The Adobe Illustrator WOW! Book for CS6 and CC, 2nd Edition [Book] – Customers who bought this item also bought
Посетить страницу this edition of the best-selling and award-winning Illustrator WOW! This edition is loaded with lessons, technical information, the adobe illustrator wow book for cs6 and cc by sharon steuer free download stunning artwork galleries including:. The adobe illustrator wow book for cs6 and cc by sharon steuer free download your book at peachpit.
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Project-based learning to help you learn the features of Adobe software quickly and easily. For beginner through intermediate levels. Sharon Steuer has been teaching, exhibiting, and writing in the digital art world since взято отсюда She lives in San Francisco with the love of her life, her sound and radio professor husband Jeff Jacoby jeffjacoby.
She is extremely grateful to have this opportunity to get the WOW! Find links to her online digital art courses at sharonsteuer. Keep in touch with her via sharonsteuer. Greetings all. It appears this book was trolled somehow with a 1-star rating with no review that is not even showing up on amazon’s system! Artist and author Sharon Steuer loves the process of collaborating with contributing artists and members of the Illustrator WOW! For three decades Sharon has pioneered the merging of traditional and digital art forms, including painting in Adobe Illustrator.
Sharon’s artwork often weaves together her oil paintings, drawings, digital paintings, photographs, and personal artifacts to explore and reflect fragmented memory. In addition to being author of 14 editions of the Illustrator WOW! Books plus “Creative Thinking in Photoshop,” Sharon’s online video training courses are available on lynda from www. Share is also a regular contributor to creativepro. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
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The adobe illustrator wow book for cs6 and cc by sharon steuer free download
You can download the full Chapter 4 brushes and strokes! Book here. In this 12th edition of this completely updated edition of the best-selling and award-winning Adobe Illustrator WOW! This concise booklet has been designed to get intermediate through professional users of Adobe Illustrator quickly up to speed with the CC creative tools introduced between Adobe Illustrator CS6 and the June CC Release. This edition of the book is up to date for Adobe Illustrator CS5. Sharon and the WOW!
Written with artists, photographers and designers in mind, Creative Thinking In Photoshop: A New Approach To Digital Art teaches you how to use Photoshop as a powerful creativity and visualization tool. This creative thinking method thoughtfully leads you to expand on your own art in new ways, while integrating traditional and digital tools. Instead of having to memorize tools, menus and methods, you gain skills quickly and easily through guided projects that focus, first and foremost, on enriching your creative process.
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Sep Sep 2. Ink sketch of older dude with his bike in cafe parklet. Aug Ink sketches of a pair of older dudes probably my age! Aug 7. Ink sketches of a young masked woman with lovely, long, black curly hair—first waiting for, then on the bus.
Jul Ink bus portrait of young man in knit hat, hoodie and mask. Jul 8. Jul 1. 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. Deitel, Harvey M.
This is the eBook of the printed book and may not include any media, website access …. Meloni, Jennifer Kyrnin. 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. Each character requires four versions—the smallest and largest version of both the active and placed states. In order to clearly see the versions with a white border, Dacosta! To do this, click on the Document Setup button on the Control panel and enable Simulate Colored Paper; then double-click on the top swatch beside the Transparency preview and select a light gray in the color picker.
To associate each artboard with its role in the application, he both named it in the Artboard panel and labeled each artboard on the canvas. For each artboard in the Artboard panel, he used a predetermined naming convention, which the coders would use to identify the role each element played in the application. Use Artboards saves each artboard to a separate file with the artboard name as its filename.
Now the coders could finish the work on the separate elements. Greater Bridgeport Transit hired Jack Tom to design a T-shirt supporting its new campaign to raise public awareness of the local bus system. You can make a symmetrical banner by first selecting the Ellipse tool and drawing an ellipse. Then cut the ellipse with the Scissors tool to make the curved path that will form the banner. You can now give the stroke a width and color the stroke and fill. After pasting the path, select the Text tool, click on the path, and type your label text.
With the path still selected, click the Align center icon in the Paragraph section of the Control panel. That centers your text horizontally across the banner. Also, set the baseline shift to 0 in the Character panel. This will minimize any pinching or expanding of space between the letters of the label. Now you can move the path up or down to better center the label against the banner.
To bend type, start by typing your text you can use an Area- or a Point-type object. In the Warp Options dialog, make sure Horizontal is still active and change Bend by moving the slider or entering a number in the Bend field. Consider resetting or adjusting Tracking or Kerning from the Character panel. Tracking controls the distance between all letters in the selected text, while kerning requires you to adjust the distance between each pair of letters.
Gordon copies and pastes the river or road paths on a separate layer before applying type to them. He sets the Baseline Shift to 1 pt in the Character panel in order to move the type away from the underlying road or river path. In this map of Madison, Alabama, Gordon encountered paths with sharp turns and tight curves that pinched letters together or spread them apart with unsightly gaps. He smoothed the kinks from some paths by clicking to select a path with type, selecting the Pencil tool, and then dragging it over or near the path.
