Illustrator CS6 Tutorial

Coloring and Line Work in Illustrator CS6

2012-12-16T22:59:00.003-08:00

Final Product What You'll Be Creating

Do a search on “coloring comics,” and you get dozens of Photoshop tutorials. They all seem to involve building up areas of color with transparent brushes. Now you can achieve that same effect with Illustrator CS5, using the Bristle Brush.
Unlike Photoshop, however, Illustrator gives you the flexibility to edit individual paths. Since Illustrator’s brush strokes are vector, you can change the shape, width, color and blending mode to achieve exactly the look you want. You can even delete a brush stroke you don’t want. Try that, Photoshop! This tutorial will use another feature introduced in CS5, Draw Inside. Let’s get started!

Step 1

You can use this technique with any line art or illustration. I am going to quickly create my line art by tracing a source photo from Wikimedia Commons, photo by Guillaume Piolle.

Place the photo in your document and make a Template layer by double-clicking the layer name to bring up its options. The Template layer will be locked by default. Make a new layer for the line work.

Step 2

To create the line art, use the “Tapered Strokes” brush from the default set. You can adjust the brush settings by double-clicking the Brush Tool to bring up its options. This is a matter of personal preference; experiment until you find a setting that works for you. I prefer to set the brush so that the paths confirm fairly closely to my strokes, but don’t end up with too many points.

Using the photo to trace, paint the outline with black strokes. Stick to the major shapes and lines — don’t worry about the shadows or any of the highlights. Once you have the line work done, it should look something like the image below. You can edit individual paths, and add or delete strokes as you see fit.

Step 3

Now you’ll do the modeling with the Bristle Brush. Lock the line work layer and create a new one below it.
In order to get the most out of the Bristle Brush, it’s best to understand its settings. I’ll add a detailed explanation of each setting at the end of this tutorial for reference.
It’s also important to note that to get the full benefit of the Bristle Brush, you must use a Wacom Intuous 3 or higher tablet and a 6D Art pen. The tablet and pen combination will respond to tilt, bearing, rotation, and pressure. A mouse alone will only respond to movement, but will still work fine for this tutorial.
To create a new bristle brush click the new brush icon on the brushes panel. Choose Bristle Brush, which will bring up its options. There are tons of possibilities with a Bristle Brush, but to start, choose Flat Angle as the shape, and increase the size to 5mm. Leave the other settings as they are, with the exception of the Opacity. Set it low, to about 30%.

Step 4

Using the Pen Tool, outline a flat area of shadow on the artwork. Here, I’ve drawn around the top lip. Select the shape and then choose Draw Inside at the bottom of the tool panel. Dotted-line brackets will appear around the shape, letting you know that you’re in Draw Inside mode. You can deselect the shape, but the brackets will remain.

Step 5

Choose a warm gray for the stroke color. I’ve used some swatches from the “Neutral” library, which can be accessed by clicking the Swatch Libraries Menu icon on the bottom left of the Swatches panel.
If you didn’t deselect the lip shape in the previous step, it may frustrate you to see that it now has the stroke color you just picked. This can be really annoying, but you just have to remember to deselect the shape. The dotted-line brackets indicate that the shape is still in Draw Inside mode.

Step 6

You may wish to turn off the photo layer, or move the photo to the side so you can use it as a reference. Now just start drawing strokes inside the lip shape. Depending on your Opacity setting, it may be hard to see a single stroke. You may also want to increase the brush size in the Strokes panel for wider swaths of color.
Keep painting and building up color and texture. Note that different brush strokes will interact in this way, but if you just use one brush and scrub back and forth, it won’t build up. In other words, a single brush stroke does not interact with itself, so deselect the existing strokes and paint new ones to layer the color.

Step 7

Do the same for the other shadow areas. First choose Draw Normal mode, then select the new shape and choose Draw Inside again. Make sure you’re finished with one before proceeding to the next. Once you exit Draw Inside Mode for a shape, you can’t access it again.
TIPS: If you want a darker stroke, you can change the opacity on the fly by using the numeric keys: 1 for 10%, 2 for 20% and so on.
You can double-click any Bristle Brush in the Brushes panel to edit it. If the brush you are changing is already in use in your file, you’ll get this warning. Unless you want every brush stoke to update with your changes, click “Leave Strokes” to leave the existing brush strokes unchanged.

Step 8

Once all the shadow shapes have been drawn and painted, your image should look something like the one below. “Draw Inside” simply creates a Clipping Mask before you draw. So if you want to edit some of the paths or start over, you can go to Object > Clipping Mask > Edit Contents.

Step 9

If you haven’t saved your work, now’s a good time to do that. You’ll most likely get a warning when you save, telling you that your document contains Bristle Brush paths and transparency. Well, duh. Actually, this is an important warning to heed, because Bristle Brushes can make the document very complex and the file size quite large. You can turn off the warning so it doesn’t appear again during this work session.

Step 10

Now we’re going to add some more color, texture and modeling. Create a new Bristle Brush if you want to experiment — a Flat Fan will work nicely.
As before, set the Opacity fairly low, then begin painting along the contours of the face and neck. It’s kind of a sculptural process, with the advantage of being able to edit the paths or start over if you want. If you paint a stroke you like, you can copy it and move it to another part of the illustration. You can change the stroke width, the opacity and the blending mode, just as you can with any vector path.
If you’re using a graphics tablet and pen, you’ll get visual feedback as to the direction, tilt and bearing of your brush. Still, it can be a rather random process, but that’s part of the fun, and can lend itself to some happy accidents.

Step 11

I can’t tell you exactly where and how to paint the rest of the strokes, you’ll just have to play around until it looks right. The beauty of using Illustrator instead of Photoshop (or real paint, for that matter), is that if it gets too muddy, you can just delete some strokes or change their opacity. The final image is below.

Conclusion

Due to their transparency and fluidity, Bristle Brushes can be used for a wide variety of coloring applications. And because they’re vector paths, you get the best of both worlds: The painterly effects of Photoshop brushes with the control and flexibility of Illustrator.
Keys to the Bristle Brush Options:

Name: Self-explanatory.
Shape: There are 10 styles. Each one attempts to mimic a real-life brush.
Size: This is the diameter of the brush. When you buy brushes in an art supply store, their size is measured at the point where the bristles meet the handle, so this measurement refers to that. Use the slider to change, or enter numerals from 1mm to 10mm.
Bristle Length: Measured from the bristle tip to the point where the bristles meet the handle.
Bristle Density: Has to do with the number of bristles in a brush. 1% is basically one bristle, but unlike a real-life brush, that one bristle will be the diameter of the brush as it is set in the Size field.
Bristle Thickness: Use the slider or enter numbers in the field.
Paint Opacity: 1% is translucent and 100% is opaque.
Stiffness: I like to think of Stiffness as the “squirly-ness” of the brush. That is, the lower the stiffness, the less the stroke will conform to the path you actually draw. This can be good for random strokes and surprises.

Create Flash Animations Entirely in Illustrator

2012-12-16T22:34:00.001-08:00

The world of animation can seem really intimidating – between AfterEffects, Flash and everything else, there’s so much to learn. And who has time? Never fear – you can create simple Flash animations without ever leaving the familiar confines of Illustrator, and without any knowledge of Flash. Here are two easy ways to get things moving.

Final Image Preview

Below are two final SWF animations we will be working creating. Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.

Tutorial Details

Program: Adobe Illustrator CS4
Difficulty: Intermediate
Estimated Completion Time: 45 minutes

Video Tutorial

I’ve created this video tutorial to compliment this text + image tutorial.

Method I: Blend and Morph

For this type of animation, in which one shape transforms into another (and another and another, if you wish), we’ll use the Blend Tool to make the in-between shapes, then release each shape to its own layer, then export these as a sequence for the Flash file.

Step 1

Since this animation will be used on the Web, start with a new RGB document. Here I have four simple icons, representing the four seasons. Select all the shapes, then center-align them horizontally and vertically, using the Align panel (or the Control panel). Make sure that each shape is on the same layer.

Step 2

Double-click the Blend Tool in the tool palette to bring up its options. Choose Specified Steps in the Spacing pull-down menu, and type 8. That will give us a smooth transition between the shapes, but won’t make too many layers.

Step 3

With all the shapes selected, go to Object > Blend > Make.

Step 4

With the blended shapes still selected, go to Object > Expand. This will separate the blend into individual shapes. For this effect to work, the individual shapes must be disassociated from one another, so go to Object > Ungroup.

Step 5

The ungrouped shapes should still be all on one layer. In the Layers panel, make sure the layer is highlighted, click the flyout menu, and choose Release to Layers (Sequence). You’ll notice that each shape is now on its own layer, and each layer has a different color. If you don’t see this, go back and make sure you have ungrouped the expanded blend.

Step 6

Go to File > Export and choose Flash (SWF) as the file format (NOTE: Depending on the version of Illustrator and/or the version of Flash you have installed on your computer, the file format might be called Macromedia Flash). Choose AI Layers to SWF Frames as the Export method.
Now click the Advanced button to bring up more options. Choose Lossless as the Image Format. Click Looping, so that your animation will play over and over again. The default settings are fine for the rest of the SWF Options dialog box, but you may want to experiment with them in future projects.

Step 7

To see your animation in action, do one of two things: Click the Web Preview button in the SWF Options dialog box, which will launch your default Web browser and play the animation. Or, save the SWF file, then drag it onto a blank browser window to play it.
The world of animation can seem really intimidating – between AfterEffects, Flash and everything else, there’s so much to learn. And who has time? Never fear – you can create simple Flash animations without ever leaving the familiar confines of Illustrator, and without any knowledge of Flash. Here are two easy ways to get things moving.

Final Image Preview

Tutorial Details

Program: Adobe Illustrator CS4
Difficulty: Intermediate
Estimated Completion Time: 45 minutes

Video Tutorial

I’ve created this video tutorial to compliment this text + image tutorial.

