IntroductionWelcome| 00:00 |
Hi there.
My name is Rufus Deuchler.
| | 00:03 |
In this course I will be giving you and
overview of what is new in Adobe
| | 00:08 |
Illustrator CS5.
I'm a designer, dreamer, and worldwide
| | 00:13 |
software evangelist.
I've been using Adobe software since the
| | 00:16 |
late 80's.
And now, I find myself travelling the
| | 00:18 |
world, to share my knowledge and
experience.
| | 00:21 |
In this overview, I will be showing you
some new, creative tools and features
| | 00:25 |
that will make your life with the
application much easier.
| | 00:28 |
I expect that you already have some
knowledge of Illustrator, preferably CS4,
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because I will be building on top of
existing workflows and techniques to show
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you the many new and exciting additions
to the application.
| | 00:40 |
So, enjoy the show, don't be shy, and
don't hesitate to contact me at
| | 00:44 |
rufus@deuchler.net if you need any
further information.
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1. Beautiful StrokesSegmented art brushes| 00:02 |
Let's have a look at Art Brush as an
illustrator.
| | 00:05 |
Art Brushes are brushes you can actually
use were is the Paint Brush tool over here.
| | 00:11 |
And once this tool is selected we can now
choose a brush from the control panel up
| | 00:16 |
here or we can open the brushes panel
here on this side in my toolbox here in
| | 00:20 |
my panels.
And the way it works that I simply select
| | 00:26 |
a type of brush, for example we can
select this Chalk Scribble Brush and
| | 00:30 |
start to paint on my art board, and what
will happen is that it will take exactly
| | 00:34 |
that shape and expand it on the stroke
that I am creating with the brush If we
| | 00:39 |
look at it closely, we can see that this
is nothing else but a design that is
| | 00:43 |
being stretched from the beginning to the
end of my brush stroke.
| | 00:53 |
To show you how to create one, or
actually how these have been created, I
| | 00:57 |
will delete those, and simply drag out a
brushstroke from the Brushes panel, and
| | 01:01 |
put it here on my art board.
If I go into View > Outline, we see that
| | 01:08 |
this is actually nothing else but a
vector drawing, okay?
| | 01:13 |
Which I've been creating with a, a trays
or with my pen tool, or with any other
| | 01:18 |
drawing tool in Illustrator.
Once I'm done with that, I can pull it
| | 01:22 |
back into the brushes panel, and use it
as a brush.
| | 01:26 |
To show you an example of what I'm doing
here, I will create a brush simply by
| | 01:30 |
using little circles.
So let me Zoom Out again, and create a
| | 01:35 |
little circle, take my Selection tool,
and I will create little duplicates of
| | 01:41 |
that circle, such as so.
Okay, and we can go back into Preview
| | 01:47 |
mode for that and select them all and
give them maybe a fill.
| | 01:54 |
So just a, let's make them a little black
fill like this.
| | 01:57 |
Okay, now to create an art brush all I
need to do is to open the Brushes panel,
| | 02:01 |
select the object that I've just drawn,
and drag it into the brushes panel itself.
| | 02:09 |
At that point, Illustrator will ask me
what type of brush I want to create.
| | 02:13 |
Is it a scatter brush, an art brush or a
pattern brush.
| | 02:16 |
In this case I want to create an Art
Brush and I will say Okay to that and
| | 02:20 |
this new window will open.
I can name my brush.
| | 02:25 |
Let's name this circles.
Okay, I can tell the brush to change the
| | 02:30 |
width of the brush stroke it's self.
Depending on things such as Pressures,
| | 02:36 |
Styles Wheal, Tilt, Bearing, and
Rotation, and that is if I have a pen
| | 02:40 |
tablet that actually has all these
features with it.
| | 02:45 |
So let's leave it fixed for now, and
automatically and art brush was stretched
| | 02:49 |
to fit the stroke length.
I can change the direction, I can flip it
| | 02:54 |
along, I can choose a colorization
method, and say Okay.
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And now, I have my brush here in my
Brushes panel.
| | 03:02 |
Let's delete my original design here, and
start using that brush that I've just created.
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And again, I will use my brush tool to
create that type of drawing.
| | 03:13 |
As you can see, these are no longer
circles.
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That's because the brush expands,
stretches between the beginning and the
| | 03:20 |
end of my stroke.
If I take my Selection tool and select
| | 03:25 |
that Stroke we can actually clearly see
that this stroke is still here, and it
| | 03:29 |
just stretches the drawing on top of it.
If I make a shorter brush stroke such as
| | 03:35 |
so, for example, we can see that these
become even more dramatically stretched, okay?
| | 03:41 |
In some cases, it is important that some
elements in that brush stroke actually do
| | 03:45 |
not get stretched.
Let's delete this for a second, and go
| | 03:51 |
back into my Brushes panel, and double
click on the brush itself, and let's use
| | 03:55 |
this new feature and Illustrator CS5.
Which allows me to stretch the design
| | 04:01 |
between the guides, and this is really,
really cool because I can define an area.
| | 04:07 |
Just by dragging these guides around, an
area that will stretch and leaving out
| | 04:11 |
some elements that will not stretch.
So let's leave out one circle at the
| | 04:16 |
beginning of my line, and maybe two at
the end of my line.
| | 04:20 |
So that you can see clearly on the
Artboard.
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Let's say OK to this, and use my Brush
tool again, and start drawing again.
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And as you can see my beginning is still
a circle and my ending is still a circle too.
| | 04:33 |
Everything in between has been stretched.
This becomes very important in brushes
| | 04:39 |
that use complex elements.
For example, this floral brush over here.
| | 04:45 |
If I use this brush and let's create a
bouquet of flowers here.
| | 04:50 |
You see that what happens if that all of
these areas gets stretched from the
| | 04:54 |
beginning of my stroke to the end of my
stroke.
| | 04:58 |
And in this case what I would like to do
is actually do not distort my floral
| | 05:02 |
design here.
So, what I would do is simply click on my
| | 05:06 |
brush double-click on it and stretch
between the guides and at that point I
| | 05:10 |
will move the guides to exactly the area
that I want, and everything in between
| | 05:14 |
the guides will now stretch and
everything that's left out will not
| | 05:18 |
stretch anymore.
And if I say Okay to that, illustrator
| | 05:24 |
would ask me if I want to apply that
change to all of the strokes I've already
| | 05:28 |
created, leave the strokes alone, or
cancel the operation.
| | 05:33 |
In that case, I want to apply to the
strokes and say Okay, and as you can see
| | 05:38 |
now all of the end parts of my Art Brush
has remained unstreched, okay?
| | 05:44 |
And the only thing that is stretching now
is the stem of that floral element.
| | 05:49 |
So being able to segment an art brush and
illustrator has made it much more precise
| | 05:54 |
to use these art brushes, and also makes
using them much, much more flexible.
| | 06:01 |
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| Variable-width strokes| 00:02 |
This next feature as a designer is truly
a dream come true.
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Basically what this feature allows me to
do is to easily create and save variable
| | 00:09 |
width strokes.
Let me show what I would have done in the
| | 00:13 |
past to actually add a little shape and
movement to that drawing.
| | 00:17 |
I probably would have selected one of
those vector paths, and changed the
| | 00:21 |
stroke width, to something thicker like
this.
| | 00:25 |
And then select it, and under Object, I
would probably expand the appearance.
| | 00:31 |
And then, expand the object itself.
With the fill and the stroke, to access
| | 00:36 |
the bezier curves of that shape.
And then I put, probably take my Direct
| | 00:41 |
Selection tool here.
And move some of those anchor points
| | 00:45 |
closer to this.
And maybe take another anchor point over
| | 00:49 |
here, and move it overlapping it here.
And maybe change these curves a little
| | 00:54 |
bit, okay?
So this way, I could give that specific
| | 00:57 |
line a shape.
But I would have to do that on all of
| | 01:01 |
these lines.
Well, in Illustrator CS5, I can now make
| | 01:05 |
changes on lines.
And actually save these as a profile.
| | 01:11 |
And apply them very very quickly to other
lines as well.
| | 01:14 |
So let me move back from here, and go
back to my original line.
| | 01:18 |
Just to show you how that actually works.
We'lg go back to one point here and use
| | 01:23 |
the new tool that we have here in the
toolbox which is called the Width tool
| | 01:27 |
and it can be invoked with Shift + W.
When I use that tool on a line what I can
| | 01:34 |
do then is click on an anchor point, or
anywhere on the path actually, and make
| | 01:37 |
it thicker.
And may be make sure that these lines
| | 01:42 |
here are little bit more open and right
here may be I want to make it very, very
| | 01:46 |
pointing, okay.
So very quickly using this tool I can now
| | 01:51 |
apply a profile to that path, I can now
also save that profile and apply to these
| | 01:56 |
other pass this well just Cmd + Z out of
that a second and go back to the original
| | 02:00 |
line because I want to show you that
there's a whole bunch of presets already
| | 02:05 |
in the Control panel.
And one of those is this, I can select it.
| | 02:13 |
See, it gets applied, but it gets applied
to a one point stroke width.
| | 02:19 |
So if I want these to be a little bit
thicker, all need going to do is select
| | 02:22 |
my whole drawing and change the stoke
width to maybe something like.
| | 02:28 |
Ten points, OK, and as we can see, this
shape has been very, very quickly added
| | 02:32 |
through the Profiles panel up here.
So I, let's choose another profile.
| | 02:38 |
Actually let's select these objects
again, go into my Profiles, and select
| | 02:42 |
maybe something like the triangular
shape, which could be very nice for this
| | 02:46 |
leaf drawing, and apply it.
And as you can see,the stroke opens wide
| | 02:52 |
and goes into the very thin area over
here.
| | 02:56 |
It's a little bit like using the art
brushes, only that you can apply this to
| | 02:59 |
the strokes.
Let's just create one of those variable
| | 03:02 |
width strokes a second.
And all I need to do really is to take
| | 03:07 |
any drawing tool here and create a line
or a bezie path.
| | 03:12 |
Then to make it easier on myself I will
simply up the stroke size and use that
| | 03:17 |
new tool.
And as I drag along the path you see that
| | 03:22 |
there's a little widget there that tells
me how much is the area on the sides of
| | 03:26 |
the path because the path is always in
the center and if we have an 11 point
| | 03:30 |
path here, we have a 5.5 on one side and
5.5 on the other side.
| | 03:38 |
In this case the measurement unit is set
to millimeters and that's why I see it as
| | 03:42 |
millimeters in that widget.
But I can see that On each side I have
| | 03:47 |
1.94 millimeters.
Now, if I start clicking and dragging,
| | 03:53 |
you can also see in the widget that these
values change.
| | 03:58 |
I can change the path on the sides.
I can go back here to the beginning of
| | 04:02 |
the anchor point.
Close it, okay.
| | 04:05 |
It's almost closed.
Let's see if we control it little bit
| | 04:09 |
more like this, and maybe I can go and
change the path in here as well, and
| | 04:13 |
create a shape like this, which I will
then be able to save into the profiles.
| | 04:20 |
But another interesting thing is that I
can change the sides of these profiles independently.
| | 04:26 |
If I hold down the Alt or Option key, I
can now change only one side of that profile.
| | 04:33 |
Therefore creating very, very interesting
profiles that are not equal on both
| | 04:38 |
sides, Okay.
