262 Drawing toolbar, 10, 11 Drop-down menu, 4, 29 E Eadie, Demarise, 268 Edit Colors dialog box, 88

1/22/21 10:00 AM

274

Index

Edit mode, 109 Edit Pattern panel, 170 effects chart, 62 Ellipse tool, 8, 54, 57 ellipsis, 140 El Tesoro de la Laguna (Escandell), 78 Eltipo, 164–5 embedded files, 72 emblems, 77 em dash, 140 emoji symbols, exercise, 74–5 Enable Missing Glyph Protection, 133 Encapsulated Postscript (.EPS), 14, 15 en dash, 140 envelopes, 142–6 Eraser tool, 8, 45, 109, 209, 210 Escandell, Victor, 78–9 escaping isolation mode, 33 Essentials toolbar, 63 Essentials toolbox, 45 exercises card and gift, 125–7 emoji symbols, 74–5 glyphs, 157 graphics 88, 119–24 grayscale portraiture, 181–3 infographic, 265–8 it’s in the cards, 211–12 label design, 92–7, 162–3 logo design, 76–7 lyric portrait, 158–61 my home, 231 scarf design, 184–5 Stick figure party, 46–7 Wild, wild life, 48–9 Expand Command, 69 exporting, saving vs., 15 extrude and bevel, 145, 216, 217–19, 220 Eyedropper tool, 9, 56, 207 F fancy type, 148–9 Fidelity slider, 191 files, linked vs. embedded, 72 Fill, 10, 134 Fill with Placeholder Text, 141 Find Font, 139 first line indent, 135 Fisanick, Sara, 212, 216 Flare tool, 8, 54

9781350047891_txt_app_CC19.indd 274

Focoltone, 84 font, 133 font size, 134 Forced Line Break, 141 Forest (Satake), 186 Free Distort tool, 9 Freeform Gradient, 196 freehand forms, 70–3 Free Transform tool, 9 G Gerber daisy symbol, 73, 223, 224 getting started, Adobe Illustrator®, 12–13 Glass, Erin, 226 Glyph panel, 133, 134, 135, 177 glyphs, exercise, 157 Google Architecture (Verwiel), 233 gradient illustration, simple, 191–5 Gradient Mesh tool, 90, 189, 194 creating original image with, 207–10 exercises, 211–13 overview, 190 simple gradient illustration, 191–5 underpainting, 197–206 Gradient Preview, 89 Gradient Slider, 89, 90 Gradient tool, 9, 63, 89, 196 Graph Data window, 253 graphics 88, exercise, 119–24 Graphic Style panel, 68, 69 Graph Select tool, 262 graph tools add labels, 258, 259 applying design styles to graphs, 263–4 area graph, 242, 250–1 bar graph, 239, 240 best practices, 247, 258, 260, 261, 263 column graph, 239, 240, 248 creating graphs by Madelyn Testa-Basmajian, 238 customizing design with, 261 exercise, 265–8 formatting, 264 graph data window, 253 Graph Tool, 253 Group Select tool, 262 introducing graph types, 239–42 line chart, 250 line graph, 240, 241 making a comparison, 248–9

1/22/21 10:00 AM

Index

making sense for story, 243–7 manipulating graphs by Cheryl Bradshaw, 252 options, 255–9 outlining data, 243–4 pie graph, 239 pro-tips, 251 radar graph, 242 scatter graph, 242 selecting type, 244, 246 stacked bar graph, 240, 241 stacked column graph, 240, 241 stacked graph, 249 tick marks, 258, 259 tick values, 256 Value Axis option, 256, 257, 258 Graph Type dialog box, 244, 247, 254, 257, 260 Graph Type tool, 239 Gray Background, 6 grayscale, 82 grayscale portraiture, exercise, 181–3 Greeking, 133, 141, 150 Group Selection tool, 7 Group Select tool, 261, 262, 263 Grunge Brush panels, 41 Grunge symbol, 209, 210 H hamburger menu, 10, 11, 37, 83 Hand Drawn Brush panels, 41 Handle bars, 29 Hand tool, 10 Harmonies page, 114 Hex by Column, 171 Hex by Row, 171, 172 High fidelity photo, 105 Highlight Substitute Fonts, 133 HKS BOOKS, 84 Hoppyness, 169, 172 horizontal scale, 135 HSB (Hue, Saturation, Brightness), 82, 114 Hue, 29 Hyogo Prefecture, 186 hyphenation, 153

