Adobe Design Basics

2020 versions

Adobe Illustrator

Adobe Photoshop

Adobe InDesign

Adobe Xd

THOMAS PAYNE
Table of Contents

Preface . . . . . . . . . . . . . . . . . . . . . . . . iii

1 The Applications . . . . . . . . . . . . . . . . . . 1

2 Illustrator Basics . . . . . . . . . . . . . . . . . . 9

3 Illustrator Paths . . . . . . . . . . . . . . . . . . 33

4 Illustrator Type . . . . . . . . . . . . . . . . . . 53

5 Photoshop Basics . . . . . . . . . . . . . . . . . 73

6 Photoshop Layers . . . . . . . . . . . . . . . . 101

7 Images to Illustrator . . . . . . . . . . . . . . . 115

8 InDesign . . . . . . . . . . . . . . . . . . . . . . 133

9 Xd . . . . . . . . . . . . . . . . . . . . . . . . . . 161

10 The Right Tool . . . . . . . . . . . . . . . . . .169

11 More Illustrator . . . . . . . . . . . . . . . . .179

12 More Photoshop . . . . . . . . . . . . . . . . .189

13 More InDesign . . . . . . . . . . . . . . . . . . 197

A DO BE CC DE SIGN BASIC S i
Preface

This book is made for students who would like to

learn the basics of the primary Adobe design applica-
tions. Although not fancy, these pages are informed
by over twenty years of teaching these applications
(and their predecessors) to hundreds of students.

The way the book teaches the applications is by in-

troducing and explaining them in a logical way that
builds upon what is previously learned. These appli-
cations present a bewildering array of buttons and
gadgets that are overwhelming to the new user. This
book makes sense of it all, not showing how every-
thing works, but instead giving a foundation and a
path to learn about all those bewildering buttons and
gadgets.

The steps in this book look a bit like tutorials. Like

tutorials, you should work in the applications as you
follow along with the reading, even when not specifi-
cally instructed to do so. Unlike tutorials, the steps
in this book present the information in a way that is
geared to having you actually learn the material, not
just a list of steps to get something that looks decent.

This book is specific to Macintosh computers, al-

though with the change of a few keys it could also
be used with the Windows versions of these appli-
cations. Knowing that the Mac Command key is the
same as the Windows Control key, and the Mac Op-
tion key is the same as Windows Alt key is just about
all you need to know.

PR EFACE iii
 This book is made for Adobe Creative Cloud (2020
versions), but it can easily be used for versions CS4
through CS6. The properties panel is the only thing
that has changed in the basics material presented
here. If you are using multiple versions of Illustrator
or InDesign you will need to save files in a way you
can open them in the other version. A quick Google
search will point you to how this is done.

The printed copy of the PDF book is listed at Blurb.

com. This electronic version can be found by doing a
search at Adobe Education Exchange (https://edex.
adobe.com).

Some conventions used in this book: New terms that

are important are highlighted in red. The sidebar
contains helpful illustrations, important repetitions,
additional information, and time-saving tips. Menu
items are presented with a right pointing angle (>)
separating the hierarchy of getting to the menu item
(e.g. File > Save).

Generally only the most versatile way of performing

an action is given. You may want to use other meth-
ods, such as keyboard shortcuts (noted next to the
menu items) and control-clicking (right-click) ob-
jects to bring up a menu.

Repetition is key to learning, and there are several

pages at the end of each chapter which will help you
learn. The first is the review, where all of the concepts
in the chapter are reviewed in list form. You can work

iv P R E FAC E
through these, making sure you know them all, and
referring back to the chapter if you do not.

The quiz is a way to test yourself on your knowledge

of the techniques, and the practice is where you can
practice the techniques by making designs. Please
feel free to add your own quizzes and practices!

Thomas Payne
January, 2020

Notes: The application versions reviewed for this text

were Illustrator 24.0, Photoshop 21.0, InDesign 15.0, and
Adobe Xd 25.1.

This book is governed by Creative Commons licensing.

You may use it and share it as much as you wish, but do
not remove the original attribution.

PR EFACE v
1 The Applications

The Languages
If there is a way to draw on the computer which is just
like a pen on paper, then no one has come up with
it yet. Instead, there are two rather unintuitive ways
of drawing a line (or anything else) with a computer.
One is vector drawing. The other is bitmap drawing.

Think of drawing a line on paper. Now think of de-

scribing that line to someone on the phone so that
they could duplicate it on their sheet of paper. You
would have to tell them where the line starts and
where the line stops. You would also have to tell them
how thick the line is and what color it is. If you could
see the language of vector drawing, your description
is what it would look like. Vector drawing is made up
of points and the description of the lines coming from
them.

Now imagine drawing a line on graph paper by only

filling in each square completely or not at all. If your
graph paper had very small squares (we will call them
pixels), your line might look pretty, but the bigger the
squares of your graph paper the rougher the line is
going to look. At any rate, imagine telling someone
on the phone how to duplicate your line using their
graph paper. You would tell them which squares were

C H A P T E R 1: TH E APP LICATION S 1
The building blocks filled in by locating these squares by row and column.
of bitmapped This exactly how computers describe a bitmap draw-
images are called ing.
pixels, a name
derived from Neither vector nor bitmap drawing is the best way to
‘picture elements’. make a mark in every situation. We need them both
for different situations. As you can see from the pho-
tograph of Aunt Judy below, a bitmap representation
of her works best. In other words, it would be easier
to replicate a photo of Aunt Judy using graph paper
than it would using lines and points. As long as the
graph paper had small enough squares.

Aunt Judy
rendered as
bitmap (left) and
as vector (right).

But when it comes to a circle, vector is clearly better,

as you can see from the examples below:

A circle rendered
as bitmap (left)
and as vector
(right).

2 C H A P T E R 1 : TH E A P PL I CAT I O N S
Adobe Illustrator
Illustrator is perhaps a little misnamed... But then
again, it has a better name than something like ‘Ado-
be Single Page Layout Program that Excels in Flexibil-
ity’.

Illustrator is for designs. You see things done with the

application every day. Logos. Magazine and newspa-
per advertisements (on the web or on paper). Charts
and graphs done by designers. Illustrations and in-
structions for everything and anything. Signs. Many
things in this book. The list goes on.

Illustrator is the application you want to use when-

ever you have some design challenges or want some-
thing that looks just right. Its language is vector draw-
ing, so anything you make in it will retain its quality at
any size. Go ahead and open up Illustrator, go to File
> New (or click Create new in the intro screen), and
select a page size. On your blank canvas, figure out
how to draw a circle (click and hold down on rectan-
gle tool to find the circle tool) or some other shape.
Then with the magnifying glass, zoom in repeatedly.
See? No change in quality no matter how much you Holding down the
enlarge it. option key with
the magnifier will
Illustrator also happens to be in a language which is allow you to zoom
close enough to PDF (Portable Document Format) back out (or drag
that you can open and save PDFs in the application. left or right to
PDFs are ubiquitous in communication, as they are zoom in and out).
easily formatted and emailed or posted on the web.
This book is in PDF format.

C H A P T E R 1: TH E APP LICATION S 3
 Adobe Photoshop
Photoshop is a bitmap application, meaning it is good
for things like Aunt Judy, or just about anything with
continuous ranges of tones like photographs. Photo-
shop uses the graph paper-like way of drawing, which
means that unless the squares of the graph paper
you happen to be using are not small enough, those
squares (pixels) are going to be visible to the naked
eye (usually not a good thing).

Photographs and other continuous-tone images are

very important in design, so Photoshop is a vital tool
in the designer’s tool box. To see the graph paper-like
quality of Photoshop, open the application up, go to
File > New (or click Create New in the intro screen),
and figure out how to draw something like a diagonal
line with the paint brush tool. Use the magnifier tool
to zoom in on this repeatedly until you can clearly see
the squares.

Adobe InDesign
InDesign is the application you should use if you have
multiple pages to lay out, need very fine automatic
control over typography, and a high level of consis-
tency. Like Illustrator, it is also a vector-based appli-
cation, so things made with it look good at any size.
Actually, InDesign is so much like Illustrator that stu-
dents will sometimes open the wrong application and
work in it for a while before they realize it.

InDesign is used to do magazines, newspapers, bro-

chures, and books. Any designs that have multiple
pages, even when those are viewed on the screen

4 C H A P T E R 1 : TH E A P PL I CAT I O N S
(like this book). It is also used when fine controls over
typography are required. Think of it like Microsoft
Word, but with a level of control many times greater.
Go ahead and open up InDesign, and as you did with
Illustrator, make a few things just to get a bit of the
feel of the application.

Adobe Xd
Since the design of web pages and applications in-
cludes interactive elements (such as clicks), Adobe
Xd is used. It is basically a trimmed-down Illustrator
with interactive features. Although Xd cannot actu-
ally make a website or application, it does allow the
design of one.

All Together Now

In actual practice these four programs are used to-
gether much of the time. So a book like this will be
done with InDesign, but the photographs (usually
screen-shot images in this case) are done in Photo-
shop and placed into InDesign, and the line illustra-
tions like the circle a few pages back are made in Il-
lustrator and likewise placed into InDesign.

Illustrator, Photoshop, and InDesign are the exact

same applications that are used by designers work-
ing for the largest brands across the world. They are
excellent tools that have developed into intuitive and
flexible ways of communicating.

But in the end, these applications are just tools. They

are the easy part of design. The hard part is how to
best use them to make designs that communicate

C H A P T E R 1: TH E APP LICATION S 5
 well. This book attempts to lead you through the ba-
sic features of the applications so that you can also
learn the more important design aspect with mini-
mum frustration. We are ‘sharpening up the saw’ so
to speak.

This book will not teach you everything you need to

know about these applications. Even the makers of
Photoshop profess to be ignorant of everything it can
do. What this book will do, however, is give you a very
good basic set of tools and lead you through the foun-
dations of the applications in such a way that further
learning can be done on your own.

After reading this book, or even during, also find a

way to learn to design effectively. What some call
putting the right mark in the right place. There are sev-
eral books out there that can help you with this. My
recommendation is Robin Williams' (not that Robin
Williams) The Non-Designer’s Design & Type Books.
Contrary to the title, this book is good for not only
the non-designer, but also the beginning designer.

6 C H A P T E R 1 : TH E A P PL I CAT I O N S
Chapter 1 Practice
Open up each of the applications and play around.
Pay attention as you play. Think of the tools and tech-
niques as puzzles, and you are out to solve those
puzzles. You don’t need to save anything, and you
can’t break anything by messing around.

Playing is an important part of learning any software

application. Don’t worry if you can’t do something
you want to do, instead just find something else to do.

And if you start to get frustrated, stop. Playing should

not be frustrating.

C H A P T E R 1: TH E APP LICATION S 7
2 Illustrator Basics

This chapter introduces the Illustrator workspace and

leads you through the making of simple shapes. There is
a lot of information, but none of it should be particularly
difficult. Please learn it well. Just about everything from
this chapter will be used in future chapters. For exam-
ple: In this chapter, the concept of using the shift key to
keep things in proportion or lined-up is covered. The shift
key is used across most tools and throughout Illustrator,
Photoshop, and InDesign for very much the same thing.
If you miss it in the first chapter, you will find life diffi-
cult in subsequent chapters. If you are new to Illustra-
tor it might be good to work through this chapter more
than once. Most of the information is very much like that
shift key.

The Workspace
Like all the applications we will be working with, Il-
lustrator uses different areas of the workspace for
different things. Go ahead and open Illustrator, then
quickly make a new document by clicking on one of
the page sizes at the bottom of the splash-screen.

Near the top right of the application window is a light

bulb icon. Click on this and the Learn panel will ap-
pear. Near the top of that panel, click the Tutorials op-
tion. If you would like to supplement your learning or

C H A P T E R 2: ILLUSTRATOR BASIC S 9
 review things, these are some video tutorials which
may help you. Generally, you could also access this
panel (and all panels) by going to Window > Learn
(whenever you see this way of stating directions in this
book it means you go to the menu bar at the very top of
the screen). Try opening another panel from the Win-
dow menu to see how panels work.

The learn panel, like all panels, can be moved around

the screen by dragging the top of the panel. Clicking
on the << icon at the top right of the panel collapses
it to only the panel title. And you can close the panel
by clicking the small X on the top left of the panel.

On the left of the screen is a special panel that con-

sists of a ribbon of tools. Like all panels, and you can
drag it wherever you want. Also see what happens if
you click on the >> symbol (expand/contract) at the
top of the tool panel. Drag the panel around and click
on the x now at the top left of the panel. Oops, if you
did it right, you just made the tools disappear. Bring
them back by going to Window > Workspace > Re-
set Essentials. Remember this menu option. A work-
space is simply the collection of arranged panels that
are shown.

There are more tools in the tool panel than you might
think at first. Many are hidden under other tools.
Tools that have other tools hidden behind them are
marked with a small triangle at the bottom right of
the tool. Hold down on a tool with the mouse but-
ton and after a slight pause these associated tools
will appear. You can either directly move over one of

10 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
these to select it, or move your mouse to the far right
vertical bar of the pop-up tools. This will tear off the
selected tools onto another floating ‘mini tool panel’
that you can position where you like or close with the
close button at the top left. Try it.

On the right side of the Illustrator workspace are oth-

er panels. These are individual boxes that govern how
things work in the application. One very important
one is the properties panel, which can be accessed
by clicking on its tab at the top of the panels. The
property panel is unlike most other panels because
it is contextual, meaning that its contents change ac-
cording to the tool or the item selected. If you have
not selected any tools, you will be seeing the options
for the page itself. Remember that any panel, includ-
ing properties, can be accessed through the window
menu at the top of the screen. Don’t let the shear
number of panels available overwhelm you. You don’t
need to use all of them.

A New Document
Close the window you were working on (by clicking
the X in the window tab) and let's learn more about
a document. Go to File > New, and take a quick look
at the splash screen that shows up. First select Print
at the top of the window, then change the units on
the right to a measurement system you are familiar
with. Either choose a letter-size sheet in the presets
(it has probably defaulted to that) or specify the size
and orientation of your sheet at the right of the box.
You will also see an option for selecting the number

C H A P T E R 2: ILLUSTRATOR BASIC S 11
 of artboards. An artboard is like a sheet of paper. You
may want to use multiple artboards for many rea-
sons, but for now one is just fine.

The More Settings button brings up an old version of

this splash screen. Kind of like Adobe buying new
socks, but keeping the old socks at the back of the
drawer. This points to an issue that you should be
aware of: There are many ways to do the same thing
with different buttons. For instance, to bring up a new
document, you could have also clicked on the Create
New button or just press the command and 'n' keys at
the same time.

At any rate, after you click Create you will have a vir-
tual sheet of paper that you can work on. Now save
your document by going to File > Save (you can click
Make sure you through the extra options shown). There are a couple
know where you of reasons for saving your document before you start
are saving files! working on it. The first is that Illustrator has been
known to crash, and if you get into the habit of saving
early and often, you will have a much better chance
of having less to redo. The second reason has to do
with files you may place into Illustrator. We will get
to that later. For now just save often.

Making a line
The things we will be learning in this chapter are not
very exciting, but they are important foundations you
need. In the toolbox, choose the tool that looks like a
fountain pen nib without a squiggly line. It is the pen
tool. Now, click somewhere on your virtual sheet of
paper (don’t drag, just click), then click somewhere

12 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
else (again, don’t drag). You just made a line. If you
are very observant, you may have noticed that there
is also a tool specifically for making lines. Don't use
that one yet. As in much of this book, use the tools as
described, since we are building a foundation here,
not necessarily doing things the most direct way!

Now choose the selection tool—a tool you will be us-

ing a lot. Just selecting this tool does two things. First,
it tells Illustrator we are done drawing our line, and
second it puts us in the mode to select things. With
the selection tool click on a blank area of the page.
Clicking on a blank area deselects everything. Now
click back on the line. You should notice that there is
blue when the line is selected. With the line select-
ed we can next change the thickness and color of the
line.

To change the thickness of the line, click on the prop-

erties panel tab on the upper right of the workspace
(or go to Window > Properties). Under Appearance,
you will see an option for stroke. A stroke is what Il-
lustrator calls a line. Making sure your line is still se-
lected, change the stroke weight (width) of the line
to something fairly big—maybe 6 or 8 points. Points
(pt) are a unit of measurement that is much better
for small things such as type and stroke weights be-
cause you don’t have to deal with small fractions. So There are 72 points
instead of having a measurement like .0833 inches, in an inch—a good
you just have 1 point. A point is 1⁄72 of an inch, so a 72 thing to remember!
point line would be one inch wide.

C H A P T E R 2: ILLUSTRATOR BASIC S 13
 To change the color of the line, click on the small box
to the left of Stroke. This panel deserves a little con-
sideration, but first click on several colors to change
the color of your line.

You will notice that there is a very limited range of

colors you can can choose here. To choose any col-
or Illustrator is capable of, click on the artist palette
icon in the panel and drag the sliders to change the
color of your line. Now go to the small menu icon on
the upper right of the panel. These panel menus are
important, and present options for the panel. In this
case, you can choose the way the color choices are
Remember the presented in the panel. The default of CMYK is com-
panel's menu at mon for print projects, and the RGB chooser is com-
the top right! mon for web projects.

Back at the properties panel, click on the word Stroke

itself. The resulting panel allows you to change the
character of the line. Play around with some of the
choices—the currently important ones are fairly self-
explanatory and we will look at them more a bit later
in this chapter.

Remember that the properties panel is contextual,

meaning it will change according to what is select-
ed. Here it is basically duplicating the functionality of
two other panels, the color panel and the stroke pan-
el. In the main menu, go to Window > Color and Win-
dow > Stroke so that you understand this. Sometimes
these dedicated panels present choices not avail-
able in the properties panel, and sometimes they are
handy to keep open for other reasons.

14 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
In all panels there are usually several ways of chang-
ing a number (value) such as a stroke weight. You can
either highlight the number, then enter the new num-
ber and hit the return key, choose from a pull-down
menu to the right of the number, or use the up and
down arrows to the left of the number. Remember
that you can specify decimals, such as making a line
weight 1.3 points wide. Also, sometimes when you
put the cursor over an option in a panel and leave it
for a few seconds, and explanation of what that op-
tion does will pop up. This is handy, but is not consis-
tently implemented.

Modifying a Line
The first thing we will modify about our line (in ad-
dition to the stroke weight and stroke color) is the
placement of line. The selection tool should be still
selected—if not, select it. Now click on your line, hold
down the mouse button, and drag it to another place
on the page. Do it again, but this time hold down the
option key as you move the line. Your arrow cursor Almost all key
should change to a double-pointer to indicate it will strokes done in
copy the line. Let up on the option key after you have combination with
let go of the mouse button. Get used to holding down the mouse require
keys like this when you perform an action. Illustrator you to let go of
(and the other applications) use this technique quite the key after the
a bit. mouse button
is released!
The selection tool lets you choose and move things
(objects) in Illustrator. The direct selection tool (right
next to or under the selection tool—the solid pointer)
lets you select and move the parts (the points) of an
object. Using the direct selection tool, click on either

C H A P T E R 2: ILLUSTRATOR BASIC S 15
 the beginning or the end of your line. The small hol-
low box that represents a point on your line should
fill in to indicate that it is selected. The other end of
your line should have a hollow point to indicate it is
A hollow point not selected. If this is not the case, click off the line to
indicates not deselect everything then click back on the beginning
selected, a filled or end to select the point and drag to move the point
point indicates somewhere else. Your line will follow.
selected.
Every object in Illustrator is made up of points and
To click and drag line(s) coming out of those points. Your line is made
means you hold with two points. Now select both points with the di-
down on the rect selection tool. To select multiple points in Il-
mouse or trackpad lustrator you can either drag your mouse to make
while you are a box encompassing both points or you can select
moving the cursor. one point, then while holding down the shift key se-
lect the other. Practice both ways. When you move
a point with both points selected (filled in), you are
moving the whole line (with the same effect as mov-
ing the line using the selection tool).

Points in Illustrator are called anchors or anchor

points. We will see later that there are two types of
anchor points. The type of anchor point we are deal-
ing with now is called a corner anchor point.

Play around a bit with points and lines, making mul-

tiple lines, moving them, copying them, and changing
their stroke weight and color. If you mess up, you can
always go to Edit > Undo. Since there are multiple un-
dos, and since undoing something is probably some-
thing you will use a lot, you might want to learn the
keyboard shortcut for this, which is (always) noted

16 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
next to the menu item. For Edit > Undo pressing both
the command key (next to the space bar) and the z
key (at the same time) will do the same thing as go-
ing to the menu item. This keyboard shortcut works
with many applications, so you might know it already. Keyboard
shortcuts are
If you want to delete an object or a point, first select noted next to items
it and then hit the delete key. If you are not used to in the menus.
working on Macintosh computers, it is the large key
that is labeled delete, not the smaller key normally
used with Windows computers.

Saving a File
Now you should probably save your document. Since
you have saved it before, all you really need to do is
go to File > Save, and it will overwrite your last ver-
sion (which had nothing on it). But for now, do a little
more. Go to File > Save As.

If the requester box that comes up does not have all

the details the example on the next page has, then
click on that disclosure triangle next to the folder
name. Where you save the file is very important, and
you should always double-check where it is going.

There are several formats you can save your file in.
Adobe Illustrator (.ai) is the one you will use most,
but the Adobe PDF (.pdf) is also important.

PDFs are files that retain all of their design and infor-
mation, but can be emailed, put on a disk, or posted
on a web page. They can be opened and seen just the
way they looked on your screen by just about anyone

C H A P T E R 2: ILLUSTRATOR BASIC S 17
 with a computer. It would be hard to overestimate the
importance of PDFs in today’s communication. For
now, cancel the save, as we are not going to use PDF
now because we want to open this file back up in Il-
lustrator, and for that job, the Illustrator format is
best.

Viewing and Nudging

With the pen tool make two lines anywhere on the
page. After you make one line you will have to go to
Holding the the selection tool and click with it to tell Illustrator to
command key stop drawing the line, then go back to the pen tool. Or
temporarily with the pen tool selected you could hold down the
switches any command key and click on your background. Holding
tool to the down the command key in any tool will switch that
selection tool. tool to the selection tool for as long as the command
key is held down.

18 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
With the direct selection tool (remember?—second
tool in tool panel) move the end of one line very close
to the end of the other line. What we want to do is
actually move the points over each other, but in order
to do that we need to magnify our view. Choose the
zoom tool (it looks like a magnifying glass) and click
near your two points to zoom in on the view. Click
several times (or drag) to get really close. This is usu-
ally necessary in Illustrator since the detail the appli-
cation is capable of is much higher than the detail the
screen is capable of. This does not change anything
in your document, just your view of it.
Illustrator will
Now with only one point selected, use the arrow keys automatically
on the keyboard to move the point closer to the oth- snap a point to the
er point. This is called nudging. Using the mouse or nearest second
by nudging, move one point directly over the other. point. Let's do it
Move around your document while it is enlarged by manually anyway.
selecting the hand tool (under the zoom tool) and us-
ing it to move the page around. If you use these tools
a lot you can 'tear off' the a panel to use. Try it with
the zoom and hand tools.

Now zoom back out to see your whole page. The op-
tion key switches a tool to something you might also
want to do with the tool. In the case of the zoom tool, The option key
holding down option changes the tool from an enlarg- often performs
ing tool to a reducing tool. You can also double-click the second most
on the zoom tool itself to bring the page to actual wanted thing
size. And if you double-click on the hand tool itself (option) with
it will reduce the page to fit in the window you have the tool that is
(two commonly used views). being used.

C H A P T E R 2: ILLUSTRATOR BASIC S 19
 Preferences & Help
You may have noticed that nudging the point either
made it go too far or not far enough. How the appli-
cation behaves is governed by the preferences. Go to
Illustrator > Preferences > General.

Preferences In the resulting box the first thing you will see is Key-
only govern board Increment—this is how far each push of an ar-
the document row key will nudge an anchor or an object. Look at
you currently some of the other things. Check out the other sec-
have open. To tions of preferences by clicking on the categories on
apply them to the left. Most will not make sense to you (don’t worry
all documents, about it), but some will.
change them with
no document open. While we are at it, check out an important menu by
going to Help > Illustrator Help. Adobe help is some-
times daunting to use since they integrate their own
material with community material, but the User
Guide (on right) will give you a ready resource.

Using the help

system is usually
more productive
than screaming
at the computer.

20 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
More Object Modifications
Most of the information in this chapter is like fuel for
your car. It doesn’t do anything fantastic, but does
prepare you for a journey. So let’s get back to our
lines. With the selection tool, click on a line to select
it and go to the properties panel again (Window >
Properties) if it is not showing and click on the word
Stroke. We will explore a couple of important options
here.

Change the cap of the line to a rounded cap. If you

can’t see the difference, increase the weight of the
line. Now check Dashed Line and enter different val-
ues in the first box to see what difference it makes. If
you leave all the other boxes blank, your dashed line
will have equal spaces and dashes. If you fill them
in with numbers your line will have a pattern to the
dashes. You will notice with your dashed lines that
each dash will have the cap type you specified (ei-
ther rounded or squared off). While you are at it, look
at the Arrowheads and Profile options. Not crucial op-
tions, but fun.

