List of Figures

Chapter 1: Introducing the World of Illustrator

Figure 1-1: The Welcome to Adobe Illustrator dialog box.
Figure 1-2: The New Document Dialog Box
Figure 1-3: The Illustrator Toolbox; click and hold the pointer on a toolslot to display all the tools.
Figure 1-4: Palettes are tabbed together in a set.
Figure 1-5: The Layers palette docked to the Styles palette.
Figure 1-6: Palettes also have their own menus.
Figure 1-7: The Path submenu in the Object menu.
Figure 1-8: A contextual menu appears when you Ctrl + Click (Mac) or right-click(Windows).
Figure 1-9: The Artboard and the Scratch area — the first two wiseguys you meet when you create a new Illustrator file.
Figure 1-10: Use the Open dialog box to select the file you want to open.
Figure 1-11: Two views of the artwork: actual size and zoomed to 400 percent. If you print while zoomed in, the image still prints at actual size.
Figure 1-12: The artwork from Figure 1-11 at 25 percent of its actual size.
Figure 1-13: Art in Preview mode and Outline mode.
Figure 1-14: A template for a stylin’ postcard.
Figure 1-15: Name your masterpiece in the Save dialog box.
Figure 1-16: The Print dialog box, updated with lots of funky options for version CS.

Chapter 2: Following the Righteous Path

Figure 2-1: Path-based artwork (left) and pixel-based artwork (right).
Figure 2-2: The South America shape is actually a larger Illustrator file than the square because more points are used to define the continent's shape.
Figure 2-3: The effects of reduc-ing and enlarging the image.
Figure 2-4: A logo for Oddland, created with paths and weighing in at 188K.
Figure 2-5: The same Oddland logo, created with pixels and tipping the scales at 1.2MB.
Figure 2-6: A section of Oddland logo, enlarged to five times its original size.
Figure 2-7: A close-up of Venus.
Figure 2-8: The vectors-only version of Venus’s eye, com-pared to the original Botticelli painting at the same level.
Figure 2-9: A path with several anchor points (shown as little squares).
Figure 2-10: The same path from Figure 2-9 but with direction points and direction lines showing.
Figure 2-11: Variations of a path. The changes in the curve of the path occur as the handle on the left moves.
Figure 2-12: A circle with all the handles (direction points) showing.

Chapter 3: Doing Everyday Things with Illustrator

Figure 3-1: The left object is unselected; the right object is selected. Note the points and paths that appear on a selected object.
Figure 3-2: Rotating an object.
Figure 3-3: The original path (left) is (to the right) Puckered, Scribbled, Zig-Zagged, and Roughened.
Figure 3-4: Moving and object behind other objects.
Figure 3-5: The Layers palette.
Figure 3-6: The ellipse on top of the logo is set to be partially transparent.
Figure 3-7: An example of a blend between two objects.
Figure 3-8: Masking artwork.
Figure 3-9: A compound path is laid over a piece of background art(which is visible through the two round holes).
Figure 3-10: Text as text (left), as compound paths (middle), and as compound paths after release (right).
Figure 3-11: A boring sun gets trans-formed into a dazzling star of rays and rings.

Chapter 4: Shaping Up, Basically

Figure 4-1: The six shape-creation tools.
Figure 4-2: The Rectangle dialog box.
Figure 4-3: The Ellipse dialog box.
Figure 4-4: Press the tilde (~) key while you draw with the Polygon tool to produce a unique effect.
Figure 4-5: The Polygon dialog box.
Figure 4-6: Use the Star dialog box to set the quantity and length of its points.
Figure 4-7: A polar grid with and without the compound paths option selected.
Figure 4-8: A document (in this case, a cartoon) with a grid behind it.
Figure 4-9: Use the Pathfinder palette to work with complex shapes in a variety of ways.
Figure 4-10: Two basic shapes overlap from the Pathfinder palette.
Figure 4-11: The results of using the Subtract from Shape Area command, and then with Expand.
Figure 4-12: The results of using the Intersect Shape Areas command, and then with Expand.
Figure 4-13: The results of using the Exclude Overlapping Shape Areas command, and then with Expand.
Figure 4-14: The results of using Minus Back (left ) and Divide (two images on the right).
Figure 4-15: Cleaning up and checking the circle and star, using (left to right) the Trim, Merge, Crop, and Outline commands.
Figure 4-16: Creating a crescent moon.
Figure 4-17: Creating a sunrise
Figure 4-18: He who has the best toys wins: The Symbolism tools.
Figure 4-19: Pssst: Graffiti never had it so good (or legal).
Figure 4-20: Combine object types to create custom symbols. Just ducky.
Figure 4-21: The Symbolism Tools Options dialog box: Grand Central for controlling the look of your symbols.

