Learning Graphic Design & Illustration

Creating Artwork for a T-Shirt Lesson 26

The left and right ground-level points allow you to drag the perspective grid to a
different position on the artboard or to a different artboard altogether. In this ex-
ample, you didn’t really need to move the grid since you are creating perspective
artwork that will become a part of the existing artwork on the 2 T-Shirt artboard,
but it’s important to understand how to achieve this.

3. Press Command+– (Mac OS) or Ctrl+– (Windows), to zoom out.

4. Position the pointer over the right end of the horizon line, and the pointer shows
a vertical arrow ( ). Click and drag down a bit until you see approximately 230 pt
in the gray measurement label next to the pointer.
The closer you are zoomed into the grid, the finer the increments that you can
adjust it with.
Next, you will adjust the planes so that you can draw a cube that shows one side
more than the other. This requires that you move a vanishing point.

Drag the right end of the horizon line. Note: If you had artwork on the
grid, it would move with the grid.
5. Choose View > Perspective Grid > Lock Station Point.
This locks the left and right vanishing points so that they move together.

6. With the Perspective Grid tool, position the pointer over the right vanishing point
(circled in the figure). When the pointer includes a horizontal arrow ( ), drag to
the right until the measurement label shows an X value of approximately 11 in.

Drag the right vanishing point.

This changes both planes on the grid, and the perspective artwork you create
will have a more visible right face.
Setting the grid up for your drawing is an important step in creating the artwork
with the perspective you desire. Next, you will access some of the perspective
grid options you have already adjusted, and more, using the Define Perspective
Grid dialog box.

7. Choose View > Fit Artboard In Window.

8. Choose View > Perspective Grid > Define Grid.

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Lesson 26 Creating Artwork for a T-Shirt

Note: After setting the Define 9. In the Define Perspective Grid dialog box, change the following options:
Perspective Grid settings, you
can save them as a preset • Units: Inches
to access later. In the Define
Perspective Grid dialog box, • Gridline Every: 0.3 in
change the settings, and then
click the Save Preset button ( ). Changing the Gridline Every option adjusts the grid cell size and can help you be
more precise when drawing and editing on the grid, since content snaps to the
Note: If the rest of the values in lines of the grid by default. Notice that you can also change the Scale of the grid,
the Define Perspective Grid dialog which you might want to do if real-world measurements are involved. You can
box don’t match the figure, that’s also edit settings, like Horizon Height and Viewing Angle, on the artboard, using
okay. Don’t attempt to match the the Perspective Grid tool. Leave the Grid Color & Opacity settings at their defaults.
values since it can change your
grid in unexpected ways.

Adjust grid options.

When you have finished making changes, click OK. The grid will change in ap-
pearance slightly. The grid should now look pretty close to this (but doesn’t have
to match exactly):

Note: To learn more about the
options in the Define Perspective
Grid dialog box, search for
“Perspective drawing” in Illustrator
Help (Help > Illustrator Help).

Note: When you select a tool The current appearance of the grid.
other than the Perspective Grid
tool ( ), you cannot edit the 10. Choose View > Perspective Grid > Lock Grid.
perspective grid. Also, if the This command restricts the grid movement and other grid-editing features of
perspective grid is locked, you the Perspective Grid tool. You can only change the visibility and the grid plane
cannot edit most of the grid position, which you will work with later in this lesson.
settings with the Perspective Grid
tool. You can edit a locked grid 11. Choose File > Save.
by choosing View > Perspective
Grid > Define Grid.

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Creating Artwork for a T-Shirt Lesson 26 TEACHING TIP

Drawing Artwork in Perspective You’re creating an amplifier. Skip ahead
to the top of page 706 to see the finished
To draw objects in perspective, you can use the line tools or the shape tools (except product of this section.
for the Flare tool) while the grid is visible. Before you begin drawing using any of
these tools, you need to select a grid plane to attach the content to, using the Plane
Switching Widget or keyboard shortcuts.

The Plane Switching Widget.

When the perspective grid is showing, a Plane Switching Widget appears in the
upper-left corner of the Document window by default. The grid plane that is selected
in the Plane Switching Widget is the active grid plane of the perspective grid to which
you’ll add content. In the widget, you can select the planes, as well as see their
keyboard shortcut when you hover over each part of the widget.

Try It!

1. Select the Rectangle tool ( ) in the Tools panel.
2. Select Left Grid(1), in the Plane Switching Widget (if it’s not already selected).

Select a plane in the Widget. Note: When drawing in
perspective, you will find that you
3. Position the pointer at the origin of the perspective grid (where you see the red can still use the usual keyboard
X in the figure). Notice that the cursor has an arrow pointing to the left ( ), indi- shortcuts for drawing objects,
cating that you are about to draw on the left grid plane. Drag up and to the left, such as Shift-drag to constrain.
until the gray measurement label shows an approximate width of 1.2 in and
a height of approximately 3.3 in. As you drag, the shape should be snapping to Note: You can turn off grid
the gridlines. snapping by choosing View >
Perspective Grid > Snap To Grid.
Zooming in brings more gridlines into view that are closer to the vanishing point. Snapping is enabled by default.
That’s why, depending on the zoom level, your grid may not match the figures
exactly, and that’s okay.

Draw a rectangle on the left plane.

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TEACHING TIP Lesson 26 Creating Artwork for a T-Shirt

If the word “anchor” doesn’t appear in 4. With the rectangle selected, change the Fill color to the dark gray swatch with
step #7, look back at step #6 and be sure the name “C=0 M=0 Y=0 K=70” in the Control panel. Press the Escape key to
you have the Rectangle tool selected. hide the Swatches panel.

Discussion Topic Apply a gray fill.

Why don’t you need to draw a top for the 5. Change the Stroke color to None ( ), if necessary, in the Control panel.
amplifier shape? There are many ways to add content to the perspective grid. Next, you’ll create
another rectangle a different way.

6. With the Rectangle tool still selected, click Right Grid(3) in the Plane Switching
Widget to draw in perspective on the right grid plane.

Select the right plane in the Widget.

7. Position the pointer over the upper-right corner of the rectangle you just drew.
When the word “anchor” appears, click. In the Rectangle dialog box, the width
and height of the last rectangle you drew are showing. Click OK.
Notice that the pointer now has an arrow pointing to the right ( ), indicating
that content you create will appear on the right grid plane.

Click at the anchor point. Specify rectangle size. The second rectangle has been
added to the grid.

8. With the rectangle selected, change the Fill color in the Control panel to the light
gray swatch with the name “C=0 M=0 Y=0 K=5.” Press the Escape key to hide
the Swatches panel.

9. Change the Stroke color to None ( ), if necessary, in the Control panel.

In this example, you don’t need to create a top or bottom to the cube since
the top is above the horizon line. If you needed to draw a top to the cube you

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Creating Artwork for a T-Shirt Lesson 26 TEACHING TIP

are creating, you would select the perspective Horizontal Grid(2) in the Plane Note: You can also show and In step #3, if your larger rectangle doesn’t
Switching Widget to draw in perspective on the ground (horizontal) plane. hide the perspective grid by follow the bottommost orange line, go
pressing Shift+Command+I back and select the Perspective Selection
10. Choose View > Perspective Grid > Hide Grid to hide the perspective grid and to (Mac OS) or Shift+Ctrl+I tool. It’s hidden under the Perspective
see your artwork. (Windows) to toggle back Grid tool.
and forth.

Current appearance of the perspective objects. Note: If the grid doesn’t
appear, you can choose View >
11. Choose Select > Deselect, and then choose File > Save. Perspective Grid > Show Grid.

Selecting and Transforming Objects in Perspective Note: Zooming into the grid
may make it easier when resizing
You can select objects in perspective using selection tools, such as the Selection content.
tool ( ) and the Perspective Selection tool ( ). The Perspective Selection tool uses
the active plane settings to select the objects. If you use the Selection tool to drag
an object that was drawn in perspective, it maintains its original perspective, but it
doesn’t change to match the perspective grid.
Next, you will resize the last rectangle you drew.

Try It!

1. Position the pointer over the Perspective Grid tool ( ), click and hold down the
mouse button, and then select the Perspective Selection tool ( ). Notice that
the perspective grid appears again.

2. Click the rectangle with the light gray fill on the right grid plane to select it.

3. With the Perspective Selection tool selected, drag the middle-right point of the rect-
angle to the right. When the measurement label shows a width of about 3 in, release
the mouse button. Make sure that the rectangle is snapping to the gridlines.

Adjust the width of the perspective object.

Dragging a shape or resizing it will do so in perspective with the Perspective
Selection tool.

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TEACHING TIP Lesson 26 Creating Artwork for a T-Shirt

In step #4, don’t worry if you don’t see Note: Depending on the 4. With the Perspective Selection tool, click to select the first rectangle you creat-
the word “Transform” in your Control resolution of your screen, you ed (on the left plane). Click the word “Transform” in the Control panel, and then
panel—the tools you need are still there. may see the Transform options click the right-middle point of the reference point locator ( ) in the Control
Pick up the instructions with clicking the in the Control panel or you may panel. With the Constrain Width And Height Proportions option deselected ( ),
right-middle point of the reference point see only the letter X. change Width to 1.5 in, if necessary.
locator and continue from there.

Note: Selecting artwork with the Use the Transform panel to set a specific size.
Perspective Selection tool selects
the grid plane that it is on (in the Aside from scaling artwork and performing other transformations, you can also
Plane Switching Widget). drag artwork in perspective with the Perspective Selection tool. For example,
dragging artwork on the horizontal grid up or down with the Perspective Selec-
Note: If you move a plane tion tool makes it smaller and larger. Dragging it up moves the artwork “farther
using the grid plane control, you away” in perspective, and dragging it down moves it “closer” in perspective.
can also choose Edit > Undo
Perspective Grid Edit to put the 5. Choose Select > Deselect, and then choose File > Save.
plane back to its original location.
Moving Planes and Objects Together

As you saw in the beginning of this section, it’s usually best to adjust the grid before
there is artwork on it. But Illustrator allows you to move objects by moving the grid
planes. This can be good for precise perpendicular movement.
Next, you will move a grid plane and artwork together.

Try It!

1. Select the Zoom tool ( ), and click the bottom of the perspective grid twice,
slowly, to zoom into the grid.

2. Select the Perspective Selection tool ( ). Position the pointer over the left grid
plane control (circled in the following figure), and double-click. In the Left Vanishing
Plane dialog box, change Location to -0.15 in, select Move All Objects, and click OK.

Change the left plane and move Appearance of the left plane
all objects on the plane. relative to the right plane.

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Creating Artwork for a T-Shirt Lesson 26

In the Left Vanishing Plane dialog box, the Do Not Move option allows you to Note: You can hold down
move the grid plane and not the objects on it. The Copy All Objects option allows Option (Mac OS) or Alt
you to move the grid plane and to bring a copy of the objects on the grid plane (Windows) and drag a grid plane
with it. The Location option in the Left Vanishing Plane dialog box starts at the control to move the grid plane
station point, which is 0. The station point is indicated by the very small green dia- and copy the content. Dragging
mond on the perspective grid, above the horizontal grid control. You can also drag a grid plane control while
grid plane controls with the Perspective Selection tool to adjust them. By default, pressing the Shift key moves
dragging a grid plane control moves the grid plane but not the artwork. the objects with the grid plane
without copying them.
3. With the Perspective Selection tool selected, drag the right-middle point of the
dark gray rectangle to the left to make it narrower. Stop dragging when the point Note: If you select an object or
snaps to a gridline and the gray measurement label shows a width of approxi- objects on the grid plane first and
mately 1.39 in. then drag the grid plane control
while holding down the Shift key,
only the selected objects move
with the grid plane.

Reduce the width of Gap between the left plane
the rectangle. and the right plane.

Drawing Artwork with No Active Grid

There will be times when you need to draw or add content that is not meant to be in
perspective. In a case like that, you can select No Active Grid in the Plane Switching
Widget to draw without regard to the grid. Next, you’ll draw a rectangle that will
become a flat corner on the cube.

Try It!

1. Choose View > Fit Artboard In Window.

2. Select the Rectangle tool ( ) in the Tools panel.

3. Select No Active Grid(4), in the Plane Switching Widget.

Choosing No Active Grid.

4. Position the pointer on the upper-right corner point of the dark gray rectangle
on the left plane. When the word “anchor” appears, click and drag down and to
the right. Snap to the lower-left corner of the light gray rectangle on the right
plane. Release the mouse button when the word “anchor” appears.

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TEACHING TIP Lesson 26 Creating Artwork for a T-Shirt

Want to preview your work so far? Select
View > Perspective Grid > Hide Grid to
see your artwork without the grid over it.
Just be sure to select View > Perspective
Grid > Show Grid again before you move
on to the next section.

