A Beginners Guide to Adobe Illustrator
By: R. Emerson Hawkins
A Beginners Guide to Adobe Illustrator - Copyright © 2016 by R. Emerson Hawkins All rights reserved. No part of this book may be reproduced in any way without the specific written permission of the author, except for brief quotes in reviews or articles with attribution included. Cover design and photographs © 2016 by R. Emerson Hawkins The author is a retired freelance Photoshop/Illustrator editor with over ten years of experience in both the private and commercial fields. Adobe, Photoshop and Illustrator are registered trademarks of Adobe Systems Incorporated. The use of any of the trademark names in this book in no way implies any connection with or any endorsement of the material contained herein by Adobe Systems Incorporated. Other books by R. Emerson Hawkins author available on Kindle: AN ILLUSTRATED GUIDE TO PHOTOSHOP LAYERS MARCHING ANTS A GUIDE TO PHOTOSHOP SELECTION TOOLS AN ILLUSTRATED GUIDE TO PHOTOSHOP FILTERS
Introduction: Raster versus Vector: Starting a new file: Paths: Selecting: Shape Tools: Pen and Pencil Tools: Swatches panel: Fills: Strokes: Brushes: Patterns: Gradients: Symbols: Combining objects: Layers: Align and distribute: Transform tools: Cutting and Erasing: Inserting photos: Expand objects: Blending: Effects: Appearance panel: Type: Mesh tool: Summary:
Introduction: This book is intended for people who are new to Illustrator, and as such it will not cover everything in absolute detail. For example, most tools and effects have various options but covering each and every one would extend beyond the intentions of this volume. The majority of options should be self-explanatory and additional information is always available in the help files. With options and effects experimentation can be an excellent teacher as well. What I do cover in the book is intended to get you started and answer many questions of the basic questions that might otherwise puzzle a new user. Many people who begin Illustrator have some experience with Photoshop. Be aware that although there are similarities between the two programs and they are designed to work together, individually they are very different. For instance, both programs have a lasso tool, but they bear no resemblance to the other in their use. Each program has a pen tool used to create paths, but there are subtle differences there as well. If you are coming from Photoshop very little of it will be applicable here, in fact it might even cause confusion. Prepare yourself to start all over. Using shortcut keys for the various tools and functions in Illustrator is a tremendous time saver just as it is in Photoshop. Although I use them extensively, I will not attempt to name them all. The default shortcuts, where they exist, are shown to the right of the tools and the menu choices. Additionally you can assign your own, if you wish, from the main menu: Edit – Keyboard Shortcuts. Note: One of the most important shortcuts is Ctrl + Z. Use it once to undo the last change or it can be used multiple times to step back progressively. The terms path, shape, and object that I use in the book are interchangeable. At the heart of every object/shape in Illustrator is a path. It will be helpful to duplicate the simple examples I give in the book for yourself. Examining the layers panel after duplicating them will help you understand the program better. I make the assumption that the reader possesses basic computer skills common to all software such as copy, paste, open, close, save files, etc. Any menu panels mentioned can be opened from Window – panel name. Though in reality complex shapes are really just a combination of simple shapes, we seldom think of them in that way. But when you use Illustrator it will make your work much simpler if you do think of simple shapes. The gear shape in the image below has an inner circle for the hole, an outer circle for the body, each tooth is a triangle, and the key slot is a rectangle. Complex shapes can be constructed by combining, removing, duplicating, and altering geometric shapes in an endless variety of ways. Unless you are a very talented artist, this is the easiest way to work in Illustrator. Perfect symmetry is difficult if not impossible to draw by hand. Instead, first draw half of an object then duplicate and join the halves.
Gear shape example
Adding depth and dimensionality to shapes can be rather complex. Again the best way to proceed is to look at each element as a separate piece of the whole. The V shape shown below is a combination of 5 separate pieces plus different effects on some of the elements.
V shape example
There are two ways to view objects in Illustrator. Use the main menu -View tab and choose either Preview or Outline mode. (Ctrl + Y) Preview mode shows the object with the fill, stroke, effects, etc. Outline mode shows only the underlying paths.
Above the same objects - preview mode on the left and outline mode on the right
A NOTE TO THE READER: I am presently using Illustrator CS6. Although there are some differences between versions, the principles are the same for the tools and techniques covered. Also, I am using a Windows computer; therefore I will use only the PC key designations throughout this book. The Mac key equivalents (alt=option, ctrl=command, etc.) are by now commonly known, so I do not see the need to continually repeat them for it may be more cumbersome for the reader if I did.
