Learning Graphic Design & Illustration

Producing and Printing Consistent Color Lesson 13 TEACHING TIP

7. In the Properties panel, select the White Point eyedropper tool, and then click Do students agree with the suggested
the light area of the building behind the tourists to brighten and correct the color histogram settings in step 11? Encourage
in the image. them to experiment with settings and
undo/redo changes to verify.

Use the White Point eyedropper tool to brighten the image.

The image of tourists looks better. But the image of the statue appears flat and
lacks contrast. You’ll fix that with a Levels adjustment layer.

8. Select the Statue layer in the Layers panel, and then click the Levels icon in the
Adjustments panel to add a Levels adjustment layer.

9. Click the Clip To Layer button ( ) at the bottom of the Properties panel to cre-
ate a clipping mask, so that the adjustment layer affects only the Statue layer.

10. In the Properties panel, click the Calculate A More Accurate Histogram icon to
refresh the histogram display.
Cached histogram data displays more quickly, but is often less accurate.
It’s a good idea to refresh the histogram before you make edits based on
information in it.

11. Move the sliders to punch up the image. We used the values 31, 1.6, 235.

Use the histogram sliders to punch up the image.

12. Save the file.

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Discussion Topic Lesson 13 Producing and Printing Consistent Color

What information will you add from the Gamut RGB Model
RGB and CMYK Model text to your run-
ning chart? Range of colors that can be A large percentage of the visible spectrum can be represented by mixing red,
displayed by a color system. green, and blue (RGB) colored light in various proportions and intensities.
RGB Where the colors overlap, they create cyan, magenta, yellow, and white.

• For onscreen/web use Because the RGB colors combine to create white, they are also called additive
(71 dpi standard) colors. Adding all colors together creates white—that is, all light is transmitted
back to the eye. Additive colors are used for lighting, video, and monitors. Your
• Raw camera files are in RGB monitor, for example, creates color by emitting light through red, green, and
• Emailing/digital transfer converts blue phosphors.

docs to RBG CMYK Model
• Red, Green, Blue LIGHT combine to
The CMYK model is based on the light-absorbing quality of ink printed on
= white paper. As white light strikes translucent inks, part of the spectrum is absorbed,
• “additive” colors while other parts are reflected back to your eyes.

CMYK In theory, pure cyan (C), magenta (M), and yellow (Y) pigments should com-
bine to absorb all color and produce black. For this reason, these colors are
• For print use (300 dpi standard) called subtractive colors. But because all printing inks contain some impurities,
• Can convert RGB to CMYK in these three inks actually produce a muddy brown, and must be combined with
black (K) ink to produce a true black. (K is used instead of B to avoid confu-
Photoshop sion with blue.) Combining these inks to reproduce color is called four-color
• Cyan, Magenta, Yellow, Black INK process printing.
• (black = K, not B, to avoid confusion
Identifying Out-of-Gamut Colors
with blue)
• C + M + Y = black (sort of) Colors on a monitor are displayed using combinations of red, green, and blue light
• “subtractive” colors (called RGB), while printed colors are typically created using a combination of four
• printing in CMYK is called four-color ink colors—cyan, magenta, yellow, and black (called CMYK). These four inks are
called process colors because they are the standard inks used in the four-color
process printing printing process.

Discussion Topic Most scanned photographs contain RGB colors within the CMYK gamut,
so changing them to CMYK mode converts all the colors with relatively little
What does gamut mean? Have you ever substitution. Images that are created or altered digitally, however, often contain
heard the phrase “run the gamut”? RGB colors that are outside the CMYK gamut—for example, neon-colored logos
Google it! and lights.

Before you convert an image from RGB to CMYK, you can preview the CMYK color
values while still in RGB mode.

Try It!

1. Choose View > Gamut Warning to see out-of-gamut colors. Photoshop builds a
color-conversion table, and displays a neutral gray in the image window where
the colors are out of gamut.

Because the gray can be hard to spot in the image, you’ll convert it to a more
visible color.

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Producing and Printing Consistent Color Lesson 13 TEACHING TIP

2. Choose Edit > Preferences > Transparency & Gamut (Windows) or Commands for step 2 at the top of the
Photoshop CC > Preferences > Transparency & Gamut (Mac OS). page may also be under Photoshop CC >
Preferences > Transparency & Gamut.
3. Click the color sample in the Gamut Warning area at the bottom of the dialog
box. Select a vivid color, such as purple or bright green, and click OK.

4. Click OK to close the Preferences dialog box.

The bright new color you chose appears instead of the neutral gray as the gamut warning color.

5. Choose View > Gamut Warning to turn off the preview of out-of-gamut colors.
Photoshop will automatically correct these out-of-gamut colors when you
save the file in Photoshop EPS format later in this lesson. Photoshop EPS format
changes the RGB image to CMYK, adjusting the RGB colors as needed to bring
them into the CMYK color gamut.

Adjusting an Image

The next step in preparing an image for output is to make any necessary color and
tonal adjustments. In this exercise, you’ll add some tonal and color adjustments to
correct an off-color scan of the original poster.
So that you can compare the image before and after making corrections, you’ll
start by making a copy.

Try It!

1. Choose Image > Duplicate, and click OK to duplicate the image.

2. Choose Window > Arrange > 2 Up Vertical so you can compare the images as
you work.
You’ll adjust the hue and saturation of the image to move all colors into gamut.

3. Select 13End_xx.psd (the original image) to make it active, and then select
the Visit Paris layer in the Layers panel.

4. Choose Select > Color Range.

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Lesson 13 Producing and Printing Consistent Color

5. In the Color Range dialog box, choose Out Of Gamut from the Select menu,
and then click OK.

Selecting the out-of-gamut areas.

The areas that were marked as out of gamut earlier are now selected, so you can
make changes that affect only those areas.
6. Choose View > Extras to hide the selection while you work with it.
The selection border can be distracting. When you hide extras, you no longer see
the selection, but it’s still in effect.
7. Click the Hue/Saturation button in the Adjustments panel to create a Hue/ Satura-
tion adjustment layer. (Choose Window > Adjustments if the panel isn’t open.) The
Hue/Saturation adjustment layer includes a layer mask, created from your selection.
8. In the Properties panel, do the following:
• Leave the Hue setting at the default value.
• Drag the Saturation slider until the intensity of the colors looks more realistic

(we used -14).
• Drag the Lightness to the left to darken (we used -2).

Fixing the hue and saturation of the selection.
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Producing and Printing Consistent Color Lesson 13 Discussion Topic

9. Choose View > Gamut Warning. You have removed most of the out-of-gamut Why is it a good idea to wait until the final
colors from the image. Choose View > Gamut Warning again to deselect it. steps of a project to convert a Photoshop
image from RBG to CMYK?
10. Close the duplicate image file without saving it.

Converting an Image to CMYK

It’s generally a good idea to work in RGB mode as long as possible. Converting
between modes causes color values to be rounded—and therefore less accurate
if you convert multiple times. Once you’ve made any last-minute corrections,
you’re ready to convert the image to CMYK. If you think you may want to output
the image to an inkjet printer or distribute it digitally later, save a copy in RGB
mode before converting to CMYK mode.

Try It!

1. Click the Channels tab to bring the Channels panel to the front.
The image is currently in RGB mode, so there are three channels listed: red, green,
and blue. The RGB channel is not actually a channel, but a composite of all three.

2. Choose Image > Mode > CMYK Color.

3. Click Merge in the message that warns you that you might lose some adjust-
ment layers.
Adjustment layers are lost when you convert the color mode from RGB to CMYK.
Merging the layers ensures the adjustments you made are preserved.

4. Click OK in the message about the color profile used in the conversion.

You can see the new CMYK channels on the right side of this figure.

You’ll learn more about color profiles when you work with color management.

The Channels panel now displays four channels: cyan, magenta, yellow, and
black. Additionally, it lists the CMYK composite. The layers were merged during
conversion, so there is only one layer in the Layers panel.

About Color Management

Because the RGB and CMYK color models use different methods to display colors,
each reproduces a different gamut, or range, of colors. For example, RGB uses light
to produce color, so its gamut includes neon colors, such as those you’d see in a
neon sign. In contrast, printing inks excel at reproducing certain colors that can lie
outside the RGB gamut, such as some pastels and pure black.

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TEACHING TIPS Lesson 13 Producing and Printing Consistent Color

To the RGB side of your chart, add “gamut A
(display range) includes neon colors”. To
CMYK, add “gamut includes some pastels B Red Magenta Blue Cyan Green Yellow
and pure black”.
C White Black
The takeaway with color management is
that different machines display different Yellow Cyan Blue Red
colors differently. That difference is called
the machine’s color profile. Every printer Green Magenta
has a color profile, as does your monitor
(which you can calibrate for accuracy). A. Natural color gamut CMYK color model RGB color model
For consistency, Photoshop uses the B. RGB color gamut
ICC standard. The lesson’s next section C. CMYK color gamut
describes how to manage all this when
you send an image to a print shop. But not all RGB and CMYK gamuts are alike. Each monitor and printer model
differs, and so each displays a slightly different gamut. For example, one brand of
Discussion Topic monitor may produce slightly brighter blues than another. The color space for a
device is defined by the gamut it can reproduce.
Certain print shops will walk you through
creating a unique color profile for files The color management system in Photoshop uses International Color Con-
you send to that shop. Over time, you’ll sortium (ICC)-compliant color profiles to convert colors from one color space
have a list of printing companies and their into another. A color profile is a description of a device’s color space, such as
profiles in the Color Profile Settings pull- the CMYK color space of a particular printer. You specify which profiles to use
down menu. to accurately proof and print your images. Once you’ve selected the profiles,
Photoshop can embed them into your image files, so that Photoshop and other
applications can accurately manage color for the image.

For information on embedding color profiles, see Photoshop Help. Before you
begin working with color management, you should calibrate your monitor. If
your monitor doesn’t display colors accurately, color adjustments you make
based on the image you see on your monitor may not be accurate. For informa-
tion about calibrating your monitor, see Photoshop Help.

Specifying Color-Management Settings

In order to accurately preview your colors onscreen, you need to set up color man-
agement in Photoshop. Most of the color-management controls you need are in the
Color Settings dialog box.

By default, Photoshop is set up for RGB as part of a digital workflow. If you are
preparing artwork for print production, however, you’ll want to change the settings
to be more appropriate for images that will be printed on paper rather than displayed
on a screen.

You’ll create customized color settings.

Try It!

1. Choose Edit > Color Settings to open the Color Settings dialog box.

The bottom of the dialog box interactively describes each option.

2. Move the pointer over each part of the dialog box, including the names of areas
(such as Working Spaces), the menu names, and the menu options. As you move
the pointer, Photoshop displays information about each item. When you’ve fin-
ished, return the options to their defaults.

Now, you’ll choose a set of options designed for a print workflow, rather than an
online workflow.

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Producing and Printing Consistent Color Lesson 13 REVIEW THE
VOCABULARY
3. Choose North America Prepress 2 from the Settings menu. The working spaces
and color-management policy options change for a prepress workflow. Then Soft proof Select a profile that enables
click OK. the monitor to display a close representa-
tion of what the image will look like when
printed.

Proof profile The preset or custom set-
ting that translates the image colors so
they appear as they will look when output
to a particular device.

Choose a color preset in the Color Settings dialog box.

Proofing an Image Soft-proof

You’ll select a proof profile so that you can view a close onscreen representation of Select a profile that enables
what an image will look like when printed. An accurate proof profile lets you proof the monitor to display a close
on the screen (soft-proof) for printed output. representation of what the image
will look like when printed.
A proof profile (also called a proof setup) defines how the document is going to be
printed, and adjusts the onscreen appearance accordingly. Photoshop provides a Proof profile
variety of settings that can help you proof images for different uses, including print
and display on the web. For this lesson, you’ll create a custom proof setup. You can The preset or custom setting
then save the settings for use on other images that will be output the same way. that translates the image colors
so they appear as they will look
Try It! when output to a particular
device.
1. Choose View > Proof Setup > Custom. The Customize Proof Condition dialog
box opens. Make sure Preview is selected.