Position the pointer. Drag down to intersect The completed object.
the other rectangle.

5. With the rectangle selected, change the Fill color in the Control panel to the
light gray swatch named “C=0 M=0 Y=0 K=20.” Press the Escape key to hide the
Swatches panel.

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

Note: If you don’t see the Adding and Editing Text in Perspective
Font Formatting options in the
Control panel, click the word You cannot add text directly to a perspective plane; however, you can bring text into
“Character” in the Control panel perspective after creating it off of the perspective grid. Next, you will add some text
to reveal the Character panel. and then edit it in perspective.

Try It!

1. Select the Type tool ( ) in the Tools panel. Click in a blank area on the artboard,
and type AMP.

2. Select the text with the Type tool, change Font to Myriad Pro (or another font if
you don’t have that one), ensure that Font Style is Regular, and change Font Size
to 16 pt in the Control panel.

3. Select the Perspective Selection tool ( ) in the Tools panel. Press the number
3 key on the keyboard to select the Right Grid(3) plane in the Plane Switching
Widget. Drag the text into the upper-right corner of the larger box.

Note: You can also enter Move the type area into perspective.
Isolation mode to edit text by
clicking the Edit Text button 4. Select the Zoom tool and zoom in.
( ) in the Control panel. To
exit Isolation mode, you can 5. With the Perspective Selection tool selected, double-click the text object to en-
also click twice on the gray ter Isolation mode. The Type tool is selected automatically.
arrow that appears below the
document tab at the top of the 6. Insert the cursor before the word “AMP,” and type Guitar with a spacebar space
Document window. after it. You may need to zoom in so you can more easily see it.

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Creating Artwork for a T-Shirt Lesson 26 TEACHING TIPS

7. Select the Perspective Selection tool ( ), and double-click the artboard to exit In step #8 at the top of the page, if you
Isolation mode. see a warning message, answer OK.

8. Drag the “Guitar AMP” text so it fits in the corner of the light gray box, In step #6, you’ve created a black circle
if necessary. directly on top of another black circle, so
you’ll only be able to see one of them at
Add text in Isolation Exit Isolation mode. Drag the object into place. a time. Because you pasted the second
mode. circle “in front,” the circle that’s currently
selected is the one you’ll transform in
step #7.

Moving Objects in a Perpendicular Direction Note: To move objects from
one plane to another, begin
Now you’re going to add several circles to the grid and copy one in a direction dragging artwork on the grid with
perpendicular to the current location. This technique is useful when creating parallel the Perspective Selection tool,
objects, such as the legs of a chair. without releasing the mouse
button yet. Press the number 1, 2,
Try It! or 3 key (depending on which grid
you intend to attach the objects
1. Click and hold down on the Rectangle tool in the Tools panel. Select the to) to switch to the grid plane
Ellipse tool. of your choice. These keyboard
You may want to zoom out a bit for the next steps. commands work only from the
main keyboard and not from the
2. Making sure that the right plane is selected in the Plane Switching Widget, Shift- extended numeric keypad.
drag to create a small circle that has a width and height of roughly 2 in. Release
the mouse button and then the key.

3. Press the D key to apply the default fill and stroke to the circle.

Create an ellipse on the grid.

4. With the circle selected, change the Fill color in the Control panel to None ( ),
make sure that the Stroke color is black, and change the Stroke weight to 10 pt
in the Control panel.

Adjust fill and stroke for the ellipse.

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TEACHING TIP Lesson 26 Creating Artwork for a T-Shirt

In step #7 at the top of the page, 5. Select the Perspective Selection tool ( ) in the Tools panel, and drag the circle
don’t worry if you don’t see the word roughly into the center of the light gray rectangle.
“Transform” in your Control Panel.
Complete the rest of the steps as written. 6. With the circle still selected, choose Edit > Copy and then Edit > Paste In Front.

Note: Depending on your screen 7. With the new circle selected, click the word “Transform” in the Control panel
resolution, the Transform options and, making sure that the Constrain Width And Height Proportions option ( )
(like Width) may appear in your is selected and the right-middle point of the Reference Point is selected ( ),
Control panel. change Width to 1.3 in.

Note: The keyboard shortcut Adjust the size of the second ellipse.
5, which is for perpendicular
movement (and the keyboard 8. Ensure that the smaller circle is positioned roughly as you see in the figure
shortcuts 1, 2, 3, and 4 for plane above.
switching) while drawing or
moving objects, works only from 9. With the Perspective Selection tool selected, hold down the number 5 key
the main keyboard and not from and drag the smaller circle, by its stroke, to the left a bit. When the circle looks
the extended numeric keypad. something like the first part of the following figure, release the mouse, and then
release the 5 key.

10. Choose Object > Arrange > Bring To Front to bring the smaller circle to
the front, if necessary.

Drag to reposition the Position the ellipse as shown.
second ellipse.
Note: While pressing the
number 5 key and dragging, you This action moves the object parallel to its current location and scales it
could press Option (Mac OS) or in perspective.
Alt (Windows) to copy the object
that you are dragging.

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

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Creating Artwork for a T-Shirt Lesson 26

Moving a Plane to Match an Object

When you want to draw or bring objects in perspective at the same depth or height
as an existing object, such as the smaller circle, you can bring the corresponding grid
to the desired height or depth. Next, you will move the right grid plane to the same
depth as the smaller circle and add a logo to it.

Try It!

1. With the Perspective Selection tool ( ) selected, click to select the small
circle again.

2. Choose Object > Perspective > Move Plane To Match Object.
Now anything you add to the right grid plane will be at the same depth as the
smaller circle.

Moving the plane to match an object. Note: Symbols that you wish
to bring into perspective
Bringing Content into Perspective cannot contain such things as
raster images, envelopes, or
If you have already created content that is not in perspective, Illustrator provides an gradient meshes.
option to bring objects into perspective on an active plane in the perspective grid.
You will now add a logo, which happens to be a symbol, to the perspective grid. Note: Instead of dragging an
object onto the plane using the
Try It! Perspective Selection tool, you
can also select the object with
1. With the Perspective Selection tool ( ) selected, make sure that the Right the Perspective Selection tool,
Grid(3) is selected in the Plane Switching Widget. choose the plane using the Plane
Switching Widget, and then
2. Choose View > Fit Artboard In Window. choose Object > Perspective >
In the upper-left corner of the artboard, you’ll see artwork for a logo that is a Attach To Active Plane. This
symbol instance. Next, you’ll drag the symbol instance into perspective. adds the content to the active
plane, but it doesn’t change
3. With the Perspective Selection tool, drag the logo symbol instance in the its appearance.
upper-left corner of the artboard into the center of the smaller circle to attach
it to the right grid plane.
Notice that the logo is behind the other artwork on the artboard. Content on
the perspective grid has the same stacking order as content you draw off of the
perspective grid.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 703

Discussion Topic Lesson 26 Creating Artwork for a T-Shirt

In step #6, what is the shape of the Button
symbol on the Symbols panel? What is the
shape of that same button when you place
it into the perspective grid?

Drag the logo symbol into perspective.

4. Choose Object > Arrange > Bring To Front to bring the logo on top of the
other artwork.

Bring the artwork to the front.

5. Choose Select > Deselect.
6. In the Symbols panel (Window > Symbols), drag out the symbol named “Button.”

Drag the Button symbol to the grid.

You may want to zoom in a bit to the artwork for the next step.
7. With the Perspective Selection tool, make sure that the Right Grid(3) is selected

in the Plane Switching Widget, and drag the button onto the light gray rectangle.
See the first part of the following figure for placement.
8. Drag the symbol instance to the right. As you drag, press Option+Shift (Mac OS)
or Alt+Shift (Windows) and continue dragging to create a copy. Release the
mouse button and then the modifier keys.

Select the symbol. Option- or Alt-drag to create a copy.
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704 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Creating Artwork for a T-Shirt Lesson 26 Discussion Topic

Editing Symbols in Perspective Note: You could also double- Why does the logo jump out of place
click the symbol with the as pictured in the figure at the top of
After bringing symbols into perspective, you may need to edit them. Just know that Perspective Selection tool to the page?
functionalities, such as replacing a symbol or breaking a link to a symbol instance, do edit it.
not work on symbols in perspective. Next, you’ll make a change to the logo. TEACHING TIP

Try It! In step #3 at the bottom of the page, you
won’t be able to see the light gray rec-
1. Select the Zoom tool ( ) in the Tools panel, and zoom into the logo. tangle you copy and paste on top of an
identical light gray rectangle. Because you
2. Select the Selection tool ( ) in the Tools panel, and double-click the logo you pasted it “in front,” however, you know
just dragged into perspective. Click OK in the warning dialog that appears. Click the selected rectangle is the one you’ll
to select the “V” artwork. adjust in the next step.

Select the symbol to enter Symbol Editing mode.

This enters Symbol Editing mode and hides the rest of the artwork on
the artboard.

3. Change the Fill color in the Control panel to the red swatch with the name
“CMYK Red.” Press the Escape key to hide the Swatches panel.

4. Double-click away from the symbol content to exit Symbol Editing mode so that
you can edit the rest of the content.

The symbol has been edited.

5. Choose Select > Deselect, if necessary.

Finishing Up

There are a few small things yet to do on the perspective artwork, and in this section,
you’ll finish up.

Try It!

1. Choose View > Fit Artboard In Window.

2. Select the Perspective Selection tool ( ) in the Tools panel. Click to select the
light gray rectangle on the right grid plane. Choose Object > Perspective > Move
Plane To Match Object.

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TEACHING TIP Lesson 26 Creating Artwork for a T-Shirt

In step #7, adjust the opacity of your
black screen so you can see the speaker
components and logo behind it.

Note: Pressing the Shift key with Relocate the right plane.
the pointer over the grid will hide
all planes in the perspective grid The right grid plane is now back to where it was earlier in the lesson.
except for the active one.
3. With the light gray rectangle still selected, choose Edit > Copy and then choose
Edit > Paste In Front.

4. With the copy selected, change the Fill color in the Control panel to Black. Press
the Escape key to hide the Swatches panel.

5. Press the Shift key and drag the top-middle point down to make the rectangle a
bit smaller. Use the first part of the following figure as a guide.

6. Choose Object > Arrange > Bring To Front.

7. Change Opacity to 95% in the Control panel.

Make the top rectangle Adjust its opacity. The finished perspective object.
smaller.

8. Choose Select > All On Active Artboard. Choose Edit > Copy.

9. Choose 2 T-Shirt from the Artboard menu in the lower-left corner of the
Document window.

10. Choose Edit > Paste.

11. Choose Object > Perspective > Release With Perspective.

12. Choose Object > Group.

13. Choose Object > Arrange > Send To Back.

14. Select the Selection tool ( ) in the Tools panel, and Shift-drag a corner of
the selected artwork to make it smaller. When the gray measurement label
shows an approximate width of 1.6, release the mouse button and then the
Shift key.

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706 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Creating Artwork for a T-Shirt Lesson 26 REVIEW THE
VOCABULARY
Move the perspective object to the T-shirt.
Artistic decisions The choices an artist
15. Arrange all the artwork as you see in the following figure. Move some of the mu- makes when creating a work of art in
sical notes symbol instances as well if desired. order to achieve a desired result.

16. Choose Select > Deselect.

The completed project.

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

Making the Most of Constructive Criticism

Criticism is an analysis and judgment of the positive and negative aspects of some-
thing, such as a product, design, work of art, or project. Constructive criticism is
when the judgment is delivered in a positive way, and includes advice for how to
make improvements or solve problems.
In any career, it is important to know how to accept constructive criticism and how
to deliver it. Both of these require effective communications skills:
• When you offer constructive criticism, it is important that you deliver your message

in a positive, friendly way so the recipient recognizes the value in your advice.
• When you receive constructive criticism, it is important that you listen carefully

and consider the message as it is intended—to provide positive feedback to help
you improve.

Judging Artistic Decisions

Many, if not most, careers in the Arts, Audio/Video Technology, and Communications
cluster involve creating or judging works of art. You are likely to find yourself evalu-
ating your own work as well as the work of others. For example, you might have to
choose between two photos for a magazine cover, or approve a script for a video.