Raster versus Vector: Before you begin using Illustrator you must first understand what it is, and when and why to use it. Many people who use Adobe Illustrator also use Adobe Photoshop and they work well together, but though there are similarities between two, they are fundamentally different. Photoshop is a raster (pixel) based program, also known as bitmap. Images in Photoshop are composed of individual pixels, each filled with color. Pixels are all the same size, though they can be any size, and are placed in a grid pattern. When you increase the size of a raster image beyond 100% the image will deteriorate. Vector images are composed of mathematically placed points. When you change the size of a vector image the position of all the points and the lines connecting them are recalculated and placed appropriately. The result with a vector is that regardless of the size, it will remain sharp. This is best illustrated visually in the magnified detail below of two circles, one raster and one vector. Note the visible “stair stepping” of the pixel image on the left while the vector on the right remains smooth and sharp at the same magnification. The vector on the right could be increased in size to fit on the side of a truck or even larger, and it would still remain sharp.
The image on the left is raster, on the right vector.
Scalability is important when dealing with graphics, logos, text, etc. For instance when you design in vector, the same logo that’s used on a business card can be scaled up for stationary, a book cover, or even to the size of a billboard with no loss in quality. File sizes for vectors are much smaller compared to pixel based files. The biggest drawback to vectors is that they are not generally well suited to photographic quality images. Though photo quality can be recreated with vectors, the complexity of colors and lighting in photographic images are much better represented in a pixel format.
Starting a new file: The main menu bar at the top of the page is used to begin a new document. FileNew or use the shortcut Ctrl + N. There is also an option of New from Template. You can choose from an existing template or from one of your own templates (Use File - Save as Template). For now we’ll just choose File-New which will bring up the new document menu shown below.
New document menu.
In the new document menu we can give it a name and choose an existing Profile or make a custom profile by defining it with the options below. The first item below Profile is Number of Artboards. In Illustrator a work surface is referred to as an artboard and you can have more than one for a single document. For instance you might want to design a letterhead and a business card on the same document, so you would use two artboards. When you use more than one artboard you have options as to how they are placed and spaced, though all this can be changed later if you wish. Artboard size can be set as custom and assigned in the width and height, or use any of the listed sizes such as lettering, A4, etc. Orientation of the artboard can be portrait or landscape. Units such as inches, points, pixels, etc., can be selected as well. The bleed section is used if the document will be sent out to a printer. Under the advanced section, the color mode can be set to CMYK or RGB depending upon the final use. If any raster effects will be used in your design you can set the
resolution for them to 72, 150 or 300 PPI. For our purposes here we’ll just use a letter size in CMYK format as shown above. Click Okay and you should see something similar to the image below with an artboard ready go.
A single letter size artboard
Use the artboard tool to alter an artboard as needed, also see additional tool options are available below the main menu bar. Left click and drag the tool to create additional artboards on the fly.
Artboard tool
Note: Objects can be drawn outside of the artboard or extend over it. Saving files: Use File – Save As. Files can be saved in a variety of ways, depending upon future use. Check the help files to learn about each. For the purpose of getting started with Illustrator, you should save your work in the Illustrator AI format. As with any computer activity, it is always good practice to save your work frequently .
Paths: Everything you create in Illustrator is a path. Most objects by default have two attributes, a fill and a stroke. The fill is the interior of the object, and it can be a solid color, a pattern, a gradient or blank. The stroke surrounds the object, it can be (among other things) a solid color or a gradient and it can be adjusted in a variety of ways, or it too can be blank. You can combine objects to make more complex shapes, but for now we’ll keep it basic and make a simple rectangle.
A simple rectangle object
The rectangle tool is circled in red in the tool panel (also shown in the “tear-off” panel on the right). Note: The small triangle symbol in the lower right corner of the tool indicates that other tools are below it, left click and hold to reveal them. Select the rectangle tool, left click and drag on the artboard to create the shape. At the top of the tool bar (circled in red) choose the fill color, the stroke color, stroke thickness, style, etc. In this case I used a black stroke of 4 pts thickness and set the fill color to red. Fill and stroke colors are also indicated at the bottom of the tool panel (red arrow). Every shape you draw in Illustrator is a path. Paths are simply anchor points connected by lines. The number of points will be dictated by the shape’s complexity, and an anchor points can be either smooth (curved) or a corner point. Our simple rectangle has 4 corner points, one at each corner connected to the others by straight lines. More complex
shapes will be a combination of smooth and corner points. Paths can be altered after they are in place as often and in any way necessary. Once you create a path you can select individual points and drag them to alter the shape. Corner points can be changed to smooth points and vice versa. In addition points can be deleted and added. Individual points are selected using the Direct Selection tool (white arrow).
