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Sharing with InDesign, Flash, and Photoshop


From:

Illustrator CS4 One-on-One: Fundamentals

with Deke McClelland

Video: Sharing with InDesign, Flash, and Photoshop

In this final exercise of the entire series, Illustrator CS4 One-on-One Fundamentals, I'm going to show you how to exchange portions of an illustration, just pieces here and there with the big three other Adobe applications which are InDesign, Flash and Photoshop via the clipboard. Now that may seem like a letdown, really. For the last exercise in the series, we are going to look at Copy and Paste? That's so old school. But in fact, not so much. Actually really great in fact, really great function coming at you.
Expand all | Collapse all
  1. 42m 8s
    1. Welcome to One-on-One
      1m 58s
    2. The Welcome screen
      3m 3s
    3. Creating a new document
      5m 6s
    4. Advanced document controls
      4m 43s
    5. Saving a custom New Document Profile
      8m 46s
    6. Changing the document setup
      4m 21s
    7. Special artboard controls
      4m 58s
    8. Accepting artboard changes
      2m 19s
    9. Saving a document
      4m 33s
    10. Closing a document
      2m 21s
  2. 1h 0m
    1. Adobe Bridge
      56s
    2. Opening an illustration
      4m 45s
    3. Modifying an illustration
      6m 27s
    4. Saving changes
      4m 58s
    5. Introducing Adobe Bridge
      8m 41s
    6. The all-important file type associations
      3m 20s
    7. Navigating inside Bridge
      4m 23s
    8. Previewing and collecting
      5m 55s
    9. Using workspaces
      6m 41s
    10. Customizing a workspace
      6m 14s
    11. Cool Bridge tricks
      8m 17s
  3. 1h 4m
    1. Preferences, color settings, and workspaces
      35s
    2. Keyboard increments
      5m 12s
    3. Scratch disks
      3m 48s
    4. Changing the user interface and setting Appearance of Black
      4m 14s
    5. Best workflow color settings
      9m 17s
    6. Synchronizing settings across CS4
      3m 2s
    7. Working inside tabbed windows
      7m 6s
    8. Organizing palettes
      5m 4s
    9. Saving a custom workspace
      4m 12s
    10. Zooming and panning
      4m 19s
    11. Using the Zoom tool
      3m 3s
    12. Navigating the artboards
      5m 5s
    13. Nudging the screen image
      3m 3s
    14. Scroll-wheel tricks
      2m 8s
    15. Cycling between screen modes
      4m 35s
  4. 1h 22m
    1. The Wedjat (or Eye of Horus)
      55s
    2. The line tools
      2m 57s
    3. Introducing layers
      5m 10s
    4. Creating ruler guides
      6m 18s
    5. Creating custom guides
      5m 16s
    6. Snap-to points
      5m 25s
    7. Organizing guides
      5m 44s
    8. Making a tracing template
      3m 42s
    9. Drawing a line segment
      4m 29s
    10. Drawing a continuous arc
      5m 28s
    11. Drawing a looping spiral
      6m 5s
    12. Cutting lines with the Scissors tool
      6m 20s
    13. Joining open paths
      7m 31s
    14. Aligning and joining points
      6m 34s
    15. Drawing concentric circles
      4m 41s
    16. Cleaning up overlapping segments
      5m 34s
  5. 1h 4m
    1. The anatomy of a shape
      1m 1s
    2. Meet the shape tools
      3m 5s
    3. The traceable Tonalpohualli
      2m 52s
    4. Drawing circles
      4m 38s
    5. Enhanced Smart Guides
      4m 1s
    6. Aligning to a key object
      4m 29s
    7. Creating polygons and stars
      5m 4s
    8. Using the Measure tool
      3m 47s
    9. The Select Similar and Arrange commands
      3m 56s
    10. Rectangles and rounded rectangles
      6m 8s
    11. The amazing constraint axes
      5m 26s
    12. Grouping and ungrouping
      3m 35s
    13. Flipping and duplicating
      4m 12s
    14. Combining simple shapes into complex ones
      5m 24s
    15. Cutting and connecting with Scissors and Join
      3m 31s
    16. Tilde-key goofiness
      2m 53s
  6. 1h 41m
    1. The ingredients of life
      54s
    2. Fill and Stroke settings
      4m 22s
    3. Transparency grid and paper color
      5m 47s
    4. The None attribute
      5m 4s
    5. Color libraries and sliders
      3m 39s
    6. Industry-standard colors
      4m 38s
    7. Using CMYK for commercial output
      6m 39s
    8. Using RGB for the web
      7m 23s
    9. Color palette tips and tricks
      7m 18s
    10. Creating and saving color swatches
      4m 35s
    11. Trapping gaps with rich blacks
      6m 46s
    12. Filling and stacking shapes
      5m 39s
    13. Dragging and dropping swatches
      5m 0s
    14. Paste in Front, Paste in Back
      4m 54s
    15. Filling shapes inside groups
      5m 28s
    16. Pasting between layers
      4m 41s
    17. Joins, caps, and dashes
      6m 50s
    18. Fixing strokes and isolating edits
      7m 12s
    19. Creating a pattern fill
      4m 57s
  7. 1h 50m
    1. The power of transformations
      1m 20s
