Instructor: Gillian GoerzWebsite: GillianG.com

This powerful design tool effectively creates crisp graphics and illustrations for all medias, including print, web and video. Illustrator allows users to incorporate images, colour and other design elements to elevate print products (resumes, presentation handouts, posters and more) beyond the capabilities of word processing programs. In this workshop we will learn how to use Illustrator to design simple, effective, print-ready business cards.

OVERVIEW1. Raster vs. Vector2. The Interface: A Brief Orientation3. New Document and Zoom tool4. Pen tool5. Selection tool and Direct Selection tool6. Shape tool7. Text tool and guides8. Modifying objects, Stroke and Colour9. Working with Raster Images10. Layering In Illustrator11. Business Card Design12. Colours & Mood13. Typefaces14. Project: Business Card15. Creating PDF and Exporting filesRESOURCES (Illustrator help, Books, Magazines, Websites, etc)

Created and developed with CS3 by Caio Oyafuso, 2008, and revised and expanded by Gillian Goerz, 2013, 2019

INTRODUCTION TO ADOBE ILLUSTRATOR: Business Cards

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1. RASTER VS. VECTOR

Before starting to learn Adobe Illustrator, it’s important to know the main dif-ferences between raster files (predominantly used in Photoshop) and vector files (predominantly used in Illustrator).

File structure

Advantages

Disadvantages

- shading/gradients- texture- photographic detail

- uses pixels (dots)- dots per inch (dpi) or pixels per inch (ppi)

- size limitation (resolution restrictions)- less precision- slower processing in larger sizes.

- precision- no size limitation- faster processing

- uses geometry - anchor point-to-anchor point shapes- paths and Bezier curves

- limiting shading/gradient- less detail (graphic, not photographic)

RASTER VECTOR

close-up of vector circle

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2. THE INTERFACE: A BRIEF ORIENTATION

(left) Toolbar(right) Palettes

When you open Illustrator, the palettes menu has the palettes hidden or reduced. Symbols represent the different options, and can be clicked to expand, and clicked a second time to return the palette to it’s hidden position.

There are many more palette options to be explored. Click Window in the Menu Bar to see the full list.

Note: Hovering the mouse over the sym-bols will display the name of the hidden palette it represents. (This will work with the Toolbar as well as in other areas. Hover your mouse over unknown tools to learn more information.)

1. Menu Bar : File, Edit, Object, Type, Select, Effect, View, Window, and Help.

Navigate the wealth of options through drop down menus.

2. Toolbox: The tools of Illustrator craft. Tools for selection, typing, drawing, shape

creation, etc. (Image Below)

3. Control Panel: Sits below the Menu Bar. Allows you to modify a selected object.

4. Document Window: Opened files.

5. Palettes: Palettes keep information, tools and options visible and at the

ready while you are working on a file. Highly adjustable. They can

be docked in the Palette Well, far right. (See Below)

6. Floating Palettes: Palettes can be pulled out of the Well and maneuvered for

convenience.

7. Workspace. In the menu bar, click Window > Workspace to see a drop down menu

full of options for laying out your workspace according your comfort or

the nature of the project. Select a few to see the potential changes. Reset by

clicking Window > Workspace > Essentials.

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3. NEW DOCUMENT, ZOOM TOOL AND HAND TOOL

In Adobe Illustrator, the user can precisely determine the size and thecolour format of a document. It is important to decide on the destination of your design (web, print, etc) when you are selecting these options.

To open a new document:1. Go to File menu (top menu bar)2. Select New (Quick Key: Ctrl N)3. Select format of the document (see below)

Width/Height Measures:

pixels: Stands for “picture element” - smallest

measure of a digital image (Best for Web).

inches, cm, mm: Best settings for Print

projects.

points: A unit of measure in typography.

Measures 1/72 of an inch. 72 point type is 1

inch high.

picas: A pica is 12 points.