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TEACHING TIP Lesson 26 Creating Artwork for a T-Shirt

To focus their task in preparation for the Artistic decisions Specifically, you may be called on to interpret, evaluate, and justify your own
Review Project: artistic decisions, and the artistic decisions of others.
The choices an artist makes • Interpreting artistic decisions involves analyzing the piece and determining the
• Have students turn the bulleted lists on when creating a work of art in
pages 707 and 708 into open-ended order to achieve a desired result. artist’s intentions.
questions they can ask themselves • Evaluating artistic decisions requires judging the piece and the artist’s intentions
about their classmates’ artwork.
in order to identify the positive and negative effects of those decisions.
• Many processes/lists of skills of art • Justifying artistic decisions involves explaining how the decisions enable the
criticism involve some variation on
these four steps: identify and de- artist to achieve his or her intentions.
scribe, analyze, interpret, and make You can use critical thinking skills to make informed judgments about your own work
judgments. Have students search and the work of others. This means considering the qualities of the piece carefully
online for key terms including “art and objectively before making any evaluations or forming any conclusions. Things to
criticism,” “how to critique artwork,” consider include:
and “responsibilities of an art critic” to • the technical, or formal, qualities of the piece.
find the details they need to flesh out • the historical context of the piece.
that list of four steps. • the cultural content of the piece.
• the artist’s intent.
Comprehension Check: • the meaning.
Once you have taken the time to analyze the work, you can offer an informed judg-
1. a. You can edit one symbol and all ment in writing or verbally. Remember to be respectful when delivering an evaluation
instances are updated. and to point out positive as well as negative qualities.

b. You can map artwork to 3D objects Comprehension Check
(not discussed in the lesson).
1. What are three benefits of using symbols?
c. Using symbols reduces file size.
2. How do you update an existing symbol?
2. To update an existing symbol,
double-click the symbol icon in the 3. What is a dynamic symbol?
Symbols panel, double-click an in-
stance of the symbol on the artboard, 4. Explain how to embed a linked library graphic asset.
or select the instance on the artboard
and then click the Edit Symbol button 5. Before drawing content on a grid plane, what must be done to ensure that the
in the Control panel. Then you can object is on the correct grid plane?
make edits in Isolation mode.
Review Project
3. When a symbol is saved as Dynamic,
you can change certain appearance Working with a partner, select and analyze an original product design by one of your
properties of instances using the Di- classmates. Use critical-thinking to form precise conclusions about formal qualities,
rect Selection tool without editing the and historical and cultural contexts, intents, and meanings. Write an evaluation offer-
original symbol. In Illustrator, you can ing constructive criticism. Read your evaluation out loud to your partner, or to the
save colors (fill and stroke), graphic class. If you receive oral or written feedback on one of your own projects, evaluate
assets, and type formatting. the feedback and prepare a response that explains how the feedback can help you to
improve your project.
4. By default in Illustrator, when a graphic
asset is dragged from the Libraries 708 LEARNING GRAPHIC DESIGN & ILLUSTRATION
panel into a document, a link is created
to the original Library asset. In order to 5. The correct grid plane must be selected by choosing it in the Plane Switching
embed a graphic asset, select the asset Widget. You can select it by using the following keyboard commands: Left Grid
in the document, and click Embed in (1), Horizontal Grid (2), Right Grid (3), or No Active Grid (4); or by selecting con-
the Control panel. Once embedded, tent on the grid you want to choose with the Perspective Selection tool.
the graphic will no longer update if the
original library asset is edited.

708 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Preparing Content for the Web Lesson 27 FOCUS AND ENGAGE

Lesson 27 Overview Introduce the Lesson

In this lesson, you’ll learn how to do the following: For what kinds of final products have
students produced Illustrator artwork
• Align content to the pixel grid. • Generate, export, and copy/paste CSS (Cascading so far? As you review the skills listed in
• Work with the Slice and Slice Selection tools. Style Sheets) code. the Lesson 27 Overview, explain that this
• Use the Save For Web command. lesson prepares you export files for web
• Save artwork as SVG. or onscreen use. You’ll generate the file
types you’ll need to respond to requests
You can optimize your Illustrator CC content for use on the web and in screen presentations using various meth- from outside web designers and to pre-
ods. For example, you can slice artwork and save it for the web, export CSS and image files, and generate SVG pare the optimized objects, slices, and
(Scalable Vector Graphics) in the form of an SVG file or SVG code. CSS code info you’ll need to import into
your own HTML editor, such as Adobe
Opening the Project File Dreamweaver.

Before you begin, restore the default preferences for Adobe Illustrator CC.

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 Illustra-
tor Settings file.

3. Choose File > Open. In the Open dialog box, navigate to the folder holding the
data files for this chapter, and double-click 27Start.ai to open it. This lesson con-
tains a fictitious business name, address, and website address for the purposes of
the project.

4. The Missing Fonts dialog box will most likely appear. Click Sync Fonts to sync all
the missing fonts to your computer (your list may not match the figure). After
they are synced and you see the message stating that there are no more missing
fonts, click Close.

Sync fonts if necessary.

If you can’t get the fonts to sync (a “Syncing Typekit fonts…” message doesn’t
go away), you can go to the Creative Cloud desktop application and choose
Assets > Fonts to see what the issue may be (refer to the section “Changing font
family and font style” in Lesson 21, “Adding Type to a Poster,” for more informa-
tion on how to resolve it).

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REVIEW THE Lesson 27 Preparing Content for the Web
VOCABULARY
Note: If you don’t see Reset You can also just click Close in the Missing Fonts dialog box and ignore the missing
Pixel grid A grid of 72 squares per inch Essentials in the Workspace fonts as you proceed. A third method is to click the Find Fonts button in the Missing
that is viewable when you zoom to 600% menu, choose Window > Fonts dialog box and replace the fonts with a local font on your machine.
or higher (with Pixel Preview mode ena- Workspace > Essentials before
bled via View > Pixel Preview). choosing Window > Workspace > 5. Choose Window > Workspace > Reset Essentials to ensure that the workspace is
Discuss Where is the pixel grid? Reset Essentials. set to the default settings.
Note: If you see a warning dialog
Discussion Topic box referring to spot colors, just 6. Choose View > Fit Artboard In Window.
click Continue.
Why align content to the pixel grid? 7. Choose File > Save As. In the Save As dialog box, navigate to the location where
Note: To learn more about your instructor directs you to save files for this chapter’s projects, and rename the
working with web graphics, file 27End_xx.ai. Leave the Format option set to Adobe Illustrator (ai) (Mac OS) or
search for “File formats for the Save As Type option set to Adobe Illustrator (*.AI) (Windows), and then click
exporting artwork“ in Illustrator Save. In the Illustrator Options dialog box, leave the Illustrator options at their
Help (Help > Illustrator Help). default settings, and then click OK.

Note: To learn about working 8. Choose Select > Deselect, if necessary.
with text and anti-aliasing, see
the PDF named “TextAntiAliasing. Saving Content for the Web
pdf” in the Lessons > Lesson_
extras folder. Using Illustrator CC, you can save your artwork for the web using a variety of
methods and formats. If you need web images for use in a website or an onscreen
Pixel grid presentation, you can use the File > Save For Web command. Images can be
A grid of 72 squares per inch that saved in several file formats, such as GIF, JPEG, and PNG. These three formats are
is viewable when you zoom to optimized for use on the web and are compatible with most browsers, yet each has
600% or higher. different capabilities.

If you are building a website or want to hand off content to a developer, you can
transform the visual designs in Illustrator to CSS styles using the CSS Properties panel
(Window > CSS Properties) or File > Export command. Illustrator allows you to easily
export CSS or copy and paste CSS from Illustrator into your HTML editor. You can
also export Scalable Vector Graphics (SVG) using a variety of methods.

In the first part of the section on creating web content, you will focus on the pixel
grid and on slicing content for export using the Save For Web command. Then you
will translate your design into CSS for use in a website.

Aligning Content to the Pixel Grid

Before you save content for the web, it’s important to understand the pixel grid in
Illustrator. It’s critical that raster images look sharp, especially standard web graphics
at 72 pixels per inch (PPI) resolution. To enable web designers to create pixel-
accurate designs, you can align artwork to the pixel grid. The pixel grid is a grid of
72 squares per inch, vertically and horizontally, that is viewable when you zoom to
600% or higher with Pixel Preview mode enabled (View > Pixel Preview).

When the pixel-aligned property is enabled for an object, all the horizontal and
vertical segments in the object get aligned to the pixel grid, which makes strokes
appear especially crisp. When you create a new document, you can set the Align
New Objects To Pixel Grid option at the document level. This makes all artwork that
can be aligned to the pixel grid (this does not include Live Shapes such as rectangles)
align to it automatically. You can also align content to the pixel grid after the content
has been created, as you will do in this section.

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Preparing Content for the Web Lesson 27 Discussion Topics

Try It! What are two ways to align content to the
pixel grid?
1. Choose File > New. In the New Document dialog box, choose Web from the
Profile menu. Click the triangle to the left of the word “Advanced,” toward the What is the correct color mode to use
lower-left corner of the dialog box. when creating content for the web or for
In the Advanced settings, you can see that Color Mode is RGB for all artwork onscreen presentations?
you create, Raster Effects is Screen (72 ppi), and Align New Objects To Pixel Grid
is selected.

Advanced settings for a web document.

2. Click Cancel.
3. In the 27End_xx.ai file, choose File > Document Color Mode, and you will see

that RGB Color is selected.
After you create a document, you can change the document color mode.
This sets the default color mode for all new colors you create and the existing
swatches. RGB is the correct color mode to use when creating content for the
web or for onscreen presentations.
4. Select the Zoom tool ( ), and zoom in to the cup icon with the word “Accesso-
ries” beneath it, roughly in the middle of the artboard.
5. Choose View > Pixel Preview to preview a rasterized version of the design.

Preview mode. Pixel Preview mode.

6. Choose 600% from the View menu in the lower-left corner of the Document Note: You can turn off the pixel
window (in the Status bar), and make sure you can still see the cup icon above grid by choosing Illustrator CC >
the “Accessories” text. Preferences > Guides & Grid
(Mac OS) or Edit > Preferences >
Guides & Grid (Windows) and
deselecting Show Pixel Grid
(Above 600% Zoom).

The object at 600% zoom.

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TEACHING TIP Lesson 27 Preparing Content for the Web

In step #10, if you don’t see “Transform” By zooming in to at least 600%, and with Pixel Preview turned on, you can see
(or X, Y, W, and H), be sure the inside rec- a pixel grid appear, as in the figure. The pixel grid divides the artboard into 1 pt.
tangle of the coffee cup is selected. (1/72-inch) increments. For the next steps, you need to see the pixel grid (zoom
level of 600% or greater).
7. Select the Selection tool ( ), and click to select the larger white shape that is part
of the cup. Notice that the straight edges of the shape look a little “fuzzy.”

Note: You can choose Select> Note fuzziness of straight edges.
Object > Not Aligned To Pixel
Grid to select all artwork in the 8. Click the word “Transform” (or X, Y, W, or H) in the Control panel, and select Align
document that is eligible to To Pixel Grid at the bottom of the Transform panel.
be, but is not currently, aligned
to the pixel grid. You can then
select Align To Pixel Grid in the
Transform panel. Be careful!
If you align text that has been
converted to outlines, the text
can change appearance in ways
you didn’t intend.

Aligning to pixel grid removes fuzziness.

Objects that are pixel-aligned but do not have any straight vertical or horizontal
segments are not modified to align to the pixel grid. For example, because a
rotated rectangle does not have straight vertical or horizontal segments, it is not
nudged to produce crisp paths when the pixel-aligned property is set for it.

9. Choose View > Fit Artboard In Window.
Notice that the entire artboard is not fit in the window. This is because Pixel Pre-
view is on and you are viewing the artwork at 100%.

10. Click the word “Transform” (or X, Y, W, or H) in the Control panel, and then click
the Transform panel menu icon ( ).
Notice that Align New Objects To Pixel Grid is selected. This option sets all
new artwork to be aligned to the pixel grid automatically. If this document
were created using a Print profile, it would not be selected, but you could turn
it on here. Bringing nonaligned objects into documents with the Align New
Objects To Pixel Grid option enabled does not automatically pixel-align those
objects. To make such objects pixel-aligned, select the object, and then select
the Align To Pixel Grid option from the Transform panel. You cannot pixel-align

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Preparing Content for the Web Lesson 27 REVIEW THE
VOCABULARY
objects such as Live Shapes, rasters, raster effects, and text objects because such
objects do not have real paths. Slice A defined region of an image that
can have settings independent of those in
Choose to align all new objects to the pixel grid. other regions.