Selecting and dragging the lower right corner point has this effect on the rectangle
See the example above: When a point is selected, the anchor point options become available in the upper tool bar (circled in red). This allows you to convert points, remove points, open a closed path, etc. Note: A closed path is a path that completely encompasses an inner area. Such as a circle, a rectangle, etc. An open path is not connected, such as a single line. Clicking convert to a smooth point in the menu bar (circled above in red) will change a corner anchor point into a smooth point (curved). Conversely a smooth point can be converted to a corner point. See the effect in the example below:
Converting a corner point to a smooth point
Selecting: IMPORTANT: In order to alter any object in any way, it must first be selected. Ctl + click a blank area to deselect.
Tool panel - Selection and direct selection tools circled in red
Selection tool (v): The black arrow is used to select entire object, or objects. Click within an object or drag around to select more than one object. Alternately you can shift click to select multiple objects. All anchor points on the object or objects will be selected, and a bounding box will appear around the object or objects. Drag any edge of the bounding box to change the size of an object (hold the shift key to constrain proportions). Hover outside a corner point to rotate an object (a curved arrow appears).
Bounding box around a circle shape using the Selection tool
Direct selection tool (A): The white arrow is used for selecting and altering individual anchor points. To select multiple points, drag over the points or shift click each one you wish to select. Left click inside the object to select all.
Direct selection tool example: Selected point in lower right corner, changes the point to a solid color. Nonselected points are open.
Lasso tool: Directly below the direct selection tool (white arrow). Drag around to select multiple points to be manipulated with the direct selection tool. Magic wand: Directly below the selection tool (black arrow). It is used to select multiple objects based on specific criteria. Double-click the tool to open the options panel.
See the image below, set for fill color it will select all objects with the same fill color.
Magic wand options panel
Using the magic want to select just the objects with grey fill
Once selected, all the objects can be altered as a group. This would be useful if you needed to change the fill of a number of different objects rather than changing each separately. Note: Regardless of the current tool in use, objects can be selected by clicking the small square in its corresponding layer in the layers panel. Shift click to select multiple objects. (See the Layers chapter) Deleting objects: with an object or objects selected, hit the delete key, or select and delete the layer containing the object. (Illustrator will warn you that the layer contains artwork) Duplicating an object: With an object or objects selected using the selection tool, alt + left click and drag to duplicate. (Double black-white arrow appears) Objects can also be copied and pasted using the standard shortcuts, or from the Edit menu. Note: The Edit menu offers several options for where copied objects will be pasted.
Shape Tools: The tool bar is shown below. As mentioned earlier any tool with a small triangle symbol in the corner, has other tools beneath it. Left click and hold to access the additional tools. Any of the multiple tools items can be torn-off and placed anywhere within the workspace. As shown in the image below, left click the right side of the panel once (red arrow) to convert it to a tear-off, then drag it where you wish. This is convenient for tools that are used frequently, such as the pen and shape tools.
Left click the right edge to tear-off the panel
We’ll begin with basic shape tools shown in the tear-off panel above. All of these shapes can have a fill and stroke as previously discussed. All of these shapes are closed paths. Rectangle tool (M): Left click and drag to create the shape. Hold the shift key to constrain it to a square. Hold the alt key to draw from the center out. Rounded rectangle: Left click and drag to create the shape. Use the up-down arrow keys to increase or decrease the corner curve. Hold the shift key to constrain to a square. Hold the alt key to draw from the center out. Ellipse (L): Left click and drag to create the shape. Hold the shift key to constrain it to a circle. Hold the alt key to draw from the center out. Polygon: Left click and drag to create the shape. Use the up-down arrow keys to increase or decrease the number of faces. Hold the shift key to place the object level.
Star: Left click and drag to create the shape. Use the up-down arrow keys to increase or decrease the number of points. Hold the ctrl key and drag to control the length of the points. Note: After selecting any of the basic shape tools mentioned above, alt-click anywhere in the workspace to open the tool options to set the parameters manually.
Star tool options panel
Flare tool: The final tool is seldom if ever used by most people, but you may like to experiment with it. Select the tool and click on the artboard to open the options.
The flare tool options panel example
Directly to the left of that set of tools is another set of tools as shown below in the tear-off panel.
Additional shape tools
Line segment tool: Used for drawing straight lines of any length. Hold the shift key to constrain to horizontal, vertical or 45° angle. This shape is a single line open path which has only a stroke initially. Using expand will convert the stroke to a fill and allow the addition of a stroke. (See expand objects chapter) Arc tool: Used for drawing curved open paths. Hold shift + alt to constrain. Spiral tool: For drawing spirals. Left click drag to change the size. Use up and down arrows to increase or decrease the spirals. Rectangular grid: Makes rectangular grids. Use up-down and the left-right arrow keys to increase or decrease the partitions. Polar grid: Makes a circular grid. Use the up-down and the left-right arrow keys to increase or decrease the number of radial and concentric divisions. Note: After selecting any of the basic shape tools mentioned above, left clicking once anywhere in the workspace will open its options panel allowing you to set the parameters manually.