Here you have the opportunity to:

1. Name your file (you can also do so later when you save it).

2. Select a New Document Profile - what will this document be used for?

3. Open one or multiple new Artboards at once. (Artboard=working document)

4. Select the document Size via drop down menu, OR

5. By entering values for Width and Height...

6. Select the Unit of Measure of your choice (more on this below)

7. Add Bleed to your document (More on Bleed below)

8. Set your Colour Mode (RGB for Web, CMYK for Print)

9. Setting Raster Effects changes the resolution of Raster images within your document.

(300ppi for print, 72ppi for Web)

Bleed:“Full Bleed” means a document is printed to the very edge of the page with no white border. Setting bleed on a file allows you an additional margin around your document for colour, images and design elements to run over. This way, regardless of printing and trimming error, you can ensure that there is no white space between your design and the edge of the page.

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ZOOM TOOL AND HAND TOOLThe Zoom Tool: (Quick Key: Z)• Click on page to zoom in.• Click and drag to zoom in an area.• Hold option/alt key and click on pagewith zoom tool to zoom out (zoom outicon will appear).• To fit document to screen, in the Menu Bar, go to View > Fit Artboard in Window.

ORTo zoom without selecting a tool:CTRL + to zoom inCTRL - to zoom out.

The Hand Tool (H) allows you to grab your artboard and move it around (much like moving the map in Google maps).

Tools and Keyboard Short Cuts (Quick Keys)

A Quick Key (or Hot key) is a keyboard short cut to a tool or function.

I.e.) To save a document, you can use the Menu bar by hitting FILE > SAVE, or

you can use the quick keys: CTRL S. To Select the Pen Tool from your tool bar,

you can drag your cursor to the icon in your tool bar, or you can just hit the let-

ter P on your keyboard.

Toolbar Quick Keys: Hover your cursor over any tool, and it’s name and

quick key will be displayed. I.e.) Move Tool (V)- “V” is the quick key.

Menu Bar Quick Keys: Items in the drop down menus with quick key

options will list them beside their name. I.e.) Open... Ctrl O

There is a link to an exhaustive list of all Quick Keys and keyboard short cuts under Resources.

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4. PEN TOOLThe pen tool is the drawing instrument in Illustrator. It uses anchor point and Bézier curves to create graphics.

• Click, hold and move to the righton Pen tool button to select betweenpen options.• Select small arrow on the far rightto release pen toolbox.

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5. SELECTION TOOL AND DIRECT SELECTION TOOL

The Selection tool (V) is used to select, and move objects in their entirety.The Direct Selection (A) tool is used to select and move anchor points and lines and also it’s used to adjust Bézier curves (page 6).

Selection Tool (V)

• Click on object to select. Clickholding shift key to select more than one object.• Click and drag to make a selection area and select one or more objects.• To deselect, click on empty space on page.• Press Backspace/delete key toerase object selected.

Direct Selection tool (A)

• When the Direct Selection cursor is over an anchor point a white square will appear on its bottom right. The same square will appear black when the cursor is over a line.• Click on an anchor point or a lineto select. Click holding shift key toselect more than one.• Click and drag to mark a Selection Area - everything within the Area will be selected.• Anchor points will highlight when selected.• To diselect, click on empty spaceon page.

Note: To duplicate your line or shape, hold down ALT as you click into the shape - Hold and drag your duplicate shape away and place it by releasing the mouse.

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6. SHAPE TOOLGraphic shapes can be easily created using the shape tool.

• Click, hold and move to the righton Pen tool button to select be-tweenshape tool options.• Select small arrow on the far right torelease shape tool option toolbox.

Shape Tool*Select one of the shape tools from shape tool option toolbox:• Click and drag to create shape.

- Click and hold SHIFT key to create a symmetrical shape- Click and hold ALT to draw shape from centre- Hit the spacebar to freeze and reposition shape- Experiment with the up and down arrow keys (with star and polygon in particular)

• Click on page to open shape option box. Type value according to shape:- Rectangle tool: width and height sizes- Rounded Rectangle tool: width and height sizes and round corners ratio- Ellipse: height and width sizes (diameter)- Polygon tool: radius size and number of sides- Star tool: radius sizes (from inner and outer corners) and number of points* instructions differ with the flare tool

1. Default Star Tool2. Star Tool with added points. (Points can be added and removed using the op-tion box, or with the up and down arrow keys)

3. Default Polygon Tool4. Polygon Tool with added sides. ( Sides can be added and removed using the op-tion box, or with the up and down arrow keys )

1. 2.