Gordon employed these techniques, separately or in various combinations, as he worked with hundreds of type objects in the map. He began the map by creating the terrain image in Photo-shop, placing it in the Illustrator file, and positioning it on the artboard.
After creating the type labels, Gordon opened the Appearance panel, chose Add New Stroke from the panel menu, and dragged the Stroke attribute below Characters in the panel. Next, he set the width of the stroke to 0. Gordon wanted to soften the contrast between the white stroke and image behind it and decided to add a white glow around the type. With Illustrator you can explore a number of ways to create arcing text; using effects and graphic styles, you can quickly create an arcing effect easily applicable to any other titles or subtitles!
See the Reshaping Dimensions chapter for more about warps, blends, and graphic styles. To create headline text, choose a font with distinct, bold characteristics. For his headline text, Ryan Putnam chose point Cabaret font. Amongst the many ways to create an arcing effect in Illustrator, there are three different Envelope distortions that you can apply to your text: Warp, Mesh, and Make with Top Object.
Even though using Envelope distortions created the effect Putnam was looking for, and provided significant control for customizing his warp, he ultimately decided that he wanted a quick way to add the same simple arc effect to other titles and subtitles on the cover. There are 15 standard Warp shapes you can choose from when creating a title. With the graphic style now saved, Putnam could easily apply that style to other titles and subtitles.
He then applied a custom gradient and adjusted it for each character. For more about working with gradients, see the Color Transitions chapter. Yukio Miyamoto, master of photorealism in Illustrator and author of many Japanese books on creating art with the software, has generously shared his varied collection of styles for you to you to pick apart and modify.
These styles, many of which were originally created for his Japanese Illustrator Appearance Book, are downloadable in both live type and outline format, along with a PDF excerpt from his book. Levy started the poster by creating the gradient-filled background. Next, to create the blur effect for the letters, Levy selected one of the type objects and opened the Appearance panel and clicked Fill to select a dark green. With the type object still selected, he opened the Graphic Style panel and clicked the New Graphic Style icon to save the appearance as a style.
Next, he selected all of the remaining type objects and clicked on the graphic style he had created to blur them. To give each letter a unique color fill, Levy selected each type object, opened the Appearance panel, selected the Fill, and then Shift-clicked the Fill to access the Color panel.
He adjusted the CMYK values until each character color looked the way he wanted. Bryan began by drawing the dark blue shape of Grand Cayman island and setting the type. She duplicated the artwork layer and then hid it by clicking its visibility icon in the Layers panel. She moved the stroke below the fill in the panel. Next, she selected the Add New Fill from the panel menu and dragged the new fill below the stroke. She changed its color to dark purple-blue and gave it an inner glow like the first fill.
Finally, she selected Add New Stroke from the panel menu, widened its stroke, and colored it with dark blue. She also used the Transform effect to offset the stroke. To complete the logo, Bryan used the island shape to add a water effect to the letters. To do this, she turned on the visibility of the duplicate layer she had hidden previously. She converted the type to outlines, selected the island, moved it in front of the type outlines, and selected the island and the type.
Then she opened the Pathfinder panel and chose Intersect. She finished the logo by recoloring the resulting shapes in a light blue. Then he selected the Type tool and double-clicked the type to select its characters.
He opened the Appearance panel and changed the Fill to None. Next, Putnam clicked on the Selection tool to select the type as an object.
He duplicated the stroke three times and edited each duplicate, changing the colors in the gradients. For two of the duplicates, Putnam clicked the word Opacity below the Stroke in the Appearance panel and changed the blending mode to Overlay on one and Multiply on the other. Finishing a map for a travel guide to Boquete, Panama, cartographer Steve Gordon created a title for both the map and the guide.
His goal was to create a title that featured colorful, playful type and conveyed a rough, spontaneous design. Next, he individually selected each character with the Type tool and changed its font and color from the Control panel. When he finished, each letter in the title displayed a unique font and color.
He also wanted to keep the type editable so he could change fonts depending on how the design developed. If the Character panel is open, you can also click the Touch Type tool button to enable the tool. As you move the cursor toward the type object you want to edit, notice the Touch Type cursor icon: It appears as a T surrounded by a box with corner points. When you select a letter, Illustrator displays a selection box with five control points around the character.
Gordon began by clicking the letter B with the Touch Type tool. He clicked the upper-right control point and dragged it to uniformly enlarge the character. To rotate the character, he clicked and dragged the control point above the character and dragged it to the left.
Left, uniformly resizing a character using the upper-right control; right, using the top-center control point to rotate the character You can use the other control points to scale or reposition a character.
Clicking and dragging the upper-left point resizes the character vertically while the lower-right point resizes it horizontally. Left, resizing a character vertically using the upper-left control; right, using the lower-right control point to resize a character horizontally If you click the solid circle control point in the lower-left or inside the selection box, you can drag the character in any direction.
If you drag to the left, the letter moves closer to the letter on its left. You can also change letter spacing by clicking the Type tool and adjusting the kerning or tracking.
