Illustrator CS4 One-on-One: Fundamentals
Illustration by Don Barnett

The amazing Glyphs palette


Illustrator CS4 One-on-One: Fundamentals

with Deke McClelland

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Video: The amazing Glyphs palette

We're going to end our look at type inside of Illustrator with a brief examination of the Glyphs palette, which is probably the coolest of the type-oriented palettes inside the program. So here is what I want you to do. I want you to go up to the Type menu and choose the Glyphs command. That's the easiest way to get to the Glyphs palette and by Glyphs, think of hieroglyphics. So these are going to be all of the characters that are available to a given font. So I'll go ahead and choose the Glyphs command in order to bring up this palette and I can scale this palette, notice this. So that we can see more characters at a time and I can even scale the palette so that it covers up other palettes in the background if I want to.
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  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
    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
    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)
    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
    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
    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
    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
    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
Deke McClelland

The amazing Glyphs palette

We're going to end our look at type inside of Illustrator with a brief examination of the Glyphs palette, which is probably the coolest of the type-oriented palettes inside the program. So here is what I want you to do. I want you to go up to the Type menu and choose the Glyphs command. That's the easiest way to get to the Glyphs palette and by Glyphs, think of hieroglyphics. So these are going to be all of the characters that are available to a given font. So I'll go ahead and choose the Glyphs command in order to bring up this palette and I can scale this palette, notice this. So that we can see more characters at a time and I can even scale the palette so that it covers up other palettes in the background if I want to.

Notice that we're seeing not only all the alphabetic characters, but we're also seeing things like there is the Bullet. Very easy to find here inside the Glyphs palette, even though it was so difficult to find inside the Character Map palette. Now why is that? For example, why aren't we seeing all those Ethiopian characters and all that jazz that we were seeing in the Character Map palette, all those Hebrew characters and the Arabic characters and so on? Well, that's because they are not really part of Adobe Caslon Pro. Adobe Caslon Pro doesn't have any characters beyond the standard Western alphabetic characters and their accented variations here.

The reason the Character Map palette shows you those characters is that you can get to them from a different font. So it goes ahead and shows you that those are available because they do correspond to a certain Unicode number that we are at inside the palette at that given moment in time. So what Illustrator is doing for us is it's just skipping all of those characters which would be located around this region here and it's just taking a straight from the center period to the dagger or the dieresis and the bullet and so on. So much easier to locate characters that actually matter and they are actually part of a given font.

All right, so I'm going to move the Glyphs palette over just a moment here. If I had a bigger screen of course, I could have a big collapse of Glyphs palette. What I do at my office actually I have got two monitors and I have a Glyphs palette sitting there big and massive on my side monitor and then of course I have Illustrator on the primary monitor. What I'm going to do here is double- click inside of my text just to make it active and the Glyphs palette will now just goes ahead and automatically shift to whatever font I'm using at this location which happens to be still Adobe Caslon Pro. Let's go ahead and make things a little narrower though, so that we can see both the entirety of the palette and our text at the same time. I might even make it just a couple of columns narrower. There we go. That looks pretty good.

Now, you can find whatever characters you want to work with. For example, inside of Adobe Caslon Pro, if we scroll to the mid section of the font, we have all these ornaments that are available to us. If I want to insert this pineapple for example right there whatever the heck that thing is. All I need to do is go ahead and double-click on it and then Illustrator goes ahead and adds it to my text. Now I can see the Unicode number, notice that right here next to the word Entire Font. I can see the Unicode for any character that I hover over. I cannot see the Alt key shortcut required to get that character on the PC or the key required to get the character on the Mac, if indeed there was a character for the pineapple which there isn't.

So anyway you can do whatever, double- click on these guys. You can make them bigger if you want to see a character bigger without inserting it, then you click on these little big mountains over here in order to zoom in and you can also zoom out, but of course. If you want to check whether a font has a specific kind of character for example small caps. Does this font include small caps? Well, you can see the small caps right there, so you know that they are available and if you look at that Unicode description just above my cursor up there, you can see that this is a small capital, all of these letters right here are small capital. So if I move over this ft there, it's going to tell me that that's a Standard Ligature. So I know that one is standard, this ff is standard, this fl is considered to be standard. If I go over, this fh is considered to be standard.

