IntroductionWelcome| 00:00 |
(MUSIC).
| | 00:04 |
Hi there, my name is Justin Seeley and
I'm a staff author here at lynda.com.
| | 00:08 |
I'd like to welcome you to the Adobe
Illustrator Creative Cloud Updates course.
| | 00:12 |
This course is going to be a little
different from our normal courses here at
| | 00:14 |
lynda.com, because as Adobe continues to
add things to Illustrator with its
| | 00:17 |
Creative Cloud subsciption service, we're
going to continually update this course
| | 00:20 |
as well.
So far Adobe has added some pretty nice
| | 00:24 |
new features to Illustrator via the
Creative Cloud, and I'm excited to share
| | 00:27 |
some of those with you in this course.
I'm going to start off by talking about
| | 00:31 |
enhancements to the graphics workflow
inside of Illustrator.
| | 00:34 |
This is where you learn how to use things
like multiple file place, which enables
| | 00:37 |
you to instantly place multiple objects
into your Illustrator document.
| | 00:41 |
We'll also explore the updated Links
Panel to help better manage your linked
| | 00:44 |
files and you'll learn how to package
your artwork for commercial print as well.
| | 00:48 |
Next up, we'll talk about working with
text and I'll show you how to use the all
| | 00:51 |
new Touch Type Tools which allows users
with a touch display to interact with
| | 00:55 |
text in a whole new way.
You'll also learn some of the new Text
| | 00:59 |
Tool enhancements and how to search for
fonts in the new Type Panels as well.
| | 01:03 |
From there we'll cover several more
updates including the new Color
| | 01:07 |
Separations Panel, searching for swatches
in your libraries, using raster graphics
| | 01:11 |
in your Illustrator brushes, working with
Enhanced Pattern Brushes, and we'll also
| | 01:16 |
explore the new CSS and SVG toolset.
Which should be a nice addition to your
| | 01:22 |
web design workflow.
These are just the highlights really.
| | 01:25 |
We'll cover all of these an more
throughout the course.
| | 01:27 |
An as I said, if Adobe drops an update
down the road, we'll be there to cover
| | 01:30 |
that to.
It's an exciting time in the world of
| | 01:33 |
creative software, an we've got a lot to
cover.
| | 01:35 |
So if you're ready, let's begin our look
at the Adobe Illustrator Creative Cloud updates.
| | 01:40 |
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| Using the exercise files| 00:00 |
If you're a premium member of the
lynda.com online training library, you
| | 00:03 |
have access to the Exercise Files for
this course.
| | 00:06 |
Once you have the files downloaded to
your computer just simply find the folder
| | 00:09 |
labelled Exercise Files, double-click on
it and it opens up to show you each chapter.
| | 00:14 |
Just navigate to the chapter you're on,
find the file that I'm using on screen
| | 00:16 |
and open it up inside of Illustrator,
that way you can follow along with
| | 00:19 |
exactly the file that you see me working
with on screen at any given time
| | 00:22 |
throughout the course.
If you're not a premium member of the
| | 00:26 |
online training library, that's okay, you
should still be able to follow along
| | 00:29 |
using your own Asset files with no
problem.
| | 00:32 |
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|
1. Working with GraphicsUsing multiple file place| 00:00 |
It's no secret that you have the ability
to place files inside of an Illustrator document.
| | 00:04 |
Whether it's a PSD file, a JPEG, or even
a TIF.
| | 00:07 |
But, up until this update, you didn't
have the ability to place multiple files
| | 00:10 |
at a single time.
Much the same way you do inside of InDesign.
| | 00:13 |
But now, that's all changed.
Let's take a look.
| | 00:16 |
I'm going to go into the File> Place.
Once I go into my file folder here, what
| | 00:20 |
I'm going to do is locate these four
images.
| | 00:23 |
And I'm going to select them and hit
Place.
| | 00:26 |
This is going to load my cursor with
those four images.
| | 00:28 |
And I can cycle through those with my
arrow keys on my keyboard.
| | 00:32 |
When I find the photo that I'm ready to
place, I just go to where I want to put
| | 00:36 |
it, click.
And it gets dropped right in.
| | 00:40 |
Cycle through to find the next one,
click, and if it makes a mistake like
| | 00:44 |
that you can always command and Ctrl+z it
and click to place it just like so.
| | 00:51 |
Cycle through to find the next one and
instead of clicking this time, though,
| | 00:54 |
I'm just going to click and drag a box.
Once it's the right width and height,
| | 00:58 |
release and it places it that was as
well.
| | 01:01 |
However wide and tall you draw this box,
that's how wide and tall the image that
| | 01:05 |
is placed or the file that is placed will
be once it's placed into the document.
| | 01:11 |
Finally, come over here and click to add
the final piece.
| | 01:14 |
So again, we've always had the ability to
place files in Illustrator.
| | 01:18 |
PSDs, PNGs.
Even JPEGs and TIFSs, but up until now
| | 01:21 |
we've never had the ability to place
multiple files at a time using the loaded
| | 01:25 |
cursor much the same way we had in n
design.
| | 01:30 |
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| Exploring the updated Links panel| 00:00 |
Another update that's now inside of Adobe
Illustrator CS6 with a cloud update, is
| | 00:04 |
the new, and improved Links Panel, which
is going to remind you somewhat of the
| | 00:08 |
Links Panel in InDesign.
And so in order to bring this up you need
| | 00:13 |
to go to the Window> Links.
And that's going to bring up this new
| | 00:17 |
Links Panel and when you first open it up
it's not going to look a whole lot
| | 00:20 |
different than the Links Panel did before
but there is this small toggle option
| | 00:23 |
here that you can use to show the link
information and so you can actually see
| | 00:27 |
the name of the link, what type of format
it's in, the color space, the location of it.
| | 00:34 |
You can also click here to have it show
you that file somewhere on your hard drive.
| | 00:39 |
You can also see the PPI, the dimensions,
the scale at which it's being shown right
| | 00:43 |
now, the size, when it was created, when
it was modified, and whether or not it is
| | 00:47 |
transparent or has transparency in it.
And so, this is some great information
| | 00:53 |
that is available now in the Links Panel.
And the rest of the links panel works
| | 00:57 |
much the same way that it always did.
You can still re-link images, go to the
| | 01:00 |
link, update the link, and edit the
original to take you to, whatever program
| | 01:04 |
edits this particular file.
But this information in the links panel
| | 01:08 |
is definitely an enhancement and it gives
you a lot more information about the
| | 01:11 |
files that you're going to be working
with.
| | 01:14 |
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| Unembedding raster graphics| 00:00 |
The latest update to the Adobe Creative
Cloud for Illustrator CS6.
| | 00:04 |
You now have access to some new features
inside of Illustrator CS6.
| | 00:09 |
Now, this is exclusively for Creative
Cloud members.
| | 00:11 |
Which means if you're not subscribed to
the Creative Cloud, you will not actually
| | 00:14 |
see these updates in your version of
Illustrator.
| | 00:18 |
In order to access the Creative Cloud
updates, you'll just simply need to go to
| | 00:20 |
the Help menu and choose Updates.
And once you get to the Updates scene, it
| | 00:24 |
should give you the option to install
your Illustrator Cloud updates.
| | 00:28 |
The first new feature revolves around
embedded images inside of Adobe Illustrator.
| | 00:33 |
So before, in Adobe Illustrator, you did
have the ability to embed images into a file.
| | 00:39 |
So, you would select the image like so,
and you could then embed that image and
| | 00:42 |
then send it off to someone.
The problem is that once that person got
| | 00:47 |
that image, they were not able to access
the image itself.
| | 00:51 |
I was part of the Illustrator document,
they couldn't then unembed that image and
| | 00:55 |
make any alterations to it.
So now, you'll notice in the Control
| | 00:59 |
panel, there is an Unembed option.
When I click Unembed, I get a dialog box
| | 01:04 |
that pops up that asks me to name this
file.
| | 01:07 |
I can choose for it to be a Tiff or a
Photoshop file.
| | 01:11 |
And once I select that, I give it a name,
and then it goes to the same folder where
| | 01:15 |
the original file was located and I can
choose to save that.
| | 01:20 |
Once I save that, I'm now able to access
that file in Photoshop to make any
| | 01:24 |
changes to it that I want.
So again, to embed a file, you just
| | 01:29 |
simply select the image and then embed
it.
| | 01:32 |
And then, you can unembed it using the
same exact process that way.
| | 01:36 |
And unembedding the images allows you to
then create a separate file from the
| | 01:40 |
embedded image that you can then edit in
a program like Photoshop, or any other
| | 01:44 |
image editing program that you might
have.
| | 01:48 |
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| Packaging your artwork| 00:00 |
One feature that Illustrator users have
been clamoring for, for a long time is
| | 00:03 |
the ability to package the artwork that
they create inside of Illustrator and
| | 00:06 |
then distribute that artwork to a third
party and this is something you've been
| | 00:10 |
able to do in programs like Indesign for
a long time.
| | 00:14 |
You've been able to package your files
including fonts graphics and photos
| | 00:18 |
etcetera and then put that into a folder
and send it out.
| | 00:21 |
To someone, like a printer or a colleague
or whoever it might be.
| | 00:25 |
And now you have that same ability inside
of Adobe Illustrator CS6 with this new
| | 00:28 |
cloud update.
So what you need to do is just go to the
| | 00:32 |
File> Package.
And once you do that it tells you the
| | 00:35 |
document must be saved.
And that's OK, just click Save to save
| | 00:38 |
it, if it hasn't been saved yet.
Once you save the document it goes
| | 00:42 |
through the process and brings up the
packaging dialogue box.
| | 00:46 |
It then tells you the location of where
this is going to be saved.
| | 00:49 |
And I'll just click this and put it out
on my Desktop, and hit Choose.
| | 00:53 |
It gives it a folder name, Cloud Updates
Folder, and that's fine.
| | 00:56 |
And then you determine exactly what comes
along with this.
| | 00:59 |
So do you want to copy the link?
Yes I do.
| | 01:01 |
That means this linked image here.
Do I want to collect the links in a
| | 01:04 |
separate folder?
Yes I do.
| | 01:06 |
Relink linked files to the document?