Also if I press the Shift key while maybe
| | 04:42 |
adding a profile path here, let's say
something like this, I will also be able
| | 04:47 |
to actually adjust the neighboring points
in that path.
| | 04:52 |
So let's first move this variable width
point without holding the Shift key and
| | 04:56 |
see what happens.
You see that the points, or the
| | 05:00 |
neighboring points, which are this one
and this one, are not actually moving
| | 05:04 |
from their position.
Now, if I hold down the Shift key, you
| | 05:09 |
will see that these points will actually
adapt to the width that I am applying to
| | 05:13 |
that third point here in the middle.
And that can also be very, very useful to
| | 05:20 |
create very personalized variable stroke
width.
| | 05:24 |
So being able to create these variable
width strokes without having to expand
| | 05:28 |
the strokes themselves and then move
around the vector points is really,
| | 05:32 |
really a big, big time saver.
Another interesting fact about variable
| | 05:38 |
width strokes is that these can be
applied to brush strokes as well.
| | 05:42 |
So if we open our Brushes panel over
here, we can use either Art brushes or
| | 05:46 |
Pattern brushes, to be used together with
the variable Width tool over here.
| | 05:53 |
So let's try that out for a second.
Let's take my chalk brush here and go
| | 05:56 |
over to my Brush tool and start painting
on the art board.
| | 06:00 |
Then with my Selection tool I will select
the object, go to my Width tool, and
| | 06:05 |
start working on that path.
And as you can see I have total control
| | 06:11 |
over how these lines actually move.
So I can make them a little bit thicker
| | 06:16 |
here, and maybe make it thicker here in
the middle.
| | 06:20 |
So that goes to thin, thick, thin and
maybe here make it thicker again over here.
| | 06:25 |
And therefore, having total freedom and
control over how my brushstrokes can be
| | 06:30 |
applied on my art board.
Another thing that we can do, and that's
| | 06:35 |
using our pattern brushes, let's use this
pattern brush here for example.
| | 06:39 |
And if I use a Rectangle tool right here.
This is how this pattern would be applied
| | 06:45 |
to that object.
Or if I use my Ellipse tool, this is what
| | 06:49 |
I would get.
Let's draw here from the center to see
| | 06:53 |
how that works, and something like this,
and apply that same pattern to it.
| | 06:58 |
So, again, I can select these objects and
decide here with the width tool where
| | 07:02 |
these width actually change so maybe I
can make it a little bit thinner here in
| | 07:07 |
the middle and you see, I can make it go
down like this, I can make it maybe a
| | 07:11 |
little bit thicker over here so that it
bulges, okay, let's try that a little bit more.
| | 07:22 |
Something like that.
Okay.
| | 07:23 |
So that we have a bulge over here.
Or, if I go onto the circle that I have
| | 07:27 |
created here, I can make, thin areas.
Such as this.
| | 07:31 |
To make it almost go into the depth of my
panel here.
| | 07:36 |
Or I can even go here and maybe change
some of these anchor points and get a
| | 07:41 |
completely different pattern that I
initially had.
| | 07:46 |
The combination of art brushes or pattern
brushes together with the width tool
| | 07:52 |
allow you to create even more
personalized drawings inside of
| | 07:56 |
Illustrator CS5.
| | 07:59 |
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| Improvements in the Stroke panel| 00:02 |
There have also been a lot of
improvements in this stoke panel itself,
| | 00:04 |
so let's open it for a second and have a
look at it and drag it out so we can keep
| | 00:07 |
it floating here.
So, close this and move it over here.
| | 00:14 |
First of all we see that the dashed line
area has changed and the arrowhead area.
| | 00:20 |
This is really cool because now I can
create an arrow simply by drawing a line.
| | 00:25 |
Let's make it slightly thicker.
Let's make it maybe 5 point so we can see
| | 00:29 |
better here on the screen and add
arrowheads simply by choosing them from
| | 00:32 |
these drop down menus.
So, I can choose an arrowhead here and
| | 00:37 |
another arrowhead over here.
Okay.
| | 00:40 |
And the benefit is that I can also choose
whether the arrowhead starts right there
| | 00:45 |
at the anchor point or actually goes over
the anchor point itself.
| | 00:51 |
So I have control over how long this path
actually is, plus the arrow head itself.
| | 00:56 |
So I can say, go outside of the path and
you see that the arrow head now starts at
| | 01:00 |
the anchor point itself and I can also
choose the scale of that arrow head.
| | 01:07 |
So maybe right now this is the line
thickness that I want, but I want the
| | 01:11 |
arrow head slightly smaller.
So what I can say is make the arrow head
| | 01:16 |
50% like so, if I link them together by
clicking on the little chain here what I
| | 01:20 |
will be able to do is to change these
together so that they actually change
| | 01:24 |
proportionally together.
So let's put that back to 100% click on
| | 01:31 |
the chain, and change the scaling, maybe
let's put it down to 50% again, something
| | 01:36 |
like that.
And both the arrow heads have now changed.
| | 01:41 |
So, now I have total control in
Illustrator CS5 on how to actually create
| | 01:46 |
these arrowheads, position them on the
path, and even scale them.
| | 01:52 |
But another really neat feature in the
Stroke panel is how we can apply dashed lines.
| | 01:58 |
So to demonstrate that, I will use the
rectangle tool and draw a rectangle like
| | 02:02 |
this and let's make that slightly thicker
so we can see it better in the screen,
| | 02:07 |
and what I will do is, apply the dashed
line.
| | 02:12 |
Boom, like this, okay?
This first button is the behavior of
| | 02:17 |
Illustrator previously.
Previously, we could tell Illustrator
| | 02:21 |
exactly how long the dash is and how long
the gap is.
| | 02:25 |
So let's say that we awnt the dash to be
20 points like so, actually getting
| | 02:30 |
longer, but I can also define the gap.
So I can say maybe I want a 30 point gap
| | 02:36 |
between those dashes, so it was very,
very easy for me to actually create the
| | 02:41 |
dash line in Illustator.
The problem is, taht we have uneven corners.
| | 02:48 |
Like for example here, the dash goes
around.
| | 02:51 |
But it's not equal.
It doesn't line up on the sides.
| | 02:54 |
And this is not the type of result that I
want in my design.
| | 02:57 |
And many, many designer were complaining
about that because it's just not neat.
| | 03:02 |
InDesign does a much better job at
creating dashed lines.
| | 03:06 |
So, what we can do now in Illustrator CS5
is simply click this button here which
| | 03:11 |
actually aligns the dashes to corners and
path ends adjusting lengths to fit.
| | 03:17 |
So, when we now press this button boom,
Illustrator will still try to honor our
| | 03:22 |
20 point, 30 point limits that we gave in
the dashed gap numbers here.
| | 03:28 |
But it will also try to expand those
gaps or dashes to actually make the
| | 03:33 |
corners fit right there on the corners,
so that now we have a perfect dashed line
| | 03:38 |
around that square.
The same thing can be done, obviously, on
| | 03:44 |
elements that are rather more complex,
like for example a star.
| | 03:48 |
Let's draw a star here.
Let's turn on the dash line, you see the
| | 03:53 |
dash line is now applied, but I don't
like the way that these corners work.
| | 03:59 |
So I simply need to click on that button
here, in the strokes panel, and boom, all
| | 04:03 |
of this now adjusted.
I can now create those dash lines so that
| | 04:08 |
they fit exactly the, on my design.
So, the ability to really change these
| | 04:13 |
options in the dash lines and make the
arrowheads exactly the way I want,
| | 04:17 |
without having to go through complicated
menu items, makes it much, much easier to
| | 04:21 |
actually use the Stroke panel.
And I think designers will be very, very
| | 04:29 |
happy about that.
| | 04:31 |
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2. Painting and DrawingThe Bristle Brush| 00:02 |
The Bristle Brush is a new tool in Adobe
Illustrator CS5, which allows you to draw
| | 00:05 |
natural and fluid brush strokes like
never before.
| | 00:09 |
Let's start by creating a new bristle
brush, and as all brushes, the bristle
| | 00:13 |
brushes will be in the Brushes panel
here.
| | 00:17 |
So to create a new bristle brush, we need
to click the New Brush button.
| | 00:22 |
And then choose Bristle Brush from the
new brush selection window here.
| | 00:27 |
And say OK.
And this is what we get.
| | 00:30 |
And we're going to give it a name, My
First Brush.
| | 00:35 |
And we can choose from a whole range of
shapes for these brushes.
| | 00:39 |
From a Round Point, to a Round Blunt,
Round Curve, Round Angle, Round Fan, and
| | 00:44 |
all the way down to Flat Fan.
So let's see how these would behave.
| | 00:50 |
Let's a Round Fan for example.
This is the type of line we will get.
| | 00:55 |
And then we can go even further into the
Options changing the size of the brush.
| | 01:01 |
Let's make it slightly thicker like this.
We can change the bristle length of the brush.
| | 01:08 |
Let's say, let's make it slightly longer a
bristles so we get a more fluid shape here.
| | 01:14 |
The bristle density from very low, fewer
bristles to more bristles, something like
| | 01:20 |
that and the bristle thickness we can
also change that.
| | 01:25 |
Normally on 50 and we can go down or up
again and these are all percentages and
| | 01:30 |
we can see a live preview here in the
Brush options.
| | 01:35 |
The paint opacity.
You can change that from 100% and it
| | 01:39 |
would look like this, all the way down to
0%.
| | 01:43 |
So let's take something like 50% for our
first Bristle Brush and we can also
| | 01:48 |
change the stiffness of the bristles
themselves.
| | 01:52 |
And remember, all of these settings can
be applied to any of these shapes.
| | 01:58 |
So, we've chosen the round fan and say OK
to that.
| | 02:01 |
Now, if I take my pen for my tablet and
also bear in mind that if you use a Wacom
| | 02:06 |
tablet with a 6D pen you will also be
able to have the pen respond to rotation
| | 02:10 |
of the pen itself.
So as soon as I get closer to my art
| | 02:17 |
board here, taking a brush, we will see
actually the bristle brush on my art board.
| | 02:24 |
And as I click, I will start painting.
And as you can see, it gives me a very,
| | 02:30 |
very fluid and natural brush stroke.
Let's zoom in a second just to see what
| | 02:35 |
it actually did.
Basically what it did it created a whole
| | 02:39 |
bunch of vector shapes to give me the
illusion of that brush stoke.
| | 02:44 |
Zoom out again and maybe make another
example.
| | 02:48 |
Let's go here to my document that you can
also open.
| | 02:52 |
It's inside of the Training files and
take a Bristle Brush here and change
| | 02:56 |
maybe the color to white, okay.
And open this Bristle Brush here and see
| | 03:02 |
if that will work.
It's a flat fan.
| | 03:04 |
I already named it smoke and let's say OK
to that.
| | 03:08 |
And I can actually see on my art board
where the brush is.
| | 03:12 |
By tilting it, you see that the movement
of the tilt of my brush actually is
| | 03:16 |
responding on the art board as well.
And then, simply by clicking and
| | 03:22 |
dragging, I can now start painting that
smoke.
| | 03:25 |
Making a very realistic brush stroke
here.
| | 03:29 |
Now there's a couple of shortcuts that
needs to be known.
| | 03:32 |
For example, the square brackets.
