Learning Graphic Design & Illustration

Editing and Combining Shapes and Paths Lesson 17 Discussion Topic

Editing Paths and Shapes Does it make sense that the Scissors tool
is grouped with the Eraser and the Knife
In Illustrator, you can edit and combine paths and shapes in a variety of ways to tools? Why or why not?
achieve the artwork you want. Sometimes, to get the artwork you desire, you
start simpler and utilize different methods for achieving more complex paths. This Note: You’ll also explore other
includes working with the Scissors tool ( ), the Knife tool ( ), the Width tool ( ), methods for transforming artwork
the Shape Builder tool ( ), Pathfinder effects, the Eraser tool ( ), outlining strokes, in Lesson 18, “Transforming
joining paths, and more. Artwork.”

Cutting with the Scissors Tool

There are several tools that allow you to cut and divide shapes. You’ll start with the
Scissors tool ( ), which splits a path at an anchor point or on a line segment and
makes an open path. Next, you’ll cut a shape with the Scissors tool to reshape it.

Try It!

1. Choose View > Smart Guides to ensure that they are on.

2. Choose “2 Bird 1” from the Artboard Navigation menu in the lower-left corner of
the Document window.

3. Choose View > Fit Artboard In Window.

4. Select the Zoom tool ( ) in the Tools panel, and click twice on the red shape in
the upper-right corner of the artboard to zoom in.

5. Select the Selection tool ( ) in the Tools panel, and click the red shape to select it.

anchor

Click the anchor. Note: If you click the stroke
of a closed shape (a circle, for
6. With the shape selected, in the Tools panel, move the mouse pointer over example) with the Scissors tool,
the Eraser tool ( ), press and hold the mouse button, and select the Scissors it simply cuts the path so that it
tool ( ). Position the pointer over the blue anchor point on the path on the left becomes open (a path with two
side (see the figure), and when you see the word “anchor,” click to cut the path at end points).
that point.

If you don’t click directly on a point or path, you will see a warning dialog box.
You can simply click OK and try again. Cuts made with the Scissors tool must be
on a line or a curve rather than on an end point of an open path. When you click
with the Scissors tool, a new anchor point is created and is selected.

7. Choose View > Smart Guides to turn them off.

8. Select the Direct Selection tool ( ), and drag the anchor point you just clicked to
the left.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 393

Discussion Topic Lesson 17 Editing and Combining Shapes and Paths

What happens in step #2 when you select
Object > Path > Join?

Drag the anchor point to reposition it.

9. Drag the other anchor point, from where you originally cut the path with the
scissors, up and to the left (see the figure).

Note: If you wanted to join Drag the other anchor point.
specific anchor points from
separate paths, select the anchor Notice how the stroke (the black border) doesn’t go all the way around the red
points and choose Object > Join shape. That’s because cutting with the Scissors tool makes an open path. A circle
> Path or press Command+J or rectangle are examples of closed paths, and a line or “S” shape are examples
(Mac OS) or Ctrl+J (Windows). of open paths (the end points are not connected). If you only want to fill the
shape with a color, it is not necessary to join the path to make a closed path. An
open path can have a color fill. It is, however, necessary to join a path if you want
a stroke to appear around the entire fill area.

Joining Paths

Suppose you draw a “U” shape and later decide you want to close the shape,
essentially joining the ends of the “U” with a straight path. If you select the path, you
can use the Join command to create a line segment between the end points, closing
the path. When more than one open path is selected, you can join them together to
create a closed path. You can also join the end points of two separate paths.

Next, you will join the ends of the red shape’s path to create a single closed shape.

Try It!

1. Select the Selection tool ( ) in the Tools panel. Click away from the red shape to
deselect it, and then click in the red fill to reselect it.

This step is important because only one anchor point was left selected from the
previous section. If you were to choose the join command, an error message
would appear. By selecting the whole path, when you apply the join command,
Illustrator simply finds the two ends of the path and connects them with a
straight line.

2. Choose Object > Path > Join.

Notice that the two anchor points on the left side of the paths are now joined
with a straight path and the stroke (black border) goes all the way around now.

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394 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Editing and Combining Shapes and Paths Lesson 17 Discussion Topic

In step #5, why do both the stroke and
the fill of the tail shape turn blue?

Join the path to make the black outline continuous. Note: In Lesson 9, “Creating an
Illustration with the Drawing
3. Choose Select > Deselect to see the closed path. Tools,” you’ll learn about the
When you apply the Join command to two or more open paths, Illustrator first Join tool ( ), which allows you
looks for and joins the paths that have end points stationed closest to each to join two paths at a corner,
other. This process is repeated every time you apply the Join command until all keeping the original curve intact.
paths are joined.
Note: You’ll learn more about
4. Click the red shape to select it again. the Eyedropper tool in Lesson
20, “Using Color to Enhance
5. Select the Eyedropper tool ( ) in the Tools panel, and click the blue circle in the Signage.”
center of the artboard.

Use the Eyedropper tool to recolor the selected artwork.

The Eyedropper tool samples the appearance attributes such as stroke and
fill from what you click and applies those same appearance attributes to the
selected artwork, if it can.

6. Select the Selection tool, and drag the formerly red shape into position as you
see in the figure.

Move the artwork to a new position.

7. Choose Select > Deselect.

Cutting with the Knife Tool

Another way to cut a shape is by using the Knife tool ( ). To cut with the Knife tool,
you drag across a shape, and the result is two closed paths.

Try It!

1. Choose “3 Bird 2” from the Artboard Navigation menu in the lower-left corner of
the Document window.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 395

Discussion Topics Lesson 17 Editing and Combining Shapes and Paths

How are the Scissors and Knife tools Note: Pressing the Caps Lock key 2. Move the mouse pointer over the Scissors tool ( ), press and hold the mouse,
alike? How are they different? will turn the Knife tool pointer into and select the Knife tool ( ).
a more precise crosshair ( ).
What happens when you hold down the This can make it easier to see 3. Position the Knife pointer ( ) above the green shape toward the top of the
Option/Alt key while making a cut with where the cut will happen. artboard. Starting above the shape (see the red X in the figure), drag down all the
the Knife tool? way across the shape to cut the shape into two.

Make a cut with the Knife tool.

Dragging across a shape with the Knife tool makes a very free-form cut that is
not straight at all.

4. Position the pointer above the green shape, to the right of where you just cut.
Press and hold Option+Shift (Mac OS) or Alt+Shift (Windows) and drag down all
the way across the shape to cut it into two, in a completely straight line.

Make a second, straight cut.

Pressing the Option key (Mac OS) or Alt key (Windows) allows you to cut in a
straight line. Pressing the Shift key as well constrains the cut to 45 degrees.

5. While pressing the keys as in the previous step, try making two more cuts to the
right of the cut you just made.

Don’t worry about making the resulting shapes exactly the same width. See the
figure for roughly where to cut.

6. Choose Select > Deselect.
7. Select the Selection tool ( ), and click the first green shape from the left to

select it. Choose the CMYK Cyan color from the Fill color in the Control panel.

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396 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Editing and Combining Shapes and Paths Lesson 17 Discussion Topic

In step #8, how can you tell which color
swatch is the one you want?

Select the left green shape.

When you hover the pointer over a color in the panel that appears, you can see a
yellow tooltip with the color name appear.

8. Click the green shape farthest to the right to select it. Choose a red color from
the Fill color in the Control panel. We chose a color with the name
“C=15 M=100 Y=90 K=10.” See the following figure.

Apply new colors to every other shape. Note: You cannot erase raster
images, text, symbols, graphs, or
9. With three green shapes left, click the middle green shape to select it. Choose gradient mesh objects.
an orange color with the name “C=0 M=80 Y=95 K=0” from the Fill color in the
Control panel.

10. Drag across all of the shapes you cut to select them. Change the Stroke weight
to 0 in the Control panel.

11. Choose Select > All On Active Artboard, and then choose Object > Group.

12. Choose File > Save.

Using the Eraser Tool

The Eraser tool ( ) lets you erase any area of your vector artwork, regardless of the
structure. You can use the Eraser tool on paths, compound paths, paths inside Live
Paint groups, and clipping content.
Next, you’ll use the Eraser tool to modify several shapes.

Try It!

1. Choose 2 Bird 1 from the Artboard Navigation menu in the lower-left corner of
the Document window.

2. With the Selection tool ( ), select the smaller white circle toward the upper-left
corner of the artboard.
By selecting the white shape, you’ll erase only that shape and nothing else. If
you leave all objects deselected, you can erase any object that the tool touches,
across all layers.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 397

Discussion Topic Lesson 17 Editing and Combining Shapes and Paths

What shape did you create with the small 3. Click and hold down the mouse on the Knife tool ( ), and select the Eraser
blue circle and the Eraser tool? tool ( ) in the Tools panel.

4. Double-click the Eraser tool ( ) to edit the tool properties. In the Eraser Tool
Options dialog box, change the Size to 20 pt. Click OK.

5. Position the pointer off the upper-left corner of the white circle (where you see
the red X in the figure). Drag across the circle in a “U” shape to erase the top half
of the circle.

Drag in a “U” shape to erase the top half of the circle.

When you release the mouse button, the top half of the circle is erased, and the
circle is still a closed path.
6. Change the Stroke weight to 0 in the Control panel, and choose a blue from the
Fill color. The example uses blue with the color name of “C=85 M=50 Y=0 K=0”
that appears in the yellow tooltip when you hover over each color swatch.

Apply a darker blue color to the modified circle.

You can also erase in a straight line, which is what you’ll do next.

7. Select the Selection tool, and click the white circle in the lower-right corner of
the artboard.

8. Select the Eraser tool ( ) in the Tools panel. Press the Shift key and starting off
the left side of the white circle, drag across the top half of the circle. Release the
mouse button and then the Shift key.

Note: If you need to erase a large The white circle is now two separate shapes, both closed paths.
part of a shape, you can always
adjust the eraser size by using 9. Drag across the remaining shape at the top to erase it completely. You may need
the Eraser Tool Options dialog to drag across it a few times to erase it all.
box or by pressing either of the It may look as if you erase part of the blue shape, but since it isn’t selected, it
bracket keys ([ or ]). isn’t erased.

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398 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Editing and Combining Shapes and Paths Lesson 17 TEACHING TIP

10. With the last part of the circle still selected, select the Eyedropper tool ( ) in Before you begin the Try It! activity that
the Tools panel, and click the small blue circle you erased part of earlier (in the begins at the bottom of this page, skip
upper-left corner of the artboard). ahead to page 401, step #14 to preview
the almost-final result.
Use the Eyedropper tool to copy the darker blue color to the half circle.

This copies the appearance attributes such as fill and stroke from the small shape
to the larger shape.
11. With the larger blue shape selected, choose Object > Transform > Rotate. In
the Rotate dialog box, change the Angle to -20, and select Preview to see the
change. Click OK.
12. Select the Selection tool in the Tools panel. Drag each shape from its center onto
the large blue circle in the center to create a bird (see the figure for guidance).

Move the modified shapes into position to finish the bird.

13. Choose Select > All On Active Artboard, and then choose Object > Group.
14. Choose File > Save.

Combining Shapes 399

In Illustrator, you can combine vector objects in a variety of ways. A lot of the time,
creating more complex shapes from simpler shapes can be easier than trying to
create them with drawing tools like the Pen tool. The resulting paths or shapes
differ depending on the method you use to combine the paths. In this section, you’ll
explore a few of the more widely used methods for combining shapes.

Working with the Shape Builder Tool

The first method you will learn for combining shapes involves working with the
Shape Builder tool ( ). This tool allows you to visually and intuitively merge, delete,
fill, and edit overlapping shapes and paths directly in the artwork. Using the Shape
Builder tool, you’ll start out by creating a more complex bird shape from a series of
simpler shapes like circles and squares.

Try It!