3. 4.

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7. TYPE TOOL AND GUIDESAdobe Illustrator is useful for single page text editing. The Type tool creates vector type (postscript) that will translate with great quality to print and other medias. Guides are great accessories to design layouts.

Quick Key to Hide/Show Guides: Ctrl ;

Type tool

Text palettes can be found in the Menu Bar: Window >Type > Character.(Quick Key: Ctrl T)• Click once on the page to create a text line. In this option, the text will continue in a single line unless a line break is entered (Enter/Return).• Click and drag to create a text box. The text box will create an area where the type will be contained, automatically breaking the lines according to the width of the text box.• To edit, click on text with the Type tool or double-click on text with the Selection tool.

Guides• To set guides, in the Menu Bar, select View > Rulers (Ctrl R). Two rulers will appear on the top and on the left margins of the window. Click on ruler and drag towards the center of the page to set guide. (Ctrl Click the corner of the rulers to change unit of measure)• To delete guides, first unlock them. Go to View > Guides and then uncheck Lock Guides.• Use Selection tool to select and then delete guides.

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8. MODIFYING OBJECTS, STROKES AND COLOUR

Adobe Illustrator allows users to modify objects and text with precision. Colours can be added to lines and shapes with all the advantages of a vector based application.

Modifying ObjectsThe simplest way to modify objects in Illustrator is to use the bounding box.The bounding box appears when you select objects with the Selection tool (V).

Applying Colour and Stroke Options

To apply colour and change stroke options, first the object needs to be select-ed using the Selection tool (Quick Key: V) or the Direct selection tool (Quick Key: A). Colours and stroke options can be changed to multiple objects simul-taneously. Colour and Stroke palettes can be found under Window on the top menu. By default they are located on the right side of the screen.

Note: Text can be modified in the same way, with a few changes: • A text line will also provide a bounding box when selected, however, dragging its

handles will change the text itself. • Dragging the handles of a text box will reshape the box, not affecting the text.

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9. WORKING WITH RASTER IMAGES Raster images (JPGs, GIFs, PNGs are all raster images) are often a part of an Illustrator project, and the program is equipped to deal with both Raster and Vector files.

Keep in mind, adding a raster file does not give it Vector properties; you must adhere to the file type’s limitations. i.e. Although vectors are infinitely scalable, a .jpg or any raster images in your document will lose quality as they are

enlarged.

PLACING RASTER FILES

Raster files must be “placed” into Illustrator documents. To do so, go to your Menu bar and click File > Place. Lo-cate your image, and click OK.

You now have a raster image on your artboard, surround-ed by a Bounding Box. Like other Bounding Boxes, you

can use the selection tool(V) to:

• - Scale (hold down Shift as you drag the cor-

ners)

• - Rotate (hover cursor over corners, until the

rotate icon appears. Click & drag)

• - Resize (grab any square of the bounding box perimeter and

drag - this will warp the image).

• - Move (click into the centre of the image and drag)

Note: Illustrator will drop your image in at full size. If you scale it larger, you will lose information and image quality will go down. If you need to scale up, do so first in Photoshop, where algorithms “intelligently” fill in pixels - it still won’t look great, but it do a better job than Illustrator. Save the file from there, then Place into your Il-lustrator doc. ...Better yet, work with high resolution images whenever possible!

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10. LAYERING IN ILLUSTRATORLike Photoshop, Illustrator works with layers, however, they behave a bit differ-ently.

Multiple objects (shapes, text, placed images, etc.) can exist on one layer and are selected and manipulated using the Selection tools (V & A). They are stacked in the order they were created within that layer. i.e. The red square was made first, the blue second, the yellow third. They are all on one layer.