9781350047891_txt_app_CC19.indd 275

275

I IAN Symbol Library for Scientific Application, 66 Illustrator, 113, 115, 116 Illustrator CC19, 196 Image Brush panels, 40 Image Trace, 102, 103–6 InDesign, 148 infinity drawing, 36 infinity symbol, 35 infographic, exercise, 265–8 Insert Break Character, 141 Insert Special Character, 140 Insert White Space Character, 140 interface, Adobe Illustrator, 5–6 Ismail, Qadry, 121, 126 Isolation Mode, 32, 33, 144 J Japan, spot color system, 82, 84 Jenkins, Erin, 268 Joiner tool, 8 Join tool, 44 Joint Photographic Experts Group (.JPG or .JPEG), 15 justifying text, 153–4 K Kanazawa, Heather Miller, 113 kerning, 135 King of Clubs (Schumacher), 230 Knife tool, 8 Kolb, Kira, 212 Kunka, Kamila, 28, 49 Kyoto Art and Design University, 186 L Label Assignments, x, xi label design exercise, 92–7, 162–3 next steps, 128–9, 185, 213 ladders, 155 Lasso Selection tool, 7 Layer panel submenu, 71 leading, 135 left indent, 135 Libraries, 117 Library panel, 116 Lichtenstein, Roy, 175 ligatures, 138

1/22/21 10:00 AM

276

Index

Line Art, 104, 105 line chart, 250 line graph, 10, 240, 241, 251 linked files, 72 Lisova, Yevheniia, 24–5 Live Paint, 105, 107 Live Paint Bucket tool, 107 Live Paint Selection tool, 9 Live Paint tool, 9 Local Ghost Beer, 95 logo, 77 logo design, exercise, 76–7 Lorem Ipsum, 133, 150 Low fidelity photo, 105 lyric portrait, exercise, 158–61 Lyric Portrait (Ciciarelli), 161 Lyric Self-Portrait (Alfieri), 160 Lyric Self-Portrait (Buscema), 160 M Mader, Kelsey, 226, 228, 230 Magic Wand, 7 Make a Mask, 32 Make with a Mesh, envelope, 142–3 Make with a Warp, envelope, 142 Make with Top Object, envelope, 142, 143–4 Map Art, 220, 223, 224 mapping art, 220–1 Marcellin, Jillian, 95 mark making, 27 brushes, 38–43 commanding vectors, 34–6 exercises, 46–9 line tools, 44–5 nesting strokes, 37 overview, 28 simple, 29–33 width tool and brethren, 36 Masking, 31, 177–9 Measure tool, 9 Media Size, 17 Mellish, Matthew, 47, 96 Menu bar, 6, 136 Mercyhurst University, 120, 121, 126, 168, 180 Computer Illustration (225), 120, 121, 126, 168, 180 Typographic Foundations (220), 145, 160, 161 cards art, 212, 216, 226, 230

9781350047891_txt_app_CC19.indd 276

infographics, 268 label design, 94, 95, 96, 97 Stick figure party, 47 Mesh Patch, 200 Mesh tool, 9 Metal collection, 198 Metallic Color Library, 198 Mizia, Paul, 226 Moodboard (Stadtmueller), 268 Mountain Top Coffee, 95 Move tool, 141, 177, 178 Muddy Paws Greetings (Weingartner), 168 Multiply Blending mode, 203 my home, exercise, 231 N Natives Series (Suancha), 98–9 naturalpermanent.com, 186 nesting strokes, 37 New Brush panel, 205 New Character Style, 155 New Toolbar, 10, 11 Normal Character Style, 155, 156 O objects, as symbols, 66–9 objects, type as, 141, 145–6 Oji, Ikechi, 49 Ollie, the Blend tool wonder, 63 Olympic Taekwondo Infographic (Jenkins), 268 Omar Aquil, Joker, King, and Jack (Aqil), 235 One Bird Three Styles (Oji), 49 Opacity, 31–3, 134, 173 OpenTypeface, 155 OpenType Features, 155 Optical Margin Alignment, 139–40 P Padovano, Caitlyn, 226 Page, Jaron, 47 Paint Brush tool, 8 Panels, 6 Pantone color, 82, 83–4 Paragraph panel, 134 Paragraph Style Options, 150 paragraph symbol, 140 Parrots Line Art (Kunka), 28, 49 Path Eraser tool, 8, 11, 44 Pathfinder, 59, 76, 106, 146–7, 218–19