    2. From primitive to polished art
      2m 42s
    3. Using the Blob brush
      5m 46s
    4. Resizing the brush and erasing
      4m 15s
    5. Selection limits and methods of merging
      6m 39s
    6. Cloning and auto-duplicating
      6m 45s
    7. Customizing keyboard shortcuts
      3m 7s
    8. Moving by the numbers
      5m 15s
    9. Using the Reshape tool
      7m 47s
    10. Modifying, aligning, and uniting paths
      7m 14s
    11. Using the Offset Path command
      4m 43s
    12. Styling and eyedropping
      5m 29s
    13. Making a black-and-white template
      2m 27s
    14. Scale and clone
      4m 57s
    15. Enlarge and stack
      5m 46s
    16. Positioning the origin point
      6m 59s
    17. Using the Rotate tool
      3m 55s
    18. Using the Reflect tool
      4m 15s
    19. Series rotation (aka power duplication)
      6m 48s
    20. Rotating by the numbers
      6m 12s
    21. Transforming the tile patterns
      7m 52s
  8. 2h 4m
    1. Next-generation text wrangling
      55s
    2. Placing a text document
      5m 38s
    3. Creating a new text block
      6m 1s
    4. Working with point text
      3m 57s
    5. Selecting the perfect typeface
      5m 44s
    6. Scaling and positioning type
      8m 57s
    7. Leading, tracking, and lots of shortcuts
      5m 54s
    8. Adjusting pair kerning
      6m 55s
    9. Eyedropping formatting attributes
      3m 54s
    10. Flowing text from one block to another
      8m 28s
    11. Creating and applying a paragraph style
      7m 39s
    12. Rendering the text in graphite
      5m 55s
    13. Creating a scribbly drop shadow
      5m 17s
    14. Advanced formatting and bullets
      7m 43s
    15. Setting Area Type options
      4m 57s
    16. Justification and the Every-line Composer
      5m 52s
    17. OpenType and ligatures
      7m 19s
    18. Fractions, numerals, and ordinals
      9m 7s
    19. Swashes and small caps
      5m 40s
    20. The amazing Glyphs palette
      8m 12s
  9. 1h 18m
    1. Points are boys, handles are girls
      1m 20s
    2. Placing an image as a tracing template
      6m 56s
    3. Drawing a straight-sided path
      6m 8s
    4. Moving, adding, and deleting points
      6m 50s
    5. Drawing spline curves with Round Corners
      9m 7s
    6. Smooth points and Bézier curves
      8m 29s
    7. Defining a cusp between two curves
      6m 59s
    8. Replicating and reshaping segments
      8m 31s
    9. Converting anchor points
      7m 55s
    10. Deleting stray anchor points
      5m 1s
    11. Separating and closing paths
      5m 43s
    12. Eyedropping template colors
      5m 55s
  10. 1h 40m
    1. Paths never rest
      1m 34s
    2. Exploring the Appearance palette
      9m 54s
    3. Snip and Spin
      8m 3s
    4. Adding a center point
      4m 12s
    5. Keeping shape intersections
      3m 42s
    6. Lifting fills and selecting through shapes
      5m 54s
    7. Saving and recalling selections
      6m 20s
    8. Rotating is a circular operation
      8m 32s
    9. Lassoing and scaling points
      5m 28s
    10. Using the Transform Each command
      4m 11s
    11. Using the Magic Wand tool
      8m 1s
    12. Eyedropping live effects
      9m 58s
    13. Merging strokes with a compound path
      6m 50s
    14. Selecting and scaling independent segments
      7m 59s
    15. Scalloped edges with Pucker & Bloat
      5m 16s
    16. Expand before you merge
      4m 17s
  11. 1h 26m
    1. The new pleasures of printing
      44s
    2. Outlines and artboards in CS4
      7m 35s
    3. Setting trim size and bleed
      7m 17s
    4. Creating custom dynamic crop marks
      3m 41s
    5. Working with the Separations Preview palette
      7m 42s
    6. Trapping an object with an overprint stroke
      8m 20s
    7. Placing multiple artboards into InDesign
      5m 17s
    8. Working with the Print Tiling tool
      4m 56s
    9. Setting the General Print options
      6m 9s
    10. Setting printer marks
      5m 16s
    11. PostScript-only output and graphics
      9m 10s
    12. The Color Management options
      6m 56s
    13. Adjusting the Flattener settings
      7m 32s
    14. Setting the Raster Effects resolution
      5m 33s
  12. 1h 32m
    1. Illustrator does pixels
      51s
    2. Illustrator, PDF, and Save As formats
      8m 15s
    3. Saving an illustration for the web
      6m 13s
    4. Saving a continuous-tone JPEG image
      10m 2s
    5. Saving a high-contrast GIF graphic
      6m 27s
    6. The versatile PNG format
      4m 45s
    7. Saving a scaleable Flash (SWF) graphic
      11m 0s
    8. Opening and placing an Illustrator file in Photoshop
      12m 44s
    9. Exporting a layered PSD from Illustrator
      12m 57s
    10. Exporting to Microsoft Office and PowerPoint
      7m 24s
    11. Sharing with InDesign, Flash, and Photoshop
      12m 12s
  13. 1m 4s
    1. Until next time
      1m 4s