To change the order of these objects (i.e. to move the red square forward), select the move tool (V) and click the object. (Note the red square’s bounding box indicates it is selected).

Now, in your Menu Bar, click Object > Arrange.

This will open a drop down menu.

Here you can chose to move your object, either up or down one level, or move it all the way to the front or all the way to the back.

Note the quick keys for Arranging objects:(The quick keys in the image above are for macs. PC keys listed here:) Bring to Front: Shift Ctrl ]Bring Forward (one step): Ctrl ]Send Backward (one step): Ctrl [Send to Back: Shift Ctrl [

Use either your cursor or the quick keys to move your selected object Forward (Ctrl ]) one step. It is now on top of the blue square, but still behind the yellow.

Repeat that action, moving the red square up one more step. It is now at the front.

The same thing could be done in one step by selecting Bring to Front (Shift Ctrl ]) which would bring the red square to the top in one click.

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Because Illustrator allows you to individually select objects on the same layer, it can be easy to create layers so crowded with objects that it’s difficult to select them individually. Using different layers can allow you to keep your objects organized for yourself and others who may need to access your file.

Open your Layers Palette by going to your Menu Bar and selecting Window > Layers (F7)

Create a New Layer, by hitting the New Layer Button (see image, right).

In the image on the right, you can see that Layer 2 is selected because it is highlighted in blue.

When a layer is highlighted, any new objects you create will be on this layer.

The colour of an item’s bounding box will correspondwith the coloured tab of that layer.

Notice how Layer two’s colour is Red and Layer one is Blue. The teal shape, which you can see previewed in Layer 2 has a red bounding box when selected.

LAYER LOCKING & VISIBILITY

One of the benefits of working in layers is the ability to iso-late the layer you are working with. You can do this by locking any other layers. While locked, you will not be able to select or move any of the shapes, text or images contained in that layer.

To Lock a layer, click the space next to the eye icon. To Unlock, simply click again.

If locking alone isn’t enough, you can also make layers invisible to better see or focus on specific portions of your document.

Click the eye icon to make a layer invisible. This does not delete or alter the layer’s contents, it only hides them.

To unhide the layer, click again.

New Layer ButtonDelete Layer Button

Layer Locking

Layer Visibility

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11. BUSINESS CARD DESIGNToday, there are abundant options for designing and printing business cards online. These businesses usually have options to choose from a series of easy-to-customize templates, to create a somewhat custom card live using an online design feature, and to upload your own print-ready design.

Some popular online print companies include:

Moo.com - a little pricier, but the go-to of most graphic designers. They also offer the option to have multiple designs on the back of each card, as well as rounded edges.

Vistaprint.com - the cheapest option, with higher end stocks, finishes, etc. available.

Staples - online or in person.

Your local print shop! They likely do business cards and can let you see samples in person. Buying local is great.

A good rule of thumb with online printers is to go (at least) one step above the cheapest option. The weight and feel of your card represents you, and if it’s thrown into a wallet full of other lovely cards, you don’t want yours to be the most flimsy.

Exploring these sites, you’ll find options such as different shaped cards, fancy die-cuts, unique finishes, foils and more. The fancier the finish the higher the cost, of course.

A good starting place is a solid, simple design, and a nice hearty paper stock.

Let’s talk about what makes a good design.

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12. COLOURS & MOODWhen beginning a business card, or any design project, it’s important to think about the mood or impression you want to convey with your final product. This mood is set with typography, colour, the use of shapes, images and design elements.

Think about the colours that come to mind when you hear these three-word pairings:

• Fun, classy, accessible• Regal, expensive, professional• Opulent, luxurious, generous• Joyful, expressive, comforting• Parisian, delicate, skilled• Competent, efficient, affordable

Think about what you want to convey with your card and the brand it represents. How you want people to FEEL. Pick 3 words that describe it.

Refer to these words when you are looking through typefaces and picking colours. Do your choices resonate with these words?

PICKING COLOURS ONLINE

There are countless online colour pickers, but Adobe palettes are designed to work in conjunction with Adobe products, so they’re an easy choice.

