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We are so lucky to have JC advising us on every technical detail of this project. Also blessedly returning are several veteran WOW!
Also returning as contributing WOW! One of the most important features of this project is our incredible team of dedicated WOW! Thank you Eric Schumacher-Rasmussen for master-juggling all the myriad edits. Big thanks as well to Darren Meiss for proofreading, and Jack Lewis for the index.
Thanks to Doug Little at Wacom and the folks at Astute Graphics for keeping us up to date with their great products. Thanks also to lynda. Congrats to our official kibitzer, Sandee Cohen vectorbabe. And last but not least, tons of love and thanks to my wonderful family and friends. The tab will spring open to let you drop the object in place. The frame contains all the panels and documents, and everything you can do in AI takes place within the frame.
Note: You should turn off the Application Frame when using an extended monitor setup or during video projection. The panels you want handy in order to create a bristle brush painting are probably different from what you need when creating a technical illustration or the layout for a series of brochures.
Switch workspaces by choosing its name. Note that any changes to a workspace, such as a panel opened or moved, are temporarily saved when you quit Illustrator so that Illustrator reopens right where you left off. To restore a workspace to its original configuration, select the workspace and choose Reset workspace name from the submenu. The Control panel docks to the top or bottom of the screen. Look for the double-headed arrow when hovering over an edge to see if the panel can be dragged in that direction.
Double-click on the top gray bar to collapse a free-floating panel to an icon. Only one item in a column of panel icons can be open, but one from each column can be open simultaneously and will remain open until you manually close it by clicking on its double arrow in the upper right corner.
In that case, clicking anywhere outside a panel that was opened from an icon will close it for you. Using New Document Profiles When you create a New Document Profile, you can establish not only the size, color mode, and resolution of your document, but also whether or not that document includes specific swatches, symbols, graphic styles, brushes, and even what font is chosen as the default. By saving this to the New Document Profiles preset folder along with your other user Library presets, the document appears in the New Document dialog.
In order to be consistent with other Adobe programs, new documents by default use Artboard rulers and set the origin point at the upper left corner, instead of the lower left. Documents created in older versions will still open with Artboard rulers active and the origin point in the upper left, but if you switch to the Global Ruler, the origin point will be at the legacy lower left corner, as it was when the document was originally created.
If you need to work with legacy positioning, switch to Global Rulers with your legacy documents to see the old 24 x,y coordinates. You can still change the location of the origin point by dragging from the upper left corner of the rulers to the desired location, but you can give each artboard its own origin point when you choose Artboard Rulers.
You can apply guides globally or to individual artboards. To place a non-global guide with the Artboard tool selected Shift-O , drag a guide from the ruler to the active artboard, being careful to drag right over the board, not between it and another.
If you drag a guide in between the artboards, it will place the guide across all artboards. If you intend to use several guides in a project, you should probably create separate layers for specific sets of guides. By keeping guides on named layers, you not only can easily control which guides are visible at any time, but also how the global locking, visibility, and clearing of guides is applied.
CC has enhanced guide placement. Any unlocked guide can be changed into a regular, editable path by targeting the guide and, again in the context-sensitive menu, choosing Release Guides. Guides not targeted will not be converted. Smart Guides, which can be powerful aids for constructing and aligning objects as you draw, are helpful enough to become an essential part of your workflow. Once you hide the selection edges paths and anchor points , all path edges in that file will remain hidden until you show them again—and that hidden state is saved with your file!
Illustrator also offers a Perspective Grid and a Pixel Grid. Of course you can double-click to the right of the layer name at any time to access Layer Options and edit the name or other settings. Once you exit isolation mode, the other layers and groups will once again appear in the Layers panel. Using isolation mode Isolation mode is a quick way to isolate selected objects so you can work on them without accidentally affecting other objects.