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Watch the Online Video Course Illustrator CS4 One-on-One: Fundamentals
16h 48m Beginner Feb 06, 2009

Viewers: in countries Watching now:

Adobe Illustrator has long been a popular vector–based drawing program, but for many the learning curve is steep. In Illustrator CS4 One-on-One: Fundamentals, author and leading industry expert Deke McClelland shows users how to get in to the Illustrator mindset and overcome this learning curve. He covers the application's key features in a new way, making it simple and easy to master Illustrator. Deke teaches viewers how to use the core drawing and shape tools, the transformation and reshaping features, text, and the Pen tool. He also explains how to export and print. Even if learning Illustrator has been a struggle in the past, this training can help make sense of it. Exercise files accompany the course.

Topics include:
  • Creating continuous arcs and looping spirals
  • Building with geometric shapes
  • Selecting, placing, and scaling type
  • Creating spine curves with round corners
  • Using the new Blob brush to quickly draw and merge paths
  • Working with flattener and raster effects
  • Saving illustrations for the web
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Sharing with InDesign, Flash, and Photoshop

In this final exercise of the entire series, Illustrator CS4 One-on-One Fundamentals, I'm going to show you how to exchange portions of an illustration, just pieces here and there with the big three other Adobe applications which are InDesign, Flash and Photoshop via the clipboard. Now that may seem like a letdown, really. For the last exercise in the series, we are going to look at Copy and Paste? That's so old school. But in fact, not so much. Actually really great in fact, really great function coming at you.