Arranging Objects
You should have several (or many!) lines (objects)
floating around on the page you are experimenting
with. If you don’t, make some more. Color at least
three of your lines differently, make them thick (by
changing the stroke width), then move them so that
they lie on top of each other somewhat like the illus-
tration at left. You will notice that the most recent line
you made lies on top of the other lines and the oldest
line you made lies at the bottom of the other lines. Ev-

C H A P T E R 2: ILLUSTRATOR BASIC S 21
 ery object you make automatically has a stacking or-
der, as if they were on sheets of clear plastic. If they
didn’t, Illustrator would not know how to treat the ar-
eas where lines overlap.

Obviously, we need to be able to change this stack-

ing order. With the top line selected, go to Object >
Arrange > Send to Back. Now with the middle line se-
lected, go to Object > Arrange > Bring to Front. See
how it works? It is a little trickier when you go to Ob-
ject Arrange > Bring Forward or Send Backward, since
there may be things stacked between the lines that
are somewhere else on the page. Maybe it would be
good to learn the keyboard shortcuts for arranging if
that happens to you.

Grouping Objects
Another thing we will need as our drawings get more
complicated is a way to combine several objects so
that they move and copy as if they were one object.
With all three lines selected, go to Object > Group.
Now Illustrator treats the objects as one. Select any
of the lines and all will be selected, copy any of the
lines and they all will copy.

Now make or move another line close to the group of

three and select both (by holding down shift or drag-
ging a box around them). Go again to Object > Group.
Now all four lines act as one object. With that object
selected, go to Object > Ungroup click somewhere
on the blank area of the page to deselect. Click back
on the lines and you will notice that the last grouping
was ungrouped, but your three lines are still grouped.

22 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
With those selected, again go to Object > Ungroup.
Now all of your lines will be again separate (you
will have to deselect and re-select one to see this).
Groups can have as many subgroups as you care to
make.

There are several ways to edit individual objects

within a group, and one way that may confuse you. If
you double click an object within a group, you will be
in Isolation Mode, which is indicated by a bar at the
top of your working window. You can either double
click any blank area in your illustration or click the ar-
row at the top left to get back to normal mode.

Making a Filled Object

There are two types of objects in Illustrator—a line
(stroke) like we have been making, and a filled ob-
ject. To make a filled object, choose the rectangle
tool and drag to make a box. Change the stroke color
and weight of the outside of the box exactly the way
you changed it for your line.

Now change the fill (the inside of the rectangle) by

choosing the Fill option (the small box) in the proper-
ties panel (remember the palette icon to select any
color). If you do not have an option to change colors,
go to the panel’s menu and change the mode to RGB
or CMYK.

Now go to the selection tool and move your rectangle

around and copy it (option key). Arrange two rect-
angles one on top of the other and visa-versa. Group
and ungroup your rectangle. You should see that a

C H A P T E R 2: ILLUSTRATOR BASIC S 23
 rectangle—and any other shape—behaves just like
your lines.

Now select a point on the corner of a rectangle using

the direct selection tool and move it around (you may
have to click 'off' your rectangle then click back on
the point at the corner of your box). You will see that
it behaves just like the anchor points on your lines. At
its heart, Illustrator is just a bunch of anchor points
and the lines and fills attached to them.

The Shift Key

Experience has The shift key is... well, key to many operations in Il-
taught me that lustrator. Make another rectangle, but this time hold
students have down the shift key while drawing it (let go after you
a difficult time let go of the mouse button). You will see that it makes
letting go of a a square. In other words, it constrains the proportion
modifier key after of the rectangle. Hold the shift key while drawing a
letting up on the circle with the ellipse tool (located under [associated
mouse button! with] the rectangle tool).

Now hold the shift key down while making a line—

it will snap to the nearest 45 degree angle. Move or
copy a line, then hold the shift key while dragging. It
will only move or copy in increments of 45 degrees.

Making a Closed Shape

You may have noticed while you were drawing your
lines that if you keep clicking the line will add new
segments. Make a line, but instead of finishing it af-
ter the second click, keep clicking around your page
to make a shape with several points. Now go back to
your original starting point. Without clicking, look at

24 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
the cursor closely. Notice the little circle next to it
when you roll over your starting point? This is a cur-
sor hint, and it means that if you click here your lines
will become a closed shape, like the rectangle. You
may have also noticed that you can apply a fill to an
unclosed shape. But don’t do it—always close your
shape first.

It might help to think of shapes in Illustrator as

shapes you might cut out of paper—you should end
your shape where you began.

Type
Design applications would be nothing without ac-
cess to all of those symbols we rely on so heavily and
which make up words. Using the type tool, drag a box
within part of your page. This text box comes filled
with Latin text—just start typing to replace it. Illus-
trator will now act as a word processing application
within that box. The properties panel now has two
sub-panels to control the type style and paragraph
formatting. Try changing the type style and size. You
can do this by either selecting some type within the
box with the type tool or by selecting the box itself
using the selection tool.

InDesign
While we are on the subject of type, let's take a quick
look at an application that excels in it. Open InDe-
sign and make a new document as you did in Illustra-
tor (specify letter size and vertical). Now make some
type exactly the same way as you did in Illustrator.

C H A P T E R 2: ILLUSTRATOR BASIC S 25
 While you are at it, do some other things in InDesign
that you did in Illustrator. The point here is that InDe-
sign functions very much the same as Illustrator. We
will not be covering InDesign more until a later chap-
ter, but in a way you will be learning about InDesign
as you learn about Illustrator. There are very impor-
tant differences in the two applications, but as far as
the basics go, they are very similar.

The Next Chapter

In the next chapter we will be getting to some diffi-
cult things, so we might as well start looking at some
things to prepare us. Instead of clicking to make
points when we draw a line with multiple points,
what happens if we drag each time we click? Try
it out. These points that we make by dragging are
called curve anchor points. You can also edit these
with the direct selection tool. They won’t make too
much sense now, but take a few minutes to see if you
can figure them out a little. Try moving the little blue
handles that show up when you click on one with the
direct selection tool.

Now Go Out & Play

This has been the densest chapter that will show
up in this book. It is filled with very basic things you
will use over and over again. Take some time to play
around with the things you learned. Also play around
with any things that look interesting. You can’t break
the application. What about that star tool you might
have seen associated with the rectangle tool? Hey, I
know for a fact that you like stars (at least better than
I do). How could you make one with eight points or

26 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
with very long spikes? You could look up star tool in
the help menu and I bet it would tell you.

And by the way — if you find yourself accidently get-

ting a colored grid within triangles on your work area,
you have a Perspective Grid. You can either close your
document and start a new one (a pretty good way to
cure being in a bad place), or you can go to View >
Perspective Grid > Hide Grid.

C H A P T E R 2: ILLUSTRATOR BASIC S 27
 Chapter 2 Review
A good way to go back over this chapter is to work
through this review to see if you know how to do every-
thing in it.

The Workspace
menu items, workspace setting
tool panel and ‘hidden’ tools
tearing off associated tools
properties panel, accessing panels

A New Document
new document box, disclosure triangle
saving a file

Making a Line
pen tool
selection tool, selecting and deselecting an object
changing the weight and color of a line (stroke)
Points as a unit of measure
changing value boxes by entering numbers

Modifying a Line
moving and copying an object, option key
direct selection tool
selected point is filled, deselected is hollow
selecting multiple points by dragging box
selecting multiple points using shift key
corner anchor points
keyboard shortcuts
deleting objects or points

28 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
Saving a File
noting location you are saving to
Illustrator format and PDF format

Viewing and Nudging

command key to switch a tool to selection tool
zoom tool, option key to de-magnify; hand tool
nudging points or objects
double-clicking on hand and zoom tools themselves

Preferences and Help

preferences to change the way application behaves
using help menu to save time and frustration

More object modifications

changing the cap and adding dashes to a line

Arranging Objects
stacking order, send to front, to back
move forward and backward

Grouping Objects
making a group out of several objects
making groups of groups, un-grouping
isolation mode

Filled Objects
rectangle tool, changing stroke and fill of an object
modifying location of points on a filled object

The Shift Key

using the shift key to constrain proportions
shift key to constrain direction

C H A P T E R 2: ILLUSTRATOR BASIC S 29
 Making a Closed Shape
multiple clicks to extend line
cursor hints to see what will happen if you click
closing shape before applying a fill

Type
making a text box
character and paragraph options in properties panel

InDesign
making a text box
similarities of Illustrator and InDesign

Playing
perspective grid
closing document and opening a new one

30 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
Chapter 2 Sample Quiz

Take two large lines and a large circle to make the il-
lustration at left. Nudge the elements to get them ex-
act (using a zoomed-in view).

Make an 8.2 point (exactly) horizontal line with a 12

point dash and an 18 point gap. Make the caps round-
ed and the color red.

Make a square, then select one of the corners and

move it to make the shape shown.

Make another square, modify it the same way, and

position it as shown. Group the two shapes.

Copy the group above. Make a line at a 45 degree an-

gle and send it to the back of the two shapes.

C H A P T E R 2: ILLUSTRATOR BASIC S 31
 Chapter 2 Practice
We don’t have many tools under our belt for Illustra-
tor, but we do have enough to make some pretty nice
things. Using the techniques in this chapter (and any
more you may have happened upon), do a design pri-
marily using lines.

Illustrator does not default to a 1 point black line be-

cause that is the best weight of line. It just has to de-
fault to something. Make lines of different widths and
different colors. See if you can make them relate to
each other to form a composition.

Make it all look good and make sense visually. Good

design is simply a matter of putting the right things in
the right places. But if this sounds easy and fast, re-
member that flying is simply a matter of jumping up
and then avoiding the ground.

Save your composition as a PDF. Send the PDF to

someone and see if it looks the same on their com-
puter. It should.

32 C H A P T E R 2 : I L LU ST R ATO R BA S I C S
3 Illustrator Paths

One of the most important but puzzling things to learn

in Illustrator is the making and editing of vector shapes.
These are the shapes that are native to Illustrator, but
they are also used in many other applications, from pre-
sentation software to CAD software (as well as in Pho-
toshop and InDesign). They are used for logos, simple
drawings, technical drawings, and many other things.
They can be enlarged or reduced infinitely with no loss
of quality. They take very little disk space and remain
able to be modified. If you learn how to deal with these
shapes effectively you will be rewarded many times over
in the future.

Corner & Smooth Anchor Points

Vector shapes are drawings that are defined by points
and lines connecting these points. You already made
some early in the last chapter by drawing a line with
the pen tool. You defined the location of the start of
a line by clicking, and then defined the location of the
end of a line by clicking again. Using the stroke and
fill panels you then told Illustrator what size and color
to make the line.

The points that you made by clicking with the pen

tool are called corner anchor points. Lines coming
from these points are straight. There is one other type
of line called a smooth anchor point. Lines coming

C H A P T E R 3: ILLUSTRATOR PATHS 33
 from these points come out at a curve. To make one
of these, first make a corner anchor point by clicking
with the pen tool, then instead of clicking where you
want the line to go, click and drag a bit before you let
go of the mouse button.

Making a
smooth anchor
point by
clicking and
dragging.

This is what you should see as you draw the line. You
might be wondering what those other lines are. You
might be totally confused. That’s okay for now. Just
move your pen somewhere else and click again to
make another corner point.

At right is a line
made with two
corner anchor
points and
one smooth
anchor point.

Now go to your direct selection tool and select the

smooth anchor point you made. Remember that with
the direct selection tool you can tell if a point is se-
lected by if the point is shown solid (selected) or
hollow (not selected). In the above illustration the
smooth anchor point is the only point selected.

34 C H A P T E R 3 : I L LU ST R ATO R PAT H S
The points at the end of the two straight lines extend-
ing from your smooth anchor point are called han-
dles. These determine two things: The smoothness
of the curve (slope) and the direction the line takes
as it exits the point.

Play around with these handles and see what hap- Sometimes when
pens. You should see that as you make the handles selecting an
shorter, the line exiting the point does so at a sharp- anchor point you
er angle. As a matter of fact, if you move a handle have to click off the
very close to the anchor point, it should behave as if it shape, then click
were a corner anchor point. As you move the handle back on the point.
around, you should notice that your line tries to fol-
low the direction you moved the handle. It can’t fol-
low it absolutely since the line has to end at the cor-
ner point on the other side of it.

Now make a circle using the ellipse tool (remember

that it is under the rectangle tool). Then use your di-
rect selection tool to select one of the points of the
circle’s four smooth anchor points. Edit the points
of the circle. Any shape in Illustrator is made up of
smooth and corner anchor points, and can be edited
using the direct selection tool. Even type (but we will
get to that later). Don’t worry if you don’t understand
what is exactly happening while you are playing.

Now go back to the pen tool and draw a line again.

Using smooth and corner points, extend that line to
make a closed shape. As you drag while making a
smooth point you are determining the angle and di-
rection of the line by how much and what direction
you drag.

C H A P T E R 3: ILLUSTRATOR PATHS 35
 Try drawing a circle. Well, make that a rock—this is
not the most natural way of drawing, and it takes a
bit of practice.

Remember that when you are about to close your

shape the cursor indicates with the cursor hint of a
small circle that if you click (or click and drag) on that
point it will close the lines into a shape that can be
filled, scaled, or copied.

Editing Anchor Points

After you play around making shapes, move back to
editing in a little more depth with one of the shapes
you made. Associated with the pen tool is the anchor
point tool (see illustration below). With this tool you
can edit points in several ways.

With the anchor point tool, click on a curve anchor

point that you have made. The point turns into a cor-
ner anchor point. Now click and drag on this corner
anchor point and the tool makes it a curve anchor
point again. The anchor point tool also allows you to
split the handles of a curve point by just clicking on
a handle and moving it. The handles will no longer
act as a teeter-totter (as they do when using the di-
rect selection tool) and you can move them indepen-
dently.

36 C H A P T E R 3 : I L LU ST R ATO R PAT H S
Now go back to the pen tool. By clicking on an exist-
ing selected line with the pen tool a point is added,
and by clicking on an existing point with the pen tool,
that point is deleted. Watch the cursor closely as you
move the pen tool over a point or over a selected line
or shape to see what will happen if you click.

These are all the tools you will need to make and
modify shapes. But they do take practice. Draw a
simple arc and edit it as below. These exercises may
not seem important, but they will help you under-
stand how these points work.

Now get the hang of drawing with the pen tool. Make
it a circle with 2 points by following the three steps
below. Don’t worry if it isn’t perfect, as you can al-
ways edit it after you make it. We will get to how
to view a grid like
the one shown
here. Before we
do, see if you can
figure it out for
Now a more difficult shape with instructions below: yourself (Hint:
View Menu).

With the pen tool, drag a handle out for your first
point. Then click directly below your first point to

C H A P T E R 3: ILLUSTRATOR PATHS 37
 Around now you make a corner point. Then go back to your first point
may start seeing and click and drag to make an upside-down tear drop
little circles with shape. With the anchor point tool, separate the curve
dots in the middle point handles by dragging one handle up a bit. With
near your shape— the direct selection tool locate the handles as shown,
this is one of then move the point itself to make your heart more
many 'shortcuts' proportional.
that you can
disregard for now. This heart gets the message across, but drawing it
with one extra point will help get the message across
better. For this heart, turn on the document grid by
going to View > Show Grid.

Make the heart as shown above using two corner

points and two curve points. The grid will help you
get things symmetrical. The resulting heart might not
make your own heart sing, so get out that direct se-
lection tool and edit it until it does.

When you are editing shapes, it is always a good idea

to delete as many unnecessary points as possible.
Imaging attempting to clean up a circle done with
many points. It would take hours to edit and never
produce a satisfactory circle.

Most Important
This step is very Now is a good time to stop following the directions
important! and strike out on your own to practice the pen tool

38 C H A P T E R 3 : I L LU ST R ATO R PAT H S
and the associated editing tools. Draw and edit dif-
ferent shapes like a...
key cell phone
paper clip pen
push-pin car outline
knife shovel
padlock etcetera...

Practice is key here. After about 45 minutes of draw- Remember to

ing simple shapes you should find that you understand zoom in a lot
how to draw in vectors and it will become much more when doing
intuitive. But beware—if you do not do this practice exacting work.
it will come back to haunt you over and over again. If
you need more help or get stuck on something, go to
Help > Illustrator Help. Choose User Guide, then look
for Drawing, then Drawing Basics (and Editing etcet-
era). You might even learn a few things that were not
covered here.

Rulers & Guides

Rulers are a crucial part of any design application. All
designs are finalized by the eye, but first organized
by dimensions. How else would you find the center of
your page for example? To bring out rulers in Illustra-
tor, go to View > Rulers > Show Rulers. The rulers will
show up on the top and left side of your window and
will be in whatever units you have set in Illustrator >
Preferences > Units. The rulers start from the upper
left of the document, but you can change the origin
by dragging the little square where the rulers meet
(very subtle!) to anywhere in the document. You can
reset the zero point of the rulers by double-clicking
on that little square.

C H A P T E R 3: ILLUSTRATOR PATHS 39
 Guides are made by clicking anywhere within the rul-
ers (except where they meet) and dragging out to the
document. For the heart we could have used guides
instead of the grid to place our points precisely. To
move or delete guides just select them as you would
an object using the selection tool. You might need to
lock them to prevent editing them by accident: Go to
View > Guides > Lock Guides. When you select this
menu item it will change to Unlock Guides.

Looking Around the Document

In the last chapter we learned how to make the docu-
ment enlarged or reduced using the zoom tool. Now
is a good time to review that. Typically working in Il-
lustrator involves quite a bit of moving the view in
and out, so it is probably good to know that with any
tool selected (except the type tool) you can hold
If you are using down the space bar to get the hand tool. Additionally
a Mac and a key holding down the command key gives you the zoom
combination tool, and add the option key into that and you get the
excites Siri, you option to zoom back out. Try these things.
can tell her not to
interfere by going One other technique is worth mentioning here. When
to  > System things get complicated in Illustrator it is sometimes
Preferences > Siri. hard to see what is going on. By going to View > Out-
line you can see objects without their associated fills
and strokes. This can help a lot, but remember to
change your view back to View > Preview to see your
document normally.

Some people also find it useful to turn off all of the

hints that pop up as you move your cursor around ob-
jects. You can do this by going to the view menu and

40 C H A P T E R 3 : I L LU ST R ATO R PAT H S
un-checking Smart Guides. Like the Window menu,
the view menu is very helpful. Try some other options.

And lastly—that space around the outside of the

page? Use it. It is called the pasteboard and is handy
for storing things that you are working on but you
don’t yet want part of your design. Get into the habit
of copying things you are working on to the paste-
board. If you succeed in making them better there
you can place them back on the page, and if you mess
them up, then just hit the delete key.

But wouldn't it be nice if the pasteboard was white

so you could see your other versions of things bet-
ter? In older versions of Illustrator it was, but with
the new stylish Adobe interfaces, it defaults to a dark I know you think
grey. Change it back to white using preferences (re- the program looks
member? —in the Illustrator menu). cooler with a dark
pasteboard (so
does Adobe), but
let's be practical.
You can switch
back to grey when
I am not watching.

Scaling & Rotating Objects

As mentioned before, there are several ways to do
anything in Illustrator. Almost always one way is best
for the job you are doing.

C H A P T E R 3: ILLUSTRATOR PATHS 41
 After you make a shape in Illustrator, you will prob-
ably want to change the size of it. One of the real-
ly cool things about vector drawing is that no mat-
ter how large or small you make something its quality
and level of detail will remain the same.

The first way of scaling is the most direct. First go to

View > Show or Hide Bounding Box to make sure the
bounding box is showing. If it is showing the menu
item will read ‘Hide Bounding Box’. The bounding box
around objects is in some cases (like this one) very
handy, but in other cases it just gets in the way. Re-
member that most menu items have the keyboard
shortcut listed right next to them if you need them.

With the bounding box showing, you can simply drag

any of the small squares on the bounding box to re-
size the object. You should always also hold down
the shift key so that you do not distort your object
(always let go of the shift key after you let go of the
mouse button at the end of the drag).

The second way to scale an object is to use the scale

tool (under the rotate tool). The advantage to using
this tool is that you can set an origin from which the
object scales. To set the origin, just click the mouse
where you want the object to scale from. You will
see a faint blue cross-hair where you click (you can
change the placement by clicking again). To size the
object drag the mouse anywhere on the document.
Don’t forget to hold down the shift key! To make a
copy while sizing also hold down the option key right
after you start dragging the mouse.

42 C H A P T E R 3 : I L LU ST R ATO R PAT H S
There is one problem with using both of these meth-
ods. Illustrator does not know if you would like to
make the stroke of your object bigger or smaller
along with the object or not. You generally do want
to scale the stroke along with your object, so go to
Illustrator > Preferences > General, and check Scale
Strokes & Effects in the right column. This will also let
you get used to going to the preferences. They are
important in any application. Remember that
preferences set
The third way of scaling is the most versatile, but is when a document
the slowest. Either double-click the scale tool itself is open will
or go to Object > Transform > Scale... Both ways will only pertain to
bring up the same requester box where you can spec- that document.
ify an exact percentage to scale (check Preview to see Without a
the effect). You can also copy the object while you document open
scale it and specify whether you want to scale the the preference will
stroke along with the object regardless of the way the pertain to all future
preferences are set. new documents.

If you are still

hankering for
ways to scale an
object, check out
the transform
section in the
Properties panel.

C H A P T E R 3: ILLUSTRATOR PATHS 43
 Using the same methods as with scaling, you can also
rotate an object using the bounding box. Move the
cursor around near a corner of a bounding box un-
til it changes to a double-sided arrow, use the rotate
tool, double-click the rotate tool, or go to the Object
> Transform menu.

The origin of the With both scaling and rotating you can repeat the
transform (scale last transformation by going to Object > Transform >
or rotate) that you Transform Again. Practice this by making a line or a
set by clicking is shape. Use the rotate tool to place the source of the
important, but very rotation (by clicking) near the end of the line, then
subtly shown. drag to rotate a bit while holding down the option
key (to copy). Go to Object > Transform > Transform
Again to repeat the transformation. You can also use
the key command to do transform again, which is (as
always) listed next to the menu item.

The resulting spiral

could be grouped
and rotated again.

Shear & Reflect Tools

The shear and reflect tools are lesser-used tools as-
sociated with basic shape modification. The shear
tool (associated with the move tool) slants an object,
and the reflect tool (associated with the rotate tool)
will mirror an object. Both also use an origin point you
set or move by clicking.

44 C H A P T E R 3 : I L LU ST R ATO R PAT H S
Use the reflect tool to make another heart. First make
a half-heart by using two corner points and one curve
point as in the example at left, then click the selec-
tion tool to stop drawing. Now using the reflect tool,
click once near the center of the heart to set the cen-
ter for the reflection. Hold down option (to copy) and
drag to reflect the side of the heart. Holding down
shift as well makes you want more fingers, but it will
make our reflection much more accurate by snapping
the reflection to the correct angle.

Connecting Lines
We now need to connect the two parts of the heart.
Zoom in on the bottom two points, and with the pen
tool, put your mouse cursor over one of the ends. The
cursor will show a forward slash next to it when you
are ready to continue the line (which we are going
to do).

Click, then move the cursor to the end of the other

line. Now the cursor shows a small box with a line
behind it. This means that clicking will join two lines.
Click to join the lines. Now we have two points, where
we should have one, but that is not a problem. With
the pen tool move over one of the points and then
click to delete it.

Do the same with the unconnected top two points

of the heart. You will notice that the cursor changes
to have a circle next to it when you are about to join
the lines. This is Illustrator’s way of telling you that

C H A P T E R 3: ILLUSTRATOR PATHS 45
 You can also clicking will produce a closed shape. Now just delete
connect two the extra point as you did above.
points by selecting
both and going More...
to Object > So far in this chapter the techniques covered are im-
Path > Join. portant building-blocks to techniques we will learn
later. But, there are many more things we haven't cov-
ered which could be useful to you.

One very important thing to do as you are learning Il-

lustrator is to play. Try different things, find out what
different tools do. It doesn’t take long to sample a
tool and see what it does—and if you mess up, just
go to Edit > Undo (although I hope you are using the
keyboard shortcut for that by now!). There are many
things in Illustrator that are self-explanatory to the
extent they will not be covered here. Like the line
tool—try it. Or see if you can figure out the keys that
let you edit points as you draw them with the pen tool...

There are several techniques in Illustrator that make

dealing with shapes a bit easier in some circumstanc-
es. You've probably figured out by now that those lit-
tle blue circles that appear near your shape do things
when you drag them. If you haven't noticed them
make a rectangle and look again. These are called
live corners, and you can change the way they behave
both by dragging them and by using the transform
controls as shown on the next page. More transform
controls can be accessed by clicking the ellipsis near
the bottom right hand side of the transform controls
in the properties panel.

46 C H A P T E R 3 : I L LU ST R ATO R PAT H S
 More transform
controls are in the
properties panel
as shown at left.

As mentioned before, this text is to give you the foun-

dations to learn the applications. There are many
techniques that you might find very useful but do not
need to be covered here. Try some of the other tools.
With the pencil tool you can vary the smoothness of
a line you draw by double-clicking on the tool itself to
bring up the options. And you can use this very same
pencil tool to edit shapes you have already made.

