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For a one-step method, select the type object with appearance attributes you want to change, and then move the Eyedropper tool over the unselected type object that has the attributes you want and click on it. Alternatively, the Eyedropper tool works in another mode: sampling and applying. A small T means it is in position to sample or apply text attributes. To copy text formatting from one object to another using the Eyedropper tool, position it over an unselected type object.

When it angles downward to the left, click the type object to pick up its attributes. In applying mode, it angles downward to the right, and looks full. To apply the attributes that you just sampled, move the cursor to the text you want to change and click. A simple click will apply the sampled attributes to the whole paragraph; you can also drag the cursor to apply the attributes only to the specific text you dragged over.

See the previous chapter for more details about working with the Appearance panel. The appearance of stroked text To stroke type without distorting the characters, select the type using a Selection tool not a Type tool , select Add New Stroke in the Appearance panel, then move this new stroke below the Characters.

With the text object you can add another fill click on the Add New Fill icon in the Appearance panel. Now there is another listing of Stroke and Fill, in the Appearance panel, but this time they are positioned above the Characters line in the panel.

If you reveal the Stroke and Fill for the type by doubleclicking the Characters line in the panel, you return to character editing; reselect the type object with the Selection tool to return to editing the type object rather than its characters.

When you add a new Stroke or Fill to the type object, its color and effects interact with the color of the characters. All the strokes and fills applied to type are layered on top of those listed below including on top of the stroke and fill you see listed when you double-click Characters in the panel. So if you add a new fill to the type object and apply white to it, the type appears white the white fill of the type object is stacked above the black default fill of the characters.

With the Type tool, click to place the insertion point, then double-click the character you want in the Glyphs panel to insert it in the text.

However, this action could cause the type to reflow, so you might want to keep a copy of the original handy as a reference if you need to edit the type. If the file is very old, updating legacy type might be a multi-step process. Adobe first updates type to be compatible with the changes that were made in CS, and then updates for any changes thereafter—for example, updating Type on a Path created prior to CS4 to the current behavior of Type on a Path.

Following in this section are some of the more advanced features of artboards, which will help you work productively and maintain consistency within a project. Scaling artboards is enhanced in CC. Managing artboards Many features are available to help you work with artboards according to more specialized needs.

If you select the Artboard tool to accomplish these tasks, use the Esc key to return to the tool you were using. Working with artboards Rename artboards by double-clicking on their name in the panel. Exporting and printing multiple artboards All artboards in a file share the same print options, including color mode, bleed settings, and scale, and you can choose to print either to a PDF file or to a printer.

In the Print dialog, print artboards as separate pages the default , or ignore artboards and tile the artwork. But you can choose the media, such as screen or slide, ignoring the actual artboard size—this is useful for presentations. Or you can scale the artwork to fit your media, among many other features found in the Print to PDF dialog. Scale them to fit your print media if desired. If your media is landscape-oriented, Auto-Rotate is disabled. The Split Into Grid command followed by Convert to Artboard can divide the artwork into media-sized rectangles for you.

If you lose your alignment, just click the little Magnet button on the Tabs panel, and the panel will snap back into alignment. If you open a file without the correct fonts loaded, Illustrator warns you. You can still open, edit, and save the file. Illustrator remembers the fonts you were using. Double-click on the circle to convert Point type hollow circle to Area type solid circle or vice versa. Point type top indicated by a hollow widget, converts to Area type bottom , indi-cated by a solid widget 89 Touch Type transformations Illustrator combined the onscreen interactivity of the Transform bounding box with the ability to use the Character panel to individually rotate, scale, and position characters, and came up with the Touch Type tool find it in the Tools panel with the Type tools [Shift-T], or click the button in the Character panel.

The tool is designed to work with any input device including your fingers on touch-enabled devices , but there are some limitations to what you can do with it. Unlike using the Character panel to rotate and scale characters, the Touch Type tool directly affects only one character at a time.

Characters added within a word will take on any transformation of the character preceding them, unless you first select a following character, effectively replacing it with a new glyph, then type it in again. Using the Search field for fonts Before CC, the search field in the Control and Character panels allowed us to type the first few letters of a font name, and Illustrator would immediately jump to the first exact match in our font list.

If we opened the list box, we could then continue to scroll through the list of fonts to find other results manually. Now we have added choices to make it easier to search. The list then automatically opens to the first word match if there is one , plus all the rest that have a matching string, and only matching results are in the list.

When you have a string in the font search field, clicking on the alphanumeric character X at the right clears the field for a new search. If you just want to browse in the Control panel without searching, the list also indicates if any additional styles of a font are available by displaying a down-pointing triangle. Twirl it open to see all the styles contained in that font family.

Substituted fonts in your document will be highlighted in pink. Depending upon your subscription, the number of fonts you can have synced at the same time may be limited. Access information about a Typekit subscription account from the Fonts tab of your Creative Cloud app, which will also take you to your account page if you have one.

Illustrator files saved with Typekit fonts can be shared with anyone else with CC and Typekit memberships. In addition, when you save an. However, in order to properly view your Typekit fonts live in Illustrator, and see which are capable of being edited, the viewer of that file must be either logged into both Illustrator CC and Typekit, or must own that font.

To get started, all you have to do is sign in to Typekit with your Adobe ID and password. You can also purchase most of the desktop fonts by going directly to the foundry that owns them. The Fonts tab in the Creative Cloud app is devoted to Typekit, and is your direct link to the Typekit website. In addition, in Acrobat you should be able to insert spaces and returns, and even delete characters, but you will need to own the font or have access to Typekit in order to make more extensive edits to the type.

