The Adobe Illustrator CS Wow! Book (part 1) by Sharon Steuer – PDF Drive
Book for CS6 and CC anv now. In this expanded edition of the best-selling and award-winning Illustrator WOW! This edition includes coverage of the release and is the adobe illustrator wow book for cs6 and cc pdf download free download with and lessons with stunning new artwork that feature:. Keep up with tips on the latest Illustrator features at WOWartist. Plot graphs, solve equations, and write code in a flash!
If you work in a STEM …. Skip to main content. Start your free trial. Book for CS6 and CC by. This edition includes coverage of the release and is loaded with and lessons with stunning new artwork that feature: Painting and generating objects with raster brushes Harnessing Live Corners, Live Rectangles, and new ways to reshape paths Manipulating live type characters with the Touch Type tool Creating airbrush and neon effects with gradients on tbe Building complex styles with multiple lines, fills, and effects Composing complex repeating patterns Auto-generating corners for pattern brushes Incorporating transparency into mesh and gradients Building and modifying scenes in perspective and /19638.txt Transforming raster art to Illustrator vectors Preparing artwork for animation and the web Integrating Illustrator with Photoshop and other apps Creating photorealism in Illustrator WOW!
Show and hide more. Table of contents Product information. Contents at a Glance Glossary Mac WOW! Book Production Notes Show and hide more.
adobe illustrator cs6 pdf book free download.
A highly accessible, step-by-step guide to Adobe Illustrator CS6 Illustrator CS6 Digital Learn Adobe Illustrator CC for Graphic Design and Illustration. Pages·· MB·54, Downloads·New! Adobe Illustrator CC for Graphic Design and Illustration Dena Wilson and Rob Schwartz.
The adobe illustrator wow book for cs6 and cc pdf download free download.The Adobe Illustrator WOW! Book for CS6 and CC
Page 1 of 1 Start over Page 1 of 1. Previous page. Ellen Lupton. Kindle Edition. Meggs’ History of Graphic Design. Philip B. Next page. Customers who read this book also read. Adobe Illustrator WOW! Sharon Steuer. Robin Whalley. Jason Hoppe. Brian Wood. Barrington Barber. How to Create Stunning Digital Photography. Tony Northrup. Amazon Business: Make the most of your Amazon Business account with exclusive tools and savings.
Login now. Review “This book has the perfect mix of inspiration and instruction–I have yet to find a better motivational tool for using Illustrator to push the envelope and create art that forces people to notice.
Book, and is available in full-color printed, as well as PDF versions. With more than 50 all new pages dedicated to CC features, this edition is completely up-to-date through the recent CC release.
Book for CS6 and CC contains lots of new CC-created artwork, and is packed with the latest tips, tricks and techniques. Although I am the lead author and producer, this book is the result of a huge collaborative effort and I am very grateful to everyone who worked so hard to make this book possible!
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Which leads to – “We’re sorry, but this promotion is no longer available. Please visit our Promotions section for a current list of active promotions. High quality graphics very worthwhile read. Excellent book! High quality graphics very worthwhile read, tips aplenty for those with some Illustrator experience, but still not too complex for beginners also.
Highly recommend! Excellant transaction. I get so much from this book. One person found this helpful. Great tips and tricks. Fun projects. In this edition of the best-selling and award-winning Illustrator WOW! This edition is loaded with lessons, technical information, and stunning artwork galleries including:.
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The adobe illustrator wow book for cs6 and cc pdf download free download
After Rudmann drew the outlines for the boat and the man, he used the Pen tool to freely draw open paths for the dripping water on the man, and a few stripes to signify his bucket. So that he could fill the interior white areas where these paths overlapped, he turned them all into a Live Paint Group. See the Rethinking Construction chapter for more on using Live Paint.
To design a mock-up of a web app for www. He was able to hide and show layers to see how the design of different pages looked when viewed in different sequences. To see more layers at once, he changed the default row height and turned off thumbnail display in the Layers panel.
In the Layer Options dialog, name the sublayer. Repeat this for each of the sublayers you need. Gordon completed the mock-up of the Home page by creating artwork on each of the sublayers. With the first master layer completed, Gordon created master layers for other pages in his mock-up. To make the Layers panel easier to navigate at a glance, give each master layer and its sublayers a unique color in the panel.
For the master layer, double-click to the right of its name in the Layers panel and pick a color from the Color menu in the Layer Options dialog. For the sublayers, Shift-select them and choose Options for Selection from the panel menu. After Gordon completed mock-ups for each of the pages, he made all master layers visible in the Layers panel by choosing Show All Layers from the panel menu. This provided a preview of what users would see moving from one page to another, assuring that the design of the pages were compatible.
