Početak rada s Illustrator

Ilustrator - Početak:

Ovo je tutorial po:

Mihai Panu-Ionascu (doista inspirativna vektor umjetnik)

www.roundpixel.org

Ahh, ilustratora, obećana zemlja. Besplatno od hackles od bitmap ... ispružiti svoje vektora dok vam ponestane
zaslonu .... i izvan nje. Koliko puta ste htjeli uzeti komad dizajn i učiniti ga veći? Koliko puta ste netko reći: "Hej
ste mogli napraviti da kao ... 10 puta veći?" Vi možete! Ne s raster umjetnosti ipak. To treba biti vektor. Što nas
dovodi do prvog izdanja. Samo što je pakao su vektori? Osim stvari vezane za rakete i rakete i takvih, vektora
(kad se govori o slikama) su skalabilna komada umjetnosti. Ističe razlika između rastera i vektora bi bilo da
možete "rastegnuti" komad vektora umjetnosti onoliko koliko želite bez ružne stepeničasti upasti svoj crtež.
Tehničko objašnjenje je vani ... ali za sada dovoljno je reći da se vektori mogu povećavati bez gubitka kvalitete.

A što bolji komad softvera za stvaranje vektorske umjetnost nego Illustrator? Tu je razlog Illustrator je standard
kad je u pitanju vektor umjetnosti. I to je razlog da je (barem za sada) ILL je najbolje što postoji. To se koristi od
strane najboljih umjetnika u polju. To ne znači da morate se bojati toga. To izgleda prijeteći isprva - sve nove
stvari. Ako imate malo iskustva s Photoshop to izgleda pomalo poznato ... ali tamo je sve i svašta da ne učiniti
ono što misle da bi trebao. Olovka alat za primjer. Ljudi hvale za njega, ti si trebao naučiti kako koristiti taj prvi ...
ali riječi poput "Bezier krivulja" zvuči malo sviđa sastavljena sci-fi spiku i jednostavno ne mogu dobiti suština
njega. Gradijent alat je još jedan čudan aparat. Zašto ne postoji udoban klizač / berač kombinacija kao u
Photoshopu? Samo kako ti napraviti krvavi gradijent? To je samo čudno. .. Ili je to? Kao mudar čovjek rekao -
postoji razlog za sve. Malo strpljenja i radinost će vas odvesti dug put - bilo koji dan.

Jedna stvar mora biti uspostavljena od samog početka. Illustrator može biti prekrasan alat. Ali upravo to - alat.
To ne vas naučiti kako razmišljati, kako se izvući ili kako biti umjetnik. Za one stvari koje trebate otići do
umjetničke škole. Ilustratora vam pomaže da biste dobili svoju umjetnost obaviti brže, bolje je donio, lakše i
općenito čini cijeli proces puno glađe ..., ali možete postići slične rezultate sa samo nekoliko Crayolas i papira.

Zašto onda ne morate potrošiti puno vremena za učenje kako raditi s Illustrator kada možete to učiniti - jeftiniji -
sa samo nekoliko listova papira i olovke u boji? Pa, zato što vam stigne brže za jedan - mi smo nakon svega živi
u dobi od brzine. To se ne može poboljšati svoje umjetničke vještine, ali to čini vaš art digitalne, i to ga čini
skalabilan!

Sada smo dobili da zabit - ajmo se fokusirati na pravi razlog ste čitajući ovo: zapravo učenje raditi s Illustrator.
Postoji puno stvari koje bi mogao početi s.

Kada prvi put otvorite ilustrator - vidjet ćete upoznati (ako znate malo Photoshop) sučelje. Na prvi pogled možda
čak reći da su blizanci. Oni su - na neki način ... ali samo kao braća postoji mnogo razlika koje postaje jasno tek
nakon što se upoznaju.

"Kum" od svih alata na ILL je olovka alat. To (i njegovi podanici - "Add / Delete sidro točke" alate i "Pretvori sidro
točku" alat) vlada nad svime. On ima "ženu" - "Izravna Izbor" funkcije. Sve ostale stvari su povezane s
plodovima svog rada.

Zaboravimo za dok su drugi alati i fokus na potomstvo olovkom alat. Olovka alat proizvodi staze. Put izgleda kao
tanka kista moždani udar ... ali nije. Kao što mu i ime kaže da je "put" - smjer i itinerar za sve što mogu izabrati
dodijeliti na njega. Razmislite o putu kao put zacrtan na karti. Možete uzeti autobus na toj relaciji, ili bicikl, ili
automobila ... ili avionom. Možete učiniti puno stvari sa i na putu. Možete udarac ga s kistom. Možete ga ispuniti
(čak i ako to nije zatvorena krivulja) možete ga koristiti dati smjer i pokreta u stavku teksta, do niza drugih
putova i tako dalje.

Staze spadaju u nekoliko kategorija. Oni mogu biti vladar ravno, savijena pod kutom, zakrivljenog - što može
pretvoriti biti zatvorena krivulja, krivulja otvorena ... Sve je to zvuk puno složeniji nego što jesu. Baš kao i riječi
"Bezijerove krivulja" - što je još jedan način imenovanja naše staze. Tu je komplicirano objašnjenje za vrijeme
trajanja tečaja. U 70-čovjek po imenu Pierre Bezier razvio kubnih jednadžbi koristiti u CAD operacijama. To je
kasnije koristiti Adobe kao osnova za njihovu Post Script crtanje modela. Matematika je dostupan u Adobe
PostScript referenci za zainteresirane. Međutim, može se igrati s Bezier krivulja bez stvarno razumijevanje
matematike iza njega. To je baš kao i paleći svjetlo. Ne pravi trebate znati kako struja djeluje - samo guranje
gumb.

Što vi trebate razumjeti prije rada s staze je da putevi moraju biti definirani nekako. Što definira krivulju? Pa
zapravo puno mučeni matematičke formule. No, za naše potrebe ćemo koristiti zgodan ručke koje su dobri dečki
na Adobe staviti tu za nas. Put ima nekoliko definiraju elemente: dvije krajnje točke - što je zapravo i razumljivo
jer je svaki redak mora imati početak i kraj ... ako je krug (ali mi smo dobivanje tamo kasnije). Ako je naš put
pravac smo stali ovdje. Ali, ako je krivulja trebamo nešto više. U "savija" u našem putu daje sidro bodova.
Temeljni točke su mjesta gdje se možemo odlučiti na koji način naša krivulja će savijati. Oni izgledaju poput
malih praznih kvadrata i oni imaju dvije ručke. To možete učiniti sve i svašta s sidro točke i dvije ručke. Možete
odabrati sidro točku (uz izravan izbor alata) i premjestiti ga ili ga mijenjati ...

Malo vježbe je potrebno prije svega. Dakle, ono što želim učiniti je otvoriti Illustrator (ako već nije otvoren) i
stvoriti novi dokument. Za ovu vježbu koju će samo trebati obitelj olovkom alat i izravan izbor alata. Proširite
okvir funkcije olovkom (ako kliknete i držite na olovkom alat trebali vidjeti druge alate u obitelji i biti uz mali
trokut na strani koja vam omogućuje da otkinuti okvir). Učinite isto s izravnim izbor alata i premještanje alata
kutije bliže. Sada pokupiti alat olovku i kliknite jednom bilo gdje na vašem platnu. Zatim premjestiti miš malo i
kliknite ponovno. Sada bi trebali imati ravnu crtu. Ako je vaš put ne izgleda kao moj "Uzorak putu" radi u pic
onda to mora biti, jer ILL dodao moždani udar i ispuniti na putu po defaultu. Mi ne trebamo one ipak tako ćemo
dobiti osloboditi od njih. Na dnu alat okvir trebali vidjeti dvije veće kvadrata - poput onih u mom PIC - u donjem
lijevom kutu. Kliknite na gumb spustile koji će ukloniti ispune, a zatim kliknite na trgu moždanog udara za odabir
i zatim ponovno slashed gumb koji će ga ukloniti previše. Ako držite pokazivač miša preko raznih alata pomoć
mjehurić treba vam reći koji je koji (poput "None" u mom pic.)

Važna napomena: Ako u bilo kojem trenutku ćete kliknuti na platnu i izvan svoje sidro bodova ćete izgubiti svoj
put. To je još uvijek tamo, ali to je nevidljiv. Da biste ga izvedem samo trebate odabratiIzravno Odaberite alat i
kliknite i povucite kao što bi koristiti nadstrešnica izbor u Photoshopu. Povucite se iznad područja koje je
vjerojatno da su opće mjesto na putu. Vidjet ćete da se ponovo pojaviti - sa svim sidrima odabranih. Povucite
"marquee" na endpoint ili sidro točku koju želite odabrati.