Therefore, if your file must always display the exact form of the Typekit font characters you used, even in cases where Typekit fonts may not be available or installed, for instance, within a logo , then you can convert a copy of your live type into vector objects. To convert Typekit text to outlines, you must currently have the font synced to your computer and duplicate the text, layers containing text blocks, or an entire artboard containing the text. The Proxy swatch and type The Proxy swatch in your Tools panel now behaves a little differently with type.

If the Stroke proxy is active and you select a type object with the Selection tool, when you switch to the Type tool, the Proxy switches focus from Stroke to Fill. Missing fonts Because Typekit has been integrated into Illustrator, both the search field in the Character and Control panels and the Find Font feature can now distinguish between locally installed fonts and Typekit fonts.

The dialog announces when syncing has been successful, and updates the document with the newly synced font once you click Close. In this dialog, also accessible at any time from the Type menu, you can sync missing Typekit fonts or choose another font from the document or your system to replace the missing font.

To see a large thumbnail for a replacement font that you have installed, you can contextclick on its name in the dialog. As soon as you have either synced your missing font or replaced it with another, the font preview is updated in both the document and the Find Font dialog.

Print On Demand POD , a printing technology and business process in which new copies of a book are not printed until an order has been received, is an increasingly popular print option for independent and self-publishers, particularly those who create documents intended for both print and ePub.

Raymond Larrett of Puzzled Squirrel Press finds that using Illustrator allows him to easily create cover designs that integrate vector art with raster art elements, like the ones for this graphic novel.

While in the New Document dialog, he changed the Name of the file, set the Number of Art-boards to 1, chose Picas under Units, clicked the Landscape icon under Orientation, and entered the dimensions of his book cover including front, back, and spine elements in the Width and Height fields. After entering all his settings, he clicked OK. With the guide still selected, he numerically adjusted the positions of the selected guide by relocating the X or Y axis positions in the Transform panel.

With his guides in place, Larrett used the context-sensitive menu to access Lock, Hide, and Release guide functions as needed. When the page was set with the correct dimensions, bleeds, and guides, Larrett added artwork to the design.

He dragged and dropped some existing vector elements, like the barcode and logo, from other Illustrator files. Larrett then created rectangles with the Rectangle tool to define areas for columns of text.

With the Area Type tool, he clicked on each of these rectangles, making it possible to type or paste text directly into the box. Within the dialog, Larrett changed the Offset in the Inset Spacing field to inset the text from the edge of the text box. As an alternative to using the Area Type tool, you can use the Type tool to create type for titles, headlines, and other individual type ele-ments.

Instead of needing to keep track of multiple files, Ryan Putnam can rely on multiple artboards and symbols to create the collateral materials in a single file, making additions or updates much simpler and less prone to errors and omissions.

Putnam began by setting up four artboards using the default settings in the New dialog plus a standard bleed. He then customized the sizes and names of the other three artboards: the letterhead, an insert, and the logo design. Putnam began by designing the logo. He then dragged it into the Symbols panel to save it as a symbol, named it, and clicked OK. If he modified the logo, he only had to alter the one symbol to automatically update all instances of it throughout the document.

If he needed a variation of the logo, he could break the link to the original symbol to create a new symbol see the Expressive Strokes chapter for more about creating and modifying symbols.

Using multiple artboards with symbols adds appreciably to productivity. One file would always contain all the libraries and correctly-sized artboards ready for modifications. Putnam created the design for each element of the identity package, placing the logo symbol on the artboard and adding text and artwork as needed. He linked the photo to the insert, making it easy to replace for the next event. Although the letterhead and in-sert only required a single version, he needed to create a business card that could be duplicated and personalized later for each employee and different events.

With everything in place, Putnam only had to select the text, graphic, or linked image that needed changing and quickly replace it. Because he could add up to artboards in a single file, Putnam was now able to stay organized with just one file. That way you only need to maintain the libraries belonging to any single document, sharing them among all of the project pieces. The user selects a background and desired characters, then layers, rotates, and scales them for a unique, shareable wallpaper.

Each character requires four versions—the smallest and largest version of both the active and placed states. In order to clearly see the versions with a white border, Dacosta! To do this, click on the Document Setup button on the Control panel and enable Simulate Colored Paper; then double-click on the top swatch beside the Transparency preview and select a light gray in the color picker.

To associate each artboard with its role in the application, he both named it in the Artboard panel and labeled each artboard on the canvas. For each artboard in the Artboard panel, he used a predetermined naming convention, which the coders would use to identify the role each element played in the application. Use Artboards saves each artboard to a separate file with the artboard name as its filename.

Now the coders could finish the work on the separate elements. Greater Bridgeport Transit hired Jack Tom to design a T-shirt supporting its new campaign to raise public awareness of the local bus system. You can make a symmetrical banner by first selecting the Ellipse tool and drawing an ellipse.

Then cut the ellipse with the Scissors tool to make the curved path that will form the banner. You can now give the stroke a width and color the stroke and fill. After pasting the path, select the Text tool, click on the path, and type your label text. With the path still selected, click the Align center icon in the Paragraph section of the Control panel.

That centers your text horizontally across the banner. Also, set the baseline shift to 0 in the Character panel. This will minimize any pinching or expanding of space between the letters of the label.

Now you can move the path up or down to better center the label against the banner. To bend type, start by typing your text you can use an Area- or a Point-type object. In the Warp Options dialog, make sure Horizontal is still active and change Bend by moving the slider or entering a number in the Bend field.

Consider resetting or adjusting Tracking or Kerning from the Character panel. Tracking controls the distance between all letters in the selected text, while kerning requires you to adjust the distance between each pair of letters.

Gordon copies and pastes the river or road paths on a separate layer before applying type to them. He sets the Baseline Shift to 1 pt in the Character panel in order to move the type away from the underlying road or river path. In this map of Madison, Alabama, Gordon encountered paths with sharp turns and tight curves that pinched letters together or spread them apart with unsightly gaps.