A layer name without a black triangle in front of it is empty. Let Illustrator do the walking Illustrator can automatically expand the Layers panel and scroll to a selected object within hidden layers; just select an object in your artwork and click the Locate Object icon. For this map of downtown Dixon, Illinois, cartographer Steven Gordon built complex appearances and applied them to objects, groups, and layers.
Gordon developed a set of appearance attributes that applied a soft vignette and blue fill to a shape representing the river. Gordon first drew the outline of the water with the Pen tool and then gave the path a medium-blue fill. To accentuate the shoreline, he applied a dark Inner Glow effect. To do this he opened the Appearance panel and clicked on the Fill attribute.
Gordon started by deselecting all objects and clicking the Clear Appearance icon to eliminate the attributes for the river he had created previously. Next, add a second stroke by clicking the Add New Stroke icon in the Appearance panel. Because the new stroke has the same attributes as the first stroke, select the bottom of the two strokes and change it to a darker color and a 3-pt width.
If you apply a style like the cased streets to a selection of paths, the outline of a path will overlap and interrupt the outlines of paths below it. If you apply a style to a group of paths instead, the style will surround the group, merging strokes where they overlap. Now make sure that Group is highlighted in the Appearance panel and apply your new cased streets style.
To start, Klema made a new document with the same dimensions as those of the constructed gate 80″ tall by 44″ wide. Start by creating a guide in the exact middle of the document. Next, activate Smart Guides from the View menu this will help position the cursor over the exact middle of the document. From the Reflect dialog, choose Vertical as the Axis and click on the Copy button. Klema turned to the Rectangle, Arc, Ellipse, and Pen tools to draw the different objects in his illustration.
For the inner arch, Klema selected the Arc tool hidden under the Line Segment tool and double-clicked its icon to bring up the Arc Segment Tool Options dialog. Next, he clicked on the center guide and dragged down and to the left until the arc was shaped the way he wanted.
Depending on the shape of the arc you need, you may have to draw it wider or longer. Next, extend the arc downward as a straight line by selecting the Pen tool, clicking the bottom endpoint of the arc, and then Shiftclicking below to complete the straight line.
Duplicate the extended arc using the Reflect tool and the center guide, just as you did in the previous step with the guides. Klema connected the bottom endpoints of the two extended arcs with the Pen tool, creating a single object. After drawing all the objects in his design, Klema printed the full illustration and separate illustrations of each of the gate parts he used the Tile option in the Print dialog because the pieces were bigger than his printer paper.
The prints served as templates that he traced on the wood so that he could precisely cut out the individual pieces of the gate. He used the full-sized illustration as a guide for assembling the gate parts into the finished sculpture.
She chose the Transform effect to duplicate and scale her art so that changes made to her original plan would automatically be updated in the scaled version. She then noted the width of her artboard 2.
In order for the Transform effect to duplicate art to other artboards as new objects are added to it, all the art has to be within a master layer, and the master layer itself must be targeted. Once an effect is properly applied to a targeted master layer, any objects added to the layers within will automatically inherit that effect see the warning Tip Getting targeted to move.
To check everything was working properly for the transform, she enabled Preview. Once Wigham saw that her artwork du-plicated and scaled properly, she clicked OK. When her plan was finished, she drew an art-board around the scaled artwork and printed it.
She turned off the visibility for the first instance. She next drew an 11″x17″ artboard roughly 20 points to the left from the other side of her master artboard so the master was now between the two scaled versions. She double-clicked on the Transform effect to open the dialog, and this time played with the settings in the dialog until her drawing filled the page. She saved this as another Graphic Style.
With both Transform effects in the Appearance panel, she toggled their visibility each time she needed one scaled version or another.
Coghill starts cartoon logo creation with the character art, using the more organic creation tools such as the Pen tool, various Brushes, the Width tool, and the Shape Builder tool. Once the vector art for the character is complete, he then designs the full logo using the Type tool and multiple Shape tools.
He includes the Pen and Selection tools in both environments. One at a time, he click-drags each desired tool from the default Tools panel onto his new custom panel. He repeated this process for his desired custom tools and workspace panel arrangement for the logo design aspect of the creation process.
Coghill can then work in a customized vector art environment suited perfectly to the task at hand and switch between the toolsets with ease. The Type tool lets you click to create a Point type object, click-drag to create a box for an Area type object, or click on a path to create Path type. See the CC section later in this chapter for how you can convert Point type to and from Area type. Click within any existing type object to enter or edit text.