Polar grid options panel
Pen and Pencil Tools: The pen tool is known to be the hardest tool to master, but it is the most powerful. The best way to master the tool is to practice with it. I recommend tracing simple objects to begin with and as you grow more familiar with it try tracing increasingly complex shapes. A complete guide to using the pen tool would go beyond the scope of this beginners guide. For our purposes we will cover just the basics. Note please that there are many good tutorials available for free on the internet which will cover it in much greater detail.
Pen tool tear-off panel
The tools in the image above from left to right: The pen tool (P): Used for setting points to draw a path. Add point tool: Adds points to a path. Remove point tool: Removes points from a path. Convert point tool: Converts points between corner and smooth, and changes handle angles. To begin, with the pen tool click once on the artboard to set a single point, click in another area to set a second point. Doing so will create a line connecting the two points. Each anchor point created with just a click is a corner point. In this example the line created between the points is an open path, thus it can have only a stroke at this point. Start a new shape with the pen tool, click to set four points to create a rectangle shape. When you get back to the original point a symbol (plus sign with a small circle) will appear indicating this will close the path. Begin a new shape by clicking and dragging straight up around the middle of the art board. Dragging creates a smooth point, known as a Bezier curve. Bezier curves have two handles which can be moved with the direct selection tool (white arrow) to alter the curve. Next move to the right and place a second point parallel to the first, click and drag down roughly the same distance as the first. You should have something like the image below.
Pen tool example
When you drag a point, the curve will go in the direction you drag. In this case the first point was created by dragging up and the second point by dragging down, creating the half circle open path shown above. Begin again and recreate the half circle above, only this time go over the original point, click and drag up to complete the ellipse closed path. Keep dragging up until it looks even. You should see something similar to this image below:
Ellipse with the pen tool example
Now on the ellipse you just created, click on the first point with the Convert point tool. Doing so changes the smooth point into a corner point. The result is shown below:
Convert tool example
To get the ellipse shape back, use the same convert tool, click and drag up to make the point back into a smooth point. Experiment - drag down and check the result. Clicking the end of a handle with the convert point tool will remove the handle. Click with the toll on the bottom of the handle on both the left and right points to create a closed half circle. Now we have points that are half smooth and half corner. See below:
Remove handles with the convert point tool
To get our ellipse back, use the same convert tool again. With it, drag up on the left point on and drag down on the point on the right side of the half circle. To change the direction of a Bezier curve after it is in place, use the convert anchor point tool to drag a handle to the new direction. In the image below I took the lower point handle and moved it to point up using the convert point tool. See below:
Convert tool used to change direction
To add additional points to a path use the add point tool, and use the delete anchor point tool to completely remove points. Alter the position of handles and points using the direct selection tool. Paths drawn with the pen tool can contain any number of smooth and curved points in any combination. Note: Open paths can be joined. Select two end points and from the Main menu Object – Path –Join or use the shortcut Ctrl + J. Note: When dragging smooth points, hold the shift key to constrain them to vertical or horizontal. The pencil is used to draw freehand style. It lays down points as you draw based on the options you choose. Like the pen tool you can use it to make open or closed paths. Additionally the smooth tool, in the same group, smooths out curves on existing paths. Use the path eraser to erase sections between anchor points on an existing path. Double click the pencil and smooth tools to open the options panel.
Pencil tool tear-off panel
Pencil tool options panel
Swatches panel: Choose fill and stroke colors from the swatch panel.
Swatch panel
The swatch library is opened with the icon in the lower left corner. The Other Library category will import the swatches used in a previously saved Illustrator AI file. Double click any color swatch to open the options panel, or use the icon labeled #2 above. Colors can be grouped by first choosing them and then clicking the icon labeled #3. Icon #5 will delete a selected swatch or group. The new color swatch icon is labeled #4 which allows new colors to be added. Additionally you can double click the foreground or background color in the tool panel to open the color picker. Drag the new color to the swatch panel to save it.
Color Swatch options
Fills: Fills can be solid colors, patterns, or gradients and are chosen from the swatches panel. If it isn’t open use the main menu - Window - Swatches.
Swatches panel
Circled in the image above red is the library dropdown list from which you can choose additional colors, patterns, gradients, etc. As you select an item or items from the library, they are added to the swatches panel.