1. Choose 4 Butterfly from the Artboard Navigation menu in the lower-left corner
of the Document window.

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TEACHING TIP Lesson 17 Editing and Combining Shapes and Paths

Be patient with the steps on this page and 2. Choose View > Fit Artboard In Window to ensure it fits in the Document window.
remember the keyboard shortcut to undo 3. Select the Zoom tool ( ) in the Tools panel, and click a few times on the red and
your last step. It may take you several tries
to get the shapes combined just right. green shape on the left side of the artboard to zoom in.
4. Select the Selection tool ( ), and drag a marquee selection across the red/orange
Note: You can also press the Shift
key and drag a marquee across rectangle, white circles, and green rectangle to select the shapes on the artboard.
a series of shapes to combine In order to edit shapes with the Shape Builder tool ( ), they need to be
them. Pressing Shift+Option selected. Using the Shape Builder tool, you will now combine, delete, and paint
(Mac OS) or Shift+Alt (Windows) these simple shapes to create the rest of a butterfly’s wings.
and dragging a marquee across 5. Select the Shape Builder tool ( ) in the Tools panel. Position the pointer off the
selected shapes with the Shape upper-left corner of the shapes, and drag from the red X in the figure down and
Builder tool ( ) selected allows to the right into the red/orange rectangle. Release the mouse button to combine
you to delete a series of shapes the shapes.
within the marquee.
Combining shapes.

When you select the Shape Builder tool, the overlapping shapes are divided into
separate objects temporarily. As you drag from one part to another, a red outline
appears, showing you what the final shape outline will look like when it merges
the shapes together after releasing the mouse button. Notice that the new
combined shape is now the same blue as the bird shape you created previously.
6. Position the pointer off the upper-right corner of the shapes, and drag from the
red X in the figure down and to the left into the red/orange rectangle. Release
the mouse button to combine the shapes.

Combine shapes on the right.

Next, you’ll delete a few shapes.

7. With the shapes still selected, hold down the Option (Mac OS) or Alt (Windows)
key. Notice that, with the modifier key held down, the pointer shows a minus
sign ( ). Click each red shape to delete it.

Delete the remaining red shapes.
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Editing and Combining Shapes and Paths Lesson 17 TEACHING TIP

8. Double-click the Shape Builder tool in the Tools panel. In the Shape Builder Tool Remind students that the Pathfinder
Options dialog box, select Straight Line from the Selection options. Click OK to options are permanent changes—they
close the dialog box. can’t be undone unless you hold the
By default, the Shape Builder tool lets you drag across shapes in a freeform way. Option/Alt key while you use them. More
on that to come.
9. With the shapes still selected, hold down the Option (Mac OS) or Alt (Windows)
key and drag through the green shape in the center from top to bottom to Note: Pressing the Option (Mac
remove it. OS) or Alt (Windows) modifier
key enables what’s referred to
10. With the blue shapes still selected, select the Selection tool and then change the as Erase mode for the Shape
Fill color to an orange/red color with the tooltip name that shows as “C=0 M=90 Builder tool.
Y=85 K=0.”

11. Choose Object > Group to group the now orange shapes together.

12. Choose View > Fit Artboard In Window.

13. Select the Selection tool and drag one of the orange shapes in the group to the
right side of the artboard, above the yellow shapes. See the following figure for
how to position them.

14. Drag the orange/yellow shape (an arrow is pointing to it in the figure) into the
center of the wing shapes.

Drag the group into place to finish the butterfly.

15. Choose Select > Deselect, and then choose File > Save.

Working with the Pathfinder Panel

The Pathfinder panel is another place to combine shapes in different ways. When a
shape mode such as Unite is applied, the original objects selected are permanently
transformed, but you can hold down a modifier key, and the original underlying
objects are preserved.

Minus Exclude
Front

Unite Intersect

Divide Merge Outline Minus
Back
Trim Crop

The tools on the Pathfinder panel.

When a Pathfinder effect such as Merge is applied, the original objects selected
are permanently transformed. If the effect results in more than one shape, they are
grouped automatically.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 401

Discussion Topic Lesson 17 Editing and Combining Shapes and Paths

What are the Shape Mode options in the Try It!
Pathfinder panel?
1. Choose 5 Bird 3 from the Artboard Navigation menu in the lower-left corner of
the Document window.

2. Choose Window > Pathfinder to open the Pathfinder panel group.
3. With the Selection tool ( ), hold down the Shift key, and click the red oval and

blue rectangle beneath it to select both objects.

Note: The Unite button in the Select the original shapes.
Pathfinder panel produces a
similar result to the Shape Builder You need to create a shape that looks like a bird wing. You will use the Pathfinder
tool, by combining the shapes panel and those shapes to create the final artwork.
into one.
4. With the shapes selected, in the Pathfinder panel, click the Minus Front button
( ) in the Shape Modes section of the Pathfinder panel to permanently subtract
the top shape from the bottom shape.

Remove the front shape.

With the new shape selected, notice the word “Path” on the left side of the
Control panel.

5. Choose Edit > Undo Subtract to bring both shapes back. Leave them selected.

Shape Modes in the Pathfinder Panel

The buttons in the top row of the Pathfinder panel, called shape modes, create
paths just like the Pathfinder effects, but they can also be used to create compound
shapes. When several shapes are selected, clicking a shape mode while pressing the
Option (Mac OS) or Alt (Windows) key creates a compound shape rather than a path.
The original underlying objects of compound shapes are preserved. As a result, you
can still select each original object within a compound shape. Using a shape mode
to create a compound shape can be useful if you think that you may want to retrieve
the original shapes at a later time.

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402 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Editing and Combining Shapes and Paths Lesson 17 Discussion Topic

Try It! What happens to the blue shape in
step #6?
1. With the shapes still selected, hold down the Option (Mac OS) or Alt (Windows)
key, and click the Minus Front button ( ) in the Shape Modes section of the TEACHING TIP
Pathfinder panel.
Point out the tip in the yellow note.
How would you make the same change
to the blue shape using only the Direct
Selection tool?

Create the compound shape. Note: To edit the original shapes
in a compound shape like this
This creates a compound shape that traces the outline of what’s left after the top one, you can also select them
red shape is subtracted from the bottom blue shape. You will still be able to edit individually with the Direct
both shapes separately. Selection tool ( ).

2. Choose Select > Deselect to see the final shape.

3. With the Selection tool, double-click the blue shape to enter Isolation mode.
You could also double-click the (now) white oval, but that one is harder to see.

4. Choose View > Outline so that you can see the outlines of the two shapes, and
click the edge of the oval shape to select it.

5. Choose View > Preview.

6. Drag the white oval from the middle a little to the left.

Move the white oval in Isolation mode.

7. Press the Escape key to exit Isolation mode.
You will now expand the wing shape. Expanding a compound shape maintains
the shape of the compound object, but you can no longer select or edit the
original objects. You will typically expand an object when you want to modify the
appearance attributes and other properties of specific elements within it.

8. Click away from the shape to deselect it, and then click to select it again.

9. Click the Expand button in the Pathfinder panel. Close the Pathfinder
panel group.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 403

REVIEW THE Lesson 17 Editing and Combining Shapes and Paths
VOCABULARY
10. Drag the blue wing shape on top of the bird as you see in the figure.
Compound path A vector object used to
cut a hole in another vector object.

Compound path Drag the blue wing shape you just made to the top of the bird.

A vector object used to cut a 11. Choose Select > All On Active Artboard, and then choose Object > Group.
hole in another vector object.
Creating a Compound Path

Compound paths let you use a vector object to cut a hole in another vector object.
When you think of a compound path, you can think of a doughnut shape, which can
be created from two circles. Holes appear where paths overlap. A compound path
is treated like a group, and the individual objects in the compound path can still be
edited or released (if you don’t want them to be a compound path anymore). Next,
you’ll create a compound to create some art for the butterfly.

Try It!

1. Choose 4 Butterfly from the Artboard menu in the lower-left corner of the
Document window.

2. Choose View > Fit Artboard In Window.

3. With the Selection tool ( ) selected, select the white circle with the black stroke.
Drag it onto the larger orange circle above it, a little off-center.

Note: You can still edit the Select the white circle and drag it onto the orange circle.
original shapes in a compound
path like this one. To edit them, 4. Drag across both shapes to select them.
select each shape individually 5. Drag the shapes onto the larger orange wing of the butterfly. Notice that the
with the Direct Selection tool ( )
or double-click the compound white circle is on top and you can’t see through it.
path with the Selection tool to 6. Choose Object > Compound Path > Make, and leave the artwork selected.
enter Isolation mode and select
the individual shapes. The white circle has seemingly disappeared, and you can now see through the shape to the reddish
orange color of the butterfly wing.

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404 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Editing and Combining Shapes and Paths Lesson 17 TEACHING TIPS

The white circle was used to “punch” a hole in the orange shape. With the shape You may have to use the Object >
still selected, you should see “Compound Path” on the left end of the Control Arrange > Bring to Front command to
panel above the Document window. view your completed butterfly.
7. Option-drag (Mac OS) or Alt-drag (Windows) the new compound path to the
right side of the orange wing shape. Release the mouse button and then the key. Encourage students to experiment with
the Shaper tool and Pathfinder panel to
Copy the compound path to the other wing. draw and combine a variety of shapes.
How would they, for example, draw a
8. Select all of the shapes for the butterfly by choosing Select > All On Active cookie with a bite out of it? How about a
Artboard. bagel or doughnut with a bite out of it?
A bullseye?
9. Choose Object > Group.
10. Choose Object > Transform > Rotate. In the Rotate dialog box, change Angle to

-45, select Preview, and then click OK.
11. Choose File > Save.

Combining Paths Using the Shaper Tool

In Lesson 16, “Using Shapes to Create Artwork for a Postcard,“ you learned
about the Shaper tool. The Shaper tool can be used to not only create paths
and shapes but also combine paths and shapes.

After combining artwork with the Shaper tool, the result is a “shaper group.”
The original paths are still accessible and treated like a group, but appearance
attributes are applied to the shaper group as a whole.

To learn more about combining paths using the Shaper tool, search for “Shaper
tool” in Illustrator Help (Help > Illustrator Help).

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 405

TEACHING TIP Lesson 17 Editing and Combining Shapes and Paths

Be patient with the activity on pages 406 Using the Width Tool
and 407. Feel free to zoom in or change
the fill color of the shape so you can see Not only can you adjust the weight of a stroke, as you did in Lesson 16, but you can
the blue guides more clearly. also alter regular stroke widths either by using the Width tool ( ) or by applying
width profiles to the stroke. This allows you to create a variable width along the
stroke of a path. Next, you will use the Width tool to create a bird.

Try It!

1. Choose 6 Bird 4 from the Artboard menu in the lower-left corner of the
Document window.

2. Choose View > Fit Artboard In Window, if necessary.
3. Choose View > Smart Guides to turn them back on.
4. Select the Width tool ( ) in the Tools panel. Position the pointer over the mid-

dle of the vertical blue line, and notice that the pointer has a plus symbol next to
it ( ), indicating that if you click and drag, you will edit the stroke. Click and drag
away from the line, to the right. Notice that, as you drag, you are stretching the
stroke to the left and right equally. Release the mouse when the measurement
label shows Side 1 and Side 2 at approximately 0.5 in.

Note: If you select a width point The new point on the original path that’s filled with blue is called the width point. The lines extending
by clicking it, you can press from the width point are the handles.
Delete to remove it. If there was
only one width point on a stroke, 5. Click in a blank area of the artboard to deselect the path. Position the pointer
removing that point would anywhere over the path, and the new width point you just created will appear (an
remove the width completely. arrow is pointing to it in the first part of the figure below). The width point you
see inline with the pointer is where a new point would be created if you were to
click. Position the pointer over the original width point, and when you see lines
extending from it and the pointer changes ( ), drag it up a bit.

Note: You don’t have to position Drag up to change the width at a different location.
the pointer over the center of the
line and drag to create another Aside from clicking and dragging to add a width point to a path, you can also
width point. You can drag from double-click and enter values in a dialog box. That’s what you’ll do next.
anywhere in the stroke area.
6. Position the pointer over the top anchor point of the blue line, and notice
Note: You can double-click that the pointer has a wavy line next to it ( ) and the word “anchor” appears.
anywhere along the path to add Double-click the point to create a new width point and to open the Width Point
a new width point. Edit dialog box.

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406 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Editing and Combining Shapes and Paths Lesson 17 Discussion Topic

7. In the Width Point Edit dialog box, click the Adjust Widths Proportionatally button How else could you create the shape pic-
( ) so both Side 1 and Side 2 change together (proportionally). Change the Side tured on the left side of step #11?
1 width to 0.18 in, and click OK.
Note: You can drag one width
The Width Point Edit dialog box allows you to adjust the sides together or point on top of another width
separately, with more precision. Also, if you select the Adjust Adjoining Width point to create a discontinuous
Points option, any changes you make to the selected width point affect width point. If you double-click
neighboring width points as well. a discontinuous width point, the
Width Point Edit dialog box allows
You can also duplicate a width point if you like, which is what you’ll do next. you to edit both width points.