To scale Point type, use the Selection tool to select the type and drag on one of the handles of the bounding box. Both the type and the bounding box scale together. Use modifier keys as you would with any object to constrain proportions or scale from the center. To scale the bounding box and the type, choose the Free Transform tool E before dragging on the bounding box handles. Create a custom container for Area type by constructing a path with any tool.
With a closed path, choose either of the Area Type tools and click on the path not inside the object to place text within the confines of the path. Use the Direct Selection tool to distort a container object for Area type by grabbing an anchor point and dragging on it, or reshape the path by adjusting direction lines.
The text within your Area type object will reflow to fit the new shape of the confining object. Create Path type by clicking on a path with the Type tool; the path become unstroked and unfilled, and is ready to receive text. Set Baseline Shift to 0 in the Character panel, and move the path until the type is where you want it on the page.
Gordon A Path type object has three brackets—the beginning bracket, which has an in port; a center bracket; and an end bracket, which has an out port. Use the center bracket to control positioning the type along the path. To position type on a path, hover your cursor over the path until the cursor turns into an upside down T. Dragging the center bracket along the path moves the type toward the beginning or end.
Dragging across the path flips the type to the other side of the path. For example, type running outside of a circle will flip to the inside. To automatically reflow type along a path, use the Direct Selection tool to reshape the path. Choose different Type on a Path effects such as Rainbow or Stair Step , enable Flip to automatically flip type to the other side of the path, set the alignment of type relative to the path, and use a Spacing control to adjust the type as it moves around a curve.
If you try to set Path type on a circle, and the text is set to Align Center, the text will be forced to the bottom of the circle. Your text will now be centered between the two handles, on top of the circle. To manually flip type on a path to the other side of the path, select the type and drag the center handle the thin blue line perpendicular to the type across the path, as indicated by the red arrow above.
To scale the text frame alone, Direct-Select it first. Then use the Scale tool, or scale it manually using the bounding box. To enlarge an Area type object or a Path type object on an enclosed path, allowing for more text, use the Selection tool to grab the object by a bounding side, and drag to resize it. To lengthen a path for Path type, use the Direct Selection tool to select the last anchor and drag the path longer, or use the Pen tool to start drawing more of the path from the last anchor, then drag the end bracket to the new end of the path.
Click on the artboard to create a new text object the same size and shape as the original this works nicely for custom shapes , or drag to create a rectangular text object of any size. The new text object is threaded linked to the original, flowing text into the second. Alternatively, you can select the object and click once on either the in port or the out port.
Then click on the other end of the thread to break the link. Making one text block of many To join separate Area text boxes or Point type objects, select all the text objects with any Selection tool and copy.
Then draw a new Area text box and paste. Text will flow into the box, in the stacking order in which it had appeared on the page. These wrap objects affect only Area type objects that are both within the same layer, and directly beneath it in the Layers panel, and do not affect Point type or Path type.
The selected attributes define the new style. After first applying a style, to remove all overrides click again on the plus beside the Paragraph style name. In CC you can also use the Touch Type tool. Avoiding formatting overrides When your project calls for several text objects using the same font, consider using a custom paragraph style.
Created properly, this prevents Illustrator from applying the default, [Normal Paragraph Style], to all your new text and then adding formatting overrides to apply your specific font attributes. Using the Control panel, you will merely be creating formatting overrides that must then be cleared in order to apply a different font with different attributes.
See more about profiles in Your Creative Workspace. Using the Appearance panel you can apply multiple strokes to characters, run type along a curve, use envelopes to distort type, and even mask with live, editable type. The Single-line Composer applies hyphenation and justification settings to one line of text at a time, but this can make multiple lines look ragged. The Every-line Composer determines the best combination of line breaks across an entire paragraph of text.
Double-click the tool to specify in Eyedropper Options which attributes will be picked up or applied with the Eyedropper tool. For a one-step method, select the type object with appearance attributes you want to change, and then move the Eyedropper tool over the unselected type object that has the attributes you want and click on it.
Alternatively, the Eyedropper tool works in another mode: sampling and applying. A small T means it is in position to sample or apply text attributes. To copy text formatting from one object to another using the Eyedropper tool, position it over an unselected type object. When it angles downward to the left, click the type object to pick up its attributes. In applying mode, it angles downward to the right, and looks full. To apply the attributes that you just sampled, move the cursor to the text you want to change and click.
A simple click will apply the sampled attributes to the whole paragraph; you can also drag the cursor to apply the attributes only to the specific text you dragged over. See the previous chapter for more details about working with the Appearance panel.