You might also find it handy to put your direct se-

lection tool right over a line between two points to
change its location and/or curve.

Related to this is the curvature tool, which is sort of

like the anchor point tool, but converts points from
corner to smooth (and vice-versa) by double-clicking
on the point. Try drawing with it clicking or double-
clicking as you go. You can also use this same tool If you are
to do some basic editing of points and even adding interested in
points—all without those annoying anchor handles! learning more
This tool is easy, but limited in what it can do. Then about a tool
again, you might prefer making preliminary drawings or technique,
with the tool and then editing using the other tech- remember the
niques. Help Menu.

C H A P T E R 3: ILLUSTRATOR PATHS 47
 While looking for tools and techniques that might be
useful for you, remember that the most important
thing to learn from this chapter is the making and ed-
iting of simple shapes using the pen tool and its asso-
ciated editing tools. Don’t take the easy way out and
skip this. Instead practice and go over the steps here
again until you get the hang of vector shapes.

Remember that you can’t break Illustrator by pushing

the wrong buttons. The worst you can do is mess up
the document that you are working on, and it would
be hard to do that if you make it a habit of saving fre-
quently. That is a good habit.

48 C H A P T E R 3 : I L LU ST R ATO R PAT H S
Chapter 3 Review
Corner and Smooth Anchor Points
clicking while drawing to make a corner anchor
clicking and dragging to make a smooth anchor
handles of a smooth anchor (slope and direction)
making and editing points of an ellipse (circle)
clicking or dragging to make a closed shape

Editing Anchor Points

anchor point tool to edit points
changing between smooth and corner anchors
splitting the handles of a smooth anchor point
adding and subtracting points of an object
drawing simple shapes
showing document grid

Practice
making and editing simple objects

Rulers and Guides

showing rulers, changing and resetting origin
making and deleting guides

Looking Around the Document

keyboard shortcuts for zoom and hand tools
changing between outline and preview views
turning on and off smart guides
using the pasteboard

C H A P T E R 3: ILLUSTRATOR PATHS 49
 Scaling and Rotating Objects
showing and hiding bounding box
scaling with bounding box, scale tool
setting preference to scale strokes (& effects)
scaling by double-clicking scale tool
scaling with transform menu
different methods of rotating an object

Shear and Reflect Tools

how to use shear and reflect tools

Connecting Lines
continuing a line with the pen tool
connecting two lines with the pen tool

More
experimenting to find useful tools and techniques

50 C H A P T E R 3 : I L LU ST R ATO R PAT H S
Chapter 3 Sample Quiz

Using the document grid to get exactly equal lengths,

make a line with 5 corner points as shown.

Copy this line and convert the upper points into curve
points as shown.

Copy this line again and reflect it DIRECTLY below the

original as shown. Connect both shapes to make one
enclosed shape, then fill with grey as shown.

The logo for a Paralympic Games is shown at left.

Reproduce it as accurately as possible using the pen
tool to make the 3 shapes. Use the circle tool to make
the white circle

Using a vertical guide (or guides) to get a perfect

shape, make a drop like the one shown with 1 corner
anchor point and 1 curve anchor point.

Copy the drop shape and scale it to exactly half its

size. Rotate and copy this drop at exactly 90 degree
intervals. Make a square and rotate it exactly 45 de-
grees and center the group of drops within it to make
the design shown.

C H A P T E R 3: ILLUSTRATOR PATHS 51
 Chapter 3 Practice
1. On a horizontal letter-sized page, draw various
fruits, vegetables or hand tools using the pen tool
and editing points as needed. Think about how you
would make the shapes using colored paper you cut
out—doing it in Illustrator is much the same. Arrange
these, adding color and any other design elements if
you would like. Try to make your entire page a pleas-
ing composition.

2. Find logos for your favorite companies. Remake

them the best you can using Illustrator. Also check
out www.logotypes.ru—There are hundreds of logos
here that you can download Illustrator (.ai) versions
of. Open them up and see how they are done. Modify
them to see what you can get.

52 C H A P T E R 3 : I L LU ST R ATO R PAT H S
4 Illustrator Type

So far we have been examining the drawing tools in Il-

lustrator, but type control is perhaps the most flexible
and powerful aspect of the application. In this chapter
we will examine some of the type controls in the applica-
tion, because, after all, it would be unusual to complete
a design without using those ubiquitous symbols we call
letters.

Two Ways to Make Type

In Chapter 2 we saw how to make a type box by drag-
ging a box with the type tool then typing within it. Go
ahead and do this again, and just leave the placehold-
er latin text that it defaults to.

Make sure that the bounding box is on by going to

View > Show Bounding Box (if it reads Hide Bounding
Box, do not select it). Now with the selection tool drag
the corners of the completed type box (type area in
Illustrator terminology) around. The type will move

Re-sizing
type area.

and reformat according to the dimensions of the box.

This way of entering text into Illustrator is called area

C H A P T E R 4: ILLUSTRATOR TYP E 53
 type. It is the best way to enter text that will need to
flow within the type area.

We call longer sections of type and paragraphs body

or paragraph copy. If the type extends past the text
area you will get a small red box with a ‘+’ in it which
signifies that the box has more text than is shown.

Shorter bits of type, like small statements and head-

lines are sometimes called headers. When you want
headers to flow with the body copy that accompanies
them, often you put them into these type area box-
es. But when you want more flexibility in how short
strings of words behave then you make them a dif-
ferent way.

Now instead of dragging a box with the type tool, just

click somewhere on the page with the type tool (make
sure a type box is not selected when you do this). Af-
ter you click you can start typing. This is called point
type. Go ahead and type a couple of words (or leave
the placeholder text). Now with the selection tool,
click on the words you just made. If you do not see
a box around the letters, turn on the bounding box
(View > Show Bounding Box).

Re-sizing
point type.

54 C H A P T E R 4 : I L LU ST R ATO R TY P E
Now when you drag the corners of the box with the Sorry to bring this
selection tool the text will enlarge and reduce instead up again, but a
of flowing within the box. As a matter of fact, the text common mistake
will act just like any other object you have made in is to let go of the
Illustrator. Hold down the shift key while you drag shift key before
to constrain proportions of the type (you should al- you let go of the
ways do this), or option-drag to copy the type. Or use mouse. Always
the rotate tool or any other tool as you did with a line let go of the
or closed object. Even with the type diagonal and re- mouse (trackpad)
versed it will remain able to be edited by just clicking BEFORE you let go
inside the type with the type tool. of the shift key!

You can also change between area and point type by

double-clicking on the small circle to the right of the
text box. Point type is very useful if you have short
bits of text that you would like to be very flexible,
since it can be transformed (scaled, rotated, etcet-
era) visually. With short lines of words not connected
to a paragraph it is far better than changing type siz- Area type and
es in the character panel since it can be scaled visu- point type behave
ally very easily. very differently
when editing.
With both area and point type, change the color of
the fill and stroke the same way you did with other
objects, but be careful how much stroke you add to
your type as it can distort the letter shapes. Try a few
other things, such as reflecting and skewing.

Character Options
In Chapter 1 you explored part of the character sec-
tion of the properties panel. Let’s look at it a bit more
and how it can effect both area and point type. Re-
member that to make any changes in Illustrator you

C H A P T E R 4: ILLUSTRATOR TYP E 55
 must have something selected. Select some type you
have made by either selecting the entire box with the
selection tool or by selecting individual type by high-
lighting it (dragging over text with the type tool).

Now highlight the typeface name in the character op-

tions in the properties panel and start to type ‘times’.
You will see as you type a list of typefaces with the
letters you are typing appear. Also notice that be-
fore you even started typing the typeface name a
list of all the type on the computer you are working
on appeared. And... as you roll your cursor over the
typeface names, the selected type in your document
dynamically changes to the typeface. Very handy in-
deed.

While scrolling through the typeface names you can

instead use the up and down keys on the keyboard.
In this way you can see your type in dozens of type
styles in very little time. It is well-worth spending a
little time figuring out the type menu. Choice of type
style is a very important aspect of design.

56 C H A P T E R 4 : I L LU ST R ATO R TY P E
Although this book is not about design, several de-
sign concepts need to be brought up here. Type is di-
vided into two broad classifications, serif and sans
serif, and most type you choose in the type panel will
be one or the other. Serif type is distinguished by the
small little extra ‘flags’, or serifs, on the ends of most
of the letters. The most common (not the best!) serif
type style is Times.

For your selected text, first choose a very common

sans serif typeface, Helvetica, (perhaps by using the
pop-up menu to the right of the type name). Look at
other type styles and figure out if they are serif, which
usually have a classic look, or sans serif, which usu-
ally have a more modern look.

Type style variations appear in the box directly be-

low the type style in the character options. Usually
you can choose at least bold, italic, or bold italic, but
some type styles (often referred to as fonts) have
many more options. Illustrator (and any other appli-
cation) does not have its own type styles, but instead
shares type styles (fonts) that are installed on the
computer. So Illustrator on one computer may have
different type styles and variations than the applica-
tion will have on another computer. This is an impor-
tant point to remember as it has many ramifications The exception to
if you work on more than one computer or collabo- this are 'Typekit'
rate with others. fonts that are only
available to Adobe
The point size box in the character panel should be applications.
somewhat familiar to you, but the other main options
may not be. Leading (pronounced like the metal with

C H A P T E R 4: ILLUSTRATOR TYP E 57
 an -ing ending) is the space between lines of type
(technically the vertical space a line of type takes
up). Select several lines of type and see how this
works. You can specify increments less than a whole
point number as you can also do for the size of the
type itself. Leading can be used to fit copy (text) into
a specific space (copy-fitting) or more commonly to
improve the look or readability of a block of type. The
text in this book has a leading of 14.5 points, which is
2.5 points larger than the automatic leading setting.
It makes the book easier to read on the screen and
seem a little friendlier.

The kerning box below the point size controls how

much horizontal space there is between two letters.
Put your type tool cursor between two letters in a
word that is sized to around 40–60 points. Changing
the kerning will alter the space where the cursor is.
You wouldn't want to do this in body copy, but it is
commonly done in headers where the space between
each letter is very visible.

Next to the kerning value box is tracking. Tracking

is the space between letters like kerning is, but with
tracking it is between all of the letters.

Either select a sentence, paragraph, or type box and

change the tracking value. As with leading, this can
be done to adjust copy-fitting, but is more commonly
used to improve the look or readability of a block of
text. The text tracking of this book is increased from
the default value to compensate somewhat for how it
is rendered on the screen (which tends to ‘fuzz out’

58 C H A P T E R 4 : I L LU ST R ATO R TY P E
the letters somewhat). The header type has even
more positive tracking applied as this makes it look
more fluid.

You can find more options for type by clicking on the

ellipsis at the bottom right of the type options. These
are not needed now, but could come in handy if you
inadvertently stretch some type.

Paragraph Options
The paragraph options in the property panel is most
useful with area text (although you should see what
it does using it with point type). With a text box or
a paragraph(s) selected, change the justification of
your paragraphs by clicking on one of the first four
boxes in the options. Don't use the last three boxes—
these are for very special uses.

The first will make your text left justified or aligned

only on the left. This is the most common way to for-
mat text, and the main one used in formatting this
book. The second box centers your type. This makes
the text very difficult to read, but every once in a
while it is suitable for short bits of text like song lyr-
ics. The third box is right justified. This is also an The left side-bars
unusual way of formatting text, but can be used for in this book are
short pieces of text in specific situations (like the right justified.
sidebars of this book). The fourth box fully justifies This is also called
the text (also called right justified or just ‘justified’). ragged left.
This is also a very common way to format text. The
other paragraph formatting options change the way
the last line of a paragraph appears in justified text
and are very rarely used.

C H A P T E R 4: ILLUSTRATOR TYP E 59
 By clicking on the ellipsis at the bottom right of the
paragraph options you are presented with other op-
tions such as indenting and adjusting the vertical
space after a paragraph. Commonly used is the op-
tion to hyphenate words available at the bottom of
the panel. Going to the options menu at the top right
of that panel will give you control over how words are
hyphenated along with other controls.
Please remember
the ellipsis and Since any paragraph formatting applies to the whole
options menu paragraph (the letters after or before where you hit
icons so I don't the return key when typing), you do not actually need
have to keep to select all the type when making a change, but only
illustrating them. put your cursor in the paragraph.

Type on a Path
There are other tools associated with the type tool.
The second tool down is the type on a path tool. It
does what the name implies.

To use this tool, first make a circle using the ellipse

tool. Now with the type on a path tool, move the cur-
sor over the top of the circle. Click and start typing.
You should see that the type starts where you clicked
and follows the path of the circle. You should also see
that the circle itself is no longer visible—it is no lon-
ger a circle, but a circular path. This makes sense,
since if you wanted type on a circle, you would want
to make another circle somewhat smaller so the type
did not sit directly on it.

Practice making other shapes with the pen tool or

with other tools and adding type to them. Then edit

60 C H A P T E R 4 : I L LU ST R ATO R TY P E
the type using the type (or type on path) tool and
clicking on the letters. This is a good point to review
those kerning and tracking options, especially if you
have text on the inside of a curve.

With the selection tool or the direct selection tool try

changing the size or any other characteristic of the
path upon which the type resides. Move a point and
its handles using the direct selection tool.

Moving Type on a Path

When you add type to a path, there are three visual
clues that are very important, but are visualized rath-
er subtly in Illustrator. To see these, first make a rath-
er large circle on your page and add a word in 20–30
point type. Turn off the bounding box (View > Hide Get used to
Bounding Box) to make things easier to see. remembering how
to turn on and off
With the selection tool, click somewhere on the cir- the bounding box
cle. The first point to look for is the center (middle) even though you
bracket of the text. This is shown by a large, faint, will later probably
and skinny blue upside down ‘T’ (it may just look like just leave it on.
a vertical bar). It might not be with your word, but
somewhere else on the circle.

Carefully move your cursor over this T until the cur-

sor hint changes to show an arrow pointing up next to
it. Now click and drag. What you are doing is moving
the center of where the text appears (which moves all
of the text). If you center-justify your text, then this
will be at the middle of your words. If you drag this
‘T’ to the inside of the circle the type will jump to the
inside of your path.

C H A P T E R 4: ILLUSTRATOR TYP E 61
 Type on a path
showing beginning
bracket, center
bracket, and
ending bracket.

Now look around the circle for a blue line near the be-
ginning of your word. It looks like a long blue line with
a small box. Move your selection tool cursor over
this line until you see your cursor showing a small
arrow pointing to the right. Click and drag. This will
also move your type, but what you are actually doing
is expanding and contracting the area in which your
type fits. If you move it too far to the right you will see
that a small red box shows up telling you that there is
more type on that line than is visible.

The end bracket should be near the end of your

word (but may not be!), and looks and acts just like
the start point discussed in the last paragraph. Play
around with these points to get used to using them.
Practice moving type around on different kinds of
paths. And make sure you look for those cursor hints
as you move your cursor around. It is impossible to
deal with type on a path without them!

After you are familiar with how to move your text on

shapes you can turn back on the bounding box, since
hiding it was only enabling us to see what was hap-
pening better.

62 C H A P T E R 4 : I L LU ST R ATO R TY P E
Outlines from Type
You have probably noticed that we have gone far be-
yond the capabilities of a word processing program
in the type controls we have. In Illustrator you have
infinite control. Select a text area box (or point text)
with one word in it. Do not select the type, but the
box containing it! Now go to Type > Create Outlines.

What you will see is that the type is no longer type,

but instead shapes like any other shapes in Illustra-
tor. After ungrouping (Object > Ungroup), move the
letters with the selection tool and the points of let-
ters with the direct selection tool around. Select the
bottom points of a letter with the direct selection tool
and drag. Reflect, size, edit the handles of a point.
What you have here is a very powerful way of edit-
ing every single thing, down to the last punctuation
mark.

Compound Paths
Make a lower-case ‘a’ and convert it to an outline.
Now zoom in to where it fills most of your window.
Click on it with the direct selection tool and you will
notice that there are two shapes—the clear part in-
side the letter and the black parts of the letter. But
notice there no way to select them as separate ob-
jects or ungroup them. When two shapes are com-
bined into one like this it is called a compound path.
This may be easier to see by making a color-filled
rectangle and placing it behind the letter.

With the shape of the letter selected, go to Object >

Compound Path > Release to separate them into two

C H A P T E R 4: ILLUSTRATOR TYP E 63
 objects like we are familiar with. Since they will both
have the same fill, you need to change the fill of the
smaller shape to white.

Two paths on the

left (inside path
with white fill),
one compound
path on right.
You might want to change this (or another two
shapes) back into a compound path if you have a sit-
uation where your letter appears over a pattern or
color. Here the white interior of the letter would re-
main white unless we selected both shapes and went
to Object > Compound Path > Make. Compound
paths are useful for many things other than letters.
Try making a donut by making two circles then mak-
ing them a compound path.

Pathfinder Tools
In modifying shapes or letters that have been made
into shapes (outlined), it is sometimes difficult or at
least awkward to make certain shapes. This is where
the pathfinder options come in.

Let’s start by making a simple crescent. You could use

the pen tool to make and edit this shape, but there is
a more precise and easier way. Make two circles or
one circle which you then copy. Select them both and
set the stroke to a black stroke and the fill to none
(the color represented by a box with a red diagonal
line through it). Now arrange the circles so that they
overlap to some degree.

64 C H A P T E R 4 : I L LU ST R ATO R TY P E
With both circles selected, go to the properties pan-
el and click on the far left option in the pathfind-
er options (unite) in the shape modes. The circles
will combine into one shape. Undo this, then go to
the second box (minus) in the pathfinder panel. The
shape that is laying over the other shape will act as
a cookie-cutter, cutting out the overlapping area to
make a crescent shape. You will see that is a much
easier way to make a crescent than with the pen tool
alone. And you can still edit the points exactly as if Many designers
you had made it with the pen tool. start with a few
basic shapes to
It will help when experimenting with the pathfinder make complex
tools to use a different color for the fill of each shape. shapes.
That way you can see which shape is overlapping the
other shape. Now use the other two options in the
shape modes box. The third option (intersect) will
only make a shape from the intersection of the two
shapes, and the fourth box (exclude) will do the op-
posite of that. This makes a group which must be un-
grouped (Object > Ungroup) to see the effect.

The final set

shown here is
divide. You can
access this option
by clicking the
ellipsis in the
pathfinder section.

In reality, learning what each pathfinder does is not

too important. When in doubt, you can just try each
one (then undo it) until you get the right one.

C H A P T E R 4: ILLUSTRATOR TYP E 65
 In many situations (such as using some of the path-
finder tools) Illustrator will automatically group ob-
jects. An alternative to ungrouping objects is to tem-
porarily select the objects in the group with the group
selection tool. This tool is associated with the direct
selection tool. If you use this tool to select items in
the group remember to go back to the direct selec-
tion tool when you need to select points.

One more thing while we are in the pathfinder panel.

Make a circle and color it something like green. Now
make a smaller circle and color it something like red.
Put the smaller circle within the larger circle, select
both, and choose the second option (Minus) in the
pathfinder options like you did before. The result-
ing shape is a compound path and the circle in the
middle is now a clear circle (move it around or place
something behind it to see this).

Use these tools with letters converted to outlines.

Subtract (minus) or add (unite) letters with letters,
or letters with other shapes. Try using a circle as a
cookie-cutter around the edges of a letter.

Align Panel
Often when you use the pathfinder tool (or when you
are doing many other things) you need to align things
perfectly. Make five or six squares or rectangles of
different sizes. Select them all, then select the vari-
ous different options in the align section of the prop-
erties panel to align their centers or different sides.
Pay attention to the icons while you are doing this to
see what they represent.

66 C H A P T E R 4 : I L LU ST R ATO R TY P E
Now make five or six squares or rectangles the same
size (by copying with the option key or another meth-
od). Put them in a loose vertical row, then align them
with the centering option.

Now click the ellipses for more options. In the distrib-

ute options, try each option to see which will make
your rectangles spaced equally apart. Now move the
bottom rectangle down a bit and align and distribute
again. Distribute will always distribute objects equal
spaces apart.

You can even group aligned and distributed objects,

then align and distribute those groups. Like with the
pathfinder tool, you don’t really need to remember
which option does what—if the icons do not give you
enough of a clue then you can always try different op-
tions until you get the right one. Every option in the
Properties panel
Artboards is also in other
Although Illustrator is not for laying out multiple page panels (Window
documents, there are many times when a designer >...). Many times
needs to keep several pages together. For example, if these dedicated
you were to do an identity package, you could use one panels will have
artboard for the business card, another for letterhead additional options.
and yet another for the envelope design. All your re-
lated designs in one file. Illustrator has the flexibility
to do this with ease, but not in the most intuitive way.

Pages in Illustrator are called artboards. You can

specify the number of these and their arrangement
on the pasteboard (background) when you make a
new document.

C H A P T E R 4: ILLUSTRATOR TYP E 67
 In a open document, change the number and size
of artboards by using the artboard tool to drag and
resize the artboards, as well as make new ones (by
dragging) and delete existing ones. For a more pre-
cise way of sizing artboards, change the values in the
properties panel while the artboard tool is selected.
You can also When you are done managing artboards, just choose
choose the another tool.
artboard tool from
the properties Practice
panel (Edit There has been a lot of information in this chapter,
Artboards) when but hopefully none of it was as hard to get your head
nothing on the around as the making and editing of paths in the
page is selected. chapter before. Practice what we have gone over so
that you are able to remember the options when it
comes to actually designing something. Also go back
Look at some and review the making and editing of paths.
of the other
options in the For the next few chapters we will be moving into Pho-
Properties panel toshop, and then back to Illustrator, then to InDe-
when nothing is sign. InDesign is perhaps the most useful of all the
selected. Hmm. applications, and it might be good for you to try a few
things we have learned in the last three chapters in
InDesign. Since it works very much like Illustrator you
may find that you already know quite a bit about how
to do things in InDesign.

68 C H A P T E R 4 : I L LU ST R ATO R TY P E
Chapter 4 Review
Two Ways to Make Type
dragging a box and typing to make area type
clicking and typing for point type
modifying type with bounding box

Character Options
serif and sans serif type styles
variations of a type style (bold, italics etc)
fonts as a computer resource
type size and leading, kerning and tracking

Paragraph Options
left justified, centered, right justified
fully justified text, hyphenation

Type on a Path
making type on a path
moving center point, end points

Outlines from Type

select type box to create
ungrouping, modifying

Compound Paths
making and releasing compound paths

Pathfinder Tools
using the pathfinder options
making compound paths with pathfinder

Align Panel
aligning and distributing multiple objects
managing artboards

C H A P T E R 4: ILLUSTRATOR TYP E 69
 Chapter 4 Practice
W and U are relatively new members of our alphabet.
You can sort of tell by the name of Double-U (dubba-
yu). Very pragmatic designs as well, especially as Vs
were pulling such heavy duty in Roman times.

Come up with another new letter for our alphabet,

doing a sketch on paper of it first to get your ideas
together.

Produce this letter in Illustrator, using:

create outlines (from type)
modified points (curves and position modified)
pathfinder tool

Show your letter in filled and outlined versions.

Explain why this letter would be a worthy addition

to the alphabet.

Explain how you used the tools above (include

notes on the page).

...all on one sheet.

You should make this very precise. Zoom in when you

need to and make objects bigger than you need, then
scale them down to the final size.

70 C H A P T E R 4 : I L LU ST R ATO R TY P E
Chapter 4 Sample Quiz

Make a word in 30 point sans-serif bold text, then

track it out to +300. WIDER

Type the word "Top" and kern the letters. Change text
color to grey.
Top
Make two 60 point letters which you convert to out-
lines. Change one letter shape obviously by dragging
points. Turn off fill, have a black stroke.

Copy the outlines of the two letters and combine

them into one shape using the pathfinder panel.

Make a wavy path with the pen tool and put some
type on it. Kern the worst letter spacing in that type.

C H A P T E R 4: ILLUSTRATOR TYP E 71
5 Photoshop Basics

Unlike Illustrator, Photoshop uses a bitmap (made of

squares) description of an image. This method is great
for what we call continuous tone images—images that
do not contain lines and fills, but instead gradations of
tone and color. Photographs are a good example of con-
tinuous tone images. Many tools and techniques in Pho-
toshop are derived from concepts long used in traditional
photography and darkroom techniques.

Because Photoshop’s basic method of drawing is com-

pletely different from Illustrator’s, the tools work in very
different ways. Fortunately, however, many techniques
learned in Illustrator still apply.

Pixels
In your web browser, find an image (not a thumbnail
image) that you like. Click and hold on it, then drag it Not all images
to the desktop. Now drag the icon for that image (the allow dragging
image file) over the Photoshop icon to open it in Pho- to copy. If it
toshop. You could also open it in Photoshop by con- doesn't work, try
trol-clicking the file and choosing Photoshop. another website.

As you did in Illustrator, use the zoom tool to mag-

nify the image many times. You should see a couple
of things. First, the image is composed of squares—
these are called pixels. Each pixel can be only one
color (if they appear to contain more than one color

C H A P T E R 5: PH OTOSHO P BASIC S 73
 then it is an optical illusion called an adjacency ef-
fect). These pixels are the basic building blocks for an
image, and all bitmap images are composed entirely
of these and nothing else.