8. Position the pointer over the original anchor you created. Press the Option (Mac
OS) or Alt (Windows) key, and drag down to duplicate the width point. Use the
first part of the figure below to see roughly how far to drag. Release the mouse
button, and then release the key.

9. Position the pointer over the right end of the width point handle and drag to the
left until you see a Side 1 and Side 2 of roughly 0.3 in.

Change the width for the duplicate width point.

10. Click in a blank area of the artboard to deselect the path.
You’re deselecting at this point only because it’s helpful to get some practice try-
ing to select the width points. You won’t need to deselect in a real-world situation.

11. Position the Width tool pointer over the blue path. The width points will appear
on the path. Position the pointer over the point you just duplicated, and click
when you see the width point handles appear.

Finish adjusting the width. Note: After defining the stroke
width, you can save the variable
To select a width point, you can click the width point, the width point handles, or width as a “profile” that you
the handle end points. can reuse later, from the Stroke
panel or the Control panel. To
12. Option-drag (Mac OS) or Alt-drag (Windows) the left width point handle (on the learn more about variable width
left edge of the blue path area) to the right until you see a value of approximately profiles, search for “Painting with
0.23 in for Side 2 in the measurement label. Release the mouse button and then fills and strokes” in Illustrator
the key. Help (Help > Illustrator Help).

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TEACHING TIP Lesson 17 Editing and Combining Shapes and Paths

What’s an alternate way to select and Outlining Strokes
group the parts of the blue bird?
Paths, like a line, can show a stroke color but not a fill color by default. If you create a
Note: After outlining the stroke, line in Illustrator and want to apply both a stroke and a fill, you can outline the stroke,
the shape you have may be which converts the line into a closed shape (or compound path).
composed of a lot of anchor Next, you will outline the stroke of the blue line you edited with the Width tool.
points. You can choose Object >
Path > Simplify to try and simplify Try It!
the path, which usually means
fewer anchor points. 1. With the Selection tool ( ), select the blue path you edited with the Width tool
and choose Object > Path > Outline Stroke. This creates a filled shape that is a
Note: If you outline the stroke closed path.
and it shows as “Group” in the
Selection Indicator on the left 2. With the shape selected, choose Object > Transform > Rotate. In the Rotate dia-
end of the Control panel, then log box, change the Angle to 45, and click OK.
there was a fill set on the line. If
the artwork is a group, choose Rotate the object you just shaped.
Edit > Undo Outline Stroke, apply
a fill of None to the path, and 3. Drag the shapes into position as you see in the following figure.
then try again.

Drag the parts of the bird into position.

4. Choose Select > All On Active Artboard, and then choose Object > Group.

Finishing Up the Illustration

To finish the illustration, you will drag the artwork you grouped on each artboard into
the main illustration on the left.

Try It!

1. Choose View > Fit All In Window.
2. Choose View > Smart Guides to turn them off.
3. Drag each of the artwork groups into the main illustration as you see in

the figure.
You may want to adjust the size of each group so they fit within the existing artwork
better. With the Selection tool, you can hold down the Shift key and drag a corner
point. When finished resizing, release the mouse button and then the Shift key.

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408 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Editing and Combining Shapes and Paths Lesson 17 TEACHING TIP

As a general rule, students may find it
helpful to memorize certain fractions
and their decimal equivalents, including
eighths of an inch: 1/8 = .125, 3/8 = .375,
5/8 = .625, and 7/8 = .875.

Drag the grouped objects you created into their final positions.

4. Choose View > Smart Guides to turn them on for the next lesson.

5. Choose File > Save, and then choose File > Close.

Using Mathematics in Graphic Design

You may be surprised to learn that math can be useful in graphic design. You use math
when resizing and scaling an overall image or document or elements within artwork.
For example, you might need to calculate how to rescale a document to fit a particular
advertisement space or how to resize a graphic to fit within a space in a brochure design.
You can also use math when designing the composition as a whole. Math can come
into play when creating the proportions within a particular drawing object, as well as
when positioning objects within a larger composition. Read on to learn a bit more
about math and design.

Scaling and Resizing

Using math to figure out object scaling is one of the most common things you might
do. To convert a fraction to a decimal, you divide the numerator by denominator.
For example:
1/2=.5
To then convert the resulting decimal to a percentage, move the decimal right two
places and add the % sign. For example:
.5 becomes 50%
You can use either the decimal or percentage when resizing or scaling. For example,
if you have the starting dimension for one edge of a graphic file, you can multiply it
by a decimal to get the new dimension, then manually enter the size where called
for, such as the Image Size dialog box in Photoshop CC. Here are some examples of
finding the new size for a 4-inch dimension:
4 x .50 = 2
4 x 1.5 = 6
In other dialog boxes, such as the Scale dialog box in Illustrator CC, you may need to
enter the calculated percentage, such as 50% or 150%, to scale the object as desired.
Note that if you need to convert a percentage back to a decimal, delete the % sign
and move the decimal to the left two places.

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TEACHING TIP Lesson 17 Editing and Combining Shapes and Paths

Google aspect ratio and click images Ratios
to find a diagram of the aspect ratios of
common screen sizes and images. Share A ratio is a relationship between pairs of numbers. For instance, if you’re cooking
what you find with the class. rice at a 1:2 ratio with water, you’ll add one part of rice to the pot for every two parts
of water. Instead of instructing someone to cook one cup of rice with two cups of
Discussion Topics water, it’s more scalable to advise the ratio.

What’s the aspect ratio of the computer In some cases, you will be working with images that have common size ratios. For
monitor you’re using right now? How can example, digital photos, videos, and computer monitors often use a 3:2, 4:3, or 16:9 ratio
you tell? or aspect ratio. In these ratios, the first number represents the width, and the second
number represents the height relative to the width. So, for example, if you are working
Are there any serious photographers in with a digital image or graphic that needs to fill a 16:9 screen (as in an onscreen slide
the class? Ask what they know about the show, for example), the image dimensions in pixels need to maintain that ratio.
rule of thirds.
Let’s see how this works. To maintain the proportions when determining an image
Why is the rule of thirds called the rule size, you would multiply both the width (16) and height (9) values in the desired ratio
of thirds? by the same number. For example, let’s multiply each by 120:

16 x 120 = 1920 (width)

9 x 120 = 1080 (height)

That gives an image size of 1920 x 1080, which happens to match Full HD screen
resolution.

You can find online tools for calculating image sizes based on various aspect ratios.

Rule of Thirds

In addition to sizing an overall graphic file, you’ll be making decisions while creating
a composition. One common way to structure a composition is to follow the rule
of thirds. The premise of the rule of thirds is to evenly divide the image by two
horizontal and two vertical lines before composing the subject matter along the
intersections of those guides.

For example, in the example shown here, guidelines have been added to divide each
artboard into thirds both horizontally and vertically. In the left artboard, the star
graphic is centered, which isn’t all that interesting visually. In the center artboard,
each star graphic appears at the intersection between two guides. Placing the sub-
ject matter at any of those four guide intersection points creates a more dynamic
and interesting composition, as illustrated by the right artboard with the single star.

One desired result of the rule of thirds is the elimination of the number one newbie
mistake: centering the subject in the middle of the image. You’ll also start to see
and weigh the visual balance of your subject matter by thirds, bringing more tension

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410 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Editing and Combining Shapes and Paths Lesson 17 Discussion Topic

and energy to the overall composition. The more you’re aware of the compositional What do students notice about the
space, the more likely you’ll be to create a composition that leads the eye to your shape of the curve in the golden
desired focal point. proportion diagram?

Golden Proportion and Fibonacci Sequence TEACHING TIP

Another system for visual and architectural design is widely known as the Golden Ask interested students to Google
Ratio or Golden Proportion. It uses a series of rectangles divided by squares, using Fibonacci. Who was he and for what else
a proportion of roughly 1.61. As shown in the illustration here, a curve drawn at is he known?
intersection points within the overall rectangle creates a guide that can be used to
position items in a composition. Look closely at the layouts along the bottom of the Comprehension Check
image. The first three seem rather random, but the on at far right looks more pleas-
ing because it adheres to the flow of the Golden Ratio curve. 1. The Scissors tool is meant to split a
path, graphics frame, or empty text
The Golden Ratio is said to be pleasing because it is often found in nature. It is a frame at an anchor point or along a
close relative to another pattern in mathematics called the Fibonacci Sequence. This segment. The Knife tool cuts ob-
sequence is a pattern of numbers: jects along a path you draw with the
tool, dividing objects. When you cut
0, 1, 1, 2, 3, 5, 8, 13, and so on shapes with the Knife tool, they be-
come closed paths.
In the sequence, if you start from left to right and add each pair of numbers, the
result is the next number: 2. In order to erase in a straight line with
the Eraser tool, you need to press and
0+1=1 hold the Shift key before you begin
dragging with the Eraser.
1+1=2
3. In the Pathfinder panel, when a Shape
1+2=3 Mode (such as Unite) is applied, the
original objects selected are perma-
2 + 3 = 5, and so on nently transformed, but you can hold
down a modifier key, and the original
The more you progress through the number pairs in the Fibonacci Sequence, the underlying objects are preserved.
more the ratio between the pairs approaches the Golden Ratio. When a Pathfinder effect (such as
Merge) is applied, the original objects
Comprehension Check selected are permanently tran formed.

1. What is the difference between the Scissors tool ( ) and the Knife tool ( )? 4. A path, like a line, can show a stroke
2. How can you erase with the Eraser tool ( ) in a straight line? color but not a fill color by default.
3. What is the main difference between Shape Modes and Pathfinder Effects in the If you create a line in Illustrator and
want to apply both a stroke and a
Pathfinder panel? fill, you can outline the stroke, which
4. Why would you outline strokes? converts the line into a closed shape
(or compound path).
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LEARNING GRAPHIC DESIGN & ILLUSTRATION 411

REVIEW QUESTIONS Chapter 8 Working with Shapes and Paths

1. A measurement label is the value that End-of-Chapter Activities
appears in a tooltip to give the cur-
rent dimensions for the object being Review Questions
created or its positioning information.
1. Describe what a measurement label is.
2. You can display the grid by choos- 2. How can you align objects more precisely when creating artwork?
ing View > Show Grid. Then, choose 3. What action do you perform with the Shaper tool to add and subtract shapes when you’re combining them?
View > Snap to Grid. When an ob- 4. How can you convert a raster image to editable vector shapes?
ject’s boundaries come close enough 5. Name three of the five tools you used to edit paths and shapes in Lesson 17.
to a gridline, it will snap to the grid. 6. Describe what using the Knife tool on a shape does and an example of why you might use it.
7. Name two ways you can combine several shapes into one.
3. Scribble over the area and boundary 8. Briefly explain what the rules of thirds is and how to use it.
to eliminate.
Multiple Choice
4. You can convert a raster image to ed-
itable vector shapes by tracing it. To 1. In addition to the Preferences dialog box, where can you change the the type of Units used for sizing the
convert the tracing to paths, click Ex- image and drawing objects?
pand in the Control Panel or choose a. Transform dialog box
Object > Image Trace > Expand. Use b. New Document dialog box
this method if you want to work with c. Stroke setting
the components of the traced art- d. Swatches Panel
work as individual objects. The result-
ing paths are grouped. Choose the 2. A square shape is an example of a(n)
artboard number from the Artboard a. open path
Navigation menu at the lower-left of b. anchor point
the Document window c. end point
d. closed path
5. Any three of the following five
answers is acceptable: 3. An open path has these, but a closed path does not.
a. endpoints
• Scissors tool b. terminators
c. segments
• Knife tool d. anchor points

• Width tool 4. What key do you press to decrease the number of sides on a polygon shape when drawing it?
a. - (minus)
• Shape Builder tool b. + (plus)
c. Down Arrow
• Eraser tool d. Up Arrow

6. Dragging across a shape with the 5. You can use this command to close a path.
Knife tool divides it into two separate a. Slice
closed shapes. You can then format b. Join
each shape separately, such as apply- c. Group
ing different color fills d. Blend

7. Any two of the following answers 6. What key can you press to make the Knife tool pointer more precise?
is acceptable: a. Caps Lock
b. Up Arrow
• Using the Shape Builder tool, you c. Shift
can visually and intuitively merge, d. Spacebar
delete, fill, and edit overlapping
shapes and paths directly into 412 LEARNING GRAPHIC DESIGN & ILLUSTRATION
the artwork.
• You can also use the Pathfinder effects, which can be found using the
Effects menu or the Pathfinder panel, to create new shapes out of
overlapping objects.

