Adobe Dreamweaver CS5 Classroom in a – PDF Drive.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Please try again later. Verified Purchase. This book covers a lot of topics and in decent detail. As an absolute beginner this is a wonderful resource. I purchased the printed version so I could easily refer back to spots in the book should I have any issues.

Plus, I prefer having the book near my laptop as I read. The topics range from using artboards to 3d rendering.

Each lesson tells you how long approximately it should take you for each lesson. These were typically on target, a few I spent additional time trying out what was just taught on a few chapters. In a few instances, you will see a shaded box which is a citation from Adobe Help. It was good to know if you had issues, Adobe Help would go in more detail than the book did. It was slightly annoying too to think most of the items could be in the free Adobe help but at least the book is a nice little compilation in an easy to follow fashion.

There were a few spots I got stuck in the book but I did not reset my Illustrator preferences as they instruct at the beginning of each chapter- so be certain you do this. Overall, I feel more confident in using Illustrator. I do suggest this book for beginners. It even goes over what is new in CS5. One person found this helpful. The Illustrator is a complicated program but this book does a good job of explaining various features through lessons.

While following the instructions in the book, I realized how difficult it is for them to describe every step precisely and clearly, in part because the book has to address both PC and Mac users and the program menus and tool settings change depending on the screen resolution of the user computer. For example, the book asks the reader to click the word Transform but some readers may not see the Transform in the described panel because of their limited screen resolution.

So the book describes another way of selecting the Transform. In addition, the Illustrator is highly customizable, so the book reminds the reader to start with the default settings, not just once but over and over again. So the book tries hard not to lose the reader in the lessons by anticipating possible situations the reader may face. Due to the complexity of the program, every step has to be described very clearly in order for the reader to successfully complete each lesson.

Sometimes I was stuck because my result from the previous step was different from what the book expected. I thought the book missed some step or the previous step was incomplete. After spending some time trying to figure out what went wrong, I just corrected the result in my way to match the book’s result.

Considering the complexity of the program and the variety of the user hardware environment, I thought the book does a good job of getting the user started with the Illustrator. I know there is still a long way for me to go but I feel that I have a good foundation to grow from thanks to the book.

Not a big fan of these books. Not really a fan of this book series for the adobe products. I have all of them for my creative suite programs. I found it hard to follow. I mean the directions were mainly easy. Sometimes they would leave out a vital step and have me trying to figure out what the heck i did wrong for a half hour.

The main reason I didnt like this book is because it would tell you to do this and that but not tell you why you are doing that. I prefer instructions that tell me why I need this or that step to get the end result.

I used the book sometimes but prefer to watch some youtube videos instead. Very complete. Obvious it was done by people that knew the software and all the different parts and pieces of it.

I went through several parts of it and was so impressed I now have four other Classroom in a Book books on my bookshelf. These books are complete and well written with a ton of examples on the enclosed CD, If you are buying this book used, look for the ad that says the CD is included. It is very helpful. I’m going through chapter 6 right now. I was able to breeze through the first few chapters since I’m familiar with Photoshop and it’s tools.

The information is VERY thorough in that everything is explained well even for someone who has never worked with any Adobe products. The only complaint I have so far is that, in the Kindle version, even zooming, some of the illustrations are still too small to see very well. This is a Kindle issue, not a book issue. Hopefully in the future, the Kindle will allow you multiple zoom levels so you can see what is going on.

This is what I used in conjunction with a college course to learn Illustrator. By the end of 15 weeks spent working through the class plus time for extra projects I feel like I know my way around Illustrator without too many problems.

My only advice – don’t necessarily start at the beginning. Adobe likes to put all their “new stuff” in the opening chapter, and skips over the basics, so if you’re new to a program it’s a bit like being thrown in at the deep end.

The later chapters actually ease you in better. I just started reading this book while completing the exercises page by page and for a beginner, it is simple to follow and in my opinion, the BEST way to learn. From the very first page, you create the cover of a tea box! The second exercise, which I’m on now, is creating and laying out a brochure!

The exercises have me pacing the house and wanting to pull my hair out because my brain feels like it is going to explode from all the information, but in a very good way. I feel like this book, if I follow every single step, will truly have me mastering this program little by little. See all reviews. Top reviews from other countries. The text is not very clear and the layout poor because it is very hard to distinguish between instruction and information.

They are both in same font and font weight. Also the page layout is wasting nearly 50 mm on one side as a margin that is used marginally, instead of being used to illustrate where to find buttons etc.

And it is a real time-waster that often it is not shown where to find what you need for next step, but seemingly expected that you remember all from in the beginning of the book. Compared with the brilliant Illustrator CS5 it becomes very clear how poor the layout really is. Unfortunately there is no Missing Manual issued for Ai CS5, because they are really the ultimate in usefulness, and treasure-chests of information.

Considered this one is also quite expensive in comparison to the brilliant Illustrator CS5 about twice the price , it is poor value for money. It could maybe have been worse, but I can’t quite see how! Adobe Illustrator is possibly one of the most frustrating bit of graphics software out there. It’s not actually that difficult, but many people struggle with it.

I teach this application I’m an Adobe certified Instructor and once we’ve gone past simple shapes I know people will have issues. Often I’m asked what book they can get to help. This is the book. Replacing colors in an image Use the Color Replacement tool to paint over one color with another. When you start painting with the Color Replacement tool, it analyzes the first pixels you paint over. In the Color Picker, select a color of green.

Make sure Anti-Alias is selected. You can zoom in if needed. Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals.

You may want to zoom in to see the area better. When you press Alt or Option, the pointer appears as target cross-hairs. If necessary to help make the bricks appear to blend in naturally with the rest of the image, you can adjust your cloning by resetting the sample area as you did in step 6 and recloning.

Or, you can try deselecting the Aligned option and cloning again. It paints with sampled pixels from an image or pattern and matches the Brush tool works similarly to the Spot texture, lighting, transparency, and shading of the sampled pixels to the pixels being Healing Brush tool, healed. It automatically samples from around the retouched area.

Photoshop fills a selection with pixels that match the surroundings. Because the wall varies in color, texture, and lighting, it would be challenging to successfully use the Clone Stamp tool to touch up these areas.

Fortunately, the content-aware fill feature make this process easy. We used the default value, 1. If your image edge pixels and subsequently sharpened by the Unsharp Mask filter. The Unsharp Mask filter corrects blurring introduced during photographing, scanning, resampling, or printing.

In addition, you can adjust the radius of the region to which each pixel is compared. If your final destination is print, experiment to deter- mine which settings work best for your image. Saving the image for four-color printing Before you save a Photoshop file for use in a four-color publication, you must change the image to CMYK color mode. For more information about converting between color modes, see Photoshop Help.

Click OK when Photoshop displays an Merge Visible before you change the color alert about the color management profile. For more information about file formats, see Photoshop Help. You can combine Photoshop images with other elements in a layout application such as Adobe InDesign. Click Open. You can also experiment with options from the preset menu, such as Darker or Infrared. Or, select the tool in the upper-left corner of the Adjustments panel, and then drag it across the image to adjust the colors associated with that area.

We darkened the bike itself and made the background areas lighter. In Camera Raw: 1 In Bridge, select the bike. Review answers 1 he term resolution refers to the number of pixels that describe an image and establish its detail. Image resolution and monitor resolution are measured in pixels per inch ppi. Printer, or output, resolution is measured in ink dots per inch dpi.

Content-aware fill replaces a selection with content that matches the surrounding area. You can make selections based on size, shape, and color. Freehand selections Drag the Lasso tool around an area to trace a freehand selection. Using the Polygonal Lasso tool , click to set anchor points in straight- line segments around an area. Color-based selections he Magic Wand tool selects parts of an image based on the similarity in color of adjacent pixels.

It is useful for selecting odd-shaped areas that share a specific range of colors. Move the thumbnail slider to the right if you want to see the image in more detail. Using the Quick Selection tool he Quick Selection tool provides one of the easiest ways to make a selection.

You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want. Leave the selection active so that you can use it in the next exercise.

To move the selected area to another part of the composition, you use the Move tool. Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area.

Julieanne Kost is an official Adobe Photoshop evangelist. The layers that are under the pointer appear in the context menu. Manipulating selections You can reposition selections as you create them, move them, and even duplicate them. One of the best things about this section is the introduction of keyboard shortcuts that can save you time and arm motions. Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky. As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed.

If you accidentally release the mouse but- ton at the wrong time, simply start the exercise again from step 1. If you accidentally release the mouse button, draw the selection again.

In most cases—including this one—the new selection replaces the previous one. Position it so that it more closely aligns with the bowl. If necessary, hold down the spacebar again and drag to the shape of the bowl, move the selection marquee into position around the bowl of shells.

Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise. Photoshop reverts to into the exact position in a minute. Moving with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys. You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selec- tion border, but not the contents.

When the Move tool is active, the arrow keys move the selection border and its contents. Before you begin, make sure that the bowl of shells is still selected in the image window.

Notice that each time you press the arrow key, the bowl of shells moves one pixel. When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key. Sometimes the border around a selected area can distract you as you make adjust- ments. Either command hides the selection border around the bowl of shells. If you want to adjust the position after you stop dragging, simply start dragging again.

Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time. If the logo graphic image is no longer selected, reselect it now, using the techniques you learned earlier. A bounding box appears around the selection. As you resize the object, the selection marquee resizes, too. Pressing the Shift key as you move a selection constrains the movement horizon- tally or vertically in degree increments.

Dragging with the Move tool saves memory because the clipboard is not used as it is with the Copy, Copy Merged, Cut, and Paste commands. Photoshop has several copy and paste commands: t Copy copies the selected area on the active layer. The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask.

This can make the pasted portion appear out of proportion to the new image. Use the Image Size command to make the source and destination images the same resolution before copying and pasting. Using the Magic Wand tool he Magic Wand tool selects all the pixels of a particular color or color range. As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection.

You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee. At this point, the coral and the white background area are selected.