The second thing to notice is that there are no lines or

Images in objects in Photoshop. What may look like a line, such
Photoshop are as at the side of someone’s face, is actually just col-
called continuous ored pixels that transition to differently colored pix-
tone since they els. This is important. It is a fundamental difference
do not have between Photoshop and Illustrator.
definite lines.
New Document
Close the image you have open in Photoshop and
open a new document (File > New). Even though you
will probably rarely open a blank image like this in-
stead of a photograph, a blank document will help us
to see the basics of the application.

Unlike Illustrator, Photoshop has no page, only those

little pixels that make up an image. The more pix-
els there are in an image, the smaller they will look.
To use an analogy presented earlier in this book, we
need graph paper with very small squares (pixels),
hence a lot of squares.

The same image

with 400 pixels
(left) and with
4,000 pixels
(right).

74 C H A P T E R 5 : P H OTOS H O P BA SI C S
 The new
document box

For your new image, specify an image of 600 pixels by Although not
600 pixels. This is plenty of pixels for now. The num- important, it is
ber in the resolution box does not matter at all for interesting to
now. For color mode, choose RGB Color. This stands note that a 600
for Red, Green, and Blue, and these are the colors that x 600 image has
Photoshop likes best—more about this later. Also 360,000 pixels.
choose 8 bit. Bits determine how many colors each
pixel color could be chosen from. Images with more
than 8 bits have more color information possible for
each pixel, but we wouldn’t see it. Let’s start with a
document filled with white pixels (it has to be filled
with some color of pixels), so set the background Feel free to take
contents to white. a break from
this book to
When you click Create you will get a window with a experiment with
white square. This is called the canvas. In Photoshop, things in the Learn
there is no pasteboard—the canvas is full of pixels we Panel although
can change, the area surrounding it is... well, just the these will be more
area surrounding it and has no functionality. helpful later.

C H A P T E R 5: PH OTOSHO P BASIC S 75
 Brush Tool & Options
Let’s treat Photoshop as a painting program for a lit-
tle while. Choose the brush tool that is about a third
of the way down in the tool panel (make sure you
have the brush shown at left). Now look at the op-
tions panel, which is the horizontal ribbon over the
top of the window. Like Illustrator's properties pan-
el, this top ribbon changes according to the tool you
have chosen.

The options
panel changes
according to which
tool is selected.

Many of the options are the same for different tools,

so let’s look at these in detail. The most important
options are in the second box from the home icon on
the left. Clicking on this will give you a pop-up menu
which allows you to change the size of your brush
(let’s set it on 30 pixels), the hardness (or fuzziness)
of your brush (set it somewhere near the middle),
and the shape of your brush (leave it a circle).

Now set the mode of your brush to Normal. The mode

determines how the color is applied. The opacity and
flow of the brush is how dark your paintbrush will
paint. 100% on both is good for now. Paint a few lines,
then change the size and hardness of your brush and
paint a few more lines.

76 C H A P T E R 5 : P H OTOS H O P BA SI C S
Color Selection
Change the color of your brush by going to the col-
or panel (Window > Color if it is not showing). Make
sure you select the foreground color by clicking on
the top left square in the panel. Make a few more
lines with different colors. You can also change the
color by clicking on the color chip near the bottom of
the tool panel.

The background color in Photoshop is not really a

background, but instead a secondary color. There is
no real ‘background’ in Photoshop, only pixels of dif-
ferent colors. Change the background color to some-
thing other than white by clicking on it—this time at
the bottom of the tool panel. Now click the tiny dou-
ble arrow right above the color chips in the tool pan-
el. The background and foreground colors switch, al-
lowing you to paint while having two colors handy. If
you hover your mouse over the double arrow you will
see that the key command to switch colors is ‘x’. Even
handier. While we are looking at these color chips in
the tool panel, notice the small squares next to the
double arrows. These reset your colors back to black
and white. Photoshop does not assume you will usu-
ally be painting in black and white—these ‘colors’ do
additional things as we will see later.

Selections
In Illustrator we had objects to select, but as we have
seen, Photoshop has no objects. So, obviously select-
ing is quite a bit different. Choose the rectangular
marquee tool and drag a box with it within your paint-
ing of lines. You should see a rectangle of ‘marching

C H A P T E R 5: PH OTOSHO P BASIC S 77
 ants’. Within that box the pixels are selected, outside
they are not. With the zoom tool magnify the view on
one of these borders to see how the selection lies be-
tween pixels, then double-click on the magnify tool
itself to bring the view back to 100%.

Now choose the move tool at the top of the panel.

Click and drag to move your selection. Notice that
the area where you moved your selection from is now
filled with pixels the color of your background color.
Select something else and move it. Copy a selection
by holding down the option key while dragging (re-
member from Illustrator?). What happens if you hold
the shift key while dragging? Also make a selection
using the elliptical (oval) selection tool. What will
happen if you make an oval while holding down the
shift key?

History Panel
Pushing ‘command-z’ (or Edit > Undo) undoes the
last action you did, and additionally holding down
the shift key redoes the action (it also does this in Il-
lustrator). Photoshop has a history panel (Window >
History). Experiment with it. The camera icon at the
bottom of the panel is very handy, allowing you save
multiple versions of your progress that you can go
back to or compare with each other.

One thing that might take getting used to is the fact

that there is not a set number of steps that show up in
Photoshop's history panel. How many times you can
step back depends on the number of pixels in your

78 C H A P T E R 5 : P H OTOS H O P BA SI C S
image and how much memory Photoshop has avail-
able. If you are working on an image that has many
pixels (many more than 600x600) then the program
can start slowing down significantly (students some-
times make images with a gazillion pixels in them by
mistake).

Layers
In Illustrator we saw how making an object over an-
other object made a ‘stacking order’ where you could
bring things forward or back. In Photoshop anything
you make actually changes the pixels, and so obliter-
ates anything under it. You can keep the pixels under
the new pixels by using the layers panel.

Button to make
a new layer
(arrow) and new
layer (selected)
with transparent
content.

In the layers panel (Window > Layers if not showing),

click on the new layer icon at the bottom of the panel
(red arrow in the illustration). Like laying a clear
piece of glass over your drawing, this will enable
you to make a new drawing ‘over’ your previous one
(which confusing enough is called the Background

C H A P T E R 5: PH OTOSHO P BASIC S 79
 layer). In the layer panel this new layer will show up
with a checkerboard, which is Photoshop’s way of
telling you it is transparent.

With this layer selected (highlighted), draw some

lines over your previous drawing, then click the eye
next to layer 1 to hide the layer then click again to
show the layer. You should see that you have actually
made two Photoshop images, one on top of the other.

With the opacity setting at the top of the layers panel

you can also set that layer’s transparency so that you
can see through it in varying degrees.

The bottom Make new layers and draw on them. Draw on each
‘layer’, called layer by clicking the layer you want to draw on by
the background, choosing it in the layer panel. Whatever layer in the
cannot be moved. layers panel that is highlighted is the layer you are
modifying.

You can delete layers by selecting them and click-

ing on the little trash can at the bottom of the panel or
by dragging the layer icon to that trash icon. You can
change the stacking order of the layers by dragging
the icons in the layers panel up or down. The layer
at the top is always ‘over’ the other layers in your im-
age. When you are done with your layers you should
incorporate them into your image by going to Layer >
Flatten Image.

Illustrator also has layers, and they work pretty much

the same as in Photoshop, so now you also know
something else about Illustrator!

80 C H A P T E R 5 : P H OTOS H O P BA SI C S
Getting Images
Up to this point we have been making things from
scratch in Photoshop. Although some people make a
living doing this, it is much more common to use the
application to edit photographs.

Almost any photographic image can be opened in

Photoshop. You can get one from the web (as at the
beginning of this chapter), from your digital camera
or scanner, or just open something someone sent you
in an email. Either go to File > Open in Photoshop,
drag the image file onto the Photoshop icon, or hold
down the control key while holding the mouse down
on a image file and choose Open With and then Pho-
toshop.

Go ahead and open an image file in Photoshop. Each

image that you open will have a different pixel dimen-
sion, and as we will see later, the number of pixels in
an image is very important. For now, go to Image >
Image Size, and see the number of pixels you have
(you may have to change the units to pixels). If either
dimension is less than about 100, then your image is
probably very small, or to put it another way, the pix-
els will be too big, so you should find another image.
Make a habit of
If, on the other hand, either dimension is over 6,000 looking for 'pixels',
pixels, then your image is too big, and the shear num- not 'inches'
ber of pixels may be unnecessary and bog down the in Photoshop.
application. So, you should choose a different image. Don't get them
If you do an image search in Google it will tell you confused!!
the size of an image when you roll the cursor over the
thumbnail, and you can also specify general pixel siz-
es to search for (with the Tools button).

C H A P T E R 5: PH OTOSHO P BASIC S 81
 Assuming you have an image which is just right,
let’s look at a few things. Just like in Illustrator, you
can zoom in or out of your image by holding down
the space and command (or option) keys (assuming
Siri is off). If you are zoomed in, you can hold down
the space bar to drag around the view. Zoom in close
enough to look at the individual pixels that make up
the image. Zoom back out to see how those individu-
al pixels make the illusion of continuous tones.

Now lets look at the tools again. Besides the color

tools we examined, we are going to be most con-
cerned with the first two groups (see illustration) of
tools. The first group of tools are selector and move
tools, and the second group are the tools that actu-
ally change the color of pixels, or the editing tools.

Magic Wand Tool

It is a quandary that a Photoshop image has no ob-
This is one of the jects to select, but usually we really need to select
more awkward things we see as objects. But since these things are
paragraphs in usually defined by their color and tonality, we have a
this text. Sorry. number of selection tools that allow us to pick pixels
which are of similar color and tonality and leave other
ones alone.

The tool with which we can best see how this works
is the magic wand tool (associated with the object
selection tool). If the tolerance (in option panel) is
set to 1, this tool will only select the color (and tone)
where you click. But in a photograph, one color usu-
ally doesn’t go very far (zoom up close to what ap-

82 C H A P T E R 5 : P H OTOS H O P BA SI C S
pears to be one color and you will see that the pixels
are usually composed of several colors).

If you set the tolerance to a higher number you will

see that the higher the number, the more pixels close
to that color will be selected. Checking the box la-
beled ‘contiguous’ is usually a good idea since it will
limit the selection to those pixels which actually
touch each other, rather than any pixel in the image
that happens to be close in color.

Using the magic

wand tool at
tolerances of 40
(left) and 80

Click around your image changing tolerances to see

how this works. As in most Adobe number boxes you
need to hit the return key after you enter the number.
You will also notice that making any selection dese-
lects your last selection. If you would like to add to
your selection, click on the second box on the left of
the options panel (or hold shift), and if you would like
to subtract from your selection choose the third box
(or hold down the option key). If you would like your
selection to be a little smoothed at the edges, then
click the option labeled Anti-alias.

Whenever you have a selection in Photoshop, any

action you do will only effect that selection. Choose

C H A P T E R 5: PH OTOSHO P BASIC S 83
 the brush tool and paint over a selection and you will
see this. Now change the (brush options) mode from
Normal to Color in the pull-down menu—the brush
will only change the color within the selection, not
the tonality (darkness). Remember to set the mode
back to ‘normal’ when you are done. Copy your selec-
tion using the move tool and holding down the option
key while you drag it to see how that works. When
you are finished with your selection, go to Select >
Deselect.

More Selection Tools

Making selections is very important in Photoshop.
Although the magic wand tool and the shape tools
(such as the rectangle and oval) are straightforward,
they are rarely the best tools to use when making se-
lections.

The quick selection tool is probably the most useful

selection tool. With this tool choose a brush size in
the options panel (as you did with the brush tool),
and ‘paint in’ your selection. The tool will attempt to
find the line where colors change and conform to that
line. If the selection goes beyond where you want it to,
click in the options panel on the icon with the brush
and the minus symbol to paint the selection back out
(or just hold down the option key while painting),
then go back to the plus icon to add it back in if you
need to. By going back and forth like this you are ac-
tually teaching Photoshop what the object edge you
are selecting looks like. The more you go back and
forth, the more accurate the selection will be.

84 C H A P T E R 5 : P H OTOS H O P BA SI C S
The object selection tool is the most automatic of the
selection tools. Just drag a box completely around an
object and it will puzzle out what you want to select.
And sometimes it is correct. Notice the other options
in the options panel, such as making a lasso instead
of a rectangle. You can also switch to another selec-
tion tool such as the quick selection tool to refine
your selection.

The lasso tool is one of the crudest selection tools,

but also one of the quickest. This tool doesn’t look
at the colors and tones in an image, but just selects
along the line that you draw with it. The magnetic las-
so tool does much the same thing, but attempts to
‘snap’ to color changes close to where you are draw-
ing.

Each of these tools has a use, and there are actually

more ways of selecting and refining a selection that
we will get to later.

While not exactly a selection tool, the crop tool is

worth explaining here. Basically you just draw a box
around the part of the image you would like to keep
and hit the return key. The outside parts of the im- It should be clear
age are consigned to the ether (gone). In the options that you can
panel you can also size your image while cropping it, also drag the
which is more useful to do after we learn about siz- outer edges of
ing images. the crop box.

Clone Stamp Tool

With all of the editing tools, if you have a selection,
the tool only works within that selection. So let’s

C H A P T E R 5: PH OTOSHO P BASIC S 85
 make sure we do not have a selection by going to Se-
lect > Deselect (you will probably want to learn the
key command for this—in the menu, remember?).

Choose the clone stamp tool (also called the rubber

stamp tool). What the stamp tool does is take infor-
mation from one area of the image and paint it on an-
other area. First, while holding down the option key,
One click to do click on the area you want to take from. This sets the
two things is source. Now with no key held down, click where you
rather un-intuitive. want to paint and start painting. This second click
Just re-read does two things: First it sets your destination (rela-
this paragraph tive to your source) and secondly it starts painting.
while doing it If your brush is too big or too small, change the size
until you get it. (and hardness) in the options panel.

Once you set the destination with that first click, the
If you would like source and the destination are locked together until
the same source you set another source. Experiment with this. If you
with each click have two images open (or more than one layer in one
in different areas image) in Photoshop you can actually set your source
you can uncheck at one image or layer and your destination at another.
Aligned in the The clone stamp tool is a very good way to not only
options panel. put another eye on your friends’ foreheads, but also
to clean up parts of images, such as wires in the sky,
trash on the grass or ex-girlfriend in the photo. There
are some ethical considerations relating to Photo-
shop.

Image Adjustments
Perhaps the most basic and commonly used Photo-
shop techniques are adjusting the brightness, con-
trast, and color of images. With any image you work

86 C H A P T E R 5 : P H OTOS H O P BA SI C S
on you should at least consider the possibilities of
modifying these.

With an open document, go to Image > Adjustments

> Brightness / Contrast. With preview selected, ad-
just your image. If you have a selection it will only
work in the area of the selection, but if you have ev-
erything selected or nothing selected your entire im-
age will be adjusted.

A more flexible alternative to brightness and contrast These adjustments

is to go to Image > Adjustments > Levels. can be done
with adjustment
In the main window of this panel there is what looks layers. These can
like a mountain(s). This is called a histogram, and it be found at the
is actually a map of the different tones in your image. bottom of the
At the left are the darker areas, and at the right are layers panel, but
the lighter areas. The height of the mountain is how right now they
many pixels there are of a certain tone. can complicate
learning about
layers.

There are 256

tones to an image.
Each is numbered
0 through 255.

By dragging the small triangle sliders directly below

the histogram you can remap the way these tones

C H A P T E R 5: PH OTOSHO P BASIC S 87
 look. Drag the right slider to make the light areas
lighter, and drag the left slider to make the dark areas
darker. Generally you first put the triangles near the
bottom of the mountains. After you do this, drag the
Gamma can be middle slider (called the gamma) back and forth until
described as the image looks good (you may have to go back and
how heavy an tweak the other sliders after you do this). In all Pho-
image looks. toshop requester boxes click Preview so that you can
see the results as you adjust.

To adjust the colors of an image, go to Image > Ad-

justments > Color Balance. Even though there are
Using selections only three colors you adjust directly, these are all that
with image is needed to adjust all the colors in your image. No-
adjustments is tice that there is no way to make an image more yel-
a very powerful low and more blue at the same time. Yellow and blue
way to adjust the are opposites in Photoshop and in real life. Remem-
way images look. ber that if you would like to change only one part of
your image, make a selection first.

Sizing Images for the Screen

At the top of your document window you will see a
percentage. Unlike in Illustrator, this is very impor-
tant in Photoshop. At 100% your image is the size it

88 C H A P T E R 5 : P H OTOS H O P BA SI C S
will appear if saved and viewed in almost any other Computers do
application destined for the computer screen, includ- have differing
ing web browsers, emails, and presentations. resolutions, which
complicates this
To adjust this image size for screen viewing, go to Im- somewhat.
age > Image Size. For screen viewing we are only con-
cerned with the pixel dimensions—it does not matter
at all what the inch or other size is, since this refers
only to printed documents or saving for inclusion into
other applications (such as Illustrator).

You should always make sure the proportions are

locked (see red arrow above) when resizing an im-
age. It is the equivalent of holding down the shift key
when resizing an element in Illustrator. Without con-
straining proportions your image will stretch and dis-
tort. If you do need a long rectangle from a square
image, go back to the crop tool. If that doesn’t work,
find a new image!

Resample is a fancy way of saying ‘change the num-

ber of pixels’, so without this checked we wouldn’t be
able to do what we need to (so check it).

C H A P T E R 5: PH OTOSHO P BASIC S 89
 Now change either the width or the height of the pix-
el dimensions. If your resulting image is too large at
100%, undo your image size and enter a smaller num-
ber. You have to get used to pixels as a measure-
ment. Screens have different sizes and resolutions, so
inches or other measurement units really don’t apply
when talking about screens. A standard small screen
is 1024 pixels wide by 768 pixels high.

Adding pixels to an image when resizing is almost al-

ways a very bad idea. Think of it this way: if you had
an image that was 5 pixels wide and 5 pixels high, then
Never add pixels!
you would have a total of 25 colored squares—may-
be only enough information to convey a rough letter
or number, but not much else. Now imagine scaling
this image to 500 pixels wide and high. There is no
place for Photoshop to get more information, so it
would be stuck with the very little information in the
original image. And since it would be bigger, it would
look worse! Just like spiders. The same thing happens
whenever you add pixels to an image. So don’t.

Saving an Image
When you save an image you opened from some-
where else, go to Image > Save As... You should save
your image in one of two formats: Photoshop or JPEG
(in the format box choose the shortest name of either
option).

Photoshop is the best format to save in if you want to

retain everything about your image. It will save your
layers (and other things we have yet to get to) and
every bit of quality you have.

90 C H A P T E R 5 : P H OTOS H O P BA SI C S
If you want to send your image to someone else, then
JPEG is probably the best option. These are small
files that send quickly, and they can be opened in When you save
any application that accepts images, including email, a JPEG you can
presentation, and web applications. The downside is choose quality
that JPEG compresses the information in the image, and large file size
so you lose some quality, and you also lose any layers or visa-versa.
you may have.
The PNG format
Also, when naming an image, keep the file format suf- is also very useful
fix that Photoshop adds (.jpg or .psd). Changing this for many things.
suffix or taking it off can lead to problems.

Changing a File's Application

Often a file type such as a JPEG will not open in Pho-
toshop when you double-click it, but another applica-
tion instead. Here is how to get all of your JPEGs (or This only applies to
other formats) to open in Photoshop: Apple computers.

First, deactivate Photoshop by clicking on the desk-

top so Finder is the name in the menu bar at the top
left. Find a JPEG file, click once on it to select it, then
go to File > Get Info. Change the Open with name to
Photoshop, then click Change All... and agree to the
nagging box that shows up.

Now, all of your JPEGs will open in Photoshop when

you double-click them. This will become even more
important later on when we are editing in Photoshop
directly from other applications.

Transform
One last technique will go a long way in helping you
play with Photoshop to learn more. Either make a se-

C H A P T E R 5: PH OTOSHO P BASIC S 91
 lection on an image or select the whole image, then
go to Edit > Free Transform.

As you move your cursor around the edges of the se-

lection you will see either a rotate cursor hint or a
resize cursor hint. When you see those hints, click
and drag to make your selection rotate or to make it
bigger or smaller. When you are done, either press
As Adobe makes the return key or double-click to set the transforma-
changes to these tion. In somewhat typical Adobe confusion, holding
applications, it down the shift key when you are scaling actually al-
would be a good low you to stretch the image, so in this case do not
idea to verify hold it down.
if holding the
shift key locks Making a selection bigger will decrease its quality,
proportions or so avoid doing it. Also, if you have a selection that
unlocks them in extends past the canvas, you may need to make the
any circumstance. canvas small in the window so you can get to the edg-
es of the selection.

You should also notice that below the Free Transform

menu item, there is another Transform menu item.
From the sub-items in this menu you can also scale
and rotate, as well as perform other transformations.

Photoshop One common use for transform is to scale images

makes a new which are copied from one file and pasted into an-
layer when you other. Try it: Open two images in Photoshop, then se-
paste an image. lect one entire image and go to Edit > Copy. Activate
the window of your second image and go to Edit >
Paste. Immediately go to Edit > Free Transform and
scale the image you just pasted.

92 C H A P T E R 5 : P H OTOS H O P BA SI C S
Panels
In Illustrator we used the properties panel for every-
thing. In Photoshop you may have noticed that the
properties panel is mostly only good for taking up
screen space, and you need other panels. Bringing up
dedicated panels in Illustrator will also become im-
portant, so now is a good time to deal with panels.

Try several things to manage panels. First, collapse a

panel by clicking on the >> symbol on the panels top
right. Click on the symbol (now <<) again to expand
the panel.

Roll your cursor to the vertical division until you get

a double arrow and drag. Try this with the panels col-
lapsed and again when they are expanded.

Now double-click on the name tab of a panel. This

will collapse or expand the panel.

Drag the tab of the panel around the screen. If you

move it out of the panels, it will stay on the screen
where you drop it, and if you move it into the panels
it will allow you to put the panels in the order and
groups you find most convenient.

You can save the order of your panels by going to

Window > Workspace > New Workspace... As you
advance in other Adobe applications this panel man-
agement will become more important.

Getting Out of Trouble

Now is a good time to get some images and explore
the techniques we have been going over. Also experi-

C H A P T E R 5: PH OTOSHO P BASIC S 93
 ment with some things we have not gone over. One
of the problems with doing this is that you may get
yourself into a blind alley until you know more. On
this and the next page is a list of things to look at if
you are stuck in the program and nothing seems to
work right. You may want to bookmark these pages,
as they are the most common botherations.

Photoshop Trouble?
1. What is the magnification (at the top of window)?
If your magnification is something less than 20%
when the image fills your screen you may have to go
into Image > Image Size to reduce the number of pix-
els.

2. Are you in Greyscale or RGB (top of window)? If

you are in greyscale, you cannot add color to an im-
age. Go to Image > Mode > RGB to correct this. If you
are in Index Mode you might also have problems.
Change the mode to RGB.

3. Are you in Quickmask mode (top of window)? If

the only thing you can paint is red, then you are prob-
ably in quickmask mode. Click the next to the last
icon at the bottom of the tool panel to get out of it.

4. Do you have very small marching ants (some-

times you cannot see them)? It is not unusual to
have such a small selection that you don’t see it, and
since if you have a selection, Photoshop will only act
on it, then it will seem like you can’t do anything. Go
to Select > Select None.

94 C H A P T E R 5 : P H OTOS H O P BA SI C S
5. Do you have a minuscule or huge brush (brush
panel or options bar)? Strange things will seem to
happen if your brush is very big. It can easily surpass
your canvas size!

6. What layer are you on (look in layers panel)? It is

easy to attempt to adjust an image with the layer that
doesn’t have anything on it.

7. Is the layer set at normal mode and full opacity

(layers panel)? If your layer is set to a very low opac-
ity, or on a mode that won’t show up, all the changes
in the world won’t seem to do anything.

8. Are tool options set at normal mode and full opac-

ity (tool options palette)? Like with layers, if you at-
tempt to paint with a brush that is set to a low opac-
ity, nothing will seem to be happening.

9. Are the preferences set correctly (in File > Pref-

erences)? As with Illustrator, Photoshop behavior is
governed by Photoshop CC > Preferences. Take a look
at these when something is not working right. As a
matter of fact, take a look at them anyway.