2. From the Device To Simulate menu, choose a profile that represents the final
output device, such as that for the printer you’ll use to print the image. If you
don’t have a specific printer, the profile Working CMYK–U.S. Web Coated (SWOP)
v2, the current default, is generally a good choice.

3. If you’ve chosen a different profile, make sure Preserve Numbers is not selected.

The Preserve CMYK Numbers option simulates how colors will appear if they’re
not converted to the output device color space.

4. Make sure Relative Colorimetric is selected for the Rendering Intent.

A rendering intent determines how the color is converted from one color space
to another. Relative Colorimetric, which preserves color relationships without
sacrificing color accuracy, is the standard rendering intent for printing in North
America and Europe.

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Discussion Topic Lesson 13 Producing and Printing Consistent Color

Why do you suppose a printer would ask 5. If it’s available for the profile you chose, select Simulate Black Ink. Then deselect
for an EPS file instead of other formats? it, and select Simulate Paper Color; notice that selecting this option automatical-
Others ask for the PSD native file as well ly selects Simulate Black Ink.
as an EPS. Any ideas why?

Note: To display the document You can choose custom proof settings.
with and without the proof
settings, toggle View > Proof Notice that the image appears to lose contrast. Paper Color simulates the dingy
Colors. white of real paper, according to the proof profile. Black Ink simulates the dark
gray that actually prints to most printers, instead of solid black. Not all profiles
support these options.

6. Toggle the Preview option to see the difference between the image as it is displayed
on screen and as it will print, based on the profile you selected. Then click OK.

Normal image. Image with Paper Color and Black Ink options selected.

7. Save the file.

Saving the Image as a CMYK EPS File

Many professional printers request that Photoshop images be submitted in EPS
format. You’ll save this image as an EPS file in CMYK mode.

Try It!

1. Choose File > Save As.

2. In the Save As dialog box, do the following, and then click Save:
• Choose Photoshop EPS from the Format menu.
• Under Color, select Use Proof Setup. Don’t worry about the warning icon;
you’ll save a copy.
• Accept the filename 13End_xx.eps.

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Producing and Printing Consistent Color Lesson 13 Discussion Topic

Saving the file as an .eps file. What tips are listed for best results when
printing to a desktop inkjet printer?
3. Click Save.
4. Click OK in the EPS Options dialog box that appears. REVIEW THE
5. Save and then close the 13End_xx.psd file. VOCABULARY
6. Choose File > Open, navigate to the folder where you saved your project files for
Color composite A single print that com-
this chapter, and double-click the 13End_xx.eps file. bines the red, green, and blue channels of
an RGB image or the cyan, magenta, yel-
low, and black channels of a CMYK image.

Printing to a Desktop Inkjet Printer

Many consumer-level inkjet printers do a good job printing photographs and
other image files. The precise settings available vary from printer to printer, but
when you’re printing images from Photoshop to a desktop inkjet printer, you’ll
get the best results if you do the following:

• Make sure the appropriate printer driver is installed, and that you’ve
selected it.

• Use the appropriate paper for your intended use. Special photographic and
coated papers are a good choice when you’re printing photos for framing.

• Select the correct paper source in the printer settings. The printer lays ink
differently on different types of paper. If you’re using photographic paper,
make sure you’ve selected it in the printer settings.

• Select the image quality in the printer settings. For framed prints, you
probably want to print the highest quality. If you’re printing a proof to get
a sense of the color, you may want to select a lower quality for speedier
printing and to use less ink.

Printing a CMYK Image from Photoshop Color composite

If you’re printing an image directly from Photoshop, use the following guidelines for A single print that combines the
best results: red, green, and blue channels
of an RGB image or the cyan,
• Print a color composite, often called a color comp, to proof your image. A color magenta, yellow, and black
composite is a single print that combines the red, green, and blue channels of an channels of a CMYK image.
RGB image (or the cyan, magenta, yellow, and black channels of a CMYK image).
This indicates what the final printed image will look like.

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REVIEW THE Lesson 13 Producing and Printing Consistent Color
VOCABULARY
Plate • Set the parameters for the halftone screen.
Plate In Photoshop, the separate printed • Print separations to make sure the image separates correctly.
sheet for each ink color. In Photoshop, the separate • Print to film or plate.
printed sheet for each ink color. When you print color separations, Photoshop prints a separate sheet, or plate, for
TEACHING TIP each ink. For a CMYK image, it prints four plates, one for each process color. In this
exercise, you’ll print color separations.
Consider asking a volunteer to complete
step 2, which involves printing four-color Try It!
separations of their poster, otherwise you’ll
end with quite a backup at the printer. 1. With the 13End_xx.eps image open from the previous exercise, choose File > Print.
By default, Photoshop prints any document as a composite image. To print this file
as separations, you need to explicitly instruct Photoshop in the Print dialog box.

2. In the Photoshop Print Settings dialog box, do the following:
• In the Color Management area, choose Separations from the Color
Handling menu.
• Click Print.

Adjust print settings before you send the print job to the printer.

3. Save and close the file.

Working and Printing in 3D

You can print 3D objects directly from Photoshop. If you have a 3D printer on site, you
can print locally. Otherwise, you can export your file for printing by an online vendor.
(3D features are available only if your video card has at least 512MB of dedicated VRAM
and supports OpenGL 2.0, and if OpenGL 2.0 is enabled on your computer.)
The advantage to working with 3D objects is, obviously, that you can work with them
in three dimensions. You can also return to a 3D layer at any time to change lighting,
color, material, or position without having to re-create a lot of the art. Photoshop

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Producing and Printing Consistent Color Lesson 13 REVIEW THE
VOCABULARY
includes several basic tools that make it easy to rotate, resize, and position 3D Mesh
objects. The 3D tools in the options bar manipulate the object itself. The Camera Defines a 3D object. Mesh Defines a 3D object.
widget in the lower left corner of the application window manipulates the camera so
you can view a 3D scene from different angles. Discussion Topic

You can use the 3D tools whenever a 3D layer is selected in the Layers panel. A 3D Has anyone in class ever used a 3D
layer behaves like any other layer—you can apply layer styles, mask it, and so on. printer? Google 3D printing services in
However, a 3D layer can be quite complex. your area. What is available where? What
if you wanted to purchase a 3D printer?
Unlike a regular layer, a 3D layer contains one or more meshes. For example, a mesh Where are they available and how much
might define a cone shape. Each mesh, in turn, includes one or more materials—the do they cost?
appearance of a part or all of the mesh. Each material includes one or more maps,
which are the components of the appearance. There are nine typical maps, and Comprehension Check
there can be only one of each kind; however, you can also use custom maps. Each
map contains one texture—the image that defines what the maps and materials look 1. To reproduce color accurately, first
like. The texture may be a simple bitmap graphic or a set of layers. The same texture calibrate your monitor, and then
might be used by many different maps and materials. use the Color Settings dialog box to
specify which color spaces to use. For
In addition to meshes, a 3D layer also includes one or more lights, which affect the example, you can specify which RGB
appearance of 3D objects and remain in a fixed position as you spin or move the color space to use for online images,
object. A 3D layer also includes cameras, which are saved views with the objects in a and which CMYK color space to use
particular position. The shader creates the final appearance based on the materials, for images that will be printed. You
object properties, and renderer. can then proof the image, check for
out-of-gamut colors, adjust colors
When you think of printing, you usually think of producing a flat page of two dimen- as needed, and—for printed images—
sional text and images. They may be high-quality, amazing images, but you can’t see create color separations.
them from different angles, and what you hold in your hand remains a piece of paper
or other relatively simple media. 2. A gamut is the range of colors that
can be reproduced by a color model
3D printers open up a whole new world of printing opportunities. Instead of print- or device. For example, the RGB and
ing an image of a thing, you can print the thing itself. The possibilities are endless, CMYK color models have different
including medical uses, prototyping, and creative enterprises such as making jewelry gamuts, as do any two RGB scanners.
and one-of-a-kind souvenirs.
3. A color profile is a description of a
3D printers were once the province of well-funded labs, but have recently become device’s color space, such as the
much more accessible. In many cities, you can use one at a “maker” or do-it yourself CMYK color space of a particular
(DIY) space, a shared workshop area where, for a fee, you can use many advanced printer. Applications such as Photo-
resources. If you don’t have a 3D printer yourself or easy access to one, you can also shop can interpret color profiles in an
send your 3D creations to online vendors who will print them using the material you image to maintain consistent color
specify and mail them to you. across different applications, plat-
forms, and devices.
You can create 3D objects in Photoshop—or import 3D objects that have been cre-
ated elsewhere—and print them directly from Photoshop. 4. Color separations are separate plates
for each ink used in a document. Of-
Comprehension Check ten, you’ll print color separations for
the cyan, magenta, yellow, and black
1. What steps should you follow to reproduce color accurately? (CMYK) inks.

2. What is a gamut?

3. What is a color profile?

4. What are color separations?

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REVIEW QUESTIONS Chapter 6 Preparing and Outputting a File

1. In the Layers panel, select the lay- End-of-Chapter Activities
ers to group. Then choose Layer >
Group Layers. Review Questions

2. You can create a guide to help you 1. Describe how to create a layer group to organize design elements.
draw or align an object, such as the 2. Name an example of when you’d create a guide from one of the rulers.
blue band drawn in Lesson 12. 3. Describe how to duplicate a layer or layer group to save time.
4. Explain what motion design is.
3. In the Layers panel, select the layer 5. What should you look for during a “zoom test” before printing?
or group to duplicate. Then choose 6. What light colors are combined in the RGB color model?
Duplicate Layer from the Layers panel 7. What ink colors are combined in the CMYK color model?
menu, or drag the selection down to 8. Name one thing you can you do to ensure you get the best results from a desktop inkjet printer.
the New Layer icon.
Multiple Choice
4. Motion design is a subset of graphic
design that uses graphic design prin- 1. A set of recorded commands that you can play back in Photoshop is called a(n)
ciples in filmmaking, video produc- a. macro
tion, and animation. b. applet
c. plug-in
5. Check and correct sharpness, color d. action
correction, noise, and other issues
that can affect the final printed 2. Click this button to finish capturing steps.
image quality. a. Run Macro
b. Stop Recording
6. Red, green, and blue. c. Stop Action
d. End Recording
7. Cyan, magenta, yellow, and black.
3. This File menu command enables you to insert another file into the design as an entire image:
8. Any of the following answers is a. Place Embedded
acceptable: b. Insert
Make sure the appropriate printer c. Insert Embeded
driver is installed and selected. d. Place
Us the appropriate paper for your
intended use. 4. You typically use Adobe Generator when you are saving files for a
Select the correct paper source. a. printed newsletter
Select the correct image quality. b. website
c. 3D object
MULTIPLE CHOICE d. video

1. D 5. What is the correct image resolution for professional printing?
a. 72 dpi
2. B b. 150 dpi
c. 300 dpi
3. A d. 1,000 dpi

4. B 6. When you select a profile that enables the monitor to display a close representation of what the image will
look like when printed, you are creating one of these.
5. C a. soft-proof
b. color separation
6. A c. plate
d. 3D proof

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Preparing and Outputting a File Chapter 6 MULTIPLE CHOICE

7. Most professional printers require this color mode and file type. 7. C
a. RGB PSD 8. B
b. RGP EPS
c. CMYK EPS
d. RGB TIFF

8. A(n) ______ defines a 3D object.
a. panel
b. mesh
c. perspective
d. extruder

Chapter 6 – Portfolio Builder

Designing for Mobile Devices with Artboards

Creating user interfaces and websites for mobile devices just got easier, with artboards. You can use artboards
to create variations of a design in a single document, as many Adobe Illustrator CC users already know. In
Photoshop, artboards are a special type of layer group, so you work with artboards in the Layers panel. We’ll copy
Lesson 12’s end file and format it for the screen size of an iPhone 6 Plus.