I am working inside this document called Final file.ai found inside the 12_exporting folder, so-called because it is our final file and I did take care of a little problem. I went ahead and changed the Qs to Ks here on the t-shirt because that had to happen. I had to make sure that got taken care of. But I want to switch to the first artboard here inside of this illustration, this guy, and I'm going to zoom in on the green Shenbop, this little character right there, and I'm going to go ahead and select it with the Black Arrow tool just by marqueeing around the entire thing.

Now before I copy it to the clipboard, I need to make sure that I'm going to be copying it correctly. So what I want you to do is go to the Edit menu, here on the PC. You would go to the Illustrator menu on the Mac, then choose the Preferences command and then choose File Handling & Clipboard and here is where you set your Clipboard specifications and notice that we are going ahead and copying the Clipboard, both as a PDF and as an AICB, an Adobe Illustrator Clipboard File essentially. So PDF ensures that we have all of our transparency and our live effects and all that wonderfulness that is in Illustrator graphic. AICB makes sure that we save the path outline. So notice there is no transparency support associated with AICB. We do however want to Preserve Appearance and Overprints to the best of our abilities. So it will go ahead and try to render those out as independent paths, instead of preserving the paths by themselves.

That's a good way to work. So just make sure those are the default settings, but make sure that they are intact and then say OK if you had to change something. I'm just going to cancel out. And that way, you leave it to the Adobe applications to determine which pieces they want here and there. Now if I go to the Edit menu and choose the Copy command or press Ctrl+C, Command+C on the Mac, I copy this selection to the clipboard. Of course you already know that. Now let's say I go to InDesign and I'm just going to tell you how it works in InDesign and Flash and then I'm going to show you how it works inside Photoshop. If we were to go to InDesign and paste this graphic, it would be editable. We could actually edit the paths inside of InDesign. That's a great thing because if you just place any Illustrator graphic into InDesign, it's not editable, it's just a vector-base graphic and you can look at it, but you can't get in there and monkey with the outline.

If you want editability, then you go ahead and copy from Illustrator and then paste into InDesign, then inside of InDesign you would ungroup this element if you really wanted to get in there and start changing things. The thing to note, however, is that you are not going to have transparency. So any areas that are transparent inside the graphic are going to be expressed as lower tint values so that they are lighter in color but they are not transparent. You would then turn around and grab those areas of the graphic and make them transparent manually inside of InDesign. It's kind of a pain in the neck, but it's the way it works.

Now Flash on the other hand, we are able to convey a whole lot of information. Let's say for example, I decide to make this guy a symbol and we haven't seen the Symbols palette. I devote an entire chapter to Symbols in a later portion of this series. But I'm going to bring up this Symbols palette by clicking on this little cloverleaf. That will bring up Symbols. As you can see, you can also choose Symbols from the Window menu if you like. So it's right down there. Ctrl+Shift+ F11, Command+Shift+F11 on the Mac. Isn't that wonderful? All right, I'll go ahead and drag it and drop it into the Symbols palette and then I'm invited to go ahead and name this symbol and I'll call it Shenbop as we can see here.

I do want it to be a movie clip, I would like the Flash Registration to be right there in the center in case I decide to make him do some somersaults or something along those lines. I don't need Guides for 9-slice scaling. That's not something we are going to be doing with this little frog. If you know what those are, you do, if you don't, it's a flash thing. I'm going to click OK in order to accept that new symbol right there. Now what's great about this, if I were to copy it now, if I were to go to the Edit menu, then I were to copy what is essentially an instance of this symbol. So Ctrl+C, Command+C on the Mac, once again you can see it's an Instance, right there. We could even name the Instance if we wanted to. I could call this something like Green frog. That's the Instance. That's the name of this specific Instance.