He smoothed the kinks from some paths by clicking to select a path with type, selecting the Pencil tool, and then dragging it over or near the path. Gordon employed these techniques, separately or in various combinations, as he worked with hundreds of type objects in the map. He began the map by creating the terrain image in Photo-shop, placing it in the Illustrator file, and positioning it on the artboard. After creating the type labels, Gordon opened the Appearance panel, chose Add New Stroke from the panel menu, and dragged the Stroke attribute below Characters in the panel.

Next, he set the width of the stroke to 0. Gordon wanted to soften the contrast between the white stroke and image behind it and decided to add a white glow around the type. With Illustrator you can explore a number of ways to create arcing text; using effects and graphic styles, you can quickly create an arcing effect easily applicable to any other titles or subtitles!

See the Reshaping Dimensions chapter for more about warps, blends, and graphic styles. To create headline text, choose a font with distinct, bold characteristics. For his headline text, Ryan Putnam chose point Cabaret font. Amongst the many ways to create an arcing effect in Illustrator, there are three different Envelope distortions that you can apply to your text: Warp, Mesh, and Make with Top Object. Even though using Envelope distortions created the effect Putnam was looking for, and provided significant control for customizing his warp, he ultimately decided that he wanted a quick way to add the same simple arc effect to other titles and subtitles on the cover.

There are 15 standard Warp shapes you can choose from when creating a title. With the graphic style now saved, Putnam could easily apply that style to other titles and subtitles. He then applied a custom gradient and adjusted it for each character. For more about working with gradients, see the Color Transitions chapter. Yukio Miyamoto, master of photorealism in Illustrator and author of many Japanese books on creating art with the software, has generously shared his varied collection of styles for you to you to pick apart and modify.

These styles, many of which were originally created for his Japanese Illustrator Appearance Book, are downloadable in both live type and outline format, along with a PDF excerpt from his book.

Levy started the poster by creating the gradient-filled background. Next, to create the blur effect for the letters, Levy selected one of the type objects and opened the Appearance panel and clicked Fill to select a dark green.

With the type object still selected, he opened the Graphic Style panel and clicked the New Graphic Style icon to save the appearance as a style. Next, he selected all of the remaining type objects and clicked on the graphic style he had created to blur them. To give each letter a unique color fill, Levy selected each type object, opened the Appearance panel, selected the Fill, and then Shift-clicked the Fill to access the Color panel.

He adjusted the CMYK values until each character color looked the way he wanted. Bryan began by drawing the dark blue shape of Grand Cayman island and setting the type. She duplicated the artwork layer and then hid it by clicking its visibility icon in the Layers panel. She moved the stroke below the fill in the panel. Next, she selected the Add New Fill from the panel menu and dragged the new fill below the stroke.

She changed its color to dark purple-blue and gave it an inner glow like the first fill. Finally, she selected Add New Stroke from the panel menu, widened its stroke, and colored it with dark blue.

She also used the Transform effect to offset the stroke. To complete the logo, Bryan used the island shape to add a water effect to the letters. To do this, she turned on the visibility of the duplicate layer she had hidden previously. She converted the type to outlines, selected the island, moved it in front of the type outlines, and selected the island and the type. Then she opened the Pathfinder panel and chose Intersect. She finished the logo by recoloring the resulting shapes in a light blue.

Then he selected the Type tool and double-clicked the type to select its characters. He opened the Appearance panel and changed the Fill to None. Next, Putnam clicked on the Selection tool to select the type as an object. He duplicated the stroke three times and edited each duplicate, changing the colors in the gradients. For two of the duplicates, Putnam clicked the word Opacity below the Stroke in the Appearance panel and changed the blending mode to Overlay on one and Multiply on the other.

Finishing a map for a travel guide to Boquete, Panama, cartographer Steve Gordon created a title for both the map and the guide. His goal was to create a title that featured colorful, playful type and conveyed a rough, spontaneous design. Next, he individually selected each character with the Type tool and changed its font and color from the Control panel. When he finished, each letter in the title displayed a unique font and color. He also wanted to keep the type editable so he could change fonts depending on how the design developed.

If the Character panel is open, you can also click the Touch Type tool button to enable the tool. As you move the cursor toward the type object you want to edit, notice the Touch Type cursor icon: It appears as a T surrounded by a box with corner points. When you select a letter, Illustrator displays a selection box with five control points around the character.

Gordon began by clicking the letter B with the Touch Type tool. He clicked the upper-right control point and dragged it to uniformly enlarge the character. To rotate the character, he clicked and dragged the control point above the character and dragged it to the left.

Left, uniformly resizing a character using the upper-right control; right, using the top-center control point to rotate the character You can use the other control points to scale or reposition a character.

Clicking and dragging the upper-left point resizes the character vertically while the lower-right point resizes it horizontally.

Left, resizing a character vertically using the upper-left control; right, using the lower-right control point to resize a character horizontally If you click the solid circle control point in the lower-left or inside the selection box, you can drag the character in any direction. If you drag to the left, the letter moves closer to the letter on its left. You can also change letter spacing by clicking the Type tool and adjusting the kerning or tracking. The point is the area You can use the Touch Type tool on letter characters in both point and area type objects.

Gordon completed his title by applying several effects from the Appearance panel to the type object. Next, he created multiple art-boards that he would use later in exporting artwork for animation. Then he went through the Area Type object and copied lyrics and pasted them as separate Area Text objects on the artboards.

Using the Direct Selection tool, he adjusted the width of several of the type objects. Then, to graphically modify the words, Franck selected the Touch Type tool Shift-T and adjusted the position, size, and rotation of some of the letters in the lyrics.

