Saturday, January 30, 2010

The Beach Cigarette

I suddenly feel a strong urge to go to a beach to smoke a cigarette. Smoking at the beach feels like a celebration as compared to smoking at home in my room in front of the computer. It gets too hot to do anything in here sometimes. I feel like going to the beach just to smoke one cigarette. Funny I should think this way because the nearest beach is over 45 minutes drive by car away from here.

Knowing myself, I would not drive a car for 45 minutes just to go to the beach to light up a cigarette. It is just not worth the effort. Still, going to the beach and smoking a cigarette is enough to make my day. This makes me feel how good it would be to live nearby a beach. When I would feel like this then I could go out for a walk until I reached the beach where I can smoke a cigarette.

Under the shade it is the soothing sea breeze and the fresh salty smell brought forth. It’s the view of a vast ocean and the sound of waves resting unto the sands. It’s a celebration of senses while inhaling, capped off with the naturally pressurized release of musky smoke in exhalation. Yes, that would most certainly make my day.

Drawing Basic Flash CS4 Shapes with the Shape Tools

  1. Locate the Rectangle tool on the Tools panel, notice a small arrow at the lower-right corner of the icon meaning that more tools are hidden beneath it
  2. Click and hold the Rectangle tool to reveal the Oval and Polystar tools then select the shape tool to use
  3. Before drawing the shape, set some colors for your shape with the two swatches located at the bottom of the Tools panel
  4. The Fill color swatch (paint bucket icon) lets you set what color to fill shape
  5. The Stroke Color swatch (ink bottle icon) is for the outline color
  6. Alternatively, Flash allows choosing colors from the Swatches panel
  7. Click and drag on the stage to create a shape
  8. By default, shapes are drawn from the left corner outward to draw shapes from the center hold down the Alt key while drawing the shape
  9. As usual, hold down the Shift key while drawing or resizing to constrain a shape proportionally
*Note: Overlapping two or more shapes in Flash automatically merge into one complete shape

Friday, January 29, 2010

PhotoDesigner Pro – The Photoshop Twin Minus the Price

Is the $400 price tag for Adobe PhotoShop a too high price to pay for you? A good & much cheaper alternative is the PhotoDesigner Pro. Layers, tools, filters - give this a try and you'll think you're using Photoshop! The tools and layout look just slightly (very slightly) different, but it's all available. It features layers, adjustment layers, masks, effects, has pretty much all the same filters, rulers, tools, & etc. Even going through the menus will remind you of being on Photoshop.

The clone stamp, gradient tool, red-eye removal tool, crop tool, paint bucket, smudge tool, burn & dodge tools, the blur & sharpen tools, scratch removal tool, color picker, text tools, shapes, selection tools like Magic Wand or "shapes" – you name it, PhotoDesigner Pro has it. Same goes for the rest of the program - the filters like the High Pass, Unsharpen Mask, Gaussian blur, Sharpen, and Lighting Effects - all there along with a total of 44 regular filters at your disposal! Everything you need to add that little extra punch to your photos!


As for the image adjustments features like Curves, Levels, Contrast, Hue / Saturation, Brightness / Contrast, Color Balance, Selective Color, Channel Mixer, Gradient Map - and more - It's all there - just like Photoshop! With this program you are getting tons of ways to use professional level tools that will have everyone wondering who you hired to edit your photos! This program goes above and beyond basic photo editing software. It not only acts like Photoshop - it actually works with Adobe Photoshop files too - you can open Photoshop images, edit them and save them back into the native Photoshop format! Of course, it will work with all the photo files on your computer and work with your digital camera / scanner too.


In addition to looking and acting like Photoshop, it's jam-packed with over 200 instant effects, 140 picture brushes and 30 tutorials- all of which make this program unbeatable! Add your own message to your photos with the editable text function. Use the automated images correction for quick and easy photo editing. Create your own amazing effects with a few clicks of your mouse! Automatically create awesome web animations! Even turn your documents into print-ready PDF's with encryption and password protection!


Enough said, the PhotoDesigner Pro is pretty much Photoshop's twin! It even has a pressure sensitive feature that works with a graphics tablet. Depending on how hard you press on the tablet, the program will know whether or not you to use a thick or a thin brush!

Whether you are a beginner or a seasoned pro, this photo editor is going to amaze you! But the price is incredible in itself. You could pay almost $400.00 for Abode Photoshop, or you could check out this great PhotoDesigner Pro program for just $16.97 from WorldStart.com and US Shipping is Free! You can even send it back for a refund within 60 days! No risk to you at all - give this a try, it's really unbelievable how much Photoshop DNA seems to be in the PhotoDesigner Pro program.

3D Garden Designer to Help Plan & Manage Your Garden Projects

Garden projects will make your garden look lively & accentuate your house nicely. You know you could just go about doing it without a plan but then you would be changing too many things on the fly because you do not have a set idea of how your garden would look like in the end. To make things easier for you, you may want to spend a few hours planning your new garden. You don’t have to learn new complex designer software. All you require is the 3D Garden Designer. The software is intuitive & simple to use. All the elements of a new garden are already shown to you on the user interface. You can simply choose which element to place in your new garden & work on it.


No idea where to start? No problem! The software has 100 different landscape ideas & options. Furthermore, over 2000 species of plants is available at your fingertips with inclusive tips to help them grow in your area. You can even plan your own garden gondola! I haven’t told you the best part yet. After designing your new garden, you can also take a virtual walk through your garden. Having a virtual walk through your garden allows you to have a glimpse of how your planned new garden will actually look like in reality. It’s the final stage for you to naturally realize the elements that are missing in your garden or instances that you dislike in your planning. Fantastic! Paying $6 for the software is certainly the cheapest way for you to plan your perfect home garden! The software is available at Worldstart.com with free shipping in the US.

Illustrator CS4 Images Usage

Illustrator C13CS4DPD Blitz Reference

Saving and Exporting Illustrator Files
  • Need a file format that isn’t listed in the regular Save As dialog box? choose File->Export to see additional choices
  • Many of these formats rasterize the artwork, meaning that they’ll no longer maintain vector paths and the benefits of being vector
  • Be sure to save a copy of the file and keep the original in the .ai format for easy editing later
  • The .ai format works with Adobe applications such as Adobe InDesign for page layout, Adobe Dreamweaver for Web page creation, Adobe Photoshop for photoretouching, and Adobe Acrobat for cross-platform documents
  • Saving the illustration as an .ai file ensures that the file is editable; it also ensures that any transparency is retained, even when using the file in another application

Use the illustration in other Adobe applications
Adobe Acrobat: Open the Acrobat application and choose File->Open

Adobe InDesign:

  • Choose File->Place
  • This method supports transparency created in Adobe Illustrator
  • However, copying and pasting from Illustrator to InDesign does not support transparency

Adobe Photoshop:

  • Choose File->Place
  • By placing an Illustrator file into Adobe Photoshop, automatically create a Photoshop Smart Object
  • Scale, rotate, and even apply effects to the Illustrator file and return to the original illustration whenever
  • Alternatively, choose File->Export and select the Photoshop (.psd) format from the Save as Type drop-down list
  • Choose a resolution from the options window
  • When have used layers, leave the Write Layers option selected
  • In Photoshop, choose File->Open, select the file that just saved in Illustrator as a .psd, and click Open; the file opens in Photoshop with the layers intact

Adobe Flash:
  • New integration features built into Adobe Illustrator CS4 allows to cut and paste directly into Adobe Flash CS4
  • Choose Edit->Copy from Adobe Illustrator and can then switch to Adobe
  • Flash CS4 and choose Edit->Paste; the Paste dialog box appears
  • Can also choose File->Import in Flash for additional import choices
  • When a native Illustrator file was selected to Import to Stage, the Import to Stage dialog box appears (right in Flash!) and provides the opportunity to import only certain layers or sublayers, and provides warning messages about incompatible objects