Method I: Blend and Morph

Step 1

Step 2

Step 3

With all the shapes selected, go to Object > Blend > Make.

Step 4

Step 5

Step 6

Step 7

How to Create an Ultra Glossy Flaming Ball in Adobe Illustrator

2012-12-16T22:31:00.000-08:00

Tutorial Details

Program: Adobe Illustrator CS5
Difficulty: Intermediate
Length: 22:58 mins

Final Product What You'll Be Creating

Learn how to create a high gloss flaming ball using the Warp Settings, Blends and Transparency Panel in Adobe Illustrator CS5. The final image is scalable and can be used as an illustration or icon design. Let’s Begin!

How to Use the New Image Trace in Adobe Illustrator CS6

2012-12-16T22:29:00.002-08:00

Today we will learn the new features of the tracing engine in Adobe Illustrator CS6 and talk about its new functions. We will trace a photo, a sketch and a texture; then we will compare the results between Adobe Illustrator CS5 and CS6. Let’s get started!

In this tutorial I’ll use a photo a strawberry (credit to deviantART user StockProject1) ; the sketch was kindly provided by Victoria Vasilyeva and the texture (credit to deviantART user ~kingkool6).

Step 1

In Adobe Illustrator CS6 the settings of the tracing is in the new Image Trace panel (Window > Image Trace).

This allows us to use other panels and tools while tracing. Such features did not exist in Adobe Illustrator CS5 as well as in earlier releases; the setting of the tracing was made in the Tracing Options dialog box, and then it was impossible to access the other objects and interfaces.

Step 2

The presets have also changed between Adobe Illustrator CS5 and CS6

The new preset, "Silhouettes" allows quick creation of vector silhouettes.

After the Expand command we get the vector object with the optimal amount of points.

Step 3

Let us evaluate the quality of the tracing using the same preset High Fidelity Photo in Adobe Illustrator CS5 and Adobe Illustrator CS6.

Note, in Adobe Illustrator CS6 you can set several of the Palette values. This parameter sets while the vector image is been made in color or in greyscale. As you can see, the new tracing engine in Adobe Illustrator CS6 shows better results.

There is a new feature in Adobe Illustrator according to which you can instantly check out your original image. To do so, press and hold the eye icon near the View option.

Step 4

There were some changes in the Colors parameter. This parameter specifies the number of colors which the final vector image will consist of. In Adobe Illustrator CS5 the Max Colors options can be set in the number values, in Adobe Illustrator CS6 the Colors option can be set accurately in percentage.

Step 5

You can get access to additional options of the settings if you press the Advanced key in the Image Trace panel. Now we have an opportunity to choose a tracing method. The Abutting method creates cutout paths. The contours of neighbor objects match.

The overlapping method creates stacked paths, the contours of neighbor objects overlay.

Step 6

The Path Fitting option defines the accuracy of the tracing of the initial raster image. In Adobe Illustrator CS5 the smaller value allows to create a more accurate contour, the bigger- the rough contour. In Adobe Illustrator CS6 it is vice versa, the bigger the value is the more accurate contour we get.
The Minimum Area option corresponds to the Noise option in Adobe Illustrator CS6. This option specifies the size of the smallest areas of the initial image, which will be taken into account while tracing.
The Corner Angle option in Abode Illustrator CS5 corresponds with the Corners option in Adobe Illustrator CS6 and is been set in percentage. The higher value we set, the bigger amount of angles the final image will have.

In Adobe Illustrator CS6 there are no such function of the tracing as the Blur and the Resample. In Adobe Illustrator CS5 the Blur function is for the reducing the number of small artifacts and smoothing the jagged edges in the final image. The Resample option allows speeding up the process of tracing for big size images, losing the quality of the output image.

Step 7

Let’s see how the new tracing engine works with sketches. Apply the preset Black & White Logo. The tracing of the sketch in Adobe Illustrator CS5 shows good results.

When we use the same preset in Adobe Illustrator CS6 the majority of small details disappear.

Unfortunately, you need to change the parameters of the tracing manually in order to get the same results in Adobe Illustrator CS6.

Step 8

Let’s try to make the tracing of the texture. We will use the same Black&White Logo preset. As we can see, the result of the tracing in Adobe Illustrator CS5 looks better than in Adobe Illustrator CS6

I’ve used different presets and operated the parameters manually, but I still couldn’t get the result which would correspond to the result that can be made in Adobe Illustrator CS5.

Conclusion

The new tracing engine really works good with the photos and allows quick and accurate vector silhouettes. But when you use it for tracing sketches and textures you will need to operate all the tracing processes manually, and that will not always show good result. If you work with the sketches and textures, the Live Trace feature in Adobe Illustrator CS5 shows good results when you use the presets. Have you used the trace features in Adobe CS6 yet? If so, what do you think?

The Adobe Photoshop CS6 Book Tutorial Pdf for Digital Photographers

2012-11-27T06:06:00.001-08:00

The Adobe Photoshop CS6 Book Tutorial Pdf for Digital Photographers

ABOUT THE AUTHOR

Scott is Editor, Publisher, and co-founder of Photoshop User magazine, Executive Editor and Publisher of Light It (the how-to magazine for studio lighting and off-camera flash), and is host of The Grid, the weekly live videocast talk show for photographers, as well as co-host of the top-rated weekly videocast series, Photoshop User TV.

The Adobe Photoshop CS6 Book Tutorial Pdf for Digital Photographers

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He is President of the National Association of Photoshop Professionals (NAPP), the trade association for Adobe® Photoshop® users, and he’s President of the training, education, and publishing firm,

For more information on Scott, visit him at:

His daily blog: http://scottkelby.com
Google+: Scottgplus.com
Twitter: http://twitter.com@scottkelby
Facebook: www.facebook.com/skelby

Seven Things You’ll Wish You Had Known Before Reading The Adobe Photoshop CS6 Book Tutorial Pdf for Digital Photographers

It’s really important to me that you get a lot out of reading The Adobe Photoshop CS6 Book Tutorial Pdf for Digital Photographers, and one way I can help is to get you to read these seven quick things about the book that you’ll wish later you knew now. For example, it’s here that I tell you about where to download something important, and if you skip over this, eventually you’ll send me an email asking where it is, but by then you’ll be really aggravated, and well… it’s gonna get ugly. We can skip all that (and more), if you take two minutes now and read these seven quick things. I promise to make it worth your while.

You don’t have to read The Adobe Photoshop CS6 Book Tutorial Pdf for Digital Photographers in order. I designed Adobe Photoshop CS6 Book Tutorial Pdf so you can turn right to the technique you want to learn, and start there. I explain everything as I go, step-by-step, so if you want to learn how to remove dust spots from a RAW image, just turn to page 84, and in a couple of minutes, you’ll know. I did write the book in a logical order for learning CS6, but don’t let that tie your hands—jump right to whatever technique you want to learn— you can always go back, review, and try other stuff.

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Download The Adobe Photoshop CS6 Book Tutorial Pdf for Digital Photographers

How to Use the New Image Trace in Adobe Illustrator CS6

2012-11-05T00:20:00.004-08:00

Step 1

In Adobe Illustrator CS6 the settings of the tracing is in the new Image Trace panel (Window > Image Trace).

Step 2

The presets have also changed between Adobe Illustrator CS5 and CS6

The new preset, "Silhouettes" allows quick creation of vector silhouettes.

After the Expand command we get the vector object with the optimal amount of points.

Step 3

Let us evaluate the quality of the tracing using the same preset High Fidelity Photo in Adobe Illustrator CS5 and Adobe Illustrator CS6.

There is a new feature in Adobe Illustrator according to which you can instantly check out your original image. To do so, press and hold the eye icon near the View option.

Step 4

Step 5

The overlapping method creates stacked paths, the contours of neighbor objects overlay.

Step 6

Step 7

Let’s see how the new tracing engine works with sketches. Apply the preset Black & White Logo. The tracing of the sketch in Adobe Illustrator CS5 shows good results.

When we use the same preset in Adobe Illustrator CS6 the majority of small details disappear.

Unfortunately, you need to change the parameters of the tracing manually in order to get the same results in Adobe Illustrator CS6.

Step 8

I’ve used different presets and operated the parameters manually, but I still couldn’t get the result which would correspond to the result that can be made in Adobe Illustrator CS5.

Conclusion

Design Vector Drop Shadow with Illustrator CS6 Tutorial

2012-11-05T00:14:00.002-08:00

In today’s quick tip tutorial, I’m going to show you how to use one of the great new features of Adobe Illustrator CS6, gradient on stroke, to create a 100% vector Drop Shadow and Inner Glow.

Introduction Design Vector Drop Shadow with Illustrator CS6 Tutorial

In today’s quick tip tutorial, I’m going to show you how to use one of the great new features of Adobe Illustrator CS6, gradient on stroke, to create a 100% vector Drop Shadow and Inner Glow.
So let’s get to it straight away.

Taking Apart the Drop Shadow

Before we get into how to achieve this drop shadow, we need to understand what actually happens when we use a Drop Shadow effect in Adobe Illustrator at present and why it isn’t completely vector.
So you’ve drawn a random object, in this case I’ve used the Star Tool and you want a drop shadow on it. To get this go to Effect > Stylize > Drop Shadow and you’ll get the blow dialogue box to modify your drop shadow as you wish.

However if you were to apply this effect and then Object > Expand it and drill down into the group it produces, you’d notice that it contains a raster element. This is the object labeled "Image" which you can see below.

In fact if you hide the "Image" you’ll just be left with the original shape. So what actually happens?

What actually happens when you apply the effect is Adobe Illustrator duplicates the shape and then changes the fill color to say black in this case. It then rasterizes the object, blurs it and offsets it. Then the shape is combined with the original to produce Live Effect Drop Shadow. This means you can go back into the options of the Drop Shadow via the Appearance panel to modify anything from the drop shadow fill color, blur and so on. The same is true when you create an Inner Glow effect.