The next time you want to edit an object, group, or layer, use isolation mode instead of locking or hiding things that are in the way. In addition to you choosing to enter isolation mode, Illustrator will also at times automatically place you into a special form of isolation mode, such as when editing symbols, creating patterns, or working with opacity masks. Isolation mode focuses your attention as you create and edit various types of objects. If you have isolated an object or group, you can expand the isolation to the sublayer or layer that the object is on by clicking on the word for that layer in the gray bar.
As long as isolation mode is active, anything you add to your artboard will automatically become part of the isolated group. Remember that other types of objects—such as blends, envelopes, or Live Paint objects—exist as groups, and isolation mode works for them, too. In addition to using isolation mode on groups, you can also use it on almost anything—layers, symbols, clipping masks, compound paths, opacity masks, images, gradient meshes, and even a single path.
The next time you think you have to enter Outline mode, or lock or hide objects to avoid grabbing other objects, try isolation mode 26 instead. If instead you apply an effect to a targeted group, layer, or sublayer, then the effects are easy to remove simply target that level again. When a group, layer, or sublayer has an effect applied to it, any new objects placed into that level will immediately acquire those effects.
GORDON Steven Gordon at Cartagram applies drop shadows to his map icons: left original; middle after selecting ungrouped objects or all objects on a layer and applying an effect it ap-plies to each object sepa-rately ; right after tar-geting the layer or select-ing the group and apply-ing the effect it applies to the bounding paths only Copy and paste techniques When you copy an object, Illustrator offers a number of power options for how the objects are pasted, including Paste in Front, Paste in Back, Paste in Place, and Paste on All Artboards.
Note that none of these are affected by the ruler origin, but are positioned in the same relative position to the upper left corner of the artboard. The Appearance panel also can replace a number of separate panels, making it an indispensable hub for a productive and efficient workflow. In the Appearance panel with a group or layer targeted, double-clicking on Contents reveals object-level attributes. With a text object, double-click on Characters to see the basic text attributes.
You can also add additional strokes or fills to the object, apply effects and access effect dialogs, choose whether or not the next object you draw will have the same appearance, or construct a new graphic style to save for future objects. Decoding appearances A basic appearance does not include multiple fills or strokes, transparency, effects, or brush strokes. More complex appearances are indicated by a gradient-filled circle in the Layers panel.
Unless an effect is applied at the level of a layer or a group, you might not see the filled circle icon until you expand your view of the layer to locate the object that has the effect applied. Drawing with Appearances Whether or not your new object will have the same attributes as your last-drawn object depends upon settings in the Appearance panel menu. Any other attributes from your last-drawn object are ignored.
Graphic styles and the Appearance panel A graphic style consists of all the attributes applied to an object, group, or layer. Save a current appearance by clicking the New Graphic Style button you can also drag the thumbnail from the Appearance panel, or drag the object itself to the Graphic Styles panel.
And then, of course, you can print or export to PDF any combination of the artboards that you want into one multi-page PDF, even one with multi-sized pages. Artboard configurations can be saved as part of a New Document Profile. It will be added to the same row as the current artboard, but you can rearrange the artboards later. Enabling Smart Guides can help with precise manual alignment. Or select the Artboard tool and change its name in either the Control panel or in the Artboards Options dialog.
The name is listed in the Artboards panel and in the list of artboard panels in the status bar Artboard Navigation, located at the bottom right of the document window. However, be aware that the order of artboards in the panel determines the order in which artboards print or are ordered when saved as a multi-page PDF. In the Position area of Artboard Options, choose the reference point from which artboards get resized.
To activate it, click on the artboard with the Selection tool or click on its name in the Artboards panel. Now just update the symbol to update all instances of it used on any artboards. To resume typing into an image text block, press Shift-Return. Try it! What does pt mean? If your document is using that unit, you can just enter that numeric value into fields.
To enter the value and unit use 1pt, but do not include the parentheses. Why use New Window? You can view the same art separately, and in different View modes Preview, Outline, Overprint, or Pixel , or with different Proof Setups including for color blindness , or Zoom levels.