11. Press the Escape key to hide the Transform panel. TEACHING TIP

12. Choose Select > Deselect (if available), and then choose File > Save. What you’re doing in the Try It! activity on
pages 713 and 71 is creating slices of your
Slicing Content artwork that you could use as buttons on
a web page.
If you create artwork on an artboard and choose File > Save For Web, Illustrator
creates a single image file the size of the artboard. One way around that would be to SNloictee: To learn more about
create multiple artboards for artwork, each containing a piece of the web page like a Acrdeaetfiinngedslriceegsio, nseoafrcahn fiomra“gCeretahtaet
button, and save each artboard as a separate image file. cslaicnehs“avineAsdetotbinegIslliunsdtreapteonr dHeenlpt of
t(Hhoeslpe >inIloluthsterratroergiHoenlsp.).
You can also design your artwork on an artboard and slice the content. In Illustrator,
you can create slices to define the boundaries of different web elements in your Note: To learn more about
artwork. For example, if you design an entire web page on an artboard and you want creating layers, see the section
to save a particular vector shape as a button for your website, that artwork can be “Creating layers and sublayers”
optimized in GIF or PNG format, while the rest of the image is optimized as a JPEG in Lesson 22, “Organizing Your
file. You can isolate the button image by creating a slice. When you save the artwork Artwork with Layers.”
as a web page using the Save For Web command, you can choose to save each slice
as an independent file with its own format and settings.

Next, you will create a new layer that will contain the slices, and then you will create
slices for different parts of the artwork.

Try It!

1. Click the Layers panel icon ( ) to open the Layers panel. Option-click (Mac OS)
or Alt-click (Windows) the Create New Layer button ( ) at the bottom of the
Layers panel. In the Layer Options dialog box that appears, change the name of
the layer to Slices, and click OK. Make sure that the new Slices layer is selected
and is at the top of the layer stack.

Create the Slices layer.

When you create slices, they are treated as objects and are listed in the Lay-
ers panel and can be selected, deleted, resized, and more. It helps to keep
them on their own layer so that you can more easily manage them, but this
isn’t necessary.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 713

Lesson 27 Preparing Content for the Web

2. Press Command+– (Mac OS) or Ctrl+– (Windows) to zoom out.
3. Select the Zoom tool ( ), and drag a marquee around the Pluralist logo at the

top of the artboard.
4. Select the Slice tool ( ) in the Tools panel. Click and drag a slice around the

logo. See the figure for help. Don’t worry about it fitting perfectly right now; you
will edit it later.
When you create a slice, Illustrator divides the surrounding artwork into auto-
matic slices to maintain the layout of the page. Auto slices account for the areas
of your artwork that you did not define as a slice. Illustrator regenerates auto
slices every time you add or edit your own slices. Also, notice the number in the
upper-left corner of the slice you created. Illustrator numbers slices from left to
right and from top to bottom, beginning in the upper-left corner of the artwork.

Drag to create a slice.

5. Choose View > Fit Artboard In Window.
6. With the Selection tool ( ) selected, click the sailing ship in the middle

of the artboard.
7. In the Layers panel, select the Slices layer to ensure that the new slice is on it.
8. Choose Object > Slice > Create From Selection.

Create a slice from a selection.

This is another way to make a slice from existing content. Take a look at the
Object > Slice menu because there are a lot of great commands in there.
9. Choose Select > Deselect.

Selecting and Editing Slices

Editing user-created slices is necessary, for instance, when sliced content changes or
when what is included in the slice needs to change.

Try It!

1. Press Command+– (Mac OS) or Ctrl+– (Windows) to zoom out. Select the
Zoom tool ( ), and zoom in to the Pluralist logo at the top of the artboard.

2. Select the Slice Selection tool ( ) from the Slice tool group in the Tools panel
by clicking and holding down the Slice tool ( ).

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Preparing Content for the Web Lesson 27 Discussion Topic

3. Click in the center of the slice over the Pluralist logo. The selected slice is high- Why do you think the A in the Pluralist
lighted, and four corner bounding points appear. logo is larger than the other letters? What
The Slice Selection tool allows you to edit slices you’ve created using different is the effect?
methods. You can also select a user slice with the Selection ( ) or Direct Selection
( ) tools by clicking the stroke (edge) of the slice or from within the Layers panel.

4. Position the pointer over the lower-right corner of the selected slice. When a
double arrow appears, click and drag toward the center of the logo until it fits
tighter around the logo content. Make sure to include all of the logo content
within the slice area.

Edit a slice with the Slice Selection tool.

5. Position the pointer over the left side of the selected slice. When a double arrow
appears, click and drag right a bit closer to the edge of the logo.

Adjust the slice width.

When adjusting slices manually, you should include all appearance attributes,
such as drop shadows, in the slice area. This can be difficult if the shadow is
blurry. Using the Object > Slice > Create From Selection command creates a slice
that surrounds all appearance properties, such as effects, if those effects are ap-
plied directly to the artwork and not to the layer the artwork is on (with multiple
objects on the same layer). Using the Slice Selection tool, you can click and drag
a slice, copy and paste it, delete it, and much more.

6. Try adjusting the other sides of the slice so that they are closer to the logo.

You want to ensure that the artwork and effects such as drop shadows are
contained within slices so they will not appear to be cut off when the image
is later optimized.

7. Choose Select > Deselect.

8. Choose View > Lock Slices so that you cannot select them.

Using the Save for Web Command

After slicing your artwork, if necessary, you can then optimize that artwork for use on
the web. You can use the File > Save For Web command to select optimization options
and to preview optimized artwork. The key to the effective use of images on a website
is finding the balance of resolution, size, and color to achieve optimal quality.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 715

Discussion Topic Lesson 27 Preparing Content for the Web

In step #6, which of the two panels Try It!
contains your original artwork? How can
you tell? 1. Choose View > Hide Slices.
While working on your artwork, you don’t have to have the slices showing. This
allows you to concentrate on selecting artwork without selecting slices. You can
also hide the layer that the slices are on if you created a layer for them in the
Layers panel.

2. Select the Selection tool ( ), and click the dark blue bar behind the logo.

3. Choose Object > Hide > Selection.
The logo will look like it has disappeared, but that’s because it’s white. When
you save sliced content using the Save For Web command, all content that is
showing in a slice will be flattened into a raster image. If you want to have trans-
parency in the selected artwork (part of the image will be see-through), you need
to first hide what you don’t want to save. The areas where you see the artboard in
a slice can be transparent, depending on the type of image you choose.

4. Choose View > Show Slices.

Note: To resize the slices, you
need to make sure they are
unlocked. Choose View > Lock
Slices. (If a checkmark appears to
the left of the menu item, they
are locked.)

Choose to show slices.

5. Choose File > Save For Web.
6. In the Save For Web dialog box, click the 2-Up tab at the top of the dialog box to

select that display option, if it’s not already selected.

Note: You may need to choose Select the 2-Up option.
Fit On Screen from the View
menu in the lower-left corner This shows a split window with the original artwork on the left and the optimized
of the dialog box to see all of artwork on the right (usually). You can tell which is the original artwork because it
the artwork. shows “Original: ‘WebDesign.ai’ ’27End_xx.ai’” along with a file size below one of
the preview areas. The optimized preview shows a file type such as PNG-24 and
a file size below the preview area.

7. With the Slice Select tool ( ) selected (by default), click in the optimized area on
the right. Click to select the slice that covers the Pluralist logo at the top of the
artboard, if it isn’t selected already. A red arrow is pointing to it in the figure.

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Preparing Content for the Web Lesson 27 Discussion Topic

Selected slice has a brown border. What happens in step #10 when you
click Preview?
You can tell when a slice is selected because the artwork isn’t dimmed and it has
a light brown border around it. TEACHING TIP
8. In the Preset area on the right side of the dialog box, choose PNG-24 from the
Optimized File Format menu (below Name), if it isn’t already selected. Make sure In step #11, save your 27Logo.png file in
the Transparency option is selected (below the Optimized File Format menu). your Chapter 13 Solutions folder.

Make sure PNG-24 is selected.

You can choose from four file formats, including GIF, JPEG, PNG-8, and
PNG-24, as well as set the options for each in the Preset area. The available
options change depending on the file format you select. If your image contains
multiple slices that you are going to save, be sure to select each separately in the
preview area and optimize all the slices.

9. Choose Selected Slices from the Export menu, if necessary.

Choose to export selected slices. Note: If nothing happens after
clicking the Preview button, try
Any slices that you select in the Save For Web dialog box will be exported. You clicking again. You may also
can select multiple slices, after you’ve assigned optimization settings to them, need to click the Select Browser
by Shift-clicking the desired slices. By choosing All User Slices from the Export Menu button ( ) to the right of
menu, all slices that you created will be exported. the Preview button and choose
Edit List to add a new browser.
10. Click the Preview button in the lower-left corner of the dialog box to launch the
default web browser on your computer and to preview the sliced content. After Note: In the Save For Web dialog
previewing the content, close the browser, and return to Illustrator. box, the Done button will save
the optimization settings with the
11. In the Save For Web dialog box, click Save. In the Save Optimized As dialog box, file, without actually generating
navigate to the location where you are saving files for this chapter’s projects, and any images. The Cancel button
open it. Change the name to 27Logo_xx.png, and click Save. will not save the settings or
generate images.
In your solutions folder is a new images folder that Illustrator created. In that fold-
er, you can see the single image that is labeled according to the name entered in
the Save Optimized As dialog box, with the slice number appended to the end.

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REVIEW THE Lesson 27 Preparing Content for the Web
VOCABULARY
Save the slice in your folder.
Cascading Style Sheets (CSS) Collections
of formatting rules that control the 12. Choose View > Hide Slices.
appearance of content in a web page.
13. Choose Object > Show All.
TEACHING TIP
14. Choose Select > Deselect, and then choose File > Save.
As a graphic designer, you may not need
to write long blocks of code, but you Creating CSS Code
need to know enough about it to be able
to provide the right data, instructions, and As mentioned earlier, you can transform the visual designs in Illustrator to CSS
component materials to a web devel- styles using the CSS Properties panel (Window > CSS Properties) or the File > Export
oper—or import them directly into your command. This is a great way to move the styling from your web design in Illustrator
own HTML editing applications. straight to your HTML editor or to hand it off to a web developer.
Cascading Style Sheets are a collection of formatting rules, much like paragraph
Note: Exporting or copying CSS and character styles in Illustrator, that control the appearance of content in a
from Illustrator CC does not web page. Unlike paragraph and character styles in Illustrator, CSS can control not
create HTML for a web page. It only the look and feel of text but also the formatting and positioning of page ele-
is intended to create CSS that ments found in HTML.
is applied to HTML you create
elsewhere, such as in Adobe
Dreamweaver®.

Cascading Style Sheets (CSS)
Collections of formatting rules
that control the appearance of
content in a web page.

Note: To learn more about An example of CSS code.
CSS, visit the “Understanding
Cascading Style Sheets” section The great thing about generating CSS from your Illustrator artwork is that it allows
of Adobe Dreamweaver Help for flexible web workflows. You can export all of the styling from a document, or you
(https://helpx.adobe.com/ can just copy the styling code for a single object or a series of objects and paste it
dreamweaver/using/cascading- into an external web editor, like Adobe Dreamweaver. But creating CSS styling and
style-sheets.html). using it effectively requires a bit of setup in your Illustrator CC document, and that’s
what you’ll learn about first.

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Preparing Content for the Web Lesson 27 TEACHING TIP

Setting up Your Design for Generating CSS On pages 719 through 721, you’re setting
up CSS styles for different design objects
If you intend to export or copy and paste CSS from Illustrator CC, slicing is not a within your artwork. You’ll assign specific
necessary part of that process, but setting up the Illustrator CC file properly before names to some of them in the Layers panel.
creating CSS allows you to name the CSS styles that are generated. In this section,
you’ll look at the CSS Properties panel and see how you can set up the content for Note: The CSS Properties panel
style export using named or unnamed content. shown here is an example and
will not reflect exactly what you
Try It! see in your panel.

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

2. Choose Window > Workspace > Reset Essentials.

3. Choose Window > CSS Properties to open the CSS Properties panel.
Using the CSS Properties panel, you can do the following:
• Preview CSS code for selected objects.
• Copy CSS code for selected objects.
• Export generated styling for selected objects to a CSS file (along with any
images used).
• Change options for the CSS code exported.
• Export the CSS for all objects to a CSS file.

CSS Properties panel.

4. With the Selection tool ( ) selected, click to select the blue rectangle behind the
navigation and logo at the top of the artboard (see the following figure).

Take a look in the CSS Properties panel, and you will see that a message appears
in the preview area. Instead of CSS code (which is what the preview area typically
shows), the message states that the object needs to be named in the Layers panel
or you need to allow Illustrator to create styling from “unnamed objects.”