Using a pattern as fill
Strokes: A stroke surrounds an objects perimeter and can be a color, gradient or pattern as chosen from the swatches panel. Strokes can also be a brush (see Brushes). Strokes are altered using the stroke panel shown below. Weight is the thickness of the stroke. Cap options are used on the ends of open path strokes. Corner style and stroke alignment options are used on closed paths. For both open and closed paths, dashed lines and arrows can be added and adjusted to suit your requirements.
Stroke options panel
The options shown in the Stroke panel above produced the stroke in the image below. Notice the profile setting effect. Some profiles are standard and you can also add your own. (See the width tool in this section)
Dashed stroke with arrow
The Width Tool: Stroke width can be altered with the Width Tool. Use the tool to drag any part of the stroke to change its width. As you change the stroke using this tool a new profile will be formed. To save the new profile, open the profile dropdown and click the Add to Profile icon.
Width tool used on a stroked circle
For more precise control, double click on a point to bring up the Width Point Edit box (see below).
Note: The width tool can only be used on inside aligned strokes. Brush strokes: Brushes can also be used for a stroke. Open the Brushes panel to choose which you
would like to apply. The brush library dropdown (circled in red below) lists others which are available. Brushes will be discussed in greater detail in the next chapter.
Circle path stroked with a calligraphy brush
Gradient strokes: Gradients can also be used for strokes. The gradient panel is shown below where you can alter the way the gradient is applied. Gradients are discussed in greater detail in a separate chapter. Note: Gradients strokes cannot be combined with brushes, nor can the width tool or profiles be used.
Gradient stroke applied to a circle with no fill
Brushes: Brushes are used for strokes, either by applying to an existing path, or by creating a path by painting directly on the artboard. There are 5 brush types in Illustrator. Calligraphic: Behaves like a calligraphic pen. Scatter: Scatters copies of an object along a path. Art brushes: Stretches a shape along a path. Bristle brush: Looks like it was made by bristles. Pattern brushes: Paints a pattern made from individual pieces.
The example below is the same path stroked with each type of brush:
Brush type examples
Brush panel
The brush library can be accessed from the Brushes panel lower left icon. You can also make and save your own brushes. Icon #1 shown above removes the stroke from a selected path. Icon #2 changes the brush options used on a selected path. Icon #3 will open the New Brush panel where you can select the brush type from 3 options, which in turn will open another panel for setting its options. Icon #4 deletes a selected brush.
New Brush panel
Select the brush type, and click OK to open its options panel. Scatter and art brushes can also be made by dragging an object into the brush panel, and then defining its type and options. The blob brush: Unlike the other brushes, the blob brush is not used for strokes. Essentially you use this paint brush to make objects. Use the bracket keys to control brush size on the fly. Hold the shift key to constrain to vertical or horizontal. I used the blob brush as shown below to create a compound shape. (Compound shapes, as covered earlier, are composed of more than one path.)
Blob brush example
Double click to open the Blob Brush options panel. Check the Keep Selected option to add onto objects as you paint, rather than create separate shapes with each stroke of the brush.
Blob brush options panel
Patterns: You can create your own patterns using any object. Select the object then from the main menu Object – Pattern – Make. When you are finished click Done found below the main tool bar.
Pattern Options Panel
There are too many options to review here. Experimentation should give you a pretty good feel for what is possible.
Gradients: As mentioned previously, gradients can be used as fills or strokes. Open the gradient panel from the main menu Window - Gradient. From this panel you change colors, add new stops, adjust stop opacity, select linear or radial type, and adjust the angle. Add a new stop by left clicking a blank area. Adjust the stop position by dragging. To adjust the color, double-click a stop to open the color window. Also, you can drag a color swatch from the swatches panel onto the stops to change the color. To delete a stop select it and click the trash can icon, or simply drag it off of the gradient strip.
The gradient panel
The gradient tool in the tool panel does not apply a gradient. Gradients are chosen from the swatch panel as a fill and can adjusted with the tool directly on the artwork. Drag it to change the location, you can also change the angle, stop color, stop location, add and delete stops, etc. This tool is available for fill gradients only, not for gradient strokes. The white diamond icons ae the top of the strip are used to adjust the color blend. Note: Make certain that fill is set as the foreground color when using the gradient tool. (Red arrow in the image below) Use the “X” key to switch foreground and background.
Gradient tool
If you wish to save a new gradient for future use, drag the foreground color swatch (red arrow above) to the swatch panel.