Use Arrange Documents on the Application bar to organize them or to make edges hidden or visible. Most choices from the View menu are saved with the file along with the new windows. Most of the time, you can run Illustrator CC without being connected to the internet or logged into your Creative Cloud account. However, some options require that you are both online and signed into Creative Cloud.
Adobe Add-ons is the new online marketplace for plug-ins, scripts, and other assets offered through the Adobe Exchange 35 The Creative Cloud app displaying update status; the Creative Cloud pop-up menu Behance Your subscription includes membership in Behance.
Typical of sharing sites, terms of service may claim the right to use images posted to Behance without permission or compensation. By default the Creative Cloud app installs an icon on your Apple menu bar, or your Windows taskbar, and launches when you log in to your computer.
However, you can change this behavior from the Preferences command in its pop-up menu. Sync your settings and assets If you have more than one computer, Sync Settings is a Creative Cloud feature that lets you use your Cloud storage to quickly copy your workspaces, shortcuts, preferences, presets, and assets such as swatches and brushes from one computer to another.
Enable the settings you want to transfer, then select what to do if a conflict arises between settings on your machine and settings stored in the Cloud. You can then choose Sync Settings Now in Preferences, or you can sync any time a document is open by clicking on the Sync Settings icon in the bottom left corner of a document window. Just remember that Sync Local means your local settings become top dog, uploading settings to the Cloud, while Sync Cloud downloads settings from the Cloud to your computer.
You can also simply choose to overwrite the 36 oldest file with the newest, wherever it is. Use the file for backup, or to share settings with others without using the Cloud. To access tools hidden beneath others, first use the tear-off panel to make all those tools visible. To remove a tool from the panel, first make sure you have a document open, then simply drag the tool off the panel and release when you see the minus sign added to your cursor. You can create multiple custom Tools panels and have multiple Tools panels open at the same time.
They behave like other panels—open one and it persists in the workspace until you decide to reset that workspace to its default configuration. The slider was restored by popular request. This also cancels dragging with the Selection, Direct Selection, and Print Tiling tools, and ends drawing an open path with the Pen tool. Better guide creation To quickly create a guide at a specific location, double-click directly on the ruler at that location.
For instance, double-click on a horizontal guide to place a vertical ruler, or press Shift and double-click to force the guide to the nearest tick mark. Pressing the Esc key before completing the drag cancels creating guides, including dragging to change the 0 location of the x,y coordinates. Back by popular demand, the Opacity slider found in the Transparency, Control, and Appearance panels , replaces the CS6 list of presets The Pencil Tool Options dialog displaying the new Fidelity slider—also shared by the Paintbrush, Blob, and Smooth tools—plus a new preference for whether to toggle to the Smooth tool instead of drawing straight lines with the Pencil.
For more on this, see the CC section in the Rethinking Construction chapter introduction. If your Welcome screen is closed, you can look for it in the Help menu. He simplified the detail in the bridge to eliminate construction details that distracted from its design lines, and restricted the number of colors in keeping with posters of that period.
Critical to achieving the strong perspective favored by the client were the hand-drawn perspective guides Kimball placed on a layer above the artwork. A second set of guides marked the cable width. He organized the illustration with separate layers for the bridge itself, the highlights, shadows, and the sky. He made extensive use of blending modes, opacity, and gradients to create highlights and shadows, while Gaussian Blur softened the clouds.
Your scan is now on a Template layer beneath the original layer. With the template as a guide, select Layer 1 the default layer in the Layers panel and with the Pen tool, using the scan as a guide, click to place anchor points that will connect with straight lines.
To draw horizontal, vertical, or diagonal lines while you trace, hold down the Shift key as you click with the Pen tool. Instead of being more precise, Sellers used her rough sketch as a guideline for a stylized interpretation of the Atlanta skyline. Illustrator offers several options to create curved paths.
To create curves using the Pen tool, instead of clicking to place a corner point attached to a straight line, you click and drag in the direction that the curve is heading, then click and drag on the other side of the bump of a curve this takes practice! To adjust the curves, use the Direct Selection tool to drag its direction handles. Click the Convert icons in the Control panel to convert anchor points between corners and curves, and grab a direction handle with the Convert Anchor Point tool to hinge a smooth curve.