Sada se napokon trebao završiti s čistom putu. Pick Direct Odaberite alat i kliknite na bilo koji od krajnje točke
kako biste ga odabrali. Držite tipku miša i kretati. Odaberite drugi krajnje točke i kretati. Dobro. Sada više
komplicirane stvari. Pick "Dodaj sidro točku" alat i kliknite bilo gdje na vašem putu. Trebali bi vidjeti još jedan
mali trg kao krajnje točke. Samo jer to nije na jednom kraju puta - ne možemo nazvati ishod - zvat ćemo ga sidro
.... zbog nekog drugog razloga koji će uskoro postati očito. Pick Direct Odaberite alat i kliknite na sidro točku. I to
se kretati kao što ste učinili s krajnje točke. Primijetit ćete da je napravio savijenog liniju. Neka je to krivulja. Pick
pretvoriti alat točke Sidro i kliknite na sidro točku. Držite i povucite. Bez obzira na smjer. Dokle god početi od
sidro točke - to će izlaz simetrične krivulje. Jedna stvar koju morate shvatiti u ovom trenutku da je vaš put sada
je podijeljen u segmente. Split točka bude ... pogodili ste - sidro točka. Čim ste dodali još jedan - dobijete još
jedan segment. Segmenti se ponašaju kao male staze. Ako povučete s točke Pretvori Anchor alat iz sidro točku,
a zatim kliknite i povucite samo ručku - ona će djelovati kao krajnja za tom segmentu. To će "premjestiti"
neovisno od druge ručke. Međutim, ako kliknete na točka sidrišta na ručku s Direct Select alata (dok je odabrana
točka sidrišta - što znači da obje ručke su vidljivi) primijetit ćete da možete mijenjati segment - duljinu krivulje
neovisno od druge segmentu. Ako pokušate mijenjati smjer vidjet ćete da ručke premjestiti u isto vrijeme. Dobar
trik koji će vam uštedjeti puno klikova kasnije je napraviti sidro točku, kliknite na njega s točkom pretvoriti sidro,
stvoriti ručke, a zatim kliknite na jedan nositi samo, premjestiti ga i odabrati izravan odabir alata. Kliknite na
tom ručku s njim - to premjestiti - a zatim kliknite na sidro točku. Vidjet ćete drugu ručku - za susjedne
segmentu. Premjestiti da jedan previše s izravnim odaberite alat i dobiti lijep šiljasti, bujan Split. Rekao sam
ranije da ćemo doći do zatvorenoj krivulji. Krug je zatvoren krivulja za primjer. Ali bilo koji drugi krivulja koja
petlje natrag na sebi je zatvorena jedna. Da biste dobili zatvorenu stazu - jednostavno krivulja svoj put i kliknite
opet na krajnju ste stvorili prvi. Morate kliknuti točno na prvi krajnje točke - inače ćete samo biti stvaranje novog
sidro točku. Zatvorena krivulja / put mora imati barem jednu točku sidro. Nakon što je zatvoren svoj put - možete
koristiti točku gdje zatvaranja put kao redoviti sidro točke - ali morat ćete koristiti pretvoriti alat sidro točku na
njemu prvi - samo ga kliknite i povucite - dobit ćete ručke.

Sljedeći korak je da koristite olovkom alat za stvaranje krivulje "na letu." Jednom ste razumjeli gore
(eksperimentiranje je jedini način) da ćete biti u mogućnosti koristiti olovku alat kliknite i povucite ... na takav
način da ćete dobiti lijepo teče krivulje iz prvog pokušaja. A ako ga morati prilagoditi - dobro - vi ćete znati kako
se nositi s ručke ...

Shvaćam to zvuk komplicirano. No, vjerovali ili ne - to je najkompliciraniji stvar koju ćete morati baviti u
Illustrator. Nakon što savladali staze - ostalo je samo za punjenje i moždanog udara .... i malo učinci tu i tamo.
No, oni su jednostavno. Teži dio je dobivanje "osjecaj" stazama. Oni su složeni, ali nakon što eksperimentirati s
njima vidjet ćete da je lakše nego što zvuči. To također može biti dosadno i dugo. No, ako želite neposredne
rezultate - koristiti Crayolas.

Ako smatrate da ste napravili dobar napredak i staze držite nema tajni vas više .... mi ćemo doći na sljedeću
čarobnom stavke - boja-dio-1

Boja - Dio 1

Ilustrator - Boja - Dio 1

Ovo je tutorial po:

Mihai Panu-Ionascu (doista inspirativna vektor umjetnik)

www.roundpixel.org

Prvi dio ovog vodiča bavi boje i nije namijenjen isključivo za Illustrator. Informacije ovdje je dobro znati (čak i ako
zvuči pomalo dosadno) bez obzira na program koji koristite za stvaranje umjetnosti. U drugom dijelu bavi
postavljanje boje i Swatches za IllustratWe neće ići u točno ono što je boja. To je složeniji stvar nego što zvuči.
Svatko zna što su boje ... pravo? Plava poput neba, zelene poput trave i tako dalje. Način vaše oči vide boju je
druga stvar uopce. Vi ćete naići na nekoliko uvjetima kada se bave s bojama u aplikacijama kao što su Illustrator
ili Photoshop ... i mnoge mnoge druge. Pojmovi poput "nijansama" ili "bojama" ili "mješavine", pa čak i prijeteći
sondiranje akronima kao CMYK ili RGB.

Vrlo brzo uvod u boji teoriji bi ovo:

Postoje tri osnovne boje - crvena, plava i žuta. Ako miješati te dvije u vrijeme koje ste dobili sekundarne boje -
zelena, narančasta i ljubičasta. Ako miješati primarna sa srednjim dobijete tercijarne boje. Zelena i plava za
primjer vam dati cijan. Do sada je prilično jednostavan. Od sada se dobiva složeniji. Boje mogu biti cool: plave i
zelene i ljubica - i toplo: yellows, crvene, naranče. Ako boja čini mislite o ljeto - to je toplo - ako misliš o zimi ili
ozeblina - to je cool. Ostale boje su neutralne - oni ne čine mislite u smislu temperature. Kao smeđe i sive.

Nijanse su boje koje imaju bijeli mješoviti u njima. Čim ste dodali bijeli na boju koju je napravio nijansu. Nijanse
su baš kao i ime kaže - sjene - i to traje crna napraviti jedan. Boje nadalje su podijeljeni u drugim razredima
analogne boje (boje koje su blizu jedni drugima na spektra, na primjer, zelenila i žute) i komplementarne boje -
boje koje su točne suprotnosti na colorwheel - poput crvene i cyans ili blues i yellows. Od tih kombinacija dolaze
sheme boja.

No, dosta o boji teorije. Gore su vrlo jednostavna objašnjenja na vrlo složenom predmetu.

Vi morate razumjeti razliku između RGB i CMYK ipak. To što je glavni radni boja načini Illustrator (i bilo koji drugi
zagriženi aplikacija).

RGB znači RedGreenBlue - i to je ono što prati (i TV) koristiti za izlazne boje.

CMYK znači CyanMagentaYellowBlack (K) Oni koriste "K" za crno jer "B" je već poduzela "Plavi". CMYK boje se
koriste tiskarskih strojeva (one velike) i prisutni su u svakom ispisanom papiru li ikada održan. Zašto su RGB boje
koriste monitore i CMYK strane pisača? To je lako - monitor je uređaj koji emitira svjetlost. Kao takav, crvene
zelene i plave fosfora - su "svjetla" u monitor, koje zajedno čine sve druge boje. Kod monitora u slučaju crvena i
zelena i plava su dodane u različitim količinama "" napraviti određenu boju. To je lako učiniti. To nije tako lako u
slučaju papiru, međutim. Papir ne emitiraju svjetlost - to nije priključen rezervirati Papir upija svjetlo. Ili više do
točke svjetlosti "zasjala" na papiru i bounces natrag na oku. Dakle, dok je monitor u boji prostor je aditivna (jer
jedna boja se dodaje još napraviti treći) na pisaču u boji prostor je odbijena. Možete dobiti plava primjerice
oduzimanjem cijan od magente i crvene oduzimanjem žuto od magente. To je razlog zašto papir treba CKYK
ulaz. Iako u teoriji iste boje mogu se dobiti u obje rade načina RGB i CMYK, njihovi spektrima (ukupan broj boja)
razlikuju. Koji je reći da CMYK "vidi" više boje u nekim područjima nego RGB i manje u drugima. Isto vrijedi za
RGB. Na vrhu svega toga - ljudsko oko vidi puno više boja nego obje rade načina - oko tri puta više boja. Dakle,
kako točno misliš mir između RGB i CMYK? Illustrator (i neke druge aplikacije) nudi još jedan izbor - spot boja.
Spot boje su boje koje nisu CMYK procesne boje. Kao Pantone. To su posebne boje koje pisači 'ljudi mogu kupiti u
limenkama i koristiti za točno podudaranje. Razlog mnoge digitalne kreatori koristiti Pantone boje da Spektar je
malo veći od oba RGB i CMYK spektrima. To obuhvaća oboje. Međutim, Pantone boje su skuplji nego CMYK
procesnim bojama (jednostavno zato umjesto kupnje 4 limenke boje - cijan, magenta i žuta crna, morate kupiti
dodatne konzerve - sa Pantone bojama). Ako cijena je veliki problem pri stvaranju komad digitalne umjetnosti
pokušati kormilariti daleko od Pantone i držati dobrog starog CMYK.