He changed the color of words by selecting and changing their fill to different colors and tints. Using the Touch Type tool she kept the text live while graphically manipulating individual characters, shifting positions. After duplicating and then offsetting the manipulated text object, she next used the Touch Type tool to select individual letters to change fill colors. With that placed image still selected, she used the Selection tool to resize and position it so it appeared to be inside one specific letter.

Then, switching back to the Touch Type tool, she selected that now textured letter, set the fill to None, and adjusted its blending mode by clicking Opacity in the Control panel Letter with Texture. The early days of painstakingly constructing and joining every path, anchor point by anchor point, is giving way to methods of coloring shapes in ways that create new objects or that more closely simulate drawing with pencil and paper. This chapter works its way from newer methods for combining and editing shapes —using the semi-automatic methods of the Eraser, Blob Brush, the Shape Builder tools, Live Paint, and Image Trace—to older methods such as the Pathfinder panel and working with compound paths and shapes.

With the Eraser tool you can cut an object into many parts, and with the Blob Brush you can combine multiple objects with the same fill attributes and no stroke.

To restrict the effect of the Eraser tool, select the paths you want to edit, then drag the Eraser tool through them, or enter isolation mode. If you want certain paths to be protected from the Eraser tool when nothing is selected, lock or hide those paths or their layer. The Eraser tool also has the calligraphic attributes of the Paintbrush tool: Double-click the Eraser tool in the Tools panel to customize it.

To remove a portion of a path, you must erase along not perpendicular to a selected path. Erasing a midsection of a path leaves an open anchor point on either side of the erasure. If you paint the same brushstroke using the Blob Brush tool and the Calligraphic Paintbrush, they might at first appear similar; if you switch to Outline mode, however, the difference becomes clear. An Illustrator vector path runs down the middle of a Paintbrush stroke, and the application of the Paintbrush remains live, which means the brushstroke can be restyled or edited like any other path in Illustrator.

In contrast, a mark made by the Blob Brush is expanded as soon as you complete a stroke. Where a Paintbrush brushstroke is defined by the single path down its middle, a Blob Brush brushstroke is defined by a path around its outer edge.

Your stroke is automatically expanded and the fill takes the current stroke color, while the stroke itself is removed. The Blob Brush merges successive brushstrokes depending upon the options you set. If you change any of these, your brushstrokes will stay separate. Disabling this option allows the Blob Brush tool to edit paths created with the exact same appearance, regardless of whether or not the paths are selected.

To add to a compound shape, first expand it. When you initially draw, you can allow objects to overlap in the interior of the outline you want to create; e. With the Shape Builder tool, all you need to do is to first select the objects you want to combine into new shapes, then place your cursor over an area.

To unite one area with others, simply click-drag across from one highlighted area to another. You can click-drag in a straight line, or Shift-drag a marquee over selected areas to unite multiple areas. Depending on how your options are set, you can either select swatch colors as you go with a Swatch preview cursor , or use the colors already in the highlighted object double-click the tool to choose which method to use. Now you can use the left and right arrow keys to switch the current color to the next color in any selected color group in the Swatches panel, or the up and down arrow keys to move to another color group.

Separate objects can easily become merged into a single object. One of the most powerful aspects of Shape Builder is that you are actually reconstructing how objects are made and filled, not just how they look on the surface.

When working with strokes, those you keep remain live and editable, whereas Live Paint or Pathfinder commands might result in strokes that have become unexpectedly expanded or deleted. You can continue to modify the appearance of your Shape Builder strokes. Your new objects do not become a special kind of group, either, so you can freely switch between regular editing tools and the Shape Builder tool. Handling gaps in Shape Builder In Shape Builder Options, double-click on the Shape Builder tool , you can choose a Gap setting, whether to fill open paths as if they were closed, and whether you want to click on a path to split an object into two or more areas.

Using Shape Builder to transform a batch of ovals into a bowl: upper left a series of ovals drawn with the Ellipse tool; upper right automatically coloring all objects using the Premedia Systems WOW! Artwork Colorizer script WOW! The Shape Builder tool, like the Blob Brush, can generate compound paths.

Retain your strokes To retain interior strokes in your drawing, click to fill the shapes separately, rather than dragging across them to join, even when you want to use the same fill on these shapes. Whereas the Shape Builder tool helps you to reconstruct and combine objects, Live Paint provides you with a way to recolor objects without modifying the vector paths, ignoring the normal rules about how you define a vector object.

Paint lines and spaces as if you were coloring a drawing by hand. In order to use these tools, you have to first convert your objects into a Live Paint Group; all the enclosed spaces, filled or empty, become areas you can potentially fill or clear of color. All the lines become editable paths that you can keep, color, reshape, or delete, creating new shapes. To change the way the Live Paint Bucket behaves, double-click on it and set options, such as whether the Bucket paints fills, strokes, or both; whether you want a Cursor Swatch Preview; or the color and size of the highlight you see when you position the Bucket over an editable area.

To edit paths and reshape areas, use normal editing tools, such as the Pen or Smooth tool. To actually alter or delete segments of paths created from intersecting paths in Live Paint , use the Live Paint Selection tool.

Or even better, enter isolation mode with the Live Paint Group; then anything you paste or create will remain part of the Live Paint Group see the chapter Your Creative Workspace for more on isolation mode. Use the Image Trace panel to enable or disable preview, customize your trace settings, and save your current settings as custom presets.

Image Trace leaves the traced object live and re-adjustable. Stop the Preview! In order to adjust settings without prompting Image Trace to re-trace as soon as one setting is altered, toggle Preview off after an initial trace, and back on when you want to test your settings again. The palette determines whether your trace will use a limited or unlimited number of colors, and whether to take them automatically from the object or to use a Swatch group or library Pantone converts to global color that is open or has been opened during the session.