100% Vector Drop Shadow – CS5 Style

If you’re a regular reader of VectorTuts+, you may have seen a similar tutorial title a couple of years back. In fact I did a video quick tip tutorial on how to create a 100% vector drop shadow in Adobe Illustrator CS5. This is done by making use of "Align Stroke Outside" in the Appearance panel.

You can apply a similar process to create an inner glow effect, just by using "Align Stroke Inside".

100% Vector Drop Shadow – CS6 Style

So how can we achieve a Drop Shadow in CS6? Simple, by duplicating your shape and giving it say a black fill and then a black transparent linear gradient stroke set to "Apply gradient across stroke".
There are a couple things you need to keep in mind. You can’t "Align Stroke Outside" with a gradient. To get around this you’ll need to ensure your Drop Shadow color, in this case black, is the most central Gradient Slider and at 100% Opacity. Other than that, you’ll find you can increase the Drop Shadow "blur" by playing with the Stroke Weight and even the Gradient Sliders along the top.

Let’s just look at this a little more closer and Object > Expand our Gradient on Stroke. When you do this, you’ll notice the Gradient on Stroke is just a Gradient Mesh! So not a raster element as the Live Effect Drop Shadow uses. This makes it a vector Drop Shadow.

To prove furthermore it’s a Gradient Mesh and one you can actually edit, I’ve used the Direct Selection Tool (A) to select all the points in the corner of our mesh and changed the color to blue.

100% Vector Inner Glow – CS6 Style

If only you could use "Align Stroke Inside" with Gradient on Stroke, because creating an Inner Glow would be a lot easier. However as you can see from the below, the option is greyed/nulled out. So to create an Inner Glow first duplicate your original shape. Then put your fill on as normal and then "Apply gradient across stroke" with the previously used transparent linear gradient. Give the stroke only a Blending Mode and Opacity.

Use the duplicate of the original shape to then create a Clipping Mask (Command + 7) and there you’ll have your Inner Glow.

Conclusion

Why would you want to do this? Well if you’re a vector freak like me, the thought of having any raster elements in your work makes your skin crawl and you’d like to go that extra mile to ensure every part of your work is vector. Maybe I’ve just confessed to some bizarre vector OCD. Anyway other than that, it’s just a bit of an exercise for those who like to exercise their scalable brains. I hope you’ve enjoyed this tip!

Photoshop and the digital revolution

2012-11-05T00:03:00.003-08:00

“I use Photoshop as I would to hand-print an image; e.g., burning, dodging, etc. I don’t use ‘special effects’ very often; I’m still a big fan of more traditional techniques—applied digitally, of course.”—Marcus Bell

In the days leading up to the advent of digital imaging, the skeptics/realists often predicted that until a digital image could rival the amount of information found in a 35mm film frame, professional photographers would continue to ignore digital imaging. These thoughtful folks proclaimed that there are 10,000,000 discrete units of information (bits) in an exposed 24x36mm film frame. Equalling that requires a 10MB image—a file size that is now commonplace. In fact, at this writing there are a handful of professional 35mm digital SLRs that offer 16–18MB original files. Unlike film photographs,

Photoshop and the digital revolution have helped propel wedding photographers to the level of fine artists. Photograph by Jeff Hawkins Photography.

Hawkins, the other half of Jeff Hawkins Photography, a very successful wedding studio in Longwood, FL, the greatest benefit is “the creative control of our work.” The pair has a renewed excitement for covering weddings and an appreciation for being able to view the images right away—a “powerful advantage for both photographers and clients.” Photographers are no longer just recording images and sending them off to the lab for color correction, retouching, and printing. Says Kathleen, “We can now perfect our art to the fullest extent of our vision!” In the high-style world of wedding photography, the impact of Photoshop has permanently changed the style and scope of the genre. The photographer, in the comfort of his home or studio, can now routinely accomplish special effects that could only be achieved by an expert darkroom technician in years past. Photoshop, paired with the many available plug-in filters, has made wedding photography the most creative and lucrative specialty in all of photography.

And brides love it. Digital albums, assembled using Photoshop-compatible design templates, have become the preferred album type. The style and uniqueness they bring to the wedding experience make every bride and groom a celebrity. The photographers featured in this book are digital artists. While they are not above using time-saving shortcuts in the image-processing side of things, they

Icon designer ebook - Best book for designer

2012-10-09T20:36:00.005-07:00

History, theory, tips and tutorials an insight into the word on icon design

Introduction Icon For designer

Get This Book at link above

A Picture Tells a Thousand Words

With roots stretching as far back as the 1970's, the humble icon has come a long way. Evolving from black and white representations of office items into beautifully rendered illustrations of objects, symbols, characters and the same office items from the very beginning, icons have become a visual language that is understood the world over.

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Where a picture will tell a thousand words, a computer icon informs, educates and reassures its audience. Because icons are used for such specific purposes, creating a successful icon design is more of a science than an art.

I came to icon design almost by accident. My first year out from University, I was hired to work in-house for a software company who needed an icons and UI illustrator. With two degrees in Multimedia and Communication Design and a portfolio of digital illustration, I stood out as a good candidate for the job.

I had never given icon design much thought beyond the occasional replacement set, but knowing that this was a rare opportunity, I decided to jump in the deep end (with both feet!). I took the offer and a week later I was up to my eyeballs in specifications, requests and a back catalogue of previous designs. I was spending most of my time in review meetings with the development team, product management and even marketing. I quickly learned that when asked, everyone has an opinion, right or wrong.

So here I was, stuck in the middle of the technical requirements of the development team and the aesthetic guides from marketing. To top it off, I was spending hours rendering images and all I had to show at the end of the day was a handful of pixels! It was really frustrating to move from print design and illustration to screen.As time progressed, I settled into the role of “icon lady” and started to see the craft and beauty in small images.

I also developed a system of project management that greatly improved my workflow (less meetings = more productivity).

During the course of Icon designer book, I will share my experiences in the field of icon design, look at rendering styles and ways to achieve them, and the many uses for icons today. This book won’t teach you how to emulate others. It won’t focus heavily on one OS over another; nor will it turn you into a master overnight. Instead it will help you create designs that will stand up to the test of time and help you better understand the constraints (and the joys) of pixel perfect rendering.

Get this book at here

Graphic Design Theory PDF

2012-09-27T21:09:00.001-07:00

The future lies ahea d of us, but beh ind us the re is also a grea t accumulation of history—a resource for imagination and crea tivity. I think we call “creative” tha t dynamism of intellectual conception that flows back and forth betwee n the future and the past.

Graphic Design Theory PDF give you improve skill design

Graphic Design Theory PDF is an introduction to graphic design theory. Each selection, written in its own time and place across a century of design evolution, explores the aesthetic and social purposes of design practice. All of these writers were—or are—visual producers active in the field, engaged with the realities of creating graphic communication. Why did they pause from making their work and building their careers to write about what they do? Why should a young designer today stop and read what they wrote?

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Theory is all about the question “why?” The process of becoming a designer is focused largely on “how”: how to use software, how to solve problems, how to organize information, how to get clients, how to work with printers, and so on. With so much to do, stopping to think about why we pursue these endeavors requires a momentary halt in the frenetic flight plan of professional development. Design programs around the world have recognized the need for such critical reflection, and countless designers and students are hungry for it. Graphic Design Theory PDF, carefully curated by emerging scholar and designer Helen Armstrong, is designed as a reader for history and theory courses as well as an approachable volume for general reading. Armstrong developed the book as graduate research in the Graphic Design mfa program at Maryland Institute College of Art, which has produced a series of collaboratively authored books. Hers is the first book from our program edited independently by a graduate student. Presented within its pages are passionate, intelligent texts created by people who helped build their field. These writers used their practical understanding of living processes and problems to raise philosophical, aesthetic, and political questions about design, and they used those questions, in turn, to inspire their own visual work as well as the work of people around them.

Design is a social activity. Rarely working alone or in private, designers respond to clients, audiences, publishers, institutions, and collaborators. While our work is exposed and highly visible, as individuals we often remain anonymous, our contribution to the texture of daily life existing below the threshold of public recognition. In addition to adding to the common beat of social experience, designers have produced their own subculture, a global discourse that connects us across time and space as part of a shared endeavor, with our own heroes and our own narratives of discovery and revolution. Few members of the general public are aware, for example, of the intense waves of feeling triggered among designers by the typeface Helvetica, generation after generation, yet nearly anyone living in a literate, urbanized part of the world has seen this typeface or characters inspired by it. Design is visible everywhere, yet it is also invisible—unnoticed and unacknowledged.

Creating design theory is about building one’s own community, constructing a social network that questions and illuminates everyday practice—making it visible. Many of the writers in this book are best known for their visual work; others are known primarily as critics or educators. But in each case, a living, active connection to practice informs these writers’ ideas. Each text assembled here was created in order to inspire practice, moving designers to act and experiment with incisive principles in mind. El Lissitzky, whose posters, books, and exhibitions are among the most influential works of twentieth-century design, had a huge impact on his peers through his work as a publisher, writer, lecturer, and curator. In the mid-twentieth century, Josef Müller-Brockmann and Paul Rand connected design methodologies to the world of business, drawing on their own professional experiences. Wolfgang Weingart, Lorraine Wild, and Katherine McCoy have inspired generations of designers through their teaching as well as through their visual work. Kenya Hara has helped build a global consumer brand (muji) while stimulating invention and inquiry through his work as a writer and curator.