Yes indeed.
| | 01:09 |
Copy the fonts used in the document
except for a few different fonts these
| | 01:12 |
are going to be stuff like Chinese fonts
and things like that those will not be
| | 01:15 |
included and then finally do you want to
create a report that tells you exactly
| | 01:18 |
what has been packaged and I do want to
do all that so I'm going to leave all
| | 01:20 |
those checked and then I'm going to click
the package button.
| | 01:27 |
Once I click the package button, you're
going to get a warning that tells you
| | 01:29 |
that restrictions apply to copying font
software by a service provider.
| | 01:33 |
Basically what this is saying is please
don't be illegally transfer fonts between
| | 01:36 |
one another and I know this is something
that, you know, they're trying to police
| | 01:39 |
with this.
If you want to see this each and every
| | 01:42 |
time just simply hit OK.
Or you can say don't show again and then
| | 01:45 |
hit OK.
Once you do that, it packages up your
| | 01:48 |
Illustrator art work and once it does it
comes up and says your package was
| | 01:51 |
created successfully.
To view the package contents press, Show Package.
| | 01:56 |
So, I'll press that.
It brings up the folder for me and now I
| | 01:59 |
see I've got my file, I've got the fonts
used, I've also got the links.
| | 02:05 |
And I've got a text document.
And once I get that open, you'll see the report.
| | 02:09 |
And inside of the report, it tells me the
document name, the color mode, all of the
| | 02:12 |
information about the file.
It also tells me the fonts, any embedded
| | 02:16 |
or missing fonts.
It also tells me the linked images and
| | 02:20 |
some information about those.
And it would also show me embedded
| | 02:23 |
images, as well.
And so this is a great way to get a
| | 02:26 |
report of exactly what's included inside
this folder so when you send this to a
| | 02:28 |
commercial printer or whoever you might
be sending it to they can open this up
| | 02:31 |
and make sure everything is in place like
you say it is and that way you can avoid
| | 02:34 |
confusion in the future.
So again, the next time you need to take
| | 02:40 |
artwork and package it out of
Illustrator, you no longer have to do
| | 02:42 |
that in programs like InDesign.
You can just do that right within
| | 02:46 |
Illustrator by going to file and
selecting, package.
| | 02:49 |
And that's part of the new Illustrator
CS6 update.
| | 02:53 |
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2. Working with TextUsing the Touch Type tool| 00:00 |
One of my favorite things in this new
update to Adobe Illustrator has got to be
| | 00:03 |
something called the Touch Type tool.
This is something that is really neat,
| | 00:08 |
because it enables you to have
unprecedented control over your text in Illustrator.
| | 00:13 |
And also, if you are working on a touch
enabled tablet or touch enabled monitor,
| | 00:17 |
you really have some fun ability to take
control of your text literally with your hands.
| | 00:24 |
So, let's take a look at this.
I'm going to go to the File menu and
| | 00:26 |
choose New, and then once I have the new
document screen, I'm just going to hit OK.
| | 00:30 |
It doesn't matter how big or how small,
and then just grab your Text tool.
| | 00:34 |
And we'll just create a box here and I'll
type out, Hello World.
| | 00:38 |
And then, I'll blow this up in the box,
something like that, and there we go.
| | 00:43 |
Once I have the Hello World text out
there on screen, I'm going to then come
| | 00:47 |
over here to my Text tools click and hold
and select on something called the Touch
| | 00:51 |
Type tool.
Which you can also select by pressing
| | 00:55 |
Shift and the letter T on your keyboard.
And once I have that, there's a little
| | 01:00 |
thing on screen that says, click to
select a character.
| | 01:03 |
So in this case, if I were to select the
O, you'll notice that I get a separate
| | 01:06 |
bounding box only around the O.
And on that O, I can scale it up or down
| | 01:11 |
in any way that I want.
So, that means I can control the vertical
| | 01:16 |
and horizontal scaling of this
independent character.
| | 01:19 |
So, if I go up it looks like this and if
I go over, it looks like that.
| | 01:24 |
It does still respond to Cmd or Ctrl+Z on
your keyboard, so you can always undo this.
| | 01:29 |
It's a non-destructive change at the
moment.
| | 01:31 |
And you can also scale this in
porportion, like so.
| | 01:36 |
And you can also change the baseline
shift by coming down here to the bottom
| | 01:39 |
left-hand corner, clicking and dragging
on that little blue dot.
| | 01:44 |
And so by doing this, it moves it around.
Now you may see that the text is kind of
| | 01:47 |
falling off.
That's because it's going outside the
| | 01:50 |
boundaries of this bounding box that I
set for it.
| | 01:52 |
But if I use Cmd or Ctrl+Z to undo, it
comes right back like so.
| | 01:57 |
Now, let's take a look at how this would
look on a touch enabled screen.
| | 02:01 |
So, I'm going to switch over here to my
Wacom Cintiq monitor.
| | 02:04 |
And once I'm on the Wacom Cintiq monitor,
I've got a piece of text here.
| | 02:08 |
And what I'm going to do is just the same
thing I was doing before, but this time
| | 02:11 |
I'm going to use my fingers and the pen.
So, here we go.
| | 02:16 |
I'm just going to select a character
here.
| | 02:19 |
And once I select the character, you can
see here how I can come up to the top and
| | 02:22 |
I can adjust the overall scaling of the
object.
| | 02:26 |
I can adjust the vertical scaling to
scale it up, I can select the horizontal
| | 02:29 |
scaling down here to drag it out to the
side.
| | 02:32 |
And then, I can also come down to the
corner and I can change the baseline
| | 02:35 |
shift as well.
Now what's interesting about all of this
| | 02:39 |
is no matter what I do to these
characters, in this text, it always
| | 02:43 |
remains editable.
I can always go back and change it
| | 02:46 |
anytime I want.
So in this case, if I wanted to change
| | 02:49 |
the World, all I have to do is
double-click at the front with the Text tool.
| | 02:53 |
And then once I do that, I can change the
words and then manipulate that new word
| | 02:58 |
in any way I see fit as well.
So again, as these touch enabled screens,
| | 03:04 |
and tablets, and things like that become
more and more popular in the world of design.
| | 03:11 |
I think stuff like this is going to be
really huge.
| | 03:14 |
And it's really fun to see that Adobe is
starting to work this in so that we can
| | 03:17 |
start to get used to it in our daily
workflows.
| | 03:20 |
So, if you have a touch enabled tablet or
a drawing screen, or something like that,
| | 03:24 |
that you have access to, take some time
and play around with this and see what
| | 03:27 |
you can come up with.
Because now you have this really
| | 03:31 |
interesting way to actually get in there
and physically control your type in ways
| | 03:35 |
that you never did before.
| | 03:37 |
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| Exploring Text tool enhancements| 00:00 |
For awhile now there has been a feature
inside Adobe Photoshop that's actually
| | 00:03 |
been one of my favorite features of the
Text tool that I always wished had
| | 00:07 |
carried over into Adobe Illustrator.
And that is the fact that I can easily
| | 00:11 |
inside Photoshop convert point text to
paragraph text and vice versa.
| | 00:15 |
Now if you're not sure what I'm talking
about here, let me show you exactly what
| | 00:18 |
I mean.
I'm going to go to the file and choose
| | 00:20 |
New, and I'm just going to create a blank
document.
| | 00:23 |
It does not matter what size document you
create, and I'm going to grab the Text
| | 00:25 |
tool here, and I'm going to first create
what's called Point Text.
| | 00:29 |
Point Text, just basically means I'm
going to point somewhere with my mouse,
| | 00:31 |
I'm going to Click and I'm going to start
typing.
| | 00:33 |
So I'll just type out Hello my name is
Justin, and then we'll blow this up a
| | 00:39 |
little bit so you can see it.
Alright, so there's Point Text.
| | 00:45 |
And basically what Point Text means is
I've just pointed, clicked and made a
| | 00:48 |
single line of text.
If I were to Stretch this box, you can
| | 00:51 |
see the text becomes extremely distorted,
not exactly what I might be looking for
| | 00:55 |
all of the time if I need more space to
write things.
| | 01:00 |
This is something that a lot of people
use when they're just creating something
| | 01:02 |
like a headline or something like that.
You also have the ability to do Area
| | 01:07 |
text, or Paragraph text.
And so if I click and drag with my mouse
| | 01:11 |
using the Text tool, I can create a box
of text wherein I can just type random
| | 01:15 |
characters here to show you, that it just
goes line by line by line, like so.
| | 01:22 |
Unlike this line up here where I would
have to actually hit the manual return at
| | 01:25 |
then end of each line to make it some
sort of a box model like you see here.
| | 01:29 |
Now, the interesting thing about this, is
the fact that beforehand, I didn't have a
| | 01:33 |
way to instantly convert this from Point
text to Paragraph text, or convert this
| | 01:37 |
from Paragraph text to Point text.
So, in Illustrator now, I have the
| | 01:43 |
ability to do that.
And it's actually very easy, there's no
| | 01:46 |
keyboard shortcut, there's no
right-clicking involved, it's just this
| | 01:49 |
little button right here.
And you see when I hover over that little
| | 01:53 |
circle that I get a little text icon.
If I double-click on this, it's going to
| | 01:57 |
convert that to Point text.
How do I know that?
| | 02:01 |
Because now if I stretch this, it becomes
distorted, much like the previous box was.
| | 02:08 |
Now let's undo that, get back to the
original, and right here,let's hover over
| | 02:12 |
it again, double-click, and I've
converted it back to Paragraph text so
| | 02:16 |
now, I can extend the box for more room,
or shrink it up.
| | 02:22 |
Just like that.
Now, let's delete this, and lets take
| | 02:25 |
this one, and I'll move it back into the
center here.
| | 02:27 |
Remember this is Point text right now, so
if I were to click and drag to stretch it
| | 02:31 |
out, it becomes distorted.
Undo that with Cmd or Ctrl+Z, and then
| | 02:35 |
come right here, to this little corner,
double-click.
| | 02:38 |
And it is now Paragraph text, so I can
now fill this up with a big block of text
| | 02:41 |
if I chose to.
If I double-click this again, watch, it
| | 02:45 |
just snaps back to be a single line of
Point text.
| | 02:48 |
Now if you're not real big on finding
this little guy each and every time you
| | 02:50 |
want to do this, you can also do it from
the Type menu.
| | 02:53 |
You can say Convert to Area Type which is
the same thing as Paragraph type.
| | 02:57 |
You can convert it from Area Type back to
Point Type any time you want, just like that.
| | 03:03 |
So again, this is just another way that
they're trying to help you increase the
| | 03:06 |
capabilities of different tool sets
inside of Adobe Illustrator.
| | 03:09 |
And I think this is a pretty cool, little
update that's going to save you a lot of
| | 03:12 |
time when you're working with text inside
of Illustrator.
| | 03:15 |
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| Searching for fonts| 00:00 |
Finding the right font for your design
projects can be somewhat of a daunting
| | 00:03 |
task, especially if you're someone like
me who has 100's or even 1000's of fonts
| | 00:06 |
installed on their system.