If I press the buttons on my keyboard.
| | 03:37 |
The open square bracket.
You see that my brush is getting smaller
| | 03:41 |
which allows me to very, very quickly go
back in there and draw smaller brush
| | 03:45 |
strokes or if I press the end square
bracket I can make the brush bigger.
| | 03:51 |
Therefore, create a bigger brush and
continue drawing like that.
| | 03:56 |
Another interesting keyboard shortcut is
that all new numerals actually allow you
| | 04:00 |
to change the opacity of the brush
itself.
| | 04:03 |
So 1 would be the minimum and 0 would be
the maximum.
| | 04:07 |
So 1 is 0% and maximum, 0 is 100%.
I can start painting.
| | 04:15 |
You see that's actually 10% 1.
If I press the 3 key, I'm moving over to
| | 04:20 |
30% of that smoke, see?
And as I continue painting, I can really,
| | 04:26 |
really create that effect of smoke coming
out of my match, here.
| | 04:31 |
Now, there are other things that you need
to know about the Bristle Brush.
| | 04:36 |
These Bristle Brushes are very, very
complex objects.
| | 04:39 |
If you select them, they look like
nothing, like, just like normal bezier lines.
| | 04:44 |
Okay, but don't be fooled by that,
because if you expand these strokes, this
| | 04:47 |
is how it will look.
So if we go under Object > Expand Appearance.
| | 04:53 |
This is the actual drawing of these
points, okay?
| | 04:57 |
And if I go into outline mode, it will be
even more dramatic.
| | 05:02 |
Okay.
What that means is that you have
| | 05:04 |
thousands of new bezier points and bezier
lines inside of your drawing, making the
| | 05:09 |
art board very, very complex when you use
the Bristle Brush.
| | 05:14 |
And this complexity can come out when you
print the document because these are
| | 05:18 |
thousands of points that need to be sent
to the printer or saved into a PDF or
| | 05:22 |
when you place that document into an
InDesign file.
| | 05:27 |
It will become very, very complex to
preview.
| | 05:30 |
So, you can do all of the drawing you
want inside of illustrator without having
| | 05:35 |
any effect on the way illustrator
actually works, and let me go to preview
| | 05:39 |
mode here and undo the expand appearance.
Okay, so that we go back to our bristle
| | 05:46 |
brushes here If you have very, very
complex bristle brushes on your artwork,
| | 05:50 |
it is a good idea to actually rasterize
them before you send them to the printer
| | 05:53 |
or to your designer, who will then put it
into an InDesign document, for example.
| | 06:00 |
So to make that easier, a new selection
here has been added in the Select menu >
| | 06:05 |
Object > Bristle Brush Strokes.
And if we select this, all the Bristle
| | 06:11 |
Brush strokes in my artwork will be
selected.
| | 06:15 |
And at that point, I will be able to go
to object and ask to rasterize this rasterisation.
| | 06:22 |
And if I click on here I can then choose
the resolution that I want for the rasterisation..
| | 06:28 |
In this case maybe I want a high
resolution like 300 PPI so I can print it well.
| | 06:35 |
And I want the background to be
transparent because I want it to have the
| | 06:37 |
same look and feel that it has on my art
board.
| | 06:41 |
So I will say okay to that.
And Illustrator will now take these
| | 06:45 |
Bristle Brushes and rasterize them into
an image.
| | 06:48 |
As you can see, the effect is exactly the
same, but it'll be far less complex to
| | 06:54 |
actually send through a printer or to
create a PDF with.
| | 07:01 |
| | Collapse this transcript |
| The perspective grid| 00:02 |
The Perspective Grid is a new feature in
Illustrator CS5.
| | 00:05 |
This tool actually allows you to draw in
perspective.
| | 00:09 |
However, it has nothing to do with the
effect called 3D.
| | 00:13 |
But it's kind of a cool way to start to
talk about perspective.
| | 00:16 |
Let's use that effect for a second.
Let's draw a simple square for a second.
| | 00:21 |
And go under Effects > 3D > Extrude and
Bevel.
| | 00:25 |
And at that point, what I want to do is
Preview that, okay.
| | 00:30 |
Let's change the extrude depth slightly
so it looks more like a cube, something
| | 00:36 |
like that, OK.
And then I can change the Perspective.
| | 00:43 |
How the angle at which I'm viewing that
object.
| | 00:46 |
Okay?
So, let's add some perspective to that cube.
| | 00:50 |
Something like that.
Okay?
| | 00:53 |
And you can see that in fact it is
transforming into perspective.
| | 00:59 |
Now, this is a very good example to show
you the three point perspective.
| | 01:03 |
Because what we, basically have here now,
is a 3D object, it looks 3D, I can still
| | 01:08 |
change it.
And if I go here into the Appearance
| | 01:13 |
panel, I can, reopen that and change that
3D object.
| | 01:18 |
But what I want to do now, and I'm
going to take some strokes here, is to
| | 01:22 |
show you, the, perspective, the,
vanishing points of that object.
| | 01:28 |
Here we have one perspective line.
Let's do another one here.
| | 01:32 |
Okay, and a last one down here.
Okay, so that's one of the vanishing
| | 01:38 |
points that we have.
And that's also where the horizon would be.
| | 01:43 |
So let's activate the Rulers very quickly
and put the Horizon right here.
| | 01:48 |
At that point, I will also draw the other
prospective lines on this side of the object.
| | 01:55 |
Let's go all the way over to here, okay,
maybe a little bit wrong but you get the
| | 01:59 |
idea, like so.
Let's put the other line over here, other
| | 02:04 |
white, okay?
So were going to fix that in a second.
| | 02:08 |
Let's just say that we want black
strokes.
| | 02:12 |
Okay.
And make that our default.
| | 02:16 |
Let's take the Line tool again, and draw
the last vanishing point here.
| | 02:23 |
Okay.
So they're all meeting somewhere, there
| | 02:25 |
on the horizon.
Okay.
| | 02:28 |
And then we have another set of
perspective lines that go all the way
| | 02:32 |
down to the bottom.
And as you can see, they will actually
| | 02:36 |
meet eventually.
Okay?
| | 02:38 |
So, when they meet, these are called the
vanishing points.
| | 02:42 |
Now, let's go back to an empty document.
Let's select everything, delete it and
| | 02:47 |
activate the Perspective Grid.
So under View, I would go to Perspective
| | 02:52 |
Grid, and there I can do several things.
I can define my own grid, or use any of
| | 02:57 |
the default prospective grids that I have
here.
| | 03:01 |
So first of all, let's look at One Point
perspective.
| | 03:05 |
Which is this one, where we have the
horizon line and we have a vertical plane
| | 03:09 |
and a horizontal plane.
This would allow me for example to draw a
| | 03:14 |
road that goes into infinity.
Let's do that for a second, and start
| | 03:18 |
actually using that perspective plane.
There's two very important tool that we
| | 03:22 |
need to use.
And one is the Perspective Grid tool and
| | 03:26 |
the other one, even more important, is
the Perspective Selection tool.
| | 03:31 |
That's one we have to, learn how to use,
because whatever we change, in that
| | 03:35 |
Perspective Grid, we need to use this
tool for.
| | 03:39 |
So let's go back to our grid, and have a
quick look at that.
| | 03:42 |
So first of all we have the horizon here,
and I can change the horizon height.
| | 03:47 |
Therefore, the angle of vision that I'm
looking at the horizon.
| | 03:52 |
I can also change the position of that
vertical plane.
| | 03:58 |
Okay, and also move the whole grid
around.
| | 04:02 |
Okay.
So let's start by drawing the road.
| | 04:06 |
First of all, I can start drawing on no
plane at all.
| | 04:10 |
And you can see, we have a little widget
here that allows us to go from the left
| | 04:13 |
grid to a grid that we don't have here
that's a non-active grid, and the
| | 04:17 |
horizontal grid.
And if I click here into the gray area,
| | 04:22 |
no active grid at all.
All right.
| | 04:25 |
So, let's start by drawing a rectangle
here.
| | 04:30 |
Let's do something like this.
Let's fill it with black and oh, that's a
| | 04:33 |
coolLAUGH optical illusion here.
It looks like it's not a rectangle but as
| | 04:39 |
soon as I move it around out of that
grid, we will see that in fact this is a rectangle.
| | 04:44 |
Now I can chose which plane I want to
work on.
| | 04:47 |
Let's say I want to work on the Horizontal
Grid.
| | 04:50 |
So I would select it up here in my
widget.
| | 04:54 |
Take my object, and actually place it on
the grid.
| | 04:57 |
And as you can see, it immediately takes
the new shape following the grid.
| | 05:03 |
And by using the Perspective Selection
tool, I can now make that street much
| | 05:08 |
longer and may be a little bit wider.
And every thing works in perspective.
| | 05:14 |
And then of course, I would add also my
white little signals here, I put one here
| | 05:20 |
okay, and color that with white.
Let's make it the fill white and no stroke.
| | 05:28 |
And then I can use my Perspective
selection tool.
| | 05:32 |
And by pressing down the Alt key or
Option key, I can move that object in
| | 05:37 |
perspective into the horizon.
And when I duplicate that Cmd+D, you see
| | 05:44 |
that each line gets closer.
And shorter.
| | 05:49 |
Okay?
If I want to get rid of that grid, the
| | 05:52 |
command is Cmd+Shift+I.
So I can have a look at it without the
| | 05:56 |
perspective grid.
All right?
| | 05:59 |
And this is my first perspective drawing.
Let's go back to the grid, turn it back
| | 06:05 |
on, select everything and delete.
Let's look at a few other grids here.
| | 06:10 |
So, View > Perspective Grid > Two-point
Perspective.
| | 06:14 |
This is the one we probably will use most
because we have two vanishing points on
| | 06:19 |
the horizon and this really allows us to
do drawings in perspective that look realistic.
| | 06:26 |
Again, here, I can change the horizon.
Making the angle of vision, lower or higher.
| | 06:35 |
Okay, and I can also move any of these
planes around, okay?
| | 06:39 |
So that if I need to do some precise
drawing, I can move them around on the grid.
| | 06:46 |
To make precise movements on that grid,
when I press the Shift key, you see that
| | 06:50 |
the increments will be from grid line to
grid line.
| | 06:54 |
And this will allow me to put it right
back to where it was.
| | 06:58 |
Let's have a quick look at the third
prospective grid, which is the
| | 07:02 |
Three-point Perspective.
Let's put that one on, okay?
| | 07:06 |
And this is the grid we have.
lets move it up a second, you see.
| | 07:10 |
Very much like the cube that I did with
the 3D Effect applied to a simple square, okay?
| | 07:18 |
So I can use that type of perspective as
well, but let's move back to more simple
| | 07:23 |
two-point perspective grid.
Also, and this is a good time to show
| | 07:28 |
that, under View > Perspective Grid, I
can define my own grids.
| | 07:32 |
I can save those grids as presets as
well.
| | 07:36 |
Again I can choose from the type of
perspective, One-point perspective, Two
| | 07:39 |
point perspective, or Three-point
perspective.
| | 07:44 |
I can change the unit of measurement.