C H A P T E R 5: PH OTOSHO P BASIC S 95
 Chapter 5 Review
Pixels
concept of pixels (each one color, one color only)
pixels as building blocks of an image

New Document
opening new image; pixel size, color mode
no page, but canvas

Brush Tool & Options

brush size, hardness, mode, and opacity
foreground & background color chips

Selections
selecting part of an image with rectangle or oval
moving and copying selections

History Panel
using the history panel to step back, memory issues

Layers
using layers to draw one image over another
making new layer
moving layer order, deleting layer, flattening

Getting Images
getting images from various sources
opening images in Photoshop
using zoom and grabber tools, keyboard shortcuts

Magic Wand Tool

setting tolerance and extending selections
using return key when entering numbers

96 C H A P T E R 5 : P H OTOS H O P BA SI C S
More Selection Tools
quick selection, object selection tools
lasso and magnetic lasso tools
crop tool

Clone Stamp Tool

option-click to set source, click to set destination
using between images and layers

Image Adjustments
histogram as a map of your image
changing light, dark, and medium tones
using color balance to change color of an image

Sizing Images for the Screen

viewing images at 100% (actual size in pixels)
locking proportions
using pixels as measurement
resample = changing the number of pixels
never sizing an image to have more pixels

Saving an Image
Photoshop and JPEG file formats

Changing a File's Application

what application opens when double-clicking

Transform
Rotating and scaling selections

Panels
Managing panels in Adobe applications

C H A P T E R 5: PH OTOSHO P BASIC S 97
 Chapter 5 Quiz
Find an interesting image which is over 500 pixels
wide from the web (if you do a Google search, make
sure you don’t grab the thumbnail, but instead the
larger image you see after clicking the thumbnail).

Crop the image to make either a very tall or wide

composition.

Using selections, do several things we have covered

to parts of the image, such as painting on it or chang-
ing the levels.

Do something to the sized image that hasn’t been

covered in this book. Look around. You will find some-
thing.

Save this image as a JPEG file with as small of a file

size as possible without losing too much quality. Use
the preview option in the JPEG dialogue box to pre-
view the quality.

Combine two images using layers. Reduce the opac-

ity of the top layer to ‘see through’ it. Size the result-
ing image down to make the image fairly small when
viewed at 100%.

Save image as a Photoshop file (.psd) so that your

layers remain intact.

98 C H A P T E R 5 : P H OTOS H O P BA SI C S
Chapter 5 Practice
Find some images to work with, either from your own
camera or on the web. A good website for images is:
theatlantic.com/photo. The image sets there are very
high quality, and the site is well-curated.

1. Generally muck about, combining images and do-

ing things you have learned with selections. Don't
worry about quality—just have fun trying to use the
techniques.

2. With the clone stamp tool put someone's head on

someone else’s body (always a hit). Make sure both
images you do this from are sized accordingly so that
they are the correct size relative to each other at the
same magnification (percentage at top of window).
Remember that you can set your clone stamp source
in one image, then go to another image to set the des-
tination.

3. Select things in images a variety of ways using the

selection tools you have learned. Which way works
the best for which type of situation? Try to alter the
levels and color in just the selections. See how dra-
matic you can make a photograph using this tech-
nique.

4. Make selections, copy them, and paste these se-

lections on other images. Use transform to scale or
rotate the selection if you need to.

C H A P T E R 5: PH OTOSHO P BASIC S 99
6 Photoshop Layers

Because you can do multiple operations in sequence to

get different effects, the true bounds of Adobe Photo-
shop are as elusive as what one could do in a traditional
photographic darkroom. In this chapter we will look at a
few new things and look at others (like layers) in more
depth.

The View & Filters

Photoshop needs screen space. Since we all don’t
have multiple large monitors, we need to be able to
maximize what we do have. Pressing the ‘f’ key cycles
through different view modes to get rid of the clutter
of the window frame so you can concentrate on what
you are working on. Combined with this is the tab key,
which toggles the panels on and off.

Just like in Illustrator, zooming in and out of your im-

age is also important. Double-clicking on the zoom
tool itself lets you see the image at 100%, which is
important when you want to see how the details of If you have a
the image look. Generally images should at least be high resolution
assessed at 100% to see if they need sharpening. If display (which
your image needs sharpening, go to Filter > Sharpen you probably do
> Sharpen. Sharpen several times to see if it needs since it is 2020)
more than one ‘pass’ and to see what happens if you you may want to
over-sharpen. Remember to always sharpen with the use a 200% view
image at the 100% view to see the effect. for sharpening.

C H A P T E R 6: PH OTOSHO P LAYE RS 101

 If you need less than one pass of sharpening, you
can go to Filter > Sharpen > Unsharp Mask, and en-
ter an amount of 50% and a radius of 0.5 pixels. This
is roughly equivalent to half of a sharpen pass. With
Preview checked you can see the results of entering
different numbers for amount and radius.

Changing the Double-clicking on the grabber tool fits the image on

magnification and your screen so that you can see the whole image at
area of an image in once. This is useful when you want to do things like
Photoshop is very adjust levels or color. While you are in this view, use
important as you some of the other filters (the filter settings used last
work. There are are listed at the top of the menu). Many of them are
more ways of doing fun, and some can be very useful. The filter gallery
this that you might (Filter > Filter Gallery) lets you apply a wide range of
find are better for filters from one window.
the way you work.
Quick Mask & Saving Selections
As stated before, making selections is very important
in Photoshop. There is another way of selecting that
is very useful. With an image open, make a selection
using any of the ways that we have covered and leave
it selected. Now click on the second to the bottom
icon in the tool panel. Your image should now have
a red overlay where it is not selected and no over-
lay where it is selected. The red is called a mask and
we are in the quick mask mode. This mask is like a
paper mask you would use to block the paint when
spray-painting.

Also notice that any colors you may have had in the
tool panel’s color chips (or in the color panel) have
now turned to black and white. With the brush tool

102 C H A P TE R 6 : P H OTOS H O P L AY E R S
(be careful to select the icon with just the paint brush)
paint out some of the selection, then exchange colors
(little double arrow or the ‘x’ key—remember?) and
paint in some of the selection. When you are finished,
click again on the quick mask tool to show the selec-
tion in marching ants again. You will see your painting
changed the selection. With quick mask you can eas-
ily modify a selection to get it just right. You will defi-
nitely want to modify your selections with the view at
least at 100% or usually even greater.

If you had a rather large and soft brush when you

were painting in quick mask mode you may have no-
ticed that your selection had soft edges that disap-
peared when you went back to marching ants. Those
soft edges in the selection are actually still there. Se-
lections do not have to be either selected or not—
they can have edges (or other parts) that are partial-
ly selected.

Paint in quick mask mode with your brush set to 50%

opacity or with a grey color. The areas where you
paint are actually half-selected. When you toggle
out of quick mask mode the marching ants will only
show in areas that are more than half-selected. If this
makes your brain hurt, don’t worry, it only deserves
a mention.

Hopefully you can see that making selections may

involve quite a bit of work. Fortunately you can save
them. With an area selected (and not in quick-mask
mode), go to Select > Save Selection... Now name
your selection and hit OK. Your selection is part of

C H A P T E R 6: PH OTOSHO P LAYE RS 103

 the document, and if you save your image in Pho-
toshop format (not JPEG) it will be there when you
open the file again. To bring your selection back, just
go to Select > Load Selection. You can save as many
selections as you need to.

Selections are actually separate black & white

(greyscale) images called alpha channels. With a se-
lection saved, open the channels panel.

A selection at
the bottom of the
channels panel.
An RGB color
image is actually
made up of 3
black & white
images. These are
called channels.

You will see your selection near the bottom of the

panel. You can actually edit this selection ‘image’. If
you understand this, some things later on will make a
little more sense. After you note the selection in the
channels panel, close it to keep things looking simple.

Fill and Stroke

Some things that are obvious in Illustrator are not as
obvious in Photoshop. Lets make a rectangle the Pho-
toshop way. First drag out a selection in the shape of
a rectangle. Now go to Edit > Stroke.

104 C H A P T E R 6 : P H OTOS H O P L AY E R S
The resulting box is where you make a stroke around
your rectangle. You have to experiment with how
many pixels translates to what width of stroke—
it depends on how many pixels your image is. The
more pixels there are in your image the more width
you will need for your stroke. Remember that the
command + z keys undo the last thing you did.

In the stroke box you can change the color of the

stroke by clicking on the color in the color area. You
will then see a color picker which is fairly common in
Photoshop. There are different ways of selecting col-
ors in this picker. Use the most convenient by click-
ing on the 'H' radio button shown in the illustration
at left (if it is not already chosen). This allows you to
choose the hue (color) by dragging in the long rect-
angle, then the brightness and saturation of that col- Try changing the
or in the large square box. Click 'okay' when you are way you pick
done, then 'okay' again to apply the stroke. colors by selecting
a button other
You can change the fill in your rectangle by going to than the 'H'.
Edit > Fill, and change the Contents to Color. You can
apply a fill and stroke to any shaped selection. How-
ever, unlike Illustrator, you cannot edit the stroke or

C H A P T E R 6: PH OTOSHO P LAYE RS 105

 the fill later. They replace the pixels behind them un-
less they are on a different layer.

Canvas Size
You have probably noticed that if you try to paint or
copy a selection to anywhere outside the borders
of your image nothing happens. To extend the area
where you can work, otherwise known as your can-
vas, go to Image > Canvas Size and change the di-
mensions of your canvas either in pixels or percent-
age. You can also specify where that space is added
to your present image with the buttons below the
You can also use size. The canvas extension color is what color the
the crop tool added pixels will be.
to extend the
canvas size. More Layers
Now that you have a better understanding of Photo-
shop, it is a good time to revisit layers. Open two im-
ages in Photoshop. Now with one of these images, se-
lect everything (Select > All) and copy the selection
(Edit > Copy). Activate the other image by clicking
on its tab the top of the image, and go to Edit > Paste.
You will now have two layers with each image on a
separate layer.

Go to the layer panel, and notice that your first lay-

er is labeled Background. This is actually not a true
layer, so let’s make it one by double-clicking on the
representation of the layer in the layers panel. Let
the name of the layer be Layer 0, and hit return or the
Okay button. In the layer panel drag the strip that des-
ignates layer 0 over layer 1 until you see a line above
the layer strip. Looking back at your image, the image

106 C H A P T E R 6 : P H OTOS H O P L AY E R S
contained in layer 0 should now be visible over the
image contained in layer 1.

Now with your top layer selected in the layers pan-

el, go to Edit > Free Transform. Here you can scale
or rotate the top layer by positioning your cursor
over a corner box or outside of a corner box (look at
your cursor closely to see a hint on what clicking and
dragging will do). Remember to not hold down the
shift key here if you are scaling, otherwise your im-
age will distort. Also don’t scale the image larger. If If your image to
you did, it would be the same as increasing the pixels be transformed
when you adjusted image size. When you are done, is much bigger
press the return key (0r d0uble-click) to commit the than the other
transformation. image, you could
make both small in
If the image on the layer you are transforming is the view window
much bigger than the original image, the transform to 'get at' the
box will be much bigger than your image. The best transformation
way to avoid this is to get the image you are going handles.
to add to another image approximately the same size
(in pixels) before you copy it to the other image. Hav-

ing both images open at the same magnification (in

tab at the top of the document) will show you their
sizes relative to each other, and therefore how big the
image to be pasted will be when pasted.

Look at the other transform options by going to Edit

> Transform. Here you have more control than in Free
Transform. Remember that you must have a layer or a

C H A P T E R 6: PH OTOSHO P LAYE RS 107

 selection in order to transform. The transform menu
items will be greyed with an un-selected background
layer.

More options for While you have an image with two layers, do some-
layers are available thing else. Make a selection on your top layer and
by double-clicking press the delete key. When you didn’t have layers the
a layer icon in the delete key filled the selection with the background
layers panel. color. Now that you have a layer it replaces the selec-
tion with transparent pixels. Hide the bottom layer by
clicking the eye next to it in the layers panel. You will
see that transparent pixels are indicated by a check-
erboard pattern. This is the way Photoshop indicates
transparent pixels. Try painting on the top layer with
the eraser tool to make the pixels transparent. Paint
with the options for the eraser tool set to 50% opacity
(remember where to find them at the top of the win-
dow?). Pixels can have any degree of transparency.

The transparency of pixels is actually determined by

a mask—either one you can edit, like the quick-mask
we covered, or a mask hidden to the user. Masks are
black and white (greyscale) images. Just so you know
before we get to an incredibly useful type of mask...

Layer Mask
There is a lot you can do with combining layers in
Photoshop. Deleting or erasing portions of the top
layer using selections or the eraser tool are two ways
of doing it, but there is a far better way, which is by
using a layer mask.

108 C H A P T E R 6 : P H OTOS H O P L AY E R S
Like before, copy one image on top of another to
make two layers (we probably want to start fresh
here). With your top layer selected in the layers pan-
el, click on the add layer mask icon (it looks like the
quick-mask icon) at the bottom of the panel.

What this does is make a mask (much like a quick- Remember you can
mask) associated with that layer. Make sure the mask pause your mouse
is selected by clicking on it in the layers panel (it will over a button to
have brackets on the corners if it is—see the illustra- see what it does.
tion below), and paint with the paint brush tool. You
will notice that you can only use black, grey, or white
(again like the quickmask). Change the foreground
color to black with the exchange arrows and paint on
the image. You will see that this ‘erases’ the top layer
the same way that painting with the eraser tool did.

Layer mask on
layer 1 showing
brackets on
corners of the
thumbnail
meaning that the
mask, not the
image, is selected.

The real power of using this method of erasing parts

of a layer lies in the ability to exchange the colors and
paint with white to ‘paint back in’ the layer. By going

C H A P T E R 6: PH OTOSHO P LAYE RS 109

 If you get tired back and forth painting with white and black you can
clicking the get exactly what you want in combining the layers.
double-arrow, For practice do this on several sets of images.
hover your cursor
over it to find You can also paint (or anything else) on the images
the keyboard themselves by clicking on the image thumbnail in the
shortcut (x). layers panel. Make sure there are brackets around
the image thumbnail that indicate the image and not
the mask is selected.

If you save your image as a Photoshop file (.psd) then

your layer mask remains intact for when you want to
come back to it. If you are finished with your layer
mask you can drag the mask thumbnail to the trash
can at the bottom of the layers panel and choose to
apply the layer mask. This will make the transparent
parts permanently transparent pixels.

Type Tool
As we have seen, with the upper tools in the tool
panel we can select and edit. The lower (not lowest)
group of tools are vector tools, and work much the
same as they do in Illustrator. But, as we have also
seen, Photoshop is not a vector application, so work-
ing with these tools is limited and a bit awkward in
comparison to Illustrator. At least for now.

The type tool is one tool you might find useful since it
is sometimes easier to put type in an image in Photo-
shop, although it is usually better to add type in Illus-
trator. Type in Photoshop will only be as sharp as the
image, and type looks fuzzy or pixelated at far higher
resolutions than photographs.

110 C H A P T E R 6 : P H OTOS H O P L AY E R S
With an image open in Photoshop, choose the type
tool and look at the options panel. Here you can
change the size of the type (pixels is usually the unit
you want to use here), the color of the type, and oth-
er things. You can also open the character and para-
graph panels here to have more options. By clicking
and typing or by dragging a box and typing, make a
word or two, and you will notice that a new type layer
is created in the layers panel.

A type layer in Photoshop behaves in many ways

like any other layer. You can use the transform com- As in Illustrator,
mands, move the layer’s stacking order, etcetera. It clicking with
is different, however, in that the type is still type, and the type tool
it is able to be edited. Click on a layer other than the makes point text,
type layer to deselect it. Then double-click on the dragging a box
type layer’s icon in the layer panel. The text (with with the type tool
point type) or text box (with area type) will be high- makes area text.
lighted, your tool will change to the type tool and you
can edit the text.

At this point the text is still text, and not pixels, so

there is limited ways of dealing with the text in com-
bination with your image. For instance, you cannot
make area selections of your text like you have with
other images. To make the text pixels and make the
layer behave exactly like any other layer, go to Lay-
er > Rasterize > Type. You can now no longer edit To rasterize an
the text, as it is now a true Photoshop image. This image means
is roughly equivalent to creating outlines in Illustra- to change it
tor—it changes the text to the native language of the into pixels.
application, which in Photoshop is pixels.

C H A P T E R 6: PH OTOSHO P LAYE RS 11 1
 Since the type is now in pixels, it will have jagged edg-
es if the pixels are not small enough. And since type
naturally has much harder edges than a photograph
or other illustration, these pixels will still show even
when they are very small. For that reason, it is usually
best to put the photograph into Illustrator and deal
with the text there. Which is what we will do in the
next chapter.

112 C H A P T E R 6 : P H OTOS H O P L AY E R S
Chapter 6 Review
The View & Filters
application frame and document tabs
screen modes, tab to get rid of panels
sharpen pass(es) and unsharp mask
filters & filter gallery

Quick-mask & Saving Selections

making and editing a quick mask
saving and loading a selection
concept of alpha channels

Fill & Stroke

specifying color (and stroke widths)

Canvas Size
extending the canvas in different directions

More Layers
two images on two layers
making background a layer
free transform
scaling, rotating (etc.) selections or layers
eraser tool and delete key to make transparent

Layer Mask
making and editing layer masks
selecting either layer mask or layer image
applying layer mask

Type Tool
making and editing type in Photoshop
rasterizing type

C H A P T E R 6: PH OTOSHO P LAYE RS 11 3
 Chapter 6 Practice / Quiz
Scour the web or your own photographs, and collect
several which have a lot of pixels (each over 1000 pix-
els in either direction). When you drag images from
a web page, make sure you drag the image, not the
thumbnail link to the image.

Finding more photographs as you need them, com-

bine your images into different compositions using
layer masks.

Your photo-compositions should each Illustrate one

of at least four of the following concepts:

sadness
surprise
ugly
extreme
wtf
red
tangled
alien
stupid
drastic measures
black & white

Title each composition using Photoshop’s type tool.

Choose appropriate type styles for each.

114 C H A P T E R 6 : P H OTOS H O P L AY E R S
7 Images to Illustrator

Almost every well-designed print or web advertisement,

poster, flier (etcetera) is designed in Illustrator. But the
majority of these use photographs or other illustrations
done in Photoshop. The real power of using these appli-
cations is using them together. In this chapter we will see
how to correctly place Photoshop files into your Illustra-
tor designs.

Image sizing theory is a very important part of this chap-

ter, but don’t worry if you just cannot understand it—
there are step by step instructions to sizing images after
the explanation.

Sizing Images Theory

Before we place Photoshop images into Illustrator we
must size them for print, since often times we want to Even if you never
print the document. Sizing images for print is one of do any project for
the most difficult concepts to master, but is extreme- print, learning how
ly important if you want high-quality images. And you to use Illustrator
do. for print will
serve you well.
Open any photograph in Photoshop and go to Image
> Image Size. When we consider image sizes for the
screen, the size of pixels will always correspond to
the ‘pixels’ on the screen, so we are only concerned
with the number of pixels. Inches or millimeters do
not exist as far as web or emails are concerned.

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 11 5
 However, for printing, if the pixels are too large (an-
other way of saying not enough pixels for the size of
the image), then they will be seen by the naked eye,
and the image will look bad. So we want to make sure
those pixels are small enough. Adjusting the image
size in inches (or millimeters, picas, etc.) is how we
do that.

Remember: sizing
for screen, check
resample, sizing
for print or another
application,
uncheck it.

The first thing you do when sizing images for print

To repeat: is un-check Resample. We do not want to change the
Resample means number of pixels now since we want all the pixels we
to change the can have. Adding more pixels will many times only
number of pixels. weaken the quality of the image.

If the units in the width and height boxes are not inch-
es, change them to inches (or other units which are
familiar to you). With screen images we were not
concerned with inches, but now that we want some-
thing we can print we are.

116 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
In the resolution box, enter 200 pixels per inch. This
is the way you tell Photoshop to spread out its pix-
els so that there will be 200 of them for every inch
of print (pixels per inch, or PPI). In general 200 is a The more pixels
good number to use, since there are not many images there are, the
where you need more pixels per inch to have the pix- smaller they will
els disappear. be. Think about it.

Some people will claim that number should be 300

PPI, and for many situations they are correct, and
at the least it leaves some margin of error. But don’t
worry about that now—the techniques for image siz-
ing remain the same no matter how many pixels per
inch you need to end up with.

The width and the height will change when you enter
200 in the resolution box. Consider these the maxi-
mum height or width of your image. In the example Payne's Law states
above, that will make our image at most 3 inches in that the image
height (and 4.5 in width). If we want to have our im- you want from the
age print larger we have to go to the hardware store web will not have
and buy some more pixels. Actually, you can't buy enough pixels
pixels, so instead we have to find an image with more for its intended
pixels if we want the image to print well. print size.

Think about the math that Photoshop is using to ar-

rive at the dimensions. In our example the image is
600 pixels high. If we want to spread those pixels out
so that there are 200 of these little squares per inch,
it means that they will cover the distance of 3 inches.
In other words 600 ÷ 200 = 3. Without looking to see
what Photoshop comes up with, what would the im-
age size be if you entered 300 pixels per inch in the

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 11 7
 resolution box? Well, if you want 300 pixels per inch,
and there are 600 pixels, then you would get 2 inches.

Now look at your own image at 200 pixels per inch.

Do the dimensions Photoshop’s calculations come up
with make sense to you? What we are doing here is
not brushing up on your math skills, but attempting to
understand this pixels and inches thing. For the pur-
poses of this book 1/200 of an inch is the size at which
pixels disappear to the naked eye, therefore the di-
mensions of your image at this resolution is the maxi-
mum size it should be in Illustrator. If you made your
image larger, the pixels would then be too big, and the
viewer would see them.

This deserves an example. Let’s say you want a pho-

tograph to cover an entire flyer which is 8 x 10 inches.
You find the perfect photograph on the web and it is
Don't worry wonderful quality. But, it is 500 pixels high (let’s leave
about copyright off the width for simplicity). What happens if you
when using other spread those pixels over 10 inches is that you only get
peoples' images to have 50 pixels for every inch. In your resulting print
for your own a pixel that is 1/50 of an inch will be very visible to the
education. Just naked eye, and that wonderful looking photograph on
don't distribute the screen will look jagged and blurry in print. In oth-
them in any way er words, that photograph will not work for this situ-
(like posting ation. You will have to go find another image that has
on the web). more pixels.

If you find that after you size one dimension of your

image, the other dimension is too large, use the crop
tool to make that dimension smaller. If the other di-

118 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
mension is too small, then resize your image using
this dimension. Remember that there is no way to
fit a square image so that it fills up a long rectangle
without stretching (distorting) the image.
Image with not
enough pixels
(left) and with
enough pixels
(right).

If you find that you have a very large number of pix-

els per inch once you size an image, you can reduce
the number of pixels by checking (!) the resample box
and entering 200 or 300 pixels per inch. This will re-
duce your file size and have no impact on quality. Just
make sure the lock icon (lock proportions) to the left
of the dimensions is activated (dark box).

Sizing Images in Use

The previous section hopefully gave you some insight
into how image sizing works. But, it is a difficult sub-
ject for most people, so on the next few pages are
some steps you should follow (exactly!) to make sure
your images are sized correctly. The related subject
of sizing for screen use and copying and pasting in
Photoshop is also included. You might want to book-
mark these instructions. They are repeated as refer-
ence at the end of this book. If you don't understand
the theory, follow the instructions!

Use these steps to size a few images, and while you

are doing that, try to understand what is happening

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 11 9
 (as explained earlier in this chapter). Image sizing at
heart is pretty simple, but dastardly difficult to ex-
plain and understand.

However you size If you do somewhat understand image sizing you can
images, make also enter your width, height, and resolution while
sure the size of using the crop tool. The options panel has places to
the image on the enter the information (putting 'in' after the size tells
screen doesn't Photoshop you mean inches). This might seem like a
get bigger after more direct way of sizing images, but it has the dis-
you enter the advantage of not having a way to 'lock' the resolution,
information. so chances are good that a beginner like you will add
pixels inadvertently and end up with pixels as big as
your fist.

By the way, if you are getting images straight from

a DSLR camera, there are generally enough pixels in
the images to at least print well at the size of a sheet
of letter paper if not even bigger. But of course hav-
ing enough pixels isn't enough to make a bad photo-
graph good!

120 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
Image Sizing Steps

Before sizing any image for print or screen

Find an image with the pixel dimensions you think are
most appropriate for the size you need—you can al-
ways find another if it is wrong. If you are acquiring
images from the web, simply drag them to the desk-
top and then open them in Photoshop. If you cannot
find images with enough pixels, then consider making
the images smaller in your layout or finding another
way to skin that cat.

Sizing images should generally be done before any

work is done on your image—if you do not know the
final print or screen image size, then determining this
will be your first step. You might want to slightly over-
sharpen your images for print (but not for screen).

Sizing images for Print (& Illustrator, InDesign)

1. Get an image from the web, from a camera, or from
a scanner.

2. With your image in Photoshop, go to Image > Image

Size. With the resample image box unchecked, enter
the print size your image will be in the final printout
(either width or height). If you don’t know the even-
tual printed size, figure it out before going on.

3a. If the resulting resolution is less than 200 pixels

per inch, then go back to step one and get a web im-
age) with more pixels or rethink your design to ac-
commodate a smaller image. Remember that you can
search for images that are 'large' in Google (in image
search, 'Tools').

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 12 1
 Image Sizing Steps (continued)

3b. If the resulting resolution is more than approxi-

mately 300, then (to save disk space) check the resa-
mple Image box and the proportions lock and enter a
resolution of 200 to 300 in the resolution field. Check
at the top dialogue box to make sure that the 'was'
size (near the top of the requester box) is greater
than the pixel dimensions size. Click OK or hit the re-
turn key.

4. Save image as a Photoshop file if you will be work-

ing on it more in Photoshop or taking it into Illustra-
tor or InDesign. You can also save as a JPEG or a TIFF
(TIFF is a common universal format which retains full
quality) if it is finished.