Adobe Dreamweaver:
  • By choosing File->Save for Web & Devices, can choose to save the Illustrator document in the .gif, .jpg, .png,.swf, .svg, or .wbmp format
  • Can then insert images in those file formats into Dreamweaver by choosing Insert->Image in Adobe Dreamweaver
  • Click the Image button in the Insert panel in Dreamweaver
  • When the Select Image Source dialog box appears, navigate to the location where was saved the optimized file
  • Select it and click OK
  • When file is located out of the root folder for the site worked on, an alert window appears, offering the opportunity to save the file with other site assets

Saving Illustrator files back to previous versions
Keep in mind that any features specific to newer versions of Illustrator will not be supported in older file formats, so make sure to save a copy and keep the original file intact

The EPS file format
  • Encapsulated PostScript File (EPS) is the file format that most text editing and page layout applications accept; EPS supports vector data and is completely scalable
  • The Illustrator .eps format is based on PostScript, which means that can reopen an EPS file and edit it in Illustrator whenever

To save a file in Illustrator as an EPS, follow these steps:
Choose File->Save As and select EPS from the Save as Type drop-down list
From the Version drop-down list, choose the Illustrator version to save to

In the EPS Options dialog box that appears, choose the preview from the
Format drop-down list:
  • (8-Bit Color): A color preview for either Mac or PC
  • (Black & White): A low-resolution black-and-white preview
  • Select either the Transparent or Opaque radio button, depending on whether to have the non-image areas in the artwork to be transparent or opaque
  • Set the Transparency settings
  • These settings are grayed out when haven’t used transparency in the file
  • Leave the Embed Fonts (for Other Applications) check box selected to leave used fonts embedded in the EPS file format
  • In the Options section, leave the Include CMYK PostScript in RGB
  • Files check box selected
  • When not knowing which Adobe Postscript level to save to, leave it at the default
  • Click OK to save the file as an EPS

The PDF file format
  • Can compress a PDF down to a smaller size; also, the receiver can double-click the file, and Acrobat or Acrobat Reader launches automatically
  • Depending on how the PDF is saved, it allows some level of editability in Adobe Illustrator

To save a file as a PDF, follow these steps:
Choose File->Save As, choose Illustrator PDF (.pdf) from the Save as
Type drop-down list, and then click Save

In the Adobe PDF Options dialog box that appears, choose one of the following options from the Preset drop-down list:
  • Illustrator Default: Creates a PDF file in which all Illustrator data is preserved
  • PDF files created with this preset can be reopened in Illustrator without any loss of data
  • High Quality Print: Creates PDFs for desktop printers and proofers
  • PDF/X-1a:2001: This method is the least flexible delivery of PDF content data, but it can be very powerful
  • It requires that the color of all objects be in CMYK (Cyan, Magenta, Yellow, Black) or spot colors
  • Elements in RGB (Red, Green Blue) or Lab color spaces or tagged with International Color Consortium (ICC) profiles are prohibited
  • It also requires that all fonts used in the job be embedded in the supplied PDF file
  • PDF/X-3:2002: This method of creating a PDF has slightly more flexibility than the X-1a:2001 method in that color managed workflows are supported elements in
  • Lab, and attached ICC source profiles may also be used
  • PDF/X-4:2008: This preset is based on PDF 1.4, which includes support for live transparency
  • PDF/X-4 has the same color management and ICC color specifications as PDF/X-3
  • Can open PDF files created with PDF/X-4 compliance in Acrobat 7.0 and Reader 7.0 and later
  • Press Quality: Creates a PDF file that can be printed to a high resolution output device; the file will be large, but it will maintain all the information that a commercial printer or service provider needs to print the file correctly - this option automatically converts the color mode to CMYK, embeds all fonts used in the file, prints at a higher resolution and also uses other settings to preserve the maximum amount of information contained in the original document
  • Before creating an Adobe PDF file with the Press Quality preset, check with the commercial printer to find out what the output resolution and other settings should be
  • Smallest File Size: Creates a low-resolution PDF suitable for posting on the Internet or sending via e-mail
  • Standard: Don’t pick a PDF/X standard unless you have a specific need or have been requested to - through the Standard drop-down list, select the type of PDF/X file you want to create
  • Compatibility: Different features are available for different versions, such as the ability to support layers in Version 6 or higher
  • To have the most compatible file type, choose Acrobat 5 (PDF 1.4)
  • However, to take advantage of layers or need topreserve spot colors - must choose Acrobat 6 or higher
  • Click Save PDF to save the file as a PDF
  • To be able to reopen the PDF file and edit it in Illustrator, make sure to leave the Preserve Illustrator Editing Capabilities check box selected in the Adobe PDF Options dialog box
  • In the Adobe PDF Options dialog box, to the left of the preset choices are options to can change to customize the settings
  • Scan through them to see how to change resolution settings and even add printer’s marks
  • Book V on Acrobat has more about the additional PDF options

Want a Press Quality PDF but don’t want to convert all the colors to CMYK?
  • Choose the Press setting and then click the Output options
  • In the Color Conversion drop-down list, select No Conversion

Saving Artwork for the Web
  • Choose File->Save for Web & Devices
  • The Save for Web & Devices dialog box appears, showing the artwork on the Optimized tab
  • Choose a tabbed view: Original, Optimized, 2-Up, or 4-Up
  • As a default, the artwork is shown in the Optimized view, which previews the artwork as it will appear based upon the settings on the right
  • The 2-Up view is probably the best choice because it shows the original image versus the optimized version
  • Choose a setting for the file from the options on the right
  • To make it easier, choose a preset from the Preset drop-down list

Keep in mind these points:
  • Graphics Interchange Format (GIF) is generally used for artwork with spans of solid color
  • GIF isn’t a lossy format
  • Artwork can be made smaller by reducing the number of colors in the image — hence the choices, such as GIF 64 No Dither (64 colors)
  • The lower the number of colors, the smaller the file size
  • Can also increase or decrease the number of colors in the file by changing the preset values in the Color text field or by using the arrows to the left of the Color text field
  • Dithering tries to make the artwork look like it has more colors by creating a pattern in the colors; it looks like a checkerboard pattern up close and even far away - it also makes a larger file size, so why use it?
  • Most designers don’t like the effect and choose the No Dither option

Joint Photographic Experts Group (JPEG)
  • Used for artwork that has subtle gradations from one shade to another
  • Photographs are often saved in this format
  • When having drop shadows or blends in the artwork, select this format
  • JPEG is a lossy file format — it will reduce the image to a lesser quality and can create odd artifacts in the artwork
  • Choices such as High, Medium, and Low in the Settings drop-down list
  • Make sure that to choose wisely
  • Can also use the Quality slider to tweak the compression

PNG-8 is very similar to a GIF file format
  • Unless there is a certain reason for saving as PNG-8, stick with the GIF file format
  • PNG-24 supports the best of two formats (GIF and JPEG)
  • Not only does the Portable Network Graphics (PNG) format support the nice gradients from one tonal value to another (like JPEGs), but it also supports transparency (like GIFs)
  • Not just any old transparency; e.g. an object 50 percent transparent in Adobe Illustrator and then save it with Save for Web & Devices as a PNG-24 file with the Transparency check box selected - the image shows through to any other objects underneath it on its destination page

The Shockwave Flash (SWF) graphic file format
  • Is a version of the Adobe Flash Player vector-based graphics format
  • Because a SWF file is vector-based, its graphics are scalable and play back smoothly on any screen size and throughout multiple platforms
  • With the Save for Web & Devices dialog box, can save image directly to SWF from Adobe Illustrator
  • With the SWF choice, can preview and make decisions as to how to export to the file as well as make decisions about how layers should be exported

Scalable Vector Graphics (SVG)
  • Is an emerging Web standard for two-dimensional graphics
  • SVG is written in plain text and rendered by the browser, except that in this case, it’s not just text that’s rendered but also shapes and images, which can be animated and made interactive
  • SVG is written in XML (Extensible Markup Language)
  • Can choose to save Scalable Vector Graphics out of Adobe Illustrator with the Save for Web & Devices dialog box
Wireless Application Protocol Bitmap Format (WBMP) format
Use for bitmap images for mobile devices