A minus sign appears next to the wand in the pointer icon. Anything you select now will be subtracted from the initial selection. Now all the white pixels are deselected, leaving the coral perfectly selected.

Selecting with the lasso tools Photoshop includes three lasso tools: the Lasso tool, the Polygonal Lasso tool, and the Magnetic Lasso tool. You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool.

Make sure you can see the entire mussel in the window. Starting at the lower-left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible. Do not release the mouse button.

Do not release the Alt or Option key. Be sure to hold down the Alt or Option key throughout this process. Drag with the Lasso tool. Click with the Polygonal Lasso tool. Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top. Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image.

Leave the mussel selected for the next exercise. Before you begin, make sure that the mussel is still selected. Drag to rotate the mussel to a —degree angle. You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation changes.

Selecting with the Magnetic Lasso tool You can use the Magnetic Lasso tool to make freehand selections of areas with high-contrast edges. When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast. You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border.

You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting. Or you can move the Magnetic Lasso tool over the starting point and click once. Photoshop dims the area outside the crop border. Be careful not to include any part of the image that you want to keep. Anti-aliasing smooths the jagged edges of a selection by softening the color transi- tion between edge pixels and background pixels.

Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images. Select the tool to display its options in the options bar.

To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it.

Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels. This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection.

Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it. Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK. Use a size 6 brush to get a more precise selection. You can also view the selection edges as if masked or against various backgrounds.

A black background appears under the selection, and the selection edges disappear. We used a value of 4. Increase the brush size to select it more quickly. Remember that you can add or subtract from the selection using the buttons in the options bar. Delete Layer button at the bottom of the Layers panel. Images with a clearly delineated outline and a uniform back- ground—such as the 03Start. To try it, open the 03Start.

Photoshop automatically crops each image in the start file and creates individual Photoshop files for each. You can close each file without saving. Review answers 1 Only the area within an active selection can be edited. To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract.

You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click. New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers. All new layers in an image are transparent until you add text or artwork pixel values. When the sheets are stacked, the entire composition is visible. Press the spacebar for a full-screen view.

You will create it now, and, in doing so, learn how to create, edit, and manage layers. Saving another version of the start file frees you to make changes without worrying about overwriting the original.

You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers. Right-click Windows Notice the layer thumbnail and the icons on the Background layer level: or Control-click Mac OS a thumbnail t he lock icon indicates that the layer is protected. No Thumbnails, Small Thumbnails, Medium he first task for this project is to add a photo of the beach to the postcard. Notice that only one layer appears in the Beach.

An image can have only one background. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer. Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file.

Before you begin, make sure that both the 04Working. Keep the layer selected. Photoshop displays both of the open image files.

Select the Beach. Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier. Viewing individual layers he 04Working. Some of the layers are visible and some are hidden. To select the layer, click the layer name in the Layers panel. A white border appears around the beach photo.

Rearranging layers he order in which the layers of an image are organized is called the stacking order. In this case, the postmark is too dark on the flower. You can also type the value in the Opacity box or scrub the Opacity label. Currently, the blending mode for both layers is Normal. Click OK in the Duplicate Layer dialog box. In this case, the postmark becomes a little stronger. A Transform bounding box appears around the beach image. Watch the Width and Height percentages in the options bar.

Drag clockwise to rotate the beach image approximately 15 degrees. You can also enter 15 in the Set Rotation box in the options bar. Adding empty layers to a file is comparable to adding blank sheets of acetate to a stack of images. A new layer, named Layer 1, appears between the Background and Pineapple layers. We selected a color with the following values: R 48, G , and B Realistic- looking clouds appear behind the image.

Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes.

Click OK to close the Color Picker. Do the following in the Character panel: t Select a serif font we used Birch Std. Applying a gradient to a layer You can apply a color gradient to all or part of a layer. If you want to be sure you drag straight up, press the Shift key as either Small List or you drag. Large List. Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name.

Like layers, layer styles can be hidden by clicking eye icons in the Layers panel. Layer styles are nondestructive, so you can edit or remove them at any time. Earlier, you used a layer style to add a stroke to the beach photo. Do not click OK. As you edit the text, the layer styles are applied to the new text. Adding a border he Hawaii postcard is nearly done.

A pixel border is selected around the entire image. Flattening combines all the layers into a single background layer. So flattening is well worth it in this case. Only one layer, named Background, remains in the Layers panel. A layer comp is simply a definition of the settings in the Layers panel. Then, by switching from one layer comp to another, you can quickly review the two designs.

The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements. You might have the French text on one layer, and the English text on another in the same image file. With a little imagination, you can appreciate how much time this saves for more complex variations. When both layers are visible, Layer 2 shows the tall man in the center blinking, and the two girls in the front looking away. Now for the fun part! You can also hide individual layers as you work on other layers.

It was shot with a Canon Digital Rebel camera and has the Canon proprietary. Depending on which layer is visible, either the glass in the foreground or the beach in the background is in focus. Many digital cameras can save images in camera raw format. You can go back and reprocess the file any time you like to achieve the results you want. When you download the file from your camera, it has Raw format.

In Bridge or format for transferring Photoshop, you can process camera raw files from a myriad of supported digital images between cameras from Canon, Kodak, Leica, Nikon, and other makers—and even process applications and computer platforms. Photoshop Raw with camera raw file formats. Although Camera Raw can open and edit a camera raw image file, it cannot save an image in camera raw format. You used Camera Raw to edit the color and lighting in an image in Lesson 2.

Processing files in Camera Raw When you make adjustments to an image in Camera Raw, such as straightening or cropping the image, Photoshop and Bridge preserve the original file data. Opening images in Camera Raw You can open Camera Raw from either Bridge or Photoshop, and you can apply the same edits to multiple files simultaneously. Filmstrip B. Toggle Filmstrip C. Toolbar G D.

Toggle Full-Screen Mode E. RGB values F. Image adjustment H tabs G. Histogram A H. Camera Raw Settings menu B I. Zoom levels J. Multi-image naviga- tion controls L. Adjustment sliders I J K L he Camera Raw dialog box displays a large preview of the first image, and a filmstrip down the left side displays all open images.

Tools along the top of the dialog box let you zoom, pan, straighten, and make other adjustments to the image. Tabbed panels on the right side of the dialog box give you more nuanced options for adjusting the image: You can correct the white balance, adjust the tone, sharpen the image, remove noise, adjust color, and make other changes. You can also save settings as a preset, and then apply them later.

For the best results using Camera Raw, plan your workflow to move from left to right and top to bottom. Or, you can click the Forward button under the main preview window to cycle through the images.

A digital camera records the white balance at the time of exposure; this is the value that initially appears in the Camera Raw dialog box image preview. White balance comprises two components. By default, As Shot is selected in the White Balance menu.

Camera Raw applies the white balance settings that were in your camera at the time of exposure. To set an accurate white balance, select an object that should be white or gray. Camera Raw uses that information to determine the color of the light in which the scene was shot, and then adjusts for scene lighting automatically.

You can use the White Balance tool to find the best lighting for the scene quickly and easily. Select Preview again to see the modified image.

Exposure essentially defines the white point, or the lightest point of the image, so that Camera Raw adjusts everything else accordingly.

Conversely, the Blacks slider sets the black point, or the darkest point in the image. You can use the Auto option to let Camera Raw attempt to correct the image tone, or you can select your own settings. Camera Raw increases the saturation and decreases the blacks and the contrast. You could use this as a starting point. Also, as you move any tool over the preview image, the RGB values for the area under the cursor appear below the histogram.

Filter tool. Even when this slider is set to 0, Camera Raw performs some sharpening. When the Masking value is high, Camera Raw sharpens only those parts of the image that have strong edges. Synchronizing settings across images All three of the mission images were shot at the same time under the same light- ing conditions. You do this using the Synchronize command. By default, all options except Crop and Spot Removal are selected. When you synchronize the settings across all of the selected images, the thumb- nails update to reflect the changes you made.

To preview the images, click each thumbnail in the filmstrip. Your files will be named on the web, you would probably want to open Mission They are currently much larger, and most viewers would need to scroll to see the full-size images. Bridge returns you to the Camera Raw dialog box, and indicates how many images have been processed until all the images have been saved.

In Bridge, however, you now also have JPEG versions as well as the original, unedited CRW image files, which you can continue to edit or leave for another time.

If you click Open Object button the default, click the Open Image, the image opens as a standard Photoshop image. Click OK if a compatibility dialog box appears. Camera Raw processes the raw files with default image settings based on built-in camera profiles for supported cameras and the EXIF data. DNG is meant to be an industry-wide standard format for raw image data, helping photographers manage the variety of proprietary raw formats and providing a compatible archival format.

You can save this format only from the Camera Raw dialog box. Higher-resolution JPEG files may be used for other purposes, including high- quality printing. JPEG format retains all color information in an image, but compresses file size by selectively discarding data. The greater the compression, the lower the image quality.

Also, virtually all desktop scanners can produce TIFF images. Not to be con- fused with camera raw file formats, the Photoshop Raw format RAW is a file format for transferring images between applications and computer platforms.

Cameras and com- puter monitors, however, are more limited in the dynamic range the ratio between dark and bright regions they can reproduce.

Merging exposures into an HDR image When a scene contains a more complex dynamic range than you can capture in one image, take three or more, and then merge them in Photoshop. Click OK or Open. Photoshop opens each of the files briefly and merges them into a single image. Photoshop adds a Levels adjustment layer to the Layers panel.

Photoshop replaces the histogram. You want to set the black point to match the beginning of that data. As you drag, the first Input Levels value beneath the histogram graph changes, and so does the image itself.

We moved it to a value of 1. Name the layer Corrections, and click OK. Working on a duplicate layer preserves the original pixels so you can make changes later. Experiment with simply clicking, using very short strokes, and creating longer brush strokes. Remove obtrusive or distracting lines and blemishes, but leave enough that the face retains its character. Make sure Midtones is selected in the Range menu.

