adobe illustrator cc - against the clock · illustrator, whether it’s a simple shape created with...

Adobe® Illustrator® CCThe Professional Portfolio

The fonts utilized in these training materials are the property of Against The Clock, Inc. and are supplied to the legitimate buyers of the Against The Clock training materials solely for use with the exercises and projects provided in the body of the materials. They may not be used for any other purpose, and under no circumstances may they be transferred to another individual, nor copied or distributed by any means whatsoever.

Against The Clock and the Against The Clock logo are trademarks of Against The Clock, Inc., registered in the United States and elsewhere. References to and instructional materials provided for any particular application program, operating system, hardware platform, or other commercially available product or products do not represent an endorsement of such product or products by Against The Clock, Inc.

Photoshop, Acrobat, Illustrator, InDesign, PageMaker, Flash, Dreamweaver, Premiere, and PostScript are trademarks of Adobe Systems Incorporated. Macintosh is a trademark of Apple Computer, Inc. QuarkXPress is a registered trademark of Quark, Inc. FrontPage, Publisher, PowerPoint, Word, Excel, Office, Microsoft, MS-DOS, and Windows are either registered trademarks or trademarks of Microsoft Corporation.

Other product and company names mentioned herein may be the trademarks of their respective owners.

4710 28th Street North, Saint Petersburg, FL 33714800-256-4ATC • www.againsttheclock.com

10 9 8 7 6 5 4 3 2 1 Print ISBN: 978-1-936201-27-3

Ebook ISBN: 978-1-936201-28-0

Managing Editor: Ellenn BehoriamCover & Interior Design: Erika KendraEditor: Angelina KendraCopy Editor: Liz BleauPrinter: Prestige Printers

Copyright © 2013 Against The Clock, Inc. All rights reserved. Printed in the United States of America. This publication is protected by copyright, and permission should be obtained in writing from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise.

iii

AcknowledgementsaBout against the clock

Against Th e Clock, long recognized as one of the nation’s leaders in courseware development, has been publishing high-quality educational materials for the graphic and computer arts industries since 1990. Th e company has developed a solid and widely-respected approach to teaching people how to eff ectively utilize graphics applications while maintaining a disciplined approach to real-world problems.

Having developed the Against Th e Clock and the Essentials for Design series with Prentice Hall/Pearson Education, ATC drew from years of professional experience and instructor feedback to develop Th e Professional Portfolio Series, focusing on the Adobe Creative Suite. Th ese books feature step-by-step explanations, detailed foundational information, and advice and tips from industry professionals that off er practical solutions to technical issues.

Against Th e Clock works closely with all major software developers to create learning solutions that fulfi ll both the requirements of instructors and the needs of students. Th ousands of graphic arts profes-sionals — designers, illustrators, imaging specialists, prepress experts, and production managers — began their educations with Against Th e Clock training books. Th ese professionals studied at Baker College, Nossi College of Art, Virginia Tech, Appalachian State University, Keiser College, University of South Carolina, Gress Graphic Arts Institute, Hagerstown Community College, Kean University, Southern Polytechnic State University, Brenau University, and many other educational institutions.

aBout the author

Erika Kendra holds a BA in History and a BA in English Literature from the University of Pittsburgh. She began her career in the graphic communications industry as an editor at Graphic Arts Technical Foundation before moving to Los Angeles in 2000. Erika is the author or co-author of more than twenty books about Adobe graphic design software. She has also written several books about graphic design con-cepts such as color reproduction and prefl ighting, and dozens of articles for online and print journals in the graphics industry. Working with Against Th e Clock for more than ten years, Erika was a key partner in developing Th e Professional Portfolio Series of software training books.

contriButing authors, artists, and editors

A big thank you to the people whose artwork, comments, and expertise contributed to the success of these books:

• Olwen Bruce, Creative Backup LLC

• Chana Messer, Artist, Designer, Adobe Software Evangelist Adobe, ACE/ACI

• Chris Barnes, Wilson Community College

• Richard Schrand, Corporate Education Professional

• Debbie Davidson, Against Th e Clock, Inc.

Finally, thanks to Angelina Kendra, editor, and Liz Bleau, copy editor, for making sure that we all said what we meant to say.

iv

Walk-Through

Candy PackagingYour client, a candy manufacturer,

has hired you to design and build the

packaging for a new product launch

at its anniversary party, which will

be held at the annual candy expo.