Znate kako astronauti izlazak u svemir reći da nema slika koje se mogu opisati stvarni krajolik oni vide? Ili
ponosni Irci govore svoje nevjerojatno zelene trave ima nijanse nema fotografija može učiniti pravdu?

Oni su u pravu!

U svakom slučaju, važno je razumjeti da CMYK boje neće pokazati jer oni su stvarno na monitoru, jer monitor
može koristiti samo RGB kako bi ih čuti. Kada radite u Illustrator ja osobno radije raditi u CMYK jer nikad ne znate
kada ćete možda trebati ispisati ga i ako pokušate pretvoriti iz RGB u CMYK neke boje mogu mijenjati.

Ostali uvjeti možete naići su Polutonovi i dvobojni. Oni znače vrlo različite stvari. Polutonovi je proces koji se
koristi od strane pisača varirati prividni intenzitet boje na papiru. Da bi razumjeli o tome što je potrebno da
shvate kako nadoknaditi tiskare. Već smo govorili o CMYK boja. Pa - svaki komad digitalne umjetnosti možete
proizvesti je podijeljen u četiri dijela. Jedan za svaku boju. Na pisača kući zovu one "pločice", jer svaki od četiri
boje dobiva tanjur (aluminij ili plastika ili nešto drugo) da je ugraviran s kiselinom ili bilo koji drugi način, tako da
vaše slike (samo cijan dio za primjer) je " uklesan "na tanjur. Proces onda se ponavlja za magenta, žuta i crna.
Pločice su tada premazani bojom prema njihovoj boji - cijan boje za cijan tanjur i tako dalje. Papir na kojem je
crtež napokon će boraviti će proći preko svake od ploča i od svakog će dobiti iznos od boje. U kombinaciji, 4 boje
će prevariti svoje oči u uvjerenju postoji mnogo više. Koji nam vrati halftones. Halvtone znači da su sitne kapljice
boje staviti na papir na mrežu. U "točkice" može biti manji ili veći - mreža također može varirati u kut. Manji su
točkice boje i veći u mrežu - lakši boja će se čini da se u intenzitetu. Veći su točkice i veća očito intenziteta.
Rešetke su raspoređeni drugačije za sve četiri boje, tako da kada je u kombinaciji su preklapaju i čine uzorak oka
percipira kao svoju sliku. Kada prebrojati koliko Polutonovi linije postoje u centimetar na papiru dobili LPI mjeru.
LPI znači linija po inču - ili zaslon linije po inču. LPI je izraz za razlučivost slike kad se govori o ispisa stvari - baš
kao i PPI (piksela po inču) je mjera za digitalne slike. Kao primjer - redovni novine koristite razlučivost od 85 LPI.
Što znači da možete vidjeti točkice obrasce (halftones) s golim okom - ako malo bolje pogledate vidjet ćete ih).
Platesetters može ispisati do 200 LPI što znači rezolucija je tako puno veći.

Dvobojni s druge strane je ime koje su novinari dali multitone ispis. Dvobojni znači dvije boje (ili 3 u kojem
slučaju to je "tritonus" ili 4 kad je "quadtone") će se koristiti za izlaz slike. Dvobojni slike zahtijevaju licu boje da
se koristi - Pantone obično. Kako se to radi? - Monotona slika (1 tinte) s tamnom bojom obojena (tiskati) s lakšim
jednom na to ton ... i to je to.

Ok, mi bi trebali imati dovoljno informacija da se na drugi dio udžbenik - boja za upravljanje u Illustrator prostora

Boja - 2. dio

Ilustrator - Boja - 2. dio

Ovo je tutorial po:

Mihai Panu-Ionascu (doista inspirativna vektor umjetnik)

www.roundpixel.org

Ok - kako se nositi s ilustratora boje? Jedna stvar koju trebate znati je da ako dolaze iz Photoshop i rijetko koristi
swatches prije ... sada je vrijeme da počnete koristiti ih. Što manje boja koristite u Illustrator - bolje. Swatches
sigurni doći u ruci za to. Ilustratora bavi bojama drugačije.

Proces boje - to su kombinacije CMYK tinte u različitim iznosima. Oni su najjeftiniji koristiti i najprikladnija kada
imate posao koji treba puno i puno boja. Kao fotografije uvoze u Ill

Spot boje - su posebne boje. Kao što znamo iz prvog dijela udžbenik - postoji više licu boje od jednostavnih
procesnih one. Koristite licu boje kada vaš posao ima nekoliko boja ili stvarna nijansa je kritična (kao što je
logotip tvrtke).

Globalni / non-globalna boje - ilustratora vam omogućuje reći je li proces boja je globalni ili ne globalno. Što to
znači? Boje koje su dodijeljene "globalni" atribut se ažuriraju. Recimo da imate posao gdje ćete koristiti puno
crvenih oblika ... a vi trebate promijeniti sve od njih. Možete otvoriti datoteku, promijeniti "globalni" crveno na
drugu vrijednost i voila - sve kroz svoje datoteke - sve crvene oblika sada se obnavljaju. Vi ne trebate loviti
svako malo oblika - samo izmijeniti jedan zgodan uzorak. Non globalna boje ne ažurirati - ostaju isti.

Sjetite se da Swatches stvarno su vaši prijatelji. Kada pokrenete novi posao možete koristiti bilo hrpa ili Swatch
knjižnicama da dobri ljudi na Adobe dostupni. Samo kliknite na maleni trokut na Swatch ploči dočarati nešto
više. Tu je još mnogo možete preuzeti na stranicama Adobe tečaja. I ne samo jednostavnih boja teme. Tu je
gradijenti i obrasci previše. Ako želite koristiti vlastite boje, primijetit ćete da svaka nova boja dodate na svoj
posao postaje Swatch. Možete koristiti prethodnu boju jednostavno, bez potrebe da ga pokupiti od platnu -
pogledajte samo za njega pod Swatches. To bi trebao biti među posljednjim one dolje. Svaki novi dokument će
doći s "čistim" (samo defaultno) Swatch palete. Ako trebate boju znate što se koristi u dokumentu - otvoriti taj
jedan gore - i bilo uvesti boju - ili jednostavno vidio swatches.

Ok. Sada o gradijentima. Gradijenti su kao Chihuahuas. Neki su slatka i da li reći "AAW", a neki su strašno i
nesiguran i da želite ste imali dodatni veliki Saint Bernard ga hraniti. Kosina su u istoj kategoriji ... ali to je druga
priča. U principu, Illustrator bavi gradijentima oko na isti način kao i Photoshop. No, postoji nekoliko razlika koje
ih čine malo neugodan na prvi.

Ako pogledamo gradijenta ploči. Primijetit ćete polje pored "tip" je prazna. Prije nego što možete primijeniti
nagib objekta - morate reći Illustrator što tip je - Linearni ili Radial. A čak i tako - objekt u uzroku treba biti
izabran prvi (ne objekta sloj - nismo u Photoshopu ovdje) Morate imati svoj objekt "aktivan" - odabrana, a zatim
odaberite vrstu uspona. Vidjet ćete da je vaš cilj je sada lijepo crno / bijeli gradijent .. bijelo na lijevoj strani ...
crno na desno ... i nikako da se presele dalje. Ako ste probati i kliknite na bijela ili crna to promijeniti ... sve što
se je boja ploča sa nagibom za to. Ne očajavajte. To je i lakše nego što ste mislili i složeniji da se nadali. Možete
dobiti gradijent tooland promijeniti smjer gradijenta klikom i povlačenjem preko objekta baš kao u Photoshopu.
Ali što je s promjenom boje? Kao što sam rekao ranije - lakše nego što ste mislili. Samo kliknite na Swatch iz
vašeg prijateljskog palete i .. ga povucite u svoj uspon. Ako ga povucite točno preko bijela ili crna - ti zamijeniti
one. Ako ga povučete negdje preko gradijenta - dodate tu boju na njega. Da biste uklonili uzorak od uspona -
samo kliknite na njega i odvući.