So maybe if I'm working in centimeters, I
| | 07:49 |
can make my drawings that way.
But very interesting is that I can also
| | 07:54 |
choose the scale.
So that if I change the scale to 1 to 100
| | 07:58 |
for example, I could actually work in
meters.
| | 08:02 |
And meters would then be calculated back
to a smaller size that fits inside of my
| | 08:07 |
perspective grid.
Very, very interesting if you have to do
| | 08:11 |
very precise architectural type of
drawing.
| | 08:14 |
So let's say OK to this.
I can decide where I want to see my grid line.
| | 08:19 |
So I can say I want a grid line every
centimeter.
| | 08:23 |
I can change the viewing angle which is
really the distance between the horizon
| | 08:28 |
line and the beginning of my perspective
grid.
| | 08:32 |
The viewing distance and the horizon
height.
| | 08:35 |
Very, very precisely.
So if you need to numerically work, there
| | 08:39 |
is everything that is necessary here
inside of that window that allows you to
| | 08:42 |
define the grid.
And of course, I can also change the
| | 08:47 |
colors of the grids themselves.
Let's say OK to this and find out another
| | 08:52 |
shortcut here.
I showed you before how you can move from
| | 08:56 |
one grid to the other just by clicking
the widget.
| | 09:00 |
The other thing that you can do, and lets
start drawing a rectangle here.
| | 09:04 |
Let's draw a rectangle right here on the
grid.
| | 09:08 |
And it's already in perspective.
And lets color that triangle with a
| | 09:12 |
darker color so that we can all see it on
the screen.
| | 09:16 |
And lets remove the stroke and use the
Perspective Selection tool.
| | 09:23 |
At that point, when I move the object.
You see that the object moves on that plane.
| | 09:29 |
If I press the 2 key, that object now
moves on the ground plane.
| | 09:35 |
If I press the 3 key, it moves on the
right side of the grid.
| | 09:39 |
So this allows me to very, very quickly
move objects around from one grid to the other.
| | 09:46 |
Again.
if I press the alt key while I do that, I
| | 09:49 |
will create a clone a copy of that
objects are very quickly.
| | 09:53 |
So very quickly I can build a shape and
perspective.
| | 09:57 |
Another important keyboard shortcut, and
to do that what I will do is actually
| | 10:01 |
change that grid slightly.
Actually let's start over, let's delete that.
| | 10:07 |
And with my Grid tool, I will change one
of the vanishing points, just to make a
| | 10:11 |
quick example of how I would do a cube
here.
| | 10:15 |
So what I will do is take my Fill here,
change the Opacity of it to 50% so that
| | 10:21 |
we can actually see through it.
And show you what we can do.
| | 10:28 |
Let's put our first square here on the,
let's take this tool here okay, and draw
| | 10:34 |
a square.
Okay.
| | 10:38 |
That's my first one, and let's change the
opacity to 50%.
| | 10:43 |
Perfect.
Now, with the Perspective Selection tool,
| | 10:48 |
I will take that object and move it to
the other side.
| | 10:53 |
So while I'm moving it, I will press the
Alt or Option key, and press 1 to move it
| | 10:58 |
over to the other side.
And if I press Shift, I can very
| | 11:03 |
precisely place it and let it go.
Okay.
| | 11:07 |
So, now I have the front view of my cube.
What I want also is to fill the back of
| | 11:13 |
that cube.
So to do that, what I need to do is take
| | 11:16 |
that object, still with the Perspective
Selection tool, and create a clone, and
| | 11:21 |
press the 5 key.
And the 5 key allows me to move that object.
| | 11:27 |
In that perspective here.
And I will move it right here and we will
| | 11:31 |
now see that we've covered this area
here.
| | 11:35 |
I will do the same over here and press
the Alt or Option key, press the 5 key
| | 11:40 |
and move that object back.
Okay, so we've basically created is the
| | 11:46 |
four faces of a cube, which in this case
is transparent.
| | 11:52 |
So remember that when pressing the 5 key,
you can actually move objects in the
| | 11:56 |
depth of the perspective.
That's also very cool when you want to
| | 12:01 |
use other types of objects.
One type of object that's very useful to
| | 12:06 |
use in this perspective mode.
And let's put the grid back to where it
| | 12:10 |
was, are the symbols.
Because symbols remain editable.
| | 12:15 |
Okay?
So let's take a symbol.
| | 12:17 |
Let's take a symbol here from the Symbols
Library.
| | 12:20 |
Let's go down here, open Symbols Library,
and I like the Tiki ones, and let's drag
| | 12:24 |
out maybe this female figure here.
Okay.
| | 12:29 |
We can now close this panel here and
place that object on the grid.
| | 12:35 |
So again, with my Perspective Selection
tool and by choosing the left grid, I can
| | 12:41 |
place that object right here onto my
perspective.
| | 12:46 |
Let's make it slightly bigger.
Pressing the Shift key will do that in proportion.
| | 12:52 |
And what I want is that there's a whole
row of these female figures.
| | 12:56 |
So I will start at the back actually
because once when you duplicate objects
| | 13:00 |
in Illustrator.
They will appear on top of each other.
| | 13:05 |
So what I want to do is move that abject
slightly here to the back, okay?
| | 13:10 |
Pressing the Shift key will constrain the
horizontal movement.
| | 13:15 |
And then pressing Alt+Shift, I will
slowly move these figures back to the
| | 13:20 |
foreground, okay?
And then using Cmd+D, I will move these
| | 13:25 |
figures towards me.
Okay.
| | 13:28 |
And the cool thing here is that these
figures are now shown here in perspective.
| | 13:33 |
Let's zoom in a second, and get rid of
the perspective grid holding down
| | 13:38 |
Command+Shift+I, okay.
Here's my drawing.
| | 13:43 |
Let's get rid of this.
Okay.
| | 13:47 |
And what we have here is also the
overlapping figures.
| | 13:50 |
Now, why is it important to use symbols
for specific things?
| | 13:55 |
For example, if I wanted to remove the
glasses from this female figure, all I
| | 13:59 |
need to do right now really is to
double-click on it, go into Symbol
| | 14:02 |
Editing mode, okay?
And that's basically the Isolation mode.
| | 14:11 |
I can now Zoom In to it and with my
Direct Selection tool, I will Select the
| | 14:15 |
glasses and Delete them.
And as soon as I go out of Isolation
| | 14:20 |
mode, all of my Symbol Instances have
been Updated.
| | 14:25 |
Another example of things I can do with
the perspective grid, and that remains
| | 14:29 |
live, is working with text.
So let's delete all of these figures,
| | 14:34 |
let's turn on the perspective grid again,
Cmd+Shift+I, okay?
| | 14:38 |
That's the one that I last used, and then
I can start typing text.
| | 14:43 |
Let's type text something like
Video2Brain.
| | 14:46 |
Okay, lets make it slightly bigger.
And with my Perspective Selection tool, I
| | 14:49 |
will now select that object.
And define, on what side of my
| | 14:55 |
perspective this will go.
Let's put it here, and now we have.
| | 15:03 |
Type that is truly in perspective; that
goes towards the vanishing point.
| | 15:09 |
Like I said, one of the benefits of using
text and the Perspective Grid is that
| | 15:13 |
this text remains live.
If you look at it with the Selection
| | 15:18 |
tool, or the Perspective Selection tool,
it looks like this text has been actually
| | 15:21 |
turned into paths, which is not really
what we want, if we want to keep the text live.
| | 15:27 |
But this is only an illusion because if I
double-click on it, we go into Isolation
| | 15:32 |
mode up here.
And this text is in fact Still text.
| | 15:37 |
So I can add maybe two little arrows
right here, okay.
| | 15:41 |
And then go out of Isolation mode by
clicking the button up here, and my text
| | 15:45 |
is now being updated.
I can now move the text back into its
| | 15:51 |
position, and the update is done.
So basically by using the Perspective
| | 15:56 |
Grid, it can truly do anything.
You can use the symbols, you can use live
| | 16:02 |
text, you can create drawings in
perspective.
| | 16:06 |
One last note though, which is very
important.
| | 16:10 |
If I move objects by using the normal
Selection tools, for example, like this.
| | 16:16 |
This object will now go out of the
Perspective Grid.
| | 16:19 |
And Illustrator actually alerts you of
that.
| | 16:22 |
The perspective object will be expanded
in order to perform this operation.
| | 16:26 |
So, if you're trying to move, scale, or
copy a perspective object, please use the
| | 16:30 |
Perspective Selection tool.
Okay?
| | 16:33 |
This is why it's very important to always
use that tool when you're working in perspective.
| | 16:38 |
Okay, that's an error that's very easy to
make, but you get used to it very, very
| | 16:42 |
quickly to use that specific tool.
So I'm going to Cmd+Z out of that, and
| | 16:46 |
this object is still inside of my
perspective.
| | 16:50 |
And again, just to finish this, I'm going
to take that object, press the 2 key, the
| | 16:55 |
3 key and move the text over here to the
other side.
| | 17:00 |
And as you can see, it is truly
interactive and it is very, very easy to
| | 17:04 |
draw in perspective now.
| | 17:07 |
| | Collapse this transcript |
| Drawing modes| 00:02 |
Adobe Illustrator CS5 introduces two new
drawing modes, draw behind and draw inside.
| | 00:07 |
You can find them here in the toolbox.
This is the draw normal, draw behind, and
| | 00:14 |
draw inside button, okay.
So these buttons can be chosen or
| | 00:20 |
selected right here in the Toolbox, or
it's even easier to know the shortcut to those.
| | 00:26 |
It's Shift D, just to switch from one
mode to the other.
| | 00:29 |
So, for example, if we do a drawing here,
let's draw a simple shape here and use
| | 00:33 |
the Normal mode.
You will see that as in the past objects
| | 00:38 |
will stack on top of each other.
And this is very evident if we open the
| | 00:44 |
Layers panel we see that these paths
actually stack on top of each other.
| | 00:50 |
Okay let's close this, let's leave the
Layers panel open for a second so we can
| | 00:54 |
see what happens when we draw behind.
To draw behind, I will actually choose
| | 01:00 |
another color here.
Let's go back into my swatches just to
| | 01:03 |
make it much more evident, and start
drawing, okay?
| | 01:07 |
So with nothing selected, and by choosing
draw behind, I will now draw behind the
| | 01:13 |
last object in the stacking order, okay?
Or, if I select an object, simply like
| | 01:21 |
this, and start drawing with the Draw
Behind mode on, you will see that I will
| | 01:27 |
draw behind that specific object.
Okay?
| | 01:33 |
and it adds here inside the Layers panel.
So when you have an object selected and
| | 01:38 |
you draw behind, it will draw right
behind that selected object.
| | 01:43 |
If you have no objects selected, it will
put the new object right at the bottom of
| | 01:48 |
the layers here, of the stacking order.
So lets Delete some of those and look at
| | 01:55 |
this other button here,the Draw Inside.