DIRECTIONS 5. With the new artboard still selected in the Layers
panel, choose the Artboard tool, hidden under the
1. In Photoshop, navigate to the folder where you Move tool, and then Shift-drag the artboard to the
saved your project files for this chapter. Open the right to move it away from the original artboard.
12End_xx.psd file, and save it as PB06End_xx.psd.
If you receive a warning about a missing embedded 6. Make sure the Artboard tool is active, and then in
RGB color profile, accept the default “Leave as is” the options bar choose iPhone 6 Plus (1242, 2208)
and click OK. from the Size menu.

2. Choose Select > All Layers. 7. In the Layers panel, expand the Museo Arte iPhone
6 Plus artboard, and Shift-click the first and last
3. Choose Layer > New > Artboard From Layers, layers in just that artboard to select all of its layers.
name it Museo Arte Computer, and click OK. This Choose Edit > Free Transform, drag the bottom
website design is for a computer. right handle to size the width of the design for that
artboard, and then press Enter or Return.
4. With the Museo Arte Computer artboard selected
in the Layers panel, choose Layer > Duplicate
Artboard. Name it Museo Arte iPhone 6 Plus, and
click OK.

Testing Artboard Designs with Adobe Preview CC

Now we’ll use Adobe Preview CC to see how the new design looks on a real device. Make sure your device is
either connected to your computer with a USB cable or connected to the same wireless network as the computer
running Photoshop.

1. Choose Window > Device Preview. If you don’t 3. The Photoshop document should appear auto-
already have Adobe Preview CC installed on your matically in Preview CC on your device. Choose an
device, click the Get the App link and install it. artboard to preview by choosing it from the menu
at the top of the app. If you don’t see the menu,
2. On your device, open the Adobe Preview CC tap the device’s screen.
app. If necessary, sign in to your Creative Cloud
account in the app.

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Chapter 6 Preparing and Outputting a File

4. In Photoshop, edit the layers in the artboard you’re
previewing. For example, hide or move a layer.
You’ll see that your changes appear quickly on
the device.

5. Save and close the file.

Chapter 6 – Critical Thinking

Sharing Your Work on Behance

Integrated into Creative Cloud, Behance is the leading online platform for showcasing and discovering creative
work. With cutting-edge and traditional designers alike sharing their work, Behance is a great source of inspiration.
You can browse as wide or narrow a group of works as you like, with filters for popular images, fields of interest,
and countries of origin. Or you can enter your own search term. And when you find contributors you like, you can
follow them to keep up with their latest work.

Photoshop makes it easy to upload and post files to your own portfolio on Behance. Make sure you’ve signed up
for a Behance account to do the following steps.

DIRECTIONS 4. You may need to sign in; if you’re already signed
in, you’ll see a preview of your working file. If you
1. Open the 12End_xx.psd file in Photoshop from don’t have a Behance portfolio, you can sign up
the folder where you saved the solution files for for free with your Creative Cloud subscription.
this chapter. Save the file as CT06End_xx.jpg
(JPEG format) in the same folder. 5. In the Upload A Work In Progress window, type
Museo Arte for the title.
2. Close the .psd version of the file and open
CT06End_xx.jpg in Photoshop. 6. Type spain, museum, web, buttons for the tags.

3. Choose File > Share On Behance.

The Share On Behance dialog box opens.

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Preparing and Outputting a File Chapter 6

7. Choose Private from the Visible To menu if you 9. Click Close.
want to control who sees the image. Choose
Everyone if you want it to be publicly available. 10. Close the file without saving. Your work of art is
available to be admired on Behance.
8. Click Continue.The dialog box displays a link to
your artwork. You can share the link on social
media or paste it into email or a blog post. You
can also click View And Share On Behance to
sync to social networks such as Twitter, Facebook,
and LinkedIn.

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Chapter 7

Getting Started with
Illustrator CC

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Getting Started with Illustrator CC Chapter 7 CHAPTER 7
OVERVIEW
Lesson 14 | Getting to Lesson 15 | Techniques for
Know the Work Area Selecting Artwork This chapter introduces students to the
Illustrator environment and its basic tools.
Open an Adobe Illustrator CC file Differentiate between the various selection tools
Work with the Tools panel and use different selection techniques Lesson 14: Key skills include opening an
Work with panels Recognize Smart Guides Illustrator CC file, working with tools and
Reset and save your workspace Save selections for future use panels, saving and resetting workspaces,
Use viewing options to change the display magnification Use tools and command to align shapes and points and changing display magnification. The
Navigate multiple artboards and documents to each other and the artboard lesson concludes with an overview of
Explore document groups Group and ungroup items ethical computer use at school and in the
Find resources for using Illustrator Work in Isolation mode workplace.
Study workplace ethics Arrange content
Select objects that are behind other objects Lesson 15: Key skills include using vari-
Hide and lock items for organizational purposes ous selection tools, using Smart Guides
Employ personal and professional cyber safety rules and alignment tools, grouping, hiding,
and locking items, and rearranging the
End-of-Chapter Activities stacking order of documents. The chapter
concludes with an overview of personal
and professional cyber safety rules.

Files Needed for This Chapter:

14_Start01.ai

14_Start02.ai

15Start.ai

PB07.ai

CT07.ai

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CHAPTER OPENER

In this chapter, we switch our focus from Photoshop CC to Illustrator CC.
Photoshop, which is raster-based, is ideal for creating web graphics and editing
existing photos and images. Illustrator, which is vector-based, is for drawing and
painting from scratch. It is ideal for creating logos or graphics that may need to be
resized for print or other purposes.

MEET INDIVIDUAL NEEDS

More advanced learners: Choose up to three more advanced learners—includ-
ing any who are already familiar with Illustrator—to act as the Illustrator Shortcut
Police. As you move through the chapter—perhaps all the Illustrator chapters—it’s
their job to point out keyboard shortcuts for pull-down menu options or other
commands. Have them keep a running list to display or distribute to the class.

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FOCUS AND ENGAGE Lesson 14 Getting to Know the Work Area

Introduce the Lesson Lesson 14 Overview

As you review the skills listed in the In this lesson, you’ll learn how to do the following:
Lesson 14 Overview, share that students
will learn their way around the various • Open an Adobe Illustrator CC file. • Navigate multiple artboards and documents.
tools and panels included in the Illustrator
application. • Work with the Tools panel. • Explore document groups.

Discussion Topic • Work with panels. • Find resources for using Illustrator.

Why are vector graphics the best choice • Reset and save your workspace. • Study workplace ethics.
for something like a logo that will be used
at various sizes and in various media? • Use viewing options to change the display
magnification.

This lesson introduces you to Illustrator CC and its workspace. To make the most of the extensive drawing,
painting, and editing capabilities of Adobe Illustrator CC, it’s important to learn how to navigate the workspace.
The workspace consists of the Application bar, menus, Tools panel, Control panel, Document window, and the
default set of panels.

Note: To learn more about bitmap Introducing Adobe Illustrator
graphics, search for “Importing
bitmap images” in Illustrator Help In Illustrator, you primarily create and work with vector graphics (sometimes called
(Help > Illustrator Help). vector shapes or vector objects). As you first learned in Lesson 1, vector graphics are
made up of lines and curves defined by mathematical objects called vectors. You can
freely move or modify vector graphics without losing detail or clarity because they
are resolution-independent. In other words, vector graphics maintain crisp edges
when resized, printed to a PostScript printer, saved in a PDF file, or imported into a
vector-based graphics application. As a result, vector graphics are the best choice for
artwork, such as logos, that will be used at various sizes and in various output media.

Illustrator also allows you to incorporate bitmap images—technically called raster
images—that use a rectangular grid of picture elements (pixels) to represent the
visual. Each pixel is assigned a specific location and color value. Raster images can be
created in a program such as Adobe Photoshop.

A logo drawn as vector art. A logo as a raster image.

Starting Illustrator and Opening a File

You’ll be working with multiple art files during this lesson, but before you begin, you’ll
restore the default preferences for Adobe Illustrator CC. To ensure that the tools and
panels function exactly as described in each lesson, you’ll start each lesson by reset-
ting the Adobe Illustrator CC preferences file.

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Getting to Know the Work Area Lesson 14 REVIEW THE
VOCABULARY
Try It! Note: Resetting the preferences
is not something that you’ll need Workspace The arrangement of pan-
1. Choose File > Open, navigate to the folder holding the data files for this chapter, to do when working on your els, bars, and windows in Illustrator or
and double-click the 14Start01.ai file to open it. own projects, but it ensures that Photoshop.
This lesson contains a fictitious business name, address, and website address what you see onscreen matches
made up for the purposes of the project. the descriptions in the lessons. MEET INDIVIDUAL
NEEDS
2. Click Disable Sync Settings if the sync dialog box appears. Note: If you don’t see Reset
Essentials in the Workspace English language learners Have English
3. Choose Window > Workspace > Reset Essentials to ensure that the workspace is menu, choose Window > language learners translate the vocabulary
set to the default settings. Workspace > Essentials before words and definitions into their native lan-
choosing Window > Workspace > guage and read them aloud to a partner
4. Choose View > Fit Artboard In Window. Reset Essentials. in both English and their native language.
This fits the active artboard into the Document window so that you can see the Some vocabulary words mean one thing
entire artboard. As you’ll soon learn, an artboard is the area that contains your in the graphic design world and another
printable artwork and is similar to a page in Adobe InDesign. thing elsewhere. Encourage all students
to compare these terms’ dual meanings.
5. Click the word “Libraries” in the panel tab on the right to collapse it, if the Librar-
ies panel is showing (see the following figure). The Libraries panel you see may
look different from the figure, and that’s okay.

You will use the first file to practice navigating, zooming, and investigating an Illustrator document
and the workspace.

When the file is open and Illustrator is fully launched, the Application bar, menus,
Tools panel, Control panel, and panel groups appear on the screen. Docked on the
right side of the screen, you will see that default panels appear as icons by default.
Illustrator also consolidates many of your most frequently accessed options in the
Control panel below the menu bar. This lets you work with fewer visible panels and
gives you a larger area in which to work.

Exploring the Workspace Workspace

You create and manipulate your documents and files using various elements, The arrangement of panels, bars,
such as panels, bars, and windows. Any arrangement of these elements is called a and windows in Illustrator or
workspace. When you first start Illustrator, you see the default workspace, which Photoshop.
you can customize for the tasks you perform. You can create and save multiple
workspaces—one for editing and another for viewing, for example—and switch
among them as you work.

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TEACHING TIP Lesson 14 Getting to Know the Work Area

What are the main components of the A. Application bar
Illustrator workspace? What similarities B. Control panel
do you see with the Photoshop work- C. Panels
space? Ask a volunteer to draw and D. Tools panel
label the parts of the workspace for
the class. Have each student use sticky E. Document
notes to label their desk as if it were an window
Illustrator workspace.
F. Status bar
Default workspace areas.

A. The Application bar across the top by default contains a workspace switcher, the
menu bar (on Mac OS, the menu items appear above the Application bar—see
the following figure), and application controls.