The blue rectangle is an unnamed object. Note: You may need to drag the
left edge of the Layers panel to
5. Open the Layers panel, and click the Locate Object button ( ) at the bottom of the left to see the entire name of
the panel to easily find the selected object in the panel. the object.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 719

TEACHING TIP Lesson 27 Preparing Content for the Web

In step #6, be sure there are no extra
spaces before or after “navbar” in your
layer name.

Locate the blue rectangle in the Layers panel.

6. Double-click the name of the selected <Rectangle> object in the Layers panel,
and change the name to navbar (lowercase). Press Enter or Return to make the
change.

7. Look in the CSS Properties panel again, and you should see a style named .navbar.

Note: If you see a style named
“.navbar_1_,” it’s usually because
there is an extra space after the
name “navbar” in the Layers panel.

Note: You can tell a style is a The CSS code now shows the named object.
class in CSS because the name
has a period (.) before it. When content is unnamed in the Layers panel, a CSS style is not created for it by
default. If you name the object in the Layers panel, the CSS is generated, and the
name of the style created matches the object name in the Layers panel. Illustrator
creates styles called classes for most content.

For objects in the design (not including text objects, as you will see), the name
you give them in the Layers panel should match the class name in the HTML that
is created in a separate HTML editor, like Dreamweaver. But, you can also forgo
naming the objects in the Layers panel and simply create generic styles that you
can then export or paste into an HTML editor and name there. You will see how
to do that next.

8. With the Selection tool, click to select the brown circle behind the cup you
aligned to the pixel grid earlier. In the CSS Properties panel, a style will not
appear since the object is unnamed in the Layers panel (it just has the generic
<Path> name).

The selected object has no code because it is unnamed.
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9. Click the Export Options button ( ) at the bottom of the CSS Properties panel. What is leading called in CSS? What about
The CSS Export Options dialog box that appears contains export options that you the combination of kerning and tracking?
can set, such as which units to use, which properties to include in the styles, and
other options, such as which Vendor prefixes to include.

10. Select Generate CSS For Unnamed Objects, and click OK.

Generate CSS code for unnamed objects. Note: Drag the bottom of the
panel down to see more of
11. Look in the CSS Properties panel again. With the brown circle still selected, a the CSS.
style called .st0 appears in the preview area of the CSS Properties panel.

.st0 is short for “style 0” and is a generic name for the formatting that is gener-
ated. Every object that you don’t name in the Layers panel will now be named
.st1, .st2, and so on, after turning on Generate CSS For Unnamed Objects. This
type of style naming can be useful if, for instance, you are creating the web page
yourself and you are going to paste or export the CSS from Illustrator and name
it in your HTML editor or if you simply needed some of the CSS formatting for a
style you already have in your HTML editor.

The .st0 style indicates an unnamed object. Note: Currently, paragraph styles
are not taken into account when
12. Choose Select > Deselect, and then choose File > Save. naming styles in the CSS code
that is generated.
Working with Character Styles and CSS Code

Illustrator will create CSS styles based on text formatting, as well. Formatting, such
as font family, font size, leading (called line-height in CSS), color, kerning and track-
ing (collectively called letter-spacing in CSS), and more, can be captured in the CSS
code. Any character styles that are applied to text in your design are listed in the CSS
Properties panel as a CSS style and have the same name as the character style. Text

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Lesson 27 Preparing Content for the Web

that has formatting applied, without a character style applied, will have a generic CSS
style name when Illustrator generates the style.
Next, you will create and then apply a character style to text.

Try It!

1. In the CSS Properties panel, notice the style named [Normal Character Style],
toward the top of the panel.
In the CSS Properties panel, only character styles that are applied to text appear.
The Normal Character Style is applied to text by default, so it appears in the pan-
el. If you create character styles but don’t apply them to text, they will not appear
in the CSS Properties panel.

2. Choose Window > Type > Character Styles to open the Character Styles panel.

3. Select the Zoom tool and zoom into the text on the left end of the footer. Spe-
cifically the text with the heading “BRAND.”

4. Select the Type tool ( ) in the Tools panel. Select the entire paragraph that be-
gins with “The Pluralist is a lifestyle brand...”

5. Option-click (Mac OS) or Alt-click (Windows) the style named “p” in the Charac-
ter Styles panel to apply it to the selected text.

Note: You can also use the Apply a character style to text.
character styles listed in the CSS
Properties panel as a way to 6. Select the Selection tool ( ), and with the text object still selected, you will see
apply the styles to text. the character style named “p” in the CSS Properties panel list. This indicates that
it is applied to text in the design. You will also see CSS code in the preview area
of the panel.

CSS code for the character style.

Selecting a text object will show all the generated CSS code for the styling used
in the entire text area. With just the text selected, the CSS is not shown in the
CSS Properties panel.

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Preparing Content for the Web Lesson 27 TEACHING TIP

7. With the Selection tool, click the type object in the footer that contains the If the Graphic Style names don’t pop up
“Shopping” heading. Look in the CSS Properties panel, and you will see a series of when you point to or mouse over them,
CSS styles listed. These are the styles applied to all the text in the type area. save your work and try again.
Selecting a type object gives you the ability to see all the CSS code generated
from the styling. It is also a great way to be able to copy or export all the text
formatting from a selected type area.

CSS code for the selected type object. Note: Like selecting a character
style in the CSS Properties panel
Working with Graphic Styles and CSS Code to apply the formatting, you can
also select content and select
CSS code can also be copied or exported for any graphic styles that are applied to an Object style listed in the CSS
content. Next, you’ll apply a graphic style and see the CSS code for it. Properties panel to apply it.

Try It!

1. Scroll back up the artboard so that you can see the Ship and the “SAIL WITH A
WHALE” text above the footer. With the Selection tool ( ), click to select the blue
rectangle behind the ship. You may want to zoom out a bit.

2. Open the Graphic Styles panel (Window > Graphic Styles). Click the graphic style
named “GradientBox.”
Looking in the CSS Properties panel, you will see the object style named “Gradi-
entBox” listed, because it is applied to content in your document.

Apply the GradientBox graphic style.

You will also see CSS code for a style. The CSS code is the same as for the Gra-
dientBox graphic style you just saw since that graphic style is applied. But it’s not
naming the style with the “GradientBox” name, since the graphic style is just a way
to apply formatting and the CSS code is being generated for that particular object.
Remember, this is an unnamed style because you didn’t rename the rectangle
object in the Layers panel.

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Discussion Topic Lesson 27 Preparing Content for the Web

How do you copy the CSS code from a
specific part of your artwork?

Note: You may see a yield sign CSS code for the GradientBox graphic style.
icon ( ) at the bottom of the
panel when certain content is 3. Leave the rectangle selected, and then choose File > Save.
selected. It indicates that not
all of the Illustrator appearance Copying CSS
attributes (such as the multiple
strokes applied to the shape) can At times, you may need to capture only a bit of CSS code from part of your design to
be written in the CSS code for paste into your HTML editor or to send to a web developer. Illustrator lets you copy
the selected content. and paste CSS code easily. Next, you will copy the CSS for a few objects and learn
about how grouping can change the way CSS code is generated.

Try It!

1. With the rectangle still selected, click the Copy Selected Style button ( ) at the
bottom of the CSS Properties panel. This copies the CSS code currently showing
in the panel.

Click the Copy Selected Style button.

Next, you will select multiple objects and copy the generated CSS code at the
same time.

2. With the Selection tool ( ) selected and the rectangle still selected, Shift-click the
brown circle to select both objects. Once again, you may need to zoom out a bit.

Select the brown circle objects.
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Preparing Content for the Web Lesson 27

In the CSS Properties panel, you will not see any CSS code since you need to Note: When CSS code appears
have Illustrator generate the code for more than one selected object. in the CSS Properties panel for
selected content, you can also
3. Click the Generate CSS button ( ) at the bottom of the panel. select part of the code and
right-click the selected code and
The code for two CSS styles, .st0 and .content_3_ (yours may be different), now then choose Copy to copy just
appears in the bottom half of the CSS Properties panel. Your style names may be that selection.
different, and that’s okay. To see both styles, you may need to scroll down in the
panel. Yours may also be in a different order, and that’s okay.

Click the Generate CSS button.

With both styles showing in the CSS Properties panel, you could copy the styles
and paste them into your HTML editor code or paste them into an email to send
to a web developer, for instance.

4. With the Selection tool, click to select the ship.

In the CSS Properties panel, you will see CSS code for an .image style. That code
contains a background-image property. When Illustrator encounters artwork (or
raster images) that it can’t make CSS code from or a group of objects, it rasteriz-
es the exported content (not the artwork on the artboard) when you export the
CSS code. The CSS code that is generated can be applied to an HTML object,
like a div, and the PNG image will be applied as a background image in the HTML
object.

CSS code for the background-image property.

5. Select the Zoom tool, and zoom into the cup and brown circle. Drag a marquee
selection across the brown circle and cup shapes to select all of them.

6. Click the Generate CSS button ( ) at the bottom of the CSS Properties panel to
generate the CSS code for the selected artwork.

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TEACHING TIP Lesson 27 Preparing Content for the Web

The Exporting CSS section prepares files
for Dreamweaver or other HTML editors.

Generate CSS code for the selected artwork.

You will see the CSS code for all the selected objects in the panel. If you were to
copy the CSS code now, the images would not be created, only the code refer-
ring to them. To generate the images, you need to export the code, which you
will do in the next section.

7. Choose Object > Group to group the objects together. Leave the group selected
for the next section.

Notice that, in the CSS Properties panel, a single CSS style is now showing (.im-
age). Grouping content tells Illustrator to create a single image (in this case) from
the grouped content. Having a single web image would most likely be better if
you intend on placing it on a web page.

Exporting CSS

You can also export part or all of the CSS code for your page design. Exporting CSS
code has the distinct advantages of creating a CSS file (.css) and exporting PNG files
for content that is considered unsupported. In this section, you will see both methods.

Try It!

1. With the group still selected, click the Export Selected CSS button ( ) at the
bottom of the CSS Properties panel.

Note: You can choose a Click the Export Selected CSS button.
resolution for rasterized artwork
in the CSS Export Options 2. In the Export CSS dialog box, make sure that the filename is 27End_xx.css. Nav-
dialog box. By default, it uses igate to the folder where you are saving files for this chapter, create a new folder
the Document Raster Effects named ForCSSExport, open the folder if necessary, and click Save to save a CSS
resolution (Effect > Document file named 27End_xx.css and a PNG image file.
Raster Effects Settings).
3. In the CSS Export Options dialog box, leave all settings at default, and click OK.

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Preparing Content for the Web Lesson 27 TEACHING TIP

4. Go to the ForCSSExport folder on your hard drive. In that folder, you should now In step #7, if you double-clicked on the
see the 27End_xx.css file and an image named image.png. 27End_all.css file, it would launch in
Dreamweaver.

CSS export options. Note: You can also export all
of the CSS from your design by
As stated earlier, the CSS code that was generated assumes that you are going choosing Export All from the CSS
to apply the CSS styling to an object in your HTML editor and that the image will Properties panel. If you want to
become a background image for the object. With the image generated, you can change the export options first,
use it for other parts of your web page as well. Next, you will export all the CSS you can set them by clicking the
from the design, after setting a few CSS options. Export Options button ( ) at the
bottom of the CSS Properties
5. Back in Illustrator, choose File > Export. In the Export dialog box, set the Format dialog box.
option to CSS (css) (Mac OS) or the Save As Type option to CSS (*.CSS) (Win-
dows). Change the filename to 27End_all_xx, and make sure that you navigate Note: Your file sorting and
to the ForCSSExport folder. Click Export. icons may look different in the
ForCSSExport folder, and that’s
6. In the CSS Export Options dialog box, leave all the options at their default set- okay.
tings, and click OK. You most likely will see a dialog box telling you that images
will be overwritten. Click OK.

Position and size properties are not added to the CSS code by default. In certain
situations, you will need to export CSS with those options selected. The Include
Vendor Pre-fixes options are selected by default. Vendor prefixes are a way for
certain browser makers (each is listed in the dialog box) to add support for new
CSS features. You can choose to exclude these prefixes by deselecting them.

7. Go to the ForCSSExport folder, and you will see the new CSS file named
27End_all_xx.css and a series of images created because the Rasterize Unsup-
ported Art option was selected in the CSS Export Options dialog box.

Exported CSS files.