1/22/21 10:00 AM

Index

Pathfinder panel, 8, 9, 57, 104 Pattern Book, 175 Pattern Brush Options dialog box, 205, 218 Pattern Making tool, 169, 176 Pattern mode, 111 Pattern Options panel, 170 pattern vs. symbol exercises, 181–5 overview, 168 patterns, 169–76 seamless patterns, 174 sketches, 111–12 standard patterns, 175–6 symbols and masking, 177–9 Pencil tool, 8, 11, 29, 44, 70, 71, 191, 205, 207, 222 Pencil Tool Options dialog box, 191 Pen Tool, 7, 35, 45, 57, 197, 205, 222 Perilous Plastic (Eadie), 268 Perspective Grid tool, 9, 211, 227–9, 231 Perspective Selection tool, 9, 227 Perspective tool, 9, 227, 228 photorealism, 209, 210 Photoshop, 28, 108, 113, 115, 116, 225 Photoshop (.PSD), 15 pictorial marks, 77 Pie Chart, 10 pie graph, 239, 247, 248, 254, 256, 257 Pirate Boy (Lisova), 25 Pixabay.com, 70 pixels, 28 plaid, 174, 223 Podrasky, Ashley, 230 points, 29 points, picas, 4 Polar Grid tool, 8 Polygon tool, 8, 54 Portable Document File (.PDF), 14, 15 Portable Networks Graphics (.PNG), 15 Postscript Printer Driver (PPD), 16 preset details, 2, 4 press, 4 press and drag, 4 Print dialog box, 16 printing document, 16–23 Artboards, 16–17 color, 19–22 Media Size, 17 options, 18–19 Orientation, 17

9781350047891_txt_app_CC19.indd 277

277

Rendering Intent, 21, 23 scaling, 18, 19 Print Tiling tool, 10 professional artists Aqil, Omar, 235 Dessastra, Deni, 50–1 Eltipo, 164–5 Escandell, Victor, 78–9 Lisova, Yevheniia, 24–5 list, xiv map of featured, xii–xiii Satake, Shunsuke, 186–7 Suancha, Lucas, 98–9 Verwiel, Dorus, 232–4 Pucker tool, 8, 36 Q Queen of Hearts (Kolb), 212 quotation marks, 140 R radar graph, 10, 242 Radial Gradient, 196 Recolor Artwork, 134 Rectangle tool, 8, 54, 217, 227 Rectangular Grid tool, 8 Redbubble, 180 Reflect tool, 8, 60 registered trademark, 140 Rendering Intent, printing, 21, 23 Rengifo, Ximena, 180 Reshape tool, 8 Resolve Missing Fonts, 138 Revolve Control panel, 222, 224 RGB color system, 3, 5, 82, 114 RGBstock.com, 70 Rhino (Dessastra), 51 right indent, 135 river, 155 Rogers, Alicia, 120 Roman hanging punctuation, 135 Rotate tool, 8, 57, 60 Rounded Rectangle tool, 8, 204 Roxy Amber Ale cap, 217, 219, 221, 225 Roxy Amber Ale image, 89, 90, 91, 147, 173, 213, 229 S salt shaker art, 197–206 Satake, Shunsuke, 186–7

1/22/21 10:00 AM

278

Index

Save, 14 Save a Copy, 14 Save As, 14 Save as a Template, 14 Save Selected Slices, 14 saving work, 14–15 Scalable Vector Graphics (.SVG), 14, 15 Scale tool, 8, 60, 202 Scallop tool, 8, 36 scarf design, exercise, 184–5 scatter graph, 10, 242 Schumacher, Hanna, 230 Scissors tool, 8, 45 Screen, 9 Scribble Options dialog box, 61, 62 Scrunch, 9 section symbol, 140 Selection tool, 7, 178, 203, 208 Shades of Gray, 105 Shape Builder tool, 9, 58–9, 70, 107, 197 Shaper tool, 8, 44, 55, 56, 71 shapes Blend tool connecting, 63–5 compound, 57–9 Ellipse tool, 54 exercises, 74–7 freehand forms, 70–3 objects as symbols, 66–9 Polygon tool, 54 Rectangle tool, 54–6 sketches, 109–10 special effects, 61–5 tools altering, 60 Shape tool, 57 Shear tool, 8, 60 Sherwood, Samantha, 212 Shift, 9 Show Handle Bars icon, 29 Show Hidden Characters, 141 Shullick, Patricia, 97 signature, 77 Silhouettes, 105 simple gradient illustration, 191–5 Sinsonte (Escandell), 79 Six (6) Colors, 105 Size, 9, 135 Sketch, 115, 116 Sketched Art, 105