A different kind of design theory reader would have drawn ideas from outside the field—from cognitive psychology, for example, or from literar criticism, structural linguistics, or political philosophy. Designers have much to learn from those discourses as well, but this book is about learning from ourselves. Why theory? Designers read about design in order to stimulate growth and change in their own work. Critical writing also inspires new lines of questioning and opens up new theoretical directions. Such ideas draw people together around common questions. Designers entering the field today must master an astonishing range of technologies and prepare themselves for a career whose terms and demands will constantly change. There is more for a designer to “do” now than ever before. There is also more to read, more to think about, and many more opportunities to actively engage the discourse. Graphic Design Theory PDF lays the groundwork for plunging into that discourse and getting ready to take part.

Get Graphic Design Theory PDF

Must login with gmail account and get this book. Or sent email to imkits@gmail.com and autoresponder to you link download. ( I want to link download never dead so I share by this method)
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Adobe Illustrator CS6 Navigating numerically and from a panel

2012-09-25T16:25:00.000-07:00

Now let's say you want to magnify your illustration on screen, but none of the standard zoom increments

are really working for you.
For example, here I am taken in the illustration wide and if I press Ctrl+Plus, or Command+Plus on the Mac, then I'll zoom to 100%.
And if I do it again, I'll zoom to 150% and then 200% and then 300% and so on.
So we've got some pretty big increments going on and these are the exact same increments we get with the Zoom tool and with the other zooming techniques.
I'm going to go ahead and press Ctrl+1, or Command+1 on the Mac, to zoom out to 100%.Illustrator cs6
If you want to dial in a custom zoom value then you can drop down here to this zoom option that's listed in the very bottom left corner of the document window.
Click on it, and then instead of entering a value, which you can do if you like, but my preferred method of working here is to press the Up arrow key in order to zoom in increments of one so you have very tight control.
You can also press the Shift Up arrow to move in 10% increments.

Illustrator CS6 Tutorial

And so at 120%, I'm thinking I'm zoomed in a little bit too far, I'll go ahead and take that down by pressing the Down arrow key until I reduce that value to 116% and that looks good to me.
Now as I say, the other option of course is to dial in your own value.
For example, I could go ahead and zoom in to 2400%.
Now the problem becomes when you're this far zoomed into an illustration it's difficult to get your bearings, you may not necessarily know where you are.
In that case, you want to bring up the Navigator panel, and you do that by going up to the Window menu and choosing the Navigator command, and then you'll see this panel that's showing you your entire Illustrator cs6 and a tiny red thing right there that shows you the portion of theIllustrator cs6 that you're seeing right now.
All right, I'm going to go ahead and expand this panel, like so so that I can see my Illustrator cs6 in a little more detail.
And by the way, working this way is great if you have two monitors, so you can go ahead and throw the Navigator panel on one monitor and of course have your document window open up in another.

Illustrator CS6 Tutorial

Anyway at this point, I could scroll inside the Illustrator cs6 by dragging this guy to a different location, or if I prefer I can just click somewhere in the illustration.
You also have these zoom controls right here, so you can click on the little mountain to zoom out incrementally, or you can click on the big mountain to zoom in, you can also drag this zoom slider.
The only problem with this slider from my vantage point is it doesn't really show you a dynamic zoom, so you have to pause while you're dragging in order to update the screen.
It is a final way to work.
You can press and hold the Ctrl key or the Command key on the Mac, that will change your cursor to a little magnifying glass, and then you can drag around the portion of the Illustrator cs6 that you want to zoom.
As soon as you release Illustrator cs6 will show you that region on screen.
And then of course if the Navigator panel is getting too big for you, you can go ahead and drag a quarter or one of the sides in order to make it smaller.
And that's how you zoom to any degree you desire as well as get around using the Navigator panel here in Illustrator cs6 .

Image Into Vector in illutrator cs6

2012-09-24T19:18:00.001-07:00

Today I am going to show the basic way to illustrator cs6 and image into vector. Basically, it is quite simple to illustrate CS6 an animate rather than a real object. Its color tone is simple and easy to apply. It is a good practice method for the novice. This is the image that I am going to use, Princess Mononoke( one of my favourite characther of Ghibli’s product ). I think I watch it for not less than 10 times…okok! Let’s start then …

Before start in illutrator cs6 Tutorial , here is some tips for you to make the process faster and easier.

*Ctr + C and Ctr + F = copy and paste into the original position but forward.
*CTR + +/- to zoom in/out.

Step 1 Image Into Vector in illutrator cs6

Open the image, double click on the layer and rename as img, checked the dim image=50%. Create a new layer and make sure it is below of the img layer. Pick the pen tool, start draw from the face area. We will only draw the outer line of the image. For the color, just use the eyedropper tool to pick up from the image we use on the area which we are drawing. Rename layer as face_bg. After that, you will get the result as below:

Step 2 Image Into Vector in illutrator cs6

After that, we will draw out the shadow area which is the darker side. FYI, you only need to draw carefully when the area is intersect with the others. Rename layer as face_shadow. After that, you will get something like this:

Step 3 Image Into Vector in illutrator cs6

To create the shadow area, select the face_bg layer then CTR + C and CTR + F. While the duplicated face_bg layer selected, left click on the face_shadow layer by holding shift. Goto window > Pathfinder, click the intersect shape area, then expand. As below:

Step 4 Image Into Vector in illutrator cs6

Next, we are going to draw out her eye. You need to zoom in to draw this part.

Step 5 Image Into Vector in illutrator cs6

After that, we will add the border for the face area.

Step 6 Image Into Vector in illutrator cs6

After that, we will draw her hair and hat.

Adobe Illustrator CS6 Using the Page Up and Page Down keys

2012-09-24T16:03:00.000-07:00

In this movie, I am going to show you how to get around a document using the Page Up and Page Down keys.

Now I am going to be throwing a lot of keyboard shortcuts at you this time.
I am going to expect even the biggest shortcut fanatic to remember all of these.
Just remember this Page Up and Page Down combined with any of the modifier keys, does something in Illustrator cs6 .
So let's go ahead and zoom in quite a bit here, and then I'll press the Page Up key, and notice that I move almost a full screen upward.
And then if I press Page Down, I move almost a full screen downward.
If I want to move in smaller increments, then I press Alt+Page Up, this would be Option+Page Up on the Mac, or Alt+Page Down, this would be Option+Page Down on the Mac.
What if I want to move to the right? Well, then I'll press Ctrl+Page Down, that's Command+Page Down on the Mac.
If I want to move to the left, it's Ctrl+Page Up, or Command+Page Up.
To move in smaller increments, once again, you add the Alt key.
So its Ctrl+Alt+Page Down, to move in small increments to the right, and Ctrl+Alt+Page

Illustrator CS6 Tutorial

Up, or Command+Option+Page up on the Mac, to move in smaller increments to the left.
Now of course, that leaves the Shift key, and you may recall from the previous chapter that the Shift key combined with Page UP and Page Down actually moves you between artboards.
So Shift+Page Up, will take you to the previous artboard, as we're seeing here.
And in my case, I am going all the way back to the first one.
And then Shift+Page Down is going to move me to the next artboard.
If I press Ctrl+Shift+Page Up, or Command+Shift+ Page Up on the Mac, I go to the first artboard,
and if I press Ctrl+Shift+Page Down, or Command+Shift +Page Down on the Mac, I go to last artboard, which
in my case is the big artboard that encompasses all the other ones.
And that for those of you who are interested is how you get around a document, using the Page Up and Page Down keys, combined with every modifier key you got.

Adobe Illustrator CS6 Scrolling (or panning) a document

2012-09-23T15:14:00.002-07:00

In this movie, I will show you how to scroll or if you prefer pan your Illustrator cs6

And this comes in handy when you are zoomed in.
So here I am zoomed in on a detail, but I want to be able to scroll around a little bit.
Take a look at a different detail at this exact zoom level.
You can take advantage of the scroll bars down here at the bottom and along the right side of the Document window.
But the better way to work is to get the Hand tool.
So if I switch to the Hand tool which has a keyboard shortcut of H, then I can just drag my Illustrator cs6 around as much as I like.
Of course, you don't want to have to go running after the Hand tool every time you need to scroll.
So here's a better way to work.
I will switch back to my black arrow tool, and then I will press and hold the spacebar. Notice that gets me the Hand tool as long as the spacebar is down, and then I can drag the document as much as I want.
Now, what happens though, if you've got live text? Now, none of the text in this document is live, by the way.
I use special fonts that aren't on your system so I had to convert everything to outlines.

Illustrator CS6 Tutorial

But let's just go ahead and create some text.
I'll switch to the Type tool, which I can do of course, by pressing the T key.
And I'll click inside the document, and I will just enter the word Hello.
Now if I try to press the spacebar and scroll at this point, I will enter a space character of course.
So one option is to press the Escape key so the text is no longer active, and then you can spacebar-drag, but because I pressed the Escape key I am back to the Black arrow tool so.
Now if want to do some more text editing I'd have to switch back to my Type tool, and then click after that space character and enter some more text.
Here is the way I work, when I have live text.
I will just go head and scroll using the Scroll wheel.
So obviously scrolling down moves you down, scrolling up moves you up.
If you want to move more quickly, it's a Shift+ Scroll down or a Shift+Scroll up, if you want to
move back and forth then you press the Ctrl key, or the Command key on the Mac, and you scroll down to go right, scroll up to go left, if you want to move more quickly it's Ctrl+Shift
on a PC, or Command+Shift on the Mac, scroll down to go right and scroll up to go left. Also, by the way, those of you with Macintosh trackpads, you can use that two finger swipe as well.
Illustrator will respond to that, and that's probably the easiest way to work on that platform.
So there you have it, the myriad ways to scroll or pan a document here inside Illustrator cs6

Adobe Illustrator CS6 Tutorial Honing in a specific detail

2012-09-07T09:15:00.001-07:00

In this movie I'll show you how to zoom with more control using the Zoom tool as well as

In this movie I'll show you how to zoom with more control using the Zoom tool as well as a Special Scroll Wheel Trick.
Now the problem with Ctrl+Plus, or Command+ Plus on a Mac, it is that you're zooming in on the center of whatever you are seeing on screen.
And right now, the center of my screen is this dot at the top of the first colon and that's why I chose to draw my little bacteria there because after all, that's the dead center of the artboard.
However, what if you want to zoom in on, let's say, a more appealing detail.
Well, that's when you to take advantage of the Zoom tool.