You will incorporate client-supplied

elements and create custom graphics

as you develop an attractive, modern

box design.

This project incorporates the following skills:

o Using Image Trace to create a complex illustration

o Sampling colors to create custom swatches

o Using warp and 3D effects to add depth to artwork

o Creating type on an irregular path

o Controlling object blending modes and opacity

o Understanding and defining raster effect settings

o Previewing 3D artwork

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Project MeetingWe’re celebrating our company’s 75th anniversary this year. For the annual candy expo, were introducing SmartTarts™ — a new product that combines di� erent � avor pro� les and textures into a single candy. Response at early focus groups has been very positive, so we’re excited about the potential.

We would like to create a fun, colorful box to hand out product samples at our reception following the � rst day of the show. We’d like to give a larger sample size to the VIP guests who are invited to the party, so we need a box that is a 4-inch cube. Later we’ll need to create a smaller box that we can use for show-� oor samples, as well as � nal packaging that will be used for the retail product.

We have a template from the printer with the package structure already laid out, based on an existing die that’s used to cut the � at box from the press sheet. � ere’s no need to reinvent the wheel, so use this template to build the � nished box artwork.

� e only thing they said they want is “fun, colorful” packaging, so we have complete artistic freedom for this project. � ey did send some components that need to be included: a background image, an anniversary logo, and some copy. � ey didn’t send a company logo, so I think we’ll try something creative with their company name.

Illustrator has all the tools you need to make this package technically accurate and aesthetically pleasing. When you � nish the layout, you can even use built-in tools to create a comp of the � nal folded box.

To complete this project, you will:

❏ Create the package � le from a template

� Sample colors to create custom swatches

� Create warp and 3D e� ects

� Create type on an irregular path

� Change object blending modes and opacity

� Apply raster e� ects to vector objects and placed images

� Apply e� ects to pieces of a group

� De� ne raster e� ect settings

� Preview transparency � attening

� Flatten transparency in a PDF � le

� Preview a 3D representation of the completed box artwork

289Project 6: Candy Packaging

Stage 1 Building the File Structure

When you work on a package design, it’s important to realize that many types of packages have a

standard size and shape. Although there is something to be said for standing out in a crowd, packaging

design is often governed by the space allowed on store shelves — which means you probably won’t

have any choice regarding the size and shape of the package.

You also need to understand that packages are typically designed and printed as a flat layout, using

a template to indicate edges and folds; they are then die-cut, folded, and glued. The next time you

finish a box of crackers or cereal, tear it apart along the glue flaps to see how the package was designed.

Because these types of packages are common sizes, printers often have existing templates you can use.

Create the PaCkage File From a temPlate

The printer for this package has provided you with a template file that includes the die-

cut layout and folding guides. You will use this file as the basis for the entire project.

1. Download AICC_RF_Project6.zip from the Student Files Web page.

2. Expand the ZIP archive in your WIP folder (Macintosh) or copy the archive

contents into your WIP folder (Windows).

This results in a folder named Candy, which contains the files you need for this project.

You should also use this folder to save the files you create in this project.

3. Create a new file by opening the square-box.ait template file from your

WIP>Candy folder. Resize the view so you can see the entire artboard.

The file has three layers: one has guides indicating the location of the folds, one has

guides that define margin and bleed areas for each panel, and one has the die lines for the

box shape.

The box’s top and bottom panels are identified, as well as the flap where glue will be

applied in the converting process to create the finished box shape. You should notice that

the red bleed guide does not extend to the end of the glue flap; the printer for this job has

recommended that ink should not be printed in the gluing area (a common requirement

for package printing).

4. Save the new file as a native Illustrator file named candy-box.ai in your

WIP>Candy folder, then continue to the next exercise.

305Project 6: Candy Packaging

Create type on a path

Instead of simply flowing text into a type object, you can create unique typographic effects by flowing text onto a path. A text path can be any shape you can create in Illustrator, whether it’s a simple shape created with one of the basic shape tools, a straight line drawn with the Line Segment tool, or a complex graphic drawn with the Pen tool.

1. With candy-box.ai open, lock the groups on the Side 1 and Side 2 layers.

You can use the Lock icon for individual sublayers to lock those objects without locking entire layers.