You can also chose from user generated palettes, and palettes extracted from art, illustration and architecture, nature, etc. You can upload your own image and it will extract the colour palette and provide you with hexcodes, and colour breakdowns.

Adobe Color (formerly Kuler)

This classic colour picker lets you move sliders on a colour wheel to create a number of different cus-tom palettes and colour modes.

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13. TYPEFACESTalking about typefaces can easily become poetic - their effect is emotional and tough to pinpoint. Regal, authoritative, funny, light, complex: all moods and impressions left by your choice of type alone.

Sometimes the name of a typeface tells you how it’s meant to be used.

(HPLHS Prop Fonts, 2011)

Or the history it references.

Trajan - by Carol Twombly (1989) directly references the Trajan column in Italy and the carved capital letters carved into the stone at it’s base.

Or they might be named after their designer (or the person who in-spired the designer).

In this case, Claude Garamond, 16th Cen-tury engraver, has inspired several modern “Garamond-style” typefaces. Monotype Garamond, and Adobe Garamond Pro being two, who’s names tell you the type house that designed them (though not the name of the specific designer).

It might suggest another time. (Astigmatic One Eye Typographic Institute, 2011)

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Typeface & Font

Typeface refers to a family of fonts of differing weights and qualities. For ex-ample, Helvetica is the typeface, which includes many font variations such as Helvetica Bold, Helvetic Italic, etc.

Serif vs Sans-Serif

A serif is an additional line or stroke attached to the main character of a letter that occurs in a font family, making it a serif typeface i.e. the word “Typogra-phy” in the graphic above. A sans-serif typeface does not have these additional stokes, as in the word “Anatomy” above. Serifs can help guide the eye from letter to letter, and are considered helpful in making small body copy, such as the content of an essay or novel, easier to read.

Sans-serifs have a more modern look and are often used in headlines and logos, or for websites. That said, these uses are just a jumping off point.

Leading

The space between lines of text. Leading rhymes with “heading” not “ read-ing,” since it used to refer to the strips of lead hand-typsetters used to space out lines of text. Now this word is done digitally, but the word stuck.

Kerning & Tracking

Kerning is the space between two individual charactersTracking is the space between all of the characters in a line of text.

graphic from https://www.designersinsights.com/designer-resources/anatomy-of-typography/

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CHOOSING TYPESelecting the right typeface for a project is a time consuming and intuitive process.

WHERE TO FIND TYPEFACES

Your computer is loaded with a host of typefaces of varying quality and usefulness. If you work on different computers (at school, home, work), they may not have the same basic typeface package, so choosing more common, time-tested typefaces can help.

Another option is downloading fonts online. Websites like Freefonts and 101freefonts provide no-charge typefaces - or more correctly fonts, since most of these do not in-clude a full font family of weights and italics. This is their downside. The quality of the fonts here is often not reliable. These are often designed by amateurs are often miss-ing characters,

A few reliable and common typefaces with a full font family:

Baskerville bold italic

Caslon bold italic Helvetica bold italic (please do not substitute Arial. I promise it’s worse)

Bodoni (or Didot) bold italicFutura bold italicRockwell bold italicGaramond bold italic

GOLDEN TYPE RULES FOR BEGINNERS

1. Pick a typeface with a font family! At minimum an italic and a bold.

2. No more than two typefaces per project*. Better yet, just one. But NO MORE THAN TWO. At least one of these must have multiple fonts (see rule 1).

3. Don’t Alter fonts. No stretching or bending or manipulating in anyway. If you need your font to do more than it does, pick a new font.

4. Contrast is required. If your lettering needs a drop shadow to be seen, you don’t have enough contrast between your lettering and your background. Same for busy, detailed backgrounds. Put your type in a box, or adjust your type and background colours accordingly.

* a note on matching typefaces. Look up “font pairings” online for some tested sets before throwing two typefaces together. Similar letter shapes (note the shape of “o”s), angles, and X-heights create harmoni-ous pairings.