So in this movie, I'm going to be
| | 00:10 |
exploring the all new search capabilities
that now exist inside of Illustrator,
| | 00:14 |
which hopefully help you find the exact
font you're looking for a little bit faster.
| | 00:19 |
Let's go up to File menu and create a new
file.
| | 00:22 |
And I'm just going to hit OK, doesn't
matter what size this is.
| | 00:24 |
I'm going to grab the Text tool, and I'm
just going to type out, Hello World.
| | 00:30 |
And once I have that, I'll select it and
let's blow it up to sometime like 72
| | 00:33 |
points, that way it's easy for us to see.
There we go.
| | 00:36 |
I'll move it kind of over here to the
side because I'm going to open up a panel
| | 00:38 |
over here on the right.
Let's go to the Window menu and bring up
| | 00:42 |
the Type panel.
Now, you could do this from the Control
| | 00:44 |
panel across the top of screen.
When you have a piece of text selected,
| | 00:47 |
but I just want to bring up the panel so
you can see it.
| | 00:50 |
That way it stays on screen all the time.
I'm going to select this text here,
| | 00:53 |
because it works best if you have
something selected.
| | 00:56 |
And then, I'm going to come over here to
the Type panel, and you'll notice that
| | 00:58 |
something different exists right here.
And this is the new Search Bar.
| | 01:02 |
Normally, you would just drop this down
and you would spend a lot a time going
| | 01:05 |
through and finding the font that.
You need just by scrolling through the
| | 01:09 |
list like I'm doing here.
But that takes up a lot a time.
| | 01:12 |
It's so tedious.
And chances are, you're going to skim
| | 01:14 |
over the font you're looking for nine
times out a ten before you actually
| | 01:17 |
scroll back and find it because you just
scroll too fast.
| | 01:21 |
So, in this case, I'm so glad they put
this in here because it's really easy.
| | 01:25 |
All I have to do is click here.
I can clear the search field by hitting
| | 01:29 |
this little x.
And then, let's say that I'm looking for
| | 01:31 |
the font, Arial.
I'll just start typing out ARI, and you
| | 01:34 |
can see here as I type, it starts to sort
of narrow down the search results.
| | 01:40 |
I'll type out AL to finish it up.
And there are all of the different Arial
| | 01:44 |
fonts that are available to me.
If I'm looking for a specific one, I can
| | 01:47 |
hit space and let's say I'm looking for
Arial Bold.
| | 01:51 |
There it is.
And I can just, click on that, and watch
| | 01:53 |
the text over to the left.
It instantly converts over to that font
| | 01:57 |
just by clicking on it.
Now, it also, not only changed the font
| | 02:01 |
family, but it also set the font style
accordingly.
| | 02:05 |
Now, let's say I wanted to change this.
Let's say I wanted to change it over to
| | 02:08 |
Times New and there's Times New Roman.
That's exactly what I'm looking for.
| | 02:12 |
I'll click it, and notice when I click
that, it also resets the font style as well.
| | 02:17 |
So, it's just the font family and the
regular font style right there.
| | 02:20 |
So, as you can see, this is really going
to reduce the time that you spend inside
| | 02:23 |
of the Type panel.
And it's going to make it easier for you
| | 02:27 |
to just get in and out of here, and pick
the right fonts when you need them.
| | 02:31 |
Because chances are, even though you have
hundreds and hundreds of fonts installed,
| | 02:34 |
you're only using a small subset of those
in each one of your design projects.
| | 02:39 |
So, take some time and learn this new
feature, and it's really going to help
| | 02:42 |
you find the right font for each one of
your projects down the road.
| | 02:46 |
| | Collapse this transcript |
|
|
3. Working with ColorUsing the Separations panel| 00:00 |
Much like InDesign, Adobe Illustrator has
a Separations Preview Panel.
| | 00:04 |
And it's had it for some time now.
And the Separations Preview Panel
| | 00:07 |
basically allows you to go in and take a
look at what's called an Overprint
| | 00:10 |
Preview, which gives you an idea of what
certain inks will look like when mixed
| | 00:14 |
together for commercial print.
Now in this update for Adobe Illustrator,
| | 00:20 |
they've actually added something to this
panel which makes it a little easier to
| | 00:22 |
understand all of the different things
that are happening in your document when
| | 00:25 |
it comes to color.
So, let's take a look at that now.
| | 00:29 |
I'm going to go up to the Window >
Separations Preview and inside of the
| | 00:32 |
Separations Preview panel you're going to
notice that by default everything is
| | 00:35 |
grayed out but, let's take a look at it
first.
| | 00:39 |
So, I've got up here all the colors here.
Cyan, magenta, yellow, and black, that of
| | 00:43 |
course are the four process colors that
are associated with commercial print.
| | 00:46 |
I also have a list of all of the spot
colors that are in this document.
| | 00:50 |
Nerdy Dark Blue, light blue, medium blue
two, Nerdy Orange, and Nerdy Red.
| | 00:55 |
You can see all of those on display over
here in my Swatches Panel, as well.
| | 00:59 |
You'll also notice in additional to this
panel down here at the bottom.
| | 01:01 |
Show used spot colors only.
That's the new guy in town.
| | 01:05 |
We'll talk about that in just a minute.
First of all, let's turn on Over Print
| | 01:08 |
Preview and let's take a look at exactly
what this does.
| | 01:11 |
Over print preview basically gives you a
look at your file as it would be printed.
| | 01:17 |
So, in this case, I can go through and
turn off.
| | 01:20 |
Certain inks like the cyan ink.
See that when I turn that off things
| | 01:24 |
start to get a little discolored.
And I can also turn off all the way down
| | 01:28 |
to black as well.
Then we can also start turning off the
| | 01:33 |
spot colors.
And all the way down until we have
| | 01:36 |
basically nothing showing up.
Now you can also Option or Alt click on
| | 01:40 |
these eyes.
And when you Option or Alt click it
| | 01:43 |
either reveals all of them or you can
Option or Alt click and reveal only the
| | 01:46 |
color you click on.
So in this case, I'll Option or Alt click
| | 01:51 |
to return it back to normal.
And let's just go up here and let's do
| | 01:54 |
just the magenta, so we can see just the
magenta.
| | 01:57 |
Option or alt click, just the yellow.
Option or alt clicking twice does that.
| | 02:03 |
And then optional, clicking twice on the
blue shows me that.
| | 02:06 |
So this is just a good way for you to
start to understand exactly what makes up
| | 02:09 |
a commercial printed piece.
And also, let's say that we were sending
| | 02:13 |
this out for commercial print.
Chances are, I'm going to want these
| | 02:16 |
blues and the text and then the bird and
everything, I'm going to be wanting that
| | 02:19 |
to use the Spot Color, as opposed to just
using four color process.
| | 02:24 |
So, I'm going to take a look here.
So I need to add in the spot color here.
| | 02:29 |
I don't need to use it on the text
because the text is not blue and I don't
| | 02:32 |
need to use it on the glasses because the
glasses are not blue either.
| | 02:35 |
But that up there does need to use that
spot color.
| | 02:38 |
So what I'll do is Option Alt click,
return everything back to normal I'm just
| | 02:41 |
going to come up here and select the text
and then double-click to enter isolation mode.
| | 02:47 |
Move this over and let's select each one
of these individual letters by shift
| | 02:51 |
clicking and then we'll come over here.
Find Nerdy Light Blue, and we'll apply that.
| | 02:57 |
No color change but, it does make this
use the spot color as opposed to using
| | 03:00 |
four color process for that particular
piece of the arc so now, I'll
| | 03:03 |
double-click to exit.
And let's go here.
| | 03:08 |
Now you'll notice down here at the bottom
that the show use spot colors only check
| | 03:11 |
box is checked on.
And that is because right now I'm
| | 03:14 |
currently only displaying in this panel
the spot colors that I'm using in the document.
| | 03:20 |
If I want to see all of the spot colors
that are available to me, I can turn this off.
| | 03:26 |
And it shows me the Nerdy Red it could
also show me something like if there were
| | 03:29 |
pattern swatches loaded in here what ever
the artist that created this piece of
| | 03:32 |
artwork was using at the time.
I can see all of those colors and then if
| | 03:36 |
I want to filter it down to only the
one's that are used making it a lot
| | 03:39 |
easier for me to understand this document
I could just check this box on only the
| | 03:42 |
one's that are used appear in here and
then have a better understanding of what
| | 03:46 |
types of color I need to tell the
printer.
| | 03:51 |
To have ready I need to understand how
many colors this job is going to have in
| | 03:54 |
it which can effect pricing and a lot of
different other things.
| | 03:58 |
So this is a very handy panel not only
for getting a preview of what your
| | 04:01 |
artwork is going to look like but also
for getting information about how many
| | 04:04 |
colors you've used int he document as
well.
| | 04:08 |
| | Collapse this transcript |
| Searching for swatches| 00:00 |
Much like fonts, the process of finding
the right color for your project can be
| | 00:04 |
somewhat of a daunting task.
And in this movie, I'm going to show you
| | 00:08 |
a feature that they've added to Adobe
Illustrator that's going to help you get
| | 00:12 |
there maybe a little faster.
Now this is going to be a little bit of a
| | 00:16 |
different workflow.
Because in most cases when I work with
| | 00:19 |
color, I work from right here in the
Swatches panel, I don't necessarily work
| | 00:22 |
from the Color Picker over here on the
left.
| | 00:25 |
And I wish that Adobe had actually added
this feature to the Swatches panel, but
| | 00:28 |
maybe we'll see that somewhere down the
road.
| | 00:31 |
So let's say, for instance, that I have
my Swatches panel loaded up with color so
| | 00:34 |
much so, that I'm having a lot of trouble
finding exactly the one that I need.
| | 00:38 |
Well, all I have to do is come over here
to the Color Picker and double-click on
| | 00:41 |
the fill.
And then inside of the Color Picker I
| | 00:44 |
switch to Color Swatches.
And now at the bottom I have the ability
| | 00:47 |
to search through all of the colors that
are available to me.
| | 00:51 |
And I can actually do this in more than
one way.
| | 00:54 |
So, let's just say I'm looking for the
name of a color.
| | 00:56 |
So, in this case I'm working with the
Nerdy Bird Software and Games Company, so
| | 00:59 |
hopefully the spot colors in here are
named accordingly.
| | 01:03 |
So, let's just type out Nerdy, and when I
type that out you see all the different
| | 01:07 |
colors pop up there, I can cycle through
them using this little arrow to see all
| | 01:11 |
the different colors.
