The Adobe Illustrator CS Wow- P15 ppsx

Judy Stead (Photoshop) This personal piece, entitled Altered States, began as a scanned marker sketch placed as a template (see the Layers chapter). In Illustra- tor, Judy Stead worked in RGB color mode so she could access the Effect >Artistic filters that are available only for RGB images. Stead traced the template using a Wacom tablet, with a 3 pt round Calligraphic brush (Diameter set to Pres- sure; Roundness and Angle Fixed). She applied Effect>Artistic>Rough Pastels (choosing a can- vas texture and varying the other options) to give a hand-drawn appearance to the lines that make up the facial contour. Next, she blocked in large areas of color with filled shapes drawn with a 3 pt round Calligraphic brush, setting the opacity to Multiply, so the underlying line work was visible. Using the Charcoal Art Brush, Stead added texture to the hair. She then printed the composition (shown above right) onto newsprint drawing paper using an inkjet printer. She colored specific areas of the draw- ing, such as the hair, with pastels. After scan- ning the drawing into Photoshop, she applied further enhancements using a variety of Photoshop brushes, adjusting their size, flow, and blending mode. With these brushes, she applied large areas of color to the background, as well as to both sides of the face. On separate layers, using Photoshop brushes with various shapes, textures, opacity, and flow, she added to the drawing until she was satisfied with the end result. Chapter 12 Illustrator & Other Programs 395 Timothy Donaldson (Photoshop) Lettering artist Timothy Donaldson takes delight in the difficulty people have associating his abstract calligraphy, like Ducal (above), with artwork made with Illustrator. Donaldson cre- ated every element of the piece using default or custom Illustrator Art brushes. He drew each object on its own layer. Later, when he opened the layered artwork in Photoshop, he selected objects, applied blurs and drop shadows and adjusted transparency. Some of these Photo- shop treatments can also be achieved using the Effect menu and the Transparency palette. (See the Transparency & Appearances and the Live Effects & Graphic Styles chapters for more on the Appearance and Transparency palettes and the Effect menu.) 396 Chapter 12 Illustrator & Other Programs April Greiman (Photoshop) April Greiman, of April Greiman Made in Space, took advantage of Illustrator's ability to pro- duce resolution-independent vector graphics when creating this large wall mural for the Cafe & Fitness Center at Amgen. Greiman began with source photos and original images. In Pho- toshop, she combined the images, adjusted the hue, saturation, and opacity and made adjust- ments with levels and curves. A variety of filters were applied to the images, such as Gaussian Blur, Motion Blur, Ripple, and Noise. Greiman knew that when the image was enlarged, the pixelated effect would enhance the image, just as she wanted. When Greiman was satisfied with the Photoshop image, she saved it as a PSD file. The PSD file was imported into Illustra- tor and text was added. The text was created on several layers with varying opacities. The size of the Illustrator image was 21 inches x 5 inches, and the final mural measured 36 feet x 11.3 feet. The pixels in the Photoshop image were greatly distorted when enlarged to the final mural size. This desired pixelated effect was combined with crisp text that Illustrator can produce at any magnification. The final image was output from Illustrator and printed directly on vinyl. Chapter 12 Illustrator & Other Programs 397 Lance Hidy (Photoshop) Illustrator Lance Hidy photographed hands holding a book several times until he had a "natural" pose. He scanned the photograph and, in Photoshop, lightened the shadows and other dark tones in the image before print- ing it. On this print, Hidy drew outlines of the hands directly using a fine-tipped pen. Then he scanned the marked print and placed the resulting TIFF file in Illustrator as a tracing template. He was able to clearly follow the con- 398 Chapter 12 Illustrator & Other Programs tours and details of the hands as he traced with Illustrator's Pencil tool. 398 Chapter 12 Illustrator & Other Programs David Pounds (Photoshop) David Pounds used to do much of his creative work in Photoshop, but he can now work almost exclusively in Illustrator, due to recent improvements to the program. In this illustra- tion, Pounds used Photoshop to make different versions of the photo in order to accentu- ate various details. For instance, he created a posterized version (Image >Adjustments > Posterize) to help him see the image as areas of color. He also created a few versions using Lev- els (Image >Adjustments > Levels) to accentuate specific details of the image. He opened his layered .psd file in Illustrator, then set up layers for tracing the photo with closed paths. Using the Pen tool, he created closed shapes and used the Eyedropper tool, with