Također, ovisno o tome koji je najviši u ovom trenutku (punjenje ili moždani udar) dodate svoj gradijent bilo
objekta ispune ili svojim potezom. Također ćete primijetiti još jednu stvar. Ako ste napravili objekt, ispunjen s
gradijentom i onda napraviti još jedan - gradijent "drži" da ga previše. To vrijedi za većinu atributa dodate objekt
- Sve što učiniti sljedeći - ima iste atribute kao prethodni. Yo možete podesiti ovu značajku zadani, ali to stvarno
pomaže većinu vremena. Ako ne trebate gradijent na drugi objekt .. Jednostavno ispunite ga s god želite.
Postoji još jedna stvar o gradijentima. Oni rade kao prozirnu masku previše. Znate kako možete napraviti sloj
maska u Photoshopu kako bi se uklapale stvari glatko? To možete učiniti isto u Illustrator s gradijentima.
Napravila sam ovu prilično banalan sliku (sve sa zadanim gradijentima i moždanog udara zadani uzorak) i
jednostavan linearni bijelo na crnom uspona na vrh. Gradijent mora biti najviši objekt.

Što smo o učiniti je koristiti gradijent maska "sliku" Ako odaberete gradijent i stavite ga na vrhu slike vidjet ćete
da je moja gradijent je oko pola visine mog "slikarstva." To će ne pokrivaju sve to i vidjet ćete zašto.

To je ono što izgleda sada - hrpa odabranim stazama ...

I ovo je rezultat. Oko pola moja slika - i maskirani. Gdje sam naviknut imati bijelo na moj uspon - "slika" je
vidljivo - i gdje je to crna - sada je transparentan. Kinda kao što je Photoshop. Ali gdje je druga polovica? Aah -
vidite - bilo maska također funkcionira kao clipping path. Kako svjež je da? Možete ubiti dvije muhe jednim
udarcem. U ilustrator možete napraviti stazu clipping iz bilo kojeg objekta - dok je na vrhu druge objekte i sve su
odabrani. Ako želite postaviti gradijent kao prozirnu masku za sve objekte - samo bi gradijent objekt dovoljno
velika. No, ako taj objekt je također gradijent .. možete imati kao maska previše. To može biti bilo koji oblik i ona
također funkcionira sa rasterskim slikama.

Možete uvesti sliku .. kažu oblačnog neba - i koristiti bilo koji objekt s gradijentom kao clipping maska i kao
prozirnu masku. Možete pomiješati stvari nikada zamislili. Ako sam imao sliku ispod mog slikarstva oni će sada
biti uklopljena. Koristite svoj maštu i nema ograničenje na ono što možete učiniti.

Ovo o dovršava početnik tutoriali. Postoji mnogo stvari koje treba reći i ilustratora je ogroman. Ali to je ono što
su knjige za. Vi svibanj želite investirati u Illustrator WOW koji je odlično mjesto za početak ...Moji tutoriali su za
ljude koji znaju o Photoshopu (ovo je TeamPhotoshop nakon svega) i žele početi učiti Illustrator. Morate imati
neke ideje o općoj sučelje i biti spremni da iskopaju druge cool stvari. Bilo kakva pitanja vam svibanj imati -
Teamps forum je uvijek otvoren na vaša pitanja, a mi ćemo učiniti naše najbolje da vam pomoći pronaći svoj
odgovor.

Envelope Distort

1. Envelope distort is a pretty cool effect you can do in Illustrator for many logo designs, text effects, and other

ways to bring your shapes and text in a stylish way. First of all I have an example here with my shapes. Let’s say

that is my logo design for now.

2. Now to do an envelope distort, have the object selected (all the object you want to distort), and then go to

OBJECT > ENVELOPE DISTORT and then from the menu that slides out you have about 3 different options of

envelope distorts that you can use:

Make with Warp

Make with Mesh

Make with Top Object

3. The envelope warp option is where you can already choose an pre-made style in Illustrator. The dialog box you

see here enables you to control the style in more detail. Play around with it.
4. Result with “Make with Warp”.
5. You can grab anchor points after you do that and adjust the warp on your own.

6. And here is my final result after anchor point adjustment.

7. Envelope mesh option is kind of like what you can do with a 3D program if you have experience in 3D.

However in Illustrator it’s an mesh for 2D flat plain surfaces. The dialog box here enables you to create column

and rows like a table or spreadsheet. You then take the anchor points and move it around at your own creativity.

8. “Make with object on top” is the last option you have, where you can create a distortion based on the object that

is laid out on top.

9. Viola! Created it using a circle object on top of my object underneath.
10. Now in the same menu, there is an option called EDIT CONTENTS. This allows you to go back and expose

the content underneath of your distortion and move the object around for your liking.
11. So again, I grab my anchor points just like the other envelope options, and adjust the anchor points

respectively.
12. Now there is another menu option under the envelope distort option called expand. This allows you to expand

the object as an editable object. After you EXPAND the object, make sure to UNGROUP the object to make

individual objects selectable. (OR you can just use the white arrow tool and delete.) You can now go in and delete

or adjust anchor points as you wish after the distortion was applied.

13. Complete result after expanding the distorted object.

Clipping Mask (updated for CS4)

1. Clipping masks is a feature in Illustrator that enables you to mask out an image that you placed within the

Illustrator document. With this example, I am going to use the type layer as my masking layer. First off, I want to

place an image on my Illustrator document. To place a document efficiently in Illustrator, go to FILE > PLACE.

Look for the image you want to place on your computer. (not cut and paste from photoshop or other photo

programs).
2. Make sure you don’t outline the font cause it’s really not necessary to do so. Now let’s apply the mask. Make

sure you have both the letters and the background imagery selected at once.
3. Now go to OBJECT > CLIPPING MASK > MAKE. That’s it!

4. The result so far. You can see the photo in the back through your letters.
5. Now remember I told you not to outline your fonts? Well here’s the reason why. You can STILL edit your text

after you applied the mask as you can see here. The same goes for shapes and patterns. You can still go back

and change them after the mask has been applied. And also another thing you can do is get the white arrow tool

and move the letter around while the background stays in a static position! So you can move it around to see

where you want to make the clipping mask first. This is great with shapes such as circle and squares (and not text

like this tutorial).

6. Now what happens if you did OUTLINE the font? Well you can also play around with the anchor points of the

text and manipulate the font while the background image still follows the clipping mask.

Placing Images
1. To place an image or photo on your Illustrator document, do NOT ever just COPY and PASTE on your

Illustrator document. Use linking just like Indesign and Quark Xpress. First off go to WINDOW > LINKS to open up

the links tab if its not open already. I usually like to have mine docked onto the interface so I can just toggle it

without going through the menu.

Whats the difference? You can always copy and paste onto Illustrator through your OS clipboard. The reason why

this is a bad practice is because it makes the Illustrator file to be much bigger than a simple vector file. It will take

longer to print on your own (or at the printers), color profiling mismatch can happen (for instance if your image is

RGB but your Illustrator document is CMYK), and again its just a bad design practice.

IMPORTANT: If you do this method, you HAVE TO supply the original image that you PLACE onto the document.

If you have a Illustrator file (i.e brochure.ai) but you also use images in the project in other folders, you need to

supply the images that you used when you send it off to a printer. Your project WILL NOT print the images if it’s

not supplied. A good practice to do is to put all images and illustrator file into one folder and burn it on a CD/DVD

and supply that to the printers.

2. To begin, go to FILE > PLACE.

3. And then a dialog box should appear. Just choose the image that you want to use from the window. And then

click PLACE.

HINT: You can link not only just images but EPS, PDF, PSD, TIFF, AI, etc…

4. You get the processing window. Depending on the image size, it might take time. Now after that is complete,

you should see the image in the links tab that you toggled open (if it wasn’t open).
5. Your image will appear on the Illustrator document.

6. The little buttons on the LINKS tabs do various things. The button on the far left lets you re-link the file if you

want to choose another picture. The button next to that centers viewing focus onto that link. If you have a file with

multiple images, you can just select your image on the LINKS tab and find where in the document it is used. The

button 2nd to the right updates your image that you placed onto your Illustrator document. For example: if you

place an PSD, and you go into photoshop and make changes to that PSD, you can go back to Illustrator and hit

that button and it will update it to the latest version of that file automatically without doing the FILE > PLACE

command. The button to the far right will open up the document in your image editing program which is most likely

Photoshop.