And if I want to choose one of those, all
| | 01:17 |
I have to do is move to it in the scale
and then hit OK, and then that becomes my
| | 01:21 |
active fill color.
Now, if I wanted to go back in there,
| | 01:26 |
just double-click again, hit Color
Swatches.
| | 01:28 |
And then let's say that I didn't want to
search just by the word, Nerdy.
| | 01:32 |
Let's say I wanted to search by an actual
value, like you see here.
| | 01:35 |
None of these swatches have names, after
all, they just have values associated
| | 01:38 |
with them.
So, in order to do that, what I need to
| | 01:40 |
do is just start typing something out.
Let's say I know for a fact that I don't
| | 01:44 |
want to use cyan.
I'm looking for, like, a red or an
| | 01:47 |
orange, or maybe even a yellow color.
So, let's type in cyan, which is the
| | 01:50 |
letter c, equals zero.
And when I do that, you can see here,
| | 01:54 |
here's the yellow, here's an orange, and
here's a red.
| | 01:56 |
Here's also some grays, and also some
pinks towards the top.
| | 02:01 |
You can just see this entire scale, and
again you can cycle through these just by
| | 02:04 |
clicking and dragging this little arrow
here to see exactly which one you want.
| | 02:08 |
When you find the one you want, just stop
on it, hit OK, it becomes your active
| | 02:11 |
color, which you can then use to apply to
artwork, or text, or whatever it is that
| | 02:14 |
you might be meaning to change.
So, again, my only complaint here is that
| | 02:20 |
they didn't add it to the Swatches panel.
I find this to be really useful, if I
| | 02:23 |
could just get to it a little faster, it
would be spot on.
| | 02:27 |
So, if you ever find yourself in need of
searching for a specific color, that
| | 02:31 |
might be available to you in a document.
Just go over there, double-click, do a
| | 02:36 |
quick search, find it, load it up and
then start applying it to your artwork
| | 02:39 |
for a quick and easy fix to your color
woes.
| | 02:43 |
| | Collapse this transcript |
|
|
4. Brush Tool EnhancementsUsing images in brushes| 00:00 |
In previous versions of Adobe
Illustrator, it was impossible for you to
| | 00:03 |
create a brush that contained raster
graphics, and by raster graphics I mean
| | 00:06 |
anything that's like a jpeg, a tif, a
png, or even a Photoshop file for that matter.
| | 00:12 |
But in this update to Adobe Illustrator
you are now able to create brushes that
| | 00:16 |
have images, inside of them.
And so your now able to define scatter,
| | 00:20 |
art, and pattern brushes using images
simply by dragging an embedded image, it
| | 00:24 |
has to be embedded in the document, over
into the brushes panel.
| | 00:29 |
So let's bring the brushes panel out here
so we can see it and show you just how
| | 00:31 |
easy it is to do this.
Once I have an object selected on my
| | 00:35 |
screen that is an embedded raster
graphic, I need to size it appropriately.
| | 00:39 |
So, let's scale this down just a little
bit.
| | 00:42 |
Something like maybe 250 by 250.
There we go.
| | 00:46 |
Around about that size.
Doesn't really matter.
| | 00:47 |
Just scale it down a little bit and then
just drag it over to the brushes panel.
| | 00:51 |
When you see the little blue line appear
in the brushes panel, you can release
| | 00:53 |
your mouse.
And then you get this New Brush
| | 00:56 |
Definition dialogue box.
This is telling you to select a new type
| | 00:59 |
of brush.
And you can see here that calligraphic
| | 01:02 |
brush and bristle brush are both grayed
out.
| | 01:04 |
You cannot create a calligraphy brush or
a bristle brush using a raster graphic.
| | 01:09 |
Can't happen.
You can, however, use it to create a
| | 01:11 |
scatter brush, an art brush, and also a
pattern brush, if you choose to.
| | 01:16 |
Let's take a look at the Art Brush
options.
| | 01:19 |
I'm going to hit OK, here, and once I hit
OK, it's going to take me to the Art
| | 01:21 |
Brush options dialog.
I'm going to call this one blue, flower,
| | 01:26 |
and we're going to call this, scale.
And I'm going to do that because I'm
| | 01:31 |
going to use the first brush scale option
here of scale proportionately.
| | 01:35 |
And so what that means is as I draw with
this brush it is simply going to scale
| | 01:38 |
this image proportionally, no matter how
big I draw it.
| | 01:43 |
So what I'm going to do here is.
Also select the direction.
| | 01:46 |
So I can do stroke from right to left.
Stroke from left to right.
| | 01:50 |
Up and down, top to bottom.
Doesn't matter which way you do this necessary.
| | 01:53 |
I'm just going to do, from, top to bottom
here.
| | 01:57 |
And we'll hit OK.
Now, what I'm able to do is grab my brush
| | 02:01 |
tool and select this brush and then come
out here out and just draw.
| | 02:06 |
And you see when I draw it.
It just draws out, the flower as big as
| | 02:13 |
my brush stroke.
Pretty cool.
| | 02:17 |
Let's undo that.
Go all the way back to my original object.
| | 02:22 |
I'll switch to my selection tool, and now
let's create another new brush, so I'm
| | 02:25 |
going to drag this over to the Brushes
Panel again.
| | 02:28 |
Release, art brush.
Hit OK.
| | 02:32 |
This time we are going to call this, Blue
Flower Fit and Stretch to Fit Stroke
| | 02:36 |
Length is what we are going to select
here.
| | 02:40 |
Direction's still the same that is okay.
Hit OK and so now what should happen.
| | 02:47 |
When I grab my Brush Tool and make a
stroke, this should actually stretch that
| | 02:50 |
image the length of the stroke.
So, let's try it out.
| | 02:58 |
As you can see there, when I make that
big stroke, see how it kind of stretches
| | 03:01 |
it out, bends it over because I made that
big long sweeping stroke?
| | 03:06 |
If I do one out here off the artboard,
watch this.
| | 03:08 |
If I go, kind of curvy.
You can see it really distorts that image.
| | 03:13 |
And this is why it's important use you
high resolution images when you're doing
| | 03:16 |
things like brushstrokes.
Because, see how this is getting
| | 03:18 |
pixelated down here towards the bottom?
That is not good.
| | 03:21 |
Now, you can't avoid this entirely,
because of the fact that these are images
| | 03:25 |
made up of pixels.
And twisting and turning them, and all
| | 03:28 |
that kind of stuff, is going to distort
them, and it is going to lose some of the quality.
| | 03:33 |
So this is great for experimenting,
creating some interesting pattern looks,
| | 03:36 |
and things like that.
But probably not something that you'd
| | 03:39 |
want to use for anything that you need to
be high resolution for.
| | 03:42 |
That's going to be better suited for just
creating just your standard scatter
| | 03:44 |
brushes, or just the point and click
kind of brush like I did awhile ago.
| | 03:47 |
So let's undo this one more time.
And I'll show you the final option.
| | 03:53 |
Let's take our selection tool one more
time, drag this over into the Brushes
| | 03:56 |
panel, release, Art Brush, OK.
And now we're going to call this Blue
| | 04:02 |
Flower Stretch, and we'll just do btwn,
between.
| | 04:08 |
So Stretch Between Guides is the last one
here.
| | 04:13 |
And so what we have here is we actually
get to define the start position of the
| | 04:17 |
scalable selection.
You can see here as I move that up and
| | 04:21 |
down it changes the overall height of
that and you can also select the end
| | 04:26 |
point as well.
And so in this case we can actually
| | 04:33 |
extend it, shrink it down, so let's do
something like fifty points, and hit OK.
| | 04:40 |
And so now I've got that brush here, the
last one in the list, let's select it,
| | 04:43 |
grab my brush tool, and then this time
what we're going to do is just make a stroke.
| | 04:48 |
And you can see there it kind of follows
the pattern of the stroke.
| | 04:53 |
It's kind of skwishing it down just a
little bit.
| | 04:55 |
A little bit different.
So all in all it depends on the image
| | 04:58 |
that you're using inside of this Brush.
For this particular case, I think the
| | 05:03 |
first Brush we created works really well
and that's going to be the Blue Flower
| | 05:06 |
Scale right here because that just allows
me to Click and Drag and it creates a
| | 05:09 |
perfectly scaled flower each and every
time, no matter what.
| | 05:15 |
I can go as small or as large as I need
it to go.
| | 05:18 |
And I can create some pretty interesting
looks just by clicking and dragging with
| | 05:22 |
my mouse.
If I had a Wacom tablet or something like
| | 05:25 |
that to draw with, I could even do this
even quicker.
| | 05:29 |
So you can see how this could really turn
into a fun thing to use.
| | 05:33 |
And as long as you're using a
decent-resolution image.
| | 05:35 |
It can come through really well.
So again, this is just how to use raster
| | 05:39 |
graphics in your brushes inside of the
latest update to Adobe Illustrator.
| | 05:43 |
| | Collapse this transcript |
| Working with automated corner generation| 00:00 |
Up until now creating pattern brushes
inside of Illustrator has been somewhat
| | 00:03 |
tricky business.
And Adobe is trying to remedy that by
| | 00:06 |
enabling you to use something called
automatic corner generation when your
| | 00:09 |
working with pattern brushes here inside
of Illustrator.
| | 00:13 |
So, in order to do this we're going to
create a brand new document.
| | 00:15 |
We're just going to go to File > New and
it doesn't really matter what the size is
| | 00:18 |
right now just hit OK.
And then once you have a new document
| | 00:21 |
open, we're ready to go.
So the basic concept here is that we
| | 00:24 |
want to to create a brush, first and
foremost.
| | 00:27 |
So, I'm going to bring out my Brushes
panel and I'm just going to drop it out
| | 00:30 |
just like that.
And then I'm going to just create some artwork.
| | 00:35 |
It doesn't really matter what it looks
like.
| | 00:36 |
In this case, I'm just going to do two
colored squares.
| | 00:38 |
I'm just going to grab the rectangle
tool.
| | 00:40 |
And I'm going to draw out of square
that's roughly about 30 pixels by 30
| | 00:44 |
pixels wide.
Doesn't really matter what size it is as
| | 00:46 |
long as you have a small square like
cell.
| | 00:48 |
I'm going to make sure it has no stroke,
and then for the fill we're just going to
| | 00:52 |
give it something like a blue color like
that.
| | 00:55 |
And then I'm going to grab my Selection
tool.
| | 00:58 |
And we're just going to duplicate this.