2. With the Side 1 layer active, choose the Pen tool. Change the fill to None and the stroke to 1-pt black.

3. Draw a curve above the banner shape, extending across both panels (as shown in the following image).

4. With the path selected, double-click the Eraser tool in the Tools panel.

The Eraser tool erases parts of a shape, whether from an open or closed path. When you use this tool, Illustrator automatically adds anchor points as necessary based on what you erase.

5. In the resulting dialog box, change the Size field to 8 pt, then click OK.

You can also use this dialog box to change the angle and roundness (shape) of the Eraser tool cursor.

Eraser tool

6. Place the cursor over the panel fold line between the first and second panels.

The tool cursor indicates the brush size.

The Eraser tool erases from the fill and stroke of the object. The Path Eraser tool only erases from the selected path; an object’s fill is not affected.

Note:

Project GoalsEach project begins with a clear description of the overall concepts that are explained in the project; these goals closely match the different “stages” of the project workfl ow.

The Project MeetingEach project includes the client’s initial comments, which provide valuable information about the job. The Project Art Director, a vital part of any design workfl ow, also provides fundamental advice and production requirements.

Project ObjectivesEach Project Meeting includes a summary of the specifi c skills required to complete the project.

Step-By-Step ExercisesEvery stage of the workfl ow is broken into multiple hands-on, step-by-step exercises.

Visual ExplanationsWherever possible, screen shots are annotated so that you can quickly identify important information.

Real-World Workfl ow Projects are broken into logical lessons or “stages” of the workfl ow. Brief introductions at the beginning of each stage provide vital foun-dational material required to complete the task.

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Project 6: Candy Packaging

Project Review

1. Briefl y explain how the concept of a diecut relates to package design in Illustrator.

2. Briefl y explain the concept of sublayers, including at least one example of their potential benefi t.

3. Briefl y explain how transparency settings relate to Illustrator fi les created for commercial printing.

1. You can use the _______________ tool to

sample colors from placed images.

2. The _______________ can be used to review all

the available characters in a font.

3. Checking the _______________ option

when you place a native Photoshop fi le results

in a single object on a single layer in the

Illustrator fi le.

4. The _______________ determines the left-

indent position of type on a path.

5. You can use the _______________ panel to

review and edit applied effects.

6. Applying a _______________ to an object

forces surrounding text to fl ow around

that object instead of directly in front of

or behind it.

7. The _______________ is the specifi c method

used to blend the color of one object into the

colors of underlying objects.

8. _______________ refers to the degree to which

light passes through an object.

9. A(n) _______________ can be used to restrict

opacity to selected objects; colors in the

topmost object determine which areas of the

underlying object are visible.

10. The _______________ tool can be used to

cut apart an overall composition into pieces,

generating individual images from the pieces

you defi ne.

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Use what you learned in this project to complete the following freeform exercise. Carefully read the art director and client comments, then create your own design to meet the needs of the project.Use the space below to sketch ideas; when fi nished, write a brief explanation of your reasoning behind your fi nal design.

Portfolio Builder Project

� e new game is a typical action-adventure game with a historical context. � e goal is to the navigate a labyrinth inside one of the pyramids to � nd the Pharaoh’s treasure without being captured by the various beasties that protect the hidden chamber.

One side panel needs to list system requirements for the game. We know it will work on most game systems, but we’re still trying to work out the bugs on the latest releases, so we haven’t � nalized that in-formation yet. For now, use placeholder bullets that say something like ‘requirement listing.’ � at way we can see the formatting even though the actual text isn’t ready yet.

� e back of the box will incorporate some screen captures, which we’ll provide as soon as the devel-opment is � nalized. For now, just leave placehold-ers to mark the space where those will be placed.

Finally, make sure you build a space on either the back or one side of the box for a bar code.

Your agency has been hired to develop packaging for a new video game called Eye of Horus, which is an adventure game set in Egypt when the pyramids were being built.

To complete this project, you should:

❏ Disassemble (� atten) an existing game box and measure the di� erent elements. Create a diecut template in Illustrator using those measurements.

� Design box artwork for the new video game using images or creating illustrations that support the general theme of the product.

� Incorporate the product name on all sides of the box.

Project Summary

340 Project 6: Candy Packaging

� e � exible artboard size and layer controls, coupled with the extensive set of creative tools, make

Illustrator ideally suited to meet the complex needs of packaging design. You can design sophisticated

artwork that can be wrapped or folded into virtually any shape to package virtually any product.