Symbols: Beside the symbols in the library, an object can be made into a symbol. Symbols are treated like a single object regardless of the number of parts used to create it. If you wish to edit a symbol after it is placed you first need to break the link. With the symbol selected on the artboard, click the unlink icon (labeled #2) as shown below. To edit a symbol in the symbols panel, double click it. When you are done editing click the new symbol icon (labeled #4) to add it. Use the trash icon to delete symbols from the panel (labeled #5) Icon labeled #3 opens the options panel.
Symbols panel
To create a new symbol, select an object and drag it to the panel. Alternately click the new symbol icon (labeled #4) above. The options panel will open, name it, and select the options as needed. Note: The Type does not matter, except for exporting when importing to Flash.
Symbol options
You can drag a symbol to the artboard, or click the icon labeled #1 to place the symbol. Alternately the symbol sprayer tool can be used. Other tools below it are used for altering the spray symbols in various ways. Open the tool options panel by double clicking the tool. Note: Tool size can be altered on the fly with the bracket keys.
The Symbol tools
Symbol tool options panel
Combining objects: As mentioned earlier complex shapes can be made by combining objects in various ways. Starting with a simple rectangle and a circle we can combine them using the Pathfinder. If it isn’t open it from the main menu Window-Pathfinder. In the example below I used the rectangle tool and the ellipse tool to create two objects. The circle was created last; therefore it is the top object. They each have the same fill and stroke, and are separate. We’ll use a Pathfinder Shape Mode to combine them into a single object. But before we can do anything both objects must be selected and they must overlap one another. Drag the black arrow tool over them to select both.
Pathfinder example
Once both objects are selected, click to unite the shapes in the Pathfinder panel (red arrow). See below: notice how the stroke surrounds the outside of the new combined shape.
Adding to objects with the Pathfinder
Using the same example click the next option on the panel (red arrow) to minus the front object from the object below it, creates a new shape. See below:
Minus front example
Using the same Minus Front option you can punch a hole on an object. This creates what is known as a compound path, as it is composed of two paths, one path around the rectangle and one path around the circle. This means that either path can be still altered separate from the other. Remember; use the white arrow tool to select individual points.
Creating a compound shape with pathfinder
The third Shape Mode option combines just the intersection of two objects, and the fourth option excludes the intersection area. We have another tool at our disposal for combining objects which is much more versatile. Once you understand it, you may never use the Shape Modes again. It is called the Shape Builder Tool.
Shape Builder Tool
In the example above I made four rectangles. I wish to combine them into a lattice
pattern. This is a job for the Shape Builder tool. (First select everything using the selection tool). Now select the Shape Builder tool. This tool sees the areas which overlap as separate areas. So instead of seeing just the four shapes, it sees 17* separate areas and allows us to combine those areas in any way we wish. *17 areas - the white enclosed area in the middle is seen as an area too. Left click and drag the tool across any areas you wish to combine. As you drag, the areas to be combined become highlighted, as shown below. When you have the areas highlighted, release and they will combine.
Shape Builder tool highlighted area
Left click, drag and release each area you wish to combine until you get the results you are after. Holding the alt key will delete an area. The result is shown below:
Lattice pattern made with the Shape Builder tool
In the above example, by combining areas the Shape Builder tool created 8 separate objects out of the original 4 rectangles. Each of those separate objects could be altered, moved, have the fill and stroke changed etc. individually. To see it more clearly we need to look at the layers panel in the next section. Stacking order of objects: As mentioned earlier, each new object by default becomes the topmost object. The order for any selected object can be changed. Use the main menu Object - Arrange, or the assigned shortcuts.
Main menu – change the stacking order of objects
Layers: Note: Each new object you create is added to the currently active layer on its own sublayer. If you don’t see the layers panel, open it from the main menu Window-Layers. In the example below the main layer is named Layer 1 by default. The 8 layers below it are sublayers, each containing a separate path, by default named
. (The 8 pieces making up the lattice) If you don’t see all the layers, click the triangle icon on the top layer to expand. Note: Double click a layer name to rename it. Layers can be dragged and moved within the layers palette to alter the stacking order.
Layers panel
Unlike in Photoshop the Layers panel in Illustrator is used mainly for organization. You could for example, create a very complex composition all on a single layer. Though doing so might be very confusing. To add a new layer, click the new layer icon I labeled #4. New layers are added above the currently selected layer. A layer highlighted in blue is the currently selected layer. A selected object is indicated by a blue square on the right side of the corresponding layer. In the example above all the objects are selected, thus the blue square in visible next to each layer. To manually add a new sub-layer to the currently selected layer click the new layer
icon I labeled as #3 below. Layers can be turned on or off using the eyeball icon on the left side of the layers, or locked and unlocked by clicking the empty box to the right of the eyeball. A locked layer cannot be edited. Delete a layer by selecting the layer then click the trash can icon labeled #5 above, or drag the layer to the icon. Grouping objects: Sometimes it is convenient to group objects so that they are handled as if they are a single unit. It is also helpful for organizing complex creations. Grouping adds a new layer by default named . Other groups can be “nested” within a group. To group and ungroup objects: Select the objects and from the main menu Object Group or Ungroup. Alternately use the default shortcut Ctrl + G.