Global Color Swatches

1. Global color swatches is an feature in Illustrator that can be very useful when you work on projects that has

LOTS of objects and shapes. First make TONS of shapes and objects in your Illustrator document to test it out.

Now choose all or some shapes to have the same colors.

2. To use global color swatch settings, you need to choose your color of choice first in the swatches tab. Make

sure the shapes have the color applied to it. Now double click on one of the swatches.
3. Now there should be a dialog box like you see on the screenshot above. Click the GLOBAL check box and

adjust the color or keep it the way it is.

4. Again, make sure that the shapes you want to change colors have that color swatch that you just checked

“GLOBAL” to is applied.
5. Now double click the same swatch again and open the dialog box. Change the color this time and make sure

PREVIEW check box is selected. Now to experiment that it is working, deselect the shapes in your Illustrator

document, then double click the global color swatch you just created, and change the color. Even if you do not
have the shapes selected, the colors should all change dynamically.

Rounded Corners
1. Making rounded corners is EASY in Illustrator. Of course you can make rounded shapes in Illustrator but you

can convert line path to rounded corners as well.

2. Make your path or line, and then just go to EFFECT > STYLIZE > ROUND CORNERS.
3. Set the radius of your choice, then hit OK.

4. You can go to the STROKE tab and change the stroke weight. I also like to round off the edges sometimes by

hitting the middle button on the top right hand side.

Type Wrap (updated for CS4)

1. Type wrap works kind of like the AREA TYPE tool. First of all, lets say you have a paragraph of text like you see

here.
2. Then make a circle on top of it, or any other shape, path or image.
3. Then go to OBJECT > TEXT WRAP > MAKE

4. Viola! Easy as ABC. You can move it around to change the rags of the text.
5. Now you can offset the wrapping distance from your image, shape or path using the options.

6. Dialog box should appear where you can change the offset setting.
7. Again, easy as ABC.

Color & Shape Blending Tool (updated for CS4)

1. Color blending is fun and very easy to do. You can end up having cool creative shapes with the blending tool.

Now for this tutorial, create two shapes separate from each other.
2. Now just go to the tool bar and select the blend tool button.

3. Now from the beginning, double click on the blend tool button (or just hit enter while blend tool is selected) and

open up the dialog box. You should see the following dialog box like the screenshot above. Here are the setting

details:

Smooth Color = Smooth transition

Specified Steps = You can assign the number of shapes you want inbetween the original shapes.

Specified Distance = Gives specified distance per blending object.

4. Now all you need to do is click one shape, then the other shape and it will do everything for you.
5. This one is specified steps blend in action.
6. If you want to split each morphed shape apart, go to OBJECT and EXPAND. Hit OK with both STROKE and

FILL checked. Then ungroup the shapes and you should be able to move each one of them.

7. My result of spreading them apart

Transform Again (IMPROVED)

1. Transform Again is a cool little trick to do in Illustrator. Try it out first by making a circle.

2. This is a very tedious part, so please read carefully. Now choose the ROTATE tool in Illustrator. DO NOT

change your tool until I tell you from here on.

3. Now this is the tedious part. You see the little light blue cross hair in the middle of the circle? While your rotate

tool is selected, click and drag the blue rotation axis cross hair down to the bottom of the circle as you see on the

screenshots.
4. Again, staying in the rotate tool, you are going to rotate the shape left or right just a little tiny bit, HOLDING THE

ALT KEY (COMMAND KEY FOR MAC), just like how you see on the screenshots.

5. After you finish step 4, this is where you can move to another tool. Now go to OBJECT > TRANSFORM >

TRANSFORM AGAIN.
Now keep hitting CTRL + D (COMMAND + D FOR MAC) and it should execute some interesting results.

6. Now lets try it with another shape. We will use the star shape tool this time.
7. Draw out the shape like you see on the screenshot above.

TIP: You can add more corners to your star like how I did on the screenshot by hitting the up and down arrow key.

Drag the star shape in your Illustrator document while you still have your left mouse button held down, and hit the

up and down arrow key on your keyboard. The up key will increase corners, down key will decrease corners. You

can create a triangle this way in Illustrator.

8. This time we are not going to drag the rotation axis. Keep it in the middle. Select the ROTATE tool and hit

ENTER. A dialog box should appear. Now set your rotation measurement (again keep it tiny), check the preview

button to see where it rotates to, and hit COPY. Rinse and repeat by hitting CTRL + D (Transform Again).
9. My result.

Aqua ballz
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to use it in your work. Look no further Trend Boy and/or Girl!
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for inclusion create Opacity Masks that lend a photorealistic touch to your
work.
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ator/il003.phpon line 5 gradient fill from the Toolbar, selecting "Radial" from the
Gradient Palette (Window > Show Gradient). Before going
further, make two (2) copies of this black & white gradient circle
each on their own layers. Name the first "pooky" and the
second "dooky" (or whatever!); lock these layers. These will be
used later for our Opacity Masks.

2. Adjust gradient position & color

With the original circle selected, click below the Gradient Color
Ramp on the Gradient Palette to add another color stop at the
80% location. The image below shows the position of Midpoint
Markers, Color Stops and the RGB values used in this
example.

3. Apply Opacity Mask

Turn on and "unlock" the "pooky" layer that was saved from
Step 1. This layer needs to be above or in front of the blue
radial gradient. Select both the blue circle and the black & white
circle with the Selection Tool. On the Transparency palette
(Windows > Show Transparency), select Make Opacity Mask
from the Transparency palette menu. Make sure the "New
Opacity Masks Are Inverted" menu option is checked when
doing this. You've now made an Opacity Mask.
To make sure it's worked, turn on the Transparency Grid (View
> Show Transparency Grid) and a checkerboard pattern should
be visible through part of the circle.

4. Modify Mask Shape

This next mask shape will serve as the highlight for our ballz.
Unlock the "dooky" layer that was saved from Step 1. Select the
circle, set the "Fill" to white and, using the Scale Tool, reduce it
by 15%. Modify the circle to closely match the one shown
below. This was achieved by vertically "squashing" the circle
and pulling down the bottom anchor point with the Direct
Selection tool.

5. Apply Linear Gradient

On the "dooky" layer, draw a rectangle that closely overlaps the
mask shape and apply a Linear Gradient using the settings
 shown in the palette below.

6. Apply Opacity Mask; Poof you're done

Select both objects making sure your gradient object is over

your mask object and select Make Opacity Mask from the
Transparency palette menu. Turn on your Transparency Grid
again to verify.

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Quick and dirty perspective

Illustrator - Quick and dirty perspective

work
This was a tutorial by:
Mihai Panu-Ionascu (a truly inspirational vector
artist)
www.roundpixel.org
Part 1: (Illustrator CS recommended)

Perspective is awesome. It adds depth and a

certain “something” that makes designs nice.
Combine this with a “vector look” and we
have the makings of greatness…or at least the
makings of cuteness. Ever see those servers
on hosting templates? Or the pretty colorful
3D icons? We’re going to make something
like that. It’s not that difficult and it sure is
impressive.

Illustrator CS has this great feature called

“Extrude and Bevel.” Basically what it does is
make 3D objects out of your paths. It’s
nowhere near as complex as a real 3D
application but the basics are there. It also
adds perspective to the objects created.
However in order to learn something you first
need to learn the basics. It’s like in school
when you learn to add and subtract and divide
and multiply. Pocket calculators do it much
faster and are more reliable…but you have to
know how. So what we’re going to do in the
first part of the tutorial is learn how to make a
2 point perspective the hard way (very useful
if you don’t have Illustrator CS or if you want
to use it inside Photoshop or even on paper)
and in the second part of the tutorial we’ll
learn how to cheat and do it dirty and fast.
We’ll
open a
new
docume
nt and
start
making
our
object.
We’ll do
the
server
box
thinghy.
Take the
pen tool
and try
and
make a
path
similar
to mine.
To keep
things
simple
we’ll
only use
90 and
45
degree
angles.
Just
keep
Shift
pressed
to
restrict
the
paths.
And just
click –
don’t
click
and drag
or you’ll
be
making
curves
instead
of
straight
lines.
We’ll
only
need
half of
our
border –
the rest
we’ll
duplicat
e and
reflect.
To
duplicat
e a path
or object
in
Illustrato
r you
can
select it
then
copy
and
paste the
windows
way
(Ctrl+C
-
Ctrl+V)
or you
can copy
it –
Ctrl+C
and
pastre it
in place
– Ctrl+F
– this
will
paste
exactly
in the
same
location
as the
first
object
(very
useful
feature).
Do this
– then
go to
Object –
Transfor
m–
Reflect
– choose
“Vertical
.” Then
move
the
reflected
shape a
little to
the right
until you
have
somethi
ng like
my
picture
and join
the
endpoint
s – like
the pic
shows.
You
should
now
have a
nice
closed
path
represen
ting an
outline
of our
server
box. You
can even
fill the
shape
with a
color if
it helps
you. I’ll
do mine
blue-
grey.
So let’s
put
things in
perspecti
ve (I
know, I
know –
cliché.)