� is project combined the technical requirements of packaging design — speci� cally using a

custom diecut template supplied by the output provider — with the artistic capabilities necessary to

create the � nal design for a custom candy package. You composited a number of existing elements

and created others, then used a number of features to modify artwork — adding interest and depth to

unify the di� erent pieces into a single, cohesive design.

Use Image Trace to create a complex illustration from photographic elements

Use the Touch Type tool to manually edit character size and position

Apply multiple effects using a built-in graphic style

Change blending modes to create subtle color variations

Use transparency to unify artwork components

Create artwork to fit a printer-supplied die-cut template

Create type on a custom path

Apply and control text wrap settings

Use effects to create depth and add visual interest

Slice a file to create separate component elements

Prepare a 3D sample for client approval


Expanding Appearance Attributes

When you print a fi le, the raster-image processor (RIP)

processes the PostScript stream to create the print.

Extremely complex designs can take a long time to output,

depending on the processing capability of the output device,

and can even “jam the RIP” — crash the device and cause

an output error. To prevent output problems associated

with overly complex designs, you might want to expand

appearance attributes after the design has been fi nalized.

If you select an object and choose Object>Expand

Appearance, the object is permanently altered to mimic the

appearance of the previously applied effects. Applied raster

effects are converted to the necessary raster objects, which

are grouped with the converted vector objects.

After expanding effects, the fi le will output faster, but you

won’t be able to change the effect settings. We highly

recommend saving the original and expanded versions as

separate fi les so you can make changes if necessary.

The paths show the new objects created by expanding

the effects. The effects are no longer editable.

Two effects have been applied to this object:

Warp (Arch) and 3D Extrude & Bevel.

Flattening Individual Objects

Although fl attening is typically managed for you when you

output a fi le, you can fl atten selected objects manually

at any point in the process. Like expanding an object’s

appearance, fl attening is a permanent action — you

can no longer edit any effect or setting that caused the

transparency. This process should only be done at the very

end of a project; again, we recommend maintaining your

original fi le and saving a new version with the manually

fl attened artwork.

When a transparent object is selected, you can choose

Object> Flatten Transparency to defi ne settings that will be

used to create the necessary raster object.

Flattening the object created a new raster object to

reproduce the Drop Shadow effect. (If Preserve Alpha

Transparency is not checked, the fl attened artwork will

have a white background; the effect will not blend into the

background color.)

Understanding Flattener Presets

Illustrator includes four default fl attener presets. You can also choose

Edit>Transparency Flattener Presets to create your own presets or load

presets that might be provided by other users — such as one your

service provider created for their specifi c workfl ow.

• Raster/Vector Balance determines how much vector information

will be preserved when artwork is fl attened, from 0 (all information

will be fl attened as rasters) to 100 (maintains all vector information).

• Line Art and Text Resolution defi nes the resulting resolution of

vector elements that will be rasterized, up to 9600 ppi.

• Gradient and Mesh Resolution defi nes the resolution for gradients that will be rasterized, up to 1200 ppi.

• Convert All Text to Outlines converts all type to outlines; the text will not be editable or selectable in a PDF fi le.

• Convert All Strokes to Outlines converts all strokes to fi lled paths.

• Clip Complex Regions forces boundaries between vector objects and rasterized artwork to fall along object paths,

reducing potential problems that can result when only part of an object is rasterized.

• Anti-Alias Rasters helps to create smoother edges in the raster images that are created from vector graphics.

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More About Outputting Complex Files


3. Click the preview icon and drag it around.

As you drag the preview cube, the values in the three fields change, based on how and where you drag. In the layout, the selected group also changes because the Preview option is active.

X Axis

Y Axis

Z Axis

Preview cube

While you move the preview icon, the object appears as a wire frame

(the basis of 3D artwork).

4. When you’re done experimenting with the preview, specify the following values:

X Axis = 20°

Y Axis = 0°

Z Axis = 0°

Extrude Depth = 50 pt

5. Click OK to apply the effect.

6. Select the banner group on Panel 2, then choose Effect>Apply Extrude & Bevel.

The top menu option shows the last-used effect. If you use this menu command, the effect will be applied with the last-used settings. You will not see the effect’s dialog box.