Never resize in InDesign or Illustrator to make it larg-

er unless it is to just tweak the size of an image. Mak-
ing an image larger in these programs is exactly the
same as changing the resolution (pixels per inch) to
a lower number.

Sizing images for screen

The image size in Photoshop at 100 percent (at top of
window) is generally the size the image will generally be
in any web, email, or digital presentation, although this
may vary with different display resolutions.

1. Get image at settings you think might be appropri-

ate (or get the biggest [in pixels] as you can from the
web).

122 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
Image Sizing Steps (continued)

2. In Photoshop, go to Image > Image Size. With the

resample image box checked and the lock to the left
of the dimensions activated, enter the size in pixels
(either width or height).

3. Check at the top of the dialogue box to make sure

that the “was” size is greater than the pixel dimen-
sions size. If it is not, then get another image with
more resolution or a higher percentage. If the "was"
size is greater, then click OK.

4. Save image as a Photoshop file if you will be work-

ing on it more in Photoshop, or a JPEG or PNG if you
are going to use it to post or send.

Copying and Pasting in Photoshop

When copying from one image to another, you will
notice that the image will paste according to the rela-
tive pixel dimensions, not the 'inches' size or window
size. If you need to make the pasted image bigger,
then find another image and paste again. If you need
to make the pasted image smaller, you can change
the pixel dimensions as above or use Photoshop’s
transform tool.

Note: With digital SLRs or mirrorless cameras, the reso-

lution is usually enough for most tasks.

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 12 3
 Placing in Illustrator
Once you get an image sized in Photoshop, save it in
This is another either Photoshop or JPEG format. Now open Illustra-
reason it is a good tor and save a new document in the same folder as
idea to save an your Photoshop image. When placing images into
Illustrator file as Illustrator, the application does not actually put the
the first step—the whole image into the program, but only a preview of
relative location it. Therefore, it always needs to know where the origi-
of the placed files nal image is. Placing them both in the same folder is
will be established. a simple way of making sure Illustrator always knows
where your images are.

Now (in Illustrator) go to File > Place. Click the Op-

tions button and make sure that link is checked and
template and replace are not checked. Choose your
file and hit Okay. A preview of your image will appear
in Illustrator after you click with the place cursor. It
can be moved with the selection tool. It can also be
scaled in Illustrator, but as mentioned before, this
should be done only to tweak the size of an image.

You may have found that there are other ways of get-
ting images into Illustrator, such as by dragging, past-
ing, and even opening them. Resist the temptation
Files dragged and don’t use these ways for any file you care about.
into Illustrator They are for special uses only, and can bloat the file
can retain links, size of your Illustrator document, make the applica-
but doing it this tion unstable, and generally make life difficult. It is
way increases very common for students to lose links to their im-
the likelihood ages because of the ways they put them in Illustrator
of errors. and because they do not keep images where Illustra-
tor can find them.

124 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
Your photograph probably does not look as good in
Illustrator as it did in Photoshop. Remember that Il-
lustrator is not a pixel-based application—it is just
showing you a preview of what the image generally
looks like. When you print your document or save it
as a PDF, Illustrator will retrieve the original image
files and use them to make high-quality renderings of
your images.

The Link Panel

When you are placing image files into Photoshop, you
are linking them, and the link panel lets you have con-
trol over this. Go to Window > Links and you will see
a thumbnail of the image you placed into Illustrator.

A properly
linked image.

Since Illustrator cannot actually change pixel-based

images, it allows you to easily edit them in Photo-
shop. With your image highlighted in the links pan-
el, click on the edit button at the bottom right of the
panel. Your image will open in Photoshop. If it does
not, review Changing a File's Application at the end of
Chapter 5.

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 12 5
 Now make an obvious change to your image (maybe
Remember to save just draw a line with the brush tool), and then save
the image to see the image. Go back to Illustrator, and you should see
the changes. a box alerting you that your image was modified.
Click ‘yes’ to update the preview in Illustrator.

There is a small You should now see your image with changes in Illus-
disclosure triangle trator. This is the way of editing images once they are
at the lower left in Illustrator. The link panel will also tell you where
of the links panel your photographs are located, if they are linked cor-
that allows you rectly, and allow you to change the links. If you see
to reveal more any alert symbols in the links panel you should find
information. out what Illustrator is trying to tell you.

Warning icons
meaning modified
link, no link, and
missing link. Pay
attention to these!
You should not
have any of them.

A triangular warning sign means that the linked im-

age has been changed, in which case you should high-
light the link and click the update link button at the
bottom of the window. A small square with shapes in

126 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
it means that the image is not linked (usually it has
been pasted), and the stop sign means that the link is
lost. For these last two problems go to the relink box
at the bottom of the panel. If Illustrator cannot find
the image it is linking to, your prints and PDFs can
only use the preview image, which is usually of very
low quality.

Photographs with Transparency

In Photoshop, open an image and make parts of that
image transparent. Let’s do this the easiest way pos-
sible. First double-click your background in the layer
panel, then say yes to make it layer 0. Backgrounds
cannot have transparent pixels, so we have to make
the background a layer to allow transparency.

Now with the eraser tool, erase part of your image.

The erased part will show up as checker-board indi-
cating those pixels are transparent. You might also
want to use the opacity option for the eraser to make
some of your transparent areas partially transpar-
ent. Quickly size your image, but don’t pay attention
to the resolution as this is just a test. We don’t care
about the quality. Save your file in Photoshop format
since JPEG format does not have the ability to save
transparency.

In Illustrator, draw some things on a page, then place

your image. As you move your image around you will
notice that the areas that were transparent in Photo-
shop retain their degrees of transparency in Illustra-
tor. See if you can actually make use of this with an
image in Illustrator.

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 127

 Clipping Masks
A clipping mask is an Illustrator shape that contains
an image. Start with an Illustrator document contain-
ing a placed image. Now draw an oval over part of
that image. The fill and stroke setting do not matter.
Now select both the oval and the image (by shift-
clicking or dragging a box with the selection tool). Go
The shape you are to Object > Clipping Mask > Make. You should see
placing an image that your image is now only inside your shape and
into needs to be any fill or stroke the shape might have had is gone.
over (bring to You are using the shape as a clipping mask for your
front) the image. image.

With the selection tool you can move or scale the

shape and the image just as you would expect. The
direct selection tool works a little differently. If you
Yet another way click on the oval with the direct selection tool (re-
of editing the member—right below the selection tool) you can
image placement edit the path and the points of the oval. However, if
is to double-click you click on the image with that tool, it allows you to
with the selection move the image around in back of the oval. You can
tool to go into instead go to Object > Clipping Mask > Edit Mask or
isolation mode. Edit Contents (the menu item toggles between these)
to have more control editing either the mask or the
contents (in this case the image). If you would like to
These options get rid of the clipping mask, go to Object > Clipping
are also in the Mask > Release.
properties panel.
Clipping masks can be made using any shape in Il-
lustrator, and you can even make a clipping mask out
of type with the type remaining able to be edited. Put
a few images in shapes. Put a photograph or a paint-
ing of a pattern in a clipping mask made from type.

128 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
Make the type very bold and add a stroke to it after
you have made a clipping mask. Remember that the
object you are making the clipping mask with should
be arranged over the image and both need to be se-
lected to make the mask.

Using a clipping mask with a rectangle is also a There are times

handy way to exclude parts of an image by cropping when embedding
it. There is a button to crop images in the properties images is fine, but
panel, but unfortunately it also embeds your image, right now we are
which makes your Illustrator file larger and precludes trying to maintain
editing the image in Photoshop. So, refrain from using as much flexibility
that Crop Image button. as possible.

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 12 9
 Chapter 7 Review
Image Size Theory
200 pixels per inch minimum
how pixels are distributed in inches
reducing width or height by cropping

Image Size in Use

before image sizing
sizing images for print
sizing images for screen or copy / paste

Placing in Illustrator
saving all elements in the same folder
placing (and linking) image files in Illustrator
image in Illustrator is just a preview!

Link Panel
editing Photoshop files outside Illustrator
updating, re-linking, finding linked files
link warnings

Photographs with Transparency

Photoshop format files only
Photoshop files into shapes and letters in Illustrator

Clipping Masks
making and editing clipping masks
using selection tool and direct selection tool
using type as a clipping mask
cropping an image

130 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
Chapter 7 Quiz

Find an image that has a fairly even background (eas-

ily selectable). Convert the Background to a layer.

Using the quick selection tool and the delete key

make the background parts of the image transparent.
Save the file in Photoshop format. Find another image
and do the same thing, but this time use a layer mask
to more accurately delete the background.

In a new Illustrator document place the image you

saved and put type in back of it to clearly show the
transparency of the image background.

Place an image with a pattern into your Illustrator

document and put the image into some very bold let-
ters using a clipping mask. You may then need to add
a small stroke to your letters.

C H A P T E R 7: I M AGE S TO ILLUSTRATOR 131

 Chapter 7 Practice
Look at movie posters and pick out a few that you like.

Using these for inspiration, combine several imag-

es that you will use in your own poster for your own
movie. Use the layer mask to combine the images
from different layers.

Find images that have many pixels (high resolution).

Without adding pixels, figure out how large you can
make the images at at least 200 pixels per inch.

Place your image or images into Illustrator and com-

plete your movie poster. Use type styles that are ap-
propriate for your ‘message’.

You will notice that movie posters follow certain de-

sign conventions. Your poster should adhere to these
conventions.

132 C H A P T E R 7: I M AG E S TO I L LU ST R ATO R
8 InDesign

Whenever you need to design communication that spans

multiple pages, InDesign is the application to use. InDe-
sign also excels in automatic typography controls, so if
your design contains a lot of body copy (like a resume),
you should use it instead of Illustrator. InDesign is very
good for documents as short as newsletter or tri-folds
and as long as magazines and books. Although some Il-
lustration can also be done in InDesign (as many of the
illustrations in this book were), InDesign can get you into
trouble quickly if you rely on it too much for this.

Some designers use InDesign almost exclusively. If you

do not need the design flexibility of Illustrator nor its il-
lustration capability, using InDesign makes sense.

The Workspace
Open InDesign, make a new document, and take a look
around. Make some things. If you learned Illustrator
well, you should notice that the application is not a
lot different. The tools are much the same, the panels
are similar, and ways of doing things (like keyboard
modifiers) are so much like Illustrator that you might
not even notice you are in a different application. This
is why there is only one chapter in this book devoted
to InDesign—you have already learned much about

CH APTE R 8: INDE SIGN 133

 the program while learning Illustrator. This book
could have just as easily covered InDesign first and
then covered Illustrator this same way.

Do some things you learned in Illustrator. Make a

type box and start typing. Place an image. Arrange
objects, scale, and move objects. Many things you do
not know are also pretty easy to figure out. But let’s
look at some things that are not so obvious.

A New Document
While you create a new document in InDesign,
change the document's measurement units from pi-
cas to inches. Picas (and associated points) are actu-
ally a much better way to measure spacing in docu-
ments, but they are unfamiliar to most readers here,
so for the time being inches are better.
Designers
usually use the
measurement
system of picas
and points in
layout to avoid
problems with
measurements
in inches and
fractions. A pica
is 12 points,
and there are 6
picas (72 points) You should notice that there are some new things in
to an inch. the menu and in the requester box that comes up.
Most obvious is the option for setting the number
of pages. Since we are just learning some things and

134 CHAPTER 8: INDESIGN

since we can always add pages later, you should leave
this set to 1.

When you flip open a book or a magazine there are

two pages you see at once. In InDesign these are
called facing pages. Since you are not doing a book or
a magazine, uncheck this option.

Most magazines and some books also have two or

three columns per page. If we specified more than
one column here, InDesign would add guides (like
the guides you made in Illustrator) to show where the
columns are. We don’t need more than one column
here, so we leave it at 1.

The Margins options (click to see) also add guides to

your document where you want the outside margins
to be. These are just guides (not printing limits) and
there is nothing magical about the default of a half an
inch. Change it or get rid of the guides altogether by Layout > Margins
specifying ‘0’. We can change this later or just add and Columns... is
guides by dragging them out from the ruler as we did where this can be
in Illustrator. changed later.

Once you have a new document open in InDesign, In Illustrator, text

add some text. Make a new text frame by dragging a boxes are called
box with the type tool. With the text frame active, go text areas. In
to Type > Fill with Placeholder Text. This fills the text InDesign they are
box with Latin text. Latin text is often used when de- called text frames.
signing something you do not have copy for yet. The Also, InDesign
word lengths are similar to English (so it looks about has no option to
the same visually), but it stands out enough that you make point type.

CH APTE R 8: INDE SIGN 135

 hopefully wouldn’t leave any of it in your final design
by mistake.

Text Wrap
Images placed in InDesign behave very much the
same as in Illustrator with some important differenc-
es. To see these, first save your document and save
a couple of sized images in the same folder. Then go
to File > Place. When you place your image, you do
not get the option to link your image (they are by de-
fault), but you do get other options. Deselect these.
After you click ‘okay’ you will get an image cursor you
can use to specify where you want to place the im-
age. Make sure you do not click within your text box.
If you did, your image would be in-line with the text,
meaning InDesign would treat it the same as a word
in your text. This is only desirable if your document
will become something like a web page or an e-book.

After you place your image, you might notice that the
image quality is very bad. As in Illustrator, InDesign is
only giving you a preview for placement. If you would
like a somewhat higher quality for your preview, go to
View > Display Performance > High Quality Display.
You can set this as the default in InDesign’s prefer-
ences.

You will notice that your image floats over your text
as you drag it around. Generally, we don’t want this,
as we want the text to wrap around the image. In the
Text Wrap section of the properties panel (with your
image selected), specify the second option, and click

136 CHAPTER 8: INDESIGN

on the ellipsis to enter an offset of about a tenth of an
inch in each of the boxes below (if the lock icon is on
then one number will populate all the boxes).

This specifies how close the text will come to the im-
age. If the lock button in the middle is selected, all
the boxes will have the same value. You should notice Always select
that there is a secondary box now around your image the object you
that shows you how close to your image InDesign will want the text to
allow the type. wrap around, not
the text itself!
Now drag your image over your type box—the type
will avoid the image. Also notice that words don’t just
magically flow perfectly around your image. You will
have to adjust the placement of your image to get the Right about now
right space on the top and bottom of the image, and if you should be
your type has too small a space on the left or the right realizing that
it will have very awkward spacing. Beginners often ig- inches are not
nore the fact that type is not like water—it will only good for small
flow in particular ways. measurements.
Bring out the rulers
The Image Frame with command-r,
If you move the corners of your image you will see then control-click
that instead of changing the size of your image it will and hold where
crop your image. Given that InDesign is often used for the rulers intersect
production work (newspapers, magazines, books), it to change units. Or
makes sense that the application treats the image in go to the InDesign
two parts—the frame and the image. preferences.

You can change the size of your frame, and then fit
the image (content) within in most directly by going
to Object > Fitting, and select the option that best
suites your needs. Never fit content to frame (see il-

CH APTE R 8: INDE SIGN 137

 lustration) as this might very well stretch your im-
age—instead use the fit content proportionally menu
item.

You can also adjust your image size very much the
Always hold the same way you adjusted it in Illustrator’s clipping path
shift key when by using the selection tool to adjust the frame and
sizing and never the direct selection tool (or click the circle in center
size bigger! These of the image) to adjust the size of the image. Or, if
controls should you hold the command key before you start to drag a
only be used to corner of the frame with the selection tool, both the
‘tweak’ the size image and the frame will size together.
of an image or
to crop an image Multiple and Master Pages
for your layout. Multiple pages are handled in the pages panel (Win-
dow > Pages). Using an open page with a block of text
on it, go to the pages panel. In the panel menu (top
right), add some pages (Insert Pages...) to your docu-
ment. You can go to your new pages by either dou-
ble-clicking on their icon in the pages panel or scroll-
ing in your document.

You may have noticed when you made your pages

that it was specified that they be made with A-Mas-
ter. Master pages are like templates for the pages in
your document, and you can make as many as you

138 CHAPTER 8: INDESIGN

 Pages panel (and
its menu) with
master pages in
top group and
document pages
in lower group.
need. To see how they work, double-click on the A-
Master page icon near the top of the panel and draw
a few things on the page that appears in your window.
Also drag out a guide or two (remember? —View >
Show Rulers, then drag the guides from them).

Now double-click on any of your regular pages (lower

group in the panel). You will see that anything you
drew on your master page will be repeated on every
page you make with A-Master. Generally you would
put things such as headers or footers on this master
page. You could also use it for guides that you use for
many of your pages. In this book, guides for the text/
images and the line at the bottom of the page (and
the page number) are included on one of the master
pages.

Master pages themselves do not print with your doc-

ument, nor do they show up as pages in your number
of pages. They are simply containers for information
that you would like to repeat across multiple pages.
You can make more than one master page for your
document (see the pages panel menu). You can also
add and delete pages and master pages by dragging
their icons to the trash icon at the bottom of the pag-
es panel or highlighting the page and clicking that
icon. Try these things.

CH APTE R 8: INDE SIGN 139

 Threading Text Frames
Generally you are going to want your text to flow
from one page to the next and from one column to
another. Start with at least two pages and a block
of text on your first page. Now resize the text frame
on the first page small enough so that not all of the
text is visible. You will see a small red plus symbol on
the bottom right of your text box. This indicates that
there is overset text—more text than the frame will
accommodate.

With the selection tool, click on this overset text in-

dicator. Your cursor will ‘suck up’ the overset text. Go
to the next page and click at the top left of where you
want that text to go. A new text frame will be made,
the two frames will now be threaded (connected),
and the text will flow from one to the other. Go back
to the first text frame and make it even smaller—you
should see that the text that cannot show in that box
is moved to the next. You can thread as many text
boxes as you need in InDesign. Within the chapters
of this book the text frames are all threaded. Imagine
how tedious it would be to edit the text if they were
not.

To un-thread your second box, select the frame with

selection tool, go to the small blue box near the top
left of the box, click, and then click again on your first
box. The boxes are now un-threaded. Columns are
threaded and un-threaded in the same way. If you
thread text to an existing text frame a new frame will
not be made, and the text will flow into the existing
frame instead.

140 C H A P T E R 8 : I N D E S I G N
Paragraph Styles
Each of the applications you are learning have had es-
sential techniques which are difficult for many stu-
dents to get their head around. In Illustrator it is mak-
ing and editing paths. In Photoshop it is image sizing.
In InDesign it is paragraph styles.

Paragraph styles allow you to specify all the attri-

butes of common blocks of text in a central location. The Paragraph
So imagine a resume, where you have headers which Styles panel is in
name things like experience and employment. Then Window > Styles,
you have body copy between these headers explain- but in Illustrator
ing what you did. Obviously you are going to want to it is in Window >
change things like the type styles and size in that re- Type... one of many
sume many times to find just the right combination. curious Adobe
You could go through and change every piece of type, inconsistencies.
but if you did, it would take a long time, be awkward,
and open the design up to many mistakes.

With paragraph styles you can do the same thing in

much less time and avoid many mistakes. Even word
processing applications allow you to use paragraph
styles, and they show up in many other applications
from presentation to web production.

Start with a text box filled with text (placeholder text

is fine). Now make some headers (one or two words
each) by pressing the return key at several places in
your text like the illustration at left. Paragraphs in
computer terminology are pieces of text before and
after you hit the return key. You might want to write
your own text with headers that made sense.

CH APTE R 8: INDE SIGN 141

 Let’s define the whole block of text as body copy.
First, select all of your text or the text frame itself,
then click the new icon next to the trash icon at the
bottom of the Paragraph Styles panel (make sure
you opened the Paragraph Styles panel in Window >
Styles, not the paragraph panel in Window > Type.
Double-click on the name Paragraph Style 1, and in the
resulting box name the style Body Copy.

A new paragraph
style will show
up like this.

From the options on the left of the box choose Basic

Character Formats, and change your type style, size,
etcetera to something visibly different than what you
had and click Okay. You have just not only changed
the look of your text, but you have also defined it as
Body Copy.

Now for the headers. Select one of your small para-

graphs that you will make into a header. Change the
type style by making it a bit bigger and in a bold font.
You will notice that it is still Body Copy in the para-

142 CHAPTER 8: INDESIGN

graph styles panel, but it has a small plus symbol next Yes, I know. Just
to the name. This means that it is still the body copy keep re-reading
style, but you have added some extra things (size and and trying it
bold) to it. from the start
of this section.
Again click on the icon at the bottom of the panel to
make a new paragraph style, and double-click on the
Paragraph Style 1 it produces in the panel. Rename
this style headers and click okay. Now either select
another header (or just put the cursor in the para-
graph), and click Headers in the paragraph styles pan-
el. Do the same thing to your other headers to also
define them as headers.

Now the look of your body copy is defined by the

paragraph style you made named Body Copy, and the
look of your headers by the paragraph style Headers.
With your text cursor somewhere in the body copy,
double click on your Body Copy style in the paragraph
styles panel and change the look of the text. Change
other things, like the color of the type. You may have As in many
to click through many of the categories on the left requester boxes,
side of the paragraph styles editing box to find a par- paragraph styles
ticular option. has a preview
option.
Now put your cursor somewhere in a header and
change the type styles or other things for your head-
ers. Notice that changing the definition for a style
changes all the text that is governed by that style.
Handy indeed!

You can add attributes to text without adding to the

paragraph style by going to the character panel and

CH APTE R 8: INDE SIGN 14 3

 making a word italic (for instance). This overrides
the style. That word would now show in the para-
graph styles panel with a plus after the name of the
style. As we saw before, to reset it back to the style,
click on the second icon on the bottom of the panel.

Remember that paragraph styles govern whole para-

graphs—in other words, the text that is after and be-
fore you hit the return key. You could use character
styles to define styles for smaller pieces of text, but
most times paragraph styles is a better choice.

For the book you are now reading, there are para-
graph styles for many things, such as body copy,
chapter headers, small headers, chapter intros, cap-
tion text, etcetera. The red text that shows up when
new terms are introduced are governed by a charac-
ter style (one of only two character styles used). Any
of these things can be changed throughout all of the
pages in the entire book with just a couple of clicks.

Practice using paragraph styles in different situa-

There are tions. Perhaps even go back to your word processing
finer points to application and see how they are implemented there.
paragraph styles Paragraph styles let you change much more than just
(such as styles type style, size, and color in InDesign, and as you
based on styles) work more in the application their full power will be-
that are not come apparent. And although they are a little tricky
covered here. at first, after time they will become second nature.
Use them!

144 C H A P T E R 8 : I N D E S I G N
Character Panel
While Illustrator excels at design flexibility, InDesign
excels at design consistency, both in typography and
layout. You probably noticed how much control you
have by the shear number of options in paragraph
styles. Without going into too much detail, here are
some other controls you have, most of which are also
available in Illustrator. For this discussion we are go-
ing to use the dedicated Character Panel (Window >
Type & Tables > Character) instead of the type con-
trols in the Property Panel.

With an entire paragraph selected, go to kerning

in the character panel (see illustration at left). In
the pull down menu you can see that the option for
Metrics is the default. This spaces each letter with-
in words according to definitions that are built into
the font itself. Good fonts generally have good defini-
tions, but special use or cheap fonts might have very
bad definitions, and letter spacing might be awkward. Even some
You can instead have InDesign take over the spacing popular fonts
of letters by choosing Optical. Sometimes (especially have bad letter
in headers) this will minimize the need to kern each spacing (called
letter individually, especially if your font has bad kerning pairs).
built-in letter spacing.

Now change the font in your type box to Minion Pro.

This is a good serif body copy font that should have
been automatically installed with your Adobe appli-
cations. Within your type frame, either find or type
some letter combinations of ff, fi, and fj. Zoom in very
close and select these letters, then uncheck Ligatures
in the character panel’s menu. You should notice that

CH APTE R 8: INDE SIGN 14 5

 by default InDesign combines some letter combina-
tions into ligatures. These make the copy (text) much
cleaner—see how they look with ligatures turned off.
Ligatures have been standard in publishing for a long
time.

Now with some numbers selected (again use the

Minion font), go to the character panel’s menu and
go to Open Type > Proportional Oldstyle. Oldstyle
numerals are actually lower case numerals (98-526
instead of 98-526), and often look better when num-
bers are combined with text, such as in an address
(or the body copy of this book). Not all fonts have
ligatures or oldstyle numerals.

As you might have gleaned from ligatures and old-

style numbers there are more shapes built into a font
than is readily apparent. To see all of the symbols
Illustrator also (glyphs) that are built into a font, go to Window >
has all of these Type & Tables > Glyphs. Different fonts have vastly
options. different numbers of glyphs available, and some may
be hidden behind other glyphs (denoted by the dis-
closure triangles in their boxes). To add a glyph to
your text, such as a middle dot (·) or a vertical bar
(|), just put your cursor where you want the symbol
to appear in your text and double-click on the glyph
in the glyphs panel.

In Illustrator Paragraph Panel

and InDesign With a new type frame filled with text (not latin—
you can paste copy text from another application and paste it into
text, but never a type box), select the entire type frame or all the
paste images! text in it, and open the paragraph panel (Window >

146 CHAPTER 8: INDESIGN

Type & Tables > Paragraph). Enter a number of 2 or
3 (lines) in the drop cap box in the lower left of the
panel. The first word in each paragraph will now start
with a drop cap, or larger version of the letter. You
would probably only want this in the first paragraph,
so you would just select (or put your cursor in) that
paragraph.