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TYPE HEIRARCHY The visual organization of information is critical in all design, and especially in a business card where you only have so much room to impart crucial information.

Let’s divide information into tiers:

Primary - Headlines. Big type. In this case it’s your name or your business’s name.

Secondary - smaller than the headline but still on the bigger side. Taglines, infographics, subheads, etc.

Tertiary - Typically this is the main text of your design. The article itself, if this were a magazine article. In this case it’s the hard information: your phone number, website, etc. The true content of the card that you want people to be able to find *and read* when they need it, i.e. when they want to actually contact you.

As you can see in this example, these tiers don’t need to be stacked in order. This designer has used colour to draw the eye from the Primary information, which is large and bold, to the Secondary information, his location.

The title “designer” is something that might have been included in the Second-ary tier. Perhaps this designer wanted their multi-city status communicated prior to their role... or they assumed anyone receiving their card would already know their job. None of these rules are set in stone, but they all require consideration. If you break one, know why and do it with purpose.

Imagining the path that your future client/customer/employer might take when referring to your card is a good place to start. Making the phone number readable is imperative, but placing it in the Primary tier is not useful - some-one who wants to call you will know what to look for. But if they can’t find your name, the card will be thrown out.

sample template from moo.com

adapted from https://designshack.net/articles/typography/every-design-needs-three-levels-of-typographic-hierarchy/

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14. PROJECT: Business CardWe will create a basic business card based on an available online template that can be personalized.

Steps:

1. Open a New Document (Quick Key: Ctrl N)Number of Artboards: 2 - This is the front and back of your card Make it 3.3 x 2.16”, Portrait orientationSet bleed to .08” on all sidesSelect CMYK, 300dpiHit OK

2. Drag guides to create margins the size of your “safe” area of the card.

(0.08” from your outer edges is generally a safe bet, regard-less of card size/shape, but if a printer gives you a specified measurement, use that.) One way to do this is create a rect-angle the shape of your recommended safe area, centre it, and drag the guides to the edges of the rectangle. Delete the rectangle if you don’t need it, but in this case...

3. Add your Primary, Secondary and Tertiary text. Select your text tool, click into the rectangle, and begin typing. In this case, your name is Primary, your title is Secondary, and your contact information is Tertiary.

4. Centre your text using the formatting keys in your option bar.

5. Using your chosen font, differentiate your Primary, Secondary and Tertiary text, us-ing size, font weight, and if you chose, colour. Note: all type should be 8pt or higher.

screengrabs from moo.com

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6. Add a design element. In this case, a short line. Select the line tool from the tool bar, and hold shift to draw a horizontal line. Use the stroke tools in your option bar to adjust the thickness and colour of your line. Note: For best printing results, sharp lines should be 0.5pt or thicker.

7. Select the Tertiary text, and ad-

just the Leading. Experiment with more and less space between lines.

8. Select the Primary Text, and experiment with Kerning & Tracking. How does your name/business name look with more tracking? Less? Are there any awkwardly large spaces between two characters? Are some a bit snug compared to others? Click your cursor between two characters and adjust the kerning (also in the options bar) until you are happy with the effect.

9. Ensure the text is placed vertically in a pleasing way. Centring the text is one op-tion only. Look critically at the card. Does it look awkwardly placed? Does the place-ment feel balanced? Too heavy? Floating? This might be another opportunity to adjust the leading on any part of the card to create a sense of balance and harmony.

The Back of the Card.

10. Use the pen tool and shape tools to draw shapes. Fill the shapes with the colours from your palette.

11. Select your kerned, tracked and adjusted Primary text from the front of the card, copy it, and paste it onto the back of the card. Use the Align palette (Menu bar > Window > Align) to centre the text, and optical-ly adjust from there as needed. Repeat with the line.

template from moo.com

template from moo.com

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12. When you are finished, Save the file: File > Save As > Adobe .PDF. The the PDF dialogue Box: Under General: Select Press Quality, Check View PDF after Saving Under Compression: No changes Under Marks and Bleeds: Check Use Document Bleed Settings Check Trim Marks under the Marks heading** Hit Save PDF

**If your printer does not need trim or crop marks, skip this step.

13. Note the trim lines on the corners of your document. When printed these will allow you to easily trim away your bleed, giving you edge to edge colour without a white border. You did it!