7. Using the Arrow keys, nudge the second banner group up or down until the two objects align to each other.

The Extrude & Bevel effect can slightly shift objects on the artboard. To restore the appearance of a single banner extending across both box panels, you have to nudge the extruded banners back into the correct position.

8. Save the file and continue to the next exercise.

Illustrator remembers the last-used effect, and the specific settings you used to apply that effect. The top of the Effect menu includes the option to apply the last-used effect without opening the related dialog box, or to open the dialog box for the last-used effect.

Note:

The surface of the object only appears after the wires are calculated internally.

Note:

Illustrator FoundationsAdditional functionality, related tools, and underlying graphic design concepts are included throughout the book.

Advice and WarningsWhere appropriate, sidebars provide shortcuts, warnings, or tips about the topic at hand.

Visual SummaryUsing an annotated version of the

finished project, you can quickly identify the skills used to complete

different aspects of the job.

Project ReviewAfter completing each project, you can complete these fill-in-the-blank and short-answer questions to test your under-standing of the concepts in the project.

Portfolio Builder ProjectsEach step-by-step project is accompanied by a freeform project, allowing you to practice skills and creativity, resulting in an extensive and diverse portfolio of work.

the

portfolio series

Identity Package

o Working with Gradient Meshes

o Working with Type

o Working with Multiple Artboards

o Combining Text and Graphics

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o Drawing Complex Artwork

o Coloring and Painting Artwork

o Exporting EPS and PDF Files

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1 International Symbols

o Setting up the Workspace

o Drawing Basic Shapes

Th e Against Th e Clock Portfolio Series teaches graphic design software tools and techniques entirely within the framework of real-world projects; we introduce and explain skills where they would naturally fall into a real project workfl ow.

Th e project-based approach in Th e Professional Portfolio Series allows you to get in depth with the software beginning in Project 1 — you don’t have to read several chapters of introductory material before you can start creating fi nished artwork.

Our approach also prevents “topic tedium” — in other words, we don’t require you to read pages and pages of information about text (for example); instead, we explain text tools and options as part of larger project (e.g., creating a logotype or building a folding brochure).

Clear, easy-to-read, step-by-step instructions walk you through every phase of each job, from creating a new fi le to saving the fi nished piece. Wherever logical, we also off er practical advice and tips about underlying concepts and graphic design practices that will benefi t you as you enter the job market.

Th e projects in this book refl ect a range of diff erent types of Illustrator jobs, from creating a series of icons to designing a corporate identity to building a Web page. When you fi nish the eight projects in this book (and the accompanying Portfolio Builder exercises), you will have a substantial body of work that should impress any potential employer.

Th e eight Illustrator projects are described briefl y here; more detail is provided in the full table of contents (beginning on Page viii).

Projects at a Glance

vii

Our goal in this book is to familiar ize you with the majority of the Illustrator tool set, so you can be more productive and more marketable in your career as a graphic designer.

It is important to keep in mind that Illustrator is an extremely versatile and powerful application. Th e sheer volume of available tools, panels, and features can seem intimidating when you fi rst look at the software interface. Most of these tools, however, are fairly simple to use with a bit of background information and a little practice.

Wherever necessary, we explain the underlying concepts and terms that are required for understanding the software. We’re confi dent that these projects provide the practice you need to be able to create sophisticated artwork by the end of the very fi rst project.

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7 Consumer Infographics

o Creating Charts and Graphs

o Drawing in Perspective

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8 Web Site Interface

o Using Color Groups and Live Color

o Creating Web Site Graphics

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6 Candy Packaging

o Building the File Structure

o Working with Styles and Eff ects

o Preparing Artwork for Output

o Previewing the Box Design in 3D

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5 Letterfold Brochure

o Creating Documents that Fold

o Working with Imported Images

o Working with Imported Text

o Fine-Tuning Text

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4 Ski Resort Map

o Working with Custom Swatches

o Working with Brushes

o Using Symbols

viii

acknowledgements iii

walk-through iv

Projects at a glance vi

the illustrator user interFace 1Explore the Illustrator Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Understanding the Application Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Explore the Arrangement of Illustrator Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Identifying and Accessing Illustrator Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Create a Saved Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Customizing Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Explore the Illustrator Document Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Explore the Arrangement of Multiple Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Moving Around an Illustrator File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Synchronizing Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Project 1 international symBols 23 Stage 1 Setting up the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Create a New Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Using Smart Guides. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Defi ne Smart Guide Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Draw Basic Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Selection Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Control Fill and Stroke Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Transforming Objects with the Bounding Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Th e Free Transform Tool in Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Control Object Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Align and Distribute Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Edit Individual Grouped Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Using the Group Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Import Template Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Manage Multiple Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Stage 2 Drawing Basic Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Create Artwork with Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Refl ect Drawing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Rotate Drawing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Divide Basic Shapes into Component Pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Th e Stroke Panel in Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Th e Pathfi nder Panel in Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Work in Isolation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Use Measurements to Adjust Your Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Draw with the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Project Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Portfolio Builder Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