Now with a paragraph or your entire text selected,

un-check Hyphenate. At the top of the panel, choose
another justification method—either the first option
(ragged right) or the first option in the second group
(fully justified), and check hyphenation on and off to
see what happens to the flow of words.

With hyphenate checked on, go to the paragraph

panel menu and choose Hyphenation. With preview
checked, try different numbers to change spacing.

The intent here is to show you just a small fraction

of the typographic controls in InDesign. You should
have seen many other options as you did these. Play The font size for
around and see if you can figure out what they do. But this book is 10
don’t forget the simple typographic control of leading point with 14.5
(line spacing). Most designers would never consider points of leading
leaving the leading value at automatic. (10/14.5).

CH APTE R 8: INDE SIGN 147

 Exporting & Printing
Before you finish your InDesign document there are
two things which are crucial. The first is (of course)
to check your spelling. Go to Edit > Spelling. All of the
Adobe Design programs have spell checkers, but In-
Design (and Illustrator) also has the option to check
spelling as you type (dynamic spelling).

Periodically it is also important to view your docu-

ment without guides and object boxes so you can see
better how it will look when printed or exported as
a PDF. At the very bottom of the tool panel you can
switch between normal and preview modes (or use
the W key if the type tool is not selected).

It is a good idea to check to make sure you do not

have any unlinked images and that you don’t have any
fonts used by mistake (in long documents this is very
easy to miss). Remember that fonts are stored on the
computer, not with InDesign. If you send someone an
InDesign file, you will need to make sure they have
the fonts you used as well. This brings us to...

File > Package is where you will see a report that

shows you how many images you have and if there
are any unlinked ones that need attention. In the
fonts category you can see all of the fonts that are
used in the document.

If you were going to send this file to someone else to

print (like a commercial printer), you would now click
on the package button. This would make a new folder

148 C H A P T E R 8 : I N D E S I G N
that contained everything that is needed for printing,
including all images, all fonts, and any instructions
you would like to add. But since you are just using
this box to check your document you can click Cancel.

You can also check for errors using the small green or
red icon at the bottom of your document frame near
the page number you are on. The Preflight pull-down
menu there does exactly what package does without
the option to actually package the document.

If you see a red

dot instead of
green go to the
preflight panel to
find what is wrong.
In Illustrator we could save a PDF from the save di-
alogue box. The InDesign file format, on the other
hand, is different enough from PDF that the option is
in File > Export. After choosing a place to save the file
and specifying Adobe PDF (Print) as the format, click
Save and the PDF box will show up.

At the top, choose Smallest File Size if your PDF is only

going to be viewed on a computer screen.

CH APTE R 8: INDE SIGN 149

 To see the file size Choose High Quality Print if it will be printed. The dif-
of a document in ference in file size between these two can be very
the Macintosh dramatic if your document includes placed images.
Finder, highlight
the file icon and go Printing your document is very much the same as in
to File > Get Info. Illustrator, but since InDesign is usually dealing with
multiple pages, there are more options in the way
spreads (two pages next to each other) and even/
odd pages are printed. Make sure you understand
warning boxes that may pop up as you go to print or
export.

Also make a habit of looking for that green dot at the

bottom of the document window (where you went
to preflight). If it is red it might seem innocuous, but
it is trying to tell you something might be seriously
wrong.

A very common error is for overset text, meaning

there is a text box in your document that is not big
enough to hold all of the text in it. This is easy to have
happen when editing text, and may be nothing more
than a few line returns that are not showing.

InDesign will also bring up an error if it cannot find a

linked image. Take this warning very seriously, since
a low quality preview of your image will be printed if
the linked image is not found!

150 CHAPTER 8: INDESIGN

Chapter 8 Review
The Workspace
most things very much like Illustrator

A New Document
column and margin guides, facing pages
placeholder text

Text Wrap
text wrap (select object to be wrapped around)
offset and type flow considerations

The Image Frame

do not place images into type box
images in frames, positioning
command & shift to resize box and image together

Multiple and Master Pages

adding pages using pages panel
master pages as templates

Threading Text Frames

threading (linking) text frames
overflow text symbol
unthreading frames

Paragraph styles
paragraphs defined with the return key
defining & changing paragraph styles
clearing override styles
character styles

CH APTE R 8: INDE SIGN 151

 Character Panel
metric (built-in) and optical kerning
ligatures and character menu
Open Type options
glyphs panel

Paragraph Panel
drop caps and hyphenation

Exporting & Printing

spell checking, package, preflight
exporting as PDF, options
printing options
taking warning boxes seriously

152 CHAPTER 8: INDESIGN

Chapter 8 Quiz

In InDesign, make this black banana shape using 2

corner points and two curve points. Do not use the
pathfinder options for this (review).

This is text wrap. This is text wrap. This is text wrap. This is text

Make a rectangle and wrap some fully justified text wrap. This is text wrap. This is text wrap. This is text wrap. This
is text wrap. This is text
wrap. This is text wrap.
This is text wrap. This

next to it as shown. Use a 0.09 inch offset for your is text wrap. This is text
wrap. This is text wrap.
This is text wrap. This
is text wrap. This is text

text wrap on all sides of the rectangle. wrap. This is text wrap.
This is text wrap. This
is text wrap. This is text
wrap. This is text wrap.
This is text wrap. This is
text wrap.

This is Header 1
Make two paragraphs of text with headers for each.
And this is the body
Use paragraph styles to define both headers the same copy for it. And this is
style and both blocks of body copy another style. the body copy for it.
This is Header 2
And this is the body
copy for it and this is

Using the character and glyph panels, carefully recre-

123 fido ∞
ate the four lines shown at left in Minion Pro (regu-
lar). The numbers in the second line are tabular and 123 fido ‡
the ones in the third line are proportional. Why do 123 fido ©
you think there are both options? The fourth line has 123 f i d o
the word ‘fido’ tracked out. Notice the (ex fi) ligature.

CH APTE R 8: INDE SIGN 153

 Chapter 8 Practice
The text on the next five pages needs designing to
communicate effectively! Download this book (loca-
tion in the Preface), and select all of the text start-
ing on the next page, copy it, then and paste it into
InDesign. Arrange it to make sense graphically (in
other words, design it). Use as many letter-size pages
as necessary, and make sure you turn off Facing Pages.
Use the things noted in the text to help you figure
out your layout, type choices, etcetera. You will want
to read the text after you start designing it so that it
is easier for you to read! Pay particular attention to
including all of the following:

Paragraph styles for all text

At least one element on the master page
At least one placed Photoshop file (sized correctly)
Images linked and available
Image(s) should have text wrap on
All text frames threaded
Specified leading for all text (no Auto)
Spelling corrected (there are mistakes)
Making a packaged document

There is no way you can finish this and then print it

out. Prints will show mistakes that the screen never
can. Even something as basic as your type size is very
difficult to assess on the screen. As you look at your
prints, think about how someone else will see them.
Are you communicating effectively?

Note: Some PDF readers will split the text at each line
with a return. If this happens you will have to get the text
elsewhere or remove the hard returns.

154 CHAPTER 8: INDESIGN

Get your type under control, dang it!
InDesign Techniques
Paragraph Styles
De昀椀ning and using styles is important
for two main reasons. First, it makes
it very easy to make changes. For in-
stance, instead of going through all
your headers and changing the point
size a half-point, you can just make
one change to see how it looks through-
out your document. Second, styles pro-
mot consistency. You can’t have that
mistake where you left one line a
quarter-point larger than the rest of
your text. For type changes within the
paragraph (like italics), styles are
easily over-ridden.
Columns & text threading
Chances are good that you will want
more than one column on a page (see
Length of text lines). In InDesign you
should thread the text frames together
across colums and across pages.
Type aesthetics
The point
The point of typography, and also pret-
ty much all of design, is to comuni-
cate clearly and beautifully. We want
to attract the reader and have them
think about what is said, not about
the design. The best design is invis-
ible to the reader.
Learn from the experts
When you are doing any project that
requires text you can easily learn how
it is done with instruction by some of
the world’s best designers. Just pick
up a magazine or a book. Look closely.
What is the type choice, point size,
leading? How are the headers done, how

CH APTE R 8: INDE SIGN 15 5

 is the right margin handled? Etcetera.
Body Copy (extended reading type like
the paragraph below)
Break the typewriter
Typewriters haven’t been around for a
while, but many people still cling to
their limitations. Don’t underline —
instead use italic or bold. Don’t put
two spaces after a sentence — comput-
ers can 昀椀gure out the correct space
to put after a period with one space.
Use the correct dash: Hyphens con-
nect words that make up one word or
spread a word across lines. En dashes
(command+hyphen keys) connect numbers
or words like in dates or addresses.
Em dashes (command+shift+hyphen keys)
connect thoughts in a sentence. More
info on Wikipedia...
Body copy text choices
Serifs fonts are easier to read and
many are classic looking. Sans ser-
if can look cleaner, simpler and more
modern. The little tags on the end of
serif letters help the eye distinguish
one letter from another, which is im-
portant because when we read we read
patterns, not letters. There are ex-
ceptions to this, such as type on a on
a low-resolution screen and short bits
of big type (like headers). Type size
is also important, and unfortunately
can only be judged in a print (if that
is the 昀椀nal medium). Di昀昀erent type-
styles will look di昀昀erent sizes at the
same point size, but generaly point
sizes from 8 to 11 are good. Type that
is too large looks awkward and ama-
teurish, and type that is too small is
hard to read. And never use decorative

156 CHAPTER 8: INDESIGN

type for your text unless you don’t
want anyone to read it. Times and Hel-
vetica are bad choices if only because
they are over-used.
Alignment
Justi昀椀ed left and ragged right is the
best option, but if you want your page
more regimented, or if your columns are
close together, you might want to use
fully justi昀椀ed type (left and right).
Watch the spacing of your words when
you fully justify, and to help word
spacing you should probably have hy-
phenation turned on. Centered text and
ragged left text are really just for
special purposes. Save them for your
poetry.
Leading
How much leading to set is a person-
al thing, and it also depends on what
you need. Too little leading will make
your lines crowded and jumbled. Too
much leading will make your body of
text look unconnected with itself and
give the feeling of stripes. Start
with a leading 2 points larger than
your type size and print it out to see
if you need more (or less).
Length of text lines
A general rule of thumb is to keep
lines to 50-60 characters (letters and
spaces). Too long text lines makes it
hard for the reader to pick up the
next line as they are reading. If you
want to use longer lines, keep the
text down to only three or four lines
and do not fully justify it. Increas-
ing leading will also help. Very short
lines of text should never be fully
justi昀椀ed, since the word spacing will

CH APTE R 8: INDE SIGN 157

 su昀昀er, even with hyphenation. There
are controls in InDesign with which
you can vary how words are spaced and
how they are hyphenated, but for now
just make sure you don’t have ‘rivers’
of white space running down your body
copy from poorly spaced words.
Paragraphs
Paragraphs are good. They group the
text into inviting chunks and help the
reader skim. Paragraphs can be sepa-
rated with a line return or by indent-
ing the beginning of each paragraph
after the 昀椀rst. The ideal indentation
is usually around the width of the let-
ter ‘M’ in your typestyle (that width
is called an ‘em’), but some designers
use a bit more.
Italic and Bold
Italic and bold versions of your type-
face are great ways of emphasizing
words or separating them from the rest
of the text. Get used to using them.
Color changes can also be used for the
same purpose, although that technique
is much less common.
Header & Title Text
Headers
Make sure your headers and titles play
nice with your body copy text. They
don’t have to be in the same typestyle
at all, and often times serifs and sans
serif styles are mixed between headers
and body copy. Whatever your choice of
header typestyle or size, make sure it
doesn’t speak too loud (usually too
bold or big) or too soft in comparison
to your body copy. All caps is 昀椀ne in
headers. All caps is harder too read,
but headers are short.

158 CHAPTER 8: INDESIGN

Fun with type
The point of typography is to communi-
cate, not show how many fonts you can
use or how ‘creative’ you are (ugg).
Use as few fonts as possible, and don’t
beat the user with decorative fonts.
Layout and what is said can communi-
cate something like ‘fun’ better than
Comic Sans. Decorative fonts work best
when they silently quietly communicate
a mood.
Kerning
Headers should always be scanned to
see if they need any letters kerned.
Body copy doesn’t generally need it at
all (whew), but if it is not good try
setting InDesign’s kerning to ‘opti-
cal’ or better yet, change your typ-
estyle to something with better ‘kern-
ing pairs’ built in.
There is much more to typography, but
this should get you started. A well
set page with a good layout is invit-
ing and beautiful. You have seen them,
but I am sure you haven’t noticed them.
That was the designer’s intent.

CH APTE R 8: INDE SIGN 159

9 Xd

This book was created in InDesign. As with Photoshop

and Illustrator, InDesign is equally at home doing work
destined for the screen as well as for print. Although all
three applications allow for some interactive design (like
clicking on a page number in this book), Adobe Xd is
built around the concept of interactive design (Experi-
ence Design is what the XD stands for). Xd is the appli-
cation to use for mapping out and creating the basic de-
sign of anything from web pages to mobile applications.

Although you cannot directly make web pages and oth-

er interactive designs (such as emails, social media con-
tent, and applications) in Xd, you can design them (com-
plete with interactive elements) and send them to others
for review as web pages. When the designs are finished,
the design can be given to a programmer for implemen-
tation.

In working with Xd you will probably notice that it is very

much like a stripped-down version of Illustrator with in-
teractive capabilities. As a matter of fact, you probably
know how to use most of Xd already!

Many of the finer tools that are in Illustrator are simply

missing in Xd. Others are moved around to keep you on
your toes hunting for them.

CH APTE R 9: Xd 161
 Tutorial
If the tutorial While the tutorials in the other Adobe applications
doesn't show on we have covered are bad at presenting a coordinated
the first splash path to learn from, the one in Xd is so good that it
screen, go to Help saves a bunch of words here—instead you will work
> Xd Tutorial through it.

Before you do the tutorial you will need a few images

handy, perhaps on your desktop. You can just drag
images from a Google search for this or follow the
link included in the tutorial for their images. You will
see that the tutorial takes about 10 minutes. Increase
that to at least a half-hour by trying different things
and exploring the interface while you go and after
you are done. You may have a few questions after fin-
ishing the tutorial—here are some answers to some
of them...

Finer Points
The options in the right panel are contextual, mean-
ing they change according to what you have selected.
Basically, this is panel is the same as the properties
panel in Illustrator.

Select entire pages by clicking on the page title at the

top and going to the artboard tool. Pages can be ar-
ranged by dragging the page title.

Responsive Resize in the panels refers to how ob-

jects behave when you move and scale them, not how
they behave when you preview your pages (which is
fixed).

162 C H A P T E R 9 : Xd
You can combine links across pages formatted for
different devices—the pages (artboards) will simply At the time of this
show up in different proportions. Remember where writing, Adobe
the artboard tool is in the tool panel—when you se- is updating Xd
lect it you get a choice of sizes on the right. You can almost once per
delete an artboard simply by selecting it and hitting month. In many of
the delete key. these updates the
interface changes
A common strategy is to design pages for desktop and modifications
browsers and then another set of pages for mobile are made to other
devices. Copying and resizing between page sizes is things. So, don't
where those responsive resize options can save you be surprised if
some work. something isn't
exactly as it is
There is no provision for drop-down menus, but you explained here.
can simulate them by linking to an identical page
showing a drop-down open and assign links to the
options in the list. Similarly, use your imagination to
simulate other common web site features.

Viewing Your Site

An important feature of Xd is the ability to add
links to your pages and preview how these links
might look on a web page, either by previewing
your pages and interaction using the Desktop Pre-
view button at the top of the window or by con-
necting a phone or tablet to preview the pages as
you design them. Using the Share option you can
post your creations on the web for others to look
at. Go to the share tab, then on the right choose
Design Review. To send the preview's link to someone,
copy the link by clicking on the chain icon, then paste
it into an email, text, or social media site for them to
open.

CH APTE R 9: Xd 163
 If you are sending your creations to a person who will
make web pages out of what you have done you could
instead send the specifications for your pages (such
as colors used, placement measurements, and imag-
es) using the Development option.

The Scaling Problem

A big difference in Xd previews from what you might
see on a finished web page is that in Xd pages are for-
matted to a specific size and proportion, while web
pages are scalable in both the vertical and horizontal
dimensions.

Go to a few web pages and resize your window to dif-

ferent widths. You will see that most of the elements
(especially text) stay at the same size but reformat
as you scale the window. This does not happen with
Xd—the entire design gets bigger or smaller as you
scale the window. What this means is that it is tricky
to get elements such as type the correct size. If your
Download the Xd display is huge, someone with a smaller display will
mobile application see your type very small.
to see your designs
on a mobile If you are designing for a phone, this problem is large-
device as you ly solved by checking your design on the phone itself,
work on them. either by plugging it in while you work or by viewing
your published site. Yes, it will look different on larger
or smaller phones, but it is better than not paying at-
tention to scaling at all!

If you are designing for desktop, the problem is worse,

especially since Xd's default web size is 1920 pixels
wide, while most web pages are designed for a mini-

16 4 C H A P T E R 9 : Xd
mum viewport of around 1080 pixels wide. My sug-
gestion is to make a custom size at 1100 pixels wide
by 800 pixels tall. Make sure you fill in the numbers
before clicking on the icon.

This is not a great solution to Xd's resolution prob-

lem, but it should put you in the ballpark better than
not paying attention to scaling at all.

Illustrator
You may prefer to do your designing in Illustrator in-
stead of Xd, either to give you more drawing features
or just because you are more familiar with it. Simply
open an Illustrator file by going to File > Open (not
import), and your Illustrator file will open with all art-
boards intact. From there, you can change page sizes,
add links, and publish a preview.

It should be noted that at the time of this writing

not all things open as they should from Illustrator,
with things such as text formatting changing. So,
don't sweat the details of your design until you have
opened it in Xd.

CH APTE R 9: Xd 16 5
 Chapter 9 Review
Tutorial
working through the tutorials multiple times
Page scroll and other points in tutorials

Finer Points
responsive design aids for different sizes of pages
designing for mobile or desktop

Prototyping Pages
publishing prototypes and sending link

The Scaling Problem

scaling differences between Xd and web
scaling solutions

Illustrator
opening Illustrator files in Xd
finishing the design in Xd

166 C H A P T E R 9 : Xd
Chapter 9 Practice
Make a short website for a fictional company for ei-
ther desktop or mobile versions. You should do plenty
of research for this, looking at how other websites do
their designs. You should continue to do research as
you work on this to double-check how your designs
measure up to professional designs. Here are some
questions to ask during this process:

What sizes should body copy, headers and title type

be on a web page?

How are menus done? How intuitive is it to navigate

through the pages?

How are things on the pages grouped together?

How is color used? What colors are used?

Where are the various elements on the page, such as

the logo, search and contact information?

What information is seen before you scroll and what

information after you scroll? Does the scroll present
a coherent experience?

What do links to other pages look like?

How does the design change from desktop to mobile?

...Now publish your finished site and send the link to

someone for comments.

CH APTE R 9: Xd 167
10 The Right Tool

You can use a wrench to pound in nails, but it doesn’t

usually do a very good job, and the effort required
doesn’t pay off. In the same way, you can use Photoshop
to make a resume. But you wouldn’t want to. Learning to
use the right tool is an essential part of using the Adobe
CC for Design applications.

Do not fall into the trap of using one program over the
other because you ‘like it better’. That is as absurd as us-
ing the wrench as a hammer because you like wrenches
better. Each application has its own strengths.

Now is also a good time to reiterate that the actual

work of designing—communicating effectively through
graphics—is of course beyond the scope of this book. As
I pointed out in chapter one, there are several good de-
sign books out there, and I would recommend Robin Wil-
liams' (not that Robin Williams) The Non-Designer’s
Design & Type Books. Contrary to the title, this book is
good for not only the non-designer, but also the begin-
ning designer.

InDesign
If you want to consider one application your ‘go to’
for every design, it should probably be InDesign. Ty-
pography is king in design—these little symbols that

C H A P TE R 10: THE R IGH T TOO L 169

 make up this word, this sentence, are key to almost
every design, and InDesign handles them very well.
It has very fine controls over not only how type looks,
but all of the spacing considerations that come up
relative to type.

A traditional resume, for example, is something best

done in InDesign. Here you would perhaps make two
type frames (one for the information at the top of the
resume, the other for all of the rest of the informa-
tion). Through paragraph styles you would define all
of the various forms the text takes, maybe headers
that are large and bold, emphasized text in italic, per-
haps even different type styles for different purposes
in the resume. With paragraph styles you can define
just the right amount of leading for your text, the ex-
act space between your headers and text, etcetera.

When it comes time to edit and tweak this resume,

you have very much control, and also more impor-
tantly, very much consistency. Every space between
lines is the same, every space and rule below headers
is the same. Every tracking control used in the head-
ers is the same. Using paragraph styles in this situa-
tion is not an option, but a requirement!

Think about other designs where typographic consis-

tency is crucial. A book (like this one!). A newslet-
ter, menu, magazine, handout, flyer, business propo-
sition, term paper, instruction manual, annual report,
brochure. The list goes on.

170 C H A P T E R 1 0 : T H E R I G H T TO O L
InDesign also lets you do simple illustrations, and
works very much like Illustrator in this regard. But be-
ware—complicated illustrations are not only difficult
in InDesign, but do not lend themselves well to modi-
fication, like scaling. InDesign is also not very fluid.
If you were to design a sign, for example, you would
quickly see that type in a text frame does not easily
lend itself to visual adjustments and tweaking.

Illustrator
Illustrator is flexible, and you should use it when you
need flexibility. It will handle any illustration with
ease. The illustrations can be easily modified, added
to, and subtracted from. You can produce anything
from a postcard to a billboard.

With type, you can visually and immediately scale,

rotate, and modify your words. There are also many
of the same typographic controls we discussed in In-
Design. But beware—flexibility with type does not
equate to good typography.

Back to the traditional resume. Imagine you want

a lot of flexibility in designing your resume, so you
do each line of text separately in Illustrator. You can
scale each bit visually, you have ultimate control and
flexibility. But lets carry this on a bit—let’s say you
want to make all of your headers a couple of points
bigger to see how it will look. Well, first you are going
to have to do each one separately. Then your spacing
is going to be messed on everything else so you will
have to adjust that. Before you know it you have an in-
consistent mess that you are not going to want to try

C H A P TE R 10: THE R IGH T TOO L 17 1

 anything new with. You could have made a couple of
dozen different design experiments in InDesign in the
time it took you to do one in Illustrator. Your design
will suffer. You just used a wrench as a hammer. I am
exaggerating a bit here. Illustrator does have para-
graph styles, etcetera, but my point stands.

But now imagine you are doing a full-page advertise-

ment. You have a photograph that takes up the entire
page, a headline with a few words, a short piece of
body copy to explain what you need to, a bit of infor-
mation about the company at the bottom of the page,
and a logo. Here consistency across the elements will
largely be visual. In Illustrator you can deal with each
of the elements visually, moving them to just the right
spot, scaling them, experimenting with different ar-
rangements and different colors. You could do differ-
ent drafts on different artboards, or just keep a mul-
Look over the titude of experiments and drafts on the pasteboard.
shoulder of a You may even want to break the headline into ele-
designer working ments of one word each so you can play with differ-
in Illustrator. ent arrangements within the element. You can even
More than likely see multiple versions at once on the screen to com-
the pasteboard pare them. This kind of flexibility is just not possible
will be filled with in InDesign.
bits and pieces
of alternative So, with Illustrator you are going to be doing things
designs. where typographic and spacing consistency is sec-
ondary like in ads, posters, letterhead, packaging, lo-
gos, symbols, and illustrations.

172 C H A P T E R 1 0 : T H E R I G H T TO O L
Photoshop
The limits of Photoshop are pretty clear. Anything
without hard edges (like a photograph) is best done
with pixels, so that means Photoshop. Photographs,
paintings, drawings, image based patterns, etcetera.
Once you get into hard definite edges, such as are
present in type, Photoshop will quickly run you into
trouble.

Let’s go back to that resume and imagine doing it in

Photoshop. Ignore the fact that you have very lim-
ited typographic controls, and let’s just look at how
your type will look. You would make a new letter-size
document and specify the minimum recommended
200 pixels per inch. Without typing a word your doc-
ument is now 10 megabytes, and at that resolution
your letters will not be sharp—hard edged objects
need much more resolution than the 200 pixels per
inch we talked about before in reference to photo-
graphs or other continuous tone images. So, we go to
a resolution of 600 pixels per inch, which is closer to
getting those hard-edge pixels to disappear, and our
file size is now almost 100 megabytes. And we aren’t
anywhere close to even starting a good resume.

Give it up. Don’t ever do type in Photoshop unless

you need to for some reason (like when the type be-
comes an integral part of the image).

C H A P TE R 10: THE R IGH T TOO L 17 3

 Xd
Using Xd is pretty straight-forward, and it would be
difficult to confuse what you should do in this appli-
cation.