• As you saw in Lesson 16, you can also combine shapes using the
Shaper tool.

8. The premise of the rule of thirds is to evenly divide the image by two hori-
zontal and two vertical lines before composing the subject matter along the
intersections of those guides. One desired result of the rule of thirds is the
elimination of the number one newbie mistake: centering the subject. Weigh-
ing the visual balance of your subject matter by thirds, brings more tension
and energy to the overall composition and helps lead the viewer’s eye to the
desired focal point.

412 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Working with Shapes and Paths Chapter 8 MULTIPLE CHOICE

7. This type of path enables you to cut a hole in another vector object. 1. B
a. closed 2. D
b. open 3. A
c. segment 4. C
d. compound 5. B
6. A
8. Use this panel to combine shapes in different ways. 7. D
a. Artboards 8. C
b. Stroke
c. Pathfinder
d. Brushes

Chapter 8 – Portfolio Builder

Combining Shapes to Draw Artwork

Creating vector drawings is the primary function for many illustrators. It takes skill and practice to learn how to
combine shapes to create a finished artwork. Compelling artwork can be used in a variety of ways. For example,
you could create an original design and go to a website such as CafePress (www.cafepress.com) to use the design
on T-shirts, coffee mugs, and more. You could even sell your designs online on CafePress! In this exercise, prac-
tice combining shapes to create an owl. Refer to the finished illustration as you go to see how to put it together.

DIRECTIONS 3. Click File > Save As, navigate to the location
1. In Illustrator, choose File > New to open a new, where your instructor directs you to save files
for this chapters projects, and rename the
untitled document. In the New Document dialog file PB08End_xx.ai. Leave the default for-
box, change the following options: mat selected, and click Save. Click OK in the
• Name: Owl Illustrator Options dialog box.
• Profile: Print
• Units: Inches 4. Leave the default fill (white) and stroke (black)
• Width: 4 colors selected. Select the Shaper tool in the Tools
• Height: 6 panel, and draw a large oval that’s taller than it is
2. Click OK in the New Document dialog box. wide. This will form the owl’s body.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 413

Chapter 8 Working with Shapes and Paths

5. Select the Selection tool, and resize and reposition 17. On the Control Panel, change the Fill Color to
the oval as desired. black. Start dragging, and if needed press the
Down Arrow key three times to change to a
6. Select the Ellipse tool in the Tools panel. (It may be three-sided triangle shape. As you drag, also work
hidden behind another shape tool.) with the rotation of the triangle so the one side is
vertical at the left and the intersection of the other
7. Shift+drag to draw a perfect circle for the two sides is perpendicular to that side, pointing to
owl’s head. the right. Make the triangle approximately a quarter
of an inch wide and tall. (Hint: Do the math to cal-
8. Reselect the Selection tool, and drag the circle culate 1/4 as a decimal.)
into position at the top of the oval, using the Smart
Guides that appear to align the centers. 18. Select the Selection tool, and drag the triangle
over the circle with the wide stroke, positioning
9. With the Selection tool still selected, click the the vertical side at the left.
bottom oval (the owl’s body). Then click the Draw
Inside button at the bottom of the Tools panel. 19. Deselect the triangle, and then drag over both
shapes to select them. Choose Object > Group
10. Reselect the Ellipse tool, and then draw another to group the shapes into an eye, and then drag it
long oval at the upper-left area of the body oval, onto the left side of the owl’s head, about halfway
to become the owl’s left wing. down and slightly bumping out from the left side
of the owl’s head.
11. Click the Fill color arrow in the Control panel, then
click the Swatch Libraries menu in the lower-right 20. With the grouped eye still selected, point to
corner of the panel. Choose a library of swatches the border until you see path in pink, then
to load, such as Patterns > Decorative > Decorative Option+drag (Mac OS) or Alt+drag (Windows) to
Legacy. In the floating Swatches panel that opens, the right to create the right eye, using the hori-
click various swatches to test their appearance, zontal pink Smart Guide that appears to ensure the
then click one to use to fill the owl’s wing. Close eyes are level. Click outside the eye to deselect it.
the Swatches panel.
21. On the Control panel, change the Stroke Color
12. In the Control panel, click the down arrow beside to [None], and change the Fill Color to orange
the Stroke Color, and then click the first choice on (C=0 M=80 Y=95 K=0).
the first row (the [None] choice), which is a white
box with a diagonal red arrow. Click the arrow 22. Reselect the Polygon tool, then drag to create a
again to close the Stroke panel. downward pointing triangle as the owl’s beak. Use
the Select tool to reposition and resize the beak
13. With the Selection tool and the left wing still as desired.
selected, point to the oval border, and then
Option+drag (Mac OS) or Alt+drag (Windows) to 23. In the Control panel, change the Fill Color to the
the right to create the right wing. color of your choice that coordinates with the
pattern fill you selected for the wings.
14. Reselect the Ellipse tool, and then change the
Stroke color back to black in the Control panel. 24. Click the Draw Behind button at the bottom of the
Also change the Fill Color to white and the Stroke Tools panel, and reselect the Polygon tool. Move
Width setting to 10 pt. the mouse pointer to the upper-left of the owl’s
head, to the location where you see intersect in
15. Above and to the left of the owl’s head, pink and Smart Guides aligning with the top and left
Shift+drag to create a perfect circle shape that’s dimensions of the owl’s head. Click the mouse but-
approximately .6 inches wide and tall. (Keep an eye ton. In the Polygon dialog box, change the Radius
on the Measurement label tooltip.) to .6 in, and then click OK. This triangle will become
the owl’s left ear.
16. Move the mouse pointer over the Ellipse tool in
the Tool panel, press and hold the mouse button,
and select the Polygon tool.

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414 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Working with Shapes and Paths Chapter 8

25. In the triangle, drag the widget at the top down to 27. Drag the ear into position at the upper-left corner
change the Radius to 0.15 in. of the owl’s head, releasing the mouse button
when you see intersect in pink and Smart Guides
26. Select the Selection tool, and then select the new aligning with the top and left dimensions of the
triangle. Move the mouse pointer to the outside owl’s head again. Notice how the bottom of the
of the upper-left corner until you see the Rotate triangle shape slides behind the owl’s head.
mouse pointer (the bent, two-headed arrow). Drag
down and to the left until the tooltip displays 120°, 28. Point to the path, then Option+drag (Mac OS)
then release the mouse button. or Alt+drag (Windows) to the right to create the
right ear. Select Object > Transform > Reflect. In
the Reflect dialog box, leave Vertical selected, and
click OK. Drag the right ear into position.

29. Save and close the file.

Chapter 8 – Critical Thinking

Researching Design and Illustration Career Opportunities

Select and research a career that interests you in the Arts, Audio/Video Technology, and Communications career
cluster, preferably a job within or closely related to graphic design and illustration. Make a column chart that lists
the types of businesses that employ professionals in your selected career, as well as the experience, education
requirements, training opportunities, and available certifications for that career. Use the information to write a help
wanted advertisement or job posting for your selected career. Include the skills an employer might be looking for
and a starting salary. Share your want ad with a partner or with the class.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 415

Chapter 9

Transforming,
Positioning, and Drawing

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416 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Transforming, Positioning, and Drawing Chapter 9 CHAPTER 9
OVERVIEW
Lesson 18 | Transforming Artwork Lesson 19 | Creating an Illustration
with the Drawing Tools This chapter covers a variety of tools and
Add, edit, rename, and reorder artboards in an techniques to position and transform new
existing document Understand paths and anchor points and existing artwork in Illustrator.
Navigate artboards Draw curved and straight lines with the Pen tool
Work with rulers and guides Edit curved and straight lines Lesson 18: Key skills include transforming
Move, scale, and rotate objects using a variety of methods Add and delete anchor points content by moving, rotating, reflecting,
Reflect, shear, and distort objects Convert between smooth points and corner points scaling, shearing, and distorting objects.
Position objects with precision Create dashed lines and add arrowheads The lesson concludes with a look at the
Position and align content with Smart Guides Draw and edit with the Pencil tool field of public relations and its connection
Use the Free Transform tool to distort an object Work with the Join tool with graphic design.
Create a PDF Explore entrepreneurial opportunities in graphic design
Put graphic design skills to work in public relations Lesson 19: Key skills include creating and
End-of-Chapter Activities editing paths with the Pen, Curvature, and
Pencil tools to produce complex shapes
and illustrations. The lesson concludes
with a look at entrepreneurial opportuni-
ties in graphic design.

Files Needed for This Chapter:

18Start.ai

19Practice_Start.ai

19End.ai

19Start.ai

LEARNING GRAPHIC DESIGN & ILLUSTRATION 417

CHAPTER OPENER

In Chapter 8 you learned to create, edit, and combine shapes to create sophisti-
cated images. In chapter 9, you’ll learn a variety of ways to position and transform
new and existing artwork and use drawing tools to create illustrations.

MEET INDIVIDUAL NEEDS

More advanced learners: Choose up to three more advanced learners—including
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.

LEARNING GRAPHIC DESIGN & ILLUSTRATION 417

FOCUS AND ENGAGE Lesson 18 Transforming Artwork

Introduce the Lesson Lesson 18 Overview

As you review the skills listed in the In this lesson, you’ll learn how to do the following:
Lesson 18 Overview, explain that students
will transform artwork and assemble it • Add, edit, rename, and reorder artboards in an • Reflect, shear, and distort objects.
into tickets for a sporting event. existing document. • Position objects with precision.
• Position and align content with Smart Guides.
• Navigate artboards. • Use the Free Transform tool to distort an object.
• Create a PDF.
• Work with rulers and guides. • Put graphic design skills to work in public relations.

• Move, scale, and rotate objects using a variety of
methods.

You can modify objects in many ways as you create artwork, by quickly and precisely controlling their size, shape,
and orientation. In this lesson, you’ll explore creating and editing artboards, the various Transform commands, and
specialized tools, while creating several pieces of artwork.

Note: If you don’t see Reset Opening the Project File
Essentials in the Workspace
menu, choose Window > In this lesson, you’ll transform artwork and use it in a ticket for a sporting event. To
Workspace > Essentials before begin, you’ll restore the default preferences for Adobe Illustrator and then open it.
choosing Window > Workspace >
Reset Essentials. 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 18Start.ai 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, and rename the file 18End_xx.ai.
Click Save.

5. In the Illustrator Options dialog box, leave the Illustrator options at their default
settings, and then click OK.

6. Choose Window > Workspace > Reset Essentials.

418 LEARNING GRAPHIC DESIGN & ILLUSTRATION

418 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Transforming Artwork Lesson 18 TEACHING TIP

Working with Artboards Point out the yellow note on this page—
dragging an artboard to an exact size can
Artboards represent the regions that can contain printable artwork, similar to pages in be tricky. Just get to roughly 3.5 inches
Adobe InDesign. You can use multiple artboards for creating a variety of things, such wide; you can fine-tune later in the
as multiple-page PDF files, printed pages with different sizes or different elements, Control panel.
independent elements for websites, or video storyboards, for instance.

Adding Artboards to the Document

You can add and remove artboards at any time while working in a document. You
can create artboards in different sizes, resize them with the Artboard tool ( ) or
Artboards panel ( ), and position them anywhere in the Document window. All
artboards are numbered and can have a unique name assigned to them.
Next, you will add two more artboards to the 18End_xx.ai document. Since this is a
ticket for a sporting event that will fold, each artboard will be a different face of
the ticket (front, inside, and back).

Try It!

1. Choose View > Fit Artboard In Window, and then press Command+– (Mac OS)
or Ctrl+– (Windows) to zoom out.

2. Press the spacebar to temporarily access the Hand tool ( ). Drag the artboard to
the left to see more of the darker canvas to the right of the artboard.

Drag to add a new artboard. Note: If you find it difficult to
make the width value exactly 3.5
3. Select the Artboard tool ( ) in the Tools panel. Position the Artboard tool in, you can always change the
pointer to the right of the existing artboard and in line with its top edge (a purple W: (width) value in the Control
alignment guide appears). Drag down and to the right to create an artboard that panel, after you finish drawing
is 3.5 in (width) by 6 in (height). the artboard.

It doesn’t have to be exact right now since you’ll adjust the size later. The mea-
surement label indicates the artboard size.