the Shift key, to pick up color from various layered versions of the photograph in Photoshop (the Eyedropper tool in Illustrator now allows for greater range of color sampling options, much like Photoshop). Whenever he wanted to create another varia- tion of his photo in order to accentuate a miss- ing detail, he created that version in Photoshop (using Levels, for instance). He then chose Select > All, and Copy. Moving back to Illustra- tor, he created a new layer for this version and used Paste in Front ( -F /Ctrl-F), which placed the new version of the photo in perfect align- ment with the previous variations of the same- sized Photoshop file. Chapter 12 Illustrator & Other Programs 399 Ron Chan (Photoshop) Illustrator Ron Chan began this illustration for the Catellus Web site by employing many of the same Illustrator techniques described in his "Cubist Constructs" lesson (in the Drawing & Coloring chapter). After drawing and filling objects with color, Chan brought the artwork into Photoshop, where he selected individual elements and added textures to lend a more organic look the illustration. Similar results can be achieved using Effect menu commands, with transparency and opacity masks (see the Transparency & Appearances and Live Effects & Graphic Styles chapters for help with effects, the Transparency palette, and opacity masks.) 400 Chapter 12 Illustrator & Other Programs Louis Fishauf / Louis Fishauf Design Limited (Photoshop) For this image about e-commerce, Louis Fish- auf brought Illustrator objects into Photoshop, where he created transparency and blurring effects. Fishauf filled the credit card and house front objects with white in Illustrator. Then he pasted them into the Photoshop file and built gradation layer masks to simulate progres- sive transparency in the objects. Besides using Illustrator-drawn objects as compositional elements in Photoshop, Fishauf also used the objects to create underlying glows (done with Photoshop's layer effects). To see how similar effects can be achieved using transparency, opacity masks, and live effects in Illustrator, see the Transparency & Appearances and Live Effects & Graphic Styles chapters. Chapter 12 Illustrator & Other Programs 401 Filip Yip (Photoshop) Filip Yip began by drawing Illustrator objects and organizing them on many separate layers (so each object would remain on its own layer when he later exported them to Photoshop). He decided on the overall color scheme, col- ored the shapes, and added blends. Yip then exported his Illustrator objects into Photoshop in order to add transparency, feathering, and lighting effects. The artwork (shown above right) was exported as a Photoshop PSD file. In Photoshop, Yip was able to easily manipulate the illustrator objects, since they were on sepa- rate layers. He enhanced the blends with the Airbrush tool, adjusted the transparency, and applied the Add Noise filter. Blurring effects (such as Gaussian Blur) were used to highlight details of the image. To further soften the blends, Yip also applied the Fade Brush Tool (Edit >Fade Brush Tool >Fade > Dissolve) in the Dissolve mode. 402 Chapter 12 Illustrator & Other Programs Chris Spollen (Photoshop) Chris Spollen often creates his col- lage-like illustrations by weaving back and forth between Illustra- tor and Photoshop. He always starts with thumbnail pencil sketches (below right), which he scans and places as a template in Illustrator (see "Digitizing a Logo" in the Layers chapter). He then creates his basic shapes and elements in Illustrator. While some of his illustrations do end up being assembled in Illustra- tor, this piece, "Hot Rod Rocket," was finalized in Photoshop, with many of the objects becoming "Illustrator/Photoshop hybrids" (such as his white clouds on an angle, which began as simple Illustrator shapes). In order to control his layers in Photoshop, Spollen moved one or more selected Illustrator objects at a time into a single layer in Pho- toshop using drag-and-drop. Spollen then reworked the shapes in Photoshop using the Paintbrush and Airbrush tools. He also adjusted the opacity. The 3D-looking rocket originated as a scanned toy "rocket gun," while the moon began as a scanned photo. "Hot Rod Rocket" received an Award of Merit in the Society of Illustrator's Show. Chapter 12 Illustrator & Other Programs 403 Bryan Christie (Photoshop, MetaTools Infini-D) Bryan Christie assembled this mechanical bug with Illustrator and later integrated Photoshop and Infini-D, a 3D modeling program. The 3D shapes, such as the leg joints and circuit boards, were first drawn in Illustrator as an outline without detail or color, and then imported into Infini-D and extruded into 3D shapes. To map the color and the details of the circuit boards, Christie drew and colored the circuitry in Illus- trator. He then exported the artwork as a PICT and mapped it onto the 3D shapes in Infini-D. Christie created the transparency of the wing by mapping a grayscale image that was origi- nally drawn in Illustrator onto the wing shape in Infini-D. To complete the mechanical bug, he rendered the artwork in Infini-D, opened it in Photoshop to make minor touchups (such as color correction and compositing separately rendered elements), and finally converted the entire image into CMYK. 404 Chapter 12 Illustrator & Other Programs [...]