Adobe Illustrator CS4: Adobe Creative Team: replace.me: Books

Using Adobe Illustrator CS4, you can create illustrations, logos and graphics. You can work with multi-page documents: add several artboards, copy them, modify and export to PDF format. Adobe Illustrator offers brushes, a pen and tools such as the Blob Brush Tool that can be used for painting. The latter allows combining the paths into one shape.

By downloading Adobe Illustrator CS4, you get a full-featured vector graphics editor, capable of becoming a winner in Illustrator vs Photoshop battle. You can draw an illustration for a cartoon, create a logo for a website or design branded products.

Besides, you can easily scale the developed project. Both beginner and advanced illustrators and designers can make good use of this software. I will be taking you through some of the details you need consider as we set up a new document.

Later In this project we are going to convert the scanned drawing into vector artwork by using the drawing tools in illustrator. Once converted into vector artwork we will be able to apply stroke and colour efects in future. By the end of this tutorial you will be very familiar with the drawing tools and equipt with the knowledge to create your own artwork. I will also be sharing some of my tips and tricks. In this video I will be also be demonstrating how to use the compounded shape vector as a stencil.

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Thanks for a great roundup! I am trying submit designs for a t-shirt organization, however whenever i submit the design it gets rejected due to pixel, cos they cannot print it due to pixel.. I use adobe photoshopt cs Please assist me with my question. Informative tutorials!

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Adobe® Illustrator® CS4 Classroom in a Book® [Book].http://replace.me

 
Adobe Illustrator CS4 Classroom in a Book contains 15 lessons. The book covers the basics of learning Illustrator and provides countless tips and techniques to. Learn how to create artwork for illustrations, logos, stationery, page layouts, posters, and integrate with Adobe Flash® movies, Adobe InDesign®. I downloaded the trial version of AI CS4 and ordered this book to see if I (a non-artist with no experience with this software) could learn to use it well.

Adobe illustrator CS4 PDF in Khmer Free Download – REAN Computer – Unlimited Downloads: 500,000+ Fonts, Web Templates, Themes & Design Assets

It turned out not to be the version he needed so he wanted to exchange it but was told Amazon would only issue a refund and then he could purchase the version he needed. Apparently Amazon charged him and me for return postage. He call customer service and they took off one postage charge. Though this was somewhat fixed I am very disappointed in the way amazon handled this; a lot of hassle for the customer; why couldn’t they just do an exchange and up front and tell the gift recipient that there would be a postage charge.

And I must say that this book was well worth the money. It provides enough detail and good examples to get you started with Illustrator. You will not be disappointed. It guides you step by step from selecting, aligning, transforming and editing objects to drawing with the pen and pencil tools.

Then you begin working with color, type and layers, all very good chapters. Then you start the more advanced topics, blending colors and shapes, working with brushes, and applying effects, which was my favorite topic. Moving on you will apply appearance attributes, work with symbols, learn to integrate with other Adobe products and finally consider output to printers.

I love this series of books – they are so helpful and easy to use. However, I bought this on kindle and although the content is great, there’s no accompanying CD so the exercises aren’t easy to do. Recommend the book, but get the real thing in print. Shame as kindle books are so easy to have with you.. Would be nice if the publishers made the digital material available on a web site – you could have a code or something to prove we bought the book.

One person found this helpful. I have had the program for a while but never used it. This book went over a lot of functions and how to use them. It is just about the many things that the program can do, it will not teach you how to be a designer or web developer it just shows how to use the many feature of the program. It is great I would recommend it as the first book to learn the features and then on to a more detailed book. I downloaded the trial version of AI CS4 and ordered this book to see if I a non-artist with no experience with this software could learn to use it well enough to create decent looking covers for work projects.

The book is well laid out and got me up and working right away. The directions are clear and easy to follow. It is also lots of fun to see what I can do with this program. As a complete novice, I cannot assess how helpful this book would be to an experienced user, but it does a first-class job of making an extremely complicated program usable by a beginner.

I’d give this product 5 stars, except I can’t seem to find the lesson files as mentioned. Are all the kindle editions entitled to the lesson files? Disabling or blocking certain cookies may limit the functionality of this site. Pearson uses appropriate physical, administrative and technical security measures to protect personal information from unauthorized access, use and disclosure.

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We may revise this Privacy Notice through an updated posting. Using Layer Styles Layer styles are special effects you can apply to layers. These special effects include such things as shadows, glow effects, pseudo 3D effects, strokes around objects, and more.