4. Click the Artboards panel icon ( ) on the right side of the workspace to show it.

The Artboards panel allows you to see how many artboards the document
currently contains. It also allows you to reorder, rename, add, and delete
artboards and to choose many other options related to artboards. Notice that
Artboard 2 is highlighted in the panel. The active (selected) artboard is always
highlighted in this panel.

Next, you will create a copy of an artboard using this panel.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 419

TEACHING TIP Lesson 18 Transforming Artwork

Point out the tool icons at the bottom Note: You can also create a 5. Click the New Artboard button ( ) at the bottom of the panel to create a copy of
of the Artboards panel. They should look new artboard by clicking the Artboard 2, called Artboard 3. The copy is placed to the right of Artboard 2 in the
familiar from Photoshop. New Artboard button ( ) in the Document window.
Control panel. This allows you
to create a duplicate of the last
selected artboard. After clicking
the button, position the pointer
in the canvas area and click to
create a new artboard.

Note: With the Artboard tool ( Click New Artboard to copy the artboard.
), you can also copy an artboard
by holding down the Option 6. Choose View > Fit All In Window to see all of your artboards and leave the
(Mac OS) or Alt (Windows) key Artboard tool selected.
and dragging away from the
original artboard. When creating Editing Artboards
new artboards, you can place
them anywhere—you can even After creating artboards, you can edit or delete artboards at any time by using the
overlap them. Artboard tool ( ), menu commands, or the Artboards panel. Next, you will reposition
and change the sizes of several of the artboards using multiple methods.
Note: To delete an artboard,
select the artboard with the Try It!
Artboard tool ( ) and either
press Delete, click the Delete 1. Press Command+– (Mac OS) or Ctrl+– (Windows) twice to zoom out further.
Artboard button ( ) in the 2. With the Artboard tool ( ) selected, drag Artboard 3 to the left of the original
Control panel, or click the Delete
icon ( ) in the upper-right (larger) artboard. You can reposition artboards at any time and even overlap
corner of an artboard. You can them, if necessary.
delete all but one artboard.
Drag the artboard to the other side.

3. With the Artboard tool selected, drag the bottom-center bounding point of the
artboard you moved, down until the height is 8 in, as shown in the measurement
label. The bottom will snap to the bottom of the larger artboard to its right, and a
magenta alignment (smart) guide will appear.

Dragging down to resize the artboard.
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Transforming Artwork Lesson 18

Another way to resize an artboard is to do so by entering values in the Control Note: With the Artboard tool
panel, which is what you’ll do next. ( ) selected, you can press
the Shift key to resize an
4. Click in Artboard 2 to the right of the larger artboard in the middle. “Artboard 2” artboard proportionally or press
will be highlighted in the Artboards panel. Select the upper-middle point in the the Option (Mac OS) or Alt
reference point locator ( ) in the Control panel. Change the height to 8 in the (Windows) key and drag to resize
Control panel and press Enter or Return to accept the value. an artboard from its center.

Selecting the upper-middle point allows you to resize an artboard from the top Note: If you don’t see the
center of the artboard. By default, artboards are resized from their center. Width (W) and Height (H) fields
in the Control panel, click the
In the Control panel, with the Artboard tool selected, you will see many options for Artboard Options button ( )
editing the currently active artboard. The Preset menu lets you change a selected in the Control panel and enter
artboard to a set size. Notice that the sizes in the Preset menu include typical print, the values in the dialog box
video, tablet, and web sizes. You can also fit the artboard to the artwork bounds that appears.
or the selected art, which is a great way to fit an artboard to a logo, for instance.
Other options in the Control panel include the ability to switch orientation, rename Note: You can also change the
or delete the artboard, and even show other helpful guides like a center point or name of an artboard by double-
video-safe areas. The Constrain Width and Height Proportions icon ( ) appears in clicking the Artboard tool (
the Control panel, between the Width and Height fields. This icon, if selected ( ),
allows the width and height to change in proportion to each other. ) in the Tools panel. Doing
so changes the name for the
5. Select the Selection tool ( ), and choose View > Fit All In Window. currently active artboard in the
Notice the very subtle black outline around Artboard 2, with “2” showing in the Artboard Options dialog box.
Artboard Navigation menu (lower-left corner of the Document window), and You can make an artboard the
“Artboard 2” highlighted in the Artboards panel, all of which indicate that Artboard currently active artboard by
2 is the currently active artboard. There can be only one active artboard at a time. clicking it with the Selection tool
Commands such as View > Fit Artboard In Window apply to the active artboard. ( ).

Renaming Artboards

By default, artboards are assigned a number and a name. When you navigate the
artboards in a document, it can be helpful to name them. Next, you are going to
rename the artboards so that the names are more useful.

Try It!

1. In the Artboards panel, double-click the name “Artboard 1.” Change the name to
Inside, and press Enter or Return.

Rename the first artboard.

You will now rename the rest of the artboards.

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Renaming and reordering artboards in the Note: You only need to single- 2. Double-click the Artboard Options icon ( ) to the right of the name “Artboard 2”
Artboards panel works much like renam- click the icon when the artboard in the Artboards panel. This opens the Artboard Options dialog box.
ing and reordering layers in Photoshop. name is highlighted in the panel.

Open the Artboard Options dialog box.

The Artboard Options icon ( ) appears to the right of the name of each artboard
in the Artboards panel. It not only allows access to the artboard options for each
artboard but also indicates the orientation (vertical or horizontal) of the artboard.

3. In the Artboard Options dialog box, change Name to Back, and click OK.
The Artboard Options dialog box has a lot of extra options as well as a few you’ve
already seen, like width and height.

4. Double-click the name “Artboard 3” in the panel, and change the name to Front.
Press Enter or Return to accept the name.

5. Choose File > Save, and keep the Artboards panel showing for the next steps.

Reordering Artboards

When you navigate your document, the order in which the artboards appear can be
important, especially if you are navigating the document using the Next artboard ( )
and Previous artboard ( ) buttons. By default, artboards are ordered according to
the order in which they are created, but you can change that order. Next, you will
reorder the artboards in the Artboards panel.

Try It!

1. With the Artboards panel open, double-click the number 1 to the left of the
name “Inside” in the Artboards panel.
This makes the artboard named “Inside” the active artboard and fits it in the
Document window.

2. Drag the “Front” artboard name up until a line appears above the artboard named
“Inside.” Release the mouse button.

Note: You can also reorder Drag an artboard to move it to a new position in the panel.
the artboards by selecting an
artboard in the Artboards panel This moves the artboard up in order so that it becomes the first artboard in the list.
and clicking the Move Up ( )
or Move Down ( ) button at the
bottom of the panel.

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Transforming Artwork Lesson 18 REVIEW THE
VOCABULARY
3. Double-click to the right or left of the name “Front” in the Artboards panel to fit
that artboard in the Document window, if necessary. Rulers Strips with marked intervals used
to help you accurately place and measure
4. Click the Next artboard button ( ) in the lower-left corner of the Document objects. They appear at the top and left in
window to navigate to the next artboard (Inside). This fits the Inside artboard in the document window and can be shown
the Document window. or hidden.

If you had not changed the order, the next artboard would have been dimmed Guides Non-printing lines created from
since the “Front” artboard was the last artboard in the Artboards panel (there was the rulers and moved over the document
no artboard after it). to help align objects.

5. Choose File > Save. MEET INDIVIDUAL
NEEDS
Now that the artboards are set up, you will concentrate on transforming artwork
to create the content for your project. English language learners Have English
language learners translate the vocab-
Editing Document Setup Options ulary words and definitions into their
native language and read them aloud to
When working with artboards for the current document, you can change a partner in both English and their native
default setup options, such as units of measure, bleed guides, type settings language. In this chapter especially, there
(such as language), and more in the Document Setup dialog box. Here are two are vocabulary words that mean one
ways you can access the Document Setup dialog box: thing in the graphic design world and
another thing to the rest of the world.
• Choose File > Document Setup. Encourage all students to compare these
terms’ dual meanings.
• If nothing is selected in the Document window, click the Document Setup
button in the Control panel.

There are two sets of options in the Document Setup dialog box that will be
worth exploring: General and Type. In the General options, you can change the
units and set bleed guides, among a host of other options.

Transforming Content Rulers

In Lesson 17, “Editing and Combining Shapes and Paths,” you learned how to take Strips with marked intervals used
simple paths and shapes and create more complex artwork by editing and combining to help you accurately place and
that content. That was a form of transforming artwork. In this lesson, you’ll learn how measure objects. They appear at
to transform content by moving, rotating, reflecting, scaling, shearing, and either the top and left in the Document
free distorting or perspective distorting objects. Objects can be transformed using window and can be shown
the Transform panel, selection tools, specialized tools, Transform commands, guides, and hidden.
Smart Guides, and more.
Guides
Working with Rulers and Guides
Nonprinting lines created from
To start this lesson on transforming, you’ll learn about aligning and measuring con- the rulers and moved over the
tent using rulers and guides. Next, you’ll create a few guides based on ruler mea- document to help align objects.
surements so that later you can more accurately align content.

Try It!

1. Choose View > Rulers > Show Rulers, if you don’t see the rulers along the top
edge and left edge of the Document window.

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REVIEW THE Lesson 18 Transforming Artwork
VOCABULARY
2. Choose View > Fit All In Window.
Ruler origin The point on each ruler (hori-
zontal and vertical) where the 0 appears. Ruler origin The rulers.
The point on each ruler
Discussion Topics (horizontal and vertical) where 3. With the Selection tool ( ) selected, click each of the artboards and, as you
the 0 appears. do, look at the horizontal and vertical rulers (along the top and left side of the
What does holding down the Shift key while Document window). Notice that 0 (zero) for each ruler is always in the upper-left
you’re dragging a ruler do to that ruler? Note: You could switch between corner of the active (selected) artboard (the last artboard you clicked in).
How is a global ruler different from an artboard and global rulers by
artboard ruler? choosing View > Rulers > and By default, the ruler origin is in the upper-left corner of the active artboard.
selecting Change To Global As you can see, the 0 point on both rulers corresponds to the edges of the
TEACHING TIP Rulers or Change To Artboard active artboard.
Rulers, (depending on which
Don’t miss the tip in the yellow box at the option is currently chosen), but There are two types of rulers in Illustrator: artboard rulers and global rulers.
bottom of the page! don’t do that now. Artboard rulers, which are the default rulers that you are seeing, set the ruler
origin at the upper-left corner of the active artboard. Global rulers set the ruler
origin at the upper-left corner of the first artboard, or the artboard that is at the
top of the list in the Artboards panel, no matter which artboard is active.

4. With the Selection tool, click in the leftmost artboard, called “Front.”

As you just saw, that sets the first artboard as the active artboard and sets the
ruler origin at the upper-left corner of that same artboard.

5. Open the Layers panel by choosing Window > Layers, and select the layer
named “Edit.”

Guides are similar to drawn objects in that they can be selected and
repositioned, or they can be deleted by pressing the Backspace/Delete key.
They’re also listed in the Layers panel on the active layer; that’s why you selected
the Edit layer.

6. Shift-drag from the left vertical ruler to the right to create a vertical guide at 1
inch on the horizontal ruler (the ruler above the artboard) on the “Front” art-
board. When the guide reaches 1 inch on the ruler, release the mouse button,
and then release the Shift key.

Shift+drag from the left vertical ruler to create a guide.

Dragging with the Shift key pressed “snaps” guides to the measurements on the
ruler. The guide is selected, and when selected, its color matches the color of
the layer that it’s associated with (red in this case).

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Transforming Artwork Lesson 18 Discussion Topic

7. With the guide still selected (in this case it will be red in color), change the Note: To change the units for a What’s the benefit of locking the guides
X value in the Control panel to 0.25 in, and press Enter or Return. document, you can right-click you’ve created? How do you do it? Can
either ruler and choose the you unlock them later?
new units.

Change the X value to adjust the guide’s position. Note: If you don’t see the X
value, you can click the word
On the horizontal ruler, measurements to the right of 0 (zero) are positive and “Transform” in the Control panel
to the left are negative. On the vertical ruler, measurements below 0 (zero) are or open the Transform panel
positive and above are negative. (Window > Transform).

8. Position the pointer in the upper-left corner of the Document window, where Note: If you Command-drag
the rulers intersect ( ), drag the pointer to the lower-left corner of the artboard (Mac OS) or Ctrl-drag (Windows)
and release the mouse button. from the ruler intersect, you
create a horizontal and vertical
As you drag, a crosshair in the window and in the rulers indicates the changing guide that intersects where
ruler origin. This sets the ruler origin (0,0) to the lower-left corner of the art- you release the mouse button
board. This can be very useful when you need to place content a set distance and then release the Ctrl or
from the bottom edge of the artboard, for instance. Command key.