B. The Control panel displays options for the currently selected object.
C. Panels help you monitor and modify your work. Certain panels are displayed by

default, and you can display any panel by choosing it from the Window menu.
D. The Tools panel contains tools for creating and editing images, artwork, page

elements, and more. Related tools are grouped together.
E. The Document window displays the file you’re working on.
F. The Status bar appears at the lower-left edge of the Document window. It

displays information, zooming, and navigation controls.

Getting to Know the Tools Panel

The Tools panel on the left side of the workspace contains selection tools, drawing
and painting tools, editing tools, viewing tools, the Fill and Stroke boxes, drawing
modes, and screen modes. As you work through the lessons, you’ll learn about the
specific function of many of these tools.

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Getting to Know the Work Area Lesson 14 TEACHING TIP

Point out the Fill and Stroke indicator
boxes in the Tools panel. It can be easy to
forget that they’re here!

Selection tool (V) Direct Selection tool (A)
Magic Wand tool (Y) Lasso tool (Q)

Pen tool (P) Curvature tool (Shift+`)
Type tool (T) Line Segment tool (\)
Rectangle tool (M) Paintbrush tool (B)
Shaper tool (Shift+Z) Eraser tool (Shift+E)

Rotate tool (R) Scale tool (S)
Width tool (Shift+W)
Shape Builder tool (Shift+M) Free Transform tool (E)
Perspective Grid tool
Mesh tool (U) (Shift+P)
Eyedropper tool (I)
Gradient tool (G)

Blend tool (W)

Symbol Sprayer tool Column Graph tool
(Shift+S)
Slice tool (Shift+K)
Artboard tool (Shift+O)
Hand tool (H) Zoom tool (Z)
Swap Fill and Stroke
Fill box (X) (Shift+X)

Default Fill and Stroke (D) Stroke box (X)

Color (<) None (/)
Gradient (>)
Draw Inside
Draw Normal (Shift+D)
(Shift+D)

Draw Behind
(Shift+D)

Change Screen
Mode (F)

The Tools panel shown here and throughout this lesson has two columns. You may see a one-column Note: You can modify the
Tools panel, depending on your screen resolution and workspace. default keyboard shortcuts that
Illustrator comes with. To do
Try It! this, choose Edit > Keyboard
Shortcuts. For more information,
1. Position the pointer over the Selection tool ( ) in the Tools panel. Notice that the see “Keyboard Shortcuts”
name (Selection Tool) and keyboard shortcut (V) are displayed in a tooltip. in Illustrator Help (Help >
Illustrator Help).
2. Position the pointer over the Direct Selection tool ( ), and press and hold down
the mouse button until a tools menu appears. (In Windows, always press the left Note: You can also select hidden
mouse button unless otherwise indicated.) Release the mouse button, and then tools by pressing the Option key
click the Group Selection tool to select it. (Mac OS) or Alt key (Windows)
and clicking the tool in the Tools
Point to a tool and then press and hold the mouse button panel. Each click selects the next
(left mouse button in Windows) to see its menu. hidden tool in the tool sequence.

Note: You can turn the tooltips
on or off by choosing Illustrator >
Preferences > General (Mac OS)
or Edit > Preferences > General
(Windows) and deselecting Show
Tool Tips.

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Discussion Topic Lesson 14 Getting to Know the Work Area

Say you want to put a floating tools panel Any tool in the Tools panel that displays a small triangle contains additional tools
back in its original place on the left side of that can be selected in this way. The tools in the menu are said to be “hidden”
your workspace. How do you know when below the one currently displayed in the panel.
you’ve dragged it to the right place?
3. Point to the Rectangle tool ( ), and then press and hold the mouse button to
reveal more tools. Click the arrow at the right edge of the hidden tools panel to
separate the tools from the Tools panel into a separate floating tool panel so that
you can access them at all times.

4. Click the Close button (X) in the upper-left corner (Mac OS) or upper-right cor-
ner (Windows) on the floating tool panel’s title bar to close it. The tools return to
the Tools panel.

Note: You can also collapse the Moving tools into a floating tool panel givens you access to them at all times.
floating tool panels or dock them
to the workspace or each other. Next, you’ll learn how to resize and float the Tools panel. In the figures in this
lesson, the Tools panel is a double column by default. As previously indicated,
you may see a single-column Tools panel to start with, depending on your
screen resolution and workspace, and that’s okay.

5. Click the double arrow in the upper-left corner of the Tools panel to either
expand the one column into two columns or collapse the two columns into one
(depending on your screen resolution).

6. Click the same double arrow again to expand (or collapse) the Tools panel.

7. Click the dark gray title bar at the top of the Tools panel or the dashed line
beneath the title bar, and drag the panel into the workspace. The Tools panel is
now floating in the workspace.

Note: You can click the double Click the dark gray title bar to drag the Tools panel into the workspace.
arrow at the top of the Tools
panel or double-click the title 8. To dock the Tools panel again, drag its title bar or the dashed line below it to the
bar at the top of the Tools panel left side of the screen (Mac OS) or Application window (Windows). When the
to switch between two columns pointer reaches the left edge, a translucent blue border, called the drop zone,
and one column. Just be careful appears. Release the mouse button to dock the Tools panel neatly into the side
not to click the X! of the workspace.

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Getting to Know the Work Area Lesson 14 Discussion Topic

Creating a Custom Tools Panel Why might you create a custom tools
panel? What happens to your custom
You may find yourself using a specific set of tools most of the time. In tools panels after you create them?
Illustrator, you can create a custom tool panel to hold the tools you use most
often. To create the custom panel, choose Window > Tools > New Tools Panel.
Each new tools panel has stroke and fill controls and the bottom and a plus
sign (+) at the top. Drag a tool from the main Tools panel onto the custom
panel you created to add tools to the custom panel. A custom tools panel is
free-floating by default. Illustrator saves any custom tools panel you create, so
that you can open it regardless of which document is open.

Create a custom tools panel and then drag the tools you want onto it.

Working with the Control Panel

The Control panel is the panel that’s docked at the top of the workspace, just above
the docked Tools panel. It offers quick access to options, commands, and other
panels relevant to the currently selected content. You can click text such as “Stroke”
or “Opacity” to display a related panel. For example, clicking the word “Stroke” will
display the Stroke panel.

Try It!

1. Select the Selection tool ( ) in the Tools panel, and click the letter “s” in the word
“Resort” in the artwork on the artboard.
Notice that options for that object appear in the Control panel, including the
word “Group,” color options, Stroke, and more.

Select an object to display options for it. Note: You can also dock the
Control panel by choosing Dock
2. With any tool, drag the gripper bar (the dashed line along the left edge) of the To Top or Dock To Bottom from
Control panel into the workspace. the Control panel menu on the
right side of the Control panel.

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Discussion Topic Lesson 14 Getting to Know the Work Area

What’s the difference between a panel Once the Control panel is free-floating, you can drag the dark gray gripper
and a panel group? bar that appears on the left edge of the Control panel to move it to the top or
bottom of the workspace.
Note: In the default workspace,
the Control panel can be 3. Drag the Control panel by the gripper bar on the left edge of the panel. When
dragged by the dark gray the pointer reaches the bottom of the Application bar, to the right of the Tools
gripper bar on the left edge to panel, a blue line appears indicating the drop zone. When you release the mouse
the bottom of the screen (Mac button, the panel is docked.
OS) or Application window
(Windows). When the pointer
(not the panel) reaches the
bottom of the screen (Mac
OS) or Application window
(Windows), a blue line appears,
indicating the drop zone in
which it will be docked. You can
then release the mouse button
to dock it.

Note: You can also choose The blue line indicates the drop zone when dragging the Control panel.
Window > Workspace > Reset
Essentials to reset the panels. 4. Choose Select > Deselect so that the content on the artboard is no
longer selected.
Note: To find a hidden panel,
choose the panel name from the Working with Panels
Window menu. A check mark
to the left of the panel name Panels, which are listed alphabetically in the Window menu, give you quick access to
indicates that the panel is already many tools that make modifying artwork easier. By default, some panels are docked
open and in front of other panels and appear as icons on the right side of the workspace.
in its panel group. If you choose Next, you’ll experiment with hiding, closing, and opening panels.
a panel name that is already
selected in the Window menu, Try It!
the panel and its group collapse.
1. First, choose Reset Essentials from the workspace switcher in the upper-right
corner of the Application bar to reset the panels to their original locations.

2. Click the Swatches panel icon ( ) on the right side of the workspace to expand
the panel, or choose Window > Swatches.
Notice that the Swatches panel appears with two other panels—the Brushes
panel and the Symbols panel. They are all part of the same panel group.

3. Click the Symbols panel tab to view the Symbols panel.

Click the Symbols tab to see available symbols.
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Getting to Know the Work Area Lesson 14 Discussion Topic

4. Now, click the Color panel icon ( ) in the dock at right. Notice that a new What are three different ways to close
panel group appears and that the panel group that contained the Swatches a panel?
panel collapses.

5. Drag the gripper bar at the bottom of the Color panel down to resize the panel,
showing more of the color spectrum.
The Color panel you see may look different, and that’s okay.

6. Click the Color panel icon to collapse the panel group.
7. Click the double arrow at the top of the dock to expand the panels. Click the

double arrow again to collapse the panels.

Expand and collapse multiple panels by clicking the double arrow. Note: To collapse a panel back to
an icon, you can click its tab, its
Use this method to show more than one panel group at a time. Your panels may icon, or the double arrow in the
look different when expanded, and that’s okay. panel title bar.

8. To increase the width of all the panels in the dock, drag the left edge of the Tip: To expand or collapse the
docked panels to the left until text appears. To decrease the width, click and drag panel dock, you can also double-
the left edge of the docked panels to the right until the text disappears. click the panel dock title bar at
the top.

Drag to resize the width of the panels. Note: To close a panel, drag the
panel away from the dock, and
9. Choose Window > Workspace > Reset Essentials to reset the workspace. click the X in the panel title bar.
You can also right-click a docked
Working with Panel Groups panel tab or panel icon and
choose Close from the menu.
You can also move panels from one panel group to another. In this way, you can
create custom panel groups that contain the panels you use most often. Next,
you will resize and reorganize panel groups, which can make it easier to see more
important panels.

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TEACHING TIP Lesson 14 Getting to Know the Work Area

Point out the top yellow note to press Note: Press Tab to toggle Try It!
Tab to toggle between Hide and Show for between hide and show for all
all panels. If your panels suddenly disap- panels. You can hide or show 1. Drag the Swatches panel icon ( ) away from the dock to remove the panel
pear, chances are you’ve accidentally hit all panels except for the Tools from the dock and make it a free-floating panel. Notice that the panel stays
the Tab key. Press it again to bring the and Control panels by pressing collapsed as an icon when it is free-floating.
panels back. Shift+Tab to toggle between hide
and show. 2. Click the double arrow in the Swatches panel title bar to expand the panel so you
can see its contents.

3. Drag the Swatches panel by the panel tab, the panel title bar, or the area behind
the panel tab onto the Brushes ( ) and Symbols ( ) panel icons. Release the
mouse button when you see a blue line between the panel icons and an outline
around the Brushes panel group.

Note: Many panels only require The panel has been dragged into a new position.
that you double-click the panel
tab twice to return to the full- Next, you’ll organize the panels to create more room in your workspace.
size view of the panel. If you
double-click one more time, the 4. Choose Reset Essentials from the workspace switcher in the Application bar to
panel fully expands. make sure that the panels are reset to their default state.

5. Click the double arrow at the top of the dock to expand the panels.

6. Click the Color Guide panel tab to make sure it’s selected. Double-click the
panel tab to reduce the size of the panel. Double-click the tab again to minimize
the panel. This can also be done when a panel is free-floating (not docked).

Double-click a panel tab to resize or minimize it.