So I'm going to press Ctrl+Alt+0, or Command+Opt +0 on a Mac, this is a Zoom tool right there.
If you're looking at the Single Column tool Box it's going to be the very last tool on the list.
It has a keyboard shortcut of Z and if I select the tool, and then click on some other detail in the illustration.
For example, I'll go ahead click on this bottom left pen cursor.
You can see that Illustrator not only zooms but it also goes ahead and centers that detail on screen.
Adobe

Illustrator CS6 Tutorial

Now that I could switch to another if I want to just by clicking again, and then clicking

once more to zoom in even further, to zoom out you press and hold the Alt key or the

Option key on a Mac, and then you click.

And again, you are going to center the location of the newly zoomed screen each time you click with this tool.

Now the tool is so incredibly useful in my opinion that you really want to learn a keyboard shortcut for it.

You don't to have one has to switch to the Zoom tool every five seconds in order to magnify a detail.

So here is what you do. Illustrator cs6

Again I will press Ctrl+Alt+0, or Command+Opt+ 0 on a Mac, to go ahead and center my artwork.

I will switch back to the black error tool to get to the Zoom tool on the fly you press

Ctrl+spacebar, that's Command+spacebar on a Mac, then you just go ahead and click to zoom on in.

If you want to zoom out, you have the Alt or Option key so that's Ctrl+Alt+spacebar here

on a PC, or Command+Opt+spacebar on the Mac, and then of course you click to zoom out.

Here is another great thing you can do with the Zoom tool if you press Ctrl+spacebar, Illustrator cs6

Illustrator CS6 Tutorial

or Command+spacebar on a Mac, in order to get that Zoom tool, and then you drag to draw

marquee around a detail, Illustrator will go ahead and zoom just that detail, and it'll

take you to a Custom Zoom Level.

In my case, it's 1341.3%.

And then of course, notice that when I release the keys, I returned to my Selected tool in

my case the black arrow.

All right let's say that keyboard shortcut just doesn't work for you. Illustrator cs6

Here's another I'll go ahead and zoom out again by pressing Ctrl+Alt+0, or Command+Opt+0 on the Mac.

Another option that is available to you is to press the Alt key or the Option key on

the Mac, and scroll up with your mouse's scroll wheel to zoom out is an Alt+ Scroll down or

an Option+ Scroll down on the Mac. Illustrator cs6

And notice that, that works incrementally just as is the case with the Zoom tool, and

all the zooming options we discussed in a previous movie.

So there you have it that's how you zoom with ultimate control using the Zoom tool or Alt

or Option along with your mouse's scroll wheel.

Adobe Illustrator CS6 Tutorial-Zooming a document and its artboards

2012-09-05T18:22:00.002-07:00

In this movie, I will show you how to zoom in and out in Illustrator cs6..

And the idea is this, sometimes you are going to want to magnify portions of your illustration
in order to fine-tune adjustments, and other times you are going to want to zoom out so that you can take in your entire artwork at a time.
I am working inside of a document called Welcome again.ai found inside the 03_navigation folder.
If I go up to the Window menu and choose Artboards command, you can see that this document contains
a total of six Artboards.
So we have the central Welcome screen, and then we have renderings of a bunch of paint tool cursors.
These are the new paint tool cursors in Illustrator cs6 and then finally I have got this big
Artboard that contains everything.
I just wanted you to see that because these Artboards will become important in a moment.
In the meantime though, you zoom in and out from an Illustration right here located in the View menu.
Now notice that each one of them has a keyboard shortcut.
I find that folks fall into a couple of different categories where shortcuts are concerned.
They either love them and they use them all the time that would be me, by the way.
Illustrator CS6 Tutorial Video
That's why I mentioned them as I am going through these movies. Other folks just hate them especially when they are first trying to come to terms with a piece of software.
So tell you this you can use keyboard shortcuts or not but I do recommend that you at least
learn these shortcuts here.
Because that will help you move more quickly through the software, also it allows you to
spend less time on focusing on the mechanics of Illustrator and more time and energy on your artwork.
So if you want to zoom in, you can choose the Zoom In command as I am doing here but you are better of using the keyboard shortcut which are easy to remember Ctrl+Plus, or Command+Plus
on the Mac, and you can see that that's zooming me in incrementally.
If I want to Zoom Out, I press Ctrl+Minus, or Command+Minus on the Mac, and again that
zooms me out incrementally.
Notice that I am viewing the Illustration right now at 100%.
Now extensively, this is Illustration showing you Artboard at the sizable print.
However, it is not really accurate and the reason is Illustrator is assuming your screen
resolution is 72 pixels per inch which dates way back to those old 1984 Macintosh boxes,
Illustrator CS6 Tutorial Video
that just isn't the case anymore.
Your screen is more likely to have a resolution in a neighborhood of 100 to 120 pixels per
inch, in which case the Artboards is actually going to print larger than it appears at 100%.
So that's just something to bear in mind.
Now if this were a program like Photoshop, and we kept zooming in from 100% then we would
get bigger and bigger pixels, but Illustrator cs6 is working with vectors, and it is rendering
those vectors to your screen on the fly and as a result we get greater and greater detail
as we zoom in, and you can see that you can zoom in all the way to 6400%, which is a sufficient
level of magnification to see a large bacteria, which is why I have gone ahead and drawn a
little bacteria, right here an Illustration.
That's how big the largest bacteria are.
So Illustrator really allows you to hone in on that detail.
Now if you want to return to the 100% percent view at any point in time, you just
Ctrl+1, or Command+1 on the Mac.
Illustrator CS6 Tutorial Video
You may also remember from the previous chapter that if you want to zoom in on a specific
Artboard, all you have to do is double-click on that Artboard here inside the Artboards panel.
Another way to work, if I press Ctrl+Alt+0, or Command+Option+0 on the Mac, to go all the way out and take in my entire artwork at a time.
I can click on any one of these Artboards to make it active, and then press Ctrl+0, or Command+0 on the Mac, to zoom in on it, and just as with double-clicking on an Artboard,
here inside the Artboards panel, Ctrl+0, or Command+ 0 goes ahead and fits the Artboard on the screen.
And incidentally, if you ever need to refresh your memory on the shortcuts, all you need
to do is go up to the View menu and check out these five commands right there. These are the shortcuts that I've mentioned.
Ctrl+Plus, or Command+Plus to Zoom In, Ctrl+Minus, or Command+Minus to Zoom Out, Ctrl+0, or Command+0
to fit the Artboard in the window, Ctrl+Alt+0, or Command+Options+0 on the Mac, to fit everything,
the entire document inside the window, and then Ctrl+1, or Command+1 on the Mac, to go
to the Actual Size which is the 100% view. And that's how you zoom in and out from an Illustration. from the keyboard inside Illustrator cs6

Adobe Illustrator CS6 Tutorial on Demand PDF

2012-09-05T07:13:00.000-07:00

Adobe Illustrator CS6 on Demand PDF has been created by the professional trainers and writers at Perspection, Inc. to the standards you’ve come to expect from Que publishing. Together, we are pleased to present this training book.

Perspection, Inc. is a software training company committed to providing information and training to help people use software more effectively in order to communicate, make decisions, and solve problems. Perspection writes and produces software training books, and develops multimedia and web-based training. Since 1991, we have written more than 120 computer books, with several bestsellers to our credit, and sold over 5 million books.

This book incorporates Perspection’s training expertise to ensure that you’ll receive the maximum return on your time. You’ll focus on the tasks and skills that increase productivity while working at your own pace and convenience. We invite you to visit the Perspection web site at: www.perspection.com

The task of creating any book requires the talents of many hard-working people pulling together to meet impossible deadlines and untold stresses. We’d like to thank the outstanding team responsible for making this book possible: the writer, Steve Johnson; the technical editor, Toni Bennett; the production editors, James
Teyler and Beth Teyler; proofreader, Beth Teyler; and the indexer, Sharon Shock. We’d also like to thank JP Johnson for his contribution of Illustrator artwork. At Que publishing, we’d like to thank Greg Wiegand and Laura Norman for the opportunity to undertake this project, Cindy Teeters for administrative support, and Sandra Schroeder for your production expertise and support
.

About the Author of Adobe Illustrator CS6 on Demand

Steve Johnson has written more than 70 books on a variety of computer software, including Adobe Photoshop CS5, Adobe Dreamweaver CS5, Adobe InDesign CS5, Adobe Illustrator CS5, Adobe Flash Professional CS5, Microsoft Windows 7, Microsoft Office 2010 and 2007, Microsoft Office 2008 for the Macintosh, and Apple Mac OS X Lion. In 1991, after working for Apple Computer and Microsoft, Steve founded Perspection, Inc., which writes and produces software training. When he is not staying up late writing, he enjoys coaching baseball, playing golf, gardening, and spending time with his wife, Holly, and three children, JP, Brett, and Hannah. Steve and his family live in Northern California, but can also be found visiting family all over the western United States.

Introduction Adobe Illustrator CS6 Tutorial on Demand PDF

Adobe Illustrator CS6 is a graphics design and drawing program that runs seamlessly on both Windows and Macintosh platforms. Adobe Illustrator CS6 is a stand-alone program, but it’s also part of Adobe's Creative Suite of professional programs that work together to help you create designs in print, on the web, or on mobile devices. Many of the Creative Suite 6 programs also include additional Adobe programs and services—Bridge, Camera Raw plug-in, Media Encoder, Extension Manager, and ExtendScript Toolkit—to help you manage and work with files Adobe Illustrator CS6 Tutorial on Demand PDF.