Next, you’ll add a guide using a different method that can sometimes be faster.

9. Select the Zoom tool ( ) and click several times, slowly, on the lower-left corner
of the artboard until you see 1/4-inch measurements on the ruler. You may have
to click at least four times.

10. Shift-double-click the vertical ruler at the 1/4-inch mark (the ruler to the left of
the artboard), above the 0 on the ruler.

Shift-double-click a ruler to create a guide. Note: You can also hide and
show guides by pressing
This creates a guide that crosses the bottom part of the artboard at –0.25 inches Command+; (Mac OS) or Ctrl+;
from the bottom. (Windows).

11. Position the pointer in the upper-left corner of the Document window, where
the rulers intersect ( ), and double-click to reset the ruler origin to the
upper-left corner of the artboard.

12. Choose View > Guides > Lock Guides to prevent them from being
accidentally moved.
The guides are no longer selected and are aqua in color by default.

13. Choose View > Fit All In Window.

14. Select the Selection tool ( ), and click to select the white text “ALL CITY.”

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TEACHING TIP Lesson 18 Transforming Artwork

In step #2, point out the 0,0 in the upper 15. Choose View > Hide Edges so you only see the bounding box of the grouped
left corner of the artboard. It may be hard paths. Drag the text group into the lower-left corner of the artboard with the
to see! guides. When it’s roughly positioned in the guides, release the mouse button.
Choosing Hide Edges hides the inside edges of the shapes, but not the bounding
box. It can make it easier to move and position artwork.

Move the text to where the guides intersect on the left artboard.

Positioning Objects Precisely

At times, you may want to position objects more precisely—either relative to other
objects or to the artboard. You could use the alignment options, as you saw in
Lesson 15, “Techniques for Selecting Artwork,” but you can also use Smart Guides
and the Transform panel to move objects to exact coordinates on the x- and y-axes
and to control the position of objects in relation to the edge of the artboard.
Positioning Artwork Using the Transform Panel
Next, you’ll add content to the backgrounds of two artboards and then position that
content precisely.

Try It!

1. Press Command+– (Mac OS) or Ctrl+– (Windows) (or View > Zoom Out) three
times to zoom out. You should see artwork off the bottom edge of the artboards.

2. Click the artboard with the guides on it (the artboard named “Front”) to ensure
that it is the active artboard (check the origin of the rulers and make sure that 0,0
starts in the upper-left corner of the artboard).

3. With the Selection tool ( ), click to select the large background shape on the far
left, below the artboards (labeled “1”).

Select the artwork labeled “1.”

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Transforming Artwork Lesson 18 TEACHING TIPS

4. Click the upper-left point of the reference point locator ( ) in the Control panel. Note: Again, depending on the The Reference Point Locator lives in the
Then, change the X value to 0 and the Y value to 0. resolution of your screen, the Control panel when you don’t have a
Transform options may not Transform window open. It’s useful when
appear in the Control panel. If you’re resizing an object and want a cer-
they do not appear, you can tain side or corner of it to stay in the same
click the word “Transform” to see place—and on your artboard.
the Transform panel, or you can
choose Window > Transform. In step #4 at the bottom of the page,
holding down the shift key as you drag
the basketball hoop and net selection
forces it to follow a 45-degree diagonal.

The content should now be precisely positioned on the artboard since it Note: You can also choose
was the same size as the artboard to begin with. Illustrator CC > Preferences >
Smart Guides (Mac OS) or
5. In the Artboards panel, on the right side of the workspace, select the artboard Edit > Preferences > Smart
named “Back” to make it the active artboard. Guides (Windows) and deselect
the Measurement Labels option
6. Select the group with the “City Arena” text in it labeled “6,” below the artboards. to turn off just the measurement
You may need to either zoom out or scroll over and down to see it. labels when Smart Guides are on.

7. With the upper-left point of the reference point locator ( ) selected in the
Control panel, change the X value to 0 and the Y value to 0.

Positioning Artwork Using Smart Guides
Next, you will use Smart Guides to move content. When moving objects with
Smart Guides turned on (View > Smart Guides), measurement labels appear next
to the pointer and display the distance (X and Y) from the object’s original location.
You will use these to make sure that an object is a certain distance from the edge of
the artboard.

Try It!

1. With the Selection tool, select the basketball hoop and net directly beneath the
“Back” artboard (labeled “5”).

2. With the upper-left point of the reference point locator ( ) in the Control panel
selected, change the X value to 0 and the Y value to 0 to position the artwork
into the upper-left corner of the artboard.

3. Choose View > Fit Artboard In Window.

4. Using the Selection tool, position the pointer over the selected basketball hoop
with the net and drag the group down and to the right. As you drag, press the
Shift key to constrain the movement to 45°. When the measurement label shows
approximately dX: 0.25 in and dY: 0.25 in, release the mouse button and then the
Shift key. Leave the artwork selected.

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TEACHING TIPS Lesson 18 Transforming Artwork

Point out the yellow note. You can type Shift-drag to move the object at an angle.
any unit into a transform field—regard-
less of the default that’s been set—and The dX indicates the distance moved along the x axis (horizontally), and dY
Illustrator will make the necessary con- indicates the distance moved along the y-axis (vertically). Don’t worry if you can’t
versions for you. get the exact values; it’s difficult when zoomed out so far. Also, because there is
other content on the canvas, Smart Guides are attempting to snap to it. You can
Point out that in the Transform panel, the always change the X and Y values in the Control panel or Transform panel.
Constrain Width and Height Proportions
icon looks like the links of a chain. That 5. Choose File > Save.
chain is linked together when the width
and height are constrained and it is bro- Scaling Objects
ken apart when they aren’t.
So far in this book, you’ve scaled most content with the selection tools. In this lesson,
Note: When typing values to you’ll use several other methods for scaling artwork.
transform content, you can type
different units such as percent Try It!
(%) or pixels (px), and they will
be converted to the default unit, 1. With the artwork (basketball hoop and net) still selected, click the word
which is inches (in) in this case. “Transform” to show the Transform panel and ensure that the upper-left point of
the reference point locator ( ) is selected. Click to select the Constrain Width
And Height Proportions icon ( ). Change the Width (W:) to 255% (make sure to
type the %). Press Enter or Return to accept the value.

The figure shows the Width value before pressing Enter or Return.

2. Choose View > Fit All In Window.

3. Press Command+– (Mac OS) or Ctrl+– (Windows) (or View > Zoom Out) two
or three times to zoom out. You should see content off the bottom edge of the
artboards again. You may need to scroll down to see all of the content.

4. Select the basketball labeled “3” and double-click the Scale tool ( ) in the
Tools panel. You could also choose Object > Transform > Scale to access the
Scale dialog box.

5. In the Scale dialog box, change Uniform to 61%. Toggle Preview on and off to
see the change in size. Click OK.

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Transforming Artwork Lesson 18 TEACHING TIP

6. Select the Selection tool ( ), and drag the basketball onto the first artboard In step #11, if your stroke doesn’t auto-
named “Front,” as you see in the figure. matically scale to 2 pt, you can change it
in the Control panel.

Move the basketball onto the first artboard. Note: Depending on the
resolution of your screen, the
7. Select the basketball court group below the larger artboard (labeled “4”). Notice Transform options may not
that the Stroke weight in the Control panel shows as 1 pt. appear in the Control panel. If
they do not appear, you can
8. Select the Zoom tool ( ) in the Tools panel, and click three or four times, slowly, click the word “Transform” to see
to zoom in to it. the Transform panel or you can
choose Window > Transform.
9. Choose View > Show Edges to show the inside edges of the artwork.

10. Open the Transform panel by clicking the X, Y, W, or H link in the Control pan-
el (or the word “Transform” if that appears in the Control panel). Select Scale
Strokes & Effects if necessary.

11. In the Control panel, either click the word “Transform” to reveal the Transform
panel or click the center reference point of the reference point locator ( ) in
the Control panel. Ensure that the Constrain Width And Height Proportions is
set ( ), type 3.5 in the Width (W) field, and then press Enter or Return to increase
the size of the artwork. Notice that the Stroke weight has scaled as well and is
now 2 pt. Leave the artwork selected.

This transform scales both the artwork and The Stroke weight.

By default, strokes and effects, like drop shadows, are not scaled along with
objects. For instance, if you enlarge a circle with a 1 pt stroke, the stroke remains
1 pt. But by selecting Scale Strokes & Effects before you scale—and then scaling
the object—that 1 pt stroke would scale (change) relative to the amount of scal-
ing applied to the object.

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VOCABULARY
Reflect Reflecting Objects
Reflect To flip an object across an invisi- To flip an object across an
ble horizontal or vertical axis. invisible vertical or horizontal When you reflect an object, Illustrator flips the object across an invisible vertical or
axis. horizontal axis. In a similar way to scaling and rotating, when you reflect an object,
TEACHING TIP you either designate the reference point or use the object’s center point, by default.
Note: If all you want to do is flip
Be patient with the Reflecting Objects Try content in place, you can also Next, you’ll use the Reflect tool ( ) to flip the basketball court artwork 90° across
It! activity. It’s tricky. choose Flip Horizontal or Flip the vertical axis and copy it.
Vertical from the Transform panel
menu ( ). Try It!

1. Select the Reflect tool ( ), which is nested within the Rotate tool ( ) in the
Tools panel. Click the right edge of the basketball court group (the word “anchor”
or “path” may appear).

Note: You can reflect and copy Set the axis.
in one step. With the Reflect tool
( ) selected, Option-click (Mac This sets the invisible axis that the shape will reflect around on the right edge of
OS) or Alt-click (Windows) to the selected artwork, rather than on the center, which is the default.
set a point to reflect around and
to open the Reflect dialog box, 2. With the basketball court artwork still selected, position the pointer off the right
in one step. Select Vertical, and edge and drag clockwise. As you are dragging, hold down the Shift+Option
then click Copy. (Mac OS) or Shift+Alt (Windows) keys. When the measurement label shows –90°,
release the mouse button and then release the modifier keys.

Note: To learn more about Reflect the artwork horizontally.
effects, see Lesson 25, “Exploring
Creative Uses of Effects and The Shift key constrains the rotation to 45° as the artwork is reflected, and the
Graphic Styles.” Option (Alt) key will copy the artwork. Leave the new court artwork where it is for
now. You’ll move it later.

3. Select the Selection tool ( ), drag across both groups, and then choose
Object > Group.

Distorting Objects with Effects

You can distort the original shapes of objects in different ways, using various tools.
Now you’ll distort the basketball net using the Pucker & Bloat effect. These are

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Transforming Artwork Lesson 18 TEACHING TIPS

different types of transformations because they are applied as effects, which means You used Pucker & Bloat effects to add
you could ultimately edit the effect later or remove it in the Appearance panel. bulge to the monster’s eyebrows in
Photoshop in Chapter 4.
Try It!
The -20% value students entered in step
1. Choose 2 Inside from the Artboard Navigation menu to fit the larger artboard in #4 pushed the triangle’s sides inward
the Document window. 20%. Encourage students to experiment
with different values here, including posi-
2. Click the Layers panel icon ( ) to open the panel, click the visibility column (an tive ones that will bloat the triangle.
arrow is pointing to it in the figure) to the left of the Net layer name to show that
content, and click the eye icon ( ) to the left of the Background layer to hide
its contents.

Display and hide layers. Note: To access the Rotate
dialog box, you can also double-
3. Click to select the red triangle shape on the artboard. Choose Effect > Distort & click the Rotate tool ( ) in the
Transform > Pucker & Bloat. Tools panel. The Transform panel
(Window > Transform) also has a
4. In the Pucker & Bloat dialog box, select Preview and drag the slider to the left to rotate option.
change the value to roughly –20%, which distorts the triangle. Click OK.

5. Drag across the triangle and circle to select them both. Choose Object >
Transform > Rotate. In the Rotate dialog box, change Angle to 30, select Preview,
and then click Copy.
You will learn more about rotating artwork in the next section.

6. Choose Object > Transform > Transform Again to repeat the rotation and copy
on the selected shapes.

7. Press Command+D (Mac OS) or Ctrl+D (Windows) once to apply the transfor-
mation one more time.

The copied and rotated shapes.