If you want another library, or need to create a new color group, deselect the object, open the library or create the color group, and then reselect the image and choose your new library or group from the Color drop-down list. In the Image Trace panel, select the open library in the Palette drop-down list, and then select a color group listed in Colors.

Using sliders, you can modify how closely paths adhere to the original and set tolerances for when paths join with corner angles, or whether the trace should ignore pixels as noise. Image Trace can create vector objects that abut one another like puzzle pieces , or that overlap each other stacking one on top of another.

With an active selection, you can align objects to that selection, or the edges of the artboard, and you can Align to a Key Object heavy outlines show you which object the others align to. To distribute the space between objects, designate one as the key; in the Align panel, enter an amount in the Distribute Spacing input box; then click either the Vertical or Horizontal Distribute Space icon.

To join you must first either select one pair of points with the Direct Selection tool, or select one or more open paths with the Selection tool. Use the Control panel to change a join from corner to smooth, or vice versa.

If points are not exactly on top of each other, choosing join will connect them with a line, or you can average them together first see below for more on averaging. At any time you can convert points from corner to smooth, or smooth to corner, by selecting the anchor points with the Direct Selection tool and clicking the appropriate icon from the Convert section in the Control panel. If your paths have different appearances applied, the path topmost in the stacking order determines the appearance of the paths as they are joined to it.

If you have the path selected, but not specific points, then all points will be averaged together. If you use the Direct Selection or Lasso tool to select points, then the Align icons in the Control panel or Align panel will average the points, rather than align the objects. Once you click the Draw Behind icon, anything that you paste or draw will be the backmost object in your current layer, or, if you have something selected, will be placed directly behind the currently selected object. Paste in Front and Paste in Back still work as expected, and ignore the drawing mode.

If the Draw Behind mode is active when you add a new layer to your file, it will add it behind the active layer. You can safely deselect it, and then set the attributes for each new object before you draw it.

Draw Inside is only available when one object or compound path or text object is selected, and will quickly make a clipping mask out of the selected object. When your originally selected object is automatically converted to this special clipping mask, it loses any attributes beyond the basic stroke and a fill, so art brushes or live effects, for instance, are removed. Your selected object will display the dotted corners of a bounding box.

Next deselect the object the dotted box remains ; now you can choose your drawing tool or brush and its attributes. Now you only have to draw over the object to have any strokes or fills that extend outside to be clipped to the boundaries of the selected object.

Your clipping mask object and whatever you have drawn inside are now a group. To edit any part of this new object, use the Direct Selection tool or target it in the Layers panel and edit as a regular vector object. You can even apply effects to the entire group, if you desire. You can also copy and paste artwork in Draw Inside mode, which will clip the artwork inside text, for example. Learn more about working with clipping masks in the Mastering Complexity chapter.

Toggle drawing modes You can use the keyboard shortcut Shift-D to switch between available modes. Keep an eye on the changing icon to know which drawing mode you have selected. Try to get in the habit of switching to Normal mode Shift-D as soon as you no longer need to be in that special drawing mode.

Compound paths and compound shapes are live and can easily be released to recover the original paths. Compound paths are used primarily to create holes in objects, whereas compound shapes provide more complex ways of combining objects.

The Pathfinder panel icons perform operations very much like compound shapes, except that these operations are applied permanently—Undo is the only way to reverse the effects of a pathfinder operation. If you wish to apply a live version of a Pathfinder command to a layer, type object, or a group, instead of using the Pathfinder panel, apply it from either the Effects menu, or the fx icon from the Appearance panel.

Compound paths or shapes? Use compound paths on simple objects for basic combining or hole-cutting. Use compound shapes on complex objects such as those made with additional effects and to fully control how your objects interact.

Be aware that compound shapes can become too complex to print, or to be combined within some effects, and might have to be released returning objects to their original state or expanded which keeps the appearance, but breaks it apart permanently. Compound paths A compound path consists of one or more paths that have been combined so they behave as a single unit.

Compound paths can be used as a single mask, and they can create holes where the original objects overlapped think of the letter O , through which you can see objects. Apply the fill color of your choice, and the inner object remains unfilled. To adjust one of the paths within a compound path, use the Direct Selection tool; or select the compound path and enter isolation mode. Pathfinder panel The Pathfinder panel includes the top row of Shape Modes icons and the lower row of Pathfinder commands.

These permanent alterations to the objects allow you to, for example, apply the Intersect icon to selected objects so that you can pull apart and further edit the resulting pieces.

Note that the Trim and Merge commands can be applied only to filled objects. The Pathfinder panel contains two sets of icons: Shape Modes which combine shapes , and Path-finders which divide paths Left to right: two ovals the inner oval has no fill, but appears black because of the black fill of the larger oval behind it ; as part of a compound path the inner oval knocks a hole into the outer one where they overlap; the same compound path with inner oval, which was Direct-Selected and moved to the right to show that the hole is only where the objects overlap Compound shapes A compound shape combines objects with, or subtracts objects from, each other, while leaving the original objects intact.

You can make compound shapes from two or more paths or from other compound shapes, text, envelopes, blends, groups, or artwork with vector effects applied. Compound shapes take on the attributes of the topmost object in the selection. As long as you keep compound shapes live, you can continue to apply or remove Shape Modes and add a variety of effects to the compound shape as a unit, such as envelopes, warps, and drop shadows.

To retain their appearance and keep them editable, paste them as vector Smart Objects to edit a Smart Object, double-click its thumbnail in Photoshop and it will open in Illustrator; when you save, it updates in Photoshop. Modifier keys for drawing For a long list of modifier keys to control how you draw with the geometric tools e. The higher the percentage, the more anchor points will remain, and the closer the new path will be to the original.