To draw with the Pencil tool, double-click its icon to adjust Fidelity accuracy and Smoothness sliders in CC you adjust one Fidelity slider. You can further control how smooth or detailed your paths are by zooming in or out before drawing or editing with the Pencil or Smooth tools. Zoom out to create smoother lines fewer anchor points or zoom in for more accuracy. You can also redraw any selected path by drawing close to it with the Pencil tool you can adjust Within value in Options.
To use it, click and drag a curved path. After drawing the arc, you can reshape its path as you would any curve, by using the Direct Selection tool to adjust handles and anchor points. To speed up drawing, use ready-made geometric objects like rectangles and ellipses. Add paths and filled objects with the Pen or Pencil tools, or use the Pathfinder panel or Shape Builder tool to combine objects find out more about these tools in the Rethinking Construction chapter.
He defined a color group, created clusters along with the basic elements, and then layered all of them to form more complex imagery. He also created a Live Paint group in order to draw forms without having to draw each path as a closed object. By slowly building complexity from very simple beginnings, he was able to control the results he sought to capture his vision.
Rudmann began with the Pen tool 48 P , sketching the structure that would tell the story. Since he was going to create the water from a single diamond shape he would modify, he only needed to sketch the proportions and placement of his elements.
He used the Artboard tool Shift-O to adjust the artboard to fit the composition. He next auditioned his basic elements, coloring them, and combining some of them into larger elements. He selected his final choice of four colors and saved them as a color group Boat by clicking the New Color Group icon in the Swatches panel.
To keep the process of building up the art from basic elements as fluid as possible, he found a method that minimized working with panels, and allowed him to keep his attention on the artboard. Selecting a diamond or cluster of diamonds that he wanted to duplicate and modify, he copied, used Paste in Front or Back , and then used the Free Transform tool E. He often ungrouped his clusters to freely modify and randomize a cluster by transforming some of the individual diamonds.
Despite working freely, Rudmann needed to be able to access portions of the image for modifications. The illusion of organic chaos and randomly placed elements requires some control, and separating sections with just a few layers, descriptively named, made all the difference as he worked.
He could lock all the layers to prevent moving artwork already in place, and turn off visibility for some layers in order to concentrate on just one region without distraction. He created the illusion of depth and distance by placing small waves behind the big waves, yet kept each set of waves accessible by putting the smaller waves on a layer beneath the big waves. Rudmann sandwiched the man and his boat on a layer between the large and small diamond-shaped waves, and the big splash came last.
After Rudmann drew the outlines for the boat and the man, he used the Pen tool to freely draw open paths for the dripping water on the man, and a few stripes to signify his bucket.
So that he could fill the interior white areas where these paths overlapped, he turned them all into a Live Paint Group. See the Rethinking Construction chapter for more on using Live Paint. To design a mock-up of a web app for www. He was able to hide and show layers to see how the design of different pages looked when viewed in different sequences. To see more layers at once, he changed the default row height and turned off thumbnail display in the Layers panel.
In the Layer Options dialog, name the sublayer. Repeat this for each of the sublayers you need. Gordon completed the mock-up of the Home page by creating artwork on each of the sublayers. With the first master layer completed, Gordon created master layers for other pages in his mock-up.
To make the Layers panel easier to navigate at a glance, give each master layer and its sublayers a unique color in the panel. For the master layer, double-click to the right of its name in the Layers panel and pick a color from the Color menu in the Layer Options dialog. For the sublayers, Shift-select them and choose Options for Selection from the panel menu.
After Gordon completed mock-ups for each of the pages, he made all master layers visible in the Layers panel by choosing Show All Layers from the panel menu. This provided a preview of what users would see moving from one page to another, assuring that the design of the pages were compatible. A layer name without a black triangle in front of it is empty.