Extra: Save the document again (give it a different name), this time without Trim or Bleed, and as the smallest file size. Again, check View PDF after Saving, and compare the two. By not saving the bleed area, the second version shows your document as if it had already been trimmed. When printed on a standard printer, the image would be scaled smaller and an additional white border would prevent the image from spreading to the edge of the page.

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15. CREATING PDF AND EXPORTING FILESPDF files are commonly used for both print and web, due to their compatibility across all platforms. Especially useful in Illustrator, PDFs allow users to preserve all the vector capabilities of an eps. file or an Illustrator file, and depending on the settings, can be small enough to email or high resolution enough for qual-ity prints. Illustrator also provides users with the option export documents in other common raster file formats.

Save a PDF1. Go to File menu (top menu bar)2. Select Save as (to save the same file)or Save a Copy (to create a new file)3. Select Adobe PDF4. Select the options of your PDF file:

For Print

For Web

Exporting Files

1. Go to File menu (top menu bar)2. Select Export3. Select type of file

Note: Many of these file types will result in compression and infor-mation loss. Look at the file after exporting to ensure they maintain your desired fidelity.

Always save an .ai version or high quality editable .pdf first, then export from there.

General: Preserve Illustrator Editing Capabilities - only check this if you want it. View PDF after Saving: Click to double check finished product for errors/glitches.

Compression: Allows you to select the resolution of raster images. If you are saving for web, set these numbers to 72 ppi. For print, they should be 300 ppi, minimum.

Marks and Bleeds: Allows you to include bleed as well as other printer’s marks. If you are preparing a file for a printer, ask them which printers marks they require, and save your file accordingly.

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ResourcesILLUSTRATOR HELP.Adobe Illustrator provides a resourceful Help application. You can find it atthe top menu under Help and the select Illustrator help. It contains simpletutorials and also instructions by topic. A search engine is also available,making it easy to find the answers you are looking for.

REFERENCE WEBSITESCousins, Carrie (2017). “Every Design Needs Three Levels of Typographic Hier-archy” Link: https://designshack.net/articles/typography/every-design-needs-three-levels-of-typographic-hierarchy/

Designerinsights.com “Anatomy of Typography”Link: https://www.designersinsights.com/designer-resources/anatomy-of-ty-pography/This website’s Designer Resources tab is FULL of helpful tips (with some ironic grammatical and spelling errors in the mix).

Hampton-Smith, Sam (2018). “How to design a business card: 10 top tips”https://www.creativebloq.com/graphic-design/how-design-business-card-10-top-tips-9134291

Lombardi, Jen (2012). “How To Explain Raster vs. Vector To Your Clients”Link: http://www.youthedesigner.com/2012/08/12/how-to-explain-raster-vs-vector-to-your-clients/

Snipes, Susan (2011). “Sometimes Smaller is Better: How to Create Smaller PDFs in Illustrator”Link: http://themetaq.com/articles/how-to-create-smaller-pdfs-in-illustrator

Wood, Brian (2010). “Taking Advantage of Layer Strategies in Adobe Illustrator CS5.” http://www.adobepress.com/articles/article.asp?p=1635822

Illustrator Help/Help and TutorialsLink: http://helpx.adobe.com/illustrator/topics.html

20 Basic Illustrator Tutorials Every Beginner Should SeeLink: http://blog.spoongraphics.co.uk/articles/20-basic-illustrator-tutorials-ev-ery-beginner-should-see/

An Exhaustive List of Keyboard Short Cuts for Adobe Illustrator:Link: http://flytrapinteractive.com/~test/twp/reference/apps/Illustrator_Quick-Keys.pdf

Created and developed with Cs3 by Caio Oyafuso, 2008, and revised and expanded by Gillian Goerz, 2013, 2019