The endpoints of an open path are never altered. The higher the Angle threshold, the more likely a corner point will remain sharp.

Reverse these steps to increase line weights. Using a stylus or your finger, click or tap on an icon, and if desired, drag the pivot point for rotation anywhere on the screen.

Keyboard shortcuts still perform as they used to, but now the touch interface is always displayed when you choose the Free Transform tool E. You can create the object with geometric tools Rectangle, Star, Polygon, etc. Use the Direct Selection tool to select an entire object and display the Live Corner widgets on every corner that is editable. You can reshape selected corners interactively by dragging on one of the visible widgets.

If the entire path is selected, dragging on one widget modifies every corner equally. To restrict your edits to only some corners, select corner anchors individually with the Direct Selection tool, or select them with the Lasso tool, but then switch back to the Direct Selection tool to display widgets again. Dragging on one widget alters all selected corner anchor points—when the limit for rounding is reached as the corner anchor meets another anchor, the corner paths turn red top.

The Relative setting alters the corner shape bottom. With the Corners dialog, you can use numeric input for the corner radius, choose from three types—Round, Inverted Round, and Chamfer beveled —and whether the corner should be Absolute describing a mathematically precise arc between points, and a bit flattened , or a more natural Relative, which tends to extend the rounding in a manner you might draw by hand. The special properties of Rectangles Rectangles, created only with the Rectangle or Rounded Rectangle tools, have some specific Live Corner features that become active only when the rectangle is selected and your active tool is the Rectangle, Rounded Rectangle, or the Selection tool.

However, if your Direct Selection tool is active, a Live Rectangle will look like, and can only be edited like, any other Live Corner object, making use of only those features found in the Corners dialog. In the Layers panel, you can identify objects drawn with the Rectangle tool by looking for the sublayer name instead of the generic. The icon will update to display the Corner Type you selected.

Enable or disable Scale Rectangle Corners in either panel when you scale a rectangle with a Live Corner attribute already applied to it. Shape and Transform panels indicate dimensions, angle of rotation, corner types, and radii; the Transform panel also enables scaling corners.

You can disable this behavior in the panel menu. If you also hold the Shift key, your direction handles will be of equal length and perpendicular to the path. While dragging with the Pen tool, press the spacebar to relocate the current anchor point.

The Direct Selection tool will only display the Reshape cursor if at least one of the anchor points connected to the path segment has a direction handle connected to it. You also can use the Anchor Point tool formerly called the Convert Anchor Point tool , to reshape path segments by dragging directly on them. Gone is the Smoothness slider, and instead you have one Fidelity slider.

By default, the Pencil tool now smooths a hand-drawn path, which can result in fewer anchor points. However, you can double-click the Pencil tool to open Pencil Options where you can adjust the Fidelity slider from the most Accurate to the most Smooth.

Choose Smoother options if you want fewer points and more graceful curves, If you are a seasoned Pencil user, you should be aware that there has been another change in the default behavior of the tool. The CC Pencil tool now automatically closes a path when your end point is close to the start point.

To keep the path from closing, zoom in so the distance between start and end appears farther apart. Your Fidelity setting determines if the path joins with a smooth or corner point. Use Esc to end an open path When drawing with the Pen tool, press the Esc key to end the path, allowing you to draw another path without deselecting it or switching tools.

To create many eye-catching stock illustrations like the one above, Ryan Putnam frequently uses the Pathfinder panel. Ryan Putnam created the body from two rounded rectangles. To create the first object, he clicked on the Artboard with the Rounded Rectangle tool to open the Rounded Rectangle dialog. In the dialog, he set the dimensions of the rectangle to 3 in for Width, 3. Putnam wanted the bottom corners of the body to be smaller, so he then created a second rectangle with the same dimensions, entered.

With the Ellipse tool, Putnam drew a circle within the body object for the mouth. He then drew an encompassing rectangle halfway up from the center of the circle. He selected both, clicked the Minus Front command from the Pathfinder panel, and chose a brown swatch from the Swatches panel.

To create the tongue, Putnam created two overlapping circles within the mouth shape, selected both, and used the Unite Pathfinder command. Selecting both the mouth copy and the tongue, he applied the Intersect Pathfinder command, and then chose a magenta swatch from the Swatches panel for the fill color. He rotated one tooth with the Selection tool by moving the cursor along the rectangle until he saw the Rotate icon and then dragged the tooth slightly to the right.

Putnam then added a number of character features and details, such as a pt stroke for the lips, a circle for the back of the mouth, another pair of circles for eyes, and a rounded rectangle for the stick. He then rendered the artwork and placed it back into Illustrator as a template. Seeking to create a lively and humanistic interpretation of a crowded city environment, he used the Pen tool for tracing and Live Paint to control coloring, so he could give each building its own personality.

Since he was using Live Paint, Del Vechio was able to draw open paths that would ultimately enclose the areas to be colored, instead of precisely stacking discrete objects atop one another and creating the fully closed paths that normal fills require. Paths that merely crossed over other paths created separate areas, and by drawing only enough paths to separate one area from another, he was able to draw more quickly and efficiently, using many fewer paths and layers.

He kept Smart Guides turned on to help signal him as each anchor and path properly lined up with the others. Even though the 3D model had curved lines, in order to create the slightly off-kilter look of an illustration, he used only straight segments except for the arched door and circular window.

After tracing the artwork, he selected it all and clicked on it with the Live Paint Bucket tool hidden under the Shape Builder tool.