8. Return to Illustrator, and choose Select > Deselect.

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Discussion Topic Lesson 27 Preparing Content for the Web

What are two advantages to using 9. Close the CSS Properties panel, and choose Window > Workspace >
Scalable Vector Graphics over other Reset Essentials.
file formats?
10. Choose File > Save (if necessary).
Note: There are two methods
in Illustrator for generating SVG. Saving Artwork as SVG
You can choose either File > Save
As or File > Export. The Export SVG (Scalable Vector Graphics) are used to define vector-based graphics for the web
option is what is covered in this that won’t lose quality if they are zoomed or resized, such as a logo. They are a vec-
section. If you choose File > tor format that describes images as shapes, paths, text, and filter effects. The result-
Save As and choose SVG in the ing files are compact and provide high-quality graphics on the web, in print, and
Save As dialog box, you will see even on resource-constrained, handheld devices. Most major modern web brows-
in the SVG Options dialog box ers—such as Mozilla Firefox, Internet Explorer 9+, Google Chrome, Opera, and
a message and a link indicating Safari—have at least some support for viewing SVG.
a more modern SVG export. Illustrator allows you to select vector artwork, choose Edit > Copy, and then simply
Clicking the Try button will take paste the SVG code that it generates into HTML in an HTML editor, or you can export
you to another SVG Options or save as an SVG (.svg) file. In this section, you’ll export as SVG (.svg) and explore the
dialog box found when you SVG export options using the File > Export command.
choose File > Export.
Try It!

1. Choose View > Pixel Preview to turn off Pixel Preview.

2. Choose View > Fit Artboard In Window.

3. With the Selection tool ( ) selected, click the tent icon on the green circle in the
center of the artboard. This selects a group of shapes.

4. Option-drag (Mac OS) or Alt-drag (Windows) a copy of the tent icon off the left
edge of the artboard (outside of the artboard area).

Drag a copy of the image off the artboard.

5. Choose Object > Artboards > Fit To Selected Art.

Fit the artboard to the selected image.

When saving artwork as SVG, the artboard size is important. Notice that the
artboard is cropped very closely to the edges of the tent icon now. The art-
board size will determine the dimensions of the SVG file just as it would in PNG
or JPG. Since the Fit To Selected Art command simply resized and moved the
one artboard in the document, you will need to undo this later or make a new
artboard for the web design content.

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Preparing Content for the Web Lesson 27

6. Choose File > Export. In the Export dialog box, set the following options:
• Choose SVG (svg) from the Format menu (Mac OS) or SVG (*.SVG) from the
Save As Type menu (Windows).
• Name the file 27Tent-icon_xx.svg.
• Navigate to your solutions folder (if necessary).
• Select Use Artboards and leave All selected. (There is only one artboard
currently in the document, the size of the tent icon, so there is no need to
select which artboard in the Export dialog box. If there were more than one
artboard, you would need to select Range and type in the correct artboard
number for your icon, in this case.)

Export the graphic as an SVG file. Note: If you didn’t select the Use
Artboards option in the Export
7. Click Export. dialog box, you could click the
In the Export dialog box, when you choose to export as SVG, by default the Use world icon at the bottom of the
Artboards option is not selected. This means that all artwork (even if it’s outside SVG Options dialog box to launch
of an artboard on the canvas), regardless of how many artboards in the docu- your default browser and view the
ment, will be saved in one SVG file. If you select Use Artboards and click Export SVG file. Similarly, if you wanted
without choosing which artboards, each artboard will be exported as a separate to see the actual SVG code that is
SVG file. By setting a range in the Export dialog box, you can determine which created, you could click the Show
artboards are saved as separate SVG files. If you wanted to save a series of icons Code button in the SVG Options
as SVG, for instance, you could create artboards for each and select Use Art- dialog box to open the SVG
boards to create a series of SVG files—one for each artboard. content in an editor.

8. The SVG Options dialog box will open. There are several options for creating the
SVG, but the default settings work well most of the time.

Select options for saving the SVG file.

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TEACHING TIP Lesson 27 Preparing Content for the Web

In Copy and Paste from Illustrator, The SVG Options range from how styling for elements should be written in the
Brackets is an Adobe text editor app code to how any fonts should be handled. To learn more about the SVG Options,
similar to Text Edit on a Mac or Notepad search for “SVG” in Illustrator Help (Help > Illustrator Help).
on a PC. 9. Click OK in the SVG Options dialog box.
If you were to look in your solutions folder, you should see 27Tent-icon_xx-01.svg.
Discussion Topic 10. Choose Edit > Undo Fit Artboard To Selected Art to put the artboard back behind
the main page design. You may need to undo several times.
What’s the potential issue with SVG 11. Choose File > Close to close the 27End_xx.ai file without saving.
and fonts? What are your options to
avoid problems? Copy and Paste from Illustrator

You can also select and copy artwork in Illustrator and then paste it into your
favorite text editor (like Brackets) and SVG code will be generated and pasted.
Instead of generating an SVG file, the code is pasted inline.
This can be useful if you want to edit the code yourself or even manipulate the
contents with CSS or JavaScript.

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Preparing Content for the Web Lesson 27 Comprehension Check:

SVG and Fonts 1. Aligning content to the pixel grid is
useful for providing a crisp appear-
When it comes to fonts in artwork exported as SVG, you need to be careful. Not ance to the edges of artwork. When
all browsers fully support all fonts used in your SVG file. It’s best to use a web- Align To Pixel Grid is enabled for sup-
safe font or convert the fonts to outlines. Since converting fonts to outlines can ported artwork, all the horizontal and
increase file size greatly, best practice is to outline fonts only when you have a vertical segments in the object are
few words in the artwork, for instance. If you feel comfortable working with the aligned to the pixel grid.
generated SVG code and CSS, you can also create a reference to a hosted font,
for instance, but that is beyond the scope of this section. 2. The three image file types that can
be chosen in the Save For Web dialog
When you export as SVG (File > Export), in the SVG Options dialog box, there box are JPEG, GIF, and PNG. PNG has
are two options for fonts: SVG and Convert To Outlines. two versions: PNG-8 and PNG-24.

SVG is the default option and is the format defined by the W3C (World Wide 3. Named content is content whose lay-
Web Consortium). The SVG option offers maximum support by SVG viewers, er name in the Layers panel has been
but the text may not be very refined. The second option, Convert To Outlines, changed. When content is unnamed
can be useful if you want to convert your text content into SVG paths and in the Layers panel (the default layer
ensure that the text looks like it did in Illustrator. This can be used, for instance, name is used), a CSS style is not
for an icon with a few characters in a word like “Home.” If you use more com- created for the content by default.
plex fonts, such as script fonts, the file size of your SVG file can increase greatly If you name the object in the Layers
if you choose Convert To Outlines. Converting fonts to outline in SVG can also panel, the CSS is generated, and the
make the SVG file less accessible. name of the style created matches
the object name in the Layers panel.
Comprehension Check To generate CSS styles for unnamed
content, you need to enable this in
1. Why do you align content to the pixel grid? the CSS Export Options dialog box by
2. Name the three image file types that can be chosen in the Save For Web dialog box. clicking the Export Options button in
3. Describe the difference between named and unnamed content when it comes the CSS Properties panel.

to generating CSS. 4. SVG, or Scalable Vector Graphics,
4. What is SVG, and why is it useful? is a file format that is used to define
vector-based graphics for the web
LEARNING GRAPHIC DESIGN & ILLUSTRATION 731 that won’t lose quality if they are
zoomed or resized, such as a logo.
The resulting files are compact and
provide high-quality graphics on the
web, in print, and even on resource-
constrained, handheld devices.

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REVIEW QUESTIONS Chapter 13 Working with Symbols, CC Libraries, and Web Content

1. To edit a path with the Paintbrush End-of-Chapter Activities
tool, drag over a selected path to
redraw it. The Keep Selected option Review Questions
keeps the last path selected as you
draw with the Paintbrush tool. Leave 1. What would you do if you wanted to edit a specific instance of a symbol in more ways than a dynamic
the Keep Selected option selected symbol allows?
when you want to easily edit the
previous path as you draw. Deselect 2. In Illustrator, what type of content can you save in a Library?
the Keep Selected option when you 3. Describe a common use for each type of perspective that can be shown with the perspective grid.
want to draw layered paths with the 4. What action should you take in a perspective drawing if you want to create an object that is not meant to
paintbrush without altering previous
paths. When Keep Selected is dese- be in perspective?
lected, you can use the Selection tool 5. Describe how to define boundaries for different web elements so they can be optimized individually.
to select a path and then edit it. 6. How can you ensure that a slice includes all parts of an object as well as its appearance attributes?
7. What are Cascading Style Sheets?
2. Select the object to which the brush 8. If you saw a style named .st0 in the CSS Properties panel, what would it mean?
stroke is applied, and then click the
Remove Brush Stroke button at the Multiple Choice
bottom of the Brushes panel.
1. If you wanted to change the fill color of a symbol, you would work in
3. It can take time to update brush a. Symbol Editing mode
strokes if you apply the bristle brush b. Isolation mode
after the strokes have been created. c. the Symbols panel
d. the Control panel
4. Objects merged with the Blob Brush
must have the same appearance attri- 2. When you save an object to a Creative Cloud library, it can be used by
butes, no stroke, be on the same layer a. only the person who saved it
or group, and be adjacent to each b. anyone who has Illustrator
other in the stacking order. c. anyone in the world
d. anyone with a Creative Cloud account who is invited to share it
5. The underlying artwork is not affected
when you remove the appearance 3. Before you move a vanishing point on the perspective grid, you would usually
attribute. a. lock the station point
b. choose the Selection tool
6. Illustrator effects are vector effects c. hide the perspective grid
that can be applied only to vector d. lock the ground-level point
objects or the fill or stroke of a
bitmap object. Photoshop effects 4. To move an object from the artboard onto the perspective grid, use the
can be applied to either vector or a. Perspective Grid tool
bitmap objects. b. Direct Selection tool
c. Scale tool
7. You have three options: Extrude & d. Perspective Selection tool
Bevel, Revolve, and Rotate.
5. To make sure strokes will be crisp on a web page, you should
8. When a set of appearance attributes a. use heavy stroke weights
is saved as a graphic style, those at- b. use predominantly black strokes
tributes can easily be applied to other c. align all horizontal and vertical segments to the pixel grid
objects by simply clicking the style in d. optimize all graphics in PNG format
the Graphic Styles panel.
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MULTIPLE CHOICE

1. A

2. C

3. D

4. B

5. D

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Working with Symbols, CC Libraries, and Web Content Chapter 13 MULTIPLE CHOICE

6. When you create a slice, Illustrator 6. A
a. surrounds it with a heavy brown border 7. D
b. divides the surrounding artwork into automatic slices 8. C
c. automatically displays the Slice panel
d. locks the layer on which the slice appears

7. An easy way to turn unnamed content into named content is to
a. double-click the object in the CSS Properties panel and rename it
b. rename the object in the Layers panel
c. refresh the CSS Properties panel
d. define the correct styling in the Character Styles panel

8. Which of these is NOT a benefit of saving a graphic in SVG format?
a. SVG files are high quality.
b. SVG files are compact.
c. SVG files can be used both for print and web documents.
d. SVG files are bitmap-based and won’t lose quality if resized.

Chapter 13 – Portfolio Builder

Using Perspective and Symbols to Create a Package Design

In this exercise, you will begin work on a package design for a new board game named Space Race. You will use
the perspective grid to create the package, use the Library to store objects you will use in the design, create and
modify symbols, and bring them into perspective to complete the project.