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Getting to Know the Work Area Lesson 14 Discussion Topic

7. Click the Symbols panel tab if not already selected. Drag the dividing line Note: To reduce and expand the How do you add a panel to the bar of
between the Symbols panel group and the Stroke panel group below it up to panel size, instead of double- docked panels located on the right edge
resize the group. clicking the panel tab, you can of your workspace?
click the small arrow icon to
the left of the panel name in the
panel tab, if present.

You can drag to resize the panel group. Note: You may not be able
to drag the divider very far,
8. Choose Reset Essentials from the workspace switcher on the far right side of the depending on your screen size,
Application bar above the Control panel. screen resolution, and number of
panels expanded.
9. Choose Window > Align to open the Align panel group. Drag the title bar of the
Align panel group (the bar above the Align tab) to the docked panels on the right Note: If you drag a group into
side of the workspace. Position the pointer below the group that the Symbols the dock and drop it into an
panel icon ( ) is in until a single blue line appears below the group. Release the existing group, the two groups
mouse button to create a new group in the dock. merge. Reset the workspace
and open the panel group to
Next, you will drag a panel from one group to another in the docked panels. try again.

10. Drag the Transform panel icon ( ) up so that the pointer is just below the Color Note: You can also dock panels
panel icon ( ). A blue line appears between the Color panel icon and the Color next to each other on the right or
Guide panel icon ( ), outlining the Color panel group in blue. Release the left side of the workspace. This is
mouse button. a great way to conserve space.

Note: You can also reorder entire
panel groups in the dock by
dragging the double gray line at
the top of each panel group up
or down.

Arranging the panels in groups can help you work faster.

Resetting and Saving Your Workspace

You can reset your Tools panel and other panels to their default positions, which
you’ve been doing throughout this lesson. You can also save the position of panels
so that you can easily access them at any time by creating a workspace.

Next, you will create a workspace where the Libraries panel is collapsed.

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Discussion Topic Lesson 14 Getting to Know the Work Area

Where is each panel’s panel menu icon
located?

Note: To delete saved Try It!
workspaces, choose Window
> Workspace > Manage 1. Choose Reset Essentials from the workspace switcher in the Application bar.
Workspaces. Select the
workspace name, and click the 2. Click the Libraries panel tab to hide the panel group.
Delete Workspace button.
3. Choose Window > Workspace > New Workspace. Change Name to
LibrariesHidden in the New Workspace dialog box, and click OK.

Note: To change a saved Enter a name for the new workspace.
workspace, reset the panels
as you’d like them to appear, The name of the workspace could be anything, as long as it makes sense to you.
and then choose Window > The workspace named “LibrariesHidden” is now saved with Illustrator until you
Workspace > New Workspace. remove it.
In the New Workspace dialog
box, name the workspace with 4. Choose Window > Workspace > Essentials.
the original name. A message
appears in the dialog box 5. Choose Window > Workspace > Reset Essentials. Notice that the panels return to
warning that you will overwrite their default positions.
an existing workspace with the
same name if you click OK. 6. Choose Window > Workspace > LibrariesHidden. Toggle between the two work-
spaces using the Window > Workspace command, and return to the Essentials
workspace before starting the next exercise.

Using Panel Menus

Most panels have more options that are available in a panel menu. Clicking the panel
menu icon ( ) in the upper-right corner gives you access to additional options for
the selected panel, including changing the panel display in some cases.
Next, you will change the display of the Symbols panel using its panel menu.

Try It!

1. Click the Symbols panel icon ( ) on the right side of the workspace. You can
also choose Window > Symbols to display this panel.

2. Click the panel menu icon ( ) in the upper-right corner of the Symbols panel.

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Getting to Know the Work Area Lesson 14 Discussion Topic

What happens when you right-click on an
empty area of your workspace? Try it!

3. Choose Small List View from the panel menu.

Changing the panel view.

This displays the symbol names, together with thumbnails. Because the options
in the panel menu apply only to the active panel, only the Symbols panel view
is affected.

4. Click the Symbols panel menu icon ( ), and choose Thumbnail View to return
the symbols to their original view.

5. Click the Symbols panel tab to hide the panel again.

In addition to the panel menus, context-sensitive menus display commands rel-
evant to the active tool, selection, or panel. Usually the commands in a context
menu are available in another part of the workspace, but using a context menu
can save you time.

6. Position the pointer over the Document window or the contents of a panel. Note: If you position the pointer
Then, right-click to show a context menu with specific options. over the tab or title bar for a
panel, and right-click, you can
close a panel or a panel group in
the context menu that appears.

The context-sensitive menu shown here is displayed when
you right-click the artboard with nothing selected.

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How do you custom-adjust the bright- Adjusting the User Interface Brightness
ness of your Illustrator interface? Why
might you do so? Similar to Adobe Photoshop, Illustrator supports a brightness adjustment for the
application user interface. This is a program preference setting that allows you to
choose a brightness setting from four preset levels or to specify a custom value.
To edit the user interface brightness, you can choose Illustrator CC >
Preferences > User Interface (Mac OS or Edit > Preferences > User
Interface (Windows).

The User Interface Preferences include a Brightness setting.

Changing the View of Artwork

When working in files, it’s likely that you’ll need to change the magnification level
and navigate among artboards. The magnification level, which can range from 3.13%
to 64000% (yes, 64 thousand percent), is displayed in the title bar (or document tab)
next to the filename and in the lower-left corner of the Document window.
There are a lot of ways to change the zoom level in Illustrator, and in this section
you’ll explore several of the most widely used methods.

Using View Commands

To enlarge or reduce the view of artwork using the View menu, do one of the following:
• Choose View > Zoom In to enlarge the display of the artwork.
• Choose View > Zoom Out to reduce the view of the artwork.

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Getting to Know the Work Area Lesson 14 Discussion Topics

You can also zoom in and out using keyboard shortcuts: What are the keyboard shortcuts to zoom
• Command++ (Mac OS) or Ctrl++ (Windows). That’s Command and + in and out in Illustrator?

(Mac OS) or Ctrl and + (Windows). This combination zooms in. What is the actual size—in inches—of the
• Command+– (Mac OS) or Ctrl+– (Windows). That’s Command and – resortcompany.com postcard? How did
you find out?
(Mac OS) or Ctrl and – (Windows). This combination zooms out.
Each time you choose a Zoom option, the view of the artwork is resized to the Note: Using any of the viewing
closest preset zoom level. The preset zoom levels appear in a menu in the lower-left tools and commands affects only
corner of the Document window, identified by a down arrow next to a percentage. the display of the artwork, not
You can also use the View menu to fit the artwork for the active artboard to your the actual size of the artwork.
screen to fit all artboards into the view area or to view artwork at actual size.
Note: You can also double-click
Try It! the Hand tool ( ) in the Tools
panel to fit the active artboard in
1. Choose View > Fit Artboard in Window. the Document window.
Because the canvas (the area outside the artboards) extends to 227”, you can
easily lose sight of your illustration. By choosing View > Fit Artboard In Window Note: You can also double-click
or by using the keyboard shortcut Command+0 (Mac OS) or Ctrl+0 (Windows), the Zoom tool ( ) in the Tools
artwork is centered in the viewing area. panel to display artwork at 100%.

2. Choose View > Actual Size to display the artwork at actual size.
The artwork is displayed at 100%. The actual size of your artwork determines
how much of it can be viewed onscreen at 100%.

3. Choose View > Fit Artboard In Window before continuing to the next section.

Using the Zoom Tool

In addition to the View menu options, you can use the Zoom tool ( ) to magnify and
reduce the view of artwork to predefined magnification levels.

Try It!

1. Select the Zoom tool ( ) in the Tools panel, and then move the pointer into the
Document window.
Notice that a plus sign (+) appears at the center of the Zoom tool pointer.

2. Position the Zoom tool over the text “ResortCompany.com,” and click once. The
artwork is displayed at a higher magnification.

The spot you clicked with the zoom tool moves to the center of the Document window.

3. Click two more times on the “ResortCompany.com” text. The view is increased
again, and you’ll notice that the area you clicked is magnified.

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REVIEW THE Lesson 14 Getting to Know the Work Area
VOCABULARY
4. With the Zoom tool still selected, position the pointer over the text
Graphics Processing Unit (GPU) A spe- “ResortCompany.com” and hold down the Option (Mac OS) or Alt (Windows) key.
cialized processor, found on video card A minus sign (–) appears at the center of the Zoom tool pointer. With the Option
and as part of display systems, that can or Alt key pressed, click the artwork twice to reduce the view of the artwork.
rapidly execute a command for manipu-
lating and displaying images. Using the Zoom tool, you can also drag in the document to zoom in and out. By
default, if your computer meets the system requirements for GPU Performance
Note: If your computer does not and it’s enabled, zooming is animated.
meet the system requirements
for GPU Performance, you will 5. Choose View > Fit Artboard In Window.
instead select the Zoom tool and
drag a dotted rectangle, called 6. With the Zoom tool still selected, from roughly in the center of the artwork, drag
a marquee, around the area you to the right to zoom in. Drag to the left to zoom out.
want to magnify.

Note: If you click and hold You can drag with the Zoom tool to zoom in and out.
down with the Zoom tool for
a few seconds, you can zoom 7. Double-click the Hand tool ( ) in the Tools panel to fit the artboard in the
in using the animated zoom Document window.
if your computer meets the
system requirements for GPU The Zoom tool is used frequently during the editing process to enlarge and reduce
Performance and it’s enabled. the view of artwork. Because of this, Illustrator allows you to select it using the
keyboard at any time without first deselecting any other tool you may be using.
Note: In certain versions of Mac
OS, the keyboard shortcuts for the • To access the Zoom tool using your keyboard, press Command+spacebar
Zoom tool ( ) open Spotlight or (Mac OS) or Ctrl+spacebar (Windows).
the Finder. If you decide to use
these shortcuts in Illustrator, you • To access the Zoom out tool using your keyboard, press Command+-
may want to turn off or change Option+spacebar (Mac OS) or Ctrl+Alt+spacebar (Windows).
those keyboard shortcuts in the
Mac OS System Preferences. GPU Performance

Graphics Processing Unit (GPU) The Graphics Processing Unit (GPU), found on video cards and as part of display
A specialized processor, found systems, is a specialized processor that can rapidly execute commands for
on video cards and as part manipulating and displaying images. GPU-accelerated computing offers faster
of display systems, that can performance across a broad range of design, animation, and video applications.
rapidly execute a command for
manipulating and displaying The GPU Performance in Illustrator feature has a preview mode called GPU
images. Preview, which enables rendering of Illustrator artwork on the graphics pro-
cessor. This feature is available on Windows systems that have an NVIDIA
GPU installed and compatible Mac OS computers. This feature is turned on
by default for RGB and CMYK documents, and options can be accessed in
Preferences by clicking the GPU Performance icon in the Application bar.

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Getting to Know the Work Area Lesson 14 Discussion Topic

How is the Hand tool different from the
Zoom tool?

Scrolling Through a Document Note: The spacebar shortcut
for the Hand tool ( ) does not
In Illustrator, you can use the Hand tool ( ) to pan to different areas of a document. work when the Type tool is active
Using the Hand tool allows you to push the document around much like you would and the insertion point is in text.
a piece of paper on your desk. In this section, you’ll access the Hand tool using a few To access the Hand tool when
methods. the insertion point is in text,
press the Option (Mac OS) or Alt
Try It! (Windows) key.

1. With the Hand tool ( ) selected in the Tools panel, drag down in the Document
window. As you drag, the artwork moves with the hand.

As with the Zoom tool ( ), you can select the Hand tool with a keyboard
shortcut without first deselecting the active tool.

2. Click any other tool except the Type tool ( ) in the Tools panel, and move the
pointer into the Document window. Hold down the spacebar on the keyboard
to temporarily select the Hand tool, and then drag to bring the artwork back into
the center of your view.