My favorite aspect of these effects is that they can be adjusted or removed at any time. Even after you save the document and FIGURE You can double- close Photoshop, the layer styles will be completely editable click the blank area next to the when you reopen the document. Applying Layer Styles To apply layer styles, you can click on the fx icon at the bottom of the Layers panel.

Alternatively, you could use my favorite way to apply layer styles: just double-click a layer in the blank area to the right of its name see Figure You cannot apply layer styles to a background layer. Note If you opened the Layer Style dialog box, go ahead and click Cancel to close it. Before we actually apply anything, we need to create something to apply a style to.

Layer styles work best with shapes, text, and other objects that are smaller than the document. Make sure that your foreground color is not black or white. Then paint a paint stroke with this brush on a new layer see Figure As with the Brushes panel, the effects on the left are like categories. Click the check box to turn effects on or off. Click the name of the effect to see the options for that effect in the big area on the right side of the dialog box.

In the Layer Style dialog box, make sure that the Preview check box on the far right is checked. This will allow you to preview the result of your changes as you make them.

Click Drop Shadow on the left side of the Layer Style dialog box. This instantly adds a drop shadow behind the paint stroke see Figure Compositing, or combining multiple elements with a drop shadow applied into the same scene, is also greatly assisted by drop shadows. Drop shadows are also used to create a kind of 3D effect.

You can customize the shadow by adjusting the parameters on the right. Just click Outer Glow. Now, even for demonstration purposes, this looks too terrible to continue. This will remove that effect. This creates the illusion that your object is 3D. A style is a collection of effects. The fx icon that is now on the right side of your layer serves as a reminder that layer styles have been applied to that layer.

Also, on the rightmost edge of the layer is a small drop-down arrow. With this open, you can see all layer style effects applied to this layer. Click the visibility icon next to the Bevel And Emboss effect to hide it. Click the same spot again to make it visible again. Feel free to venture off on your own. First step, start from scratch. Next, create a new blank layer.

The fastest way to do this is to press D on your keyboard. In one of the fuzzball three ways we discussed earlier in this chapter, select the brush called Fuzzball, which is pixels large, and is on the right side. Then press X on your keyboard, which will eXchange the foreground and background colors. This will make white the foreground color, which is what we want for painting with. Click one time to paint a single fuzzball at the bottom of the document in the center.

Check Figure to see what I have so far. Double-click the name applied of the black background layer to rename it something more descriptive, like Black Background. Do the same thing with the fuzzball layer, renaming it Sparks or something similar. Double-click the Sparks layer to the right of its name to open the Layer Style dialog box. Then click Outer Glow on the left side to add a glow.

Notice how the glow effect is subtle, but it makes the sparks seem more electric and intense see Figure If the fuzzball were on the Note same layer as the black background, we could not add a glow to it, because the glow would go around the border of the black layer. In the Tools panel, choose the Custom Shape tool. Then, from the Shape drop-down in the Options bar, choose the lightning shape. As before, drag to create a lightning bolt.

If your lightning bolt appears to have a jagged gray line around it, just click once on the Tip thumbnail of the shape on the shape layer in the Layers panel to deactivate it. That creates a glow on the outside of the object. The result so far is pretty cool. This creates a glow on the inside of objects. After clicking on Inner Glow on the left, you should see its options on the right side of the Layer Style dialog box see Figure This will create a larger glow inside the lightning, as shown in Figure If you wanted to change this further, you could click the color swatch at the top of the Inner Glow options.

You could also try adding other effects to the lightning bolt, such as Bevel And Emboss. Because we created the Sparks layer first, it shows up behind the lightning bolt. Our sparks need to be in front of the lightning bolt. So, in the Layers panel, drag the Sparks layer on top of the shape layer that contains the lightning bolt.

After I fiddled around a bit, my final result can be seen in Figure Selections tell Photoshop which part of the image you want to be affected by edits that you make. Basic selections are extremely easy to make. Filters are like special effects. With your image open, go to the Filter menu at the top of the interface. From the Filter menu, choose Pixelate Mosaic, to open the Mosaic filter dialog box, shown in Figure In the Mosaic filter dialog box, change the Cell Size value to This will increase the size of the squares used to make a mosaic out of the image of the daffodils.

Then click OK. Notice how the entire image is converted into a mosaic, or large squares each of a single color see Figure All you have to do Then go to the Tools panel, and select the Rectangular Marquee is drag in the document to create a selection area. Once you from the top. What this little marquee selection tells Photoshop is significant. Basically, it tells Photoshop that only what is in that area is available for editing; everything else in the document is off limits.