Then I would go back and copy of course because I have updated that Instance. So I'll choose the command or press Ctrl +C, Command+C once again. Now if I were to go over to Flash and paste this, it would know everything I have shown you. It would know the name of the Instance; it would know the name of the Symbol. It would actually make it a Symbol. It would know the name of the Instance, it would know the name of this Symbol, it would know the name of the layer that this Instance had come from. So it would know it came from the Card layer. It would know the Flash Registration, it would know that was a movie clip, it would know all that stuff. So Illustrator and Flash are just simpatico with each other, it's wonderful.

All right, now let's check out the closest pair of them all, Illustrator and Photoshop. I'll go ahead and break the link between this Instance and the Symbol. So I have access to the original frog here by clicking on this busted chain icon and now we have the original path outlines available to us once again. All right, I'm going to go ahead and copy them to the clipboard as we have seen so many times, Ctrl+C, Command+C on the Mac. Now let's go over to Photoshop where I have created an empty document, just ready and waiting for Shenbop, and I'll go to the Edit menu and I'll choose the Paste command, Ctrl+V, Command+V on the Mac and then it will ask me how I want to paste this illustration.

I am going to start by just pasting it as Pixels, so that we can see what that looks like, I'll click OK and it comes in very tiny as you can see there. I'm going to press the Shift and Alt keys. This would be Shift and Option on the Mac and I'm going to drag one of these corner handles and that way I'm scaling out because I'm holding the keys. I'm scaling out from the center because I have the Alt or Option key down and I'm constraining the proportions because I have the Shift key down. Then when I get Shenbop nice and big -- or actually let's start with something smaller so I can show you how this works. We will go to a moderate size like this.

I will go ahead and press the Enter key or the Return key on the Mac and we get a super smooth frog, awesome and he is on an independent layer and everything. That's fantastic. But now let's say -- oh, wait a second, I want him to be bigger. I'll go up to the Edit menu and I'll choose the Free Transform command or I'll press Ctrl+T, Command+T on the Mac and then I'll once again press the Shift and Alt keys, the Shift and Option keys on the Mac and I'll drag this corner handle and he is looking like he is going to be pretty big and chunky. And sure enough, if I press the Enter key or the Return key on the Mac, he looks dreadful. So let's go and undo that or let's just throw it away. Let's just get rid of that layer right there. And let's replace that frog by pressing Ctrl+V or Command+V again and taking a look at our options.

Now notice that we can also go ahead and paste Shenbop as a Path if we want to and this could be a path outline. If I click OK, these are going to be editable path outlines that show up here inside the Paths palette. So I could name this guy Shenbop, my new path entry and then I could use the Black Arrow tool. In order to select that entire graphic, I just marquee around it and I would press Ctrl+T or Command+T on the Mac to once again invoke the Free Transform mode. I would press the Shift and Alt keys, the Shift and Option keys on the Mac in order to scale that frog bigger like so. Press the Enter key, the Return key on the Mac and because I have editable path outlines, I have super smooth results.

Now some of my paths may not make that much sense in the context of Photoshop, where paths have different meanings. But still, they are all here and I could use them for whatever purpose I like. I can even see a nice big preview right there in the Paths palette as well, nice. All right, I'm going to turn off Shenbop, the Paths, leave them there because goodness knows I might want to come back to him. I will go back to the Layers palette here, press Ctrl+V, Command+V on the Mac and once again paste this information that's still hanging out there in the Clipboard. I could paste it as a shape layer. Now the thing about the shape layer is it's not really going to render Shenbop properly because a shape layer has to be all one fill and then you have to assign strokes independently using a layer effect. But they are not going to come in originally and in order to really do the job right, you would have to move all those paths to different shape layers. It's just not going to work.