9781350047891_txt_app_CC19.indd 278

sketches Adobe Capture and Illustrator, 108 advanced level plug-ins, 118 brushes, 115–17 card and gift exercise, 125–7 colors, 113–14 downloading your assets, 116 exercises, 119–29 graphics 88 exercise, 119–24 label design next steps exercise, 128–9 Live Paint, 107 overview, 102 patterns, 111–12 shapes, 109–10 Skew tool, 202, 203 Slice Selection tool, 10 Slice tool, 10 small caps, 135 smartphone applications, x. See also Blippar®; Capture® Smart Punctuation panel, 139 Smooth tool, 8, 44 space after, 135 space before, 135 spacing, 138 special effects, shapes, 61–5 Spin, 9 Spiral tool, 7 spot color system in Japan, 82, 84 stacked bar graph, 10, 240, 241 stacked column graph, 9, 240, 241 stacked graph, 249 Stadtmueller, Peter, 268 Stain, 9 stair step, 155 Star tool, 8, 54 Station (Verwiel), 232 Staub, Abigail, 145 Stick figure party, exercise, 46–7 Stroke, 10, 29, 134 Strokes, nesting, 37 Stroke size, 134 Style, 9 Suancha, Lucas, 98–9 submenu, 37 subscript, 135 superscript, 135 SVG Effects, 60, 61

1/22/21 10:00 AM

Index

Swap Fill and Stroke, 10 Swatches panel, 13, 91, 169, 173, 174, 175 Swatch Library, 83, 85, 86 Sweet Friends & Co. (Rengifo), 180 symbol Gerber daisy, 73, 223, 224 masking and, 177–9 objects as, 66–9 Symbol panel, 66, 72, 203, 220, 222, 223, 225 Symbol Screener tool, 68, 202 Symbol Scruncher tool, 67, 202, 210 Symbol Shifter tool, 67 Symbol Sizer, 67 Symbol Spinner tool, 68 Symbol Sprayer tool, 9, 66, 67, 177, 202, 209 Symbol Stainer tool, 68 Symbol Styler tool, 68 T tabs, 152 Tagged Image File Format (.TIFF), 15 Tea at Sea, 96, 185 Technical Drawing, 104, 105 Template (.ait), 14, 15 Testa-Basmajian, Madelyn, 238 Thailand Holiday (Lisova), 25 Threadless, 180 Three (3) Colors, 105 tick marks, 258, 259, 260 tick values, 256 Tiger Clan (Dessastra), 51 tittle, 138 tool bar, 6, 7–11 Touch Type tool, 132 tracking, 135 trademark symbol, 140 Transform panel, 134 Treehouses (Verwiel), 228, 234 Trumatch, 84 Twirl tool, 8, 36 type body text and style sheets, 148–55 envelopes, 142–6 exercises, 157–63 fancy, 148–9 managing, 132–41

9781350047891_txt_app_CC19.indd 279

279

menu, 134, 136, 138–41 as object, 141, 145–6 typeface, 134, 135 Type menu, 134, 136, 138–41, 177 Type on a Path, 136, 138 Type on a Path tool, 132 Type Orientation, 141 type style, 134, 135 Type Tool, 7, 132, 134 Typographic Self-Portrait (Staub), 145 U underline, 135 underpainting, 197–206 Untitled (Escandell), 79 V Value Axis, 256, 257, 258 Vectors, 28, 34–6 Vector Scribe, 118 VectorScribe®, 102 vertical scale, 135 Vertical Type on a Line, 132 Verwiel, Dorus, 228, 232–4 W Waidley, Curtis, 121, 126 Warp tool, 8, 36 wave drawing, 35 Weingartner, Leah, 168, 230 Weisgerber, Timothy, 95 White rectangle with red outer edge, 6 widget, 228 Width tool, 8, 36 Width tool brethren chart, 36 Wild, wild life, exercise, 48–9 Wild Moose Brew Co., 97 Workspace submenu, 5 Wrinkle tool, 8–9, 36 X x-height, 138 XtreamPath 2, 118 Z Zazzle, 180 Zoom tool, 10

1/22/21 10:00 AM

9781350047891_txt_app_CC19.indd 280

1/22/21 10:00 AM