So I'm just going to hold down the Option
| | 01:01 |
or Alt key, and drag it to the side.
And once it intersects with that other
| | 01:06 |
one, just like so, we will change the
color.
| | 01:11 |
So now I have two different tiles, same
size.
| | 01:13 |
Just a little piece of art here.
What I'm going to do is drag this over,
| | 01:16 |
after selecting it, over to the brushes
panel, and release.
| | 01:20 |
When I do that, it's going to ask me to
create a new brush, and I'm going to say
| | 01:23 |
that I want to create a pattern brush,
and hit OK.
| | 01:26 |
When I do that it's going to take me to
the pattern brush creation screen.
| | 01:30 |
So what I'm going to do is just call this
blue, green, dash, just like so.
| | 01:36 |
And I can also fix the scale, change the
spacing, whatever I want to do.
| | 01:40 |
But the main thing I'm worried about
right now is taking a look at something here.
| | 01:44 |
The corner point.
In previous versions of Illustrator, you
| | 01:48 |
ran into the problem where generating
corner points was sort of tricky business.
| | 01:51 |
You didn't really know how it was going
to fit, and you had to spend a lot of time.
| | 01:54 |
Mixing and matching options trying to get
it to look just right.
| | 01:57 |
Well now, in this update to Adobe
Illustrator, what they are doing is
| | 02:00 |
giving you the ability to have
auto-generated corners, and there's
| | 02:02 |
actually four different options.
So, let's drop this down and let's take a look.
| | 02:06 |
The four options that are auto-generated,
and by the way, you see those by making
| | 02:10 |
sure there's a check mark right here.
The four different types are
| | 02:15 |
auto-centered, which means that the side
tile is stretched around the corner and
| | 02:18 |
centered on it.
So right now this is kind of like stretched-out.
| | 02:22 |
And then the center of the tile is right
there on the corner.
| | 02:26 |
So that's probably the cleanest one for
this particular pattern that we're
| | 02:28 |
working on.
But let's take a look at the other ones
| | 02:30 |
as well.
Auto between, this basically is going to
| | 02:33 |
give you copies of the side tile and
extend them all the way into the corner
| | 02:36 |
with one copy on each side.
And so basically what your looking at
| | 02:40 |
right here is, here is the actual tile
right here in the middle and then it's
| | 02:43 |
giving you a slight copy of each one on
either side to sort of continue the
| | 02:46 |
pattern look that you created.
You've also got auto-sliced, and
| | 02:51 |
basically this means that the side tile
is sliced diagonally, and then the pieces
| | 02:55 |
come together similar to the uh,
(UNKNOWN) joint in a wooden picture frame.
| | 03:00 |
So you can see here it's just kind of
sliced down the middle and just kind of
| | 03:03 |
joined together just like that.
You've also got auto overlap, and so auto
| | 03:07 |
overlap basically just copies the tiles
and overlaps them right on top of the corner.
| | 03:13 |
So, those are the four different types
that you get with this.
| | 03:16 |
And my opinion auto-centered is probably
the best for this because it gives it a
| | 03:19 |
nice clean look all the way around.
What you will have to be aware of is if
| | 03:22 |
you change directions on something like
for instance right here, you have to
| | 03:25 |
select the tile for that as well.
So be sure that you complete all of these
| | 03:29 |
different sections so that you know
exactly what you're looking for.
| | 03:32 |
So in this case we'll do auto center.
There it is.
| | 03:34 |
Nice clean, cut there.
And so now, if I hit OK, I've created
| | 03:37 |
that brush, it's right there in my
brushes panel.
| | 03:41 |
Blue, green, dash when I hover over it.
I can now get rid of this artwork that I
| | 03:44 |
drew and I can use this brush to stroke
any type of shape that I draw.
| | 03:48 |
So let's go ahead and let's draw out a
star.
| | 03:51 |
And when I draw out the star like this.
I'll just move it out, in to the art
| | 03:56 |
board, and I'm going to fill it with, a
distinct color like black that way we can
| | 04:00 |
really see it.
And then I'm going to switch to the
| | 04:04 |
stroke, and I'm going to apply the brush.
So let's click the Brush, and there you
| | 04:09 |
see, my Brush goes around it nice and
easy.
| | 04:13 |
And everywhere around the corners, it
meets and follows that corner rule that I
| | 04:17 |
assigned in the Brush options.
Now anytime I can go in and I can edit
| | 04:20 |
that brush, I can change that option
anytime I want.
| | 04:23 |
I can also create more brushes based on
this one, in order to change different
| | 04:26 |
looks, to apply them in different ways.
But at the end of the day, I think this
| | 04:30 |
looks really good.
And you can imagine some of the creative stuff.
| | 04:34 |
That you could create using this type of
brush style.
| | 04:37 |
So again, Adobe's just trying to give you
a little bit of a leg up when it comes to
| | 04:39 |
creating pattern brushes, and I think
that this is a pretty nice start in that regard.
| | 04:44 |
| | Collapse this transcript |
|
|
5. Web Design WorkflowsWorking with CSS Properties| 00:00 |
Traditionally Adobe Illustrator has been
used as a companion app in the print
| | 00:03 |
production workflow.
It's been great for logos and different
| | 00:07 |
things that you're going to then place
into an InDesign document and then export
| | 00:10 |
out for commercial print.
It's also been great for illustrations
| | 00:13 |
and tracing objects and things like that.
However now Adobe is trying to position
| | 00:18 |
Illustrator as more of a web design tool.
And I for one am very excited about that,
| | 00:22 |
because I use Illustrator for my web
designs all the time anyway.
| | 00:26 |
And now that we have some really cool CSS
features being built into Illustrator, it
| | 00:31 |
makes it even that much better.
So, let's bring up the new CSS properties
| | 00:36 |
panel by going to Window, CSS Properties.
And when I bring up this panel you're
| | 00:39 |
going to notice there's not a whole lot
going on in here.
| | 00:42 |
And number one I don't have anything
selected on the artboard right now so,
| | 00:45 |
there's nothing to be displayed in here.
Even if I were to click on something in
| | 00:49 |
the artboard though, you're going to
notice here that it says no CSS code was generated.
| | 00:54 |
That is because by default, this panel
does not recognize anything that has not
| | 00:57 |
been named in the Layers panel.
But we'll take a look at that a little
| | 01:00 |
bit later on.
Now, at the top here we have a panel menu
| | 01:03 |
that says Copy Selected Style, which
means we're just copying a selected style
| | 01:06 |
as CSS which we could then put into a
code editing application.
| | 01:10 |
We also have Generate CSS, which means,
hey, for the object that I have selected,
| | 01:14 |
just generate the CSS properties that you
can recognize.
| | 01:17 |
Export Selected CSS, that means I want to
export this out as a CSS document with
| | 01:21 |
the current object and its styles
selected.
| | 01:25 |
I can also Export All, that means the
entire document.
| | 01:28 |
Go through the entire document, read
everything that you can.
| | 01:31 |
Anything that you can generate as CSS,
please export it out as CSS.
| | 01:35 |
Everything else, just make it an image.
Export options.
| | 01:38 |
That means you go in and tweak all the
different options associated with the CSS
| | 01:42 |
export features here inside of
Illustrator.
| | 01:45 |
Now, at the bottom of this panel you have
the same type of buttons that are just
| | 01:48 |
quick links to those that I just talked
about to export options, Export Selected
| | 01:52 |
CSS, Copy Selected style, and Generate
CSS.
| | 01:56 |
Now as I said before if you don't have
your layers named in Illustrator, it's
| | 01:59 |
not going to show anything in this panel.
So let's bring up my Layers panel and
| | 02:03 |
take a look.
Inside my Layers panel here, I'll, open
| | 02:06 |
it down, like so.
And, we're currently selected on the
| | 02:09 |
background, which is just, like, a path,
and if I want this to show up in CSS, I
| | 02:12 |
just name this something different.
So let's double click here, and let's
| | 02:17 |
call this BG.
And then hit Enter.
| | 02:19 |
When I do that, take a look at what
happens in the CSS Properties panel.
| | 02:22 |
It actually writes out a CSS declaration,
which I can then copy and paste into a
| | 02:26 |
CSS document if I already have one.
Or I can go create one and go paste it in
| | 02:31 |
there, and it would work just fine.
The best part about this is it's
| | 02:36 |
grabbing, not only the width and height
of this background, but it's also
| | 02:40 |
grabbing the gradient code along with it.
So this CSS declaration is something I
| | 02:46 |
don't have to personally go in and craft.
I don't have to know that the gradient is
| | 02:50 |
50%, 50% in a circle pattern using the
farthest corner and all that kind of stuff.
| | 02:55 |
I don't have to know that, I just have to
copy and paste it directly from here.
| | 02:59 |
Now, if I go into the Export Options
dialogue box, you're also going to notice
| | 03:02 |
that I have the ability to include vendor
prefixes down here at the bottom.
| | 03:07 |
That means that I want to make sure that
this gradient shows up across as many web
| | 03:10 |
browsers as possible.
So, generate one for WebKit, generate one
| | 03:14 |
for Firefox, Internet Explorer, and
Opera.
| | 03:16 |
That means that this gradient is going to
theoretically look the same in every
| | 03:20 |
single browser that someone could open it
up in.
| | 03:23 |
However, CSS Gradient capabilities and
compatibility is not the same across all
| | 03:28 |
versions of all browsers.
So, if you really want to know that kind
| | 03:32 |
of stuff in and out, be sure to check out
all of the different information that's
| | 03:36 |
available online or in my personal
course, CSS Gradients here on lynda.com
| | 03:39 |
which will walk you through all of the
compatibility issues that certain
| | 03:43 |
browsers have.
Now, you can also, inside of this
| | 03:48 |
dialogue box, choose to include things
like dimensions.
| | 03:51 |
Include absolute positioning and that
kind of stuff if you want to.
| | 03:55 |
We'll go over all of this in detail in
just a minute.
| | 03:57 |
For now, though, I'm just going to hit OK
and watch what happens to the panel once
| | 03:59 |
I hit OK.
It completely fills up with all of the
| | 04:02 |
different declarations with the vendor
prefixes applied to them.
| | 04:06 |
So that you could quickly and easily
paste this into a document and apply it
| | 04:10 |
to some sort of div that you would then
be able to use in your designs.
| | 04:15 |
So, pretty cool how it's able to do that.