Creative artists from Hollywood, brochure designers, as well as casual users turn to Illustrator for its proven ability to create top-of-the-line vector artwork and complex graphic designs. Illustrator's ability to manipulate illustrations for use in books, brochures, multimedia presentations, or on the web, has made Illustrator the undisputed leader in the graphics industry. When it comes to vector illustration, Illustrator is
literally the best software the computer industry has to offer. With Illustrator, you can create anything from simple icons to multilayered illustrations, as well as manipulate text. And Illustrator's ability to work with other programs allows you to import Excel data for graph building, export Illustrator files directly to Adobe InDesign and QuarkXPress, as well as open layered Illustrator files in Photoshop, making it a snap to move back and forth between programs as you design.

Link Down load share by google Drive. (must login gmail and get) .

https://docs.google.com/open?id=0B_8GkjDl4WIfX3ppa013Zk8zX0E

Adobe Illustrator CS6 Tutorial-The dark vs. the light interface

2012-09-03T21:29:00.000-07:00

Illustrator CS6 Tutorial Video

All right, so the first thing that we are going to look in, in this chapter is the new dark interface, and I'm a big fan.
Very much like the new dark interface in Photoshop CS6, but the great thing about it, in my opinion, is that it allows me to focus in on theIllustrator cs6. without being distracted by all the screen folders.
And Illustrator cs6. takes it even farther than Photoshop does, by darkening dialog boxes, and other screen folders.

Now, there's a few exceptions to this rule on the Mac, on a Macintosh side of things, you got a bright menu bar, you can't do anything about that, because Adobe doesn't have control over the menu bar.
And if you're your illustration inside of a floating window, then you'll see a bright title bar for that window as well, and you may see elements of applications running in
the background, as well as the finder desktop and so forth.
If you would rather have Illustrator cs6. take over your screen, so you can focus your energies on the task of drawing, then here on the Mac, you go up to the Window menu, and choose Application Frame.

Illustrator CS6 Tutorial Video

This command is not available on the PC, because the Application Frame is always in force.
And then once I choose that command, notice that the bright title bar goes away, and essentially everything you see on screen is going to match what you're seeing inside the video except for the location of this application bar, which is right here under the menu bar instead of these icons being next door to the menus, and of course, the bright menu bar at top.
However, let's say you want to lighten the interface, or otherwise customize the brightness. Here's what to do.
Go on to the Edit menu here on the PC that would be the illustrator menu on the Mac, all the way over on the left-hand side, drop down to the Preferences command, which isn't nearly so far down on the Macintosh menu.
And then choose this command right there, User Interface.
That will bring up this Dark dialog box, and notice right here, we've got Brightness. So you can select from four predefined brightness settings here.
We've got Light, which is pretty much what we had inside of Illustrator cs6 in earlier. And I will say, by the way, you did have a Dark Interface option in Illustrator cs6 as well.

Illustrator CS6 Tutorial Video

It was just awful, because even when you made the interface dark, such as this if we go
all the way here, the text remained black, so you could barely read it.
Now the text goes ahead and inverts so that you can see it very nicely.
And the Medium Dark is the default setting, by the way, and then we've got Medium Light, and you really don't need me to show you those, you can test them out yourself. Here's what you might need help with.Illustrator cs6
You have the slider, which is just awesome, I am going to go ahead and turn mine down to 20%, which is a little darker than the standard setting, but I think it's going to make things pop pretty nicely for video here.
And then finally, you have control over the Canvas Color, better known as the pasteboard, which is the area outside of the artboards.
And by default, it's going to be the same color as the User Interface, it's actually a little lighter, as you can see here.
But it's going to very along with User Interface, and then when you go to very light basically, it catches up
But if you don't like that, let me dial this back down to 20.
Then you have one other option to choose from, and that's White.Illustrator cs6
Unfortunately, you can't dial in your own custom pasteboard color, I don't know why you can't, but these are your two options, either Match what's going on, or White.
Anyway, 20% is what I am going to go with here, and then I am going to click OK, and so that is your option, where the interface is concerned.
And so, I don't want anybody complaining about the New Dark Interface, so if you don't like
it just go ahead and customize it to whatever degree you like. Illustrator cs6

Adobe Illustrator CS6 Tutorial-Navigating your artwork

2012-09-03T20:33:00.000-07:00

Illustrator CS6 Tutorial Video

This chapter is all about getting around in Illustrator cs6., magnifying your artwork, panning
to another location, and managing your workspace.
I spend nine movies on this topic, which is a lot, for the simple reason that there's a lot to know.
I want you to be able to move around inside Illustrator cs6. without even thinking, because
that's how everything about the program is going to make sense.
Better still, you will be able to focus less on the mechanics of the software and more
on the task of creating great artwork.
Allow me to help you feel at home in Illustrator cs6..

Illustrator CS6 Artboards and rulers

2012-09-02T20:03:00.001-07:00

In this movie, I'll show you how Artboards and Rulers interact with each other inside Illustrator cs6.

I have saved my progress as Nice and tidy.ai.
I'm going to once again switch to the Artboard tool, and then I'll bring up my Rulers by
going up to the View menu choosing Rulers and then choosing the Show Rulers Command. And what that does is it shows me about the Horizontal Ruler at up the top of the screen
and the Vertical Ruler over here on the left-hand side.
And we can see that the unit of measure is points and the reason we can see that is because
they're very dinky units.Illustrator cs6.
If you wanted to switch out the unit of measure the easiest option is to right-click on either
one of the Rulers, and then choose a different unit, such as Inches, and then both Rulers will update in kind.
Now notice this 00 point right there, so there is a 0 point for the Vertical Ruler, and there is a 0 point for the Horizontal Ruler.
I am going to go ahead and put a couple of guides at those locations by dragging out from the Vertical Ruler, and I am going to press the Shift key as I drag in order to.
Illustrator CS6 Tutorial Video
I have snapped into Alignment with 0 on the Horizontal Ruler, and I'll Shift-drag down
form the Horizontal Ruler in order to snap into Alignment with the 0 point there on the Vertical Ruler.
So that's our 00 point right now. Used to be the 00 point was at the upper left corner of the First Artboard but that was
before I went and made all of these Modifications.
The reason I am showing you this couple of reasons just want you to see, what's going on.
Artboard 10 is still selected and notice we're seeing this X and Y coordinates. And if I go ahead and change Reference Point to the upper left point there, then I'll see
Illustrator cs6. that the pages 24 is .25 inches to the right of and 8.92 inches down from that 00 point.
If I wanted to move this Artboard into alignment with the 00 point, I'd start by turning off
that move copy Artwork with Artboard Option, because I want to move just the Artboard let's
say, then I'll change the X value 0 and the Y value to 0 as well and that snaps it exactly into alignment.
Illustrator CS6 Tutorial Video Now press Ctrl+Z, or Command+Z, a couple of times in order to reinstate the position of
that Artboard because I say that's not what I want to do when I do want to do is I want
to go ahead and move the 00 point into exact alignment with the top left corner of Artboard 10.
Well one way to move the 00 point is to go ahead and drag from the upper left corner where the two Rulers intersect each other, and then you can just drop that 00 point in
the place, and now my 00 points right about there, as you can see, in the Horizontal and Vertical Rulers.
If you want to snap into alignment with an Artboard however, you just double-click on that point, and now notice the 00 point is aligned with the upper left corner of Artboard 10.
If I wanted to be aligned with the upper left of Artboard 1 instead, I'll go head and click
Illustrator cs6. on Artboard 1 and double-click on that Ruler Intersection Point up there in the upper left-hand corner.
Illustrator CS6 Tutorial Video
I don't need those Guides anymore.
So I'll go to the View menu choose Guides and then choose the Clear Guides command to get rid of them.
One more thing I wanted to know about Rulers when you're working inside the Artboard mode, you have what's known as Global Rulers which are aligned to all the Artboards. So in other words, we have 100 point, that's aligned to the upper left-hand corner of the
first Artboard and all the other tick marks are aligned to that point, regardless of which
of the artboards is selected. Compare that to the behavior when we're out of the Artboard mode, I am going to press the Escape key here in order to switch back to my black arrow tool.
And now notice that my 00 point appears at the upper left corner of Artboard 3 when Artboard 3 is active.
If I were to click on Artboard 2, then I'd switch 00 point to its upper left corner, and so on.
So each and every Artboard has its own independent Ruler System. That's the way it works in every application out there however you can switch this behavior
inside of Illustrator cs6.. By going up to the View menu Rulers Command, and then notice this guy change to Global
Rulers Ctrl+Alt+R, or Command+Opt+R on the Mac.
And that will go ahead and switch you to Uniform Global Ruler System regardless of which of the Artboards is selected.
So notice, I am clicking on different Artboards here and that is not changing the behavior

here inside Illustrator cs6..

Auto-arranging artboards in Illustrator cs6

2012-09-01T01:15:00.001-07:00

In this movie I'll how you how to delete and organize art boards from the Artboards panel.

they are in regular alignment once again.
I've saved my progress as 10-page jumble.ai.
Again, it's found inside the 02_artboards folder.
The reason I saved these progress files, by the way, is just in case you're dropping in
on a single movie, and you don't have a progress file of your own.
I'm going to start by getting my Artboards panel out of the way by clicking on this little
double-arrow icon there. Now switch back to the Artboard tool, and notice that Artboard 10 is selected in my case.Illustrator CS6
I want to show you couple of other options that are available to you.
If you go up to the Object menu, and you choose Artboards, you'll get the submenu of commands,
including this one here Fit to Artwork Bounds.
And that's going to go ahead and expand the Artboard so it encompasses every bit of artwork
inside your document. And that's not the effect I want but I wanted to show you that the document is there. I'll go ahead and press Ctrl+Z, or Command+Z on the Mac, to undo that change.