When satisfied with the chosen settings, Save
When saving illustrations for the Web, keep the following points in mind, which make the whole process much easier to use the illustrations:
  • Keep the file size small
  • Don’t forget that when saving illustrations for a Web page, many other elements will be on that page
  • Try to conserve on file size to make downloading the page quicker for viewers with dial-up connections
  • Most visitors won’t wait more than ten seconds for a page to download before giving up and moving on to another Web site
  • When making choices, keep an eye on the file size and the optimized artwork in the lower-left corner of the preview window
  • On average, a GIF should be around 10K and a JPEG around 15K
  • These rules aren’t written in stone, but please don’t try to put a 100K JPEG on a Web page!
  • Can change the download time by selecting the panel menu in the upper-right corner of the Save for Web & Devices dialog box and choosing Optimize to File Size to input a final file size and have Illustrator create the settings in the Save for Web & Devices dialog box
  • Preview the file before saving it
  • To see the artwork in a Web browser before saving it, click the
  • Preview in Default Browser button at the bottom of the Save for Web & Devices dialog box
  • The browser of choice appears with the artwork in the quality and size in which it will appear
  • When no browser is selected, click and hold down the Preview in Default Browser button to choose Other and then browse to locate a browser that to use for previewing
  • Close the browser to return to the Save for Web & Devices dialog box

Change the size
  • Many misconceptions abound about size when it comes to Web artwork
  • Generally, most people view their browser windows in an area approximately 700 x 500 pixels
  • Depending on the screen resolution, this may cover the entire screen on a 14-inch monitor, but even viewers with a 21-inch monitor with a high resolution often don’t want to have their entire screen covered with a browser’s window
  • So they still have a browser window area of around 700 x 500 pixels
  • When choosing a size for the artwork, use proportions of this amount to help
  • For example, when wanting an illustration to take up about a quarter of the browser window’s width, make the image about 175 pixels wide (700÷4 = 175)
  • By noticing that the height of the image is over 500 pixels, whittle the height down in size as well, or viewers will have to scroll to see the whole image (and it will probably take too long to download!)
  • Use the Image Size tab to input new sizes
  • As long as the Constrain Proportions check box is selected, both the height and width of the image will be changed proportionally
  • Click the Apply button to change the size but don’t close the Save for Web & Devices dialog box
  • Finish the save
  • When not finished with the artwork but want to save the settings, hold down the Alt and click the Remember button (When not holding down the Alt key, the Remember button is the Done button.)
  • When finished, click the Save button and save the file in the appropriate location

Flattening Transparency
Illustrator turns transparent areas that overlap other objects into pixels and leaves what it can as vectors — this process is flattening

Flattening a file
  • Make sure the artwork is created in the CMYK mode
  • Can change the document’s color mode by choosing File->Document Color Mode
  • Choose Effects->Document Raster Effects Settings
  • Choose the resolution to use by selecting an option in the Resolution area
  • Select Screen (72 ppi) option, for web graphics, Medium (150 ppi) for desktop printers and copiers, and High (300 ppi) for graphics that will be printed on a press
  • Choose whether to have a white or transparent background
  • By selecting the Transparent option, it creates an alpha channel
  • The alpha channel is retained when the artwork is exported into Photoshop

Can generally leave the items in the Options section deselected:
  • The Anti-Alias check box applies anti-aliasing to reduce the appearance of jagged edges in the rasterized image
  • Deselect this option to maintain the crispness of fine lines and small text
  • The Create Clipping Mask check box creates a mask that makes the background of the rasterized image appear transparent
  • No need to create a clipping mask when selecting the Transparent option for the background
  • The Add around Object text field adds the specified number of pixels around the rasterized image
  • Click OK

The next step is to set the transparency options in the Document Setup dialog box
  • Choose File->Document Setup
  • From the Transparency section in the middle of the dialog box, click the Preset drop-down list and select the Low, Medium, High, or Custom option
  • Select the Low option for on-screen viewing, the Medium option for printers and copiers, or the High option for press
  • Click the Custom button to the right of the drop-down list to control more of the settings
  • Click OK

When customizing the settings on a regular basis, choose Edit->Transparency Flattener Presets to create and store own preset

Can apply the flattening in several ways
  • Here are three simple methods
  • Select the object(s) that requires flattening and choose Object->Flatten Transparency
  • Choose one of the default settings or a custom preset from the Preset drop-down list and click OK
  • Choose File->Print and select Advanced from the list of print options on the left
  • Choose a preset from the Overprint and Transparency Flattener options

When having used the Attributes panel to create overprints (for trapping used in high-end printing), make sure to preserve the overprints
Note: Overprints aren’t preserved in areas that use transparency
Choose File->Save As and choose Illustrator EPS
In the Transparency section of the EPS Options dialog box, choose a flattening setting from the Preset drop-down list
When Transparency options are grayed out, there is no transparency in the file

Using the Flattener Preview panel

Want to preview flattening?
  • Use the Flattener Preview panel by choosing Window->Flattener Preview
  • The Flattener Preview panel doesn’t apply the flattening, but it provides a preview based upon one's settings
  • Click the Refresh button and choose Show Options from the panel menu
  • Test various settings without actually flattening the file
  • Experiment with different settings and then save the presets by selecting Save Transparency Flattener Preset from the panel menu
  • The saved settings can be accessed in the Preset drop-down list in the Options dialog boxes that appear when saving a file as an EPS or in the Document Setup dialog box
  • Click the Refresh button after making changes to update the preview
  • Zoom in on the artwork by clicking in the preview pane
  • Scroll the artwork in the preview pane by holding down the spacebar and dragging
  • Zoom out by Alt+clicking

Printing from Illustrator
Printing from Illustrator provides lots of capabilities, such as printing composites to separations and adding printer’s marks

To print an illustration, follow these steps:
Choose File->Print
  • In the Print dialog box that appears, select a printer when one is not selected
  • When the PPD isn’t selected, choose one from the PPD drop-down list
  • A PPD is a printer description file
  • Illustrator needs this to determine the specifics of the PostScript printer to send the file to
  • This setting lets Illustrator know whether the printer can print in color, the paper size it can handle, and the resolution, as well as many other important details

Choose from other options as follows:
  • Use the General options area to pick what pages to print
  • In the Media area, select the size of media to print to
  • In the Options area, choose to have layers printed and any options specific to printing layers
  • Click the Print button to print the illustration
  • And that’s it

Printing the illustration can be really simple, but the following
list highlights some basic things to keep in mind in preparing
an illustration for printing:

  • Printing a composite: A composite is the full-color image, where all the inks are applied to the page (and not separated out onto individual pages — one for cyan, one for magenta, one for yellow, and one for black)
  • To make sure that the settings are correct, click Output in the print options pane on the left side of the Print dialog box and select Composite from the Mode drop-down list
  • Printing separations: To separate colors, click Output in the print options pane on the left side of the Print dialog box; from the Mode drop-down list, choose the Separations (Host-Based) option
  • Select the In-RIP Separations option only when the service provider or printer requests it

Other options to select from are as follows:
  • The resolution is determined by the PPD, based upon the dots per inch (dpi) in the printer description
  • May have only one option available in the Printer Resolution drop-down list
  • Select the Convert Spot Colors to Process check box to make the file 4-color
  • Click the printer icons to the left of the listed colors to turn off or on the colors chosen not to print
  • Printer’s marks and bleeds: Click Marks and Bleeds in the print options pane on the left side of the Print dialog box to turn on all printer’s marks, or just select the ones chosen to appear
  • Specify a bleed area when extending images beyond the trim area of a page
  • By not specifying a bleed, the artwork stops at the edge of the page and doesn’t leave a trim area for the printer
  • After creating a good set of specific options, click the Save Preset
  • Name the preset appropriately; when wanting to use that preset, select it from the Print Preset drop-down list at the top of the Print dialog box for future print jobs