Today, Graham has clients in the advertising, architectural, editorial, and travel industries. Where is it? What does it look like? If it makes more sense to shoot in JPEG for your project, use fine compression and high resolution. Start with the best material Get all the data when you capture—at fine compression and high resolution.

Graham names his files by date and possibly subject. He would store a series of photos taken Dec. Follow Windows naming conventions to keep filenames usable on non-Macintosh platforms 32 characters maximum; only numbers, letters, underscores, and hyphens. Each time a JPEG is re-edited and saved, compression is reapplied and the image quality degrades.

Show off to clients and friends When you prepare your work for delivery, choose the appropriate color file for the destination. Convert the image to that profile, rather than assigning the profile.

Adobe or Colormatch are the best profiles to use for RGB images destined for traditionally printed material such as brochures. Use 72 dpi for electronic view- ing and dpi or higher for printing. She looks more realistic now, but you can target the surface blur more precisely using the Eraser tool.

You can also use the adjustments to pull details from the shadows in an image that is otherwise well-lit. In the Favorites panel in Bridge, click the Lessons folder. In the Content panel, double- click the Lesson05 folder. Photoshop automatically applies default settings to the image, lightening the background. Red eye is easy to fix in Photoshop. You may need to deselect Scrubby Zoom to drag a marquee.

Noise can result from using a high ISO setting on a digital camera, from underex- posure, or from shooting in darkness with a long shutter speed. Scanned images may contain noise that results from the scanning sensor, or from a grain pattern from the scanned film. Using the Reduce Noise filter, you can smooth out this area. Strength controls the amount of luminance noise. Correcting image distortion he Lens Correction filter fixes common camera lens flaws, such as barrel and pincushion distortion, chromatic aberration, and vignetting.

Barrel distortion is a lens defect that causes straight lines to bow out toward the edges of the image. Chromatic aberration appears as a color fringe along the edges of image objects. Vignetting occurs when the edges of an image, especially the corners, are darker than the center. Some lenses exhibit these defects depending on the focal length or the f-stop used. In this exercise, you will adjust the lens distortion in an image of a Greek temple.

In Bridge, navigate to the Lesson05 folder. An alignment grid overlays the image, next to options for removing distortion, correcting chromatic aberration, removing vignettes, and transforming perspective. Alternatively, you could select the Remove Distortion tool and drag in the image preview area until the columns are straight. Click OK if a compatibility warning appears. If you want the entire image to be in focus, take two photos—one with the background in focus and one with the foreground in focus— and then merge the two in Photoshop.

Even with a handheld camera, though, you can get some amazing results. Now the beach is in focus, but the glass is blurred. First, you need to align the layers.

Because these images were shot from the same angle, Auto will work just fine. Both the wine glass and the beach behind it are in focus. You can use these techniques separately or together on your own images. What causes these defects? Camera raw files give photographers control over interpreting the image data, rather than letting the camera make the adjustments and conversions. When you edit the image in Camera Raw, it preserves the original raw file data.

DNG is an industry-wide standard for camera raw image data that helps photographers manage proprietary camera raw file formats and provides a compatible archival format. The cutout portion of a mask can be altered, but the area surrounding the cutout is protected from change. You can create a temporary mask to use once, or you can save masks for repeated use. With masks, you can create and save time-consuming selections and then use them again.

In Photoshop, you can make temporary masks, called quick masks, or you can create permanent masks and store them as special grayscale channels called alpha chan- nels. Unlike layers, channels do not print. You use the Channels panel to view and work with alpha channels. A key concept in masking is that black hides and white reveals. As in life, rarely is anything black and white. Shades of gray partially hide, depending on the gray levels is the value for black, hiding artwork completely; 0 is the value for white, revealing artwork completely.

Select the Lessons folder, and then double-click the Lesson06 folder in the Content panel. To enlarge the thumbnail so that you can see it more clearly, move the thumbnail slider at the bottom of the Bridge window to the right. Saving a working version of the file lets you return to the original if you need it.

Everything outside the selection is transparent, represented by a checker- board pattern. Here are several keyboard shortcuts that make the zooming even faster and easier. When you finish zooming, release the keys to return to the tool you were previously using. When you finish zooming, release the keys to return to the tool you were using. Choose On Black from the pop-up menu. Use it to paint out any white background that remains around the lips and the nose.

Press [ to decrease the brush size and ] to increase it. A new layer, named Layer 0 copy, appears in the Layers panel.

If necessary, zoom out or use the Hand tool to reposition the image so that you can see all of the hair. Press the ] key to increase the size of the brush. Press the [ key to decrease the brush size by about half. As you paint, Photoshop refines the mask edge, including the hair, but eliminat- ing most of the background. If you were painting on a layer mask, the background would be included.

Click once or twice in each area where background color shows. When you erase an area, the Refine Mask feature erases similar colors, cleaning up more of the mask for you. Be careful not to erase the refinements you made to the hair edge. You can undo a step or use the Refine Radius tool to restore the edge if necessary. These tips will help get you started. Black hides, white reveals, and shades of gray partially hide or reveal.

The darker the gray, the more is hidden in the mask. A red X appears over the mask thumbnail in the Layers panel when the mask is disabled. To unlink a layer or group from its layer mask or vector mask, click the link icon between the thumbnails in the Layers panel. To relink them, click the blank space between the two thumbnails.

The Feather slider softens the edge of the mask. Click Yes or Delete to confirm deletion of the layers or their masks, if prompted; you do not need to apply the mask to the current layer because Layer 0 copy 2 already has the mask applied. By default, you have been working in Standard mode. In Quick Mask mode, a red overlay appears as you make a selection, masking the area outside the selection the way a rubylith, or red acetate, was used to mask images in traditional print shops.

You can apply changes only to the unprotected area that is visible and selected. Open the Brush pop-up panel, and select a small brush with a diameter of 13 px. Click outside the panel to close it. Reduce the brush size to paint around the lenses. When using a painting or editing tool in Quick Mask mode, keep these principles in mind: t Painting with black adds to the mask the red overlay and decreases the selected area.

Unless you save a quick mask as a more permanent alpha-channel mask, Photoshop discards the temporary mask once it is converted to a selection. Click OK. You can reposition areas, such as hair or an arm, just as you might pull the strings on a puppet. You place pins where you want to control movement. A mesh appears over the visible areas in the layer—in this case, the mesh appears over the model. Each time you click, Puppet Warp adds a pin.

Approximately 10 pins should do the trick. A larger circle appears around the pin and a curved double arrow appears next to it. Continue pressing Alt or Option as you drag the pointer to rotate the head backwards. You can see the angle of rotation in the options bar; you can enter there to rotate the head back. Alpha channels store selections as gray- scale images. Color information channels store information about each color in an image; for example, an RGB image automatically has red, green, blue, and composite channels.

To create a shadow, you want to essen- tially duplicate that mask and then shift it. In the Save Selection dialog box, make sure New is chosen in the Channel menu.

Nothing changes in the Layers panel or in the image window. However, a new channel named Model Outline has been added to the Channels panel.

Drag the new layer below the Model layer. Click the Commit Transform button in the options bar, or press Enter or Return, to accept the transformation. In the Channels panel, select the Black channel. Name the channel Hair, and click OK. Individual channels appear in grayscale. If more than one channel is visible in the Channels panel, the channels appear in color.

In the Layers panel, select the Model layer. In the Refine Edge dialog box, move the Feather slider to 1. In the Levels dialog box, move the sliders so that the Black slider is positioned where the blacks peak, the White slider where the whites peak, and the Midtones in between. We used the values 58, 1. Your magazine cover is ready to go!

What they have in common is that they all store selections, and they all let you edit an image nondestructively, so you can return at any time to your original. You can add alpha channels to create and store masks. A layer mask controls which part of a layer is revealed or hidden. Resolution-independent, vector masks have crisp edges and are created with the pen or shape tools.

Their thumbnails appear the same as layer mask thumbnails. Thumbnails of a clipped layer are indented with a right-angle arrow pointing to the layer below. The name of the clipped base layer is underlined.

Channel masks are useful for making intricate, fringed, or wispy-edged selections. You can create a channel mask based on a dominant color in an image or a pronounced contrast in an isolated channel, for example, between the subject and the background.

Review answers 1 Quick masks are helpful for creating quick, one-time selections. In addition, using a quick mask is an easy way to edit a selection using the painting tools. Unless you explicitly display a channel, it does not appear in the image or print. When you add type to an image in Photoshop, the characters are composed of pixels and have the same resolution as the image file—zooming in on characters shows jagged edges.

However, Photoshop preserves the vector-based type outlines and uses them when you scale or resize type, save a PDF or EPS file, or print the image to a PostScript printer. Increase the thumbnail size to see the image clearly by 07Start. Creating a clipping mask from type A clipping mask is an object or a group of objects whose shape masks other artwork so that only areas that lie within the clipping mask are visible.

In Photoshop, you can create a clipping mask from shapes or letters. Adding guides to position type he 07Working. Photoshop lets you create hori- zontal or vertical type anywhere in an image.

You can enter point type a single letter, word, or line or paragraph type. You will do both in this lesson. Any Current Edits button or switching to another tool or layer. You cannot commit to current edits by pressing Enter or Return; doing so merely creates a new line of type.

You can edit and manage the type layer as you would any other layer. You can add or change the text, change the orientation of the type, apply anti-aliasing, apply layer styles and transformations, and create masks.

You can move, restack, and copy a type layer, or edit its layer options, just as you would for any other layer. A new layer appears in the Layers panel for the 07Working. Press Shift as you resize it to approximately the same width as the area of text.

Pressing Shift retains the image proportions. Reposition the circuit board so that the image covers the text. A small arrow in the Circuit Board layer and the underlined type layer name indicate the clipping mask is applied.

Choose Check Spelling to run a spell check. Creating type on a path In Photoshop, you can create type that follows along a path you create with a pen or shape tool. When you use the Horizontal Type tool to add text to a path, the letters are perpendicular to the baseline of the path.