Now, when we apply the Mosaic filter with this selection active, only what is within the selection area will be affected. To test this, simply go to the Filter menu and select Mosaic from the top of the Filter menu. The Filter menu stores the last filter that you used, along with all of the settings you changed, at the top of this menu for quick reapplication.

So, what could we use selections for in the real world? Some tools are easier to use than others, and some are definitely more powerful than others. But never forget that all tools have their place. Even the Rectangular Marquee tool with all of its Neanderthal simplicity is often the tool of choice for selecting boxes, stairs, windows, and other rectangular objects. They are simple, but come in handy often. The usefulness of both tools is also greatly enhanced by the use of keyboard shortcuts.

What happens when you have a selection area and you want to create a second selection area? Try doing it. The default behavior is that all selection areas are completely deselected and the new selection appears. But what if you want to have multiple rectangular areas selected at once? What happens when you want to remove one of these selection areas, or even part of one of them? Holding this key down will, in effect, turn a selection tool into a kind of selection-eraser tool.

This is how you can make a selection that looks like a donut or the state of Utah see Figure Select the Elliptical Marquee tool, found in the same tool slot in the Tools panel as the Rectangular Marquee tool. They also apply to every other selection tool in the Tools panel. A couple of shortcuts are specific to both of the marquee tools, however.

One is a shortcut that allows you to constrain the proportions of the width and height of the marquee tools as you create with them. If you release the key, the proportions will not be proportional anymore. The Great Elliptical Marquee Dilemma One of the big problems I have with the Elliptical Marquee tool is that it creates elliptical selections in the same way as the Rectangular Marquee tool creates rectangular selections: by starting at the upper-left corner.

So what Photoshop has to do is draw an imaginary rectangle around the ellipse, and then begin the creation and scaling of the ellipse from that imaginary upper-left corner. This is just not intuitive.

Do your best to select the iris or the pupil with the Elliptical Marquee tool. The good news is that there is a quick fix to this problem. So, to select the iris in the eye for practice. The selection will now resize around the center, where you first clicked. That seems much more intuitive to me. These keyboard shortcuts are not mutually exclusive.

You can scale a selection from its center Note and also constrain its proportions at the same time. So, how do you move a selection area? It depends on what you want to do. Be aware that this keyboard shortcut only toggles selection movement.

Once you release your mouse button, the selection is made. It does not have to be the same one used to create the selection. With a selection tool selected, put your cursor inside the selection area, and your cursor will turn into a white arrow next to a tiny marquee area. You can then drag to move the selection area around.

Be careful if you have the Move tool selected. But occasionally it pays to know how to do the same tricks with the marquee tools. This is also a good way to practice using Photoshop. To do that, make a new blank layer, and then select it. Press D on your keyboard to reset the foreground and background colors to their defaults. This will make black the foreground color.

Next, create another new layer. With the Rectangular Marquee tool selected, create a large rectangle on the left side of the document. For reference, go ahead and peek at Figure Next, in the Color Picker, select the color , , With the new layer selected, fill this layer with the foreground color.

Notice that the blue color only fills the selected area. Make another rectangular selection along the left edge of the last one. Make it skinnier this time.

Finally, select the Elliptical Marquee tool in the Tools panel. Make one last blank new layer. This time make an elliptical marquee selection on the left side of the document, but make it so that the left half of the selection is off the edge of the document. If you need a refresher on how to move selections, check out the sidebar earlier in this chapter. Now the skeleton of our album cover is in place see Figure These are the lasso tools. The Lasso Tool The Lasso tool is used to create freeform selections.

Instead of your dragging to make a predefined shape, the Lasso tool allows you to just drag to draw a selection. Although this gives much more freedom, it can be tough to control with a mouse—at least it is for me.

Using a graphics tablet can really help with the use of the Lasso tool. This is because all selections must be areas that are completely enclosed.

To practice this, again open the eye for practice. This image is a great candidate for use of the Magnetic Lasso tool. There is good contrast on the left side of the image. To select the background area, just click at the top of the image between the hair and the background with the Magnetic Lasso tool.

Just be aware that not everything is good for using the Magnetic Lasso tool. If you have an image of a car on a city street and you want to select the car to move it to another image, you will probably have a tough time with the tires.

Usually a lot of shadows are around tires in photos. You may be able to easily discern where the tire should stop and the street should start, but the Magnetic Lasso tool may not have the same skill. Just drag in an area, and the Quick Selection tool guesses what you want selected.