Command+D (Mac OS) or Ctrl+D (Windows) is simply the keyboard shortcut for
the Object > Transform > Transform Again command.

8. Choose Select > Deselect; then drag across the edge of just the circle (see the
following figure) to select all of the copies, and press Delete.

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Discussion Topic Lesson 18 Transforming Artwork

What’s the effect of Free Distorting the 9. Drag across the triangles to select them all, and choose Object > Group.
basketball net? What appears to have
happened to it? Select and delete the circle, and then group the shapes.

TEACHING TIP 10. Drag the group down onto the red basketball hoop below it and visually
center-align them (see the next figure). Change the Stroke color to White in the
Point out the second yellow note. What’s Control panel.
an advantage of using Free Distort
instead of Free Transform to swish the 11. In the Layers panel, click the visibility column to the left of the Background and
basketball net? the Text layers to show the content for each.

Note: To better see the Redisplay all layers to see the basketball net you created and formatted.
transformed artwork, you can
choose Select > Deselect. 12. Choose 3 Back from the Artboard Navigation menu, and select the basketball net
above the “CITY ARENA” text.
Note: Later in this lesson,
you will learn about the Free 13. Choose Effect > Distort & Transform > Free Distort.
Transform tool ( ) that has 14. In the Free Distort dialog box, drag the lower-left and lower-right points so they
a free distort option. Applying
a free distort via the Free match the figure. Click OK.
Transform tool is permanent and
affects the underlying artwork, Distort the net on another artboard.
whereas the Free Distort effect
can be edited and even removed Rotating Objects
later because it’s an effect.
You rotate objects by turning them around a designated reference point. There are
lots of ways to do this, including methods that range from more precise to more
free-form rotation.
First, you’ll rotate the basketball manually, using the Selection tool.

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432 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Transforming Artwork Lesson 18 Discussion Topic

Try It! Which rotation option do you find easier
to use, manual rotation using Select and
1. Choose 1 Front from the Artboard Navigation menu in the lower-left corner of the rotation arrow or via the Rotate tool?
the Document window.

2. With the Selection tool ( ), select the basketball. Option-drag (Mac OS) or
Alt-drag (Windows) the basketball up and to the left to create a copy. When the
artwork is positioned as you see in the figure, release the mouse button and then
the modifier key.

Copy and drag the basketball. Note: You can press the Shift key
as you rotate artwork with the
3. Position the pointer just off either the upper-right or lower-right corner points Rotate tool ( ) or Selection tool
of the bounding box of the basketball you just created, and when the pointer ( ) to
changes to rotate arrows ( ), drag in a counterclockwise fashion (up). When the constrain the rotation to 45°.
measurement label shows approximately 15°, release the mouse button. Remember to release the mouse
button before the key.
Next, you’ll rotate content using the Rotate tool ( ) and learn how this method
can be different from rotating with the Selection tool. Note: To rotate the object
around a different reference
4. With the Selection tool, Option-drag (Mac OS) or Alt-drag (Windows) the point, click once anywhere in the
selected basketball up and to the left to create another copy. When the artwork Document window to reposition
is positioned as you see in the following figure, release the mouse button and the reference point. Then move
then the modifier key. the pointer away from the
reference point and drag in a
5. Select the Rotate tool ( ) in the Tools panel (it’s under the Reflect tool). Notice circular motion.
the rotate-around point in the center of the basketball artwork. The Rotate tool
allows you to rotate the object around a different reference point. Position the
pointer to the right of the basketball, drag counterclockwise (up) until the mea-
surement label shows approximately 15°, and then release the mouse button.

Add a new reference point and rotate the ball.

6. With the Selection tool, Option-drag (Mac OS) or Alt-drag (Windows) the
selected basketball up and to the left to create a final copy.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 433

Discussion Topic Lesson 18 Transforming Artwork

Why did the fourth basketball automati- Note: After transforming content 7. With the last basketball selected, double-click the Rotate tool in the Tools panel.
cally rotate 15 degrees? using various methods, including In the Rotate dialog box that appears, the last rotation value should be the value
rotation, you will notice that the set for the Angle value. It should be approximately 15°. Make sure it’s 15° and
REVIEW THE bounding box is now rotated. click OK.
VOCABULARY You can choose Object >
Transform > Reset Bounding 8. Choose View > Fit All In Window.
Shearing Slanting opposite sides of Box to reset the bounding box
an object. around the artwork again. 9. Press Command+– (Mac OS) or Ctrl+– (Windows) (or View > Zoom Out) twice to
zoom out. You should see content off the bottom edge of the artboards again.
TEACHING TIPS Shearing
Slanting opposite sides of an 10. Choose File > Save.
Shear means one thing in graphic design. object.
What does it mean outside the graphic Shearing Objects
design world?
Be patient with the Shearing Objects Try Shearing an object slants, or skews, the sides of the object along the axis you specify,
It! activity here. It’s not easy! keeping opposite sides parallel and making the object asymmetrical.
Next, you’ll copy artwork and apply shear to it.

Try It!

1. Select the Selection tool ( ). Click to select the grouped content below the first
artboard labeled “2.” You may need to scroll in the Document window to see it.

2. Choose Edit > Cut, and then choose “3 Back” from the Artboard Navigation
menu in the lower-left corner of the Document window.

3. Press Cmd+R (Mac OS) or Ctrl+R (Windows) to hide the rulers.

4. Choose View > Fit Artboard In Window.

5. Select the basketball net, and choose Object > Hide > Selection.

6. Choose Edit > Paste to paste a copy in the center of the artboard.

7. Begin dragging the group of content up, and as you drag, press the Shift key to
constrain the movement. Drag it up until it looks something like what you see in
the figure (the dY value in the measurement label will be approximately -1.5 in).
Release the mouse button and then the Shift key.

Drag the group of content up as shown.

8. Choose Object > Ungroup and then Select > Deselect.

434 LEARNING GRAPHIC DESIGN & ILLUSTRATION

434 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Transforming Artwork Lesson 18 Discussion Topic

9. Press Command++ (Mac OS) or Ctrl++ (Windows) once to zoom in to the artboard. What do the sheared gray triangles on the
10. Select the gray rectangle beneath the “N1” text. Select the Shear tool ( ), nested ticket represent?

within the Scale tool ( ) in the Tools panel. Position the pointer above the
shape; press the Shift key and drag to the left a bit. Release the mouse button
and then the key.

Shift-drag with the Shear tool.

The Shift key constrains the artwork to its original width. If you were shearing a single
object and precision didn’t matter, you could leave the object as is. But this artwork
requires the shapes beneath “N1” and “N3” to have the same shearing applied.

11. Choose Edit > Undo Shear.

12. With the rectangle still selected, double-click the Shear tool. In the Shear dialog box,
change the Shear Angle to 170, turn Preview on and off a few times, and click OK.

Use the dialog box to specify a Shear Angle setting. Note: You can also apply shear
numerically in the Transform
13. With the Selection tool, select the gray rectangle beneath the “N3” text. panel (Window > Transform) or
Double-click the Shear tool in the Tools panel, change Shear Angle to –170, in the Shear dialog box (Object >
select Preview, and click OK. Leave the rectangle selected. Transform > Shear).

14. With the “N3” rectangle still selected, select the Selection tool, and with the
Shift key pressed, select the gray rectangles behind the “N1” and “N2” text to
select all three.

15. Choose Object > Group.

16. Select the Rotate tool ( ) and position the pointer over the center circle below.
When the green word “center” appears, Option-click (Mac OS) or Alt-click
(Windows). In the Rotate dialog box, change the Angle to 180, and click Copy.

17. Choose Object > Show All to show the basketball net you hid earlier.

18. Choose Select > Deselect, and then choose File > Save.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 435

TEACHING TIPS Lesson 18 Transforming Artwork

You’ll use the Free Transform tool to distort Note: To learn more about Transforming with the Free Transform Tool
the basketball court so it looks like you’re the options for the Free
standing under the basket at one end of Transform tool, search for “Free The Free Transform tool ( ) is a multipurpose tool that allows you to distort an
the court. It may help to refer students to Transform” in Adobe Help (Help > object, combining functions like moving, scaling, shearing, rotating, and distorting
the figure at the bottom of page 437 so Illustrator Help). (perspective or free). The Free Transform tool is also touch-enabled, which means
they can visualize what they’re creating. you can control transformation using touch controls on certain devices. For more
information on touch controls, see the sidebar at the end of this section.
If the Free Transform widget doesn’t
appear, be sure you have the basketball Try It!
court group selected. If it is selected, it
should appear with a red outline. 1. Select the Selection tool ( ) in the Tools panel. Press the spacebar to access the
Hand tool ( ) temporarily. Drag up so you can see the basketball court group
(labeled “4”) beneath the artboards.

2. Click to select the basketball court group, and then select the Free Transform
tool ( ) in the Tools panel.

Note: If you were to drag the Constrain
side bounding point up first to
distort the artwork by shearing, Free Transform
the movement wouldn’t be Selected action (light-gray background)
constrained, and you could
move in any direction. Perspective Distort

Note: You can also drag the Free Distort
reference point to a location. You
can double-click the reference The floating Free Transform widget.
point to reset its position.
After selecting the Free Transform tool, the Free Transform widget appears in the
Document window. This widget, which is free-floating and can be repositioned,
contains options to change how the Free Transform tool works. By default, the
Free Transform tool allows you to move, shear, rotate, and scale objects. By
selecting other options, like Perspective Distort, you can change how the tool
transforms content.

First, you’ll change the width of the selected artwork using the Free
Transform tool.

3. Position the pointer over the left middle point of the artwork bounding box,
and the pointer changes its appearance ( ), indicating that you can shear or
distort. Begin dragging to the right. As you drag, press the Option (Mac OS) or
Alt (Windows) key to change both sides at once. Notice that you can’t drag the
artwork up or down—the movement is constrained to horizontal by default.
When a width of approximately 3.7 in shows in the measurement label, release
the mouse button and then the key.

Next, you will rotate with the Free Transform tool around a specific point.

4. Position the pointer over the lower-left corner of the selected artwork and dou-
ble-click when the pointer looks like this ( ). This moves the reference point and
ensures that the artwork will rotate around it. Press the Shift key, and drag the
upper-right corner in a counterclockwise fashion until you see 90° in the mea-
surement label. Release the mouse button and then the Shift key.

436 LEARNING GRAPHIC DESIGN & ILLUSTRATION

436 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Transforming Artwork Lesson 18 Discussion Topic

How are the Free Distort and Perspective
Distort options alike? How do they differ?

Note: If you find that, by trying
to rotate, you are instead scaling,
stop dragging and choose Edit >
Undo Scale and try again.

Rotate the object around a specific point. Note: The Constrain option
cannot be selected when the
Like other transform tools, by holding down the Shift key while dragging with the Perspective Distort option
Free Transform tool, you can constrain the movement for most of the transfor- is selected.
mations. If you don’t want to hold down the Shift key, you can also select the
Constrain option in the Free Transform widget before transforming to constrain Note: The Free Distort option of
movement automatically. After dragging, the Constrain option is deselected. the Free Transform tool ( )
allows you to freely distort the
5. Position the pointer over the right middle point of the artwork bounding box, selected content by dragging one
and drag to the right. Drag until a width of approximately 7.7 in shows in the of the corner bounding points.
measurement label.

6. With the Free Transform tool still selected, click the Perspective Distort option in
the Free Transform widget (circled in the following figure).

With this option selected, you can drag a corner point of the bounding box to
distort the perspective.

7. Position the pointer over the upper-left corner of the bounding box, and the
pointer changes in appearance ( ). Drag to the right until it looks like the figure.

Use the Perspective Distort tool. Note: If the artwork appears on
top of the text, choose Object >
8. Change the Opacity to 60% in the Control panel. Arrange > Send To Back as many
times as necessary to arrange it
9. Press Command+– (Mac OS) or Ctrl+– (Windows) several times to zoom out, behind the text.
until you see the artboard with the basketballs on it.

10. Select the Selection tool and drag the artwork onto the artboard similar to what
you see in the figure.

Drag the artwork into position.