The appearance of stroked text To stroke type without distorting the characters, select the type using a Selection tool not a Type tool , select Add New Stroke in the Appearance panel, then move this new stroke below the Characters. With the text object you can add another fill click on the Add New Fill icon in the Appearance panel. Now there is another listing of Stroke and Fill, in the Appearance panel, but this time they are positioned above the Characters line in the panel.
If you reveal the Stroke and Fill for the type by doubleclicking the Characters line in the panel, you return to character editing; reselect the type object with the Selection tool to return to editing the type object rather than its characters. When you add a new Stroke or Fill to the type object, its color and effects interact with the color of the characters. All the strokes and fills applied to type are layered on top of those listed below including on top of the stroke and fill you see listed when you double-click Characters in the panel.
So if you add a new fill to the type object and apply white to it, the type appears white the white fill of the type object is stacked above the black default fill of the characters. With the Type tool, click to place the insertion point, then double-click the character you want in the Glyphs panel to insert it in the text. However, this action could cause the type to reflow, so you might want to keep a copy of the original handy as a reference if you need to edit the type.
If the file is very old, updating legacy type might be a multi-step process. Adobe first updates type to be compatible with the changes that were made in CS, and then updates for any changes thereafter—for example, updating Type on a Path created prior to CS4 to the current behavior of Type on a Path. Following in this section are some of the more advanced features of artboards, which will help you work productively and maintain consistency within a project.
Scaling artboards is enhanced in CC. Managing artboards Many features are available to help you work with artboards according to more specialized needs. If you select the Artboard tool to accomplish these tasks, use the Esc key to return to the tool you were using. Working with artboards Rename artboards by double-clicking on their name in the panel. Exporting and printing multiple artboards All artboards in a file share the same print options, including color mode, bleed settings, and scale, and you can choose to print either to a PDF file or to a printer.
In the Print dialog, print artboards as separate pages the default , or ignore artboards and tile the artwork. But you can choose the media, such as screen or slide, ignoring the actual artboard size—this is useful for presentations.
Or you can scale the artwork to fit your media, among many other features found in the Print to PDF dialog. Scale them to fit your print media if desired. If your media is landscape-oriented, Auto-Rotate is disabled. The Split Into Grid command followed by Convert to Artboard can divide the artwork into media-sized rectangles for you. If you lose your alignment, just click the little Magnet button on the Tabs panel, and the panel will snap back into alignment. If you open a file without the correct fonts loaded, Illustrator warns you.
You can still open, edit, and save the file. Illustrator remembers the fonts you were using. Double-click on the circle to convert Point type hollow circle to Area type solid circle or vice versa. Point type top indicated by a hollow widget, converts to Area type bottom , indi-cated by a solid widget 89 Touch Type transformations Illustrator combined the onscreen interactivity of the Transform bounding box with the ability to use the Character panel to individually rotate, scale, and position characters, and came up with the Touch Type tool find it in the Tools panel with the Type tools [Shift-T], or click the button in the Character panel.
The tool is designed to work with any input device including your fingers on touch-enabled devices , but there are some limitations to what you can do with it. Unlike using the Character panel to rotate and scale characters, the Touch Type tool directly affects only one character at a time. Characters added within a word will take on any transformation of the character preceding them, unless you first select a following character, effectively replacing it with a new glyph, then type it in again.
Using the Search field for fonts Before CC, the search field in the Control and Character panels allowed us to type the first few letters of a font name, and Illustrator would immediately jump to the first exact match in our font list. If we opened the list box, we could then continue to scroll through the list of fonts to find other results manually. Now we have added choices to make it easier to search. The list then automatically opens to the first word match if there is one , plus all the rest that have a matching string, and only matching results are in the list.
When you have a string in the font search field, clicking on the alphanumeric character X at the right clears the field for a new search. If you just want to browse in the Control panel without searching, the list also indicates if any additional styles of a font are available by displaying a down-pointing triangle.
Twirl it open to see all the styles contained in that font family. Substituted fonts in your document will be highlighted in pink. Depending upon your subscription, the number of fonts you can have synced at the same time may be limited.
Access information about a Typekit subscription account from the Fonts tab of your Creative Cloud app, which will also take you to your account page if you have one.
Illustrator files saved with Typekit fonts can be shared with anyone else with CC and Typekit memberships. In addition, when you save an. However, in order to properly view your Typekit fonts live in Illustrator, and see which are capable of being edited, the viewer of that file must be either logged into both Illustrator CC and Typekit, or must own that font. To get started, all you have to do is sign in to Typekit with your Adobe ID and password.