First
we’ll
use the
free
transfor
m tool
(E) to
perspecti
ve
distort
our
object.
It’s a
little
tricky to
get it
right.
You
need to
start
dragging
with the
tool
from the
corner
of the
boundin
g box
(not
from a
side
handle)
then
when
the thing
starts
distortin
g – you
press
Ctrl, Alt
and
Shift
and keep
them
pressed
so that
the
distortio
n will
occur
symmetr
ically. If
you’ve
been
successf
ul you
should
have
come up
with
somethi
ng like
my
drawing.
You now
need to
learn
about
another
great
feature
of
Illustrato
r:
guides.
Ah but
Photosh
op has
guides
too
right?
Well not
this kind
of
guides.
In
illustrato
r you get
bent or
even
curved
guides.
Any
path you
create
has what
it takes
to
become
a guide
– it’s
just a
mousecli
ck away.
So in
order to
add 3D
perspecti
ve to our
box
thinghy
we’ll
grab the
Line
Segment
Tool
(shortcut
is ) and
starting
from a
random
point
we’ll
pass
through
every
corner
on the
left side
(the first
path we
made).
Don’t
stop at
the
corner –
go
beyond
it – as
much as
you can
– it
helps if
you
zoom
out a
little.
You
shouldn’
t have
either
fill or
stroke
active so
in order
to see
the lines
bring
out the
outlines
view
(Ctrl+Y)
while
you’re
doing it.
When
you
passed
through
all the
corners
select all
the line
segment
s with
the
selection
tool (V)
and get
ready
for
magic.
Right
click
and
select
“Make
Guides”
from the
context
menu.
That’s
all there
is to it.
Once
you
finished
press
Ctrl+Y
again for
the pixel
preview.
For the
other
end we
already
have
two
perspecti
ve lines.
So we’ll
simply
continue
the
upper
and
lower
lines
with line
segment
s until
the
segment
s meet.
Where
they
meet we
will
have our
secondar
y point.
And
starting
from
that
point
pass
through
all the
corners
of the
(initially
)
reflected
shape. I
think
you
won’t be
very
surprise
d to see
that the
segment
s will
unite the
corners
on both
sides…
When
you
have
your
segment
s... make
them
guides
too. The
guides
can be
hidden
and
show
just like
in
Photosh
op
(CTRL+
;) which
is very
useful.
From
now on
it gets a
lot
easier.
What
we’ll do
is copy
and
paste in
place
our
shape.
Then
resize
the
original
shape
and
move it
to the
left so
that it
coincide
s with
our
guides.
Lock the
pasted
shape in
the
layers
palette
so that
you can
move
the first
easier.
From
now on
it’s as
easy as
“connect
the
dots.”
Which is
exactly
what
we’ll do.
We’ll
lock
everythi
ng in the
layers
palette
and start
making
shapes
with the
help of
our
guides.
To help
you out
Illustrato
r has this
awesom
e feature
called
“Smart
guides”
You can
turn it
on with
CTRL+
U. What
it does is
tell you
when
you are
near a
guide or
an
angle.. it
even
tells you
the
angle..an
d helps
with the
snapping
. Bear in
mind
that you
need
some
illusion
of light
for the
3D to
look
realistic
so ..
make
the
shapes
darker –
or
lighter
accordin
g to the
lightsour
ce
position
you
prefer.
This is
what I
did in
my pic –
I made
simple
shapes
and
filled
them
with
color –
then on
top I
added a
highlight
– which
is just
another
white
shape.
We have
to do
somethi
ng about
the
“face”
of our
server.
It’s gotta
have
some
features
too. So
we’ll
use
another
cool
feature
to give
the face
a frame
first.
Unlock
your
object –
the face
– and
click on
it to
select it.
Then go
to
Object –
Path –
Offset
Path –
and
choose a
negative
value –
minus
somethi
ng. The
actual
number
depends
on how
big your
docume
nt is –
just try
and see
what fits
best.
What
this does
is
duplicat
e your
path but
smaller.
So – do
it again
– and
change
the color
of the
first
offset
path. We
now
have a
frame.
You can
now use
your
imaginat
ion to
add
shapes
on the
frame to
coincide
with the
lighting
you
chose. I
only put
some
highlight
s but
you can
be as
detailed
as you
wish.
Anyway
– to
make a
long
story
short,
with the
help of
my
guides,
and a
few
extra
vertical
guides
(which
can be
conjured
by
dragging
from the
ruler
bars on
the side
of the
canvas
just like
in
Photosh
op) I
added
some
more
details.
Oh – I
also
added
some
more
perspecti
ve lines
and
made
them
guides…

The
more
guides
you
have –
the more
details
you can
add. It
looks
frighteni
ng but
once
you
zoom in
– you’ll
see it’s
only
helpful.
Now if
you
group
everythi
ng
(except
the
guides)
and
duplicat
e the
group
several
times–
you can
resize it
and
make it
look like
you
have a
room
full of
servers.
That’s
what I
did. The
fiberopti
cs cable
is
another
such
example
– what
you can
do with
a bit of
fancy
footwor
k and a
lot of
perspecti
ve
guidelin
es .

Check
out Part
2 of this
tutorial
… when
you’ll
learn
how to
do this
and
more…
much
easier…

If you have any questions or comments regarding this tutorial please post it in this thread

Quick and dirty perspective (Part 2)

Illustrator - Quick and dirty perspective work (Part 2)

This was a tutorial by:
Mihai Panu-Ionascu (a truly inspirational vector artist)
www.roundpixel.org
Part 2: (Illustrator CS required)

Remember what I said about Illu CS having this great feature called “Extrude and Bevel?”
It does! We’ll take the first path we made for our server object (or make it again if you’re
like me and didn’t save a copy) and I’ll show you how you can make the 3D perspective in
2 minutes flat. Once you have your shape, fill it and then go to Effect – 3D – Extrude and
Bevel.
In the window you get, input the following values:

First rotation value (x axis): 3

Second rotation value (y axis): minus 26
Third rotation value )z axis): minus 3
Perspective: 142
Extrude depth: 250 pt
Cap: turned on (default)
Bevel: none

Now click on the “More options” tab and play with

the lightsources – add some more – I have 4 of them
of which one is in the back of the object. Make sure
you have the “Preview” tab ticked so that you can see
what you’re doing. If all went well you should have
something like I do.

Now you’ll see the awesomeness of it. Even though

it’s now 3D, our shape is still editable. Each
anchorpoint is still draggable and you can curve it..
whatever you want. You can chisel off o a piece. What
I did to my shape: I pushed in 2 anchorpoints from
one side while adding another two. And then I made a
separate shape – the “whole” selected both of my
shape – right clicked and I picked “make compound
path” from the context menu. And this is what I came
up with. Cool huh? You can of course change the 3D
values too. In your appearance palette double click on
the “3D Extrude and Bevel” and edit away…add
lightsources, change perspective, rotation… whatever
pleases you.

I know this can’t compare to any respectable 3D application. But as I said, it keeps things
vector and it helps a lot. Now you may be wondering why I put you though all the tortures
of making perspective lines in the first part of the tutorial if we could have done it so
easily… While I’d like to blame it on my sadistic nature the truth is that even though Illu
CS has some mapping rudiments that allow you to add stuff to the faces of the 3D object,
it’s awkward and unsatisfactory. So you’ll still need perspective lines to help you add
features to the faces of the object and of course.. when you have multiple objects on your
canvas it’s a drag on your processor and your brain to keep everything aligned without
them. That’s why sliding rulers will never go out of style no matter what.

There are however a lot of things you can do easily with this feature. We're going to make
one such thing: a 3D map. Say you want to show clients how to get to your office and you
want a nice 3D area map to put on your site. We’ll do that next.
 I am going to draw a mockup map which we’ll then
make 3D. What I did I made a rather dull looking
map. It looks (I hope) like any other from the
thousands on the web… I’m going to change that and
make it nice and appealing... hopefully. One thing you
need to do is keep the elements separate. I made 3
groups – one for the streets, one for the buildings, one
with the round buildings in the middle and one
separate path for the grass. To groups several objects
you need to select them all and press Ctrl+G. It’s very
important – you’ll see why in a moment.