Illustrator CS6 Tutorial Video

Here is another option that's available to you.
If you want to scale an artboard so it exactly encompasses the stuff inside of it, you double-click
on it, like so, Now you may ask me well, how is that artboard exactly encompassing that zero.
When you're working with Type inside of Illustrator cs6, the program is always consulting essentially
all the characters in that font.
A lowercase G, for example, would have a descender that comes farther down, and there might be
other characters that have ascenders that go higher up.
And the way you can confirm this is to switch back to the Black Arrow tool here, and then
I'd just go ahead and click on the baseline of the zero, and notice that I get this big
bounding box and that bounding box shows me exactly how big Illustrator cs6 thinks that character is.
I'm going to press Shift+0 in order to switch back to the Artboard tool, and I'm going to
press Ctrl+Z, or Command+Z on the Mac, to undo that change.
Here is what I really want to do.
I want to go ahead and automatically arrange all of these artboards, and I can do that

Illustrator CS6 Tutorial Video

by once again going up to the Object menu choosing the Artboards command, and then choosing
Rearrange, and I'll get this dialog box here that features those same options that we saw
inside the New Document dialog box, so I can change the arrangement of my artboards if
I want to, but I'm happy with the existing layout.
What I want is to have five columns instead of four so that I'll have five columns in two rows of course. Illustrator CS6
And then I'm just going to go ahead and increase the Spacing value as well to 1/2 inch like that.
So 1/2" meaning that you have the press Shift along with the quote key.
I do want to move the artwork along with the artboards so I'll leave this check box on,
and then I'll go ahead and click OK, and that takes care of my problems automatically.
And just so that you know, if I bring back up the Artboards panel which I can get by clicking on what is by default, this lowest icon here in this column of panels, and then
I click on what's known as the flyout menu icon in the upper-right corner of the panel.

Illustrator CS6 Tutorial Video

I also have access to the Rearrange Artboards command here, so a little more convenient many times and that brings up that same dialog box that we saw just a moment ago. All right, I'm going to cancel out because I don't want to mess things up now that I've gotten everything perfect. That is how you take advantage of automatic artboard
modifications here inside Illustrator CS6.
Illustrator CS6

Icon Design in Illustrator cs6

2012-08-24T00:31:00.001-07:00

Icon Design in Illustrator cs6 are nifty little designs that add flavor to your web pages while helping to direct users to different areas of interest. While most websites don't require a ton of icons, they do usually require several and creating these seemingly simple designs can be much more complicated than you think.

-Planning the concept for a cohesive icon set

-Creating and refining icons in Adobe Illustrator
-Working with multiple artboards

-Advanced icon drawing techniques

-Working with perspectives

-Finalizing and polishing finished icons

Download Icon Design in Illustrator cs6 :

Tuts.Icon.Design.2012.part1.rar
Tuts.Icon.Design.2012.part2.rar
Tuts.Icon.Design.2012.part3.rar
Tuts.Icon.Design.2012.part4.rar
Tuts.Icon.Design.2012.part5.rar

Why Use Icons Design in Illustrator cs6

Icons Design in cs6 are used in the design of your web pages to add a visual element to your content. While paragraph after paragraph of text will eventually get boring and a reader will lose interest, by adding icons to break up and accent the text you can keep your readers attention longer.
They are also used in places like the header of a page, the table of contents, in product lists, and in the place of common bullet points. Used in these place, icons add charm to your text and highlight what you are selling or saying.

Icons Design can go a long way in making a website look and feel professional from the very first glance. They show your readers that you care about even the small details of your business. When designed correctly, they add to your website, not distract from it, and they should be made to go with the flow and feel of your site and other company graphics to add to brand recognition.

Drawing a heart with the Arc tool in Illustrator CS6

2012-08-22T21:01:00.000-07:00

In this movie, I'll show you how to begin creating the heart outline using the Arc tool in Illustrator CS6 . I've saved my changes as All guides.ai found inside the 04_line_art folder. Let's go ahead and switch to Arc tool, and it's a pretty easy concept when you drag with a tool you can see that you create as I was saying before, a quarter ellipse. And you might imagine that this is going to serve as well for the first hump in our heart, but we are not going to start at this arbitrary location.

We are going to start right there at the intersection of the central vertical guide and the second horizontal guide down. So I will go ahead and press the Backspace key or the Delete key on the Mac, in order get rid of that bad arc. And now I will drag up on to the left, like so, while pressing the Shift key, and you want to drag until you snap to that guideline up there. And you kind of want to inch it back a little bit to the right so that the heads-up display says, a Width of 112 pts and a Height of 112 pts. And by virtue of the fact incidentally that we were pressing the Shift key we're getting a perfect quarter circle. So you want to keep that Shift key down the entire time, and then you want to release your mouse button, and then release the Shift key.

In this Case Drawing a heart with the Arc tool in Illustrator CS6

Now you want to drag from that anchor point, so make sure that your cursor says the word Anchor on it. And you want to drag down into the left until you intersect with the first vertical guideline and the second horizontal guide. Now the arc will definitely go in the wrong direction just as you see on my screen. To flip it, what you do is you keep your mouse button down, and you just tap the F key. Then you go ahead and release the mouse button in order to create the second arc.

Next, we need to go ahead and draw the bottom portion of the heart, and you might be tempted to do one of these numbers, where you draw the outer lump here, and you press the F key in order to flip it, and then you draw a final arc, and you press F again, once to flip it, but that would result in one ugly looking heart. So that's not what we want. Let's go ahead and get rid of those path outlines by switching to the Black Arrow tool and notice, by the way, the Black Arrow has a keyboard shortcut of V, all you have to do is just tap the V key. And you might think of V as being an upside down arrow. So we've got the Black Arrow that's got an upside down arrow for a keyboard in Illustrator CS6 shortcut, that is the V key. And then we've got a White Arrow, I'll tell you how it works later, that's got a right side up arrow for its keyboard shortcut, which is the A key, which of course also happens to stand for arrow. All right, I am going to go ahead and switch to the Black Arrow, which allows me to select entire path outlines, which is what these things are called inside of Illustrator.

Notice that at this point I'm seeing a bounding box around my selected arc. The bounding box extensibly makes it easy to scale and rotate a graphic. But in my experience it gets in the way of getting actual work done, and there are better ways to scale and rotate, as I'll show you in a future chapter. So I am going to advise that you turn the bounding box off, and I'm definitely doing so. By going up to the View menu and choosing the Hide Bounding Box command. If you ever need the Bounding Box in the future just choose this command again and of course, it's got a keyboard shortcut Ctrl+ Shift+B, or Command+Shift+B on a Mac.

Now I am going to draw this dotted marquee in order to partially select these two path outlines and that will select them both, and then I'll press the Backspace key or the Delete key on a Mac, to get rid of them. Instead what we want to do is go ahead and switch back to the Arc tool in Illustrator CS6 here, and you want to drag from the last anchor point there, all the way down to the intersection of the middle vertical guide and the fourth horizontal guide down. So it's not the long guide, it's the shorter one just above it. And you want to make sure you see the word Intersect, so you're intersecting those guidelines, and then tap the F key if necessary in order to send the arc in the other direction, and then release.

Now of course, Arc tool in Illustrator CS6 Tutorial where our heart concerned, that doesn't look any better than one I showed you before. We are going to make it look way better by manually modifying this arc in the very next movie.