IllustratorCS4 Filters & Effects

Illustrator C12CS4DPD Blitz Reference

Applying an effect
  • Create a new document, choose any color mode, and draw a path in the document
  • In the Control panel at the top of the Illustrator document, change the stroke to 3-pt and make sure that fill is set to None
  • Choose Effect->Stylize->Add Arrowheads
  • Choose the top Stylize menu item
  • Add an arrowhead to both the start and the end of the path by using the arrow keys to scroll through the selections
  • Choose the size of the arrowhead by typing a number in the Scale text field

Effects are linked dynamically to the object that they’re applied to
They can be scaled, modified, and even deleted with no harm done to the original object - click on the Effect in the Appearance Panel to edit

Adding a Drop Shadow effect
  • Select the object(s) that’s to have the drop shadow applied
  • Choose Effect->Stylize->Drop Shadow
  • In the Drop Shadow dialog box that appears, select the Preview check box in the upper-right corner

Choose from the following options :
  • Mode: Select a blending mode from this drop-down list; the default is Multiply, which works well — the effect is similar to coloring with a magic marker
  • Opacity: Enter a value or use the drop-down list to determine how opaque or transparent the drop shadow should be - when too strong, choose a lower amount
  • Offset: Enter a value to determine how close the shadow is to the object - with text or small artwork, smaller values (and shorter shadow) look best; otherwise, the drop shadow may look like one big indefinable glob
  • The X Offset shifts the shadow from left to right, and the Y Offset shifts it up or down - may enter negative or positive numbers
  • Blur: Use Blur to control how fuzzy the edges of the shadow are; a lower value makes the edge of the shadow more defined
  • Color and Darkness: Select the Color radio button to choose a custom color for the drop shadow
  • Select the Darkness radio button to add more black to the drop shadow - zero percent is the lowest amount of black, and 100 percent is the highest
  • As a default, the color of the shadow is based upon the color of the object, sort of . . . the Darkness option has a play in this, also
  • As a default, the shadow is made up of the color in the object when it’s solid
  • Multicolored objects have a gray shadow

Saving Graphic Styles
  • Choose Window->Graphic Styles; in the panel that appears are thumbnails of many different styles that Adobe provides as a default
  • Look at the Appearance panel while clicking different styles to see applied combinations of attributes, including effects, fills, and strokes
  • Find more styles by choosing the Graphic Styles panel menu (click the arrow in the upper-right corner of the panel) and selecting Open Graphic Style Library
  • With the object selected, Alt+click the New Graphic Style button at the bottom of the Graphic Styles panel
  • Alt+clicking allows naming the style when it’s added
  • Alternatively, drag the selected object right into the Graphic Styles panel
  • The panel stores its attributes, but have to double-click the new style to name it
  • After storing a graphic style, simply select the object and then click the saved style in the Graphic Styles panel to apply the style

Creating 3D Artwork
  • Add dimension by using the 3D effect, also map artwork (that is, wrap artwork around a 3D object) and apply lighting to the 3D object
  • This means the facility to design a label for a jelly jar and actually adhere it to the jar to show the client

Three choices for the 3D effect:
  • Extrude & Bevel: This uses the z-axis to extrude an object; for example, a square becomes a cube
  • Revolve: Uses the z-axis and revolves a shape around it; can use this to change an arc into a ball
  • Rotate: Rotates a 3D object created with the Extrude & Bevel or Revolve effects, or rotate a 2D object in 3D space
  • Also may adjust a 3D or 2D object’s perspective

To apply a 3D effect, create an object appropriate for the 3D effect
The Extrude & Bevel feature works great with shapes and text
To edit an object that already has a 3D effect applied to it, double-click the 3D effect in the Appearance panel

To apply a 3D effect, follow these steps:
  • Select the object to apply the 3D effect to
  • Choose Effect->3D->Extrude & Bevel
  • Select the Preview check box to see results while experimenting the settings
  • Click the Preview pane (which shows a cube) and drag to rotate the object in space
  • It makes selecting the right angle fun, or choose the angle from the Position drop-down list above the preview - this is called positioning the object in space
  • Never rotate a 3D object with the Rotate tool, unless the purpose is for some very funky results; use the Preview pane in the Extrude & Bevel Options dialog box instead
  • (Optional) Use the Perspective drop-down list to add additional perspective to the object
  • In the Extrude & Bevel section of the dialog box, choose a depth for the object and a cap
  • The cap determines whether the shape has a solid cap on it or whether it’s hollow
  • Choose a bevel (edge shape) from the Bevel drop-down list and set the height using the Height drop-down list

Choice of two ways to apply the bevel:
  • Bevel Extent Out: The bevel is added to the object
  • Bevel Extent In: The bevel is subtracted from the object

Choose a rendering style from the Surface drop-down list or click the More Options button for in-depth lighting options, such as changing the direction or adding additional lighting
Click the Map Art button
The Map Art dialog box opens
Use this dialog box to apply artwork to a 3D object
With the Surface arrow buttons, select which surface to have the artwork applied to and then choose a symbol from the Symbol dropdown list

Keep the following points in mind when mapping artwork:
  • An object must be a symbol to be used as mapped artwork
  • Simply need to select and drag the artwork to be mapped to the Symbols panel to make it a selectable item in the Map

Art dialog box
  • The light gray areas in the Preview pane are the visible areas based upon the object’s present position
  • Drag and scale the artwork in this pane to position the artwork
  • Shaded artwork (enabled by selecting the Shaded Artwork check box at the bottom of the Map Art dialog box) looks good but can take longer to render

Note: All 3D effects are rendered at 72 dpi (dots per inch; low resolution) so as not to slow down processing speed
Determine the resolution by choosing Effect->Document Raster Effects Settings, or when saving or exporting the file
May also select the object and choose Object->Rasterize
After the object is rasterized, it can no longer be used as an Illustrator 3D object, so save the original

Adding Multiple Fills and Strokes
  • The panel menu in the Appearance panel allows to add more fills and strokes
  • With this feature, different colored fills can be placed on top of each other and individually apply effects to each one, creating really interesting and creative results

Create a star shape
  • It doesn’t matter how many points it has, or how large it is, just make it large enough to work with
  • Use the Swatches panel (choose Window->Swatches) to fill it with yellow and give it a black stroke
  • Choose Window->Stroke to use the Stroke panel to make the stroke 1 pt; alternatively, choose 1 from the Stroke drop-down list in the Control panel
  • Notice that in the Appearance panel, the present fill and stroke are listed
  • Even in the simplest form, the Appearance panel helps track basic attributes
  • Easily take advantage of the tracking to apply effects to just a fill or a stroke
  • Click Stroke in the Appearance panel
  • When the Appearance panel isn’t visible, choose Window->Appearance
  • Choose Effect->Path->Offset Path
  • In the Offset Path dialog box that appears, enter –5pt in the Offset text box and select the Preview check box
  • Notice that the stroke moves into the fill instead of on the edge
  • Change the offset to something that works with the star shape and click OK
  • Depending on the size of the star, one may want to adjust the amount of offset up or down
  • From the panel menu of the Appearance panel, add an additional fill to the star shape
  • This may sound ridiculous, but allows for creating some super effects with multiple fills
  • Click Fill in the Appearance panel (the top one) and choose Effect->Distort and Transform->Twist
  • In the Twist dialog box that appears, type 45 into the Angle text field and select the Preview check box
  • Notice how only the second fill is twisted? Pretty neat, right?
  • Click OK to exit the Twist dialog box
  • Select the top fill from the Appearance panel again
  • Always have to be sure to select the right fill or stroke before doing anything that’s meant to change just that specific fill or stroke
  • In the Transparency panel (choose Window->Transparency), choose 50% from the Opacity slider or simply type 50% in the Opacity text field
  • Now see the original shape through the new fill!
  • With that top fill still selected, change the color or choose a pattern in the Swatches panel for a really different appearance
  • Can go on for hours playing around with combination of fills and strokes