The point is the area You can use the Touch Type tool on letter characters in both point and area type objects. Gordon completed his title by applying several effects from the Appearance panel to the type object. Next, he created multiple art-boards that he would use later in exporting artwork for animation. Then he went through the Area Type object and copied lyrics and pasted them as separate Area Text objects on the artboards. Using the Direct Selection tool, he adjusted the width of several of the type objects.
Then, to graphically modify the words, Franck selected the Touch Type tool Shift-T and adjusted the position, size, and rotation of some of the letters in the lyrics. He changed the color of words by selecting and changing their fill to different colors and tints. Using the Touch Type tool she kept the text live while graphically manipulating individual characters, shifting positions.
After duplicating and then offsetting the manipulated text object, she next used the Touch Type tool to select individual letters to change fill colors. With that placed image still selected, she used the Selection tool to resize and position it so it appeared to be inside one specific letter. Then, switching back to the Touch Type tool, she selected that now textured letter, set the fill to None, and adjusted its blending mode by clicking Opacity in the Control panel Letter with Texture.
The early days of painstakingly constructing and joining every path, anchor point by anchor point, is giving way to methods of coloring shapes in ways that create new objects or that more closely simulate drawing with pencil and paper.
This chapter works its way from newer methods for combining and editing shapes —using the semi-automatic methods of the Eraser, Blob Brush, the Shape Builder tools, Live Paint, and Image Trace—to older methods such as the Pathfinder panel and working with compound paths and shapes. With the Eraser tool you can cut an object into many parts, and with the Blob Brush you can combine multiple objects with the same fill attributes and no stroke. To restrict the effect of the Eraser tool, select the paths you want to edit, then drag the Eraser tool through them, or enter isolation mode.
If you want certain paths to be protected from the Eraser tool when nothing is selected, lock or hide those paths or their layer. The Eraser tool also has the calligraphic attributes of the Paintbrush tool: Double-click the Eraser tool in the Tools panel to customize it.
To remove a portion of a path, you must erase along not perpendicular to a selected path. Erasing a midsection of a path leaves an open anchor point on either side of the erasure.
If you paint the same brushstroke using the Blob Brush tool and the Calligraphic Paintbrush, they might at first appear similar; if you switch to Outline mode, however, the difference becomes clear. An Illustrator vector path runs down the middle of a Paintbrush stroke, and the application of the Paintbrush remains live, which means the brushstroke can be restyled or edited like any other path in Illustrator.
In contrast, a mark made by the Blob Brush is expanded as soon as you complete a stroke. Where a Paintbrush brushstroke is defined by the single path down its middle, a Blob Brush brushstroke is defined by a path around its outer edge. Your stroke is automatically expanded and the fill takes the current stroke color, while the stroke itself is removed.
The Blob Brush merges successive brushstrokes depending upon the options you set. If you change any of these, your brushstrokes will stay separate. Disabling this option allows the Blob Brush tool to edit paths created with the exact same appearance, regardless of whether or not the paths are selected.
To add to a compound shape, first expand it. When you initially draw, you can allow objects to overlap in the interior of the outline you want to create; e. Next page. From the brand. How did we get our start? Peachpit Press has been training and inspiring creative people since Who are our books for? What makes us unique?
Step-by-step explanations, timesaving techniques, savvy insider tips, and expert advice. More from Peachpit Visit the Store. New Riders Voices That Matter Capturing the best from leading-edge graphic designers, photographers, and business visionaries.
Suitable for beginner through intermediate levels. Classroom in a Book Project-based learning to help you learn the features of Adobe software quickly and easily. About the Author Sharon Steuer has been teaching, exhibiting, and writing in the digital art world since Amazon Explore Browse now.
About the author Follow authors to get new release updates, plus improved recommendations. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content. NOTE from the author: Greetings all. Thank you! Keep your WOW! Read more Read less. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
Adobe Illustrator WOW! Book for CS6 and CC, The by Sharon Steuer Coles Books
There’s also live online events, interactive content, certification prep materials, and more. In this edition of the best-selling and award-winning Illustrator WOW! Bookyou’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 syaron to use venerable tools to speed up your workflow, and find updated information on features through the CC release. The adobe illustrator wow book for cs6 and cc by sharon steuer free download edition is loaded with lessons, technical information, and stunning artwork galleries including:.
Register your book at peachpit. Deitel, Harvey M. This is the eBook of ilkustrator printed book and may not include any media, website access …. Meloni, Jennifer Kyrnin. The process of creating graphic design cannot be easily defined: each designer has their own way …. Adobe Illustrator CC is the most popular vector illustration application available. Print and screen designers use …. Skip to main content. Start your free trial.
Show and hide more. Table of contents Product information. Book for CS6 and CC 2nd ed. Acknowledgments 1. Weinstein, Chana Messer 7. Glitschka, Lisa Poje, Gary Ferster 8. Creatively Combining Apps Linking vs. Glossary Mac WOW! Glossary Show and hide more. Get it now.