Chapter 5: Getting Your Fill of Fills and Strokes

Figure 5-1: Paths with different fills and strokes applied to them.
Figure 5-2: Fill and Stroke in the Toolbox.
Figure 5-3: Filling and stroking a path with two different colors.
Figure 5-4: The Stroke palette.
Figure 5-5: A filled path in a figure eight shape.
Figure 5-6: Open paths with fills and dotted lines connecting the starting and ending points.
Figure 5-7: Choose colors from the Swatches palette.
Figure 5-8: The Swatch Options dialog box.
Figure 5-9: The Color palette is the closest you can get to a real artist’s palette in Illustrator.
Figure 5-10: Different color models within the Color palette pop-up menu.
Figure 5-11: The same path with several different pattern fills.
Figure 5-12: Creating a pattern from vector art of a hammer.
Figure 5-13: Path objects with gradient fills.
Figure 5-14: Left: The square shows a default gradient applied. Center: Clicking and dragging with the Gradient tool. Right: The result.
Figure 5-15: Control color with the Gradient palette.
Figure 5-16: First, moving the sliders closer together. Second, adding new color sliders. Third, moving the gradient midpoint.
Figure 5-17: Choose Show Options from the Gradient palette pop-up menu to work with a radial gradient.

Chapter 6: Selecting and Editing Paths

Figure 6-1: Illustrator has more tools for making selections than for any other single purpose.
Figure 6-2: The Selection tool selects objects that are within (or touched by) the marquee.
Figure 6-3: A selection in progress with the Direct Selection tool.
Figure 6-4: The Group Selection tool selects first the path, then the group that the path is in, and then the group that the first group is in.
Figure 6-5: On the left are three selected paths. Shift-clicking the middle path leaves only two paths selected, as shown on the right.
Figure 6-6: The Magic Wand palette offers Tolerance settings for various object attributes.
Figure 6-7: The Select menu provides a whole slew of selection goodies.
Figure 6-8: Left: The original path. Right: The path after you move the selected point with Direct Selection.
Figure 6-9: A selected curve reveals its direction points and direction lines.
Figure 6-10: The curve from Figure 6-9 after the direction points are moved
Figure 6-11: Left : Original path. Right: Unchanged shape with new anchor points to added to three of the star's arms.
Figure 6-12: Left: Original path. Right: Removing two anchor points to create two different shapes.

Chapter 7: Wielding the Mighty Pen Tool

Figure 7-1: Smooth anchor points keep this path curving smoothly.
Figure 7-2: Use straight-corner anchor points when you need straight paths.
Figure 7-3: This heart, though not anatomically correct, shows two curved corner anchor points.
Figure 7-4: Two ways to create combination-corner anchor points: starting smooth(left) or straight(right).
Figure 7-5: Drawing triangle with the Pen tool, using straight-corner anchor points.
Figure 7-6: When creating a curve, drag out a straight line; the arrow shows the direction of the drag.
Figure 7-7: Creating gentle, smooth curves. (Friendly arrows indicate the direction to drag.)
Figure 7-8: Left: Anchor points with direction point lines one-third the distance along the path. Right: Dragging too much.
Figure 7-9: This path has points placed at the "correct" locations for the best possible curve.
Figure 7-10: Drawing a circle (sort of) by using the Pen tool.
Figure 7-11: Drawing a heart with the Pen tool

Chapter 8: Creating Straight and Curved Lines without the Pen Tool

Figure 8-1: Drawing with the Pencil tool.
Figure 8-2: With the Pencil Tool Preferences dialog box, you can change the attributes of the Pencil tool.
Figure 8-3: The path on the left was drawn with a Fidelity setting of .5 pixels; the path on the right was drawn with a Fidelity setting of 20 pixels.
Figure 8-4: At left, a Smoothness setting of 0%; at right, a Smooth-ness setting of 100%.
Figure 8-5: The Smooth tool in action.
Figure 8-6: Line Segment tool lines are easy, but limited to single strokes.
Figure 8-7: Design your arc here.
Figure 8-8: Two types of closed arcs.
Figure 8-9: Spirals created with the Spiral tool.
Figure 8-10: Use options in the Spiral dialog box to set the spiral's tightness.