If you change the location or shape of the path, the type moves with it. Click the Commit Edits button in the options bar. Rotate the left side of the path approximately 30 degrees, and then shift the path up above the first path. Click the Commit Transform button in the options bar. Rotate the left side of the path approximately degrees, and move it below the original path. Warping lets you distort type to conform to a vari- ety of shapes, such as an arc or a wave. Repeat steps 2 and 3 to warp the other two text layers you typed on a path.

However, many designs call for full paragraphs of text. Using guides for positioning You will add paragraphs to the cover in Photoshop.

In a real design environment, the text might be provided to you in a word-processing document or the body of an email message, which you could copy and paste into Photoshop. Or you might have to type it in. Expand the Notes panel, if necessary, to see all the text.

Close the Notes panel. Align the top and right edges using the guides you just added. This, in turn, provides richer linguistic support and advanced Illustrator CS5 Glyphs typography control. Here are some highlights of OpenType. Dimmed features are unavailable for that typeface; it into an Illustrator a check mark appears next to features that have been applied.

All that remains to do is add the volume number in the upper-right corner. Pressing the Shift key as you begin dragging ensures that you create a new text box instead of selecting the title. Your vertical text now appears as the layer named VOL 9. Use the Move tool to drag it to the right, if necessary. Click OK if you see the Maximize Compatibility dialog box.

Keeping a layered version lets you return to the 07Working. Review answers 1 Type in Photoshop consists of mathematically defined shapes that describe the letters, numbers, and symbols of a typeface. When you add type to an image in Photoshop, the characters are composed of pixels and have the same resolution as the image file. You can add and edit the text, change the orientation of the type, and apply anti-aliasing as well as move, restack, copy, and change the options for layers.

To convert the letters on any text layer to a clipping mask, select both the text layer and the layer you want to show through the letters, and then choose Create Clipping Mask from the Layers panel menu.

This lesson will take about 90 minutes to complete. You can draw vector shapes and paths in your Photoshop images and add vector masks to control what is shown in an image. You can use Photoshop to work with either type of graphic; in fact, you can combine both bitmap and vector data in an individual Photoshop image file. Bitmap images, technically called raster images, are based on a grid of dots known as pixels. Each pixel is assigned a specific location and color value. In working with bitmap images, you edit groups of pixels rather than objects or shapes.

Because bit- map graphics can represent subtle gradations of shade and color, they are appropri- ate for continuous-tone images such as photographs or artwork created in painting programs. A disadvantage of bitmap graphics is that they contain a fixed number of pixels. As a result, they can lose detail and appear jagged when scaled up onscreen or printed at a lower resolution than they were created for. Vector graphics are made up of lines and curves defined by mathematical objects called vectors.

A path is a curved or straight line segment you draw using the Pen tool or Freeform Pen tool. Tool tips from the Photoshop evangelist Each tool in the Tools panel has a single-letter keyboard shortcut.

Type the letter, get the tool. For example, press P to select the Pen tool. Press Shift with the shortcut key to cycle though any nested tools in a group. Paths can be open or closed.

Open paths such as a wavy line have two distinct endpoints. Closed paths such as a circle are continuous. Paths that have no fill or stroke do not print when you print your artwork. Select the Favorites folder, and then the Lessons folder. If so, click as well as ways to use Smart Objects. Correct number of Too many points points Creating paths with the Pen tool You can use the Pen tool to create paths that are straight or curved, open or closed.

Understanding the elements of a path and how to create them with the Pen tool makes paths much easier to draw. To create a straight path, click the mouse but- A A ton. The first time you click, you set the starting point. Each time that you click thereafter, a straight line is drawn between the previous point and the current point. To draw complex straight-segment paths with the Pen tool, sim- ply continue to add points. B B To create a curved path, click to place an anchor point, drag to create a direction line for that point, and then click to place the next anchor point.

Each direction line ends in two direction points; the positions of direction lines and points determine the size and shape of the curved segment. Moving the direction lines and points reshapes the curves in a path. Curved line segment B. Direction point C. Direction line D. Selected anchor point E. Sharply curved paths are connected by corner points.

When you move a direction line on a smooth point, the curved segments on both sides of the point adjust simultaneously, but when you move a direction line on a corner point, only the curve on the same side of the point as the direction line is adjusted. When a path contains more than one segment, you can drag individual anchor points to adjust individual segments of the path, or select all of the anchor points in a path to edit the entire path.

Use the Direct Selection tool to select and adjust an anchor point, a path segment, or an entire path. To end an open path, click the Pen tool in the Tools panel. To create a closed path, position the Pen tool pointer over the starting point, and click. Closing a path automatically ends the path. After the path closes, the Pen tool pointer appears with a small x, indicating that your next click will start a new path.

 
 

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To report errors, please send a note to errata peachpit. For information adobe illustrator cs5 classroom in a book pdf free getting permission for reprints and excerpts, contact permissions peachpit. Mac OS i s a trad folder inside the Lessons folder. You will need to copy these lesson folders to your hard drive pddf you s te m s can begin each lesson.

Нажмите сюда in the USA. Photoshop CS5 pushes the boundaries of digital image editing and helps you turn your dreams into designs more easily than ever adobe illustrator cs5 classroom in a book pdf free.

You can follow the book from start to finish, or do only the lessons that match your interests and needs. New exercises and lessons cover: ilulstrator Using читать больше Mixer Brush tool and bristle tip options to achieve realistic paint strokes. Photoshop Extended features include: t he ability to import 3D images and video, and to edit individual frames or читать sequence files by painting, cloning, retouching, or transforming them.

Prerequisites Before you begin to use Adobe Photoshop CS5 Classroom in a Book, you should have a working knowledge of your computer and its operating system. Adobe illustrator cs5 classroom in a book pdf free sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close files. You must purchase the Adobe Photoshop CS5 software separately. Photoshop and Bridge use the same installer.

Follow the onscreen instructions. Make sure that your serial number is accessible before installing the application. Each lesson has its own folder; you must copy the folders to your hard disk to complete the lessons.

In case you overwrite them, you 2 Browse the contents and locate the Lessons folder. Restoring default preferences he preferences files stores information about cladsroom and command settings. Each time you по этому сообщению Adobe Photoshop, the positions of the panels and certain command settings are recorded in the respective preferences file. Any calssroom you make in the Preferences dialog box are also saved in the preferences file.

If you prefer to preserve your adobe illustrator cs5 classroom in a book pdf free, be aware that the tools, panels, and other set- tings in Photoshop CS5 may not match those described in this book. Adobbe you have custom-calibrated your monitor, save the calibration settings before you start work on this book.

To save your monitor-calibration settings, follow the simple procedure described below. To save your current color settings: 1 Start Adobe Photoshop. You do not need to perform steps 4—6 of this procedure.

To restore your color settings: 1 Start Adobe Photoshop. Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials, refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, интересное ashampoo core tuner 2 serial key free download улибнуло)) experts to give you the most useful, relevant, and up-to-date information about Adobe products.

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You can download the application from www. You can contribute in several ways: add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contrib- ute Cookbook Recipes.

Find out how to contribute: www. Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www. Adobe Photoshop CS5 product home page: www. Adobe certification he Adobe training and certification programs are designed to help Adobe custom- ers improve and promote their product-proficiency skills. You can use Adobe certification as a catalyst for getting a raise, finding a job, or promoting your expertise. If you are an ACE-level instructor, the Adobe Certified Instructor program takes your skills to the next level and gives lantern for 10 access to a wide range of Adobe resources.

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adobe illustrator cs5 basic tutorials pdf

 

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Horizontal selection using an adjust- areas. Type T able round brush tip. The Eraser tool erases The Background Eraser The Magic Eraser tool The Gradient tool creates pixels and restores parts tool erases areas to trans- erases solid-colored areas straight-line, radial, angle, of an image to a previously parency by dragging. The type tools create type The type mask tools The path selection tools The shape tools and Line on an image. Review answers 1 You can scan a photograph, transparency, negative, or graphic into the program; capture a digital video image; or import artwork created in a drawing program.

You can also import digital photos. To select a hidden tool, either use a keyboard shortcut to toggle through the tools, or hold down the mouse button on the tool in the Tools panel to open a pop-up menu of the hidden tools. You can also use keyboard shortcuts or the Navigator panel to control the display of an image.

Photoshop also includes a link to the Adobe Systems Photoshop web page for additional information on services, products, and tips pertaining to Photoshop.

This lesson steps you through the process of acquiring, resizing, and retouching a photo intended for a print layout. For many images, you can achieve your desired outcome with just a few clicks in Adobe Camera Raw, which is installed with Adobe Photoshop.

For others, you may start in Camera Raw to adjust the white point, for example, and then move on to Photoshop for more advanced retouching, such as applying filters to selected parts of an image. Organizing an efficient sequence of tasks Most retouching procedures follow these general steps: t Duplicating the original image or scan Working in a copy of the image file makes it easy to recover the original later if necessary.

Otherwise, the settings without risking damage to the results of one process may cause unintended changes to other aspects of the image, original image.

Photoshop supports the CMYK color mode for preparing an image to be printed using process colors, as well as RGB and other color modes for web and mobile authoring. To illustrate one application of retouching techniques, this lesson takes you through the steps of correcting a photograph intended for four-color print publication. Resolution is determined by pixel dimensions, or the number of pixels Pixels in a photographic image along the width and height of an image.

An image with a high resolution has more pixels and therefore a larger file size than an image of the same dimensions with a low resolution. Images in Photoshop can vary from high resolution ppi or higher to low resolution 72 ppi or 96 ppi. Image pixels are translated directly into monitor pixels. In Photoshop, if the image resolution is higher than the monitor resolution, the image appears larger onscreen than its specified print dimensions. For example, when you display a 1×1-inch, ppi image on a ppi monitor, the image fills a 2×2-inch area of the screen.

Higher resolution images output to higher image size in inches, resolution printers generally produce the best quality. Mac OS. To enlarge the thumbnails in the Content panel, drag the humbnail slider at the bottom of the Bridge window to the right. In the 02Start. You’ll fix all of these problems in this lesson, starting with the color and tone of the image. As you make changes to the image, Camera Raw saves those changes in a separate file that is associated with your original image file.