All right – now it’s magic time! Select everything on

your canvas (all your groups) with the selection tool
(V), go to Effects – 3D – Extrude and Bevel and put
in the following values:
First rotation value (x axis): 68
Second rotation value (y axis): minus 8
Third rotation value )z axis): 0
Perspective: 123
Extrude depth: 20 pt
Cap: turned on (default)
Bevel: none
For the lights – see the picture

Wee, looks like 3D! but the crappy thing (for now) is
that everything has the same height…we can’t have
that. This is why I had you make separate groups.
We’ll select just the “grass” for now. Click on the
little circle in the layers palette to select the grass
shape and then – in the appearance palette – double
click on the “3D Extrude and Bevel” you should now
get the window with the 3D stuff. On that window –
put “0” as the value for extrude depth. Ahh – nice.
The grass is now as it should be… Next select the
“streets” group and do the same – only input “1” in
the extrusion depth field. That is it - nice and clean!
You can of course modify the lighting and very
important - highlight your most important building
(your office or whatever) by changing the color of its
shape. To do this – pick the Direct Selection Tool (A)
and click on the appropriate shape. Then choose a
different color from your swatches – I made mine a
nice custard yellow. And look what a nice thing it
turned out to be.. Hope you guys learned stuff from
my tuts…and remember we’re always here at the
forum for you if you have questions.

 Computers
 How to Connect Different Lines on Illustrator CS5
By Cristina Gauthier, eHow Contributor , last updated April 17, 2012

 Print this article

Adobe Illustrator is a vector-based software designed by Adobe Systems. The most recent version
developed by Adobe is included in their Creative Suite 5. The software allows users such as graphic
designers and artists to create vector artwork and designs, which can be scaled indefinitely. Users create
shapes and lines, which further turn into elaborate artworks. You can draw separate lines and use the
various tools in Illustrator CS5 to connect the lines with either a third line or by connecting their
endpoints.

Other People Are Reading

 How to Combine Paths in Adobe Illustrator

 How to Connect Two Endpoints Buttons in Illustrator

Instructions
1. Pen Tool

o 1
Select the Pen Tool from the tool bar or click "P" on your keyboard.

o 2
Click on the endpoint of the first line that you want to connect to the second line.

o Sponsored Links

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o 3
Click on the desired endpoint on the second line with the Pen Tool to connect the two lines with a third line.

2. Join Command
o 4
Select the Direct Selection Tool from the tool bar or click "A" on your keyboard to select the tool.

o 5
Click on the desired endpoint in the first line. Hold down the "Shift" key on your keyboard and click on the
desired endpoint in the second line so two endpoints are selected in total.

o 6
Navigate to the "Object" menu. Select the "Path" submenu and click on "Join" from the submenu to join the
two lines with a line.

3. Merging Endpoints

o 7
Drag one endpoint from the first line directly over an endpoint from the second line by selecting the first
endpoint with the Direct Selection Tool. Drag your mouse with the endpoint selected to move the endpoint.

o 8
Select the two endpoints that are located in the same position by dragging a boundary around both points
with the Direct Selection Tool.

o 9
Click on the "Object" menu and select the "Path" submenu. Click on the "Join" command from the "Path"
submenu to join the two lines at their endpoints.

Read more: How to Connect Different Lines on Illustrator CS5 |

eHow.com http://www.ehow.com/how_8643251_connect-different-lines-illustrator-cs5.html#ixzz2FPJMqiYO

How to Learn Adobe Illustrator Software: Cut Out a

Shape
By eHow Contributor , last updated April 17, 2012

 Print this article

 Cut out shapes electronically with Adobe
Illustrator.

One of the most useful functions of Adobe Illustrator is cutting out a shape so that the background shows
through in a particular pattern. This is a very easy technique that anyone can do without subscribing to
expensive Adobe Illustrator classes.

Other People Are Reading

 How Can I Do a Perfect Cutout in Adobe Illustrator?

 How to Use the Scissors Tool in Adobe Illustrator

Instructions
1.

o 1
Start up your Adobe Illustrator software and create a new document .

o 2
Create your first shape. Choose the shape you would like from the Shape icon on the Tools palette that
automatically pops up in Adobe Illustrator on the left side of the screen. To create a uniform shape (perfect
square, circle, etc.) hold down the "Shift" key while dragging the shape in the workspace. For example, your
initial shape could be a uniform circle.

o Sponsored Links

 Gantt Chart Online

Use Our Gantt Chart Template. No Download Required.

gantto.com

o 3
 Create the shape you want to cut out of the original shape. Your cut shape could be an arrow cut out of the
circle. Position the arrow where you would like it cut out of the circle.

o 4
Select both shapes with the Selection tool . Adobe Illustrator allows you to select multiple objects by
holding down the "Shift" key as you click each object.

o 5
Open up the Pathfinder palette. Go to "Effect" and click on "Pathfinder." Click on "Subtract" and select
"Apply." You should now have a circle with an arrow cut out of it

Read more: How to Learn Adobe Illustrator Software: Cut Out a Shape |
eHow.com http://www.ehow.com/how_4716992_illustrator-software-cut-out-shape.html#ixzz2FPKbH8q3

Illustrator Tutorial Crop a Group of Shapes

9
April 30th, 2011Illustrator, Tutorials, Vectors

Here’s a basic Illustrator tutorial on how to crop an area from a group of multiple shapes or just hide unwanted
parts by using opacity masks or clipping masks. I used these numerous times on things like Vector
Rulers or Vector Guitars.
First set up a group of shapes on your artboard. Grab various shape tools and fill an area with different kinds; give
them a fill color and no stroke.

Select all by dragging over with the Selection Tool (V) and press Ctrl + G to group them.

To make it more interesting, grab some of the liquify tools (Wrinkle, Crystallize, Wrap etc.) and play around until
you get something that you like.
Now let’s say that you needed to hide or crop the group according to a circular shape. Grab the Ellipse Tool (L)
and while holding Shift drag a circle over the group. Keep in mind that this will be the starting point for all 3
examples that follow – opacity masks, clipping masks and cropping.
Before using the cropping method, it’s best to use opacity masks or clipping masks while your vector art is a work
in progress. This way you can still go back and adjust something if you need to.

Opacity Masks – Set the circle fill color to white and then select both the group and the circle with the Move Tool
(V). In the Transparency Window (if it’s not open, go to top menu Window > Transparency ) click on that little
arrow on the upper right corner and from the drop down options select Make Opacity Mask.

Now deselect by clicking on an empty area and you should have something like this:
Working with opacity masks allows you to do cool things like gradient fades. For instance go back (undo Ctrl+Z) to
the previous step of having the circle over the group. This time instead of a solid white fill color, give it a black and
white gradient and set the Type to Radial.

Select all and in the Transparency window go again and click on Make Opacity Mask just as before. You will get
something like below.
If you look closely at the above image you will notice that the outer edge is still slightly visible. To fix this, first
select your artwork and then in the Transparency Window click on the Opacity Mask to edit it.

Now go to the Gradient Tab and double click the black color on the gradient slider. In the pop up window, click on
the upper right corner arrow and select CMYK.
In the CMYK options drag all sliders to 100%.

Go back to the Transparency window and click to stop editing the opacity mask. Now the outer edge is completely
transparent.

Clipping Masks – Go back to the starting point artboard (press Ctrl+Z to undo).
Select both the group and the circle with the Move Tool (V) and from the top menu Object > Clipping Mask >
Make.

Cropping – When you have a complex group of shapes and you want to get a cleaner artboard for your final work
you can also use cropping.

So once again go back to the starting point – a circle over the group.
Select them both and then in the Pathfinder Window (if it’s not open, go to top menu Window > Pathfinder) click
on the Crop icon.

Visually you will get the same result as applying the opacity mask or clipping mask but this time the areas
extending outside the circle are cropped out instead of just being hidden.
One thing to note is that the empty areas also become shapes. You can see that if for instance you decide to
change the fill color. It fills the empty spaces as well and you get a full circle.

So to get rid of those extra shapes and also be able to easily change the fill colors deselect the group and with the
Eyedropper Tool (I) click on a filled area to pick out the fill color. (Note: if you have a lot of other elements on your
artboard make sure you don’t have the same fill color anywhere else – if you do, then go back before the cropping
and change the fill color to something unique).
Form the top menu Select > Same > Fill Color to select only the green shapes.