Touch Workspace

In Adobe Illustrator CC, the Touch workspace is designed for Windows 8
and Windows 10 touch-enabled devices. The Touch workspace contains the
essential tools and controls for drawing and editing with a pressure-sensitive
pen and multi-touch gestures.

You can create logos, create icons, explore custom lettering and typography,
create UI wireframes, and more. The Touch workspace brings traditional drawing
templates and French curves to the Illustrator workspace. These shapes project a
scalable, movable outline that can be traced against quickly to refine curves.

At any time (on a supported device), you can immediately switch between
the Touch and traditional workspaces to access the full range of Illustrator
tools and controls. For more information on working with touch devices and
Illustrator, visit Help (Help > Illustrator Help).

On Direct touch (touchscreen) devices, Indirect touch (Mac computer
Trackpad) devices, touchpads, or Wacom Intuos5 devices, you can also use
standard touch gestures (pinch and swipe) to do the following:

• Pinch in or out, using the thumb and forefinger to zoom.

• Place two fingers on the document, and move the fingers together to pan
within the document.

• Swipe or flick to navigate artboards.

• In artboard editing mode, use two fingers to rotate the artboard by 90°.

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Point out the tip to press Command+Y Viewing Artwork
or Ctrl+Y to toggle between Preview and
Outline modes. When you open a file, it is automatically displayed in Preview mode, which shows
how the artwork will print. Illustrator offers other ways of viewing your artwork, such
Note: You can press as outlines and rasterized.
Command+Y (Mac OS) or Ctrl+Y Next, you’ll take a look at the different methods for viewing artwork and understand
(Windows) to toggle between why you might view artwork that way.
Preview and Outline modes.
Try It!
Note: When switching between
viewing modes, visual changes 1. Choose View > Fit Artboard In Window.
may not be readily apparent. When you’re working with large or complex illustrations, you may want to view
Zooming in and out (View > only the outlines, or wireframes, of objects in your artwork so that the screen
Zoom In and View > Zoom Out) doesn’t have to redraw the artwork each time you make a change. This is called
may help you see the differences Outline mode. Outline mode can also be helpful when selecting objects, as you
more easily. will see in Lesson 15, “Techniques for Selecting Artwork.”

2. Choose View > Outline.
Only the outlines of the objects are displayed. You can use this view to find and
easily select objects that might not be visible in Preview mode.

3. Choose View > GPU Preview (or View > Preview On CPU if GPU Preview is not
supported) to see all the attributes of the artwork.

4. Choose View > Overprint Preview to view any lines or shapes that are set
to overprint.
This view is helpful for those in the print industry who need to see how inks
interact when set to overprint.

5. Choose View > Pixel Preview.
Pixel preview can be used to see how the artwork will look when it is rasterized
and viewed onscreen in a web browser.

Preview mode. Outline mode. Overprint mode. Pixel Preview mode.

6. Choose View > Pixel Preview to deselect pixel preview.

7. Choose View > Fit Artboard In Window to make sure that the entire active
artboard is fit in the Document window and leave the document open.

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Zooming and Panning with the Navigator Panel Instruct students to open and experiment
with the Navigator panel.
The Navigator panel is another way to navigate a document with a single artboard
or multiple artboards. This is useful when you need to see all artboards in the doc- Discussion Topic
ument in one window and to edit content in any of those artboards in a zoomed-in
view. You can open the Navigator panel by choosing Window > Navigator. As is the case with Photoshop, some
Illustrator pros love the Navigator panel
The Navigator panel. and always keep it visible. Others never
use it. Which side do you agree with
The Navigator panel can be used in several ways, including the following: and why?

• The red box in the Navigator panel, called the proxy view area, indicates the REVIEW THE
area of the document that is being shown. VOCABULARY

• Type in a zoom value or click the mountain icons to change the Artboard The regions in an Illustrator
magnification of your artwork. document that can contain printable art-
work, similar to pages in other programs
• Position the pointer inside the proxy view area of the Navigator panel. or sheets of paper on a physical desk.
When the pointer becomes a hand, drag to pan to different parts of
the artwork.

Navigating Artboards Artboard

Artboards represent the regions that can contain printable artwork (similar to pages The regions in an Illustrator
in a program like Adobe InDesign). You can use artboards to crop areas for printing document that can contain
or placement purposes. Multiple artboards are useful for creating a variety of things, printable artwork, similar
such as multiple-page PDFs, printed pages with different sizes or different elements, to pages in other programs
independent elements for websites, video storyboards, or individual items for ani- or sheets of paper on a
mation in Adobe Flash® or Adobe After Effects. You can easily share content among physical desk.
designs, create multi-page PDFs, and print multiple pages by creating more than
one artboard.

Illustrator allows for up to 100 artboards within a single file (depending on their size).
Multiple artboards can be added when you initially create an Illustrator document or
you can add, remove, and edit artboards after the document is created. Next, you will
learn how to efficiently navigate a document that contains multiple artboards.

Try It!

1. Choose File > Open, navigate to the folder holding the data files for this chapter,
and double-click the 14Start02.ai file to open it.

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Discussion Topics Lesson 14 Getting to Know the Work Area

Why might you want more than one 2. Choose View > Fit All In Window to fit all artboards in the Document window.
Artboard per document? Notice that there are two artboards in the document that contain the designs for
a business flyer and the front of a postcard.
What is the difference between View >
Fit Artboard in Window and View > Fit All
in Window?

This document has two artboards.

The artboards in a document can be arranged in any order, orientation, or art-
board size—they can even overlap. Suppose that you want to create a four-page
brochure. You can create different artboards for every page of the brochure, all
with the same size and orientation. They can be arranged horizontally or verti-
cally or in whatever way you like.

3. Select the Selection tool ( ) in the Tools panel, and click to select the “GRAND
OPENING CELEBRATION” text on the smaller artboard on the right.

4. Choose View > Fit Artboard In Window.

This artboard has been zoomed to fit the window.

When you select artwork, it makes the artboard that the artwork is on the active
artboard. By choosing the Fit Artboard In Window command, the currently active
artboard is fit in the window. The active artboard is identified in the Artboard
Navigation menu in the lower-left corner of the Document window.

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Getting to Know the Work Area Lesson 14 Discussion Topic

5. Choose 1 Artboard 1 from the Artboard Navigation menu in the lower-left corner. Open the Artboards Panel. How would
The larger flyer appears in the Document window. you rename an existing artboard? Or cre-
ate a new one?

You can switch between artboards. Note: Learn how to work more
with artboards in Lesson 18,
6. Choose View > Zoom Out. Notice that zooming occurs on the currently “Transforming Artwork.”
active artboard.

7. Notice the arrows to the right and left of the Artboard Navigation menu. You can use
these to navigate to the first ( ), previous ( ), next ( ), and last ( ) artboards.

8. Click the Next navigation button ( ) to view the next artboard (Artboard 2) in the
Document window.

9. Choose Select > Deselect to deselect the text.

Using the Artboards Panel

Another method for navigating multiple artboards is to use the Artboards panel. Next,
you will open the Artboards panel and navigate the document.

Try It!

1. Choose Window > Artboards to show the Artboards panel that is docked on the
right side of the workspace.
The Artboards panel lists all artboards in the document. This panel allows you
to navigate between artboards, rename artboards, add or delete artboards, edit
artboard settings, and more.

2. Double-click the number 1 that appears to the left of the name “Artboard 1” in
the Artboards panel. This fits Artboard 1 in the Document window.

Switch between artboards and more in the Artboards panel. Note: Double-clicking the
artboard name in the Artboards
3. Double-click the number 2 to the left of the name “Artboard 2” in the Artboards panel allows you to change the
panel to show the smaller artboard in the Document window again. name of the artboard. Clicking
Notice that when you double-click to navigate to an artboard, that artboard is fit the artboard icon ( ) or ( ) to
in the Document window. the right of the artboard name in
the panel allows you to edit the
4. Click the Artboards panel icon ( ) in the dock to collapse the panel. artboard options.

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Discussion Topic Lesson 14 Getting to Know the Work Area

Why might you want to view two
Illustrator documents at the same time?

Note: Be careful to drag directly Arranging Multiple Documents
to the right. Otherwise, you
could undock the Document There will be times where you open more than one Illustrator document at a time.
window and create a new When you open more than one document, the Document windows are tabbed. You
group. If that happens, choose can arrange the open documents in other ways, such as side by side, so that you
Window > Arrange > Consolidate can easily compare or drag items from one document to another. You can also use
All Windows. the Arrange Documents window to quickly display your open documents in a variety
of configurations.
Note: You can cycle between
open documents by pressing You should currently have two Illustrator files open: 14Start01.ai and 14Start02.ai.
Command+~ (next document), Each file has its own tab at the top of the Document window. These documents are
Command+Shift+~ (previous considered a group of Document windows. You can create document groups to
document) (Mac OS) or Ctrl+F6 loosely associate files while they are open.
(next document), Ctrl+Shift+F6
(previous document) (Windows). Try It!

Note: Your documents may 1. Click the 14Start01.ai document tab to show 14Start01.ai in the Document window.
be tiled in a different order.
That’s okay. 2. Drag the 14Start01.ai document tab to the right of the 14Start02.ai document tab.

Dragging the document tabs allows you to change the order of the documents.
This can be very useful if you use the document shortcuts to navigate to the next
or previous document. These two documents are marketing pieces for the same
company. To see both of them at one time, perhaps to copy a logo between
them, you can arrange the Document windows by cascading the windows or
tiling them. Cascading allows you to cascade (stack) different document groups.
Tiling shows multiple Document windows at one time, in various arrangements.

Next, you will tile the open documents so that you can see them both at one time.

3. Windows users skip to the next step. On the Mac OS, choose Window >
Application Frame. Then, click the green button (green by default) in the
upper-left corner of the Application window so that it fits as well as possible.

Mac OS users can use the Application frame to group all the workspace elements in
a single, integrated window, similar to working in Windows. If you move or resize the
Application frame, the elements respond to each other so that they don’t overlap.

4. Choose Window > Arrange >Tile.

This shows both Document windows arranged in a pattern.

5. Click in each of the Document windows to activate the documents and choose
View > Fit Artboard In Window for each of the documents. Also, make sure that
Artboard 1 is showing for each document in the Document window.

With documents tiled, you can drag the dividing line between each of the Docu-
ment windows to reveal more or less of a particular document. You can also drag
artwork between documents, which copies them from one document to another.

To change the arrangement of the tiled windows, it’s possible to drag document
tabs to new positions. However, it’s easier to use the Arrange Documents
window to quickly arrange open documents in a variety of configurations.

6. Click the Arrange Documents button ( ) in the Application bar to display the
Arrange Documents window. Click the Consolidate All button ( ) to bring the
documents back together.

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Getting to Know the Work Area Lesson 14 Discussion Topic

Where do you access Adobe
Community Help?

Use the Arrange Documents button to quickly arrange open documents. Note: On the Mac OS, the menu
bar is above the Application
7. Click the Arrange Documents button ( ) in the Application bar to display the bar. Also, depending on the
Arrange Documents window again. Click the 2-Up vertical button ( ) in the resolution of your screen, the
Arrange Documents window. Windows menu may appear in
the Application bar.
8. Click to select the 14Start01.ai tab, if it is not already selected. Then, click the
Close button (X) on the 14Start01.ai document tab to close the document. If a Note: You can also choose
dialog box appears asking you to save the document, click Don’t Save (Mac OS) Window > Arrange > Consolidate
or No (Windows). All Windows to return the
two documents to tabs in the
9. Choose File > Close to close the 14Start02.ai document without saving. Then same group.
close Illustrator.