You can return to the original at any time when working in Camera Raw. Adjusting the white balance changes all the colors in the image. To set an accurate white balance, select an area that should be white or gray. Selecting a white balance is a good start. You can use either the Crop tool or the Crop command to crop an image. Both methods permanently delete all the pixels outside the crop selection area. Drag the tool to the upper-right corner of the photo, and click again.

Photoshop straightens the photograph. For Width, type 3. As you drag, the marquee retains the same proportion as the dimensions you specified for the target size 3.

When you release the mouse button, a cropping shield covers the area outside the cropping selection, and the options bar displays choices about the cropping shield. If you need to adjust the size of the marquee, drag one of the corner handles. You can also use the arrow keys on the keyboard to adjust the marquee in 1-pixel increments. Replacing colors in an image Use the Color Replacement tool to paint over one color with another.

When you start painting with the Color Replacement tool, it analyzes the first pixels you paint over. In the Color Picker, select a color of green. Make sure Anti-Alias is selected. You can zoom in if needed. Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals. You may want to zoom in to see the area better. When you press Alt or Option, the pointer appears as target cross-hairs.

If necessary to help make the bricks appear to blend in naturally with the rest of the image, you can adjust your cloning by resetting the sample area as you did in step 6 and recloning. Or, you can try deselecting the Aligned option and cloning again. It paints with sampled pixels from an image or pattern and matches the Brush tool works similarly to the Spot texture, lighting, transparency, and shading of the sampled pixels to the pixels being Healing Brush tool, healed.

It automatically samples from around the retouched area. Photoshop fills a selection with pixels that match the surroundings. Because the wall varies in color, texture, and lighting, it would be challenging to successfully use the Clone Stamp tool to touch up these areas. Fortunately, the content-aware fill feature make this process easy.

We used the default value, 1. If your image edge pixels and subsequently sharpened by the Unsharp Mask filter. The Unsharp Mask filter corrects blurring introduced during photographing, scanning, resampling, or printing. In addition, you can adjust the radius of the region to which each pixel is compared. If your final destination is print, experiment to deter- mine which settings work best for your image.

Saving the image for four-color printing Before you save a Photoshop file for use in a four-color publication, you must change the image to CMYK color mode. For more information about converting between color modes, see Photoshop Help. Click OK when Photoshop displays an Merge Visible before you change the color alert about the color management profile. For more information about file formats, see Photoshop Help. You can combine Photoshop images with other elements in a layout application such as Adobe InDesign.

Click Open. You can also experiment with options from the preset menu, such as Darker or Infrared. Or, select the tool in the upper-left corner of the Adjustments panel, and then drag it across the image to adjust the colors associated with that area.

We darkened the bike itself and made the background areas lighter. In Camera Raw: 1 In Bridge, select the bike. Review answers 1 he term resolution refers to the number of pixels that describe an image and establish its detail. Image resolution and monitor resolution are measured in pixels per inch ppi. Printer, or output, resolution is measured in ink dots per inch dpi.

Content-aware fill replaces a selection with content that matches the surrounding area. You can make selections based on size, shape, and color. Freehand selections Drag the Lasso tool around an area to trace a freehand selection. Using the Polygonal Lasso tool , click to set anchor points in straight- line segments around an area. Color-based selections he Magic Wand tool selects parts of an image based on the similarity in color of adjacent pixels. It is useful for selecting odd-shaped areas that share a specific range of colors.

Move the thumbnail slider to the right if you want to see the image in more detail. Using the Quick Selection tool he Quick Selection tool provides one of the easiest ways to make a selection.

You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want. Leave the selection active so that you can use it in the next exercise. To move the selected area to another part of the composition, you use the Move tool. Notice that the sand dollar remains selected.

Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. Julieanne Kost is an official Adobe Photoshop evangelist.

The layers that are under the pointer appear in the context menu. Manipulating selections You can reposition selections as you create them, move them, and even duplicate them.

One of the best things about this section is the introduction of keyboard shortcuts that can save you time and arm motions. Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky. As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed.

If you accidentally release the mouse but- ton at the wrong time, simply start the exercise again from step 1. If you accidentally release the mouse button, draw the selection again. In most cases—including this one—the new selection replaces the previous one. Position it so that it more closely aligns with the bowl. If necessary, hold down the spacebar again and drag to the shape of the bowl, move the selection marquee into position around the bowl of shells.

Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise. Photoshop reverts to into the exact position in a minute. Moving with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys. You can nudge the selection in increments of either one pixel or ten pixels.

When a selection tool is active in the Tools panel, the arrow keys nudge the selec- tion border, but not the contents. When the Move tool is active, the arrow keys move the selection border and its contents. Before you begin, make sure that the bowl of shells is still selected in the image window. Notice that each time you press the arrow key, the bowl of shells moves one pixel. When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key.

Sometimes the border around a selected area can distract you as you make adjust- ments. Either command hides the selection border around the bowl of shells.

If you want to adjust the position after you stop dragging, simply start dragging again. Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time. If the logo graphic image is no longer selected, reselect it now, using the techniques you learned earlier. A bounding box appears around the selection. As you resize the object, the selection marquee resizes, too. Pressing the Shift key as you move a selection constrains the movement horizon- tally or vertically in degree increments.

Dragging with the Move tool saves memory because the clipboard is not used as it is with the Copy, Copy Merged, Cut, and Paste commands. Photoshop has several copy and paste commands: t Copy copies the selected area on the active layer. The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask.

This can make the pasted portion appear out of proportion to the new image. Use the Image Size command to make the source and destination images the same resolution before copying and pasting. Using the Magic Wand tool he Magic Wand tool selects all the pixels of a particular color or color range.

As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection. You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image.

Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee. At this point, the coral and the white background area are selected. A minus sign appears next to the wand in the pointer icon. Anything you select now will be subtracted from the initial selection. Now all the white pixels are deselected, leaving the coral perfectly selected.

Selecting with the lasso tools Photoshop includes three lasso tools: the Lasso tool, the Polygonal Lasso tool, and the Magnetic Lasso tool. You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool.

Make sure you can see the entire mussel in the window. Starting at the lower-left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible. Do not release the mouse button. Do not release the Alt or Option key. Be sure to hold down the Alt or Option key throughout this process.

Drag with the Lasso tool. Click with the Polygonal Lasso tool. Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top. Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image. Leave the mussel selected for the next exercise. Before you begin, make sure that the mussel is still selected. Drag to rotate the mussel to a —degree angle.

You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation changes. Selecting with the Magnetic Lasso tool You can use the Magnetic Lasso tool to make freehand selections of areas with high-contrast edges. When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast. You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border.

You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting.

Or you can move the Magnetic Lasso tool over the starting point and click once. Photoshop dims the area outside the crop border. Be careful not to include any part of the image that you want to keep. Anti-aliasing smooths the jagged edges of a selection by softening the color transi- tion between edge pixels and background pixels.

Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images. Select the tool to display its options in the options bar. To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it. Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels.

This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection. Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it.

Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK. Use a size 6 brush to get a more precise selection.

You can also view the selection edges as if masked or against various backgrounds. A black background appears under the selection, and the selection edges disappear. We used a value of 4. Increase the brush size to select it more quickly. Remember that you can add or subtract from the selection using the buttons in the options bar.

Delete Layer button at the bottom of the Layers panel. Images with a clearly delineated outline and a uniform back- ground—such as the 03Start.

To try it, open the 03Start. Photoshop automatically crops each image in the start file and creates individual Photoshop files for each. You can close each file without saving. Review answers 1 Only the area within an active selection can be edited. To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract.

You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click. New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers. All new layers in an image are transparent until you add text or artwork pixel values. When the sheets are stacked, the entire composition is visible.

Press the spacebar for a full-screen view. You will create it now, and, in doing so, learn how to create, edit, and manage layers. Saving another version of the start file frees you to make changes without worrying about overwriting the original. You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers. Right-click Windows Notice the layer thumbnail and the icons on the Background layer level: or Control-click Mac OS a thumbnail t he lock icon indicates that the layer is protected.

No Thumbnails, Small Thumbnails, Medium he first task for this project is to add a photo of the beach to the postcard. Notice that only one layer appears in the Beach. An image can have only one background.

You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer.

Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file. Before you begin, make sure that both the 04Working. Keep the layer selected. Photoshop displays both of the open image files.

Select the Beach. Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier.

Viewing individual layers he 04Working. Some of the layers are visible and some are hidden. To select the layer, click the layer name in the Layers panel. A white border appears around the beach photo. Rearranging layers he order in which the layers of an image are organized is called the stacking order.

In this case, the postmark is too dark on the flower. You can also type the value in the Opacity box or scrub the Opacity label.

Currently, the blending mode for both layers is Normal. Click OK in the Duplicate Layer dialog box. In this case, the postmark becomes a little stronger. A Transform bounding box appears around the beach image. Watch the Width and Height percentages in the options bar. Drag clockwise to rotate the beach image approximately 15 degrees. You can also enter 15 in the Set Rotation box in the options bar. Adding empty layers to a file is comparable to adding blank sheets of acetate to a stack of images.

A new layer, named Layer 1, appears between the Background and Pineapple layers. We selected a color with the following values: R 48, G , and B Realistic- looking clouds appear behind the image. Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes.

Click OK to close the Color Picker. Do the following in the Character panel: t Select a serif font we used Birch Std. Applying a gradient to a layer You can apply a color gradient to all or part of a layer. If you want to be sure you drag straight up, press the Shift key as either Small List or you drag.

Large List. Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name. Like layers, layer styles can be hidden by clicking eye icons in the Layers panel.

Layer styles are nondestructive, so you can edit or remove them at any time. Earlier, you used a layer style to add a stroke to the beach photo. Do not click OK. As you edit the text, the layer styles are applied to the new text. Adding a border he Hawaii postcard is nearly done. A pixel border is selected around the entire image. Flattening combines all the layers into a single background layer.