Shape layers are great for single shapes. They are not very good for something as complicated as Shenbop and he is not all that complicated. He is just a handful of paths, but it's still too much for a shape layer. You can try that out if you want to but it's going to be a mess. What we are going try on instead is a Smart Object, which is the way to go and I'm going to click OK, comes in as a little guy. Once again, Shift+Alt+Drag your corner handles, Shift+Option+Drag on the Mac, make it about as big as it was for Pixels. Press the Enter key, the Return on the Mac in order to resolve that guy out, looks great. Hey! He is too small. Go to the Edit menu, choose the Free Transform command or press Ctrl+T, Command+T on the Mac.

And then notice, it's telling me, hey! You have already scaled it to 772.5% of its original size and it still looks great and you know what? That's not enough. I'm going to make it even bigger like so to 2362.2% in my case. Your results may vary and then I'll press the Enter key or the Return key on the Mac in order to scale them and look we are still working from the original vector data. Now you may recall, from a few exercises back, when you are working with an Illustrator Smart Object here inside Photoshop, you have the illustration embedded in the Photoshop document. So if you want to change it, let's say I want to change the color of Shenbop to something different here, I'll double-click on this thumbnail, I'll get that warning that's telling me what to do.

It's not really warning, it's more of a handful of instructions there. I click OK in order to ignore that. I open up a separate document called Vector Smart Object.ai. Fine. It's this itty- bitty frog right there. Let's go ahead and zoom in on him and of course he resolves nicely inside of Illustrator because he has a handful of objects. Now let's say I want to change his color. I could select the various objects and change them independently or I can notice here in the Swatches palette that I have a global swatch that's called Royal green and I could change it to anything I want by double-clicking on it. In order to bring up the Swatch Options dialog box and I could change him to something like Royal purple, let's say.

Let's go ahead and take up the Magenta value to 100% and take the Yellow value down to 0% and then leave the K value at 30. That's fine and we will just call this Royal purple and then click OK in order to accept that change. He is changed. Now what do I do? I close the file. I'm asked if I want to save it. I say Yes. Am I saving it to disk? No, I'm not saving it to disk. I'm saving it back to Photoshop. Click Yes. What's going to happen is this file is going to go away and we are going to be returned here to the Final file.ai and you are going to be kind of puzzled, mystified by that probably. Usually I'm because I forget, I have changed applications and stuff. Then press Alt+Tab or Command+Tab on the Mac to switch back to Photoshop here. Boing! Just like that, it changes to a purple frog.

Now if you really want to save your purple frog, if you want to save the results of what you have done here and you probably do. I'm going to get rid of that empty Layer 1; it's not doing us any good. I'm going to rename this layer something like Shenbop. I already know it's a Smart Object and I can see it's a Smart Object because I have this little Smart Object icon down here on the bottom right corner of the thumbnail. Now if you want to save this Photoshop file, note that despite the fact that we just clicked the Save button a moment ago, the file isn't actually saved. You would go up to the File menu and choose the Save As command and then I'll go ahead and save this out to the 12_ exporting folder so that you have access to it if you want to. Purple Shenbop for your opening pleasure. There we go and click the Save button in order to save off that layered file.

You can say that you want Maximize compatibility. I go into that in my Photoshop series, why I tend to turn that off, but in this case I'll just leave it on and I'll click OK in order to save off the layered PSD file. So now you have a sense of the many ways that you can exchange spot illustrations, just portions of an illustration, with the big three Adobe applications, InDesign, Flash and Photoshop. Enjoy!

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Fundamentals .


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Q: Adobe Bridge CS4 is not previewing files in the same way for me as it is in the tutorial. All I am seeing is a low-quality thumbnail of the image, not previews of each artboard.  Why is there a difference between the tutorial and what I am seeing?
A: There is a different view in the tutorial because the author used a beta version of Bridge during the recording. The final release of Bridge CS4 displays thumbnails as you describe.
 
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