Finding Resources for Using Illustrator

For complete and up-to-date information about using Illustrator panels, tools, and
other application features, visit the Adobe website. By choosing Help > Illustrator
Help, you’ll be connected to the Illustrator Help website, where you can search
Illustrator Help and support documents, as well as other websites relevant to
Illustrator users. Community Help brings together active Adobe product users, Adobe
product team members, authors, and experts to give you the most useful, relevant,
and up-to-date information about Adobe products.

If you choose Help > Illustrator Help, you can also download a PDF of the Illustrator
Help content by clicking the download link for your version.

Data Recovery

If Illustrator crashes, you no longer have to lose work. When Illustrator restarts
after a crash, you have the option of recovering work-in-progress files so
that your hours of work are not wasted. The recovered files are opened with
“[Recovered]” in the file name.

You can turn data recovery on and off as well as set options such as how often
to save recovery data in the program preferences (Illustrator CC > Preferences >
File Handling & Clipboard in Mac OS or Edit > Preferences > File Handling &
Clipboard in Windows.)

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TEACHING TIP Lesson 14 Getting to Know the Work Area

Write a dictionary definition of ethics on Ethics at Work
the board. Ask students what it means for
something to be unethical. How is unethi- Ethics are a set of beliefs about what is right and what is wrong. Work ethics
cal different from illegal? Can something are beliefs and behaviors about what is right and wrong in a work environment.
be unethical but not illegal? Ethical behavior includes treating people with respect and also following the law.
For example, taking home office supplies is not ethical—it’s stealing. Employers
value employees who behave ethically at work. It shows that you are honest and
respectful, so others with trust and respect you in return.
Behaving ethically at work also means following the company rules, regulations, and
processes. Usually, when you start a new job you are given an employee handbook.
An employee handbook describes company policies and procedures, such as how to
request vacation time, and the different benefits that are available. It should also list
all rules and policies that you are expected to obey. These might include:
• Maintaining confidentiality of information about clients and co-workers.
• Respecting copyrights and patents.
• Respecting co-workers’ and customers’ rights.
• Giving others proper credit for their ideas.
Ethics extends beyond the actions and behaviors of individual workers. It also applies
to companies and organizations as a whole. A company that ignores the safety of
workers, or hides information customers need to make an informed purchasing
decision, is not behaving ethically.

Communication Standards

E-mail and other forms of digital communication sometimes feel anonymous,
which might make you think you do not have to be polite and respectful. Personal
communication with family and friends may be more informal than communicating
for school or business, but in both cases it is important to follow basic rules of neti-
quette, or online behavior.
• Use correct spelling. Proofread before sending to make sure there are no errors.
• Using all capital letters is considered to be shouting. Be sure to use proper

capitalization.
• Don’t forward or send unwanted messages or spam.
• Don’t flame, or insult, anyone, even as a joke. Sometimes written communication

is misinterpreted as being serious, even when if you said it out loud it might be
considered funny.
• Don’t be a cyberbully. Using electronic communication to hurt, scare, intimidate,
or otherwise bully others is a crime.
• Don’t make false statements that might hurt someone’s reputation. It’s called
libel, or slander, and it’s illegal.

Ethical Computer Use

How people use computers, including networks and e-mail, can affect other people.
People who practice ethics behave morally. Ethical computer users respect others,
and make sure their actions do not harm anyone.

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Using Software Legally As you discuss Using Software Legally,
share with students what was involved
Proprietary copyrighted software comes with a software license, which allows the in providing them with legal, paid access
buyer to use and install the program, and sometimes entitles the buyer to receive to classroom-based computers with
free or reduced-cost support and updates. Individuals might buy a single-user Adobe CC.
license for one copy of the program, or a single-seat license to install the program
on a single computer. Organizations such as schools or businesses usually buy a Discussion Topic
volume or site license, which lets them install on multiple systems or a network for
multiple users. Network licensing generally costs less per user and allows users to What are some elements of the
share resources. Acceptable Use Policy for your classroom
or school? What are the consequences
Software Piracy for violating those policies?

People who copy copyrighted software to install on other computers, give away, or AUP
sell are guilty of violating federal copyright laws and stealing, called software piracy.
Violating a copyright and pirating software are both morally wrong and illegal. These Acceptable use policy provides
activities discourage the authors of good software from writing new and better guidelines for using your school’s
programs because they may not get paid for their work. Pirated software cannot be computers, network, and
registered, so users do not get the support services they may need. Internet access.

Acceptable Use Policies

One way you can act ethically is to follow your school district’s acceptable use
policy, or AUP. These policies identify the responsibilities of Internet use. They spell
out certain rules of behavior and explain the consequences of breaking those rules.
Many businesses use AUPs, too, to govern the way workers use company-owned
computers. An AUP may include the following ethical guidelines:

• Do not visit Web sites that contain content that does not meet community
standards.

• Do not use language that is profane, abusive, or impolite.

• Do not copy copyrighted material or damage computer equipment belonging
to the school.

• Do respect the privacy of other people.

Schools and businesses may restrict the content that users can access from
internal computers. For example, they may censor, or block, specific sites that they
determine are inappropriate.

They may also use a filter to block access to sites. Disabling the filters or otherwise
accessing blocked sites is considered breaking the AUP, and may result in
punishment.

People who do not follow these rules may face consequences. They might lose privi-
leges or be suspended from school activities. Very serious violations, such as using a
school computer to threaten someone, may require police involvement.

Content Blocking

Schools, businesses, and any organization that permits public access to the Internet,
such as a library, may censor, or restrict, the content that users can access. They
do this by using a filter, or tools that block Web sites identified as inappropriate.
Disabling the filters or otherwise accessing the blocked content is considered break-
ing the AUP, and may result in punishment.

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Discussion Topic Lesson 14 Getting to Know the Work Area

What is netiquette? What are some Practicing Netiquette
netiquette rules that students know The Internet has an informal set of rules for expected behavior called netiquette.
and follow? As an ethical computer user, you have a responsibility to use netiquette at all times.
Some ways to practice netiquette include:
Comprehension Check • Send e-mails only to people who really need to see a message.
• Keep e-mail messages short.
1. You can choose commands from the • Avoid sending extremely large files via e-mail.
View menu to zoom in or out of a • Do not use impolite or rude language when communicating online.
document or to fit it to your screen; • Do not pretend to be someone else when communicating online.
you can also use the Zoom tool in • Do not use someone else’s work without citing the source.
the Tools panel and click or drag in a • Do not share files illegally.
document to enlarge or reduce the The rules of netiquette are similar to general standards for good behavior. If you go
view. In addition, you can use key- to a search engine and type “netiquette,” you will find many Web sites on the topic.
board shortcuts to magnify or reduce
the display of artwork. You can also Comprehension Check
use the Navigator panel to scroll art-
work or to change its magnification 1. Describe two ways to change the view of a document.
without using the Document window. 2. How do you select a tool in Illustrator?
3. How do you save panel locations and visibility preferences?
2. To select a tool, you can either click 4. Describe how arranging Document windows can be helpful.
the tool in the Tools panel or press
the keyboard shortcut for that tool. Review Project 1
For example, you can press V to
select the Selection tool from the Review rules your school district may have for technology use as part of its accept-
keyboard. Selected tools remain ac- able use policy. Categorize policies based on appropriate use, vandalism or destruc-
tive until you click a different tool. tion, and consequences of violations. As a class, debate the benefits and drawbacks
of items in the policy, such as censorship and filtering.
3. You can save panel locations and vis-
ibility preferences by choosing Win- Review Project 2
dow > Workspace > New Workspace
to create custom work areas and to Review the netiquette guidelines above and then research on the Internet to find
make it easier to find the controls that additional netiquette guidelines. Create a handout or poster that can be displayed in
you need. a computer lab to remind users how to communicate online in a respectful way.

4. Arranging document windows allows Review Project 3
you to tile windows or to cascade
document groups. This can be useful In small groups, write a script for a skit that demonstrates ethical conduct related
if you are working on multiple Illus- to interacting with others at work, such as client confidentiality, privacy of sensitive
trator files and you need to compare content, and providing proper credit for ideas. Perform your skit for the class.
or share content among them.
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334 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Techniques for Selecting Artwork Lesson 15 FOCUS AND ENGAGE

Lesson 15 Overview Introduce the Lesson

In this lesson, you’ll learn how to do the following: As you review the skills listed in the
Lesson 15 overview, explain that the les-
• Differentiate between the various selection tools • Group and ungroup items. son covers different ways to select parts
and use different selection techniques. • Work in Isolation mode. of an Illustrator drawing so that you can
• Arrange content. edit and rearrange them.
• Recognize Smart Guides. • Select objects that are behind other objects.
• Hide and lock items for organizational purposes. Discussion Topic
• Save selections for future use. • Employ personal and cyber safety rules.
There are two big white rectangles on the
• Use tools and commands to align shapes and Start document you just opened. What
points to each other and the artboard. are those called?

Selecting content in Adobe Illustrator is one of the more important things you’ll do. In this lesson, you learn how
to locate and select objects using the Selection tools; protect other objects by grouping, hiding, and locking them;
align objects to each other and the artboard; and much more.

Opening the Project File Note: On Mac OS, you may need
to choose Window > Arrange
When changing colors or size and adding effects or attributes, you must first select > Tile to maximize the size of
the object to which you are applying the changes. In this lesson, you will learn the the Document window after
fundamentals of using the selection tools. More advanced selection techniques using resetting the workspace.
layers are discussed in Lesson 22, “Organizing Your Artwork with Layers.”

Try It!

1. Start Illustrator, and then immediately hold down Ctrl+Alt+Shift (Windows) or
Command+Option+Shift (Mac OS) to reset the default settings.

2. When prompted, click Yes to confirm that you want to delete the Adobe
Illustrator Settings file.

3. Choose File > Open, navigate to the folder holding the data files for this chapter,
and double-click the 15Start.ai file to open it.

4. Choose File > Save As, navigate to the location where your instructor directs you
to save files for this chapter’s projects, rename the file 15End_xx.ai, and click
Save. Click OK in the Illustrator Options dialog box.

5. Choose View > Fit All In Window.

Here’s the file you’ll work with for this lesson.

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REVIEW THE Lesson 15 Techniques for Selecting Artwork
VOCABULARY
6. Choose Window > Workspace > Essentials, make sure it’s selected, and then
Smart Guides Temporary snap-to guides choose Window > Workspace > Reset Essentials to reset the workspace.
that help you align, edit, and transform
objects or artboards. Selecting Objects

Smart Guides Whether you are creating artwork from scratch or editing existing artwork in
Temporary snap-to guides Illustrator, you will need to become familiar with selecting objects. There are many
that help you align, edit, and methods and tools for doing this, and in this section, you’ll explore the most widely
transform objects or artboards. used, which include the Selection ( ) and Direct Selection ( ) tools.

Note: You’ll learn more about Using the Selection Tool
Smart Guides in Lesson 16,
“Using Shapes to Create Artwork The Selection tool ( ) in the Tools panel lets you select, move, and resize entire
for a Postcard.” objects. In this first section, you’ll become familiar with the tool.

Note: To select an item without Try It!
a fill, you can click the stroke
(the edge) or drag a selection 1. Select the Selection tool ( ) in the Tools panel, if it’s not already selected. Move
marquee across the object. the pointer over different shapes on the artboards, without clicking.
The icon that appears as you pass over objects ( ) indicates that there is artwork
that can be selected under the pointer. When you hover over an object, that
object is also outlined in a color such as blue (in this instance).

2. Select the Zoom tool ( ) in the Tools panel, and drag from left to right across
the two red circles on the artboard on the right to zoom in.

3. Select the Selection tool in the Tools panel, and then position the pointer over
the black edge of the red circle on the left. A word such as “path” or “anchor”
may appear, because Smart Guides are turned on by default.