So flattening is well worth it in this case. Only one layer, named Background, remains in the Layers panel. A layer comp is simply a definition of the settings in the Layers panel. Then, by switching from one layer comp to another, you can quickly review the two designs. The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements. You might have the French text on one layer, and the English text on another in the same image file.

With a little imagination, you can appreciate how much time this saves for more complex variations. When both layers are visible, Layer 2 shows the tall man in the center blinking, and the two girls in the front looking away.

Now for the fun part! You can also hide individual layers as you work on other layers. It was shot with a Canon Digital Rebel camera and has the Canon proprietary. Depending on which layer is visible, either the glass in the foreground or the beach in the background is in focus. Many digital cameras can save images in camera raw format. You can go back and reprocess the file any time you like to achieve the results you want.

When you download the file from your camera, it has Raw format. In Bridge or format for transferring Photoshop, you can process camera raw files from a myriad of supported digital images between cameras from Canon, Kodak, Leica, Nikon, and other makers—and even process applications and computer platforms. Photoshop Raw with camera raw file formats. Although Camera Raw can open and edit a camera raw image file, it cannot save an image in camera raw format.

You used Camera Raw to edit the color and lighting in an image in Lesson 2. Processing files in Camera Raw When you make adjustments to an image in Camera Raw, such as straightening or cropping the image, Photoshop and Bridge preserve the original file data.

Opening images in Camera Raw You can open Camera Raw from either Bridge or Photoshop, and you can apply the same edits to multiple files simultaneously. Filmstrip B. Toggle Filmstrip C. Toolbar G D. Toggle Full-Screen Mode E. RGB values F.

Image adjustment H tabs G. Histogram A H. Camera Raw Settings menu B I. Zoom levels J. Multi-image naviga- tion controls L. Adjustment sliders I J K L he Camera Raw dialog box displays a large preview of the first image, and a filmstrip down the left side displays all open images. Tools along the top of the dialog box let you zoom, pan, straighten, and make other adjustments to the image.

Tabbed panels on the right side of the dialog box give you more nuanced options for adjusting the image: You can correct the white balance, adjust the tone, sharpen the image, remove noise, adjust color, and make other changes. You can also save settings as a preset, and then apply them later. For the best results using Camera Raw, plan your workflow to move from left to right and top to bottom.

Or, you can click the Forward button under the main preview window to cycle through the images. A digital camera records the white balance at the time of exposure; this is the value that initially appears in the Camera Raw dialog box image preview.

White balance comprises two components. By default, As Shot is selected in the White Balance menu. Camera Raw applies the white balance settings that were in your camera at the time of exposure. To set an accurate white balance, select an object that should be white or gray.

Camera Raw uses that information to determine the color of the light in which the scene was shot, and then adjusts for scene lighting automatically.

You can use the White Balance tool to find the best lighting for the scene quickly and easily. Select Preview again to see the modified image. Exposure essentially defines the white point, or the lightest point of the image, so that Camera Raw adjusts everything else accordingly. Conversely, the Blacks slider sets the black point, or the darkest point in the image. You can use the Auto option to let Camera Raw attempt to correct the image tone, or you can select your own settings.

Camera Raw increases the saturation and decreases the blacks and the contrast. You could use this as a starting point. Also, as you move any tool over the preview image, the RGB values for the area under the cursor appear below the histogram.

Filter tool. Even when this slider is set to 0, Camera Raw performs some sharpening. When the Masking value is high, Camera Raw sharpens only those parts of the image that have strong edges.

Synchronizing settings across images All three of the mission images were shot at the same time under the same light- ing conditions. You do this using the Synchronize command.

By default, all options except Crop and Spot Removal are selected. When you synchronize the settings across all of the selected images, the thumb- nails update to reflect the changes you made. To preview the images, click each thumbnail in the filmstrip.

Your files will be named on the web, you would probably want to open Mission They are currently much larger, and most viewers would need to scroll to see the full-size images. Bridge returns you to the Camera Raw dialog box, and indicates how many images have been processed until all the images have been saved. In Bridge, however, you now also have JPEG versions as well as the original, unedited CRW image files, which you can continue to edit or leave for another time.

If you click Open Object button the default, click the Open Image, the image opens as a standard Photoshop image. Click OK if a compatibility dialog box appears. Camera Raw processes the raw files with default image settings based on built-in camera profiles for supported cameras and the EXIF data.

DNG is meant to be an industry-wide standard format for raw image data, helping photographers manage the variety of proprietary raw formats and providing a compatible archival format. You can save this format only from the Camera Raw dialog box. Higher-resolution JPEG files may be used for other purposes, including high- quality printing. JPEG format retains all color information in an image, but compresses file size by selectively discarding data.

The greater the compression, the lower the image quality. Also, virtually all desktop scanners can produce TIFF images. Not to be con- fused with camera raw file formats, the Photoshop Raw format RAW is a file format for transferring images between applications and computer platforms. Cameras and com- puter monitors, however, are more limited in the dynamic range the ratio between dark and bright regions they can reproduce. Merging exposures into an HDR image When a scene contains a more complex dynamic range than you can capture in one image, take three or more, and then merge them in Photoshop.

Click OK or Open. Photoshop opens each of the files briefly and merges them into a single image. Photoshop adds a Levels adjustment layer to the Layers panel. Photoshop replaces the histogram.

You want to set the black point to match the beginning of that data. As you drag, the first Input Levels value beneath the histogram graph changes, and so does the image itself. We moved it to a value of 1. Name the layer Corrections, and click OK. Working on a duplicate layer preserves the original pixels so you can make changes later. Experiment with simply clicking, using very short strokes, and creating longer brush strokes. Remove obtrusive or distracting lines and blemishes, but leave enough that the face retains its character.

Make sure Midtones is selected in the Range menu. Today, Graham has clients in the advertising, architectural, editorial, and travel industries.

Where is it? What does it look like? If it makes more sense to shoot in JPEG for your project, use fine compression and high resolution. Start with the best material Get all the data when you capture—at fine compression and high resolution. Usually the commands in a context menu are available in another part of the workspace, but using a context menu can save you time.

Move the pointer over the dark gray area surrounding the artwork. Then, right-click to show a context menu with specific options.

The context-sensitive menu you see may contain different commands, depending on what the pointer is positioned over. Tip If you move the pointer over the tab or title bar for a panel and right-click, you can close a panel or a panel group from the context menu that appears.

Adjusting the user-interface Similar to Adobe InDesign or Adobe Photoshop, Illustrator supports a brightness adjustment for the application user interface. This is a program preference setting that allows you to choose a brightness setting from four preset levels. You can also scale the user interface of Illustrator based on your screen resolution.

When you launch Illustrator, it identifies your screen resolution and adjusts the application scale factor accordingly.

Scale the user interface using the UI Scaling settings in the User Interface preferences section of the Preferences dialog box. The magnification level, which can range from 3. Each time you choose a Zoom option, the view of the artwork is resized to the closest preset zoom level.

Using any of the viewing tools and commands affects only the display of the artwork, not the actual size of the artwork. The preset zoom levels appear in a menu in the lower- left corner of the Document window, identified by a down arrow next to a percentage. You can also use the View menu to fit the active artboard to your screen, to fit all artboards into the view area, or to view artwork at actual size. The active artboard is the selected artboard.

Artboards represent the areas that can contain printable artwork similar to pages in a program like Adobe InDesign.

The artboard is indicated by a red line added to the following figure. Using the Zoom tool In addition to the View menu options, you can use the Zoom tool to magnify and reduce the view of artwork to predefined magnification levels.

Select the Zoom tool in the Tools panel and then move the pointer into the Document window. The artwork is displayed at a higher magnification. Notice that where you clicked is now in the center of the Document window. Click two more times on the text. A minus sign — appears at the center of the Zoom tool pointer. With the Option or Alt key pressed, click the artwork twice to reduce the view of the artwork.

Using the Zoom tool, you can also drag in the document to zoom in and out. With the Zoom tool still selected, drag from the left side of the document to the right to zoom in.

The zooming is animated. Drag from right to left to zoom out. Note If your computer does not meet the system requirements for GPU Performance, you will instead draw a dotted rectangle, called a marquee, when dragging with the Zoom tool.

Tip With the Zoom tool selected, if you move the pointer into the Document window and press the mouse button for a few seconds, you can zoom in using the animated zoom. The Zoom tool is used frequently during the editing process to enlarge and reduce the view of artwork.

Because of this, Illustrator allows you to select it using the keyboard at any time without first deselecting any other tool you may be using. If you decide to use these shortcuts in Illustrator, you may want to turn off or change those keyboard shortcuts in the macOS System Preferences. GPU Performance The graphics processing unit GPU , found on video cards and part of display systems, is a specialized processor that can rapidly execute commands for manipulating and displaying images.

GPU-accelerated computing offers faster performance across a broad range of design, animation, and video applications. This feature is available on compatible Mac and Windows computers. Scrolling through a document In Illustrator, you can use the Hand tool to pan to different areas of a document. Using the Hand tool allows you to push the document around much like you would a piece of paper on your desk.

This can be a useful way to move around in a document with a lot of artboards or when you are zoomed in. Press and hold on the Zoom tool and select the Hand tool in the Tools panel.

Drag down in the Document window. As you drag, the artwork moves with the hand. As with the Zoom tool , you can select the Hand tool with a keyboard shortcut without first deselecting the active tool.

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

Note The spacebar shortcut for the Hand tool does not work when the Type tool is active and the cursor is in text. The touch layout has a cleaner interface that allows you to comfortably use a stylus or your fingertip to access the tools and controls of the Touch workspace. At any time on a supported device , you can immediately switch between the Touch and traditional workspaces to access the full range of Illustrator tools and controls.