Illustrator CS4 Transparency & Special Effects

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The Mesh Tool
  • Change the color in mesh points by choosing the Direct Selection tool and either clicking a mesh point and picking a fill color, or by clicking in the center of a mesh area and choosing a fill
  • Create a gradient mesh by clicking
  • Create a gradient mesh by setting the number of rows and columns

The Blend Tool
  • In the Swatches panel (choose Window->Swatches), change the cloned shape’s fill to a different color but keep the stroke at None
  • With the Blend tool, click the original shape and then click the cloned shape
  • Easily access the Blend tool options by selecting a blended object and double-clicking the Blend tool in the toolbox
  • Alternatively choose Object->Blend->Blend Options
  • Can edit blends that you created by moving, resizing, deleting, or adding objects
  • After editing changes, the artwork is reblended automatically

The Symbol Sprayer Tool
  • Window->Symbols to open Symbols panel
  • Use this panel as a storage bin or library to save repeatedly used artwork or to create symbols to apply as instances in your artwork, like blades of grass or stars in the sky

The Symbol Tools
  • Symbol Sprayer - Creates a set of symbol instances
  • Symbol Shifter - Moves symbol instances around; it can also change the relative paint order of symbol instances
  • Symbol Scruncher - Pulls symbol instances together or apart
  • Symbol Sizer - Increases or decreases the size of symbol instances click and hold to make the symbol instances larger; hold down the Alt key to make the symbol instances smaller
  • Symbol Spinner - Orients the symbol instances in a set
  • Symbol instances located near the cursor spin in the direction of moving the cursor
  • Symbol Stainer - Colorizes symbol instances
  • Symbol Screener - Increases or decreases the transparency of the symbol instances in a set
  • Symbol Styler - Enables one to apply or remove a graphic style from a symbol instance

When using placed images as symbols, choose File->Place and deselect the Linked
check box in the Place dialog box
Press ] repeatedly to enlarge the application area for the symbol or press [ to
make it smaller
Find 3D, nature, maps, flowers, and even hair and fur symbol collections by selecting
Open Symbol Library

Transparency
  • Window->Transparency brings up the Transparency panel where can apply different levels of transparency to objects
  • Create an arrangement of objects that intersect, select the topmost object, and then change the transparency level of the object in the Transparency panel, either by moving the Opacity slider or by entering a value of less than 100 in the Opacity text field

Blend modes
  • A blending mode determines how the resulting transparency will look
  • The best way to find out what all these modes do is to create two shapes that are overlapping and start experimenting
  • Give the shapes differently colored fills (but note that many of the blending modes don’t work with black and white fills)
  • Select the topmost object and change the blending mode by selecting an option from the Blend Mode drop-down list in the Transparency panel

Opacity masks
  • Open the Transparency panel menu (click the arrow in the upper-right corner to access this menu) and choose Hide Thumbnails
  • Also, be sure that the Blend Mode drop-down list is set to Normal
  • Create a shape anywhere on the artboard or open a document that has artwork on it
  • Make sure that the artwork has a fill; a solid color will help show the effect
  • Open the Symbols panel (choose Window->Symbols Panel) and drag a symbol to the artboard
  • With the Selection tool, enlarge the symbol so that it fills the shape
  • Select both the symbol and the shape and then choose Make Opacity
  • Mask from the Transparency panel menu
  • The symbol turns into a mask, showing varying levels of the underlying box through, depending on the original color value
  • To delete an opacity mask, choose Release Opacity Mask from the Transparency panel menu
  • Click the right thumbnail (this is the mask) in the Transparency panel, and a black border appears around it, indicating that it’s active
  • Move the items on the mask or even create items to be added to the mask
  • The mask works just like the regular artboard, except that anything done on the mask side will only be used as an opacity mask
  • To work on the regular artboard, click the left thumbnail

Illustrator CS4 Transformation & Distortion

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Working with Transformations

Scale and rotate a selected object with Selection tool
  • Hold down the Shift key to rotate an object at 45-degree increments
  • Reset the bounding box so that it’s straight at the new orientation, choose Object->Transform->Reset Bounding Box
  • To return the object to the previous position in Illustrator, enter the negative of the number originally entered to rotate the object

Transforming an object
The Rotate, Reflect, Scale, and Shear tools all use the same basic steps to perform transformations

Arbitrary transformation method
  • Freely transform the object until it looks right
  • Select an object and then choose a transform tool (the Rotate, Reflect, Scale, or Shear tool)
  • Click once on the artboard
  • Be careful where to click because the click determines the point of reference, or axis point, for the transformation
  • Drag in one smooth movement

Exact transformation methods
Exact transformation method 1: Using the tool’s dialog box [Double-click a transform tool in the toolbox, Type, Preview, Copy]
Exact transformation method 2: Using the reference point [Alt-click for reference point, Type, Preview, Copy]
Exact transformation method 3: Using the Transform menu [Object->Transform menu]
Exact transformation method 4: Using the Transform panel [Window->Transform Panel (Shift+F8)]

Using the Transform tools

The Reflect tool
  • Select the Reflect tool (hidden under the Rotate tool) and click the object
  • For text, click in the middle of the text’s baseline
  • Alt+Shift+drag
  • This step not only clones the reflected object or text, but also snaps it to 45-degree angles

The Scale tool
  • Select your shape and double-click the Scale tool
  • Type a number in the Scale text field (in the Uniform section) and click the Copy button (100%)150% for bigger
  • Press Ctrl+D to repeat the transformation
  • Leaving the Scale text field at 100% has no effect on the object

The Shear tool
  • Use the Shear tool in combination with the Rotate tool to give an object perspective
  • The axis will always be the center of the object unless you use method 1 or method 2 from the earlier section, “Exact transformation methods.”

The Reshape tool
  • Select just the anchor points on the paths that you want to reshape
  • Deselect any points that you want to remain in place
  • Select the Reshape tool (hidden under the Scale tool) and position the cursor over the anchor point that you want to modify; click the anchor point
  • A highlighted anchor point with a square around it is added to the path
  • Shift-click more anchor points or path segments to act as selection points
  • Drag the highlighted anchor points to adjust the path

The Free Transform tool
This tool is necessary only when choosing View->Hide Bounding Box but want free transform capabilities

Creating Distortions

The Liquify tools
  • A variety of Liquify tools are available by holding down the mouse button on the default selection, the Warp tool
  • Warp tool - Molds objects with the movement of the cursor; like pushing through dough with this tool
  • Twirl tool - Creates swirling distortions within an object
  • Pucker tool - Deflates an object
  • Bloat tool - Inflates an object
  • Scallop tool - Adds curved details to the outline of an object; think of a seashell with scalloped edges
  • Crystallize tool - Adds many spiked details to the outline of an object, such as crystals on a rock
  • Wrinkle tool - Adds wrinkle-like details to the outline of an object

Double-click any of the Liquify tools to bring up a dialog box specific to the selected tool

Adjust the diameter and shape of the Liquify tool by holding down the Alt key while dragging the brush shape smaller or larger
Press the Shift key to constrain the shape to a circle

Using the Envelope Distort command

Using the preset warps
  • Select the text or object that you want to distort and then choose Object->Envelope Distort->Make with Warp
  • Choose a warp style from the Style drop-down list and then specify any other options
  • Alternatively choose Effect->Warp
  • Can later change or delete the Warp Effect by double-clicking it in the Appearance panel or by dragging the effect to the trash can

Reshaping with a mesh grid
  • Using the Select tool, select the text or object to distort then choose Object->Envelope Distort->Make with Mesh
  • Specify the number of rows and columns that you want the mesh to contain and then click OK
  • Drag any anchor point on the mesh grid with the Direct Selection tool to reshape the object
  • To delete anchor points on the mesh grid, select an anchor point with the Direct Selection tool and press the Delete key
  • Alternatively use the Mesh tool to edit and delete points when using a mesh grid on objects
  • Choose Effect->Distort and Transform->Free Distort to take advantage of the Free Distort dialog box
  • Effects can be edited or undone whenever by clicking or deleting the Free Distort effect from the Appearance menu