4. Click anywhere inside the red circle on the left to select it. A bounding box with
eight handles appears.

The bounding box is used when making changes to artwork
(vector or raster), such as resizing or rotating.

The bounding box indicates that an item is selected and ready to be modified,
and the color of the bounding box indicates which layer the object is on. Layers
are discussed more in a later lesson.

5. Using the Selection tool, click in the red circle on the right. Notice that the left
red circle is now deselected and only the right circle is selected.

6. Holding down the Shift key, click the left red circle to add it to the selection, and
then release the key. Both red circles are now selected, and a larger bounding
box surrounds them.

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336 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Techniques for Selecting Artwork Lesson 15 REVIEW THE
VOCABULARY
You now have selected both circles. Alignment guides
Alignment Guides Temporary snap-to
7. Move the circles anywhere in the document by clicking inside either selected Temporary snap-to guides that guides that help you align objects to
circle (in the red area) and dragging. Because both circles are selected, they help you align objects to one one another.
move together. another.
Discussion Topic
As you drag, you may notice the magenta lines that appear. These are called
alignment guides and are visible because Smart Guides are turned on (View > What does revert mean outside of
Smart Guides). As you drag, the objects are aligned to other objects on the Illustrator? What does it mean within
artboard. Also notice the measurement label (gray box) next to the pointer that Illustrator?
shows the object’s distance from its original position. Measurement labels also
appear because Smart Guides are turned on. TEACHING TIP

8. Deselect the circles by clicking a blank area of the artboard or by choosing The Edit > Revert option won’t be availa-
Select > Deselect. ble unless the student has made a change
to the document.
9. Revert to the last saved version of the document by choosing File > Revert. In the
dialog box that appears, click Revert.

Using the Direct Selection Tool

In Illustrator, as you draw, you create vector paths that are made up of anchor points
and paths. Anchor points are used to control the shape of the path and work like pins
holding a wire in place. A shape you create, such as a square, is composed of at least
four anchor points on the corners with paths in between the anchor points.

You change the shape of a path or shape by dragging its anchor points (among other
things). The Direct Selection ( ) tool selects anchor points or path segments within
an object so that it can be reshaped. Next, you will become familiar with selecting
anchor points using the Direct Selection tool and reshaping a path.

Try It!

1. Choose View > Fit All In Window.

2. Select the Zoom tool ( ) in the Tools panel, and click several times on the series
of orange shapes below the red circles you selected previously to zoom in.

3. Select the Direct Selection tool ( ) in the Tools panel. Without clicking, position
the pointer over the top edge of one of the orange shapes. Move the pointer
along the top edge of the shape until the word “anchor” appears by the pointer.

Move the pointer to display the word “anchor.”

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Discussion Topics Lesson 15 Techniques for Selecting Artwork

Remember the pen tool you learned Note: You can also click in the When the Direct Selection tool is over an anchor point of a path or object, the
in Photoshop? You used it to trace the middle of a shape to select it and word “anchor” appears.
outlines of a coffee mug, and there to see the anchor points around
were little direction lines you could drag its edge. This can be an easy way The “anchor” label is showing because Smart Guides are turned on (View > Smart
to curve a line. The direction lines that to see where the points are, and Guides). Also notice the little white box to the right of the pointer. The small dot
appear when you use the Direct Selection then you can click a point to that appears in the center of the white box indicates that the mouse pointer is
tool do the same thing. select it. positioned over an anchor point.

What’s the difference between the 4. Click to select that anchor point.
Selection tool (black arrow) and the
Direct Delection tool (white arrow)?

The selected anchor point appears solid.

Notice that only the anchor point you selected is solid (filled), indicating that it
is selected, and the other anchor points in the shape are hollow, indicating that
they are not selected. Also notice the small blue lines extending from the select-
ed anchor point. These are called direction lines. The angle and length of the
direction lines determine the shape and size of the curved segments. Moving the
direction points can reshape the path.

5. With the Direct Selection tool still selected, drag the selected anchor point up to
edit the shape of the object.

Note: The gray measurement Drag the anchor to change the object shape.
label that appears as you
drag the anchor point has the 6. Try clicking another point on the edge of the shape, and notice that the previous
values dX and dY. dX indicates point is deselected.
the distance that the pointer
has moved along the x-axis 7. Revert to the last saved version of the file by choosing File > Revert. In the Revert
(horizontal), and dY indicates dialog box, click Revert.
the distance that the pointer has
moved along the y-axis (vertical).

Exploring Selection and Anchor Point Preferences

To display selection and anchor (anchor point) preferences, choose:
• Illustrator CC > Preferences > Selection & Anchor Display (Mac OS)
• Edit > Preferences > Selection & Anchor Display (Windows)
You can use the Anchors and Handles controls to change the settings for
anchor points and handles, among other settings related to paths.

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Techniques for Selecting Artwork Lesson 15 Discussion Topics

Creating Selections with a Marquee In step #6, why do both circles change
shape?
Another way to select content is by dragging a marquee around the objects that you
want to select, which is what you’ll do next. What are two ways to select an object
in Illustrator?
Try It!
Note: When dragging with the
1. Choose View > Fit All In Window. Selection tool ( ), you need to
encompass only a small part of
2. Select the Zoom tool ( ) in the Tools panel, and click three times, slowly, on the an object to select it.
red circles.

3. Select the Selection tool ( ) in the Tools panel. Position the pointer above and
to the left of the leftmost red circle, and then drag downward and to the right to
create a marquee that overlaps just the tops of the circles.

Drag over the objects to select. Note: Selecting points using
this method might take some
4. Choose Select > Deselect, or click where there are no objects. practice. You’ll need to drag
Now you’ll use the Direct Selection tool to select multiple anchor points in the across only the points you want
red circles by dragging a marquee around anchor points. selected; otherwise, more points
will be selected. You can always
5. Select the Direct Selection tool ( ) in the Tools panel. Starting off the top-left click away from the objects to
of the leftmost red circle (see the figure), drag across the top edges of the two deselect them and then try again.
circles. Only the top anchor points become selected.

Dragging selects the top anchor points in this case.

6. Drag one of the selected anchor points to see how the anchor points
reposition together.

Dragging one anchor moves both anchor points and changes the shape of both objects.

You can use this method when selecting points so that you don’t have to click
exactly on the anchor point that you want to select.

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Discussion Topics Lesson 15 Techniques for Selecting Artwork

In step 2, you used the Magic Wand tool 7. Revert to the last saved version of the file by choosing File > Revert. In the dialog
and clicked one of the red circles. Why box that appears, click Revert.
did both of them end up selected?
Selecting Artwork with the Magic Wand Tool
What are two ways to deselect an object
in Illustrator? You can use the Magic Wand tool ( ) to select all objects in a document that have
the same attributes, such as a color fill. The fill is a color applied to the inside of an
TEACHING TIP object. You can customize the Magic Wand tool to select objects based on options,
such as stroke weight, stroke color, and more, by double-clicking the Magic Wand
Point out that for the red circles, red is tool in the Tools panel.
the fill color and black is the stroke color. Next, you’ll select artwork with the Magic Wand tool.
What are the fill and stroke colors for
the other objects on the same artboard? Try It!
Point out that the Control panel shows
the fill color, stroke color, and stroke 1. Select the Selection tool ( ), and click in a blank area of the smaller artboard on
width for the selected item. Where else the right. This makes that artboard the active artboard.
are the stroke and fill colors visible?
2. Choose View > Fit Artboard In Window.
3. Select the Magic Wand tool ( ) in the Tools panel. Click one of the red circles

on the right artboard, and notice that the other red circle becomes selected
as well.

Click with the Magic Wand tool to select objects with the same attributes.

No bounding box (a box surrounding the two shapes) appears because the
Magic Wand tool is still selected.
4. Holding down the Shift key, notice that the pointer has a plus sign (+) below it.
Click one of the orange shapes (below the red shapes) with the Magic Wand tool,
and then release the key.

Click to add the orange shapes to the selection.

This adds all of the shapes filled with that same orange color to the selection.

5. With the Magic Wand tool still selected, hold down the Option key (Mac OS) or
Alt key (Windows) and notice that a minus sign (–) appears below the pointer.
Click one of the orange shapes to deselect all of the shapes with that same fill,
and then release the key. The red circles should still be selected.

6. Choose Select > Deselect, or click where there are no objects.

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Techniques for Selecting Artwork Lesson 15 Discussion Topic

Selecting Similar Objects In step #3, why did all of the orange
shapes select at the same time?
You can also select objects based on similar fill color, stroke color, stroke weight, and
more, using the Select Similar Objects button or the Select > Same command. The
stroke of an object is the outline (border), and the stroke weight is the width of the
stroke. Next, you will select several objects with the same fill and stroke applied.

Try It!

1. Select the Selection tool ( ), and click to select one of the red circles.

2. Click the arrow to the right of the Select Similar Objects button ( ) in the
Control panel to show a menu. Choose Fill Color to select all objects on any
artboard with the same fill color (red) as the selected object.

Choose the attribute to use for making the selection.

Notice that the circles with the same red-colored fill are selected.

3. Click to select one of the orange shapes, and then choose Select > Same >
Fill & Stroke.

All of the orange-filled shapes with the same stroke and fill are now selected. Note: It is helpful to name
selections according to use
If you know that you may need to reselect a series of objects again, like the orange or function. If you name the
objects, you can save the selection you make so that you can easily recall it later. selection “1 pt stroke,” for
Saved selections are saved only with that document. That’s what you’ll do next. instance, the name may be
misleading if you later change
4. With the orange shapes still selected, choose Select > Save Selection. Name the the stroke weight of the artwork.
selection RobotMouth in the Save Selection dialog box, and click OK so that
you’ll be able to choose this selection at a later time.

5. Choose Select > Deselect.

Selecting in Outline Mode

By default, Adobe Illustrator displays all artwork with their paint attributes, such as
fill and stroke, showing. However, you can choose to display artwork so that only
outlines (or paths) are visible. The next method for selecting involves viewing artwork
in Outline mode and can be very useful if you want to select objects within a series
of stacked objects.

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TEACHING TIP Lesson 15 Techniques for Selecting Artwork

Have students use the Selection tool to Try It!
select the right ellipse (robot eye) and
drag it upwards until a pink line appears. 1. Choose View > Fit Artboard In Window to fit the artboard with the orange shapes
What does that pink line indicate? Drag into the Document window.
the ellipse back down until another pink
line appears. What does that line indicate? 2. With the Selection tool ( ), click within the gray half-circle shape at the bottom
Those are smart guides. of the artboard to select it. This will become the body of the robot.

Click within the bounds of the object to select it.

Since the shape has a fill (a color, pattern, or gradient filling the inside of an ob-
ject), you can click anywhere within the bounds of the object to select it.
3. Choose Select > Deselect to deselect the shape.
4. Choose View > Outline to view the artwork as outlines.
5. With the Selection tool, click inside that same half-circle shape.

In Outliine mode, clicking within the object does not select it.

Notice that you cannot select the object using this method. Outline mode dis-
plays artwork as outlines with no fill. To select in Outline mode, you can click the
edge of the object or drag a marquee across the shape to select it.
6. Click the Previous artboard button ( ) in the lower-left corner of the Document
window to fit the first artboard in the window.
7. On the left artboard, with the Selection tool selected, drag a marquee across the
right (smaller) ellipse that makes the robot’s eye. Press the Left Arrow key several
times to move the ellipse so that it almost touches the ellipse to the left.

Select the ellipse and use the Left Arrow key to move it.

8. Choose View > Preview to see the painted artwork.

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342 LEARNING GRAPHIC DESIGN & ILLUSTRATION