So when I select an object and choose
| | 02:02 |
Draw Inside, or learn the short cut,
Command D, to move from one to the other okay?
| | 02:09 |
As soon as I'm on Draw Inside, you will
see that I also have this indication here
| | 02:14 |
that we are actually creating a clipping
mask, and if I now draw my objects in
| | 02:18 |
here, lets take another object for an
example a star here and start drawing the
| | 02:22 |
star you will see that it is effectively
cropped by the first object.
| | 02:30 |
Let's also change the color to see that a
little bit better, like so.
| | 02:33 |
Okay so if I continue to draw stars Like
this, you will see that there are
| | 02:37 |
effectively inside the object that I
selected.
| | 02:42 |
So these 2 new drawing modes, the draw
behind and the draw inside effectively
| | 02:47 |
replace the multiple step process, in the
past I would have had to do that in many
| | 02:51 |
steps, for example.
And the normal drawing mode here if I
| | 02:58 |
drew my star over here and then I wanted
to draw a star or maybe a circle in the
| | 03:03 |
back of that I would draw the circle and
then go under object, arrange, sent to
| | 03:08 |
back or sent backward.
Okay.
| | 03:14 |
So, this was something I had to do in the
menus or over here in the Layers panel.
| | 03:19 |
Moving my objects up and down of the
stacking order.
| | 03:23 |
And also to create a clipping mask, I
would have to create the objects first
| | 03:26 |
and then put them inside of the clipping
mask.
| | 03:30 |
And remember that in Illustrator, when
you click on a clipping mask, you can
| | 03:34 |
actually go inside of the group, click
more and actually go and work with these
| | 03:38 |
specific objects.
Inside of the clipping mask.
| | 03:43 |
And this is called the isolation mode.
And we can then move back these
| | 03:47 |
breadcrumbs here, and go back to our
original illustration.
| | 03:54 |
| | Collapse this transcript |
| Transparency in gradient meshes| 00:02 |
For those of you who use gradient meshes
a lot, this feature will be very, very welcome.
| | 00:06 |
For those of you who don't know what a
gradient mesh is, let me just show you
| | 00:10 |
what it is.
Let's draw a circle here, because I want
| | 00:13 |
to add some spheres to that drawing.
So let's draw a simple circle.
| | 00:18 |
And there's actually several ways I can
create gradient meshes.
| | 00:22 |
One is actually to go up here in the
Object menu and choose Create Gradient
| | 00:26 |
Mesh and Illustrator will ask me how many
rows and how many columns I will want in
| | 00:31 |
that gradient mesh.
I will leave four and four just to show
| | 00:36 |
you how it will look like.
I can even check the preview box here and
| | 00:41 |
basically what Illustrator does, It adds
Bezier points, inside of that shape that
| | 00:46 |
I've selected.
Let's cancel out of that, because I want
| | 00:50 |
to show you the other way, because
there's actually a tool in the toolbar
| | 00:53 |
called the Mesh tool.
And the Mesh tool allows me to put my
| | 00:57 |
mesh points.
Simply by clicking on my object.
| | 01:01 |
And therefore, adding those mesh lines
manually on the object.
| | 01:05 |
I'm going to Cmd+Z out of that to go back
under the Object menu, and Create
| | 01:10 |
Gradient Mesh.
Because this will create a very regular
| | 01:14 |
gradient mesh, and click OK.
At that point, a very important tool is
| | 01:18 |
also the Lasso tool here.
The Lasso Selection tool.
| | 01:21 |
Because this tool will allow me to very,
very quickly select some points, across
| | 01:27 |
that gradient mesh such as this.
And then, by going into my Swatches
| | 01:33 |
panel, I can choose maybe another color
for that.
| | 01:38 |
Just these points, and you can see how
the black is now applied to those points
| | 01:42 |
on the side.
Also, if I want to create some
| | 01:45 |
highlights, I can maybe select one of the
points and select the white color in my swatches.
| | 01:52 |
And therefore starts to create a 3D
looking object, just by using these meshes.
| | 01:59 |
So, what's new in Illustrator CS5 is that
finally, you can give those meshes a transparency.
| | 02:05 |
You can add alpha to them.
So, let's select some of the points here,
| | 02:11 |
and go here into the Transparency panel
and change the opacity of just these
| | 02:15 |
points inside of the gradient mesh to
something lower.
| | 02:21 |
Let's see how it will start looking.
Okay, perfect let's move it all the way
| | 02:25 |
down to 50 so we can have a good example
of what it does.
| | 02:29 |
Let's say okay to this.
Let's commit.
| | 02:32 |
And as I move this sphere across my art
board, we can see that within this
| | 02:36 |
gradient mesh, I now have transparency.
Be aware that when you save this sort of
| | 02:43 |
transparency inside of meshes to a legacy
format, for example, Illustrator CS4 or CS3.
| | 02:50 |
It will however retain the transparency
on the mesh, it will retain it as an
| | 02:56 |
opacity mask.
| | 02:59 |
| | Collapse this transcript |
| The Shape Builder tool| 00:02 |
The Shape Builder tool is new in
Illustrator CS5 and it allows you to
| | 00:05 |
create complex shapes very, very, very
quickly.
| | 00:09 |
Let's look at it for a second, it's right
over here in the Toolbox.
| | 00:13 |
Shape Builder tool or Shift + M, Shift +
M, here we go, selected.
| | 00:19 |
If you double-click on it you will open
the Shape Builder tool options and there
| | 00:22 |
is the couple of things I want to explain
here.
| | 00:26 |
First of all the shapes we can work on
can be either closed or open like this
| | 00:30 |
one and the Shape Builder tool has a Gap
Detection option were I can define shapes
| | 00:35 |
that will be open or closed depending on
how big the gap is, okay that's to make
| | 00:40 |
my work faster.
Its a little bit like in life color, but
| | 00:47 |
here I can choose small, medium and large
okay or even a custom dimension of that
| | 00:51 |
gap, okay.
If I want objects with a certain gap if
| | 00:56 |
its smaller than 5 millimeters for
example to simply close it I can also
| | 01:01 |
consider open filled path as closed, like
this one.
| | 01:06 |
This one is an open path but it has a
fill and I can consider those as closed.
| | 01:11 |
And in merge mode while I'm using the
tool, by clicking on path I can actually
| | 01:15 |
split the path that I've just created.
Which is a cool feature that I'll show
| | 01:20 |
you in a second.
And then I can also choose to pick the
| | 01:24 |
color from the color swatches and the art
work of course or even see the cursor
| | 01:29 |
swatch preview as I create my shape with
the Shape Builder tool.
| | 01:36 |
I can highlight the Fill, I can highlight
the Stroke when it is editable.
| | 01:41 |
And I can choose the color for that
highlight, so lets see how it works just
| | 01:45 |
say OK to these options and we are going
to create a few circles here.
| | 01:51 |
Just put one here in the middle and may
be decided to draw something like this
| | 01:56 |
and I am going to move that over and
duplicated over here.
| | 02:01 |
And you can already see that I am trying
to create that shape, but this is
| | 02:05 |
something that I would have done with the
Pathfinder, right?
| | 02:09 |
To put these shapes together.
Now, simply by selecting them all like so
| | 02:13 |
with my cursor, I can go into the Shape
Builder tool and you see hover over these
| | 02:18 |
shapes and say which shapes belong to
which.
| | 02:24 |
So simply by clicking and dragging I can
draw a line that will unite these shapes
| | 02:28 |
together and let's do it on this side as
well and I'm done.
| | 02:33 |
Also above my cursor you can see the
Color Swatches that I've chosen in the Options.
| | 02:38 |
So by using the Left and Right Arrow keys
I can actually navigate those Swatches
| | 02:43 |
and choose the color that I want for my
object.
| | 02:48 |
Simply by clicking them I can apply it.
Now, we want to add some other shapes here.
| | 02:53 |
For example, add two eyes here to my
graphic.
| | 02:56 |
So, I'm going to draw them, make them
slightly bigger, like this, move them,
| | 03:00 |
duplicate them, okay.
And again, by selecting the object and
| | 03:05 |
using the Shape Builder tool, I can now
go in here and by pressing the Alt or
| | 03:09 |
Option key You will see that my Shape
Builder a cursor from a little plus sign
| | 03:13 |
will go to a minus sign.
So whenever I click here now, see I can
| | 03:20 |
make holes inside of that shape.
So not only can I add shapes together I
| | 03:25 |
can remove shapes from a shape that
already exists.
| | 03:29 |
So let's move that shape around little
bit just to show you that this is in fact transparent.
| | 03:35 |
And therefor, I can use that Shape
Builder tool to very very quickly, create
| | 03:40 |
complex shapes, okay?
It's not unlike the Pathfinder which is here.
| | 03:46 |
I'm just going to show it to you as a
reminder.
| | 03:49 |
Pathfinder, which allows you to merge
shapes together to unite them to have the
| | 03:54 |
minus the fronts, therefore punching a
hole into the object, or putting objects
| | 03:59 |
together in that way, using the
Pathfinder.
| | 04:04 |
So the Shape Builder tool, makes it much
much faster to create these complex
| | 04:07 |
shapes on the fly, simply by selecting
the objects, using the Shape Builder
| | 04:11 |
tool, and dragging the lines over the
object.
| | 04:15 |
Let's make another quick example here.
Let's take a few circles, let's do like
| | 04:21 |
this, and also duplicate those circles
like so.
| | 04:27 |
And I'm going to duplicate that again and
select them all.
| | 04:30 |
Okay?
By using the Shape-builder tool now, I
| | 04:32 |
can say which shapes it is I want to
keep.
| | 04:35 |
So I'll say I want this one I want these
ones, okay, and this one here and maybe
| | 04:40 |
this one here.
So I've chosen this shape using my Color
| | 04:45 |
Swatches here, I can now choose another
color, for example something lighter like this.
| | 04:51 |
And simply by clicking I can apply that
color.
| | 04:54 |
By pressing the Alt key, I'm going into
the removal mode.
| | 04:58 |
So I can click on that object, I don't
want that, I don't want this and I don't
| | 05:02 |
what that either.
And therefore I have created that rather
| | 05:06 |
complex shape, which would have taken me
much longer to do simply by using that
| | 05:11 |
new tool, pretty cool.
| | 05:14 |
| | Collapse this transcript |
| Path join enhancements| 00:02 |
This next feature could potentially save
you many, many clicks.
| | 00:05 |
Do you remember how hard it is to join
path in Illustrator?
| | 00:08 |
Well, not anymore.
In the past, in order to join these two
| | 00:12 |
paths, what we had to do was to select
one of those Bezier points and put it
| | 00:16 |
exactly on top of the other one and then
select them both.
| | 00:21 |
And then go under Object > Path > Join
them together.
| | 00:27 |
Okay?
In the Illustrator CS5, it's become much,
| | 00:30 |
much easier.
I'm going to Command Z out of that to
| | 00:32 |
make them go apart again and simply
select these two objects.
| | 00:37 |
Okay?
And then I'm going to go Command J.
| | 00:40 |
And the two objects are joined together,
okay?
| | 00:43 |
We have an extra point here but that's
not really a problem because then I could
| | 00:47 |
simply go into my Delete Anchor Point
tool, select this one, and get rid of
| | 00:50 |
that anchor point here without guessing
without having to overlap the points.
| | 00:57 |
And the way it works is actually pretty
cool because it goes from object to object.
| | 01:02 |
And looks for the closest path that it
can link to.
| | 01:06 |
So, even if I select more paths like
this.
| | 01:10 |
Like all these four path here and do
Cmd+J or Ctrl+J, this path is now one.
| | 01:17 |
And again if I take my Delete Anchor
Point tool I can simply go back in here
| | 01:21 |
and delete some anchor points and make
sure that these lines are joined in a way
| | 01:25 |
that is acceptable for my design.