On a touch device, such as a Direct touch device a touchscreen device , Indirect touch device the trackpad on macOS , a touchpad, or a Wacom Intuos5 and later device, you can also use standard touch gestures pinch and swipe to do the following: Pinch in or out, using two fingers like the thumb and forefinger to zoom. Place two fingers on the touch device, and move the fingers together to pan within the document.

Swipe or flick to navigate artboards. Viewing artwork When you open a file, it is automatically displayed in Preview mode, which shows how the artwork will print. Illustrator offers other ways of viewing your artwork, such as outlines and rasterized.

This is called Outline mode. Only the outlines of objects are displayed. You can use this view to find and select objects that might not be visible in Preview mode.

This view is helpful for those in the print industry who need to see how inks interact when set to overprint. Note When switching between viewing modes, visual changes may not be readily apparent.

When you turn on Pixel preview, Overprint preview is turned off. Pixel preview can be used to see how the artwork will look when it is rasterized and viewed on-screen in a web browser. An arrow is pointing to it in the figure.

This is useful when you need to see all artboards in the document in one window and to edit content in any of those artboards in a zoomed-in view. It is in a free-floating group in the workspace. The Navigator panel can be used in several ways, including the following: The red box in the Navigator panel, called the proxy view area, indicates the area of the document that is being shown. Type in a zoom value or click the mountain icons to change the magnification of your artwork.

Position the pointer inside the proxy view area of the Navigator panel. When the pointer becomes a hand , drag to pan to different parts of the artwork. Navigating artboards As you may recall, artboards contain printable artwork, similar to pages in Adobe InDesign.

You can use artboards to crop areas for printing or placement purposes. You can easily share content among designs, create multipage PDFs, and print multiple pages by creating more than one artboard. Illustrator allows for up to 1, artboards within a single file depending on their size. Multiple artboards can be added when you initially create an Illustrator document, or you can add, remove, and edit artboards after the document is created.

Next, you will learn how to efficiently navigate a document that contains multiple artboards. Click Open to open the file. Notice that there are two artboards in the document that contain the designs for the front and back of a postcard. The artboards in a document can be arranged in any order, orientation, or artboard size—they can even overlap.

Suppose that you want to create a four-page brochure. You can create different artboards for every page of the brochure, all with the same size and orientation. They can be arranged horizontally or vertically or in whatever way you like. When you select artwork, it makes the artboard that the artwork is on the active, or selected, artboard. By choosing the Fit Artboard In Window command, the currently active artboard is fit into the Document window.

The active artboard is identified in the Artboard Navigation menu in the Status bar in lower-left corner of the Document window. Currently it is artboard 2. Choose 1 from the Active Artboard menu in the Properties panel. Notice the arrows to the right of the Active Artboard menu in the Properties panel. You can use these to navigate to the previous and next artboards. Those arrows plus a few others also appear in the status bar below the document.

Click the Next navigation button in the Status bar below the document to view the next artboard artboard 2 in the Document window.

The Artboard Navigation menu and navigation arrows always appear in the Status bar below the document, but they appear in the Properties panel only when not in Artboard Editing mode, the Selection tool is selected, and nothing is selected. Using the Artboards panel Another method for navigating multiple artboards is to use the Artboards panel.

The Artboards panel lists all artboards currently in the document and allows you to navigate between artboards, rename artboards, add or delete artboards, edit artboard settings, and more. Note Double-clicking the artboard name in the Artboards panel allows you to change the name of the artboard. Clicking the artboard icon or to the right of the artboard name in the panel allows you to edit artboard options. The artboard named Front is now fit in the Document window.

Notice that when you double-click to navigate to an artboard, that artboard is also fit in the Document window. Click the X at the top of the Artboards panel group to close it.

Arranging multiple documents When you open more than one document in Illustrator, the Document windows are tabbed. You can also use the Arrange Documents menu to quickly display your open documents in a variety of configurations.

Each file has its own tab at the top of the Document window. These documents are considered a group of Document windows. You can create document groups to loosely associate files while they are open. Release the mouse button to see the new tab order. Dragging the document tabs allows you to change the order of the documents. This can be useful if you use the document shortcuts to navigate to the next or previous document.

Note Be careful to drag directly to the right. Otherwise, you could undock the Document window and create a new group. To see both of the documents at the same time, maybe to drag artwork from one to the other, you can arrange the Document windows by cascading or tiling them. Cascading allows you to cascade stack different document groups. Tiling shows multiple Document windows at one time, in various arrangements.

The available space in the Application frame is divided between the documents. Do the same for the Document window on the right. Note Your documents may be tiled in a different order. With documents tiled, you can drag artwork between documents, which copies them from one document to another. When you move or resize the Application frame or any of its elements, all the elements within it respond to each other so none overlap. Click the Consolidate All button to bring the documents back together.

Note On Windows, menus appear in the Application bar. Click the Arrange Documents button in the Application bar to display the Arrange Documents menu again. Click the 2-Up vertical button in the Arrange Documents menu. Data recovery When you restart Illustrator after a program crash, you have the option of recovering work-in-progress files so that your hours of work are not wasted.

Review questions 1. Describe two ways to change the view of a document. How do you select a tool in Illustrator? How do you save panel locations and visibility preferences? Describe a few ways to navigate among artboards in Illustrator.

Describe how arranging Document windows can be helpful. Review answers 1. You can choose commands from the View menu to zoom in or out of a document or to fit it to your screen; you can also use the Zoom tool in the Tools panel and click or drag over a document to enlarge or reduce the view.

In addition, you can use keyboard shortcuts to magnify or reduce the display of artwork. You can also use the Navigator panel to scroll artwork or to change its magnification without using the Document window. To select a tool, you can either click the tool in the Tools panel or press the keyboard shortcut for that tool.

For example, you can press V to select the Selection tool from the keyboard. Selected tools remain active until you click a different tool.

To navigate among artboards in Illustrator, you can choose the artboard number from the Artboard Navigation menu at the lower-left of the Document window; with nothing selected and while not in Artboard Editing mode, you can choose the artboard number from the Artboard Navigation menu or use the Active Artboard arrows in the Properties panel; you can use the Artboard Navigation arrows in the status bar in lower-left of the Document window to go to the first, previous, next, and last artboards; you can use the Artboards panel to navigate to artboards; or you can use the Navigator panel to drag the proxy view area to navigate between artboards.

This can be useful if you are working on multiple Illustrator files and you need to compare or share content among them. In this lesson, you learn how to locate and select objects using the Selection tools; protect other objects by grouping, hiding, and locking them; align objects to each other and the artboard; and much more. Recognize Smart Guides. Save selections for future use. Hide and lock items. Use tools and commands to align shapes and points to each other and the artboard.

Group and ungroup items. Work in Isolation mode. Starting the lesson Creating, selecting, and editing are the cornerstones of creating artwork in Adobe Illustrator. To ensure that the tools function and the defaults are set exactly as described in this lesson, delete or deactivate by renaming the Adobe Illustrator CC preferences file. In the Save As dialog box, name the file ZooPoster. In the Illustrator Options dialog box, leave the Illustrator options at their default settings, and click OK.

Using the Selection tool The Selection tool in the Tools panel lets you select, move, rotate, and resize entire objects. Choose 2 Pieces from the Artboard Navigation menu in the lower left of the Document window. This should fit the artboard on the right into the window. The icon that appears next to the pointer as it passes over objects indicates that there is artwork under the pointer that can be selected. When you hover over an object, that object is also outlined in a color, like blue in this instance.

Select the Zoom tool in the Tools panel, and click a few times on the beige circles to zoom in. Select the Selection tool in the Tools panel and then move the pointer over the edge of the beige circle on the left.

Smart Guides are temporary snap-to guides that help you align, edit, and transform objects or artboards. Click anywhere inside the circle on the left to select it. A bounding box with eight handles appears around the selected circle. The bounding box can be used to make changes to artwork vector or raster , such as resizing or rotating. The bounding box also indicates that an item is selected and ready to be modified. The color of the bounding box indicates which layer the object is on.

Using the Selection tool, click in the circle on the right. Notice that the circle on the left is now deselected and only the circle on the right is selected. Note Note: To select an item that has no fill, you can click the stroke the edge or drag across the object.

Pressing the Shift key, click the circle on the left to add it to the selection and then release the key. Both circles are now selected, and a larger bounding box surrounds them. Move the circles a short distance by pressing and dragging from inside either selected circle in the beige color. Because both circles are selected, they move together. As you drag, you may notice that magenta lines appear.

These are called alignment guides. As you drag, the objects align to other objects in the document. Measurement labels also appear because Smart Guides are turned on. In the dialog box that appears, click Revert. Selecting and editing with the Direct Selection tool In Illustrator, as you draw, you create vector paths that are made up of anchor points and paths.

Anchor points are used to control the shape of the path and work like pins holding a wire in place. A shape you create, like a square, is composed of at least four anchor points on the corners with paths connecting the anchor points.

One way to change the shape of a path or shape is by dragging its anchor points. Choose 2 from the Active Artboard menu in the Properties panel on the right. Select the Direct Selection tool in the Tools panel on the left.

Click inside one of the larger green bamboo shapes to see the anchor points. Notice that the anchor points are all filled with a blue color, which means they are selected. Move the pointer directly over the upper-right anchor point. Also notice the little white box next to the pointer. The small dot that appears in the center of the white box indicates that the cursor is positioned over an anchor point. Click and release to select that anchor point and then move the pointer away.

Notice that only the anchor point you selected is now filled with blue, indicating that it is selected, and the other anchor points in the shape are now hollow filled with white , indicating that they are not selected. With the Direct Selection tool still selected, move the pointer over the selected anchor point and then drag it to edit the shape.

Note The gray measurement label that appears as you drag the anchor point has the values dX and dY. Try clicking another point on a corner of the shape. Notice that when you select the new point, the previous point is deselected. Changing the size of anchor points, handles, and bounding box display The anchor points, handles, and bounding box points may be difficult to see at times. In the Illustrator preferences, you can adjust the size of those features.