What word includes fh I wonder? Then we've got this guy right there, which is a Discretionary Ligature. So Illustrator is going to go ahead and tell us what each of these characters are, but another way to see whether you have small capitals is to go ahead and scroll up the list to something like the A right there. Then click and hold it and you will see the A variations. There is a capital A. There is this ornament, I guess that goes along with A and then there is the small cap right there and it even tells you that it's a small capital letter and then if I was to switch to the Italic version of Adobe Caslon Pro, so switch away from Regular to Italic, then I could click and hold on the A to see that there is a regular standard A and no longer small cap, but instead a swash variation right there that's available to me.

So there is various variations that are available to various characters here inside of an OpenType font such as Adobe Caslon Pro of course. Now one of the things you have to keep an eye out for is that every time you choose a character like, if I were to choose the swash A, it gets added right there to my document. So you just need to make sure that you want the characters that you are adding to be added. I'm going to go ahead and get rid of those guys and notice, by the way, I want you to see this too. There is all kinds of mathematical operators inside of these fonts. There are your fractions in eights, all of them there.

There is your fraction symbol, if you had to build your own and somewhere you are going to find the ordinal versions of the numbers. For example, 2s. If I click and hold on 2, look at all the 2s that are available to us right there. We've got a small capital 2; we've got another small capital 2. I'm not sure what's going on there. We've got an alternate. That's a raised alternate right there. So all kinds of different -- we've also got a denominator. So the numerators are the ones that sit up top and then the denominators are the ones that are below and if you want to see those by the way, notice that this option right here is set to Entire Font. Let's go ahead and switch that from Entire Font to something like Small Capitals. You could check out just the small capitals that are available to us inside of this font including percent and per thousand I think that is right there.

Then we've got let's see, let me look down the list. So there is my numerators. These would be the raised numbers right there and then there are our denominators and so on. So you can check out all the different kinds of glyphs that reside inside of a certain font. All right, I'm going to go ahead and switch back to Entire Font. Notice, at the beginning of the byline there, I have got a special ornament and if I were to select that ornament, I could see that this ornament is actually set in Adobe Garamond Pro Italic which is another font that ships along with the Design Premium version of the Creative Suite.

So let's say that I want a similar ornament to be on the other side of the byline. So let's go ahead and move over the Glyphs palette again for a moment and I'll click after the E and then I'll press the right-arrow key, because there is a space right after that E as you can see and by the way, I'm working in a document. I didn't even tell you this. Shame on me. I'm working in a document called Close to found inside the 08_type folder in case you want to catch up with me. But anyway there is a space right there, so I press the right-arrow key to move to it and now I'll bring back my Glyphs palette if I haven't gotten rid of it for all time, ready to go. Let's go ahead and choose Glyphs again to bring it up.

All right, there it is. I must have moved it. Oh! Look at what I did? I moved it over into this group. I wasn't even noticing what I was doing. My goodness. You can do that of course. You can go ahead and group it with the other palettes, if you so desire. I'm going to go ahead and move it out and make this palette a little narrower. So it's not taking up so much room. It doesn't need to be this tall either. Let's go ahead and shrink it this way. All right, and hide it, get out of here. Okay, so here we are inside the Glyphs palette as I was saying. Let's go ahead and switch to that font which was Adobe Garamond Pro. So I'll just go ahead and select the font and change it to Adobe G and that will get me Adobe Garamond Pro like so, or I could have chosen it from the menu. Then I'll press the Tab key to advance to my Type style right there and I'll type I for Italic and I'll press Tab again in order to bring up the Italic version of the font.

All right, now let's scroll to the very, very end and there is that character, that special ornament we saw a moment ago at the beginning of the caption and I want this time to add this character right there. So I'll double-click on it to add this special character to the end of my byline. All right, let's go ahead and hide the Glyphs palette from view since it's taking up just so much room. Oh, I made yet another column, my goodness. You know what, Glyphs, let's just put you there, since you really want to be part of that column, you can be a part of it. I am going to press the Escape key and click off the text to deselect it.

This is the final version of this document. Thanks to the power of advanced formatting, OpenType, and the Glyphs palette here inside Illustrator.

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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