Now, I can do that not only for the big
| | 04:18 |
things like the background, I can also do
it for the little things like the button here.
| | 04:23 |
If I click this and then right click to
ungroup it.
| | 04:25 |
I can then get a hold of just this little
gradient background here.
| | 04:29 |
And let's find it in the Layers panel,
it's right here, it's called Path.
| | 04:34 |
And I'm just going to call this BTN_ORNG,
button orange, and once I do that, it
| | 04:37 |
generates all of the CSS code for me, as
you see.
| | 04:41 |
And I could go through my Layers panel
and rename all of these so that they all
| | 04:45 |
have some sort of naming convention
associated with them.
| | 04:50 |
Which it should correspond to a class
name that you have already developed.
| | 04:54 |
'Cuz chances are if you're a web
developer you're going to do your markup first.
| | 04:58 |
Your HTML markup is already in place, you
already know where everything is going to
| | 05:00 |
go, you're just trying to get the styling
right.
| | 05:03 |
This is a great way just to come in
really quickly, name these layers
| | 05:06 |
according to the styling and naming
conventions that you already have, and
| | 05:09 |
then copy and paste them over.
Now, once I have all of that done, I can
| | 05:13 |
go down here to the bottom and I can
check out the export options for the
| | 05:16 |
entire thing.
So, in this case, I want to use pixels as
| | 05:20 |
my units, or you can use points, but in
most cases, you're probably going to use pixels.
| | 05:24 |
That's the unit of measure that we use
when we're talking about screens that
| | 05:27 |
we're looking at, whether it's a mobile
phone, a monitor, a tablet, whatever it is.
| | 05:32 |
Object appearance, do you want to include
the fill?
| | 05:35 |
Do you want to include the stroke?
Do you want to include Object Opacity?
| | 05:39 |
Chances are you do want to include all of
these.
| | 05:41 |
These are all different things.
This will be the background color of
| | 05:44 |
something for instance.
This might be the border color, and this
| | 05:47 |
would be the alpha of it, or the
transparency level of it.
| | 05:51 |
Position and size.
You have the option to include absolute positioning.
| | 05:55 |
If you want to do that, that's okay.
If you're just sending a comp to somebody
| | 05:58 |
that you want as a proof of concept kind
of thing, absolute positioning works.
| | 06:03 |
But chances are, you're going to be
building these as a mobile responsive
| | 06:05 |
design or something like that.
And you're not going to want to use
| | 06:08 |
absolute positioning.
You're going to want to use floats and
| | 06:10 |
padding and margins and things like that,
so I typically do not include absolute positioning.
| | 06:16 |
Do you include dimensions?
Again, this is up to you, but this does
| | 06:18 |
give you a great starting point for you
to actually see the physical structure of
| | 06:21 |
everything you're creating.
You can always go back in and replace the
| | 06:25 |
pixel dimensions with percentage values
so that you could create more of the
| | 06:28 |
responsive designs.
So I'd usually leave this checked on just
| | 06:32 |
so I can have that starting point.
Now, if you have not gone through and
| | 06:37 |
named all of the different layers in your
Layers panel.
| | 06:40 |
It is a good idea to go and click this
box here, Generate CSS for Unnamed Objects.
| | 06:45 |
Otherwise, when you export out all the
CSS, it's only going to generate CSS for
| | 06:48 |
the objects that you've gone through and
named.
| | 06:51 |
If you tap this button, it will attempt
to make an educated guess as to what each
| | 06:55 |
one of these should be called.
And the educated guess is something like
| | 07:00 |
Image one, (LAUGH), which is kind of
generic.
| | 07:03 |
So, I recommend actually going through.
It may be tedious, time consuming, etcetera.
| | 07:07 |
But if you're just dipping your toe into
the web design world.
| | 07:10 |
It's better to let somebody handle this
for you than to, you know, just worry
| | 07:13 |
about trying to change things later.
So recommend naming, and then not having
| | 07:18 |
to worry about it.
But if you want to generate CSS for
| | 07:20 |
unnamed objects, go ahead.
Do you want to include vendor prefixes?
| | 07:24 |
Chances are, yes you do.
Rastorize unsupported art.
| | 07:27 |
That basically means, okay, if I cannot
turn this into workable CSS.
| | 07:31 |
Do you want me to rasterize it into an
image file?
| | 07:34 |
Yes.
Because I want everything to be
| | 07:36 |
represented in the page that I create.
So please, yes, rasterize anything that
| | 07:41 |
is not supported.
And then finally, the resolution.
| | 07:43 |
Do you want to use the documents raster
effects resolution?
| | 07:46 |
If you don't know what that means, be
sure to go back and watch Illustrator
| | 07:49 |
Essential Training.
That will walk you through some of the
| | 07:51 |
document raster effect settings.
And, basically, if you've got this set at
| | 07:55 |
a decent enough resolution for the web,
you should be okay to go.
| | 07:58 |
And then, once we hit OK, all my options
are set.
| | 08:02 |
I can now go up to the top here and I can
choose Export All.
| | 08:06 |
Once I do that, I'm just going to choose
my Export CSS folder which is in my
| | 08:09 |
Exercise Files folder and I'm going to
name this style.css and then hit Save.
| | 08:14 |
Once I do that it comes up one more time
to make sure I'm good with all the options.
| | 08:17 |
I am, so I'll hit OK.
That's going to generate that out and now
| | 08:20 |
I'm going to jump over into Dreamweaver
so we can take a look at it.
| | 08:24 |
Once I'm over in Dreamweaver I now have
open that style.css document that I just
| | 08:28 |
saved out of Illustrator.
And as you can see, it has made a very
| | 08:32 |
clean, very nice, CSS document for me.
It includes things like the button orange
| | 08:37 |
that I created with the gradient in all
of the different declarations that I need
| | 08:40 |
for that.
It also included the background, the BG
| | 08:44 |
class that I created right here, with
everything from Mozilla Firefox to WebKit
| | 08:47 |
to Microsoft to Opera.
All of those vendor prefixes are there.
| | 08:52 |
It also has the width and height value.
Again I told you you can specify those as
| | 08:56 |
percentages down the road if you choose
to.
| | 08:59 |
But all in all this has created some very
nice very clean CSS.
| | 09:02 |
Is this perfect CSS probably not but it's
a great jumping off point especially if
| | 09:06 |
your new to the world of web design.
To help you understand why something
| | 09:11 |
looks a certain way in the image based
world, versus how it looks inside of a
| | 09:16 |
code based world.
So it's almost like you're translating
| | 09:20 |
the matrix kind of thing here.
So you're just kind of looking at the
| | 09:23 |
code but you can actually start to see oh
okay, so the button looks like this in
| | 09:27 |
the code, but it looks like this in the
real world.
| | 09:30 |
It's kind of a, an interesting concept to
think about.
| | 09:33 |
But, pretty neat stuff here.
You could then copy this or simply just
| | 09:36 |
link this style sheet to an existing page
of markup.
| | 09:39 |
And hopefully it would look just exactly
the same as it would inside of Illustrator.
| | 09:43 |
Pretty cool stuff.
Now in addition to exporting out the
| | 09:46 |
entire thing as I said, you can also just
take bits and pieces of the CSS and copy
| | 09:49 |
and paste them over.
So if we jump back over into Illustrator
| | 09:54 |
now and we select something like this
little guy here and then go up to the top
| | 09:57 |
and choose Copy Selected Style.
I can then go back over into Dreamweaver
| | 10:03 |
and go down to the bottom here and just
start a new line and I can paste.
| | 10:07 |
And when I do that, you can see that it
just copied the entire thing button orange.
| | 10:12 |
Just like that.
So if you need something just quick and
| | 10:14 |
easy, let's say that you've gotten a CSS
document, you've already applied it to
| | 10:17 |
your mark-up and you're working through
it and you just missed one style.
| | 10:21 |
Or you've changed a button in your
Illustrator mock-up and you need to
| | 10:24 |
instantly translate that over into the
working HTML prototype that you're
| | 10:28 |
working on.
Just come over an Illustrator copy that's
| | 10:32 |
selected style pasted in, and everything
should be, all good to go.
| | 10:36 |
So I'm just going to, close this up I
don't have to save it.
| | 10:39 |
And then I'll jump back over here in to
Illustrator, and, from here, basically,
| | 10:43 |
it's up to you, how far you take this.
This is, like I said just a jumping off point.
| | 10:50 |
It's great to see that Adobe is pushing
this forward.
| | 10:52 |
And I'm really excited about it.
I think this is just the tip of the iceberg.
| | 10:56 |
And for those of you who are just getting
familiar with web design and learning CSS
| | 10:59 |
and coding.
This is a great way to sort of learn this
| | 11:02 |
as you go while at the same time making
it easily workable for you to take what
| | 11:06 |
you design in Illustrator to a usable,
workable prototype that you can then
| | 11:09 |
place, somewhere on the web.
| | 11:13 |
| | Collapse this transcript |
| Working with SVG| 00:00 |
In addition to the CSS enhancements in
this update, there's also been a
| | 00:03 |
significant change to the SVG workflow
inside of Illustrator as well.
| | 00:07 |
Now, if you're not familiar with SVG, it
stands for Scaleable Vector Graphic and
| | 00:11 |
it enables you to basically put vector
art on the internet which means that it
| | 00:14 |
works great across any screen or any
device no matter if it's a retina
| | 00:17 |
display, high dpi screen, whatever you
want to call it.
| | 00:22 |
The artwork always looks crisp and clean,
and it's resolution independent, which
| | 00:26 |
means you don't have to serve up multiple
versions of a given graphic to all of
| | 00:29 |
these different screens.
That's going to be a huge time saver, and
| | 00:34 |
as people continue to explore the world
of SVG and start to use it for more and
| | 00:37 |
more things I think it's only going to
propel it even more forward, especially
| | 00:40 |
in programs like Illustrator which are
already vector-based.
| | 00:45 |
So inside of Illustrator you've always
been able to save out as an SVG or export
| | 00:49 |
it out as an SVG.
But now it is actually a part of the Save
| | 00:52 |
As dialogue box and there's actually some
options in there.
| | 00:55 |
That allow you to even tweak it further
and make it even more useful.
| | 00:59 |
So, in this movie, I'm going to explore
exactly what you're able to do with SVG.
| | 01:03 |
The first part is actually pretty simple.
What I'm going to do here, is I'm just
| | 01:07 |
going to grab my Selection Tool, I'm just
going to make a selection here, and
| | 01:10 |
that's going grab the bird and also the
background probably.
| | 01:13 |
So, what I'm going to do is just hold
down the Shift key and then drag across
| | 01:15 |
the background to deselect it.