Select the Zoom tool in the Tools panel, and click the beige circles several times to zoom in closely. Move the pointer above and to the left of the leftmost beige circle and then drag downward and to the right to create a marquee that overlaps the tops of both circles.

Release the mouse button. When dragging with the Selection tool , you need to encompass only a small part of an object to select it. Select the Direct Selection tool in the Tools panel. Starting off the top left of the leftmost circle see the first part of the following figure , drag across the top edges of the two circles and then release the mouse button.

Only the top anchor points become selected. With the anchor points selected, you may see what look like little handles coming from the anchor points. Those are called direction handles, and they can be used to control the curve of the path. Make sure you drag the square anchor point and not the round end of one of the handles. Move the pointer over one of the selected anchor points at the top of a circle.

Hiding and locking objects Selecting artwork may be more difficult when there are objects stacked one on another or when there are multiple objects in a small area. Choose 1 Final Artwork from the artboard navigation menu in the lower-left. See the following figure. Notice that you drag the large blue-green shape, not the head shapes.

Locking objects prevents you from selecting and editing them. Move the pointer into the blue-green area to the left of the animal artwork and then drag across the head of the animal again, this time selecting the whole thing. Note Any artwork within the marquee area will be selected using this method.

Press the Shift key and click each eye shape, one at a time, to remove the eyes from the selection. The selected shapes are temporarily hidden so that you can more easily select other objects.

The stroke of an object is the outline border , and the stroke weight is the width of the stroke. All of the shapes with the same stroke border color are now selected. If you know that you may need to reselect a series of objects again, like the shapes you just selected, you can save that selection.

Saved selections are a great way to easily make a selection later, and they are saved only with that document. Selecting in Outline mode By default, Adobe Illustrator displays all artwork with their paint attributes, like fill and stroke, showing. However, you can choose to display artwork so that only outlines or paths are visible. The next method for selecting involves viewing artwork in Outline mode.

It can be useful if you want to select objects within a series of stacked objects. With the Selection tool , click within one of the eye shapes to select it not the X in the center. Outline mode displays artwork as outlines without fill. To select in Outline mode, you can click the edge of the object or drag a marquee across the shape to select it. Tip In Outline mode, you may see a small X in the center of some of the shapes.

If you click that X, you can select the shape. With the Selection tool selected, drag across both eye shapes. Press the Up Arrow key several times to move both shapes up a little bit. Tip You could have also clicked the edge of one of the shapes and then pressed the Shift key and clicked the edge of the other to select both.

Aligning objects Illustrator makes it easy to align or distribute multiple objects relative to each other, the artboard, or a key object.

Aligning objects to each other One type of alignment is aligning objects to each other. This can be useful if, for instance, you want to align the top edges of a series of selected shapes to each other. Click the Next Artboard button in the lower-left corner of the Document window to fit the artboard with the selected green shapes in the window. Click the Horizontal Align Center button in the Properties panel on the right.

Notice that all of the selected objects move to align to the horizontal center. Leave the objects selected for the next section. Aligning to a key object A key object is an object that you want other objects to align to. This can be useful when you want to align a series of objects and maybe one of them is already in the perfect position. You specify a key object by selecting all the objects you want to align, including the key object, and then clicking the key object again. With the shapes still selected, click the leftmost shape with the Selection tool.

When selected, the key object has a thick outline indicating that other objects will align to it. Note The key object outline color is determined by the layer color that the object is on. Click the Horizontal Align Center button in the Properties panel again. Leave the shapes selected for the next section.

Notice that all of the selected shapes moved to align to the horizontal center of the key object. Click the key object an arrow is pointing to it in the last part of the previous figure to remove the blue outline, and leave all of the green shapes selected.

The selected content will no longer align to the key object. Distributing objects Distributing objects using the Align panel enables you to select multiple objects and distribute the spacing between the centers or edges of those objects equally. Next, you will make the spacing between the green shapes even. With the green shapes still selected, click More Options in the Align section of the Properties panel circled in the figure.

Click the Vertical Distribute Center button in the panel that appears. Distributing moves all the selected shapes so that the spacing between the center of each of them is equal. With the shapes still selected, click the topmost shape of the selected shapes to make it the key object. Click More Options in the Align section of the Properties panel circled in the following figure.

Ensure that the Distribute Spacing value is 0 zero and then click the Vertical Distribute Space button. Distribute Spacing distributes the spacing between selected objects, whereas the Distribute Objects alignments distribute the spacing between the centers of selected objects.

The value you can set is a great way to set a specific distance between objects. Like setting a key object in the previous section, you can also set a key anchor point that other anchor points will align to. Select the Direct Selection tool , and click in the orange shape at the bottom of the current artboard to see all of the anchor points. Click the lower-right corner point of the shape. Press the Shift key and click to select the lower-left point of the same shape to select both anchor points see the second part of the following figure.

The last selected anchor point is the key anchor point. Other points will align to this point. Note Currently, dragging across anchor points will not set a key anchor point.

Click the Vertical Align Top button in the Properties panel to the right of the document. The first anchor point selected aligns to the second anchor point selected.

Aligning to the artboard You can also align content to the active artboard page rather than to a selection or a key object. Aligning to the artboard aligns each selected object separately to the edges of the artboard. With the Selection tool selected, click the orange shape at the bottom of the right-hand artboard to select it.

Click the Previous artboard button in the lower-left corner of the Document window to navigate to the first left artboard in the document, which contains the final artwork. As of the writing of this book, there is no option in the Properties panel to align a single selected object to the artboard. Choose Show Options from the Align panel menu circled in the following figure. If you see Hide Options in the menu, then you are all set. Any content you align will now align to the artboard.

Click the Horizontal Align Right button and then click the Vertical Align Bottom button in the Align panel to align the orange shape to the horizontal right and vertical bottom of the artboard 9. Leave the Align panel open. The orange shape will be on top of the other artwork.

Later, you will put it behind the other animal artwork. Working with groups You can combine objects into a group so that the objects are treated as a single unit. It can also make selecting artwork easier. Click the Group button in the Quick Actions section of the Properties panel on the right to group the selected artwork together.

With the Selection tool selected, click one of the shapes in the new group. Because they are grouped together, all are now selected. Drag the bamboo group of shapes close to the top of the artboard on the left. Click the X at the top of the Align panel group to close it. With the Selection tool selected, press the Shift key and then drag the lower-right corner of the bounding box down to the bottom of the artboard to make the bamboo shapes larger.

When the pointer reaches the bottom of the artboard, release the mouse and then the key. Editing a group in Isolation mode Isolation mode isolates groups or sublayers so that you can easily select and edit specific objects or parts of objects without having to ungroup the objects. Next, you will edit a group using Isolation mode. With the Selection tool , drag across the two green leaves on the right artboard to select them.

Click the Group button at the bottom of the Properties panel to group them together. Double-click one of the leaves to enter Isolation mode.

Click to select the smaller leaf shape. Click the Fill color box in the Properties panel on the right, and making sure the Swatches option is selected in the panel that appears, click to select a different green color. When you enter Isolation mode, groups are temporarily ungrouped. This enables you to edit objects in the group or to add new content without having to ungroup.

Double-click outside of the shapes within the group to exit Isolation mode. Tip To exit Isolation mode, you can also click the gray arrow in the upper-left corner of the Document window, press the Escape key when in Isolation mode, or double-click a blank area of the Document window.

Click to select the leaf group, and leave it selected for the next section. Notice that the leaves are once again grouped, and you can also now select other objects. Creating a nested group Groups can also be nested—grouped within other objects or grouped to form larger groups. Nesting is a common technique used when designing artwork.

Drag the group of leaves onto the bamboo on the left artboard, and leave them selected. Shift-click the bamboo group to select it as well. Click the Group button in the Properties panel. You have created a nested group—a group that is combined with other objects or groups to form a larger group.

With the Selection tool, click the leaves to select the nested group. Double-click the leaves to enter Isolation mode. Click to select the leaves again, and notice that the leaf shapes are still grouped. This is a nested group. Tip Instead of either ungrouping a group or entering Isolation mode to select the content within, you can select with the Group Selection tool. Nested within the Direct Selection tool in the Tools panel, the Group Selection tool lets you select an object within a group, a single group within multiple groups, or a set of groups within the artwork.

Drag them lower onto the bamboo. Press the Escape key to exit Isolation mode; then click a blank area of an artboard to deselect the objects. Exploring object arrangement As you create objects, Illustrator stacks them in order on the artboards, beginning with the first object created. This ordering of objects, called stacking order, determines how they display when they overlap. You can change the stacking order of objects in your artwork at any time, using either the Layers panel or the Arrange commands.

With the Selection tool selected, click the orange shape at the bottom of the artboard. Click the Arrange button in the Properties panel. Choose Send To Back to send the shape behind all of the other shapes. Click the Arrange button again, and choose Bring Forward to bring the orange shape on top of the large blue-green background shape.

Selecting objects behind When you stack objects on top of each other, sometimes it becomes difficult to select objects that are underneath. Drag across both beige circles on the artboard on the right to select them.

Pressing the Shift key, drag a corner to make them smaller. When the measurement label shows a width of approximately 1. Click away from the circles to deselect them and then drag either of them on top of one of the dark eye shapes on the animal. Release the mouse. The circle disappears but is still selected. It went behind the dark circle the eye because it was created before the eye shape, which means it is lower in the stacking order.

With the circle still selected, click the Arrange button in the Properties panel, and choose Bring To Front. This brings the smaller circle to the front of the stack, making it the topmost object. With the Selection tool , select the other beige circle on the right artboard and then drag it onto the other eye shape on the left artboard. This circle disappears like the other, but this time, you will deselect the circle and then reselect it using another method.

Because it is behind the larger eye shape, you can no longer see the smaller beige circle. Note To select the hidden beige circle, make sure that you click where the circle and the eye overlap.

 
 

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Close the Notes panel. It was shot with a Canon Digital Rebel camera and has the Canon proprietary. Moving the direction lines and points reshapes the curves in a path. Or, select the Move tool , and select Show Transform Controls in the options bar.