Let Illustrator do the walking Illustrator can automatically expand the Layers panel and scroll to a selected object within hidden layers; just select an object in your artwork and click the Locate Object icon. For this map of downtown Dixon, Illinois, cartographer Steven Gordon built complex appearances and applied them to objects, groups, and layers. Gordon developed a set of appearance attributes that applied a soft vignette and blue fill to a shape representing the river.
Gordon first drew the outline of the water with the Pen tool and then gave the path a medium-blue fill. To accentuate the shoreline, he applied a dark Inner Glow effect. To do this he opened the Appearance panel and clicked on the Fill attribute.
Gordon started by deselecting all objects and clicking the Clear Appearance icon to eliminate the attributes for the river he had created previously. Next, add a second stroke by clicking the Add New Stroke icon in the Appearance panel. Because the new stroke has the same attributes as the first stroke, select the bottom of the two strokes and change it to a darker color and a 3-pt width. If you apply a style like the cased streets to a selection of paths, the outline of a path will overlap and interrupt the outlines of paths below it.
If you apply a style to a group of paths instead, the style will surround the group, merging strokes where they overlap. Now make sure that Group is highlighted in the Appearance panel and apply your new cased streets style. To start, Klema made a new document with the same dimensions as those of the constructed gate 80" tall by 44" wide.
Start by creating a guide in the exact middle of the document. Next, activate Smart Guides from the View menu this will help position the cursor over the exact middle of the document. From the Reflect dialog, choose Vertical as the Axis and click on the Copy button.
Klema turned to the Rectangle, Arc, Ellipse, and Pen tools to draw the different objects in his illustration. For the inner arch, Klema selected the Arc tool hidden under the Line Segment tool and double-clicked its icon to bring up the Arc Segment Tool Options dialog. Next, he clicked on the center guide and dragged down and to the left until the arc was shaped the way he wanted. Depending on the shape of the arc you need, you may have to draw it wider or longer.
Next, extend the arc downward as a straight line by selecting the Pen tool, clicking the bottom endpoint of the arc, and then Shiftclicking below to complete the straight line. Duplicate the extended arc using the Reflect tool and the center guide, just as you did in the previous step with the guides.
Klema connected the bottom endpoints of the two extended arcs with the Pen tool, creating a single object. After drawing all the objects in his design, Klema printed the full illustration and separate illustrations of each of the gate parts he used the Tile option in the Print dialog because the pieces were bigger than his printer paper. The prints served as templates that he traced on the wood so that he could precisely cut out the individual pieces of the gate.
He used the full-sized illustration as a guide for assembling the gate parts into the finished sculpture. She chose the Transform effect to duplicate and scale her art so that changes made to her original plan would automatically be updated in the scaled version.
She then noted the width of her artboard 2. In order for the Transform effect to duplicate art to other artboards as new objects are added to it, all the art has to be within a master layer, and the master layer itself must be targeted. Once an effect is properly applied to a targeted master layer, any objects added to the layers within will automatically inherit that effect see the warning Tip Getting targeted to move. To check everything was working properly for the transform, she enabled Preview.
Once Wigham saw that her artwork du-plicated and scaled properly, she clicked OK. When her plan was finished, she drew an art-board around the scaled artwork and printed it. She turned off the visibility for the first instance. She next drew an 11"x17" artboard roughly 20 points to the left from the other side of her master artboard so the master was now between the two scaled versions.
She double-clicked on the Transform effect to open the dialog, and this time played with the settings in the dialog until her drawing filled the page.
She saved this as another Graphic Style. With both Transform effects in the Appearance panel, she toggled their visibility each time she needed one scaled version or another. Coghill starts cartoon logo creation with the character art, using the more organic creation tools such as the Pen tool, various Brushes, the Width tool, and the Shape Builder tool. Once the vector art for the character is complete, he then designs the full logo using the Type tool and multiple Shape tools.
He includes the Pen and Selection tools in both environments. One at a time, he click-drags each desired tool from the default Tools panel onto his new custom panel.