Introducing the Artboard panel in Illustrator cs6

2012-08-20T06:51:00.000-07:00

	In this movie I'll how you how to delete and organize artboards from the Artboards panel. Illustrator CS6 Tutorial Video
	I've gone ahead and saved this document 12-page mess.ai because it is a 12-page mess after all.
	Let's say I want to tidy things up here, so we end up with ten identically sized artboards,
	all of which are absolutely in order.
	Let's say I make some additional modifications to what I've got so far.
	I'll go ahead and switch over to the Artboard tool, and then I'll Alt-click or Option-click
	on this Artboard 4 here in order to select it independently of the Uberboard, and I'll
	drag it down to the lower right corner.
	Then I'll Alt-click or Option-click on Artboard 8 and move it up to this location.
	And now let's say I want to add another artboard, but I'm going to do so from the Artboard panel.
	I'll go up to the Window menu which lists all the panels inside Illustrator cs6, which we'll
	discuss in more detail in a later chapter.
	I'll drop down to this command right there Artboard and click on it and that brings up
	Artboards panel over here in the lower right region of the screen by default.
	I'm going to drag up on the top of the panel so I can see every one of my 12 artboards so far.
	Then I'm going to drop down this little page icon which allows me to create a new artboard,
	that's exactly the same size as the selected artboard.
	So I'll go ahead and click on it.
	We end up with a new artboard way over there in the top right section of the screen.
	In order to see it better, I'll go up to the View menu and choose Fit All in Window, or
	you can press Ctrl+Alt+0, or Command+Option+0 on a Mac.
	And that's one of the many navigation functions that's available to you in Illustrator, all
	of which we'll discuss in more detail in the next chapter, and I'm going to go ahead and
	drag this artboard into its new location.
	Now what I want to do is get rid of the Uberboard here, as well as these two little artboards.
	We'll go ahead and Alt-click a couple of times, it'd be an Option-click a couple of times
	there on the one that's number 11.
	But it's reading as Artboard 4, and I'll just call it miniboard 1 so that we can keep track of it.
	I'll do the same with this one.
	I'll go ahead and Alt-click on it, Option-click on a Mac, and change its name to miniboard 2.
	And that's just so we can make sense of these artboards here inside the Artboards panel.
	What you think you might be able to do is with one of the boards selected you could
	Shift-click on another artboard to add it to the selection, because Shift-clicking does
	add to a selection elsewhere inside Illustrator cs6
	Illustrator CS6 Tutorial Video It doesn't work here however inside the Artboard mode.
	Instead you end up drawing a new very tiny artboard, which obviously is not what we want.
	However, you can select multiple artboards from the Artboards panel.
	If I click on Uberboard, and then Shift- click on miniboard 2, notice that I select that
	range of artboards right there.
	And then I could add the nonadjacent Artboard 8, which is that tiny thing I just created
	a moment ago, by Ctrl-clicking on it that would be a Command-click on the Mac.
	So Shift-clicking on artboards inside the panel selects multiple adjacent artboards,
	whereas Ctrl-clicking, or Command-clicking adds a nonadjacent artboard to the selection.
	Now rather than pressing the Backspace key or the Delete key on the Mac, which would
	select just the one artboard that appears to be selected here inside the Document window,
	instead you go ahead and drag any one of the selected artboards on to the trashcan, and
	that will go ahead and get rid of them.
	Now let's make some sense of this document here.
	Obviously the numbers are fairly wrong at this point, and we're missing one.
	So I'm going to click on the Type tool to select it, or I could press the T key, and
	then I'll go ahead and select the 8 and make it 4; select the 4, make it a 5; select the 5, make it a 6.
	So a lot of busy work here. Select the 6, make it a 7; the 7, make it an 8.
	Go ahead and select that final 4 and make it a 0.
	And then I'll return to my Black Arrow tool just by clicking on it, and you can see that
	Illustrator CS6 Tutorial Video
	So I'm going to go up to the Edit menu and choose the Copy command or press Ctrl+C, or
	Command+C on the Mac, and then I'll click on this ninth page right there, and I'll go
	up to the Edit menu, and I'll choose this command, Paste in Front, which has a keyboard
	shortcut of Ctrl+F, Command+F on a Mac.
	That goes ahead and aligns the number to that artboard, and then I'll press the T key to
	switch back to my Type tool, go ahead and select that 0, change it to a 9, and then
	let's similarly modify the artboard.
	So I'll go ahead and click on the Artboard tool to switch away from the Type tool.
	Notice that we have Artboard 1 through 3 just fine but then everything becomes a mess as
	of this Artboard 8 which should be 4.
	So I'll go ahead and click on it to make it active, and I'll change its name to Artboard 4.
	Then I'll click on this Artboard 4 copy 2, and I'll change its name to Artboard 5, and
	I'll click on Artboard 5 and change its name to Artboard 6.
	I know a lot busy work, but this is the kind of stuff you do routinely when you're working
	with multiple artboards inside of Illustrator.
	It can be a little cumbersome, a little labor-intensive as well, but you do have a great deal of flexibility.
	So I'm changing the names of all these artboards to match their numbers essentially, but that
	doesn't really take care of a problem because I've got Artboard 1, 2 and 3 according to
	the little numbers up there in the upper left- hand corner followed by 8, 10, 5, 6, 7, 9, and 4.
	So the artboards aren't in the right order, and this can be a problem.
	I'm going to double-click on Artboard 1 here inside the Artboards panel which will zoom
	me in on that page.
	And then I can advance to the next page by clicking on this little Next button down here
	in the lower left-hand corner of the window. That'll take me to 2, and then the 3.
	And then if I click that Next button again, I will go to what I'm thinking is Artboard
	10, but it's really numbered 4.
	Now I should mention you also have a Previous button if you want to go back.
	If you want to do this from the keyboard, you press Shift+Page Down to go to the next
	page, or you press Shift+Page Up to go to the previous page.
	But for any of this to work the pages need to be in the right order.
	What I'm going to do is go back up to the View menu and again choose Fit All in Window
	in order to zoom out from my artboards. Illustrator CS6 Tutorial Video
	Notice that they appear in this wrong order here inside the Artboards panel, and it's
	the order inside the panel that determines the real order of those pages.
	So if I want 10 to be the last page, I need to go ahead and drag Artboard 10 to the end of the list.
	Notice you can also select an artboard such as 9 which is out of place, and I could nudge
	it down by just clicking on the Move Down icon here at the bottom of the Artboard panel.
	4 and 5 are adjacent to each other, so I'll click on one Shift-click on the other, then
	I'll drag one of these pages and notice, this is being interpreted as a double-click for
	some reason, which is why we just zoomed in on the page.
	But I'll go ahead and drag both of them up the list, so we now have 1, 2, 3, 4, 5, 6 in sequential order.
	And so that means now that I'm looking at Page 4, I could press Shift+Page Down to advance
	to Page 5, Shift+Page Down again to go to 6, 7, 8, 9, and 10, which has a 0 on it.
	Again, a little bit labor-intensive, a lot of busy work going on there, but that's how
	you delete and manage your artboards from the Artboards panel.

Creating and copying artboards in Illustrator CS6

2012-08-16T14:33:00.000-07:00

In this movie, I'll show you a couple ways to create new artboards, and I'll also introduce

Illustrator CS6 Tutorial Video

you to some artboard editing tricks that hinge on pressing the Shift and the Alt and Option keys.
I've once again restored my 8-page newsletter.ai file.
I am going to switch over here to the Artboard tool.
One way to create an artboard is just to drag somewhere in an empty portion of the pasteboard,
like so. And let's say I want to create an artboard that completely encompasses all of the other artboards.
So I've got a new artboard that's coming in automatically called Artboard 2.
I am going to click on the Name item up there in the Options bar, and I'll change this guy
to Uberboard let's say, and then press the Enter key or the Return key on a Mac. And we can now see that it's artboard number 09, up here in the upper left-hand corner,
because after all, it's the ninth artboard I've created.
And we can see it's named Uberboard as well.
Now let's say I want this big artboard to exactly encompass all the other ones with In this movie, I'll show you a couple ways to create new artboards, and I'll also introduce
you to some artboard editing tricks that hinge on pressing the Shift and the Alt and Option keys. I've once again restored my 8-page newsletter.ai file.
I am going to switch over here to the Artboard tool. One way to create an artboard is just to drag somewhere in an empty portion of the pasteboard,
like so. And let's say I want to create an artboard that completely encompasses all of the other artboards.
So I've got a new artboard that's coming in automatically called Artboard 2. I am going to click on the Name item up there in the Options bar, and I'll change this guy
to Uberboard let's say, and then press the Enter key or the Return key on a Mac. And we can now see that it's artboard number 09, up here in the upper left-hand corner, because after all, it's the ninth artboard I've created. And we can see it's named Uberboard as well.
Now let's say I want this big artboard to exactly encompass all the other ones with

Illustrator CS6 Tutorial Video

a margin of an inch all the way around.
I'd start by reducing the size of the artboard, so I'm dragging the corner handles until they
snap into alignment with the top left corner of page 1, and the bottom right corner of page 8.
Then I'll go up here to be Options bar, and I'll set the Reference Point back to the center,
I'll expand both the Width and Height values by clicking first on the far right side of
that Width value, and then I will enter + 1in, which will give me an additional inch.
But that's not really what I want, if I want an inch all the way around, I need two inches,
so I'll go and change that value from 1 to 2, like so, and then press the Tab key.
So the remarkable thing is I can not only do simple math in Illustrator, but I can also
do that math using different units of measure.
So in this case, for example, with the H value, I'm adding 1212 points to 2 inches, and then
I press the Enter key or the Return key on the Mac, to accept that change.
Illustrator CS6 Tutorial Video,
The difficulty when you're working this way is getting to the other artboards, because
Illustrator considers artboard 09 to be in front of 1 through 8.
If I try to click on 1 to select it, I won't end up selecting it.
Instead, I'll create a new artboard. It just comes in at this arbitrary size.
You can see the Width value is 312.
27 points, where is this coming from? I have no idea, but obviously it's not what we want.
Two ways to get rid of this artboard or any other existing artboard, when it's selected
you can just press the Backspace key here on the PC, or the Delete key on the Mac, or
notice that there's this little closed box right there.
If you click on the X in the upper right- hand corner, then you close the artboard, which
is to say you delete it.
All right, what I want to do though as I was saying is select Artboard 01.
So here is how that works.
To cycle through artboards that are on top of each other, you press the Alt key or the
Option key on the Mac, and you click.
And that'll go ahead and select Artboard 01 instead.
What if I want to create a new artboard inside of an existing artboard, like I want to create

Illustrator CS6 Tutorial Video

this little tiny artboard inside of Artboard 2? If I were to just start dragging in order
to draw a new artboard, I wouldn't draw the artboard, instead I would move the existing artboard.
So I'll press Ctrl+Z, or Command+Z on the Mac, to undo that movement.
Here's what you do instead, you press the Shift key, and you drag.
Now notice, as long as I have the Shift key down, I go ahead and create an artboard with
the proportions of the other artboards inside this image.
If I don't want to constrain the proportions, then I would release the Shift key as I am drawing the artboard.
So you just need to press it right at the outset of the drag in order to create that
new artboard, like so.
What if you want to duplicate an artboard? Well, if I want to move it of course, I just drag.
If I want to duplicate it, I press and hold the Alt key or the Option key on a Mac.
Notice that gives me that little clone cursor there, because I'm seeing two arrow heads,
one on top of another.
Then you drag while the Alt or Option key is down, and you go ahead and create a duplicate of that artboard.

Illustrator CS6 Tutorial Video

You may ask, didn't I just say a moment ago that when you press the Alt key or the Option
key on the Mac, and you click on an existing artboard you cycle back to one of the other
ones, and that's true, if I were to Alt+Option-click, I'd go and select Artboard 2 right through Artboards 09 and 11.
However, if you Alt drag, then you make a copy.
Finally, I want to show you how to copy not only the artboard, but the art that's inside
of it as well, and I'll demonstrate that using Artboard 04.
I want to select the artboard right away without selecting the bigger one, so I'll just Alt-click
or Option-click on it so that I cycle right to it.
Then you go up to the Options bar, and you click on this icon Move/Copy Artwork with
artboard to turn it back on, and now you go ahead and Alt-drag or Option-drag that artboard,
and you'll copy both the Artboard, and the number 04 inside of it, along with.
And that friends is how you create and copy artboards with the help of the Shift as well
as the Alt and Option key. Illustrator CS6