Grouped objects
Align and distribute: Use the Align panel options for aligning and distributing objects. See the example below:
Align example
Before we can do anything you must select all the objects. The align to center icon produces the result shown below:
Align center example
The second set of options allows you to distribute multiple objects. The final option allows you to distribute objects a specific distance based on a key object that you select.
Align to key object example
I set the key object on the far right by clicking on it and set the distance as .25 inch. Select either horizontal or vertical (circled). See result below:
Distribute horizontal to key object example
Transform tools: Use these tools rotate, scale, shear, and reflect an object or objects based on an axis set by the user. Select the rotate tool. Click on a point inside or outside the object to set the point. Now click drag the tool to alter the object around the point. Hold the alt key to duplicate the object. Double click the tool icon to open the options panel to set it manually.
Rotate tool options
Reflect tool options
Use the key shortcut Ctrl + D, to duplicate the last transformation as many times as you wish. See the example below:
Rotate a rectangle 10° and copy it
Result of using Ctrl + D 8 times
To set the axis point outside of an object, select the object. As shown below, the axis point for the star shape is set below the object by Alt + clicking which also opens the options panel. I set the rotation to 20° and clicked the Copy button, then use Ctrl + D to duplicate the effect until the stars complete a full circle.
Axis point outside of the object
Ctrl + D multiple times to duplicate
Transform functions are also available from the main menu Object – Transform, as shown below, each having its own options panel. Remember you need to select the object first, use Ctrl + D to duplicate a transformation.
Main menu - Object – Transform
Cutting and Erasing:
Cut and erase tools
The top tool shown above is the eraser tool. It is used to completely erase parts of an object. You can control its size on the fly using the bracket keys. Double click the tool to open the options panel. On the star object below I erased a portion of a star point.
Eraser tool example
The scissors tool is used mainly for opening a closed path. Click on any anchor point to un-join. On the star below I clicked an anchor point with the tool then used the direct selection tool to drag the path open. The closed path is now an open path.
Scissor tool example
The Knife tool is used to convert a single object into multiple objects. Hold shift + alt key to constrain to vertical or horizontal. I cut the star below into two pieces with the knife tool. Now there are two separate objects, each on its own layer.
Knife tool example
Inserting photos: If you wish to incorporate a photo in Illustrator, use the Main menu File – Place. Generally speaking, its good practice to place images on a new layer. By default a placed image is linked to the file, although it can be embedded if you wish. (Embedding images can substantially increase file size) Here I placed a photo from Boothill Cemetery in Tombstone Arizona. Embed and other options are now available below the main menu bar. Use the Trace options dropdown to select a tracing method if you want to turn the photo into a vector. A separate Image Trace panel can be opened in the Window menu providing additional options.
Placing a photo
For this photo I chose the 3 Colors trace option. Note in the result shown below, that additional options are now available. The one we are concerned with is on the right, Expand.
3 color traced image
Expand objects: Expanding an object converts each component into individual editable paths. Expanding the traced photo from the last chapter yields the result below. I included the Layers panel which literally contains dozens of separate paths all in a group.
Expand example
Any object can be expanded. From the main menu, use Object Expand. The star object below with a fill and a stroke would expand into two separate objects. Originally one object on a single layer, it is now stroke object and a fill object, each on its own layer and each are independently editable.
Expand panel
Separate stroke and fill layers after object is expanded
Note: In the star example above, after being expanded the stroke would become a compound path, while the fill portion is a regular path.
Blending: The blend tool is used to blend two objects together in a variety of ways. Beginning with two different objects shown, select the blend tool, double click to open the options panel. Set it and close. Now click on the center of each to create the blend.
Blend two objects
I set the options to 5 specified steps as shown below with the result. The options panel can also be accessed from the main menu Object-Blend-Blend Options.
Blending a red rectangle and a green circle
Where you click on each object will alter the outcome. In the example below I clicked the lower right corner of the green rectangle and the upper left corner of the red rectangle. The blend options were set to specified distance of .25.
Blend example
In this example I used stars to make a blend. Look at the layers panel, there is a path layer and two layers each containing a star.
Blend example with the layer panel
The path that the stars follow can be altered just like any other path. Below I used the Add Point Tool from the Pen Tool menu, changed it to a smooth point then dragged it up with the Direct Select tool.