LEARNING GRAPHIC DESIGN & ILLUSTRATION 437

LEARNING GRAPHIC DESIGN & ILLUSTRATION 437

TEACHING TIP Lesson 18 Transforming Artwork

You’ll know the 1 Front artboard is Note: When you drag an 11. Choose View > Fit All In Window.
selected when it appears with a dotted artboard with content on it, the
line border and crop marks at the corners. art moves with the artboard, 12. Select the Artboard tool ( ) in the Tools panel. Drag the 1 Front artboard to the
With it selected, you can use the Selection by default. If you want to move left until the basketball court is no longer overlapping the artboard to the right.
tool to drag it or arrow keys to nudge it an artboard but not the art on
into place. it, select the Artboard tool ( ), 13. Choose File > Save.
and then click to deselect Move/
Copy Artwork With Artboard ( ) The Free Transform Tool and Touch-Enabled Devices
in the Control panel.
In Illustrator CC, the Free Transform tool is touch-enabled. This means that, if you
are using either a Windows 7, 8, or 10 touchscreen PC or a touchscreen device
like Wacom Cintiq 24HD Touch, you can utilize certain touch-enabled features.
Here are a few noteworthy examples:
• You can touch and drag from the center of an object and move the

reference point.
• Double-tapping any of the corner points moves the reference point for the

object to that point.
• Double-tapping the reference point resets it to the default position (if it’s

not already there).
• To constrain movement, you can tap the Constrain option in the widget

before transforming.

Creating a PDF

Portable Document Format (PDF) is a universal file format that preserves the fonts,
images, and layout of source documents created on a wide range of applications
and platforms. Adobe PDF is the standard for the secure, reliable distribution and
exchange of electronic documents and forms around the world. Adobe PDF files are
compact and complete, and can be shared, viewed, and printed by anyone with free
Adobe Reader software.

You can create different types of PDF files from within Illustrator. You can create
multipage PDFs, layered PDFs, and PDF/x-compliant files. Layered PDFs allow you to
save one PDF with layers that can be used in different contexts. PDF/X-compliant files
ease the burden of color, font, and trapping issues in printing. Next, you will save this
project as a PDF so that you can send it to someone else to view.

Try It!

1. Choose File > Save As. In the Save As dialog box, choose Adobe PDF (pdf) from
the Format menu (Mac OS) or Adobe PDF (*.PDF) from the Save As Type menu
(Windows). Navigate to the location where your instructor directs you to save
files for this chapter’s projects, if necessary. Notice that you have the option, at
the bottom of the dialog box, to save all of the artboards in the PDF or a range of
artboards. Click Save.

438 LEARNING GRAPHIC DESIGN & ILLUSTRATION

438 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Transforming Artwork Lesson 18 Discussion Topic

2. In the Save Adobe PDF dialog box, click the Adobe PDF Preset menu to see all of Note: If you want to learn about How do you make a PDF from an
the different PDF presets available. Ensure that [Illustrator Default] is chosen and the options and other presets in Illustrator file? What’s the difference in the
click Save PDF. the Save Adobe PDF dialog box, file size between the original .ai file and
choose Help > Illustrator Help the .pdf you created from it? Where did
and search for “Creating Adobe you find this information?
PDF files.”
REVIEW THE
Save As Adobe PDF dialog box. VOCABULARY

There are many ways to customize the creation of a PDF. Creating a PDF using the Public Relations (PR) The field concerned
[Illustrator Default] preset creates a PDF in which all Illustrator data is preserved. with maintaining a favorable public image
PDFs created with this preset can be reopened in Illustrator without any loss of data. for an organization or person.
If you are planning on saving a PDF for a particular purpose, such as viewing on the
web or printing, you may want to choose another preset or adjust the options. TEACHING TIP

3. Choose File > Save, if necessary, and then choose File > Close and exit Illustrator. Ask students to paraphrase the PRSA defi-
nition of public relations. How would they
Putting Graphic Design Skills to explain to a five-year-old what a public
Work in Public Relations relations professional does?

Public relations or PR refers to working to ensure that an organization or person Public relations (PR)
maintains a favorable image or relationship with the public. The description of this
field has changed many times over the years. In 2011–2012, the Public Relations The field concerned with
Society for America (PRSA) held a crowdsourcing campaign that resulted in a mod- maintaining a favorable public
ernized definition of public relations (source www.prsa.org): image for an organization or
person.
Public relations is a strategic communcation process that builds mutu-

“ ”ally beneficial relationships between organizations and their publics.

According to PRSA, public relations expands beyond the boundaries of merely
managing the flow of information or conducting publicity activities. PR includes
engaging audiences, understanding audience needs and attitudes, and identifying
vital information that might require organizational action. For example, the increase
in awareness about social issues such as disease and substance abuse comes as a
result of PR efforts by a variety of nonprofit and other organizations.

On a management level, PR activities might include:

• Understanding and analyzing public opinion, using methods such as research
and surveys.

• Understanding and advising about the impact of policy decisions.

• Planning and budgeting for PR activities.

LEARNING GRAPHIC DESIGN & ILLUSTRATION 439

LEARNING GRAPHIC DESIGN & ILLUSTRATION 439

Discussion Topics Lesson 18 Transforming Artwork

How is public relations related to advertis- • Designing and executing programs for external and internal audiences, including:
ing? How are the two fields different?
• Fundraising • Social media
Why does a public relations professional
need strong communication skills? • Marketing • Multimedia

TEACHING TIP • Advertising • Website design or blogging

Ask interested students to search the • Publicity • Employee relations
websites of nearby colleges and univer-
sities and find out more about courses or • Sponsorships • Community relations
degree programs for people interested in
a public relations career. • Research • Governmental relations

Comprehension Check • Special events

1. Any two of the following answers are Because public relations encompasses a broad swath of communications tasks, vari-
acceptable: ous roles in PR might require skills including:

• Double-click the Artboard tool, • The ability to research and learn a subject. To communicate accurately about a
and edit the dimensions of the subject, you must understand it. You must be able to determine what will appeal to
active artboard in the Artboard your audience, or how to troubleshoot a particular situation.
Options dialog box.
• The ability to write well. Whether you are writing copy for an advertisement,
• Select the Artboard tool, posi- writing an annual report, or writing a blog post, you need to be able to write
tion the pointer over an edge or clear, compelling, accurate material with a high attention to detail.
corner of the artboard, and drag
to resize. • Strong communications skills. Beyond writing, PR professionals need to
communicate well in meetings and be able to speak in public settings. For
• Select the Artboard tool, click an example, a PR professional might need to lead a meeting, give a presentation to
artboard in the Document win- volunteers or donors, or be interviewed by the media.
dow, and change the dimensions
in the Control panel. • Strong design, creativity, and problem-solving skills. Coming at a problem with
fresh ideas and solutions will serve your client or organization best.
2. The ruler origin is the point where
0 (zero) appears on each ruler. By • The ability to manage your time well. PR professionals typically balance a variety
default, the ruler origin is set to be of projects and priorities.
0 (zero) in the top-left corner of the
active artboard. Public relations degrees often include coursework in journalism, writing for various
types of media, broadcasting, graphic design topics, and general business topics.
3. The Scale Strokes & Effects option, Some schools now offer a graphic design degree with a concentration in public rela-
found in the Transform panel (or in tions. Such degrees include the typical graphic design courses, but add in coursework
Illustrator CC > Preferences > General in areas such as public relations and media writing, as well as psychology or business.
[Mac OS] or Edit > Preferences > Gen-
eral [Windows]), scales any strokes Comprehension Check
and effects as the object is scaled.
This option can be turned on and off, 1. Name two ways to change the size of an existing active artboard.
depending on the current need. 2. What is the ruler origin?
3. Briefly describe what the Scale Strokes & Effects option in the Transform panel does.
4. The Free Transform tool can perform 4. Name at least three transformations that can be applied with the Free
a multitude of transformation opera-
tions, including move, scale, rotate, Transform tool.
shear, and distort (perspective distort
and free distort). Any three of the pre- 440 LEARNING GRAPHIC DESIGN & ILLUSTRATION
ceding answers is acceptable.

440 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Creating an Illustration with the Drawing Tools Lesson 19 FOCUS AND ENGAGE

Lesson 19 Overview Introduce the Lesson

In this lesson, you’ll learn how to do the following: Show students a photograph of simple
object—like a coffee mug or a pair of
• Understand paths and anchor points. • Convert between smooth points and corner scissors—and point out the image is made
• Draw curved and straight lines with the Pen tool. points. of a combination of straight lines and
• Edit curved and straight lines. curves. Ask students to find an object of
• Draw with the Curvature tool. • Create dashed lines and add arrowheads. their own to analyze. Do they think they
• Delete and add anchor points. could draw it—or at least an outline of
• Draw and edit with the Pencil tool. it—using a combination of straight and
curved lines?
• Work with the Join tool.

• Explore entrepreneurial opportunities in graphic
design.

Aside from creating artwork using shapes as in previous lessons, you can also create artwork using drawing tools
such as the Pencil tool, Pen tool, and Curvature tool. With these tools, you can draw precisely, including drawing
straight lines, curves, and complex shapes. You’ll start with the Pen tool and use all of these tools and more to
create an illustration.

Opening the Practice File Note: If you don’t see Reset
Essentials in the menu, choose
In the first part of this lesson, you’ll understand paths and ease into drawing with the Window > Workspace >
Pen tool with lots of practice. Essentials before choosing
Window > Workspace > Reset
Try It! Essentials.

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 Illustra-
tor Settings file.

3. Choose File > Open, navigate to the folder holding the data files for this chap-
ter, and double-click 19Practice_Start.ai to open it. Click OK in the Illustrator
Options dialog box.
The document is made up of six artboards, numbered 1 through 6. As you prog-
ress through the first part of this lesson, you will be asked to move
between artboards.

4. Choose File > Save As, navigate to the location where your instructor directs you
to save files for this chapter’s projects, and rename the file 19Practice_End_xx.ai
Click Save.

5. In the Illustrator Options dialog box, leave the default settings, and then
click OK.

6. Choose Window > Workspace > Reset Essentials.

LEARNING GRAPHIC DESIGN & ILLUSTRATION 441

LEARNING GRAPHIC DESIGN & ILLUSTRATION 441

Discussion Topic Lesson 19 Creating an Illustration with the Drawing Tools

You have a bit of a head start here An Intro to Drawing with the Pen Tool
because of your familiarity with the Pen
tool in Photoshop, but the Illustrator The Pen tool ( ) is one of the main drawing tools in Illustrator that’s used to create
Pen tool works a little differently. What both free-form and more precise artwork and also plays a role in editing existing
changes do you notice as you proceed? vector artwork. It’s important to have an understanding of a tool like the Pen tool
when working with Illustrator. Just know that it takes plenty of practice to feel com-
Note: If you see an X ( ) instead fortable with the Pen tool!
of the Pen icon ( ), the Caps In this first section, you’ll begin to explore the Pen tool and later in the lesson, you’ll
Lock key is active. Caps Lock create artwork using the Pen tool and other tools and commands.
turns the Pen tool icon into an X
( ) for increased precision. Try It!

Note: You can toggle the Pen 1. Choose 1 from the Artboard Navigation menu in the lower-left corner of the
tool preview by choosing Document window.
Illustrator CC > Preferences >
Selection & Anchor Display 2. Choose View > Fit Artboard In Window.
(Mac OS) or Edit > Preferences >
Selection & Anchor Display 3. Choose View > Smart Guides to turn off the Smart Guides. Smart Guides can be
(Windows) to open the useful when you draw, but you won’t need them now.
Preferences dialog box. In the
dialog box, with the Selection & 4. In the Control panel, click Fill color, and choose None ( ). Then, click the Stroke
Anchor Display category options color and make sure that the Black swatch is selected. Make sure the Stroke
showing, deselect Enable Rubber weight is 1 pt in the Control panel.
Band for: Pen Tool. When you begin drawing with the Pen tool, it’s usually best to have no fill on
the path you create because the fill can cover parts of the path you are trying to
create. You can add a fill later, if necessary.

5. Select the Pen tool ( ) in the Tools panel. Position the pointer in the artboard
area, and notice the asterisk next to the Pen icon ( ), indicating that you’ll create
a new path if you begin drawing.

6. In the area labeled “Work Area,” click where the blue “start” square is to set the
first anchor point.

Click to set th e first anchor point.

After clicking and moving the pointer away from the point, notice that the aster-
isk has disappeared from next to the pointer, indicating that you are now drawing
a path.

7. Move the pointer away from the original point, and you will see a line connecting
the first point and the pointer, no matter where you move the pointer.

442 LEARNING GRAPHIC DESIGN & ILLUSTRATION

442 LEARNING GRAPHIC DESIGN & ILLUSTRATION