You can also purchase most of the desktop fonts by going directly to the foundry that owns them. The Fonts tab in the Creative Cloud app is devoted to Typekit, and is your direct link to the Typekit website. In addition, in Acrobat you should be able to insert spaces and returns, and even delete characters, but you will need to own the font or have access to Typekit in order to make more extensive edits to the type. Therefore, if your file must always display the exact form of the Typekit font characters you used, even in cases where Typekit fonts may not be available or installed, for instance, within a logo , then you can convert a copy of your live type into vector objects.
To convert Typekit text to outlines, you must currently have the font synced to your computer and duplicate the text, layers containing text blocks, or an entire artboard containing the text. The Proxy swatch and type The Proxy swatch in your Tools panel now behaves a little differently with type. If the Stroke proxy is active and you select a type object with the Selection tool, when you switch to the Type tool, the Proxy switches focus from Stroke to Fill.
Missing fonts Because Typekit has been integrated into Illustrator, both the search field in the Character and Control panels and the Find Font feature can now distinguish between locally installed fonts and Typekit fonts. The dialog announces when syncing has been successful, and updates the document with the newly synced font once you click Close. In this dialog, also accessible at any time from the Type menu, you can sync missing Typekit fonts or choose another font from the document or your system to replace the missing font.
To see a large thumbnail for a replacement font that you have installed, you can contextclick on its name in the dialog. As soon as you have either synced your missing font or replaced it with another, the font preview is updated in both the document and the Find Font dialog. Print On Demand POD , a printing technology and business process in which new copies of a book are not printed until an order has been received, is an increasingly popular print option for independent and self-publishers, particularly those who create documents intended for both print and ePub.
Raymond Larrett of Puzzled Squirrel Press finds that using Illustrator allows him to easily create cover designs that integrate vector art with raster art elements, like the ones for this graphic novel. While in the New Document dialog, he changed the Name of the file, set the Number of Art-boards to 1, chose Picas under Units, clicked the Landscape icon under Orientation, and entered the dimensions of his book cover including front, back, and spine elements in the Width and Height fields.
After entering all his settings, he clicked OK. With the guide still selected, he numerically adjusted the positions of the selected guide by relocating the X or Y axis positions in the Transform panel. With his guides in place, Larrett used the context-sensitive menu to access Lock, Hide, and Release guide functions as needed. When the page was set with the correct dimensions, bleeds, and guides, Larrett added artwork to the design. He dragged and dropped some existing vector elements, like the barcode and logo, from other Illustrator files.
Larrett then created rectangles with the Rectangle tool to define areas for columns of text. With the Area Type tool, he clicked on each of these rectangles, making it possible to type or paste text directly into the box. Within the dialog, Larrett changed the Offset in the Inset Spacing field to inset the text from the edge of the text box. As an alternative to using the Area Type tool, you can use the Type tool to create type for titles, headlines, and other individual type ele-ments.
Instead of needing to keep track of multiple files, Ryan Putnam can rely on multiple artboards and symbols to create the collateral materials in a single file, making additions or updates much simpler and less prone to errors and omissions.
Putnam began by setting up four artboards using the default settings in the New dialog plus a standard bleed. He then customized the sizes and names of the other three artboards: the letterhead, an insert, and the logo design. Putnam began by designing the logo. He then dragged it into the Symbols panel to save it as a symbol, named it, and clicked OK. If he modified the logo, he only had to alter the one symbol to automatically update all instances of it throughout the document. If he needed a variation of the logo, he could break the link to the original symbol to create a new symbol see the Expressive Strokes chapter for more about creating and modifying symbols.
Using multiple artboards with symbols adds appreciably to productivity. One file would always contain all the libraries and correctly-sized artboards ready for modifications.
Putnam created the design for each element of the identity package, placing the logo symbol on the artboard and adding text and artwork as needed. He linked the photo to the insert, making it easy to replace for the next event. Although the letterhead and in-sert only required a single version, he needed to create a business card that could be duplicated and personalized later for each employee and different events. With everything in place, Putnam only had to select the text, graphic, or linked image that needed changing and quickly replace it.
Because he could add up to artboards in a single file, Putnam was now able to stay organized with just one file. That way you only need to maintain the libraries belonging to any single document, sharing them among all of the project pieces. The user selects a background and desired characters, then layers, rotates, and scales them for a unique, shareable wallpaper. In need of advice? Just want to sound off? Opening this volume is like grabbing lunch …. Skip to main content.
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In this edition of the best-selling and award-winning Illustrator WOW! Book , you’ll find hundreds of tips, tricks, and techniques derived from actual projects from top illustrators.
You’ll discover exciting ways to create complex effects, learn fresh ways to use venerable tools to speed up your workflow, and find updated information on features through the CC release.
This edition is loaded with lessons, technical information, and stunning artwork galleries including:. Register your book at peachpit.