Illustrator CS4 Color Works

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Choosing a Color Mode
  • Basic CMYK (Cyan, Magenta, Yellow, and Black) for taking illustration to a professional printer
  • Basic RGB (Red, Green, Blue) for final destination is the Web, mobile device, video, color copier or desktop printer, or screen presentation
  • Change the color mode whenever without losing information by choosing File->Document Color Mode

Using the Swatches Panel
  • Accessing color from the Control panel is probably the easiest way
  • Avoid mixed up colors and assigned the stroke color to the fill or vice versa
  • Or open by choosing Window->Swatches
  • The cross hair represents the Registration color
  • Only use this swatch when creating custom crop marks or printer marks
  • The diagonal line represents None - use this option for no fill or stroke

Applying Color to the Fill and Stroke
Illustrator objects are created from fills (the inside) and strokes (border or path)

Color Keyboard Shortcuts
  • Switch the Fill or Stroke color box position [X]
  • Inverse the Fill and the Stroke color boxes [Shift+X]
  • Default (black stroke, white fill) [D]
  • None [/]
  • Last color used [<] Last gradient used [>]
  • Color Picker [Double-click the Fill or Stroke color box]

Drag a color from the Swatches panel to the Fill or Stroke color box
Apply a fill color to an existing shape, drag the swatch directly to the shape
Select a swatch, hold down Alt+Shift+Ctrl and drag a color to a shape to apply that color to the stroke
Changing the Width and Type of a Stroke by clicking the Stroke hyperlink in the Control panel
Can’t adjust the alignment of a stroke on text unless change the text to outlines first
Choose Type->Create Outlines to enable the Align Stroke options
Add weight to it to enable selection

Using the Color Panel
  • Hold down the Shift key while adjusting the color slider of any color and watch how all colors move to a relative position at the same time!
  • The cube warns that the color selected isn’t one of the 216 nondithering, Web-safe colors, and the exclamation point warns that the color isn’t within the CMYK print gamut
  • Click the cube or exclamation point symbols when shown to select the closest color in the Web safe or CMYK color gamut

Saving Colors
  • Whenever built a color, drag it from the Color panel to the Swatches panel to save it as a color swatch for future use
  • Or select an object that uses the color and click the New Swatch button at the bottom of the Swatches panel
  • Alt+click to save it with auto naming

Building and using custom libraries
Retrieve colors by clicking the Swatch Libraries button to access various color libraries Swatch Libraries menu button->down to Other Library

Using the Color Guide and color groups
  • Window->Color Guide Edit Colors button
  • Or Ctrl-click to select multiple colors and then click the New Color Group button at the bottom of the Swatches panel

Adding Pantone colors
  • Swatches panel->Color Books->Pantone solid coated or etc
  • Type the number into the Find text field of the Pantone panel or browse through Small List View or Large List View

Editing Colors
Double-clicking a swatch in the Swatches panel can open its options

Change the color values
  • Use the sliders or by typing values into the color text fields
  • Select the Preview check box to see results while making changes

Use global colors
Only have to change the swatch options once and all new instances of that color are updated

Color Type drop-down list
  • Spot color: A color that isn’t broken down into the CMYK values
  • Spot colors are used for 1–2 color print runs or when precise color matching is important
  • Process color: A color that’s built from four colors (cyan, magenta, yellow, and black)
  • Process colors are used for multicolor jobs e.g. Take any spot colors created in corporate logos and such and convert them to process colors - this saves an extra printing run
  • Choose the Spot Colors option from the Swatches panel menu
  • Choose Lab to get the best possible CMYK conversion for the actual spot color when using a color-calibrated workflow
  • Choose CMYK (default) to get the manufacturer’s standard recommended conversion of spot colors to process
  • Results can vary depending upon printing conditions

Building and Editing Patterns
  • Build a simple pattern, start by creating the artwork to use as a pattern on an artboard — polka dots, smiley faces, wavy lines, whatever
  • Then select all the components of the pattern and drag them to the Swatches panel
  • Pattern in your artwork and try to drag it into the Swatches panel,
  • Illustrator kicks it back out with no error message
  • Can drag text right into the Swatches panel to become a pattern

Edit an existing pattern
  • Use the Selection tool to select all pattern elements and Alt+drag the new pattern over the existing pattern swatch in the Swatches panel
  • When a black border appears around the existing pattern, release the mouse button
  • Add some space between tiles, create a bounding box using a rectangle shape with no fill or stroke (representing the repeat for creation)
  • Send it behind the other objects in the pattern and drag all objects, including the bounding box, to the Swatchespanel

[???Unresolved???Page 319] To scale a pattern, but not the object that it’s filling, double-click the Scale tool
In the Scale dialog box that appears, type the value of wanted scale but deselect all options except for Patterns, as
This works for the Rotate tool as well!

Working with Gradients
  • Choose Gradient from the Show Swatch Kinds button at the bottom of the Swatches panel
  • Then choose Window->Gradient or Ctrl+F9
  • Choose Show Options from the Gradient panel menu to see more options
  • Use the Gradient tool to change the direction and distance of a gradient blend (press G)
  • Drag a long path for a smooth, long gradient
  • Drag a short path for a short, more defined gradient

Create a new gradient
  • Click on the basic B & W Linear Gradient swatch in the
  • Swatches panel (this provides a good base point)
  • Activate a color stop at Gradient panel by clicking it
  • When a color stop is active, the triangle on the top turns solid
  • Choose Window->Color to access the Color panel and then click the triangle in the upper-right corner to open the panel menu; choose RGB or CMYK colors
  • Click the gradient ramp (at the bottom) in the Color panel to pick a random color (or enter values in the text fields to select a specific color) for the active color stop in the Gradient panel
  • Repeat this step to select colors for other color stops
  • To add additional color stops, click beneath the gradient ramp choose a color from the Color panel
  • Alternatively, drag a swatch from the Swatches panel to add a new color to the gradient
  • To remove a color stop, drag it off the Gradient panel
  • CS4 allows to change the opacity of that location of the ramp by entering values in the Opacity text box
  • This is a great way to create stripes and other reflective gradients

Copying Color Attributes
  • Use the Eyedropper tool to copy fill and stroke attributes
  • Select the Eyedropper tool and click a shape
  • Alt-click another object to apply those attributes

The Live Trace Feature
  • File->Place, Click the arrow to the right of the Live Trace button,
  • Choose Tracing Options, Select the Preview check box,
  • Click the Trace button

The Live Paint Feature
The paint within a given region remains live and flows automatically when any of the paths are moved

Illustrator CS4 Layers Usage

Illustrator C8CS4DPD Blitz Reference

Unlike in Photoshop, layers in Illustrator don’t add an incredible amount of
size to the file

Creating New Layers

  • Window->Layers or F7
  • Handle color that appears on the active shape matches the color bar in the Layers panel on the left side of the layer name
  • The small selection square on the right disappears when choosing Select->Deselect
  • Alt-click the Create New Layer button
  • Layer Options dialog box appears
  • Or choose New Layer from the panel menu

Descriptive layer name for easy organization e.g. star layer name for star object
Options dialog box for any existing layer by choosing Options for Layer (Named Layer) from the panel menu in the Layers panel

Using Layers for Selections
Changing the Layer Stacking Order

Moving and Cloning Objects
  • Move: click the small color selection square to the right of the layer’s radio button in the Layers panel, drag it to the target layer, and release
  • Clone: Alt+dragging the color selection square to another layer
  • A plus sign appears
  • Choose Paste Remembers Layers from the Layers panel to have Illustrator
  • automatically remember which layer an object was copied from

Hiding Layers
  • Simply clicking the eye icon hides the layer
  • Click the empty square (where the eye icon was) to show the layer again
  • Alt-click an eye icon to hide all layers except the one chosen [re-click to undo]
  • Ctrl-click the eye icon to turn just the selected layer into Outline view mode