Chapter 9: Creating Magnificent Brushstrokes

Figure 9-1: From left to right, examples of painting with an Art brush, a Scatter brush, a Calligraphic brush, and a Pattern brush.
Figure 9-2: The default Brushes palette in Illustrator contains a smattering of the four different types of brushes.
Figure 9-3: Creating wild and wacky strokes
Figure 9-4: The Paint-brush Tool Preferences dialog box.
Figure 9-5: Creating a new brush
Figure 9-6: All these objects are (believe it or not) Art brushes.
Figure 9-7: The Art Brush Options box.
Figure 9-8: The same brush changed by only one setting produces variations like these.
Figure 9-9: This artwork is actually a single path used as a Scatter brush.
Figure 9-10: Two versions of the Scatter Brush Options dialog box and the artwork resulting from those options.
Figure 9-11: The Scatter brush on the left is set to rotate at 90 relative to the path; the one on the right is set to rotate at 90 relative to the page.
Figure 9-12: A sampling of the Pattern brushes.
Figure 9-13: Each Pattern brush title knows where it is on a path and uses the corresponding artwork.
Figure 9-14: Creating a guideline with all five pattern positions can be a big help when you create the artwork for the Pattern brush.
Figure 9-15: Left to right; The start, side, outside corner, inside corner, and end pieces.
Figure 9-16: The new Pattern brush, awaiting the four remaining pieces.
Figure 9-17: The Pattern Brush with its slots labeled.
Figure 9-18: The new Pattern brush tested on a square and a squiggle.
Figure 9-19: The Calligraphic Brush Options dialog box.
Figure 9-20: Artwork created on a pressure-sensitive tablet using Calligraphic brushes.

Chapter 10: Extreme Fills and Strokes

Figure 10-1: The artwork that made up the Illustrator Venus (left) was colored entirely by using the Mesh tool; the right side shows the paths and meshes that created tit.
Figure 10-2: Use the Mesh tool to create a highlight in a path.
Figure 10-3: These objects use the same Gradient Mesh, but the mesh points have been moved by using the Direct Selection tool.
Figure 10-4: Set Gradient Mesh here.
Figure 10-5: The same Gradient Mesh, with Appearance settings of Flat, To Center, and To Edge.
Figure 10-6: A square after two clicks with the Mesh tool.
Figure 10-7: The resulting beveled square.
Figure 10-8: The oval at its original opacity (left) and faded to 40% (right) to reveal an image beneath.
Figure 10-9: The Transparency palette.
Figure 10-10: The Blend Mode pop-up menu in the Transparency palette.
Figure 10-11: Three of the 16 possible blend modes in Illustrator.
Figure 10-12: The Stroke palette displaying a full set of options.
Figure 10-13: Three different caps on three paths.
Figure 10-14: Three different joins on a path (left to right): Miter, Round, and Bevel.
Figure 10-15: Three different dash patterns and the settings used to create them.
Figure 10-16: The original artwork, the masking object in front of the artwork, and the masked artwork.

Chapter 11: Effectively Keeping Up Appearances, with Style(s)

Figure 11-1: Filters versus effects: a path (left) roughened with the Roughen filter and the same path (right) roughened with the Roughen effect.
Figure 11-2: The Gaussian Blur Effect in the Appearance palette.
Figure 11-3: The Raster Effects Settings dialog box takes a bow.
Figure 11-4: The Appearance palette.
Figure 11-5: The Appearance palette displays an array of information about the object, such as the stroke and fill data shown here.
Figure 11-6: Adding fills and strokes to an object.
Figure 11-7: Targeting a layer to apply an effect.
Figure 11-8: The Pucker & Bloat effect applied to the stroke, but not the fill.
Figure 11-9: A live effect (left) and after Expand Appearance is applied.
Figure 11-10: Applying a style to a path.
Figure 11-11: Creating a new style.
Figure 11-12: Redefining an existing style.
Figure 11-13: Applying a graphic style to text.