Pretty cool, no?
| | 01:34 |
| | Collapse this transcript |
|
|
3. Other Noteworthy EnhancementsMultiple artboard enhancements| 00:02 |
Multiple art-boards have been introduced
in Illustrator CS4.
| | 00:05 |
And in this new version, using them has
become much, much easier.
| | 00:08 |
Multiple art-boards are very useful if
you want to work on several designs in a
| | 00:12 |
single document.
Stationery, for example, comprised of a
| | 00:15 |
Letterhead, Business Cards, and maybe an
Envelope.
| | 00:19 |
Or, if you're working on multiple designs
for a website, a user interface, where
| | 00:23 |
each art board would be a different page
of that website.
| | 00:27 |
In this document, what I'm preparing is a
letterhead and I'm going to add a few art
| | 00:32 |
boards for the business cards.
So to do that, I can either use the Art
| | 00:37 |
Board tool or simply open the New Art
Board panel here.
| | 00:43 |
Where we have all the art boards visible
here inside of a single location.
| | 00:47 |
So, if I use the Art Board tool here, all
I need to do is really click and drag and
| | 00:52 |
draw the shape of my business card.
I can then open the options of that art board.
| | 01:00 |
And maybe change the size, the width, and
the height of that business card.
| | 01:05 |
Now, what I'm working on is an 85 by 55
millimeter business card.
| | 01:11 |
And I will say okay to that and now we
have these two art boards.
| | 01:16 |
And by double-clicking on the art board,
I actually Zoom In at the full page of
| | 01:20 |
that specific art board.
If I double-click on the second art
| | 01:25 |
board, I'm going to Zoom In onto that
second art board.
| | 01:29 |
Now, new in Illustrator CS5 is the
possibility of being able to actually
| | 01:33 |
give these art boards a name, a name that
makes sense.
| | 01:38 |
Beyond zero to art board two, okay?
So to do that, all I need to do is to
| | 01:43 |
click on that little icon.
Which also indicates to me if the art
| | 01:48 |
board is in a vertical format or a
horizontal format.
| | 01:52 |
Simply by clicking on it, I will open the
art board options again.
| | 01:56 |
And the first art board, for me is the
letterhead.
| | 02:02 |
So I'm going to give that name to the Art
Board and click OK, and this now appears
| | 02:05 |
in my Art Boards panel.
Let's do the same for the second Art
| | 02:11 |
Board, which is my business card,
business card, like so, and say OK to this.
| | 02:20 |
Now I want to go back to view and fit all
in window.
| | 02:25 |
At that point I'm seeing my letterhead
and my business card.
| | 02:29 |
And using the art board tool here I can
move that art board around, by pressing
| | 02:34 |
Alt or option on the Mac I can now
duplicate that art board and create other
| | 02:38 |
iterations of that same business card.
For example, for several other names.
| | 02:46 |
Automatically, these art boards are
called Copy, Copy Two, Copy Three, okay?
| | 02:52 |
And still again I can see the format, the
horizontal format of those business cards.
| | 02:58 |
Now another thing that's been added
inside of the menu of the Art Boards
| | 03:02 |
panel is this.
That it can delete, Empty Art Boards and
| | 03:07 |
also rearrange the Art Boards.
So by clicking on that option here I have
| | 03:12 |
several things I can do.
I can choose the layout, for example,
| | 03:17 |
rearrange them in a grid by row or a grid
by column, or simply arrange them by row
| | 03:22 |
or arrange them by column.
And I can also change the right to left order.
| | 03:30 |
Pay attention to this icon here when I
press this button.
| | 03:33 |
You see, now the order is from right to
left.
| | 03:38 |
I can also choose the number of rows if
I'm working in a grid like this.
| | 03:42 |
2 columns and also the spacing that I
have between these art boards.
| | 03:49 |
This is very important if I have a
artwork on the art boards I want to maybe
| | 03:52 |
move the artwork with the art boards so
this should always be checked so that I
| | 03:56 |
am sure that whatever is on a specific
art board that is being moved
| | 03:59 |
automatically in that case.
Actually moves with the art board itself.
| | 04:06 |
If this is not clicked, the artwork will
remain where it was, Okay, independently
| | 04:10 |
of where the art board will actually move
to.
| | 04:14 |
So let's say Okay to this, and boom.
Now I have all of my business cards and
| | 04:18 |
letterhead re-arranged.
Let's try another re-arrangement For
| | 04:24 |
example, this row and say OK, and now I
have my letterhead and my four business cards.
| | 04:32 |
Now, another feature that's been added is
this.
| | 04:35 |
Look at the logo I have here at the top
left side of my letterhead.
| | 04:39 |
I can copy that, Cmd C, and what I can do
now, edit.
| | 04:45 |
Paste on all art boards.
And here's the keyboard shortcut as well.
| | 04:50 |
And when I do that, this logo that I've
just copied on one of the art boards will
| | 04:53 |
be pasted on all the other art boards.
In exactly the same position.
| | 04:59 |
Okay?
It takes the position from the top left
| | 05:01 |
corner of the page actually to do that.
So, if I copied from here I can then
| | 05:06 |
paste it on all of the other art boards
and therefore continue to work.
| | 05:12 |
Let's continue working with these art
boards just to show you how it works.
| | 05:16 |
I'm going to insert a few letters here so
that we can all see what I'm moving like
| | 05:20 |
here for example.
Let's put the letter A, and then I am
| | 05:26 |
going to put the letter B here, B, and
then duplicate that object again.
| | 05:33 |
Take the selection tool, and duplicate it
over here, it's going to be C and D.
| | 05:39 |
Let's change those letters, so that we
can't memorize them A, B, C, and D.
| | 05:45 |
And the other interesting thing that we
can do here in the art board panel is
| | 05:49 |
actually move the art boards around.
Okay, now they're numbered one, two,
| | 05:55 |
three, four, five.
And if I turn on my art board tool, we
| | 05:59 |
actually see one, two, three, four, five.
We see the numbers inside the description
| | 06:05 |
of the art board itself.
Now, there is no reason why these art
| | 06:09 |
boards need to be in that exact order.
So, for example, I could say I want to
| | 06:14 |
move the letterhead in between those two
business cards, okay?
| | 06:19 |
So, that the A business card becomes
number one.
| | 06:23 |
Number two is B and then number three is
the letterhead, okay?
| | 06:27 |
So, I can actually move these art boards
around and they will automatically get renumbered.
| | 06:33 |
Now of course, if I rearrange these art
boards and put them back into a row, okay?
| | 06:38 |
I will have now two business cards on one
side and the letterhead in the middle.
| | 06:41 |
And the other two business cards, another
interesting thing here is that I can also
| | 06:46 |
save this document as single illustrator
files now, okay?
| | 06:52 |
This was impossible before except for
Back Saving to an earlier version of Illustrator.
| | 06:59 |
But now, I can Save File > Save As, or
Save a Copy.
| | 07:03 |
And I'm going to Save that Document,
let's call it Multiple Art Boards Number
| | 07:08 |
Two and say, Save.
And in the Illustrator Saving Options, I
| | 07:14 |
now have the possibility to save each Art
Board to a separate file.
| | 07:19 |
So I can say, mm, maybe I want the
letterhead to be alone on an Illustrator file.
| | 07:26 |
So I can even say Range, I just want the
Illustrator Art Board number three to be
| | 07:31 |
exported, to be saved as A single
Illustrator file, okay?
| | 07:38 |
Without all the other Art Boards that
contain the business cards.
| | 07:42 |
So as you can see, organizing your work
with Art Boards can make it much much
| | 07:45 |
easier for you to work on them and have
all the elements in a single file.
| | 07:50 |
For example, this logo here If I want to
change it I could save this as a symbol
| | 07:54 |
and propagate on the other pages and then
update it all it once in a single document.
| | 08:00 |
And then that's the great benefit of
using multiple art boards and illustrator.
| | 08:08 |
| | Collapse this transcript |
| Pixel-perfect drawing| 00:02 |
One of the main problems that kept
designers from designing user interfaces
| | 00:05 |
in illustrator was the fact that the
result was not pixel perfect.
| | 00:10 |
Let me show you what I mean.
Let's zoom into this perfectly square and
| | 00:14 |
clean rectangle here.
You see that I have a very clean edge and
| | 00:18 |
it should be perfect for the web
shouldn't it.
| | 00:21 |
But if we go now over to View > Pixel
Preview we start seeing the problem,
| | 00:26 |
because now this object has become
anti-aliased.
| | 00:32 |
And as I move it around you will see that
the anti-aliasing actually changes from
| | 00:37 |
one pixel to the other.
See, now it's clean.
| | 00:41 |
On this side here.
But it's getting dirty on this other
| | 00:44 |
side, that's because the application is
trying to keep the object at the size
| | 00:48 |
that I defined it to be.
But it overlaps pixels.
| | 00:54 |
The other thing that we can do here of
course as you zoom in over 600% we start
| | 00:58 |
to see the pixel grid.
And at this size of the rectangle, if we
| | 01:03 |
go over here on the other side, you see
it's wanting to honor the size of that
| | 01:07 |
rectangle, but it can't.
So what it does, it represents the
| | 01:12 |
continuation of the rectangle with that
more grayish area.
| | 01:17 |
So what can we do for that?
Well, first of all, when we create a new document.
| | 01:22 |
Down here in the advanced options I see
that we can now ask the new document to
| | 01:26 |
align new objects with the pixel grid,
okay.
| | 01:30 |
To align the object that we create to the
pixel grid.
| | 01:33 |
And we can do that at a document level.
So let's cancel out of this and go back
| | 01:38 |
to this object.
Because we can do it here as well.
| | 01:41 |
Let's zoom out again, and zoom back onto
my rectangle here.
| | 01:45 |
And if I open the transformation, the
Transform panel, down here we have the
| | 01:49 |
possibility to actually transform that
object, aligning it to the pixel grid.
| | 01:56 |
So let's say OK, and you can see that all
the anti-aliasing has disappeared around
| | 02:01 |
that rectangle.
And this is exactly how it will be shown
| | 02:05 |
on screens, on a web page, etc.
Now, what I can also do is to do that on
| | 02:11 |
type, of course.
As you can see, this type has been anti
| | 02:15 |
aliased as well.
So lets close the transform panel a
| | 02:19 |
second and look at the type.
Let me show it to you before pixel
| | 02:24 |
preview like this.
Very clean.
| | 02:27 |
Very crisp.
Very sharp and as soon as I go into pixel
| | 02:30 |
preview you'll see that illustrater has
to interpret the shapes so that we can
| | 02:34 |
see them in a certain way on the screen.
Now, here also there are several ways
| | 02:41 |
that we can actually output this result.
If I select the text with the selection
| | 02:47 |
tool, and open the character panel.
Down here, you see I have the options to
| | 02:52 |
actually change the anti-aliasing method.
From sharp To none, lets cut none for a
| | 02:58 |
second, can you see?