... Graphics Server, 366 Illustrator See Illustrator CS ImageReady, 361 InDesign See InDesign LiveMotion, 363 Photoshop See Photoshop PostScript See PostScript Premier, 358 Reader, xxiii, 24 Streamline, 112,129,386 SVG Viewer, 364 Adobe Illustrator ClipBoard See AICB Adobe Illustrator CS CD, 36, 37, 366 Adobe Illustrator CS Scripting Guide, 37 Adobe Illustrator CS User Guide See User Guide Adobe Illustrator. .. separate layers with the Pen tool Then Jones Yardbird," Joe Jones used Illustrator artwork brought the artwork into Photoshop where as components in building the 3D model in Ray he applied edge treatments and simulated the Dream Studio, and as texture maps to cover effects of weathering by painting onto the art the model in Bryce To start the artwork that Then he flattened and saved the files In Bryce,... programs He took advantage of the precision possible with Illustrator to draft sections, plans and profiles of objects before importing them into Silicon Graphics Alias Sketch!, a 3D modeling program He also made color and bump maps in Illustrator, then retouched them in Photoshop For this illustration, the first step was to draft the layout of the pinball machine in Illustrator The elements in this design... files In Bryce, would serve as texture maps for the metal Jones imported and mapped the images onto panel seams, window masks, rivets and other the modeled plane parts In all, he filled the elements of the model, Jones drew objects on scene with nearly 3000 Illustrator objects Chapter 12 Illustrator & Other Programs 407 Artists Erik Adigard, see M.A.D) Adobe Systems, Inc 345 Park Avenue San Jose, CA... lights He brought the finished rendered image into Photoshop for retouching Chapter 12 Illustrator & Other Programs 405 Tom Willcockson / Mapcraft (Bryce) Cartographer Tom Willcockson visited the campus of William Paterson University to acquire image Then he imported the base map JPEG photographs, building floor plans and other and draped it across the terrain He rendered materials Then in Illustrator, ... base the image and exported it as a JPEG, which map of the campus roads, rivers, vegetation he placed on a template layer in Illustrator areas, building outlines and other features He traced the streets, building footprints and After scanning a contour map, Willcockson other features in Bryce-rendered perspective drew closed contour lines, filling them with view Willcockson drew the buildings, and then... color map Bergman used the Gradient tool to create the background, and he used a combination of the Star tool (hidden within the Rectangle tool) and the Filter>Distort>Pucker and Bloat filter to create the starbursts Bergman imported the artwork into Sketch! where he created 3D objects by extruding and lathing individual items After rendering a rough preview image, Bergman added the final maps, colors... images to serve as source images in from a brush library he had created for other Bryce: the grayscale contour layer and the base maps (See the Brushes chapter to learn about map artwork In Bryce, Willcockson imported 406 the contour JPEG and generated a 3D terrain using scatter brushes for map symbols.) Chapter 12 Illustrator & Other Programs Joe Jones: Art Works Studio (Ray Dream Studio, Bryce, Photoshop)... cats, 82-85, 130, 224, 256, 356 CD label template, xxii, 4 CD packaging, 125 CD-ROM drive, 2 CDs Adobe Illustrator CS, 36, 37, 366 Illustrator CS Wow! Book See Wow! CD CDS Documentation Services, 412 CE Software, 55 center point relocating, for radial gradient, 238 rotating around, 52 "ChO2 The Zen of Illustrator" folder, xvi chain links, 134-135 Chalk Scribbler brush, 133 Chan, Ron, 90-91, 400, 408... applications, xx, xxii-xxiii keys to mastering, 40-41 meaning of "CS" in, xx new features, xx-xxvi Scripting Guide, 37 system requirements, 2 tutorials, 412 User Guide See User Guide with other programs, 382-386 See also specific programs as Web design tool, 374-375 Illustrator Legacy Options dialog box, 262 IllustratorCS Wow! Course Outline, xvi IllustratorCSWowCD See Wow! CD image formats, 32-33, 360, 362 image . Viewer, 364 Adobe Illustrator ClipBoard See AICB Adobe Illustrator CS CD, 36, 37, 366 Adobe Illustrator CS Scripting Guide, 37 Adobe Illustrator CS User Guide See User Guide Adobe Illustrator. color and bump maps in Illustrator, then retouched them in Photoshop. For this illustra- tion, the first step was to draft the layout of the pinball machine in Illustrator. The elements in this. of the image. To further soften the blends, Yip also applied the Fade Brush Tool (Edit >Fade Brush Tool >Fade > Dissolve) in the Dissolve mode. 402 Chapter 12 Illustrator & Other