I just want the bird.
| | 01:18 |
That's all I want.
And I'm just going to copy it to the
| | 01:21 |
clipboard, Cmd or Ctrl+C.
Now you know probably that you're able to
| | 01:24 |
copy a piece of vector artwork from
Illustrator into Photoshop.
| | 01:29 |
But did you also know that you're now
able to copy a piece of vector artwork
| | 01:32 |
from Illustrator into a code editing
application, like Dreamweaver, or Sublime
| | 01:36 |
Text, or Coda, or whatever it is that you
might be using?
| | 01:41 |
You could even paste into into Notepad,
for that matter.
| | 01:44 |
Let's go into Dreamweaver for a minute
and then I'm going to choose the File>New.
| | 01:48 |
Just going to select Blank HTML Page and
hit Create and then we'll create a little
| | 01:52 |
bit of space.
Right there under the body tag and I'm
| | 01:56 |
just going to paste.
Once I paste it in you're going to see a
| | 02:00 |
lot of code appear.
Now it's okay if you don't understand
| | 02:04 |
exactly what this code means.
You don't have to.
| | 02:07 |
All you have to do is preview this in a
browser to understand exactly how
| | 02:09 |
powerful it is.
So in this case, I'm going to save this
| | 02:13 |
out to my desktop as bird.html, and then
I'm going to hit Save.
| | 02:19 |
Then I'm going to go up here to the
Preview button, and I'm going to preview
| | 02:22 |
this in Google Chrome because it's the
browser I have installed by default, and
| | 02:25 |
so when I preview this in the browser,
you're going to see a pop up and it looks
| | 02:27 |
just like it did inside of Illustrator,
the difference is, this is not an image.
| | 02:33 |
If I right click on this, there is no
Save Image command.
| | 02:36 |
There is no Copy Image.
It's all code.
| | 02:40 |
If I choose View Page Source.
You can see, there are no links to images
| | 02:44 |
in here whatsoever.
There's some CSS going on in here.
| | 02:47 |
And the rest is just SVG code being
generated, which is really awesome.
| | 02:54 |
This is going to be great for people who
are doing UI elements that have to scale
| | 02:57 |
across multiple platforms like iPhone,
Android, iPad.
| | 03:02 |
All those different sizes, these types of
graphics are going to be huge, for people
| | 03:05 |
doing that kind of work.
An I think it's really awesome that
| | 03:09 |
they're implementing this copy paste,
type functionality in here as well.
| | 03:12 |
Alright, let's close this up an let's
jump back into Illustrator, an let's talk
| | 03:16 |
a little bit about exporting out, as an
SVG.
| | 03:20 |
Right now, I've got this saved as an AI
document, an Adobe Illustrator document.
| | 03:24 |
I can also save this as as SVG though,
and inside of that SVG I can have all of
| | 03:27 |
this information, self contained for
every element on the page, so that I can
| | 03:30 |
just open this up in a browser, and it
would theoretically look the same.
| | 03:36 |
I can also store extra information in
here that I want to use later on like CSS
| | 03:40 |
information if I want to.
Let's take a look at how I can do that.
| | 03:45 |
Right now I've got several different
elements on the screen that are using gradients.
| | 03:48 |
The background element here is using a
gradient, the bird itself is using a
| | 03:50 |
gradient, and so is this button right
here.
| | 03:53 |
And so what I want to do is I want to add
these as graphic styles into the Graphic
| | 03:56 |
Styles Panel.
That's very easy to do.
| | 03:59 |
Just going to select this and if you
don't have the Graphics Styles Panel on
| | 04:02 |
your screen you can drag it over from the
panels or just go to Window> Graphics
| | 04:05 |
Styles to bring it up.
Once I have an object selected like the
| | 04:10 |
background I'll just hit New, and if I
want to rename it I'll just double-click
| | 04:13 |
here and I'll just call this blue bg and
hit OK, alright, so there's element one.
| | 04:20 |
I'll select the bird, New, double-click.
Then we'll just call this lt blue bg, for
| | 04:28 |
light blue.
And then finally, I'm going to select
| | 04:32 |
this button down here, double-click it,
select it.
| | 04:35 |
And we'll create a new graphic style
here, and we'll just call this orange bg,
| | 04:39 |
and hit OK.
Alright now, even if I were to change my
| | 04:44 |
entire design, for instance let's go to a
flat design.
| | 04:48 |
And flat design means no gradients just
flat colors.
| | 04:51 |
Let's make the background just a flat
blue.
| | 04:53 |
Let's make the bird just a light blue,
and let's make the login button, I'll
| | 04:56 |
double-click to go into isolation mode
here.
| | 04:59 |
Let's make that just a flat orange color.
There we go.
| | 05:02 |
So now you can see the difference.
It doesn't look as three dimensional.
| | 05:05 |
Just sort of illustrated as opposed to
photo-realistic.
| | 05:08 |
So now in this case, what I'm going to do
is I'm going to save these as part of
| | 05:14 |
this document in SVG format.
So let's go up to the File> Save As.
| | 05:20 |
And we're going to go down and change
from Adobe Illustrator format to SVG format.
| | 05:24 |
And hit Save.
When you open up this dialog box, it
| | 05:28 |
probly looks like this.
And so you want to click more options
| | 05:30 |
down here at the bottom.
And also, when you open this up, it's
| | 05:35 |
probably set to Presentation Attributes.
And, when you hover over presentation
| | 05:39 |
attributes, it tells you, this is a great
attribute that applies properties at the
| | 05:42 |
highest point in the hierarchy which
allows for the most flexibility.
| | 05:47 |
For edits and transformations.
And that's all well and good.
| | 05:49 |
But in this case, I want to change this
to something called Style Elements.
| | 05:53 |
Because basically what this allows me to
do, and I'll hover over it so that you
| | 05:56 |
can see it, it tells me here that Style
Elements is the best option when I'm
| | 05:59 |
creating a single Style Sheet that is
going to format both HTML and SVG documents.
| | 06:05 |
So, basically, if I want to store some
external stuff in here, like CSS, which I
| | 06:09 |
can then apply to different HTML elements
down the road, I need to select Style
| | 06:12 |
Elements from this dialog box.
Okay?
| | 06:15 |
Underneath here, Include Unused Graphic
Styles.
| | 06:19 |
Remember I switched everything in my
document over to a flat color.
| | 06:23 |
They're not using these graphic styles
anymore.
| | 06:26 |
But I want to include this information,
the gradients and what not, in my CSS so
| | 06:29 |
I can copy those and use them later.
Okay.
| | 06:33 |
No big deal.
Include Unused Graphic Styles.
| | 06:37 |
Then we'll go ahead and hit OK.
That's going to save that out as an SVG
| | 06:40 |
and now I'm going to jump over into
Dreamweaver.
| | 06:44 |
Once I'm inside DreamWeaver I'm just
going to open up the SVG file that I just saved.
| | 06:51 |
It's going to open that up and when I
open that up you're going to see here at
| | 06:55 |
the top that it has included all of these
different elements here.
| | 07:01 |
So it's got even the drop shadow.
It's got the thick, blue neon, it's got
| | 07:05 |
the illuminating aqua, it's also got the
blue bg, the light blue bg, and the
| | 07:10 |
orange bg.
Now it's telling you here that the fill
| | 07:15 |
is actually associated with something
called SBGID-5, And that's okay, you can
| | 07:19 |
just go through, and you look and see
exactly what this means in here, and if
| | 07:23 |
you go to SVG five, it actually shows
you, the offset and the color for this.
| | 07:31 |
So it's telling you the linear gradient
and how to use that.
| | 07:34 |
So you could just take this and you could
copy that and apply it to a different element.
| | 07:38 |
In your HTML document to use as a
background element or whatever you need
| | 07:41 |
it to do.
So, this is just another way that they
| | 07:44 |
are extending the webdesign features of
Adobe Illustrator to extend into the SVG
| | 07:48 |
world which means scale-able vector
graphics and it's a great way to have one
| | 07:52 |
graphic scale across multiple screens,
multiple platforms with very little headache.
| | 08:00 |
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|
|
6. General EnhancementsUsing enhanced guides| 00:00 |
Whether you're a print designer, a web
designer, a fashion designer, whatever
| | 00:03 |
the case may be.
Chances are, you use guides all the time.
| | 00:08 |
I know I do.
I use guides for every single project
| | 00:10 |
that I work on.
It's a great way of sectioning off
| | 00:13 |
different pieces of your artwork and
lining things up, and creating yourself
| | 00:15 |
almost like a blueprint to follow.
And in this latest update to Adobe
| | 00:19 |
Illustrator, they've enhanced the guides
even further.
| | 00:22 |
So, let's take a look at that now.
I'm going to create a brand new document.
| | 00:25 |
It does not matter what the size is just
as long as you have something open.
| | 00:28 |
And then bring up your rulers with Cmd +
r on the Mac, Ctrl + r on the PC.
| | 00:33 |
And let's take a look at the traditional
work flow for guides.
| | 00:35 |
If I wanted to drag out a horizontal
guide for instance, I would just come to
| | 00:38 |
the top of the ruler, click and drag.
Down until I got a guide somewhere on
| | 00:42 |
screen and then I would release my mouse.
For the vertical guide I would go to the
| | 00:46 |
left, click and drag.
Place it where it needs to go.
| | 00:50 |
If I need another one, click and drag.
Place it where it needs to go.
| | 00:53 |
Etcetra.
Now this can be a great system, and it's
| | 00:56 |
worked for many, many years.
But now we have some better work flows.
| | 01:01 |
So let's delete all these, I'll just
select them and get rid of them.
| | 01:04 |
And let me show you how this works.
I'm going to come here, and let's say I
| | 01:07 |
want to create a guide, right here at the
360 point on my, ruler.
| | 01:11 |
Could be any point on your ruler, doesn't
matter.
| | 01:14 |
Just come up to a point on the ruler, and
then simply with your mouse, double-click.
| | 01:17 |
A guide appears right there.
Go to another point, double-click.
| | 01:23 |
See how quick that was?
Come over one more time.
| | 01:27 |
One more double-click.
Now, let's say that you kind of get off a
| | 01:29 |
little bit, maybe you're in between two
points on the ruler, and you double click.
| | 01:34 |
Well that's going to put the guide right
in the middle of those two points.
| | 01:37 |
It's not going to snap to either one of
them.
| | 01:38 |
However, if you were to hold down the
Shift key while you double-click, it will
| | 01:42 |
actually snap to its nearest point on the
ruler.
| | 01:46 |
So, if I'm right here and I'm close to
648 but not right on it, watch what happens.
| | 01:51 |
Hold down the Shift key, double-click and
it snaps right there to 648.
| | 01:56 |
Now, it depends on which one of these I
was closer to, which one of these little
| | 01:58 |
tick marks on the ruler.