Chapter 12: Pushing, Pulling, Poking, and Prodding

Figure 12-1: The original illustration (left) is modified (right) by using the Selection tool to move the bird. (Suddenly the parrot seems to defy gravity.)
Figure 12-2: The Move dialog box.
Figure 12-3: The original artwork (left) scaled smaller (center) and larger (right).
Figure 12-4: Original artwork selected (left); the hairline preview that appears when you drag with the Scale tool (center); the final scaled artwork (right).
Figure 12-5: The origial artwork (left) and after it's rotated (right).
Figure 12-6: Reflecting the artwork by using the Reflect tool.
Figure 12-7: The Reflect dialog box.
Figure 12-8: Original artwork (left) and after shearing (right). Yeah, that’s attractive.
Figure 12-9: The Transform palette in all its glory.
Figure 12-10: To get this cool cast shadow with the Shear tool, I copied the text object and filled with a gradient.
Figure 12-11: The Transform Each dialog box.
Figure 12-12: Original artwork (left) after it’s rotated with the Rotate tool (middle) and using the Transform Each dialog box (right).
Figure 12-13: The tick marks on this clock were made with the Transform Again function by rotating a copy around the center in 6 increments.
Figure 12-14: Moving and scaling a portion of a path.
Figure 12-15: Creating a blend between two paths.

Chapter 13: Organizing Efficiently

Figure 13-1: These arrangements of artwork are a result of changing the stacking order of the objects.
Figure 13-2: The illustration (left), shown from a sideways view (right).
Figure 13-3: The Layers palette with multiple layers.
Figure 13-4: Placing existing artwork into multiple layers.
Figure 13-5: You can see the contents of a layer in the Layers palette by clicking the triangle to the left of the layer’s name.
Figure 13-6: The Layer Options dialog box.

Chapter 14: Introducing Letters and Such (Type 101)

Figure 14-1: The Character and the Paragraph palettes.
Figure 14-2: Creating point type in Illustrator.
Figure 14-3: Creating rectangle type in Illustrator.
Figure 14-4: The Character palette in Illustrator.
Figure 14-5: The Paragraph palette in Illustrator.
Figure 14-6: Several different fonts.
Figure 14-7: Changing fonts in Illustrator.
Figure 14-8: These font styles are part of the Times font family and look good placed together.
Figure 14-9: Serif (top; serifs are circled) and sans serif (bottom) fonts.
Figure 14-10: Measurements for letters.
Figure 14-11: Font size allows enough space to accommodate all the possible ascenders and descenders in a font.
Figure 14-12: Leading is the space between the baselines of type.
Figure 14-13: Tracking and kerning in Illustrator
Figure 14-14: Changing the kerning and tracking values in the Character palette.
Figure 14-15: Vertical Scale and Horizontal Scale text boxes in the Character palette, along with examples in type.
Figure 14-16: Using baseline shift within a paragraph.
Figure 14-17: Text results of different text alignments in Illustrator.
Figure 14-18: Controls for changing the amount of space around a paragraph.
Figure 14-19: Bringing out the left edge of a paragraph with a negative number.
Figure 14-20: Creating type on a path.
Figure 14-21: Moving type along a path.
Figure 14-22: Putting type on the top of a circle.
Figure 14-23: Putting type on the bottom of a circle.
Figure 14-24: Flowing text within a path.
Figure 14-25: Regular type with type wrap applied.
Figure 14-26: Type flowing along several paths.
Figure 14-27: Circle type with a new fill (gradient) and stroke (pattern) on the circle.
Figure 14-28: The type mask in action: text in front of objects (top) and type masking the objects (bottom).
Figure 14-29: Left: The letter A as type. Right: The letter A converted to paths.
Figure 14-30: Here’s the letter A after the points are moved and a gradient fill is applied.

Chapter 15: Printing Your Masterpiece

Figure 15-1: The Page Setup dialog box on a Macintosh.
Figure 15-2: The Print Setup dialog box in Windows.
Figure 15-3: A typical Print dialog box for a Mac (left) and for a Windows PC (right).
Figure 15-4: The original artwork (left) shown as four separations (right).
Figure 15-5: Use the Output section of the Print dialog box for printing separations.