This reminds me of computers before type
| | 03:02 |
was looking quick on the monitors, you
remember that, like early 90's or
| | 03:06 |
something, may be late 80's and now we
can choose exactly the method we want,
| | 03:10 |
for example, sharp will look like this.
Crisp will look like this and strong will
| | 03:18 |
make it slightly heavier and lessen the
gray areas around the font.
| | 03:24 |
The cool thing is that you can also do
that on a text frame level, so that means
| | 03:28 |
that different portions of text on your
user interface or web page can have
| | 03:32 |
different anti-aliasing methods.
And this can be very interesting if, for
| | 03:38 |
example you have smaller text that needs
a specific method and larger text which
| | 03:42 |
needs another one.
So all of this can be set inside of Illustrator.
| | 03:47 |
Another thing that was introduced in
Illustrator CS5 is Pixel Perfect Symbols.
| | 03:53 |
Because many of the elements that we use
in a user interface or in a web page
| | 03:57 |
design Are actually created with symbols.
Symbols that we make to represent a
| | 04:03 |
button for example.
So, here I have a couple of symbols.
| | 04:07 |
These are the default symbols for my RGB
document and let's drag one out.
| | 04:13 |
Just a symbol like this.
And you see this is a button that I want
| | 04:16 |
in my user interface.
So, let's place it and put it right here.
| | 04:20 |
And are we still in pixel preview,
perfect and you see that as I move the
| | 04:25 |
button along you see that the anti
aliasing changes.
| | 04:30 |
Like here now we have a clean edge but,
we have an edge that has been anti
| | 04:34 |
aliased on this side.
Let's move it a little bit more now the
| | 04:38 |
edge is clean here and it's not clean
here anymore.
| | 04:42 |
So, what can we do with that?
Well, Symbols, I'm going to Delete this
| | 04:46 |
one, can actually have Options.
Options apply to them.
| | 04:50 |
For example, Align To Pixel Grid.
Let's click on that check box, Align To
| | 04:55 |
Pixel Grid and see that same exact button
placed again on the page without any.
| | 05:02 |
Anti-aliasing on the edges, okay?
So now I have my perfect button.
| | 05:07 |
So I can create my user interface simply
by duplicating that.
| | 05:11 |
Okay?
And these buttons will now stick to the
| | 05:14 |
pixel grid.
And if we zoom in at more than 600% we
| | 05:17 |
will actually see that all the portions
of that design are actually within the
| | 05:22 |
pixels, forced within those pixels.
Of course, if we go into the preferences,
| | 05:29 |
and go into Guides and Grid, there is an
option to show or not to show the pixel
| | 05:35 |
grid above 600% zoom.
So the pixel perfect object settings that
| | 05:41 |
we create in the document, be that for
text, for objects, for the document
| | 05:45 |
itself, are actually saved inside of the
illustrated file itself.
| | 05:50 |
So they are persistent as the file moves
on in a workflow.
| | 05:53 |
For example, from one designer to the
other, from one machine to the other.
| | 05:57 |
And now we have the absolute certainty
that what we design inside of Illustrator
| | 06:03 |
will actually look good on a computer
screen, because it is pixel perfect.
| | 06:11 |
| | Collapse this transcript |
| Resolution-independent effects| 00:00 |
This next feature is really interesting.
How many times have designers gotten
| | 00:05 |
unexpected results when using Illustrator
Photoshop effects?
| | 00:09 |
These ones, down here, at the lower end
of the effects menu.
| | 00:13 |
Well I guess so many that people probably
stopped using these effects.
| | 00:17 |
Because every time you change the
resolution of the document, these effects
| | 00:20 |
would actually change.
This is all over now because Illustrator
| | 00:24 |
will handle them in a different way.
Let me show you what used to happen.
| | 00:29 |
So 1st of all, I'm going to draw a couple
of circles here, so that we can apply an
| | 00:33 |
effect to it and see what happens.
Now I'm going to select them both and
| | 00:39 |
under effect I'm not going to take one of
these raster effects which are completely
| | 00:43 |
resolution independent so whether the
document is on 72 dpi or 300 dpi it will
| | 00:47 |
be represented in exactly the same
way...but what I'm talking about are
| | 00:51 |
these effects down here.
For example the blur effect Let's add a
| | 00:59 |
caution blur to these two circles.
Okay let's make it 20 pixel radius and
| | 01:05 |
say okay to that.
Okay this is a sort of blur that we would get.
| | 01:09 |
Now in the past what would happen.
Is that if we change the resolution of
| | 01:14 |
that document, which right now is set at
72 dpi to 300 dpi for example to get it
| | 01:19 |
ready for print, well, all of these
things would change.
| | 01:25 |
Basically, this happened.
Let's go to Effects, Document Roster
| | 01:29 |
Effect Settings.
And change the resolution of the document
| | 01:34 |
from screen 72 PPI to high resolution 300
PPI, okay so lets say okay to that and
| | 01:40 |
okay again, just having this object
selected and as you can see, nothing changed.
| | 01:49 |
Now, both objects are exactly the same as
they were before at 72 dpi.
| | 01:55 |
So how is it that we saw it in the past?
Remember that we gave this object a 20
| | 02:00 |
pixel blur radius.
So if I go into my appearance panel over
| | 02:05 |
here, I can select this object and reopen
the Gaussian blur filter that I've applied.
| | 02:12 |
And you see that it has automatically
been changed to 83.3 to adapt to the new
| | 02:17 |
resolution of the document.
Now in the past this would not happen.
| | 02:23 |
So when changing the document from 70 DPI
to 300 DPI this value would have remained
| | 02:29 |
at 20 pixels.
Let's say OK to that, just to see the difference.
| | 02:35 |
And you see that the result is completely
different.
| | 02:38 |
This is the original choice that we've
made, and this is how it would appear in
| | 02:43 |
a 300DPI document, in an earlier version
of Illustrator.
| | 02:47 |
So, basically what this means is, that
all of these filters that are below here
| | 02:52 |
Called the photo shop effect can now
saftely be applied again without being
| | 02:56 |
afraid to work in the correct resolution
to start with.
| | 03:01 |
Many times you would start working at a
lower resolution for example 72 dpi.
| | 03:07 |
And then, take a logo and maybe change
the resolution to 300 DPI because you
| | 03:12 |
need to print it will.
OK so this feature is a little bit of a
| | 03:18 |
hidden feature because it won't appear
immediately but I think it's a very very
| | 03:22 |
interesting one for whoever wants to use
these Photoshop effects inside of Illustrator.
| | 03:31 |
| | Collapse this transcript |
| Symbol enhancements| 00:02 |
In Illustrator CS5 there have been quite
a few improvements on how symbols behave
| | 00:05 |
and how they can be worked with.
The first thing I want to look at here is
| | 00:10 |
nine slice scaling.
Let's pull out a symbol out of the
| | 00:13 |
symbols panel here.
These are the defaults for the RGB document.
| | 00:18 |
And let's take this tab to blue, okay.
And to show you how Illustrator used to
| | 00:23 |
work, I have to go into the options for
that symbol, right, this button here, and
| | 00:28 |
actually disable guides for nine slice
scaling, okay?
| | 00:33 |
So once I've done that I will now
transform this symbol.
| | 00:38 |
Transforming it for example, stretching
it.
| | 00:41 |
And you'll see that my graphics are
dramatically changed here.
| | 00:45 |
It all gets stretched, okay?
And this is not where I want in this case.
| | 00:50 |
This is an interface item, but I dont'
want to change it.
| | 00:53 |
I want the corners to remain exactly the
same, rounded as they were in the original.
| | 00:58 |
So I'm going to Cmd+Z out of that to show
you the original.
| | 01:01 |
You see here, I have perfectly rounded
corners.
| | 01:04 |
So if I select a symbol in the Symbols
panel, and go back to the Symbol options,
| | 01:08 |
and enable the symbol for 9 slice
scaling, and say Okay to that.
| | 01:13 |
This symbol is now enabled for that type
of stretching.
| | 01:17 |
So that the corners here, remain
unchanged.
| | 01:20 |
Now, let me show you how I can make this
tab longer just by pulling it here.
| | 01:25 |
And as you can see, I'm doing it slowly,
the corners remain round.
| | 01:29 |
And even if I make it bigger, the corners
up here remain round.
| | 01:35 |
So how do we define that?
Actually if we go into isolation mode on
| | 01:39 |
that symbol, for example double-clicking
on it We see the nine slices.
| | 01:44 |
One, two, three, four, five, six, seven,
eight, and nine, the central one.
| | 01:50 |
Now, the way this works is that we have
to tell Illustrator which are the corners
| | 01:55 |
and which are the things that we do not
allow to change.
| | 02:00 |
So Simply by moving these guides, I can
tell Illustrator that this area here,
| | 02:04 |
should remain unchanged.
This area here too, and this area here too.
| | 02:09 |
Anything else in between can actually be
stretched.
| | 02:13 |
Okay, this is my slide scaling, so if we
go back to our art work here, and start
| | 02:17 |
moving it again like this, we see that,
if we go over a certain limit, of course
| | 02:21 |
which is the size of the original symbol.
We see that we start to have the little
| | 02:30 |
error here, the little stretching here,
okay.
| | 02:33 |
Of course we shouldn't go smaller than
the symbol we had before.
| | 02:37 |
So this actually allows me to very, very
quickly for example, duplicate these
| | 02:42 |
elements and have one button that is
smaller than the previous one and then
| | 02:47 |
maybe even a third one here that is
smaller than the second one.
| | 02:54 |
All of this, maintaining our round
corners.
| | 02:57 |
Also if you have noted, while I was
moving these symbols around, the smart
| | 03:01 |
guides kick in and allow me to really,
really precisely place these symbols so
| | 03:06 |
that they're perfectly aligned.
Okay, so this is nine slice scaling.
| | 03:12 |
The other important feature that has been
added to symbols in Illustrator CS5, is
| | 03:17 |
the fact that we can now work with layers
and symbols.
| | 03:22 |
Let me show you an example.
I'm going to open my symbol library here,
| | 03:26 |
and pull out of the library, let's take
maybe flowers, and take out, for example,
| | 03:32 |
this lotus flower here.
Okay, let's put the lotus flower right
| | 03:37 |
here on my art board.
Let's get rid of the buttons we created
| | 03:41 |
before and let's have a look at that
simbol.
| | 03:44 |
Now of course, that symbol can be scaled
can be made smaller, can be made bigger
| | 03:48 |
and worked on.
So, now I would like to organize that
| | 03:53 |
symbol because it's formed by petals and
this leaf that goes around the symbol itself.
| | 03:59 |
But if I double-click on it and I go into
isolation mode, we see that inside of the
| | 04:05 |
Layers panel, this lotus flower is all in
one group.
| | 04:10 |
Okay, so what I want to do now is
organize this drawing.
| | 04:16 |
For example having one layer with the
foliage here and one layer with just the flower.
| | 04:21 |
So I can use them independently.
So first of all I'm going to create a new
| | 04:27 |
layer which I'm going to call foliage,
okay, and simply select the foliage here.
| | 04:36 |
I'll see if I can select it from my panel
here, all the way at the bottom.
| | 04:42 |
Okay, here's the group of the foliage.
I'm simply going to drag it up Into my
| | 04:47 |
foliage layer, okay.