Once converted to a Live Paint group, the content of all the layers automatically moved into the top layer. Del Vechio next needed to select and delete a few unwanted segments. While the Selection tool selects objects and the Direct Selection tool selects paths, he was able to use the Live Paint Selection tool to select, then delete, individual faces and line segments. Del Vechio created a small color group for each building. Using the Live Paint Bucket tool, he colored each building, cycling through colors in a group using the left and right arrow keys, and moving between color groups using the up and down keys.

He also assigned all the colors he created as Global swatches. If he later wanted to replace a color, he only had to replace the swatch itself and it would automatically update that color anywhere in the document.

After he filled the main areas of the buildings, he created a gradient for the lights in the windows. In order to paint some of the strokes but not all , he again opened the Live Paint dialog to enable Paint Strokes and disable Paint Fills. He then selected all the Strokes and set their weight to None. With the Stroke weight set to 0. Although the strokes were now invisible, Live Paint would highlight them when his cursor passed over them.

Finally Del Vechio reset the Live Paint Bucket Options to Paint for both Fills and Strokes, then recolored some of the areas and edges to complete his whimsical cityscape. Ryan Putnam has a stock illustration portfolio full of hand-drawn illustrations.

Putnam found that using the new Blob Brush tool and his Wacom pen tablet, he could now easily create a hand-drawn look using Illustrator. Moreover, by using Live Paint, he could quickly fill his illustration with color.

Putnam first created a tattoo sketch in Photoshop and placed it into Illustrator as a template. Create your own sketch, scan it, or sketch directly into a painting program such as Painter or Photoshop. Locate your sketch, then enable the Template option and click Place see the chapter Your Creative Workspace for more on templates.

Putnam wanted to create marks that were very true to his stylus gestures and had minimal smoothness. To create this effect with the Blob Brush tool, he first had to modify the default options.

To do this, he double-clicked on the Blob Brush tool in the Tools panel. Using these custom Blob Brush settings, Putnam began to trace the scanned sketch template into the layer above, varying his stylus pressure to re-create the hand-drawn style.

To do this, Putnam double-clicked the Eraser tool from the Tools panel and changed the Diameter to 5 pt. By setting up the Eraser tool with pressure-sensitive settings, he could move easily between the two tools by simply flipping the stylus around. Setting up default Eraser tool preferences and erasing with the Eraser tool 3 Filling areas with Live Paint. If Putnam used the regular Brush tool to trace his sketch, he would have had to create additional paths defining fill areas to color the drawing.

To convert the illustration to a Live Paint Group, Putnam selected the illustration with the Selection tool, chose the Live Paint Bucket tool from the Tools panel, and on first click, the object became a Live Paint Group.

With the Live Paint Bucket tool, he hovered over the selected illustration to highlight areas to fill. With the left and right arrow keys, Putnam cycled through the swatches from the Swatch Panel until he found his desired color see the Color Transitions chapter for details on creating colors.

Once he found the color, he clicked in the area to fill. He repeated cycling through the swatches and filled in the other enclosed areas of the illustration. Putnam added additional features as needed. Because Turton could draw directly on the tablet itself, and his paths would join automatically as they overlapped, he felt he had greater control over this kind of meticulous, but still freehand, pen-and-ink drawing, without having to interrupt the flow to create a new brush or adjust his stroke width.

He began a rough sketch with brush settings that most closely emulated natural pen strokes. He kept Fidelity and Smoothness at their lowest settings to be as true to his hand as possible in CC you adjust only one Fidelity slider, to most Accurate , and used a very fine, 2-pixel point.

As the file size grew, he began to lock layers he was happy with and to add more detail as the drawing progressed. This prevented strokes from merging and forcing constant re-renders of the drawing. When he had completed most of the tiger, he unlocked the layers and merged them all. Part of the preliminary interview process was to take the Google Graphics Test. It can be any kind of animal, but most importantly, it should be original.

The first one was the Vegetarian Cheetah. It was initially done as a pencil sketch. After submitting my ten drawings and digital color paintings to Google this was a timed test I decided to create another version in Illustrator using the Blob Brush. I first started with just the merged bodies of the running cheetah with the quizzical head of a rabbit.

A week later I decided to add the background. I continued on using the Blob Brush since it helps to unify the similar colors. The Blob Brush provided the best means to merge the cheetah and rabbit together without going deep into the DNA code of both animals. She used a photo of a maple she had grown herself from seed as the basis for her illustration. Experience has shown her that prepping a photo before tracing it helps produce the desired results.

In Illustrator, choosing a palette to use in Image Trace both simplifies and colorizes a photo, but Stoppee has traditionally simplified first with a favorite third-party filter Topaz Simplify in Photoshop. In this case, she chose the preset Painting Harsh-Color to intensify the natural colors.

In Illustrator, she opened the file, selected it, and opened the Image Trace panel. There she enabled Preview and experimented with the different presets. Stoppee chose Accurate Fidelity with the default settings. A solid background in a matching color might solve the problem, but if not, you can do as Stoppee did and manually repair the holes with the Direct Selection tool.

Danka converts these traced illustrations into Live Paint objects and colors and recolors the elements. She brings in textures from Photoshop and changes the blending mode to Overlay. She brings in her texture a second time and uses Image Trace in color mode. Opening the images and textures in Photoshop, she combines some layers with Soft Light blending mode, while on others she runs her favorite filter: Minimum. She integrates text in either English or Polish using fonts that simulate handwriting.

Though her characters are vector-based and graphic in style, her final books end up rather painterly and richly textured. She reduced the Threshold setting for this dark photo in order to bring out a maximum range of contrast in the 2-color image, and she set Paths to their maximum accuracy.

To keep the grungy, angular detail throughout, she also set Corners to their highest for the least amount of smoothing, and moved the Noise setting to a minimum so the finest detail would be traced.