Locking Layers
Click the empty square to the right of the Visibility (eye) icon - A padlock icon appears

Illustrator CS4 Organized Production

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Setting Ruler Increments View->Show Rulers or press Ctrl+R
  • Select preferred measurement units in the New Document dialog box
  • Right-click the horizontal or vertical ruler and pick a measurement increment

Choose Edit->Preferences->Units and Display Performance
Change ruler units only by using the General tab of the Preferences dialog box
Setting the General Preferences changes the preferences for all future documents
Choose File->Document Setup to change measurement units for only the current document

Using Guides
  • Ruler guides
  • Custom guides
  • Creating a ruler guide
  • Creating a custom guide

Using the Transform Panel for Placement
Changing the Ruler Origin [Page 294]
Thinking about Object Arrangement
Hiding Objects

Locking Objects
  • Lock an object: Choose Object->Lock or press Ctrl+2
  • Unlock an object: Choose Object->Unlock All or press Ctrl+Alt+2

Creating a Clipping Mask
  • Object->Clipping Mask->Make or Ctrl+7
  • Object->Clipping Mask->Release
  • Text too can be used as a clipping mask

Illustrator CS4 Type Works

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Working with Type

Reshaping text with a different object
  • Create text to distort
  • Create the object to use as the envelope (the object to be used to define the distortion)
  • Choose Object->Arrange to make sure that the envelope object is on top
  • Select the text and Shift-click to select the envelope object
  • Choose Object->Envelope Distort->Make with Top Object

Creating text areas
Creating a line of text

Flowing text into an area
  • Window->Transform to view the Transform panel
  • Type an exact width in the W text field and exact height in the H text field

Dealing with text overflow
Creating columns of text with the Area Type tool
Threading text into shapes
Wrapping text [???Unresolved???]
Outlining text
Putting text on a path, in a closed shape, or on the path of a shape
Creating text on a path
Creating text in a closed shape
Text on the path of a closed shape

Assigning Font Styles
Font, X height, Kerning, Leading, Tracking

Keyboard Shortcuts for Type
  • Align left, right, or center [Shift+Ctrl+L, R, or C]
  • Justify [Shift+Ctrl+J]
  • Insert soft return [Shift+Enter]
  • Reset horizontal scale to 100 percent [Shift+Ctrl+X]
  • Increase/decrease point size [Shift+Ctrl+> or <]
  • Increase/decrease leading [Alt+ UP or DN]
  • Set leading to the font size [Double-click the leading icon in the Character panel]
  • Reset tracking/kerning to 0 [Alt+Ctrl+Q]
  • Add or remove space (kerning) [Alt+ <- or ->] between two characters
  • Increase/decrease baseline shift [Alt+Shift+UP or DN]

[Pressing Ctrl+T] Show or hide the Character panel

Using the Control Panel

Using the Paragraph Panel
  • Alignment
  • Indents
  • (Select and Alt+click to apply) Use the Eyedropper tool to copy the character, paragraph, fill, and stroke attributes

Text Utilities: Key to Efficiency
  • Find and Replace
  • Spell checker
  • Edit->Edit Custom Dictionary and then add own words
  • The Hyphenation feature

The Find Font feature
The Change Case feature
Text styles
Creating character styles
Creating a paragraph style
Updating styles
Handling legacy text

Illustrator CS4 Pen Tools

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Pen Tool Fundamentals
  • The Bézier curve
  • Anchor points
  • Direction lines
  • Closed shape
  • Simple path
  • Creating a straight line
  • Creating a constrained straight line
  • Creating a curve
  • Reconnecting to an existing path
  • Controlling the curves
  • Creating a corner point
  • The Hidden Pen Tools

Additional tools to help make paths
Using the Eraser tool
Tracing Artwork
Creating a template layer
Using Live Trace
Link check box

Using Photoshop Layer Comps
Place a .psd (Photoshop) image that’s saved Layer Comps from Photoshop and choose which layer comp set to have visible while placing in Adobe Illustrator CS4

Illustrator CS4 Basic Shapes

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The Basic Shape Tools
  • Creating rectangles and ellipses
  • Using the Rounded Rectangle tool
  • Using the Polygon tool
  • Using the Star tool

Resizing Shapes
Transform panel

View->Show Rulers or press Ctrl+R
  • Right-click change the measurement increment
  • Type the number followed by a measurement extension
“ or in Inches
pt Points
mm Millimeters
cm Centimeters
p Picas

Tips for Creating Shapes
  • Press and hold the Shift key while dragging with the Rectangle or Ellipse tool to create a perfect square or circle
  • Create a shape from the center out by holding down the Alt key while dragging
  • Press the up- or down arrow key while dragging to interactively add points or sides to the shape

Creating advanced shapes
Pathfinder panel
Using the Pathfinders [Page 251]

Illustrator CS4 Selection Tools

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Anchor points

Bounding boxes
  • Turn off the feature by choosing View->Hide Bounding Box
  • To reset the bounding box so that it’s straight at the new orientation, choose Object->Transform->Reset Bounding Box

Selection tools
Selects entire objects or groups
Selects individual points
Group Selection
Magic Wand
Lasso

Selection tool using one of three main methods:
  • Click the object’s path
  • Click an anchor point of the object
  • Drag a marquee around part or all the object’s path

(Ctrl+U) Smart guides
Edit->Preferences->Smart Guides

Selecting multiple objects
  • Select->All or press Ctrl+A
  • Hold down the Shift key
  • Drag a marquee over >two points for multiple selection

Saving a selection

Grouping and Ungrouping
  • Object->Group or press Ctrl+G
  • Illustrator remembers the grouping order
  • Object->Ungroup or use Ctrl+Shift+G

Using the Isolation mode
Manipulating Selected Objects
Nudging selected objects
Constraining movement
Cloning selected objects
Constraining the clone

Multiple cloning exact distance
  • Object->Transform->Transform Again, or press Ctrl+D as desired
  • Select->Inverse
  • Select->Select Same option
  • Double-click the Scale tool and enter 75% in the Uniform Scale text box
  • Press the Copy button and then click OK
  • See a smaller same shape inside the original
  • Press Ctrl+D (Transform Again) to duplicate the transformation and create another same shape inside the last one

Simple Stuff About Illustrator CS4

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Vector vs Bitmap [pixel] graphics
When to use Illustrator & not InDesign or Photoshop
Creating a new document
(1 point [pt] = 1/72 inch)
CMYK or RGB
Looking at the document window

Simple rules regarding the work area
When printing directly from Illustrator, make sure to choose the proper paper size
and printer in the Print dialog box [File->Print]

The Print Tiling tool (Hold down on the Hand tool to select)
Becoming Familiar with the Tools
Checking Out the Panels
Hide the Tools panel temporarily [Press Tab]
Go Fullscreen or partial Fullscreen without any tool panels [Press F]
Outline View, Preview, & Pixel View
Overprint view

Navigating the Work Area with Zoom Controls
  • (H) Hand tool - Press Spacebar when in other tools for temporary access
  • View menu: Zoom In (Ctrl+), Zoom Out (Ctrl-),
  • Fit in Window (Ctrl+0)
  • (Shift+O) Artboard tool aka Crop Area tool
  • (Alt) Zoom tool
  • (Ctrl+spacebar+drag) Zoom in to Selected Area
  • (Ctrl+Alt+spacebar) Zoom Out a bit
  • Go to Actual Size (Ctrl+1)

Illustrator Multiple Artboards Blitz Tutorial

Adobe Creative Suite (CS4) offer users the Blitz ability to produce multiple page documents in Illustrator. No more tiling the pages with the Illustrator CS4! Follow the tutorial steps below to Blitz your way to opening a document with multiple artboards.

Blitz Tutorial Step #1
----------------------
Choose File->New in Illustrator CS4. In the New Document Dialog Box choose the amount of artboards by just entering any number from 2 to 100 in the 'Number of Artboards' input box. Blitz on to the next tutorial step.