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Project 2 Balloon Festival artwork 75 Stage 1 Drawing Complex Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Prepare the Drawing Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Use the Pen Tool to Trace the Sketch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Select and Edit Complex Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Build Shapes from Overlapping Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85More on the Shape Builder Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Adjust Anchor Points and Handles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Understanding Anchor Point and Bézier Curve Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Add Detail with the Pencil and Line Segment Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Editing Anchor Points with the Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Create Shapes with the Blob Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Using the Draw Inside Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Stage 2 Coloring and Painting Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95Use the Color Panel to Define Custom Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95Create Global Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97Add a Color Gradient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Edit Global Color Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Use the Gradient Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Manage Artwork with Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Understanding Color Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Recolor Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Recoloring Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113EPS Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Stage 3 Exporting EPS and PDF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Save an EPS File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Save a File as PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Project Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Portfolio Builder Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Project 3 identity Package 121 Stage 1 Working with Gradient Meshes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Set up the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Draw the Apple Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Create a Gradient Mesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126Gradient Mesh Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Work with a Mesh Using Smart Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131Color the Remaining Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Stage 2 Working with Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Create Point-Type Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137The Character Panel in Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Point Type vs. Area Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Manipulate Type Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Convert Type to Outlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Create Custom Graphics from Letter Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

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Stage 3 Working with Multiple Artboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Adjust the Default Artboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Managing Artboard Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Use the Layers Panel to Organize Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Copy the Artboard and Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Convert Mesh Objects to Regular Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Th e Appearance Panel in Depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Add Spot Color to the Two-Color Logo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Stage 4 Combining Text and Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Work with Placed Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Understanding Placed-Image Bounding Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164Create the Envelope Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Print Desktop Proofs of Multiple Artboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Project Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174


Project 4 ski resort maP 177 Stage 1 Working with Custom Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Manage the Swatches Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Defi ne Gradient Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181Using Spot Colors in Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Apply and Control Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184Edit a Path Profi le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186Create a Custom Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189Creating Variable-Width Stroke Profi les . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Stage 2 Working with Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194Create a New Art Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194Understanding Art Brush Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197Control an Art Brush Stroke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198Expand Brush Strokes into Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199Create Pattern Brush Tiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202Create a New Pattern Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204Pattern Brush Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206Save Custom Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Stage 3 Using Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211Open Custom Symbol Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211Control Symbol Instances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212Editing Symbols in Place . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215Replace Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216Spray Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218Symbolism Tools Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220Modifying Symbol Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221Create a Clipping Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Project Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226


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Project 5 letterFold Brochure 229 Stage 1 Creating Documents that Fold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Use Artboards to Create the Panel Layout Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233Control Artboard Size and Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234Create Margin and Bleed Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240Create Folding Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Stage 2 Working with Imported Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246Place Layout Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246Manage Linked and Embedded Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251Unembedding Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Stage 3 Working with Imported Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257Import Text for the Inside Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257Thread Multiple Type Areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259Using the Find Font Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259Work with Hidden Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261Using the Find and Replace Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262Define Paragraph Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263Import Styles from Other Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268Define a Character Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Stage 4 Fine-Tuning Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271Apply Smart Punctuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271Control Hyphenation and Justification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272Format Tabbed Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274Check Spelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276Check Spelling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277Create a Job Package . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278Export a PDF File for Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Project Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283


Project 6 candy Packaging 287 Stage 1 Building the File Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Create the Package File from a Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289Use Image Trace to Create a Complex Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290Image Trace Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294Sample Colors and Create Custom Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Stage 2 Working with Styles and Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296Transform and Warp Design Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297The Glyphs Panel in Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300Apply a Warp Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301Create a 3D Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303Create Type on a Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305Type on a Path Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307Place a Native Photoshop File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309Apply Transparent Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Contents

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Understanding Transparency Panel Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314Creating an Opacity Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315Understanding Blending Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316Use the Touch Type Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317Apply a Built-In Graphic Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Stage 3 Preparing Artwork for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321Defi ne Raster Eff ect Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322Preview Transparency Flattening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323More About Outputting Complex Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324Export a PDF File for Proofi ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Stage 4 Previewing the Box Design in 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327Create Image Slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327Create Symbols for Box Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331Map the Art to a 3D Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Project Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338