Altering the blend path
As shown in the layers panel, or if you view the blended objects above in outline mode, you will only see the original two objects. In order to create paths for everything that you see in preview mode, use Expand.
Effects: A variety of effects can be added to objects. Select the object then from the main menu use the Effects tab and select the ones you wish to use. Most effects include an adjustment menu. There are a large number of effects with various settings from which to choose and reviewing each one is again beyond the scope of the book. Bear in mind that raster effects will compromise the appearance and scalability of your project. To help counter this, open the Document Raster Effects Setting menu (under the same tab) and change the resolution to 300 PPI which will any render raster effects at the highest quality.
Document Raster Effects Setting
Effects applied from the main menu apply to the entire object. They are not permanent and can be further adjusted after they are applied. (See the Appearance panel chapter) In the image below I applied the Warp - Arc filter to a circle object.
Warp - Arc effect example
As shown above, the original circle path to which we are adding the effect does not change. It’s only the effect that is changing its appearance. To make the effect permanent, from the main menu use Object - Expand Appearance. Once done, the effect will be gone from the appearance panel, and the path will conform to the effect shape.
Appearance panel: The appearance panel is a very powerful tool, consequently explaining it in complete detail would be beyond the intended scope of this book. For now we’ll cover just the basic concepts. The panel is somewhat like a layers panel, in that each component part of an object is listed separately as an item and they can be dragged to change their stacking order. Using the example from the last chapter, we can see the object has a Warp - Arc filter directly under the path section. (Meaning the effect applies to the entire path – note the fx symbol to the right) This object has a fill and a stroke shown as separate items in the panel; click the black triangle to expand them. Click on Warp: Arc to open its menu to readjust the effect.
Appearance panel example 1
In the image below we see a circle with a green fill and an orange 15 pt. stroke. Those properties are reflected in the panel as well as the opacity of each, and any or all of which can be altered within by clicking any item to open its options.
Appearance panel example 2
You can add additional strokes, fills, and effects from the panel. Clicking the lower left add a stroke icon I added a new black 4 pt. stroke and dragged it above the orange stroke in the panel to make it visible. See below:
Adding a second stroke
Effects can be added from the panel using the fx icon and you can choose whatever the area to which the effect will be applied. In this case I’ll highlight the black stroke as shown above that section is in blue. Then I’ll use the fx icon and select the Warp – Arc effect as we did in the prior example and use the same settings. The effect name appears
directly beneath the highlighted black stroke, and thus it affects only that stroke. See the result below:
Effect applied to a stroke from the appearance panel
Use the icons on the lower right corner to clear all the effects, duplicate an item, or delete any individual highlighted item (stroke, fill or effect).
Type: There are 3 type tool categories at your disposal, each available as horizontal or vertical.
Type tools (T)
Point type tools: The first tool is known as point type. Select the tool, click anywhere in the workspace and type. Look to the top menu area for tool options. See the layers panel below. Type is not a path at this point therefore you are limited as to how it can be modified.
Point type example
On order to have full control over modification of point type, we must convert the type into paths. From the main menu Type – Create Outlines. See below, we now have a path for each letter.
Create type outlines example
Type on a path tools:
Type on a path allows you to place type along a path. The type will continue to follow the path if you alter it later. Note the 2 vertical lines (lone with a square) on each end of the path; use the select or direct select tool on them to move the type along the path. The vertical line in the center can be dragged to move the type above or below the path. See below.
Type on a path
On addition you can access Type on a Path options in the Type menu. See below:
Type on a path options panel (Stair Step option selected)
Area type tools: Using an area type tool, click on an existing shape to type inside of the shape.
Area type example
Access area type options from the main Type menu. See below:
Area type options panel
Mesh tool: I said early on that Illustrator is not well suited for photo realistic creations, but it can be done. As both the tool and the technique are quite advanced, I’ll touch on it only briefly. This tool is used to create a mesh on the object and at the point of each intersection a specific color is assigned. In this way it is possible to create the photo realistically with Illustrator. Beware, this can be a very time consuming pursuit. Using the photo of a red pepper I traced the outline of a front area with the pen tool and created a mesh using the mesh tool. Then add colors are added appropriately to the various points. The opacity of selected points can be adjusted from the top menu bar. The Lasso tool is a good choice for selecting multiple points in a mesh. For this demonstration I did only one section shown below:
Mesh object
Mesh tool result
Summary: Hopefully you now have a good basis for getting started with Illustrator, but please understand that we’ve only just scratched the surface. It is a very robust complex program, and becoming truly proficient with it can take a few years. Even then there is always something new to learn, so keep an open mind and by all means experiment and have fun.