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Chapter 13 Working with Symbols, CC Libraries, and Web Content

DIRECTIONS folder holding the data files for this chapter, and
double-click PB13Objects.ai to open it.
1. In Illustrator, choose File > Open, navigate to the
folder holding the data files for this chapter, and 7. Add the following objects to your library to make
double-click PB13Start.ai to open it. them available in your package illustration:

2. Click File > Save As, navigate to the location where • Choose Window > Libraries to open the
your instructor directs you to save files for this chap- Libraries panel.
ter’s projects, and rename the file PB13End_xx.ai.
Leave the default format selected, and click Save. • Click the horizontal SPACE RACE banner and
Click OK in the Illustrator Options dialog box. click Add Graphic on the Libraries panel. Select
the default name and rename the asset as
• As you work, you may want to create layers to Front panel.
keep your objects organized.
• Click the text Light-years of fun and click Add
3. Make sure Smart Guides are on. Paragraph Style on the Libraries panel. Rename
the asset Pckg Text.
4. Display and adjust the perspective grid:
• Store the vertical SPACE RACE object in the
• Click the Perspective Grid tool to display the library as Side panel.
default 2-point perspective grid.
• Store the blue planet in the library as Blue
• Choose View > Perspective Grid > Lock planet and the orange planet as Orange planet.
Station Point.
• Close the PB13Objects.ai file without saving.
• Position the Perspective Grid tool over the right
vanishing point and drag to the right until the 8. Add objects from the library to the package:
measurement label shows an X value of about
19 inches. • Drag the Front panel asset to the artboard,
click Embed on the Control panel, make sure
• Position the Perspective Grid tool over the left Right Grid (3) is selected in the Plane Switch-
vanishing point and drag to the right until the ing Widget, and use the Perspective Selection
measurement label shows an X value of about tool to drag the object near the upper-left
3 inches. corner of the package front (see the picture
above for placement).
• Position the Perspective Grid tool over the left
ground level point and drag to center the grid in • Drag the Side panel object to the artboard,
the artboard. embed it, switch to Left Grid (1), and use the
Perspective Selection tool to drag the object to
• Choose View > Perspective Grid > Define Grid. the package side.
In the Define Perspective Grid dialog box,
change the units to Inches and set gridlines 9. Add type to the package front:
every 0.25 in.
• Select the Type tool and create a type object
5. Create the package objects on the grid: near the bottom of the artboard. Type Light-
years of fun!
• Select the Rectangle tool, select Right Grid (3)
in the Plane Switching Widget, and beginning at • With the type object selected, click Pckg Text in
the origin point, draw a rectangle 6.75 in wide the library to apply the saved paragraph style.
and 6 in high.
• Create another type object and type Ages 10
• Select Left Grid (1) in the Plane Switching Wid- and Up. Apply the Pckg Text paragraph style.
get, and beginning at the origin point, draw a
rectangle 1.75 in wide and 6 in high. • Use the Perspective Selection tool to move the
first type object below the SPACE RACE banner
6. You have already roughed out some of the objects and the second to the lower-left corner (see the
you want to appear on the package in another picture for placement).
Illustrator file. Choose File > Open, navigate to the

734 LEARNING GRAPHIC DESIGN & ILLUSTRATION

734 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Working with Symbols, CC Libraries, and Web Content Chapter 13

10. Create symbols for the package front: 12. Place another instance of the blue planet and
modify it as follows:
• Drag the Orange planet and the Blue planet
assets to the artboard. Embed each object. • With the symbol selected, click Break Link in the
Control panel.
• Display the Symbols panel. Select each library
asset you just placed on the artboard and click • Double-click the blue planet to edit the symbol.
the New Symbol button in the Symbols panel.
Give the symbols the same names you used • Open the Layers panel and expand all layers
to save them as library assets, and make all of and sublayers.
them dynamic. Delete the library assets from
the artboard as you complete each symbol. • Click the bottommost Clip Group layer and then
click the Make/Release Clipping Mask button.
• Click the Symbol Libraries Menu button and se-
lect the Mad Science symbol library. Select the • Select the bottommost layer, which contains a
symbol named Moon to add it to the Symbols rectangle filled with a gradient. Apply the Red
panel, and then close the library. Planet gradient from the Swatches panel to
the fill.
• Create a four-pointed star with radius 1 = 0.4
and radius 2 = 0.15. Create a second star with • Click the bottommost <Group> layer and click
six points and the same radius values. the Make/Release Clipping Mask button.

• Add the stars to the symbols panel as dynamic • Close the Layers panel and double-click.
symbols named Star 1 and Star 2.
• Resize the red planet symbol as desired and
11. Add symbols to the package front: move it into perspective.

• Place an instance of the orange planet symbol 13. To make the rest of your tasks easier, select the
and move it into perspective near the up- package front rectangle and fill it with black. Fill
per-right corner of the package front. the left side rectangle with a dark gray.

• Place an instance of the blue planet and move it 14. Create a new layer named Stars. Place instances of
into perspective on the package front. each star symbol and move them into perspective.
Then adjust them as follows:
• Add an instance of the blue planet to the
package side. • Double-click one of the four-pointed stars with
the Perspective Selection tool to edit the sym-
• Place an instance of the moon symbol on the bol, and then select the symbol.
artboard, and then double-click it with the
Selection tool to enter Symbol Editing mode. • Display the Appearance panel and change the
Open the Layers panel for the symbol, display all Stroke to None and the Fill to white, if necessary.
layers, and hide all the layers with background
graphics, such as the tiny white stars, the blue • With the symbol still selected, choose Object >
gradient space objects, and the red path. Transform > Scale, and enter a Uniform scale
value of 50%.
• Double-click on the artboard to complete the
process of editing the symbol. • Double-click to exit Symbol Editing mode.

• With the moon symbol still selected, choose • Perform the same steps with the six-pointed
Object > Expand and then Object > Group. Use star symbol.
the Perspective Selection tool to move the ob-
ject to the package front. 15. Copy instances of the star symbols to various
locations on the package front.

16. To add visual interest, select the Stars layers and
apply an Outer Glow effect so that all the stars on
the layer glow.

LEARNING GRAPHIC DESIGN & ILLUSTRATION 735

LEARNING GRAPHIC DESIGN & ILLUSTRATION 735

Chapter 13 Working with Symbols, CC Libraries, and Web Content

17. Choose View > Perspective Grid > Hide Grid to view 18. When you are satisfied with the package appear-
your final package design. If necessary, show the ance, hide the grid again.
grid again and adjust the positions of objects. You
may want to place some stars on the package side, 19. Save and close the file. Delete all objects you
for example. added to the Creative Cloud library, and close
Illustrator.

Chapter 13 – Critical Thinking

Finalizing an Illustration for Web Use

Create a new Illustrator Web document. Then open one of the projects you have completed in the Illustrator end-
of-chapter activities and repurpose content to create a website. Copy and paste content, or add it to your library
and then place it in the web document. Insert additional content as desired, such as text or graphics to be used for
links, additional images, or a paragraph of text about the website’s subject. Arrange content in the web document
in a way that would be visually pleasing as well as easy for a web visitor to navigate.

Use the Slice tool to create several slices in the web document. You may also want to use the Object > Slice >
Create from Selection command to create slices. Then use the Slice Selection tool to adjust slice sizes. Use this
tool to drag slices as necessary to eliminate the automatic slices that might be created when objects are not
aligned carefully.

Choose to save the document for the web. In the Save for Web dialog box, use the Slice Selection tool to select
one of your slices. Choose a file format, such as GIF, PNG, or JPG for a graphic object, and make sure the Export
option is set to Selected Slices. Save the selection in a new folder named CT13Web, with a file name of CT13Slice.

Hide slices, then select a section of text and create a character style for it. Open the CSS Properties panel to see
the CSS code that will be generated for the text. Select a graphic object and rename it in the Layers panel if neces-
sary to see the CSS code for the object. Choose to export all CSS code to the CT13Web folder. Use the file name
CT13End_code.css.

Select a graphic object on your web page and drag a copy of it off the artboard. Fit the artboard to the selected
object, and then export it as an SVG file. Save the file with the other files you have created for this chapter, with
the name CT13SVG.svg. Undo the instruction to fit the artboard to the graphic, and then save and close the file,
and close Illustrator.

736 LEARNING GRAPHIC DESIGN & ILLUSTRATION

736 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Index

A previewing images in browser, 284
renaming layers and layer groups, 281
abstraction, 43 to save assets, 281–284
acceptable use policy (AUP), 333 specifying image size, 285
accessing tools quickly, 176 specifying quality of asset, 285
actions Adobe Illustrator CC, 4, 5, 82, 310–352
aligning objects, 343–346
batch-playing, 279 Application bar, 312, 331
conditional, 276 arranging objects, 349–350
defined, 276 artboards, navigating, 327–329
recording, 276–279 Artboards panel, 329
undoing, 16 bitmap images, importing, 310
adjustment layer, adding, 102–103 columns, switching between one and two, 314
Adobe After Effects, 82, 285, 327 Control panel, 312, 315–316
Adobe Bridge custom tool panel, creating, 315
drag images from, to Photoshop, 95 data recovery, 331
opening files, 24–25 default keyboard shortcuts, modifying, 313
opening images directly into Photomerge, 121 Document window, 312
viewing original raw project images effects, 649
floating tool panels, collapsing, 314
in, 242 Free Transform tool, 436–438
Adobe Brush CC, 189 GPU Performance, 324
Adobe Camera Raw, 22, 242–265 groups, working with, 346–349
hidden tools, selecting, 313
about, 243 hiding and locking objects, 351–352
advanced color correction, applying, 254–262 import and edit Smart Object from, 187–188
Dodge tool to enhance image, 259–269 introducing, 310
expand screen, 246 multiple documents, arranging, 330–331
file formats, 243, 253, 264 Navigator panel, zooming and panning with, 327
HDR in, 263 opening file, 310–311, 335–336
Healing Brush to remove blemishes, 257–259 package fonts, 525
histogram, 249 panel groups, working with, 317–319
levels, adjusting, 255–256 panel menus, 320–321
opening images, 243–245 panels, 312, 316–317
Panorama in, 263 preferences, resetting, 311
processing files, 243–252 PSD files, 253
pro photo workflow, 263–264 Reset Essentials, 311
saturation in, editing, 256–257 resources for using, 331
saving changes, 251–252 scrolling through document, 325
saving files, 253 selecting objects, 336–342
sharpening filters, applying, 249–250 starting, 310–311
skin tones, adjusting, 260–261 Status bar, 312
Sponge tool to enhance image, 259–269 Swatch libraries, 491
Surface Blur, applying, 261–262 symbol library, 674–676
synchronizing settings across images, 250–251 toggling between Preview and Outline modes, 326
tonal adjustments, 247–248 Tools panel, 312–315
undo settings, 246 tooltips, turning on or off, 313
using as filter, 267–268 Touch workspace, 325
viewing original raw project images in Bridge, 242 user interface brightness, 322
white balance, adjusting, 245–247, 254–255 View commands, 322–323
Adobe Color CC, 189, 498 viewing artwork, 326
Adobe Creative Cloud Learn & Support, 19 workspace (See workspace in Illustrator)
Adobe Dreamweaver, 82, 718, 720 Zoom tool, 323–324
Adobe Flash, 4, 327, 678, 679
Adobe Forums, 19
Adobe Generator
evaluating and revising generated assets, 282–283
generating multiple image sizes and formats from same

layer, 283–284

LEARNING GRAPHIC DESIGN & ILLUSTRATION 737

Index

Adobe InDesign, 4, 5, 82, 162, 253, 311, 327, 419, 490, 513, Anchor Point tool, 464–465
521, 685 anti-aliasing, 74
Apeloig, Philippe, 220, 221
Adobe Photoshop CC Apparel Arts (magazine), 54
default workspace features, 4 appearance, professional, 21
effects, 649, 653, 655–656 appearance attributes, 641–649
Help and Support, 19
interface settings, changing, 19 adding stroke and fill, 644–647
opening files, 5 applying to layers, 571–572, 649
OpenType in, 168 applying to online advertisement, 668–669
placing files in, 279–280 defined, 641
preferences, resetting, 4 editing, 642–644
resources for using, finding, 19 reordering, 647–648
starting, 4 Appearance panel, 641–649. See also appearance attributes;
straightening and cropping image, 25–26
3D, 655–656 effects
undoing actions, 16 Application bar, 312, 331
area type, 514–515
Adobe Premiere Pro, 82, 285
Adobe Shape CC, 189 converting between area and point type,
advanced compositing, 201–222. See also 516–517

Smart Filters defined, 514–515
adding background, 209–210 Arrange commands to change stacking order,
arranging layers, 202–203
compositional elements in graphic design, 216–222 349–350
creating project file, 201–202 arranging objects, 349–350
History panel to undo tasks, 210–214
painting layers, 207–209 Arrange commands to change stacking order,
upscaling low-resolution images, 214–216 349–350
advertisement, using type to create, 548–550
advertising design, 55–56 selecting objects behind, 350
Aestheticism, 41–42 arrowheads, 466–467
aggressive speech, 193 artboards, 419–423
Agha, Mehemed Fehmy, 53
AIGA, 82 adding to document, 419–420
Albers, Josef, 51 aligning objects to, 345–346
aligning objects, 343–346 changing name, 330
anchor points, 344 defined, 327
to artboard, 345–346 designing for mobile devices with, 305–306
distributing objects, 344–345 editing, 420–421
to each other, 343 navigating, 327–329
to key object, 343–344 renaming, 421–422
alignment guides, 337 reordering, 422–423
Allgemeine Elektricitäts-Gesellschaft (AEG), 44–45 Artboards panel, 329
alpha channels Art brush, 616, 621–625
about, 147 applying existing Art Brush, 621–622
to create shadow, 143–144 editing, 624–625
defined, 137, 143 existing, applying, 621–622
anatomical figure, drawing, 666 raster image to create, 623–624
anchor points Art Deco, 53
aligning, 344 artistic decisions, 707–708
to control shapes, 361 art movement, 41
in curved path, 448 Art Nouveau, 42–43
deleting and adding, 462–463 Arts, Audio/Video Technology, and Communications, 385–391
Direct Selection tool to edit, 462–463 business types in, identifying, 390
to draw straight lines, 180 careers, identifying (See careers)
moving, 179 economic base, 390
preferences, 338 educational requirements, 391
employment trends, 391
job outlook, 391
pathways, 386
personal qualities for success, 385–386
Arts and Crafts movement, 41