Now that you have only the green areas selected, go to top menu Edit > Cut (Ctrl+X) and before you paste click
somewhere in the area to select the remaining colorless shapes. Usually just delete them, but for now drag them
to the side.

Go to top menu Edit > Paste in Front (Ctrl+F) and while they are still selected press Ctrl+G to group them. Now
you can easily change their fill color from green to something else.
Go back to the “invisible” group that you moved out of the way and if you give it a fill color it would be a sort of
negative image of your original art.

Working with Text – To crop the shapes according to some text, similar to my main post image above, start the
same way as before by making some sort of shapes pattern group and then with the Type Tool (T) enter your text.
With the text selected, go to the top menu Object > Expand and click OK and then go to Object > Compound Path
> Make. Select both the text and group, and click on crop icon in the Pathfinder window.

Then give it a black stroke and a shadow (top menu Effect > Stylize > Drop Shadow).
And it should look something like this:

Hope you enjoyed the tutorial! If you have questions or comments drop me a line below. Thanks!

Illustrator – Triangles and Angles Tutorial

14
December 20th, 2009Illustrator, Tutorials
While working on the previous post with the Vector Rulers I played with the making of a triangle in Illustrator. The
easiest way to do one is with the Polygon Tool and that works fine if you do not get too mathematical and need a
triangle with specific angle degrees. Since creating triangles in Illustrator is not so straight forward, here are some
ways to draw them.

1. Equilateral Triangle – To make a simple triangle in Illustrator just grab the Polygon Tool.

Click on the artboard and in the polygon option window choose 3 sides. The radius doesn’t really matter since you
can scale the triangle afterwards to whatever you need.
So by doing that you now have an equilateral triangle. Now you can use the Direct Selection Tool (A) to select
anchor points and drag them around to adjust the triangle to your needs. If you want to keep the triangle
isosceles, then select two anchor points and using the Scale Tool (S) and holding Shift drag the selected points to
change the triangle.

Just as a note, when using the Polygon Tool you can also change the number of sides of the polygon by holding
left click and dragging and while still holding down the left click use the up and down directional arrows on your
keyboard to increase or decrease the number of sides.

2. Right Angle Triangle – To make a right angle triangle grab the Rectangle Tool (M) and drag a rectangular
shape. If you want to do a right angle isosceles triangle then hold the Shift key to drag a square. Now all you have
to do is delete an anchor point with the Delete Anchor Point Tool (-) and you have a right angle triangle.

3. Specific Angle Triangle -This is what I was trying to do for the Vector Rules where I needed a triangle with 90,
60 and 30 degree angles. I wanted it to be accurate instead of just approximate. This is still an easy triangle to
sort of approximate, but what if you needed even more specific angle degrees, let’s say a 76, 63, 41 angle
triangle – Here’s a way to do that; grab the Rectangle Tool (M) and drag a long and thin rectangle.
Now with it selected Copy (Ctrl+C) and Paste in Front (Ctrl+F). With the new rectangle still selected go to top
menu Object > Transform > Rotate (or right click Transform > Rotate).

In the rotate window put 41 degrees and click OK.

Move the newly rotated rectangle a bit up and to the left. Now the overlapping rectangles make a 41 degree
angle.

With the new rectangle still selected Copy and Paste in Front again and go to Object > Transform > Rotate and in
the window put 76 degrees and click OK. Move the new rotated rectangle a bit to the right and up so it looks
something like the image below.
Now the rectangles make a triangle with 76, 63, 41 degree angles. So to extract the triangle select all three
rectangular shapes with the Direct Selection Tool (V) and in the Pathfinder window (if you do not have it open go
to top menu Window > Pathfinder) click on Unite.

Now with the Direct Selection Tool (A) and holding Shift select the three points as in the image below and Copy
and Paste.
and now you have the triangular shape with the accurate angles that you wanted. If you need to scale it to fit a
project hold the Shift while you scale so it maintains its proportions.

So that’s pretty much it; Happy designing and I hope you’ll find this tutorial usefull for your projects.

Illustrator Tutorial Make a Glossy 3d PushPin

9
September 18th, 2009Illustrator, Tutorials
Here’s a simple illustrator tutorial on how to make a shinny 3d push pin using the Revolve Tool. If you only want to
download some vector pushpins and adhesive notes check out my posthere. Using the Revolving Tool can be a
lot of fun in creating complex 3d objects out of a simple 2d path.

1. To begin make a new illustrator file and save it as ”PushPin3D”. Don’t forget to save your work often.

2. The idea here is to make a path as if you would dissect a pushpin right in the center. Select the Rectangle Tool
(shortcut key M) and click and drag a rectangle like in the image below; in the color window (if it’s not open go on
the top menu bar to Window > Color or just press F6) give it the fill color that you like, in my case green, and no
stroke.
3. Time to add some anchor points to the rectangle that you just created so you need to grab the Add Anchor
Point Tool (press +). Add three anchor points on the right edge of the rectangle. Get the Direct Selection Tool (A)
and move the anchor points inward so it looks more or less as in the image below.
4. Select the Convert Anchor Point Tool (Shift+C) and click and drag on the upper anchor point to get the handles.
You only need one handle so to remove the upper one click with the Convert Anchor Point Tool on its end to
delete it. Click and drag handles for the rest of the points and in the end it should look as the right side in the
image below.

5. Select the Rectangle Tool (M) and drag a narrow rectangle as in the image below. Give it a gray fill and no
stroke. This new path will be the metal part of the pushpin. Now grab the Direct Selection Tool (A) and select the
bottom left anchor point of the rectangle by clicking on it. Make sure you have only this point selected. Move it up
a little to create the sharp end of the pin (while moving the point you can hold the shift key so you can drag it
straight up perfectly). To make the needle a bit more realistic grab the Convert Anchor Point Tool (Shift+C) and
give it a very light curve
6. Now it’s time for some revolving. With the Selection Tool (V) select the green path; go to the top menu Effect >
3D > Revolve. In the pop up window check the Preview box and you will see a cylinder, but no worries, after
choosing “right edge” and you will have your 3d pushpin. You can play with the 3d box to get the desired
orientation. I used “-28,0,-21″ as you can see in the image. When you’re finished press ok to close the 3d Revolve
Options window.
Now select the gray path and go again to top menu Effect > 3D > Revolve. Make sure you have preview checked
and select as before “right edge”. Fill in the numbers that you used for the green path, in my case “-28,0,-21″.
Now it looks like a sharp pin, but it’s a bit dull in color so press More Options to play with the lighting and shading.
Here move the light to the bottom and change Highlight Intensity and Highlight Size to 100%. Click ok to close the
revolve window.
You should have something like this:
With the Selection Tool (V) move the gray pin section so it’s aligned in the center of the green plastic. Then right
click on it and Arrange > Send to Back. And you have finished the Pushpin.

Note: Later on if you want to change the Pushpin’s perspective select the green path and then in the Appearance
Window (if you don’t have it open then either go to top menu Window >Appearance or press Shift+F6) you have
the 3drevolve effect. Replicate the settings for the gray path as well.

If you want to add a shadow for the pushpin then here’s how:

7. With the Selection Tool select both paths and group them by either right click > Group or Ctrl+G. Now click and
drag on the group while holding the Alt key to make a copy. With the new group copy selected go to top menu
Object > Expand Appearance
In the Pathfinder Window (if it’s not open Window > Pathfinder or Shift+Ctrl+F9) click on the unite to join the
paths.

Now the new path has way too many anchor points so to take care of that go to top menu Object > Path
>Simplify. In the simplify window put 100% in the curve precision.
8. With the Selection Tool (V) move and rotate the path so it aligns more or less as below. Give it a black color fill.

9. Now we are going to make an opacity mask; with the Rectangle Tool (M) drag a rectangle to cover the black
path. Give it a grayscale gradient fill with black on the left. With the Selection Tool (V) drag to select the black pin
and the gradient rectangle.
In the Transparency Window (if it’s not open Window > Transparency or Shift+Ctrl+F10) click the little box in the
upper right corner and choose Make Opacity Mask.

In the Transparency Window click to select the opacity mask and then rotate it a little to match the angle of the
pin. Drop the opacity to 20% or to whatever you like. To exit the edit opacity mode click on the pin in the
transparency window.
10. To smoothen the shadow edge go to top menu Effect > Stylize > Feather… and in the option window put 4px
or however much you want to blur the edge.

The final pushpin should look like this:

Below you can download the Vector Push Pin used to make this tutorial (ai, eps, svg) (zip file 1.2mb)