Chapter 16: Putting Your Art on the Web

Figure 16-1: The Illustrator Web color palette.
Figure 16-2: Pixel Preview turned off (left) versus Pixel Preview turned on (right).
Figure 16-3: Preview your image in the Save for Web dialog box.
Figure 16-4: Saving a GIF in the Save for Web dialog box.
Figure 16-5: Saving a JPEG from the Save for Web dialog box.
Figure 16-6: Exporting an AI file to an SWF file with the Macromedia Flash (SWF) Format Options dialog box.
Figure 16-7: Saving an SVG file with the SVG Options dialog box.
Figure 16-8: It slices, it dices, it darned near makes julienne fries.
Figure 16-9: Editing an object makes the slices update automatically.

Chapter 17: Moving Files Into and Out of Illustrator

Figure 17-1: Select a document to embed or link with the Place dialog box.
Figure 17-2: Use the Links palette for total link control.
Figure 17-3: Pasting Illustrator data into Photoshop.
Figure 17-4: The Place preview box in Photoshop provides the highest quality and greatest flexibility for Illustrator files brought into Photoshop.
Figure 17-5: Use the Rasterize dialog box to refine your graphic settings.
Figure 17-6: Set resolution in the Photoshop Options dialog box.
Figure 17-7: Set compatibility, preview, and other options in the EPS Format Options dialog box.

Chapter 18: Ten Production-Enhancing Tips

Figure 18-1: A life preserver without a hole (left) and with a hole (right). Similar but not the same. (Just ask the guy on the right).
Figure 18-2: The same color is used at two different tint percent-ages, specified in the Color palette.
Figure 18-3: The original object with a gradient fill (top left) is expanded (bottom left) to 20 objects (with paths showing) and the final object (bottom right).
Figure 18-4: The View Mode buttons enable you to view your graphic in a variety of ways.

Chapter 19: Ten (Or So) Ways to Customize Illustrator

Figure 19-1: The Keyboard Shortcuts dialog box customizes tool commands.
Figure 19-2: The General Preferences dialog box.
Figure 19-3: The Actions palette puts power at your virtual fingertips.

Bonus Chapter 1: Taking Images Out of the Realm of Reality

Figure BC1: Pucker & Bloat. Can you guess which is which?
Figure BC2: This artwork is roughened to give the appearance of hand-drawn artwork.
Figure BC3: Use the Zig Zag effect to create effects like this. (Another espresso, please.)
Figure BC4: The Free Distort effect can make type appear to fade off into the background.
Figure BC5: Twist blends together artwork.
Figure BC6: A star appears warped, but its underlying skeletal structure remains unchanged.
Figure BC7: One poor schmoe who's gone through the Liquidation mill.
Figure BC8: Different twirl rates affect the speed and curliness of the twirl distortion.
Figure BC9: A Scallop distortion with two different Complexity settings.
Figure BC10: A Crystallize distortion using three different brush settings.
Figure BC11: Putting the squeeze on Groucho. Oucho!
Figure BC12: Use an Envelope Mesh distortion to distort your image by manipulating points on a grid.
Figure BC13: Fitting an apple and some text nicely into a circle.
Figure BC14: Mild-mannered text and its super-powered 3D alter ego.
Figure BC15: The 3D Options dialog box.
Figure BC16: Artwork at increasing perspective settings.
Figure BC17: Look at the classy bevels on this text.
Figure BC18: Flat, 2D artwork with just a hint of 3D bevel.
Figure BC19: 2D artwork (left) is revolved into 3D artwork (right).
Figure BC20: The Revolve section of the 3D options dialog box.
Figure BC21: This is so techy, and you can create it in mere seconds!
Figure BC22: The same 3D artwork with plastic (left) and diffuse (right) shading.
Figure BC23: No, it didn’t take hours to create all these different pieces of art . . . just a few seconds applying different lighting and surface effects from the 3D Options dialog box.
Figure BC24: The Map Art dialog box when you have an extruded square selected.
Figure BC25: Fuzzy dice straight from Illustrator. But you can tell your friends you picked them up on that trip over the border.
Figure BC26: Official Vegas-style dice, with classic razor edges.