Luckily, it usually does pretty well on the first try. Feel free to use your own image to follow along. Just a large sweeping motion is fine; no need to move your cursor to the edges. If you missed a spot, you can just click it to add it to the selection area. This can really help in a variety of circumstances. It would be a nearly impossible task using the lasso or marquee tools.

The Magic Wand tool is simple enough to use, but it has some quirks. This document basically contains a few layers with circles on them see Figure I can simply click a circle once to select the entire thing. This is because all colors that are both similar and next to the one you clicked are selected. Everything on the layer will instantly be selected. To allow it to see all layers at once, I will select the Sample All Layers check box in the Options bar.

Now when I click one of the green circles, it is selected. So, for example, if you want to select a shirt that someone is wearing and the shirt was red and purple, you can click the red, and then SHIFT-click hold SHIFT while clicking the purple spots. There is a way to do that, and it is by deselecting the Contiguous option in the Options bar. You can try it in the Magic Wand Practice document you have open. You can also fine-tune the Magic Wand tool by using the Tolerance option in the Options bar.

The Tolerance option determines how many colors similar to the one you clicked are selected. If you find that the Magic Wand tool is selecting too many colors, reduce the Tolerance value. The Magic Wand tool is notorious for creating aliased, or hard-edged, selections even if Anti- Caution Aliased is checked in the Options bar. It functions very similarly to the way that the Magic Wand tool does, only it typically returns much better results than the Magic Wand.

The problem here is that pieces of the blue sky are hidden behind a lot of branches. But this is a perfect job for Color Range. Color Range selects a range of colors throughout the document. The black-and-white representation of the image now shows white where there is sky. White represents selected areas, and black represents areas that are not selected.

You might notice some gray areas. These are pixels that are partially selected. If we were to colorize a partially selected pixel, it would only be partially colorized. The Fuzziness value is somewhat like the Tolerance value in the Magic Wand tool, except that in Color Range, you can actually see the difference it is making to the selection area. If you ever forget how to do anything pertaining to selections, you can probably find your answers by using this menu.

The two options you should be aware of from this menu are Inverse and Reselect. Inverse deselects everything that is currently selected and selects everything that is currently deselected.

No worries. Just select the background, and then choose Select Inverse to select the tulip. Choose Select Reselect to select whatever was selected last. You can also save a selection from this menu. The selection will save with your document, and Tip you can reload it anytime from the Select menu. This is great for complicated selections that take a while to create.

The two conditions are these: you must have a currently active selection, and you must have a selection tool selected. Do those two things, and the Refine Edge button will be clickable in the Options bar.

The Refine Edge dialog box allows you much more control over how your selection works. As you can see from Figure , it has some very helpful options. The first two options are powerful, but complex. You can create a rough selection of intricate objects, and then have Photoshop attempt to find the details and refine the selection for you. The Smooth option is great for something like the Magic Wand tool, which can return rough edges.

Increase the Smooth value to create a smoother transition. The Feather option allows you to blur the edges of the selection. You can see what effect this property has on your selection by looking at the preview in the document window. Use feathering when you want to make subtle changes such as a color change to the sky and you want it to blend in instead of having the hard edge created by the selection. In almost all of those cases, the problem was the same—they had the wrong thing selected!

This selection troubleshooting also works with layers. All it cares about is what you have selected, with layers or with selection areas. Skip to main content. Start your free trial. Book description This title includes additional digital media when purchased in print format. Show and hide more. Table of contents Product information. Getting to Know the Work Area Getting started Understanding the workspace Working with the Tools panel The Control panel Working with panels Using panel menus Resetting and saving your workspace Changing the view of artwork Viewing artwork Using the view commands Using the Zoom tool Scrolling through a document Navigating multiple artboards Arranging documents Document groups Using the Navigator panel Finding Resources for using Illustrator Searching for a topic in Help Checking for updates Exploring on your own Review questions Review answers 2.

View Larger Image. Part of the Classroom in a Book series. Book Sorry, this book is no longer in print. Not for Sale. Description Extras Sample Content Updates. Errata Page 87, Step 14 “Release the mouse button, then the key, to drop the Overview Pearson Education, Inc. Collection and Use of Information To conduct business and deliver products and services, Pearson collects and uses personal information in several ways in connection with this site, including: Questions and Inquiries For inquiries and questions, we collect the inquiry or question, together with name, contact details email address, phone number and mailing address and any other additional information voluntarily submitted to us through a Contact Us form or an email.

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