The best way to think about Xd is Illustrator for in-

teractive design. In the same way you prepare photo-
graphs in Photoshop or vector graphics in Illustrator,
you prepare these things in the same way for Xd.

All Together
There are two ways of producing designs with type
from these applications, and only two ways. The first
is to use InDesign or Xd, and place images and/or Il-
lustrator artwork into your document. This way you
can have areas of complex illustrations and photo-
graphs combined with areas of consistent type. For
example, this book.

The second way is to use Illustrator and place images

into it from Photoshop. If the controls in InDesign are
not needed, but the controls of Illustrator are, then
this is the way to do it.

Students have a habit of combining these programs

in ways other than these, with strange and usually
ghastly results. Like exporting a PDF from InDesign
and placing it in Photoshop! Or placing an Illustrator
file into Photoshop! There is generally no reason to
do these things, and unless you really know what you
are doing they will lead to disaster. Or at least a mess.

174 C H A P T E R 1 0 : T H E R I G H T TO O L
There are, however, dozens of very specialized ways
of using the applications that do involve some special
ways of doing things. For instance, in the last chap-
ters we will paste an Illustrator drawing into Photo-
shop. There are good reasons for doing these special
techniques, but until you know them, and know why
you are doing them, stick with one of the work-flows
on the following page that represent 99% of the de-
signs you see on the web or print.

C H A P TE R 10: THE R IGH T TOO L 175

 Design Work-flows

Photoshop to screen (JPEG) or print

For those projects where you need to put photo-
graphs into emails or print them out for your grand-
mother. Etcetera.

Illustrator to PDF or print

An advertisement, your schedule, a map to your
house or instructions for someone. Etcetera.

Illustrator with linked Photoshop images

to PDF or print
Poster for your lost cat or prospectus for a new cli-
ent. Etcetera.

InDesign to PDF or print

Your resume. Your first novel. Etcetera.

InDesign with linked Photoshop images

and/or Illustrator illustrations to PDF or print
Your first graphic novel. A book like this. A newslet-
ter. Etcetera.

Xd with images from Photoshop and vector graphics

from Illustrator
A web site!

176 C H A P T E R 1 0 : T H E R I G H T TO O L
Chapter 10 Review
InDesign
when in doubt, use InDesign
best for typographic consistency

Illustrator
best for small amounts of type
retains visual flexibility
works well with illustrations

Photoshop
for continuous-tone images

Xd
for interactive design

All Together
InDesign with placed Illustrator and Photoshop files
Illustrator with placed Photoshop files

Design Work-flows
some suggestions on the right tool for the job

C H A P TE R 10: THE R IGH T TOO L 17 7

11 More Illustrator

The next three chapters will deal with additional tech-

niques from each of the three applications you have
learned. These are things that many beginning students
have found useful. After these last chapters the tech-
niques that are most useful for you personally are many
times different than the techniques that others will find
useful. In any of the applications the way to learn the
techniques that will serve you best is to look around us-
ing the help menu or the web when you find yourself at
an impasse or when you think there must be an easier
way... There probably is!

Document Mode
When you click Create New in Illustrator, tabs at the
top of the resulting window allow you to set the in-
tent of the document. The two choices you should
use are either Web if your final product will be seen
on a screen or Print if it will be printed out.

The main practical difference between the two is that

in printing, color is achieved by the mixing of three
colors (cyan, magenta, and yellow) plus the addition
of black; while on the screen color is always achieved
by the mixing of only three colors (red, green, and
blue). For Illustrator to know how to define colors, it
needs to know the final medium. One common prob-

C H A P T E R 11: MOR E ILLUSTRATOR 17 9

 lem is the lack of true blacks in PDFs in print docu-
ments seen on a screen.

More PDF
PDFs files are incredibly useful and versatile. They
may contain only vectors and be of very small file
size. Or, like this book, they may contain many pag-
es and combinations of vectors and pixels-based im-
ages. They can have fonts embedded in them so that
the computer they are viewed on doesn’t have to have
the used fonts installed. They can even be interac-
tive like web pages. Although it is beyond the scope
of this book to investigate everything about PDFs, a
quick look at a few options will be helpful.

With an Illustrator document open, go to File > Save

As, and specify Adobe PDF as the file format. In the
resulting requester box (as with InDesign), you can
change the preset to make a large high quality file
for printing or make a screen resolution file which is
To check a file size much smaller. File size is very important when you
on a Mac, highlight are emailing a file, and it is always good to check the
the file's icon in size of a PDF after you save it. If your file size is over
the finder then go about 5 megabytes think twice before emailing it.
to File > Get Info. You can change the file size of a preset by modifying

180 C H A P T E R 1 1 : M O R E I L LU ST R ATO R
it. In The compression tab is where you will find the
most savings of file size. See if you can apply what
you learned in Photoshop about image sizing in this
requester box.

While in the save Adobe PDF box you may want to

check Preserve Illustrator Editing Capabilities, but in
most situations it is best to save an Illustrator version
of your file for editing and save the PDF file with this
unchecked for sending to others.

Embedding fonts with PDF files (also an option in this

box) generally works well. With some fonts, however,
it does not. If you have problems with fonts viewing
correctly in your PDF you can select all of your type
boxes and convert them to outlines (Type > Create
Outlines). Your text will no longer be able to be ed-
ited, but there will be no fonts to cause problems.

For special-use PDFs, such as the making of PDF

forms, you need to use another application—Adobe
Acrobat Pro. Although not covered in this book, it is
part of the Adobe Design Suite.

When you save a file in Illustrator format (Adobe Il-

lustrator) you have several options that are fairly self-
explanatory (or not too important now). One that is
important is the option of saving a PDF embedded in
your Illustrator file.

You must have this option checked when placing an

Illustrator file into InDesign (InDesign actually uses

C H A P T E R 11: MOR E ILLUSTRATOR 181

 the PDF portion of the file), but otherwise use cau-
tion when checking this box. If there are many images
your file size can get very large.

Also notice that it is in the Illustrator options box that

you can save an Illustrator file to work with previous
versions of the application.

Transparency & Gradients

Any object can be given a stroke or fill that is has a
level of transparency by specifying that level in the
transparency panel. Be careful not to use this as an
shortcut to get a lighter color, however. Instead, spec-
ify a lighter color in the color panel.

Gradients are colors that fade into other colors. Of-

ten these are used with stars by beginning design
students, but they can be useful. Make a shape, open
the gradient panel, and specify a gradient from the
pull-down menu next to the icon showing the gradi-
ent in the upper left of the panel. Now choose the
type of gradient, either one from the center out (ra-
dial) or one that goes across the shape (linear). You

182 C H A P T E R 1 1 : M O R E I L LU ST R ATO R
can change the angle of the gradient (if it is linear) by
typing in a number in the box below the gradient type
and you can change where the fade of one color to
the next happens by dragging the diamond at the top
of the bar showing the gradient.

To change the colors of a gradient, click on either the

start color or the end color slider button at the bot-
tom of the bar showing the gradient. When clicked
the slider will have a highlighted edge showing it is
selected.

To use two panels

Pick a color from the color panel or double-click the at once, click
slider to change the slider color. You can add colors on the top of
to your gradient by clicking where a new slider would one and drag it
appear below the bar showing the gradient. And you from its dock.
can delete colors by dragging the slider away. You can
also control your gradient using the gradient tool, and
you can use this tool to have the gradient go across
multiple objects if you group them first.

C H A P T E R 11: MOR E ILLUSTRATOR 183

 Gradient Mesh
For these next instructions, we need the advanced
toolbar—go to Window > Toolbars > Advanced.

While gradients are very limited in their control (lin-

ear or radial), a gradient mesh is a way to have com-
plete control over gradients. Make an oval with a
black fill. With the mesh tool click once on the upper
right area of this oval. Now with the direct selection
tool, click on the point that you made with the gradi-
ent mesh tool (to select it) and change that point’s
color to white.

Gradient mesh
with one point,
and with the color
changed to white
for that point.

Now you can make more points in your shape using

the gradient mesh tool, and assign colors to each of
those points (and the points at the edges). These
points can be edited or selected with the direct se-
lection tool in exactly the same way that points in an
object are. Like the points and paths of shapes, gradi-
ent meshes are fairly awkward to work with at first,

184 C H A P T E R 1 1 : M O R E I L LU ST R ATO R
but give you very powerful controls over shading il-
lustrations.

Remember, as with all the techniques in this book,

practice and using the help menu will allow you to go
farther with this technique.

Image Trace
Image Trace allows you to take a continuous tone im-
age like a photograph and make a vector description
of it that can be edited in Illustrator. While not an es-
pecially frequent way of dealing with things, it can
get you out of trouble, such as when you need to edit
a logo or line drawing from a bitmap image.

Start by placing an image (find one without many pix-

els) into Illustrator. Open the Image Trace panel and
roll the mouse over the different options to get the
tooltips descriptions for what the buttons do. Try dif-
ferent buttons with preview checked.

C H A P T E R 11: MOR E ILLUSTRATOR 185

 See if you can figure out what some of these options
mean. Complicated or large images may take quite a
while for a preview to generate, so you might find it
easier to get your bearings using this technique with
a small simple image.

After you get what you want, click ‘Expand’ in the

properties panel. Ungroup the object and you can
edit it as in any set of objects in Illustrator using the
selection tool and the direct selection tool. With
complicated objects may want to automatically re-
move points you don’t need by going to Object > Path
> Simplify. This is also a good option to try when con-
verting type to outlines.

Illustrator Effects
In the property panel below Opacity and also in the
Effect menu, there are two groups of effects (fx). The
first group is composed of Illustrator effects. These
can be used to modify shapes or type. Except with us-
ing the Rasterize effect your shapes and type remain
Illustrator vector objects.

Select an object or type and go to Effect > Stylize >

Drop Shadow or click on the fx button in the prop-
erties panel. If you have found the drop shadow op-
tion in InDesign, you will notice that in Illustrator it
behaves very differently. You can separate the shad-
ow from your shape by clicking Expand in the Proper-
ties panel and then ungrouping it. Or, you could use
this as an opportunity to change it in the Appearance
options in the properties panel by clicking on Drop
Shadow.

186 C H A P T E R 1 1 : M O R E I L LU ST R ATO R
The second group of effects is called Photoshop Ef-
fects. These should probably not be used since most
convert the object into a bitmap with pixels (they ras-
terize it), leaving you with very limited further con-
trols, bloating your file size, and increase the possi-
bilities of having poor quality.

You may be wondering why Illustrator lets you do so

many things the ‘wrong’ way. Flexibility is key to Illus-
trator, and the wrong way will turn out to be the good Most things, like
way every once in a while. For example: The office the Appearance
copier broke, and I need a sign to put up for the next panel above,
twenty minutes until it gets repaired. I could paste a have panels
photograph of a cute monkey into Illustrator, run a dedicated to
Photoshop filter to half-disguise the fact that I don’t them. Sometimes
have enough pixels in the image, add some words, these panels have
and print it out before I close the file without saving. more options
The sign is a bit of fleeting ephemera that needs no than those in the
sweat about quality... Although some would argue properties panel.
that everything needs more quality.

SVG Files
First select a graphic, such as an icon or a logo, in Il-
lustrator. Go to File > Export Selection... and choose
SVG Format. This will export your graphic as a Scal-
able Vector Graphic which can be placed in many ap-
plications and even used as a web graphic.

The advantage of using SVG files over bitmap imag-

es (like JPEGs) is that they can be scaled to any size
without losing quality. They are also usually small file
sizes and very versatile. Use them!

C H A P T E R 11: MOR E ILLUSTRATOR 187

 Chapter 11 Review
Document Mode
web (screen) or print modes

More PDF
changing file size of PDFs
embedded fonts
saving PDFs embedded into Illustrator files
Adobe Acrobat Pro for special PDFs

Transparencies & Gradients

using transparency panel
applying and editing gradients

Gradient Mesh
making and editing meshes

Image Trace
using image trace, options, expanding

Illustrator Effects
Illustrator (vector) and Photoshop (bitmap) effects

SVG Files
Exporting vector graphics for web and other applica-
tions

188 C H A P T E R 1 1 : M O R E I L LU ST R ATO R
12 More Photoshop

Actions
Often when editing images you need to perform
the same techniques on many images. For example,
you have a hundred images from an event, and even
though only a few will ultimately be used, they all
need to be sized and prepped for InDesign so that al-
ternate designs can quickly be made.

To speed up the process, you can ‘record’ what you

do with one image and ‘play it back’ on the other im-
ages by using the actions panel.

With an image open in Photoshop, open the actions

panel and in its menu choose one of the pre-made ac-
tions in Default Actions. Run a couple of these actions
on an image by clicking the play button at the bottom
of the panel.

Notice the top

folder labeled
‘Payne Actions’.
This folder
contains my own
actions I use
repeatedly.

C H A P T E R 12: MOR E PH OTOSHO P 189

 To record your own actions, click the new action but-
ton next to the trash can. Name your action, then do
some things to your image, like changing the image
size or the levels. When you are done, click on the
stop square next to the red record button. Now open
a new image and ‘play’ your action with it.

Actions are limited in the way they can record mouse

movements across an image, so they won’t record
things like brush strokes, but they are a huge time-
saver for other image operations. Many times all of
the photographs taken at the same event will need
similar image adjustments. Actions can reduce the
time needed to process these significantly.

You can even play back an action on a folder of im-

ages by going to File > Automate > Batch. Of course
the help menu can give you all the information you
need to do this.

Lens Correction
If you are If you are getting images from a digital camera, there
taking your own are many faults that are common in the images.
photographs, Straight lines may be distorted (warped) by the lens.
Another There may be parallax distortion by not lining up the
Photography Book camera perfectly with a geometric object. Or the im-
is an excellent age may get darker at the corners. This is called vi-
resource by gnetting.
this author.
Going to Filter > Lens Correction will allow you to
correct for many of these faults. There is even an au-
tomatic mode where it can correct for the faults in-
herent to the particular camera (and lens) used. And,

190 C H A P T E R 1 2 : M OR E P H OTOS H O P
if you are using images in the various 'raw' formats
directly from higher-end amateur cameras, you can
perform these adjustments before the image opens
in Photoshop in Camera Raw.

Bridge
Bridge is not actually part of Photoshop, but a sepa-
rate application of the Adobe Suite that is often used
in conjunction with Photoshop. Find Adobe Bridge
and within it navigate to a folder of images.

Navigate to a
folder of images
using the nav bar
near the top of
You can see previews of each image in this appli- Bridge’s window.
cation. You can also re-order your images, rename
them, move them, give them ratings, see the details
of them with a magnifier, see written information as-
sociated with them and open them in Photoshop by
double-clicking on the image. You can also preview
InDesign and Illustrator files using Bridge.

If you are working with a lot of images, Bridge (or an-

other image cataloguing application such as Adobe
Lightroom or Phase One Capture One) is a necessary
part of the workflow.

Color Profile
Images on computers (or printers, cameras, scan-
ners, etc.) are actually made up of numbers describ-
ing the color of each pixel. What color corresponds
with what number is defined in a color profile.

C H A P T E R 12: MOR E PH OTOSHO P 19 1

 While many of the things related to color profiles are
automatic and ‘behind the scenes’, there are aspects
When faced that deserve your attention if you are going to be pro-
with a profile ducing the best looking images possible.
decision, use the
sRGB option (at It is beyond the scope of this book to even start to
least until you explain the technicalities of color, but put ‘learning
know more). more about color’ on your to-do list.

Smart Layers
Using smart layers is a way of combining Illustrator
and Photoshop that is best described by doing it.

Scaling in this Make a shape in Illustrator and give it a color and a

instance doesn't stroke. Select it and copy it (Edit > Copy). Now in Pho-
need the shift toshop, open an image and paste this on it (choose
key to keep ‘smart object’). After scaling your object appropri-
proportions. ately, double-click on it to accept the import.

A vector layer
selected in
Photoshop.

Your Illustrator shape is now a layer in your Photo-

shop file. But since Photoshop is not able to do much
with vector drawings, you cannot edit it directly in
Photoshop. In the layers panel, double-click on the
area shown at left then edit and save in Illustrator.
You will see that you can go back and forth between

192 C H A P T E R 1 2 : M OR E P H OTOS H O P
Illustrator and Photoshop, with changes you made
in Illustrator automatically updating in Photoshop
whenever you save the Illustrator file. When you are
finished editing your Illustrator shape, go to Layer >
Rasterize > Smart Layer to make that layer a pixel lay-
er like any other Photoshop layer.

This is one of many very specialized techniques in the

Adobe Creative Cloud, and one which can be useful in
integrating vector shapes into an image. But remem-
ber that it is a specialized technique—never copy and
paste willy-nilly (or even higgledy-piggledy) between
the applications. Leave that for the riffraff and the hoi
polloi.

Layer Adjustments
There are a few more specialized types of layers in
Photoshop. The most common is an ‘adjustment lay-
er’, or a layer that only contains image adjustments
such as levels.

With an image open in Photoshop, go to the adjust-

ments Panel (Window > Adjustments, but you know
that already) and roll over an icon to see what it does.
Choose the second icon, which is levels. The adjust-
ment will appear in the properties panel and you can
adjust the levels of the underlying layer as you would
in the levels dialogue box.

The advantage of using layer adjustments instead of

the way we have learned to do adjustments is that
the pixels are never permanently changed, so you can

C H A P T E R 12: MOR E PH OTOSHO P 193

 go back and re-adjust at any time. You can have as
many adjustment layers as you need.

The disadvantage of using adjustment layers is that

things can get very confusing very quickly, especially
if you are using layers for other things. That is why
they were not covered earlier in this book (although I
imagine most of you found them).

Remember that adjustment layers and vector layers

(among many other things) will only be retained if
you save your file in Photoshop format.

There is much more to learn about Photoshop, but

you don't need to learn it all. Much of it is there for
specialized purposes, such as for the web designer
to do web comps or illustrators to do 'paintings'. The
good thing about the complexity of the application is
that it becomes very customized to special purpos-
es. Many people use it for things never envisioned by
the makers of the application, but its flexibility allows
this to an incredible extent.

194 C H A P T E R 1 2 : M OR E P H OTOS H O P
Chapter 12 Review
Actions
using built-in actions
recording and playing actions
batch processing folders of images

Lens Correction
correcting distortion and vignetting

Bridge
using bridge with Photoshop

Color Profile
complexity of color on computer

Smart Layers
using and editing vector images in Photoshop

Layer Adjustments
making and editing a layer adjustment

C H A P T E R 12: MOR E PH OTOSHO P 195

13 More InDesign

Poking Around
With InDesign a lot can be learned from just look-
ing through panels, tools, and menus. There is much
that is self-explained or very much like Illustrator. For
example, if you wanted type with a drop shadow, go
to Object > Effects > Drop Shadow with a type frame
selected. You will find that although there are many
of the same options for a drop shadow in InDesign
as in Illustrator, it behaves differently. Not that you
should use drop shadows—they are just a handy ex-
ample here!

Stroke on type
Often when you are printing white (or light type) on
a black (or dark background), ink from the dark back-
ground will seep into the letters making them effec-
tively thinner. This is one reason why ink-jet printers
are not preferable when using small (or even text- Most serif fonts
sized) letters. But you can compensate for this some- have to fine of
what by putting a slight (start with 0.1 point) stroke details for this
on some sans serif letters in the same color as your rather ham-handed
letters. technique.

InDesign has four choices for what to color in a text

frame. The first two choices are the stroke and fill of
the text frame itself, and are accessed by clicking on
the small box under the stroke and fill options in the

C H A P TE R 13: MO RE IN DESIG N 197

 color panel. The second two options for a text frame
color are for the text. These options are active when
you click the small ‘T’ under the stroke and fill op-
tions in the color panel. You can also use stroke on
text for a visual effect, but if not used thoughtfully
it can easily distort and ruin the design of a nicely
shaped letter.

Text Frame Options

It is not unusual to see text separated from other text
by being in a lightly colored box, like for a side-bar.
In InDesign you could just put your text frame over a
colored box and group the two, or you can go to Ob-
ject > Text Frame Options.

I entered '10pt '

in the 'Top' box ,
then clicked inside
another of the
boxes. Since the
chain in the middle Here you can specify the amount of margins the text
is on, all boxes has within the frame, and you can set the color fill
filled with my of the frame itself with the light color. You may no-
value (converted tice that you can also specify that your text frame
to rather useless be of several columns instead of making several text
inches—put frames for your columns. This may be a time-saving
learning about device for a very rigidly formatted book, but is prob-
picas and points ably of little use to you now.
on your to-do list).
Spreads
If you are doing a multi-page document for printing, it
will usually involve pages that face each other (facing
pages) called spreads. When starting a new InDesign

198 C H A P T E R 1 3 : M OR E I N D ES I G N
document, you are asked if you would like to set up
these facing pages, so that you can format the right
hand and left hand pages differently. At the very least
page numbers are generally on the outside of pages,
meaning they will be on the left of some pages and on
the right of other pages.

So when you make a document with facing pages you

will have a two-page master spread, and pages will
be arranged with the first page (the cover or the first
right hand page) alone, then each subsequent page
paired with another. After your document is done you
can then send it to the printer, or at this stage of the
game probably print it yourself.

This is where you will run into problems. If you print

spreads and bind it into a small book (for example),
you will find that page 3 is the last page in your book!
The solution is to take your pages and manually re-
arrange them in the pages panel, leaving page one
blank. Or, you could purchase one of a number of
plug-ins (small applications that give a program ex-
tra functionality) that reorder the pages automatical-
ly for you.

Commercial Printers
This book is geared towards the beginning user of
these applications, and you should know more be-
fore sending jobs to a printing company. If you need
to do it now, talk to the printer about how to set up
your documents, both in Photoshop if you are using
images, and in InDesign. As a matter of fact, getting
instructions from your printer is a good thing to do

C H A P TE R 13: MO RE IN DESIG N 19 9
 even if you know a lot about these applications! Print-
ing companies are very helpful in telling you how to
set up a document, since it saves them time and frus-
tration in the long run.

Paragraph Rules
Underlining type is virtually never done in designs,
but adding lines below or above text and extending
past the text is done quite a bit. These lines are called
rules. Since they appear in conjunction with a return,
and since pressing the return key defines a para-
graph, they are called paragraph rules.

To make a paragraph rule, put the cursor in the para-

graph (usually a header), and go to the menu item
called paragraph rules in the paragraph panel. Here
you can specify exactly how you want the rule to
appear, and if preview is checked you can see the
changes you make as you make them. You can also
specify paragraph rules in the paragraph styles panel
(by editing your paragraph style). This is where it is
done if you repeat rules in your document.

Baseline Grid
When designing multiple columns of type or even
facing pages of type, a designer will strive to keep
each line of text directly in line with the line in the
other page or column. This is one of hundreds of sub-
tleties of type you have seen many times over but
probably never noticed.

Make two text frames as if they were columns and fill

with placeholder (or any other) text. Now go to View

200 C H A P T E R 1 3 : M OR E I N D ES I G N
> Grids&Guides > Show Baseline Grid. This will put
a number of horizontal guides on the page (you may
have to zoom in to see them) so that you can see that
each line of text from one column lines up with that in
the other. In preferences you could change the spac-
ing of these lines to correspond with your font size
(or more accurately your leading), but we don’t really
need to, as the default probably shows if your text is
lined up or not.

The text you have more than likely lines up, and you
might wonder why we need that grid for something
so obvious. Here is why: Add a header or two a few
point sizes bigger than your text. Unless you are in-
credibly lucky, the text no longer lines up across col-
umns. Here is where the baseline grid comes in. Do
a little math, and change the paragraph spacing for
your headers so that it is a multiple of your text lead-
ing. Check the results by using the baseline grid.
For this book the
Images and other illustrations can also set the lines headers and the
apart so that they no longer line up. Good design is space above them
difficult, but a baseline grid can help you keep things take up 29 points,
in order. In this text the baseline of the facing pages which is double
and also the margin notes all align. the 14.5 point
leading of the text.
Swatches & Tints <<
You may have noticed a panel for swatches. These
are commonly used colors in your document. If you
use a color multiple times, add it to the swatches so
that it is consistent throughout your design. You can
add it directly from the menu of the color panel or
you can make a new swatch from the menu (or icon
at the bottom) of the swatches panel.

C H A P TE R 13: MO RE IN DESIG N 201

 Near the top of the swatches panel there is a slider
to change the tint (lightness) of a color. This is used
not only to change the color of an object or type, but
also to save money when using certain (spot) colors
in commercially printing a project.

You can see the

main colors used
in this book here.
If I need to change
one color (like the
Xd Purple which I
hate), I can change
the swatch color
and all occurrences
of the color
throughout the
book will change.

202 C H A P T E R 1 3 : M OR E I N D ES I G N
Chapter 13 Review
Poking Around
learning more about the application

Stroke on Type
using stroke to ‘push back’ ink
stroke and fill on letters and text frames

Text Frame Options

specifying text inset
multi-column text frames

Spreads
facing pages, 2 page master pages
printing issues
pages smaller than print size

Commercial Printers
talking to the printer

Paragraph Rules
using rules and applying in paragraph styles

Baseline Grid
use of baseline grid, grid preferences

Swatches & Tints

using swatches panel and changing tint

C H A P TE R 13: MO RE IN DESIG N 203