So you have to be careful on which one
| | 02:01 |
you're closer to.
But just remember anytime you need the
| | 02:03 |
guide to snap to a certain point just
hold down the shift key and double-click.
| | 02:07 |
Works the same way for horizontal guides.
Just come over here, double-click to
| | 02:10 |
create a guide.
If you want to snap it to something hold
| | 02:13 |
down the Shift key and it snaps to its
nearest mark on the ruler, pretty neat.
| | 02:18 |
Now let's go ahead and remove all of
these guides again and let's talk about
| | 02:21 |
the final enhancement, which is the one
that I think is the best of the three and
| | 02:24 |
that's going to be right up here in the
corner.
| | 02:28 |
If I come up here to the corner and right
here in the little intersection box, if I
| | 02:31 |
click, notice my mouse turns into a
little crosshair.
| | 02:35 |
Now, if you're on a PC, you're going to
hold down the Ctrl key.
| | 02:37 |
If you're on a Mac, you're going to hold
down the Cmd key while you do this.
| | 02:41 |
And so, just hold down that key.
And then bring your cursor out while
| | 02:43 |
still holding down the mouse.
And you're going to notice that you get
| | 02:46 |
this little crosshaired window like thing
popping up.
| | 02:50 |
And right there in the middle of that
little crosshair.
| | 02:51 |
That is where your guides are going to
meet.
| | 02:53 |
That's right, you're actually dragging
out.
| | 02:55 |
Horizontal and vertical guides
simultaneously.
| | 02:57 |
So, you just like em up to the points
that you want.
| | 03:00 |
Somewhere on the screen once you have
them, go ahead and release your mouse and
| | 03:03 |
then release the Cmd or Ctrl key and you
get those two guides intersecting right
| | 03:06 |
at the point that you told em to.
Now, you can do that as many times as you want.
| | 03:12 |
Just come up here again.
You want to click, hold down Cmd or Ctrl,
| | 03:14 |
drag out.
Find the spot that you want to drag it
| | 03:18 |
to, and then once you're at that spot,
just release your mouse, and release the
| | 03:21 |
Ctrl key, or the Cmd key if you're on a
Mac.
| | 03:25 |
So, these are the new guide enhancements
I suggest that you go through and
| | 03:28 |
practice these, implement these into your
everyday work flow, cause it's going to
| | 03:32 |
make creating guides.
A lot easier and a lot faster than the
| | 03:37 |
old school method of just click and drag.
Remember you can double-click to create a
| | 03:42 |
guide, Shift + double-click to make it
snap to a point and you can also hold
| | 03:45 |
down the Cmd or Ctrl key from the corner
point and drag out two guides at a time.
| | 03:50 |
So implement these into your workflow and
I think you'll really glad that you did.
| | 03:54 |
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| Using the updated Free Transform tool| 00:00 |
With the latest update to Illustrator,
Adobe is really trying to make object
| | 00:03 |
control and manipulation easier with the
three revamped free transform tools.
| | 00:07 |
What makes these new features so unique
is the fact that they also work on touch
| | 00:11 |
screen monitors or touch enabled drawing
tablets as well.
| | 00:14 |
But I'll get to that in just a minute.
Let's start off first by creating a new
| | 00:17 |
document here.
Let's go to File > New and 1024 by 768 is
| | 00:19 |
fine, does not matter how big or how
small the document is.
| | 00:24 |
And then once you have your document
created, I'm going to go ahead and select
| | 00:27 |
a fill color of kind of a dark orange,
and then set the stroke color to none.
| | 00:33 |
And then I'm going to grab the Rectangle
tool and just draw out a rectangle.
| | 00:36 |
Does not matter how big or how small the
rectangle is, we're going to be
| | 00:38 |
distorting it, and scaling it up and
down, anyway.
| | 00:41 |
So once we have that rectangle out on the
artboard go ahead and grab your Free
| | 00:44 |
Transform tool.
You can select it in the Tools panel here
| | 00:47 |
or just press the letter e on your
keyboard.
| | 00:50 |
Then you'll see a little bar pop up
somewhere on your screen, mostly likely
| | 00:53 |
over here on the left.
You can drag that bar anywhere you want
| | 00:56 |
by clicking and dragging on the top just
like so.
| | 00:58 |
Once you have that in place where you
want it.
| | 01:01 |
Just stick it somewhere it makes sense to
you.
| | 01:03 |
You can see that you have four options
here.
| | 01:05 |
The top option is a constraint option,
which means if I have this turned on, I
| | 01:08 |
will only be able to scale or manipulate
this object in proportion, so it
| | 01:12 |
constrains it to the original aspect
ratio in which I drew it.
| | 01:17 |
So, right now you can see it almost looks
like two little pieces of a chain that
| | 01:20 |
are broken in half.
And that's what these little lines out to
| | 01:23 |
the side signify, that it's broken.
If I click here, it snaps it back
| | 01:26 |
together and it looks like a chain again.
And so when this is checked on, you can
| | 01:31 |
tell that by it looks like this, I can
scale up and down in proportion as big or
| | 01:35 |
as small as I would need it to be.
Now, if I uncheck that box, then, when I
| | 01:41 |
scale it up or down, I can actually free
distort it in any way that I want.
| | 01:48 |
Now, also with this box unchecked, I have
the ability to come to the middle here.
| | 01:52 |
And you notice, when I come to the middle
point, I have the little shear icon that appears.
| | 01:57 |
That means I can sheer this.
Left, right, any direction I want.
| | 02:01 |
I can also kind of drag it up or down at
the same time while I'm doing that to
| | 02:04 |
create some really interesting shapes.
Now, this is something that previously,
| | 02:08 |
you had to use something like the Sheer
tool to do, but now you're able to do it
| | 02:11 |
right here inside of the Free Transform
tool.
| | 02:15 |
Now, you've also got the perspective to
stork this is where you can come to 1 of
| | 02:18 |
the corner points and you can actually
change the vanishing point of objects.
| | 02:23 |
And so you just come to the corner points
and make adjustments like so, you can
| | 02:26 |
create some really intriguing shapes
remember this started out as a rectangle
| | 02:29 |
now it almost looks like some sort of
kite, or something that we might be flying.
| | 02:35 |
(LAUGH).
So I could actually draw a little
| | 02:36 |
streamer on it, and it looks like a kite.
Pretty cool.
| | 02:39 |
Now, the last option here is going to be
free distort.
| | 02:41 |
And free distort basically just allows
you to come to any corner point on the object.
| | 02:47 |
And just free distort it in any way that
you see fit.
| | 02:52 |
Just like so, pretty easy.
So there you go.
| | 02:55 |
That's the new Free Transform tools and
this is how they work in regular
| | 02:59 |
Illustrator but let's take a look now at
how this look on a touch enabled screen
| | 03:03 |
like a Wacom Cintiq, for instance.
Okay, as you can see, I have the ability
| | 03:09 |
with this touch enabled screen to just
simply select the Free Transform tool.
| | 03:15 |
Once I have the Free Transform tool up, I
have the same controls.
| | 03:17 |
I can constrain it, so I can go in or out
horizontally or vertically in proportion.
| | 03:23 |
I can unconstrain that, and then I can
free distort it any direction I want.
| | 03:29 |
I can then also use the Perspective
Distort tool to change the vanishing
| | 03:32 |
point, either make it go farther away or
closer to me, just like so.
| | 03:37 |
And then I'll finally tap here to enable
the free distort mode, and once I'm in
| | 03:41 |
free distort mode, I can take my finger
or the pen and go to any one of these
| | 03:45 |
corner points and just click and drag to
manipulate them directly on the screen,
| | 03:49 |
which is pretty cool.
It should also be noted that Illustrator
| | 03:56 |
now supports touch gestures as well so
let's take a look at that now as you can
| | 04:00 |
see here I can pinch and zoom using just
my two fingers to zoom in and out of the
| | 04:03 |
document that I'm working on.
I could also create a couple of artboards
| | 04:09 |
so let's do that real quick I'll switch
over here to the Artboard tool.
| | 04:15 |
And I'll just come out here and draw an
artboard, something like that, and let's
| | 04:20 |
draw another one, this one a little bit
bigger, something like that.
| | 04:26 |
Now once I have the Artboard tools drawn,
you can see this, I can actually swipe
| | 04:32 |
across the artboards, just like that.
If I'm in artboard editing mode, which I
| | 04:39 |
am currently with the Artboard tools
selected.
| | 04:42 |
I can actually tap on an Artboard, and
then I can use my fingers to rotate that
| | 04:46 |
Artboard around.
Just like that.
| | 04:51 |
So as tablets and touch-enabled screens
continue to evolve and become a more
| | 04:54 |
integrated part of our workflow.
Applications and gesture support like the
| | 04:58 |
ones found in the latest update to
Illustrator, will become increasingly
| | 05:01 |
more important, and I assure you, that
this definitely just the tip of the iceberg.
| | 05:06 |
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|
|
ConclusionGoodbye| 00:00 |
Well, it looks like we've come to the end
of our look at Illustrator Creative Cloud
| | 00:03 |
updates, for now.
But remember, as Adobe continues to
| | 00:06 |
evolve and update this software, we're
going to continue to update this course
| | 00:10 |
as well.
If you'd like more information about
| | 00:13 |
Adobe Illustrator and how to use it, be
sure to check out some of our other great
| | 00:16 |
courses here in the Lynda.com online
training library.
| | 00:19 |
Like my Illustrator Essential Training
course, which is going to take you soup
| | 00:22 |
to nuts through the basics of Adobe
Illustrator.
| | 00:24 |
You might also like MorDy Golding's
Illustrator Insider Training courses,
| | 00:28 |
which cover a wide variety of topics from
drawing without the Pen tool to type and text.
| | 00:33 |
And also, coloring artwork as well.
For a more in-depth advance course, be
| | 00:37 |
sure to check out Deke McClelland's
Illustrator 101 courses.
| | 00:41 |
Thank you very much for joining me for
this course.
| | 00:42 |
I had a great time showing you all of the
latest features that Illustrator has to
| | 00:45 |
offer, and I hope you enjoyed it as much
as I did.
| | 00:49 |
Again, my name is Justin Seeley, and I
hope to see you again real soon.
| | 00:53 |
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