Project 7 consumer inFograPhics 341 Stage 1 Creating Charts and Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Distinguishing Types of Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343Create a Line Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344Format Graph Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347Change Graph Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349Create a Bar Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350Edit Graph Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353Create a Pie Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355Edit Pie Graph Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Stage 2 Drawing in Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360Defi ne the Perspective Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360Default Perspective Grids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365Draw in Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366Moving Objects in Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368Work with Type in Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371Attach Objects to the Perspective Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373Transforming Perspective Type Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373Other Perspective Grid Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Project Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378


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Project 8 weB site interFace 381 Stage 1 Using Color Groups and Live Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Use a Color Group to Change Multiple Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383Use a Color Group to Manage File Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386Work with Live Paint Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Stage 2 Creating Web Site Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393Examine an HTML Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393Examine the Pixel Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396Define Object Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397Create a Gradient Page Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401Create Character Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403Export CSS and Image Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Project Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410


Getting Started

xiv

PrereQuisites

Th e Professional Portfolio Series is based on the assumption that you have a basic understanding of how to use your computer. You should know how to use your mouse to point and click, as well as how to drag items around the screen. You should be able to resize and arrange win-dows on your desktop to maximize your available space. You should know how to access drop-down menus, and understand how check boxes and radio buttons work. It also doesn’t hurt to have a good understanding of how your operating system organizes fi les and folders, and how to navigate your way around them. If you’re familiar with these fundamental skills, then you know all that’s necessary to use the Portfolio Series.

resource Files

All of the fi les you need to complete the projects in this book — except, of course, the InDesign application fi les — are on the Student Files Web page at againsttheclock.com.See the inside back cover of this book for access information.

Each archive (ZIP) fi le is named according to the related project (e.g., AICC_RF_Project1.zip). At the begin-ning of each project, you must download the archive fi le for that project and expand that archive to access the resource fi les that you need to complete the exercises. Detailed instructions for this process are included in the Interface chapter.

Files required for the related Portfolio Builder exercises at the end of each project are also available on the Student Files page; these archives are also named by project (e.g., AICC_PB_Project1.zip).

atc Fonts

You must download and install the ATC fonts from the Student Files Web page to ensure that your exercises and projects will work as described in the book. Specifi c in-structions for installing fonts are provided in the documen-tation that came with your computer. You should replace older (pre-2013) ATC fonts with the ones on the Student Files Web page.

system reQuirements

Th e Professional Portfolio Series was designed to work on both Macintosh or Windows computers; where diff erences exist from one platform to another, we include specifi c instructions relative to each platform. One issue that remains diff erent from Macintosh to Windows is the use of diff erent modifi er keys (Control, Shift, etc.) to accomplish the same task. When we present key commands, we always follow the same Macintosh/Windows format — Macintosh keys are listed fi rst, then a slash, followed by the Windows key commands.

Minimum System Requirements for Adobe Illustrator CC:Windows• Intel® Pentium® 4 or AMD Athlon® 64 processor• Microsoft® Windows® 7 with Service Pack 1 or

Windows 8• 1 GB of RAM (3 GB recommended) for 32 bit;

2 GB of RAM (8 GB recommended) for 64 bit• 2 GB of available hard-disk space for installation;

additional free space required during installation (cannot install on removable fl ash storage devices)

• 1024768 display (1280800 recommended)• Internet connection and registration are necessary for

required software activation, membership validation, and access to online services.*

Mac OS• Multicore Intel processor with 64-bit support• Mac OS X v10.6.8, v10.7, or v10.8• 2 GB of RAM (8GB recommended)• 2 GB of available hard-disk space for installation;

additional free space required during installation (cannot install on a volume that uses a case-sensitive fi le system or on removable fl ash storage devices)

• 1024768 display (1280800 recommended)• Internet connection and registration are necessary for

required software activation, membership validation, and access to online services.*

* Th is product may integrate with or allow access to certain Adobe or third-party hosted online services. Adobe online services, including the Adobe Creative Cloud™ service, are available only to users 13 and older and require agreement to additional terms and Adobe’s online privacy policy. Th e applications and online services are not available in all countries or languages, may require user registration, and may be subject to change or discontinuation without notice. Additional fees or membership charges may apply.