He repeated this process for his desired custom tools and workspace panel arrangement for the logo design aspect of the creation process. Coghill can then work in a customized vector art environment suited perfectly to the task at hand and switch between the toolsets with ease. The Type tool lets you click to create a Point type object, click-drag to create a box for an Area type object, or click on a path to create Path type.
See the CC section later in this chapter for how you can convert Point type to and from Area type. Click within any existing type object to enter or edit text. To scale Point type, use the Selection tool to select the type and drag on one of the handles of the bounding box. Both the type and the bounding box scale together. Use modifier keys as you would with any object to constrain proportions or scale from the center. To scale the bounding box and the type, choose the Free Transform tool E before dragging on the bounding box handles.
Create a custom container for Area type by constructing a path with any tool. With a closed path, choose either of the Area Type tools and click on the path not inside the object to place text within the confines of the path. Use the Direct Selection tool to distort a container object for Area type by grabbing an anchor point and dragging on it, or reshape the path by adjusting direction lines.
The text within your Area type object will reflow to fit the new shape of the confining object. Create Path type by clicking on a path with the Type tool; the path become unstroked and unfilled, and is ready to receive text.
Set Baseline Shift to 0 in the Character panel, and move the path until the type is where you want it on the page. Gordon A Path type object has three brackets—the beginning bracket, which has an in port; a center bracket; and an end bracket, which has an out port. Use the center bracket to control positioning the type along the path.
To position type on a path, hover your cursor over the path until the cursor turns into an upside down T. Dragging the center bracket along the path moves the type toward the beginning or end.
Dragging across the path flips the type to the other side of the path. For example, type running outside of a circle will flip to the inside. To automatically reflow type along a path, use the Direct Selection tool to reshape the path. Choose different Type on a Path effects such as Rainbow or Stair Step , enable Flip to automatically flip type to the other side of the path, set the alignment of type relative to the path, and use a Spacing control to adjust the type as it moves around a curve.
If you try to set Path type on a circle, and the text is set to Align Center, the text will be forced to the bottom of the circle. Your text will now be centered between the two handles, on top of the circle. To manually flip type on a path to the other side of the path, select the type and drag the center handle the thin blue line perpendicular to the type across the path, as indicated by the red arrow above. To scale the text frame alone, Direct-Select it first. Then use the Scale tool, or scale it manually using the bounding box.
To enlarge an Area type object or a Path type object on an enclosed path, allowing for more text, use the Selection tool to grab the object by a bounding side, and drag to resize it.
To lengthen a path for Path type, use the Direct Selection tool to select the last anchor and drag the path longer, or use the Pen tool to start drawing more of the path from the last anchor, then drag the end bracket to the new end of the path.
Click on the artboard to create a new text object the same size and shape as the original this works nicely for custom shapes , or drag to create a rectangular text object of any size.
The new text object is threaded linked to the original, flowing text into the second. Alternatively, you can select the object and click once on either the in port or the out port. Then click on the other end of the thread to break the link.
Making one text block of many To join separate Area text boxes or Point type objects, select all the text objects with any Selection tool and copy. Then draw a new Area text box and paste. Text will flow into the box, in the stacking order in which it had appeared on the page. These wrap objects affect only Area type objects that are both within the same layer, and directly beneath it in the Layers panel, and do not affect Point type or Path type.
The selected attributes define the new style. After first applying a style, to remove all overrides click again on the plus beside the Paragraph style name. In CC you can also use the Touch Type tool. Avoiding formatting overrides When your project calls for several text objects using the same font, consider using a custom paragraph style. Created properly, this prevents Illustrator from applying the default, [Normal Paragraph Style], to all your new text and then adding formatting overrides to apply your specific font attributes.
Using the Control panel, you will merely be creating formatting overrides that must then be cleared in order to apply a different font with different attributes. See more about profiles in Your Creative Workspace. Using the Appearance panel you can apply multiple strokes to characters, run type along a curve, use envelopes to distort type, and even mask with live, editable type.