Blitz Tutorial Step #2
----------------------
On the right of the 'Number of Artboards' thingy are four option buttons for you to choose how you want the artboards to be laid out. These options allow you to set the amount of Rows and Columns of Artboards for your work. Blitz to the other button on the far right which has an arrow sign in it. You can determine the direction of the layout (left to right or right to left) for your viewing pleasure and more importantly for your printing selection of Artboards later.

Blitz Tutorial Step #3
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The 'Spacing' input box is for you to determine the distance you want to have between the Artboards. To the right of 'Spacing' thingy you can see an input box that will either be showing 'Rows' or 'Columns' depending on your chosen artboards layout. Now you can manage the distribution of your multiple Artboards. The 'Bleed' input boxes below are to adjust to your printer's grip area as to how much of the artboard edges will get printed (add a value to print everything from edge to edge).

Blitz Tutorial Step #4
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Blitz the 'Color Mode' in the Advanced section (CMYK is for prints and RGB is for web use). Note that for artworks destined for both Print and web use then go with RGB. Anyway, RGB color mode can be changed to CMYK before printing. Change the color mode whenever without losing information by choosing File->Document Color Mode. That's it for this tutorial, press 'OK' to get your multiple Artboards document!

Sunday, January 24, 2010

Captain Lukic Battles the Mighty Hexans in the Vindar Galaxy

Captain Lukic of the United Intergalactic Front orders his lieutenant to initiate the ship’s cloaking and stealth device. He successfully brings his ship, the UIFS Veton through a galactic worm hole to the Vindar Galaxy in an effort to escape the wrath of the pursuing Hexan forces. It has been seven years since his last battle against the Hexans yet nervous sweat still flows down his scarred cheeks whenever he thinks of them. Captain Lukic recalls his first encounter with the Hexans when he was only a starboard gunner for the UIF’s flagship, the UIFS Exona.

The year was 3089 A.D. and the UIF was victorious over the Selduvians. There was no opportunity to celebrate UIF’s final victory then nor was there a chance to plunder for war booty in the Selduvian sector of space. The Hexans observed the war against the Selduvians for decades; analyzing weaknesses and strengths of both sides, waiting for the optimal opportunity to strike. When the Hexans finally did strike against the UIF after the final battle in the central universal zone, it was devastating. UIF forces were caught by surprise and stood no chance in such a weakened state after a major battle. The flagship, UIFS Exona was destroyed and her surviving crew was picked up by sister ships. The remaining central universal fleet of the UIF was forced to escape to different parts of the known universes while those who retreated early managed to plot a course to Earth where the UIF’s defenses were the strongest.

After a successful first strike, the Hexans were regrouping for their assault on Earth’s defenses. This is by no means an easy feat, even for the far advanced Hexans and might take them a decade or two to muster an overwhelming invasion force. Meanwhile, fleets of deep space Hexan destroyers were sent out to seek and destroy escaping UIF ships that chartered their course to destinations besides Earth, in case the UIF decide to attack the Hexan’s from behind. Captain Lukic’s ship, now in Vindar Galaxy is a target.

Captain Lukic knows the Hexans are not from any of the known universes and they were ceremoniously mentioned in Selduvian legends as far more advanced beings than any other that will come to challenge any race for supremacy of the cosmos. Apart from their translucent disposition, they were essentially humans, much like Captain Lukic and his crew, and the Selduvians as well. This fact makes Captain Lukic ponder on how humans since recorded history has never ceased to fight one another as great civilizations collide. Now deep in outer space, the situation is much the same as it was thousands of years ago on earth but just played out in the vast depth of space today.

All of a sudden, an illuminant wide blue layer of intense light passed above the control bridge of the UIFS Veton, making Captain Lukic step out from his deep contemplation. The powerful shot originated form a distance far behind the ship. The Hexans are on their trail!

“Battle stations, everybody! Initiate the Force Shield!” said Captain Lukic to his crew. As the UIFS Veton is readied for battle, Captain Lukic sees two enemy ships bleeping on the radar screen, closing in on his location and shouts “Turn starboard to face the enemy!” His ship continues to turn sharply and now he can visually see the profile of the two Hexan ships. They look like two translucent cuttlefish with long tentacles floating majestically in contrast to the darkness of the space, consistent with the form of Hexan deep space destroyers.

More blue fire shots from the long tentacles of the Hexans passes by the UIFS Veton. The enemy has the technology to detect over the UIFS Veton’s stealth system albeit crudely but they still can’t see the target because of the ship’s cloaking device, the most advanced in the known universes to date. Realizing his advantage and the fact that the two Hexan captains arrogantly are not bothering to stealth and cloak their own ships, Captain Lukic sees an opportunity and orders his gunners to target the closest Hexan destroyer. The Hexans must think that the UIFS Veton is one of UIF’s lesser ships, a false assumption that might cost them dearly.

Rays of red hot plasma stream from the UIFS Veton’s deck guns towards the control bridges of both the Hexan destroyers. Captain Lukic knows that only the primary weapon; the Photon Vaporizer of his ship can harm a Hexan destroyer but he is trying to temporarily blind them before his ship is maneuvered into an optimal firing alignment. The Hexans now know UIFS Veton’s location prior to firing its plasma cannons and releases a barrage of pulse energy torpedoes. All of them miss their target but one of the blue star-like energy torpedo hits the back end of UIFS Veton and the ship shakes violently.

The force shield absorbs the grunt of the explosion otherwise Captain Lukic’s ship would have been decimated. “Give me a damage report!” he shouts to his engineers over the intercom. However, Captain Lukic has a more crucial task at hand now rather than to worry too much about his ship’s damaged condition. All he wants to know is whether his ship can still shoot with the Photon Vaporizer. “Damages are marginal and confined to the ship’s rear left-side armor, Captain,” replied the head engineer. That was all Captain Lukic needed to hear. The UIFS Veton is now aligned optimally to fire its primary weapon at the closest Hexan destroyer. Captain Lukic immediately shouts, “Fire!”

The control bridge of the Hexan destroyer is pulsating in deep red hue, warning the enemy captain that a very large amount of energy; too large for his ship’s force shield to withstand is being built up nearby, targeted at his ship. That can only mean one thing; the UIFS Veton is going to fire its primary weapon.

In the tense moment, the enemy captain orders his crew to prepare to teleport to the nearby Hexan destroyer. Consequently, he orders full cloaking of the ship to be initiated but it is too late. A bright white tunnel of destruction from the UIFS Veton’s Photon Vaporizer engulfs the entire Hexan destroyer.

From the control bridge of the UIFS Veton, Captain Lukic sees the elegant display of bright blue colored strands of teleportation capsules leaving the crumbling Hexan destroyer and into the second Hexan ship, like the dance of a thousand tadpoles entering a permeable womb.

Soon enough, the second Hexan destroyer has become invisible, fully cloaking itself while the UIFS Veton was busy destroying the first. Now functioning as an overloaded makeshift hospital vessel, the second Hexon destroyer can no longer play the role of the aggressor in the battle. Both the enemy captains realize that they had dangerously underestimated their opponent and reluctantly decide to retreat from the battle, leaving the Vindar Galaxy. They take one last condescending look at the UIFS Veton before leaving the battle field; now visible and temporarily unable to cloak itself after the mass dissipation of energy used by its Photon Vaporizer.

UIFS Veton continues to blindly probe its nearby coordinates with systematic shots from its plasma cannons for the second Hexan destroyer. In his vain efforts, although to his utmost relief, Captain Lukic realizes that the threat has disappeared, at least for now. He knows he is fortunate to have won the battle, capitalizing on the arrogance of the Hexan captains. UIFS Veton has now fully recharged the Photon Vaporizer and regained stealth and cloaking ability. Captain Lukic takes a deep breath of relief and confirms to his crew, “The Hexans are gone for now.” His entire crew shouts in joy and cheer him. Captain Lukic is emotionally unmoved. He stares into the deep space, teary eyed, contemplating whether he and his crew will be so fortunate again.

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