From there, Gilbert opened the. Graham enabled Preview to see the effects as she adjusted settings until paths and corners were simple and there were just a handful of grays. With Preview selected, her setting was automatically applied when she closed the Image Trace window. When the data file in the Illustrator 9 format is opened using the Illustrator CS6 and later editions, the name of all layers are changed to «layers».

The Cutting Master 4 cannot to recognize registration mark because the name of layer for the registration mark is also changed. The cause of this phenomenon is not the Cutting Master 4. It is issue of the Illustrator CS6 and later editions. It occurs when the illustrator 9 format data is opened by the Illustrator CS6 and later editions. Workaround Please re-save the data file to Illustrator 8 format in the Illustrator 9 before opens the data file by the Illustrator CS6 and later editions.

Please re-save the data file in a format other than the Illustrator 9 using the Illustrator CS5 or older edition before opens the data file by the Illustrator CS6 and later editions. It is a display problem and there is no problem with data, printing and cutting can be performed correctly.

Marks may be displayed in the same way when opening a file created with Illustrator CC or earlier. It is required to click the OK button to start Cutting Master.

In that case, please click the [OK] button. In that case, please press the [Allow] button. Revision History Ver. Revised the message displayed when doing cut job after reversing the media when [Cut back side High-volume production ] is selected in [Reverse-side Registration Marks]. Fixed the problem that pressing the [Reset] button in tabs other than [Layering] or changing settings in the [General] tab would change some of the cutting conditions set in the [Layering] tab.

Fixed the sign-in error seen in specific macOS. Fixed the error that the value cannot be entered after deleting unit in Registration Marks menu. Fixed the problem that the icon of [SAi Cloud Connect] is not displayed. Supported the specification change of Illustrator Ver. Updated to support Illustrator Fixed the problem that the sensor does not recognize the second registration mark when [Detect the first registration mark only 4 point adjustment option ] is selected in Matrix copy mode.

Added [Copy to job folder] option to [Add Job] menu. The same option as Windows version. Fixed the problem that one plotter does not work when connecting two plotters via USB.

Fixed the problem that Illustrator becomes unavailable when restarting macOS after using Install Manager. Fixed the error that maximum number of copies on horizontal direction cannot be specified occurs when using data with cut lines outside registration marks.

Fixed: Wrong status is displayed when clicking [Cancel] on Message Dialog to confirm you of starting the cutting operation. Fixed: [Total size] do not change after checking [Relative to page] in Mark menu. Fixed the crash problem when closing the [Cutting Master 4] screen after disconnecting the USB cable. Fixed the issue that half-width symbols could not be typed in [Note] on the registration mark screen.

Fixed the issue that the leftmost value of the IP address changed to a different value when it was set to 0. The screen layout of Cutting Master 4 has been unified to the Windows version. Fixed the problem that the order by layer or color was not reset when pressing the [Reset] button on the [Layering] tab. Fixed the problem when user chose [FC] and use 2-point or 3-point registration marks, an error message was displayed and cutting plotter does not operate.

Fixed that another job is not sent by mistake while Data Link Server is running for continuous cutting operation. Fixed the issue when new command data which was shorter than the command in the old file is saved over an existing PLT file, the old command will be left at the end.

Fixed the problem that the media size not being recognized when using Simple mode. Fixed the problem that it may cause a scan error with the second registration mark when specifying number of copies of a vertical or horizontal in the Registration Marks tab after the the segment registration mark is created using the Relative to page function.

Fixed the problem that the IP address of the cutting plotter registered at last may be displayed on the Setup Properties screen of other cutting plotters when multiple cutting plotters on the network were registered to Cutting Master 4. Fixed the problem that the curve immediately prior to performing a pause may not be cut until the pause is released when the Pause was enabled on the Layering tab.


Adobe Photoshop Learn & Support – Adobe Illustrator CS6 Mac System Requirements


Besides, you can easily scale the developed project. Both beginner and advanced illustrators and designers can make good use of this software. Free Adobe Illustrator. Work with multi-page documents. You can create documents consisting of up to pages. Artboards can be dragged to the desktop, reoriented, or copied.

During printing, each artboard is placed on a separate page. While exporting to Acrobat, the program creates a multi-page PDF with numbered pages. Brushes for combining paths. It automatically combines all overlapping paths into a single path shape, regardless of the nature of the strokes in the picture. Thanks to this tool, you can draw a single, completely filled object, as well as change standard shapes such as a circle, rectangle, and paths.

By the end of this tutorial you will be very familiar with the drawing tools and equipt with the knowledge to create your own artwork. I will also be sharing some of my tips and tricks. In this video I will be also be demonstrating how to use the compounded shape vector as a stencil.

In this video we are going to deal with CMYK colors and pantones colours and look at the approach for both the Poster design and the T-shirt design. What you will soon discover is that there are various technicalities we need to keep in mind to provide the right artwork for the printers. Before I send my artwork to print, there are a few things I need to prepare, review and be certain are correct before sending the artwork of to be printed.

Adobe Illustrator course and all associated iles created and composed by Tastytuts. Related Papers. Download pdf. The payment for Illustrator is carried out monthly. Unfortunately, there is no ability to buy the program once and forever. You will need this info in order to escape further problems with installing and using Illustrator.

For a more productive working process in Adobe Illustrator CS6 Mac, get free fonts and make your illustrations more visually appealing with their help. This collection of free fonts will greatly complement various pictures, logos and illustrations.

Check your email to download freebies. In case you wish to add text to your digital art or shots, these free fonts developed by our expert team will surely come in handy. Hi there, I’m Ann Young – a professional blogger, read more. Adobe Illustrator CS6 Mac. Download Free Fonts Package. View the Full Collection.