The Single-line Composer applies hyphenation and justification settings to one line of text at a time, but this can make multiple lines look ragged. The Every-line Composer determines the best combination of line breaks across an entire paragraph of text. Double-click the tool to specify in Eyedropper Options which attributes will be picked up or applied with the Eyedropper tool.
For a one-step method, select the type object with appearance attributes you want to change, and then move the Eyedropper tool over the unselected type object that has the attributes you want and click on it. Alternatively, the Eyedropper tool works in another mode: sampling and applying. A small T means it is in position to sample or apply text attributes.
To copy text formatting from one object to another using the Eyedropper tool, position it over an unselected type object. When it angles downward to the left, click the type object to pick up its attributes.
In applying mode, it angles downward to the right, and looks full. To apply the attributes that you just sampled, move the cursor to the text you want to change and click. A simple click will apply the sampled attributes to the whole paragraph; you can also drag the cursor to apply the attributes only to the specific text you dragged over.
See the previous chapter for more details about working with the Appearance panel. The appearance of stroked text To stroke type without distorting the characters, select the type using a Selection tool not a Type tool , select Add New Stroke in the Appearance panel, then move this new stroke below the Characters.
With the text object you can add another fill click on the Add New Fill icon in the Appearance panel. Now there is another listing of Stroke and Fill, in the Appearance panel, but this time they are positioned above the Characters line in the panel.
If you reveal the Stroke and Fill for the type by doubleclicking the Characters line in the panel, you return to character editing; reselect the type object with the Selection tool to return to editing the type object rather than its characters. When you add a new Stroke or Fill to the type object, its color and effects interact with the color of the characters.
All the strokes and fills applied to type are layered on top of those listed below including on top of the stroke and fill you see listed when you double-click Characters in the panel.
So if you add a new fill to the type object and apply white to it, the type appears white the white fill of the type object is stacked above the black default fill of the characters. With the Type tool, click to place the insertion point, then double-click the character you want in the Glyphs panel to insert it in the text. You may also look at the following article to learn more —. By signing up, you agree to our Terms of Use and Privacy Policy.
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Install Adobe Illustrator. In this very comprehensive tutorial we will learn how to produce a cocktail glass with a multi-colored drink and fancy ornamentation. In this tutorial, we will be learning how to produce a smart looking sale tag in Adobe Illustrator. This tutorial will show you how to reproduce the look of a folded corner of the paper by using plain color gradients.
Here you will learn how to use some basics like the gradient tool, gradient mesh tool, art and scatter brushes, blend tool, and many other techniques to create a rainbow beetle. The perspective grid is not extensively employed by designers.
In this tutorial we will learn how to create club shades via simple and wide-ranging techniques. To create dramatic reflections from the lights of the discotheque club, we will make use of different blending modes.
The tutorial contains lots of professional tips and techniques. In this complete and handy tutorial you will learn how to craft a vector glass of whiskey on the rocks by means of Adobe Illustrator CS5. In this throwback tutorial the artist demonstrates some quick tips on how to make an effortless but efficient vector illustration inspired by the classic video game, Worms. How to create an intake form in Word.
The best Shopify apps to boost sales. How to charge for online yoga classes. How to annotate a picture in Word.
How to make a selling app. How to update a Sendinblue contact. A very nice website and a very helpful side. And so I have benefited.
Thanks for sharing these tutorials, particularly 3D chart has wide uses and face mask tutorial is very impressive. Awesome set of vector design tuts collections.. Keep posting! I couldnt even imagine the details in some of these illustrations let alot articulate them.
Well done. Amazing collection! I am a big fan of Adobe illustrator and a new cool tutorials are good present for me! Thanks for sharing. Hello, FREE. Pro Tip Sign up for a free Jotform account to create powerful online forms in minutes — with no coding required. This article is originally published on Jan 05, , and updated on Apr 25, Join , Subscribers. Nousheen Aquil.
Nousheen Aquil is a web graphic designer.
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