738 LEARNING GRAPHIC DESIGN & ILLUSTRATION

artwork Index
combining shapes to draw, 413–415
drawing tools to create illustration, 441–471 smooth color, creating and editing, 598–600
filter to create, 94–95 steps for creating, 595–597
Pen tool to create, 453–457 blending effects, 101–102
for postcard, shapes to create, 360–384 blending modes, 91–92, 207
selecting, 340 Blob Brush tool, 635–639
Smart Guides to position, 427–428 drawing with, 635–637
transforming, 418–438 Eraser tool to edit, 638–639
Transform panel to position, 426–427 to merge paths, 637
viewing, 326 Blur Gallery, 119–120
blurring background, 117–120
assertive speech, 193 Bolshevik Revolution, 48, 49, 50
assets borders, adding, 88–89, 104–105
Braque, Georges, 46
adding to CC Libraries, 685–688 brightening image, 116–117
Adobe Generator to save, 281–284 Bristle brush, 625–629
evaluating and revising, 282–283 graphic tablets and, 629
specifying quality of, 285 options, changing, 625–626
updating, 689–690 painting with, 626–628
using, 688–689 brushes. See also individual brushes
audio/video technology and film, careers in, 386–387 Art brush, 621–625
AUP (acceptable use policy), 333 Blob Brush tool, 635–639
Auto-Between corners, 632 Bristle brush, 625–629
Auto-Centered corners, 632 Calligraphic brush, 615–621
Autodesk certification, 82–83 to create poster, 614–639
Auto-Enhance, 68 Healing Brush, 30, 257–259
Auto-Overlap corners, 632 opening project file, 614
Auto Sizing, 515–516 Pattern brush, 629–635
Auto-Sliced corners, 632 size, changing, 208
Avant Garde (magazine), 56 Spot Healing Brush, 30–31, 257–259
tools for creating images, 670
B working with, 614–615
Brush Pose, 233
background business card, finalizing, 355
adding, 209–210 button graphics
blurring, 117–120 layer groups to create, 272–276
layer, 84, 86 Move tool to create, 274, 275
Move tool to add, 209
C
balance, 236
barrel distortion, 123 California New Wave, 58
Baskerville, John, 37 Calligraphic brush, 615–621
batch-playing action, 279
Bauhaus, 51–52 applying, 615–616
Bayer, Herbert, 52 brush stroke, removing, 620–621
Beardsley, Aubrey, 41–42 drawing with Paintbrush tool, 616–617
Behance, 306–307 editing, 619–620
Behrens, Peter, 44–45 editing paths with Paintbrush tool, 618–619
Bernbach, Bill, 55 Camera Shake Reduction, 132
Bernhard, Lucian, 45 careers
best safety practices, 352–353 in audio/video technology and film, 386–387
Between the Wars (television program), 55 defined, 385
Bevel & Emboss effect, 188 in design and illustration, researching, 415
bitmap images, 3, 175, 310. See also raster images in journalism and broadcasting, 387
black point, 247 in performing arts, 388
blemishes, Healing Brush to remove, 257–259 in printing technology, 388
blended objects, 595–600 in telecommunications, 389
in visual arts, 389
defined, 595 career technical student organization (CTSO), 511
modifying, 597–598
LEARNING GRAPHIC DESIGN & ILLUSTRATION 739

Index Color Guide panel, 496–497
color modes, 482 (See also CMYK)
Cascading Style Sheets (CSS), 718–728 Color Picker to create, 490–491
character styles and, working with, 721–723 Color Themes panel, 498
copying, 724–726 consistent, producing and printing, 290–303
defined, 718
exporting, 726–728 (See also files for print)
graphic styles and, working with, 723–724 converting color image to black and white, 62–63
setting up design for generating, 719–721 to create marketing materials, 550–551
custom, Color panel to create, 484–485
Caslon, William, 37 editing, Recolor Artwork command for, 501–503
Cassandre, A. M., 46 to enhance signage, 481–510
center point, selections from, 78 existing, applying, 483–484
certification for graphic design, 82–83 fill color of shape layers, changing, 186
Cézanne, Paul, 45, 46 of font, changing, 526–527
Champs Délicieux (Man), 48 group (See color group)
channel mask, 137 layers and, 559
channels Layer Style to add to shape, 188–189
Live Paint, 506–510
adjusting, 144–146 Mixer Brush to mix, 227–229, 231–233
alpha, 137, 143–144, 147 naming, 486
defined, 135 opening project file, 481–482
working with, 135, 143–146 out-of-gamut colors, identifying, 294–295
character styles, 162 in radial gradients, editing, 587–589
creating and applying, 537–538 RGB, 294, 482
CSS and, 721–723 sampling, 10–11
editing, 538–539 selections based on, 67
Charm (magazine), 53 of shape layer, Move tool to change, 186
Chermayeff, Ivan, 55 shortcuts to sample, 232
chromatic aberration, 123 smooth color blends, creating and editing,
Cineon, 253
circle, 368–369 598–600
Clarity slider, 247 spot color, 491–492
clipping mask Swatch libraries, 491
to create type, 158–162 tint, 62–63, 492–493
defined, 137, 158 working with, 483–506
guides to position type, adding, 158 color composite, 301–302
Layers panel to create, 572–575 color group
making, 160–162 creating, 494–496
point type, adding, 158–160 Edit Color dialog box to edit, 498–501
shadow, applying, 160–162 Color Guide panel, 496–497
Clone Stamp tool, repairing areas with, 32–33 color management, 297–298
closed paths color-management settings, 298–299
creating on type on, 544–545 Color panel, 484–485
defined, 361–362 Color Picker, 490–491
cluster, defined, 385 Color Themes panel, 498
CMYK, 482 color tint. See tint
image, converting to, 297 columns of text, creating, 532–533
model, 294 communication
printing image from Photoshop, 301–302 process, 192–193
specifying as CMYK EPS file, 300–301 standards, 332
values, 485 technology to improve, 575–577
coffee cup, Pen tool to draw, 454–457 communication skills, 190–194
cold type, 172 in diverse world, 194
color, 221–222. See also swatch reading, 190
adjusting, 26–28, 493–494 verbal, 192, 193–194
advanced color correction, applying, 254–262 writing, 191
appearance attributes, copying, 494 written, using, 190
assigning, Recolor Artwork command for,

503–506

740 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Index

compositional elements in graphic design, 216–222, 236–241 copyrighted software, 333
balance, 236 copyright laws, 147–148
color, 221–222
conrast, 237–238 avoiding problems, 147
depth, 220–221 cite sources, 147
direction, 238 creative commons license, 148
dominance, 238–239 Fair Use Doctrine, 148
line, 216–217 intellectual property, 147
pattern, 218–219 patents, 148
proportion, 239 plagiarism, 148
rhythm, 240 trademarks, 148
shape, 217–218 corner points, 179
space, 219 defined, 443
texture, 218–219 Direct Selection tool to edit,
unity, 240–241
463–464
compound paths, 404–405 rounding, 460–461
computer use, ethics in, 332–334 smooth points compared to, 447
smooth points converted to,
acceptable use policy, 333
netiquette, 334 450–452, 463–464
software, legal use of, 333 corner types, 632
software piracy, 333 Cousin, Victor, 41
Condé Nast, 53 Creative Cloud Libraries, 189, 685–690
constructive criticism, 707–708
Constructivism, 49–51, 52 adding assets to, 685–688
content, transforming, 423–438 opening project file, 673
distorting object with effects, 430–432 updating assets, 689–690
Free Transform tool, 436–438 using assets, 688–689
guides, 423–426 using with linked Smart Objects, 196
positioning objects precisely, 426–428 creative commons license, 148
reflecting objects, 430 critical thinking
rotating objects, 432–434 Behance, sharing work on, 306–307
rulers, 423–426 brush tools for creating images, 670
scaling objects, 428–429 career opportunities in design and illustration, researching,
shearing objects, 434–436
Content-Aware Move tool, moving objects with, 415
color tint, applying, 62–63
127–128 color to create marketing materials, 550–551
content-aware patch, applying, 31–32 converting color image to black and white, 62–63
content blocking, 333 design, analyzing principles and elements of, 268
context menu, 11–12 gradients for improving PR graphic, applying, 610
illustration for web use, finalizing, 736
closing, 12 masks to combine layers, 153
to hide or resize layer thumbnail, 85 merging photos, 111
contrast, 237–238 practice, selecting and aligning, 356–357
Contrast slider, 9, 211, 247 project quotes, developing, 478
Control panel, 312, 315–316 Smart Guides, 197
converting color image to black and Crop command, 25, 81
cropping
white, 62–63 defined, 81
copy with original proportions intact, 81
to refine dominant graphics, 239
commands, 81 selections, 81–82
CSS, 724–726 Crop tool, 25, 81
from Illustrator, 730 Cubism, 46
layer, 86–87 Cubo-Futurism, 47
layers, 87 culture, 194
selections, 80–81 Curvature tool, 458–459
Copy command, 81
Copy Merged command, 81

LEARNING GRAPHIC DESIGN & ILLUSTRATION 741

Index

curves scrolling through, 325
to create PR graphic, 476–478 setup options, 423
editing (See curves, editing) titling, 330
Pen tool to draw, 181–182, 448–449 Document window, 312
straight lines combined with, 452–453 Dodge tool to enhance image, 259–269
dominance, 238–239
curves, editing, 460–465 Doyle Dane Bernbach, 55
Anchor Point tool, 464–465 dpi numbers, 24
converting between smooth points and corner points, dragging
463–464 to add layers, 95–96
deleting and adding anchor points, 462–463 centering images, 87
paths and points, 461–462 images from Bridge window to Photoshop, 95
rounding corner points, 460–461 with Selection tool, 339
spoon shape, reflecting, 460 undocking document, 330
Draw Behind mode, 379, 380
Custom Shape Picker, 185–187 drawing modes, 379–382
custom shapes, working with predefined, 185–187 Draw Behind mode, 379, 380
cyber safety rule and systems, 352–353 Draw Inside mode, 379, 381
editing content drawn inside, 382
best safety practices, 352–353 drawing tools to create illustration, 441–471
online identity, managing, 353 adding arrowheads to path, 466–467
creating dashed line, 465–466
D Curvature tool, 458–459
editing curves, 460–465
Dada, 48 Join tool, 470–471
Daguerre, Louis-Jacques-Mandé, 36 opening practice file, 441
daguerreotype, 36 Pencil tool, 467–470
Daily Herald (newspaper), 46, 47 Pen tool, 442–457
dashed line, 465–466 Draw Inside mode, 379, 381
data recovery, 331 dream analysis, 48
Decontaminate Colors, 138, 139 Duchamp, Marcel, 48
default workspace, 4 duplicating layers, 91–92
Delete Cropped Pixels option, 25, 81 Dwiggins, W. A., 133
depth dynamic symbols, 677–678

of field, adding, 125–126 E
Layer Style to add to shape, 188–189
overview of, 220–221 economic base, 390
Deselect command, 71, 620 edge-based selections, 67
Design Quarterly (magazine), 58 Edit Color dialog box, 498–501
desktop inkjet printer, 301 editing artboards, 420–421
De Stijl (magazine), 51 education for graphic design, 82–83
digital age, 56–58 effects, 640–656
digital storytelling, 285–289. See also
Appearance panel, 641–649 (See also appearance
motion design attributes)
direction, 238
direction handles, 447 applying, 649–650
Direct Selection tool, 337–338, 461–464 editing, 650–651
discretionary ligature, 168 Illustrator, 649
distortion Offset Path effect, applying, 652–653
opening project file, 640–641
correcting, 123–125 Photoshop, 649, 653, 655–656
of object with effects, 430–432 scaling strokes and, 665
distributing objects, 344–345 Warp effect, styling text with, 651–652
DNG (Adobe Digital Negative) format, 253 Effects tab, 120
documents Einstein, Albert, 43, 46
artboards added to, 419–420 ellipse, 367–368
creating new, 360–361 Elliptical Marquee tool, 66, 70, 71, 73, 74, 78, 215
cycling between open, 330
grid, 364
Microsoft Word, placing, 519
multiple, arranging, 330–331

742 LEARNING GRAPHIC DESIGN & ILLUSTRATION