And now it's on top of everything, but I
| | 04:52 |
could separate the two things.
Now I have one group, which I can rename
| | 04:58 |
Flower or Lotus.
okay.
| | 05:01 |
And one with the Foliage And then in
future, I can change the symbol very
| | 05:06 |
easily, simply by maybe removing the
foliage or removing the lotus, and
| | 05:10 |
leaving the foliage.
And of course, when I return into my
| | 05:16 |
illustration, getting out of isolation
mode, we see that this is in fact a
| | 05:19 |
symbol, okay?
With no layers.
| | 05:22 |
But if I go edit the layer, I now have
the possibility To organize them exactly
| | 05:27 |
like I want, keeping them named as they
were originally.
| | 05:32 |
Because previously, you could not
organize the contents of a symbol in
| | 05:35 |
organized layers, and when you
transformed a graphic that you created on
| | 05:39 |
the art board into a symbol, all layer
information would be discarded.
| | 05:45 |
So these two things applied to symbols
really make it easier to work with them.
| | 05:49 |
The 9 slice scaling and also the ability
to work with layers.
| | 05:56 |
| | Collapse this transcript |
| Select Behind| 00:02 |
This new, you could almost say small
feature, makes it very, very easy to
| | 00:05 |
select objects that are covered by larger
objects.
| | 00:09 |
I've made a quick example here of
overlapping objects.
| | 00:12 |
One small one, a medium and a larger one.
So, lets position then on top of each
| | 00:16 |
other like so.
I've also added some transparency.
| | 00:20 |
And as you well know, now, it is very
difficult to actually select the objects
| | 00:24 |
that are behind these transparent
objects.
| | 00:28 |
I could go of course, into the layers
panel, dive through my layers, and select
| | 00:32 |
them from here simply by targeting them
here in the Layers panel, okay?
| | 00:37 |
That's one way to actually select them.
Otherwise, if I don't want to go to
| | 00:41 |
Layers panel to do that, I can now click
the Cmd key on the Mac, or the Ctrl key
| | 00:45 |
on Windows, and click through the stack
of objects.
| | 00:51 |
So, Cmd click on a Mac, and click, and
click, and click.
| | 00:55 |
You see how the selections dive down into
the stacking order.
| | 01:00 |
So this is the first object, this is the
second one, this is the third one.
| | 01:04 |
This is the one that's furthest away in
the stacking mode.
| | 01:07 |
Then of course, I can go select my
object.
| | 01:10 |
I can take it here by the center and
actually move it out again.
| | 01:14 |
And all of this is made possible by the
simple keyboard shortcut that allows you
| | 01:19 |
to Cmd click on the Mac, and Ctrl click
on Windows to dive through a stacking
| | 01:23 |
order of objects.
I know for sure that this shortcut will
| | 01:30 |
save me tons of clicking.
| | 01:33 |
| | Collapse this transcript |
|
|
4. Online ServicesCS Review: Online commenting| 00:00 |
CS Review is a really cool new online
service to simplify and speed up your
| | 00:04 |
design reviews.
For example, if I wanted to share that
| | 00:09 |
file with my client to show to my client
I would probably have to create a JPEG
| | 00:12 |
and then send it via email or put it on
an FTP server and have my client download it.
| | 00:19 |
Well all of this is a history of the
past, because what you can do now is
| | 00:22 |
create a shared review right from within
illustrator, and also Photoshop and InDesign.
| | 00:27 |
To show your artwork to your coworkers or
even clients.
| | 00:31 |
So these will actually actually be able
to view your artwork from within their
| | 00:34 |
web browser.
And will be able to review it and comment
| | 00:38 |
it directly.
This is how it works.
| | 00:41 |
To begin with, you will have to enter
your Adobe ID credentials.
| | 00:44 |
I've done that already.
I'm actually signed into the system.
| | 00:47 |
So I don't have to redo that.
And then you have to access the CS Review
| | 00:51 |
panel, which is found here.
Window > Extensions > CS Review.
| | 00:57 |
So let's open this for a second.
And you see the panel actually now tells
| | 01:01 |
me that I have no review going on, and
that I have not been invited to any reviews.
| | 01:06 |
So, it asks me to click the little New
button down here, and let's do that, and
| | 01:10 |
create a new review.
So it picks up the name of the file, but
| | 01:14 |
basically what I want to do is to create
a review container to send more things,
| | 01:19 |
so I'm going to call it Illustrator, like
this.
| | 01:24 |
And I'm also going to ask CS Review to
actually add the active document to the
| | 01:28 |
review itself.
So let's say OK to this.
| | 01:33 |
I will then be asked what it is I want to
upload.
| | 01:36 |
If all art boards, just the current art
board.
| | 01:39 |
In this case we only have one art board
of this match and smoke.
| | 01:43 |
An arrange of Artboards, 1, 2, 3, and 5,
maybe.
| | 01:45 |
Or I can even combine all art boards into
one part so that it can be viewed as one
| | 01:51 |
big art board on the CS Review servers.
I can also choose the quality of the art
| | 01:58 |
that I'm sending over.
And basically what CS Review will do is
| | 02:02 |
create a snapshot of that illustration
and publish it on my work space.
| | 02:09 |
So I can choose from various types of
qualities.
| | 02:11 |
Let's keep it medium here.
And then, I can also ask the system to
| | 02:15 |
view online after upload completes.
So, by saying Yes to this, I will then be
| | 02:21 |
able to view online if everything went
according to plan.
| | 02:25 |
Of course, this is something that as time
goes on you will do less and less because
| | 02:29 |
you will trust the system and you will
simply add things to your various work
| | 02:32 |
spaces for review and commenting.
So let's upload this file.
| | 02:38 |
And CS Review is now creating the part,
basically taking a snapshot of this, and
| | 02:42 |
uploading the part to the system.
Updating my CS Review panel and opening
| | 02:50 |
my browser.
This is loading Acrobat.com of course
| | 02:53 |
because this service is part of
Acrobat.com.
| | 02:57 |
My works space is loading, Illustrator.
I only have one file to show so this is
| | 03:01 |
why we see one of one.
If there were more files inside of that
| | 03:05 |
work space, that Illustrator work space,
I would be able to navigate them using
| | 03:09 |
these arrows.
And then I can use the Zoom here to very
| | 03:12 |
quickly zoom into the image and check the
quality of it.
| | 03:16 |
This is something that I did with the
Bristle brush, and look at how well this
| | 03:19 |
is represented inside of that window.
I can Zoom Out again.
| | 03:26 |
By the way, this little widget here
allows you to very quickly navigate the image.
| | 03:29 |
It's like a little navigator panel.
Okay.
| | 03:33 |
And maybe my client then wants to
annotate it.
| | 03:36 |
So you see, we have a little annotation
tool here.
| | 03:38 |
Which the client will then be able to
click.
| | 03:41 |
This is, by the way, exactly how the
client will see it online.
| | 03:45 |
So the client may say here, please make
smoke closer to match, okay?
| | 03:55 |
And Save that annotation.
And this will now appear inside of this
| | 03:59 |
comments panel over here.
I can also comments generically to the
| | 04:04 |
whole file.
And here I may say maybe, made with Adobe Illustrator.
| | 04:09 |
OK, and Save that as a comment.
OK.
| | 04:11 |
And then you see the comments that have
been added on the artwork actually have
| | 04:16 |
little widget that when I hover over it,
it highlights inside of the Comment panel
| | 04:21 |
and also shows a little tool tip with the
comment in it.
| | 04:27 |
I can choose not to view those comments.
So comments hidden, okay, so that I have
| | 04:32 |
a clear view of the art work.
I can press this button up here to see
| | 04:36 |
the whole art work.
I can press the Fit Width button as well.
| | 04:41 |
To very quickly navigate the image.
And then as I hover over the comments,
| | 04:45 |
you see that.
CS Review actually highlights where the
| | 04:49 |
comment has been made inside of the file.
So it's very, very easy for me to
| | 04:54 |
understand what the client wanted and
where.
| | 04:58 |
Completely beats a phone call where the
client may say oh, you know, this part
| | 05:01 |
like between the match and the smoke, no.
The client in CS Review said, here.
| | 05:06 |
OK, just by clicking on it.
Then what I can do of course is share the file.
| | 05:12 |
And I can share the file in a shared work
space that has already been set up to be
| | 05:15 |
shared with my five coworkers, for
example.
| | 05:19 |
So that everybody sees when a file has
been added and everybody will be able to
| | 05:23 |
open that file and make comments on it.
Or I can share it with my customer or
| | 05:29 |
somebody I want to send an email to.
So lets click this button here.
| | 05:34 |
This window will now open.
I can define what role I wanted to give
| | 05:39 |
to that person I am sending it to,
co-author or simply reviewer.
| | 05:44 |
I will then be able to enter an email
address, or use a name that my
| | 05:48 |
Acrobat.com account already knows, as a
co-author or reviewer.
| | 05:54 |
I can change the subject here, and I can
send the invitation via email, if I wish.
| | 05:59 |
This is typically what is done when we
send An invitation, so it gets into the
| | 06:02 |
inbox of your email application, and then
you will be able to just follow the link
| | 06:06 |
and go back into Acrobat.com, and
participate in that shared review.
| | 06:12 |
And then I can add a message.
But in More Options, we have other
| | 06:16 |
important things.
Right now everyone the file is share with
| | 06:20 |
can share it with others at their own
role or lower.
| | 06:24 |
Okay.
So, that means that people who receive
| | 06:26 |
access to the file can actually share the
file even to other people as well to get
| | 06:30 |
more comments on it.
And this is not always preferable.
| | 06:35 |
So, what we can also do is let only
co-authors.
| | 06:39 |
Co-authors are people who have total
access over the file.
| | 06:43 |
Only let co-authors share this file with
others.
| | 06:46 |
So we can apply that and this is now
changing and we can send the email.
| | 06:51 |
Okay, and my customer or my coworkers
will receive an email with a link to that page.
| | 06:57 |
So we can close that now, and move back
to Illustrator to see what happened there.
| | 07:02 |
So now I see that I have my work space.
It says where my work space is, and the
| | 07:06 |
folder is called Illustrator, and in
there I have this image here, the art
| | 07:10 |
board one of the smoke.
When I click on the name here it opens
| | 07:16 |
with all of the comments.
So, CS Review is actually live.
| | 07:20 |
It picks up the comments as they come in.
Okay.
| | 07:23 |
It cycles through them and then it will
show them to you.
| | 07:26 |
So, when I see that comment, please make
smoke closer to the match.
| | 07:30 |
But where?
So I can double-click on it.
| | 07:34 |
I'll simply click on it and the system
will actually show me where the
| | 07:37 |
annotation was made.
And let's go back to maybe with Adobe
| | 07:41 |
illustrator, and this is of course the
whole illustration because it was a
| | 07:44 |
generic comment.
So what this allows me to do is to very
| | 07:48 |
very quickly.
Set up a commenting group that would be
| | 07:52 |
able to look at my artwork, make
comments, critique it.
| | 07:56 |
And I will be able to view that
information in my CS Review panel and
| | 08:00 |
make all the corrections accordingly
inside of my artwork.
| | 08:04 |
Now, that is pretty cool, I think.
| | 08:09 |
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